ABSTRACT
Dramatic imperfections were overshadowed by the success of the scenography. Vladimir Nemirovich-Danchenko play, In Dreams turned out to be relatively banal, the production was a remarkable moment in Viktor Simov’s creative achievements. Viktor Simov conceived the idea of depicting Pavel Famusov’s house as a monumental fortress. The scenic design of Wit’s End marked a further step toward simplicity and the internal dynamism of planning – greater and lesser details, which had begun with Julius Caesar and The Lower Depths. The design of the scene “Godunov’s Throne Room” is straightforward, but the visual solution lies in Viktor Simov’s use of color. Aleksey Konstantinovich Tolstoy’s play vividly embodies the principles of a holistic dynamic, with its sharply contrasting comparisons of scenes. The hanging picture has diminished in scale, but in front of it there appears a sparkling chandelier, once again emphasizing the remnants of expensive furnishing.
