On the eve of the 95th anniversary of the Vakhtangov theatre’s artistic Director Rimas Tuminas said in an interview with RIA Novosti on the path that it took with the theatre for nearly a decade the leadership of the Vakhtangov troupe, the premiere of “Oedipus Rex”, the upcoming anniversary of the theater, as well as his future works. Interviewed By Natalia Kurova.
— Rimas Putin, inyou came to the theatre with a brilliant cast, but difficult for the Vakhtangov times. Now it is one of the most popular theatres, whose performances enjoyed great success at home and abroad. As inam did it?
— I started with the understanding of the ensemble. When there is an ensemble, then there is family, home. I didn’t come in dead theatre, the theatre lived, there were a lot of great artists. They were ready, they were waiting and had to shake to make you believe in yourself. Maybe out of desperation, but they trusted me and went.
I canceled all penalties for delay or other misconduct, as if this imaginary discipline had the theater to pull up. No one was fired and tried to remove all of their personal fears. And then it came to confidence.
Theatre for us is the house where we win fears, and for the viewer, the home theater, where you let go of all mortal sins. Well, not everyone, of course…
Today I feel that the house is built, but not quite a — need some interior trim.
— In his 95 Vakhtangov theatre in the Prime of life, he bathed in the glory, caressed by the audience, critics, showered with praise from above. What more could you want?
— Today’s success, but is pursued by anxiety — with success can stay: it seems that to achieve more, all well and good. But to win and, as I say, to the celebration of life still far. Maybe we will not get, and maybe it is not what we imagine. But it is the road, and you can’t stop. We need strength, will and, most importantly, the idea should be so great that did not stop the desire on the road to the truth.
I like to quote the words of Lessing about the theater, which “caresses the ear and strokes his eyes.” But it has nothing to do with some external effects. Lessing speaks of the beauty of man, and to it difficult to get to. And only through the beauty of theatre lies the road to the truth.
— In the theater now, fortunately, continue to serve the great Vakhtangov and the elderly. And your play “Marina“, in which luminaries showed the highest class of the game, was important for them and for you. In an interview ins called it a turning point for myself. But the elders leave. Who will replace and continue the path of theatre?
— Unfortunately, we have suffered heavy losses, said goodbye to Yury Vasilyevich Yakovlev, conducted Galina L. Konovalov. But we must move on… Who will succeed? This is a complex issue. Sometimes I wonder who will come to my place, it’s gonna happen. But I have no answer, as no answer and many of the senior masters of the national theater.
With Directors today problem. More attention is paid to the training of the actors. Before we do so tormented at the Institute — why did you decide to put this play what it’s for, how it interfaces with today? And all this had to elaborate, using theatre terminology, and not just want to put it, because that’s how I feel!
When we were discussing the sketches of his comrades, everyone wanted to speak, to evaluate the forest of hands willing to say that this work is not so. And then our leader stopped the discussion, looked at us, as Stanislavsky, biting the hand, and said, “now tell me what you saw good.” And most importantly, he taught us to see the good in performance, the actor in the man.
— And the youth of today. What is it?
— It’s talented, smart generation. They feel good style. After all, the modern theater is thinking. You can dress actors in jeans and sneakers, but that doesn’t mean that the show will be modern. Modern interpretation is a modern thinking.
The young like to think. They feel how important the ensemble. How important it is to work with the actor. I always say: just get an actor, and he is sure to blossom. Young Directors who want to Express themselves. But you try to understand and to Express of the author, his philosophy, then in connection with your vision can turn out something very interesting.
— You have where aspiring actors and Directors to Express themselves, to test their strength, to realize their own ideas. In addition to the main historical, the theater created and for the second season running nnew modern stage–transformer, recently opened art-cafe…
— And the theatre Conservatory.
— Rimas Putin, well-known your directorial preferences — ins put classics, Russian and foreign. And now the ancient drama.
With age I began to understand that I approach the ancient tragedy, or she to me. In his youth, hardly assailed the literature of antiquity, did not understand what it’s for fairies, spirits… And it turns out it’s all human faces, it’s all about the human soul. Now ancient tragedy became clear to me, close to the road and it seems the best drama.
