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

One of the pillars of modern national culture today is, of course, stage director Dmitry Krymov, whose genius is now recognized by the entire theater community. He is a member of the Union theatrical figures Russia and the Union of Artists and has many thematic awards, including awards from international festivals.

Biography of Dmitry Krymov

On October 10, 1954, in a creative metropolitan family (father - the famous director Anatoly Efros, and mother - theater critic and art critic Natalya Krymova), the future theater director was born. Due to the wave of anti-Semitism in our country during the birth and growing up of Dmitry, it was decided at the family council that the boy would take the name of his mother. And, as life itself showed, this decision was justified.

After graduating from general education educational institution Krymov entered the Moscow Art Theater School (stage department), following in the footsteps of his famous parent. In 1976, with a diploma of higher education went to develop his professional career at the Theater on Malaya Bronnaya. And his first directorial projects were the productions of "Recollection", "Summer and Smoke", "The Living Corpse", "A Month in the Village" and others.

In the period from 1985 to the beginning of the "nineties", when his father passed away, Dmitry mainly collaborated with the Taganka Theater. Here theater-goers could enjoy his directorial talent in performances: “The war has no female face”, “One and a half square meters"and" Misanthrope ". However, in addition to relatives theater stage famous screenwriter participated in productions of theaters located in many cities of Russia (St. Petersburg, Nizhny Novgorod, Volgograd and others), as well as in Japan and Bulgaria. And his colleagues in the creative workshop were such celebrities as Portnova, Tovstonogova, Aryeh and Shapiro.

After the death of his father, Dmitry Krymov decided to give up the work of a stage designer and completely focused on the fine arts. It was painting and graphics that made him famous in France, England and Germany, where he exhibited at thematic exhibitions. And in Moscow it artistic creativity was widely represented in the Russian Museum.

And at present, the Tretyakov Gallery and the Pushkin Museum contain, among their exhibits, paintings by Dmitry Krymov. From 2002 to this day, he began to engage in teaching activities in Russian Academy theatrical art. Also under his leadership are the Laboratory of the "School of Dramatic Art" and the course of theater artists.

It is interesting that the main author's ideas of any theater project the director considers precisely the postulate about "the viewer's misunderstanding of the director's intention." This will allow theater-goers to reflect and draw conclusions only after much deliberation. That is, success contemporary theater lies precisely in the philosophical and psychological plane, which excludes banal plots.

Director's personal life

AT family life the famous director, everything is quite stable and calm. The only marriage with his wife Inna was the reason for the birth of a son. His wife is a professional in economics and psychology and in last years very seriously helps her husband in his staged activities. It is interesting that in 2009 Dmitry Krymov was recognized by the Jewish communities of Russia as “Person of the Year”, and he has not celebrated his birthday for a very long time, preferring at that time to visit the graves of his revered parents, who were able to give him a worthy creative education.

Artist, set designer, director and theater teacher. Dmitry Anatolievich Krymov is a member of the Union of Artists of Russia and the Union of Theater Workers.

Dmitry Krymov- son of famous parents Anatoly Efros and Natalia Krymova. His father was a famous stage director, and his mother was a theater critic and art critic. Dmitry was given his mother's surname, as in Soviet time Anatoly Efros posed obstacles in their careers because of their Jewish origin.

In 1976 he graduated from the Moscow Art Theater School and immediately began working at the Theater on Malaya Bronnaya. Graduate work Krymova was staged by his father's Othello.

Creative activity of Dmitry Krymov / Dmitry Krymov

In 1985 Dmitry Krymov got a job as a production designer at the Taganka Theater, where his performances were staged "War has no woman's face", "One and a half square meters" and "Misanthrope".

In the early 1990s, due to the crisis Krymov was forced to leave the theater and take up painting, graphics. The paintings of Dmitry Anatolyevich were presented in the Russian Museum, in the museums of France, Germany, England. Now his work can be seen in Tretyakov Gallery and Museum fine arts named after Pushkin.

Dmitry Krymov worked in many Russian theaters in Moscow, St. Petersburg, Nizhny Novgorod, Volgograd, traveled to Riga, Tallinn, Bulgaria and Japan. His talent as a production designer and director is appreciated all over the world. A particularly welcome guest of the Crimeans in Europe.

“The performance is made by one person, the main one, and this is the director,” says Dmitry Krymov about his work. “People who understand this should gather around. I'm interested in opinions, and I'm ready to talk. But you just need to stop in time. Indeed, often for actors this is a way not to work, but to fray or fray their nerves.

At the Russian Academy of Theater Arts Dmitry Krymov teaches a course in theater artists and works in his creative laboratory "School of Dramatic Art". The laboratory is located in Moscow. Together with young actors, graduates of GITIS and the Shchukin School, Krymov puts on his own performances, which he then shows at international festivals.

