Who runs the theatre. The art of art management

He was born on October 11, 1954 in the city of Tbilisi, where his parents, circus artists were on tour.
Father - People's Artist of the USSR Yuri Vladimirovich Durov, mother - People's Artist Uzbekistan Lola Khodjaeva.

He first entered the arena at the age of six in his father's attraction. And since then continues to work in the circus. In a mixed animal group led by his father, Yuri's first pets were a young elephant, a chimpanzee, and a mathematician dog.

At the age of 14, he completely replaced his father for the first time, becoming the head of the attraction, since Yuri Vladimirovich Durov was busy filming the film "Liberation", where he played the role of Winston Churchill.

In 1971, on tour in Belgium, Yuri Vladimirovich Durov died suddenly. And since then, Yuri Yuryevich has been at the head of the family circus attraction and, having significantly altered the number, worked with him until 1978.

Then he left for a rehearsal period and in two years created a fundamentally new attraction "Everything in the World". For the first time in history Russian circus The giraffe entered the arena.
Several unique author's tricks with sea lions were made. As well as a unique number "Cheetahs on the loose", where two predators worked in the arena without a cage, without leashes, without collars. Before today no one can repeat this number.

For more than forty years of work, he traveled (and more than once) to all the circuses of the former Soviet Union, went on tour in Japan. In France, he worked for two years at the National French Circus.

Multitamer. Dozens of animal species passed through the trainer's numbers: sea lions, chimpanzees, cheetahs, zebras, kangaroos, pigeons, elephants, bears, dogs, ponies, foxes, parrots.

As the head of the internship practice, director and scriptwriter, he prepared a performance for Farid Yakubov, who later became the laureate of the award Lenin Komsomol: number with trained monkeys, which was called "Martyshkin labor". In addition to monkeys, dogs and ponies participated in it.

For four years he was the head of the internship practice of the Honored Artist of Russia Boris Maykhrovsky - a performance with sea animals. For many years he led a stable circus program - a team that involved more than seventy people.
Staged performances in the Moscow Circus on Tsvetnoy Boulevard, in many circuses in Russia.

Supports friendly relations with Andrey Makarevich, Pyotr Podgorodetsky, Alexander Kutikov and other members of the Time Machine group, Leonid Yarmolnik, Stanislav Sadalsky.

Studied circus arts from outstanding luminaries Soviet circus: Pencil, Igor Kio, Yuri Nikulin, Mikhail Shuydin, Zaven Martirosyan, Irina Bugrimova.

He married in 1975 Vera Dmitrievna Buslenko, at that time an attraction artist of the illusionist Emil Kio. In 1988 their daughter Natalya was born.

Prizes and awards for the time of work in the company "ROSGOSCIRK":

Since 1992 - Honored Artist Russian Federation.

Since 2007 - People's Artist of the Russian Federation.

Since 2006 - Academician of the International Academy of Spiritual Unity of the Peoples of the World.

In 2001 he was awarded the "Grand Prix" of the Nikulin Moscow Circus on Tsvetnoy Boulevard.

In 2002 he received the "Circus" award among professionals of the International Academy circus art and the award of the Russian circus company.

In 2004 received International Prize Moscow Circus on Vernadsky Avenue.

* In 2006 he was awarded the Order of Peter the Great, 1st class, and the Silver Order "For Merit to Russian Art".

Prizes and awards for the time of work
in GBUK Moscow "Theater" Grandfather Durov's Corner ":

2007 - awarding the title "People's Artist of the Russian Federation" for work
in the company "Rosgostsirk" as a multi trainer.

2009 - Medal of the Ministry of Emergency Situations "For Commonwealth in the Name of Salvation".

2012 - the award of the Union of Circus Workers of Russia "Best Director of the Year" for the play "Queen's New Year's Caprice".

2012 - winner of the contest "The Best Employer in Moscow".

2012 - Laureate of the Grand Prix for the number with elephants at the international circus festival
in Izhevsk, awarding the title "Honored Worker of Culture of Udmurtia".

