Director Dmitry Krymov: biography, creativity, photo

2024 Author: Leah Sherlock | [email protected]. Last modified: 2023-12-17 05:25

Dmitry Krymov is a director, artist, teacher, theater set designer and just an incredibly talented person. He is a member of the Union of Artists and the Union of Theater Workers of Russia, his performances always resonate, make the viewer think. Behind Krymov's back are a great many prizes of International theater festivals. His paintings are exhibited in the best art galleries in the world. Who is he, how does he live and what does he talk about at his leisure? All this in the materials of our review.

Biography

Dmitry Anatolyevich Krymov was born in October 1954 in Moscow. His father is the famous stage director Anatoly Efros, his mother is a theater critic and art critic Natalya Krymova. As a child, Dmitry got his mother's surname, because his father belonged to the Jewish family, and in Soviet times it was a certain label. Anatoly Efros had to overcome numerous career obstacles arising from his origin, and the parents decided to protect their son's future from unnecessary problems.

Dmitry Anatolyevich followed in the footsteps of his talented parents. As soon as he received a matriculation certificate, he immediately entered the production department of the Moscow Art Theater School. In 1976, after graduation, he went to receive his first professionalexperience at the Theater on Malaya Bronnaya. Dmitry created his first scenographic works for his father's productions. Among the performances of those years, one can distinguish Tolstoy's "Living Corpse", Turgenev's "A Month in the Country", Williams' "Summer and Smoke", Arbuzov's "Recollection" and others.

Theatrical activities

Starting from 1985, Krymov worked on art productions at the Taganka Theater: “War has no woman’s face”, “One and a half square meters”, “Misanthrope” - with his participation, these performances saw the light of day. Dmitry Krymov worked not only with the Taganka Theatre. The scenographer collaborated with theaters in Riga, Tallinn, St. Petersburg, Volgograd, Nizhny Novgorod. The geography of his creative activity covers Bulgaria, Japan, the countries of the former Soviet republics. In the track record of Krymov, the stage designer, there are about a hundred performances. Dmitry Anatolyevich collaborated with such eminent directors as Tovstonogov, Portnov, Aryeh, Shapiro and others.

After the collapse of the Soviet Union, a difficult situation developed in the country, and Krymov was forced to leave his job as a set designer. In addition, shortly before the events of the early 90s, Dmitry's father, Anatoly Efros, passed away. According to the director and set designer himself, after the death of a loved one, the theater became uninteresting to him. Awareness of the greatness of the father in the profession and his own helplessness settled in the soul. Then it seemed to the man that he would never enter this water again, and there would no longer be a visual theater in his life. Krymov Dmitry decided to end everything and find himself in a new business. He took up painting, graphics, and, worthNote that he was very good at it. Paintings by Dmitry Anatolyevich were exhibited in the Russian Museum, in museums in Western Europe - France, Germany, England.

Today the artist's canvases are in the Tretyakov Gallery and the Pushkin Museum of Fine Arts.

Since 2002, Dmitry Krymov has been teaching at the Russian Academy of Theater Arts. He directs the course of theatrical artists. In addition, the director heads the creative laboratory at the theater called the School of Dramatic Art in Moscow. Together with graduates of GITIS and the Shchukin School, Krymov brings his own ideas and thoughts to life on the theater stage, performances take part in international festivals around the world.

About the modern viewer

Krymov is an incredibly interesting conversationalist. You can discuss various issues with him, he has his own opinion on everything. Modern theater is one of such hot topics. Today, in the world of art, there is a clear opposition between the classical school of theater and innovative approaches to creating performances. According to the director, these disputes are secondary. Krymov confidently states that today the main thing is the interest of the consumer.

Coming to the performance, the audience must be terribly curious. On the one hand, he should be interested in everything that happens on the stage, on the other hand, he should not fully understand the meaning of everything that happens. Understanding must constantly catch up with interest, and in the end they need to converge. Of course, the modern viewer is a sophisticated gourmet. Gone are the days whenpeople watched everything they give. Today everything is different. Therefore, all that is required of the director is to arouse such curiosity and interest in the viewer, and the task of the viewer is to drive away skepticism from himself and try to “feed” curiosity in himself.

