Mikha\u00efl Volokhov m\u2019int\u00e9resse par le fait que, si vous deviez l\u2019interviewer, vous ne comprendriez probablement pas la moiti\u00e9 de ce qu\u2019il dit. Il utilise un langage complexe, \u00e0 la fois culturel et philosophique, avec des th\u00e8mes d\u2019une port\u00e9e cosmique. M\u00eame un intellectuel chevronn\u00e9 aurait du mal \u00e0 d\u00e9chiffrer tous ses symboles. Volokhov est un peu comme un Joyce vivant, \u00e9voluant parmi nous. Puis, vous ouvrez une de ses pi\u00e8ces, et dans le texte, le peuple russe s\u2019exprime \u00e0 travers un langage de rue, fait de gestes, d\u2019argot, de vulgarit\u00e9 et d\u2019underground. Il s\u2019av\u00e8re qu\u2019il conna\u00eet bien ce peuple. Peut-\u00eatre a-t-il grandi \u00e0 proximit\u00e9 de cette r\u00e9alit\u00e9, peut-\u00eatre a-t-il lui-m\u00eame voyag\u00e9 clandestinement sur les toits des wagons de marchandises ou, comme ses personnages de sa pi\u00e8ce » Paris ! Paris ! \u00ab, a-t-il fait de la prison ?… J\u2019ai aussi assist\u00e9 \u00e0 une repr\u00e9sentation saisissante de sa pi\u00e8ce \u201eLes lesbiennes du bruit de Tsunami\u201c avec des costumes de Vyacheslav Zaitsev. Je ne comprends pas comment il a pu saisir avec tant de pr\u00e9cision l\u2019essence de notre rue, de l\u2019int\u00e9rieur. Parce qu\u2019aujourd\u2019hui, la Russie, c\u2019est la rue. L\u2019intelligentsia n\u2019y a plus aucune importance. Z\u00e9ro, en fait. Et si un intellectuel comme Volokhov se plonge dans le trash, c\u2019est peut-\u00eatre parce qu\u2019\u00e0 travers le trash, il parvient \u00e0 transmettre ce qu\u2019il pense vraiment de la Russie contemporaine, et ce que la Russie pense d\u2019elle-m\u00eame. Il semble qu\u2019il n\u2019y ait pas d\u2019autre moyen. En ce sens, Volokhov a atteint une forme scandaleuse, mais m\u00e9taphoriquement parfaite. Pour moi, Volokhov est avant tout un artiste dot\u00e9 du talent de vivre et de cr\u00e9er, m\u00eame s\u2019il vit dans une \u00e9poque hors du temps. Et aujourd\u2019hui, nous sommes dans une \u00e9poque hors du temps, o\u00f9 vivre, cr\u00e9er, et \u00eatre tourment\u00e9 par des passions n\u2019est ni \u00e0 la mode, ni cool, ni plaisant. Il n\u2019y a plus d\u2019argent… plus rien. Le th\u00e9\u00e2tre peine \u00e0 se retrouver et \u00e0 dire la v\u00e9rit\u00e9. Et le postmodernisme, socialement dur, \u00e0 la Pelevine, a l\u00e9g\u00e8rement lass\u00e9. De l\u2019artiste de la parole, on attend un peu de conservatisme et un v\u00e9ritable grand art. Volokhov, lui, pers\u00e9v\u00e8re obstin\u00e9ment \u00e0 faire du v\u00e9ritable art. Un autre aurait laiss\u00e9 tomber depuis longtemps. Il aurait \u00e9crit quelque chose de plus simple, plus intellectuel, et se serait faufil\u00e9. Mais Volokhov ne cherche pas \u00e0 passer par le petit trou de l\u2019aiguille. Ni de cette fa\u00e7on, ni d\u2019une autre. Ni en l\u00e9chant les bottes, ni en se courbant. Non\u202f! Il y a l\u00e0 quelque chose de sinc\u00e8re, une v\u00e9ritable sensibilit\u00e9 d\u2019artiste. Et il ma\u00eetrise le mot avec une pr\u00e9cision d\u2019orf\u00e8vre. Des amis \u00e0 moi ont lu sa pi\u00e8ce \u00bb Un putain de safari \u00e0 Rubliovka» et ont dit : » Oui, c\u2019est vulgaire, mais d\u2019une vulgarit\u00e9 shakespearienne. C\u2019est brillant. » Volokhov est un g\u00e9nie !<\/p>\n\n\n\n
