The laboratory of Dmitry Krymov, one of the most important aesthetic revolutionaries of modern Russian theater, has existed since October 2004. During this time, more than ten performances were created, each of which opened new topic in the study of the "artist's theater". Levels of perception of space, the nature of the appearance of the image, visual expressiveness and accuracy along with paradox, unexpected associative series and piercing sincerity, the nature of the actor’s existence in unusual conditions artistic structure- all this is just a small and rather conditional list of topics that theater critics love to discuss in connection with the work of the Laboratory participants.
In August 2012, Dmitry Krymov's play A Midsummer Night's Dream (a joint production of the Chekhov International Theater Festival and the School of Dramatic Art Theater) received an award at the 66th International Edinburgh Arts Festival.
Dmitry Krymov was born in 1954 into the family of Anatoly Efros and Natalya Krymova, probably the most famous director and theater critic Soviet era. In 1976 he graduated from the Moscow Art Theater School as a theater artist and set designer. In 1976 he began working at the Theater on Malaya Bronnaya. Among the performances he designed, staged by Anatoly Efros, are “Othello” by W. Shakespeare (1976), “A Month in the Country” by I. Turgenev (1977), “Summer and Smoke” by T. Williams (1980), “Memory” by A. Arbuzov (1981 ), “Napoleon the First” by F. Bruckner, “Theater Director” by I. Dvoretsky (1983), etc.. At the Moscow Art Theater. A. Chekhov designed the performances “Tartuffe” by J. B. Moliere, “The Living Corpse” by L. Tolstoy, “Attempt to Flight” by J. Radichkov (1984). At the Taganka Drama and Comedy Theater he worked on plays: “War has no woman's face"after S. Alexievich (1985), "One and a half square meters" based on the story by B. Mozhaev and "The Misanthrope" by J. -B. Moliere (1986). He designed performances in other theaters in Moscow, Russia and the world. In the early 90s, Dmitry Krymov left the theater and took up easel art: painting, graphics, installation. Participated in many group and personal exhibitions, both in Russia and abroad. Since 2004, he has directed the Creative Laboratory at the School of Dramatic Art theater in Moscow and staged performances with the participation of his art students and young actors, recent graduates of RUTI-GITIS and the Shchukin School. The following performances were staged at the Laboratory by Dmitry Krymov: “Innuendos”, “Three Sisters”, “Sir Vantes. Donky hot”, “Trading”, “Demon. View from above", "Cow", "Opus No. 7", "Katerina's Dreams", "Death of the Giraffe", "Tararabumbia", "Katya, Sonya, Polya, Galya, Vera, Olya, Tanya", In Paris, " X. M. Mixed technique.”
Irina Sirotkina reviews: 53 ratings: 53 rating: 38
I'm trying to understand why the genre ("artist's theater") in which Dmitry Krymov makes his performances is so touching. Perhaps because it doesn't look like traditional theater, but for a children's game. This is the magic of a toy: a child jumps on a stick, calling it a horse. According to Vygotsky, a child, by the power of one thing, takes away a name from another thing, acquiring over it magical power. In the student (!) play "A story: Dido and Aeneas" one actress drags a paper boat on a string across a floor covered with old newspapers, and the other begins to move and heave these newspapers, and you suddenly see the ninth wave. And you are afraid of this storm, and you dominate it, and you resign yourself to the tragedy that it brings with it for the shipbuilders - and for you too. This is a children's game, not “theatrical”, and therefore much more serious, powerful and deeper. The performance is another miracle of the Krymov Laboratory - made from old newspapers, paper boats, shadows from a magic lantern, and barefoot teenage actresses. Fragile and piercing, like Dido’s farewell aria “Remember me”.
Crafty reviews: 15 ratings: 17 rating: 26
I remember the release of the program “School of Scandal,” where Anatoly Vasiliev, the founder of the “School of Dramatic Art,” spoke about the ideal of his Theater, presenting it (the Theater) as a kind of tent, where the action goes on regardless of the presence of the viewer: the viewer can come to the Theater at any time time, he can also leave it, but the action will remain uninterrupted, it has happened and will continue to happen, i.e. Theater, in Vasiliev’s understanding, is nothing more than a separate, autonomous world, within which its own laws and principles operate.
