On October 25, a press conference dedicated to the 12th International theater festival"Stanislavsky's Season".

The press conference was attended by jury members and festival organizers: Alexey Borodin, Lyudmila Maksakova, Sergey Zhenovach, Alexey Bartoshevich, Vidmantas Silyunas, Zeinab Seid-Zade.

Despite the obviously difficult financial situation, the Stanislavsky Season festival and its director Zeinab Seid-Zadeh continue to the delight of everyone theater audiences and professionals to keep their mark. This year, the festival’s poster includes premieres of the best Russian directors of the past and new seasons, as well as three performances by foreign guests - the play “Master of Hunger” by Franz Kafka, directed by Eimuntas Nyakrosius, Theater “Meno Fortas” (Vilnius, Lithuania) (27,28.10 on stage RAMTA), “The Prompter” author and performer Andreas T. Olsson, director of the production Gösta Ekman, Theater “Dramaten” (Stockholm, Sweden) (3.4.11 on the stage of MTYUZ), “The Year of Cancer” by Hugo Klaus directed by Luc Perceval, Theater “ Toneelgroep Amsterdam" (Amsterdam, the Netherlands) (16.17.11 on the stage of the Mayakovsky Theater).

The festival marathon will be completed by the traditional presentation of the Stanislavsky Prize within the walls of the Baltschug Kempinski Hotel, which will be held in December. This year, the Baltschug Kempinski Hotel received an honorary award for its long-term partnership with the festival. However, there are quite a few award winners (which they will receive directly at the ceremony) this year. The list includes the best of the best: Sergei Bezrukov, Igor Kostolevsky (“for contribution to the profession”), Igor Gordin, Ilya Isaev, Natalya Zvereva (“For contribution to the development of theater pedagogy”), Inna Solovyova, Mikhail Shvydkoy, Andrey Vorobyov (Governor of the Moscow Region for support for theater business).

Alexey Borodin: “We argued for a long time about the selection criteria for the festival. Should this be a purely psychological theater festival? However, all the performances presented at the festival in one way or another inherit Stanislavsky’s ideas.”

The festival opened on the evening of October 25 on the RAMTA stage with a performance by the Yaroslavl State academic theater named after Volkov “The Seagull. Sketch” staged by Honored Artist of Russia Evgeniy Marcelli.

We bring to your attention a photo of Ilya Zolkin from the press conference:

People's Artist of the RSFSR Alexey Borodin

People's Artist of the RSFSR Lyudmila Maksakova

Honored Artist of Russia Evgeniy Marcelli

theater critic, professor Alexey Bartoshevich

theater critic, professor Vidmantas Siliunas

Honored Artist of Russia Sergei Zhenovach

Director of the Stanislavsky Season festival Zeinab Said-Zade

Eimuntas Nyakrosius: “I don’t understand how you can be on stage”

A series of premiere screenings of “The Cherry Orchard” directed by Eimuntas Nyakrosius has ended in Moscow. This project can easily be called the project of the year. We have been waiting for this event for many years. The Stanislavsky Foundation and its vice-president Zeinab Seyidzadeh managed to do something that no one had yet managed, although it seemed logical and necessary for many to do - organize a face-to-face meeting between Russian artists and the great Lithuanian. How it happened - God knows. Immediately after the premiere, Marina DAVYDOVA met with Eimuntas NEKROŠUS. Here's what we managed to find out from him:

exclusive interview for Izvestia. Oleg Menshikov (they were talking about “Hamlet”), Mark Zakharov and Alexander Abdulov (they were talking about “King Lear”), and various others negotiated with Nyakroshyus. last people. But every time he slipped out of his hands. It is generally not easy to deal with the greats; it is almost impossible to deal with Nyakrosius.

This brilliant autist lives in his rich

inner world

and has difficulty making contacts. It is impossible to persuade him, he can only bewitched. He doesn't like chatting. Doesn't favor interviewers. Questions are most often answered with “yes” or “no.”

For those questions that cannot be answered “yes” or “no,” he prefers to answer “I don’t know.” Communicating with him, it is difficult to believe that he is the creator of that grandiose stage world, after seeing which you immediately become sick with theater and then live with this lofty disease for the rest of your life.

- Let's start with simple questions.

Let's. I don't like difficult questions at all.

Yes you! Not for any reward.

I don’t understand at all how you can be on stage. Just knowing that an audience is looking at me makes me scared. I can’t even imagine myself in the shoes of an artist. How does everything work in his head?! I sometimes ask the artist: how did you play it? He begins to explain, and I get terribly interested.

There is a difference between us, like between a composer and a pianist. I can write notes. And how to play them - with the first finger and the fourth or the first and fifth - only the performer can feel it.

