Review: Beljakovin talvi
RED FLAGS AND BRIGHT BROTHS
Ilpo Tuomarila’s new play Belyakov’s Winter is not just horror
in the children’s room, but it shows those from the years of our recent history whose
The opening is still in progress, all the way to the top leadership of the state. In particular,
In his research, Professor Kimmo Rentola has investigated the
fold. However, that date is so close for many – including their jackets
– the reality of life that the topic is still too hot or
At least badly warm. In Belyakov’s winter, images are bowed down, but
Tuomarila does it dramatically and makes the viewer see the signs and
cults on the other side.
A play is always fiction because of its structural tensions, even though it
It would seem a lot to be true and really possible. Good
However, the play, which probes recent history, brings its characters
so that the main lines are visible. Thus, historical research serves
playwright.
Belyakov’s Winter premiered and at the same time had its first
at the beginning of November at the Helsinki City Theatre’s Small Stage, where
For a long time, we have been used to watching dramatic shots from our recent history.
Under the direction of Milko Lehto , Tuomarila’s new text lives on as one
most captivating in its series. The intensive text of the play is the
The absolute starting point of the genre. When you get one in the cast
skill team as now, we will take a peek directly at the Tamminiemi
sauna chamber and other cabinets of the time.
Antti Litja as a seventy-year-old Kekkonen, both in suit and
Even in his underwear, it’s the work of a veteran: there is look-alikeness, but going to silicon
The role of a tough and lewd man at the same time is filled with the spirit of the game.
Litja pulls at full speed like the Marshal used to do at the same time
on stage. Now the man is different, but the role work does not disappoint. Litja gets the same
series, as Pekka Laiho as Ambassador Belyakov
answer the question of what we wanted and how we were entertained.
Belyakov snubs Foreign Minister Leskinen (Pertti Koivula), Kekkonen and
even at the parties of revolutionary youth in a sovereign contemporary style.
There is plenty of light and game pieces are moved on the board. But which one is
more cunning?
The character of Foreign Minister Leskinen, played by Pertti Koivula, is already physically
the image of Finland of the time; He has no tourism
The costumes of a model country for the promotion of the Symphony Party. Plastic bag Leskinen gets the food of the eastern country
taste good and take precedence over personal control, which Koivula
It looks funny. Leskinen’s role in Kekkonen’s sight becomes clear.
Aarno Sulkanen, on the other hand, is an anonymous mining counsellor whose son
Youth revolution with a torchlight fist on the sleeve of his shirt. These
There were also enough families in transition for home needs and for a play.
In Belyakov’s winter, Finland is viewed from the perspective of both the state leadership and its entourage
as well as from the perspective of the excessively red-coloured youth. Myself
Belyakov acted as a Moscow man who was allowed to think for himself. To that
He is known to have had a good brain, even though the thought tingles
in some places a clear liquid, especially in the company of comrade Leskinen. Beer is used to guide
discussion on a sore point: Karelia as a brand name is a constant reminder,
which the Moscow man does not fail to observe.
The caricature of the Youth Marxism-Leninism study group is left behind
the intensity that the cabinets of adult gentlemen offer. However,
in reality, even the memorization of doctrines, loud and monotonous
The noise was enough for an alternative young person to break away from the spirit of home.
Some have returned to their conservative roots, some are angry
still in that nursery. But Vuokko Hovatta, Niko Saarela, Sami
Uotila, Marja Salo and Hannes Suominen pulling a full neck
red flag songs are almost authentically reminiscent of the same way as
documentary clips are playing in the background. He doesn’t lack his breath, but he didn’t have the energy
the flag fly higher than that. What a strange country this Finland is, it’s all
lasted.
The Helsinki City Theatre’s scripts currently form the
even a miniature library. Even now, the editorial staff of the handbook should receive large
Thank you for the information package, which is solid stuff in words and pictures.
Belyakov’s Winter proves that theatre is needed to make history
in advance and afterwards. Tuomarila’s play is pure drama.
The auditorium of the City Theatre feels presumably antique. Amphine
In the middle of the world, we live in the heat of power and power, true and hazy ideology
at the center. This lasts all the way to the end of the ruins.