People of Vladivostok: Leonid Anisimov, theater director. Myth is the only truth Tokyo New Repertory Theater Leonid Anisimov
at the Vladimir Academic regional theater drama, the premiere of the play "The Idiot" took place. Performed by artists from the Tokyo New Repertory Theatre.
The Japanese troupe became a guest of the All-Russian Theater Forum - the Festival of Festivals "At the Golden Gate". They played a play in Japanese, the production is accompanied by subtitles. tokyo new repertory theater adheres to Russian traditions of acting art. It was founded in 2000 after the merger of several theaters in Tokyo. Artistic director - Leonid Anisimov. He trains actors according to the Stanislavsky system. The theater was pioneering for Japan. First of all, thanks to the introduction of a permanent repertoire. After all, usually the Japanese watch the production only for one season. According to the director, outwardly Russian and Japanese cultures differ. But spiritually they are very close. LEONID ANISIMOV, ARTISTIC DIRECTOR, TOKYO NEW REPERTORY THEATER:“They are very good at reading minds. This is a very subtle level of consciousness, when they can feel, see what a person is thinking. This is very important for Stanislavsky's system, for its spiritual content. Therefore, it is very interesting for me to work with them.”
For a detailed report by Vladimir Kosygin, see Vesti at 17.30.
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Tokyo New Repertory Theater is a unique phenomenon of modern world culture. Its founder and artistic director is our compatriot. This is the Honored Artist of Russia, President of the International Academy of the Stanislavsky Theater, laureate of the State Prize of Japan Leonid Anisimov. The TNRT repertoire is formed according to the Russian classical scheme, rarely used in Japan. There are several hundred theaters in Tokyo, but all of them, as a rule, play a play 7-10 times a week and never return to it. And in TNRT there are such long-lived performances as, for example, "Suicide of Lovers on the Island of Heavenly Networks." Leonid Ivanovich staged this classic Japanese play based on the work of Chikamatsu Mozaemon in the distant 2005.
You can list for a long time what is unique about TNRT. But, perhaps, the most important thing is that Leonid Anisimov managed to create a psychological and meditative theater at the same time on the border of cultural environments. If you look at the repertoire of the TNRT, which includes Shakespeare's Hamlet, Chekhov's Uncle Vanya, and S. Beckett's Waiting for Godot, we will see that this team speaks of universal human values that can really unite us all. And the recent tour of the Tokyo New Repertory Theater to Russia has become another a prime example metaculturalism. Within the framework of the festival "At the Golden Gate", Japanese artists presented their reading of the novel by F.M. Dostoevsky's "The Idiot", and on the stage of the Moscow International House of Music - a musical and poetic performance-ritual based on the ancient Japanese myth "Kojiki. Records of the deeds of antiquity. Thus, the Japanese showed their view of the Russian mysterious soul, and the Russians tried to look into the soul of the inhabitants of the Country rising sun to comprehend the features of their national character.
performance-prayer
"Kojiki" is one of the main books of traditional Japanese Shinto beliefs, the largest monument of ancient Japanese literature, referring to 712 AD. This work contains texts of mythological and historical character that play an important role in this tradition. It includes myths about the origin of the Universe, about the gods-progenitors, about the creation of the Earth - the country of Yamato. Main myth- about the birth of the sun goddess Amaterasu and her removal to the Heavenly grotto. There is no need to explain what this work means for the people of Japan, and the Russian director was the first to stage it! Some doubted the success of the undertaking and dissuaded Leonid Ivanovich, but he, as true artist, strives to do something more than banal perfection. And the play "Kojiki" received such a response in Japan that TNRT was even invited to show it in ancient temples.
The production made an indelible impression on the Moscow public. Leonid Anisimov, having read the Kojiki translated into Russian, noted: “It is in the ideas and spirituality described in this book that ancient japan the key to achieving world peace can be found." The result was a new dramatic genre of "ceremonial theater" using elements of traditional Japanese culture. Performance “Kojiki. Records of the Acts of Antiquity" is a harmonious combination of the Stanislavsky system and the Japanese spirit of harmony "wa". Spectators see multifaceted, lively and at the same time traditional paintings on the stage.
