Lev dodin director. Director, actor Lev Dodin

Lev Dodin (born May 14, 1944) is a Russian theater director, People's Artist of the Russian Federation, laureate of the State Prize of the USSR and State Prizes of the Russian Federation (1992, 2002).

Private bussiness

Lev Abramovich Dodin (70 years old) was born in Stalinsk (now Novokuznetsk), his parents were evacuated there. In 1945 everyone returned to Leningrad. Dodin studied at the Leningrad Theater of Youth Creativity under the direction of M. G. Dubrovin, and immediately after school, in 1961, he entered the Leningrad Institute of Theater, Music and Cinematography on the course of B.V. Zone. After graduating from the institute in 1966, Dodin made his debut as a director with the television play "First Love" based on the novel by I. S. Turgenev. He worked in the Leningrad Youth Theater, where he staged, in particular, "Our people - let's settle" by A. N. Ostrovsky (1973) and several performances together with Zinovy ​​Korogodsky. In 1975-1979 he worked at the Drama and Comedy Theater on Liteiny, staged the performances "Undergrowth" by D. I. Fonvizin, "Rose Berndt" by G. Hauptmann. He staged performances on the Small Stage of the Bolshoi Theater - Oleg Borisov's one-man show "The Meek" based on the novel by F. M. Dostoevsky (1981) and in the Moscow Art Theater - "Lord Golovlyovs" based on the novel by M. E. Saltykov-Shchedrin with Innokenty Smoktunovsky (1984), "The Meek" with Oleg Borisov (1985).

What is famous

In 1975, Lev Dodin's collaboration with the Maly Drama Theater began with the production of the play "The Robber" based on the play by K. Chapek. Since 1983 he has been the artistic director of the theatre, since 2002 he has also been a director. Actually, MDT and Dodin are already inseparable.

What you need to know

"For me, there is no choice between contemporary art and non-modern, relevant and irrelevant. There is only the noun "art", which does not need adjectives. If it is "art", then it cannot be non-modern. Even if it was created many centuries ago, then is still modern. Any adjective next to a work of art, in my opinion, calls into question the value of this work of art. The term "modern art" I would compare with the term "sovereign democracy" popular today" - Lev Dodin.

Another direct speech by Dodin

Lev Abramovich Dodin

“I do what I do. I know something. And what it will result in is unpredictable. As you know, the smell of a rose is described in a thousand ways. To find a new one, there are two options: either to know this thousand ways and find the first thousand, or not to know any and accidentally blurt out something hitherto unseen. I think the second trend is now strongly suppressing the first.”

“As for mistakes: On the one hand, you tell yourself all the time that you have the right not to make one mistake, but to make a lot. Because if you don't think like that, you won't take a step. And not necessarily the right steps, the theater is a search, exploration, comprehension of something unknown. But when you realize that you went in the wrong direction, you still reproach yourself, torment, torment yourself. This is a story from which there is no way out, unfortunately.

6 facts about Lev Dodin

• In 1967, Lev Dodin began teaching acting and directing at LGITMiK, educated more than one generation of actors and directors.

• In 1992, Lev Dodin and the theater led by him were invited to join the Union of Theaters of Europe, and in September 1998 the Maly Drama Theater received the status of the Theater of Europe, the third after the Odeon Theater in Paris and the Piccolo Theater by Giorgio Strehler.

• The theatrical activity of Lev Dodin and his performances are marked by state and international prizes and awards. Including the State Prizes of Russia and the USSR, the Prize of the President of Russia, the Orders of Merit for the Fatherland, III and IV degrees, the independent Triumph Prize, the K. S. Stanislavsky Prize, the Golden Mask National Prizes, the Laurence Olivier Prize, Italian Abbiati Award for Best Opera Performance.

• In 2000, he, so far the only Russian director, was awarded the highest European theater award "Europe - Theater".

• Lev Dodin is a member of the General Assembly of the Union of Theaters of Europe. In 2012 he was elected Honorary President of the Union of Theaters of Europe.