Putting a similar concept of understanding the life of the Theater, Dmitry Krymov, puts on another experiment in his Laboratory, the result of which is a performance under strange name ordered female names "Katya, Sonya, Polya, Galya, Vera, Olya, Tanya" by cycle Bunin's stories from the book "Dark Alleys". This performance (unlike the book, where the reader is possessed by something tragic, dark and sweetly poignant to the soul) is a complete joke. With a twisted grin. Changeling. Or, to put it even more precisely, focus.
You enter the hall and, in slight confusion, think whether you came in early? But go further along the rows, because, it seems, everyone is passing too, and then sit down in your place. And the actors are already walking around the stage, not paying any attention to you: some are changing clothes, some are putting on makeup. One gets the feeling that you were simply given the opportunity to peek through the peephole at the preparations for the performance.
And then you see how the wiring lights up, how a fire breaks out, an explosion occurs (probably as a metaphor for love experiences) and the actors run off the stage in a panic, and you, the viewer. sit anyway (you were allowed to peek, so you peek). Then, before your eyes, a woman is mercilessly sawed into a box, and she is left without legs, cries a little, vainly tries on the legs of a mannequin, but then another woman appears (also, by the way, from the box), and we see her love story, she laughs and too cries a little, and then she is replaced by a third woman, and the third by a fourth, fourth-fifth, fifth-sixth, sixth-seventh. And each has its own story. For a few minutes. In a few fragmentary words-memories. And for some reason all of them (heroines) appear on stage from boxes. Like dolls. Like living sculptures, frozen in time, in the memory of the rememberer.
Throughout the entire performance, the director and actors never cease to amaze the viewer, showing trick after trick (the famous illusionist Rafael Tsitalashvili is involved in the performance, whose work looks especially impressive). Besides the fact that the first heroine, who was sawed at the beginning and who lay motionless throughout the entire performance (!), has legs, and she passionately dances her love dance with a man, everything stage action the performance is turned upside down by the director, staged in a completely different time-space. It turns out that all these women with their frayed nerves are simply dried herbariums of love (it turns out that we watched on stage as the director took and mysteriously opened before us the book of Bunin's " Dark alleys", turning over the pages in front of us, between which dried flowers of past lives have been preserved). And it also turns out that all these women are just exhibits in a museum, where the school teacher brought careless eleventh-graders to a literature lesson, constantly chewing something and laughing about some nasty things. Everything turns into some kind of irony with a bitter aftertaste. There was living love. And now there are only dusty textbook publications. school libraries. Time doesn't kill, but it distorts. And looking at this trick, you can only be surprised at such a particularly fast and unpredictable outcome of events. But the female heroines were crying and the men were passing lingerie from each other’s hands, wrapped in thoughts of pleasure. And now a crowd of eleventh-graders, without showing the slightest interest, leaves the hall, laughing fervently and pushing each other, behind a diligent young teacher, probably still inexperienced in love.
And you stay. And you, too, seem to have to leave somehow. You get up from your chair and are perplexed by such a strange reality with ordered events called life.
