Dmitry Krymov, theater director: biography, personal life, creativity. Dmitry Krymov, theater director: biography, personal life, creativity Dmitry Krymsky biography

Krymov Dmitry Anatolyevich (born 1954) is a well-known Russian theater director, artist, stage designer. His performances are incredibly popular both in Russia and abroad. As a stage designer, Krymov successfully worked with many metropolitan and provincial theaters, taking part in the design of more than a hundred performances.

He is one of the revolutionaries of the modern Russian theater, who brought to it an unseen aesthetic. His original genre mix, work at the intersection of styles and trends cannot leave anyone indifferent. It is no coincidence that his productions, with a very accurate presentation of the theater historian V. Berezkin, are usually called the "artist's theater".

Early biography

Dmitry Krymov was born on October 10, 1954 in Moscow in the creative family of the famous director Anatoly Efros and theater critic, writer Natalya Krymova. From early childhood, on the advice of his grandfather, the boy was recorded under his mother's surname, since his father had Jewish roots, which could create certain problems in the future. There is an opinion that the birth of the future director is connected with the well-known "case of doctors", or rather with the rehabilitation of all those who went through it. Natalya and Anatoly really wanted a child, but they were afraid to have one because of repression, and now fate has given them a chance.

They still say about him that he comes from childhood, and, recalling the old film on which Anatoly Efros talks about his four-year-old son, it is difficult to disagree with this. Before us appears a childish spontaneity, dressed in the figure of a talented boy, whose paintings hung at home next to the works of A. Matisse.

Krymov was brought up and grew up in an unusually talented environment of his mother and father, who gave him a lot and at the same time cast a certain shadow on his personality. Often, Anatoly Efros criticized his son for being too long involved in solving a creative problem, and his mother had to explain for a long time that not everyone was like him. However, this did not in the least prevent Krymov from becoming a self-sufficient person.

Talented set designer

Having received a school certificate, Dmitry went to comprehend the basics of scenography at the Moscow Art Theater School-Studio at the staging department. After graduating from high school in 1976, Krymov got a job as a stage designer at the theater on Malaya Bronnaya. Here he took part in the design of a whole series of performances staged by his father: "Othello", "Summer and Smoke", "Continuation of Don Juan", "A Month in the Country". In addition, he designed several productions of the Moscow Art Theater. Chekhov - "The Living Corpse", "Tartuffe", "Attempt to Fly". At various times, Dmitry Anatolyevich managed to work in many metropolitan theaters, including the Variety Theater, the Central Children's Theater, the Theater. Moscow City Council, the theater. Mayakovsky and others. In addition, Krymov fruitfully collaborated with theaters in other cities of the Soviet Union - Tallinn, St. Petersburg, Nizhny Novgorod, Volgograd.

In the 90s, after the sudden death of his father, and then his mother, he left the theater. Then it seemed that it was for good, since the theater hit the living - the most important losses and deep disappointments were associated with it. In the interval between serving Melpomene, Krymov seriously took up easel art and plunged headlong into graphics, painting and installation. His paintings were exhibited in the Russian Museum, the Museum of Fine Arts. A. S. Pushkin and on the sites of a number of foreign countries. Also, the author's works are in private collections with collectors from Israel, Germany, and the USA.

But life forced him to return to where he found his calling, and Dmitry Anatolyevich did not again tempt fate. On the stage of the theater Stanislavsky, unexpectedly for many, he puts on Hamlet, and then goes to teach at GITIS, where he finally realized the need for theatrical art.

Teaching path

Dmitry Anatolyevich turned out to be a wonderful teacher who brought up a galaxy of talented young actors. Some of them remain on the same team with him even after graduation. Since 2002, Krymov has been teaching at the Russian Academy of Theater Arts, where he teaches his course. In 2008, together with director E. Kamenkovich, he recruited an experimental group in which future actors, set designers and directors studied together. “To be able to negotiate is a grandiose skill”- says Dmitry Anatolyevich. For domestic theater education, it was a truly unique experience of learning in such co-creation. He did not always speak positively about his experiment, sometimes he wanted to quit this thankless task, but each time he re-gained a new course. Teaching activity, which involved communication with students, seriously motivated Krymov to return to the theater. And this theater became his famous laboratory.

