Director, artist, stage designer. Member of the Union of Artists of Russia and the Union of Theater Workers of the Russian Federation.
In 1976 he graduated from the Moscow Art Theater School of the USSR. Gorky. In the same year he began working at the Theater on Malaya Bronnaya. Among the performances designed by him are the productions of A. V. Efros: “Othello” by W. Shakespeare (1976), “A Month in the Country” by I. S. Turgenev (1977), “Continuation of Don Juan” by E. Radzinsky (1979), “Summer and smoke" by T. Williams (1980), "Recollection" by A. Arbuzov (1981), "Napoleon the First" by F. Bruckner, "Theater Director" by I. Dvoretsky (1983). At the Moscow Art Theatre. A.P. Chekhov designed the performances of "Tartuffe" by J.-B. Moliere, "The Living Corpse" by L. Tolstoy, "An Attempt to Fly" by J. Radichkov (1984). At the Taganka Drama and Comedy Theater he worked on the performances “War has no female face” based on S. Aleksievich (1985), “One and a half square meters” based on the novel by B. Mozhaev and “The Misanthrope” by J.-B. Molière (1986).
He designed performances in such Moscow theaters as the Central Children's Theater, the Theater. K. S. Stanislavsky, Theater. N.V. Gogol, Theatre. M. N. Ermolova, Theatre. Moscow City Council, Theatre. 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. Worked with directors V. Portnov, A. Tovstonogov, V. Sarkisov, M. Kiselov, E. Arye, 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 solo exhibitions both in Russia and abroad.
Since 2002, Dmitry Krymov has been teaching at GITIS, where he teaches a course of theater artists.
From 2004 to 2018 – Artistic Director of the Laboratory at the School of Dramatic Art Theatre. Staged at the ShDI performances “Untold Tales” based on Russian folk tales (2004), “Three Sisters” based on the plays by W. Shakespeare “King Lear” and “Love's Labour's Lost” (2005), “Sir Vantes. Donky Hot" based on the novel "Don Quixote" by Cervantes (2005), "Torgy" 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), "The Death of a Giraffe" (2009), "Tararabumbia" (2010) , "Katya, Sonya, Fields, Galya, Vera, Olya, Tanya ..." based on I. Bunin (2011), "Gorki-10" (2012), "As You Like It Based on Shakespeare's A Midsummer Night's Dream" (2012) , "Honore de Balzac. Notes on Berdichev" based on the play by A.P. Chekhov "Three Sisters" (2013), "Oh. Late love" by A. N. Ostrovsky (2014), "Russian blues. Hike for mushrooms "(2015)," In your own words. A. Pushkin "Eugene Onegin" (2015), "The Last Date in Venice" based on the novel by E. Hemingway "Across the River in the Shade of Trees" (2016), "In Your Own Words. N. Gogol Dead Souls. (History 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), at the Musical Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko - “X. M. Mixed media" (2011), at the Koryamo Theater (Finland) - "In Paris" (2011), at the Iseman Theater (USA) - "The Square Root of the Three Sisters" (2016), at the Theater of Nations - "Mu-mu "(2018), in the Moscow Art Theater named after A.P. Chekhov - "Seryozha" based on the novel by L.N. Tolstoy "Anna Karenina" (2018), in the Museum of Moscow - "Boris" based on "Boris Godunov" by A.S. Pushkin ( 2019).
Performances by Dmitry Krymov participate in prestigious international festivals in Austria, Great Britain, Germany, Georgia, Poland. Dmitry Krymov's laboratory is actively touring the world, the performances were successfully received by the audience 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 "Innovation", the play "Sir Vantes. Donkey Hot.
"Grand Prix" of the VII International Festival "Rainbow" in St. Petersburg, 2006
In the nomination "Best Performance", as well as a special prize from critics, the play "Sir Vantes. Donkey Hot.
Theatrical prize of the Moskovsky Komsomolets newspaper, 2007
In the category "Best Experiment", the performance "Demon. View from above".
