Dmitry Krymov, theater director: biography, personal life, creativity. Dmitry Krymov, theater director: biography, personal life, creativity About the theater of the artist

Irina Sirotkina reviews: 53 ratings: 53 rating: 38

I'm trying to understand why the genre ("artist's theater"), in which Dm. Krymov makes his performances, is so touching. Perhaps because it does not look like a traditional theater, but like a children's game. This is the magic of a toy: a child jumps on a stick, calling it a horse. According to Vygotsky, a child, by the power of one thing, takes away the name from another thing, acquiring magical power over it. In the student (!) play "A story: Dido and Aeneas" one actress drags a paper boat on a string across the floor covered with old newspapers, and the other begins to stir and raise these newspapers, and you suddenly see the ninth wave. And you are afraid of this storm, and you dominate it, and you resign yourself to the tragedy that it brings with it for shipbuilders - and for you too. This is child's play, not "theatricality", and therefore much more serious, powerful and deeper. The performance is another miracle of the Krymov Laboratory - from old newspapers, paper boats, shadows from magic lantern, and barefoot teenage actresses. Fragile and poignant, like Dido's farewell aria "Remember me".

crafty reviews: 15 ratings: 17 rating: 26

I remember the release of the program "School of Scandal", where Anatoly Vasiliev - the founder of the "School dramatic art"- spoke about the ideal of his Theater, presenting it (the Theater) as a kind of tent, where the action takes place regardless of the presence of the viewer: the viewer can come to the Theater at any time, he can also leave it, but the action will remain uninterrupted, it as it happened, it will continue to happen, i.e. The theater, in Vasiliev's understanding, is nothing more than a separate, autonomous world, within which its own laws and principles operate.
Investing in a similar concept of understanding the life of the Theater, Dmitry Krymov, puts another experiment in his Laboratory, which results in a performance under the strange name of ordered female names "Katya, Sonya, Fields, Galya, Vera, Olya, Tanya" according to the cycle Bunin's stories from the book "Dark Alleys". This performance (unlike the book, where the reader is seized by something tragic, dark and sweetly aching for the soul) is a complete joke. With a twisted grin. Changeling. Or, more accurately, focus.
You enter the hall and, in slight confusion, think, did you come in early? But go further along the rows, because, it seems, everyone is also passing, and now sit down in your place. And the actors are already walking around the stage, not paying any attention to you: some are changing clothes, some are putting on make-up. One gets the feeling that you were simply given the opportunity to peep through the peephole in preparation for the performance.
And then you see how the wiring lights up, how a fire breaks out, an explosion occurs (probably as a metaphor for love experiences) and the actors run away from the stage in a panic, and you, the viewer. sit anyway (you were allowed to peep, so you peep). Then a woman is mercilessly sawed in a box in front of your eyes, and she remains without legs, cries a little, tries in vain on her mannequin legs, but then appears. Another woman (also, by the way, from the box), and we see her love story, she laughs and also cries a little, and then she is replaced by a third woman, and the third - the fourth, the fourth-fifth, the fifth-sixth, the sixth-seventh. And each has its own story. For a few minutes. In a few fragmentary words-memories. And all of them (heroines) for some reason appear on the stage from the boxes. Like dolls. Like living sculptures, frozen in time, in the memory of the rememberer.
Throughout the performance, the director and actors never cease to amaze the audience, showing trick after trick (the famous illusionist Rafael Tsitalashvili is involved in the performance, whose work looks especially impressive). In addition to the fact that the first heroine, who was first sawn up and who lay motionless throughout the performance (!), legs appear, and she passionately dances her love dance with a man, everything stage action The performance is turned upside down by the director, staged in a completely different time-space. It turns out that all these women with their bare nerves are just dried herbariums of love (it turns out that we watched on stage how the director took and mysteriously opened before us a book of Bunin's " dark alleys"turning pages in front of us, between which dried flowers of past lives have been preserved). And it also turns out that all these women are just exhibits in a museum where a school teacher brought negligent eleventh-graders to a literature lesson, constantly chewing something and laughing about some nasty things. Everything turns into some kind of irony with a bitter aftertaste. There was a living love. And now there are only dusty textbooks in school libraries. Time does not kill, but it distorts. And looking at this trick, you can only be surprised at such a particularly quick and unpredictable outcome of events. But the female heroines were crying and the men were passing women's underwear from hand to hand, twisted in thoughts of pleasures. And now a crowd of eleventh graders, without showing the slightest interest, leaves the hall, laughing fervently and pushing each other, behind a diligent young teacher, probably still inexperienced in love.
And you stay. And you, too, seem to have to leave somehow. You get up from your chair and are perplexed by such a strange reality with ordered events called life.

