On February 9, Kirill Serebrennikov published a notice from the Moscow Department of Culture on his Instagram page, stating that his employment contract as head of the Gogol Center ends on February 25. “Everything in this world, having begun, ends. But something new begins … Try to make sure that the theater remains alive and freedom is necessary for you. Don't be discouraged. In despondency, there is neither life nor freedom. You know what to do. Peace and love for everyone,”he wrote.
RBC Style spoke with Yang Ge, Alexander Filippenko, Alexander Gorchilin, Valery Pecheikin and Yulia Aug and learned about their impressions of working and communicating with Serebrennikov.
Yang Ge, actress, singer and director
Kirill Semenovich taught me not to give up, not to be afraid and to think freely. He believed in me and supported me. He talked about the need to engage in, first of all, a profession, work hard, and only then think about popularity. And, of course, appreciate everything that you have, and also endure. To endure everything bad in a global sense.
For eight years of working with Kirill, I have never heard him shout at anyone, although many directors have it differently. If he didn’t like something, then, on the contrary, he was silent, and this silence acted more effectively than any shout. Everyone immediately understood that this was an unkind sign and something urgently needed to be done.
Serebrennikov confirmed his dismissal from the Gogol Center with words about freedom
At one time, I really wanted to play the role of Prokna in the play "Metamorphoses". I spent two months preparing for the audition to prove to Kirill that I am capable. He then said that if he liked how I read the heroine's monologue, then please - I could play. And the monologue there was the most difficult - about Greek myths and even in the Old Russian language, which does not at all look like the modern one. More complicated text, I confess, I have not yet seen. But I tried very hard, and Kirill was pleased with the result. Since then, it seems to me, he began to look at me differently. He realized that although I am Chinese, I can play roles with very difficult monologues. Now I am involved in two of Kirill's most popular performances - Outside and Decameron, which we do not play in Russia. Therefore, we do not part and continue to work. And if Cyril calls me somewhere else, then I,without hesitation, I will drop everything, even Hollywood projects, and go to him.
Alexander Filippenko, actor
We met for the first time in Sovremennik at the Naked Pioneer show that shocked me. It was not even a wind, but a storm that showered the whole theater community with freshness. Since then I have followed Kirill and am happy that I had the opportunity to work with him and his wonderful team. The whole team that Kirill put together is completely unique. From the cash register and wardrobe through the almighty PR department to the management and the cut.
Kirill for me, first of all, is a person of unique calmness. He is a deep-sea fish that acts under completely different pressures than the rest of us. I would like to learn this, to learn it, but it turns out this way only next to Kirill. Rehearsing with him is easy - as if we have been doing it all our lives. I closely followed and wrote down all his tasks. I am sure that there is still a lot to be said, what to talk about and consult. The main thing is that I always want to tell Kirill that I respect and love him endlessly.
The news of the appointment of Alexei Agranovich (the actor will become the new artistic director of Gogol Center - RBC Style) was a relief and happiness. I can imagine how difficult it is for Alexey now, but this is a wise decision. He will be able not only to preserve "the same" Gogol Center ", but also to develop the directions that Kirill outlined. The theater remains on the foundation that Serebrennikov built - and this is the most important thing. And whether Kirill holds a post or not, he does not cease to be a true great artist. And I hope that no officials will forbid him to stage performances.
Alexander Gorchilin, actor and director
My first meeting with Kirill Semenovich took place in 2008, when he did not let me go beyond the first round when entering the Moscow Art Theater. Then we accidentally crossed paths with him in the corridor, and he, expressing his opinion about me, somehow made it clear to me that I no longer want to study and work with anyone and from anyone, except for him. In short, he said that I am a fool, they say, I will become a student of some university, then an actor … "Why do you need this?" he asked me. And so I realized that I want to be a student of this person. And learn something only from him.
Critics assessed the threat of "withdrawal" in the "Gogol Center" under the new artistic director
Then I nevertheless became his student and graduated from the Moscow Art Theater School. I learned from Kirill Semenovich to determine for myself the directions in life and art in which I want to develop and move, and also not to compromise with my beliefs. And, of course, the artistic perception of beauty.
