Noche paz noche de amor: Noche de Paz, Noche de Amor – Songs – Conoce las especies de Puerto Rico

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February 13, 2023
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Noche paz noche de amor: Noche de Paz, Noche de Amor – Songs

Peace | Traductor de inglés a español

peace [piːs]

sustantivo

1 paz (f)

a lasting peace the President spoke of /a shared commitment to world peace/ in times of peace the Nobel Peace Prize after a long (period of) peace, war broke out a fresh attempt to negotiate peace in Bosnia-Herzegovina he campaigned for peace and against the spread of nuclear weapons a period of relative peace in the country’s industrial relations the search for this elusive inner peace I had a wonderful feeling of peace and serenity as I gazed at the mountains the peace of the Lord be always with you he chose to return to the relative peace of his childhood village the Peace of Basle a negotiated peace in Europe

to be at peace (dead) descansar en paz

he is at peace to be [at] peace ([with] sth/sb)

Egypt is at peace with Israel Egipto está en paz con Israel; a world at peace un mundo donde reine la paz or donde haya paz

my dream is one of a world at peace

I am at peace with my conscience estoy en paz con mi conciencia

I felt at peace with the world she felt at peace here as in a quiet safe refuge times were good then – the country was at peace you will never be at peace until you find out the truth I want you to be at peace – I don’t think you will be happy until you know he died at peace with his family they make you relax – they make you feel at peace with the world a child of grace, at peace with her surroundings

to be at peace with o. s. estar en paz consigo mismo

I was feeling calm, relaxed and at peace with myself once I knew I was forgiven I could be at peace with myself at last

we come in peace venimos en son de paz

don’t shoot, we come in peace

to disturb the peace perturbar la paz; (Jur) alterar el orden público

the crisis in Asia should not be allowed to disturb the peace of Europe he spoke softly so as not to disturb the peace of the evening the police arrested him for disturbing the peace the youths were littering the beaches and disturbing the peace

he gave her no peace until she agreed no la dejó tranquila or en paz hasta que accedió

to holdorkeep one’s peace guardar silencio

speak now or forever hold your peace hable ahora o calle para siempre

people who knew about this evil man but held their peace I felt it politic to keep my peace and play the attentive listener the role of the navy in war and in peace I took a week off so I could write in peace

to keep the peace (gen) mantener la paz or el orden; (Jur) [+citizen] respetar el orden público; [+police] mantener el orden público

he was bound over to keep the peace the first UN contingent assigned to help keep the peace in Cambodia I looked on as an arbiter and kept the peace how did your mother succeed in keeping the peace between these two very different men? the police are there to enforce the law and to keep the peace.

to leave sb in peace dejar a algn tranquilo or en paz

go away and leave us in peace one more question and I’ll leave you in peace

to live in peace (with sb) vivir en paz (con algn)

they seem unable to live in peace with their neighbours that will allow the refugees to go home and live in peace, free from oppression if you can’t live in peace with your little brother then get out of the house

to make peace (with sb) hacer las paces (con algn)

he could appoint or dismiss his government, declare war, make peace, change any law he disliked a month later Russia made peace with Britain on 9 September 1849 the Navajo made peace with the United States government they tried to convince Chiang Kai-shek to make peace with Tokyo the Germans are reduced to making peace on our terms she finally made peace with her father she went to her mother’s room to make peace all of a sudden she seemed to want to make peace and patch up our quarrel to make [one’s] peace with sb the President ought to seize this opportunity to make his peace with political parties and negotiate a speedy return to democracy he was obliged to make his peace with the salesman

peace of mind tranquilidad (f) (de espíritu)

you should find out the truth, if only for your own peace of mind the main appeal these bonds hold for individual investors is the safety and peace of mind they offer he began to insist upon a bullet-proof limousine, just for peace of mind peace and [quiet]

anything for the sake of peace and quiet lo que sea por un poco de tranquilidad

the peace and quiet of the woods la tranquilidad del bosque

/all I want is some peace and quiet/ and to spend a couple of nice days with my grandchildren I shall need some peace and quiet in which to practise

in times of peace en tiempos de paz

breach rest

modificador

[+agreement, plan, settlement] de paz; [+campaign, conference] por la paz

peace camp (n) campamento (m) por la paz

other Greenham women created a new all-women’s peace camp outside the nuclear weapons facility at nearby Aldermaston desert `peace camps” in Kuwait and Saudi Arabia to withstand non violently armed aggression from either side

peace campaigner (n) persona que participa en una campaña por la paz

two peace campaigners accused of causing damage to an F1-11 nuclear bomber

peace conference (n) conferencia (f) de paz

Peace Corps (n) (US) Cuerpo (m) de Paz

she joined the Peace Corps because she wanted to work in a developing country Peace Corps workers there were lots of Peace Corps volunteers

peace dividend (n) beneficios (m) reportados por la paz

it looked to us as though there was to be a substantial decline in military spending and that there would be a peace dividend people spoke of a peace dividend, meaning money that would be freed as defense spending declined

peace initiative (n) iniciativa (f) de paz

peace movement (n) movimiento (m) pacifista

. ..the European Peace [Movement]. the German peace movement itself is divided over the issue of solidarity with Israel

peace offering (n) prenda (f) de paz

I bought Mum some flowers as a peace offering

peace pipe (n) pipa (f) de la paz

A few hippies gone native walked about with babies in papooses smoking peace pipes

the peace process (n) el proceso de paz

…the Middle East peace process He said the peace process could move ahead if Mr Peres could assure himself of a majority in the Israeli parliament

peace settlement (n) acuerdo (m) de paz

peace sign (n) señal (f) de paz

peace studies (n) (Univ) estudios (m) de la paz

Bradford University’s Department of Peace Studies

peace talks (n) negociaciones (f) por la paz

the latest round of peace talks Middle East peace talks agreement was reached during peace talks sponsored by the European Community

peace treaty (n) tratado (m) de paz

Japan has still to conclude a peace treaty with the Soviet Union Baker is in Paris for the signing of the peace treaty

¡Noche de paz, noche de amor!

