After Nikolay Gogol's play


Directed by Vladislav Troickyi

The language of the performance is Russian


Characters and performers

Starikov   Marko Halanevych
  Solomiia Melnyk
  Anna Nikityna
  Ruslana Khazipova
Wedding-funeral procession   Natalka Bida
  Dmytro Kostyumynskyi
Stepan   Roman Iasynovskyi
  Ruslana Khazipova
Duniashka   Zo
Anuchkin   Viktor Okhonko
Zhevakin   Igor Postolov
Iaichnica   Anatoliy Cherkov
Kochkariov   Volodymyr Minenko
Podkoliosin   Dmytro Iaroshenko
  Ruslana Khazipova
Fekla Ivanovna   Tetyana Vasylenko
  Viktoriia Lytvynenko-Iasynovska
Arina Panteleymonovna   Elena Lesnikova
Agafia Tihonovna   Kateryna Vyshneva

Go and ask a man what are his reasons for doing things?


"Marriage" defined by Gogol? himself as "absolutely improbable happening", a mess of worldly absurdities and confusions, hash of unique people's destinies bound together in phantasmagoric in its farce situation when "all the officials were taken by a sudden whim to marry". 


This is light and bitter narrative about our life where pain and laughter are intertwined and destiny is determined now and then by some complete and senseless, at first sight, fortuity which is, however, the most natural thing in the world.


What are we moved by when we come to either decision? Isn't where a voice of unknowable hidden by seeming commonness and bore of our being? This voice is sometimes hardly perceptible whisper and sometimes it is as if a strange accord taken with all the power of fatality in a quiet stillness of gloom. Where is the border beyond which this speech light and mysterious as flickering of candle?s flame and ironic and playful as a swell ornament jauntily weaved by a wind on a placidly jellied water surface, becomes distinguishable and comprehensible to us?


Words of the Gogol?s play directed by Vladislav Troitskyi at DAKH Theatre ? in Russian in first two acts and in Ukrainian in third act ? don?t stand neither punctuation marks nor clearly defined certainty. They as if leave open a door into a world of impossible where, actually, dwell actors and spectators during the play.


This close neighborhood of usual and inexplicable, physical reality and infernality, regularity of fluent life flow and omnipotence of eternal mystery that rules it becomes obvious in the play thanks to unexpected and original contrast of the styles realistic psychological theatre in first two acts and totally bewitching mistrial symbolist action in third act.

Three acts. 2 hours and 30 minutes

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