Marfa Nekrasova reviews: 47 ratings: 45 rating: 91

Devilishly turning over the plots of the works and the ways of their usual productions, Dmitry Krymov outlines performance after performance in the strange theater of the School of Dramatic Art. At first, without words ("Innuendo", "Donkey Hot", "Demon. View from above"), and then with some of them interspersed; at first telling stories only with a brush, human body and scenography items, and after that with the help of everything possible; first with his stage design students, and now with the actors recruited into the troupe. His co-creators turn anything into theatrical images not with spells, but with paints, bewitching the stupefied spectators. In "Innuendo" Vera draws the face of the Bridegroom with black gouache on Leni's thin back with several lines, Lyonya sits Ethel (the Bride) on her knees, they kiss, and the face of the Bridegroom on the back squirms and rejoices. In "The Demon", the set designers scatter old records around the stage, and with every second the melody from the thrown record is added to the general rumble, and then yellow household gloves are scattered around, and a field of withers grows on the stage. In "Opus No. 7" Anya, playing Shostakovich, sits in a wooden piano and scatters smears of various bright colors everywhere to the music of the composer. Everything is simple, and you can reproach him for being illustrative, or you can conclude an agreement with him by signing with red paint from a black brush that you agree to be sprinkled with wood shavings, artificial snow or torn newspapers (depending on which performance), and the performance will only be based on the work ( d), and all the same about your own, and there are as many thoughts in it as you have time to change your mind for its short duration, but you didn’t have time, so maybe in it more beauty than meaning, but is it really difficult to find meaning in beauty, the artist living in you will tell you. Streams of images, metamorphosing from one to another, easily guessed by the choice of surprisingly accurate particles of the depicted - that's what kind of theater it is. Leromont's Demon sees the world from above, Cervantes' Don Quixote is crazy, Platonov's Cow is attractive woman, and the performance is a canvas on which sketches, strokes and paintings appear, replacing, complementing and revealing each other more and more. Mixing and entertaining our mind, he mixes folk tales, Cervantes and Gogol, Lermontov and selected events in Russia, all Chekhov's plays together, Platonov and jazz, the Bible and the fate of Shostakovich. How it mixes in our heads, how associations run inside us. Because he and his co-creators let through themselves what is put through, humanizing the characters, reviving them, and let the performance no longer be about that, but about them (us) ourselves. Chekhov in his “Bidding” is charmingly perky, yes, it shouldn’t be like that, I know, we all know, but it comes out so truthfully and truly that, like in many of his performances, there are no words.

Having received a diploma in 1976 as a production designer at the Moscow Art Theater School-Studio, Dmitry Krymov went to work at the Theater on Malaya Bronnaya, where at that time he worked great director Anatoly Efros, Krymov's father. The surname of the artist came from his mother - the famous theater critic Natalia Krymova. In the 1990s, Krymov stopped staging performances, switching to easel painting and graphics. And with the beginning of the new century, Krymov becomes a GITIS teacher and one of the most popular theater directors. In his endlessly charming surrealistic illusions, played, as a rule, in the "School of Dramatic Art", mainly his pupils participate - young theater artists; sometimes without words at all, as, for example, the main hit of Dmitry Krymov's Creative Laboratory - “Demon. View from above". Most of all, the performances of the "Laboratory" are loved by humanitarians and foreigners. The first, because Krymov's absurd colorful and cardboard representations are packed with hundreds of quotations from world classics - from Van Gogh and Cervantes to Pushkin and Chekhov. Second, because, as a rule, no translation is needed and fun.

Dmitry Krymov, whose biography is described in this article, - Russian artist, theater teacher, director and set designer. His performances are popular not only in Russia but also abroad. As a stage designer, Krymov worked not only with the capital, but also with many provincial theaters. Dmitry Anatolyevich brought to art new aesthetic, an unusual genre mix.

Childhood

Dmitry Krymov was born on 10.10.1954 in Moscow in creative family. His father, Anatoly Efros, was a famous director. Mother, Natalya Krymova, is a theater critic and writer. At birth, Dmitry was recorded in his mother's surname on the advice of his grandfather. The fact is that the father, Anatoly Efros, had Jewish roots. In those days, this could have a negative impact on the fate of Dmitry.

He grew up in an atmosphere parental love. Father and mother gave great importance creative education of his son, so Anatoly could not accept that Dmitry sometimes took a long time to solve any creative problem. As a result, the mother acted as a mediator between husband and son. But all this only helped Dmitry to become an outstanding and self-sufficient person.