Transportar

Acordes

B♭¡Noche de paz, noche de amor!
F7Todo duerme en B♭derredor;
E♭Entre los astros que esB♭parcen su luz,
E♭bella anunciando al niB♭ñito Jesús,
F7brilla la estrella de B♭paz,
B♭ /Fbrilla la esF7trella de B♭paz.

¡Noche de paz, noche de amor!
Oye humilde el fiel pastor
coros celestes proclaman salud;
gracias y glorias en su plenitud,
por nuestro buen Redentor,
por nuestro buen Redentor.

¡Noche de paz, Noche de amor!
Ved qué bello resplandor
luce en el rostro del niño Jesús,
en el pesebre, del mundo la luz.
Astro de eterno fulgor,
astro de eterno fulgor.

Momento

Temática

Video instrumental (pista)

Fuente

Mil Voces para Celebrar Nº103 / Himnario Bautista Nº58 / Canto y Fe Nº33 / Himnos Selectos Evangélicos Nº32

Colección

Autoría

Letra sin acordes

¡Noche de paz, noche de amor!
Todo duerme en derredor;
Entre los astros que esparcen su luz,
bella anunciando al niñito Jesús,
brilla la estrella de paz,
brilla la estrella de paz.

¡Noche de paz, noche de amor!
Oye humilde el fiel pastor
coros celestes proclaman salud;
gracias y glorias en su plenitud,
por nuestro buen Redentor,
por nuestro buen Redentor.

¡Noche de paz, Noche de amor!
Ved qué bello resplandor
luce en el rostro del niño Jesús,
en el pesebre, del mundo la luz.
Astro de eterno fulgor,
astro de eterno fulgor.

Tiempo Litúrgico

Fuente literaria

Lucas 2:8

País / Región

Título original

Alemán: “Stille Nacht, heilige Nacht” / Inglés: “Silent Night, Holy Night”

Letra original

Alemán:

Stille Nacht! Heilige Nacht!
Alles schläft, einsam wacht,
nur das traute, hoch heilige Paar.
Holder Knabe im lockigen Haar,
schlaf in himmlischer Ruh’,
schlaf in himmlischer Ruh’!

Stille Nacht, heilige Nacht!
Hirten erst kundgemacht
durch der Engel Halleluja,
tönt es laut von fern und nah:
Christ, der Retter, ist da!
Christ, der Retter, ist da!

Stille Nacht, heilige Nacht!
Gottes Sohn, o wie lacht
Lieb aus deinem göttlichen Mund,
da uns schlägt die rettende Stund’,
Christ, in deiner Geburt!
Christ, in deiner Geburt!

Stille Nacht, heilige Nacht!
Die der Welt Heil gebracht,
aus des Himmels goldenen Höh’n,
uns der Gnaden Fülle läßt seh’n,
Jesum in Menschengestalt!
Jesum in Menschengestalt!

Inglés:
Silent night, holy night!
All is calm, all is bright
round yon virgin mother and child!
Holy infant, so tender and mild,
sleep in heavenly peace,
sleep in heavenly peace.

Silent night, holy night!
Shepherds quake at the sight:
glories stream from heaven afar,
heav’nly hosts sing, “Alleluia!
Christ the Savior is born,
Christ the Savior is born!”

Silent night, holy night!
Son of God, love’s pure light,
radiant, beams from thy holy face
with the dawn of redeeming grace,
Jesus, Lord, at thy birth,
Jesus, Lord, at thy birth!

Silent night, holy night!
Wondrous star, lend thy light.
With the angels let us sing
“Alleluia” to our King,
“Christ the Savior is born,
Christ the Savior is born.”

Traducción

Federico Fliedner (Alemania – España)

Derechos de autoría

Dominio Público

Composición

Forma de canto

País / Región

Título melodía (Tune)

STILLE NACHT

Comentario

Moderadamente lento

Agrega una reseña

A Midsummer Night’s Dream, reviews, schedule and tickets for the performance, staging Pyotr Fomenko’s Workshop.

Old stage, Moscow – Afisha-Theatres

Performance in Moscow

Buy tickets

Afisha Choice

8.4

1/97

Schedule Reviews (2 performance)

Helen is in love with Demetrius, Demetrius is in love with Hermia, and Hermia is in love with Lysander. However, it’s mutual. There is also Hermia’s father, who mixes all the cards, trying to pass off his daughter as the unloved Demetrius. And Duke Theseus seems to even indulge him in this. At night, young people run away from Athenian law and parental advice to the ducal forest, where they will be completely entangled (and unraveled!) by the spell of the elf king Oberon and his absent-minded assistant Robin.

