Theater producer Eduard Boyakov explains why he reduced his presence in Perm to a minimum.

Recently, the producer is extremely rare in Perm. The theater “The Scene-Young” he created is flourishing, in the spring of 2011 the children's theater festival “Big Change” was again held, the second “texture” will be held this September. At the same time, Boyakov arranged everything in such a way as to be in the Urals as little as possible: it is no secret that the theater producer cooled down to the Perm project. In an interview with Sol magazine, Boyakov told where his former enthusiasm for the “new cultural capital of Russia” went - and what he intends to do next.

You have not appeared in Perm for a long time. You would not have either at the Perm Economic Forum, or at the May Festival "Big Change". Do you turn your activities in the self -proclaimed cultural capital?

- I do not stop in and do not turn off activities. I just try to reformat it. I am now dealing with the values and motives of the Perm project. Neither I myself nor, I think, many others did not fully understand what conditions we work in Perm. We all in this project were stalkers.

I had several tasks: open the theater, create not

Eduard Boyakov is one of the defendants in the Perm Cultural Rev.

How many festival brands and help existing. There was a task to help the city with the economic forum. But if I worked once in Perm for two seasons and spent more time in Perm than in Moscow, this does not mean that in the future I should appear there with the same frequency. I did not promise to be celebrated at all forums and festivals.

I have a deep sympathy for people who started all this. Grateful that

They called me to Perm. This is a very important, valuable and positive experience for me. When I say “grateful”, I mean, first of all, three people: [Governor of the Perm Territory of Oleg] Chirkunov, [Deputy Chairman of the Government of the Perm Territory of Boris] Milgram and (the ideologist of the Perm Cultural Revolution of Marat] Helman. Milgram called me to Perm. Gelman, and Chirkunov provided me with opportunities.

I worked and work with an open soul. But, once again I repeat what I have already said many times, this does not mean that I am a member of the team. In the sense of the word in which it is used in our soviet, Russian, bureaucratic, bureaucratic, disgusting tradition.

What does it mean to you in such a team?

- To be a member of such a team means to impose a huge amount of

overcoming human freedom. And I do not want to lose my freedom, I don’t want to plunge into a conversation about what qualities such as decency, honesty, frankness, fidelity, and commanding are. I just state that my ideas about these categories diverge of the existing and known bureaucratic practice in the country. By the way, in this regard, Perm is even cleaner than others

Cities of Russia, this is absolutely for sure. I was convinced of this in the first seconds, only when I was in Chirkunov’s office, seeing a huge touchscreen on the wall. I realized that people in this city strive to be open and that the winds are blowing here, which before that before this bear corner did not reach.

I got the first experience in Perm, and now it continues. I am still very interesting, I am full of expectations and plans. And I hope that my exclusively professional - production, directorial - energy will be needed. I am ready to respond to any proposal. But - as an independent invited professional.

As an “independent professional” tell me, what did you expect from the Perm cultural project and what happens in practice?

- This project is very important for Russia, because it is innovative. And although there are a lot around a lot about which of Perm the cultural capital, and I myself see different reasons for criticism, nevertheless, processes that are impossible in Moscow or in St. Petersburg are now really taking place in this city. Perm is now the most interesting cultural point, if we talk about current processes in the country. This is some kind of huge hope. Although, it seems to me, everything could happen faster and better.

By and large, the cultural project in Perm is still not launched. I am honest to say what we really failed. For example, an absolute failure - that nothing has been created that is related to the media field. You forgive me, but I consider the “salt” a completely failed project. There is not a single analytical magazine, site, platform in Perm, although there are journalists. In this regard, the Blog of Marat Aleksandrovich Gelman was and remains the main media mouthpiece. And this is a huge mistake of Marat. Yes, and all of us, of course. I myself had to pay more attention to this, show the initiative.

