Timofey Kulyabin Theater Always beyond the edge of simple handicrafts

Timofey Kulyabin: "Theater always beyond simple handicrafts"

Mr. Live director of the Novosibirsk Theater "Red Torch", together with his troupe, was deceveled, and, rather, desigled the classic text Chekhov: his actors pronounce in gestures. We met with Timothy to talk about the unusual interpretation of the "three sisters", the difficulties of working outside the space of the usual human speech and, of course, its plans for the future.

Your "Three Sisters" – a unique performance. The paradox of Chekhov text is that it is also poetic and life-like. How to transfer word poetry using sign language?
This poetry exists in the text, that is, this is a literary category, which is impossible to play. The artist cannot be "poetic" on the stage, he simply utters the words of a living person, his hero. From this work, along with the rest of the performance components, and poetry arises. But in nature and in the design of the text of Chekhov, it is, and we have the words of the plays through subtitles. Thus, poetry does not disappear anywhere: it is before the eyes. And artists. We did not put such tasks. The task was concrete: right, for sure, without any conventions, convey the text of the play in the language of gestures.

How do you choose material for work? How he, with the permission to say, is born?
Differently. Sometimes there are orders from theaters, sometimes I am thinking about something myself. Every time it is different.

And as it was with "sisters"?
The name "Three sisters" appeared somewhat later than the idea: At first I came up with a play in the language of gestures. It was primary. Under the idea, I began to look for the material: first I wanted to realize the idea through a modern play or in general specially written, but then I decided that it was best to do the opposite. We need a very famous text. And after I realized that it should be "three sisters" Chekhov. This Chekhov text is one of the most recognizable, often put on, we remember all intonations, we know, we heard many times. On the other hand, the situation in the play "Three sisters" is similar to the situation laid down in the original idea. The main characters of Chekhov Drama is an intelligent educated minority in someone else’s environment, the city itself around the sullen and hostility. And they are trying to break out – it’s all very similar to the situation of hearingly impaired, deaf people. They, too, leaving their little society, turn out to be in a medium to which they are not very adapted. The collision coincided, and so I chose "three sisters" to implement the invented reception.

Well, about some current affairs, as it was with "Don Pasquale"? (In April, the premiere of the opera in the formulation of Timothy Kulyabina is preparing in the Bolshoi Theater. – approx. usmasgazine.com.) This idea you suggested?
No, it was a proposal from the Directorate of the theater, specifically this name, and the proposal came long before the Wagner Premiere (Speech about "Tangayzer" in the Novosibirsk Opera and Ballet Theater. – approx. usmasgazine.com). The most interesting thing is that Don Pasqualie Donizetti is one of the most repertoire operas in the world, very successful from the day of the first premiere in the XIX century. She immediately became popular. But it never happened in the Bolshoi Theater, in the whole story. So, perhaps, visual expectations are not so great here, and Vladimir Urin (General Director of the Bolshoi Theater. – approx. usmasgazine.com) I decided to give a chance to the young director. (Smiles.) And I am very grateful to him, and Tugan Sokhiyev (Chief Theater Conductor. – approx. usmasgazine.com) for the fact that all that happened then did not make the leadership to change the plans.

You work in many cities and with many troupes. And there are no two years on setting, as in the case of "three sisters". What artists you are particularly comfortable to work? I’m not only not so much about names, how much about the type of artist person.
Probably with a person, in general, free, ready to experiment, not knowing the theater. I’m afraid of actors who know how to play. With those artists who already know how to play, understand that they can, I try not to work. I met several artists who said: "That’s what I am lucky, and this is an amplua – not very mine. " Seriously! These were large artists. With such, I hardly cooperate. And then I do not have any preferences. More often I work with young performers – so it turns out for some reason. Maybe because we are people of one generation, and it’s a little bit easier to understand each other. We feel close this world – in terms of their generation. My generation of 30-year-olds is sharply different from people who have grown and educated in Soviet times.

In the theatre.Doc is a performance called "outside the theater / and what if I won’t?"He is about people, artists who try in virtue of different circumstances to live without theater. Have you ever had the thoughts for life that you will not do the theater?
Were yes. But they did not exist for a long time. When you tell yourself that you need to finish with this, tie – it is always a period of weakness. And this weakness passes. Now it is no longer possible to afford it, because the tight schedule.