Leonid Ivanovich introduces the audience into a very complex area, where a person actually co-presents on the verge of the mysterious, terrible and great in communion with the gods. It was clear that the artists of the TNRT in this performance were worried not so much about the reaction of the audience, but about how they were observed by higher powers. And through this meditativeness, the audience conveyed the feeling true love. Traditional white masks on the actors' faces; movements that are unusual for us, as if a little constrained, overly precise and monotonous, but hiding richness and elegance in themselves; sounding folk instruments, throat singing and long monologues create an amazing atmosphere of meeting with something amazing, mysterious and - on a subconscious level - native. Although all the spectators were given programs with a libretto, and during the action a brief translation sounded, it seems that even without this it would be clear what the artists want to convey to the viewer. In the Kojiki there is a dialogue on spiritual level where there are no nationalities, no different religions, there is only man and his Creator, and quivering feelings for Him.
One of the most memorable scenes was the descent of the goddess Amaterasu into the Heavenly Grotto after the riots caused by her brother, the god Susanoo. The sun disappears and the world is plunged into darkness. The gods decide to lure out Amaterasu by arranging a feast. One of the goddesses began to dance, her clothes slipped off her, and her beautiful body lit up. The way this moment is staged and played by the actors can be called the culmination of not only the performance, but also the Japanese ideas about beauty. A feeling of universal joy, the triumph of life and unity pervades the last scenes of the Kojiki.
The next day after the performance was shown in the Union of Theater Workers of the Russian Federation, creative meeting with the troupe of the Tokyo New Repertory Theater and its artistic director, which was attended by the audience, media representatives, as well as Russian students of Leonid Anisimov, who played in the theaters he created in Vladivostok and Yekaterinburg. For more than two hours, the audience shared their impressions, memories, professional secrets and discussed the play "Kojiki", in which the audience saw the absolute unity of not only the actors with the director, but also two cultures. After the meeting, we managed to talk with Leonid Ivanovich.
Admiring a person
- Twelve years ago, under your leadership, the Tokyo New Repertory Theater was founded, uniting three troupes: the Kyo Theater, the Experience Theater and the Sun Studio. The goal was to create "a true theater that heals a sick heart modern man and nourishing his soul." What problems did it involve at first and now?
- Regardless of the country, these are the same problems that are in the area of misunderstanding and therefore misunderstanding. The problem is in the modern pace of life, which does not give people the opportunity to stop at least for a while and think about the health of their souls. In Japan, of course, this is felt more acutely than in Russia. After all, even vain Moscow is incomparable with Tokyo in terms of the speed of life. Therefore, the main task that has always been before me is to find such keys to the human heart so that people can think, feel each other. My book, which is now published on Japanese, and is called: "Admiration of a person, or How to read the Stanislavsky system." I want to admire not only the spring sakura flowers and autumn leaves maple, what's in Japanese culture traditionally beautiful, but also learned to admire a person. And for that you need to see it. And we do everything in our theater to open the eyes of the audience.
Another problem is that in Japan, artists have long been treated as lower caste. And my task is for modern Japanese to recognize in the actor an artist, a teacher who can heal, convey wisdom through dramaturgy and, in general, theatrical art itself. Now we can say that there is a shift in this regard. The theater began to be surrounded by people very high level — famous writers, musicians, politicians. Attracting a circle of people who have received recognition, creating clubs helps to change attitudes ordinary Japanese to the actor.
- Leonid Ivanovich, you are actively directing and pedagogical activity not only in Japan, but also in Europe, USA. You have created seven theaters. How do you work with foreign artists Do you feel the difference between schools?
- Very. First, there is a difference of cultures, mentalities. Russians can very quickly feel into a role, but they are lazy and selfish. For Americans, the main quality is will, although they have a misunderstanding of what it is. In theater schools in the United States, in fact, they teach not will, but patience. After all, according to Stanislavsky, will is when a strong, inspiring desire is born. This is a beautiful cosmic energy, but it is very difficult to open it within yourself. It cannot be replaced by the patience that they are trying to impose on us. And with the Americans, I tried to change their physical tension and patience for enthusiasm, disinterestedness, the desire to simply give, and then the will is born. The Japanese are completely different. They have been rewarded with a certain wisdom since childhood. They surprise me with how easily they read our thoughts, but they need to awaken feelings.
— At your master classes, you often say that one of the principal foundations of the Stanislavsky system is balance. Does this only apply to actors or does it matter to the director as well?
