Vadim Danziger Biography

Danziger in early August, before the opening of the season, the troupe of the Tula Academic Drama Theater named after M. Gorky presented a new artistic director. From the service entrance - Vadim Iosifovich, you have not only directing, but also acting. Does this give any advantages in the work? For me, this is important from an ethical point of view. First of all, the work with such partners on the stage as Oleg Borisov, Nina Sazonova, Boris Plotnikov, Vladimir Soshalsky, with Alexander Domogarov - he was also a novice artist at that time, with the directors Leonid Haifetz and Alexander Bourdon, it was a beautiful school, but it was then that I began to think about changing the profession.

I was a characteristic actor and at some point realized that they would use me only in this capacity. I did not want to play pens and freaks all my life. And Leonid Efimovich Haifets at that moment was gaining a directing course and judging by his work-a very good person’s really obsessed theater. Leonid Efimovich gave us a lot: in addition to professional cuisine, he taught a special attitude to the theater.

And it begins already with the official entrance. At first glance, an insignificant detail: the actor does not changevings when he comes to the theater, but this is the attitude to the place where he serves. Crycuses and intellectuals - today the repertoire theater, especially non -cellular, is difficult to find an artistic director. Film shortage? I often ask myself this question.

Matra, masters who knew the “magical word” of directing, went away - after all, he didn’t just read the play and handed out the roles. This is a creative fantasy, imagination, the ability to communicate with people. I at one time became interested in psychology, and then began to study the psychology of the viewer, the psychology of the artist more deeply. There was the so -called Goncharovskaya school A.

Goncharov - the chief director and artistic director of the Moscow Academic Theater named after Vladimir Mayakovsky in the years. It was believed that yelling at the artist is normal, at that moment you seem to charge him with energy, I also started like that. During the rehearsal of the performance, he began to yell at the actor and even threw a chair into him. This chair immediately returned to me - now I understand that I was very lucky with this artist.

He sent me a chair back and politely said: “Vadim, let's take a break, calm down, talk and I don’t scream after that story with a chair either. You can not suppress the artists and thus assert yourself. We need to talk with artists - and agree. That is why I consider the “table period” to be the most important in the process of working on a new performance, when the artists and I discuss the roles in detail.

I call myself a "director-artist." What is the difference? I arrived in Murmansk, when a large -scale reconstruction began in the theater building - in fact, one box remained from it. Organization of work on a temporary site, construction work, installation of equipment, constant communication with representatives of the authorities - for me a lot was for the first time.

Colossal and very useful experience. The Tula Theater is also preparing for reconstruction - in this sense, I am lucky as a drowned work, an interesting work, a theater with a great history. An important circumstance is proximity to Moscow, I will more often see my children. I have three of them. The eldest son is 19 years old, he is a musician, a trumpeter.

He graduated from the Ippolitov-Ivanov Music College, enters the Moscow Conservatory named after P. P.'s youngest son for 11 years, studies at a music school, plays cello. The youngest daughter is 9 years old, she sings in the choir. Once - it happened - she was asked to go on stage in a children's role in one of the performances. She worked perfectly. The main thing - she herself liked it so much that, I'm afraid, she wants to become an actress the first performance - “Quartet” - where do you start work in Tula?

Now it is important for me to understand what the Tula viewer needs, how to surprise him. At the same time, do not follow him - in this sense, it is necessary to withstand the balance. Yes, spectators always go to Boulevard drama in any city. But the theater is also an educational institution, urging to think, reflect. What do you say? Little classics. There is little modern drama - I do not mean the plays of the second half of the 20th century, this has already become a classic, but what is written in the 21st century.

The theater always followed drama, and if it is not interested in the work of modern authors, then it falls out of life. Is this a trend? And there are 80 percent of women in the auditorium, and men, as a rule, accompany them. I love the first edition of the "Vassa Zheleznova" Gorky, primarily for the fact that for the first time the theme of the arrival of strong women in the kingdom of weak men was seriously affected, what exactly?

This is a play designed for age artists. I bow to the actors of the older generation - thanks to them theatrical traditions are preserved and continued. And I believe that it is such a performance that is obliged to put in the first place - as a gesture of respect and gratitude