- Well, how did you like working with our artists?

Actually, it's not easy. Precisely because we staged Chekhov. They know the material well, they know the tradition of Chekhov's productions. Our people always take my word for it. And here I had to prepare for unexpected questions.- So Lithuanian artists don’t ask questions?

They ask, but more superficially.

Although, you know, starting is always difficult. With everyone. While you find

mutual language

, while grinding is in progress - this is a painful process. The first rehearsals are always mutual examinations. It just seems that you are accepting them from artists. In fact, you rent them yourself too.

The worst thing is when a scene approaches and you don’t know how to solve it.

- And often you don’t know?

I almost always know. I always come up with everything at home.

Is it true? When you watch your performances, you get the feeling that stage images are born spontaneously. That this is a whim of the richest imagination, which you yourself do not always control.

- But very talented artists are usually artists with a name, and therefore, with ambitions. Do you need this?

Don't know. Why not?

- In Italy you staged “The Seagull” with students. And they say it turned out great.

These were not students, but simply young actors. By the way, The Cherry Orchard as a whole also has a fairly young cast.

But you see, the years spent on stage also mean a lot.

Talent is no substitute for experience.

- How do you like the Russian public?

It’s the same with her as with artists.

She knows Chekhov well. On the one hand, this is dangerous for me. On the other hand, it allows viewers to appreciate innovation. Don't follow the plot. The Russian public is generally very well-read. She is much more educated than the Swiss or German.

-Which audience is the most emotional?

Italian. Italians are very temperamental. They sometimes give a storm of applause, but they can also boo. But the Russians will not be indignant. They'll just go away little by little.

- And were you often booed?

Never me. The reviews were scathing. And sometimes indignant people burst into the backstage. In Rome, one man came up to me after a performance and waved his fists terribly. I didn’t even understand what he didn’t like.

You usually handle the classics very freely.

Remove characters you don't need. You shorten the play, rearrange the scenes. In this case, you treated the text very carefully...

I thought that since I’m staging it in Russian and in Russia, it means I should treat the author with respect.

But you didn’t have the feeling that Chekhov’s text was tired. That it is impossible, God knows when, to say it from the stage. Did he bother you?

I even told the actors: it’s time to give Chekhov a rest. All theaters around the world should agree and stop staging Chekhov. It's being exploited too much.

- But are you happy with how it turned out?

Don't know.

Zeinab Seidzadeh, Vice President of the Stanislavsky Foundation:

This project has cost you dearly. Both in terms of nerves and in terms of money. Including your personal ones. Why did you put so much effort into inviting Nyakrosius to Russia, and not Luc Bondi, for example? Also, by the way, a laureate of the Stanislavsky Prize.

Nyakrosius is genetically linked to Russian culture. He studied in Russia. He knows Russian theater well. And, in my opinion, he - very indirectly, of course, and in a unique way - inherits Stanislavsky’s system. More precisely like that. What he does is his response to our school, our theatrical world. And it was important for me that this answer be heard here in Moscow.

Another important thing: as part of our project, he returned many artists, who had already seemingly devoted themselves entirely to cinema, to the theater. Such film shavings were taken from them. Their imagination and internal reserves have expanded.

They themselves - both Apeksimova and Vladimir Ilyin - say that for them, working with Nyakrosius was something like graduate school or doctoral studies. I don't know any other director whose work could plow them as deeply.

For fifteen years, the Stanislavsky Foundation carried out the reconstruction of the Moscow estate of the great theater reformer, which had suffered greatly from time and neglect. Everything had to be done practically from scratch: to revive the surviving buildings from a “ruined” state, install sewerage, heating, etc. Moreover, it is characteristic that everything was done without any state support or public funds, solely with the money of sponsors and proceeds from the sale of festival tickets "Seasons of Stanislavsky". The director of the foundation, Zeinab Seid-zade, tells the construction chronicle of Lyubimovka in the manner of the heroic Icelandic sagas, where a priori there are no trifles: the struggle for every meter of cultivated area is worth a truly titanic effort. A subject of special pride – fruit-bearing The Cherry Orchard(cherries are exactly as the classic says, juicy and fragrant) and a summer theater area under spreading trees, where Pyotr Fomenko has been rehearsing for several years in a row with his actors, who come to live and work in Lyubimovka for a week or two.

On the eve of the 150th anniversary of the Stanislavsky Foundation, his name was finally promised state assistance in the construction of a special room with an equipped stage on the site of the unpreserved main house, where festival performances, meetings with world stars, etc. could take place. The director of the foundation dreams of opening this hall with the world premiere of “Meno Fortas,” the main headliner of the Stanislavsky Seasons festival.