• He is a permanent member of the jury of the professional competition of literary works "Northern Palmyra". Member of the jury "Golden Soffit" - theatrical award of St. Petersburg. Member of the editorial board of the almanac "Baltic Seasons".

"The life and fate of the Lev Dodin Theater"(video in three parts: open lesson of the graduation course of Lev Dodin St. Petersburg Theater Academy, participating in the program: Lev Dodin, Valery Galendeev, Oleg Dmitriev, Elizaveta Boyarskaya, Danila Kozlovsky, Nikolai Pesochinsky, Sergey Vlasov, Sergey Kuryshev, Ksenia Rappoport, Alexey Devotchenko )

Productions by Lev Dodin at MDT

1974 - "The Robber" by K. Chapek. Design by E. Kochergin, costumes by I. Gabay

1977 - "Tattooed Rose" by T. Williams. Design by M. Kataev, costumes by I. Gabay

1978 - "Appointment" by A. Volodin. Artist M. Kitaev

1979 - "Live and Remember" based on the novel by V. Rasputin. Design by E. Kochergin, costumes by I. Gabay

1980 - "House" based on the novel by F. Abramov. Design by E. Kochergin, costumes by I. Gabay

1984 - "Bench" A. Gelman. Directed by E. Arie. Artist D. A. Krymov (artistic director of the production)

1985 - "Brothers and Sisters" based on the trilogy of F. Abramov "Pryasliny". Design by E. Kochergin, costumes by I. Gabay

1986 - "Lord of the Flies" based on the novel by W. Golding. Artist D. L. Borovsky

1987 - "Toward the Sun" based on one-act plays by A. Volodin. Artist M. Kitaev

1987 - "Stars in the morning sky" A. Galina. Directed by T. Shestakova. Artist A. E. Poray-Koshits (artistic director of the production)

1988 - "The Old Man" based on the novel by Y. Trifonov. Design by E. Kochergin, costumes by I. Gabay

1988 - "Returned Pages" (literary evening). Staged by Dodin. Director V. Galendeev. Artist A. E. Poray-Koshits

1990 - "Gaudeamus" based on the story of S. Kaledin "Stroybat". Artist A. E. Poray-Koshits

1991 - "Demons" by F. M. Dostoevsky. Design by E. Kochergin, costumes by I. Gabay

1992 - "The Broken Jug" by G. von Kleist. Directed by V. Filshtinsky. Design by A. Orlov, costumes by O. Savarenskaya (artistic director of the production)

1994 - "Love under the Elms" by Y. O'Neill. Design by E. Kochergin, costumes by I. Gabay

1994 - "The Cherry Orchard" by A.P. Chekhov. Design by E. Kochergin, costumes by I. Gabay

1994 - "Claustrophobia" based on modern Russian prose. Artist A. E. Poray-Koshits

1997 - "A play without a title" by A.P. Chekhov. Designed by A. E. Poray-Koshits, costumes by I. Tsvetkova

1999 - "Chevengur" by A.P. Platonov. Artist A. E. Poray-Koshits

2000 - "Molly Sweeney" B. Freel. Artist D. L. Borovsky

2001 - "The Seagull" by A.P. Chekhov. Artist A. E. Poray-Koshits

2002 - "Moscow Choir" by L. Petrushevskaya (artistic director of the production)

2003 - "Uncle Vanya" by A.P. Chekhov. Artist D. L. Borovsky

2006 - "King Lear" by W. Shakespeare. Artist D. L. Borovsky

2007 - "Life and Fate" by V. S. Grossman, staged by L. Dodin.

2007 - "Warsaw Melody" L. Zorina (artistic director of the production) The idea of ​​scenography D. L. Borovsky; Artist A. E. Poray-Koshits.

2008 - "Long Journey Into the Night" by Y. O'Neill

2008 - Love's Labour's Lost by W. Shakespeare

2009 - "Lord of the Flies" by W. Golding. Scenography and costumes D. L. Borovsky; implementation of scenography by A. E. Poray-Koshits.