According to Dmitry Anatolyevich, in order to “correctly” watch the performances of the Laboratory, you need to do just a few simple things: come to the performance, sit down, fold your hands on your knees and watch. Moreover, Dmitry Krymov does not recommend wearing jackets, short dresses and high platform shoes - in his opinion, the viewer will be terribly uncomfortable to sit on small chairs. Of course, this is humor, but there is also a rational grain in it.

Russian psychological theater

Today we are increasingly confronted with arguments on the topic of what is a dramatic psychological theater. Here and there calls are made to protect it (the theater) from pseudo-innovation. This problem is familiar to Krymov, and, by his own admission, hurts him greatly. The director's opinion is this: if you are an adherent of the psychological theater, do not call anyone to anything - just do your job. Live as you preach. But at the same time, give the other person the opportunity to express themselves as they want. Yes, you may like it or, conversely, annoy, but you have to put up with the fact that it exists. To resist something new and non-standard is tantamount to opposition to modern fine art. It's great when the viewer has a choice and an alternative, and art, as you know, is limitless.

According to Krymov, a modern director must first of all be a strong personality, with his own thoughts. Of course, he just needs to be able to parse the work according to the classical school. But this is just a skeleton, the basis for further individual constructions and fantasies.

Contemporary art and work with students

Dmitry Anatolyevich says that it is unpleasant today to observe many things that are happening in Russia. There is a substitution of concepts, non-fulfillment of obligations, lack of reforms. For example, the director really does not like such a popular expression today as “actual art”. He does not understand the meaning of this phrase. Is contemporary art a cheaper kind of art? How about religion then? Can she be low grade too?

Krymov also has some ideas about reforms in theater education. The director is firmly convinced that it cannot be a beggar. The salaries of university teachers are a disgrace to the entire education system. Officials need to learn that teaching cannot be based on the sheer enthusiasm of people who will simply spend time with students. And in order for the theatrical environment to bear fruit as talented actors and productions that are interesting to the viewer, conditions are necessary - today they do not exist, physically.

Dmitry Krymov teaches his students according to a personal method. The director declares that it is possible to teach young people only to perceive the experience of others, but it is impossible to walk their path for them. The guys themselves must hear their inner voice, trust it and chooseroad. The experience of others only shows that anything is possible. If something works for someone else, you can do it too. You just need to work hard.

Dmitry Anatolyevich Krymov: who is he?

First of all, he is the son of his Motherland, devoted and loving. When asked about emigration, Krymov resolutely states that he is not going to leave Russia. There are many reasons for this: he has students, actors, a large household. His parents are buried here, on whose grave he has been visiting on his birthday for many years. Krymov admits that today there are fewer and fewer territories where you feel at ease, but as long as you can live and create, there is no point in leaving.

He does not celebrate his birthday, he is constantly busy with work. In addition to the most talented director, the backbone of actors works in the laboratory of Dmitry Krymov, and the “School of Dramatic Art” consists of them. Among the invited people who are not formally part of the laboratory, but with whom the theater constantly cooperates, are such stars as Liya Akhedzhakova, Valery Garkalin.

Dmitry Krymov is a director who admits that he is interested in communicating with young people and watching how they achieve results. He is very demanding and scrupulous in everything. Dmitry Anatolyevich is convinced that a theatrical performance is made by the only person - the director, and he, in turn, should be surrounded by the right people - those who understand him. Krymov claims that he is interested in the opinions of others, and he is open to dialogue. However, the conversation should be constructive,essentially.

It is important for a director that there are three components at the end of his work: his own pleasure from the process, the satisfaction of the actors of the troupe and the interest of the viewer. If these components converge, the director gets a powerful incentive to move forward. Krymov claims that he can be cruel if something interferes with the implementation of plans. In such a situation, he always chooses to fight and shows stubbornness. In other cases, Krymov is a gentle person who respects and loves the people he works with.