- Balance, of course, is necessary for everyone. Any tension interferes with creativity. Therefore, first of all, I myself learn balance. It's difficult enough. And I learn a lot from my Japanese troupe - humility, balance, and having received this, I pass it on to others. This is where you need to change your mind. Stanislavsky said an absolutely wonderful phrase that a person by himself is not capable of creating. And I repeat this at every rehearsal, at every master class. When a person realizes this and becomes an instrument of nature, the cosmos, God, then the extra effort goes away and the balance is established by itself.
Eternal classic
- There are many of our classics in the repertoire of TNRT: Ivanov, The Seagull, Uncle Vanya, Three Sisters, A.P. Chekhov, "At the Bottom" by M. Gorky, "The Idiot" by F.M. Dostoevsky. Today at the meeting we talked about the fact that the Japanese feel the Russian classics very well. Does this apply only to the artists or to the audience as well?
- In general, all the Japanese feel our classics so subtly that even I sometimes envy them. Perhaps it is appropriate to speak here of some kind of unity of souls. I sincerely believe that now the Japanese love Chekhov more than the Russians. And I'm starting to wonder why. The topics covered in the works of Anton Pavlovich are close inner world Japanese. For example, sakura in The Cherry Orchard. The beauty of nature for them chief god and when they read that the cherry orchard will be cut down, it is such a shock to them. They understand that Chekhov acutely felt pain for nature. For them, this is normal, natural, so they love him. In Gorky's play "At the Bottom" they feel very well the philosophy of human value. And in Dostoevsky, they get some kind of painful sensations more accurately and bodily more truthfully. The pain of Japanese actors does not need to be taught, it has been inside them since childhood.
- You staged the first "Seagull" in Sverdlovsk (now Yekaterinburg), then there was the Vladivostok "Seagull", American, Japanese ... Is there anything in common between them?
- In Sverdlovsk, I myself played the role of Treplev, and it was a performance through his eyes. In Vladivostok, when we started rehearsing "The Seagull" and talked with Oleg Efremov (and I was so young, perky, arrogant), I began to explain to him how, from Treplev's point of view, everything turns out great. Oleg Nikolaevich said: “Do you love Treplev? And at my age I already love everyone. And now I love everyone. Therefore, the performances, of course, are very different. Perhaps my best "The Seagull" I staged this year in Japan - in July we had a final exam at the academy. Treplev, and Nina, and Arkadina coincided there. Actors so felt the role that I admired.
“Today it has been said more than once how carefully, touchingly and tenderly you approach the author. What's the secret? Is it only in the Stanislavsky system?
- You know, here, probably, two methods that I have practiced almost all my life are very influential. This is a method of slow reading and a method of open perception, that is, surprise. We use them all the time.
— Most contemporary works in the repertoire of the TNRT are “Waiting for Godot” by S. Beckett and “The Caucasian Chalk Circle” by B. Brecht. You fundamentally do not want to contact the current playwrights?
All the years of my creative activity I only work with classics. Perhaps this is my principle. I don't think about what is modern and what is not. I just have an affinity for a certain level of literature. Moreover, I often have to say that I do not choose the material - it comes from above. I begin to feel, vividly feel the work. For example, for decades I swore to myself not to stage Dostoevsky. There was some intense fear in front of something incomprehensible and, as it seemed to me, dark. Maybe it's a feeling from school, I don't know. But someone obviously frightened me with Dostoevsky, and I took him very hard. And when I suddenly felt the amazing, absolutely beautiful, slightly sick humor of Dostoevsky, that's when he opened up for me. I was reading The Idiot while lying on the floor, because I couldn't sit, I fell off my chair. Fedor Mikhailovich's three favorite words in this novel are anecdote, dream, and fantastic. This is what I tried to bring to the Japanese perception of Dostoevsky.
- The same insight was with the recent prime ministers of TNRT - ancient Greek tragedies Antigone and Medea?
— Yes, even before the trip to Greece, I knew that I would work with a Greek play. For me, Greek philosophy is one of the fundamental ones, I have been doing it for a very long time. It’s just that when they started asking me the question: “Why did Medea kill her children?” It accelerated the process. The Greeks sincerely asked about this, explaining that, having been under the Turkish yoke for a long time, they had lost their ancient culture and don't know how to fix it. Now they are creating the Stanislavsky School as a branch of our Tokyo Academy. I told the Greeks that I can give the answer not in words, but through the performance. And we did these two tragedies on the stage of the Noh theater in Japan.