2009 - "A Beautiful Sunday for a Broken Heart" by T. Williams. Artist Alexander Borovsky.

2010 - "Three Sisters" by A.P. Chekhov.

2011 - "Portrait with rain" based on the screenplay by A. Volodin. Artist A.Borovsky

2012 - "Deceit and love" by F. Schiller. Artist A.Borovsky

2014 - "Enemy of the people" by G. Ibsen

2014 — The Cherry Orchard by A.P. Chekhov

The Theater of Europe, better known as the Dodinsky Theatre, or the Maly Drama Theater of St. Petersburg is going through another crisis. So far, there has been no death. Leading theater actress Tatyana Shestakova, wife of Lev Dodin, jumped out of a window in Paris at the end of December last year. She survived with broken arms and legs.

The director himself had been depressed for several months, did not appear at the theater institute on his course, and suspended the rehearsals of The Master and Margarita.

Tatyana Shestakova, according to the theater staff, has recently had a creative crisis, since she was transferred from the main roles to age ones.

There have been gloomy legends about the Dodinsky Theater for a long time. The theater fans were most shocked after the suicide of the famous artist Vladimir Osipchuk, which followed a few years ago.

It was a protracted creative crisis of the actor, the opportunity to live without the theater, faced with the impossibility of living further in it. However, no one knows the exact reasons. Yes, it doesn't matter.

The death of Osipchuk cemented the gloomy glory of the House, from which it is impossible to leave, for the theater.

For an actor, becoming a student of Dodin was tantamount to entering into voluntary slavery, giving his soul for success. They all became big stars for Dodin - not for an hour, for a lifetime. But for this it was necessary to renounce oneself, laying down life at the feet of the Master. This is his creative method and there is nothing to be done about it.

For many, at the last moment, the instinct of self-preservation worked, like Maxim Leonidov - he felt that he had to run ...

"- Maxim, after all, you graduated from the Theater Institute in Leningrad at one time. Among your teachers was Lev Dodin, who is considered today one of the best theater directors. Have you ever wanted to work in the same team with your famous teacher?

It was so. When I left the group "Secret" and was not going to leave for Israel yet, I had a serious conversation with Lev Abramovich. We even decided that I would probably come to work in his theater. But then I was frightened and frightened quite naturally. Because, studying with Lev Dodin, I perfectly understood what his theater was. This is absolute one hundred percent in the theater and nowhere else. It is necessary to give all of yourself not only to the theater, but also directly to Lev Abramovich. The fact is that this is a special direction, special theatrical relations. In general, this is not for me. I'm quite a freedom-loving guy and it's hard for me to give myself so unconditionally into the hands of even my favorite teacher."

But many chose a different path, and Osipchuk was one of them.

The Dodinsky theater picks out far-hidden experiences from the viewer, appeals to the atavisms of consciousness, awakens reflexes at the level of the sympathetic nervous system. But this is given to actors at the cost of their own colossal work, at the cost of living in a different coordinate system. At the price of giving up daylight - as you know, in the theater hall there are no windows, and they spend almost all the time there.

About the coordinate system - in the world of the Dodinsky Theater - its own language and characters. Dodin has already been written about as the Master who created the theater school and method. The victims of the method have not yet been written about, probably because they are voluntary and in the name of art. Translated from the theatrical, this means saints.

"Dodin does not use the word "plan", especially its reduced versions like the notorious "idea". It is replaced by a strange noun collusion and derivatives of it verbs to collude, collude. These cautious words mean the level of mutual understanding reached by the participants in the work, as opposed to the sole, personal idea of ​​the director, who goes out to the rest of the participants in the rehearsal process with a plan.

