Dmitry Krymov, theater director: biography, personal life, creativity. Dmitry Krymov, theater director: biography, personal life, creativity Krymov theater director

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

Dmitry Krymov- the 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 the mother's surname, since in Soviet times Anatoly Efros obstructed 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 Krymov was directed by his father "Othello".

Creative activity of Dmitry Krymov / Dmitrii Krymov

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

In the early 90s due to the crisis Krymov was forced to leave the theater and take up painting, graphics. Dmitry Anatolyevich's paintings were presented in the Russian Museum, in museums in France, Germany, England. Now his work can be seen in the Tretyakov Gallery and the Pushkin Museum of Fine Arts.

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. Especially welcomed guest of the Crimea in Europe.

- The play is made by one person, the main one, and this is the director, - Dmitry Krymov says about his work. - People who understand this should gather around. I am interested in opinions, and I am ready to talk. But you just need to stop in time. After all, often for the actors this is a way not to work, but to get worn out or frayed on their nerves.

At the Russian Academy of Theater Arts Dmitry Krymov teaches a course for theater artists and works in her 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 performances, which he then shows at international festivals.

- The director is responsible for the performance, - Dmitry Krymov tells about the profession. - I am responsible for what happens on stage. If it doesn't work out as it seems to me, then the performance won't be mine. Why then do I spend time, and not painting 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. And it is compensated by the best performance possible.

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

"The first performance of our group was called" Nedokazki "and was staged with students of my, then still the first year of the art department of the RATI. the performance was without words, the actors were the same student-artists who created in front of the audience a series of visual images united by one plot and idea.

Theater laboratory Dmitry Krymov staged such performances as Three Sisters, Sir Vantes. Donky Hot "," Trades " and a number of others. Krymov's performances gained fame in wide circles after interpreting Lermontov's poem "Daemon. View from above"... The performance received awards from theater critics "Crystal Turandot" and the Union of Theater Workers "Golden Mask".

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

Performances by Dmitry Krymov / Dmitrii Krymov

• 1987 - Dresser (film-play) - artist
• 1988 - War does not have a woman's 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
• Tararabumbia
• Death of the Giraffe
• Slides 10
• Dreams of Katerina
• Opus No. 7
• Cow

Dmitry Anatolyevich Krymov is a famous stage designer, artist and teacher of theatrical art. Prominent representative of the Union of Artists and the Union of Theater Workers of Russia. Dmitry's life is the creative path of a real artist, filled with significant achievements in the field of painting and theatrical art.

Biography of Dmitry Krymov

Dmitry was brought up in a creative atmosphere. Father - the famous stage director Anatoly Efros. During the Soviet era, he had a hard time: his Jewish origin interfered with his career growth, so the boy was given the name of his mother. Natalia Krymova is a talented art critic and a prominent theater critic. It was she who instilled a craving for art in her son from early childhood.

1976 is significant for Dmitry by the end of the studio school at the Moscow Art Theater and the beginning of his professional career. His career began at the Malaya Bronnaya Theater.

From 1985 to the early 90s, Dmitry was a production designer at the Taganka Theater. The nineties negatively affected all areas of life, including art. Krymov had to leave theatrical activity and devote himself to graphics and painting. His works are highly regarded in many prominent museums in Russia, England, France, Japan, Germany. Today they are part of the permanent exhibition of the Tretyakov Gallery and the Pushkin Museum.

Krymov's creative activity as a production designer is especially appreciated in European countries.

Dmitry is currently teaching at the Russian Academy of Theater Arts. With the participation of graduates of the theatrical universities of the capital, he puts on drama performances in his creative laboratory. In the future, they are presented at large festivals of theatrical art. There are dozens of successful productions on the creative account of Krymov's laboratory. Among them are: “Demon. Top View ”(author's interpretation of Lermontov's poem); "Three sisters"; "Trades" and others.

Thanks to the joint efforts of directors Dmitry Krymov and Mikhail Baryshnikov, in 2010 the play "In Paris" was presented to the European public. Despite the Russian-language production, the premiere never took place at home.

Personal life of Dmitry Krymov

A successful director and artist lives not only on professional activity. He is the head of a happy family.

His wife, Inna, is an economist and social psychologist by education. Now she helps her husband in his work. The couple have a son.

Dmitry has not celebrated his birthdays for several years. Instead, he visits his parents' graves to thank them for everything they have given him.

Having received a diploma of art director at the Moscow Art Theater School in 1976, Dmitry Krymov went to work at the Theater on Malaya Bronnaya, where the great director Anatoly Efros, Krymov's father, worked at that time. The artist's surname came from his mother, the famous theater critic Natalya Krymova. In the 1990s, Krymov stopped designing performances, switching to easel painting and graphics. And with the beginning of the new century, Krymov became a teacher at GITIS and one of the most popular theater directors. His infinitely charming surrealistic illusions, played, as a rule, in the "School of Dramatic Art", are mainly attended by his pupils - 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 the humanities and foreigners. The first, because hundreds of quotes from world classics - from Van Gogh and Cervantes to Pushkin and Chekhov - are packed into Krymov's absurd colorful cardboard representations. Second, because, as a rule, no translation is needed and it is fun.