Marfa Nekrasova reviews: 47 ratings: 45 rating: 91
Diabolically upending the plots of works and the methods of their usual productions, Dmitry Krymov draws up performance after performance in the strange theater School of Dramatic Art. At first without words (“Innuendos”, “Donky Hot”, “Demon. View from above”), and then with some interspersed with them; at first telling stories only with the help of a brush, the human body and scenographic objects, and then with the help of everything possible; first with his students-set designers, and now with the actors recruited into the troupe. His co-creators transform anything into theatrical images not with spells, but with colors, bewitching the stunned spectators. In “Innuendos,” Vera draws the Groom’s face in black gouache on Lenya’s thin back with several lines, Lenya sits on Ethel’s (Bride) lap, they kiss, and the Groom’s face on his back wriggles and rejoices. In “The Demon” the set designers scatter old records across the stage, and with every second the melody from the abandoned record is added to the general hum, and then yellow utility gloves are scattered around, and a field of dried flowers grows on the stage. In "Opus No. 7" Anya, playing Shostakovich, sits in a wooden piano and scatters different strokes everywhere. bright colors to the music of the composer. Everything is simple, and you can blame him for being illustrative, or you can conclude an agreement with him by signing with red paint from a black brush that you agree to be sprinkled with wood shavings, artificial snow or torn newspapers (depending on what kind of performance), and the performance will only be based on the work( th), and still about your own, and there are as many thoughts in it as you have time to change your mind during its short duration, but if you didn’t have time, then maybe there is more beauty in it than meaning, but is it really difficult to find meaning in beauty, the artist will tell you , living in you. Streams of images, metamorphosing from one to another, easily guessed due to the choice of surprisingly precise particles of what is depicted - that’s what this theater is. Leromontov's Demon sees the world from above, Cervantes' Don Quixote is crazy, Platonov's Cow is attractive woman, and the performance is a canvas on which sketches, strokes and paintings appear, replacing, complementing and revealing each other more and more. Mixing and entertaining our minds, he mixes folk tales, Cervantes and Gogol, Lermontov and selected events in Russia, all Chekhov's plays together, Platonov and jazz, the Bible and the fate of Shostakovich. How it gets mixed up in our heads, how associations run inside us. Because he and his co-creators pass what is being staged through themselves, humanizing the characters, bringing them to life, and let the performance no longer be about that, but about them (us). Chekhov in his “Torgi” is charmingly perky, yes, it shouldn’t be like that, I know, we all know, but it turns out to be so truthful and real that, like in many of his performances, there are no words.
Krymov Dmitry Anatolyevich (born 1954) is a famous Russian theater director, artist, and set designer. His performances are incredibly popular both in Russia and abroad. As a set designer, Krymov successfully worked with many metropolitan and provincial theaters, taking part in the design of more than a hundred performances.
He is one of the revolutionaries of modern Russian theater, bringing to it a previously unprecedented aesthetics. His unique genre mix, work at the intersection of styles and trends cannot leave anyone indifferent. It is no coincidence that his productions, with the very precise guidance of theater historian V. Berezkin, are usually called “the artist’s theater.”
Early biography
Dmitry Krymov was born on October 10, 1954 in Moscow in creative family the famous director Anatoly Efros and theater critic and writer Natalia Krymova. WITH early childhood the boy, on the advice of his grandfather, was recorded under his mother's surname, since his father had Jewish roots, which could create certain problems in the future. There is an opinion that the birth of the future director is connected with the well-known “doctors’ case,” or rather with the rehabilitation of all those who went through it. Natalya and Anatoly really wanted a child, but were afraid to have one because of repression, and now fate has given them a chance.
They still say about him that he comes from childhood, and, remembering the old film in which Anatoly Efros talks about his four-year-old son, it’s hard to disagree with this. We see childish spontaneity, dressed in the figure of a talented boy, whose paintings hung at home next to the works of A. Matisse.
Krymov was brought up and grew up in an unusually talented environment of his mother and father, who gave him a lot and at the same time cast a certain shadow on his individuality. Often Anatoly Efros criticized his son for taking too long to solve a creative problem, and his mother had to explain for a long time that not everyone is like him. However, this did not at all prevent Krymov from becoming a self-sufficient person.
Talented set designer
Having received a school certificate, Dmitry went to learn the basics of scenographic art at the Moscow Art Theater School-Studio in the production department. After graduating from university in 1976, Krymov got a job as a set designer at the theater on Malaya Bronnaya. Here he took part in the design of a whole series of performances staged by his father: “Othello”, “Summer and Smoke”, “Continuation of Don Juan”, “A Month in the Country”. In addition, he designed several productions of the Moscow Art Theater. Chekhov - “The Living Corpse”, “Tartuffe”, “Attempt to Flight”. IN different times Dmitry Anatolyevich managed to work in many metropolitan theaters, including the Variety Theater, Central Children's Theater, Theater named after. Mossovet, theater named after. Mayakovsky and others. In addition, Krymov fruitfully collaborated with theaters in other cities. Soviet Union- Tallinn, St. Petersburg, Nizhny Novgorod, Volgograd.