The word "rehearsal" is used in conversations with the administration, artistic and production part, at press conferences, etc. The artists and participants know the word test, in general, corresponding to the German "die Probe" (trial, experience, test, sample, rehearsal). The French "la repetition" (repetition, rehearsal) fundamentally contradicts Dodin's creative philosophy, this will become clear later. There is no place in Dodin's vocabulary for "run" - one of the most common catchwords in theatrical slang. If in the process of staging a play, a play or any of its major parts is played without stopping, this is called a through test. The word test also means "etude" - a rehearsal composition of artists. At the same time, one can often hear an etude feeling, not always in a positive sense, depending on the situation.

There are no "breaks" or "intermissions" in rehearsal and study work - there are always pauses. A pause is a meaningful structural moment when new thoughts, ideas, visions accumulate, in Dodin's terminology, internal texts. In the memory of the author, at the end of a rehearsal or lesson, it never sounded like “finished” or “everything for today”, etc. Instead, it says "let's stop here", which, obviously, can not be commented on.

For some reason, Dodin does not like the verb "leave" in its literal meaning, meaning the direction of movement. He prefers the verb to disperse, apparently due to its not so complete completion.

In the creative laboratory of Dodin, the sphere of the word almost dominates. All his main ideas, intentions, impulses are expressed mainly through the word, always original and expressive. A six-hour monologue is not such a rarity in the biography of Dodin, a teacher and director. The author at least three times witnessed this form of communication with students and artists. And all three times Dodin had something to say.

At the same time, Dodin's attitude to the word is at least ambivalent. He does not like academic terms in his work. Most of the theatrical words from his point of view are moldy, and others are interpreted so subjectively that it is safer to use your own. The absence of special terminology in the generally accepted form is also explained by one of Dodin's personal phobias: the fear of being subconsciously enslaved to words. Their hopeless power was explored in the performances "Lord of the Flies", "Demons", "Claustrophobia", "Chevengur", partly in "Gaudeamus".

In general, a linguistic analysis of Dodin's directing-pedagogical method could give interesting results. Changes in creative psychology are already palpable at the level of the dictionary. Here are the statements of fifteen years ago: "... I am sure that today's spectator needs to be knocked out of his usual course of life for a long time and thoroughly ... The spectator who dropped into the theater must be made to understand ... For me today, the ideal of the theater is not the one which easily fits into my usual course of life, and the one that pulls me out of it, casts doubt, requires something to be reconsidered.

The glory is almost prophetic. And the deadline has come. We need to reconsider something. Urgently, because Shestakova's act is a sharp signal to reconsider.

The actors are devoted to Dodin selflessly, like a child, having absorbed his reverence for the process of the birth of the theater, and identifying the director with the creator of the theater.

“- I now remember that before the premiere of The Seagull at the Maly Drama Theater in St. Petersburg, actor Pyotr Semak received a serious neck injury. He insisted that the premiere should not be postponed, he played in a plaster collar, because he did not want to let down his theater, his director .. .

This means that Lev Dodin has created a team in the theater and certain values ​​have been formed."

This is not entirely true. Because it is not values ​​that have been formed, but super-values, and if a second terrible failure occurs in the system, it is time to change these super-values, otherwise the whole world will collapse. How the theatrical building of the Theater of Europe collapses on Rubinstein Street in St. Petersburg: "We visited many theater schools in Europe, from there they turn to us for help, for advice, with requests for all kinds of experience and courses, but we cannot accept colleagues here, because if I lead them up our stairs, they will have enough kondrash. Once this staircase was no less ugly, they did not want to repair it. But suddenly, fortunately for us, a rumor spread that the then first secretary of the regional committee would arrive - it seems to the play "Brothers and Sisters". The overjoyed director immediately called the district committee of the party, sent a team of workers and covered the entire staircase with iron, covering the centuries-old rot. The first secretary of the regional committee did not come, but for many years the staircase looked albeit strange in terms of architectural features, but, at least decently. Today everything is torn off, and again the centuries-old rot has poked its head out. In the midst of all this, we walk, we rehearse. Of course, I simply cannot let anyone young go there, I'm ashamed." - Lev Dodin says about the theater building...

But the Dodinsky Theater is alive not with the stairs, but with the backstage - the spirit of the backstage, the atmosphere that Dodin creates. Speaking of success, he is a little disingenuous.

