The satirical story “Heart of a Dog”, which is often equated with science fiction, was written by the Russian medically trained writer Mikhail Bulgakov almost 100 years ago. The ironic story of the transformation of a dog into a man seemed unacceptable to the censors of that time, and Bulgakov was forbidden to publish it. A wider audience got acquainted with the relationship between Professor Preobrazhensky and the proletarian Sharikov only in the 60s of the last century.
“I find this work very profound and it explores human nature. Why is the desire to rule and become a power a stronger instinct than moral ethics and other things?” says production manager Dmitrijs Petrenko about the job.
“Bulgakov is very cinematic and cuts the text himself, like a doctor, and glues it together frame by frame. A comedy or drama of this kind is a good interlocutor of conversation, which is wonderful to get into,” says the artist of the show, production designer Reinis Dzudzilo.
The director of the play admits that this play can be read as an instruction to live in society. The difference between the intelligentsia and the proletariat in Russia, described in detail by the author, quite directly corresponds to what is happening in modern society.
“I was interested in the moral responsibility of the scientist for what he has done in this work. We already know that scientists start doing strange things out of ambition, interest or fame. Is this necessary? I believe it is a real topic. It is responsibility before humanity ”says Dmitriys Petrenko.
The production is done with a minimalist aesthetic, carefully highlighting Bulgakov’s lyrics. The music of the composer Anna Fischer plays an important role in the atmosphere of the show.
“I was very inspired by Prokofiev and Shostakovich. And I tried to make music in that style. I also used the cello, which created a bit of a strange atmosphere,” reveals the composer.
“Heart of a Dog” gained its greatest popularity in 1988, when a television film directed by Vladimir Bortko appeared on the screens of the former Soviet Union. For many, this version of Bulgakov’s story is still vividly remembered.
“After the famous film with Yevgeniy Yevstigneev, it’s almost impossible to overdo it. But we had to try. The director found another way out, but I think it was a dead end. theatre,” commented cultural journalist Andrejs after seeing the Shavray show.
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