In the 90s, after the sudden death of his father and then his mother, he left the theater. Then it seemed that it was for good, since the theater hit the living - the most important losses and deep disappointments were associated with it. In the interval between serving Melpomene, Krymov seriously took up easel art and plunged headlong into graphics, painting and installation. His paintings were exhibited at the Russian Museum, the Museum of Fine Arts. A. S. Pushkin and on the sites of a number foreign countries. The author’s works are also in private collections among collectors from Israel, Germany, and the USA.
But life forced him to return to where he found his calling, and Dmitry Anatolyevich did not tempt fate again. On the stage of the theater. Stanislavsky, unexpectedly for many, he staged Hamlet, and then went to teach at GITIS, where he finally realized the need for theatrical art.
Teaching path
Dmitry Anatolyevich turned out to be a wonderful teacher who trained a galaxy of talented young actors. Some of them remain on the same team with him even after graduation. Since 2002, Krymov has been teaching at the Russian Academy of Theater Arts, where he teaches his own course. In 2008, he, together with director E. Kamenkovich, recruited an experimental group in which future actors, stage designers and directors studied together. “Being able to negotiate is a great skill”, - says Dmitry Anatolyevich. For domestic theater education, this was truly a unique learning experience in such co-creation. He did not always speak positively about his experiment; sometimes he wanted to quit this thankless task, but each time he set a new course again. Teaching activities, which involved communication with students, seriously motivated Krymov to return to the theater. And this theater became his famous laboratory.
Krymov's laboratory
Its story began in October 2004, when the director, together with students of the art department of the Russian Academy of Theater Arts, staged the play “Innuendos.” The production is based on Russian stories folk tales, published under the editorship of Afanasyev. Main feature performance - communication with the audience exclusively in the language of visual images, united by a common semantic outline. Director Anatoly Vasiliev really liked this production, who proposed to include it in the repertoire of his “Theater of Europe” and create a laboratory. Since then, it has been a unique division of the theater, possessing a unique artistic aesthetics. The turning point for Krymov's site was the departure from the Vasiliev Theater, which occurred in 2006. The director’s first desire was to follow the example of his colleague, but he firmly said: “Don’t go.” As a result, Krymov stayed, thanks to which the laboratory maintained its existence.
At different times, V. Garkalin, M. Smolnikova, E. Startsev, V. Martynova, A. Mikhalev and many others took part in the project. Theater critics, who did not ignore Krymov, awarded his creations with various epithets - piercing sincerity, bright visual expressiveness, unexpected associative series, together with acting in the realities of an unusual artistic structure. They are not far from the truth - all this and much more is present in the performances of the laboratory, allowing it to be considered a kind of experimental platform. All performances on it are created in two stages. First, there is a brainstorming session, during which there is an active discussion of the material and everyone can express their opinion and also make a proposal. Then the actors appear before the director in makeup and the character development begins.
Music plays a special role in Krymov’s productions. He calls her a full participant in the performance, so he rarely takes ready-made works for performances. Most often, a production has its own, original melody written for it. Recently, Dmitry Anatolyevich has been fruitfully collaborating with the composer K. Bodrov, who at one time wrote several works for the Pope’s Mass. He created the musical accompaniment for the performances “Oh, last love", "As you like it", "Gorki-10" and some others.
Avant-garde director
Krymov himself claims that for him there is no fundamental principle set in the play. He considers himself entitled to tailor the work, subtracting what is unnecessary and adding what is necessary. “Using any play, I create my own basis, and in this sense, my theater is author’s”, says the director. During the existence of the laboratory, over a dozen performances were staged. Among them: “The Death of a Giraffe”, “Opus No. 7”, “Tararabumbia”, dedicated to the 150th anniversary of A.P. Chekhov, “Honoré de Balzac. Notes about Berdichev”, “Oh, late love”, “A Midsummer Night’s Dream”, which became a laureate of the Edinburgh Arts Festival and many others.