Everything here is a game – theatrical, love, sometimes a little naive, sometimes complex and confusing. It can be sharp, even dangerous – it is better to watch such a game from the side, without interfering. Sometimes it’s childishly simple – you get involved in this voluntarily or involuntarily. But all of it in this performance is incredibly vital, incredibly reckless. In the chaos of the game, in the darkness of the night, the line between sleep and reality is erased. The boundaries of the world, vast, incomprehensible, are found and moved apart by touch. Where the “moss bed” beckons with its freshness, like cool sheets. Where lovers confuse each other, weave into a living ball, breathing jealousy, youth, fear and – love. Like music, like magic juice, the very air is saturated here, it and only it moves “both the sea and Homer” …

Genary Comedy, Dramatic

Age16+

Duration 3 hours 20 minutes, 1 Anthract

Participants

14,0002 Ivan Popovski

Karen Badalov

Galina

actor

Actor

Ambartsum Kabanyan

Actor

Serafima Ogareva

Actor

Irina Gorbacheva

Actor

Alexander Michkov

actor

Yuri Butorin

Actor

Andrey Kazakov

Actor

Rustem Yuskaev

Actor

Kirill Pirogov

Actor

9000

Venue

Workshop of Peter Fomenko.

New stage

Addressnab. Tarasa Shevchenko, 29

Kutuzovskaya

Afisha’s review of the performance

Aleksey Kiselyov

110 reviews, 280 ratings, rating 634

9Kind tomfoolery in the best traditions of the early “fomenoks”

Petr Fomenko died three years ago. With his departure, the theater, whose troupe consists of several generations of the master’s students, plunged into a crisis – without high-profile failures, but without obvious successes either. The repertoire was qualitatively divided into two parts: under Fomenko and after. With fantastic lightness and naturalness, the elements of a complex author’s, highly intelligent (if not aristocratic) theater with an invariable and unobtrusive ironic squint. After – chaotic melodramas performed by the theater interns, Yevgeny Kamenkovich’s attempts to seize on the elusive lightness in heavy performances based on Pirandello and Saltykov-Shchedrin, one-dimensional experiments with modern dramaturgy and choreography. In this context, A Midsummer Night’s Dream, staged by the Macedonian Ivan Popovski (representative of the early “fomenki”) for both recruits and old-timers of the theater, is not just a great success. It’s a happy comeback from a coma.

Shakespeare’s comedy about wood elves and nymphs, directing a hilarious performance with young people who do not understand anything and besotted with love, is flawlessly laid out by Popovsky on the troupe. The high-ranking persons Theseus and Hippolyta, as well as their projections in the elven world – Oberon and Titania – are decorously performed, to match their position in the “Workshop”, by Karen Badalov and Galina Tyunina. The negligent and eccentric children who fled into the forest (they bear the main plot responsibility) are played by a quartet of recent theater trainees. The frantic confrontation between the tremulous Hermia (Seraphim Ogaryova) and the militant Elena (Irina Gorbacheva) is the main hook of the performance, here all the nit-picking about the professional inconsistency of the new generation of “fomenok” with all the previous ones turns out to be on the shoulder blades. Meanwhile, Ambartsum Kabanyan, a tall, handsome man with a low voice and the manners of Nikolai Tsiskaridze, along with the role of Robin (an elf, because of which all the fuss) plays as if Badalov’s protégé, whose condescending patronage here takes on the meaning of a lesson in theatrical craft, the transfer of secret knowledge in front of the public. It seems that Kirill Pirogov, who presents his role of the third plan (fur repairman Francis Dudka) as a master class, has a similar function. And it works. If you do not know all the intricacies of the current situation of the “Pyotr Fomenko Workshop”, one way or another, the armor-piercing energy of fooling around comes to the fore. But here, too, a longtime admirer of this theater will see greetings to an early performance by Kamenkovich based on another play by Shakespeare – Twelfth Night: here again there is almost empty space, non-binding costumes and everyone sings in unison.

This contextual hit in all the grooves, resurrecting from oblivion Fomenkov’s trademark intonation, turns out to be no less powerful artistic act than, for example, the conceptual preparation of “A Midsummer Night’s Dream” by Kirill Serebrennikov or Dmitry Krymov’s postmodernist performance based on the same play. In all three cases, the text is a catalyst for insight. In the case of Popovski, this insight was the union of the past and the future – on the example of one brilliant, but somewhat confused troupe.

November 10, 2015

Best reviews of the performance “A Midsummer Night’s Dream”

Marina

42 reviews, 203 ratings, rating 16

There were many expectations from the performance. Beautiful scenery and costumes, young beautiful and energetic actors, a well-known play with a fairy tale plot – everything should have worked, but there was a lot of movement and no dynamics of action, a lot of noise, but little emotion – I was bored. It seemed that now they would play out and everything would go to pieces when you start laughing without ceasing. It seems that the performance was supposed to be very atmospheric – light, captivating and addicting … But it didn’t happen – it didn’t happen for me … Although the hall was full, and people laughed in the hall. We haven’t had such defiantly beautiful, spectacular action-performances for a long time.

September 11, 2015

Alla Laytaruk

307 reviews, 883 ratings, rating 1175

Probably now the only positive performance in Moscow with a “positive end” where you can laugh. The scenes of the provincial theater performing before the Duke at the wedding are as comical as possible and worthy of a separate production. Galina Tyunina is inimitable, Irina Gorbacheva – brilliance, the power of talent (she got the “difficult” role of Elena, who is first hated and then loved). I liked it very much! I will go again and again!!!!!!

