By Maria Shevtsova
Together with a foreword through Simon Callow, a devoted admirer of the Maly, Dodin and the Maly Drama Theatre presents either a helpful methodological version for actor education and a different perception into the trips taken from studio to level. this can be the 1st ever full-length research of internationally-acclaimed theatre corporation, the Maly Drama Theatre of St. Petersburg, and its director, Lev Dodin.Maria Shevtsova presents an illuminating perception into Dodin's directorial tactics and the company's actor 4raining, devising and practice session tools, which she interweaves with targeted research of the Maly's major productions. Dodin and the Maly Drama Theatre: approach to functionality demonstrates how the effect of Dodin's paintings extends a ways past that of his local Russia, and offers the reader unprecedented entry to the company's perform.
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Additional resources for Dodin and the Maly Drama Theatre: Process to Performance
Autant-Mathieu cites the example of Alla Demidova, a pillar of the Taganka and Gertrude in its Hamlet, whose recently formed company Theatre A staged Quartett by Heiner Müller. The Taganka provided the space, Theatre A paid for the translation, and Attis Theatre from Athens paid the Greek director and designer. Financial aid came from the International Confederation of the Union of Theatres and the business company Mirteatr. There was a proliferation of studio theatres, many of which travelled abroad to subsidise their work, notably Yury Pogrebnichko’s Theatre on Krasnaya Presnya in Moscow and the group in St Petersburg that came to be known as Teatr Mon Plaisir.
Fomenko worked there in the 1960s and 1970s, but blossomed in Moscow. Ginkas, a pupil of Tovstonogov, was there for a while, but invisible. His fame also came from Moscow. What emerges from this panorama is the fact that the most prominent directors in Russia in the 1990s, several with varying degrees of international fame, are men – women being conspicuously absent from the scene – who learned the ropes and established themselves in the profession in the Brezhnev and Gorbachev years. Some, like Dodin and Vasilyev, also created a firm audience base at this time.
Arguably, the 1994 tour put the finishing touches to the Maly’s international reputation and ensured that it was known to be among the very best of our time: in the words of Peter Brook, ‘the finest ensemble theatre in Europe’ (Time Out, 13–20 April 1994). Touring continued after 1994 beyond Europe to Brazil in 1995, Israel in 1995 and 1998, and Australia and New Zealand in 1996. Within Europe, tours included the Scandinavian countries, Spain, Greece, Romania and Hungary and virtually annual visits to France, although Italy and Britain also did well.