“Tsar Fyodor Ioannovich” is a tragedy in five acts by A.K. Tolstoy, written in 1868; the second part of a historical trilogy, the first part of which was the tragedy “The Death of Ivan the Terrible” (1866), and the final part was “Tsar Boris” (1870).
K. P. Bryullov. Portrait of Alexei Tolstoy as a youth (1836)
Alexey Tolstoy in his trilogy relied on the then official version, according to which Boris Godunov, who was at enmity with the Romanov boyars, the ancestors of the reigning dynasty, was directly involved in the death of Tsarevich Dmitry. In a commentary to his tragedy (“Project for staging the tragedy Tsar Fyodor Ioannovich”), Alexei Tolstoy wrote: “Two parties in the state are fighting for power: the representative of antiquity, Prince Shuisky, and the representative of reform, Boris Godunov. Both parties are trying to take possession of the weak-willed Tsar Fedor as a tool for their own purposes. Fedor, instead of giving an advantage to one side or the other or subjugating one and the other, hesitates between both and through his indecision becomes the cause of: 1) Shuisky’s uprising and his violent death, 2) the murder of his heir, Tsarevich Dimitri, and the suppression of his kind. From such a pure source as Fyodor’s loving soul flows a terrible event that has broken out over Russia in a long series of disasters and evils. John's tragic guilt was his trampling of all human rights in favor of state power; Fyodor’s tragic guilt is the exercise of power with complete moral impotence.”
Feodor I Ioannovich
The stage history of the tragedy showed that the work of Alexei Tolstoy leaves the possibility of other interpretations of its content, including the image of the main character. The litigation between Godunov and the Shuiskys was often interpreted as a struggle between the nascent autocracy and that “old times” when the Boyar Duma had great influence and broad powers - such an interpretation, in particular, was relevant at the turn of the 19th and 20th centuries, against the backdrop of the struggle for a representative legislative body , and especially after the establishment of the State Duma in 1905. Later interpreters of “Tsar Fedor” were not inclined to look for Fedor’s fault in what happened; he appeared rather as a victim of cruel times, his personal tragedy was interpreted as a tragedy of the impotence of good; this, in particular, was Ivan Moskvin’s Fyodor in the famous production of the Art Theater.
Characters:
Tsar Fyodor Ioannovich, son of Ivan the Terrible
Tsarina Irina Feodorovna, his wife, Godunov's sister
Boris Fedorovich Godunov, ruler of the kingdom
Prince Ivan Petrovich Shuisky, Supreme Voivode
Dionysius, Metropolitan of All Rus'
Varlaam, Archbishop of Krutitsky
Job, Archbishop of Rostov
Blagoveshchensk Archpriest
Chudovsky Archimandrite
Confessor of Tsar Feodor
Prince Vasily Ivanovich Shuisky, nephew of Prince Ivan Petrovich
Prince Andrei, Prince Dmitry, Prince Ivan - Shuiskys, relatives of Ivan Petrovich
Prince Mstislavsky, Prince Khvorostinin - nearby governors (supporters of the Shuiskys)
Prince Shakhovskoy, Mikhailo Golovin - supporters of the Shuiskys
Andrei Petrovich Lup-Kleshnin (former uncle of Tsar Fedor), Prince Turenin - supporters of Godunov
Princess Mstislavskaya, niece of Prince. Ivan Petrovich and Shakhovsky's fiancee
Vasilisa Volokhova, matchmaker
Bogdan Kuryukov, Ivan Krasilnikov, Dove the Father, Dove the Son - Moscow guests, supporters of the Shuiskys
Fedyuk Starkov, butler prince. Ivan Petrovich
Guslyar
Tsar's stirrup
Servant of Boris Godunov
Messenger from the village of Teshlova
Messenger from Uglich
Warrior
Boyars, boyars, hay girls, stewards, clerks, priests, monks, merchants, townspeople, archers, servants, beggars and people.
Plot
The action takes place in Moscow at the end of the 16th century. Dissatisfied with the growing influence of Godunov, to whom Tsar Fedor “entrusted” power, the Shuisky princes and boyars who sympathize with them are trying to plot to remove Godunov from power; Believing that the source of Boris's influence on the Tsar was his relationship with Tsarina Irina Fedorovna (nee Godunova), the boyars plan to divorce Fedor from his wife, as if she were barren. The boyars, inspired by Ivan Petrovich Shuisky, compose a petition in which they ask the tsar to enter into a new marriage; They put their signatures on the petition, but submitting it to the king is postponed due to the unresolved issue of the bride.
The rivalry between Godunov and Shuisky worries Tsar Fedor; not understanding the reasons for this enmity, Fyodor, in Tolstoy’s tragedy is more a saint than a fool, tries to reconcile his rivals; involuntarily, under pressure from the king and queen, the rivals extend their hands to each other, but the struggle continues.
Irina conveys to Fyodor the request of the dowager queen, Maria Nagoy, to return to Moscow from Uglich, where Nagy, along with Tsarevich Dmitry, were sent immediately after Fyodor’s accession. Godunov, who in Tolstoy considers the illegitimate prince a real rival, resolutely opposes this. Godunov’s supporter Andrei Kleshnin, the former uncle of Tsar Fedor, delivers an intercepted letter from Golovin, who is close to the Shuiskys, to Uglich; the letter indicates the existence of a conspiracy, and Boris demands that Ivan Shuisky be taken into custody, otherwise he threatens to retire from business. Fyodor, not wanting to believe in Shuisky’s bad intentions, ultimately accepts Godunov’s “resignation”.
Meanwhile, in the absence of Ivan Shuisky, the boyars enter into the petition the name of Princess Mstislavskaya, already betrothed to the young Prince Shakhovsky. The indignant Shakhovskoy snatches the petition and disappears with it. Ivan Shuisky, who had previously rejected the proposal to remove Fedor and elevate Tsarevich Dmitry to the throne, is now inclined towards precisely this method of getting rid of Godunov. Disconnected from business, Boris asks his close associate Kleshnin to send matchmaker Vasilisa Volokhova to Uglich as the prince’s new mother, and repeats several times: “so that she will look after the prince.” Kleshnin, in turn, conveying Godunov’s instructions to Volokhova, makes it clear to her that if the prince suffering from epilepsy kills himself, she will not be asked.
Fyodor, forced to personally deal with state affairs, is burdened by them and is ready to make peace with his brother-in-law, especially since Shuisky does not respond to his calls, saying he is sick; however, for Godunov, the condition for reconciliation still remains the arrest of Shuisky. Kleshnin, aware of everything that is happening among the conspirators, informs the Tsar about the Shuiskys’ intention to elevate Tsarevich Dimitri to the throne. Fyodor refuses to believe, but Ivan Petrovich, called to him, confesses to the rebellion. In order to save Shuisky, Fyodor declares that he himself ordered the prince to be placed on the throne, but has now changed his mind. Shakhovskoy bursts into the royal chambers with a boyar petition and asks for his bride to be returned to him; Ivan Petrovich’s signature under the petition discourages Fyodor. He is ready to forgive Shuisky for his conspiracies and rebellions, but cannot forgive the offense inflicted on Irina. In anger, Fyodor signs the decree prepared long ago by Boris for the arrest of Shuisky.