2013 - winner of the competition "The Best Employer in Moscow".

2014 - Laureate of the Moscow Government Prize for employees public institutions culture of Moscow as part of the Year of Culture in the Russian Federation in the nomination "For Contribution to the Development of Culture"

For saving historical heritage Russia and the memory of its heroes, as a project leader, he was awarded a diploma of the Alexander Nevsky historical and literary prize.

At least fourteen theaters in 2013-2017 concluded more than 60 contracts for a total amount exceeding 97 million rubles with their own managers as individuals or individual entrepreneurs. Theaters hired their artistic directors as actors and directors, as well as rented rooms and props from them for productions.

So, the head of the "Helikon-Opera" Dmitry Bertman received from his theater an average of about 440 thousand rubles. for staging one performance, the head of the Pushkin Theater Evgeny Pisarev - 480 thousand rubles each, the head of the Theater in the South-West Oleg Leushin - 180 thousand rubles each, the head of the Gogol Center Kirill Serebrennikov - 345 thousand rubles each. For acting in their theaters, Oleg Tabakov and Oleg Menshikov earned more than 600 thousand a month, Nadezhda Babkina - 520 thousand a month.

Yuri Kuklachev signed two contracts for renting premises with his own son for 3.76 million rubles, and Pavel Slobodkin rented the premises of his theater and concert center for two years from a company in which he owns a 50% stake for 38.6 million rubles. At the same time, they all continued to receive the salary of artistic directors of state theaters.

As a rule, the deputies of the artistic directors signed the deals on behalf of the theatre. Obviously, they depend on their immediate superiors and cannot make decisions against their interests. This means that this does not exempt theater managers from conflicts of interest.

All contracts are concluded on a non-alternative basis - with sole supplier. The justification for the contract stated that the artistic directors of the theaters were better than others to put on performances and play roles in them.

IP Evgeny Pisarev performs in the play directed by Evgeny Pisarev (photo from the website of the Pushkin Theater)

In addition, verification of the fact of approval seems difficult: hypothetically, theater managers can coordinate transactions in the Department of Culture retroactively after receiving a request from the prosecutor's office to provide documents on transactions.

For example, the play "Green Zone" by Evgeny Marchelli was shown before approval from the Ministry of Culture of the Russian Federation.

Honored Art Worker

Senior Lecturer, Directing Department, KhSAC

Chief director of mass holidays and creative projects

Artistic director of the theater

“... We are distinguished by youth.

It doesn't matter how old you are. As long as there's something inside

beats,knocking, does not allow to relax, calm down,

makes you spread your arms and fly, man

stays young...

Alexey Nastachenko with school years connected his life with art. He was a regular participant in the theater - studio "Madrigal". In 1986 he graduated from Kharkov state institute culture (now KhSAC), a director by specialty (course of S.I. Gordeev). Since 1986, he has been directing the theater-studio "Madrigal" And since 1999 he has become the Artistic Director of a professional non-state Youth Theater"Madrigal".

For 28 years, under the leadership of Alexei, the theater has become famous not only in Kharkov, but also in Ukraine. The theater took part in organizing and holding the first International Festival"Berezil - 93". In 2003 he became a diploma winner of the first All-Ukrainian youth festival"Theatron", in 2005 - 2006 - Laureate of the festivals of non-state theaters "Kurbalesia", and in 2004 the theater team received the Grand Prix of this festival.

Alexey Nastachenko staged more than 50 performances, among them performances based on the works of playwrights - classics and contemporary authors.

He is one of the few who is not afraid to stage musicals and shows in the theater.

As a director, he creates not only performances, but is also an organizer, screenwriter and director of mass theatrical holidays and concerts. Since 2000, he has been taking part in urban public events- first, as an assistant director, and since 2004 - as a director - director.

Since 1996, Aleksey Alekseevich has been teaching at KhSAC, and since 2003, he has been a senior lecturer. Graduates of his courses joined the ranks of successful young directors not only in Kharkov, but throughout Ukraine.