Krymov's laboratory

Her story began in October 2004, when the director, together with students of the art faculty of the RATI, staged the play "Innuendo". The production is based on the plots of Russian folk tales, published under the editorship of Afanasyev. The main feature of the performance is communication with the audience exclusively in the language of visual images, united by a common semantic outline. The director Anatoly Vasiliev liked this production very much and suggested including it in the repertoire of his "Theater of Europe" and creating a laboratory. Since then, it has been a kind of subdivision of the theater, with a unique artistic aesthetics. The turning point for Krymov's stage was Vasiliev's departure from the theater, which took place in 2006. The first desire of the director was to follow the example of a colleague, but he firmly said: "Don't leave." As a result, Krymov stayed, thanks to which the laboratory survived.

At various times, V. Garkalin, M. Smolnikova, E. Startsev, V. Martynova, A. Mikhalev and many others took part in the project. Theater critics, who did not disregard Krymov, awarded his creations with various epithets - piercing sincerity, vivid visual expressiveness, unexpected associative series, along with acting in the realities of an unusual artistic structure. They are not far from the truth - all this and much more is present in the performances of the laboratory, allowing it to be considered a kind of experimental platform. All performances on it are created in two stages. First, a brainstorming session takes place, during which there is an active discussion of the material and everyone can express their opinion, as well as make a proposal. Then the actors appear before the director in make-up and work on the image begins.

Music plays a special role in Krymov's productions. He calls her a full participant in the performance, so he rarely takes finished works for performances. Most often, their own, original melody is written for the production. Recently, Dmitry Anatolyevich has been fruitfully collaborating with the composer K. Bodrov, who once wrote several works for the Mass of the Pope. He created musical accompaniment for the performances "Oh, the last love", "As you like it", "Gorki-10" and some others.

avant-garde director

Krymov himself claims that for him there is no fundamental principle given in the play. He considers himself entitled to tailor the work, subtracting what is superfluous and adding what is necessary. “Using any play, I create my own basis, and in this sense, my theater is authorial”, says the director. During the existence of the laboratory, more than a dozen performances were staged. Among them: "The Death of a Giraffe", "Opus No. 7", "Tararabumbia", dedicated to the 150th anniversary of A.P. Chekhov, Honore de Balzac. Notes about Berdichev”, “Oh, late love”, “A Midsummer Night's Dream”, which became the laureate of the Edinburgh Arts Festival and many others.

Each production performed by Krymov is a real masterpiece presented in the language of metaphors. They make you delve deeply into pressing problems, changing the perspective of perception of reality. For example, in the diptych "Opus No. 7" seemingly two completely different plots are organically combined - the hard fate of the people of Israel and the vicissitudes of the life path of the outstanding composer D. Shostakovich. But the master managed to show that the fates of the persecuted people and the musician are merged into one, private and historical problems have many points of contact and are sometimes very closely intertwined.

Krymov also has experience in the opera genre. At one time in the premises of "Helikon" he staged two one-act operas, and in 2011, in collaboration with the composer K. Bodrov, on the stage of the Musical Theater. Stanislavsky staged the play “Kh.M. Mixed media. This is how the director calls his action, although there is a place for the choir and the orchestra in it. In addition, in 2010, Krymov hosted a joint project with M. Baryshnikov "In Paris" - a performance staged in Russian for European audiences.

New plans

As always, Dmitry Anatolyevich is full of creative plans. In the summer of 2016, Krymov publicly announced his desire to make a feature film. And although its storyline is still unknown, the director shared his vision of the picture. Mostly his pupils and students will take part in the filming process, and the figurative outline of the film will be identical to one of his father's first films, Leap Year, filmed in 1961.

Personal life

Dmitry Anatolyevich is married and has a son. Wife Inna is a social psychologist by education, but recently she has been a great help to her husband in his directorial activities. In 2007, Krymov was awarded the "Crystal Turandot" award, and two years later he received the title "Person of the Year" according to the Russian Federation of Jewish Communities.