In the final scene of the tragedy, the action takes place on the square in front of the Archangel Cathedral, in which Fyodor served a memorial service for his father, Ivan the Terrible. “From today,” Fyodor decides, “I will be a king.” Irina and Princess Mstislavskaya beg him to forgive Shuisky. Fyodor, whose anger was only a short flash, sends Prince Turenin for Shuisky, but he reports that Shuisky hanged himself at night; Turenin overlooked it because he was forced to fight off the crowd brought to prison by Prince Shakhovsky, and repelled it only by shooting Shakhovsky. Fyodor accuses Turenin of killing Shuisky; he regrets that he had been making peace with the boyars for too long: “It wasn’t suddenly that the deceased father / Became a formidable sovereign! Through the devious / He became formidable...” At this time, a messenger brings news from Uglich about the death of the prince. Fyodor suspects that Dmitry was also killed; Godunov proposes to send Kleshnin and Vasily Shuisky to Uglich for investigation and thereby convinces Fyodor of his innocence. Immediately there comes a message about the approach of the Tatars to Moscow and the imminent siege of the capital, “in a few hours.” Feeling unable to cope with the problems that have piled up, Fyodor agrees with Irina that only Boris can rule the kingdom. The tragedy ends with Fedor’s sorrowful monologue:
It was all my fault! And I -
I meant well, Arina! I wanted
Get everyone to agree, smooth everything out - God, God!
Why did you make me king!
"Tsar Fedor" at the Maly Theater
Director Boris Ravenskikh, at that time artistic director of the Maly Theater, was offered to stage Tolstoy's tragedy by his favorite actor Vitaly Doronin, who had long dreamed of playing Tsar Fedor; The performance was originally conceived for him. However, having learned from the press that Innokenty Smoktunovsky was dreaming of the same role, Ravenskikh changed his plans and invited Smoktunovsky.
The play premiered in May 1973; the production featured a whole constellation of theater luminaries: Evgeny Samoilov in the role of Ivan Shuisky, Viktor Khokhryakov (and Evgeny Vesnik) in the role of Kleshnin; Vasilisa Volokhova was played by Elena Shatrova, Boris Godunov by Viktor Korshunov, Tsarina Irina by Galina Kiryushina.
In Fyodor Smoktunovsky there was not that “pathetic feeble-mindedness” that Tolstoy wrote about, there was nothing of the “blessed”, and even Smoktunovsky’s words about the six monkeys donated by the Tsar were unexpectedly filled with an ironic-dramatic meaning. One of the main advantages of this performance was the music. Georgy Sviridov , in which, along with specially written choral (a capella) fragments, themes from the Little Triptych were used. "AND. Smoktunovsky,” the critic wrote at the time, “plays... with all the penetration, with a frightening almost certainty of comprehension of the very nature of the “last of his kind,” the doomed king. In other words, a personal tragedy, but so deep and unusual that in front of the spiritual treasure of his hero, both Godunov’s insightful mind and the short-sighted, albeit sincere directness of Ivan Shuisky seem small... The musical images of “Tsar Fyodor” concentrate high artistic communication... The spirit of Ancient Rus' comes to life in this music.”
The Maly Theater considers it an honor to have this greatest Russian composer among its authors. The theater is the only drama theater in Russia that has the right to put its glorious name on its poster. The first appeal to the dramaturgy of A.K. Tolstoy turned out to be successful, and the theater subsequently staged the other two plays in the trilogy, releasing the performances “Tsar Ivan the Terrible” and “Tsar Boris”. The famous dramatic trilogy, performed on the famous stage of the Maly Theater, is now unthinkable without the amazing, beautiful music of Georgy Sviridov. This music is one of those spiritual treasures that have been accumulated by the oldest drama theater in Russia. There is probably not a person who has attended a Maly Theater performance in which the amazing music of Georgy Sviridov sounds, and who has not felt the enormous power of its emotional impact.
In the choral numbers, the composer partially used chants from the manuscripts of Fyodor the Peasant (16th century). As musicologist M. Rakhmanova wrote, “the spirit of Ancient Rus' comes to life in the “Prayer” and “Repentance Verse”, in the melody of the choir “Holy Love” the images of “wise wives” so beloved by our ancient literature appear.
“Prayer” - the theme of Irina Godunova - is the theme of Eternal Femininity, the ideal embodiment of the Wisdom of a Woman, her infinite kindness, her inner strength. “Holy Love” is the theme of love, kindness and love, defenseless in its nakedness and sacrificial. Tragic “Repentance Verse”: “Woe to you, wretched soul.” The theme of death, the collapse of Fedor’s idea. Sviridov tried to express with music the inner, spiritual world of the drama, experiencing a feeling of deep sympathy for the main character, despite all the tragedy of his existence and visible human shortcomings. In Sviridov’s mind, he was the embodiment of love and kindness.
Although initially the audience made a pilgrimage primarily to Innokenty Smoktunovsky, the performance survived the actor’s departure to the Moscow Art Theater (in 1976); Tsar Fedor was later played by Yuri Solomin and Eduard Martsevich.
In the house of Ivan Petrovich Shuisky, in the presence of many clergy and some boyars, they decide to divorce Fyodor Ioannovich from the queen, Godun’s sister, thanks to whom, according to the general opinion, Boris is holding on. They draw up a paper where, remembering the queen’s barrenness and Dimitri’s childhood, they ask the king to enter into a new marriage. Golovin hints to Shuisky about the possibility of putting Dimitri in place of Fedor, but receives a severe rebuff. Princess Mstislavskaya brings the guests around and drinks Fyodor's health. Shakhovsky, Mstislavskaya's fiancé, is told by matchmaker Volokhov the place of the secret meeting. Ivan Petrovich sends a petition to the metropolitan, lamenting the need to destroy the queen. Fedyuk Starkov, his butler, reports what he saw to Godunov. He, having received information from Uglich about Golovin’s relationship with Nagimi and seeing a threat to his power, announces to his supporters, Lup-Kleshnin and Prince Turenin, his decision to reconcile with Shuisky. Fyodor arrives, complaining about the bucking horse. Queen Irina appears, to whom Fyodor slyly informs about the beauty Mstislavskaya, whom he saw in the church, and immediately assures the queen that for him she is the most beautiful of all. Godunov speaks of his desire to reconcile with Shuisky, and the Tsar happily undertakes to arrange the matter.
Fyodor announces his intention to reconcile Godunov with Shuisky and asks for help from Metropolitan Dionysius and other clergy. Dionysius reproaches Godunov for oppressing the church, condescending to heretics and resuming the collection of taxes, from which the church was freed. Godunov presents him with letters of protection and informs him of the ongoing persecution of heresy. The Tsar asks for support from Irina and the boyars. Accompanied by popular enthusiasm, Ivan Petrovich Shuisky arrives. Fyodor reproaches him for not attending the Duma, Shuisky excuses himself by the impossibility of agreeing with Godunov. Fyodor, remembering Scripture and calling clergy as witnesses, speaks of the good of reconciliation, and Godunov, submissive to him, offers Shuisky consent. Shuisky reproaches him for his reluctance to share control of the state, which John bequeathed to five boyars: Zakharyin (deceased), Mstislavsky (forcibly tonsured), Belsky (exiled), Godunov and Shuisky. Godunov, justifying himself, speaks of Shuisky’s arrogance, that he used his sole power for the benefit of Rus', for which he also provides evidence; he adds that the difficult task of putting a disordered state in order was distasteful only to Shuisky. And when Ivan Petrovich calls the metropolitan his supporter, he reports on Godunov’s actions in favor of the church and persuades Shuisky to peace. Irina, showing the cover she embroidered for the Pskov shrine, admits that this is her prayer vow for the salvation of Shuisky, who was once besieged by the Lithuanians in Pskov. The excited Shuisky is ready to forget the past enmity, but demands from Godunov guarantees of safety for his comrades. Godunov swears and kisses the cross. Elected people from the crowd brought by Shuisky are invited. Fyodor speaks to the old man and does not know how to stop him, in his nephew he recognizes the merchant Krasilnikov, who recently amused him with a bear fight, remembers his brother Golub, who defeated Shakhovsky in a fist fight - it is not immediately that Godunov and Shuisky manage to return the tsar to what the elected officials were called for . Shuisky announces reconciliation with Godunov, the merchants are worried (“You are reconciling with our heads”), Shuisky is annoyed by the distrust of the man who has just sworn on the cross. The merchants ask for protection from Tsar Godunov, but he sends them to Boris. Boris quietly orders to write down the names of the merchants.