Each production performed by Krymov is a real masterpiece, presented in the language of metaphors. They force you to delve deeply into pressing problems, changing the perspective of perception of reality. For example, in the diptych “Opus No. 7” seemingly two completely different plots are organically combined - the plight of the people of Israel and the vicissitudes life path outstanding composer D. Shostakovich. But the master was able to show: the destinies of the persecuted people and the musician are merged together, private and historical issues have many points of contact and are sometimes very closely intertwined.
Krymov also has experience in the opera genre. At one time, he staged two one-act operas on the premises of Helikon, and in 2011, in collaboration with composer K. Bodrov, on the stage of the Musical Theater named after. Stanislavsky staged the play “H.M. Mixed technique". This is exactly what the director calls his performance, although there is a place for a choir and orchestra in it. In addition, in 2010, Krymov had a joint project with M. Baryshnikov “In Paris” - a play staged in Russian for European audiences.
New plans
As always, Dmitry Anatolyevich is full of creative plans. In the summer of 2016, Krymov publicly announced his desire to remove feature film. And although he storyline is still unknown, the director shared his vision of the film. Mainly his pupils and students will take part in the filming process, and the figurative outline of the film will be identical to one of his father’s first films “ Leap year", filmed in 1961.
Personal life
Dmitry Anatolyevich is married and has a son. His wife Inna is a social psychologist by training, but lately provides great assistance to her husband in his directorial activities. In 2007, Krymov was awarded the “Crystal Turandot” prize, and two years later received the title “Person of the Year” according to the Russian Federation of Jewish Communities.
He hasn’t celebrated his birthday for a long time and is calm about round dates. Instead of magnificent celebrations, Dmitry Anatolyevich every year visits the graves of his parents, who gave him life and gave him so much to realize his talent.
Dmitry Krymov - director, artist, teacher, theater set designer and simply incredible talented person. He is a member of the Union of Artists and the Union of Theater Workers of Russia, his performances always resonate and make the viewer think. Behind Krymov’s back there are a great many International prizes. theater festivals. His paintings are exhibited in the best art galleries peace. Who is he, how does he live and what does he talk about in his spare time? All this is covered in our review.
Biography
Dmitry Anatolyevich Krymov was born in October 1954 in Moscow. His father is a famous stage director and his mother is theater critic and art critic Natalya Krymova. As a child, Dmitry received his mother’s surname, because his father belonged to a Jewish family, and in Soviet era it was a definite label. Anatoly Efros had to overcome numerous obstacles in his career that arose because of his origin, and his parents decided to protect their son’s future from unnecessary problems.
Dmitry Anatolyevich followed in the footsteps of his talented parents. As soon as he received his matriculation certificate, he immediately entered the production department of the Moscow Art Theater School. In 1976, after graduating, he went to gain his first professional experience in Dmitry, who created his first scenographic works for his father’s productions. Among the performances of those years one can highlight “The Living Corpse” by Tolstoy, “A Month in the Country” by Turgenev, “Summer and Smoke” by Williams, “Memory” by Arbuzov, etc.
Theater activities
Since 1985, Krymov has been working on artistic productions at the Taganka Theater: “War Doesn’t Have a Woman’s Face,” “One and a Half Square Meters,” “The Misanthrope” - with his participation, these were the performances that saw the light of day. Dmitry Krymov worked not only with the Taganka Theater. The set designer collaborated with theaters in Riga, Tallinn, St. Petersburg, Volgograd, and Nizhny Novgorod. Its geography creative activity covers Bulgaria, Japan, countries of the former Soviet republics. Krymov's track record as an artist and set designer includes about a hundred performances. Dmitry Anatolyevich collaborated with such eminent directors as Tovstonogov, Portnov, Arie, Shapiro and others.
