Lev Dodin biography personal life. A terrible fate over the theater of Europe. Altai Youth Theater

The Theater of Europe, better known as the Dodinsky Theater, or the Maly Drama Theater of St. Petersburg, is experiencing another crisis. So far there have been no deaths. Leading theater actress Tatyana Shestakova, wife of Lev Dodin, jumped out of a window in Paris at the end of December last year. She survived with broken arms and legs.

The director himself had been depressed for several months, did not appear at the theater institute for his course, and suspended rehearsals for “The Master and Margarita.”

Tatyana Shestakova, according to the theater staff, has recently had a creative crisis, since she was transferred from the main roles to age ones.

There have been dark legends about the Dodinsky Theater for a long time. The greatest shock among theater fans came after the suicide of the famous artist Vladimir Osipchuk, which followed several years ago.

It was a protracted creative crisis for the actor, the opportunity to live without the theater, faced with the impossibility of continuing to live in it. However, no one knows the exact reasons. Yes, it doesn’t matter.

Osipchuk’s death cemented the theater’s gloomy reputation as a House from which it is impossible to leave.

For an actor, becoming Dodin’s student was tantamount to entering into voluntary slavery, giving up his soul for success. They all became big stars for Dodin - not just for an hour, but for the rest of their lives. But for this it was necessary to renounce oneself, laying down one’s life at the feet of the Master. This is his creative method and there is nothing to be done about it.

For many, the instinct of self-preservation kicked in at the last moment, like Maxim Leonidov - he felt that he had to run...

"- Maxim, you once graduated from the Leningrad Theater Institute. Among your teachers was Lev Dodin, who is considered today one of the best theater directors. Have you ever had a desire to work in the same team with your famous teacher?

It was so. When I left the Secret group and had no plans to leave for Israel yet, I had a serious conversation with Lev Abramovich. We even decided that I would probably come to work in his theater. But then I got scared and I was scared quite naturally. Because, studying with Lev Dodin, I perfectly understood what his theater was. This is absolutely one hundred percent in the theater and nowhere else. This requires giving your all not only to the theater, but also directly to Lev Abramovich. The fact is that this is a special direction, a special theatrical relationship. In general, this is not for me. I’m a pretty freedom-loving guy and it’s hard for me to so unconditionally put myself in the hands of even my favorite teacher.”

But many chose a different path, and Osipchuk was one of them.

The Dodinsky Theater plucks out far-hidden experiences from the viewer, appeals to atavisms of consciousness, and awakens reflexes at the level of the sympathetic nervous system. But this is given to actors at the cost of their own colossal work, at the cost of living in a different coordinate system. At the cost of giving up daylight - as you know, there are no windows in the theater hall, and they spend almost all the time there.

About the coordinate system - the world of the Dodinsky Theater has its own language and its own characters. Dodin has already been written about as a Master who created a theater school and method. The victims of the method have not yet been written about, probably because they are voluntary and in the name of art. Translated from the theater, this means saints.

“Dodin does not use the word “plan”, especially its reduced variants like the notorious “plan”. It is replaced by the noun conspiracy, which sounds strange to outsiders, and the verbs derived from it: conspire, conspire. These cautious words mean the level of mutual understanding achieved by the participants in the work, as opposed to the sole, personal idea of ​​the director, coming out to the other participants in the rehearsal process with an idea.

The word “rehearsal” is used in conversations with the administration, the artistic and production department, at press conferences, etc. Artists and participants know the word sample, in general, corresponding to the German “die Probe” (trial, experience, test, sample, rehearsal). The French “la repetition” (repetition, rehearsal) fundamentally contradicts Dodin’s creative philosophy, this will become clear later. There is no place in Dodin’s vocabulary for “running through,” one of the most common words in theatrical argot. If, during the production of a performance, a play or any large part of it is played without stopping, this is called a through test. The word sample also means “etude” - a rehearsal composition by artists. At the same time, you can often hear etude feelings of well-being, not always in a positive sense, depending on the situation.

In rehearsal and training work there are no “breaks” or “intermissions” - there are always pauses. A pause is a meaningful structural moment when new thoughts, ideas, visions, or, in Dodin’s terminology, internal texts accumulate. In the author’s memory, at the end of a rehearsal or lesson, “finished” or “that’s all for today”, etc. were never heard. Instead, it says “we’ll stop there,” which obviously doesn’t need to be commented on.