He has not celebrated his birthday for a long time and is calm about round dates. Instead of magnificent celebrations, Dmitry Anatolyevich visits the graves of his parents every year, who gave him life and gave so much to realize his talent.

I remember the release of the program "School of Scandal", where Anatoly Vasiliev, the founder of the "School of Dramatic Art", spoke about the ideal of his Theater, presenting it (the Theater) as a kind of tent, where the action takes place regardless of the presence of the viewer: the viewer can come to the Theater at any time, he can also leave it, but the action will remain uninterrupted, it will continue to happen as it happened, i.e. The theater, in Vasiliev's understanding, is nothing but a separate, autonomous world, within which its own laws and principles operate.
Putting in a similar concept of understanding the life of the Theater, Dmitry Krymov, puts another experiment in his Laboratory, which results in a performance under the strange name of ordered female names "Katya, Sonya, Fields, Galya, Vera, Olya, Tanya" based on the cycle of Bunin's stories from the book " Dark alleys". This performance (unlike the book, where the reader is seized by something tragic, dark and sweetly aching for the soul) is a complete joke. With a twisted grin. Changeling. Or, more accurately, focus.
You enter the hall and, in slight confusion, think, did you come in early? But go further along the rows, because, it seems, everyone is also passing, and now sit down in your place. And the actors are already walking around the stage, not paying any attention to you: some are changing clothes, some are putting on make-up. One gets the feeling that you were simply given the opportunity to peep through the peephole in preparation for the performance.
And then you see how the wiring lights up, how a fire breaks out, an explosion occurs (probably as a metaphor for love experiences) and the actors run away from the stage in a panic, and you, the viewer. sit anyway (you were allowed to peep, so you peep). Then a woman is mercilessly sawn in a box in front of your eyes, and she remains without legs, cries a little, tries in vain on her mannequin legs, but then appears. Another woman (also, by the way, from the box), and we see her love story, she laughs and also cries a little, and then she is replaced by a third woman, and the third - the fourth, the fourth-fifth, the fifth-sixth, the sixth-seventh. And each has its own story. For a few minutes. In a few fragmentary words-memories. And all of them (heroines) for some reason appear on the stage from the boxes. Like dolls. Like living sculptures, frozen in time, in the memory of the rememberer.
Throughout the performance, the director and actors never cease to amaze the audience, showing trick after trick (the famous illusionist Rafael Tsitalashvili is involved in the performance, whose work looks especially impressive). In addition to the fact that the first heroine, who was first sawn up and who lay motionless throughout the performance (!), appears legs, and she passionately dances her love dance with a man, the entire stage action of the play is turned upside down by the director, staged in a completely different time-space. It turns out that all these women with their bare nerves are just dried herbariums of love (it turns out that we watched on stage how the director took and mysteriously opened the book of Bunin's "Dark Alleys" in front of us, turning the pages in front of us, between which the dried flowers of past lives). And it also turns out that all these women are just exhibits in a museum where a school teacher brought negligent eleventh-graders to a literature lesson, constantly chewing something and laughing about some nasty things. Everything turns into some kind of irony with a bitter aftertaste. There was real love. And now there were only dusty textbooks in school libraries. Time does not kill, but it distorts. And looking at this trick, you can only be surprised at such a particularly quick and unpredictable outcome of events. But the female heroines were crying and the men were passing women's underwear from hand to hand, twisted in thoughts of pleasures. And now a crowd of eleventh graders, without showing the slightest interest, leaves the hall, laughing fervently and pushing each other, behind a diligent young teacher, probably still inexperienced in love.
And you stay. And you, too, seem to have to leave somehow. You get up from your chair and are perplexed by such a strange reality with ordered events called life.

Dmitry Anatolyevich Krymov is a famous stage designer, artist and teacher of theatrical art. A prominent representative of the Union of Artists and the Union of Theater Workers of Russia. Dmitry's life is the creative path of a real artist, filled with significant achievements in the field of painting and theatrical art.

Biography of Dmitry Krymov

Dmitry was brought up in a creative atmosphere. Father - the famous director Anatoly Efros. In Soviet times, he had a hard time: Jewish origin interfered with career growth, so the boy was given his mother's surname. Natalya Krymova is a talented art critic and prominent theater critic. It was she who instilled a craving for art in her son from early childhood.