"- Abroad, as well as at home, the audience is attracted by a meeting with genuine art," says Lev Dodin. " lasts about 10 hours!), If what is happening on stage is not in tune with the thoughts and feelings of the public. Actors share their reflections on modern moral and spiritual problems that concern everyone with the utmost sincerity and passion. I believe that it is precisely this sincerity and topicality that appreciates the viewer, whether in Paris, London, Brussels, Amsterdam or St. Petersburg."

The viewer does not appreciate sincerity, the viewer feels how real life flows out of the artist on the Dodinsk stage, how blood and flesh are spent on him, the viewer, and therefore Dodin's theater is real.

"- Feelings of artistic confusion cannot be avoided, because you are constantly in a state of confusion before what you would like to express. Artistic confusion is an inherent property of a person who would like to say something. When there is nothing to say, then there is no dumbness, there are enough words. But when you want to say and understand a lot, you are seized by dumbness, which is very difficult to overcome.Sometimes you want not to open your mouth.But I think it's not because you are lagging behind the rhythm of today's life.How can you fall behind it?Today's life hits you on It humiliates you with its events, humiliates you with its attitude to culture. It makes you defenseless from anyone. It blows up skyscrapers in New York and houses in Moscow. What are you behind? You are lost because you cannot tell the story of a skyscraper "But you don't have to tell it. It's just that in the performance that you make, your nerves that survived it affect. If you make a performance with your nerves, then willy-nev oh, this skyscraper will collapse in your performance. If you make the performance something different, you will not experience any confusion, because all the recipes are clear and understandable.

Dodinsky skyscraper collapsed. From a window in Paris. It is now necessary that the master survive. Because all the lives of actors in the Dodinsk theater, like strings, are clamped in his hand. They cannot do without it, they do not want to, they do not know how. They decided so themselves, and this was the last decision. Or - the penultimate one, which is the worst.

Lev Abramovich Dodin(born May 14, 1944, Stalinsk) - Soviet and Russian theater director, People's Artist of the Russian Federation (1993), laureate of the USSR State Prize (1986) and State Prizes of the Russian Federation (1992, 2002, 2015).

Biography

Lev Dodin was born in Stalinsk (now Novokuznetsk), where his parents were evacuated. In 1945 the family returned to Leningrad. Fascinated by the theater since childhood, Lev Dodin, together with his classmate Sergei Solovyov, studied at the Theater of Youth Creativity (TYuT) at the Leningrad Palace of Pioneers under the direction of Matvey Dubrovin. Immediately after school, in 1961, he entered the Leningrad Institute of Theater, Music and Cinematography on the course of B. V. Zon. Together with him, Olga Antonova, Viktor Kostetsky, Leonid Mozgovoy, Sergey Nadporozhsky, Natalya Tenyakova, Vladimir Tykke studied here in the acting group. But L. A. Dodin completed his studies a year later than his classmates at the directing department in the Zon workshop.

After graduating from the institute in 1966, Dodin made his debut as a director with the television play "First Love" based on the novel by I. S. Turgenev. He worked in the Leningrad Youth Theater, where he staged, in particular, "Own people - let's settle" by A. N. Ostrovsky (1973) and several performances together with Zinovy ​​Korogodsky.

In 1967, Lev Dodin began teaching acting and directing at LGITMiKa, educated more than one generation of actors and directors.

In 1975-1979 he worked at the Drama and Comedy Theater on Liteiny, staged the performances "Undergrowth" by D. I. Fonvizin, "Rose Berndt" by G. Hauptman and others.

He staged performances on the Small Stage of the BDT - Oleg Borisov's one-man show "The Meek" based on the novel by F. M. Dostoevsky (1981) and in the Moscow Art Theater - "Lord Golovlyovs" based on the novel by M. E. Saltykov-Shchedrin with Innokenty Smoktunovsky (1984), "The Meek" with Oleg Borisov (1985).