And whether in your professional life moments that divided it on "to" and "after" may change your approach to work? Adjusted methods?
I think yes. I had a whole period of one and a half or two years related to personal circumstances. It can be said that internal crisis came to him, and at that time did not put the performances, did not release the prime minister, although until that moment was already regularly for five to six years old worked in large theaters. And then. I wanted to stop in me, or what. And I took a pause. In general, after this pause changed my attitude to work, and the result. Before that, I was studying the profession as. Crafts, so let’s say. As technology. The first few performances can be called students. It so happened that I immediately began working on large scenes, and this is always a big load. Passing the stage of mastering the basic technical level, I became otherwise to treat the profession: I needed to understand how to deal with the theater, which should be a performance. I began to think about it. Well, just after the break, I got the play "Onegin". Although the first premiere has become "Shinel. Dress Code »In St. Petersburg Theater" Shelter Comedian ". And it was the key stage: then it was "Onegin", after him a lot has changed.

Right on the site "territory", your quotation hangs, not even a quote, and the opinion that the theater is "a form of social activity, and not a demonstration of professional skills". In this regard, the question: what is the need for theatrical education? And if in the theater does not need to demonstrate professional skills, does not suffer from dilettantism?
Well quote from somewhere from context. (Smiles.) She is very abstract. I don’t even remember where she. Complex issue. (Pause.) No, professional skills need necessarily. Another thing is that the theater and the work of creativity always beyond the edge of simple handicrafts. Of course, it is necessary to own a technical basis, acting in particular. Be able to "make a stool". Maybe yes. Have an idea: the actor has its own technical base, the director has its own. However, this does not mean that a professional without education, as is customary to say, the amateur will not be able to do this. Will be able. In the history of the theater a lot of examples. And not only the theater – art in general. But this is still the exceptions from the general rule, you can not rely on them. This is not a common place, not "systemic" good luck.

What basic skills you made out of your theater school? Continuing the previous question: could you work successfully without it?
No. I still finished guitis. I was very lucky, I studied at Oleg Lvovich Kudryashov, this is one of our leading teachers, masters. And Kudryashov gave a lot: both in self-consciousness, and in relation to, and in discipline, and in all. It was not just learning again some professional skills, and it played a huge role for me. Very long time oriented, everything thought: "And how would the master looked at it?"But, by the way, all truly good luck began to happen, it was when I stopped thinking about it when I became this school to forget. Do not even forget, but it consciously contradict. This is also logical, in general, and right, although paradoxically. You find freedom only when you can abandon the well-established skills and exercises. Then you have your handwriting. And if it is not yet, then you cling only for exercises.

What was the path from the drama to the opera? To date, you have consolidated, you can say, the status of one of the most promising opera directors in the country.
He is very simple. For this path, I entirely and completely grateful to Boris Mikhailovich Mezroad (Former director of the Novosibirsk Opera and Ballength Theater. – approx. usmasgazine.com). I put the first opera in 2009, it was "Prince Igor" there, in Novosibirsk. Opera successfully walked to the last. Before changing the leadership (Boris Mezdrich dismissed from the post of director of the theater in March 2015, after the scandal around the setting of the opera "Tangeiser". – approx. usmasgazine.com). But this was still not entirely my opera, she was started by another director, there was already a ready-made stage decision, the costumes were sewn. But for some reason the project frozen, everything stopped, the pause lasted a year or one and a half. And then they decided to return to the spectral, but something did not work with the first director, and were looking for a new director. Then Boris Mikhailovich offered me. It was the first experience. Behind him followed the proposal for the Wagnera two years ago (Speech about the opera "Tangayizer". – approx. usmasgazine.com), Also from Boris Mikhailovich and Conductor Ainars Rubikis. That is, I have a track record in the opera by and large at a half performances. (Smiles.)

"You find freedom only when you can abandon well-established skills and exercises. Then you have your handwriting. "

In general, how the methods of working on the dramatic performance and above the musical? What is the difference in the methods of working with artists? Here is Peter Brooke, which puts the "magic flute" fully according to the laws of a dramatic performance (yes, they sing there, but it does not make a performance opera), and opera artists do not understand how the director does, but very rejoices. And how do you all connect it?
I do not see any contradiction. Absolutely. I still model the situation on stage, as well as in the drama. In Opera, there is an action, conflict, topic, situation. I still put her. Another thing is that in the music theater I put on the laws of music – or contradict her, or illustrate, there are many options. And I also have, roughly speaking, timing. But the principle of work does not differ. In any case, I do not feel breaking, as if I come to the rehearsal, and I do not understand me, I do not understand.