The year 1976 is significant for Dmitry by the end of the studio school at the Moscow Art Theater and the beginning of his professional career. His career began at the Theater on Malaya Bronnaya.

From 1985 to the early 90s, Dmitry was a production designer at the Taganka Theater. The nineties had a negative impact on all areas of life, including art. Krymov had to leave the theater and devote himself to graphics and painting. His works are highly valued in many prominent museums in Russia, England, France, Japan, Germany. Today they are part of the permanent exhibition of the Tretyakov Gallery and the Pushkin Museum.

Krymov's creative activity as a production designer is especially appreciated in European countries.

Dmitry currently teaches at the Russian Academy of Theater Arts. With the participation of graduates of the theater universities of the capital, he puts on dramatic performances in his creative laboratory. In the future, they are presented at large festivals of theatrical art. There are dozens of successful productions on the creative account of Krymov's laboratory. Among them are: “Demon. View from above” (author's interpretation of Lermontov's poem); "Three sisters"; Trades and others.

Thanks to the joint efforts of directors Dmitry Krymov and Mikhail Baryshnikov, in 2010 the performance "In Paris" was presented to the European public. Despite the Russian-language production, the premiere at home did not take place.

Personal life of Dmitry Krymov

A successful director and artist lives not only in professional activities. He is the head of a happy family.

His wife, Inna, is an economist and social psychologist by training. Now she helps her husband in his work. The couple have a son.

Dmitry has not celebrated his birthdays for several years. Instead, he visits his parents' graves to thank them for everything they have given him.

Director, artist, stage designer. Member of the Union of Artists of Russia and the Union of Theater Workers of the Russian Federation.

In 1976 he graduated from the Moscow Art Theater School of the USSR. Gorky. In the same year he began working at the Theater on Malaya Bronnaya. Among the performances designed by him are the productions of A. V. Efros: “Othello” by W. Shakespeare (1976), “A Month in the Country” by I. S. Turgenev (1977), “Continuation of Don Juan” by E. Radzinsky (1979), “Summer and smoke" by T. Williams (1980), "Recollection" by A. Arbuzov (1981), "Napoleon the First" by F. Bruckner, "Theater Director" by I. Dvoretsky (1983). At the Moscow Art Theatre. A.P. Chekhov designed the performances of "Tartuffe" by J.-B. Moliere, "The Living Corpse" by L. Tolstoy, "An Attempt to Fly" by J. Radichkov (1984). At the Taganka Drama and Comedy Theater he worked on the performances “War has no female face” based on S. Aleksievich (1985), “One and a half square meters” based on the novel by B. Mozhaev and “The Misanthrope” by J.-B. Molière (1986).

He designed performances in such Moscow theaters as the Central Children's Theater, the Theater. K. S. Stanislavsky, Theater. N. V. Gogol, Theatre. M. N. Ermolova, Theatre. Moscow City Council, Theatre. V. Mayakovsky and others. He worked in theaters in St. Petersburg, Riga, Tallinn, Nizhny Novgorod, Vyatka, Volgograd and other cities of the USSR, as well as abroad (Bulgaria, Japan).

As an artist, he designed about 100 performances. Worked with directors V. Portnov, A. Tovstonogov, V. Sarkisov, M. Kiselov, E. Arye, A. Shapiro, M. Rozovsky, S. Artsibashev and others.

In the early 90s, Dmitry Krymov left the theater and took up easel art: painting, graphics, installation. Participated in many group and solo exhibitions both in Russia and abroad.

Since 2002, Dmitry Krymov has been teaching at GITIS, where he teaches a course of theater artists.

