Dostoevsky from the Land of the Rising Sun. Dostoevsky from the Land of the Rising Sun Tokyo New Repertory Theater Leonid Anisimov

Theater Forum "At the Golden Gates" (Festival of Festivals) 2016

Festival program:

18:00 GRAND OPENING OF THE FESTIVAL

Youth Theater on the Fontanka, St. Petersburg

Eric Emmanuel Schmitt

"FOUR TANGO ABOUT LOVE"

French fantasies with one intermission

Stage director - Sergey Morozov

THEATER "LANZHERON", Kharkiv, Ukraine

"LETTER TO GOD"*

Tragicomedy

based on the story of the same name

Anatoly Krym from the cycle "Stories about Jewish happiness"

Stage director - Galina Panibratets

18:00 Republican Russian Drama and Comedy Theater of the Republic of Kalmykia, Elista

Jiri Gubach

"CORSICAN"

Comedy in 2 acts

Stage director - Honored Art Worker of Mari El Vladislav Konstantinov

15:00 Parade of the best solo performances in the world!

Nina Mazur

"I am EDITH PIAF"*

Musical monodrama

In the role of Edith Pisaf - Bayasgalan Tserendorj, Mongolia

Stage Director - Honored Art Worker of Mongolia Baatar Bayartsagaan

18:00 Republican Russian Drama Theatre. M. Gorky, Makhachkala

Gerhart Hauptmann

"BEFORE THE SUN DOWN"

Stage director - Honored Art Worker of the Russian Federation Skandarbek Tulparov

18:00 Drama Theater of the Black Sea Fleet of the Russian Federation. B.A. Lavreneva, Sevastopol

Nikolay Gogol

"PLAYERS"

Comedy of Deception

Stage director - Honored Art Worker of the Autonomous Republic of Crimea Yuri Makovsky

18:00 Amphitrion Theater Center, Moscow

Anton Chekhov

Decadent play composed by Konstantin Treplev

Stage director Alexander Vlasov

15:00 Vladimir Regional Puppet Theater

Mikhail Saltykov-Shchedrin

“HOW ONE MAN FEED TWO GENERALS…”*

Stage director - Marina Protasova

18:00 Tokyo New Repertory Theatre, Japan

Fedor Dostoevsky

Stage director - Honored Art Worker of the Russian Federation Leonid Anisimov

Vladimir Academic Drama Theater

Ido Netanyahu

"WORLDS IN COLLISION"*

Drama of ordinary geniuses in two acts

Stage director - Honored Art Worker of Uzbekistan Nabi Abdurakhmanov

19:00 Youth Theater "Stagecoach", Togliatti

Carlo Goldoni

"SERVANT OF TWO MASTERS, OR TROFFALDINO IN VENICE"

Stage director - Viktor Martynov

17:00 Parade of the best solo performances in the world!

EMI - Union of Artists of Israel

"FRIDA KALO: LIFE AND FATE"*

Monodrama

Directed by - Mickey Younes

19:00 Sevastopol Academic Russian Drama

theatre. A.V. Lunacharsky

Alexander Ostrovsky

"PLUM"

Stage director - Grigory Lifanov

15:00 Parade of the best solo performances in the world!

Oryol State Theater for Children and Youth "Free Space"

Marina Tsvetaeva

"THE WERE TEARS BIGGER EYES"*

Solo performance

Stage director - Honored Art Worker of the Russian Federation Alexander Mikhailov

18:00 Vladimir Academic Drama Theater

Evgeny Yevtushenko

"AT THE POINT OF TIME"

Poetic Chronicles

Stage director - Vladimir Kuznetsov

15:00 Parade of the best solo performances in the world!

"CABARET"*

Solo performance

Directed by David Dawson

18:00 Oryol State Theater for Children and Youth "Free Space"

Ivan Franko

"STOLEN HAPPINESS"

Drama in 2 acts

Stage director - Linas Marijus Zaikauskas

15:00 Theater of pantomime and plasticity "Atelier", St. Petersburg

Lion Feuchtwanger

«WOMEN OF GOIA»*

Plastic performance based on the novel "Goya, or the Hard Path of Knowledge"

Stage directors - Honored Worker of Culture of the Russian Federation Lyudmila Belova, Daniil Zandberg

18:00 Theater "School of Dramatic Art", Moscow

Alexander Griboyedov

“Woe from the Mind. MOSCOW DREAMS IN 2 ACTS»

Stage Director - Honored Artist of Russia, laureate of the Russian National Theater Award "Golden Mask" Alexander Ogarev

17:00 Parade of the best solo performances in the world!

KEF Theater and InSite Theatre, Malmö, Sweden.

"GRANDFATHER"*

Directed by Pelle Olund

19:00 State Youth Drama Theater "From Rose Street", Chisinau, Moldova

Nikolay Leskov

"LADY MACBETH OF MTENSKY DISTRICT"

Stage director - Honored Art Worker of the Republic of Moldova Yuri Harmelin

17:00 State Youth Drama Theater "From Rose Street", Chisinau, Moldova

When information Technology began to create new culture, a national treasure acquired a special value. Now the average Russian has an idea about samurai and ikebana, just like an ordinary Japanese has heard about the Idiot or the Cherry Orchard. Why do they need it, says Leonid Anisimov, Honored Art Worker of Russia and head of the International Stanislavsky Theater Academy. The director from Vladivostok has been living in Tokyo for seven years and teaches the Japanese to "experience" in Russian.

