Teresa Durova was advised to smile more

March 27, the Day of the theater, and we offer an interview with people’s artist of Russia, artistic Director of the teatrium na serpukhovke Teresa Durova.

– Teresa Ganibalova I was last year at the festival “Gavroche”, which is held in your theater and was impressed, in particular, 10—minute one-man show “Deep” Dutch actor and Director Dana Mathata. As “Gavroche” was born and how is it different from other festivals?

– We always have, we are very prolific. Well-known theater critic, film critic, TV presenter Marina Raikin somehow comes to me and says: let’s make children’s festival. I say: come on.

She met his friend, who was then Director of the French cultural center in Moscow, and proposed to make the French festival of children’s theatre. We held the first festival, not thinking that it will last 13 years. It differs from others in that it is very focused, tenacious and fast on his feet. Annually “Gavroche” is one country – it’s a drama, ballet, circus, pantomime, music, street performance. Genres are not important. Our young audience familiar with the traditions, the language of a particular country.

we Have a large oculovestibular program, in which we tell that country what her capital, what is there to eat and drink, how to raise children. That is, in fact, do more and area studies.

From different States coming actors who give master classes to our actors and the audience. And I must tell you that this festival is popular with both sides. When we arrive on tour in some country, we are often surrounded by actors from other States who also want to participate in the “Gavroche”, arrived in Moscow. For example, we’ll go through the English or German groups and suddenly we were approached colleagues from Finland and asking him when they are invited. Or are we kind of came to South Korea, nabiratü local performances and we were surrounded by actors from Canada: take us, we’d really like to.

– you Have a lot of children’s plays. What are their features?

– I position the theatre as a family, not as kids. I have seat hall, sitting parents and they are no less than children, if not more often, it’s mom, dad and baby. They are also the audience and also paid for the ticket. So, my design Director’s thinking should be aimed at the public as a whole. It is very difficult. For example, in the small hall, when we play the show “awkward age” or “Morphine” by Bulgakov – Teens 13-14 years. I ask the question: guys, any of you bought a theatre ticket? If 300 people raised one arm, I shouted “hurrah”.

unfortunately, they have no initiative, they got used to the fact that the theater will lead the adults – parents or a teacher. Someone needs to push this. Therefore, adults should understand where to take the child.

we Have no children’s repertoire. “The Prince and the pauper”? Is repertoire. This conversation with children but on a very serious topic. Or “Kalevala”. Try to give the child to read this work. It is necessary to adapt to the eyes perceived the play as stunningly beautiful picture. Plus the music, which is perceived by any nationality of any age as a kind of emotional message, the actors, their plastic. It’s all very connected.

And each of the people sitting in this room should be adapted to this, capitivate atmosphere. I’m watching, what do the audience during a particular action. For me is very important.

– You attend every performance?

– On each. And I’m not the only one — my Directors, assistants, teachers on the plastic. We observe the reaction of the audience, the performances. Artists know that all performances are recorded, because the quality of the performance should not suffer.

– what is needed forPis?

– When we’re rehearsing the play, we raise the video archives and, if there are any errors, correct. Or if something happened in the first act, I take the record and go to the actors and the intermission comes the analysis of what happened. For example, if the first act sagged for tempo-rhythm, so I need to show the entry below in the second act to raise it at certain points. I take the show on the phone itself, although it and a big camera.

Constantly monitoring the situation online, especially because we play the same show three times a day. For example, at 11, 14 and 17 and I have the opportunity to correct 14 that did not like in 11. Often between performances, rehearsals, and sometimes, as during the intermission.

we not only actors, but musicians. At every performance his own team, because we play a lot of ethnic and musicians who own these ethnic instruments, come to these performances. Plus we sing in addition to Russian and other languages – such as Japanese, Arabic, Hindi.

– Invite native speakers?

– Yes, invite them to very good interpreters or actors who speak the language.

– Now in pandemic, the theatres are closed. What are the actors and you yourself? What advice would you give to the audience in this difficult time?

– In this difficult time, I suggest you start to smile more, and for that we all do. We now have on the big stage is a survey of the fragments of the play — one of our actors dressed as the Prince and the pauper read children stories English. We have the City of Teresa Durova-TV, and we are on Instagram, on YouTube, on Facebook go live every day three times. Early in the morning to make a charge, in the afternoon show the whole family our performances, including archival — for example, “Grapeline”, “City I”, “Insomnia” and clown performances, and at night we read the children a story.

Our audience is accustomed to, that we are in.ete and communicate with her and so when deteriorated epidemiological situation, we were ready for it.

When we found out that we, like all the theatres temporarily close down, we sat for 10 minutes, made a schedule of television programs and began shooting. We are now working entirely online — without stopping, remove, mount, something all the time come up with. A few days will go live with a kitchen where we will tell you how kids can cook your own Breakfast. That is, gushing with ideas, and continue to work, rehearsing now, “the Canterville Ghost”, the premiere of which will probably take place online.

I can’t say I’m enjoying the current status quo, but I think that in any situation it is necessary to find something positive. And when this is all over and this nightmare will be leaving us, all that we imagined and filmed, will remain and will replenish the Treasury of our projects. We are now developing another design of our lives.

the End of the interview, read next week.