The role in the performance based on the play by Suskind will now be played by Artem Volobuev
Double-bass player-loser from the mono-play by Patrick Suskind. For twelve years, Konstantin Raikin played him on the stage of the Satyricon. Eight years (since 2014) at the Chekhov Moscow Art Theater – already Konstantin Khabensky. Now the “little man” tuxedo will have to be tried on by Artyom Volobuev. Khabensky is sure: by transferring this role, he helps the play sound in a new way. Louder and brighter.
“Double bass” by Patrick Suskind is a story about a man who finds himself in the margins of life. He himself takes everything out of the brackets of his attention, except for an unbearable tool. An ordinary quiet man, losing the power of speech from the mere smell of a woman’s fudge – such is our hero. He scolds Wagner, belittles the merits of the conductor, however, only in his closet, upholstered with a striped mattress. Where no one sees or hears him, he is Napoleon. And this, according to Artyom Volobuev, brings the character closer to each of us.
– As a rule, when we sing in the shower, out of tune, nothing stops us, – says the actor. – We are alone with ourselves, and in this place we are real!
And yet, the local king cannot hide from the watchful eye of the viewer: he will also appreciate his musical talent, and count the number of beer bottles in the refrigerator, and see the hero’s bright pink socks. Although the scenery of the performance has not changed since the time of Khabensky (the hero lives in a “box” of striped mattresses), the artistic director of the Moscow Art Theater. Chekhov is convinced that the hero in the new performance is not like his predecessors.
– With each production, the superfluous left the performance and the very essence remained. But Artem did not just enter the drawing. No, he changed him, and the hero’s temperament became different, – says Konstantin Khabensky.
In the performance of Volobuev, the character became even more awkward – a limp gait was invented for him after Artyom overworked himself in the gym and immediately after that came to the rehearsal of the play.
Another detail from the new performer of the role of double bass player is eye contact with the audience, which has become larger. He used to look into everyone’s eyes. Khabensky advised to work with two spectators. In the end, they settled on six.
By the way, it is very important to keep in touch with the audience in this performance: despite the genre of the monologue, the hero of the play now and then turns to the side. By any effort, he wants to convince everyone around him of his importance. But it was not there: on the stage of the Moscow Art Theater, he still has to admit to himself that he lives in vain.
– Not every person, especially an actor or musician, can find the strength to say that he is not doing his job. Therefore, our most important task is to show the rise and fall of a small person in the world of big music in a few hours, Khabensky explains.
The premiere of the performance “Contrabass” with Khabensky took place under Tabakov – in 2014. In the new version – with Volobuev – the same words, the same costumes and scenery. However, the person on the stage is different – both the actor and the one whose life he will reveal to the viewer. Not everyone can truly play such an insignificant person, show his tragedy. And, Khabensky admits, he passes this hero into the hands of Volobuev not by chance: so the artistic director of the Moscow Art Theater. Chekhova wants to test the strength of an actor who is busy in the repertoire, but who has not yet had a solo part. “I didn’t intend to double bass until the finish line. The idea to transfer this role was born in me two years ago. Everything didn’t go so smoothly for us, but I think that this play is a springboard and a test of the acting ability to hold a large audience,” said Konstantin Khabensky before the pre-premiere run of the new version of “Contrabass”.
Khabensky in the play “Contrabass” was replaced by Volobuev: footage of the dress run
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