{"id":4017,"date":"2017-05-25T09:11:55","date_gmt":"2017-05-25T04:11:55","guid":{"rendered":"http:\/\/www.arlekinplayers.com\/?p=4017"},"modified":"2021-04-06T09:49:11","modified_gmt":"2021-04-06T13:49:11","slug":"needham-arlekin-players-russian-theater-troupe-build-artistic-cultural-bridges","status":"publish","type":"post","link":"https:\/\/nashboston.com\/arlekinplayers\/needham-arlekin-players-russian-theater-troupe-build-artistic-cultural-bridges\/","title":{"rendered":"In Needham, Arlekin Players \u2014 A Russian Theater Troupe \u2014 Build Artistic And Cultural Bridges"},"content":{"rendered":"

Publication date:<\/strong> May 23, 2017<\/p>\n

\n

Publishing URL:<\/strong> WBUR<\/a><\/p>\n

\n

Author:<\/strong> Kilian Melloy<\/p>\n

\n

\"Theatrical<\/p>\n

The way Arlekin Players founder and artistic director Igor Golyak tells it, the origin story of his internationally well-regarded troupe is something akin to a fairy tale. \u201cIt\u2019s a Cinderella story,\u201d Golyak said, during a recent interview. \u201cI came from Russia in 2004, and in 2009, a bunch of friends of mine asked me to comment on their skits they were doing. After some of the comments they said, \u2018Since you\u2019re so smart, why don\u2019t you teach us?\u2019 I started teaching them. I asked them for a commitment of a year, and they\u2019re still with me.\u201d<\/p>\n

\"Picture
Arlekin Players artistic director Igor Golyak. (Courtesy Arlekin Players)<\/figcaption><\/figure>\n

During that eight-year interval, Golyak and his troupe have continued the fairy tale, with an eye on building artistic bridges while creating a space for what the Players describe, according to their website<\/a>, as a \u201cbrand new theater in the new world\u2026 a space for artists to experiment and learn from each other without the pressures of commercial theater.\u201d It\u2019s a kind of theater that not only crosses borders, but also draws from a number of performance traditions: \u201cDance, spoken word, performance art and modern music arrangement harmoniously intertwine in our performances to create unique and memorable productions.\u201d<\/p>\n

After six seasons of an itinerant existence, the group created a home for themselves with the Arlekin Players Theatre in Needham, in which they settled just last year. But those early seasons, while rootless, were fruitful: the Arlekin Players took their production of a Chekhov play, \u201cThe Bear,\u201d to regional, national and international festivals and won awards for it, and traveled to the esteemed Moscow Art Theater School with their production of the Pushkin play \u201cThe Guest.\u201d<\/p>\n

Close to home, the Arlekin Players and their supporters have launched a number of cultural undertakings, including a lecture series by Harvard\u2019s Anatoly Smeliansky, who is, according to the Harvard Gazette<\/a>, \u201cthe founding director of the American Repertory Theater (A.R.T.)\/Moscow Art Theater School Institute for Advanced Theater Training at Harvard University.\u201d Other cultural draws by the troupe are screenings of high-definition broadcasts of theater works staged in Russia, and readings of American plays rendered into Russian \u2014 including, fittingly enough, Christopher Durang\u2019s \u201cVanya and Sonia and Masha and Spike,\u201d which itself is a riff on many of Anton Chekhov classics, including \u201cThe Seagull.\u201d<\/p>\n

\"Theatrical
“Dead Man’s Diary: A Theatrical Novel” runs through June 4 at the Arlekin Players Theatre. (Courtesy Irina Danilova)<\/figcaption><\/figure>\n

For all the troupe\u2019s international success, local recognition has been slow in coming, Golyak noted. \u201cYes, I wish we could have a bigger presence in Boston,\u201d he said. \u201cI wish more people would know about us. The theater is quite small. One of the issues we face is we do have a great following, especially in the Russian community of course, but I kind of wanted to have people who are not part of this community come out and look at what we do.\u201d<\/p>\n

Golyak\u2019s efforts are paying off as the troupe\u2019s work begins to exert a greater reach across Boston-area stages. Earlier this season, the Players had the chance to bring one of their works, \u201cNatasha\u2019s Dream,\u201d to the Mosesian Center for the Arts in Watertown at the invitation of New Repertory Theatre artistic director Jim Petosa. The play had already enjoyed a run in Russian, but, Golyak recalled, the New Rep \u201casked us to repeat the run in cooperation with them in English. Jim Petosa graciously offered the stage and offered to be our partner in this production.\u201d<\/p>\n

“The goal of the theater in general is to build bridges between the cultures.” Igor Golyak<\/p><\/blockquote>\n

While a broader audience is gradually discovering the Arlekin Players, the local Russian \u00e9migr\u00e9 community has long embraced it as a place to gather, connect and celebrate their culture of origin. \u201cFor some of them it\u2019s nostalgia,\u201d Golyak noted, though, he added, \u201cactually, the goal of the theater in general is to build bridges between the cultures. When they come here and they see audiences of both American and of Russian origin together trying to understand common human experiences, this is a feeling that makes them happy, that delights them, that says, \u2018Even though I have an accent in English, [and] I don\u2019t speak as well as I speak in Russian, I can still communicate through the means of theater.\u2019 Audience members feel that.\u201d<\/p>\n

Asked about the task of building such cultural bridges in the face of heightened tensions between the United States and Russia, Golyak responded by making what he felt was a crucial distinction.<\/p>\n