At night, in Shuisky’s garden, Princess Mstislavskaya and Vasilisa Volokhova are waiting for Shakhovsky. He comes, talks about love, about the impatience with which he awaits the wedding, makes her laugh and jokes with her. Krasilnikov comes running, letting him in, Shakhovskoy hides, calls Ivan Petrovich and reports that everyone who was with the tsar was captured on the orders of Godunov. The shocked Shuisky orders Moscow to be raised against Godunov. He abruptly cuts off Golovin, who was hinting at Dimitri, and, declaring that Boris ruined himself by deception, goes to the Tsar. Meanwhile, the remaining boyars are discussing the petition, looking for a new queen. Vasily Shuisky calls Princess Mstislavskaya. Her brother does not make up his mind right away, wanting to find at least a reason for a quarrel with Shakhovsky. While he hesitates, Golovin writes the princess’s name into the petition. Shakhovskoy appears, declaring that he will not give up the bride. The princess and Volokhova are also discovered. With a general cry, mutual threats and reproaches, Shakhovskoy snatches the letter and runs away. Godunov presents the tsar with state papers, the contents of which he does not go into, but agrees with Boris’s decisions. Queen Irina speaks of a letter from Uglich from the dowager queen with a request to return with Dimitri to Moscow. Fyodor was about to entrust the matter to Boris, but Irina demands that the “family matter” be resolved from him; Fyodor argues with Boris and is irritated by his stubbornness. Shuisky comes and complains about Godunov. He does not deny it, explaining that the merchants were taken not for the past, but for an attempt to upset the peace between him and Shuisky. The Tsar is ready to forgive Godunov, believing that they simply did not understand each other, but his adamant demand to leave the prince in Uglich finally angers the Tsar. Godunov says that he is giving way to Shuisky, Fyodor begs him to stay, Shuisky, stung by the tsar’s behavior, leaves. Kleshnin brings a letter sent from Uglich to Golovin Nagim, Godunov shows it to the tsar, demanding that Shuisky be taken into custody and, perhaps, executed. If he refuses, he threatens to leave. Shocked, Fedor, after much hesitation, refuses Godunov’s services.
Ivan Petrovich Shuisky consoles Princess Mstislavskaya: he will not allow her marriage to the Tsar and hopes that Shakhovskoy will not report them. Having sent the princess away, he receives the boyars and the fleeing Krasilnikov and Golub and, assuming the removal of the feeble-minded Fyodor and the elevation of Dimitri to the throne, assigns tasks to each. The detached Godunov, sitting at home, asks Kleshnin about Volokhova and repeats many times, “so that she vomits the prince.” Kleshnin sends Volokhova to Uglich as a new mother, orders him to take care of him and hints that if the prince suffering from epilepsy kills himself, she will not be asked. Meanwhile, Fedor cannot understand the papers presented to him. Kleshnin arrives and reports that Boris has fallen ill from frustration, and Shuisky should immediately be imprisoned for his intention to elevate Dimitri to the throne. Fedor doesn't believe it. Shuisky enters, to whom Fyodor speaks about the denunciation and asks him to justify himself. The prince refuses, the tsar insists, Kleshnin urges. Shuisky admits to rebellion. Fyodor, afraid that Godunov would punish Shuisky for treason, declares that he himself ordered the prince to be placed on the throne, and forces the shocked Shuisky out of the room. Shakhovskoy bursts into the royal chambers and asks for his bride to be returned to him. Fyodor, seeing the signature of Ivan Petrovich Shuisky, cries and does not listen to Irina’s arguments about the absurdity of the paper. Protecting Irina from insults, he signs Borisov’s order, plunging both her and Shakhovsky into horror. On the bridge over the river, the old man riots for Shuisky, the guslar sings about his valor. A messenger passes by with the news of the Tatars' advance. Prince Turenin and the archers lead Shuisky to prison. The people, egged on by the old man, want to free Shuisky, but he talks about his guilt before the “holy” king and that he deserves punishment.
Kleshnin reports to Godunov that the Shuiskys and their supporters have been imprisoned, and introduces Vasily Ivanovich Shuisky. He turns things around as if he started a petition for the benefit of Godunov. Realizing that Shuisky is in his hands, Godunov lets him go. Tsarina Irina comes to intercede for Ivan Petrovich. Godunov, aware that Shuisky will not stop contradicting him, is adamant. On the square in front of the cathedral, beggars talk about the change of metropolitan, who was disliked by Godunov, and about the execution of the merchants who stood for Shuisky. Queen Irina brings Mstislavskaya to ask for Shuisky. Fyodor leaves the cathedral after serving a memorial service for Tsar Ivan. The princess throws herself at his feet. Fyodor sends Prince Turenin for Shuisky. But Turenin reports that Shuisky hanged himself at night, he blames himself for not looking (because he fought off the crowd brought to prison by Shakhovsky, and only repelled him by shooting Shakhovsky). Fyodor rushes at Turenin, accusing him of killing Shuisky, and threatens him with execution. The messenger brings a letter from Uglich about the death of the prince. The shocked king wants to find out the truth himself. A message arrives about the approach of the Khan and the imminent siege of Moscow. Godunov offers to send Kleshnin and Vasily Shuisky, and Fyodor is convinced of Godunov’s innocence. Princess Mstislavskaya speaks of her intention to cut her hair. Fyodor, on the advice of his wife, is going to transfer the entire burden of rule to Boris and, remembering his intention to “accord everyone, smooth everything out,” mourns his fate and his royal duty.
