Myth is the only truth. People of Vladivostok: Leonid Anisimov, theater director - What are your immediate creative plans?

A unique experiment. Japanese actors showed the Vladimir audience their interpretation of Dostoevsky’s novel “The Idiot”. The performance of the Tokyo Theater became the 9th in the framework of the festival “At the Golden Gate”. The hall, as always, was sold out. Ksenia Voronina met with the actors and director of the play.

There is a special atmosphere in the dressing rooms of the Vladimir drama. Actors from Japan prepare to go on stage so calmly that it seems that no cataclysm in the world can stop them. The Tokyo Theater staged the play based on Dostoevsky's novel for 2 years. Under the guidance of the Russian director, the novel-novel was re-read many times. The Japanese do not hide that for them Dostoevsky is the pinnacle of literature. The performance “The Idiot” allowed the modest Japanese soul to reveal itself.

HIROCHIKO HAMISHI, ACTOR

The Japanese are so modest and restraining, so Dostoevsky’s work itself makes us open, brave, and the actors themselves have become active.

The performance lasts 3 hours. Viewers see the abbreviated translation on their monitor screens. This kind of Dostoevsky is exotic, for which you need to be prepared. The theme of the Russian soul through the prism of Japanese philosophy is a unique opportunity to see the classics in a completely different way.

TEMAYO DUKIE, ACTOR

Director Leonid Anisimov has been working in Japan for a long time, so he and we began to look for something Japanese in Dostoevsky’s work. And we are approaching the Japanese-Russian understanding of the novel.

Director Leonid Anisimov has been working with the Japanese for about 16 years. According to the master, the inhabitants of the land of the rising sun are ready to work hard, they have a subtle soul, and what is most attractive, they are ethical. In his work, Anisimov adheres to the Stanislavsky system, and even there, in Tokyo, where technical development allows the use of any gadgets, the main thing on the stage remains the soul.

L EONID ANISIMOV, ARTISTIC DIRECTOR, TOKYO CONTEMPORARY THEATER

Stanislavski always emphasized life, through the spirit. No technology can replace this. Of course, we have a lot of technology in Japan, but we use it very delicately. As delicate as possible.

Dostoevsky, Chekhov, Tolstoy. The actors of the Tokyo theater are ready to speak these names with aspiration. The Japanese production became a kind of discovery for the Vladimir audience, but this is not all the surprises that the festival is preparing.

KSENIA VORONINA, CORRESPONDENT

The theatrical extravaganza for the Vladimir audience will last until the end of September. The eventful program will feature groups from Tolyatti, Israel, Germany, Sweden, the USA and more. Last year theater festival“At the Golden Gate” attracted about 2,000 spectators. This year the organizers set a new record for both the number of performances and the number of spectators.

Ksenia Voronina, Egor Khrypko

When information Technology began to create new culture, the national treasure has acquired special value. Now the average Russian has an idea about samurai and ikebana, just as an ordinary Japanese has heard about “The Idiot” or “The Cherry Orchard”. Why do they need this, says Leonid Anisimov, Honored Artist of Russia and head of the International Academy of Stanislavsky Theater. The director from Vladivostok has been living in Tokyo for seven years and teaching the Japanese how to “experience” in Russian.