First theatrical award "Crystal Turandot", 2007
In the nomination "Best director's work", the play "Demon. View from above".
"Golden Triga", the main prize of the international exhibition of scenography and stage space Prague Quadriennale 2007.
For the creation of the national pavilion of Russia “Our Chekhov. Twenty years later”, D. Krymov Workshop, GITIS.
National Theater Award "Golden Mask", 2008
In the nomination "Experiment", the performance "Demon. View from above".
Prize of the Federation of Jewish Communities of Russia "Person of the Year", 2009
In the "Cultural event of the year" nomination.
First theatrical award "Crystal Turandot", 2009
In the nomination "Best director's work", the play "Opus No. 7".
National Theater Award "Golden Mask", 2010
In the "Experiment" nomination, the play "Opus No. 7".
Edinburgh International Festival Bank of Scotland Herald Angel 2012 Main Award
For the performance "As You Like It by Shakespeare's A Midsummer Night's Dream"
Prize of Moscow in the field of literature and art, 2013
In the Theater Arts nomination for the productions of Opus No. 7, Gorki-10 and As You Like It based on Shakespeare's A Midsummer Night's Dream.
Election as an honorary member of the Russian Academy of Arts, 2014
Prize of the international exhibition of scenography and stage space Prague Quadriennale, 2015.
Special Award for “Best Overall Process” for the Russian Student Pavilion “Would you like to talk to us in bad English about art?” (students-scenographers of GITIS, E. Kamenkovich - D. Krymov Workshop).
National Theater Award "Golden Mask", 2016
In the nomination “Drama / Performance of a small form”, the performance “Oh. Late love".
Theater award of the Moskovsky Komsomolets newspaper, 2016
In the nomination “Best Performance for Children and Teenagers”, the play “In Your Own Words. A. Pushkin Eugene Onegin.
Awarded the title "Honorary Professor of GITIS", 2017
The laboratory of Dmitry Krymov, one of the most important aesthetic revolutionaries of the contemporary Russian theatre, has existed since October 2004. During this time, more than ten performances were created, each of which opened a new topic in the study of the "artist's theater". The levels of perception of space, the nature of the appearance of the image, visual expressiveness and accuracy along with paradox, unexpected associative arrays and piercing sincerity, the nature of the actor's existence in an unusual artistic structure - all this is just a small and rather conditional list of topics that theater critics are very fond of talking about. 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 in the family of Anatoly Efros and Natalya Krymova, probably the most famous director and theater critic of the Soviet era. In 1976 he graduated from the Moscow Art Theater School as a theater designer and set designer. In 1976 he began working at the Theater on Malaya Bronnaya. Among the performances designed by him in the production of Anatoly Efros "Othello" by W. Shakespeare (1976), "A Month in the Country" by I. Turgenev (1977), "Summer and Smoke" by T. Williams (1980), "Remembrance" by A. Arbuzov (1981 ), "Napoleon the First" by F. Bruckner, "Theater Director" by I. Dvoretsky (1983) and others. A. Chekhov designed the performances "Tartuffe" by J. B. Moliere, "The Living Corpse" by L. Tolstoy, "Attempt to Fly" by J. Radichkov (1984). At the Taganka Drama and Comedy Theater he worked on performances: “War has no female face” by S. Aleksievich (1985), “One and a half square meters” by B. Mozhaev and “The Misanthrope” by J.-B. Molière (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 solo exhibitions, both in Russia and abroad. Since 2004, he has directed the Creative Laboratory at the School of Dramatic Art Theater in Moscow and has staged performances with the participation of his art students and young actors, recent graduates of RUTI-GITIS and the Shchukin School. In the Laboratory, Dmitry Krymov staged the following performances: “Innuendo”, “Three Sisters”, “Sir Vantes. Donkey Hot”, “Bidding”, “Demon. View from above", "Cow", "Opus No. 7", "Katerina's Dreams", "Death of a Giraffe", "Tararabumbia", "Katya, Sonya, Fields, Galya, Vera, Olya, Tanya", In Paris, " X. M. Mixed media.
and exhibitions .