I really liked the performance. The actors played great, as always! I recommend everyone to watch)
Play by A.K. Tolstoy's "Tsar Fyodor Ioannovich" - a personal tragedy that became a drama on a national scale and the subject of debate among playwrights and historians, found its stage embodiment within the walls of the "Vedogon-Theater" 11 years ago. During this time, the performance, the strongest in terms of the depth of experience, was awarded many awards, each performance is expected by the audience and keeps the audience in suspense from the moment of meeting the ruler, whose soul is too pure and gentle for the cruel realities of the world, to the closing of the wooden gates, now reminiscent of a place of crying and prayers for forgiveness, supported by the lights of church candles. Turning to historical episodes, in the chronicles you can find a phrase from Ivan the Terrible about his son, which accurately indicated the character of the future heir to the throne: “a faster and a silent person, born more for the cell than for the sovereign power.” In contrast to the demonic figure of his father, Fyodor Ioannovich (Pavel Viktorovich Kurochkin) resembles a big child, looking at those around him with loving eyes, living according to the commandments and choosing the role of a peacemaker in any situation of opposing forces. If a person is blameless, he cannot believe in deceit and meanness until the very end; he is naively ready not only to take care of all those who suffer, but also to warm his chest and forgive even his own enemy who has encroached on the family’s reputation. Why is the throne destined for the kindest martyr, languishing out of place, driven by the desire to settle everything and more than once offering his other cheek for a blow? An irony of fate or a fatal mistake of nature, the consequences of which are catastrophic.. Continuous political games of survival, in which the real future is at stake, and the degree of readiness to betray and destroy one’s neighbor in the struggle for power determines the success of the events. Letters are written on the scroll in calligraphic handwriting, the essence of which is the phrase “execute cannot be pardoned,” which has become a common noun. If the hand trembles at a fateful moment under the influence of interested parties whispering a profitable solution, then the wrong place for a comma will become a point in someone’s life and the stroke of the pen will leave a heavy mark on history. One of the key ones is the strong and completely unsolved figure of Boris Godunov (Alexei Ermakov), who acts manipulatively, operates with facts and categorically issues conclusions laid out in a rigid scheme. Author of the work in 1874 confirmed that the play is in fact dedicated to this very character, clearing his line in a giant chess game, where the initial arrangement is figuratively expressed by silhouettes on the symbolic gates that open the way to the playing field of the Moscow State. Is it possible, under the current circumstances, to trust any of the parties leading the duel? Will steps towards friendship and reconciliation turn out to be an attempt to place the Trojan Horse closer to the throne on territory that has long been unprotected? And is there a Judas in the gathering at the table, reminiscent of the scene from the painting “The Last Supper”? “But what is all the goodness and all the holiness for, if there is no support for them?” - the sealing phrase uttered by Boris Godunov is especially relevant when leading a people accustomed to the iron grip of the previous ruler. Lack of subordination, completely blurred personal boundaries, constant conformism that does not work for the good, inaction and connivance become the main cause of drama. At a turning point, the dark side of Tsar Fedor’s personality awakens, concealing the power of the Terrible Father, but the mechanism for protecting family honor and the well-being of the country works too late. The completion of settlements with life, which are prompted by the tormenting voice of conscience, a monastery for a girl whose cheeks just recently blushed at the sight of the groom, the question of whether Tsarevich Dmitry managed to receive toys as a gift - all the cruelest events in the lives of innocent people evoke a silent cry from sympathy and powerlessness to change anything. Torn to pieces by conflicting information, experiencing an unimaginable amount of pain that fell at once, trying to preserve his mind, clouded by the extreme shocks, Fyodor Ioannovich, with the support of his only relative and holy woman - Tsarina Irina Fedorovna (Natalya Timonina), finds a way to salvation in distancing himself from business The soul, thirsting to bring goodness and light, came to the wrong material body, now the further path lies in serving God with complete dedication. The final scene creates shock and genuine fear, while at the same time being the climax. “It was my fault that everything happened! And I wanted good, Arina! I wanted to bring everyone to agreement, to smooth everything over - God, God! Why did you make me king!” A great degree of respect is evoked by the people whose efforts created the performance, who conveyed so soulfully and convincingly the full power of the historical drama. Tragic events are perceived as part of reality without division into the stage and the auditorium, which the public does not leave for some time, being strongly impressed by what they saw and heard. Standing applause as the highest assessment of the actors' skill and the natural desire to plunge into twilight silence and silence in order to experience personal catharsis become the main signs of this epoch-making evening.
“Tsar Fyodor Ioannovich” at the Vedogon Theater. Very strong!! Majestic.. The audience gave a standing ovation. Full house. Bravo, Pavel Viktorovich!! Bravo! Tsar Fedor entered the heart of the viewer. The Tsar is humane, the Tsar is a saint, as the amazed Prince Shuisky says. His strength lies in purity of thought. And one cannot deny him wisdom, deep human wisdom, which is at the basis of everything. Understanding your own weakness and lack of desire to hide it, openness, integrity... Attracts dynamics. The king, kind and gentle in disposition, is not boring in his kindness. The viewer's love for him is unconditional and forgives mistakes. The beauty of the soul is in a luminous gaze, a childish smile and a burning desire for peace between people... This image cannot be forgotten. Thank you!! The tragedy of A.K. Tolstoy is modern, relevant, interesting. Alexander Bavtrikov created an incredibly attractive character! Ivan Petrovich Shuisky, from the intransigence of an ardent enemy, comes to sincere respect and admiration for him. The rebellious spirit is conquered not by force, not by cunning, but by the love of someone whom he considered an enemy. Very convincing both in rage and in insight. As a result, in the confrontation between Shuisky and Godunov, my experiences are on the side of the hero Alexander Bavtrikov. Godunov (Alexey Ermakov) is strong in spirit, purposeful, cold, cunning. Tough, closed, not sentimental.. His tragedy outside the play and in time will be later, and today he is a winner, but.. it’s bitter from the need to choose either power or soul.. Vasily Shuisky.. (Anton Vasiliev) Not flashy, but a precisely calculated strategy for the behavior of the future king.. Patience and cunning, when all means are acceptable. A recognizable, tenacious breed of successful people. Prince Shakhovskoy (Ilya Rogovin). Ardentness, ardor.. A desperate hero, a bright character.. He is not much able to bend and trade feelings, but he is capable of action. Internal heat and fire, the sparks of which are loved and desired, make the performance emotionally richer and even more piercing. Andrey Petrovich Lup-Kleshnin... intolerant, ruthless, uncompromising, strong-willed. A memorable, strong role by Vitaly Stuzhev. The women of the play.. Beauties, wise, understanding, support, rear.. Different colors of female characters. Each has its own tragedy, but bright faces... Even the corrupt Vasilisa Volokhova (Elena Shkurpelo) evokes a desire, if not to justify, but to explain the motives, i.e. the viewer saw the person and wanted to understand. This is an acting success. Very precise work. Queen Irina... Behind her outward humility, her independent character is visible, and her strength lies in her ability to master it. Royal goodwill coming from the heart and the face is truly like something from a fresco. Natalya Timonina! Mastery in every role. A harmonious duet, very gentle. Natalya Tretyak in the role of Princess Mstislavskaya is extremely good! Stunningly beautiful costume, plasticity, temperament... The viewer sympathizes and admires. The performance is crowded, the palette of characters is interesting and accurate. Each hero has a recognizable Russian national character. Violent, hot Andrei Shuisky (Vyacheslav Semein) and Ivan Krasilnikov (Sergei Nikitin). All the strength of the people and perhaps gullibility lies in Golub (Pavel Grudtsov). Ingenuousness and talkativeness in Bogdan Kuryukov (Ildar Allabirdin). Silent sadness in Metropolitan Dionysius (Dmitry Lyamochkin). Yes, and we allow ourselves to be deceived and are wrong, like Prince Mstislavsky (Mikhail Kalashnikov). But dignity is alive in every character and the audience feels it. I admired with what dignity the queen’s noblewoman (Anastasia Khusnutdinova) came out to bow. The performance is stylish! Music by Sergei Rachmaninov.. The natural color of linen and pastel colors of the wonderful costumes work on the atmosphere of the performance and mood. The essentially difficult ending of the play does not leave a gloomy aftertaste. Hope lives on. For the respect with which the theater touched our history, for the grandiose work of the entire team, there is enormous gratitude and appreciation from the audience. Well done! Bravo!! The performance will call for more, I’m sure.
I watched this performance in 2009 at the “Young Theaters of Russia” festival, during the theater’s tour in Omsk. She interviewed Pavel Viktorovich, which was then published in the Omsky Vestnik newspaper. I was very impressed by this performance, I am incredibly glad that I was able to see it.
