Translated material
Garmash leaves. The theater is returning
Marina Neelova - “new”: “pathos defending the traditions of the“ contemporary ”has nothing to do with it.” Comments on the beginning of the theater season
Four months of quarantine thoroughly changed the theater from the inside. What remains unchanged is the main message of time: of all the arts, the most important is the scandal for us. In the postcarantine pause behind the scenes of the two largest theaters of the capital, protests, disagreement, and discord were hot. On August 1, work is officially allowed, service and theatrical magic (who is capable)
Sergei Garmash left the Contemporary . In a letter addressed to the troupe, he called the appointment of Viktor Ryzhakov as the chief director “catastrophic for the future theater”, and his policy was “a series of monstrous and immoral acts”. However, looking at the smiling face of Viktor Ryzhakov at a recent press conference in TASS, no one would suspect that in the “contemporary” a split: “The proposed circumstances are more united”, “We have never been afraid of difficulties”, “I just need to fit into these energies.”
As Ryzhakov actually fit, it is not yet quite clear: he had too little time to build tactics and strategies. Only he announced that the season is dedicated to the memory of Galina Borisovna Volchek, as the quarantine began. And just Garmash quarantine months used actively: in different power offices - both in the Department of Culture of Moscow, and in the president’s administration itself - with all his inherent talent explained to which Ryzhakov was not suitable for the role of the leader of the “contemporary”, how he did not respect the heritage - and the theater began to destroy, and the personal account of Galina Borisovna ... Until late, we must change everything!
Well, the artist is highly reliable, the artist was drawn to believe him. But it remained completely incomprehensible when Ryzhakov managed to turn around like that. Moreover, to rehearse a new play by a Grishkovtsy, the premiere of which is scheduled for October. And most importantly: not everyone in the team agrees with Sergey Leonidovich. Marina Neelova, an undeniable primadonna of the theater, willingly works with Ryzhakov, Chulpan Khamatova definitely stated that she did not see any catastrophe in her native theater, and many leading artists of the troupe confessed to each other:
"If Garmash is led by the theater, I will leave it." The split in generations of the theater caused the project of Nikita Efremov “Dialogues”, in which the young generation formulated its attitude to “victory”.
I believe that much depends on where the artist Garmash will continue his acting. If, as the observers are suspected, at the Gorky Gorky high -moral site under the guidance of software patriots Boyakov and Prilepin, there are no questions.
Especially for Novaya Gazeta
Marina Neelova: "Trying to drown everyone at once"
The famous actress is about the scandalous care of Sergei Garmash from the theater troupe
- The director came to the theater with the most excellent intentions - to work, create, develop, move forward with a “contemporary” and artists who, it would seem, want the same! ... And it began! And now they are trying to rock this “lonely sail” to such an extent as to drown everyone at once! They swing passionately, not sparing time and time!
It seems to me that such a “dramatically” built departure of the offended S. L. Garmash is more related to his personal ambitions and unjustified expectations than with creative declarations.
Paphos defending the traditions of “Contemporary” has nothing to do with it:
Updated
You can’t look back at the past all the time, if only because tradition is not a frozen form, but a reasonable evolution. This is what, it seems to me, is trying to bring Viktor Ryzhakov to the theater, who, as the main director of the theater, formulated his position by building a multifaceted, interesting repertoire for the theater three years in advance!So, dear artists, let's work, and not rant on the topic of protection and “salvation of the theater”!
Katya Gerdt*: "For some reason, the truth is triumphantly "
- So it happened that I became a participant in part of the events, about which Garmash wrote so ruthlessly unjustly and completely deceitfully in his letter.
It was so. Ryzhakov called me and asked to come to the Volchek office. I once made it at the request of GB, together we chose items that were to her liking, we thought of hanging walls with photographs from the history of the theater, the life of loved ones and much more.
And now the call, Viktor Ryzhakov, the new artistic director, asks me to take the baton, take up the office again and help him with the arrangement. I arrived much later than the funeral days (do not press these strings!). Denis and I took personal photographs, some completely “our” pieces of furniture and were, believe me, grateful and amazed at what understanding and what delicacy of Ryzhakov entered this office, deciding to preserve the maximum memory and meaning. I persuaded Victor to make life in this house for myself, and, on the contrary, he said: no, I like it, let this spirit and memory be preserved.
What defeat is we talking about now?! Where does this intonation come from? It is a shame and completely unfair.
In these difficult circumstances, everything was done on the Hamburg account. And we are grateful with Denis that it was so.
I want a new life, new works, and not a shameful struggle on which it is not permissible to spend your life.
Alexander Volodin - my father:
True, for some reason, then triumphs.
For some reason it triumphs.
For some reason later.
For some reason, the truth triumphs.
True, then.