For some reason, Dodin does not like the verb “to leave” in its literal meaning, meaning the direction of movement. He prefers the verb to disperse, apparently due to its not being so complete.

In Dodin’s creative laboratory, the sphere of words almost dominates. All his basic ideas, intentions, impulses are expressed primarily through the word, always original and expressive. A six-hour monologue is not such a rarity in the biography of Dodin, a teacher and director. The author had the opportunity to witness this form of communication with students and artists at least three times. And all three times Dodin had something to say.

At the same time, Dodin’s attitude towards words is at least ambivalent. He doesn't like academic terms in his work. Most theatrical words, from his point of view, are moldy, and others are interpreted so subjectively that it is safer to use your own. The absence of special terminology in its generally accepted form is also explained by one of Dodin’s personal phobias: the fear of being enslaved by words on a subconscious level. Their hopeless power was explored in the performances “Lord of the Flies”, “Demons”, “Claustrophobia”, “Chevengur”, and partly in “Gaudeamus”.

In general, a linguistic analysis of Dodin’s directing and pedagogical method could yield interesting results. Changes in creative psychology are already noticeable at the vocabulary level. Here are statements from fifteen years ago: “... I am sure: today’s spectator needs to be knocked out of his usual flow of life for a long time and thoroughly... The spectator who dropped into the theater must be made to understand... For me today, the ideal of theater is not the one which easily fits into my usual course of life, and the one that pulls me out of it, questions me, requires me to reconsider something.”

The glories are almost prophetic. And the deadline has come true. We need to reconsider something. Urgently, because Shestakova’s act is a sharp signal to reconsider.

The actors are devoted to Dodin selflessly, like a child, having absorbed his reverence for the process of the birth of the theater, and identifying the director with the creator of the theater.

“- I now remember that before the premiere of “The Seagull” at the St. Petersburg Maly Drama Theater, actor Pyotr Semak received a serious neck injury. He insisted that the premiere not be postponed, he played in a plaster collar, because he did not want to let down his theater, his director.. .

This means that Lev Dodin has created a team in the theater and formed certain values."

This is not entirely true. Because it is not values ​​that have been formed, but super values, and if a second terrible failure occurs in the system, the time has come to change these super values, otherwise the whole world will collapse. How the theater building of the Theater of Europe collapses on Rubinstein Street in St. Petersburg: “We have visited many theater schools in Europe, from there they turn to us for help, for advice, with requests for all kinds of internships and courses, but we cannot accept colleagues here, because if I lead them up our staircase, they'll get sick of it. Once upon a time, this staircase was no less ugly, they didn't want to fix it. But suddenly, fortunately for us, a rumor spread that the then first secretary of the regional committee was coming - it seems to the play "Brothers and Sisters". The delighted director immediately called the district party committee, they sent a team of workers and covered the entire staircase with iron, covering up the centuries-old rot. The first secretary of the regional committee did not come, but for many years the staircase looked, albeit strange in architectural terms, but, at least decently. Today everything has been torn away, and again centuries-old rot has poked its way out. In the midst of all this, we walk and rehearse. Of course, I simply can’t let anyone young there, I’m ashamed." - Lev Dodin says about the theater building...

But the Dodinsky Theater is alive not with the stairs, but with the backstage - the spirit of the backstage, the atmosphere that Dodin creates. Speaking about success, he is a little disingenuous.

“Abroad, as well as at home, the public is attracted by the encounter with genuine art,” says Lev Dodin. “No one can be lured and forced to sit patiently in the auditorium for a long time (and our performance is in three parts based on Dostoevsky’s novel “Demons” " lasts about 10 hours!), if what is happening on stage is not in tune with the thoughts and experiences of the audience. The actors, with the utmost sincerity and passion, share thoughts about modern moral and spiritual problems that concern everyone. I believe that it is precisely this sincerity and topicality that appreciated by the viewer, whether in Paris, London, Brussels, Amsterdam or St. Petersburg."

The viewer does not value sincerity, the viewer feels how on the Dodin stage real life flows out of the artist, how blood and flesh are spent on him, the viewer, and therefore Dodin’s theater is real.