In 1975, Lev Dodin's collaboration with the Maly Drama Theater began with the production of the play "The Robber" based on the play by K. Chapek. Since 1983, he has been the artistic director of the theater, and since 2002, the director.

In 1992, Lev Dodin and the theater led by him were invited to join the Union of Theaters of Europe, and in September 1998 the Maly Drama Theater received the status of the Theater of Europe, the third after the Odeon Theater in Paris and the Piccolo Theater by Giorgio Strehler.

A family

• Wife - People's Artist of Russia Tatyana Shestakova.
• Brother - Doctor of Geological and Mineralogical Sciences, Corresponding Member. RAS David Dodin.
• Niece - Deputy Artistic Director of the Academic Maly Drama Theater - Theater of Europe Dina Dodin.

He was married to actress Natalya Tenyakova.

Productions

• 1968 - "Our Circus" Composed and staged by Z. Korogodsky, L. Dodin, V. M. Filshtinsky. Artist Z. Arshakuni
• 1969 - "Our, only ours ...". Composed and directed by Z. Korogodsky, Dodin, V. Filshtinsky. Artist M. Azizyan
• 1970 - "Tales of Chukovsky" ("Our Chukovsky"). Composed and directed by Z. Korogodsky, Dodin, V. Filyshtinsky. Artists Z. Arshakuni, N. Polyakova, A. E. Poray-Koshits, V. Solovyova (under the direction of N. Ivanova)
• 1971 - "Open Lesson". Composed and directed by Z. Korogodsky, Dodin, V. Filshtinsky. Artist A. E. Poray-Koshits
• 1971 - “But what would you choose? ..” A. Kurgatnikova. Artist M. Smirnov

• 1974 - "The Robber" by K. Chapek. Design by E. Kochergin, costumes by I. Gabay
• 1977 - "Tattooed Rose" by T. Williams. Design by M. Kataev, costumes by I. Gabay
• 1978 - "Appointment" by A. Volodin. Artist M. Kitaev
• 1979 - "Live and Remember" based on the novel by V. Rasputin. Design by E. Kochergin, costumes by I. Gabay
• 1980 - "House" based on the novel by F. Abramov. Design by E. Kochergin, costumes by I. Gabay
• 1984 - "Bench" by A. Gelman. Directed by E. Arie. Artist D. A. Krymov (artistic director of the production)
• 1985 - "Brothers and Sisters" based on the trilogy of F. Abramov "Pryasliny". Design by E. Kochergin, costumes by I. Gabay
• 1986 - "Lord of the Flies" based on the novel by W. Golding. Artist D. L. Borovsky
• 1987 - "Toward the Sun" based on one-act plays by A. Volodin. Artist M. Kitaev
• 1987 - "Stars in the morning sky" A. Galina. Directed by T. Shestakova. Artist A. E. Poray-Koshits (artistic director of the production)
• 1988 - "The Old Man" based on the novel by Y. Trifonov. Design by E. Kochergin, costumes by I. Gabay
• 1988 - "Returned Pages" (literary evening). Dodin's production. Director V. Galendeev. Artist A. E. Poray-Koshits
• 1990 - "Gaudeamus" based on the story of S. Kaledin "Stroybat". Artist A. E. Poray-Koshits
• 1991 - "Demons" by F. M. Dostoevsky. Design by E. Kochergin, costumes by I. Gabay
• 1992 - "The Broken Jug" by G. von Kleist. Directed by V. Filshtinsky. Design by A. Orlov, costumes by O. Savarenskaya (artistic director of the production)
• 1994 - "Love under the Elms" by Y. O'Neill. Design by E. Kochergin, costumes by I. Gabay
• 1994 - "The Cherry Orchard" by A.P. Chekhov. Design by E. Kochergin, costumes by I. Gabay
• 1994 - "Claustrophobia" based on modern Russian prose. Artist A. E. Poray-Koshits
• 1997 - "A play without a title" by A.P. Chekhov. Designed by A. E. Poray-Koshits, costumes by I. Tsvetkova
• 1999 - "Chevengur" by A.P. Platonov. Artist A. E. Poray-Koshits
• 2000 - "Molly Sweeney" B. Freel. Artist D. L. Borovsky
• 2001 - "The Seagull" by A.P. Chekhov. Artist A. E. Poray-Koshits
• 2002 - "Moscow Choir" by L. Petrushevskaya (artistic director of the production
• 2003 - "Uncle Vanya" by A.P. Chekhov. Artist D. L. Borovsky
• 2006 - "King Lear" by W. Shakespeare. Artist D. L. Borovsky
• 2007 - "Life and Fate" by V. S. Grossman, staged by L. Dodin.
• 2007 - "Warsaw Melody" by L. Zorina (artistic director of the production) The idea of ​​scenography by D. L. Borovsky; Artist A. E. Poray-Koshits.
• 2008 - "Long Journey Into the Night" by Y. O'Neill
• 2008 - "Love's Labour's Lost" by W. Shakespeare
• 2009 - "Lord of the Flies" by W. Golding. Scenography and costumes D. L. Borovsky; implementation of scenography by A. E. Poray-Koshits.
• 2009 - "A Beautiful Sunday for a Broken Heart" by T. Williams. Artist Alexander Borovsky.
• 2010 - "Three Sisters" by A.P. Chekhov.
• 2011 - "Portrait with rain" based on the screenplay by A. Volodin. Artist A.Borovsky
• 2012 - "Deceit and love" by F. Schiller. Artist A.Borovsky
• 2014 - "Enemy of the People" by G. Ibsen
• 2014 - "The Cherry Orchard" by A.P. Chekhov