Ho is sure to triumph.
For some reason, people need it.
At least later.
For some reason later.
But for some reason is mandatory.* Author - daughter -in -law Galina Borisovna Volchek, daughter Zinovia Gerdt
It is much more complicated in the work of Chekhov’s Moscow Art Theater , where evil tongues are repeated, the leader of the leader (and for a long time already) is occupied by the artist Konstantin Khabensky. Sobriety demands to admit: with Garmash here the main rhyme - the colored wings of the green serpent of both the other beautiful artist from time to time take away the altered reality. By the way, before the tragic event in the life of the artist Efremov, he was also full of determination to “head” ...
And in the chamberlain, part of the troupe at the postcarantine meeting arranged a storm of indignation to Sergey Zhenovach: little work, little money, few prospects. The performances that bring the theater of full house and means are unfairly and inconsistent. The repertoire is exposed. The artistic director of the theater promised to answer all questions on September 7, at the official opening of the season. And once again to justify the correctness of the directorial model, which is painfully introduced into the theater, accustomed to another organism.
But Zhenovach fiercely, with a truly communal anger, nets attacked. Of particular activity is the telegram channel of the "backstage", which is, as it were, on behalf of the plebs (illiterate, ax), but is inexplicable popular in the Old Square. They say that this communal source is aimed at solving problems. It remains to understand who puts them.
Seat through a row or in a checkerboard pattern is a key requirement cast in the instructions of Rospotrebnadzor. It is in the calculation for this that tickets are being sold. Since September 1, theaters have been waiting for additional instructions of the mayor. And of course, it will hit the budgets a lot.
Quarantine times all theaters made poorer. No viewer - no income. Particularly quarantine hit small groups depending on the local regional authorities.
But a long separation with the one for whom the theater exists has approved the uniqueness of theatrical nature.
Nothing will replace the lively exchange of energies, the birth of a performance in the air between the stage and the hall. Hopes for life online did not materialize.
Of course, at the command of the Ministry of Culture, everyone worked with the last forces, laying out records from the archives and made specially “to the occasion” to prove their need, but proved only a tolerable level of ownership of technologies. It became clear: the theater is online, like a kiss through glass (definition of Dmitry Bertman). “The first bows will definitely be in tears,” the artistic director of Gelikon prophesies, at the same time designating the universal mood. “As we are waiting for a meeting after separation, the rustling of the auditorium, when the orchestra is tuned, applause ...”
But among the notes of glee, disturbing breaks through: how to observe the key recommendation of Rospotrebnadzor “Exclude mass scenes” - choir, ballet, orchestra - in fact, how to survive the music theater? The question is open.
Anti -cultural province . Not lucky Petersburg. Whatever the governor is worse than the predecessor. Sobchak understood and checked, Yakovlev respected and suffered, Matvienko put up ... Governor Beglov, who, under any casting, would get either the role of an greedy sexual or dull small villain - the first who did not understand where he had fallen and decided to make a contribution to the destruction of the status of the “cultural capital”. The theaters are kept on a hungry ration, not a penny does not give a dime for production, and even decided to reduce the states.
No wonder Alexander Kalyagin in his open letter to the governor rightly asks: “... Is it possible to reduce employees with beggarly salaries - enthusiasts who devoted their lives to their favorite business will help the city budget? And why not reduce the apparatus of officials whose salaries are several times higher than the earnings of people working in the field of culture? .. You, I am not afraid of this statement, thus destroy the culture of St. Petersburg and do this according to a well-known and worked out scheme ... ”
Isn't it time, as they said in the old days, to take a presumptuous official?
Theaters of the century . Two wonderful theater, where artistic life always boils, enter the year of their century: Vakhtangovsky and Ramt .
The most active and productive director of the Russian capitals and provinces, Kirill Krok, decided to save Vakhtangovsky from centuries of dust in a pause. In the hall and behind the scenes, everything is reared up: they wash a huge crystal chandelier, piles are polished to shine, welding flows with a fiery fountain, workers scurry. The space behind the stage throbbies with life, the space in front of the theater is confidently modified: the granite pedestal for the monument Evgeny Vakhtangov is mounted here. It will be opened on September 15 (authors: sculptor Alexander Rukavishnikov and the scenographer Maxim Obrezkov).
And in Ramt the prime minister is being prepared for the season: the first, September 11, will be the play by Yuri Butusov “Son” based on the play by Florian Zeler, and then “Woe from Wit” in the production of Alexei Borodin. The artistic director of the theater this season will also be busy with the new play by Stoppard Leopoldstadt and the performance by Alexei Varlamov’s novel “My Soul Pavel”.
But will the viewer go to the theater? How will love outweigh the concerns? Today, the key question of the life of the theater, it seems, Hamletovsky - to be or not to be?