“The director is responsible for the performance,” says Dmitry Krymov about his profession. — I am responsible for what happens on stage. If it doesn't turn out the way it seems to me, then the performance will not be mine. Why am I then spending time, and not painting pictures or doing something around the house? My door handle has been falling off for a year now, and I don’t fasten it, but I need to compensate with something. It makes up for it with the best possible performance.

Ideas for your phantasmagoric performances Dmitry Krymov he takes from his imagination, from other artists and his students. Krymov's performances are a synthesis plastic images, drawings, prose and poetry. Not all of them have story line, or intriguing interweaving of destinies, but there is always a bright visual image, which evokes a response in every beholder and characteristic feelings. This makes the theatrical audience increasingly come to the productions of director Dmitry Krymov.

"The first performance of our group was called "Innuendo" and was staged with the students of my then first year art faculty of the RATI. The Russians became the basis of the performance folk tales edited by Afanasiev, that is, the most "real" Russian fairy tales. This performance was without words. The artists were the same art students who created the series before the eyes of the audience. visual images united by one plot and idea.

Theater Lab Dmitry Krymov staged performances such as "Three Sisters", "Sir Vantes. Donky Hot", "Bidding" and a number of others. Fame in wide circles Krymov's productions were received after the interpretation of Lermontov's poem "Demon. View from above". The performance received the awards of theater critics "Crystal Turandot" and the Union of Theater Workers "Golden Mask".

In 2010, together with Mikhail Baryshnikov Dmitry Krymov staged a play "In Paris" seen by European audiences. The performance was in Russian, but was not shown in Russia.

Performances by Dmitry Krymov/Dmitrii Krymov

• 1987 - Costume designer (film-play) - artist
• 1988 - The war does not have a female face (film-play) - artist
• 1989 - Tartuffe (film-play) - artist
• 2001 - Napoleon the First (film-play) - artist
• 2005 - Anatoly Efros
• 2005 - Islands (documentary)
• 2012 - Katya, Sonya, Fields, Galya, Vera, Olya, Tanya ... (film-play) - director
• Tararaboombia
• Death of a Giraffe
• Gorki 10
• Dreams of Katerina
• Opus No. 7
• Cow

Dmitry Krymov, whose biography is described in this article, - Russian artist, theater teacher, director and set designer. His performances are popular not only in Russia, but also abroad. As a stage designer, Krymov worked not only with the capital, but also with many provincial theaters. Dmitry Anatolyevich brought a new aesthetics to art, an unusual genre mix.

Childhood

Dmitry Krymov was born on 10.10.1954 in Moscow in creative family. His father, Anatoly Efros, was a famous director. Mother, Natalya Krymova, is a theater critic and writer. At birth, Dmitry was recorded in his mother's surname on the advice of his grandfather. The fact is that his father, Anatoly Efros, had Jewish roots. In those days, this could have a negative impact on the fate of Dmitry.

He grew up in an atmosphere of parental love. Father and mother gave great importance creative education of his son, so Anatoly could not come to terms with the fact that Dmitry sometimes took a long time to solve any creative task. As a result, the mother acted as a mediator between husband and son. But all this only helped Dmitry to become an outstanding and self-sufficient person.

Education

After graduation high school Krymov decided to link his fate with the theater. Therefore, he entered the Moscow Art Theater School and began to comprehend the basics of scenography. He studied at the production department. Graduated from the university in 1976.

Work as a set designer

He got a job in his specialty at the theater, located on Malaya Bronnaya. There, Anatoly Efros staged a whole series of productions, the design of which was taken up by Dmitry Krymov. The performances that he served were shown in many theaters of the capital and in many cities of the Soviet Union.

tragic break

Krymov's talent was noticed by many artists, the career of a young stage designer was very successful. But life made its own adjustments - the parents died: first the father, and then the mother. Dmitry Anatolyevich had to temporarily leave the theater. Then it seemed to Krymov that he was for good, since everything reminded him of his parents, it hit him hard, and the work done seemed useless to anyone.

Dmitry decided to change his profession and seriously study easel art. Krymov plunged into painting, graphics and installation. It turned out that another talent of Dmitry was revealed here. His works began to be exhibited in many museums, including foreign ones. Some of the paintings ended up in private collections.

Return to the theater world

After a while, the pain from the loss dulled, and Dmitry Krymov returned to the theater again. It came as a surprise to many when he staged Hamlet at the Stanislavsky Theatre. After that, he got a job at GITIS. Dmitry turned out to be an excellent teacher and brought up many young actors. In 2002, Krymov began teaching his course at the Russian Theater Academy. In 2008, he recruited an experimental group, which simultaneously trained novice directors, actors and screenwriters. Such a mixed co-creation course turned out to be unique, as it was organized for the first time.

