The new interpreter and 'Chalk Circle'

THEATRE: Zoya Onishko, the new interpreter was, in fact, a mother like person, as I guessed. Apparently, she was a much respected senior employee of the Foreign Ministry. She insisted on accompanying me for every performance that I attended because it was her duty to do so.

If it was a modern Soviet play that I was not familiar with, she would interpret its story, dialogue etc, in hushed tones even without my asking her. Sometimes other spectators who sat near us would try to shoo her down at which she would turn to them and explain that I was a visitor and that it was her duty she was carrying out.

Of course some spectators would make a face and throw their hands up in helplessness. The Russians respected their visitors.

Later, I explained to Zoya that it was unnecessary to interpret every single piece of dialogue and that, being a dramatist myself, I could generally follow what was happening. "I will ask you to explain some of the difficult places during the recesses", I told her. "Those spectators must be getting irritated when there is a constant whispering going on.

After all they have paid for their tickets whereas you and I are 'freeloaders"' I added laughing and she could hardly contain her own mirth as what I said, "But you are a guest in our country," she protested mildly. Later, we would grab a snack from one of the food and beverages counters, sit in some corner of the foyer where she would answer my questions about the play.

Sometimes I had no questions to ask and she would relate to me some memorable incidents of the Soviet theatre, or provide me with interesting information and anecdotes about some of the key players. She seemed to enjoy doing so, even more than her 'running commentaries'! In fact I enjoyed that kind of information much more than her attempts of 'interpretation'.

Being a woman, some of the information she had about the actors and actresses were quite interesting - even a little 'gossipy' at times.

Once Zoya related a very interesting incident that had happened during a visit of Fidel Castro to Moscow. State guests who come to Moscow are invariably treated to a performance such as Swan Lake or Giselle at the Bolshoi Theatre or to one of their famous operas like 'Turandot'.

In this instance Prime Minister Kurschof himself had accompanied Fidel Castro to the Theatre. It is a well-known fact that the famous leader of Cuba, Castro was an inveterate cigar smoker. (perhaps he has given up the habit now). He was watching the performance from one of the most exclusive balconies of the Theatre.

As I had mentioned earlier, smoking is absolutely taboo in Soviet Theatre houses. But that particular night the glow of a cigar was clearly seen from the special balcony where Fidel Castro was seated. Other occupants seated with him had ignored the indiscreet violation.

The story goes that Premier Kurschof himself had whispered something in Castro's ear and that the cigar was put out of operation. It appears that Fidel Castro had made history in Moscow too, being the first and only spectator to have smoked a cigar in the hallowed precincts of a Soviet Opera House!

Comic instance

There is another rather comic instance I remember. That particular evening Zoya and I were at a Children's Theatre watching what was supposed to be a Children's comedy. The hero of the piece was a chubby, rather big bellied actor who was behaving like a twelve-year-old child among a host of other young boys.

I could not fathom what was happening. I thought the particular actor was making a brave attempt to act a sort of slightly demented juvenile. During the recess I asked Zoya about this peculiarity.

Zoya started laughing. "It is a long story Gyenry.." [Yes, Zoya used to call me by my first name, unlike Vasily who insisted referring to me as 'Gaspadin Dhjayasena.) said Zoya, still trying to smother her mirth.

It seems that this particular actor had started acting in this particular play as a boy actor of twelve or thirteen. He was so good that the State honoured him with the title of 'People's Actor'.

The play was quite a hilarious one and it enjoyed a long run. Now that the boy had been made a 'People's Actor' nobody - not even the Director could ask him to step down. So he went on playing the boy hero character even on to the eighteenth year of the play's run while other boys were replaced.

I saw the play on its 18th year. The actor, no longer a boy, was still trying to be a boy and hence my confusion. "But why do the spectators still come to see him?" I asked Zoya. "Oh they are coming to see that man making a fool of himself!" was her reply. "Our people have a good sense of humour!" she added.

Unfortunately I have lost the souvenirs of what I saw in Moscow and I cannot comment on All what I saw. I can only comment on some of the finest productions that are etched in my mind.

During my time there, Moscow had some 60 odd theatre houses within the city limits. Of course, Moscow is a huge, sprawling city. I have had the fortune to have seen a production in almost all of these theatres.

There too some of the cleverest actors and actresses preferred to perform in smaller, not so well-known theatres. Zoya told me that they prefer to avoid the publicity, sophistication and glamour of the bigger and better known theatres. I believe this sort of thing happens in England, America and France too.

'The Idiot'

One of the finest productions I saw in Moscow was in such a small (comparatively) theatre. It was a production of a play called 'The Idiot' by Maxim Gorky. (I hope I am right) And the main female role was played by an actress by the name of Barisova - a celebrated stage actress of the Soviet stage.

Anton Chekov's Cherry Orchard was another excellent production I saw at the Maali Theatre. It is a pity I cannot name some of the actors and the Director because I cannot find the souvenirs.

In plays like the Three Sisters, Cherry Orchard, Uncle Vanya etc. the set designer and the costume designer play as important a part as a Director himself. The sets are as realistic as they possibly could be and the costumes are 'period' upto the very buttons!