This year the festival program includes the grandiose “Hamlet” by Eimuntas Nekrosius (see “NI” dated February 20, 2004). Because of large quantity interested, having sold out tickets for “Hamlet” at the box office within a few days, the organizing committee decided to give an additional performance (so say after that that Muscovites love mainly entertainment genres).

Next to him is the recent premiere of 2011 New Theater Reality winner Katie Mitchell. The British director, who works a lot in Germany, Katie Mitchell comes to Moscow for the first time, where she will show her recent Cologne premiere, “Waves” based on the novel by Virginia Woolf. And her fellow countryman Tim Crouch will show a performance based on Shakespeare's Twelfth Night - I, Malvolio.

Latvian director Alvis Hermanis, who has become a regular participant in Stanislavski’s Seasons, will show his premiere of “The Young Lady from Vilko” based on the short story by Jaroslav Iwaszkiewicz (filmed in the early 1970s by Andrzej Wajda). The play is staged with young Italian actors, and we are promised that we will see a completely “new Hermanis”.

Belgian director Jan Lauers will present his production on the stage of the Vienna Burgtheater - “The Art of Entertainment: Needcompany plays the death of King Michael.” The genre of the new production is defined in the program as “black cynical comedy,” but the director himself insists that his performance does not fit into certain genre boundaries. As Lauers assures, “this performance has no specific genre.” “The Art of Entertainment” is a synthesis of different genres and types of art. Lauers's production is structured like an unfolding television show, with all the genre's vulgar elements, glitches, musical interruptions and all sorts of "entertainment": from the clownish antics of the chef and his assistant to the well-planned surprise - the nervous breakdown of the killer doctor. And the most important sacrament of life - the meeting with death - is turned into another theatrical trick and macabre joke.

The festival opens on October 17 with the production of the foundation’s president, Mark Zakharov, “Peer Gynt” (see “NI” dated March 29, 2011).

Yesterday at the Baltschug Kempinski Hotel the winners of the Stanislavski Theater Prize for the 2004-2005 season were announced.

The presentation of the Stanislavsky Prize, established more than ten years ago by the foundation of the same name, has today become as much a sign of the approaching winter as the first snow. Every year, the jury, which includes Mark Zakharov, Pyotr Fomenko, Oleg Tabakov, Lyudmila Maksakova, Evgeny Mironov, Alexey Bartoshevich, Vidmantas Silyunas, Nina Agisheva, Roman Dolzhansky and Zeinab Seid-zade, selects directors, actors, theater teachers and researchers, worthy of being named after the founder of the Art Theater. The rules of the award are well known to everyone: the list of nominees is kept secret, and the names of the laureates are announced several days before the ceremony, the prize is a facsimile of Stanislavsky and $3 thousand. Therefore, the chairman of this year’s jury, Oleg Tabakov, without further ado, immediately got down to business and told the assembled journalists the names of the current triumphants.

In the nomination “For Contribution to the Development of Theater Pedagogy” the long-term artistic director of the Youth Theater Alexei Borodin and Sergei Zhenovach, who opened his own Dramatic Art Studio this year, were awarded. Development Contribution Award theatrical arts went to art critic Alla Mikhailova - for books on set design and participation in the creation of the magazine "Scene" and director Adolf Shapiro - for productions of Russian classics. The productions of the Hungarian director Arpad Schilling (his “The Seagull” was shown here at the NET festival) and the Canadian Robert Lepage (the performances of this director, the author of many hours of sagas and epics, have never been brought to Moscow, but The Chekhov Festival promises to do this in the near future).

The award for best actor will be given to Alexander Zbruev, who played the merchant Pribytkov in the Lenkoma play "All-In." Journalists extorted from the jury members that he won in a fair fight with Boris Plotnikov, who performed the same role at the Maly Theater. But Natalya Tenyakova, who brilliantly played the landowner Gurmyzhskaya in Kirill Serebrennikov’s “The Forest,” seemed to have no real competitors.

A little intrigue has developed around the “Directing Art” nomination. It first featured Dmitry Bertman, noted for his modern interpretations of classical operas at the Helikon Theater, and Adolf Shapiro. But at the last moment the jury realized that the list of laureates lacked relevant characters theatrical process. And Adolf Shapiro “moved” to the honorary nomination “for contribution,” and next to Dmitry Bertman appeared the name of Kirill Serebrennikov, the director who worked most interestingly and fruitfully last season. The fact that the theater process today cannot do without Mr. Serebrennikov is indirectly evidenced by the reservation of Zeinab Seyidzade, who said that he would also direct the award ceremony. In fact, the director of this year’s ceremony will be Viktor Ryzhakov, the director of “Oxygen” and “Genesis #2.” And it will take place on December 2 in the Balchug atrium.

MARINA Kommersant-SHIMADINA