Born in 1924 in the Moscow German Sloboda. The parents of the five-year-old were taken away - father Zalman Dodin, a metallurgical scientist and mathematician, and mother Stasi Fanny van Menk Dodina, a field surgeon in five wars of the early twentieth century (1904-1922).
He was kept for 7 years in a prison orphanage. After his release, he lived for 4 years with his great-grandmother Anna Rosa Gaase, a descendant of General Chambers Petrov. He graduated from high school by his own arrest. Following the pastoral of childhood in the Mother See - 14 years of hard labor exoticism of the Samara Volga region, the island Arctic, Chukotka, eastern Kolyma, the lower Amur region, the northern Baikal region ...
In exile - a reward of peace - the happiness of a lonely life with a wolf in the Ishimba winter hut of the Angara-Tunguska Highlands. As a caisson worker, he participated in the laying of communication lines and transport tunnels of the new imperial capital near the Zhiguli. In the Arctic, on Bunge Land - in the punching of sedimentation tanks for submarines. To the east - in the construction of mine shafts, supports of railway crossings, in the installation of foundations and underground structures ... Everywhere - in permafrost surveys - absorbing the beginning of a future profession.
The acquired knowledge eventually resulted in the materials of the diploma (1957), dissertations (1963 and 1969), the first monograph (1965), the foundations of the discoveries in Deep Thermodynamics of Rock Masses (1971 and 1974). Not finishing the term, remaining to work in the Altai Mountains, he graduated in absentia from the Moscow Polytechnic Institute and postgraduate studies of the USSR State Construction Committee. Later, at its head research institute, he led the Construction Laboratory in the Far North (1958-1988) and the Special Course at the Military Engineering Academies (1961-1982) for 30 years, led the special. research on Novaya Zemlya. At the same time he was an expert of the Soviet-American Commission for Construction in Cold Climate Regions; a member of the HAC; Correspondent of the Commission under the Presidents of the USSR (Russia) and the USA on prisoners of war and missing persons; member of the Geographical Society of the Russian Academy of Sciences; Advisor to the Commission (I.P. Aleksakhina) for Rehabilitation under the Central Committee of the CPSU ... Author of books and scientific discoveries in the field of geocryology, physics of the Earth.
Having changed his parents in their many years of service to people, he helped fellow prisoners (mainly foreigners - people who were tragically helpless, doomed) as a prisoner. Returning to Moscow, having settled down and starting cooperation with the Higher Attestation Commission, in development of the tasks of the "Salvation" society organized by his parents (1918), he organized unrestricted, not prohibited, not persecuted systems of food, medical and legal support for convicts, doctors, teachers and clergymen (saviors) . In the autumn of 1991, he was one of the initiators of the creation in Tokyo of the "Independent Association of Volunteers to Help Victims of Natural and Man-Made Disasters".
Since 1991 lives in Israel.
(From the author)