Are supreme power and decency compatible, or is it like genius and villainy? Can someone who is called upon to decide the fate of the country live according to conscience, or will anyone at the helm certainly be soiled? Is the desire not to do evil enough to avoid becoming its instrument? These are all killer questions, and answering them is scary. To say “no” means to admit the obvious guilt and depravity of anyone who ends up at the head of the state, as well as the doom of all of us to live under the rule of such a person. To say “yes,” I’m afraid, will sin against the truth... For even the last one before the Troubles was the meek Tsar Fyodor Ioannovich, nicknamed blessed not in the church sense, this failed son of Ivan the Terrible, presented by the English diplomat Fletcher as “feeble-minded, merciful and not inclined to war.” - became the cause of innumerable disasters for the Fatherland, wishing with all his soul only to reconcile the boyars warring around him. I go to the theater much more often than I dare to talk about what I see, but it’s harder for me to remain silent about this performance than to talk about it. In the November poster, he was especially highlighted: “Tsar Fyodor Ioannovich” - 10 years on the theater stage. If we don’t watch it now, we might not see it at all, I was scared, and bought tickets - after all, 10 years is a long time for a performance in a theater that is younger than my daughter. I once read the tragedy of the same name by Alexei Tolstoy. The plot is taken from Karamzin’s “History of the Russian State”: two parties clashed for influence on the weak-willed tsar: the Shuiskys, apologists of antiquity, and the reformer Godunov, the tsar’s brother-in-law. They stood up and attacked each other, ready to crush. And between them this... Ioannych: “boys, don’t quarrel” - he’s trying to stop them, to reconcile them. Not for the sake of state benefit - no, he doesn’t even think about politics. He simply loves both of them - Shuisky and Boris, and does not see all the contradictions and mortal enmity behind them. Can't see, not given. And of course, he is unable to either subjugate them or give an advantage to one of the parties, and through this weakness he becomes the cause of the uprising and violent death of Shuisky, the murder of his brother - Tsarevich Dmitry, the suppression of the family, the Troubles. The king’s soul is pure, his thoughts contain only good, but that doesn’t make it any easier for the country... That’s the tragedy: cooing as a dove is not ruling a kingdom. He doesn’t rule, he reigns. He says to Godunov: “You know there, as you know, the state, you are very good at that...” The play is not actually about what history does with such “pigeons” - it is known that, pate. And about what the laws of government do to those who want to rule and can - with the active and intelligent Godunov, who kills opponents and competitors for the “good of the country,” with Shuisky, who, “suffering for Rus',” resorts to meanness, and this himself understands: “...there is no other choice. Untruth is struck down by untruth! “And really, what choice do they have? Is this the “good of the country” of thinking in different ways? After all, Godunov and Shuisky, for a moment,” are not unscrupulous power-hungers who were wiping themselves off the throne - they have a duty, they are still called upon by the Terrible to help his unlucky son. And both “guardians” are ready to drown everyone who interferes with them in blood... They are not the first, they are not the last. The most powerful thing in the play - may the director and artist, whose creative decisions are worth special praise, forgive me, Fyodor Ioannovich himself. He is played by the artist, artistic director and founder of the theater Pavel Kurochkin - and from now on I have a favorite actor here. In all three hours, I didn’t even remember once that I was watching a play, that it was a post-ta-new show! That this, God forgive me, autocrat with his stupidity on the verge of holiness, arousing both pity and admiration at the same time, is a game, a cleverly placed mask. You immediately believe these eyes of a child on an aged face. The laurels he received for this role would be enough for a whole grove. Few! In the gloomy stage space, sparingly lit by five candles, he seemed to be constantly in a circle of light. God knows what the real Fyodor Ioannovich was like - Tolstoy lied a lot in the play, neglecting historical truth for the sake of artistic truth. I saw in front of me a crowned “child” who is trying to reconcile the adults - to unite them, to hold them, so that they stop scolding and quarreling because for him it is torment. How can he understand why one is a good person, and the other is also good - he loves them both - why they will not stop fighting, cannot hug, be together: “well, I have reconciled you, now kiss.” He really wants to succeed... to drive out evil, to change the world. But it doesn’t work out. And he strains himself in this overwhelming task. He rushes about in horror: “It was all my fault! But I wanted the best... To get everyone to agree, to smooth everything out.” And yes, it is his fault and tragedy to exercise power with complete moral impotence. So, can someone who is responsible for everyone and before everyone live “in truth”? At the end, Fedor, leaving the reign to Boris, says: “I won’t interfere in anything anymore!” In all honesty, I could, but otherwise, excuse me. And he cannot go to the monastery, where he strives with all his soul, and it is unthinkable to be a king. And then, on stage, they busily build a terrible wooden sarcophagus in the form of a royal vestment, like a scaffold - and hammer it in, nail it to the throne, like to a cross: if you want good, be ready to sacrifice yourself.
I confess that this was my first time in your small but very nice theater. A cozy hall, comfortable seats and, for sure, a good view from any place. And from the 2nd row everything is in full view. The performance is very interesting, emotionally rich and keeps the viewer's attention throughout the entire performance. In my opinion, this is primarily an actor's performance rather than a director's performance. A magnificent ensemble cast, without exception. Amazingly subtle and very touching Pavel Kurochkin in the image of Fyodor, amazingly collected, wise and intelligent Tsarina Irina - Timonina, beautifully played by the young actor Godunov and everyone else. In my opinion, this is a very difficult play to stage, but everything worked out! There is no false pathos, which very often happens in performances with a historical plot. On the contrary - a very natural presentation of the material, everything is very harmonious, sincere, without pressure, and therefore you believe and begin to empathize, especially in the second act. The sets and costumes are very successful. Maybe it was just the wooden bells that puzzled me a little. Congratulations!!! Great!!! THANK YOU!!!
A very dynamic performance. It draws you into the action so that you come to your senses only from the ringing of your cell phone in the auditorium. It took me out of the action very painfully and was insulting. *in reproach to the careless viewer* You get such a strange feeling after watching: “but then people also LIVED. And how". Despite the fact that I am familiar with the work itself, it was the performance that brought this time and these people to life for me. An excellent solution for quickly changing “locations” of the story, a circular action to involve the viewer. Many thanks to the extras and boyars - everyone played, no one just stood there. I really like to follow the “backgrounds” - the looks, emotions, and actions of the supporting actors helped a lot in the overall atmosphere. The theme of the unhappy love between Shakhovsky and Mstislavskaya was an excellent weave into the overall outline, showing the conflict from a different angle. I would like to say a few words about A. Bavtrikov’s performance. He revealed himself to me from a completely different side. Amazing performance, catharsis from sympathy and empathy for his hero. Godunov performed by A. Ermakov is a very interesting interpretation of the character. I will definitely go again to follow him separately, once again carefully try to grasp all the meanings that the actor put into the role. Unfortunately, the most important point escaped me - my gaze was not on Godunov when the news of the death of the prince arrived. I really regretted this. Special thanks to actor Stuzhev for his strong and confident (which of course applies to all the actors in the troupe too) performance of the key character. The key Gray Cardinal, the shadow spider who, under the thumb of the Great Ones, created this whole nightmare. After all, by and large, he is to blame for what happened. Filigree play on intrigue. Simply filigree. And the cherry on the cake is the touching pair of the Tsar and the Queen. The free feeling of P. Kurochkin and N. Timonina on stage makes reality simply dissolve. A wonderful tandem, a complex line, wonderful interesting characters. The performance left an indescribable feeling.
On June 7, my husband and I arranged a weekend with the “Rurikovichs”. We put together an excursion program, visited the Kolomenskoye estate and the Kremlin, but most of all, the play “Tsar Fyodor Ioannovich” at the Zelenograd Vedogon Theater helped us get into the spirit of that time. The first act went under the slogan “Oh, God, how badly I remember the story, what’s going on here?”, but already in the second act the panic passed, everything was remembered, fell into place and we began to empathize with the characters. The cast is very strong, they do not act, but live, it is even impossible to single out someone, because... Everyone plays at the same high level. At the end, I just wanted to loudly applaud everyone who took part in the creation of this masterpiece. BRAVO!
