Lev Dodin personal. Lev Dodin: “We are afraid to say that the king is naked. Famous productions by the director

The name of Lev Dodin is widely known to avid theatergoers not only in Russia, but also far beyond its borders. An outstanding teacher, a talented stage director, a successful theater figure - all these titles belong to one person.

How did Lev Abramovich Dodin begin his career? What is the director known to a wide audience? How was his personal life? We will talk about this and much more in the material presented.

early years

Lev Dodin was born on May 14, 1944 in the city of Novokuznetsk (formerly Stalinsk). The family of the future director ended up in this place during the operation to evacuate the population of Leningrad during the Second World War. Then, in 1945, the Dodin couple returned with their children to their hometown.

From early childhood, Little Lev was a member of the acting troupe of the Leningrad Youth Theater. Here the boy learned stagecraft under the auspices of a talented teacher, director and simply an authoritative figure in theater circles - Matvey Grigorievich Dubrovin. The positive influence of the teacher allowed the guy to discover his creative talents, and also persuaded him to decide to connect his life with theatrical activities.

After graduating from school, Lev Dodin applied for admission to the State Institute of Theater of St. Petersburg, where he was successfully admitted. It is noteworthy that the guy completed his studies at the university a year later than his classmates. Because I decided to stay at the institute to gain experience, mastering the art of directing in the creative workshop “Zone”, which functioned at the institution.

Directorial debut

When did Lev Dodin make his debut as a theater director? The novice director's performances began in 1966. The debut play created by Dodin was a work called “First Love”, based on the work of I. Turgenev. Subsequently, the director became one of the leading directors of the Theater for Young Spectators in Leningrad. Here his play “Our People - We Will Be Numbered” based on A. Ostrovsky enjoyed particular success.

Maly Drama Theater in the life of a director

In 1975, Lev Dodin was approved for the position of chief director of the Maly Drama Theater. The director's first successful work in his new field was the play “The Robber,” based on K. Capek. Later, the productions “Live and Remember” and “The Rose Tattoo” aroused keen interest among theater audiences.

The Lev Dodin Theater received rapid development after the launch of the play “Home” based on the cult novel by F. Abramov. From that time to the present day, the director remains the constant head of the Maly Drama Theater. The main part of the institution's repertoire began to be occupied by works of classics of Russian drama. Dodin paid special attention to productions based on the works of A. Chekhov. These are, first of all, the plays “Uncle Vanya”, “The Cherry Orchard”, “The Seagull”.

Working as a teacher

In 1969, Lev Dodin decided to take up teaching. At this time, the famous director received a position at the Academy of Theater Arts. The theater director headed the directing department. Here his innovative methods of training young artists and directors began to be put into practice. Largely thanks to the successful work of Dodin, many successful personalities in the field of stage activities came out of the academy.

The secret of Lev Dodin's success

As noted by the artists who collaborated with the famous director, he has a unique attractive energy and pays special attention to the word. The director knows what to say to the audience and his own actors. Therefore, the dialogues in his plays are filled with the deepest meaning.

Lev Dodin always tried to create a friendly atmosphere behind the scenes, to unite the team in such a way that everyone involved in the work on the play turned into a real family. It is on these principles that his work in the theater is built.

Dodin has a lot of creative experiments behind him. The director's innovative ideas were not always to the liking of a wide audience. However, this never stopped the director from searching for original solutions for the development of domestic creativity.

Famous productions by the director

Today, Lev Dodin is the author of about six dozen dramatic and opera plays, which have enjoyed success not only in the domestic space, but also aroused genuine interest among the audience on the world's largest stages. Among the director's most successful works, the following productions should be noted:

• "Our Circus" (1968).
• "Tales of Chukovsky" (1970).
• "Robber" (1974).
• "Home" (1980).
• "Brothers and Sisters" (1985).
• "Lord of the Flies" (1986).
• "Gaudeamus" (1990).
• "Demons" (1991).
• "The Cherry Orchard" (1994).
• "A Play Without a Title" (1997).
• "The Seagull" (2001).
• "Uncle Vanya" (2003).
• "King Lear" (2006).
• "Warsaw Melody" (2007).
• "Love's Labour's Lost" (2008).
• "Three Sisters" (2010).
• "Enemy of the People" (2014).

Awards and achievements

Productions under the direction of Lev Dodin were staged on the largest stages in the world. The director's plays were seen by audiences in the United States, France, Great Britain, Germany, Italy, Japan, Israel, Greece, and other developed countries.

The performance of the famous director, entitled “Gaudeamus”, received the prestigious UBU award at the theater festival in Italy, as well as a certificate of honor from Laurence Olivier during screenings in Britain. In addition, the play earned an award in the category “Best Foreign Performance” in France.