“- It is impossible to avoid the feeling of artistic confusion, because you are constantly in a state of confusion in front of what you would like to express. Artistic confusion is an integral property of a person who would like to say something. When there is nothing to say, then there is no dumbness, there are enough words. But when you want to say and understand a lot, you are overcome by a muteness that is very difficult to overcome. Sometimes you want not to open your mouth. But I think this is not because you lag behind the rhythm of today's life. How can you lag behind it? Today's life hits you in the face in your head with its events, humiliates you with its attitude towards culture. It makes you defenseless from anyone. It blows up skyscrapers in New York and houses in Moscow. What are you lagging behind? You are lost because you cannot tell a story about a skyscraper "But you don't have to tell it. It's just that the performance that you do shows your nerves that survived it. If you do the performance with your nerves, then willy-nilly this skyscraper will collapse in your performance too. If you do a performance with something else, you won’t experience any confusion, because all the recipes are clear and understandable."

The Dodinsky skyscraper collapsed. From a window in Paris. Now we need the master to survive. Because all the lives of actors in the Dodin theater, like strings, are clamped in his hand. They can’t live without him, they don’t want to, they don’t know how. They decided it themselves, and this was the last decision. Or - the penultimate one, which is the worst thing.

Lev Abramovich Dodin... This name is well known in theater circles. An outstanding director, talented teacher and theater figure, he is one of the creative elite of Russia. You can learn about him and his works from this article.

Childhood and youth of the future director

Lev Dodin was born on May 14, 1944 in the city of Stalinsk, today it is Novokuznetsk. It was here that his parents were evacuated during the war. They returned to their native Leningrad in 1945.

From an early age, Lev began attending classes at the city Theater of Youth Creativity. At that time, the leader here was the wonderful teacher M. G. Dubrovin. Under his influence, young Lev Dodin developed a strong desire to devote his life to the theater. After graduating from school, Lev Dodin becomes a student at the State Institute of Theatre, Cinematography and Music of the Northern Capital. His teacher and mentor was the outstanding director B. Zohn. Lev Abramovich Dodin also calls Tovstonogov, Lyubimov, and Efros his teachers.

First steps as a director

Lev Dodin, whose life and destiny after graduation were entirely connected with the theater, began to realize his directorial ideas.

His debut as a director coincided with the year of release. Thus, 1966 was marked in the creative biography of Lev Dodin with the release of the television play “First Love” based on I. Turgenev. This was followed by work at the Leningrad Theater for Young Spectators. Here he staged the play “Our People - We Will Be Numbered” based on A. N. Ostrovsky. His “Minor” and “Rosa Berndt” were released at the Drama and Comedy Theater.

Small in the director's destiny

In 1975, the Maly Drama Theater appeared in the life of Lev Dodin. At first, the director simply collaborated with this and staged the play “The Robber” by K. Capek. Later, “The Appointment” by A. Volodin, “The Tattooed Rose” by T. Williams, and “Live and Remember” appeared.

The play “Home” based on the novel by F. Abramov, released in 1980, became fateful for Dodin. After this production in 1983, Lev Dodin received an offer to head the theater. Since then and to this day, he has been the permanent head of the MDT.
His first work as a chief director was the play “Brothers and Sisters.” The production had difficulty making its way through the millstones of censorship. However, thanks to the performances “Home” and “Brothers and Sisters”, those artistic foundations were formed that today make up such a thing as Lev Dodin’s theater.

During the 25 years of L. A. Dodin’s leadership, the following performances took place on the MDT stage: “Stars in the Morning Sky”, “Lord of the Flies”, “The Old Man”, “Moscow Choir”, “Gaudeamus”, “Demons”, “King Lear”, “ Love under the Elms”, “Chevengur”, “Life and Fate”, “Claustrophobia”, “Molly Sweeney”, “Love’s Labour’s Lost” and others, too many to list.

The theater's repertoire includes many performances based on the works of A.P. Chekhov, who has always been interesting to Dodin. This is the famous “The Cherry Orchard”, “Uncle Vanya”, “The Seagull”, “A Play Without a Title”.

Teaching activities

An original artist, an unsurpassed creator of theatrical shocking Lev Dodin, whose performances in genre and style format are almost defiantly different from one another, is still essentially a consistent traditionalist.

