Dmitry Krymov staged with the same title for the project of the Pushkin Museum. Alexander Pushkin, presents in the space of the Church of San Fantin during the Venice Biennale 2019. The project was created with the support of the Stella Art Foundation. Artists works have become students of Dmitry krimov’s GITIS. The show works on the Museum’s website will begin on 31 may at 19:00. Video will be available the day after broadcast.
on the Eve of the Moscow premiere of Dmitry Krymov project answered questions “RG”.
Venice – the constant leitmotif of your creativity, since the production of “Othello”, first performance, over which You as the artist worked together with Your father Anatoly Efros. Did you not want to emphasize in the film the atmosphere of the city?
Dmitry Krymov: When dealing with Venice Church in Venice, to emphasize nothing. You’re already there. It is necessary to behave, as I thought, modestly. There’s such an aura, Nadishana honourable the air is very saturated that we tried, conversely, to reduce the pathos. I thought you just have to look. We put a huge picture in the altar of the Church of San Fantin. She was standing taken from the nail, surrounded by buckets of paint, brushes, plywood. Striped ribbon, enclosing the space, very clearly pointed out that there are work. People in orange jackets are slick, while the audience were taking their seats. And suddenly, some of these workers have gone beyond this frame was part of the picture. The moment of transformation of a living person, one of the crowd, those who destroy – in another dimension, for me is very important.
Tintoretto painted several paintings on the theme of “the last supper”. You suggested to choose this work of the Church of San Trovaso?
Dmitry Krymov: No, it was my choice.
I thought “the last supper” You’ve turned into a Golgotha.
Dmitry Krymov: In General, the way it is. Calvary is level. The last supper was the stage, after which it became clear that the events catastrophically going towards Calvary.
it struck Me that the effect of the trompe l’oeil You laid not only in the figures in Tintoretto’s picture, but in the main line of action. Come to work, clean the scene, take the flat painted shapes. The picture is disassembled into its component parts. Falling apart like a puzzle. But the hero in the end turns out to be in the space of the Church. Deconstruction, destroying the illusion, reveals a sacred space.
Dmitry Krymov: Well, Yes. However, when so formulated, it seems very pathetic at it. But God that is. At least it should be. If not, it’s just a scandal. Need to fuss. And require head. It needs to be here in this crazy dining room, where the cheat, where dirty tablecloths and do not report to the puree. It needs to be.
From satellites of the main character the only real person and not an optical illusion trompe l’oeil was a woman. Why? Who is she?
Dmitry Krymov: When I was a theater artist, doing a play by Alexander Volodin. It was called “the Mother of Jesus”. Put a great Director Bulgarian Mladen of Kiselev. It was in the Mossovet Theatre, on small stage. The play is wonderful. And a great theme. Brodsky no wonder the great poem “still life” writes about a mother who is at the cross where the crucified her son, and asks: “Who are you? You my son or God?”. She says it’s God. And she worries about her son. The answer is huge. “He says in response:// – Dead or alive // the difference, woman, no. // The son or God, I am yours.”
Even when I say these words, I have a lump in my throat. Students is one thing. Maria is another. Woman is a special creature. Those fell asleep just. And she comes in. It’s like a last chance, they say, stay. Female substance is important here. Who is she, I don’t know.
the Final call of the hero on his mobile phone silent. Only the movement of the lips to guess the words. Don’t be tempted to leave recorded speech?
Dmitry Krymov: my first option was another. I was thinking a running line to give the words that he says. All languages of the world. In Japanese, Hebrew, Russian, Arabic… you Know how the latest news in a news release. In Jerusalem is the place where the stone steles in the seven hundred languages in the world of the written word of the Lord’s prayer. It is the only prayer that belongs to Christ. And we wanted instead of stone use news – “tablets” of our time. Then our team thought it would be too “head-on”, and we abandoned this idea.
How you chose the actors for the main roles?
Dmitry Krymov: the fact that I had worked with Anatoly White, and Olga Voronina, when preparing a performance of “Sergei” at the Moscow art theatre them. A. P. Chekhov. Anatoly White played the role of Karenina, and Olga Voronina – the role of mother Vronsky. And I, when working with someone, for the most part I fell in love with these people. They are open for me in some of their deeper layers, I think. And then they face fit. I do not know. They have everything you need. In words I would not operal.
When you come to work to dismantle the stage, they take the bread remaining on the table, throw cigarette butts into the glass. Each of them chews. You’ve stressed the routine snack on the go hard workers. But the bread was painting “the last supper”. For you, this gesture was a sign of their misunderstanding of the situation or the vulgarization, reduce what is happening?
Dmitry Krymov: are one and the same. They don’t understand what you’re dealing with. Their presence and actions are destroying the atmosphere of “the last supper”. Not even the fact that Ranbirayut figures, and the fact that they have this bread to eat.
My students, the participants in the show, for shooting I bought an enormous, Renaissance bread. They decided that there should be, though broken, but originally great bread. As the memory of the sacrament.
And the thing can live differently. Depending on the context, on who is using it, the thing takes on a particular meaning. At the time of arrival stagehands aura ordinances disappears. This instant transition – like a “prick”, which can sense a bystander.
Music was written specifically for the film? I saw a landmark the name of the composer Kuzma Bodrov in the credits…
Dmitry Krymov: There’s a three episode musical. The first sounds that accompany the emergence of workers, the entrance of women and care for her. Then, the camera begins to circle – make a large circle. See what is happening around – this garden of Gethsemane small handwriting. It’s Bach. And when the camera “zooms” on the Central figure, the music Kuzma Bodrov, written specifically for the film. With him we have a long-standing friendship. We are with him and the Opera was staged and dramatic productions. I can’t imagine the musical setting without relying on him.
You once told me that offer first-year students of GITIS to imagine that they walk into a room, where sit Velasquez, van Gogh, Delacroix and all the great. Ask: what will you tell them? And now you came into the room, where sits Tintoretto. And what would you tell him? That you took it apart the picture into pieces? Conducted a deconstruction…
Dmitry Krymov: Spoke, you might say. Afraid to ask. Don’t know how he would have reacted to this. Still, more than 400 years ago. They have different aesthetic preferences were. Maybe he dropped the knife would be grabbed. I hope he realized that we did not touch. In any case, running away, I would yell: “Uncle! We Your work did not touch… She was hanging there and hanging out. Nobody touched her!”.
the Artists wrote the film, plays, theatre created. And then all of it already belongs to people. People how can, with this appeal. For example, on mugs portrait of Shakespeare can be placed? Now we are to the painting of Tintoretto asked, not wanting anything bad to do. But on the contrary to show that it to us does too.
If I’m not mistaken, this movie is Your first experience in the movie. Working in the cinema interesting for You? Not going to continue?
Dmitry Krymov: Going. I find this work very interesting. The question is, how interesting it will be to other people who could help to continue my experiments in the movie.
think how to get out of a situation of isolation. You have students, the University of Laboratory of Dmitry Krymova… What about performances? As for you situation?
Dmitry Krymov: I am today in clinic I saw one knownth theatrical producer. He told me the anecdote. I already knew, but heard the first time – so it is very suitable for today. The anecdote about the theatre, of course. Karabas Barabas returns home and sees that hanged Pierrot, Malvina fainted, poodle Artemon drunk vodka and vomits, and Pinocchio burns in the fireplace. He got Pinocchio, lit it, threw it back into the fireplace and said, “Yes, this is the theatre we dreamed of.”
But hope dies last, even after the burnt Pinocchio.