Briefly about the Tsar and not only or a review of Vedogon’s play “Tsar Fyodor Ioannovich.” Impression. Let me say right away that I went to the performance with the darkest ideas about it. Those friends who had seen it before (and, if I’m not mistaken, including its director) said that this was a very difficult film and that after it it would take a long time to recover. I was preparing for a terrible tragedy, depression and endless grief. But none of this happened. No, of course, this is not a comedy at all (although its elements were present). But when choosing where to classify this performance - an emotional picture or a historical epic, I would choose the second. And from a historical point of view, there is a lot of good to be said here. It’s not about costumes or vivid living in a specific era. And about the fact that after watching the performance I became interested - hmm, what happened next? How was it there in general? It seems to me that if a 3-hour viewing of a performance makes you want to dig into the archives, that’s truly great! Regarding the acting. During the break, I overheard a discussion among the audience and the phrase from the series “only 2-3 people play.” Complex issue. Sometimes it seemed to me that the characters were overacting, sometimes on the contrary... In the end, everyone sees their character in their own way, and the viewer does not always agree with the actor. Overall: the performance is good, there is no need to be afraid, theater lovers should visit it. About the plot of what happened on stage... A reasonable question arises: should we try to do it better? Reconcile fire and water? Or is it so stupid and naive that it can be seen from the events of almost five hundred years ago? After the performance I was asked a question: whose side am I on? Who is right? Which position would I choose? It turned out that it is not so easy to answer. The king, although not a king, clearly wants only the best and does everything in his power... but it doesn’t work, at all; This is the example by which modern business people prove that saints will not save the world, we must act; and even if, seeing the kindness of the blessed, someone is inspired and changes their views on life - in the global mass this will not change anything, the mass (both people and circumstances) will trample and crush... Godunov? I didn’t see the positive sides in him from the performance, I didn’t see how he would really rule the earth and lead rationally; I saw a cruel dictator, and, if not a killer of enemies, then something very close in baseness and ruthlessness. Chief Shuisky? He changes his opinion and strategy of behavior so often that you can’t help but wonder how he managed to live up to these years and not lose influence (after all, few of those who believe in him will be happy with constant changes in strategy). In the end, yes, Godunov seems to be the most effective figure... Or did they just want to show us that there was no good way out of the situation, there were only more or less negative solutions? Philosophical subtext: “Who is right?” remained uncertain.
We teach the history of Ancient Rome, study the reign of Alexander the Great and know the date of American independence. But, however, how poorly we know our history, our heroes, and even the rulers of our state. Honestly, I don’t really remember that the History of our state was taught in such a way that it would be interesting, so that it would be fixed in memory. After all, without remembering the past, there will be no future.
A play created in 1868. This is part of a dramatic trilogy that tells about the Time of Troubles, about the conflict between power and good. This play is the second in a trilogy. For 30 years, the work created by A. Tolstoy ("Tsar Fyodor Ioannovich") was banned by censorship. The Moscow Art Theater opened with this drama in 1898.
The theme of the trilogy and its disclosure in each part
The main theme of the trilogy is how the monarchy leads the state to turmoil. Ivan the Terrible is a despotic king who unites the country. He mercilessly punishes and kills. This theme is central to the first part of the trilogy that interests us. Fedor is his son. The surname of Tsar Fyodor Ioannovich is Rurikovich (his portrait is presented above). He is the last sovereign from this dynasty. After Fyodor ascends the throne, he decides to rule in accordance with Christian institutions, and not like his father. This is precisely what is said in the play “Tsar Fyodor Ioannovich.” And the third tells how the “rootless” Boris Godunov ruled. After his ascension to the throne, it was cut short because Tsarevich Dimitri was killed. Godunov (pictured below) comes to the throne in order to rule wisely. All this is discussed in the third part.
The idea that rulers are hostages of power runs through the entire trilogy. Regardless of whether they are reasonable, kind or cruel, princes cannot rule virtuously. Fedor's personality seems especially tragic. At the beginning of his reign, he wants to “smooth out everything”, “to bring everyone into agreement.” And as a result of his reign, it becomes clear that he was unable to distinguish “truth from falsehood.” We invite you to get to know this ruler better.
"Tsar Fyodor Ioannovich": summary
In the house of Ivan Petrovich Shuisky, in the presence of some boyars and many clergy, there is talk of Fyodor Ioannovich’s divorce from his wife, Boris Godunov’s sister. According to everyone, it is thanks to her that Boris holds on. The paper points out Demetrius’s youth and the queen’s barrenness, and asks Fyodor Ioannovich to enter into a new marriage.
Golovin’s proposal receives a severe rebuff, who hints to the Tsar about the possibility of replacing Fyodor with Dimitri. Princess Mstislavskaya looks after the guests. Everyone drinks to Fedor's health. Mstislavskaya's fiance, Shakhovsky, is shown by matchmaker Volokhov the place of the secret meeting.
Petition to the Metropolitan, information from Uglich
It goes on to say that Ivan Petrovich sends a petition to the Metropolitan, lamenting that he is forced to destroy the queen. His butler Fedyuk Starkov reports to Godunov what he saw. He, having received information from Uglich that Golovin is in a conspiracy with Nagimi, and seeing that his power is in danger, announces to his supporters, Prince Turenin and Lup-Kleshnin, his intention to reconcile with Shuisky.
Godunov's intention to make peace with Shuisky
Irina appears, to whom Tsar Fyodor Ioannovich tells him what he saw in the Mstislavskaya church. He assures the queen that for him she is still the most beautiful of all. Godunov announces his intention to make peace with Shuisky. The king happily takes on this task.
Fedor asks for help in the matter of reconciliation from Metropolitan Dionysius, as well as from some other priests. Dionysius says that Godunov is lenient towards heretics and oppresses the church. He also renewed taxes, from which the clergy had been exempt. Godunov presents Dionysius with letters of protection and says that heretics were subject to persecution. Tsar Fyodor Ioannovich asks the boyars and Irina to support him.
Conversation between Goudnov and Shuisky
Ivan Petrovich Shuisky arrives, accompanied by the delight of the people. Fyodor reproaches him for not visiting the Duma. Ivan Petrovich makes an excuse by saying that he could not assent to Godunov. Remembering the Scripture, Fyodor calls the clergy as witnesses. He says that reconciliation is good. Godunov, submissive to him, offers consent to Shuisky. The latter reproaches him for not wanting to share the government of the country. But John bequeathed the state to five boyars: the forcibly tonsured Mstislavsky, the deceased Zakharyin, the exiled Belsky, Shuisky and Godunov. Justifying himself, Godunov says that Shuisky is arrogant, that he became the sole ruler in order to benefit Rus'. Godunov adds that only the Shuiskys do not want to put the disordered country in order. The Metropolitan notes that Godunov did a lot for the church, and inclines Shuisky to reconcile.
The people are informed of reconciliation, scene with merchants
Showing the cover for the shrine that she embroidered, Irina admits that this is her vow for the salvation of Ivan Petrovich, who was once besieged in Pskov by the Lithuanians. Shuisky is ready to forget the enmity, but demands guarantees of safety for his associates from Godunov. He swears. Elected people from the crowd brought by Ivan Petrovich are invited. Shuisky tells the people about reconciliation with Boris Godunov. The merchants are unhappy with the fact that they are putting up with their heads. Distrust of a man who has just sworn an oath irritates Shuisky. The merchants ask the tsar to protect them from Godunov, but he sends them to Boris. Godunov asks to write down their names.
Meeting between Mstislavskaya and Shakhovsky
Princess Mstislavskaya, together with Vasilisa Volokhova, waits for Shakhovsky in the garden at night. He comes and tells about his love and how impatiently he is looking forward to the wedding. Krasilnikov arrives. Shakhovskoy, having let him in, disappears. He begins to call Ivan Petrovich and says that everyone who was with the tsar has been captured by order of Godunov. Shuisky is shocked. He orders Moscow to be raised against Godunov.
Discussion of petition
The boyars discuss the petition, thinking about who will be the new queen. V. Shuisky proposes the candidacy of Mstislavskaya. Golovin writes her name into the petition. Shakhovskoy enters. He says that he will not give up his bride. Volokhova appears with the princess. Shakhovskoy, in the face of mutual reproaches and threats, snatches the letter and leaves.