Own creative laboratory

In 2004, a production based on Russian folk tales captivated director A. Vasiliev. He included it in the repertoire of the Theater of Europe and suggested that Krymov create a creative laboratory. It has become a separate division with a unique artistic aesthetic.

In 2006, Vasiliev left the theater, and this became turning point in the life of Dmitry Anatolyevich. At first he wanted to follow the director, but after hesitation, he still stayed to work for same place. The creative laboratory of Dmitry Krymov continued its work.

All productions were awarded by theater critics with bright epithets. The expressiveness of the performances, their unique artistic structure and associative series were noted. Performances in the laboratory are created in two stages: an active discussion of the plays, and only then the development of images. Music plays an important role in performances. Ready-made works are rarely taken for the performance, in most cases new, original ones are written. Dmitry Krymov has been collaborating with the composer Bodrov for a long time, who writes music for productions.

For Dmitry Anatolyevich there are no fundamental principles, he can "cut" the music in accordance with his ideas, removing unnecessary fragments or adding new ones. Therefore, the laboratory acquired the status of the author's. During its existence, dozens of performances have already been staged. The production of "Dream in midsummer night” became the laureate of the Edinburgh Festival.

All performances performed by Krymov are real masterpieces of art. The works make you think about pressing issues, changing perceptions and existing opinions. Dmitry Anatolyevich is an experienced specialist in the opera genre. He staged several one-act works.

In 2007, Dmitry Anatolyevich received the famous Crystal Turandot award. In 2010, the screenwriter created an unforgettable play "In Paris". It was a joint work of Krymov and Baryshnikov. Many people remember the performance mixed media", delivered in 2011.

Dmitry Krymov is a director from God. He is very responsible for his work and believes that he is responsible for what is happening on stage. Therefore, he is satisfied with his work only when the performance he has staged fully meets his requirements.

Ahead in Krymov's plans are new creative works. In 2016, Dmitry Anatolyevich thought about removing feature film. The plot is being outlined in in general terms. The director announced that students and pupils of Krymov would take part in the filming. The figurative canvas of the picture is identical to one of the films by Anatoly Efros, which was filmed in 1961.

Personal life

Dmitry Krymov is married. His wife's name is Inna. The Krymovs have an adult son. Inna worked in the field of social psychology and economics. AT recent times in many ways helps her husband in directing. In 2009, Dmitry Anatolyevich was named "Person of the Year" by the Jewish communities of the Russian Federation. Krymov has not celebrated his birthday for a very long time. On this day, he annually travels to the graves of his parents. Dmitry Anatolyevich still thanks his father and mother for his birth and creative education.

Irina Sirotkina reviews: 53 ratings: 53 rating: 38

I'm trying to understand why the genre ("artist's theater"), in which Dm. Krymov makes his performances, is so touching. Perhaps because it doesn't look like traditional theater but for children's play. This is the magic of a toy: a child jumps on a stick, calling it a horse. According to Vygotsky, a child, by the power of one thing, takes away the name from another thing, acquiring magical power over it. In the student (!) play "A story: Dido and Aeneas" one actress drags a paper boat on a string across the floor covered with old newspapers, and the other begins to stir and raise these newspapers, and you suddenly see the ninth wave. And you are afraid of this storm, and you dominate it, and you resign yourself to the tragedy that it brings with it for shipbuilders - and for you too. It's a child's game, not "theatrical", and therefore much more serious, powerful and deeper. The performance is another miracle of the Krymov Laboratory - from old newspapers, paper boats, shadows from magic lantern, and barefoot teenage actresses. Fragile and poignant, like Dido's farewell aria "Remember me".

crafty reviews: 15 ratings: 17 rating: 26

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.
Introducing 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 (!), legs appear, and she passionately dances her love dance with a man, everything stage action The performance 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 before us a book of Bunin's " dark alleys"turning pages in front of us, between which dried flowers of past lives have been preserved). 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. living love. And now there are 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 cried and the men handed each other Lingerie, twisted in thoughts about 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.