\u201cI try to think of myself as more of an American\u2026 I am a proud American. But it\u2019s funny, when we go overseas we are an American theater. When we are here, we\u2019re a Russian theater. One of the goals of the theater is self-understanding. Who the heck are we? The status of immigrant, of in-between, of not belonging to anything \u2014 it\u2019s something that all immigrants experience. Most of the immigrants [in Boston\u2019s Russian expatriate community] don\u2019t think of themselves as Russians. Yes, they know what\u2019s going on [at an international level], but they want to be here \u2014 they want to be Americans. This theater gives them that feeling. It\u2019s the closeness of the human experience, of the person sitting next to them and crying at what happened to Natasha\u2026 [they] experience what is happening on stage, and feel what is happening on stage, and can understand one another without it being very specific about \u2018American culture\u2019 or \u2018Russian culture,\u2019 whatever the culture may be.\u201d<\/p>\n

“The status of immigrant, of in-between, of not belonging to anything \u2014 it\u2019s something that all immigrants experience.” Igor Golyak<\/p><\/blockquote>\n

Even so, the troupe\u2019s current production carries a distinctly Russian flavor. The Arlekin Players have adapted an unfinished work by Russian novelist and playwright Mikhail Bulgakov (author of \u201cThe Master and Margarita\u201d) into a stage version they call \u201cDead Man\u2019s Diary: A Theatrical Novel<\/a>\u201d (on stage now through June 4). The source material satirizes theater, telling the story of a man who attempts suicide while on the brink of success in the stage world, only to find himself disheartened by the theatrical demimonde.<\/p>\n

The synopsis might sound grim, but Golyak pointed to the show\u2019s light-hearted origins. \u201cWe had a summer retreat in New Hampshire, in a camp. We went there as a group, and we were fooling around with some of the scenes, very funny scenes from this novel. I said, \u2018You know, I should unite them and show them to some of our patrons.\u2019 And then I started putting them together, and I understood, \u2018No\u2026 I want to do a full production.\u2019 I wish I could tell you something more philosophical,\u201d Golyak added, \u201cbut that\u2019s how it happened!\u201d<\/p>\n

\"Theatrical
Rehearsal for “Dead Man’s Diary: A Theatrical Novel.” (Courtesy Irina Danilova)<\/figcaption><\/figure>\n

But not everything about \u201cDead Man\u2019s Diary: A Theatrical Novel\u201d is funny business. The project has attracted some top talent from Golyak\u2019s motherland. \u201cNow I have artists that are coming from Moscow \u2014 for example, the set designer for this, [Nikolay Simonov] is the head of design department for the Moscow Art Theater, probably one of the most prestigious theaters in the world.\u201d Moreover, composer and choreographer Jakov Jakoulov is on board penning the score.<\/p>\n

Golyak directing a play that skewers, to some degree, the very business of putting on plays may seem a little strange, considering that he has two theater degrees \u2014 one in acting, plus a master\u2019s degree in directing. Furthermore, he speaks reverently of the contributions of a certain noted Russian actor and director. \u201cRussian theater, the way I studied it, is completely unique,\u201d Golyak said. \u201cIts base of contemporary theater is with Konstantin Stanislavsky being the designer of the modern theater world, and American theater artists and teachers like Lee Strasberg, Stella Adler and the Group Theatre and so on \u2014 they took from Stanislavsky.\u201d<\/p>\n

\"Theatrical
Rehearsal for “Dead Man’s Diary: A Theatrical Novel.” (Courtesy Irina Danilova)<\/figcaption><\/figure>\n

However, those icons of the American theatrical tradition didn\u2019t get the rest of the story. \u201cThey were in contact with Stanislavsky during the first period in his life. And later, once he developed his system, it was already the Soviet Union and the system wasn\u2019t available internationally.\u201d The result, Golyak says, is that to American sensibilities the dramatic tradition of his homeland is \u201ca unique type of acting, a unique type of theater that is completely different than what Huntington does, or A.R.T. does. It\u2019s fantastical amusement.\u201d<\/p>\n

That\u2019s another reason why Golyak wishes for local audiences to have more familiarity with the Arlekin Players. The work his troupe brings to the stage, he said, is \u201cvery different than what is done [in the United States] \u2014 it\u2019s geared toward a younger audience, an audience that is not used to extremely traditional theater. It\u2019s something different. Unfortunately, in Europe this \u2018something different\u2019 is already classic. Here, it\u2019s not so much.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Publication date: May 23, 2017 Publishing URL: WBUR Author: Kilian Melloy The way Arlekin Players founder and artistic director Igor Golyak tells it, the origin story of his internationally well-regarded troupe is something akin to a fairy tale. \u201cIt\u2019s a Cinderella story,\u201d Golyak said, during a recent interview. \u201cI came from Russia in 2004, and […]<\/p>\n","protected":false},"author":5,"featured_media":3985,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ub_ctt_via":"","footnotes":""},"categories":[9,36],"tags":[],"class_list":["post-4017","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-news-room-reviews"],"featured_image_src":"https:\/\/nashboston.com\/arlekinplayers\/wp-content\/uploads\/2017\/03\/DSC_1713.jpg","author_info":{"display_name":"Irina","author_link":"https:\/\/nashboston.com\/arlekinplayers\/author\/irina\/"},"yoast_head":"\nIn 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