Somehow it happened that the surname Mironov suddenly became associated not with the leading figure of Soviet cinema Andrei, but with the artistic director of the State Theater of Nations Yevgeny, who turned the poster of his theater into the program of the festival of the European theater. Evgeny Mironov plays in the theater, acts in films, runs two charitable foundations and is a member of the art directorate of the Territory festival-school of contemporary art. This week he, together with his theater, went to Tobolsk to hold the "Theater of Nations Fest". On this occasion, we met with Mironov to recall the stories about the watchmen from the Moscow Art Theater School and to discuss the deprovincialization of the theater.
- The Theater of Nations with its festival went to Tobolsk. Have you been there before?
- Of course. In 2016, there was also a festival of the Theater of Nations in Tobolsk, we showed the play "Shukshin's Tales" and the film "Parsley's Syndrome". And last year there was a festival of theaters in small towns of Russia. It turns out that I have been to Tobolsk twice already. But we were preparing for this trip seriously, because we do not just, so to speak, serve the population with a star cast of artists on tour. We created "Theater of Nations Fest" for more meaningful communication with the audience. This is a festival that involves more than just tours. This is an arts festival with an educational program, poetry performances, meetings with writers, drama and dance performances. So, firstly, we get to know the place where we arrived, and secondly, we show different directions of the Theater of Nations work - they are presented in the festival program. Moreover,sometimes we start collaborating with a local theater. Thus, the Territory festival, together with the Ershov Theater, produced the play Tobolsk. Hall of Fame ", staged by Dmitry Brusnikin.
It seems to me that we have come up with a rather original formula. I was always annoyed by the need to come somewhere for one day with one performance, because the distributors do not have money for more. And one performance does not say anything, you cannot get to know the theater in one evening. That is why we went further.
© Stas Martynov
- When "Territory" went to make "Tobolsk. Honor roll”, the personality of Dmitry Brusnikin was also important because he is“the man from TV”, they know him. How do you intend to invest your authority capital in this project?
- We are engaged in business, we invest with purposeful work. And Dima Brusnikin is an authority primarily among professionals. Meeting with us as with the Theater of Nations is a meeting with professionals in a particular field. For example, to Tobolsk we are bringing a children's interactive play "Beware, Elves!" - and this is because now in the theater we are starting to study different forms of theater for children. Next season, a special program will be devoted to children's theater in our New Space. Or here's the play “Our Everything… Brodsky. We have an uncommon expression”- he also goes to Tobolsk - this is a poetry theater, and the evening“Unprincipled Readings”with Alexander Tsypkin is an author's performance. I will take part in the concert “Eugene Onegin. Lyrical digressions ", created by our Foundation" Artist "in support of veterans of theater and cinema,and now part of the funds will be directed to help elderly actors of the Tyumen region.
- Tobolsk is a rather unique point on the map, if only because at first it was a cultural center, and then the railway passed by, and everything went differently. Did you take this into account?
- To be honest, we took into account both the atmosphere of the place and the interest of our official partner - SIBUR, for whom Tobolsk is a strategically important city, without which we could not have implemented our program. It is very important that festivals that are not inferior to those in Moscow or St. Petersburg take place in this city of amazing beauty and richness of culture. Tobolsk deserves this. And in this sense, SIBUR is an excellent partner, thinking about its employees and residents of the city where the company operates, strives to raise the cultural level of Tobolsk people. I hope our festival will be an example. In recent years, our cultural and theatrical life has undergone a de-provincialization. This is a very powerful phenomenon. Simply fantastic events take place in Perm, in Voronezh, where critics, directors, actors, and just theatergoers come to the premieres.
© Stas Martynov
- Since you said about Voronezh. The Association of Theater Critics analyzed the program of the recently concluded Platonov Arts Festival after the acting head of the Voronezh Region Culture Department Emilia Sukhacheva said at the closing ceremony that not all events evoked an unambiguous response from professionals and the media. Critics gave their peer review to support both the festival and its artistic director, Mikhail Bychkov. Do you know about this story and do you feel some difficulties in the implementation of cultural policy?
