Translated material
Ugarov.doc
Tomorrow in Moscow they say goodbye to Mikhail Ugarov . At the request of Colta.ru, an outstanding director, playwright and theater ascetic recall those who, in different years, built with him the “theater.doc”, “Lyubimovka” and “New Drama”, and those who were a constant spectator of the institutions created by him.
Marina Razbuzhkina
Olga Shakina
Ivan Vyrypaev
Victor Ryzhakov
Love Kalloko
Elena Kovalskaya
Christina Matvienko
Alena Karas
Evgenia Shermenev
Ekaterina Bondarenko
Anton Khitrov
Evgeny Kazachkov
Marina Razbuzhkina
Director, Head of the Documentary and Theater School
Totus died
For the first time I heard about Misha Ugarov in the early 2000s.
Someone said: “Go to the play“ Rubber Off ”. Some Ugarov. "
I did not like the theater. And I still do not like him. This is my personal shameful story - cultural people ... But here are pounds. The best writer of the XIX century. Or maybe the best. And against him, his heroes are the rampant interpretations of Oblomov, this Dobrolyubovsky grin ... I gently loved Oblomov - a hero and man. His attachment to the sofa, food did not seem ridiculous to me. The Russian man is generally good when he is in Nega. Stolz was absolutely hated to me. He was not an enemy. He was in me, and I did not love him in myself. And here is the name: "Broat Off ." Either the metaphor - I do not like, or allegory - I hate, or postmodernism - mom, my stomach hurts, can I leave after the first action?
And some Ugarov is the author of the play and the director of the performance.
I don’t know what minute he took me by the throat, gave me under the breath - I grimaced, froze and sat in one pose the whole performance. They did not give me a minute for resistance. There, on the stage, life flowed so much like life, and at the same time it was a theater - I am not an idiot - here it is, a ramp. Ilya Ilyich was longing and had to die - I knew the book by heart. He could not avoid death, and all this happened in front of me, in reality, in the rhythm of a real person who chewed, yawned, scratched, dismissed from an unbearable fly. And no one was laughing at him there. I even thought that Oblomova was playing the author of the play and the director and he cannot allow himself to mock himself. It turned out to be almost true. After the performance, I was shown Ugarov. He looked like Volodya Skvortsov, a leading actor, as if an actor “sewed” for himself. It was on it a jacket, probably, velvet, although it seemed velvet. Real Sibarites do not need expensive things to look like in a king.
I returned home and drank a glass of vodka. I have not drank vodka before for five years, but for some reason it took to survive delight and excitement. Stolz sternly said in me: this is your man, you must meet him. And we met. And they began to make a school together.
I remember at the very beginning I told him about my dislike for the theater. And he asked: what would you like to see? Me: I would like to watch and watch two people sit at the table and drink tea. They just drink without talking.
We even tried with some kind of Dawgarovsky, the course to remove all this. As observing real people. The table, two, and there is tea, coffee or vodka - it does not matter. A few works turned out. Do not tear themselves away from them. Ugarov said: "And then we understand that they hate each other." Me: "Or in love." He: "No, better hate, this is more energy."
Then there were nine years of our common school. The last year was difficult. Irritation increased. He was sick, he was twisted by this situation with the theater and generally with life. It was impossible to remain Oblomov in it.
I opened the play today.
“ Arkady . Your disease is called - Totus .
Oblomov . What does it mean?
Arkady . This is a rare disease, there is almost no one left with her. You are probably alone. Everyone else is Pele-Mele , Tutti-Frutti , a mixture, neither that nor. But this allows them to survive. I have to tell you directly, because we are old friends ... Turn, Ilya Ilyich ... Your diagnosis is incompatible with life, and the forecast is almost zero ... You will die soon.
Oblomov . How, you say, is it called? Is this disease? Totus ? You confused me with your Latin ... it is not clear to me. What is - Totus ?
Arkady . Whole. A whole person. This cannot live.
Oblomov (after a pause). It's clear. Thank you. It’s good that you don't lie down. So better. And these nonsense with a medical secret ... It is good that you do not observe. Thank you too. (Pause. Grinked.) So, Pele-Mele will live? And Tutti-Frutti -too? Half a man, a quarter of a person, an octopus and one sixteenth - all are alive ... But poor Totus - no?