Theatrical productions:

1986 - N. Pavlova "Trailer"

1987 - A. Dudarev "Private"

1987 - B. Vasiliev "Ah, these black eyes" - (based on the story "Veteran" by B. Vasiliev)

1988 - M. Sebastian "Nameless Star"

1988- F. G. Lorca "The Love of Don Perlimplin"

1989 - K. Sergienko "Dogs"

1989 - E. Zabolotny "Ladder"

1990 - G. Gorin "Till"

1997 - "Plague, Verona and Love" (based on the play by G. Gorin "Plague on both your houses")

1998 - M. Frisch "Don Juan or the love of geometry"

1999 - G. Gorin "Royal Games"

2000 - N. Ptushkina " Argentine tango"Jealousy"

2000 - V. Tokareva "Instead of me"

2002 - G. Gorin "Jester Balakirev"

2003 - V. Sigarev "Phantom Pains"

2004 - rock opera by Y. Rybchinsky "White Crow"

2005 - V. Sigarev "Surrender to the hypnotist"

2006 - F. G. Lorca "The House of Bernard Alba"

2007 - musical "Don Juan"

2009 - G. Gorin "The house that Swift built"

2012 - Musical "The King and the Jester"

2013 - youth drama "Breathe"

2014 - Rock opera "Bonfire"

Children's performances:

Chipolino and his friends

musical "Peter Pan"

musical "Pinocchio"

Musical "The Wizard of the Emerald City"

musical - "The Bremen Town Musicians"

musical - "Kai and Gerda"

show program "Carnival of fairy tales"

show program "Children's"

show program "Magic Hours"

show program "Incidents in the city of Svetoforsk"

show program "Babki Yozhki"

show program "Vytvoryashka against"

show program "Unusual Miracle"

show program "Fantastic adventures in a fabulous galaxy."

show program "Cartoon Gates"

show program "Melody of the holiday"

show program "Golden Cone"

show program "Fireworks of real surprises"

show program "How Vovka performed feats"

show program "When Miracles Happen"

show program "Magic Dream"

show program "A fairy tale is a lie, but there is a hint in it ..."

show program "Fair of Miracles"

Musical "Pinocchio"

Musical "Journey to the Unprecedented Island"

Musical "Ellie's Adventures in the Emerald City"

Musical "Spring Ball"

Musical "The Snow Queen"

Musical "Adventure on the Unprecedented Island"

Musical "Kingdom of Magic Mirrors"

Fantasy fairy tale "White Witch Ledinella" (2015)

Musical "Far Far Away Kingdom"

Fantasy fairy tale "The Mystery of the Ice Sword" (2016)

Fantasy fairy tale "Keepers of Time" (2017)

City holidays, show projects:

1987 - "Youth Carnival" Artyom Park, Kharkov

2000 -2002 - Beer Day pl. Freedom Kharkov

2001-2010 - Children's Day park TsPKiO them. Gorky

2004 - As part of the celebration of the 350th anniversary of Kharkov "

- "Opening of new metro stations"

Theatrical procession "History of Kharkov in costumes and architecture"

Festive program in TsPKiO im. Gorky

2004; 2009 - assistant director of the Reporting concerts of the Kharkov region.

2004-2016 - New year's night on the square

2004-2016 Opening of the Slobozhansky tree

2005, 2010 - Slobozhanskaya Fair

2005-2007 - Student's Day.

2006 - Burluka Cheese Day

2007 - 100th anniversary of the TsPKiO im. Gorky

2008,2009 - Opening of the Sand City.

2009 - 2013 - Officer's ball

2010 - 2012 Opening and closing of Small Olympic Games"Children of Kharkiv"

2010 - Concert dedicated to the 65th anniversary of the Victory in KHATOB

2010, 2011 Kharkiv Lilac Film Festival

2010 - Opening of the city of Dinosaurs.

2010 - 2013 Initiation of first-year students of Kharkiv universities into students.

2010 - Ethnofestival "Pechenegsky field".