Theatergoers of Vladivostok remember well your heartbreaking productions at the Chamber Drama Theatre. "Three sisters" - a prime example research internal conflicts in the stale atmosphere of the province. Did moving to Japan change your views?
- Here I am doing the same - the Stanislavsky system. And Japan is a wonderful stage of my life. The first one started in Yekaterinburg when I was 25 years old. I collaborated with the Moscow Art Theater, then studied in Moscow. Then there was Far East, where I was invited to head the Chamber Drama Theater. For seven years, we have created a number of performances that were successfully shown in Japan, France, and the USA. A worthy memory of this time is the Day of the Chamber Drama Theater of Vladivostok, which is celebrated every year in Seattle. At the same time, cooperation with Japanese theaters began. And the International Stanislavsky Theater Academy was organized, which included theatrical figures from Russia, Japan and the USA.
- How did it happen that you became the director of three Tokyo theaters at once?
- It started with the fact that in 1999 I was invited to Tokyo. In order for me to conduct a master class on the Stanislavsky system in the capital's theater "Kai". 60 actors came from different theaters. The interest was huge. After that, a group of actors suggested that I organize a theater in Tokyo that would put on performances in the tradition of the Russian theater school. We founded two groups: PAT (Perezhivanie Art Theatre) and the theater "Sun" (Solntce). By that time, the theater "Ke" had been operating in Tokyo for 25 years according to the Stanislavsky system. Its leader Yoshizawa-san was in Vladivostok with his production of Chekhov. Before his death, the Japanese director asked me to continue working with his troupe. It so happened that I began to conduct master classes in three theaters. And that was my main job for several years. Two years ago, the theater teams were merged into one big one - the Tokyo New Repertory Theatre. There are many plans, and they are all wonderful.
- What have you managed to achieve during this time?
- We staged four plays by Chekhov ("The Seagull", "Uncle Vanya", "Three Sisters", "The Cherry Orchard"), "At the Bottom" by Gorky and " glass menagerie» Tennessee Williams. As well as one classic Japanese play, Lovers Suicide.
In it, I developed the principle of textual-visual theater, which I used back in Vladivostok in the production of " little prince". Text that sounds like a voice-over is required modern theater, since the external spectacle of the theater often prevents the viewer from penetrating the essence of the play. With the help of Sergei Aksenov, an artist with whom I worked at the Chamber Drama Theater, we managed to find a new principle of scenography big scene. Now we are preparing Hamlet, a play with a huge supply of mental energy, very intelligent and highly spiritual. In addition, we hold our own festivals, and we are invited to America and Europe on tour. But the main thing we did was to create the first European repertory theater in Japan.
- What is its novelty?
For Japan, this is an amazing event. Since the theaters there are not funded by the state, as in Russia, they are entirely dependent on the public and are forced to change their repertoire every year. The average life of a performance is a month. We convinced the public that the theater according to the Stanislavsky system has been living for many years. Otherwise, I can’t imagine the work: how can a cook cook twice a year? Likewise, the actor must improve in his role from day to day. Our performances are constantly rhythmically performed. And the actors reach high level talent that acquires a magical effect on the viewer. After five years of study and two years of performances, a good aura has formed around the theater. We have our own audience, we are supported by well-known theatergoers, writers and art critics in Japan.
How can we explain this interest?
- In such modern megacities as Tokyo, people especially acutely feel the need for psychological art. The technogenic growth of civilization needs a human balance. It is no coincidence that there are about two thousand theaters in Tokyo.