Russian artist, set designer, director and theater teacher. Member of the Union of Artists of Russia and the Union of Theater Workers of the Russian Federation.

Born into the family of Anatoly Efros and Natalia Krymova. In 1976 he graduated from the production department of the Moscow Art Theater School.

In 1976 he began working at the Theater on Malaya Bronnaya. Created scenography for the performances of A. Efros "Othello" by W. Shakespeare (thesis), "A Month in the Country" by I. Turgenev, "Summer and Smoke" by T. Williams, "Remembrance" by A. Arbuzov, "Napoleon the First" F . Bruckner, "Theater Director" I. Dvoretsky. He also designed the performances of A. Efros "Tartuffe" by Moliere and "The Living Corpse" by L. Tolstoy on the stage of the Moscow Art Theater.

Since 1985, Krymov has been a production designer at the Taganka Theater, where he has released the performances "War has no woman's face" by S. Aleksievich, "One and a half square meters" based on the story by B. Mozhaev and "Misanthrope" by Moliere.

In the early 90s, Dmitry Krymov left the theater and took up easel art: painting, graphics, installation. Since 2002 Dmitry Krymov has been teaching at the Russian Academy of Theater Arts, where he teaches a course for theater artists and directs the Creative Laboratory at the School of Dramatic Art theater.

Theatrical performances

2002 - "Understories" based on the tales of A. N. Afanasyev

2002 - "Three Sisters" based on the tragedy "King Lear" by W. Shakespeare

2005 - Sir Vantes. Donkey Hot "based on the novel" Don Quixote "by Cervantes

2006 - "Bidding", a play by Dmitry Krymov based on the dramatic works of A.P. Chekhov

2006 - "The Demon. Top view "based on the poem by Mikhail Lermontov

2007 - "The Cow" based on the story of A. Platonov

2008 - "Opus №7" idea, composition and staging - Dmitry Krymov

I remember the release of the program "School of Scandal", where Anatoly Vasiliev - the founder of the "School of 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 just happened and will continue to happen, i.e. Theater, in Vasiliev's understanding, is nothing more than a separate, autonomous world, within which its own laws and principles operate.
Putting in a similar concept of understanding the life of the Theater, Dmitry Krymov puts on another experiment in his Laboratory, the result of which is a performance under the strange name of ordered female names "Katya, Sonya, Polya, Galya, Vera, Olya, Tanya" based on the cycle of Bunin's stories from the book " Dark alleys". This performance (in contrast to the book, where the reader is seized by something tragic, dark and sweetly pinching the soul) is a joke. With a twisted grin. A shape-shifter. Or, to be more precise, a trick.
You go into the hall and in a slight confusion think, but did you come in early? But go further along the rows, because, it seems, everyone also passes, and now sit down in your place. And on the stage, not paying any attention to you, the actors are already walking around: who is changing clothes, who is putting on make-up. One gets the feeling that you were simply given the opportunity to peep through the peephole at the preparations for the performance.
And then you see how the wiring ignites, how a fire breaks out, an explosion occurs (probably, as a metaphor for love experiences) and the actors run away from the stage in panic, and you, the viewer. sit anyway (you were allowed to peep, so you are peeping). Then a woman is mercilessly sawed in front of your eyes in a box, and she is left without legs, cries a little, tries in vain for herself the legs of a mannequin, but then another woman appears (also, by the way, from the box), and we see her love story, she laughs and too cries a little, and then she is replaced by the third woman, and the third - the fourth, fourth-fifth, fifth-sixth, 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 one who remembers.
Throughout the entire performance, the director and actors never cease to amaze the viewer, showing focus by focus (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 sawed and who lay motionless during the whole performance (!), Has legs, and she passionately dances her love dance with a man, the director turns the whole stage action of the performance, staged in a completely different time-space. It turns out that all these women with their banished nerves are just dried herbariums of love (it turns out that we watched on stage how the director took and mysteriously opened before us the book of Bunin's "Dark Alleys", turning over the pages in front of us, between which the dried flowers of the past were preserved lives). And it also turns out that all these women are just exhibits in a museum, where a school teacher brought negligent eleventh-graders to literature class, 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 distorts. And looking at this trick, you can only be surprised at such a particularly fast and unpredictable outcome of events. But the female heroines were crying and the men were passing lingerie to each other, twisted in thoughts of pleasure. And now a crowd of eleventh graders, not showing the slightest interest, leaves the hall, laughing fervently and nudging each other, following a diligent young teacher, probably still inexperienced in love.
And you stay. And you, too, seem to somehow have to leave. You get up from the chair and are perplexed by such a strange reality with ordered events called life.