2010 - Presentation of the Euro 2012 mascot.

2010 - 2013 Opening of the New Year's Fair and the main Christmas tree of Kharkov on the square. Freedom.

2010-2011 - New Year's musical for children of Kharkiv region at the Sports Palace "Snow Queen"

2011 — main director director of the city of Kharkov on the television project "MAIDAH'S" the first season.

2011-2012 - New Year's musical for children of Kharkiv region in the Sports Palace "Peter Pen".

2011 - 2012 - Competition of heads of district administrations

2012 - KVN for the Mayor's Cup among heavy industry plants in Kharkov

2012 - pre-match ceremonies and the opening of the Euro 2012 fan zone.

2013 - 2014 - New Year's musical for children of Kharkiv region in the Sports Palace

"Far Far Away kingdom".

2013, 2016 - Maslenitsa on the square. Freedom

2014 - 2015 - New Year's musical for children of Kharkiv region in KhNATOiB named after. N.V. Lysenko "Snow Maiden's Ball"

2015 - 2016 - New Year's musical for children of Kharkiv region in KhNATOiB named after. N.V. Lysenko "The Tale of Forgotten Toys"

2016 - 2017 - New Year's musical for children of Kharkiv region in KhNATOiB named after. N.V. Lysenko "Magic Castle"

2017 - 2018 - New Year's musical for children of Kharkiv region in KhNATOiB named after. N.V. Lysenko "Princess of the underwater world"

We comprehend the secrets of the profession of theater director

10.09. 2016

off-stage characters in dramaturgy, heroes are called who do not appear on the stage - other characters only talk about them. However, these "invisible heroes" can play a very serious role in the play. It is this association that the director of the theater evokes. If actors, directors, and sometimes artists and composers, the audience is used to seeing bows, then the work of the theater director always “remains behind the scenes”. Our material is dedicated to that invisible hand that controls the "theatrical orchestra". His hero is the director of RAMT Sofya Apfelbaum.

– Sofia Mikhailovna, Yours professional biography has always been associated with the theater, you graduated theater university, but why didn’t you become an artist, as all girls dream of, but decided to become a theater manager?

- I would not say that all girls dream of acting career. If you look at the contingent of production departments theater institutes Well, it's mostly girls. People come there who, on the one hand, are interested in art, and on the other hand, they are interested in the synthesis of economics, jurisprudence, and production.

– Do they teach you to be the head of a cultural institution at the production department of RATI-GITIS?

- No matter how trite it sounds, but this is unlikely to be taught there. Naturally, practitioners teach, but immediately after graduation, no one becomes a director. To manage the theater, you need life and professional experience. This even in itself sounds like a challenge: “I want to be a theater director!” Training goes along the line of management, starting from the lowest level. Already in the first or second year, students go to practice in theaters, work at festivals. A person himself must go through all the steps of organizing theatrical business in order to understand how the system works. I came to practice at the Moscow Art Theater and stayed there to work in parallel with my studies. Nothing fancy, everyone does it.

– What are you doing today as a theater director? What are your duties and powers?

- To answer this question, it is necessary to immediately clarify that there are two main models of theater management.
The first is unity of command, when one person is at the head: either the artistic director or the director. He bears full responsibility for the theater: both for the artistic component, and for the organization, economy, roof repairs and everything else.
The second model is not entirely correct from the point of view of modern legislation, but, nevertheless, it is used in many theaters. In particular, in all Moscow. With this model, there is a division of powers between artistic director and director. The artistic director is exclusively engaged in creativity. The director is responsible for organizational issues and the economy. The union of Stanislavsky and Nemirovich-Danchenko is often remembered as a classic example of such a model. Although, in fact, Stanislavsky understood economics very well, and Nemirovich-Danchenko was a director and author of many plays. It is believed that the separation of artistic and organizational principles increases the efficiency of work, although it is often accompanied by conflicts.
In the provinces, the director's theater model is more common, when the director is in charge, and he invites the chief director. But, according to theorists, this is not very effective for creative development. Whatever one may say, let us all think that we understand art, but at the head creative team must be creative people.
Our theater is headed by an artistic director. According to the Charter, he has full powers. But in fact, the artistic director delegates to the director all issues related to the organization. And it's great that Alexey Vladimirovich ( A.V. Borodin, artistic director of RAMT - approx. ed.) takes over the most difficult part related to the definition of the repertoire, work with artists, selection of creative staff, and so on, since it is not enough to think in terms of efficiency, as the director does. The artistic vision, the flair that Alexei Vladimirovich has is very important.

