In the Moscow theatre “Practice” changes: the Department of culture of Moscow has accepted the decision on the appointment of actor and Director Dmitry Brusnikina artistic Director of Praktika theatre and Director on modern drama put film actress, about which almost nothing is known. The theater gently resisted, but did not listen to him.
As we have seen earlier, the Russian theatre needs urgent surgical, therapeutic and psychiatric intervention; some parts are in need of funeral services. Here and there there are pockets of infection, sepsis is detected, where lower swell lividity. As it is rare in Russian medicine is, at this time at hand turned out to be a good doctor — one of the Vice-mayor attended to the culture. As so often in Russian medicine is to cure come from healthy. Judging by the stories of the staff of the theatre Practice, hearings went even in the winter, but on 3 may there was an official order on appointment of Dmitry Brusnikina artistic Director, and beyond that the order of dismissal Yuri Miliutin as Director of the theatre. It is reported that his dismissal was one of the requests Brusnikina. Following this, on may 4, a new Director was appointed some Anna M. žilina, of which from public sources it is possible to learn only that in the early 2010s, she starred in many Russian films, and then worked (and apparently, still works) Director of General Affairs in the Moscow cultural folklore center under the leadership of Lyudmila Ryumina.
Judging by the stories of members of the theater and the playwright and former artistic Director of the Practice Ivan Vyrypaev (“the Tape.ru” given below), in the approval process of a new artistic Director inside the theater was an initiative to offer on this post of choreographer and Director Oleg Glushkov, one of the most prominent representatives of the Russian young synthetic direction. Not reported, in what form, but in the Department for a delicate request from the theater refused. Immediately after this the theatre with the Director retired financial Director and head of the PR Department.
the Theatre “Practice” appeared in 2005 and immediately declared itself as about the experimental theater of modern drama — is now hard to imagine how innovative charge then this is the place possessed. Things that now to seem normal, using “Practice” in Moscow appeared for the first time — it was a theatre and public space in one place: there were lectures, film screenings, concerts, dialogues and readings. In addition, Eduard Boyakov, from 2005 to 2013 held the post of artistic Director of “Practice”, asked for the Russian theatrical landscape standards of the producer of the theater, when the theater has no permanent company, and there are different teams that come for a specific project, which leads to important quality of the modern theatre — a variety. During his leadership at the theater was not only a determined one degree or another theatrical image of Russia plays but also implements cultural projects, “Practice” was interested in transgression to the space of the cinema, music, literature.
In 2013 Boyakov resigning as artistic Director, offering to replace playwright Ivan vyrypayev. His candidacy is accepted, and along with him comes a new Director, Yury Milyutin. Available data, which is seen under the directorship Milutin theatre began to develop. The number of spectators in 2013 was $ 16 thousand 109 people. The following year it almost doubled, reaching 30 thousand, and in 2015 and 2016 increased to 35 and 37 thousand, respectively. In 2013, “the Practice” played for 365 performances in the next three years — 426, 467, and 519. In 2014, the theatre has doubled the number of Premier compared to the previous year, presenting six new plays, and in 2016 this figure is generally made up of 10 Premier.
Also changed markedly in Milutina the ratio of public funding and earned/brought by theater assets. From 2012 to 2015 the year of state subsidies for the theatre was always the 34.3 million only in 2016, rising to 36.5 million. Along with this, the income from ticket sales from 24.9 million in 2013 rose to 32 38.1 and 50 million by 2014, 2015 and 2016, respectively. Also increased the number of attracted funds in 2015, amounting to 21.5 million vs 9.1 million in 2014 and 14.8 million in 2016. Thus, the share of public funding in the theatre declined steadily from 62 percent of the budget in 2012 to 53 percent in 2013, 45 percent in 2014 and 36 percent in 2015 and 2016. Actually, it is when Milutina theatre began to emerge in the net income having in 2014 a surplus of one million rubles, and in 2015 and 2016 — nine million compared with a deficit of three and five million in 2013 and 2012. Naturally, against this background, big questions is the decision Brusnikina to bring to the theatre a new direction, and another big issues is the candidate of the Department of culture.
Here is how changes in the theatre commented Ivan Vyrypaev, playwright and artistic Director of the Praktika theatre from 2013 to 2016: “first I, of course, to the theatre “Practice” have a very indirect relationship; I don’t work there, and even plays my do not go there, but it’s my theater and my dear people. As I now see no conflict in the theater is not happening just in the position of the artistic Director suggested Dmitry Vladimirovich Brusnikina, and he, as far as I know, suggested that his Department and the Department approved this. While this statement, it was the suggestion of Oleg Glushkov on the position of artistic Director. I was asked how I feel about it, I treat it very positively, Oleg is also my friend and colleague, and he, I think, could be an interesting artistic Director. But the choice, of course, remains with the Department of culture. Here not only there is nothing tragic, but maybe something good happened. Dmitry Vladimirovich has long been working in the theater, directs the workshop, may be he will improve this theatre somehow. I do not see any acute events, well, just change this happened.”
All of this is true: the course of Dmitry Brusnikina is one of the best young acting ensembles in Russia, shows that the workshop produces, and in which the actors involved — to put it mildly, not the most embarrassing performances in Moscow. However, it is not very clear, what does the modern theater have all these practices of Brusnikina on getting used to the role. Technology verbatim developed around new drama, little changed from 2005, when “Practice” was founded and existed “Театр.doc”. Dmitry Brusnikin gives the impression of a kind a gentle man, he is calm, aged, stands for “high cultural value” and respects the heritage of the Russian theatre, moderately disagree. That is quite a compromise figure, which is not exactly going to make anothereven at the state theatre. That’s really where it really should Brusnikina to offer the artistic Director, so it is in Mat. Tactics of the authorities in dealing with theatres that do not understand what to do when the enemies on the approaches, proved once again to appoint someone who will not create unnecessary noise: Zhenovach, Mashkov, Brusnikin. Glushkov, put in “Practice” almost outstanding performance “Hypnos”, to Dakota, apparently, dark horse. Start to do something with your sovremennoy — then don’t stop.
it is considered that in the institutional sense out of all of the Moscow theater “Gogol-center” is at the forefront of openness and give everyone around an example of horizontally structured cultural structures. Of course, it’s not, “Gogol-center” is the same organization charismatic type of controls vertical hierarchy as a Theatre of the Russian army, only with our bruised repertoire and advanced Directors. Actually, there are two theaters in Moscow, who are not only concerned about what they show but how they work and interact with the environment — “Electrotheatre Stanislavsky” and “Practice”. Only in these two theatres on a serious level understand the value of technology in cultural production and know how to work with digital communication, these two theatres — an example of openness (certainly not one that is adequate time, but the one to which the rest of Russian theatres are still very far away) toward the audience and professional community (as all of it is true to the theatrical environment to speak), and artists in a broad sense. This is so simply because in “Practice” working with advanced young people who, relatively speaking, sitting not only in Facebook but also in Twitter. It is in these two theaters is obviously an understanding of the importance of design in the broadest sense and the correct horizontal cultural management. It is hardly necessary experience especially for the repertoire of “Practices” — it is likely to remain roughly the same, except that the audience will not see the increase of the pilot level, as may occur with the advent of Glushkov. But for management in theatre special concern — as it had not begun to measure KPI’s in the hope Babkin.