April 1, 2018

Vladislavs

77 reviews, 743 ratings, rating 261 Each of their regular performances is like a bank with expired canned food taken out of the pantry. So what if the shelf life has expired, so what if the mold has covered the jam, now they will boil everything for us and diligently shove spoon after spoon into our mouths. They won’t give you a drink, even if you’re all over it.
I used to think that it was only the performances of Fomenko himself that caused such a reaction. Not at all – the Workshop is a theatrical naphthalene swamp, regardless of the existence of the master, it cheerfully maintains itself in an artificially invented time for an artificially invented theater outside of relevance and modernity. And let the whole world rush around at an insane speed, here, on the embankment, such a beloved SS stagnation by all 89% of the country’s population. As it was under Fomenko, so it will be forever and ever.
“A Midsummer Night’s Dream” Popowski demonstrates this in the best possible way. This is a mixture of Petrosyan’s concert, the show “New Russian grandmothers” and the Grushinsky festival.
Oh, how the public likes it, how these gags will make them laugh, how this author’s song is accompanied by applause, pure “Full House, Full House”. Well, not only the public loves this shit, don’t feed the jury of the “Golden Mask” award with bread, let the Workshop give everything they can. The best drama performance of the last year? Gentlemen, in what theatrical context do you exist? Are you seriously nominating the Instagram star Gorbachev for these antics for the award as the best actress? Shame!

February 20, 2017

Maria

40 reviews, 176 ratings, rating 65

Watched last year. Didn’t like it at all. I wanted to get up and leave right away. Shakespeare has comedy, but not nonsense. The theater itself writes to itself that the actors on the stage do not play, but fool around. That’s exactly what happens on stage. They run, yell, somersault, play and fool around.

May 14, 2016

Nadezhda Karpova

195 reviews, 232 ratings, rating 195

Another strong theatrical impression for me was A Midsummer Night’s Dream by Pyotr Fomenko’s Workshop, nominated for the Golden Mask this year. After watching this performance, I can again say with confidence that the experts knew what they were choosing, because. The performance deserves it completely and absolutely, in all respects.

The main thing that you pay attention to in this performance is the design, style, stage movement, because the translation seems quite familiar. This time the fabric, its movement, the effect it creates is the main trump card in the hands of the creators of the production. The costumes of the heroes are not bright, they are made in muted colors, and the costumes of each clearly make it clear what world they are from: people or magical creatures. The costumes of commoners putting on their play look the most earthy, just like themselves. The Athenians – all in white, the inhabitants of the forests – muted soft colors characterize their costumes. In the performance, the retinue of Titania is taken out of brackets, they are and they are not on stage. These people who create the movement of the fabric – their faces are closed, they are almost invisible, like wood elves. Only those who need to be seen on the stage are visible, the rest suddenly disappear, at the same time remaining.

The first scene is built surprisingly graphically: precise movements of the actors, like a dance. The characters look like statues – all dressed in white against a white background, they come to life only when they speak, only their eyes betray feelings, emotions, some kind of reaction. The story is told as if we see some drawings on the walls of ancient temples. Frozen history. Only Hermia breaks this graphic character, becomes alive against the background of these statues, makes them suddenly become alive too, descends from the ancient myth to the earth.

The enchanting forest where most of the action takes place is different. It envelops and draws you into sleep, but it also awakens feelings. There is no place for graphics here. The fabric, its excitement, which was only a static background in the Athenian scenes, becomes alive here, and now we have thickets of a magical forest in front of us, owls are hooting somewhere, some kind of mystical music creates an atmosphere of witchcraft. Here we meet the rulers of this magical world – Titania and Oberon, played by the same actors that portray the Athenians Hippolyta and Theseus. Whether by chance or on purpose, Titania seems to be a continuation of the same Hippolyta, whose consent to marriage with Theseus seems won and not too voluntary. Titania here resists her spouse, as the queen of the elves, she lives the way she wants. The image of Oberon does not at all look like Theseus from a different point of view, although there are undoubtedly intersections. This is an independent hero, similar to an ancient wise wizard, forest keeper and people who decided to teach his wife a lesson. Oberon is both an observer and a character, a completely mystical figure. I don’t know how it was possible, but Oberon appears in different parts of the stage and even the hall quite unexpectedly, as if he is teleporting, if you don’t want to, you will believe in his magical essence.

The Athenians in this forest in their white robes become part of it and its captives. They do not seem to notice the beauty and intoxicating dope of this forest. They run after each other, communicate with each other, get confused and become prisoners of this forest. Oberon takes over their destinies and thoughts: he is able to give them great happiness or take it away. He is not at all a negative hero, but treats people with some condescension, as inferior beings, whose lives are entirely in his hands. His assistant is Robin the Good Guy. He looks like a cheerful imp, but without malice. This hero is mobile, his facial features are brightly emphasized. He is almost all the time on stage, twisting into the most incredible knots. He climbs fabric trees, he dances with the characters, captivating and intoxicating them. He is having fun. It is unlikely that this happened by accident, but Robin is very similar to Nikolai Tsiskaridze, not only in appearance, but also in movements. From time to time, Death from RJ is recalled, but with the difference that here Robin is a mystical hero, but a character whose actions affect the fate of people, and he does not bring evil and pain at all.