- I don't feel any difficulties. At least, we make all the programs out of love, of our own free will, and so far we have not been repaired any obstacles. I have not heard of the case you are talking about. Of course, our country is huge, and somewhere bureaucratic structures can certainly interfere, put a spoke in their wheels or simply misunderstand something. But the development of culture in the country is still happening. After the collapse of the Soviet Union, very important cultural centers were left abandoned. This especially affected theaters in small towns. And now, at last, the Ministry of Culture is helping to revive these centers. I consider it a great achievement of the Soviet period that a theater was built in almost every city. Good or bad is another question, it largely depended on the chief director. I remember when I was studying at the Saratov Theater School,Moscow actors came to the Ulyanovsk Drama Theater. A leader is always important who can create a fertile atmosphere for creativity in any place, even the most remote from the capital. A fine example of today is the Gran 'theater-studio in the city of Novokuibyshevsk. The director Denis Bokuradze works there, he is literally building a theater. Artists are like nomads who follow their inspirers. The Theater of Nations has been contributing to this process for many years. Supporting theaters in small towns is a year-round job. In theaters, we conduct laboratories and master classes, then we see whether it has borne fruit or not.A fine example of today is the Gran 'theater-studio in the city of Novokuibyshevsk. The director Denis Bokuradze works there, he is literally building a theater. Artists are like nomads who follow their inspirers. The Theater of Nations has been contributing to this process for many years. Supporting theaters in small towns is a year-round job. In theaters, we conduct laboratories and master classes, then we see whether it has borne fruit or not.A fine example of today is the Gran 'theater-studio in the city of Novokuibyshevsk. The director Denis Bokuradze works there, he is literally building a theater. Artists are like nomads who follow their inspirers. The Theater of Nations has been contributing to this process for many years. Supporting theaters in small towns is a year-round job. In theaters, we conduct laboratories and master classes, then we see whether it has borne fruit or not.
- Since we are talking about the state, I cannot but ask about the invitation to the production of Kirill Serebrennikov. How long are you willing to wait for it?
- We have the work "Tchaikovsky" in our plan. When it will be, then it will be.
© Stas Martynov
- So you are waiting?
- Of course. But there may be other plans for Kirill, I don’t know. I hope everything goes well, this premiere will be released.
- Now they are discussing the termination of the contract between the Moscow Art Theater. A.P. Chekhov and Konstantin Bogomolov. It is clear that each leader assembles a team for himself. But won't this be a violation, including of continuity, especially Bogomolov is one of your master's favorite students.
- I think Konstantin is ripe for his own theater. Hope this happens. He had a very interesting period under the wing of Oleg Pavlovich Tabakov, but Konstantin has long been an independent, serious director, with his team. The artists follow him from one theater to another. And at the Moscow Art Theater. A.P. Chekhov, as far as I understand, a new era is beginning. A new artistic director came. He has his own vision, his own idea of the theater, and he is not obliged to look back at anything other than the creative traditions that have developed on this stage. And although Zhenovach is not a graduate of the Moscow Art Theater School, but of GITIS, the style and methods of work allow him to continue and develop these traditions. And who he will take as an ally is his own business.
- How do you choose allies, how decisive is your word in the formation of the repertoire and what are you guided by?
- Differently. It happens that a project matures for several years. I am not rushing the process, because an unhealthy child may be born - and the performances are like children. Or, it happens that we have already agreed on a project, but due to the director's employment, we have to wait for a successful coincidence. So it was with Andrew the Mighty, and with Robert Lepage, and with Robert Wilson. It happens that a certain topic appears that worries us. Now I will tell you a secret. In the new season, we will explore a topic that seems to be clear and understandable to everyone, but is not disclosed in theatrical language, although it concerns all of us. This topic is oil. For the second century now, it literally haunts a person as a dominant, dictatorial substance. This is not only a production issue, but also a political issue: often the point where the largest oil production is, becomes important on the political map.Around this topic, we want to make a triptych - Big Stage, Small Stage, New Space. I don’t know exactly how it will be, in this sense the Theater of Nations is a unique venue, there are no terms of reference. Rather, there is, of course, from the Ministry of Culture. We are obliged to put out a certain number of performances. But we release more, much more.
© Stas Martynov
- How much do you owe?
- In my opinion, three in total. To be honest, the Ministry will not have enough money for more. Everything else has to be released either with the money of partners, or look for funds for the project.
- Are you ready to name specific names?