– you touched a lot interest Ask– effective management. In fact, the theater lives by the same financial laws as the oil company. But talking about efficiency, meaning theatrical art, the tongue does not turn. How do you find a compromise between creative success and financial? How, thinking about profit, do not forget about art?

– Of course, just as an oil company not only pumps oil, but also represents a team where relationships need to be established, so we also deal not only with art: we also need to sell tickets, ensure the occupancy of the hall, and meet the indicators that are required of us, to pay wages, make repairs and so on. In general, there is something in common between us. But we treat non-profit organizations, for us, profit and increase in income is not the main indicator - this is the difference. Although it's a bad cover that "we're only doing art, please don't bother us with your numbers."

- Theater is a cultural institution. Does the word stability apply to him? Which of its components can and should be stable, and how to maintain this stability?

We have a repertory theatre. This is what would be called "stazionario" in Italian. And in America there is the concept of "stationary theater". That is, these are not one-time small theaters: they gathered, played, fled - which, in general, is natural for creative process. In our case, there is stability. However, we are also affected by the situation in the country and fluctuations in the economy. We feel this because we receive budget financing, which depends, among other things, on oil. Nevertheless, we belong to the group of privileged theaters, and therefore we have some constancy.

- I understand correctly that the main problem theater directors - where to find money? How do you predict the theater budget, and what is it made up of?

- We have budget financing, it is not too large, but, thank God, it is not reduced as fast as it could.

- Who determines the size? The state, or is there a request from the theater?

- Some time ago the system changed, the federal law No. 83, which introduced the concept of a state task. But for the theater, in fact, not much has changed. So the Ministry of Culture announced that now money is given to the viewer. And before they were given to performances. This year we were indeed given funding, which is broken down by the number of viewers, but the amount has not changed. The standard has been calculated.
Budget financing is a matter of availability of funds. If the state more money, then funding can be increased. Although in practice it is difficult.
A big positive trend emerged when the Presidential grants for major theaters, music institutions, educational institutions. In 2016, a list was released, in which 83 organizations. Our theater is included in this list. This, of course, helps a lot. Plus, since 2012, by decree of the President, money has been allocated to increase wages, which also increases our funding.

- What funds does the theater have, besides the state budget?

Everything we earn. Ticket sales are the main line, plus we provide a venue for rent when possible. For example, in the summer our theater hosts the "Ballet Seasons" because we have the necessary space and orchestra pit. In general, the RAMT building is an opera and ballet theater. There are also small articles such as selling programs, but these are all insignificant.

– Do you submit reports on the number of viewers to the Ministry?

We are currently submitting a lot of reports. How many spectators, what is the average ticket price, how many performances. Based on these data, the same funding standard is compiled.

– If the state allocates to the theater budget resources, can it dictate a certain strategy of behavior, the content of the repertoire?

– No, there is no such thing. This is determined by Russian legislation on culture. Now our state task looks like this: we must serve 125,000 spectators.
Does the state interfere? This is the problem of all Youth Theaters. When Natalya Ilyinichna Sats created the Moscow Theater for Children, its goal was to work for a children's and youth audience. But the question arises, how can the theater exist, because there are artists who need to creative development. They cannot play the same roles all their lives. So it was in Soviet time, and even now strange demands sometimes appear: “What do you do? You must school curriculum show so that the children do not read, but come and see. This is very common in provincial theaters. Teachers come and say: "Give us a school curriculum." This is a very simplified view of what theater for children and youth should do.
Although it needs to be clarified here that we are the only youth-oriented Theatre of Drama federal jurisdiction, so far we have no such problems. We do not feel in control.