Now I will try to indicate the main failure of the Perm cultural project. Ha and the level of ideology we formulated very important things. But the real bureaucratic machine, which could serve cultural projects, was not in Perm either. Unfortunately, Milgram, while still the Minister of Culture, did not create it, and (the new Minister of Culture of the Perm Territory Nikolai] Novichkov is not creating now. Therefore, everything is reduced to individual projects, islands. Something does something [the head of the production company Greenwave Music Alexander] Cheparukhin, something-[Director of the Perm Gallery of Narodnos] Belyaeva. something work [Perm patrons, spouses Andrey

And Nadezhda Agishevs, whom, by the way, I really appreciate and love and consider the only real producers in this city.

We must come up with something at the bureaucratic level. We need reform. If it happens, everything will be great. In the meantime, it seems to me that it turns out unprofessional. Chirkunov, Milgram still make decisions in the old way.

What does "old. way "?

- Give money to people, not projects. That is why in Perm during this time the generation of local producers did not grow. There is no system of expert evaluation of projects and, therefore, there are no routes when young professionals could develop, receiving money for a small project first, then for the middle, then for a large one. Milgram trusts himself and those he knows. But his function is not to be an expert, despite the fact that he is certainly to them. Boris Milgram at his post should create a bureaucratic space of the new model.

There must be another examination. And then, I assure you, the picture of the same festival “White Nights” will be completely different. In addition to joyful reports in the Stalinist style, some intelligible analytics will appear.

There are many mistakes at such festivals. Such a number of very good people is brought to Perm, with significant projects, but they do not find an audience. Well

It is not clear that you need to program all this? And in this you need to contact the expert community. It seems to me that the mistake of Chirkunov and Milgram is that they trusted Marat in that capacity. And Marat specifically in this is not a professional. They used it for other purposes.

At the same time, I, as before, admire the exhibition "Russian Poor" and other curatorial projects of Marat. But, when Marat began to create the architecture of some festivals, he did it unprofessional. Of course, he skillfully avoided: he said that he has no such task. I think situations

To which he put himself in (when he takes the place of the director of the [Perm] center [development] of design, the main ideologist of the cultural project, the main in the museum, and even the main in Karaoke), he could not cope. There is no result, unfortunately, even at the Permm museum level.

- And what's wrong with the museum? - During the time that Permm exists, he never had a style. Those uncle-guards who meet you at the entrance give out some kind of Zhekovo institution. Or someone's seminar, or election headquarters. If this is a museum, then it is not necessary to wait for three to five years when a new building is built, but you need to immediately “wrap” this place correctly. Not just hang a large poster, but create a style that comes to the city. There was a style of exhibitions, but his style in this sense should be the thought of the UN to be at the theater and the museum “Scene. Hammer »No problem. I hope that soon the Permm museum will happen because the bar that was set remains high and high -quality.

- From your words you can understand that Oleg Chirkunov is short -sighted regarding the cultural project on which he put.

The city still does not accept cultural policy. And Chirkunov, feeling this skeptical attitude, is not passionate about the desire to “pick up” the audience. I talked him many times

-/:

Xia - Believe me, he does not make the impression of a cowardly person. But, when it was actually about projects, Chirkunov always submitted it: they say, no, no, I don’t understand anything about it.

But the politician, deciding on such a project, should not be afraid. Take this eternal example with Bilbao. The initiators of the project, which now brings up to one and a half million tourists a year, say that when they decided to create a museum of contemporary art, in the city

De no one was “for”. And only the energy of the first persons worked. I understand that Chirkunov, having read what I say, perhaps, he will not agree, he will insist that the people need to trust. No. First of all, we need to trust ourselves and firmly understand: this museum we need, and that's why we need. Culture is a territory not democratic, but aristocratic values. Culture figures should be a little on top so that people get to know each other

With their heroes, in order to develop, they learned to take risks and confront oches, evil. To resist the terrible political machine associated with violence, which is historically vaccinated in Perm.

Dig deeply. - Otherwise, you cannot understand the Perm nature. I traveled a lot along the edge: Berezniki, Solikamsk, Cherdyn, Niber, Kudimkar, Suksun, Kungur, Lysva. I watched a lot and listened to what Perm forms.

There are several aspects that must be taken into account.