Godunov gives the Tsar papers. He does not go into their content, but agrees with what Boris decided. Irina says that the dowager queen wrote a letter from Uglich, asking to return to Moscow with Dimitri. Fyodor wanted to entrust this matter to Boris, but Irina wants him to take care of it himself.
Godunov announces that he is leaving the Tsar
Shuisky enters and begins to complain about Godunov. Boris doesn't deny it. He says that the merchants are taken for trying to destroy the peace between him and Shuisky, and not for the past. Tsar Fyodor Ioannovich agrees to forgive Boris, believing that they did not understand each other. However, the sovereign is angry at Godunov’s inflexible demand to leave the prince in the city of Uglich. Boris says that he is leaving, giving his place to Shuisky. The king begs not to leave him. Stung by Fyodor's behavior, Shuisky leaves.
Kleshnin brings a letter from Golovin, sent from Uglich. Boris shows it to Fyodor, demanding that Shuisky be taken into custody. He is even ready to execute him. If the order is not followed, Boris threatens to leave. Fedor is shocked. After much hesitation, he decides to refuse Godunov’s advice and services.
Shuisky's plan
Shuisky Ivan Petrovich consoles Mstislavskaya. He tells her that he will not allow her to marry the king. Ivan Petrovich expresses the hope that Shakhovskoy will not betray their plan. Having sent Mstislavskaya away, Shuisky receives the boyars, as well as the fleeing Golub and Krasilnikov. He thinks that soon the feeble-minded Fyodor will be removed, and Dmitry will be elevated to the throne. Ivan Petrovich gives everyone a task.
Godunov instructs Volokhova to take care of the prince
Sitting at home, the detached Boris learns from Kleshnin about Volokhova’s life and tells her to “puke the prince.” Kleshnin sends Volokhova to Uglich to become a new mother. He orders the prince to be taken care of and hints that if he kills himself (the prince suffers from epilepsy), she will be held accountable.
Shuisky admits to mutiny
Fedor, meanwhile, cannot understand the papers provided to him. Kleshnin comes in and says that Boris has fallen ill from frustration. It is necessary to immediately capture and imprison Shuisky for the fact that he intended to make Dimitri a prince. Fedor doesn't believe this. Shuisky appears. The king informs him about the denunciation and demands justification. He refuses to provide them. Fyodor insists, and Shuisky decides to confess to the rebellion.
Fearing that Boris will punish Ivan Petrovich for treason, the prince declares that he himself decided to place the prince on the throne, and then forces the shocked Shuisky out of the room.
Fedor signs Godunov's decree
Shakhovskoy bursts into the sovereign's chambers. He asks for his bride to be returned to him. Seeing Shuisky’s signature, Fyodor cries and does not listen to Irina’s arguments that the document drawn up is absurd. Protecting Irina from harm, Fyodor signs Godunov’s decree, horrifying those who came.
Campaigning for Shuisky
The old man rouses the people, campaigning for Shuisky. Guslyar composes songs about the valor of Ivan Petrovich. A messenger arrives and reports that the Tatars are advancing. Prince Turenin, together with the archers, takes Ivan Petrovich to prison. The people, encouraged by the old man, want to free him. However, Shuisky says that he is guilty before the Tsar and that he deserves his punishment.
Kleshnin tells Godunov that the Shuiskys, as well as those who supported them, are in prison. Then he introduces Vasily Ivanovich Shuisky. He says that he started the petition supposedly for the benefit of Boris Godunov. Boris, realizing that he is in his hands, lets him go. Tsarina Irina enters to intercede for Ivan Petrovich Shuisky. Realizing that he will continue to contradict him, Godunov remains adamant.
Death of Shuisky and Shakhovsky
The beggars who gathered in the square near the cathedral say that the metropolitan, who was disliked by Godunov, was removed, and the merchants who spoke for Shuisky were executed. Mstislavskaya comes with Irina to ask for Ivan Petrovich. Fyodor leaves the cathedral. He served a memorial service for Ivan. Seeing him, the princess throws herself at Fyodor’s feet. He sends Turenin for Shuisky. However, Turenin says that Ivan Petrovich hanged himself at night. He asks for forgiveness for his oversight, as he was fighting off the crowd that Shakhovskoy led to the prison. And he fought it off, shooting only Shakhovsky. Fyodor accuses Turenin of the murder of Ivan Petrovich. He threatens him with execution.
The death of the prince, Fyodor transfers control of the state to Boris
A messenger arrives with the news of the death of the prince. The king is shocked. He wants to find out for himself what happened. News arrives that the khan is approaching, and Moscow is threatened with siege. Godunov invites Fedor to send Vasily Shuisky and Kleshnin. He is convinced that Boris is innocent. Mstislavskaya reports that she wants to get a haircut. On the advice of his wife, Fedor is going to transfer the entire burden of rule to Boris. He mourns his royal duty and his fate, remembering his own desire to “smooth everything out” and “accord everyone.”
This ends the play "Tsar Fyodor Ioannovich." We tried to convey a brief summary of it without missing anything important.
Stage fate of the work
The plot of this tragedy is eventful, so it is not easy to present it in one article. To better understand the work, it is better to watch the play “Tsar Fyodor Ioannovich”. Reviews of the productions of this drama in Moscow theaters (Khudozhestvenny, Maly, Komissarzhevskaya, etc.) have always been enthusiastic. Records of many of them have survived.
In May 1973, the sensational premiere of the tragedy “Tsar Fyodor Ioannovich” took place in one of the best theaters in the capital. The Maly Theater attracted a whole constellation of luminaries to participate in its production. Boris Godunov played Fyodor - in the role of Ivan Shuisky he acted in the role of Kleshnin - and others. The play was enthusiastically received.
An interesting work was created by Alexei Tolstoy. “Tsar Fyodor Ioannovich” is still included in the repertoires of many theaters today.
Dedicated to the 30th anniversary of the play “Tsar Fyodor Ioannovich”...
The tragedy “Tsar Fyodor Ioannovich” is the central part of the trilogy “The Death of Ivan the Terrible”, “Tsar Fyodor Ioannovich” and “Tsar Boris” by the famous playwright Alexei Konstantinovich Tolstoy (1817-1865) about three Russian sovereigns, about their destinies, inextricably related to the history of Russia.
On May 29, 1973, the Maly Theater premiered the play “Tsar Fyodor Ioannovich,” staged by the wonderful director Boris Ivanovich Ravenskikh. Thirty years have passed since then, but the performance is still loved by the audience, attracts full houses and invariably opens new theater seasons of the State Academic Maly Theater.
Staging a play with a historical theme is always very difficult and responsible, because the events that will unfold on stage were once real events - an integral link in the chain of Russian history. The director, composer, artist, make-up artists, actors, in short, all those involved in the creation of the performance are responsible. Their task is to show as accurately as possible
a certain historical period, convey its spirit, recreate the atmosphere.
Therefore, before talking about the play “Tsar Fyodor Ioannovich” itself, it is necessary to clearly understand who he was - Tsar Fyodor - in what era he lived and reigned.
Tsar Fyodor Ioannovich was born on May 31, 1557 in Moscow and was the third eldest son of Ivan the Terrible. In 1584, after the death of his father, at twenty-seven years old, he inherited the Russian throne.
Tsar Fedor was known for his extraordinary meekness, combined, as N.M. Karamzin wrote, “with a timid mind, with boundless piety, with indifference to worldly greatness. On the thunderous throne of the fierce tormentor, continued N.M. Karamzin, “Russia saw a faster and a silent person, born more for a cell and a cave than for the power of the sovereign.”