Education

After graduation high school Krymov decided to link his fate with the theater. Therefore, he entered the Moscow Art Theater School and began to comprehend the basics of scenography. He studied at the production department. Graduated from the university in 1976.

Work as a stage designer

He got a job in his specialty at the theater, located on Malaya Bronnaya. There, Anatoly Efros staged a whole series of productions, the design of which was taken up by Dmitry Krymov. The performances that he served were shown in many theaters of the capital and in many cities of the Soviet Union.

tragic break

Krymov's talent was noticed by many artists, the career of a young stage designer was very successful. But life made its own adjustments - the parents died: first the father, and then the mother. Dmitry Anatolyevich had to temporarily leave the theater. Then it seemed to Krymov that it was for good, since everything reminded him of his parents, it hit him hard, and the work done seemed useless to anyone.

Dmitry decided to change his profession and seriously study easel art. Krymov plunged into painting, graphics and installation. It turned out that another talent of Dmitry was revealed here. His works began to be exhibited in many museums, including foreign ones. Some of the paintings ended up in private collections.

Return to the theater world

After a while, the pain from the loss dulled, and Dmitry Krymov returned to the theater again. It came as a surprise to many when he staged Hamlet at the Stanislavsky Theatre. After that, he got a job at GITIS. Dmitry turned out to be an excellent teacher and brought up many young actors. In 2002, Krymov began to teach his course at the theater Russian Academy. In 2008, he recruited an experimental group, which simultaneously trained novice directors, actors and screenwriters. Such a mixed co-creation course turned out to be unique, as it was organized for the first time.

Own creative laboratory

In 2004, a production based on Russian folk tales captivated director A. Vasiliev. He included it in the repertoire of the Theater of Europe and suggested that Krymov create a creative laboratory. It has become a separate division with a unique artistic aesthetic.

In 2006, Vasiliev left the theater, and this was a turning point in the life of Dmitry Anatolyevich. At first he wanted to follow the director, but after deliberation, he nevertheless remained to work in the same place. The creative laboratory of Dmitry Krymov continued its work.

All productions were awarded by theater critics bright epithets. The expressiveness of the productions, their unique artistic structure and association lines. Performances in the laboratory are created in two stages: an active discussion of the plays, and only then the development of images. Music plays an important role in performances. Rarely taken for a performance finished works, in most cases, new, original ones are written. Dmitry Krymov already for a long time collaborates with the composer Bodrov, who writes music for productions.

For Dmitry Anatolyevich there are no fundamental principles, he can "cut" the music in accordance with his ideas, removing unnecessary fragments or adding new ones. Therefore, the laboratory acquired the status of the author's. During its existence, dozens of performances have already been staged. The production of "Dream in midsummer night” became the laureate of the Edinburgh Festival.

All performances performed by Krymov are real masterpieces of art. The works make you think about pressing issues, changing perceptions and existing opinions. Dmitry Anatolyevich is an experienced specialist and opera genre. He staged several one-act works.

In 2007, Dmitry Anatolyevich received famous award"Crystal Turandot". In 2010, the screenwriter created an unforgettable play "In Paris". It was a joint work of Krymov and Baryshnikov. Many people remember the performance "Mixed technique", staged in 2011.

Dmitry Krymov is a director from God. He is very responsible for his work and believes that he is responsible for what is happening on stage. Therefore, he is satisfied with his work only when the performance he has staged fully meets his requirements.

Ahead in Krymov's plans are new creative works. In 2016, Dmitry Anatolyevich thought about removing feature film. The plot is being outlined in in general terms. The director announced that students and pupils of Krymov would take part in the filming. The figurative canvas of the picture is identical to one of the films by Anatoly Efros, which was filmed in 1961.

Personal life

Dmitry Krymov is married. His wife's name is Inna. The Krymovs have an adult son. Inna worked in the field social psychology and economy. IN Lately in many ways helps her husband in directing. In 2009, Dmitry Anatolyevich was named "Person of the Year" by the Jewish communities of the Russian Federation. Krymov has not celebrated his birthday for a very long time. On this day, he annually travels to the graves of his parents. Dmitry Anatolyevich still thanks his father and mother for his birth and creative education.

Name: Dmitry Krymov

Age: 64 years old

Activity: director, artist, stage designer

Family status: married

Dmitry Krymov: biography

In a broad sense, any artist is called an artist. And in the case of the theater director Dmitry Krymov, this word is also used in direct meaning, because at first he worked as a set designer, for which he even received separate award, and also became a member of the Union of Artists and the Academy of Arts.