Arkady . No".
I did not have time to write a letter to him about the next set to school and traditionally ask: are you with us, Misha?
I returned from the ocean. Sakura gained color. I opened Facebook and read: Totus died.
Olga Shakina
film and theater critic
I got into the basement in three-breed at the invitation of Sasha’s artist: they just started showing the series “School” with her participation, and she said that she was playing in the play “But there are so many Ma-Ata”. I came to the production of Ugarov and Marat Gatsalov “Life was a success” (a year later, she will receive the first “ DOC ” “Golden Mask” in the history of “Theater.) And was shocked by literally everything - acting tongue twister, algebraic directivity, paradoxical dramaturgy Pavel Perezhko.
It turned out that a whole festival of new drama was held in this basement, and I went there in the hope of hearing a hundred plays of a hundred of the same bucks. Alas, for the most part, all this seemed to me by hellish graphomania - which did not interfere with the Ugarov after the readers, going on stage and starting discussion with the audience, to the pathetically call all the hell knows from where the authors came from by the dramators. With his ridiculous rounded pronunciation manner of pronunciation: he seemed to roll out every vowel from a hill of his throat - it turned out “Druamatvurg”. All this was terribly infuriated. Well, that stool is still a playwright then, you, too, Mikhail Yuryevich, name it, Drhaumatvurg. The text of Alkonovella was especially crashed into memory - different people tell how and what they thumped, and Drhaamatvurg writes it after them. I sat and gritted my teeth. After a couple of years, the author of Alkonovell will write Lyubov Kubomenko “Another year”, “What is my name” and “Nadezhda Plant”, becoming the main screenwriter of the new Russian cinema. And so it was all right: his teeth creaked around, and Ugarov calmly created something that was not.
It seemed to me that he gives the children who recorded on the recorder like a hostel or sketched a couple of awkward proposals about how they look thoughtfully in the mirror, too much advance. Then, in a dispute about teaching methods in theater universities, he suddenly thrown out of a liberal parent into an adherent of pedagogical tyranny (“Yes, the face in shit and about the table, so what?”). In the denial of theatrical dogmas, he turned out to be the most terrible dogma (“Decorations cannot be, costumes cannot be”), but on occasion, he calmly neglected his dogmas (“if you really want to, then you can”). In general, he was unknown to the philistine fear of contradictions. He did not like everything was smooth.
It was evident that the Ugarov did not succeed, not to get a rich spoosphere, not to cling to champagne with sponsors, but to clutch a plastic cup with vodka with their artists in a room behind the stage. After a busy frowning, after the performance, he suggested: “Let's go to have a khachapuri lodochka”-and if the team had one hundred rubles, he said: “I will buy you khachapuri.” His elements were-not a party, not a cocktail, not a lounge, excuse me, a party, but a party, gatherings, sabantuy and what are still pleasant old-fashioned designations of comfortable and extinguishing home events. There was no gloss in it. He was like a senior researcher: glasses, a shirt, a sweater stretched on his stomach. On this stomach, he folded his hands and said in his rounded voice: this play is so good that even bad, I am suspicious, I don’t like it. It was easy to mimic him, I often and with pleasure did it - and not only me. How is it too good to be bad? By what such law should the flawlessness be not accurate?
Our last conversation on Facebook was about a toy bear - director Zhenya Berkovich gave him an antique plush bear with an American garage sale. “Olya,” he wrote to me unexpectedly in the final of some caustic dispute. “Your bear is with me, he now plays in the performance of Doc.” The Medvedik closed the production at the recent sixteen years of the theater. Michael Yuryevich was a bear, but he looked more like a bird. His face was simultaneously defenseless and displeased. Plush smoothness of forms - and nervous bird plastic, disheveled, hindered the head in the shoulders. A drunk bird in a carnival costume of Mishka took off her over -eared head and holds her in her paws, in her hands.
He ordered his artists not to speak thunder-oh-o-o-o-o-oh and me-e-day, but quietly and quickly.
