The monk is Alyosha, youngest of the three legitimate sons of Fyodor Karamazov, an avaricious “buffoon” who wallows in sin and is murdered by one—or more—or all—of his offspring. Karamazov has a fourth, illegitimate son, Smerdyakov, an epileptic servant whose mother, a homeless halfwit, he raped. The story of patricide has the outline of a country-house murder mystery.
Set in the mid-19th century, “The Brothers Karamazov”, wrote Dostoyevsky, was only the first part of a “life-chronicle” of Alyosha. “The principal novel is the second—an account of my hero’s doings in our own times, that is to say, at our present-day current moment.” The book was published in 1880; Dostoyevsky died that winter and never revealed what happens to Alyosha in the “present day”.
Not only will Alyosha fail to save the world; in the play, at least, he discovers that it is not worth saving. He learns that all these people who profess to live, die and kill for love in fact love nobody. As for himself, “the more I love humanity in general, the less I love man in particular.” He is the ultimate Karamazov brother, he realises, the embodiment of all three in one.
Mr Dodin reveres their theatre and shares its aim of excavating the truth. But he does not open any biblical doors. There are no Easter bells. There is no God and no devil here, “only destiny”, as Smerdyakov says when confessing to finishing off old Karamazov. Doubling as a suicide-note, his speech is addressed as much to the audience as to his brothers: “You are very clever.
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