Bonjour, bienvenue dans l\u2019\u00e9mission \u00abSucc\u00e8s dans la grande ville\u00bb. Je suis Irina Khakamada. Aujourd\u2019hui, mon invit\u00e9 est Mikha\u00efl Volokhov, dramaturge et th\u00e9oricien du th\u00e9\u00e2tre franco-russe. Il est n\u00e9 le 28 janvier 1955 et a obtenu son dipl\u00f4me \u00e0 l\u2019universit\u00e9 technique Bauman de Moscou. En 1987, il est parti vivre en France. Le succ\u00e8s est venu \u00e0 Volokhov \u00e0 Paris. Sa pi\u00e8ce \u00abCache-cache avec la mort\u00bb a \u00e9t\u00e9 mont\u00e9e en France, en Suisse et en Allemagne. \u00abCache-cache avec la mort\u00bb est la premi\u00e8re pi\u00e8ce en Russie enti\u00e8rement \u00e9crite en argot. Elle a \u00e9t\u00e9 mont\u00e9e pour la premi\u00e8re fois \u00e0 Moscou en 1993 par Andre\u00ef Jitinkine. Volokhov est membre du PEN Club de Paris et de l\u2019Union des \u00e9crivains de Moscou. Il est l\u2019auteur de plus de quinze pi\u00e8ces. Le film d\u2019auteur bas\u00e9 sur sa pi\u00e8ce \u00abLe calvaire de Tchikatilo\u00bb a particip\u00e9 au 31e Festival international du film en 2005 et au programme \u00abCin\u00e9ma alternatif russe\u00bb \u00e0 Nice. \u2014 Bonjour Irina \u2014 Bonjour Mikha\u00efl. Je suis ravie que vous soyez venu, car ce que vous faites est fascinant et cela va impressionner tout le monde, chacun \u00e0 sa mani\u00e8re. Apr\u00e8s l\u2019universit\u00e9 technique Bauman, vous \u00eates parti en France. \u2014 Mes parents, mon p\u00e8re \u00e9tait professeur de physique et de math\u00e9matiques, ma m\u00e8re chimiste. Puis, il s\u2019est pass\u00e9 quelque chose, et je me suis passionn\u00e9 pour Dosto\u00efevski et Tolsto\u00ef. \u00c0 l\u2019\u00e9cole, on nous obligeait \u00e0 comprendre des choses auxquelles nous n\u2019\u00e9tions pas pr\u00eats. \u2014 Vous \u00e9tiez un brillant math\u00e9maticien, puis vous avez d\u00e9cid\u00e9 de devenir \u00e9crivain. C\u2019est un changement radical. \u2014 Les \u00e9toiles se sont align\u00e9es ainsi. C\u2019\u00e9tait dans mon horoscope. Je suis du signe de la Ch\u00e8vre et du Verseau. Tchekhov avait la m\u00eame combinaison. Ma grand-m\u00e8re, Anessia Ivanovna Volokhova, dirigeait une secte baptiste. \u2014 Comment \u00eates-vous arriv\u00e9 en France ? \u2014 J\u2019ai rencontr\u00e9 une jeune Fran\u00e7aise charmante. \u2014 Elle vous a donn\u00e9 une fille. \u2014 Oui, j\u2019ai une fille, Maria. Elle vit \u00e0 Nantes. Elle m\u2019a emmen\u00e9 sur la c\u00f4te Atlantique. Elle a 23 ans. Mon plus grand accomplissement, c\u2019est d\u2019avoir conserv\u00e9 le go\u00fbt de la vie et de continuer \u00e0 r\u00eaver. \u2014 Quand vous parlez de fa\u00e7on norm\u00e9e, comme un math\u00e9maticien, ne vous manque-t-il pas la langue de Dosto\u00efevski ou de Tolsto\u00ef ? \u2014 Ce que Dosto\u00efevski d\u00e9voilait dans \u00abCrime et Ch\u00e2timent\u00bb, Shakespeare le faisait dans \u00abMacbeth\u00bb. J\u2019EXISTE !!! Pour Dosto\u00efevski, le sermon \u00e9tait primordial. Il a pris un h\u00e9ros fictif, Raskolnikov, et l\u2019a accus\u00e9 de son crime. Dans \u00abMacbeth\u00bb, Shakespeare va jusqu\u2019au bout de la v\u00e9rit\u00e9 humaine. Il n\u2019accuse pas Macbeth, IL JUSTIFIE L\u2019HOMME tout en l\u2019accusant. Mes h\u00e9ros dans mes pi\u00e8ces vont \u00e9galement jusqu\u2019au bout. Ils sont issus de la vie r\u00e9elle, de la v\u00e9rit\u00e9 m\u00eame, et si on doit les punir, il y a des r\u00e9serves de forces globales qui renversent le \u00abmacbethisme\u00bb ! Dans \u00abUn putain de safari \u00e0 Roubliovka\u00bb, il y a Nastia qui triomphe. Mes personnages ne sont pas fictifs, et L\u2019ARGOT EST N\u00c9CESSAIRE !!! \u2014 Je suis d\u2019accord. \u2014 Dosto\u00efevski n\u2019\u00e9tait