After the collapse of the Soviet Union, a difficult situation arose in the country, and Krymov was forced to leave his job as a set designer. In addition, shortly before the events of the early 90s, Dmitry’s father, Anatoly Efros, passed away. According to the director and set designer himself, after the death of his loved one, the theater became uninteresting to him. The awareness of his father’s greatness in the profession and his own helplessness settled in his soul. Then it seemed to the man that he would never enter this water again, and there would be no more visual theater in his life. Krymov Dmitry decided to end everything and find himself in a new business. He took up painting and graphics, and, it is worth noting, he was very good at it. Paintings by Dmitry Anatolyevich were exhibited in the Russian Museum and in museums around the world Western Europe- France, Germany, England.
Today the artist's paintings are in Tretyakov Gallery And
Since 2002, Dmitry Krymov has been teaching at the Russian Academy. He directs the course theater artists. In addition, the director heads a creative Laboratory in a theater called the “School of Dramatic Art” in Moscow. Together with graduates of GITIS and the Shchukin School, Krymov brings to life theater stage own ideas and thoughts, performances participate in International festivals around the world.
About the modern viewer
Krymov is an incredibly interesting conversationalist. You can discuss with him various questions, he has his own judgment on everything. Modern theater- one of these sensitive topics. Today in the world of art there is a clear opposition between the classical school of theater and innovative approaches to creating performances. According to the director, these disputes are secondary. Krymov confidently states that the main thing today is the interest of the consumer.
Coming to a performance, the viewer should be terribly curious. On the one hand, he should be interested in everything that happens on stage, on the other hand, he should not fully understand the meaning of everything that happens. Understanding must constantly catch up with interest, and in the end they must converge. Of course, the modern viewer is a sophisticated gourmet. Gone are the days when people watched everything that was given. Today everything is different. Therefore, all that is required of the director is to arouse such curiosity and interest in the viewer, and the viewer’s task is to drive away skepticism and try to “feed” curiosity within himself.
According to Dmitry Anatolyevich, in order to “correctly” watch the performances of the Laboratory, you need to do just a few simple things: come to the performance, sit down, fold your hands on your knees and watch. Moreover, Dmitry Krymov does not recommend wearing jackets, short dresses and high platform shoes - in his opinion, it will be terribly uncomfortable for the viewer to sit on small chairs. Of course, this is humor, but there is also a rational grain in it.
Russian Psychological Theater
Today we are increasingly faced with discussions on the topic of dramatic psychological theater. Here and there there are calls to protect it (the theater) from pseudo-innovation. This problem is familiar to Krymov, and, by his own admission, it greatly affects him. The director's opinion is this: if you are a follower of psychological theater, don't call on anyone or anything - just do your job. Live what you preach. But at the same time, give the other the opportunity to express himself as he wants. Yes, you may like it or, on the contrary, irritate you, but you have to accept the fact that it exists. Opposing something new and non-standard is tantamount to opposing the modern fine arts. It’s great when the viewer has a choice and an alternative, and art, as we know, is limitless.
According to Krymov, a modern director must first of all be strong personality, with my own thoughts. Of course, he simply needs to be able to analyze a work according to the classical school. But this is just a skeleton, a basis for further individual constructions and fantasies.
Contemporary art and work with students
Dmitry Anatolyevich says that it is unpleasant to watch many things that are happening in Russia today. There is a substitution of concepts, failure to fulfill obligations, lack of reforms. For example, the director really does not like such a popular expression as “contemporary art.” He doesn’t understand what meaning this phrase carries. Is contemporary art a cheaper type of art? What about religion then? Could she also be low-grade?
Krymov also has thoughts about reforms in theater education. The director is firmly convinced that it cannot be a beggar. The salaries of university teachers are a disgrace to the entire education system. Officials need to learn that teaching cannot be based on the sheer enthusiasm of people who will simply spend time with students. And in order for the theatrical environment to bear fruit in the form of talented actors and productions that are interesting to the viewer, conditions are necessary - today they do not exist, physically.
Dmitry Krymov teaches his students using his own personal methodology. The director states that young people can only be taught to perceive the experience of others, but it is impossible to follow their path for them. The guys must hear their inner voice themselves, trust it and choose the path. The experience of others only shows that anything is possible. If something works for someone else, it can work for you too. You just need to work hard.