- Not. We have not signed a contract yet to name names. This applies in general to the formation of the repertoire. There are directors with whom we have already worked, but we really want to meet again, for example, Alvis Hermanis. Or something connected with significant dates is being born - this is how the theatrical series “The Red Wheel” appeared last year to mark the 100th anniversary of the revolution and the 100th anniversary of Alexander Solzhenitsyn. Next season we will make the project "The Last Palace of the Last Tsar", directed by Mikhail Patlasov, winner of this year's "Golden Mask". We liked his play "Chuk and Gek" (he studied the theme of repression with the help of Gaidar's story. - Approx. "RBC Style"), and we started an investigation, a detective in a detective story. I would like to figure this out in everything, and the mansion of the New Space resembles the Ipatiev House with a basement. I don’t know how we’ll do it, but now I am waiting with trepidation. You knowI was here preparing for a movie role, where I will play an investigator, so I had to go to the morgue. And in the main morgue of our city, I accidentally met Sergei Nikitin, who was the chief medical examiner and remains the chief specialist on the remains of the royal family. We have already started thinking about this project, getting ready - and here such an incredible acquaintance. He, in turn, promises to introduce me to the legendary investigator Soloviev, thanks to whom this case started. We are waiting for this acquaintance, because there are things hitherto unpublished. We are interested in this.We have already started thinking about this project, getting ready - and here such an incredible acquaintance. He, in turn, promises to introduce me to the legendary investigator Soloviev, thanks to whom this case started. We are waiting for this acquaintance, because there are things hitherto unpublished. We are interested in this.We have already started thinking about this project, getting ready - and here such an incredible acquaintance. He, in turn, promises to introduce me to the legendary investigator Soloviev, thanks to whom this case started. We are waiting for this acquaintance, because there are things hitherto unpublished. We are interested in this.
- Do you dive into this as an artistic director or as an actor Yevgeny Mironov? And does the actor Yevgeny Mironov have questions to the artistic director Yevgeny Mironov?
- No, I, you know, already artistic director, I even have such a nickname. And I, as artistic director, like to be at the origins of some interesting business. I experience tremendous pleasure when I see how something grows into an event. This applies not only to theater, but also to cinema. For example, the "Time of the First" project or art projects. Now the film "Blood" is being released, it was produced in the studio "Third Rome", where I am also artistic director. In fact, all these processes become part of your life, and a very important part. When you work on projects, you don't just want to release them, you live them as an artist. So I sublimate. I am present at the birth, development and death of projects. This also happens. This year we have removed a number of performances from the repertoire - a sad event.
- What were the reasons for filming?
- Differently. We do not have a chief director, there is no such thing for the audience to go to Dodin or Fokin. Our repertoire includes performances of various styles and trends. It happens that a performance is difficult to find its audience. This does not mean that it is not talentedly made. It happens that the work is very talented, but we must make an effort to find an audience for it. This requires a lot of space, the school of the spectator is needed. If the performance has passed three years and there are no more spectators, we shoot it. It happens because the artists are getting old, like yours truly. The play "Figaro" by Kirill Serebrennikov has been played for 12 years. I can no longer play Figaro, now I can only play in this play, perhaps the Count. But there is no director.
I do not rush the process, because an unhealthy child may be born - and performances are like children
- Now you will be inundated with offers. Artistic director Mironov understands that the name of the artist Mironov makes the box office?
- Well, of course I understand, but I honestly stand in line. That is, I cannot say that I suffer from this, because I already have a lot of work, but, for example, in May I had only three performances on the main stage. And in another theater, probably because I bring the box office, I would play 10-12 performances. All my life I have played 14–20 performances a month.
- Do you miss?
- There is no time to be bored. You see, I have many interesting projects where I work in a different capacity. When a child is born, a new sensation appears. You are a woman - you know better what. Here, too, this new sensation arises. It's very interesting.
- Once in an interview, your colleague Irina Apeksimova told me how in the nineties you advised her to wait for her role and that you waited for your role. Remember that conversation? How are you now with the policy of waiting for roles: does the actor need to wait or work, no matter where?
- It depends on who has what goal, that's all. I am not against people making money. But my teacher Oleg Pavlovich Tabakov used to say: "I am now being paid for what I have never done before." It was perceived as an expensive wine, which, after all, not everyone immediately rushes to drink, because it is expensive. And it is expensive, not even in terms of price, although numbers also raise the status. But it is expensive in the sense that it is a shame to approach it with a bad idea. Therefore, I always had a goal to learn, it was interesting to me, so I tried what I can't. I have never tried to repeat what I have already done, which I am already good at, for which they even pay well. I then feel like I’m just wasting my time. Do you understand? It is interesting for me to live my life so that I discover something new all the time, including in myself.