The theme of resistance to the higher forces of true love is only slightly touched upon here, but it exists… If you look at the reaction of Lysander, a handsome and quivering young man, after coding him with drops of a plant, you can see that his human feeling resists a little, and he does not immediately believe in new love. To human feelings, sincere, the attitude here, on the one hand, is respectful: Oberon tries to help love, both soft and noble (Lysander and Hermia), and desperate and crazy (Elena). Elena’s feelings here are generally brought to the limit: you don’t feel hostility towards her and her betrayal, because everything was done in a hurry and only for the sake of love. She is chasing Demetrius, and their endless race looks comical when the characters run around the hall and the whole stage. However, this heroine seems confused, when everything happens the other way around, having received what she wants, Elena is lost, and seems happy “downstream”, she does not fully believe in her happiness, it seems she doubts whether she has found happiness at all. On the other hand, the attitude towards human feelings is condescending: it is so easy to deceive them and it is so funny to observe the consequences of deception.

In addition to the central characters, in whose storyline there is some tragedy, there are also purely comic plots. This is Titania, who, by the will of Oberon, fell in love with a man with the head of a donkey, and ordinary people who put on a play about Pyramus and Thisbe with incredible seriousness. In the first case, the metamorphosis turns out to be amusing: the donkey’s head is emphatically toy, not even in a theatrical style, but in a childish one, and the character quickly becomes a donkey himself, begins to think like a donkey. What’s this? Extracting an animal from a human? Are all humans inside animals?

Perhaps, because this theme is continued in the heroes in love. While magical creatures are having fun, people are completely subservient to them, their movements and actions are more and more like instinctive ones, they are led not by humans, but by animals, this essence comes from within the heroes. So before us are no longer girls, neat and gentle, but angry cats with disheveled hair-wool. Elena, it seems, was close to this state much earlier, but Hermia also became like that, even if she was not bewitched. What’s this? Severe stress leads to such a reincarnation, not otherwise.

I would like to note the brilliant finale. Still, it is not in vain that the rulers of men and the rulers of magic are portrayed by the same actors. Theseus’ decision looks like a logical continuation of Oberon’s actions: he now stands guard over love against tyranny, and Hippolyta becomes a continuation of Titania and her subdued passion, now humility. Not too big a character, her character is revealed through the queen of the elves, like the essence of her betrothed. Everything ends, like Shakespeare’s, with a cheerful performance of ordinary workers. They are surprisingly serious, but extremely clumsy, albeit with diligence, trying to present their play, that it looks extremely comical. The spectators let out remarks, and the actors come out of the characters and communicate with these spectators (newlyweds). Everything is funny: the resulting props, the interaction of actors who did not become their heroes at all, but remained themselves, with each other. every movement literally causes laughter. Such a purely human completion of the production.

At the same time, the hero who suddenly turned from the manager of the festivities back into Robin reminds us of the connection between magic and people, and whether it was a dream or reality … A beautiful ending.

I would like to note the stage movement: each step of the characters is verified, it is interesting not only what the actors will say next, but also where they will go and what they will do. The actors interact a lot with the sets and with the auditorium itself: they perform almost acrobatic stunts, climb over hanging liana fabrics, wrap themselves in them, move around the auditorium, climb stairs, stand on the mezzanine railings (and just hold on). So the hall itself turns out to be the scene of action, and the audience is no longer on the sidelines, but in that very enchanted forest.

And the design! In addition to light-dyed fabrics-lianas, in addition to the traditional method of creating a wave with the help of fabric, there are so many finds here! Forest scenes begin with a play with light: the rising moon and some character on it, wandering shadows, a beam falling on a hole in the floor, which glows because of this and from where Robin gets out! Amazing musical arrangement, literally immersing in the atmosphere. Oberon appearing here and there: mysticism, not otherwise! Everything is designed so qualitatively that sometimes there is a feeling of unreality of what is happening, there is no feeling of falsity at all, not for a second. Amazing effect!

I will be very happy if the “Mask” gets this performance. This is truly an outstanding spectacle, producing a strong effect on the viewer! Highly recommend! Insanely beautiful, insanely interesting staged and very professionally played!

March 11, 2016

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Choice “Afisha”

8. 4

Reviews about the performance (2)0003

Afisha’s review of the performance

Aleksey Kiselyov

110 reviews, 280 ratings, rating 634

9Kind tomfoolery in the best traditions of the early “fomenoks”

November 10, 2015

The best reviews about the play “Summer Night Dream”