Valery Pecheikin, playwright
In 2011, he called me himself with an offer to work together. I remember that I answered him: "Kirill Semenovich, glad to meet you." He said: “Is it possible only without Semenovich? Just Cyril. " A personal meeting took place in the Central House of Writers. Our first work was the play "Metamorphoses", which was staged within the framework of the "Platform" project at Winzavod.
Eight years at the Gogol Center flew by in an instant, and I'm not joking now. I remember very well the day when I first came to the theater. That is, at first I got to the Moscow University of Geodesy and Cartography - I mixed up the buildings, they are similar. Then I finally physically ended up in the Gogol Center. I remember almost every step I took, everything was preserved in my memory, as if it were yesterday. And now in my head, as the filmmakers say in the cinema, there is a montage of that day eight years ago and today.
When the theater first opened, elderly spectators came there, who thought that it was still the Gogol Drama Theater. At that time, the building changed from the inside. As you know, we have walls with exposed bricks. So one of the ladies once came up to me and asked: “Young man, I see that you are from the new team. Can you tell me when the renovation will be completed? " I tried to explain to her that everything is new in the building now. However, the spectator stood her ground: “I understand, I have not lived for the first day, but the repair is not finished, here are the bare bricks, peeled off! And they need to be whitewashed! " I said that now they will be like that, that is, open so that everyone can see them. In my opinion, she did not believe me, but she did not leave, which is important. We then showed people a beautiful brick, removing the old Soviet whitewash. But don't forgetthat "Gogol Center" is a small core inside a huge building with a rich history, which before that was the Gogol Theater, and even earlier the Central Transport Theater.
I also remember the very first performance by Kirill Serebrennikov "Idiots", which we staged on the big stage. There was a pool scene that was meant to be comedic. In any case, we laughed a lot during rehearsals. And at the premiere there was deathly silence. Then, being in the hall, I received a message from Kirill Semenovich: "Valera, could you come to me?" “Valera, nobody is laughing,” he told me when we met. And we began to think why this happened. I was very worried about this. And then suddenly one more thing became clear: the viewer is tense, shocked and frightened, he does not know how to relate to this, and therefore prefers to be silent. He needs time to digest it. And about the same is happening to all of us now in the light of recent events. You need to endure. I am sure that we will survive this and it will become easier for everyone.
Julia Aug,
actress and director
Even before I met personally, I knew very well who Kirill Serebrennikov was. The fact is that I left the theater, the St. Petersburg Youth Theater, in 2005 and did not plan to return there. And in 2006 I saw the play "The Naked Pioneer" and told my fellow students from GITIS (at that time I was studying at the directing department) that the only director for whom I would return to the theater is Kirill Serebrennikov.
Seven years have passed. Kirill Semenovich wrote on Facebook that he was looking for an actress for his play "Idiots". And a friend of mine recommended me to him. I told about the film "Oatmeal", where I have one of the main roles. Allegedly, the picture was such a success that Tarantino himself applauded after watching. The movie has won several prestigious awards. After that Kirill Semyonovich wrote to me and offered to meet.
We met in the foyer of the Gogol Center, sat down and talked for about five minutes. Serebrennikov told about the new theater, and then offered to go rehearse. I was terribly worried, because for eight years I had not appeared on the stage. And then I immediately got into the rehearsal process. I experienced fear, excitement and at the same time a feeling of happiness.
I was lucky to work with Kirill not only in the theater, but also in the cinema. Then another three years lasted "theatrical business". That time was largely stolen, but, even while under house arrest, Serebrennikov managed to produce performances with the help of his loved ones. The Internet helped a lot. I must say that Cyril created such a theater and mechanism, gathered such people around him who, despite everything that was happening, did not run away, but, on the contrary, rallied and supported him in difficult times. This is possible only if love is at the core of everything. No other way.
Cyril treated every person with great respect. He never humiliated anyone or raised his voice. Even if there were serious remarks, he took them aside, but in no case spoke in front of everyone. This was incredibly important to me. And secondly, Kirill was never afraid to say: “Guys, I’m at a dead end here, I think I’m moving in the wrong direction. Let me think". I've never heard this from other directors. That is, he so trusts those who are next to him, and treats them so adequately and simply that he does not need to invent anything and pretend. He is what he is - incredibly real.
By action: how Kirill Serebrennikov changed the theater and us.