Cinema or theater?
Watching is cinema, and composing is theater. It is difficult for me to watch performances: if they are good, I want to run onto the stage and join. And if they are bad, then run out onto the stage and break something. And you can just turn off the movie if you don’t like it.
Why is it necessary to stage not only the classics?
To be honest, it’s hard to imagine a person who wants to limit the theater to only the classics. Modern plays should appear in the theater: theater is one of the ways of knowing life, and modern dramaturgy is an integral part of it. There is no reason to reject her. For example, the hero of our play, Yuri Tynyanov, analyzed the life around him through people who lived a century before him. Through Griboyedov, Pushkin, Kuchelbeker – he was comfortable with it. And someone is more interested in studying modern life. Both have the right to exist.
If the director, then who?
If I could ever work with Aki Kaurismaki, I would be happy. I love his style and the amazing way he works – his actors are incredibly precise and minimalistic in their appearance. It seems that they do nothing at all, and in me it causes a storm of emotions. He probably has some amazing method of work and I would like to join him.
How does the image appear?
All of a sudden. I don’t have a specific way, I don’t even know if this happens by my will. As if everything around is tuned to receive the necessary information – and suddenly takes on a new meaning. For example, yesterday we ordered the Griboedov pizza, and saw that the box was labeled “Griboedov”. In Journey to Arzrum, Pushkin wrote that he met a cart with a coffin and, when asked who was being taken, he heard: “Mushroom eater.” Reality begins to respond to your thoughts: to refute or confirm hypotheses, and this can happen anywhere. In a pizzeria, while reading a book or watching a video about quantum physics on YouTube.
Huge hall or chamber space?
“Brusnikin’s Workshop” performs most of the performances at chamber venues – in the Praktika Theater or the Boyar Chambers. In small halls there is an incredible charm: it is eye contact with almost all spectators. This allows you to work on some more subtle levels. When we just got out of quarantine, there were restrictions on the number of people in the hall and it happened that performances were played for 15 people. This is a very interesting experience, although it was difficult to return to the usual regime later.
“Matchmakers”, “Doctor Preobrazhensky”, “Kept Women” – what genre on TV and cinema has not yet been covered?
Comedy. But I have not yet met people who have a powerful school and technological equipment to work with this genre. I would like to work with those who own technology and craft. With the Coen brothers, for example. Or with the people who make South Park. If suddenly they want to move from animation to cinema, I would really like to work with them.
Shows you must see?
The last performance that touched me greatly was Dmitry Krymov’s Don Juan at the Fomenko Theatre.
Griboyedov or Tynyanov?
Both. They are separated by a hundred years. In the performance, we see Griboyedov only on the screen: in these scenes, Tynyanov composes “Death of Vazir-Mukhtar”. Tynyanov himself is on stage at the same time.
The combination of different eras is…?
There are even three epochs, if we take into account our 2020s. But epochs really unite on the stage: the 20th century, in which Tynyanov lived, and Griboedov’s 19th century.
When did the premiere show end – how do you feel?
I want everything to continue. The release time of the performance is the period when, forgetting about all other things, we pay attention only to the text and how it will appear on the stage, build the light, mise-en-scene, discuss the nuances, turning them into reality. We, like a team on a strange submarine, dedicate these days to each other and material, boring things, like markers where you need to get out, otherwise the light will not shine on you. When the performance is released, you have to return to the real world: go to the store, wash the floors, unload the washing machine. And I want to stay in my submarine, and not at all look for a pair for a runaway sock.
Source: Hellomagazine
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