Grow, not build
- From today's meeting, I realized that not all artists in the TNRT troupe have professional education…
- It does not matter. It is important whether a person can become an artist or not. It should be a state of mind and soul, perhaps even innate. In this case, it is not so difficult to develop professionalism: both plasticity and speech can be mastered in a year. Moreover, if a person is spiritually ready, then everything immediately begins to manifest itself. Spiritual language develops, and a person changes: he becomes talented, his gait, movements, speech, look change. He becomes handsome. They say in healthy body- a healthy mind. And I believe that a healthy mind gives a healthy body.
- Today you have said more than once that actors should be teachers and that you yourself learn from them. But you have much more experience than, say, non-professional artists who have just come to the theater. I thought that TNRT could be called a director's theatre.
- No, I sincerely do not accept when directors begin to distort actors. Although I also had such a mistake: when I was young, selfish, I allowed myself to redo them, but, thank God, I quickly realized that this was harmful. Generally, I share theatrical art into two categories. One is gardening. And I consider myself a gardener. I think that a grain should be grown, watered with the heart, then a sprout and fruits will appear. But a lot of directing, unfortunately, is cinder block construction. I tell my colleagues: “What are you doing? What you build will be destroyed, but what you grow will be forever.” Once upon a time, vegetation grew from one grain, covering our entire planet. It is the same in art, in any art. And Stanislavsky taught me this too - to be a gardener. I don't know when the flowers will bloom, the fruits will ripen. I look forward to it and it interests me the most. But at the same time, in my entire life, and I have staged more than a hundred performances, the time of the premiere has never been cancelled. All bloom and sing in time. It is not I who create, but the Father is within me.
- And how to convey what is happening inside you to the actors so that they are adequate to this?
- At each rehearsal, I completely open my soul, give a lot of energy. If, for example, a rehearsal lasts three hours, I can talk for two hours of them, but then I know that then the artists will do more in an hour than they could in a week. I always confess childishness, which leads to insight.
But it takes so much mental strength! What are you feeding on?
- Love for the higher, for nature, for the cosmos helps. As long as there is this love, energy flows. Sometimes I am filled with it. And the more I give, the more it becomes. But as soon as the vanity of life begins to drag on, sharp fatigue comes. And I teach actors that there is one brilliant artist- nature. You have to become its instrument and then the energy comes.
- Leonid Ivanovich, is it possible to watch your performance in Russian somewhere today?
No, it looks like it's all over.
- And if you were invited to put something in some Russian theater?
- You see, I will not do anything with other people's actors. As Stanislavsky was once asked what is needed to make good performance. Konstantin Sergeevich answered: “First, you need to create a school, then a studio, then a theater, and after that you can stage a performance.” But just to come for a few months and make a production will not work. And I will be ashamed, and the theater. If they invite, for example, for two years, then you can try. The first year we will study, the second - to set. Without training, I cannot create the appropriate atmosphere, open my heart.
From the world of theater to the theater of the world
- When you started working in Sverdlovsk, you said that every performance should be a parable.
- So after all, Dostoevsky's Kojiki or The Idiot are parables. We need to create a myth. Because everything dies, but the myth remains. This the only truth.
- By the way, in the play "Kojiki" there are absolutely no scenery. This allowed me to fully concentrate on the author's word and acting. Is minimalism in design your organic perception of theatrical art?
- Absolutely right. I remember that we somehow flew, still with Russian actors, to Irkutsk for the festival. They asked me: “Where are your wagons with scenery?” And I answered: "There are none." They didn't believe me. The next day they came and said: “We called all railway, your wagons are not. The festival is cancelled! And I again: “Yes, we don’t have wagons. There is a roll and an artist nearby.” In the evening there was a performance, and then there was a surprise how this is possible (smiles).
— How do you remember your work in Vladivostok and Yekaterinburg?
- Today at the meeting, of course, much was remembered with great tenderness and pain. But I don't really remember much of the past. I don't want it to distract me from the future. It's important for me to move on. It was big school for me. As Stanislavsky said, the director is like a midwife who takes birth. This is how it seems to work for me. They did everything, and I only watered and warmed. Then we already talked about the freedom that we find inside the play. Because until she is found, there will be no performance. And it is born from three elements: from the attitude to the work, to each other and to people. When these three elements coincide, the freedom of the way of being on stage is born.
Does Tokyo New Repertory Theater often go abroad?
- Unfortunately no. We went to Korea quite often, because there are very good conditions and there are various government programs allocating funds for cultural ties with Japan. We were only three times in Russia: in Melikhovo, in Vladivostok for International festival classical play"Nikolsk-Ussuriysky" and now. Tours in Moscow, of course, have become a great event for the artists of TNRT.