Dmitry Anatolievich Krymov
Artistic Director of the Dmitry Krymov Laboratory at the School of Dramatic Art Theater
As part of a creative meeting, together with the audience, he solved staging and psychological problems of various levels of complexity on the themes of Shakespeare and Ostrovsky. In addition, I tried to find answers to the questions: what should Larissa, King Lear, Hamlet and the three sisters look like today? And most importantly - why bring them on stage?
Dmitry Anatolyevich Krymov is a member of the Union of Artists of Russia and the Union of Theater Workers of the Russian Federation.
Born October 10, 1954 in Moscow in the family of director Anatoly Efros and theater critic Natalia Krymova. In 1976 he graduated from the Moscow Art Theater School of the USSR. Gorky. In 1976 he began working at the Theater on Malaya Bronnaya. Among the performances designed by him are the productions of A.V. Efros: "Othello" by W. Shakespeare (1976), "A Month in the Village" by J.S. Turgenev (1977), "Continuation of Don Juan" by E. Radzinsky (1979), "Summer and Smoke" by T. Williams (1980), "Reminiscence" by A. Arbuzov (1981), "Napoleon the First" by F. Bruckner, "Director of the Theater » I. Dvoretsky (1983). At the Moscow Art Theatre. A.P. Chekhov designed the performances of "Tartuffe" by J.-B. Moliere, "The Living Corpse" by L. Tolstoy, "An Attempt to Fly" by J. Radichkov (1984).
At the Taganka Drama and Comedy Theater he worked on the performances "War has no woman's face" by S. Aleksievich (1985), "One and a half square meters" by B. Mozhaev and "The Misanthrope" by J.-B. Molière (1986). He designed performances in such Moscow theaters as the Central Children's Theater, the Theater. K.S. Stanislavsky, Theatre. N.V. Gogol, Theatre. M.N. Ermolova, Theatre. Moscow City Council, Theatre. 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. Worked with directors V. Portnov, A. Tovstonogov, V. Sarkisov, M. Kiselov, E. Arye, 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 solo exhibitions both in Russia and abroad.
Since 2002, Dmitry Krymov has been teaching at GITIS, where he teaches a course of theater artists. Performances by Dmitry Krymov participate in prestigious international festivals in Austria, Great Britain, Germany, Georgia, Poland. Dmitry Krymov's laboratory is actively touring the world, the performances were successfully received by the audience in Brazil, the USA, Australia, New Zealand, Finland, Estonia and other countries.
Dmitry Krymov, Artistic Director of the Dmitry Krymov Laboratory at the School of Dramatic Art Theater 
Dmitry Krymov, Artistic Director of the Dmitry Krymov Laboratory at the School of Dramatic Art Theater 
Participants of the master class by Dmitry Krymov 
Dmitry Krymov, Artistic Director of the Dmitry Krymov Laboratory at the School of Dramatic Art, gives a master class in the Carriage House 
Dmitry Krymov, Artistic Director of the Dmitry Krymov Laboratory at the School of Dramatic Art, analyzes Shakespeare's sonnet 
Dmitry Krymov, Artistic Director of the Dmitry Krymov Laboratory at the School of Dramatic Art, gives a master class in the Carriage House
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 takes place regardless of the presence of the viewer: the viewer can come to the Theater at any time, he can also leave it, but the action will remain uninterrupted, it will continue to happen as it happened, i.e. The theater, in Vasiliev's understanding, is nothing but a separate, autonomous world, within which its own laws and principles operate.
Putting in a similar concept of understanding the life of the Theater, Dmitry Krymov, puts another experiment in his Laboratory, which results in a performance under the strange name of ordered female names "Katya, Sonya, Fields, Galya, Vera, Olya, Tanya" based on the cycle of Bunin's stories from the book " Dark alleys". This performance (unlike the book, where the reader is seized by something tragic, dark and sweetly aching for the soul) is a complete joke. With a twisted grin. Changeling. Or, more accurately, focus.