pas seulement un homme de mots, mais aussi d\u2019actions. Comme Shakespeare. \u2014 Donc, c\u2019est une incarnation sup\u00e9rieure. Vous poussez la forme jusqu\u2019\u00e0 la perfection, comme un linguiste et math\u00e9maticien. Vous avez d\u00e9cid\u00e9 que l\u2019argot \u00e9tait essentiel. Vos personnages sont marginaux, et c\u2019est magnifique. Pourtant, les pi\u00e8ces ne sont pas marginales. \u2014 Pourquoi 100 % d\u2019argot ? Est-ce une sorte d\u2019exp\u00e9rience ? \u2014 J\u2019ai aussi des contes. \u00abLa tulipe rouge et la feuille de ch\u00eane de l\u2019an dernier\u00bb. C\u2019est un conte chr\u00e9tien. Ou la pi\u00e8ce-conte \u00abLa Nature\u00bb, anciennement appel\u00e9e \u00abLa petite source chantante et ses fid\u00e8les amis\u00bb. La pi\u00e8ce \u00abLe grand consolateur\u00bb, \u00abKilimandjaro sur tes l\u00e8vres\u00bb \u2014 sans argot. Mais si tu traites du Mal et veux l\u2019exposer et aider les forces du Bien dans le th\u00e9\u00e2tre, il faut d\u00e9truire ce phallocratisme diabolique de l\u2019\u00e9poque ! Cet homme viril poursuit son objectif \u2014 il veut unir toute l\u2019humanit\u00e9 dans une solution pacifique. Il veut \u00eatre un leader absolu et ne fait aucun mal malgr\u00e9 les armes qu\u2019il utilise ! \u2014 Donc, le charisme masculin vient du Diable. Et vous ? \u2014 Il y a pour moi le POUR ET LE CONTRE !!! Il y a des forces qui s\u2019opposent au Mal et que je montre, et elles d\u00e9truisent ce Mal !!! \u2014 Qu\u2019est-ce qui vous donne de la force ? \u2014 LE RETOUR VERS LA FEMME !!! J\u2019aime ma fille Maria… \u2014 Oui… Vous \u00eates incroyable ! Un g\u00e9nie ! Khakamada speaks out on Mikhail Volokhov\u2019s website<\/p>\n\n\n\n
\u00abMikhail Volokhov is interesting to me because if you interview him, you won\u2019t understand half of what he says. It will be such a culturally philosophical complex language, with cosmic themes. Even a cool intellectual will have a hard time deciphering all of the symbols. Volokhov is a living, walking Joyce \u2014 alive among the living. And then you open a play by him, and in Volokhov\u2019s play our Russian people, who it seems he knows well, begin speaking the language of the street, it\u2019s brutal, with obscenity and expletives, trash and underground. Either he himself used to hang out there, or he actually rode on the roofs of freight trains and sat in prison with his characters from the play \u2018Paris Bound\u2019… I also saw an amazing performance based on his play \u2018Lesbians Roaring Like A Tsunami\u2019, with costumes by Vyacheslav Zaitsev. I don\u2019t understand how it\u2019s possible to know our street from the inside in such detail. Because today\u2019s Russia is a country of the street. The intelligentsia means nothing there. Zero. And if an intellectual like Volokhov takes on trash, then he can probably use trash to convey what the intellectual really thinks about modern Russia, and what Russia itself thinks of itself. It probably can\u2019t be done any other way. In this regard Volokhov has achieved a provocative and metaphorically perfect form. For me, Volokhov is first of all an artist who has the talent to live and create. Despite the fact that he lives in timelessness. And today, timelessness has arrived, when living, creating and being tormented by passions is not fashionable, not cool and, in general, not fun. There\u2019s no money… nothing. When the theatre can\u2019t come to its senses and start telling the truth. And when socially harsh postmodernism, like