- Alla Laytaruk
  307 Reviews, 883 estimates, rating 1175
  9,0002 Probably the only positive performance in Moscow with a “positive ending” where you can laugh. The scenes of the provincial theater performing before the Duke at the wedding are as comical as possible and worthy of a separate production. Galina Tyunina is inimitable, Irina Gorbacheva – brilliance, the power of talent (she got the “difficult” role of Elena, who is first hated and then loved). I liked it very much! I will go again and again!!!!!!
  April 1, 2018
- Anton Belov
  150 reviews, 425 ratings, rating 979
  9
  The authors of the performance define it as enchanting tomfoolery. I would also add “buffoonery and minstrelstvo”. The spirit of the performance is light, transparent, intelligent, pure and simple. Sorry for the banality, but this is just a breath of fresh air for a viewer tired of modern tough, abstruse and evil productions. Watching this performance is as pleasant as eating a sandwich. But the sandwich is not simple, but made from rye bread, made from self-ground flour and dough kneaded in pure spring water, lubricated with natural butter and decorated on top with a piece of regular sausage. It seems like a simple dish, never molecular cuisine, but how delicious it is to eat! This show is delicious too. Simple, ingenious simplicity of a sandwich, and delicious. It is very pleasant to watch it, a smile does not leave the face, because the performance is made with great and pure humor, without admixture of sarcasm, irony and vulgarity. The jokes are sometimes almost clownish, but very cute and funny.
  I would like to note the duet of Irina Gorbacheva and Serafima Ogaryova as an actor, their feline showdowns are cute, funny and organic. Kirill Pirogov, Karen Badalov, and in general all the participants in the performance are amazingly talented and good. Even from episodic roles, they make small masterpieces, for example, the image of Leo turned out absolutely wonderful.
  And also, when I was walking to the subway after the performance, I was dancing like the actors in the last scene, and I felt very light and calm in my soul…
  December 26, 2017
- Vladislavs
  77 reviews, 743 ratings, rating 261
  1
  What an alien, well, just physically unpleasant aesthetics the Fomenko Workshop possesses. Each of their regular performances is like a bank with expired canned food taken out of the pantry. So what if the shelf life has expired, so what if the mold has covered the jam, now they will boil everything for us and diligently shove spoon after spoon into our mouths. They won’t give you a drink, even if you’re all over it.
  I used to think that it was only the performances of Fomenko himself that caused such a reaction. Not at all – the Workshop is a theatrical naphthalene swamp, regardless of the existence of the master, it cheerfully maintains itself in an artificially invented time for an artificially invented theater outside of relevance and modernity. And let the whole world rush around at an insane speed, here, on the embankment, such a beloved SS stagnation by all 89% of the country’s population. As it was under Fomenko, so it will be forever and ever.
  “A Midsummer Night’s Dream” Popowski demonstrates this in the best possible way. This is a mixture of Petrosyan’s concert, the show “New Russian grandmothers” and the Grushinsky festival.
  Oh, how the public likes it, how these gags will make them laugh, how this author’s song is accompanied by applause, pure “Full House, Full House”. Well, not only the public loves this shit, don’t feed the jury of the “Golden Mask” award with bread, let the Workshop give everything they can. The best drama performance of the last year? Gentlemen, in what theatrical context do you exist? Are you seriously nominating the Instagram star Gorbachev for these antics for the award as the best actress? Shame!
  February 20, 2017
- Nadezhda Karpova ” this year. After watching this performance, I can again say with confidence that the experts knew what they were choosing, because. The performance deserves it completely and absolutely, in all respects.
  The main thing that you pay attention to in this performance is the design, style, stage movement, because the translation seems quite familiar. This time the fabric, its movement, the effect it creates is the main trump card in the hands of the creators of the production. The costumes of the heroes are not bright, they are made in muted colors, and the costumes of each clearly make it clear what world they are from: people or magical creatures. The costumes of commoners putting on their play look the most earthy, just like themselves. The Athenians – all in white, the inhabitants of the forests – muted soft colors characterize their costumes. In the performance, the retinue of Titania is taken out of brackets, they are and they are not on stage. These people who create the movement of the fabric – their faces are closed, they are almost invisible, like wood elves. Only those who need to be seen on the stage are visible, the rest suddenly disappear, at the same time remaining.
  The first scene is built surprisingly graphically: precise movements of the actors, like a dance. The characters look like statues – all dressed in white against a white background, they come to life only when they speak, only their eyes betray feelings, emotions, some kind of reaction. The story is told as if we see some drawings on the walls of ancient temples. Frozen history. Only Hermia breaks this graphic character, becomes alive against the background of these statues, makes them suddenly become alive too, descends from the ancient myth to the earth.
  The enchanting forest where most of the action takes place is different. It envelops and draws you into sleep, but it also awakens feelings. There is no place for graphics here. The fabric, its excitement, which was only a static background in the Athenian scenes, becomes alive here, and now we have thickets of a magical forest in front of us, owls are hooting somewhere, some kind of mystical music creates an atmosphere of witchcraft. Here we meet the rulers of this magical world – Titania and Oberon, played by the same actors that portray the Athenians Hippolyta and Theseus. Whether by chance or on purpose, Titania seems to be a continuation of the same Hippolyta, whose consent to marriage with Theseus seems won and not too voluntary. Titania here resists her spouse, as the queen of the elves, she lives the way she wants. The image of Oberon does not at all look like Theseus from a different point of view, although there are undoubtedly intersections. This is an independent hero, similar to an ancient wise wizard, forest keeper and people who decided to teach his wife a lesson. Oberon is both an observer and a character, a completely mystical figure. I don’t know how it was possible, but Oberon appears in different parts of the stage and even the hall quite unexpectedly, as if he is teleporting, if you don’t want to, you will believe in his magical essence.
