Biography of Andrei Vishnevsky

Moscow, Russia. Member of the Union of Russian Writers and the Russian Pen-Center. The author of the plays: “Distant! The mysteries on the “tshass crumb” by E. Hoffmann, “Pinocchio” K. Collodi, the Agagadic religious and ethical legends about King Solomon and the mystery of the 4th Reich. The interest of Andrei Vishnevsky is the oldest theater, its origins and ancient rites.

And also, the theater of the future, changing the spiritual nature of the actor and the viewer. Vishnevsky plays were staged in Moscow, Berlin, Helsinki and other cities; In particular, director Vladimir Ageev carried out the production of the play “Moskauzey” in the year as part of the Moscow -Open City project. According to the script of Vishnevsky, the short film “Tsar’s streams” was shot.

A number of plays are published, including Fantasy, which was abundantly illustrated by Mark Polyakov on the topics of Pinocchio's Adventures, K. Collodi “Mad Angel”, called “a comic book that unexpectedly comes to a huge tradition of visionary literature and the liberated creative energy of the whole generation of the XX century”. In the year, he staged a diploma performance based on the play by Alonso Alegria “Cross Niagar” on the stage of the A.

Tbilisi Russian Drama Theater named after A. Two equilibrists are old and young. They crossed the thin wire through the abyss. And the wire connected different worlds. They moved from Tbilisi to China, from the past to the future, from living to the dead. And on how you go over the waterfall, it depends on which world will meet you, which world you will find. The performance that everything that seems far seems to be close.

It depends on you how close space is, you yourself determine the degree of removal. And about how easy it is to lose the gift of the transition. How easy it is to lose the gift ”Andrei Vishnevsky. I proposed a young actor Volodya Semin to the partners. The process was incredibly interesting and equally complicated. The novice director brought down all the excitement of the extreme school Anatoly Vasiliev.

For my part, being no less gambling, I tried to realize Andrei's “mantras” in stage action. He almost completely redone the text of the Argentinean: Andrei is a talented screenwriter, apparently, the genes of his father, the amazing prose writer Andrei Bitov, appeared. At one of the rehearsals, Vishnevsky set a chair, invited me to sit down and tell something about myself, but certainly very interesting, warning that my story could enter the dramatic fabric of the performance.

I am numb. I could not say a word. The feeling of one's own mediocrity was paralyzed. And then my young partner looked at me with all my eyes. I am like an frozen for a damned chair, which has become an electric for me. The pause was more than the Moscow Art Theater. Then Andrei went to more radical measures - he asked me to jump over this chair with a high back - without a run, from a place.

However, unexpectedly for himself, he immediately jumped, as if he had performed in the circus Du Coleli all his life. And spoke. No one could stop me. This only succeeded in Boris Jukhananov, who came from Moscow, the key figure of the art underground, the closest assistant to Anatoly Vasiliev, and our work with Andrei gained a new breath. Boris sent us at a steep peak, a protracted jump without a parachute, but at the same time we had to survive.

The audience had to see the performance. Before presenting the door to the small hall, they were boarded up, and in order to enter, the public had to help the capeldines “hack” them. Having penetrated the hall, the audience found that the chairs were covered with cellophane more than that, we began our dialogue with Volodya from under it. The audience was very puzzled.

She had to pull this cellophane together with the capeldines to find us. Subsequently, cellophane became in the performance of Niagara itself. I was a canine, crossing the stretched cable through this waterfall. Once my hero lost self -confidence and decided to overcome the fear, having made a deadly number: to cross Niagar with blindfolded eyes with his student on his shoulders.

There was such a trick in the play. Volodya Semin climbed onto my shoulders, and I, on the stairs, laid from the advance to the armchairs of the back rows, barefoot, with a bandage in my eyes walked through the entire small hall and returned back. At the same time, frightened spectators squeezed into their seats on both sides. There was a real danger uniting actors and the public.

Thank God, this risky move always ended safely and ended with applause. The artist of the production was a wonderful schedule, scenographer Mark Polyakov. And each of them contributed to the scenography of our production. There were transparent spheres on the stage, inside which the micromers of these extraordinary artists flickered. After the presentation, the audience looked at the art objects with interest.

Someone tried to climb the stairs to “cross the Niagar”, but could not take a step. Someone liked the performance, someone did not understand anything, someone perceived our work as a "worship of the West." Alas, innovation and experiment often cause not only delight, but also “allergies” from the book “Ark for everyone. Valery Kharyutchenko. " Tbilisi, p.