All his ideas that he embodies on stage are the result of personal, individual comprehension. He passes everything through himself, always experiencing a huge spiritual need for knowledge. This is probably why, quite early on, Lev Dodin experienced an irresistible desire and need to transfer his accumulated spiritual experience to someone else. And, as a result, in 1969 he began teaching at the Academy of Theater Arts of St. Petersburg. Today he is a professor at the Academy and heads the department of directing. Most of the training for actors and directors, according to his method, takes place in the theater. Dodin did not repeat literally any of his teachers. He has his own Stanislavsky, Meyerhold, Dubrovin, Sohn, Strehler...

The performances staged by Dodin go on for many years without losing their relevance; they, along with the changing world, are filled with new meaning. His numerous students remain so throughout almost their entire creative biography. Among them are Maria Nikiforova, Vladimir Zakharyev, Pyotr Semak, Oleg Gayanov, Igor Konyaev, Tatyana Shestakova, Sergey Tumanov, Natalya Kromina, Vladimir Seleznev, Nikolay Pavlov, Andrey Rostovsky, Leonid Alimov and others, who worked and continue to work with the master in MDT. However, there are many who remain his students outside the theater, being adherents of the Dodin school.

Lev Abramovich conducts regular master classes at various theater schools in Europe, as well as in Japan and the USA. He is a member of the jury of the literary competition "Northern Palmyra", as well as one of the members of the jury of the St. Petersburg theater award "Golden Sofit".

Dodin method

The work of this wonderful director and the school he created do not leave anyone indifferent. It has a phenomenal power of attraction. In his creative laboratory, much attention is paid to words. Lev Dodin embodies all his intentions, ideas, impulses through an expressive and always original word. He has something to say to his students, so Dodin’s monologues can last for hours.

His method is entirely aimed at creating a theatrical whole. He has his own philosophical understanding of what theater is. He always fought for the Theater-house, the Theater-family. Lev Dodin devoted his entire life to creating such a scene. According to the Dodin model, theater is a collective artist who has a single collective soul. Only in the House Theater, according to Lev Abramovich, can a performance be created that is a product of great culture.

His creative experiments and directorial productions are interesting to the viewer. The small size of the theater does not always accommodate all those who want to attend its performances.

The most famous world productions of the director

Lev Dodin, whose photos constantly appear in the media and publications on relevant topics, is the author of more than sixty opera and drama performances that have been successful on various stages around the world. The most famous of them are “Bankrupt”, staged at the Finnish National Theatre, “Electra” and “Salome” by R. Strauss, “Lady Macbeth of Mtsensk”, “The Golovlevs”, “The Meek” at the Moscow Art Theater, “The Queen of Spades”, “Mazeppa”, “Demon” by A. Rubinstein. Opera productions were created by him in collaboration with outstanding conductors: Mstislav Rostropovich, Claudio Abbado, James Conlon and others.

Awards and titles

Lev Dodin is a People's Artist of Russia, a laureate of state awards of the USSR and the Russian Federation, and a prize of the President of the Russian Federation. His performances and theatrical activities have been awarded a number of Russian and international awards. In 1994 he was awarded the French Order of Literature and Art.

Russian theater director Lev Dodin. Known as the director and artistic director of the Maly Drama Theater in St. Petersburg, head of the directing department at SPGATI. Dodin is the owner of the Golden Mask, as well as the titles of People's Artist of Russia and Honored Artist of the RSFSR.

Lev Dodin was born in 1944 in the city of Stalinsk (Novokuznetsk), where his parents were evacuated from the Leningrad blockade. After the end of the war, Lev returned with them to the city on the Neva, where he remained to live for many years.

From early childhood, little Lev became interested in theater and was a frequent visitor to Leningrad stages for young spectators. As a schoolboy, he began going to the Theater of Youth Creativity at the Palace of Pioneers and there for the first time he felt the power of art and the realization that he should belong to this world.

Immediately after graduating from school, Lev successfully entered the Leningrad Institute of Theater, Music and Cinematography on the course of the famous Boris Zon, who graduated many talented actors. Having studied acting for the required number of years, Dodin continued his studies for another year at the Zone directing studio and graduated from the institute only in 1966.

Just a year after graduating from the institute, Dodin himself became a teacher at LGITMiK, teaching students directing and acting. This post will remain with him for a long time.

Lev Dodin: “I am not so much a director as a teacher. At least for me the first does not exist without the second. And I would have stopped directing long ago if it didn’t include pedagogy.”

The creative path of Lev Dodin / Lev Dodin

Lev Dodin’s first independent creative work was the television play “First Love,” based on Turgenev’s story.