) Geographical feng shui. The Perm Territory became a bridgehead for the capture of Russian Siberia and performed a completely metropolitan function of the knot. 2) ethnic knitting. Perm was formed mainly by state and exiles. Officials, state -owned people, convicts, employees of organs, engineers are all coming of their own free will. And people who have lived here for centuries, they are completely different, not Russian, but the Komi-Permyaks, Finno-Ugers. "

Perm X vioi -xx centuries - this is the energy of collision, knockers. When one way is seated with another way of lifestyle, industrialization - with a dense, original ethnic culture, rooting for centuries. 3) Late Christianization. The main masses of the local population were introduced to Orthodoxy of Ravoslavia in the XVII and even in the 19th century. 4) passionary energy. How much intellectual color was sitting in the Perm camps! 5) Military evacuation, including the Kirov Theater and the Vaganovsky School. 6. ) Perm as one of the "capitals" of the Gulag. All this contributed to the formation of some special human type in the Perm region. With whom, by the way, I do not just interact.

There are many reasons for pain and suffering in this territory. And art, as you know, eats pain and suffering. Another art feeds on joy and the sun, but this is a very small percentage. And this is still not about our geographical latitudes.

- So, Oleg Chirkunov does not know what he wants from this cultural project?

- He does not see the prospects, a treasure that is buried. He does not believe to the end, it seems to me. He’s just Marat and Boris are sympathetic, so he trusts them.

- Nevertheless, you intend to continue the projects that have begun. In September, c

Perm for the second time will be held the theater and cinema festival about the present “Texture”. Why did you decide. Leave Perm's “texture”, although the first experience showed that the festival will be accepted with open arms in any other region?

- I left it because I believe in the prospect of creating a national level festival in Perm. I believe that over three or four years from the “texture” you can make a national brand, the film festival is better than the Kinotavr and the Moscow International MOS. But this needs a lot of will. This is an investment - how to build a house.

In any festival, it is important what will be the second time. This also applies to musical albums, cinema and other things. What we got on the first “texture” is amazing. Now it is important high quality

But hold the second festival. For example, I hope everything for this will do that Misha Ugarov and Elena Gremina (Eduard Boyakov’s partners in the organizing committee of the now closed festival “New Drama”. “Salt magazine”) will agree to come to Perm. I will call them anyway, as it were tense

At some moments of communication, our relationship developed.

The Council of the Festival "Texture" is, in my opinion, one of the main intermediate results of the Perm cultural project. If all people from this list keep their promise and try to come to Perm, we will manage to create a unique garden in which a lot of things will grow. And then Perm is really a cultural capital.

But, again, if Perm itself wants it. And if he stops gunding that “again

Someone was called, la-la-la, Tyutu -u, and some of the locals did not give something. ” Otherwise, everything will be in Perm, but all these gelmans and Boyakov will finally leave and again it will be as normal. It seems to me that the period when visitors, Varangians, perform the functions of such builders of St. Petersburg. On the one hand, everyone remembers that Petersburg was built according to Dutch drawings. But the architects were already Russified Europeans - such, you know, Karl Ivanovichi Rossi.

- Did you suspend or closed the project of the Perm film studio at all?

- Closed completely. We met - then with the [mayor of Perm Igor] Shubin, [deputy head of the administration of Perm Nadezhda] Kochurova. By the way, I had a very pleasant impression from the dialogue between Kochurova: both the city wanted this project and the place was found very suitable. Chirkunov helped with contacts with the venture fund. We have already imagined a scheme that would allow both profit and the state to return the invested funds. I myself already had some kind of investment guarantee.

But when it came to the need to answer the general questions with which we once started: in what capacity I see myself in relation to the project team - I still decided

rye projects to develop, and new (directorial collegium, film studio, regional territorial projects, school) to stop. We have a beautiful team in Perm: those who make the Big Change festival, who opened the High-Military Scene theater and works there, this is a very powerful creative layer. If Perm holds this team, it will be great.

- There are rumors that you disagreed with the chief director of the theater "Scene-Young" Damir Salimzanov. And he will not stay in this position for long. Is it so?

- Exactly not. Distributing to Damir, I think it will be difficult for us. Damir was and remains my friend and comrade. I have always been in great respect for his human and creative virtues. However, I do not exclude that in the future changes will arise B Modeling Model “Scenemolot”. Somewhere, Damira was hard at the organizational level, so we must reconsider the conditions of our partnership with him. But the fact that our relationship will develop is for sure.

