"The personality ceases to be important"

Aleksey Borodin Khudruk Ramta Extra returned to Moscow

He did not sleep for thirty hours and right from the plane went to court for Kalanchevka. On Friday, in Basmann, the next measure of detention was “discussed”. This time a beautiful young woman sat in the cage, who knows and respects the whole theater capital, and the country. Alexey Borodin, artistic director of Ramta, gave a comment to Novaya, just returning from a court session, which sent Director Ramt Sofu Apfelbaum for house arrest. Until December 26.

- How will Ramt exist without a director? Who will all this fall on?

- Who will fall on ...

Borodin keeps a pause, does not drink coffee, which the assistant immediately put before him. The theatrical environment is rich in wonderful people, but so crystal as his, a few reputation. He is very tired, this is visible, but not upset, more angry.

- Sofya Mikhailovna came two and a half years ago. And with her a special atmosphere entered the theater, filling the entire directorate. She is a luminous person, joy and light just come from her. Everything that happens on stage and behind the scenes, all this is the theater Brownian movement, she filled her energy. And the theater lasts only on energy. Including the energy of the director; This is an important creative work. The activity is continuous. From morning to night.

- The director must be an ally.

- That's right. In the theater, people who understand, feel life as a humanistic action. Sophia Mikhailovna has a complete understanding of what a creative process is. Not only is she educated, with experience, it’s very interesting to just talk to her. I share my ideas, she reflects how to do all this: she is a person who knows how to transform space. The theater is not the place where the order is planted, here it should arise as harmony. And all this is connected with her. Of course, we believe and hope that in two months it will return. And for two months we will somehow hold out.

- You staged a play about the Nuremberg process, what have you experienced when you find yourself in a real judicial situation?

- I am a strong impression. A completely new experience. For the first time, I saw people who live some of their own, but quite obviously a given life. The complete impression of absolute specification in everything. I do not judge the professional qualities of these people, I just see the performers of roles in the play: it is clear how it will end and what it will be. The performance in which everything is a foregone conclusion.

- Does the director's eye immediately distinguish this?

- Certainly! And when something was listed from their point of view, it was obvious-all this was squeezed out, squeezed out.

- You talked with Sofia Mikhailovna when she still worked in the ministry?

- Almost no. Our then director talked with her, I just knew about her, as they say, the good name. And then, when she left the Ministry of Culture, I was very recommended (such a valuable frame rarely appears in the labor market) - and I offered her work.

- What do you think about the new role of justice in the Russian theater?

- It seems to me that there is a global crowding out, global substitution. After all, what is the theater for? As the arrows said wonderful - for a person, in the name of man, about a man. But what kind of person are we talking about here? The personality from all this is generally deleted. It is not taken into account at all. The personality ceases to be important. I am also amazed at the lists of people who signed the guarantee for different participants in the process; Only this situation could collect them, people, behind whom there are reputations, merits, and accomplishment. And what? Nothing!

The word "justice" is addressed to a person, to his right to truth. But when a “criminal organization”, “planned crime” is said through the word - and all this is before court, and all this is not proved when the honest and brighter person is put in a cage, they begin to humiliate - everything begins to boil inside me. I cannot see how people are humiliated.

- The theater you are doing, and political too. Do you feel yourself inside the plot now?

“I don't think about it.” Just when I feel injustice, I feel my skin when it begins to soak in the air of the streets ... What my soul does not take in any way is conformism. I think all my performances are connected with this. With a protest against everyone to line up in one row, so that everything is as it should. Art cannot be subject to all this. As soon as it becomes subject, it ceases to be art in general.

- What to do the theater?

- Work. The theater is to rehearse and put up performances. Honest. Honesty is generally the most important in relation to everything. I remember the intonation of Eibozhenko in the film “For the rest of my life”, I listened to this monologue a hundred times and rewound: “Fire!” This intonation of Peter Naumovich Fomenko, which he handed over to the actor.

- You have long, I know, were going to fly to my son. And in the end, how much did you stay in New York?

- One and a half days. And we have not seen each other for more than a year.