For some reason, he ordered himself quietly and quickly to leave.
Ivan Vyrypaev
playwright
Once, Mikhail Yuryevich and I were in a quarrel. More precisely, not that right in the quarrel, there was simply a misunderstanding due to the departure of the play “Oxygen” from the “Theater. DOC ”to the theater" Practice ".
And so we found ourselves together at some festival, I don’t remember exactly which one-but I remember that we met in the bar. And yes, we were drinking. Well, slightly. I remember exactly what is slightly, because actually I remember all this very well.
And there I decided that Mikhail Yuryevich is a person dear to me. It is not in the sense that we are friends (we were never particularly close), but precisely our native-in the sense that together they did something very important for us, that I owe many to many to him, and indeed ... in short, I knelt and kissed his shoes. By the way, he calmly reacted-as if it should have been so, maybe a little surprised, but in general normal. Then he looked at me - and understood everything. We hugged!
Dear Mikhail Yuryevich, kissing your legs. Thanks for everything.
Victor Ryzhakov
Director, artistic director of the Center. Meyerhold
... Mikhail Yuryevich Ugarov ... Mikhail Yuryevich ... "And he, rebellious, asks the storm, / as if there is peace in the storms!"
Familiar to the pain of rhyme ... Rhymes of time ... How strange time leaves its special marks, denoting the end of one era and the beginning of a new one. One day, Pavel Rudnev’s book “Drama of Memory. Essays on the history of Russian drama. 1950-2010s ”and there was no one of the main actors of this time.
M.Yu. - This is a distinct sign of the departing time, called the theater -studied language “New Drama”. Not being a man of this era, he painstakingly, everydayly created it, cheated, remade, created, breeding all of us a new attitude to theatrical reality, achieving qualitative changes in the perception of ethical and aesthetic.
Not possessing any frightening position, it has become an unconditional authority of the whole theater generation. He opened, refuted, violated, revealed, fixed, rebelled, denied, turned over, shocked, recreated, supported, destroyed, vaccinated, selected, and overthrow - not to count the verbs that determined his purposeful creative action.
The texts of Goncharov, Chekhov, Tolstoy ... unprecedentedly and uncompromisingly put the theatrical business in “Theater, are masterfully returned and incredibly returned to today's reality. doc "; laboratories in Yasnaya Polyana, collecting playwrights and young directors from different parts of Russia; Festivals "Lyubimovka" and "New Drama", without pathos and shocking, which laid the foundation for a new format for representing a dramatic text; original educational programs with Marina Razbuzhkina; Performances at the Central House of Arts, Moscow Art Theater, “Theater. DOC ”, woven from a cruel time ringing outside the windows.
Endless professional communication and mentoring-without arrogance and only on equal terms, crowds of students and suffering just such theatrical experience ... Starting with “zero position”-this concept introduced into the process of dramatic text has become determining for the new generation of directors and artists who take their first theatrical steps in the Gremin theater specially created for this.
The playwright can grow only in the theater - but in a theater where everything has returned to its origins, where the attitude to the text now has a dominant meaning. Askise and immersion in a time document, an attempt to hear “today”, without distorting and not violating its intonation. "The new theater is a new communication, a new language is looking for in reality an unheard of life, in its very epicenter ..."
In 2002, in the theater basement in the center of Moscow, Ivan, Arina and Ira (Vyrypaev, Marakulin, Rodionov) glued the walls with black non -woven and released their first performance “Oxygen”, not thinking about the fact that the fate was already destined to become a “rebellious outpost of the new theater era”, the most important part of the great history of the Russian theater.
M.Yu. As if he knew this, so he lived contrary to, across, even then ready to change our theatrical being. He achieved this. We all, each in their own way, lived one very difficult and very happy life, conceived and embodied by this special person.
Silence.
Love Kalloko
Dramaturg, screenwriter
Ugarov was constantly surrounded by people in love with him. Lovers - and quite awkwardly hiding. Just with M.Yu. Somehow it was especially embarrassing to be sentimental. All reverent feelings had to be packaged in the game form, in the irony, well, well, because the unimaginated, all this enormous volume of love would simply spread into meaningless snotty flood. Why drown a dear professor? Professors must be protected.