Childhood and youth

On October 10, 1954, the only son Dima was born in the theatrical family of director and critic Natalia Krymova. Even in childhood, they decided to give the child the mother's surname in order to protect them from future difficulties, labels and even taboos, accompanied by carriers of the Jewish family name.

Once in an interview, Dmitry admitted that the most distant relative he knows was his great-grandfather Akim Fursov, a Yalta shoemaker. In general, everything that is connected with a family biography is valuable and protected for a man. For example, he has a favorite legend associated with the moment his parents met, when his father said the original:

“Are we going to get married now or wait until you graduate from the institute?”.

vivid memory early years life - the first trip to the theater.

“The first performance that I saw in my life was the legendary Moscow Art Theater production of The Blue Bird. My mother took me to him at the age of 5. The best memories of childhood!”, – shared the talented director.

But the rehearsals held by the head of the family, he attended infrequently, but he remembered the main thing:

“He searched very intently in the presence of a large number of people. And he tried, and everyone was fascinated by the course of thought that he offered them. It was his job, his quest."

And it is the smell of the father that is inextricably linked with childhood.

The boy's ability to draw increased every year, and he dreamed of studying at the Stroganov School. However, in due time, everything changed the decision of the mother and the impending threat of the army. So Krymov got into the Moscow Art Theater School, upon admission to which handicraft talents of Natalya Anatolyevna were useful: students were required to be able to do something with their own hands.

Theater and creativity

After graduating from the studio, he joined the theater on Malaya Bronnaya, where he created scenery and costumes for performances. Among them there was a place for both classical authors - ("Othello", ("A Month in the Country"), and Soviet ones - Alexei Arbuzov ("Recollection"), Ignatius Dvoretsky ("Theatre Director") and others. He also designed the Moscow Art Theater productions of his father - Molière's Tartuffe and Tolstoy's The Living Corpse.

After 9 years creative biography replenished with the Taganka Theater, where, thanks to him, 3 productions received their artistic embodiment, among them was the work on the work of the future Nobel laureate. Many of the main Moscow "temples of Melpomene" invited Krymov to design their own productions, and to cooperate - famous figures art: , Eugene Arie, etc.

The beginning of the 90s turned out to be difficult: first the country was gone, then the father. During this period, Dmitry decided to leave the theater, as it seemed to him, for good, and take up painting and graphics. The matter was argued in the hands of the master: many Russian and foreign exhibitions were held.

Krymov's paintings were previously presented to the audience in the Russian Museum, in the galleries of England, Germany and France, and now they can be found in the Tretyakov Gallery and Pushkin Museum. Then he was a teacher at GITIS, where he taught a course, in 2017 he received the title of honorary professor, and headed the Laboratory at the School of Dramatic Art.

In the same year, “Dowryless” saw the light here - with a spelling mistake in the title, “voiced like a slap in the face”, referring to the statement of Alexander Sergeevich, adored by the director. However, this is not the first grotesque and hyperbolic author's arrangement: in 2016, “Oh. Late love "received the coveted" golden mask as well as its lead actress.

Personal life

In his personal life, Dmitry Anatolyevich is monogamous: as he chose the only woman in himself as a companion, he remains faithful to her until now. His wife Inna was born on June 29 in Magadan, is the author of projects, producer documentaries, as well as the organizer art exhibitions, fairs, auctions. About himself he speaks with restraint:

"Wife. She gave birth to a son. Built a house. IN free time help Dima.

Born in a family only child Mikhail, who has mastered the profession of an architect and now lives in the United States. The creative couple has no other children.

To the questions of journalists, for which Dmitry does not have enough time every day, he answered that he was confessing his wife in love. And washing the car. By the way, an interview with a talented director - separate view intellectual pleasure. His deep and sparkling answers to correspondents amaze with the scale of thoughts and wisdom.

Dmitry Krymov now

In 2018, for the first time on the stage of the Theater of Nations, Dmitry Krymov presented to the audience a far from school classical work comedy of masks "Mu-Mu", where main character- a drowned dog, not pitying everyone, but a girl Masha.

In the same year, "Seryozha" was born in the Chekhov Moscow Art Theater - the son of a woman who died of love. The performance is only partly reminiscent of famous novel. There was also a place for Grossman's Life and Fate.

On the last day of summer, August 31, 2018, a touching and capacious record of the director about his departure from the School of Dramatic Art appeared on the official website of the Laboratory. If you believe the comments of the theater director, then there were no disagreements “at work”.

