Krymov is not ours: the new theater season began with a shake-up
[ad_1]
The new theatrical season for the capital’s theaters began with more than a serious shake-up. So far, for those whose posters include performances by director Dmitry Krymov, who is currently in the United States.
The master is there, the performances are here – how so? Disorder! And now the performances of one of the most interesting directors of our time have been blown away from the repertoire of several metropolitan theaters at once – the Pyotr Fomenko Workshop, named after A.S. Pushkin, the School of Modern Drama, the School of Dramatic Art and the theater campaign of Leonid Roberman. What is happening in the theater kingdom of Moscow? Political foresight or shortsightedness of those who made such a decision? And Krymov is only the beginning? The theatrical reviewer “MK” tried to find answers to these questions.
This story, which will be remembered as the Crimean campaign (not to be confused with the Crimean campaign), it must be said, is completely mysterious. As I managed to find out, the artistic directors or directors of the aforementioned theaters did not receive orders or any other paper carriers in this regard. Only a verbal order, received from the Department of Culture, but, obviously, of a nature that is stronger than any written document – not to discuss, to suspend. Bye. And for how long? Apparently, until further notice, if any.
And all the tickets have long been sold, they can’t be obtained at all, and the theater managers have no choice but to calculate the losses. After all, the Krymov performances, what to hide, the breadwinners: “Mozart. “Don Juan”. Dress rehearsal”, “Kostik”, “Everything is here” and two performances based on Ostrovsky in ShDI, “Two” are bestsellers. The directors are shocked: the economy – an important point of the theater – was limping at the beginning of the season. But after all, the Department of Culture strictly asks the theaters to fulfill the “road quart” – sales, salaries, etc. And then, it turns out, he himself is spinning a hole in their pocket. But theater, like art and culture, is not only and not so much about money.
Let’s ask ourselves a question – what will happen with the departure from the theatrical field of Krymov’s performances? For some – nothing: this bread and stupid entertainment give. How to explain that the work of the son of Anatoly Efros is … always a new and unexpected note, color, thought, without which the overall picture of our theater loses a lot. By depriving them of Moscow, they punish not so much the artist as Moscow itself, its theaters and artists. Or maybe Anatoly Efros and Natalya Krymova, whose memory their son dedicated the play “Everything is Here”. And Efros, let me remind the enthusiasts of cultural prohibitions, after his death long ago and deservedly placed on the banner of the Russian psychological theater. How to deal with it? Dad is also banned, since such a “drink” has gone.
But the amazing thing is nearby: in the theaters of federal subordination, that is, the Ministry of Culture, no one touches Krymov’s performances. One of them is “Seryozha” in the Moscow Art Theater. Chekhov – even preparing to go on tour. At the Theater of Nations, the play “Mu-Mu” seems to be on the poster for now. Where is the logic? Is the ban on Krymov arranged on a territorial basis? In Moscow, Moscow is not allowed, but federal please? And in other cities, away from the capital, is it still possible to play a little? Maybe it should be suspended everywhere, so that the heads of theaters and the population who buy tickets to them understand what is what and for what?
Otherwise, from the outside, the campaign to suspend the performances of one director looks like a set-up of artistic directors and directors, first of all, of the capital’s theaters: they are uniform weaklings who did not defend their performances compared to the principled federals, who stood up with their breasts to protect the interests of Krymov and their teams? Of course, this is not so. “We obey in order to save theaters and artists,” this is approximately the general opinion of artistic directors who have lost the performances of the disgraced artist. “All the talk that we have not defended is groundless, but in the eyes of people it turns out that we are voluntarily losing our performances.”
It is clear that times are difficult today: mistakes and vain sacrifices are the law of time. But in order not to harm your country, it would be good to act sensibly, make decisions calmly, and not arrange a senseless fever, the consequences of which – artistic and economic – will be irreversible.
Moscow is truly a theatrical kingdom, a trump card of the city and the country, which cannot be beaten by any capital of the world either in terms of the number of theaters or their diverse offer. So, anyway, it was until recently. But it seems that the deputy requests, based on the letters of the working people, want to deprive us of this precious card. That she was – then they will not believe.
PS By the way, no one knows why Dmitry Krymov was chosen first and according to what criteria: who left? Didn’t he say something? For reference: Dmitry Anatolyevich Krymov went to the USA to stage The Cherry Orchard according to A.P. Chekhov in accordance with all agreements even before the start of the NWO and the total ban in the USA and in the West of all Russian, but then he decided to stay there.
Newspaper headline:
Krymov is not ours?
[ad_2]
Source link