Since 1967, Dodin has come to the Leningrad Theater of Young Spectators, where he stages about 10 performances over six years.

In 1974 he went to the Maly Drama Theater of St. Petersburg. Under his leadership, MDT became part of the Union of European Theaters, and then received the status of “Theater of Europe”.

Lev Dodin is the winner of many theater and state awards. Among them are the Georgy Tovstonogov Prize, the Golden Sofit Theater Prize, the Order of Merit for the Fatherland, the Presidential Prize of the Russian Federation in the field of literature and art, the USSR State Prize, the State Prize of the Russian Federation, and the European Theater Prize.

In 1983, Dodin was appointed artistic director of the MDT, and in 2002 he agreed to take the post of theater director.

Lev Dodin: “When I was offered this post, my first thought was to refuse. But at that time there were already my students in the troupe, who wrote me a letter asking me to come to the theater. Then more issues were added to them, and more. We have been working with many of them for more than a quarter of a century. And so far - pah-pah - not only are we not tired of each other, but, it seems to me, we are just beginning to truly understand each other.”

In parallel with his work at MDT, Dodin occasionally collaborates with other theaters, including the Leningrad Regional Drama and Comedy Theater, the Leningrad Comedy Theater, the Moscow Art Theater. M. Gorky, Leningrad Bolshoi Drama Theater. M. Gorky. He also stages his performances on stages in Amsterdam, Florence, Helsinki and Salzburg.

Dodin's repertoire includes works based on the works of such classics as Anton Chekhov, William Shakespeare, Fyodor Dostoevsky, Dmitry Shostakovich and others.

Lev Dodin: “Directing is a long-distance race. More than a marathon. It requires powerful life training - you need to lead a large group of artists somewhere, lead the theater as a whole, all the employees, spend a lot of money making decisions...”

Dodin prefers not to talk about his personal life. It is only known that he is married to Tatyana Shestakova, and this is his second marriage after his divorce from Natalya Tenyakova.

• Filmography of Lev Dodin / Lev Dodin

• 2009 Chevengur (film-play)
• 2009 Untitled play (film-play)
• 2009 Moscow Choir (film-play)
• 2008 Demons (film-play)
• 1989 Stars in the morning sky (film-play)
• 1987 Meek (film-play)
• 1983 Oh, these stars... (film-play)
• 1982 House (film-play)
• 1966 First love (film-play)

Artistic director of the Maly Drama Theater, one of the most famous and revered Russian theater directors in the world. In 1966 he graduated from the directing department of LGITMiK, worked at the Leningrad Youth Theater, the Liteiny Theater, and staged on the small stage of the Bolshoi Drama Theater. Since 1975 he has worked at MDT, and since 1983 he has become its artistic director. World fame came to Dodin after the epic production “Brothers and Sisters” (based on Fyodor Abramov’s trilogy “Pryasliny”), work on which lasted ten years. The director has worked and is working with many leading scenes in the world. At the Moscow Art Theater he staged “The Golovlev Lords” based on the novel by Saltykov-Shchedrin with Innokenty Smoktunovsky (1984); Strauss's opera Elektra for the Salzburg Festival; "The Queen of Spades" by Tchaikovsky at the Netherlands Opera. Each new work of Dodin at MDT - be it “Cunning and Love”, “The Cherry Orchard” or “Hamlet” - becomes one of the main events of the season in St. Petersburg. Lev Dodin's performances are regularly nominated for the Golden Mask and almost always become laureates.

Born on May 14, 1944 in the city of Stalinsk (now Novokuznetsk), Kemerovo region, in evacuation.

Honored Artist of the RSFSR (06/27/1986).
People's Artist of Russia (10/26/1993).

Immediately after school, he entered the Leningrad Theater Institute, in the class of the outstanding St. Petersburg theater teacher Boris Vulfovich Zon. The first production was in 1966 the teleplay “First Love” based on Turgenev’s story.
In 1967, he began teaching acting and directing at LGITMiK, trained more than one generation of actors and directors, professor, and headed the directing department at SPGATI.
He worked at the Leningrad Youth Theater, where he staged, in particular, “Our People - We Will Be Numbered” by A. N. Ostrovsky (1973) and several performances together with Zinovy ​​Korogodsky.
In 1975-1979 he worked at the Leningrad Regional Drama and Comedy Theater (now the Liteiny Theater).
In 1975, his collaboration with the Leningrad MDT began.
Since 1983 - artistic director of the Academic Maly Drama Theater, and since 2002 - director.
In 1992, Lev Dodin and the theater he led were invited to join the Union of European Theaters, and in September 1998, the Maly Drama Theater received the status of “Theater of Europe” - the third, after the Odeon Theater in Paris and the Piccolo Theater by Giorgio Strehler.