Dmitry Anatolyevich Krymov: who is he?
First of all, he is a son of his Motherland, devoted and loving. When asked about emigration, Krymov resolutely declares that he has no intention of leaving Russia. There are many reasons for this: he has students, actors, a large farm. His parents are buried here, to whose grave he has been coming for many years on his birthday. Krymov admits that today there are fewer and fewer territories where you feel safe, but as long as you can live and create, there is no point in leaving.
He does not celebrate his birthday; he is constantly busy with work. In addition to the most talented director, a core of actors works in Dmitry Krymov’s laboratory, and the “School of Dramatic Art” consists of them. Among the invited people who are not formally part of the laboratory, but with whom the theater constantly collaborates, are such stars as Liya Akhedzhakova, Valery Garkalin.
Dmitry Krymov is a director who admits that he is interested in communicating with young people and watching how they achieve results. He is very demanding and scrupulous in everything. Dmitry Anatolyevich is convinced that theater performance is done by only one person - the director, and he, in turn, must be surrounded the right people- those who understand him. Krymov claims that he is interested in the opinions of others and is open to dialogue. However, the conversation should be constructive and to the point.
It is important for the director that the output of his work should have three components: his own pleasure from the process, the satisfaction of the actors of the troupe and the interest of the viewer. If these components converge, the director has a powerful incentive to move forward. Krymov claims that he can be cruel if something interferes with the implementation of plans. In such a situation, he always chooses to fight and shows stubbornness. Otherwise, Krymov is a gentle person who respects and loves the people he works with.
Director, artist, set designer. Member of the Union of Artists of Russia and the Union of Theater Workers Russian Federation.
In 1976 he graduated from the USSR Moscow Art Theater School. Gorky. In the same year he began working at the Theater on Malaya Bronnaya. Among the performances he designed were staged by A. V. Efros: “Othello” by W. Shakespeare (1976), “A Month in the Country” by I. S. Turgenev (1977), “The Continuation of Don Juan” by E. Radzinsky (1979), “Summer and smoke" by T. Williams (1980), "Memory" by A. Arbuzov (1981), "Napoleon the First" by F. Bruckner, "Theater Director" by I. Dvoretsky (1983). At the Moscow Art Theater. A.P. Chekhov designed the performances of “Tartuffe” by J. -B. Moliere, “The Living Corpse” by L. Tolstoy, “Attempt to Flight” by J. Radichkov (1984). At the Taganka Drama and Comedy Theater he worked on the plays “War Doesn’t Have a Woman’s Face” based on S. Alexievich (1985), “One and a Half Square Meters” based on the story by B. Mozhaev and “The Misanthrope” by J. -B. Moliere (1986).
He designed performances in such Moscow theaters as the Central Children's Theater, the Theater named after. K. S. Stanislavsky, Theater named after. N.V. Gogol, Theater named after. M. N. Ermolova, Theater named after. Mossovet, Theater named after. V. Mayakovsky and others. He worked in theaters in St. Petersburg, Riga, Tallinn, Nizhny Novgorod, Vyatka, Volgograd and other cities of the USSR, as well as abroad (Bulgaria, Japan).
As an artist he designed about 100 performances. He worked with directors V. Portnov, A. Tovstonogov, V. Sarkisov, M. Kiselov, E. Arie, A. Shapiro, M. Rozovsky, S. Artsibashev and others.
In the early 90s, Dmitry Krymov left the theater and took up easel art: painting, graphics, installation. Participated in many group and personal exhibitions both in Russia and abroad.
Since 2002, Dmitry Krymov has been teaching at GITIS, where he teaches a course for theater artists.