© Stas Martynov
- Having started doing charity work, have you changed your attitude towards money or capital of authority?
- Of course, but this does not happen overnight. The sense of responsibility is either there or not. Either you are responsible only for yourself, or - not only. My parents instilled this feeling in me since childhood, and it has always been. I remember the moment when I realized that I could use my name - not for myself, but for the good. There are two foundations that I support and of which I am the founder. The Artist Foundation, which helps stage veterans, and the Life in Motion Foundation, which, I think, will soon be called differently - I Want to Walk. We help to do prosthetics for children who have no arms and legs.
- When a job offer comes in, keep in mind that you have these two funds?
- Of course, I take this into account. But many things I can no longer afford as an artist. For example, having headed the Theater of Nations, I didn’t act in films for almost four years, I played only in an episode with Nikita Mikhalkov in “Burnt by the Sun-2”. I had no time for that. Now I'm more free, or something. And I am very glad that there is a theater director - Maria Revyakina. A strong manager, she freed me from many of the responsibilities that I had previously carried on my non-professional, in a sense, shoulders. There is Roman Dolzhansky (theater critic, deputy artistic director of the Theater of Nations. - Approx. "RBC Style") - the closest friend with whom I can always consult, which is also important. After all, I may be wrong, I may not feel something, and my relatives will always prompt. Anyway, I'm just interested in our team. And now I do not name the names of many people who believe in us.This is also very important. You see, behind my back I do not have a grimace of cynicism or anything else. I am somehow sure of this.
- In the book of memoirs, published by "Tabakerka" for the anniversary of Oleg Tabakov, there is your story, how you ran after Oleg Pavlovich, said that you were from Saratov, and he dictated his phone number to you on the porch.
- Yes. It was the porch of the Moscow Art Theater. Gorky, where he played the play "Bench".
- In the same story, you say that you are not sure that you would dictate your number to someone, even if this someone is from Saratov. Can you now act as Tabakov once did?
- I do it regularly. But here the question is also that Oleg Pavlovich had a unique intuition. And I dare to hope that the story that happened to me was not regular with Oleg Pavlovich. He felt something then, his pedagogical intuition worked. I do not view artists for the troupe, because we do not have a troupe, but when I see artists at the casting, sometimes a few seconds are enough to understand: there is something in a person. And then it's a matter of circumstances. Will this person be able to overcome many obstacles? After all, this is work on oneself, and besides, it is good luck, luck, hard work and so on. But these few seconds are very convincing, very convincing. And they are amazing because nothing seems to precede it. It happens that a person has amazingly expressive external data, just model.And when a person moves away a few meters from you and reads a poem, everything is lost. Or vice versa: a gray, at first glance, mouse suddenly changes. This is still a miracle for me. I don't understand what it is. But it seems to me that this intuition was passed on to me from Oleg Pavlovich. At least this feeling has not deceived me yet.
I have never tried to repeat what I have already done, which I am already good at, for which they even pay well
- Did the surname interfere when you started? In the Soviet Union there was one artist Mironov, and in Russia there is now another artist Mironov.
- The surname helped me. Firstly, I was very fond of Andrei Alexandrovich Mironov, although I saw him live only once in my life, quite by accident, at Mosfilm. He passed by. Of course, I used this confusion in some anecdotal way. I have already said this many times and will tell you. When I studied at the Moscow Art Theater School, there were no mobile phones yet - it's scary to think what kind of adult I am. So the watchmen allowed to call from below Misha Efremov, Slava Innocent, Philip Yankovsky … And somehow, behind the scenes, the watchmen decided that I was Mironov's illegitimate son. I did not participate in this in any way, but they nodded their heads and regretted, thinking that “dad probably doesn’t help at all”, looking at my then very slender figure. And they let me call.
- Do you have an acting dream? What can Yevgeny Mironov dream of when he is already Yevgeny Mironov?
- I dream that I would not stop, so that I would not betray myself. I don’t want my colleagues or my close circle to pretend that everything is fine or that I’m a genius when this is not at all the case … I see this very often, unfortunately. And this happens to people who are very respected by me. Remember, in Pushkin: "God forbid me to go crazy, no, a stick and a bag are better." I want to stay adequate. I don’t know how to do it. It must be earned, I guess. Sometimes the Lord abruptly, in a second, selects everything, and then you no longer hear anything and understand nothing …>