Until now, I deliberately did not give any comments on the construction of the future building of the new stage of the Maly Drama Theater - the Theater of Europe, because I think the matter is still in such a problematic state that any comment in this situation can only worsen the situation. Nevertheless, I cannot but respond to the remark of the head of the North-Western Directorate for Construction, Reconstruction and Restoration, Mrs. Volynskaya, which surprised me greatly. When asked by a journalist how she interacts with the Maly Drama Theater, she literally answers that Lev Abramovich is a creative person, and he has a lot of different new ideas and desires, some of which we try to take into account as much as possible.

So, I would like to say that, perhaps, Lev Abramovich is a creative person, but neither the theater nor I have had a single new desire, not a single new proposal on this matter since the approval of the theater project. In the course of working with one of the co-authors of the project, Alexander Borovsky, and then with the second co-author of the project, Mikhail Mamoshin, and with the staff of his workshop, everything was thought out and discussed to the smallest detail. And all this is expressed in a layout made by one of the co-authors of the project, Alexander Borovsky, on a scale of 1:50 with an accuracy of one centimeter. All the materials from which the theater should be built were selected and coordinated with the theater: the type and color of wood, the type and color of bricks, St. Petersburg limestone was selected, it is known from which quarry it should be taken ... and so on and so on.

Somehow, a version was submitted for examination, which was not fully agreed with the theater and violated a number of what had been agreed upon. For example, from the very beginning it was agreed that the space of the main rehearsal room would be absolutely identical to the main stage space, which would allow the performance to be rehearsed until the last generals in the rehearsal room, and then transferred to the stage - this was how it should have been, and not the way for some reason it turned out to be in the documents submitted for examination, where the required depth and the required footage of the rehearsal room were absent. For example, from the very beginning we said that the entrance to the roof of the theater at the main entrance could not end for the viewer with the absence of a roof, forcing the viewer to go out again under the open St. Petersburg sky with its rain and snow - accordingly, this interval-hole in the roof should not have been to be.

I want to emphasize once again that we do not express, have not expressed and will not express new ideas and wishes, since all the ideas that we wanted to put into this project, we put into it from the very beginning. But we will certainly demand the fulfillment of this initial agreement, we will not ask, but demand, because the initial agreement with the state represented by the Ministry of Culture - first of all, of course, with Vladimir Rostislavovich Medinsky, who, fortunately, is showing great interest in implementing of this project - consisted precisely in the fact that not just another typical “not a theater, not a railway station, not a palace of culture” is being built, that we are all together trying to build an exemplary (I apologize for this expression) repertory Russian drama theater. In any case, such as it seems today to my colleagues in the theater, the best artists and specialists in the drama theater of Russia and Europe, and, finally, to myself. If this condition is not met, then - as I have repeatedly explained to the previous and current leadership of the North-Western Directorate for Construction, Reconstruction and Restoration - we will have to give up this building with great regret for other numerous theatrical and entertainment needs of St. Petersburg. We are not solving a housing problem, we want to leave the city with a building that it could be proud of for many years after us.

In her interview, Natalya Vladimirovna convincingly explains why not the “end user” should be engaged in construction - this is the name of the theater for which a new stage is being built in bureaucratic language - the “end user” should only set tasks and control their execution, but the management and general contractors - carry out these projects. “We have gathered professional personnel,” Natalya Vladimirovna rightly notes, “who can fully and efficiently implement all projects.”

This is the only creative wish of MDT - the Theater of Europe: please implement our project "fully and efficiently".