I would put it this way: we are working on creating a theater of a serious realistic direction, which writes on its banner: empathy! Not a shock for an hour, not a spectacular sensation, but a long-term artistic impression that becomes part of the spiritual essence of the viewer. We are creating a theater that poses social problems and at the same time thoroughly explores the nature of today's man and his soul at a modern level. At the same time, we strive to do all this through the actor, subordinating all the components of the performance to his creative identification. We are creating a theater that preaches humanity, modesty and the social content of human life as an indispensable condition for happiness. With our performances, we want to fight against philistinism, by which we mean, first of all, all kinds of consumerism, pragmatism, and superficial opportunistic passions in all their manifestations. At the same time, I am referring to those representatives of the bourgeoisie in the auditoriums who, with all their noisy "brotherhood", expect only one thing from the stage — to compensate with effective spectacles and nervous shocks for their, in essence, thoughtlessness, civic passivity in the sphere in which they should be socially active citizens.

Do you think the auditorium is more difficult today? Do I see a hidden meaning in your last words? Yes, it is more difficult. By the way, he is difficult not only in the theater, but also in the cinema. It's up to sociologists to figure out the reasons for some of the passivity of the auditorium, which often appears under the guise of violent but rapidly passing receptivity.

In my opinion, the cinema hall has become noticeably younger in recent years, and the audience from sixteen to twenty-two has not yet accumulated empathy experience or has too little experience of it. Moreover, acceleration, as we know, not only did not eliminate infantilism in the characters of some boys and girls, but, perhaps, also emphasized it. And these qualities, in turn, cannot but affect the ability to perceive art. The perceiver expects to be filled and to a lesser extent moves towards it... These are all, of course, sketches of thoughts rather than proven positions. Sociologists can be more precise here.

However, the first tool of the theater in overcoming the passivity of the auditorium is a play. Drama, repertoire. I have deliberately not asked you this question until now. I would like to outline the range of ideas on which your work is based. Are you convinced that the repertoire of today's Art Theater is, in your own words, the embodiment of the artistic idea of the Moscow Art Theater, the realization of the model of its most fruitful period?

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