Vladivostok theatergoers remember well your heartbreaking performances at the Chamber Drama Theater. "Three Sisters" is a striking example of exploration of internal conflicts in the stuffy atmosphere of the province. Has moving to Japan changed your views?
- Here I am doing the same thing - the Stanislavsky system. And Japan is a wonderful stage of my life. The first one started in Yekaterinburg when I was 25 years old. I collaborated with the Moscow Art Theater, then studied in Moscow. Then there was Far East, where I was invited to head the Chamber Drama Theater. Over the course of seven years, we created a number of performances that were successfully shown in Japan, France, and the USA. A worthy memory of this time is the Day of the Chamber Drama Theater of Vladivostok, which is celebrated every year in Seattle. At the same time, cooperation with Japanese theaters began. And the International Academy of the Stanislavsky Theater was organized, which included theater people Russia, Japan and the USA.
- How did it happen that you became a director of three Tokyo theaters at once?
- It started when I was invited to Tokyo in 1999. In order for me to conduct a master class on the Stanislavsky system at the capital's Kai Theater. 60 actors from different theaters came. The interest was huge. After this, a group of actors suggested that I organize a theater in Tokyo that would stage performances in the tradition of the Russian theater school. We founded two groups: PAT (Perezhivanie Art Theater) and the Solntce Theater. By that time, the Ke Theater had been operating in Tokyo for 25 years using the Stanislavsky system. Its director, Yoshizawa-san, was in Vladivostok with his production of Chekhov. Before his death, the Japanese director asked me to continue working with his troupe. It so happened that I began to conduct master classes in three theaters. And this was my main job for several years. Two years ago, theater groups were united into one large one - the Tokyo New Repertory Theater. There are many plans, and they are all wonderful.
- What have you managed to achieve during this time?
- We staged four plays by Chekhov (“The Seagull”, “Uncle Vanya”, “Three Sisters”, “ Cherry Orchard"), "At the Depths" by Gorky and "The Glass Menagerie" by Tennessee Williams. And also one classic Japanese play, “Lover's Suicide.”
In it I developed the principle of textual-visual theater, which I used back in Vladivostok in the production “ The Little Prince" Voice-over text is essential modern theater, since the external entertainment of the theater often prevents the viewer from penetrating the essence of the play. With the help of Sergei Aksenov, an artist with whom I worked at the Chamber Drama Theater, we managed to find a new principle of scenography big stage. Now we are preparing Hamlet, a play with a huge supply of mental energy, very smart and highly spiritual. In addition, we hold our own festivals, and we are invited to America and Europe on tour. But the main thing we did was create the first European repertory theater in Japan.
- What is its novelty?
This is an amazing event for Japan. Since theaters there are not funded by the state, as in Russia, they are entirely dependent on the public and are forced to change their repertoire every year. Average life performance - a month. We convinced the public that theater according to Stanislavsky’s system has been around for many years. I can’t imagine the job any other way: how can a chef cook twice a year? Likewise, an actor must improve in his role day by day. Our performances are constantly performed rhythmically. And the actors reach a high level of talent, which takes on a magical effect on the viewer. After five years of training and two years of showing performances, a good aura formed around the theater. We have our own audience, we are supported by well-known theatergoers, writers and art critics in Japan.
- How can we explain this interest?
- In modern megacities such as Tokyo, people especially feel the need for psychological art. The technogenic expansion of civilization requires human balance. It is no coincidence that there are about two thousand theaters in Tokyo.

- Has the idea of ​​a repertory theater justified itself economically?
- It’s too early for our theater to talk about profit. Theater arts This in itself is an expensive undertaking. The development of our theater is facilitated by a different socio-economic situation. Unlike Russian actors, the Japanese make contributions to the funds of the theaters where they work. And our theater lives thanks to the efforts of the actors.
- For the sake of greater success with the public, do you have to adjust domestic classics to Japanese tastes?
- I am convinced that there is no need to adapt art. Without even understanding some purely Russian characteristics Chekhov's plays, the Japanese audience perceives the main thing - the drama of man. And this resonates strongly with him. Although the Japanese are different from us in everything. Everything is different for them - faith, language, psychology, body structure. I come to the conclusion that no matter how different national arts, true human culture remains alone.
- How do you solve the problem of the language barrier?
- For me this has ceased to be a problem. Rather, on the contrary, abroad you lose the habit of native language. Arriving in Vladivostok, I started watching TV to soak up Russian speech. I understand Japanese and, like many foreigners, I speak a mixture of Japanese and English. And a translator helps me with my work. Another thing is to correctly convey the meaning of a Russian theatrical term to the Japanese, people with a different mentality. For example, “aspiration” or “experience”. Thus rediscovering familiar words; I published a book - a special glossary according to the Stanislavsky system for Japanese actors.
- Japan is a country with its own theatrical traditions. It is probably difficult to avoid the influence of this powerful layer of world culture, being among its guardians and followers?
- I am well acquainted with the aesthetics of traditional theaters in Japan: Noh, Kabuki, Kegen-No. Among the actors of these theaters are my friends and teachers. And generally speaking, national japanese art- ancient, wise - influenced me very much - not only theater, but also poetry, painting. Living in Japan, in an atmosphere of politeness, cleanliness and peace, I myself became a little Japanese. I love Japanese cuisine, simple and rich in seafood, I love going to Japanese temples, traveling around this beautiful country. Once with the actors we met the sun on Fuji! And I like living in Tokyo. All this gave me the opportunity to look at Russian art from the outside, as if with a fresh eye and to comprehend many things anew. I went out into a wide open space, and it gave me additional strength.
- What fascinates Japanese professionals about Russian theater?
- Many Japanese actors have a great desire to learn the Stanislavsky system. Like theatergoers all over the world, they understand that the Russian school is an area of ​​true spirituality, an area of ​​high human thought and wonderful imagination. For this reason, many Japanese go to study in England at the Royal Shakespearean theater, where the famous Peter Brook teaches. Unfortunately, not to Russia.
- Why?
- Because classical school theater in Russia is not preserved. There was too much of a break in consciousness when everyone began to measure everything in dollars. The teachers are leaving. Many actors died. There are only a few left that need to be saved. Restoring traditions will be difficult. Theater is like science - the same foundation of the culture of our society, which must be preserved as a national treasure. The Americans just recently said: “We wanted to learn from you.” What's going on in Russia now? I saw very little. But what I managed to watch, including on the “Culture” channel, revealed one flaw - the lack of the art of experiencing. The two extremes are either too banal or too intellectual. Little heart! Unfortunately, theater in Russia remains a director's theater. And it is harmful for development. The art of an actor is the basis of the theater. It is made by people like Lebedev, Smoktunovsky, Evstigneev, Shukshin.