- For the Moscow public too. I would like such meetings to take place more often.
“It all comes down to funding. We have a lot of difficulty with this right now. To come here, we applied to three funds, and they all refused. Probably, I will have to reduce the repertoire. I feel sorry for the actors - they are so tired, they gave me their whole life. These are truly selfless people. You can not even compare closely with Russian actors. They live on the bare minimum, earn extra money and give everything to the theater. Actresses do not get married, do not give birth to children, because it is very expensive. After all, we do not have any state support, we ourselves invest in development as much as we can, just like Stanislavsky. Most Japanese people have a very hard life, so I sincerely believe that TNRT actors are great people.
- What are your next creative plans?
— I dream to put one of greatest works Japanese classical literature"Genji monogatari", written in the Heian era. This is my great need. But there all the action takes place in imperial city and special imperial clothes are needed. When I was shown these 12-layer kimonos, it became clear that the main problem Again, financial. As soon as funds appear, I will definitely put on Genji Monogatari.
Photo gallery
Only one performance of "Kojiki" will be shown by the Tokyo New Repertory Theater on September 23, 2016 on the stage of the Moscow International House of Music.
"Kojiki"- a unique work of ancient Japanese literature. It is based on a cycle of myths: from the cosmogonic about the origin of the Universe, to the myths about the gods-progenitors and the vicissitudes of their relationship. The performance is a ritual, it alternates Japanese traditional songs, musical compositions and poetry.
Tokyo New Repertory Theater (TNRT), as “healing the sick soul of a person and nourishing his heart”, was created in 2004 by the Honored Art Worker of Russia Leonid Anisimov. The new team united three troupes: the Kyo theater, the Perezhivanie theater and the Sun studio. In its work, TNRT relies on the system of K. S. Stanislavsky, and the theater repertoire is formed according to the Russian classical scheme, rarely used in Japan. There are more than 17 titles on the TNRT playbill, including performances in the style of Japanese traditional theater, performances in Russian and foreign classics: "Ivanov", "The Seagull", "Uncle Vanya", "Three Sisters", " The Cherry Orchard» A.P. Chekhov, “At the Bottom” by M. Gorky, “Hamlet” by W. Shakespeare, “The Idiot” by F.M. Dostoevsky, “Caucasian Chalk Circle” by B. Brecht, “Gozo Songs on a Winter Road” by F. Muraiami , "Two Little Pieces" by W. Saroyan, "Waiting for Godot" by S. Beckett, "Suicide of Lovers" by M. Chikamatsu, "An Evening of Stories" by K. Mayazawa, "Medea" by Sophocles, etc.
The "Club of Brilliant Eccentrics", created at the theater, united scientists and cultural figures.
Artistic director of the Tokyo New Repertory Theater Leonid Ivanovich Anisimov - graduate of the Shchukin Theater School, Honored Art Worker of the Russian Federation, laureate State Prize Japan, Professor, Academician of the St. Petersburg Petrovsky Academy of Sciences and Arts.
The premiere of the performance "The Idiot" took place in the Vladimir Regional Drama Theater. Performed by artists from the Tokyo New Repertory Theatre.
The light goes out. What will happen next, no one knows. What will Prince Myshkin look like, will the actors speak Russian, will samurai appear on stage? First act. There are no samurai and no translator. The actors speak Japanese and there are screens with subtitles on the sides of the stage. The director makes it clear: theatrical art is a classic, no additional special effects are required. According to the head of the troupe, the Japanese literally "get used" to the material. The two cultures are spiritually close.
LEONID ANISIMOV, ARTISTIC DIRECTOR, TOKYO NEW REPERTORY THEATER:"They read minds very well. This is a very subtle level of consciousness, when they can feel, see what a person is thinking. This is very important for the Stanislavsky system, for its spiritual content. Therefore, it is very interesting for me to work with them."
The two main characters are immediately recognizable - Prince Myshkin and Nastasya Filippovna. Detailed image processing. And also - Japanese scrupulousness. Myshkin is an anguish, the thinnest voice on stage. Nastasya is a smart and, at first glance, haughty Japanese lady.
ILYA MAKHOVIKOV, VIEWER:"It's a very interesting impression. I've been fond of Japan for a long time, I like the language. For the first time at such a performance. Unusually, I liked that it was in Japanese, and not in Russian - it creates a peculiar color."
