Director Dmitry Krymov: biography, creativity, photo

Dmitry Krymov is a director, an artist, a teacher, a stage designer and an incredibly talented person. He is a member of the Union of Artists and the Union of Theater Workers of Russia, his performances always resonate, forcing the viewer to think. Behind the back of Krymov there are a lot of prizes of International theatrical festivals. His paintings are exhibited in the best art galleries in the world. Who is he, what he lives and what he thinks about at leisure? All this in the materials of our review.

Biography

Dmitry Anatolyevich Krymov was born in October 1954 in Moscow. His father is a well-known director-director Anatoly Efros, mother is a theater critic and art critic Natalia Krymova. Dmitry still in his childhood got the surname of his mother, because his father belonged to the Jewish family, and in Soviet times this was a definite label. Anatoly Efros had to overcome the many obstacles in his career that arose on the basis of his origin, and the parents decided to protect their son's future from unnecessary problems.

Dmitry Anatolyevich followed in the footsteps of his talented parents. As soon as he received a certificate of maturity, he immediately entered the production department of the Moscow Art Theater School. In 1976, after graduation, went to receive his first professional experience in the Theater on Malaya Bronnaya. Dmitry created his first set design works for his father's productions. Among the performances of those years, one can distinguish the "Living Corpse" by Tolstoy, "A Month in the Village" by Turgenev, "The Summer and Smoke" by Williams, "Memoirs" by Arbuzov and others.

Theatrical activity

Since 1985, Krymov worked on artistic productions at the Taganka Theater: "The war does not have a woman's face", "One and a half square meters", "Misanthrope" - with his participation, it was these performances that saw the light. Dmitry Krymov worked not only with the Taganka Theater. The scenographer collaborated with theaters of Riga, Tallinn, St. Petersburg, Volgograd, Nizhny Novgorod. The geography of his creative activity covers Bulgaria, Japan, the countries of the former union republics. In the record of Krymov-artist-scenographer about a hundred performances. Dmitry Anatolyevich cooperated with such eminent directors as Tovstonogov, Portnov, Arie, Shapiro, and others.

After the collapse of the Soviet Union in the country there was a difficult situation, and Krymov was forced to leave the work of the stage designer. In addition, shortly before the events of the early 90's left his father Dmitry - Anatoly Efros. According to the director himself and the stage designer, after the death of his native man the theater became uninteresting to him. Awareness of the greatness of his father in the profession and his own helplessness settled in the soul. Then it seemed to the man that he would never enter this water again, and in his life there would be no more visual theater. Dmitry Krymov decided to end everything and find himself in a new business. He started painting, drawing, and, it's worth noting, he did it very well. Pictures of Dmitry Anatolyevich exhibited in the Russian Museum, in museums of Western Europe - France, Germany, England.

Today, the artist's paintings are in the Tretyakov Gallery and the Pushkin Museum of Fine Arts.

Since 2002 Dmitry Krymov teaches at the Russian Academy of Theater Arts. He directs the course of theater artists. In addition, the director heads the creative Laboratory in the theater called "School of Dramatic Art" in Moscow. Together with the graduates of GITIS and Shchukinsky School, Krymov embodies his own ideas and thoughts on the stage of the theater, plays take part in International festivals around the world.

About the modern viewer

Krymov is an incredibly interesting interlocutor. With him you can discuss different issues, he has his own judgment for everything. Modern theater is one of such acute themes. Today, in the world of art, there is clearly a confrontation between the classical school of theater and innovative approaches to the creation of plays. According to the director, these disputes are secondary. Krymov confidently declares that today the main thing is the consumer's interest.

Coming to the play, the viewer must be terribly curious. He, on the one hand, should be interested in everything that happens on the stage, on the other - he does not have to fully understand the meaning of all that is happening. Understanding must constantly catch up with interest, and in the end they need to converge. Of course, the modern spectator is a sophisticated gourmet. Gone are the days when people looked at everything they gave. Today everything is different. Therefore, all that is required from the director is to cause the viewer to have such curiosity and interest, and the viewer's task is to drive away skepticism and try to "feed" in himself curiosity.