Pelevin, is rather annoying. From an artist of words you want a bit of conservatism and, indeed, great art. But Volokhov stubbornly, very stubbornly, continues to engage in real art. Anyone else would have broken down already. He would have written something simpler, more intelligent, and he might have squeezed through. But Volokhov doesn\u2019t squeeze through. He doesn\u2019t try to squeeze through the eye of a needle. At least somehow, some way. At least by cleaning it up, a bit of lickspittle. No! There\u2019s something in this \u2014 something sincere, the nerve of a real artist. With a mastery of words. My friends read his play \u2018Rublyovka Safari\u2019 and said: \u00abWell, this is true profanity \u2014 it\u2019s quite \u2014 Shakespearean. Just magnificent\u00bb. Volokhov is a genius!»<\/p>\n\n\n\n
Hello, this is the programme \u2018Success in the Big City\u2019. And I\u2019m Irina Khakamada. Today my guest is Mikhail Volokhov. The Russian and French playwright, and theatre theorist. He was born on 28 January 1955. He graduated from the Bauman Moscow State Technical University. In 1987 he went to France. Volokhov proved a success in Paris. His play \u2018Dead Man\u2019s Bluff\u2019 was staged in France, Switzerland and Germany. \u2018Dead Man\u2019s Bluff\u2019 is the first play in Russia to be written entirely in obscenities. It was first staged in Moscow in 1993 by Andrey Zhitinkin. Volokhov is a member of the Paris PEN CLUB and the Moscow Writers\u2019 Union, the author of more than fifteen plays. The author\u2019s film based on his play \u2018Chikatilo\u2019s Calvary\u2019 participated in the 31st International Film Festival in 2005 and was included in the programme Alternative Russian Cinema in Nice. \u2014 Hello Irina. \u2014 Hello Mikhail. I\u2019m very glad you\u2019re here with us because you\u2019re interested in telling people what you do \u2014 it will amaze our audience. But people will be amazed for different reasons. After the Bauman Moscow State Technical University you went to France. \u2014 My father was a professor of physics and mathematics, my mother a chemist. Then it happened that I became interested in Dostoevsky, Tolstoy. At school we are forced to perceive what we are not prepared for. \u2014 You were a brilliant mathematician. And then you decided to become a writer. Abruptly. \u2014 The stars aligned. The horoscope. I\u2019m a goat by the Chinese zodiac, and an Aquarius. Chekhov had such a combination. Then my Russian grandmother, Anisya Ivanovna Volokhova, was the leader of a Baptist sect. \u2014 And how did you end up in France? \u2014 I met a charming young Frenchwoman. \u2014 She gave you a daughter. \u2014 Yes, my daughter\u2019s name is Masha. She lives in Nantes. She took me to the ocean shore. She\u2019s 23 years old… I consider my main achievement to be that I\u2019ve retained a taste for life and continue to dream. \u2014 And you use the normative vocabulary as a mathematician? The language of Dostoevsky and Leo Tolstoy isn\u2019t enough for you. \u2014 Well, what Dostoevsky managed to grasp in \u2018Crime and Punishment\u2019, what Shakespeare grasped in \u2018Macbeth\u2019. I AM PRESENT!!!! For Dostoevsky preaching was important. And he took the conventional hero Raskolnikov. And accused him of what he did. Shakespeare in \u2018Macbeth\u2019 goes to the end according to the truth of life. He doesn\u2019t accuse Macbeth \u2014 HE JUSTIFIES MAN \u2014 by of course accusing Macbeth. And the heroes in the plays also proceed to the