— A modern play?
In modern drama, I do not find important — talking about the fate of a man, no pain. Mostly sarcasm, irony, anger, the desire to see the dirt and the more dirt the better. Someone wanted to write a play about the ruble. Yes, in 50 years, the Ruble will give so many new amazing stories — there is Dostoevsky and Tolstoy, and Chekhov…. But to understand this phenomenon it is possible only by the passage of time. And now it will only be an entertaining story.
— The 95th anniversary of the theatre ins present the premiere of the tragedy of Sophocles “Oedipus the King“. 12 November, on the eve of the anniversary, will take place in Moscow the premiere of this ancient tragedy.
The debut of a joint project of the Vakhtangov theatre and the National theatre of Greece held on 29 July on the stage of the ancient theatre of Epidavros. I was so afraid of this space — I’ve never worked at such venues holding tens of thousands of spectators. But we merged that nature. The connection of the Greek world with our reality made a small miracle.
And now I long to go back and play there. But the stage fear. But I hope that will help us a Greek chorus that participates in the Moscow show, and will be with us everywhere, wherever we have shown the “Oedipus Rex”.
What I care about in this tragedy of Sophocles, is the honor, pride, dignity, the ability to admit their mistakes. Oedipus is sinful and very wrong in my life, but he found the strength and courage to understand this and to severely punish yourself for your mistakes. It is a matter of honor and conscience. This is a spiritual act. Where now to find such a person?
Oedipus is blind, but he internally saw. And enlightenment is purification. In this sense, the mind of ancient literature. The great myth. Today, the conversation about human dignity, about honor, I want to bring into our lives is very important.
Oedipus does not leave me this year, ahead of the implementation of our long-standing Alexander Titel dreams — staging of the oratorio by Igor Stravinsky “Oedipus the King” on the stage of Music theatre. Stanislavsky and Nemirovich-Danchenko.
— After inyour brilliant debut at the Bolshoi theatre with “Katerina Izmailova“ by Shostakovich inthe AU was invited to stage an Opera of Tchaikovsky “Queen of spades“. How you will combine Pushkin and Tchaikovsky? Who inthe AU is in charge?
— Mostly, of course, will be Pyotr Ilyich Tchaikovsky, because it’s his creation, his music is on the plot of Pushkin. But about, about what, and how, are not yet available. I only know that Opera is beautiful, but very difficult to stage embodiment.
— And do not would like toyou to put “Queen of spades“ Pushkin on the stage of the Vakhtangov theater?
— Would like, and maybe that ever will happen, but not soon. Does not the memory of Peter Naumovich Fomenko. He put on the Vakhtangov stage “Queen of spades”, and it was a great performance! Unfortunately, after the departure of Peter Naumovich there was no one to maintain the level of play, and he eventually began to fall apart. When I came, did not think to remove the play asked the actors to remember to do it recovery. But it never happened. Now, unfortunately, the repertoire is no “Queen of spades”.
— Closest toyour work in the home theater — staging of “Faust“ by Goethe, which ins are planning to release this season.
— Work has not yet begun. I can only say that it will be game performance, even with a great sense of humor. Especially to burden the viewer with thoughts of Faust is not going to. I will try to dissect our lives in this crazy world through the game, the grotesque. I do not want to philosophize, and play.
— And there is something inyour plans?
— Think back to Chekhov, perhaps the “Three sisters”. Will be staged in England. So far, however, is under negotiation.
And inam do not interfere with the top, not correct inAsha devices? You do not feel the burden of censorship? It is generally we have, as ininyour probation?
— You know, one question American journalist, as a live artist in Russia, I said: “Great artist, as always, easy and hard. But mediocrity is hard, because they always do not give, is not allowed to interfere…”
One thing I can say for all my time in the Vakhtangov state theatre I always put just what I wanted. And no, I never made remarks about the repertoire or of a play. The artist should have their own internal censor, this is important.