That is, artists also feel comfortable?
Yes, comfortable. When they know what they sing about, they are easier and more convenient for them.

I understand that it is not very correct to put a question in this way, but still. Today, where you are more interesting and creatively useful to work – in drama or opera?
I am a little different to this. In the opera, everything is still new for me. Soon there will be a comic opera, a very new genre for me (speech about the previously mentioned "Don Pasquale". – approx. usmasgazine.com). Then there will be another opera. I am in the music theater now almost "omnivorous". I want to be in more situations. And in the drama, I already care about work. I do not answer the proposals on the stage in drama, because I have my own theater, I am the main director of the "Red Torch", and my main dramatic premieres will be held in this theater. There is still your ensemble with which I have been working for a long time. With any other ensemble "Three sisters" would not be possible. I could not force other artists to do what was done. They could not believe that it was possible here so first a year and a half to learn someone else’s language, what, in fact, is the language of gestures, and then hope that maybe it will be something. I am also friends with the theater of nations, where there were two premieres: the performances of "Electra" and "# Sonyetshpira" – and there are still plans. In principle, this drama is limited to me. And this is quite enough.

It is believed that each director dreams of putting a performance in which the maximum number of genres will be collected. But it does not work. In the "three sisters" you stated a whole "parade of genres". Have you thought about the greater expansion of creative borders? In which direction you would be interested to try yourself?
I can’t say that I would like to rent a movie or do some neighboring arts. I do not have the desire to go to "related disciplines" because I still have the same theater as it works. I try to make each performance do not look like the previous one, and every time inside the theater work itself invent the maximum unexpected tasks for yourself. I still have enough surprises. Like with "three sisters": when you start doing something like that, do not know how it should be. I have to compose, and it is quite curious. So boring does not happen.

"I am the main director of the" Red Torch ", and my main dramatic premieres will be held in this theater. There is still your ensemble with which I have been working for a long time. With any other ensemble "Three sisters" would not be possible. "

Timofey Kulyabin Theater Always beyond the edge of simple handicrafts

In the process of working on the performance, you are in front of you, as in front of the artist, put questions? And whether it turns out to find a response to release?
What kind of questions are?

Probably philosophical.
No, I think no. I rather simply put a specific task in front of him – to achieve this or that.

And everything else arises?
Everything else occurs in parallel.

"I try to make each performance that does not look like the previous one, and every time inside the theater work itself invent the maximum unexpected tasks for yourself."

What do you feel about your performances after letting them? See, straighten? How it all happens?
It all depends on the possibilities. Of course, I try to attend the maximum. When I’m in Novosibirsk, I watch almost all my performances: I corrected, I make comments, I change something. When I go to Moscow – here there are two performances in the theater of nations, – I also try to track them. In other cities I’m just physically never. Ideally, of course, you need to follow the life of the performance.

And other people’s performances you look? And whether there was some revelation recently, someone surprised both positive and in a negative meaning?
I look, and I have a lot of impressions for the last seasons. I often go to festivals, German, french, different. Every year I attend, in particular, Moscow Net, Berlin Theatertreffen, French Avignon and Ex-en-Provence.

Other people’s performances on you, like an artist, affect?
I think yes. Some. Of course, not everything, can not affect. The most outstanding, which is obtained to see, yes, it happens, affect, but it is not necessary: ​​go and make like that. Through a thin level.

And what are your thoughts and feelings today? That is what active work is going on? "Three sisters" here already healed their lives.
As for the opera, everything is clear, there is a job there, there are a number of new proposals that are in the process of discussion. And in drama. I think now, what tasks can be performed with the theater’s pipe. The play "Three sisters" and the reception we use there, strangely found a huge potential and internal reserve for artists. Mostly in the play, young artists are occupied, the average age is 25 years old. They really decide very serious tasks on the stage – and each individually, and together as an ensemble. From the acting point of view, this is a very high class.

I think about why it happened so. Why this technique, the way of existence opened so much in them. I think how to continue with it, how further this level of acting truth, modernity and subtleties keep. It’s not about the name of the play, which we will do. I think more about the resource that suddenly so unexpectedly grew up in my hands. This is a real treasure.

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