Professor and Sasha Denisova and I nicknamed Ugarov after he played Professor Tirsa in the Kurochkinsky “Bento Bonchev class”. The role was incredibly walked. I never lagged behind M.Yu. With this "professor", although he opposed and grumbled - for nine years. Maybe he flirted, or maybe really did not like it.
I - and everyone, I think - terribly pleased any attention: it doesn’t matter whether I praised or scolded it. Moreover, he cursed brilliantly. I do not know anyone who would be so charming in anger. There are people who live all their lives as if at room temperature, not cold and not hot, but M.Yu. - On the contrary, out of moderation. He, in principle, despised moderation. Sterility, correctness, caution. Herbalism. Boredom. Heartfelt laziness. Lack of curiosity and temperament. He despised - and successfully fought, simply by the fact, method and intonation of his existence. I just went into the room - and this is no longer a boring room. I went into your life - and this is no longer a boring life.
Elena Kovalskaya
Theater critic, art director of the center named after Meyerhold
It’s too early to remember Ugarov. He is not yet forgotten to remember him. I’m trying to cover his deeds now, which so inspired me all twenty years of our acquaintance, trying to find a definition of him - and, as always, unsuccessfully.
In the "New Drama" - the main event in the theater of the era of change - Ugarov played all the roles at once. And he played exclusively. Ugarov for the “New Drama” was his own father, playwright, director, organizer, theorist, teacher. A postmodernist and critic of postmodern, a critic of power and builder of informal institutions. They are with Elena Gremina "Theater. DOC ”became a point in Moscow, where people of common interests met and talked - artists who make changes, and the audience requiring change. He was obsessed with changes.
In December 2011, when “Theater. DOC ”toured in Italy, and the first rallies were held in Moscow, he writes in his LJ :“ I really hit it ... I got events in Moscow, and I am sitting in Florence. Michelangelo was examined by the throat. I spend the main part of the day behind a bad Internet, and outside the window is the Ponte-Verko bridge. ”
And three days later:
“Today I received the Prize of the Moscow Helsinki Group in the field of human rights protection for 2011. My nomination is “Protection of human rights by means of culture and art”. They presented white roses - in honor of white ribbons. I said that art should educate a person with the need and willingness for freedom, because not everyone has them and they are simply not given. ”
At this ceremony, he was most likely embarrassed. He had nothing to talk about with the peers. His company was twice as young. He sincerely was friends with the intellectual and paradoxical Max Kurochkin. At Lyubimovka, they were witty in public, and the glory of the Durnenkov behind them explained to young playwrights from the hinterland, why the Ugarov’s diary is called the “Society of the performance” and who is Gi deibor. But once I listened to what Ugarov laughs with the artist Stam ... He sounded, to put it mildly, like a boy.
Search for Ugarov Definition is not in Ugar. "The main intellectual task is to resist the concept." He did not have a shortage in the artists-senity artists. But he lacked the response outside. Criticism could not cope with this.
He said that the “new drama” lacks Kenneth Tienen - and quite fairly. Secret is a British critic and a brilliant writer who appointed “angry young” geniuses of his time-the 50s and 60s, and then explained what was the matter.
We, Russian critics, were too normative, uneducated and cautious for the “new drama”. Wildly poisonous and definitely he laughs at us in his LiveJournal. Signature under a photograph of a group of critics: “Here it is, the moment! The search for a collective unconscious. What to write? How not to get into fools? A! What a stress! "
What is true, it’s true, Misha. Your business, your plays and views we still have to study. You, Misha, were always ahead. Now you stopped forward completely.
Christina Matvienko
Theater, curator, art director of the New Drama festival
В 2000 году Олег Лоевский отправил меня вместо себя в командировку в Сибирь — на фестиваль Sib- Altera , который делала Виктория Холодова: в театрах и в подвалах показывали странные, дикие спектакли по новым текстам. Я была «питерская», а костяк делегации составляли «москвичи» — как раз во главе с Угаровым. Это была замечательная компания, лишенная театральной игривости, но очень легкая и серьезная одновременно. Наталья Ворожбит, Максим Курочкин, Иван Угаров, Мария Кузьмина, Александр Родионов издевались надо мной как над театроведкой и объясняли, почему пьеса, написанная никому не известным автором против законов и канонов, — это важно как живое свидетельство, как знание о времени.