- Has the idea of ​​a repertory theater justified itself economically?
- It is too early for our theater to talk about profits. Theatrical art is in itself an expensive undertaking. The development of our theater is facilitated by a different socio-economic situation. Unlike Russian actors, the Japanese make contributions to the funds of the theaters where they work. And our theater lives on the efforts of the actors.
- For the sake of greater success with the public, do you have to customize domestic classics according to the tastes of the Japanese?
- I am convinced that there is no need to adapt art. Even without understanding some purely Russian features Chekhov's plays, the Japanese viewer perceives the main thing - the drama of a person. And it resonates strongly with him. Although the Japanese are different from us in everything. They have everything else - faith, language, psychology, body structure. I come to the conclusion that no matter how different national arts, true human culture remains alone.
- How do you solve the problem of the language barrier?
- For me it ceased to be a problem. Rather, on the contrary, abroad you become unaccustomed to mother tongue. Arriving in Vladivostok, he began to watch TV in order to feed on Russian speech. I understand Japanese and, like many foreigners, I speak a mixture of Japanese and English. A translator helps me in my work. Another thing is to correctly convey the meaning of Russian theatrical term to the Japanese, people with a different mentality. For example, "aspiration" or "experience". So rediscovering familiar words; I published a book - a special glossary on the Stanislavsky system for Japanese actors.
- Japan is a country with its own theatrical traditions. It is probably difficult to avoid the impact of this powerful layer of world culture, being among its keepers and followers?
- I am well acquainted with the aesthetics of traditional theaters in Japan: No, Kabuki, Kegen-No. Among the actors of these theaters are my friends and teachers. And speaking in general, the national japanese art- ancient, wise - very much influenced me - not only theater, but also poetry, painting. Living in Japan, in an atmosphere of politeness, cleanliness and peace, I myself became a little bit Japanese. I love Japanese cuisine, simple and rich in seafood, I love going to Japanese temples, traveling around this beautiful country. Once with the actors we met the sun on Fuji! And I like living in Tokyo. All this gave me the opportunity to look at Russian art from the outside, as if with a fresh eye and anew to comprehend many things. I went out into a wide open space, and this gave me additional strength.
- What attracts Japanese professionals in the Russian theater?
- Many Japanese actors have a great desire to learn the Stanislavsky system. Like theatergoers all over the world, they understand that the Russian school is an area of ​​true spirituality, an area of ​​high human thought and beautiful imagination. For this, many Japanese go to study in England at the Royal Shakespeare theater where the famous Peter Brook teaches. Unfortunately, not in Russia.
- Why?
- Because classical school theater in Russia is not preserved. There was too strong a break in the mind, when everyone began to measure in dollars. The teachers leave. Many actors have died. There are only a few left to save. Restoring traditions will be difficult. Theater is like a science - the same foundation of the culture of our society, which must be preserved as a national treasure. The Americans have recently said: "We wanted to learn from you." And what about in Russia now? I saw very little. But what I managed to watch, including on the channel "Culture", revealed one flaw - the absence of the art of experiencing. Two extremes - either too banal or too intellectual. Little heart! Unfortunately, the theater in Russia remains directed. And it is bad for development. The art of the actor is the basis of the theatre. It is made by people like Lebedev, Smoktunovsky, Evstigneev, Shukshin.

- What do you have against modern theatrical forms that look like a reaction to the contradictions of the world, in which even wars and disasters turn into shows, and politicians or athletes into actors?
- We live in times of information chaos, which drowns out brilliant thoughts. Television causes mass malaise in people. Billions of earthlings today have a favorite entertainment - to keep track of how many millions will buy a person. The new art that uses media images is a derivative of civilization. In my opinion, true culture and civilization are on opposite points of the lever. Postmodernism does little to help a person survive in the modern world. I am convinced that to resist the information chaos and stabilize conflict situations modern world can only classical art. Interest in the classics is planned in all countries. It will help bring back to humanity those times when preference was given not to the show, but to the play of thought - the times of Plato and Aristotle or Shakespeare. Andrei Tarkovsky said: "Art can only be classical." Because classical art is the life of the human spirit. It is scientific and religious. These are categories that cannot be achieved by simple solutions. It is no coincidence that classics at auctions are worth millions, and a copy - a few dollars. Because the copy is not spiritual, but intellectual.
- Tokyo is one of the symbols modern civilization. Are you overwhelmed by his power?
On the contrary, it inspires. This is a city with strong rhythms. In Tokyo, I feel the vibration of all countries. Thanks to friends and students from Russia, Japan, USA, France, Italy, Latin America I manage to live, as it were, all over the world at once. And I think I'm working for humanity. The third millennium has come and it fascinates me, I no longer say “2006”, but simply “sixth”. Outside of Russia, I realize that all people in the world are one humanity. We are all like children.
- Do you have ambitions to conquer high-profile festivals and prestigious stages?
- Over time, you become more calm in these matters. Maybe with age there is less selfishness. The category of success for me is measured not by quantity, but by quality. We have our own audience. This is enough for now. I don't want to attract everyone at any cost. As for the festivals, we organize them ourselves, focusing not on vanity, but on the improvement of the theatre. In November, Tokyo will host a theater symposium "The Path to Inspiration", main question which - how to come into contact with the superconscious.
- You know - what?
- All my work is the search for answers to such questions. I divide the consciousness of people into four categories: mythical, religious, scientific, cosmic. Intelligence is not more than a tenth human consciousness, the rest is the unknown depths of the subconscious. It is difficult to judge this, because we do not even know simple things. For example, it is known that a person is 80% water, but the fact that water is a supercomputer that somehow affects our entire planet - we began to discover this only in Lately. Somewhere in this field, physics merges with ethics. If you take main problem modernity - the safety of the planet, then it rests on the problem of the development of a harmonious person. How to solve it, I don't know. But I am convinced that theater, like no other art form, develops consciousness and educates the individual.
- What is Vladivostok left for you?
- Vladivostok is a city that heals. From Tokyo, it looks like a very nice and provincial town. But his provinciality is not a flaw, but a virtue. The city is developing, not falling out of the rhythm of world development, but at the same time retaining its environmental friendliness, a special cultural and historical image, human warmth. Every time I come to Vladivostok with great pleasure. This is where I replenish my strength. And in the near future, together with colleagues from Russia, Japan and the USA, we plan to hold a number of international theater festivals in Vladivostok.