- You have already said that the artistic director is engaged in the artistic component, but as a director you are involved in the selection of the repertoire?

– We are discussing how many performances should be staged on the main stage per year, whether it is possible to stage in parallel on small stages. We look at the possibilities of the theater. I solve mainly organizational issues; A repertory policy determined by the artistic director. Another issue is that sometimes there are some insurmountable obstacles. Let's say we are talking about a foreign play that needs rights. Here, as a director, I can say: “No, we won’t be able to stage it now,” because either there is no way to acquire the rights, or the copyright holders impose too many conditions.

- Do you think about how the performance will be sold? How economically successful is he? Does it go against the creative side?

– This is the main dilemma. It is very rare that a truly significant, artistic revelation and its popularity with the audience are successfully combined. For example, if we take Artistic theater, then everyone's favorite performance "The Seagull" was not commercially successful. Compared to the first performance "Tsar Fyodor Ioannovich", due to which the theater lived, "The Seagull" was a kind of experiment, a movement forward.
In my opinion, the repertoire should include both box-office performances and those that move theaters forward, even though they are not so commercially successful. We try to maintain this balance. In our time, people are accustomed only to having fun in the theater, and our performance "The Fate of Elektra" requires effort and work from the viewer. It cannot be said that it is a box-office show, but, nevertheless, we keep this performance. It allows us to maintain a high artistic level. If we talk about the project theater (like on Broadway), then they just shoot a performance there if it doesn’t go. However, in repertory theater it is not necessary that the premiere will be successful. Recognition can come in a year or even two: you can let the play develop. This is an absolutely amazing feature of the repertory theater.

- By the way, about the premieres. Do you think the number of released premieres is an indicator of the theater's success?

- Usually this question is raised by the Ministry of Culture, evaluating the effectiveness of the theater. But the theatrical community is resisting, since quantitative indicators in the case of art do not speak about efficiency.
Of course, when there are new works, this is an indicator of development. Otherwise, the theater will not live. However, "Juno and Avos" has been going on for more than thirty years. Isn't that an indication that he... good performance, can withstand heat for thirty years? The “Extraordinary Concert” at the Obraztsov Theater is 70 years old, not to mention the performance “The Blue Bird” at the Moscow Art Theater. If we formulate the position of our theater, then we believe that there should be a lot of premieres, despite the economic difficulties.

- From an economic point of view, what is more profitable for the theater: to hold long-lived performances or to stage new performances?

- If you take Small town- everything is clear there. The audience is exhausted - a new repertoire is needed. IN big city can afford to support old performance if it goes well. It's cost effective. But there certainly comes a period when the performance becomes morally obsolete, the artists, as it were, grow out of it: each performance has its own age. As for new productions, today these are big expenses for the theater, but without them the theater will not develop.
Here it is necessary to clarify that the concept of “umbrella marketing” is applicable to the theater. We promote not only everyone new performance, but also theater as a brand in general. The question is who is pulling whom. Does the name of the theater ensure the success of the performance, or do the performances that become brands take the theater to a new level of recognition? And here it is necessary to choose a strategy: either we promote the theater as a brand, or individual performances, thanks to which the theater will be recognized.

- What is the strategy of RAMT?

- In our theater, each performance has its own story. For example, the audience of the play "Flowers for Algernon" remained in the theater after the performance. And with children's performances, the opposite is true: the brand has more influence. Spectators know that RAMT has good children's performances. Or the same “Coast of Utopia”: now an eight-hour performance is our brand. And at first it was a completely unknown play, to which only connoisseurs came. Of course, there are box office surges due to the media exposure of our artists. For example, this was the case after the release of the series "Don't Be Born Beautiful." But we are not chasing such glory. RAMT is just not one of those theaters that waits for a media artist to come and do everything for us. We are called a youth theater not only by the audience, but also by the creative staff: average age our artists do not exceed thirty years. So, by definition, we cannot have stars.