Lev Dodin's performances were performed in 27 countries, including the USA, Australia, Japan, France, Germany, Great Britain, Switzerland, Italy, Finland, Czech Republic, Spain, Sweden, Brazil, Israel, Greece, Denmark, Ireland, Finland, Poland , Romania, Norway, Portugal, Canada, Holland, Austria, Yugoslavia, New Zealand, Belgium, Hungary. In the fall of 1999, a festival of performances by Dodin was held in Italy.
The play "Gaudeamus" was awarded the "UBU" prize in Italy, the Laurence Olivier certificate in England, and the prize for the best performance in a foreign language in France. After a tour in England in 1988, the Maly Drama Theater (for the play “Stars in the Morning Sky”) was awarded the Laurence Olivier Prize.

Honorary Doctor of St. Petersburg State Unitary Enterprise (2006).
Honorary member of the Russian Academy of Arts.
Honorary President of the Union of European Theaters (2012).

Brother - Doctor of Geological and Mineralogical Sciences, Corresponding Member of the Russian Academy of Sciences David Dodin (born 1935).
He was married to actress Natalya Tenyakova.
His wife is People's Artist of Russia Tatyana Shestakova.

theatrical works

Productions (in brackets - production designers)

Leningrad Youth Theater
1967 - “After the execution, I ask...” V. Long. Production by Z. Korogodsky, director L. Dodin (G. Berman)
1968 - “Our Circus” Composition and production by Z. Korogodsky, L. Dodin, V. M. Filshtinsky (Z. Arshakuni)
1968 - “The Boss” based on the stories of M. Gorky “The Boss” and “Konovalov”. Production by Z. Korogodsky, director L. Dodin (A.E. Poraj-Koshits)
1968 - “Model 18-68” by B. Goller. Production by Z. Korogodsky, director L. Dodin (N. Ivanova)
1969 - “Ours, only ours...” Composition and production by Z. Korogodsky, Dodin, V. Filshtinsky (M. Azizyan)
1970 - “Tales of Chukovsky” (“Our Chukovsky”). Composition and production by Z. Korogodsky, Dodin, V. Filyshtinsky (Z. Arshakuni, N. Polyakova, A. E. Poraj-Koshits, V. Solovyov, under the direction of N. Ivanova)
1970 - “The Death of the Squadron” by A. Korneychuk. Production by Z. Korogodsky, director L. Dodin (V. Dorrer)
1971 - “Open Lesson”. Composition and production by Z. Korogodsky, L. Dodin, V. Filshtinsky (A. E. Poraj-Koshits)
1971 - “What would you choose?..” A. Kurgatnikova (M. Smirnov)
1973 - “Mess-Mend” by V. Menshov based on the novel by M. Shaginyan. Staged by Z. Korogodsky, directed by L. Dodin (M. Kitaev)
1973 - “Our people - we will be numbered” by A. Ostrovsky (E. Kochergin)