Мы исходили вдоль и поперек Красноярск, Новосибирск и Омск. Я поняла, что Угаров — мотор «новой драмы», а значит, «новой драме» как движению обеспечены риски и нонконформизм. Тогда я совершила самый важный выбор в своей жизни — абсолютно по любви.
Потом вместе мы сделали очень и очень многое — в том числе и в самых непогодных условиях. Но я всегда знала: если в «делегации» есть Миша, все получится — «порвем» Пермь, Киров и даже Питер. Ценой крови, приводов в милицию, скандальных текстов в местной прессе, избитого Клавдиева — но и драгоценного вещества искусства: «новая драма» стоила на тот момент всего остального театра.
Угаров повернул руль театрального процесса в другую сторону, заразив всех духом свободы и поиска. Невозможно поверить в то, что будущее — без него.
Alena Karas
театральный критик
Я знала Мишу давно, еще со времен «Городского романса» , да нет — даже раньше, наверное. Мне казалось — всегда. Но вместе с «Новой драмой», лабораториями Royal Court и, конечно, «Театром. doc » сопротивляться его харизме уже не могла. Поэтому, когда Миша и Лена Ковальская предложили мне поехать в Ясную Поляну на лабораторию, — была счастлива.
Какое же это было счастье! Такой язвительный, ироничный, очень жестко порой экспериментировавший над людьми, Миша создавал мощное поле человеческого и интеллектуального общения. Никогда не забуду, как, приехав в Ясную ближе к ночи, застала во дворе перед гостиницей кружком сидящих людей с Мишей во главе. Он как-то очень горячо спорил с Пашей Пряжко. Во всем этом был Миша, человек, который, бесконечно откладывая собственные замыслы, поддерживал, увлекал, инициировал, провоцировал, восхищался и в итоге — создал вокруг себя мир свободы и правды. Это и есть наш мир — и вся наша жизнь.
Евгения Шерменева
театральный продюсер
За последние дни так много написано важного и необходимого про Михаила Угарова, что трудно снова подбирать слова.
Для меня самым главным в том, что сделал Михаил Юрьевич, стало строительство — не зданий, не стен, а новой структуры, основанной на доверии, общей любви к театру и несомненном интересе к человеку.
Угаров — абсолютный человек нового времени, времени горизонтальных связей, обмена опытом и информацией, свободы и знания. Он опередил эти новые тенденции, пока не пришедшие в повседневную жизнь, — но создал вокруг себя и «Театра. doc », который он придумал вместе со своей семьей, собственную вселенную, где эти правила действовали.
Он писал, ставил и снимал, читал лекции, разговаривал с актерами, режиссерами, критиками. Разъяснял свои правила жизни публично, никогда не отказываясь выступать на радио, телевидении, перед любой аудиторией.
Могло показаться, что «Театр. doc » и идеи Угарова проигрывали, что их вытесняли шаг за шагом из разных мест — начиная с Центра драматургии и режиссуры и заканчивая сменой подвалов «Театра. doc », но это не так. Просто у большого, талантливого человека больше сил и идей, чтобы находить новые пути, а те, кому нечего предъявить будущему, используют чужие места и мысли — и все равно губят захваченное.
Михаил Юрьевич был большим, талантливым человеком. Он был учителем и экспериментатором — не только в искусстве, но и в обычной жизни. Поэтому рядом с ним, в его поле влияния выросло так много необыкновенных людей. Все это поколение. doc — несомненная основа ответственного, яркого, открытого общества, которым станет когда-нибудь вся страна, где родился Михаил Угаров.