- What criteria does the theater follow in order to film a performance?

– Now we have the task of updating the children's line of performances within the framework of the Young Directors for Children project. First, four performances were released on the chamber stage, and we do not stop there. We understand that we need new content for modern children, a completely different level of performances. Children's performances in the traditional sense are such matinees where classes sit on tickets for 100 rubles. We have a completely different approach: it is very important that children come with their parents, so that adults are also interested. Among our new productions are "Deniskin's Stories" and "Edward the Rabbit". They differ significantly both in design and visual range from traditional children's performances.
As for the adult repertoire, an artist died tragically last year. It was decided to remove some of the performances so as not to introduce new actors into them. Our theater generally has very few replacements. If one person rehearses, then he plays it.
Again, a lot of it comes down to finances. Storage of scenery, their transportation is very expensive. There are not enough rooms in the theater - it is necessary to rent. In addition, the repertoire of 50 performances is a lot. I don't know if there is any other drama theater in Moscow that has so many names in its repertoire. Maybe at the Maly Theater, at the Moscow Art Theater ... Now the system borrowed from musical theaters when performances are played in blocks once every six months or a year, and then they go to the warehouse. And we have all 50 performances do not leave the stage.

- Since the theater is a large factory that produces a product in the form of performances, this product must be sold. How much in this matter the theater is coming in step with the times and does it use new achievements in sales marketing?

– We are trying to monitor and implement what is new in this area. We have special programs which help to track our sales online. We recently introduced our online ticketing service. In fact, there are not so many distribution channels, but we do not refuse any. Even from the traditional ones that have remained since Soviet times.

Do you mean ticket distributors?

– Yes, they work for our theatre. But obviously, over time, everything will go to the Internet sale.
In this system, too, now there are many different proposals. For example, aggressive marketing. I don’t know how right this is for the theater: a person will buy a ticket from us, and we will start bombarding him with a wild number of proposals. Although, on the other hand, there will be nothing bad in this if this person loves our theater, and he is interested in it. Why don't we tell him then that we have a promotion or a premiere? The question of measure, probably, should be in this. If you buy our ticket on the City Cashier portal, then you will be sent notifications about RAMT news. But we don't do it, the box office does it. But is it necessary for the theater to act just as actively and aggressively?

– Do you focus on the experience of other theaters or go your own way in marketing matters?

- Of course, we look around, because it is stupid to isolate the theater and not pay attention to other people's successful decisions. Another question is that what is successfully used in other theaters is not always suitable for us. But in some ways, I know for sure, we are better and ahead of other theaters. And somewhere they are guided by us, which is nice.

- Despite the fact that you occupy a rather pragmatic position - you have to deal with money, solve material issues - do you consider yourself a person of art?

– I would like to count and think that you are also related to the creative process. But, nevertheless, it is necessary to distinguish between these two spheres. It happens that directors consider themselves people of art - and this is dangerous in its own way. Because you can start to think that you know and understand about it better than others. And since you are endowed with power, this will not lead to good results. I think everyone should mind their own business.

What is the director's schedule? What issues do you have to deal with during the day? The actors finish their working day after the performance, and when does it end for you?

- It starts at 10 o'clock in the morning, and can end like the actors at 10 pm. This is the specifics of the work. The entire organizational and economic block is open until 18:00. And everything related to the creative part - in the evening. Therefore, the director gets such a dimensionless working day.

- Do you manage to partially delegate your powers?

- Necessarily. The director controls the blocks: organizational and economic (accounting, lawyers, personnel department), work with the audience, staging, production of performances, storage of scenery. This is the standard layout. As in any management, 7 people should report directly to the director. The theater is the same.

– Are there any duties that you cannot delegate to anyone and why?

- The theater, unfortunately, is arranged in such a way that many issues cannot be delegated. Lots of manual control. In theory, if everything works correctly, then on tour, for example, a director is not needed, but ...

- ... Do you still travel with the theater?