- That is, the question of whether Damir Ca will remain

Limzyanov as the chief director of the “scenes-young man”, is it open?

- We have a much wider question: what will be the theater management model? I think about it now, and not whether Damir will remain as the chief director. Damir, I hope it will remain in the team. But what a game scheme will look like, what a configuration will be is not entirely clear. After all, we are just building a theater. Now is summer, we will summarize creative results, form a summons and repertoire of the next year, negotiate people with playwrights, directors, choreogra

family. For example, [writer Vladimir] Sorokin was now unable to come to the Perm Book Fair. I don't know why. But I promise, we will bring him yet. A couple of days ago, he and I met discussing our plans for the fall. I also really want some part of my time in Perm to be spent by Klim's student [Anatoly] Efros and [Anatoly] Vasiliev, who actively cooperates with the already well -known Perm Kyiv Theater “Dach” and the Daha Brah group. I want Vanya Vyrypaev not to wave his hand to our city. He already came, but something embarrassed him. I hope that Zhenya Grishkovets, who promised to support us, come, give lectures, will still remember his promise.

In addition, we agreed with the Perm-36 Museum on a series of monthly lectures on historical and human rights topics. Probably, we will continue the lecture cycle together with the Perm Center for Design Development. We initially conceived our theater as open to all interesting projects. And, I think, in a couple of years he will turn into a daily working creative microclaster. In order to bring the theater to the design capacity of OST ((I see this from the experience of the Practice Theater), at least four years of work are required. That is, two more seasons, and it will be possible to formulate the first result.

"

In the meantime, in principle, it is not clear whether such a theater is needed as the “Young Scene”, the main register. Or maybe the director’s collegium should be at the head. And even a choreographer. There are many nuances. We are experimenting so that creative life is more interesting, and the theater can fulfill its tasks.

You are talking about the directorial collegium. However. From a similar team organized at the Perm Theater-Theater, you came out.

- Yes. But I, in fact, did not enter it. We discussed this issue as the director of theater-theater Yuri] Milyutin and Milgram. But I decided to put a point because I realized: I will have neither the strength, no time, nor the desire to participate in this project.

Temporary Diaghilev. If not by genius, then at least in functionality. We need people who are ready to accept on - but such a model is managed both by creative and organs, nevertheless, the originality of liability.

Can it in the "Hard of the Younger"?

Otherwise, we will be of course. This is the right thing to repeat the situations when an intensive European artistic director is in the problems of the problem. The Russian theater is generally a rector, and the director frows: it is sick with a constant opposite "Oh, these artists."

The rate of the director’s model is directorial. Thus making a very big methodological mistake. Because both of these models are doomed to failure.

Today it is necessary to introduce into all cultural organisms (theater, Philharmonic, circus and much more) exclusively producing, intensive care units. We need dozens of with

In Perm, the well -known international festival “Diaghilev Seasons” is being prepared for a new model of management. Ten years, the festival was the brainchild of one articular leader - the ex -shidruk of the Perm Opera and Ballet Theater. George Isaacan. But the Theodore Ku replaced him

The X -ray plans to annually invite the new curators of the festival. Is this a promising idea?

- Kurentzis proposes everything correctly. I am happy that at one time I first turned his attention to Perm. Of course, one must trust such a master as Theodore. He is young, he is

There are a huge number of festivals and definitely understand this better than any Perm official. Accordingly, it is necessary to convince Perm officials to put this creative idea in the correct form so that it does not lose real content. In general, Kurentzis and what he could do is a separate big conversation. I myself need to talk with him in detail about everything, I need to find and agree on a point.

Is it true that your Moscow theater has. "Practice" will soon appear a large scene R to move to a new building?

I can’t open the cards yet. I hope there will be news soon. We will definitely announce this.

- In principle, you are not going to start something new in the regions in the near future? Tver, say, is not attracted to you as a platform for a cultural experiment?

No (laughs). Tver does not attract me for sure.

Milgramammar.