Maly Drama Theater
1974 - “The Robber” by K. Capek (E. Kochergin, costumes by I. Gabay)
1977 - “Tattooed Rose” by T. Williams (M. Kataev, costumes by I. Gabay)
1978 - “Assignment” by A. Volodin (M. Kitaev)
1979 - “Live and Remember” based on the novel by V. Rasputin (E. Kochergin, costumes by I. Gabay)
1980 - “Home” based on the novel by F. Abramov (E. Kochergin, costumes by I. Gabay)
1984 - “The Bench” by A. Gelman (production director). Director E. Arie (D. A. Krymov)
1985 - “Brothers and Sisters” based on F. Abramov’s trilogy “Pryasliny” (E. Kochergin, costumes by I. Gabay)
1986 - “Lord of the Flies” based on the novel by W. Golding (D. L. Borovsky)
1987 - “Towards the Sun” based on one-act plays by A. Volodin (M. Kitaev)
1987 - “Stars in the morning sky” A. Galina (production director). Director T. Shestakova (A. E. Porai-Koshits)
1988 - “The Old Man” based on the novel by Yu. Trifonov (E. Kochergin, costumes by I. Gabay)
1988 - “Returned Pages” (literary evening). Staged by Dodin. Director V. Galendeev (A. E. Porai-Koshits)
1990 - “Gaudeamus” based on the story “Stroibat” by S. Kaledin (A. E. Porai-Koshits)
1991 - “Demons” after F. M. Dostoevsky (E. Kochergin, costumes by I. Gabay)
1992 - “The Broken Jug” by G. von Kleist (production director). Director V. Filshtinsky (A. Orlov, costumes O. Savarenskaya)
1994 - “Love under the Elms” by Y. O’Neill (E. Kochergin, costumes by I. Gabay)
1994 - “The Cherry Orchard” by A. P. Chekhov (E. Kochergin, costumes by I. Gabay)
1994 - “Claustrophobia” based on modern Russian prose (A. E. Porai-Koshits)
1997 - “A Play Without a Title” by A. P. Chekhov (A. E. Porai-Koshits, costumes by I. Tsvetkova)
1999 - “Chevengur” after A. P. Platonov (A. E. Porai-Koshits, costumes by I. Tsvetkova)
2000 - “Molly Sweeney” by B. Friel (D. L. Borovsky, costumes by I. Tsvetkova)
2001 - “The Seagull” by A. P. Chekhov (A. E. Porai-Koshits, costumes by H. Obolenskaya)
2002 - “Moscow Choir” by L. Petrushevskaya (production director) (A. Porai-Koshits, costumes by I. Tsvetkova)
2003 - “Uncle Vanya” by A. P. Chekhov (D. L. Borovsky)
2006 - “King Lear” by W. Shakespeare (D. L. Borovsky)
2007 - “Life and Fate” based on V. S. Grossman, dramatization by L. Dodin (A. E. Porai-Koshits)
2007 - “Warsaw Melody” by L. Zorin (production artistic director) (Scenography idea by D. L. Borovsky; Design by A. E. Porai-Koshits)
2008 - “Long Journey into the Night” by Y. O’Neill (A. Borovsky)
2008 - “Love’s Labour’s Lost” by W. Shakespeare (A. Borovsky)
2009 - “Lord of the Flies” by W. Golding (set design and costumes by D. L. Borovsky; set design by A. E. Porai-Koshits)
2009 - “A Beautiful Sunday for a Broken Heart” by T. Williams (Alexander Borovsky)
2010 - “Three Sisters” by A. P. Chekhov (A. Borovsky)
2011 - “Portrait with Rain” based on the film script by A. Volodin (A. Borovsky)
2012 - “Cunning and Love” by F. Schiller (A. Borovsky)
2013 - “Enemy of the People” by G. Ibsen (A. Borovsky)
2013 - “He’s in Argentina” by L. Petrushevskaya (production director). Directed by T. Shestakova (A. Borovsky)

Leningrad Regional Drama and Comedy Theater
1975 - “Rose Bernd” by G. Hauptmann (L. Mikhailov)
1977 - “The Minor” by D. Fonvizin (E. Kochergin, costumes by I. Gabay)

Moscow Art Theater named after. M. Gorky
1984 - “Gentlemen Golovlevs” after M. E. Saltykova-Shchedrin (design by E. Kochergin, costumes by I. Gabay)
1985 - “The Meek” after F. M. Dostoevsky (E. Kochergin, costumes by I. Gabay)

Leningrad Comedy Theater
1980 - “Continuation of Don Juan” by E. Radzinsky (M. Kitaev, costumes by O. Savarenskaya)

Leningrad Bolshoi Drama Theater named after. M. Gorky
1981 - “The Meek” after F. M. Dostoevsky (E. Kochergin, costumes by I. Gabay)

Educational theater LGITMiK
1978 - “Brothers and Sisters” based on F. Abramov’s trilogy “Pryasliny”. Staged by A. Katsman and L. Dodin (N. Bilibin)
1979 - “Love’s Labour’s Lost” by W. Shakespeare. Staged by A. Katsman and L. Dodin (N. Bilibin)
1979 - “If only, if...” Staged by A. Katsman and L. Dodin
1983 - “The Brothers Karamazov” based on the novel by F. Dostoevsky. Staged by A. Katsman, L. Dodin and A. Andreev (N. Bilibin)
1983 - “Oh, these stars!” Staged by A. Katsman, L. Dodin and A. Andreev

