Maria Rein Biography

Mono -performance based on the play by Nikolai Kolyada was shown on August 21 at the Fusion club. Masha and I talked about the theater, about feminism and the action against domestic violence, which recently took place in Moscow. Tell me about the play “This is America”. We played this performance for the first time last year, on the roof, and it looked completely different.

We can say that this is more a performance than a performance. This year we have no access to the roofs and we thought: “Where can we play the performance? All theaters are closed, available sites have not yet opened. And here we have, with my friend, who is engaged in parties in Moscow and St. Petersburg, plays the idea, the idea arose to connect the theater with the club, because the youth hangs in clubs and a lot of young people to drag into the theater.

And the emphasis was to enter this performance in the specifics of the club: we have a lot of dances, youth club music, at first the DJ-Set sounds. You can drink at the play - you can go to the bar and take your fault. And in the end we treat the audience with vodka. And we took the topic of youth - everyone dreams of dumping from Russia, because there is nothing to catch and most people go abroad: to Europe, America, where they will be comfortable where they can work and open up.

That's what the performance is about. Do you want to leave? I think sometimes about what is worth trying. But I’m some kind of avid patriot, I want Kaifovo in our country, people from other countries go here and said: “Oh, Russia! I live in Russia, how great.

" So far I will not go anywhere, because Russia does not let me go and I am scared to leave. But sometimes there are bells and I begin to think that I probably will not succeed here: in Russia a difficult mentality in Russia, the Soviet Union still holds on and not to knock it out of people. I would like freedom in creativity, freedom to be myself, and the same Europe is closer to me in spirit, I have many friends and loved ones there.

It is more interesting there in terms of creativity and in sensations. Did you choose the play by Nikolai Kolyada because of the current topic? I read it in my second year when we put and handed over one -act plays. I did not put an “American” then, took something else and put it off for some other period of my life. And then, thinking about my diploma performance, I asked for permission from Nikolai Kolyada to put his play.

I cut its material a lot: I do not have a purely dramaturgy of Kolyada, but a bill, because the play in the original is too long. An endless monologue yes. And he was a little outdated, because the play was written in the nineties and at that time was read and spoke in a completely different way. The actress and I have omensed the most relevant - what everyone will find out: about America, about Russia.

Do you know the actress Tatyana Panic long ago? Yes, I studied with her and adore her. When she transferred to us in a second year from the eagle, I immediately realized: "This is a talented girl, I want to work with her." Tanya wandered from my passage into an excerpt. She joined the team of an independent theater project and played in my Ophelia that drowned. Together with her, we play in the "light breathing" at Elena Pavlova.

Your performances are both as actresses and as a director reflect the role of a woman in the world. Is it for a reason? Yes, they are very feminist. In Ophelia, we brazenly cut Shakespeare - he would probably have killed me if he saw how I treated his material. From Hamlet, we have differently from the history of Ophelia, although its role in the narrative is tiny. There are many scenes and moves in our performance, so this is more than Shakespeare.

Ophelia is a pure girl who cannot live in this world of meanness, insidiousness, intrigue, gossip. We even had a political topic - we thought: “Maybe they removed it? She always walked in the garden, and Claudia was poisoned there. Maybe Gertrude got rid of Ophelia, because she knew too much? And so it happens in life, in any country in the world, a person knows a lot - this is an extra person and you need to say goodbye to him.

We touched on a political topic, but it is almost not read in the play. So yes - the female line is important to me. Olya in the "light breathing" also cannot live in this world? Yes, she cannot live in this world due to the rape that happened to her. Olya could not cope with her problems and psychological injuries, she had no one to tell about what had happened.

And she decided to die. Perhaps she always had suicidal inclinations, just Bunin does not reveal this. And violence simply pushed her to this. The rapist did not pay for the deed? In the story, he is the brother of the director and friend of the father of Olya, not the last person in the city. Naturally, he remained unpunished. Bunin does not write that he was convicted and he spent the rest of his days in prison.

I think he lived calmly further, and, perhaps, Olya was not his only victim. Still, he is a pedophile. Tell me about the action against domestic violence, we met with the guys from Moscow who came up with the action against the exredging and all the others, thanks to my acting - they saw my work. They learned that I am learning to the director and, apparently, can organize people.The ideas of all St.

Petersburg actions were offered by the guys, I said whether I like it or not, and in fact she was a performer and organizer. For the “Chlorine” campaign, I was thrown out of the eighty -actors, who were supposed to be removed with me. It was not ordinary men as we stated, and the actors who received money. And in fact, I took each actor by the hand and said what to do: sleep, read a book or listen to music.

It was necessary to direct the finished idea that it looked as natural as possible. And with the action “What is under my skirt? For three years of joint shares, these guys and I became very friends and they suggested that I do something of my own. They asked what worries me. Yes, a lot of worries me in principle. These guys are my close friends, and they know very personal things about me: for example, that until a certain time I was in sick, in bad relations.

This man was my first love. I was still very green, I lived alone. I had to part with him as soon as he raised his hand at me, but was too dumb. For almost two years I was in a relationship where almost everything was forbidden to me. My phone was viewed every evening and, if God forbid, some boy wrote me a compliment, it means that I provoked him, and I flew “for business”. Having survived this experience itself, I decided to compete with domestic violence, because this problem is very close.

They beat not only me, but also my friends. In my lesson, the boy beat the girl and I said: “Are you normal? Girls are generally impossible to beat. ” And the boy replied: “I know nothing. My dad beats mom, so I can. ” There are women who are silent about violence, because they are ashamed. I was ashamed, I thought that they would not understand me, because this person looked for others like a prince on a white horse.

Everyone said: "What is you, good, how wonderful, how he loves you." In public, it was an ideal man, but when you are left with him alone, you can get absolutely for everything. Once I was on tour with my young man, and my colleague-actor looked at me. When we came to our room, they told me: “You had something with him. He looked at you like that. " Insults, tears, assault began and I was ready to shoot my brain.

When I returned home with a tour, I decided to finally share with my mother. Mom said: “Masha, are you normal? I am so ashamed of you. Look at yourself in the mirror, how do you allow you to contact yourself? I say: "Mom, how can I part with him if he starts to cry right away." And mom replied: "Never spare anyone." After a week and a half, I said that we need to seriously talk. He again began to cry, say that he wouldn’t be like that anymore.