From 2004 to 2018 – artistic director Laboratories in the theater "School of Dramatic Art". He staged the plays “Innuendos” based on Russian folk tales (2004), “Three Sisters” based on William Shakespeare’s plays “King Lear” and “Love’s Labour’s Lost” (2005), “Sir Vantes. Donky Hot" based on the novel "Don Quixote" by Cervantes (2005), "Trading" based on the plays by A.P. Chekhov (2006), "Demon. View from above" based on the poem by M. Yu. Lermontov (2006), "Cow" based on the story by A. Platonov (2007), "Opus No. 7" (2008), "Death of a Giraffe" (2009), "Tararabumbia" (2010) , “Katya, Sonya, Fields, Galya, Vera, Olya, Tanya...” by I. Bunin (2011), “Gorki-10” (2012), “As you like it based on Shakespeare’s play A Midsummer Night’s Dream” (2012) , “Honoré de Balzac. Notes about Berdichev" based on A. P. Chekhov's play "Three Sisters" (2013), "Oh. Late love"by A. N. Ostrovsky (2014), "Russian blues. Mushroom picking" (2015), "In my own words. A. Pushkin Eugene Onegin” (2015), “Last Date in Venice” based on the novel by E. Hemingway “Across the River in the Shade of the Trees” (2016), “In Your Own Words. N. Gogol Dead Souls. (The Story of a Gift)" (2016), "Dowry" by A. N. Ostrovsky (2017), "Romeo and Juliet (Kindersurprise)" by W. Shakespeare (2017).
As part of the Open Stage project, he staged the play “Catherine’s Dreams” (2010), in Musical theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko - “H. M. Mixed media" (2011), at the Koryamo Theater (Finland) - "In Paris" (2011), at the Iseman Theater (USA) - "Square Root of Three Sisters" (2016), at the Theater of Nations - "Mu-mu "(2018).
Dmitry Krymov's performances participate in prestigious international festivals in Austria, Great Britain, Germany, Georgia, and Poland. Dmitry Krymov's laboratory actively tours the world; performances have been successfully received by audiences in Brazil, the USA, Australia, New Zealand, Finland, Estonia and other countries.
Awards:
International theater award named after K. S. Stanislavsky, 2006
In the nomination “Novation”, the play “Sir Vantes. Donky Hot.”
“Grand Prix” of the VII International Festival “Rainbow” in St. Petersburg, 2006
In the category " Best performance", as well as a special critics' prize, the play "Sir Vantes. Donky Hot.”
Theater Award of the Moskovsky Komsomolets newspaper, 2007
In the category “Best Experiment”, the play “Demon. View from above."
First theater award "Crystal Turandot", 2007
In the nomination “Best Director's Work”, the play “Demon. View from above."
"Golden Triga" main prize international exhibition scenography and stage space Prague Quadrennial 2007.
For the creation of the Russian national pavilion “Our Chekhov. Twenty years later”, Workshop of D. Krymov, GITIS.
National Theater Award "Golden Mask", 2008
In the “Experiment” category, the play “Demon. View from above."
Award of the Federation of Jewish Communities of Russia “Person of the Year”, 2009
In the category "Cultural Event of the Year".
First theater award "Crystal Turandot", 2009
In the category "Best Director's Work", the play "Opus No. 7".
National Theater Award "Golden Mask", 2010
In the “Experiment” category, the play “Opus No. 7”.
Edinburgh's Main Award international festival Bank of Scotland Herald Angel, 2012
For the play “As You Like It” based on Shakespeare’s play A Midsummer Night’s Dream
Moscow Prize in the field of literature and art, 2013
In the category " Theater arts"for the productions of "Opus No. 7", "Gorki-10" and "As You Like It based on Shakespeare's play A Midsummer Night's Dream."
Election as an honorary member Russian Academy Arts, 2014
Prize of the international exhibition of scenography and stage space, Prague Quadrennial, 2015.
Special award for “best overall process” for the Russian student pavilion “Would you like to talk to us in bad English about art?” (student set designers of GITIS, Workshop of E. Kamenkovich - D. Krymov).
National Theater Award "Golden Mask", 2016
In the category "Drama/Performance" small form", play "Oh. Late love."
Theater Award of the Moskovsky Komsomolets newspaper, 2016
In the category “Best Performance for Children and Teenagers”, the play “In Your Own Words. A. Pushkin Eugene Onegin”.
Awarding the title "Honorary Professor of GITIS", 2017
