тема

In his original contemporary play "When the Roses Dance", Valery Petrov takes up with gentle sincerity, with subtle soft humor, with ease and grace the eternally young problem of love. The spirit of youth, this cheerful spirit, born in May, reincarnated in the image of the Young Man, wants to awaken the youth in the Old Man. Will he succeed? The dispute begins as a joke. The Young Man proves the existence of true love. With magic, with songs, music, ballet and with the destinies of several couples in love. The roses, these precious flowers that the Old Man guards day and night and cannot protect, suddenly come to life before his eyes. They not only teach and sting, but can dance, yearn, suffer and... run away. Roses are intended for lovers. Having begun with roses, the love theme imperceptibly expands and grows into a theme for young and old perceptions in contemporary life. It turns out that in Every person has both an old man and a young man who are in constant struggle. What does it mean to be young? The answer to this question constitutes the second plan of the theme of love, the undercurrent of the action in "When the Roses Dance" - because not only in love, but in thousands of places, our damned old age fights with youth. . . The Young Man is tireless in his passionate urge to protect youth. This is an image that is constantly transforming. He instantly takes off his symbolic clothes, acquires flesh and blood. With his soft intimacy and sparkling witty lines, he is an unusually lively and vital positive hero, as well as fantastically ethereal, elusive, alluringly diverse, surprising. He is the backbone of the play, the defender of the main theme, the conductor of the "spring pantomime", in which, along with jokes and magic, the sad and cheerful melodies of love and wisdom sound. And the Old Man? Maybe this is just a contrasting symbolic image, constantly opposing the views of the Young Man and in the end will be rejected by life, ridiculed? Yes, indeed, at first he shows a petty stingy passion, distrust of people. But the most interesting thing about this character is his transformation and especially his unusual experiences on the way to the police station, where he leads the Young Man, who has plucked three roses for his beloved.

For me, civic poetry is above all a revelation, above all a confession. If we have to tell the whole truth - that which is not a confession and revelation in the work of a poet cannot bear the sacred name of "the poet's sincerity". I admit that these thoughts can be attacked from many positions, but it is time to start calling things by their true names. In this sense, I am not afraid of any replicas and opponents, as long as there is no desire to distort what I said in this conversation. I have always been impressed by the attempt to mechanically distinguish civic from other themes in the poet's work. There is nothing wrong with this, especially when we consider the existing genre specificity. The bad and condemnable thing is that once the civic position of the artist is separated as a theme, it is often approached as a "special" theme, a "special" theme that can be built with other types of expressive means. You see, some try to assert, this topic is close to the concerns and aspirations of the people, of society, of the party, it cannot be approached intimately, secretly. And because it cannot be approached intimately and secretly, expressing one's own thoughts and feelings, it is approached thesesically, loudly, often dryly and unconvincingly.