You enter the hall and, in slight confusion, think, did you come in early? But go further along the rows, because, it seems, everyone is also passing, and now 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 make-up. One gets the feeling that you were simply given the opportunity to peep through the peephole in preparation 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 away from the stage in a panic, and you, the viewer. sit anyway (you were allowed to peep, so you peep). Then a woman is mercilessly sawed in a box in front of your eyes, and she remains without legs, cries a little, tries in vain on her mannequin legs, but then appears. Another woman (also, by the way, from the box), and we see her love story, she laughs and also she cries a little, and then she is replaced by a third woman, and the third - the fourth, the fourth-fifth, the fifth-sixth, the sixth-seventh. And each has its own story. For a few minutes. In a few fragmentary words-memories. And all of them (heroines) for some reason appear on the stage from the boxes. Like dolls. Like living sculptures, frozen in time, in the memory of the rememberer.
Throughout the performance, the director and actors never cease to amaze the audience, showing trick after trick (the famous illusionist Rafael Tsitalashvili is involved in the performance, whose work looks especially impressive). In addition to the fact that the first heroine, who was first sawn up and who lay motionless throughout the performance (!), appears legs, and she passionately dances her love dance with a man, the entire stage action of the play is turned upside down by the director, staged in a completely different time-space. It turns out that all these women with their bare nerves are just dried herbariums of love (it turns out that we watched on the stage how the director took and mysteriously opened the book of Bunin's "Dark Alleys" in front of us, turning the pages in front of us, between which the dried flowers of past lives). And it also turns out that all these women are just exhibits in a museum where a school teacher brought negligent 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 real love. And now there were only dusty textbooks in school libraries. Time does not kill, but it distorts. And looking at this trick, you can only be surprised at such a particularly quick and unpredictable outcome of events. But the female heroines were crying and the men were passing women's underwear from hand to hand, twisted in thoughts of pleasures. 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.
Dmitry Krymov is a director, artist, teacher, theater set designer and just an incredibly talented person. He is a member of the Union of Artists and the Union of Theater Workers of Russia, his performances always resonate, make the viewer think. Behind Krymov's back are a great many prizes of International theater festivals. His paintings are exhibited in the best art galleries in the world. Who is he, how does he live and what does he talk about at his leisure? All this in the materials of our review.
Biography
Dmitry Anatolyevich Krymov was born in October 1954 in Moscow. His father is a famous stage director, his mother is a theater critic and art critic Natalya Krymova. As a child, Dmitry got his mother's surname, because his father belonged to the Jewish family, and in Soviet times it was a certain label. Anatoly Efros had to overcome numerous career obstacles arising from his origin, and the 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 a matriculation certificate, he immediately entered the production department of the Moscow Art Theater School. In 1976, after graduating, he went to get his first professional experience in Dmitry created his first set design works for his father's productions. Among the performances of those years, one can distinguish Tolstoy's "Living Corpse", Turgenev's "A Month in the Country", Williams' "Summer and Smoke", Arbuzov's "Recollection", etc.
Theatrical activity
Since 1985, Krymov has been working on art productions at the Taganka Theater: “War has no woman’s face”, “One and a half square meters”, “Misanthrope” - with his participation, these performances saw the light. Dmitry Krymov worked not only with the Taganka Theatre. The scenographer collaborated with theaters in Riga, Tallinn, St. Petersburg, Volgograd, Nizhny Novgorod. The geography of his creative activity covers Bulgaria, Japan, the countries of the former Soviet republics. In the track record of Krymov, the stage designer, there are about a hundred performances. Dmitry Anatolyevich collaborated with such eminent directors as Tovstonogov, Portnov, Aryeh, Shapiro and others.