  The Athenians in this forest in their white robes become part of it and its captives. They do not seem to notice the beauty and intoxicating dope of this forest. They run after each other, communicate with each other, get confused and become prisoners of this forest. Oberon takes over their destinies and thoughts: he is able to give them great happiness or take it away. He is not at all a negative hero, but treats people with some condescension, as inferior beings, whose lives are entirely in his hands. His assistant is Robin the Good Guy. He looks like a cheerful imp, but without malice. This hero is mobile, his facial features are brightly emphasized. He is almost all the time on stage, twisting into the most incredible knots. He climbs fabric trees, he dances with the characters, captivating and intoxicating them. He is having fun. It is unlikely that this happened by accident, but Robin is very similar to Nikolai Tsiskaridze, not only in appearance, but also in movements. From time to time, Death from RJ is recalled, but with the difference that here Robin is a mystical hero, but a character whose actions affect the fate of people, and he does not bring evil and pain at all.
  The theme of resistance to the higher forces of true love is only slightly touched upon here, but it exists… If you look at the reaction of Lysander, a handsome and quivering young man, after coding him with drops of a plant, you can see that his human feeling resists a little, and he does not immediately believe in new love. To human feelings, sincere, the attitude here, on the one hand, is respectful: Oberon tries to help love, both soft and noble (Lysander and Hermia), and desperate and crazy (Elena). Elena’s feelings here are generally brought to the limit: you don’t feel hostility towards her and her betrayal, because everything was done in a hurry and only for the sake of love. She is chasing Demetrius, and their endless race looks comical when the characters run around the hall and the whole stage. However, this heroine seems confused, when everything happens the other way around, having received what she wants, Elena is lost, and seems happy “downstream”, she does not fully believe in her happiness, it seems she doubts whether she has found happiness at all. On the other hand, the attitude towards human feelings is condescending: it is so easy to deceive them and it is so funny to observe the consequences of deception.
  In addition to the central characters, in whose storyline there is some tragedy, there are also purely comic plots. This is Titania, who, by the will of Oberon, fell in love with a man with the head of a donkey, and ordinary people who put on a play about Pyramus and Thisbe with incredible seriousness. In the first case, the metamorphosis turns out to be amusing: the donkey’s head is emphatically toy, not even in a theatrical style, but in a childish one, and the character quickly becomes a donkey himself, begins to think like a donkey. What’s this? Extracting an animal from a human? Are all humans inside animals?
  Perhaps, because this theme is continued in the heroes in love. While magical creatures are having fun, people are completely subservient to them, their movements and actions are more and more like instinctive ones, they are led not by humans, but by animals, this essence comes from within the heroes. So before us are no longer girls, neat and gentle, but angry cats with disheveled hair-wool. Elena, it seems, was close to this state much earlier, but Hermia also became like that, even if she was not bewitched. What’s this? Severe stress leads to such a reincarnation, not otherwise.
  I would like to note the brilliant finale. Still, it is not in vain that the rulers of men and the rulers of magic are portrayed by the same actors. Theseus’ decision looks like a logical continuation of Oberon’s actions: he now stands guard over love against tyranny, and Hippolyta becomes a continuation of Titania and her subdued passion, now humility. Not too big a character, her character is revealed through the queen of the elves, like the essence of her betrothed. Everything ends, like Shakespeare’s, with a cheerful performance of ordinary workers. They are surprisingly serious, but extremely clumsy, albeit with diligence, trying to present their play, that it looks extremely comical. The spectators let out remarks, and the actors come out of the characters and communicate with these spectators (newlyweds). Everything is funny: the resulting props, the interaction of actors who did not become their heroes at all, but remained themselves, with each other. every movement literally causes laughter. Such a purely human completion of the production.
  At the same time, the hero who suddenly turned from the manager of the festivities back into Robin reminds us of the connection between magic and people, and whether it was a dream or reality … A beautiful ending.
  I would like to note the stage movement: each step of the characters is verified, it is interesting not only what the actors will say next, but also where they will go and what they will do. The actors interact a lot with the sets and with the auditorium itself: they perform almost acrobatic stunts, climb over hanging liana fabrics, wrap themselves in them, move around the auditorium, climb stairs, stand on the mezzanine railings (and just hold on). So the hall itself turns out to be the scene of action, and the audience is no longer on the sidelines, but in that very enchanted forest.
  And the design! In addition to light-dyed fabrics-lianas, in addition to the traditional method of creating a wave with the help of fabric, there are so many finds here! Forest scenes begin with a play with light: the rising moon and some character on it, wandering shadows, a beam falling on a hole in the floor, which glows because of this and from where Robin gets out! Amazing musical arrangement, literally immersing in the atmosphere. Oberon appearing here and there: mysticism, not otherwise! Everything is designed so qualitatively that sometimes there is a feeling of unreality of what is happening, there is no feeling of falsity at all, not for a second. Amazing effect!
  I will be very happy if the “Mask” gets this performance. This is truly an outstanding spectacle, producing a strong effect on the viewer! Highly recommend! Insanely beautiful, insanely interesting staged and very professionally played!
  March 11, 2016
- Vladimir Rybnikov
  144 reviews, 145 ratings, rating 124
  5