As I have mentioned earlier, after having experienced a full winter in Russia, I am more and more inclined to think that the harshness of the weather in this country has a lot to do with the melancholy, longing and even the sheer grit of some of the celebrated characters of Soviet literature.

We often read and hear that political enemies and other trouble makers are sent to Siberia as punishment. I think Siberia has the longest and the harshest winters in the entire Soviet Union. Much later, in 1982, as the leader of a Cultural Group from the National Youth Services Council I had the opportunity to visit Siberia and even present some of the traditional dances such as Ves, Pantheru, Salu Paali, Raban Netum etc. in the best Theatre in Siberia (Now called Novosibirsk - meaning New Siberia).

But by that time Siberia had been turned into the City of Scientists to which the best of Scientists, Technologists, Physicists, Astronomers etc. were attracted from Moscow and other cities by the Soviet Union at very high wages and a whole lot of facilities such as sprawling bungalows, sports activities, cinema and theatre halls, swimming pools etc.

In spite of all that we, the Cultural Troupe from the NYSC, did experience the harshness of the Siberian winter in no uncertain measure. Most of the time we did not know whether it was day or night. The winter 'days' were so long.

Getting back to Moscow, it was here that I first saw the plays of Bertold Brecht such as The Caucasian Chalk Circle, Mother Courage, Puntilla and The Good Woman of Setzuan. A production of the Caucasian Chalk Circle at the Vahktangova Theatre nearly bowled me over with its sheer finesse and beauty.

(This might be against the once famous, but now bedraggled theory of so called 'Alienation') It was a presentation I will remember as long as I live and as long as I have my faculties intact.

I was so fascinated by this play that I wanted to see it again and thanks to Zoya, got the permission and tickets from Gosconcert to do so. Then I wanted to see it from backstage in order to study the intricate and precise manoeuvres, changes of set etc.

When I mentioned this to Zoya, she was almost aghast with surprise. She told me that it was very unlikely that Gosconcert or the theatre authorites would allow such a request. "Look Zoya".

I told her. "I have come here as a student of Theatre and watching a play in progress from backstage is part of that training. This production has fascinated me. I like to see more of it and learn a lot from it. In fact I am already thinking of doing it in my country once I get back," I added fervently.

Tolerant smile

Finally she agreed to try and arrange a meeting with the Director. "There is some sense in what you say. Okay, let's see whether you can convince the Director," she said treating me with a motherly tolerant smile.

"Let's not take this to Gosconcert," I told her. "After all they cannot issue a 'ticket' for this request. You can tell them that on a sudden spurt of inspiration, I simply invaded the stage after the show to congratulate the Director and that is how it all happened!" Zoya simply said, "You are a crafty man, Gyenry," and left it at that.

Zoya had contacted the Vahktangova Theatre, spoken to the Director, the very next morning, explained my request and got an appointment with him for that morning itself. In fact he was a very friendly man, quite unlike the 'prohibitive' image in our minds.

He had a nice and long chat with me about Ceylon, its famous tea (which gift I always took with me to be presented to deserving persons) and of course Madam Bandaranaike. At this time our Ceylon was known by the Russians for two reasons.

The one was our aromatic tea and the other was Madam Bandaranaike - the first woman Prime Minister of the world. The Director (I am extremely sorry I cannot include his name here) considered my request and told me that I must be a very serious student of Drama and Theatre if I wanted to see the backstage activities of a play.

He took us down to the stage, which was already being prepared for a matinee show of 'Chalk Circle' that afternoon, greeted the stage hands involved in all kinds of preparatory activities and briefly introduced me to them.

He apparently told them I was a visitor, and a student of Drama and that I wished to study the backstage operations of the play. "Mr. Jayasena". (he pronounced my name correctly and sometimes he spoke to me in short sentences of English) He finally declared.

"You sit just here in this small stage chair and watch the proceedings. You are not to get up and walk about or disturb the backstage work even by a whisper.

You will not be allowed to leave this place even for a call of nature, until a recess is announced ... ! Your interpreter is not allowed here. She can watch the play from the audience and meet you after the play is over. By the way, you can congratulate the cast, if you wish to, after the final curtain falls...!"

Thought of the week

It will be 'Avurudu' time soon - I am writing this on April 9 Sunday - and there will be special religious observances, festivities, special sports, 'nede gaman', 'panchi kreeda' among women, gambling among men (not to mention a fair amount of imbibing) and all kinds of related activities.

Actually 'Avurudu' to my mind, is a time for children, much like Christmas. It is the children who will most enjoy the 'Avurudu Kreeda', the new clothes, kavum, kokis, athiraha, aasmi and a hundred other specialities.

As very young ones, I remember sitting close to the 'Kavum Thachchiya' with my sister and waiting for little shreds and the odd shaped kevum to be gobbled up without getting berated. Nowadays of course very few hearths will actually prepare their own Kevum, Kokis etc.

They are readily and largely available in the market (like 'sarungal' and Vesak koodu) and many householders prefer to have them that way.

Avurudu is a time for Peace and reconciliation. I do hope most fervently, in fact the whole country will, that the Peace Talks just past 'Avurudu' will be conducted in the healing spirit of 'Avurudu'.

Comments: henryj @ dialogsl.net

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