end. They are from life, like the truth of life itself, and if they are punished then there is a global reserve of forces that overthrow MACBETHISM!!!! In \u2018Rublyovka Safari\u2019 there is Nastya who wins. That is, I do not have conventional heroes and OBSCENITY IS NECESSARY!!!! \u2014 I agree \u2014 and then it\u2019s as if Dostoevsky WAS NOT THE WORD BUT THE DEED!!!! \u2014 That is, like Shakespeare. A Higher Hypostasis!!!! \u2014 You bring the form to perfection as a linguist and mathematician. You\u2019ve set yourself the task that obscenity is necessary. For you everyone is a marginal and that\u2019s wonderful. Yet at the same time, the plays are not marginal. And why the 100% obscenity? Is this some kind of experiment? \u2014 I\u2019ve written fairy tales. \u2018The Red Tulip and Last Year\u2019s Oak Leaf\u2019. It\u2019s a Christian fairy tale. And the fairy-tale play \u2018LA NATURE\u2019, previously called \u2018The Spring of the Buzzards and Its Faithful Friends\u2019. The play \u2018The Great Consoler\u2019, and \u2018Kilimanjaro on Your Lips\u2019 have no obscenities. But if you encounter the theme of Evil and Want to Find It, you Reveal and Help the Good Forces in the Theatre. That is, by the destruction of This Phallic Diabolism of the Era! He is a MALE MAN going to his goal \u2014 he wants to unite all people \u2014 a Peaceful Solution \u2014 he wants to be the Absolute Leader \u2014 despite the weapons that he uses, he really DOES NOT BEAR ANY EVIL!!!! \u2014 That is, male charisma is from the Devil. And you! \u2014 I have feelings PRO AND CONTRA \u2014 THAT IS, FOR AND AGAINST!!!! That is, Against the Forces of Evil there are Forces that I show \u2014 and they Destroy this Evil!!!! \u2014 And what gives you strength? \u2014 RELATIONS WITH A WOMAN!!!! I like my daughter Maria…. \u2014 Yes… You\u2019re amazing! A brilliant man!<\/p>\n","protected":false},"excerpt":{"rendered":"\n
Mikha\u00efl Volokhov m\u2019int\u00e9resse par le fait que, si vous deviez l\u2019interviewer, vous ne comprendriez probablement pas la moiti\u00e9 de ce qu\u2019il dit. Il utilise un langage complexe, \u00e0 la fois culturel et philosophique, avec des th\u00e8mes d\u2019une port\u00e9e cosmique. M\u00eame un intellectuel chevronn\u00e9 aurait du mal \u00e0 d\u00e9chiffrer tous ses symboles. Volokhov est un peu comme un Joyce vivant, \u00e9voluant parmi nous. Puis, vous ouvrez une de ses pi\u00e8ces, et dans le texte, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":954,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1965","page","type-page","status-publish","hentry","odd"],"_links":{"self":[{"href":"https:\/\/volokhov.net\/index.php?rest_route=\/wp\/v2\/pages\/1965","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/volokhov.net\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/volokhov.net\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/volokhov.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/volokhov.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1965"}],"version-history":[{"count":2,"href":"https:\/\/volokhov.net\/index.php?rest_route=\/wp\/v2\/pages\/1965\/revisions"}],"predecessor-version":[{"id":1974,"href":"https:\/\/volokhov.net\/index.php?rest_route=\/wp\/v2\/pages\/1965\/revisions\/1974"}],"up":[{"embeddable":true,"href":"https:\/\/volokhov.net\/index.php?rest_route=\/wp\/v2\/pages\/954"}],"wp:attachment":[{"href":"https:\/\/volokhov.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1965"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}