  painfully weak, ridiculous and well-worn material. Shakespeare in Russia is a waste of energy of actors, directors and viewers’ time, of course. It’s time for the older generation of the Fomenko studio to play not elves and dukes, but comical elderly characters who treat themselves with maximum irony. The young actors in the play are doing their best, running around the hall, portraying animals, swinging on a swing, but in general they have nothing to play, they need new forms and new playwrights, or at least strong Russian classics. Watching the play is quite tiring, because you understand what happens after it’s all over. It is quite possible to leave after the first act, having won an hour and a half of your time, nothing interesting happens in the second act.
  February 9, 2016
- IVAN KRAVCHUK
  32 reviews, 67 ratings, rating 107
  9
  An excellent production with an excellent cast! I really enjoyed the storyline and especially the acting, all without exception! How expressively they recited verses and showed emotions with their whole body, it simply cannot be described in words! This must be seen and empathized with their heroes. I advise everyone to go, this production is exceptional in our time. The performance deserves the highest award at the Golden Mask!
  March 16, 2016
- Elena Svetlitskaya
  20 reviews, 33 ratings, rating 66
  Art therapy There are interesting solutions. Harmoniously. Foolishly. If you love the classics, and then the night to think, not for you. If you know how to notice beauty in the elusive – you are here. Such performances, of course, should be – for aesthetic relaxation.
  March 29, 2019
- Maria
  40 reviews, 176 ratings, rating 65
  1
  Watched last year. Didn’t like it at all. I wanted to get up and leave right away. Shakespeare has comedy, but not nonsense. The theater itself writes to itself that the actors on the stage do not play, but fool around. That’s exactly what happens on stage. They run, yell, somersault, play and fool around.
  May 14, 2016
- lgrechina
  71 reviews, 97 ratings, rating 45
  9
  One of the best performances in recent times. Made with very good taste, but I think it will appeal to almost any viewer. Light, airy performance, woven from the same costumes, scenery, movements of the actors. The eyes are filled with beauty, and the soul is grateful for such a miracle. Humor, magnificent plasticity, scenography surprising with finds – everything is fine in this performance. Perhaps only the high-pitched female tantrums at the end of the first act, which cannot help but tire any ear after a while. Perhaps, after all, the performer Elena overplayed a little. But these are trifles that can be forgiven for the overall great undertaking of the director. The second act surprised me with a performance within a performance – in a different format and mood. A simpler, purely comedic production without aesthetics, but also very worthy. So, we can say that we watched two performances
  December 1, 2015
- Tatyana Shchegoleva
  23 reviews, 38 ratings, rating 36
  7
  Probably Muscovites are still very spoiled people.
  A wonderful performance. The first half of the first act is a bit long. And then absolute delight and laughter. Magnificent stage techniques and tricks, uninhibited and inspired acting. All are in excellent physical shape. Grotesque and parody. Must watch! Definitely! These are our favorite fomens.
  There is everything in this performance. But something is missing… I say: “Spoiled!” !
  Leaves behind a feeling of lightness and airiness, an atmosphere of flirting 🙂
  Watched with pleasure.
  May 15, 2018
- Marina
  42 reviews, 203 ratings, rating 16
  50002 There were many expectations from the play. Beautiful scenery and costumes, young beautiful and energetic actors, a well-known play with a fairy tale plot – everything should have worked, but there was a lot of movement and no dynamics of action, a lot of noise, but little emotion – I was bored. It seemed that now they would play out and everything would go to pieces when you start laughing without ceasing. It seems that the performance was supposed to be very atmospheric – light, captivating and addicting … But it didn’t happen – it didn’t happen for me … Although the hall was full, and people laughed in the hall. We haven’t had such defiantly beautiful, spectacular action-performances for a long time.
  September 11, 2015
- Alina Solntseva
  23 reviews, 31 ratings, rating 10
  9
  A funny, beautiful and instructive fairy tale. Cheerful Shakespeare in the best traditions of the theater!!
  I was lucky – I watched this performance when Ira Gorbacheva played in it. Now she seems to have retired from the theatre. But in any case, the performance is worth seeing and having a great time. If you can afford it, take seats in the 1st or 2nd row of the amphitheater. They cost monstrous money there, but they are worth it
  February 5, 2020
- Katya Makarenkova
  7 reviews, 12 ratings, rating 9
  9
  Full of fun and childish joy!) Comedy Shakespeare should be so bright, funny and hilarious! Bravo! September 21, 2016 All the actors gave 200 percent! Everyone should go!
  November 23, 2017
- Vasilisa Filippova
  6 reviews, 7 ratings, rating 3
  9Love it!
  Many thanks to the theater for this performance. Relaxed soul, saturated with emotions! For more than three hours, all of us, the audience, were immersed in magic, bewitching and beautiful! At first it was difficult to “get involved” in a fairy tale, but the creators made me forget about everything in the world and it’s hard to convey the delight.
  September 3, 2018
- Alexander
  3 reviews, 3 ratings, rating 3
  9
  Good performance. Pure joy. It is so good and so necessary now for everyone that I definitely recommend it for viewing. Excellent acting work. Very funny. Just a holiday! March 8, 2016 Enchanting Gorbachev. The best. Impossibly beautiful and tragicomic. Young people are generally very good. And Serafima Ogareva and Michkov Alexander and Butorin Yuri. Pleasure. 9January 10, 2016 Graceful, funny, beautiful – just shine! Made with such imagination, and so energetically! The actors are one better than the other, well, everyone is good, there is even no one to single out. Special respect for the stage movement. And in general – BRAVO!!!
  3 november 2015
- Dmitry Egorov
  4 reviews, 4 ratings, rating 00002 Just the bomb! You can’t say otherwise! Ivan and Fomenki are not slowing down! So accurate, funny and attractive! Bravo and thanks! June 20, 2020
  July 4, 2018
- lapres
  1 review, 1 rating, rating 00003
  Expectations from the performance were high, the price of tickets and how many good things were said by friends, it is even more pleasant that these expectations fully justified themselves. I especially liked the ease of narration of Shakespeare’s beautiful text and excellent lighting effects.
  May 22, 2018
- Alexey Deryushkin
  1 review, 1 rating, rating Exactly what is needed. I’ll go more.
  July 23, 2017
- Anna Komen
  1 review, 1 rating, rating 0
  1
  It seems to me that only those who go to the theater so rarely that they think that this is how the theater looks like today have completely sat out.