Queen of Spades

A. Pushkin / game in 2 acts / Small hall

    Rating: 12+
    Duration — 1:55
    The premiere took place on 28 September, 2007

    Directors:

    Character's and person's:

    Awards:

    • «Best director’s work» and «Best man role» (German by Lavrenty Sorokin) at the first All-Russian festival «Volga theatrical seasons» (Samara, 2007).
    • «Best supporting part» (The Countess Anna Fedotovna by Anna Pokidchenko), «Best Scenography» and «Best Director’s debut» at the 20th jubilee city festival-competition «Paradise»-2007.

    The play is the participant of Days of Russian Culture in Bulgaria (within the borders of Russian year in Bulgaria) and international drama festival «Warna Summer», 2008.

    «Queen of Spades» is one of the most mysterious works of Russian literature. Pointed story about the secret of an old countess involves readers into a game: «mystic or reality?». Three secret cards exist able to make a person incredibly rich. Or is it just a joke?

    And what do you think about this story? Probably, you’d smile guardedly… And you will be right — why to tempt fate? We all remember what has happened to Germann — Countess’s secret became his passion. And he was such a prudent and cold-headed person before!

    Pushkin language, irony, intrigue, game — «Queen of Spades» could give us many interesting things. Don’t be surprised: sometimes a very-well known can turn rather unexpected. Especially if there is Pushkin in front of us. His texts are able to cumulate the sense, grow wiser and make us growing wiser as well. Moreover the mystery of them lays in their answers to the questions that Pushkin couldn’t know.

    The stage history of the tale is not rich. The opera by Tchaikovsky is the most famous production of it, but the libretto is rather far form Pushkin’s fantasy.

    Director Timofey Kuljabin:

    «It is very important for me to work with the text. Unfortunately, lately in the theater the text as information leaves the first plan — more attention is paid to form, means of expression, scenography… Text becomes just a cause for playing. That is why we would like to subdue everything to the most essential for us — Pushkin’s story; to „retell“ it correctly. And how it will be read by audience — it’s up to them, they have their own right!».