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Поток актерской энергии воссоединялся с нервной энергетикой зрительного зала, и возникал акт совместного театрального экстаза, взаимного и глубокого контакта на разных уровнях сопереживания. Мы играли каждый день, но наши парижские спектакли так и не превратились у нас в механическое действо, не обросли чисто техническими имитациями жизненных процессов.
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...Each performance saw increasingly many Russian spectators at the Espace Cardin. We knew that our production was very moving, even to tears, but I had never seen such blubbered eyes at our performances before. During the scene when Rezanov and Concita say farewell to each other, some of our compatriots who had lost their motherland wept violently. The auditorium was not large; it fast, sometimes in the manner of an explosion, filled with a kind of bio-electric current. When the current of the actor's energy encountered the nervous energy of the audience, the actors and the audience entered a period of joint theatrical ecstasy and of a reciprocal, profound contact on various levels of empathy. We performed every day; nevertheless, our Paris performances did not turn into mechanical acts and into purely technical imitations of life processes. We felt as if we represented Russian theatre school, and we were very proud of our reserves of energy and inspiration. The second half of our tour saw many permanent spectators who would watch our production many times; some of the Russian Parisians brought their children, sometimes as little as five or six years old, and explained to them that they must remember everything they saw on the stage, because the stage featured the true Russian language and the true Russian poetry..."
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