From 2004 to 2018 – Artistic Director of the Laboratory at the School of Dramatic Art Theatre. Staged at the ShDI performances “Untold Tales” based on Russian folk tales (2004), “Three Sisters” based on the plays by W. Shakespeare “King Lear” and “Love's Labour's Lost” (2005), “Sir Vantes. Donky Hot" based on the novel "Don Quixote" by Cervantes (2005), "Torgy" based on the plays by A.P. Chekhov (2006), "Demon. View from above" based on the poem by M. Yu. Lermontov (2006), "Cow" based on the story by A. Platonov (2007), "Opus No. 7" (2008), "The Death of a Giraffe" (2009), "Tararabumbia" (2010) , "Katya, Sonya, Fields, Galya, Vera, Olya, Tanya ..." based on I. Bunin (2011), "Gorki-10" (2012), "As You Like It Based on Shakespeare's A Midsummer Night's Dream" (2012) , "Honore de Balzac. Notes on Berdichev" based on the play by A.P. Chekhov "Three Sisters" (2013), "Oh. Late love" by A. N. Ostrovsky (2014), "Russian blues. Hike for mushrooms "(2015)," In your own words. A. Pushkin "Eugene Onegin" (2015), "The Last Date in Venice" based on the novel by E. Hemingway "Across the River in the Shade of Trees" (2016), "In Your Own Words. N. Gogol Dead Souls. (History of a gift) "(2016)," Dowry "by A. N. Ostrovsky (2017)," Romeo and Juliet (Kindersurprise) "by W. Shakespeare (2017).

As part of the Open Stage project, he staged the play Catherine's Dreams (2010), at the Musical Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko - “X. M. Mixed media" (2011), at the Koryamo Theater (Finland) - "In Paris" (2011), at the Iseman Theater (USA) - "The Square Root of the Three Sisters" (2016), at the Theater of Nations - "Moo-mu » (2018).

Performances by Dmitry Krymov participate in prestigious international festivals in Austria, Great Britain, Germany, Georgia, Poland. Dmitry Krymov's laboratory is actively touring the world, the performances were successfully received by the audience in Brazil, the USA, Australia, New Zealand, Finland, Estonia and other countries.

Awards:

International Theater Award named after K. S. Stanislavsky, 2006
In the nomination "Innovation", the play "Sir Vantes. Donkey Hot.

"Grand Prix" of the VII International Festival "Rainbow" in St. Petersburg, 2006
In the nomination "Best Performance", as well as a special prize from critics, the play "Sir Vantes. Donkey Hot.

Theatrical prize of the Moskovsky Komsomolets newspaper, 2007
In the category "Best Experiment", the performance "Demon. View from above".

First theatrical award "Crystal Turandot", 2007
In the nomination "Best director's work", the play "Demon. View from above".

"Golden Triga", the main prize of the international exhibition of scenography and stage space Prague Quadriennale 2007.
For the creation of the national pavilion of Russia “Our Chekhov. Twenty years later”, D. Krymov Workshop, GITIS.

National Theater Award "Golden Mask", 2008
In the nomination "Experiment", the performance "Demon. View from above".

Prize of the Federation of Jewish Communities of Russia "Person of the Year", 2009
In the "Cultural event of the year" nomination.

First theatrical award "Crystal Turandot", 2009
In the nomination "Best director's work", the play "Opus No. 7".

National Theater Award "Golden Mask", 2010
In the "Experiment" nomination, the play "Opus No. 7".

Edinburgh International Festival Bank of Scotland Herald Angel 2012 Main Award
For the performance "As You Like It by Shakespeare's A Midsummer Night's Dream"

Prize of Moscow in the field of literature and art, 2013
In the Theater Arts nomination for the productions of Opus No. 7, Gorki-10 and As You Like It based on Shakespeare's A Midsummer Night's Dream.

Election as an honorary member of the Russian Academy of Arts, 2014

Prize of the international exhibition of scenography and stage space Prague Quadriennale, 2015.
Special Award for “Best Overall Process” for the Russian Student Pavilion “Would you like to talk to us in bad English about art?” (students-scenographers of GITIS, E. Kamenkovich - D. Krymov Workshop).

National Theater Award "Golden Mask", 2016
In the nomination “Drama / Performance of a small form”, the performance “Oh. Late love".

Theater award of the Moskovsky Komsomolets newspaper, 2016
In the nomination “Best Performance for Children and Teenagers”, the play “In Your Own Words. A. Pushkin Eugene Onegin.

Awarded the title "Honorary Professor of GITIS", 2017