The Tokyo New Repertory Theater was founded 16 years ago, on the initiative of Leonid Anisimov. 3 different teams united to work according to the Stanislavsky system, breaking the traditions of the once closed country. The main thing is that a permanent repertoire has been created. In other theaters in Japan, productions rarely last longer than one season. In the Land of the Rising Sun, the state does not support the theater, says the performer of the role of Gani Hirotsika. But that doesn't stop the actors.
HIROTSIKA, ACTOR:"To become an artist, not just an actor, but an artist, to constantly be in creative process, - for this we accepted the proposal of our artistic director. What should be done exactly according to the Russian system.
All theater artists speak of their commitment to the Russian acting school. Hence - and the lion's share of the repertoire. Actors from "Uncle Vanya" and "The Seagull" came to the performance as spectators.
KIMIKO, ACTRESS:"I performed in these works of Chekhov in order to better understand Stanislavsky's system. Because for me the main thing is to live on stage."
Another colorful character is Varya. Actress Naoko admits that Russian works are, first of all, the development of personality, spiritual growth. Dostoevsky opens up new facets.
NAOKO, ACTRESS:"Maybe this is our Japanese mentality - to hold back, hide feelings. And Varya - she is open, she says what she thinks. Therefore, she enriched me."
Lighting is an invariable component of Japanese cinema and theater. In this production, the colors are ghostly, surreal. Deep blue, red, emerald. Closer to the denouement, this play of light turned out to be indispensable.
The key moment - the door is broken through with an ax. And for a while, a ray of light breaks through the crack. Despite the general chaos, there is hope. Prince Myshkin is only a harbinger of the heroes of our new time.
Vladimir Kosygin, Alexander Myasnov
Unique experiment. Japanese actors showed the audience in Vladimir their interpretation of Dostoevsky's novel The Idiot. Play Tokyo theater became 9 in a row within the framework of the festival "At the Golden Gate". In the hall, as always, there was a full house. Ksenia Voronina met with the actors and director of the performance.
There is a special atmosphere in the dressing rooms of the Vladimir drama. Actors from Japan are preparing to go on stage so calmly that it seems that no cataclysms in the world can stop them. The performance based on the novel by Dostoevsky was staged by the Tokyo Theater for 2 years. Under the direction of Russian director the novel-novels have been re-read many times. The Japanese do not hide the fact that Dostoevsky for them is the pinnacle of literature. The play "The Idiot" allowed the modest Japanese soul to open up.
HIROTIKO HAMISHI, ACTOR
The Japanese are so modest, restraining, therefore Dostoevsky's work itself makes us open, bold, and the actors themselves have become active.
The performance lasts 3 hours. Viewers see the abbreviated translation on the monitor screens. Such a Dostoevsky is exotic, for which one must be prepared. The theme of the Russian soul through the prism of Japanese philosophy is a unique opportunity to see the classics in a completely different way.
TEMAYO DUKEY, ACTOR
Director Leonid Anisimov has been working in Japan for a long time, so together with us he began to look for something Japanese in Dostoevsky's work. And we are approaching the Japanese-Russian understanding of the novel.
Director Leonid Anisimov has been working with the Japanese for about 16 years. According to the master, the inhabitants of the Land of the Rising Sun are ready to work hard, they have a subtle soul, and what is most attractive, they are ethical. In his work, Anisimov adheres to the Stanislavsky system, and even in Tokyo, where technical development allows the use of any gadgets, the main thing on the stage is the soul.
L EONID ANISIMOV, ARTISTIC DIRECTOR, TOKYO CONTEMPORARY THEATER
Stanislavsky always emphasized life, through the spirit. No technology can replace it. Of course, we have a lot of technology in Japan, but we use it very delicately. The most delicate.
Dostoevsky, Chekhov, Tolstoy. These are the names of the actors of the Tokyo theater are ready to speak with aspiration. The Japanese production for the Vladimir audience was a kind of discovery, but this is not all the surprises that the festival is preparing.
KSENIA VORONINA, CORRESPONDENT
Theatrical extravaganza for the Vladimir audience will last until the end of September. The rich program will feature bands from Togliatti, Israel, Germany, Sweden, the USA and beyond. Last year theater festival"At the Golden Gate" gathered about 2,000 spectators. This year, the organizers set a new record for both the number of performances and the number of spectators.
Ksenia Voronina, Yegor Khrypko