- What do you have against modern theatrical forms, which look like a reaction to the contradictions of the world, in which even wars and disasters turn into shows, and politicians or athletes into actors?
- We live in times of information chaos, which drowns out brilliant thoughts. Television is causing widespread malaise among people. Billions of earthlings today have a favorite pastime - keeping track of how many millions will buy a person. New art that uses media images is a derivative of civilization. In my opinion, true culture and civilization are at opposite points of the lever. Postmodernism does little to help a person survive in the modern world. I am convinced that to resist information chaos and stabilize conflict situations modern world Only classical art can. Interest in the classics is emerging in all countries. It will help return to humanity those times when preference was given not to show, but to the play of thought - the times of Plato and Aristotle or Shakespeare. Andrei Tarkovsky said: “Art can only be classical.” Because classical art is the life of the human spirit. It is scientific and religious. These are the categories that simple solutions cannot be achieved. It is no coincidence that a classic costs millions at auction, while a copy costs a few dollars. Because the copy is not spiritual, but intellectual.
- Tokyo is one of the symbols of modern civilization. Are you overwhelmed by its power?
- On the contrary, it inspires. This is a city with strong rhythms. In Tokyo I feel the vibration of all countries. Thanks to friends and students from Russia, Japan, the USA, France, Italy, Latin America, I manage to live all over the world at once. And I think that I work for humanity. The third millennium has arrived and it fascinates me; I no longer say “2006,” but simply “sixth.” Outside of Russia, I realize that all people in the world are one humanity. We are all like children.
-Are you not pursuing ambitions to conquer high-profile festivals and prestigious stages?
- Over time, you become calmer in these matters. Maybe with age there is less selfishness. The category of success for me is measured not by quantity, but by quality. We have our own viewers. That's enough for now. I don't want to attract everyone at any cost. As for festivals, we organize them ourselves, putting the focus not on vanity, but on working to improve the theater. The theater symposium “The Path to Inspiration” will be held in Tokyo in November. main question which - how to come into contact with the superconscious.
- Do you know which one?
- All my work is a search for answers to such questions. I divide people's consciousness into four categories: mythical, religious, scientific, cosmic. Intelligence is no more than a tenth of human consciousness, the rest is the unexplored depths of the subconscious. It is difficult to judge this, because we do not even know simple things. For example, it is known that 80% of a person consists of water, but we only began to discover that water is a supercomputer that somehow influences our entire planet. lately. Somewhere in this field physics meets ethics. If we take the main problem of our time - the preservation of the planet, then it rests on the problem of the development of a harmonious person. I don't know how to solve it. But I am convinced that theater, like no other art form, develops consciousness and educates the individual.
- What has Vladivostok left for you?
- Vladivostok is a city that heals. From Tokyo it looks like a very nice and provincial town. But his provincialism is not a flaw, but an advantage. The city is developing without falling out of the rhythm of global development, but at the same time retains its environmental friendliness, special cultural and historical appearance, and human warmth. Every time I come to Vladivostok with great pleasure. Here I replenish my strength. And in the near future, my colleagues from Russia, Japan and the USA are planning to hold a number of international theater festivals in Vladivostok.