After the collapse of the Soviet Union, a difficult situation developed 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 a loved one, the theater became uninteresting to him. Awareness of the greatness of the father in the profession and his own helplessness settled in the soul. Then it seemed to the man that he would never enter this water again, and there would no longer be a visual theater in his life. Krymov Dmitry decided to end everything and find himself in a new business. He took up painting, graphics, and, it is worth noting, he did it very well. The paintings of Dmitry Anatolyevich were exhibited in the Russian Museum, in museums of Western European countries - France, Germany, England.
Today the artist's canvases are in the Tretyakov Gallery and
Dmitry Krymov has been teaching at the Russian Academy since 2002. He directs the course of theater artists. In addition, the director heads the creative laboratory at the theater called the School of Dramatic Art in Moscow. Together with graduates of GITIS and the Shchukin School, Krymov brings his own ideas and thoughts to life on the theater stage, performances take part in international festivals around the world.
About the modern viewer
Krymov is an incredibly interesting interlocutor. You can discuss various issues with him, he has his own opinion on everything. Modern theater is one of such hot 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 declares that today the main thing is the consumer's interest.
Coming to the performance, the audience must be terribly curious. On the one hand, he should be interested in everything that happens on the 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 need to converge. Of course, the modern viewer is a sophisticated gourmet. Gone are the days when people watched everything they gave. Today everything is different. Therefore, all that is required of the director is to arouse such curiosity and interest in the viewer, and the task of the viewer is to drive away skepticism from himself and try to “feed” curiosity in 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, Krymov Dmitry does not recommend wearing jackets, short dresses and high platform shoes - in his opinion, the viewer will be terribly uncomfortable 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 confronted with arguments on the topic of what is a dramatic psychological theater. Here and there calls are made to protect it (the theater) from pseudo-innovation. This problem is familiar to Krymov, and, by his own admission, hurts him greatly. The director's opinion is this: if you are an adherent of the psychological theater, do not call anyone to anything - just do your job. Live as you preach. But at the same time, give the other person the opportunity to express themselves as they want. Yes, you may like it or, conversely, annoy, but you have to put up with the fact that it exists. To resist something new and non-standard is tantamount to opposition to modern fine art. It's great when the viewer has a choice and an alternative, and art, as you know, is limitless.
According to Krymov, a modern director must first of all be a strong personality, with his own thoughts. Of course, he just needs to be able to parse the work according to the classical school. But this is just a skeleton, the basis for further individual constructions and fantasies.
Contemporary art and work with students
Dmitry Anatolyevich says that it is unpleasant today to observe many things that are happening in Russia. There is a substitution of concepts, non-fulfillment of obligations, lack of reforms. For example, the director really does not like such a popular expression today as "contemporary art". He does not understand the meaning of this phrase. Is contemporary art a cheaper kind of art? How about religion then? Could she be inferior too?
Krymov also has ideas 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 as talented actors and productions that are interesting to the audience, conditions are necessary - today they do not exist, physically.
Dmitry Krymov teaches his students according to a personal method. The director declares that it is possible to teach young people only to perceive the experience of others, but it is impossible to walk their path for them. The guys themselves must hear their inner voice, trust it and choose the path. The experience of others only shows that anything is possible. If something works for someone else, you can do it too. You just need to work hard.
Dmitry Anatolyevich Krymov: who is he?
First of all, he is the son of his Motherland, devoted and loving. When asked about emigration, Krymov resolutely states that he is not going to leave Russia. There are many reasons for this: he has students, actors, a large household. His parents are buried here, on whose grave he has been visiting on his birthday for many years. Krymov admits that today there are fewer and fewer territories where you feel at ease, but as long as you can live and create, there is no point in leaving.
He does not celebrate his birthday, he is constantly occupied with work. In addition to the most talented director, the backbone of actors works in the laboratory of Dmitry Krymov, 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 cooperates, 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 theatrical performance is made by the only person - the director, and he, in turn, should be surrounded by the right people - those who understand him. Krymov claims that he is interested in the opinions of others, and he is open to dialogue. However, the conversation should be constructive, to the point.
It is important for the director that there are three components at the end of his work: 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 gets 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. In other cases, Krymov is a gentle person who respects and loves the people he works with.