Productions abroad
1986 - “Bankrupt” (“Our own people - we will be numbered!”) by A. N. Ostrovsky (E. Kochergin, costumes by I. Gabay) - National Theater, Helsinki, Finland
1995 - “Electra” by R. Strauss. Conductor C. Abbado (D. L. Borovsky) - Salzburg Easter Festival
1996 - “Electra” by R. Strauss. Conductor C. Abbado (D. L. Borovsky) - Teatro Communale, Florence Musical May
1998 - “Lady Macbeth of Mtsensk” by D. D. Shostakovich. Conductor S. Bychkov (D. L. Borovsky) - Teatro Communale, Florence Musical May
1998 - “The Queen of Spades” by P. I. Tchaikovsky. Conductor S. Bychkov (D. L. Borovsky) - Netherlands Opera (Stopera), Amsterdam
1999 - “The Queen of Spades” by P. Tchaikovsky. Conductor V. Yurovsky (D. Borovsky) - National Paris Opera
1999 - “Mazepa” P.I. Tchaikovsky. Conductor M. Rostropovich (D. Borovsky) - La Scala Theater
2003 - “Demon” by A. Rubinstein. Conductor V. Gergiev (D. Borovsky, costume designer H. Obolenskaya) - Paris, Chatelet Theater
2003 - “Othello” by G. Verdi. Conductor Z. Meta (D. Borovsky) - Florence, Teatro Comunale
2003 - “Salome” by R. Strauss. Conductor James Conlon (David Borovsky) - Paris, Opéra de Bastille
2005 - “The Queen of Spades” by P. Tchaikovsky. Conductor G. Rozhdestvensky (D. Borovsky) - National Paris Opera
2012 - “The Queen of Spades” by P. Tchaikovsky. Conductor D. Yurovsky (D. Borovsky) - National Paris Opera

prizes and awards

USSR State Prize (1986) - for the performances “Home” and “Brothers and Sisters” based on the works of F. A. Abramov at the MDT.
State Prize of the Russian Federation (1992) - for the play “We are given young years for fun” based on S. Kaledin’s story “Stroibat” at the MDT.
State Prize of the Russian Federation (2002) - for the performance of the AMDT-Theater of Europe “Moscow Choir”.
Order of Merit for the Fatherland, III degree (March 24, 2009).
Order of Merit for the Fatherland, IV degree (May 9, 2004).
Prize of the President of the Russian Federation in the field of literature and art (2000).
Independent Russian award in the field of art "Triumph" (1992).
Prize of French Theater and Music Critics (1992).
Regional English Theater Award (1992).
Officer of the Order of Arts and Letters (France, 1994).
Prize of the K.S. Foundation Stanislavsky “For outstanding achievements in pedagogy” (1996), “For contribution to the development of the Russian theater” (2008).
Golden Soffit Award (1996, 2007, 2008, 2011).
National Theater Award "Golden Mask" (1997, 1999, 2004).
The highest European theater award “Europe for the Theater” (2000).
Georgy Tovstonogov Prize "for outstanding contribution to the development of theatrical art" (2002).
Independent Moscow theater award "The Seagull" (2003).
Award of the National Association of Theater Critics of Italy for the 2003/2004 season.
Prize of the Government of St. Petersburg in the field of culture, literature and architecture (2004).
Awarded the medal of the Hungarian government "For contribution to the development of Hungarian culture" (2005).
International award for the development and strengthening of humanitarian ties in the countries of the Baltic region “Baltic Star” (2007).
Award of the Federation of Jewish Communities of Russia “Person of the Year” (2007).
"Breakthrough" Award in the "Master" category (2011).
Prize named after Andrey Tolubeev in the nomination “For the preservation and development of the methodology of live theater” (2011).
Platonov Prize in the field of literature and art "For preserving the traditions of Russian repertory theater and outstanding productions of recent years" (2012).
St. Petersburg Theater Award "Golden Sofit" in the category "Best Director" (2013).
Russian National Acting Award named after Andrei Mironov “Figaro” in the nomination “For service to the Russian repertory theater” (2013).
Badge of honor "For services to St. Petersburg" (2013).
Tsarskoye Selo Art Prize "For outstanding contribution to world theater art" (2013).