“Probably, these are some personal motives and, possibly, plans that only Dmitry Anatolyevich himself can tell about,” Olga Sokolova emphasized, adding that he would remain in his post until November.

By the way, the already mentioned site deserves special attention. Here, seemingly familiar (photo, video, audio) and unusual (persons, teachers) sections are presented in surprisingly stylish and original way.

Artist, set designer, director and theater teacher. Dmitry Anatolievich Krymov is a member of the Union of Artists of Russia and the Union of Theater Workers.

Dmitry Krymov- son of famous parents Anatoly Efros And Natalia Krymova. His father was a famous stage director, and his mother was a theater critic and art critic. Dmitry was given his mother's surname, as in Soviet time Anatoly Efros posed obstacles in their careers because of their Jewish origin.

In 1976 he graduated from the Moscow Art Theater School and immediately began working at the Theater on Malaya Bronnaya. Graduate work Krymova was staged by his father's Othello.

Creative activity of Dmitry Krymov / Dmitry Krymov

In 1985 Dmitry Krymov got a job as a production designer at the Taganka Theater, where his performances were staged "War has no female face”, “One and a half square meters” and “Misanthrope”.

In the early 1990s, due to the crisis Krymov was forced to leave the theater and take up painting, graphics. The paintings of Dmitry Anatolyevich were presented in the Russian Museum, in the museums of France, Germany, England. Now his work can be seen in Tretyakov Gallery and Museum fine arts named after Pushkin.

Dmitry Krymov worked in many Russian theaters in Moscow, St. Petersburg, Nizhny Novgorod, Volgograd, traveled to Riga, Tallinn, Bulgaria and Japan. His talent as a production designer and director is appreciated all over the world. A particularly welcome guest of the Crimeans in Europe.

“The performance is made by one person, the main one, and this is the director,” says Dmitry Krymov about his work. “People who understand this should gather around. I'm interested in opinions, and I'm ready to talk. But you just need to stop in time. Indeed, often for actors this is a way not to work, but to fray or fray their nerves.

At the Russian Academy theatrical art Dmitry Krymov teaches a course in theater artists and works in his creative laboratory "School of Dramatic Art". The laboratory is located in Moscow. Together with young actors, graduates of GITIS and the Shchukin School, Krymov puts on his own performances, which he then shows at international festivals.

“The director is responsible for the performance,” says Dmitry Krymov about his profession. — I am responsible for what happens on stage. If it doesn't turn out the way it seems to me, then the performance will not be mine. Why am I then spending time, and not painting pictures or doing something around the house? My door handle has been falling off for a year now, and I don’t fasten it, but I need to compensate with something. It makes up for it with the best possible performance.

Ideas for your phantasmagoric performances Dmitry Krymov he takes from his imagination, from other artists and his students. Krymov's performances are a synthesis of plastic images, drawings, prose and poetry. Not all of them have story line, or intriguing interweaving of destinies, but there is always a vivid visual image that evokes a response from every beholder and characteristic feelings. This makes the theatrical audience increasingly come to the productions of director Dmitry Krymov.

"The first performance of our group was called "Nedoskazki" and was staged with students of my then first year art faculty at the RATI. The basis of the performance was Russian folk tales edited by Afanasyev, that is, the most "real" Russian fairy tales. This the performance was without words, the actors were the same art students who created a series of visual images in front of the audience, united by one plot and idea.

Theater Lab Dmitry Krymov staged performances such as "Three Sisters", "Sir Vantes. Donky Hot", "Trading" and a number of others. Fame in wide circles Krymov's productions were received after the interpretation of Lermontov's poem "Daemon. View from above". The show won awards theater critics"Crystal Turandot" and the Union of Theater Workers "Golden Mask".

In 2010, together with Mikhail Baryshnikov Dmitry Krymov staged a performance "In Paris" seen by European audiences. The performance was in Russian, but was not shown in Russia.

Performances by Dmitry Krymov/Dmitrii Krymov

• 1987 - Costume designer (film-play) - artist
• 1988 - The war does not have a female face (film-play) - artist
• 1989 - Tartuffe (film-play) - artist
• 2001 - Napoleon the First (film-play) - artist
• 2005 - Anatoly Efros
• 2005 - Islands (documentary)
• 2012 - Katya, Sonya, Fields, Galya, Vera, Olya, Tanya ... (film-play) - director
• Tararaboombia
• Death of a Giraffe
• Gorki 10
• Dreams of Katerina
• Opus No. 7
• Cow