Marfa Nekrasova reviews: 47 ratings: 45 rating: 91

Devilishly turning over the plots of the works and the ways of their usual productions, Dmitry Krymov outlines performance after performance in the strange theater of the School of Dramatic Art. At first, without words ("Innuendo", "Donkey Hot", "Demon. View from above"), and then with some of them interspersed; at first telling stories only with a brush, human body and scenography items, and after that with the help of everything possible; first with his stage design students, and now with the actors recruited into the troupe. His co-creators turn anything into theatrical images not with spells, but with paints, bewitching the stupefied spectators. In "Innuendo" Vera draws the face of the Bridegroom with black gouache on Leni's thin back with several lines, Lyonya sits Ethel (the Bride) on her knees, they kiss, and the face of the Bridegroom on the back squirms and rejoices. In "The Demon", the set designers scatter old records around the stage, and with every second the melody from the thrown record is added to the general rumble, and then yellow household gloves are scattered around, and a field of withers grows on the stage. In Opus No. 7, Anya, playing Shostakovich, sits in a wooden piano and scatters brushstrokes of different bright colors to the music of the composer. Everything is simple, and you can blame him for being illustrative, or you can conclude an agreement with him by signing with red paint from a black brush that you agree to be sprinkled with wood shavings, artificial snow or torn newspapers (depending on which performance), and the performance will be only based on the work (s), and it’s all about your own, and there are as many thoughts in it as you have time to change your mind for its short duration, but you didn’t have time, so maybe in it more beauty than meaning, and is it really difficult to find meaning in beauty, the artist living in you will tell you. Streams of images, metamorphosing from one to another, easily guessed by the choice of surprisingly accurate particles of the depicted - that's what kind of theater it is. Leromontov's Demon sees the world from above, Cervantes' Don Quixote is crazy, Platonov's Cow is attractive woman, and the performance is a canvas on which sketches, strokes and paintings appear, replacing, complementing and revealing each other more and more. Mixing and entertaining our minds, he mixes folk tales, Cervantes and Gogol, Lermontov and selected events in Russia, all Chekhov's plays together, Platonov and jazz, the Bible and the fate of Shostakovich. How it mixes in our heads, how associations run inside us. Because he and his co-creators let through themselves what is put through, humanizing the characters, reviving them, and let the performance no longer be about that, but about them (us) ourselves. Chekhov in his “Bidding” is charmingly perky, yes, it shouldn’t be like that, I know, we all know, but it comes out so truthfully and truly that, like in many of his performances, there are no words.

The laboratory of Dmitry Krymov, one of the most important aesthetic revolutionaries of the contemporary Russian theatre, has existed since October 2004. During this time, more than ten performances were created, each of which opened new topic in the study of the "artist's theater". Levels of perception of space, the nature of the appearance of the image, visual expressiveness and accuracy along with paradoxicality, unexpected associative series and piercing sincerity, the nature of the actor's existence in an unusual artistic structure- all this is just a small and rather conditional list of topics that theater critics love to talk about in connection with the work of the Laboratory participants.
In August 2012 Dmitry Krymov's play "A Midsummer Night's Dream" (joint production of the International theater festival named after Chekhov and the theater "School of Dramatic Art") received an award at the 66th International Edinburgh Arts Festival.

Dmitry Krymov was born in 1954 in the family of Anatoly Efros and Natalia Krymova, probably the most famous director and theater critic Soviet era. In 1976 he graduated from the Moscow Art Theater School as theater artist, stage designer. In 1976 he began working at the Theater on Malaya Bronnaya. Among the performances designed by him in the production of Anatoly Efros "Othello" by W. Shakespeare (1976), "A Month in the Country" by I. Turgenev (1977), "Summer and Smoke" by T. Williams (1980), "Remembrance" by A. Arbuzov (1981 ), "Napoleon the First" by F. Bruckner, "Theater Director" by I. Dvoretsky (1983) and others. A. Chekhov designed the performances "Tartuffe" by J. B. Moliere, "The Living Corpse" by L. Tolstoy, "Attempt to Fly" by J. Radichkov (1984). At the Taganka Drama and Comedy Theater he worked on performances: “War has no female face” by S. Aleksievich (1985), “One and a half square meters” by B. Mozhaev and “The Misanthrope” by J.-B. Molière (1986). He designed performances in other theaters in Moscow, Russia and the world. In the early 90s, Dmitry Krymov left the theater and took up easel art: painting, graphics, installation. Participated in many group and personal exhibitions both in Russia and abroad. Leading since 2004 creative laboratory at the School of Dramatic Art Theater in Moscow and puts on performances with the participation of his art students and young actors, recent graduates of RUTI-GITIS and the Shchukin School. In the Laboratory, Dmitry Krymov staged the following performances: “Innuendo”, “Three Sisters”, “Sir Vantes. Donky hot”, “Bidding”, “Demon. View from above", "Cow", "Opus No. 7", "Katerina's Dreams", "Death of a Giraffe", "Tararabumbia", "Katya, Sonya, Fields, Galya, Vera, Olya, Tanya", In Paris, " X. M. Mixed media.