In Dmitry Anatolyevich's opinion, in order to "correctly" watch the performances of the Laboratory, it is necessary to perform only a few simple things: to come to the play, sit down, lay down his hands on his knees and look. And Dmitriy Krymov does not recommend wearing jackets, short dresses and shoes on a high platform - in his opinion, it will be awfully uncomfortable for the viewer to sit on small chairs. Of course, this is humor, but it also has a rational grain.

Russian Psychological Theater

Today we are increasingly confronted with arguments on the theme that there is a dramatic psychological theater. Here then there are calls for defending him (the theater) from pseudo-science. This problem is familiar to Krymov, and, by his own admission, he is very offended. The director's opinion is this: if you are an adherent of the psychological theater, do not call anyone or anything - just do your thing. Live as you preach. But at the same time, give the opportunity to another to express himself, as he wants. Yes, it can be pleasant or, on the contrary, annoying, however it is necessary to put up with the fact that it exists. To resist something new and non-standard is equivalent to opposition to modern fine arts. It's great when a spectator has a choice and an alternative, and art, as is known, is boundless.

According to Krymov, the modern director must first of all be a strong person, with his own thoughts. Of course, he just needs to be able to disassemble the work of the classical school. But this is just a skeleton, the basis for further individual constructions and fantasies.

Actual art and work with students

Dmitry Anatolyevich says that it is unpleasant today to observe many things that are happening in Russia. There is a substitution of concepts, non-fulfillment of obligations, lack of reforms. For example, the director does not like such a popular expression today as "actual art". He does not understand the meaning of this phrase. Actual art is a cheaper type of art? How, then, at the expense of religion? It can also be low-grade?

There is Krymov and considerations about the reforms in theater education. The director firmly believes that it can not be a beggar. The salaries of university teachers are a disgrace to the entire education system. Officials need to learn that teaching can not be based on the bare enthusiasm of people who will simply spend time with students. And in order for the theatrical environment to bear fruit as talented actors and interesting to the viewer of productions, conditions are necessary - today they are not, physically.

Dmitry Krymov trains his students on personal methods. The director states that young people can only be taught to perceive the experience of others, but one can not go for them their way. The guys should hear their own inner voice, trust in it and choose the way. The experience of others only indicates that everything is possible. If something has turned out for another, it will turn out for you. It is only necessary to work hard.

Dmitry Anatolyevich Krymov: who is he?

First of all, he is the son of his Motherland, devoted and loving. When asked about emigration, Krymov resolutely declares that he is not going to leave Russia. There are many reasons for this: he has students, actors, a big farm. His parents are buried here, on whose grave he has been on his birthday for many years. Krymov admits that today there are fewer and fewer territories on which you feel calm, but as long as you can live and create, there is no sense in leaving.

He does not celebrate his birthday, he constantly takes work. In addition to the most talented director, Dmitri Krymov's laboratory has a core of actors, including the School of Dramatic Art. Among the invited people who formally do not enter the laboratory, but with whom the theater constantly collaborates, such stars as Liya Akhedzhakova, Valery Garkalin.

Dmitry Krymov is a director who admits that he is interested in communicating with young people and watching how they achieve results. He is very demanding and scrupulous in everything. Dmitry Anatolyevich is convinced that theatrical performance is made by the only person - the director, and he, in turn, should be surrounded by the right people - those who understand him. Krymov claims that he is interested in the opinion of others, and he is open to dialogue. However, the conversation should be constructive, in essence.

It is important for the director that there are three components at the output of his work: his own pleasure from the process, the satisfaction of the actors of the troupe and the interest of the viewer. If these components converge, the director receives a powerful incentive to move forward. Krymov argues that it can be cruel if something hinders the implementation of plans. In this situation, he always chooses a fight and shows obstinacy. In other cases, Krymov is a gentle person who respects and loves the people he works with.