- It depends on what kind of tour. If knurled, when everything is more or less clear, then no. The job of a director is important preparatory stage: decide, agree, decide which group will go. In my opinion, if the director runs around and frantically tries to do something on tour, this just speaks of a dysfunctional structure. I'm trying to fight it.

Do you consider yourself a strict leader?

“I want to think so, but I can’t. No, I don't.

– Do people of art need some kind of special approach? If so, which one?

– Of course, this is a special area. For example, in the matter of selecting artists and creating a performance, it is important that an authoritative artistic director be at the head. If the artists are oriented only to the director, and the directors will come, then this, as a rule, does not give a creative effect.

- In addition to the release of performances, RAMT carries out a large number of other projects aimed at spectators and theater specialists. Do new projects and programs in RAMT come down from above or are they initiated by employees? What is the main criterion by which you give the go-ahead to a project?

- You have to understand that RAMT has a special history, pedagogical work has been carried out here since Soviet times. Now it has been transformed in accordance with the present day and is being carried out very actively. We have spectator clubs that are engaged in educational projects, teaching children how to watch a play, teaching them the theatrical language and explaining that a play is not an illustration.
Initiatives appear in different ways: something is offered by employees, something comes from outside: for example, the Ministry suggested that the work with regional youth theaters be carried out by RAMT. But it is better when everything is born naturally.

Tatiana Popadieva

Actress Irina Apeksimova became the director of the Moscow Taganka Theater. Sergey Kapkov, head of the Moscow Department of Culture, announced a new appointment at the theatre. Soon he himself will introduce Mrs. Apeksimova to the Taganka Theater team.

“Apeksimova was appointed director of the Taganka Theater by my order,” Sergey Kapkov, head of the Moscow Department of Culture, told Interfax.

Problems with the management of the theater began back in 2011, when, as a result of a conflict with the actors, Yuri Lyubimov, the founder of the Moscow Taganka Drama and Comedy Theater, left the troupe with a resonant scandal. The vacant post was filled National artist Russia and one of the leading actors of the theater Valery Zolotukhin, who was neither the initiator nor a direct participant in the conflict. In 2013, for health reasons, he left the theater and soon died after a serious illness. Mr. Lyubimov himself was actually in the status of an exile, his performances gradually disappeared from the repertoire of his native theater.

Soon the department of culture appointed Vladimir Fleischer, who had worked for many years as the director of the Moscow Meyerhold Center, to the leading position. Experts noted that this decision was more technical than creative: Mr. Fleischer was never able to develop a coherent repertoire policy. As a result, the Moscow Department of Culture made a strong-willed decision on a new personnel appointment. Instead of Mr. Fleischer, the post of theater director will be taken by actress and producer Irina Apeksimova.

The key question for this moment lies in who will determine the artistic tasks of the theater, which is today in difficult situation. If Mrs. Apeksimova was transferred by the Department of Culture to the Taganka Theater as successful manager to solve administrative problems, then she needs an artistic director as a couple. However, if she is appointed to single-handedly determine the repertoire, then this decision seems rather extravagant, since the actress does not have experience in independent leadership artistic activity, she was not noticed in major art actions.

Irina Apeksimova, who has successfully worked for ten years at the Chekhov Moscow Art Theater and has played more than 60 roles in theater and cinema, is currently the head of the Roman Viktyuk Theater. In a statement to TASS, the artist noted that she "plans to combine these two positions." Roman Viktyuk invited the famous actress to an administrative, in fact, position in 2012. Then she was given the task, together with the artistic director, to prepare the theater troupe to work under the conditions of regular shows in her own building. The building of the House of Culture named after Rusakov, in which the Roman Viktyuk Theater was based for a long time expected reconstruction, which is why the artists had to perform at various other Moscow venues. So the actress Apeksimova repeatedly played in the performances of Roman Viktyuk, such as Our Decameron and Carmen. As you know, during the time of cooperation in the reconstruction field, relations between the artist and the director completely ceased to develop. One way or another, the Viktyuk Theater will be under repair until the end of March.