A kind, meek and merciful tsar could become a dream come true for Russia tormented by Ivan the Terrible. N.M. Karamzin wrote about the first days of Fyodor Ioannovich’s reign as follows: “When Fyodor, tired of worldly splendor, sought rest in piety; when, having interrupted brilliant fun and feasts, in the form of a humble pilgrim he walked on foot from monastery to monastery, to the Lavra of Sergius and to other holy monasteries, together with his wife, accompanied by the noblest boyars and a whole regiment of the Tsarina’s special bodyguards... at that time the government was already vigilant dealt with important state affairs, corrected abuse of power, and established internal and external security. Throughout Russia, as in happy times... they replaced bad governors, governors and judges, electing the best; threatening execution for lies, they doubled the salaries of officials so that they could live decently without extortion; they reorganized the army and moved to where it was necessary to restore the honor of arms or the tranquility of the fatherland.” Over time, Fyodor Ioannovich, “burdened by the sovereign power,” transferred all matters of government to the hands of Boris Fyodorovich Godunov, the brother of his wife Irina. Thus, Tsar Fyodor Ioannovich began to reign, but not to rule.
Boris Godunov turned out to be an intelligent, cunning and skillful politician. The boyars closest to the throne were very dissatisfied with his rise, but Godunov managed to cope with them. One of the few decisions of Fyodor Ioannovich himself was the establishment of a patriarchate in Russia in 1589.
In 1591, the Crimean Khan Kazy-Girey attempted to raid Moscow. It was defeated under the walls of the city not far from the Danilov Monastery. This was the last Tatar raid on the capital of the Russian state.
During the reign of Fyodor Ioannovich, the city of Arkhangelsk was founded on the White Sea, and the fortresses of Tobolsk, Pelym, Berezov, Obdorsk (currently Salekhard) and others were built in Siberia.
Tsar Fyodor Ioannovich, sincerely loved by his people, died on January 7, 1598 in Moscow and was buried in the Archangel Cathedral of the Moscow Kremlin. With his death, the Rurik dynasty was interrupted, to whom, according to N.M. Karamzin, “Russia owes its existence, name and greatness.”
From the memoirs of colleagues and friends of B.I. Ravensky, it is known that when staging the play “Tsar Fyodor Ioannovich,” the main thing for the director in the play was its moral conflict: the tragedy of Tsar Fyodor, the son of Ivan the Terrible, is a tragedy of powerless kindness. The highest spiritual qualities of Fedor have no place in this cruel world. Doomed to power, ruling at the crossroads of two terrible eras, the king is unable to fight evil, but cannot reconcile with it.
The music for the play was written by Georgy Sviridov. The Maly Theater considers it an honor to have this greatest Russian composer among its authors. The theater is the only drama theater in Russia that has the right to put its glorious name on its poster. The first appeal to the dramaturgy of A.K. Tolstoy turned out to be successful, and the theater subsequently staged the other two plays in the trilogy, releasing the performances “Tsar Ivan the Terrible” and “Tsar Boris”. The famous dramatic trilogy, performed on the famous stage of the Maly Theater, is now unthinkable without the amazing, beautiful music of Georgy Sviridov. The music, specially written by the composer for the performances of the Maly Theater, is one of those spiritual treasures that have been accumulated by the oldest drama theater in Russia. There is probably not a person who has attended a Maly Theater performance in which the amazing music of Georgy Sviridov sounds, and who has not felt the enormous power of its emotional impact. The theater considers Georgy Sviridov a full-fledged co-author of AK Tolstoy. The names of these two great creators - playwright and composer - are inextricably linked and inseparable for the Maly Theater.
The design of the performance, created by artist E.I. Kumankov, also conveys the spirit of the era and the symbolism of the work. Wonderful scenery, costumes and makeup truly reflect the atmosphere and life of the Russian state in the 16th century.
There are a lot of brilliant acting performances in the play. I would like to highlight some of them. As you know, the first performer of the role of Tsar Fedor was I.M. Smoktunovsky. However, after some time, the artist moved to the Moscow Art Theater, and Yu.M. Solomin began to play Fyodor. This role is still in his repertoire. Yu.M. Solomin plays surprisingly organically. Good-natured cheerfulness, gentleness, indecision in everything that does not concern the most important thing - human life. Emotions, words, and tears - everything true - comes from the depths of the soul - he empathizes extremely with his hero and evokes in the audience both sadness and joy, and most importantly - the deepest respect for the great skill of the Actor. E.E. Martsevich, playing in line with Yuri Solomin, also wonderfully plays the role of a gentle and kind king, defenseless against evil. He presents the character very sincerely, with great warmth. One feels that the actor himself shares the doubts and experiences of his hero, who suffers from the cruelty of the world around him.
Probably only one person understands and shares all these feelings of Fedor - his wife Irina, sister of Boris Godunov. The role of Tsarina Irina Feodorovna, whom the Tsar affectionately and lovingly calls “Arinushka,” is performed in turn by T.N. Lebedeva and L.V. Titova. Both actresses very accurately convey Irina’s sincere love for her husband, her desire to help, support, and protect Fyodor from mistakes. But Fyodor Ioannovich, by virtue of fate, is, first of all, the sovereign of Russia. This thought is hard for him; power does not intoxicate him, but, on the contrary, suppresses him with its heavy pressure. Fyodor dreams of being a simple man, a loved and loving husband. At the same time, he cannot leave Russia to the mercy of fate, obviously understanding what this could lead to. And the tsar decides to entrust power in the fatherland to a loved one - the brother of his beloved wife, in whom he sees a strong-willed and major statesman who loves Russia.
Boris Godunov, performed by V.I. Korshunov, turned out to be extremely noble. Seeing such a Godunov, it is difficult to believe the historical facts indicating that he went to the heights of power solely over corpses. In the image of Godunov one can feel a strong statesman, an intelligent and restrained politician. He is not cruel, but rather firm - despite all the atrocities, he does not evoke negative emotions.
Viktor Ivanovich Korshunov has been the only permanent performer of the role of Boris Godunov for all these thirty years. He did not miss a single performance of “Tsar Fyodor Ioannovich”! This wonderful, phenomenal work by Korshunov makes the performance truly unique.
“Tsar Fyodor Ioannovich” is very much loved by the audience, first of all, probably, because it is permeated with some kind of extraordinary spiritual warmth, despite all the tragedy of what is happening, which is revealed with each new event. This performance makes you think about human destinies, relationships, and the history of Russia - cruel, but great.
A brilliant acting ensemble, wonderful direction, excellent scenography, music, and the sound of the A. Yurlov choir became the key to the phenomenal success of the performance, which has allowed it to adorn the theater’s repertory playbill for thirty years. All foreign tours of this performance also turn out to be triumphant. Spectators from Greece, Israel, Bulgaria, the Czech Republic, Yugoslavia, Germany, and Japan applauded the art of the Maly Theater and paid tribute to the highest level of Russian national theatrical culture.
I would like to wish this wonderful performance an even longer stage life to the delight of the audience.
Many thanks to all those people who took part in the creation of the play “Tsar Fyodor Ioannovich”, to everyone who supported and preserved its originality for thirty years; to all the actors and actresses who perform their roles wonderfully. Thank you for so generously sharing your spiritual wealth with us, the audience, making the world around us brighter and kinder!
Nadezhda Sorokina
When preparing the material, information was used from the Internet sites http://znat.narod.ru, http://afisha.netcity.ru, http://tinout.ru, www.mmv.ru;
from the books “G.V. Sviridov. To the 80th anniversary of the composer’s birth” M., 1995; “Royal dynasties: from Rus' to Russia” M., 2001, as well as the author’s personal impressions of the State Academic Theater of Music performance “Tsar Fyodor Ioannovich”.