Екатерина Бондаренко
драматург, в 2012—2013 гг. — заместитель художественного руководителя «Театра.doc » , в 2013—2016 гг. — шеф-драматург Новой сцены Александринского театра
Благодаря Угарову я начала заниматься театром. В 2012 году меня, еще работавшую в журнале The New Times , пригласили принять участие в сборе документального материала для спектакля «Час восемнадцать». Так состоялась первая встреча с «Театром. doc » — удивительно открытой структурой, горизонтальной средой, которая впитывала в себя всех — и никого не считала чужаками. Было не так уж важно, кто ты по образованию и по профессии, — важна была твоя зажженность тем, что ты делаешь. Взаимодействие с Угаровым изменило меня кардинально — появилась возможность остановиться и сфокусироваться на том, чем я по-настоящему хотела заниматься в жизни.
Когда я переехала в Петербург, Угаров страшно на меня обиделся — я была и остаюсь «человеком из подвала», но он очень ценил верность «Театру. doc ". Помню, как он сказал мне со своей характерной интонацией: «Катя, никогда не думал, что вы настолько женщина». А потом театр приехал на большие гастроли в Петербург, мы впервые увиделись с Михаилом Юрьевичем после долгого перерыва — и тогда у меня возникло абсолютное ощущение встречи с семьей, с родными.
Теперь его нет — и наша жизнь как будто лишилась несущей стены.
Он был настоящим рулевым. Человеком, который всегда будет за тебя, несмотря ни на что.
Антон Хитров
театральный критик
На самом деле никаких законченных историй про Угарова у меня нет, хотя воспоминаний — много. Не только спектакли, читки, дискуссии, но и отдельные его посты, замечания, наблюдения. Я завидовал его способности найти проблему — театральную, социальную, психологическую — и точно, лаконично описать ее. По натуре он был независимым наблюдателем, исследователем, всегда снаружи, всегда со стороны. Если подумать, на меня влияли не столько его спектакли (хотя я считаю его блестящим, важным и на сто процентов современным режиссером), сколько вот эти его критичные посты в Фейсбуке. Он умудрялся быть одновременно очень крутым и очень трогательным. Мечтал завести собаку. Любил медведей. Не любил котов. Злился, что все зовут его не Михаил, а Михаил Юрьевич.
Я помню, мы как-то были на лаборатории в Суздале, которую организовала Аня Саррэ. Лаборатория была на тему «труд», и он ворчал, что все режиссеры заходят с одной и той же стороны — через советскую идеологию, все увлечены формой, самовыражением, никто не занимается самой проблемой. Он был весь в этом — в убежденности, что художник должен интересоваться миром, а не репрезентацией себя.
Евгений Казачков
драматург, член арт-дирекции фестиваля «Любимовка»
Я познакомился с Михаилом Юрьевичем в сентябре 2006 года, когда моя первая пьеса попала в программу фестиваля «Любимовка». Угаров произвел на меня впечатление добродушного лукавого весельчака, требующего от тебя, в первую очередь, искренности. Потом были еще «Любимовки», были лаборатории в Никольском-Вяземском, где Угаров знакомил и соединял драматургов и режиссеров, были поездки в Польшу и Финляндию, где мы работали с местными авторами над общими проектами. Присутствие Угарова всегда вдохновляло, его направляющая рука никогда не была диктатом, во всем ощущались игра и дух свободы. Он говорил: «Позвольте себе наконец делать полную *** (ерунду. — Ред. ). Иначе ничего не получится».
Всегда казалось, что мы в долгу перед Михаилом Юрьевичем. Но отдавать этот долг нужно не ему, а среде, которую он создает вокруг себя. Когда «Любимовку» передали новой команде — Анне Банасюкевич, Михаилу Дурненкову и мне, мы как будто приняли одну из лучинок, которая стала ярче гореть в руках Угарова. And "Theater. doc » стал настоящим домом с открытыми дверями для стольких людей, что два вынужденных переезда оказались общим делом, сплотившим нас еще сильнее.
Фраза «ушла эпоха» неприменима к Угарову. Он не был персоналистским лидером, замыкавшим на себе все процессы. Он не хранил в секрете никаких технологий. Он не пользовался тайными каналами связи с сильными мира сего. Он подавал каждому пример независимости и умения объединяться на добровольных началах. Его дело, его идеи, его пьесы, его спектакли, его кино, его дух, его энергия, его ученики — здесь. Его эпоха продолжается.