"Without plans for the future to honor the past stupid"

In the metropolitan center of drama and directing, the troupe was collected, which was first held by Vladimir Pankov, a director, musician, founder of Soundrama and the father of the synthetic theater genre of the same name. His appointment by the director of the long-suffering Central District Hospital, who survived his Golden Age in the early 2000s in the early 2000s and had gone to their former glory in recent years, was the most loud personnel decision of the current theater offseason-Pankov's predecessor Dmitry Palagut, who headed the theater since 2012, became a defendant in the criminal case and considered it the best to resign in the late spring. In the best years of the theater, the synthetic artist Pankov, who has gone to the stage, promises to attract young people in the best years of the theater, is going to put the play of Kazantsev “Old House” and tells Colta.ru how he feels in a new role.

- The Central House of Artists is located on the sites inhabited by the spirits of great people: departed - the founders of Alexei Kazantsev and Mikhail Roshchin - and the now alive Anatoly Vasiliev, who worked in the legendary room on 20, where your office is now ...

- ... By the way, you forgot about the chamber musical theater of Boris Pokrovsky, the first dwelling of which was just our scene on the Falcon.

- Will you agree with these spirits, fight, communicate?

- I will give an example from the region adjacent to the theater - traditional Russian music to which I do: there is a certain canon, there is a practice of authentic performance, but there is a history of development and changes. If you perceive the tradition and spirit of teachers as a museum object, you will remain in the museum, you will be preserved and you will not develop. If you deny and discard tradition from the ship of our time, you will be left without a base, without the past. I had a folklore teacher, Baba Dasha. Once I let her listen to her song in modern processing. She in response thoughtfully said: you know, Volodya, you have to keep up with the times - do not jump out and do not lag. This is the most correct position, it seems to me: to honor the past, but not to live in it. And these rules are fully extrapolated to the theater. Not only without the past there is no future, but without plans for the future to honor the past ... Stupid.

- The CDR is considered the cradle of the Russian “New Drama” - Alexei Kazantsev purposefully gathered young directors here, who replaced him Mikhail Ugarov turned this place actually into a laboratory, into an incubator of talents. What course do you plan to keep?

-The first thing, which, it seems to me, needs to be done is to create a directing group for young directors. And what exactly is not necessary to do in the Central House of Artists, so it is a classic - this theater is genetically focused on modern texts: Czechov in the Moscow Art Theater, go watch. After modern texts, you can try to approach the drama of the Soviet. From it - to the 19th century and so on, up to the ancient classics. The opposite movement should arise - not to pray for the classics, but to follow its understanding from modernity. And then we put Antigon, completely not realizing what we say about what we see in it - we seem to be already respected for only one appeal to such a venerable text.

- I’ll ask more directly: how are you going to work with the troupe?

-Alexei Nikolaevich Kazantsev never formed the theater, the theater-skewruda-sknels and a large troupe. Artists always gathered here who lacked something on a big stage. Then it became clear that there was an active movement in the CDR-and people began to come here because it was a good springboard for some next step. And in general: for the theater, whether we like it or not, it is not so important whether you have a work book in the personnel department or not - it is much more important whether the actor is what to talk about with the director. By the way, I have no ambitions at all costs to put up a performance-they say, and now I will take such and such an author and so I will put it that everyone is staggering! I am interested in something else: as artists - or students - exist on the stage, about which today they say among themselves, what worries them. This is the performance!

-That is, the troupe is still worth waiting for change?

- Now in the state of the Central House of Artists, thirty artists. Mass dismissals, God forbid, we do not plan. The one who will be interested in us will remain. Who will not will leave and find for himself what suits him. We will not survive anyone.

One must not forget about the viewer - but it is also impossible to bend under him.

- How radically will the HCR poster radically change? Opening the electric power, Boris Yukhananov closed the drama theater for a year and a half. Stanislavsky and shot all the performances from the repertoire.

- Completely update the poster - it’s good when there is such an opportunity and a financial resource in order to prepare a new repertoire for two years. We do not have such an opportunity - but we can smoothly change the context, putting existing performances next to the new ones. And this seems to be a good strategy.

- In what relations will the brands “CDR” and “Theater of Vladimir Pankov” be located? In the Central House of Artists, they will now come to the “soundrama”-or will you have to match the expectations of all those who, relatively speaking, “ knew the Central House of Writing to others” and is full of some expectations and hopes for his revival?

- But there is no such phenomenon - “Pankov theater”. And the “Soundrama Theater” is not there either: there is such a genre, a technique. The words "theater" are quite enough, I personally plan to engage in them, and do not talk at all about the specific gravity of a particular brand; Let's leave this to those who are responsible for PR and marketing. Of course, a lot depends on who at the helm - who leads, he answers ... But I constantly hit myself in the hands, so as not to start talking in phrases in the spirit of "I am a director, we do as I said." I perfectly remember the only moment when I did so-it was on the production of the "Transition". I said so - and ... in general, for two places in this performance I am still ashamed.

-You are now uniting this production with the play-almanac “ Moscow-Open City ” , which in 1999 was opened ...

- Yes, it seemed to me that they have some kind of structural semblance, that they are very similar. Let's see what comes out.

- But it does not seem to you that “ Moscow ... ” and “ transition ” went out at a completely different time - when they were waiting and when they caused resonance? Now the times in this sense are much deaf: the authorities are looking at the theater with a wolf, dismisses directors and artists, and the public has no such thirst as before.

- There are no good times for the theater. There is a psychological age and there is a biological age - then I and you were less than years, we just became older, so it seems to us that "times are not the same." This sensation cannot be succumbed to: if you accept for a given, that “time is deaf”, then you quietly begin to proceed from this in work. And this is immediately reflected on it! There have always been a theater for entertainment and a theater for thought, boulevard - and copyright ...

- How will the boulevard and author's theaters correlate in your poster? What does the CDR plans to make money, and what will the reputation make?

- As soon as we say that, they say, we will make this performance for money now, but we will affirm ourselves in eternity, - here we are all the end. This is, in fact, a completely inhuman attitude to the audience! The principle, I think, should be this: we create a performance without any discounts “on the viewer”, as if for ourselves. But at the same time, you should always think about where to make supports for understanding and perception of the public. One must not forget about the viewer - but it is also impossible to bend under him. Yes, you can speak difficult, difficult - but if you do not try to understand you ... Well, then you are just drawn. For example, we go abroad - and when we need to convey our words to foreign interlocutors, we make certain efforts: we select words, help ourselves with gestures ... In our business we need to do the same. And, of course, it is impossible to share according to the similar principle of the site - here we have commercial performances, but here we are articulously self -exposing ...

- But you just said in an interview that the Small Hall of the Kinopat theater belonging to the Central House of Arts in Small Kozikhinsky want to give to the “ poetry theater ” , no matter what it means. What will happen to the rest of the sites?

- We have two large halls - on the “running” and on the “falcon”. And a few more small ones - including the film Prospekl Theater. And we must work everywhere, and not to share: here director Klim works here, here they show Contemporary Dance , and here is the physical theater. There must be a common brew - and the viewer, if he sees that this brew is in full swing, will come to us himself simply because we will be interested.