Currently, Lev Dodin has the title of honorary doctor of the St. Petersburg Humanitarian University of Trade Unions. The renowned director is a member of the Russian Academy of Arts. Lev Dodin's Theater of Europe, which became a successful project for the director in the West, allowed him to earn fame as one of the most famous Russian theater figures.

Among other director titles, it is worth noting the following titles:

• Honored Artist of the Soviet Union.
• People's Artist of the Russian Federation.
• Recipient of the Order of Merit for the Fatherland, III degree.
• Winner of the European Theater Award.
• President of the Union of European Theaters.

Personal life

Director Dodin prefers to refrain from communicating with journalists and to bring up personal problems less for discussion with a wider audience. All that is known about the life of a theater director off stage is that Lev Abramovich was once married to actress Natalya Tenyakova. After several years of marriage, the couple separated. Currently, Lev Dodin is married to film and theater actress, holder of the title of People's Artist of the Russian Federation, Tatyana Shestakova.

Finally

The Lev Dodin Theater (St. Petersburg) is thriving to this day. Plays staged by a successful director have enjoyed the interest of a wide audience for many years. The topics that Dodin touched on in his productions still do not lose their relevance.

Currently, Lev Abramovich continues to engage in teaching activities. The director regularly organizes all kinds of master classes in famous theater institutions in Europe and the United States. The renowned director is a permanent member of the jury of such prestigious theater competitions as “Golden Sofit” and “Northern Palmyra”.

Catch the artistic director of the Academic Maly Drama Theater Lev Dodin in his native St. Petersburg - not an easy task. The head of the Theater of Europe (this status was assigned to MDT in 1998) travels a lot and often around the world. So Lev Abramovich’s book is called “Journey Without End”. However, these are not travel notes, but an immersion into the world of theater. Dodin is ready to talk about him endlessly. The director hardly talks about his personal life, but sometimes he still makes exceptions...

- What place of birth is indicated in your passport, Lev Abramovich?

In what is now in our hands, Novokuznetsk. And before they wrote: Stalinsk. After exposing the cult of personality, it was not without pleasure that I wrote this word in questionnaires so that everyone would remember the recent terrible past of my native state... Stalinsk is the very garden city that Vladimir Mayakovsky dreamed of. At least he intended it that way. It was built for a metallurgical plant and a huge number of iron ore deposits in the Kemerovo region, in the discovery and development of which my dad, a prominent geologist, participated. You know, in Soviet times I traveled a lot around the country, but then no one thought about abroad - we diligently developed a sixth of the land. However, to my shame, I have never visited Novokuznetsk. My wife ended up there in the seventies; she came with the Leningrad Comedy Theater, where she worked then. Then Tanyusha shared her impressions, which were not at all rosy. There was no smell of the garden city. The troupe was fed in the canteen of the city party committee, but even there the menu was very modest, the food counters were empty... But something else is interesting. My wife found the family where my parents lived during the evacuation. I even found a nanny! She remembered me and wrote a wonderful letter. I answered her, but, alas, I didn’t have the chance to meet.

- How did your parents end up in those places?

My father devoted many years to studying Siberia. In 2007, the book “Abram Lvovich Dodin. Selected works, memories." Dad's name is very famous in the geological world. He was a man of quiet and even wisdom. Born and raised in a small Jewish town, he did not know Russian for a long time, only at the age of fifteen began to learn the Cyrillic alphabet, and at twenty-six he already defended his dissertation, and soon his doctorate. Every year he spent approximately from May to October on expeditions, or, as geologists said, in the field. My mother (she kept her maiden name, her name was Tsilya Abramovna Dobkes) was sympathetic to her husband’s occupation; she raised my brother David and sister Rosa alone for several months. But in May 1941, she unexpectedly announced that she would no longer let dad go alone, she would go with the children with him. And indeed, she packed her bags and followed her father to Siberia. What was it - intuition, a sign from above? It’s pointless to guess, but it’s a fact: with that act, my mother saved the family. If I had stayed in besieged Leningrad, I probably would not have been born, and the older children would not have survived in the starving and freezing city... Mom was a wonderful pediatrician - even in Stalinsk she refused to go on maternity leave, worked almost until childbirth, believing that the sacred The duty of every citizen is to remain at his post, with all his might bringing closer the hour of victory over the enemy. For a long time, my mother believed in Soviet power and the slogans it proclaimed; in 1944, while pregnant, she joined the party. Dad didn’t express his political views out loud, but he didn’t share Mom’s idealism, that’s for sure. He never allowed himself to be rude; the only time in his life he lost his temper before my eyes was in March ’53 after Stalin’s death. Mom cried and lamented: “What will happen now, how to continue to live?” Dad was silent for a long time, chewing his lips, and then he couldn’t stand it and said in his heart: “Stop it, you fool!” I also managed to speak out on the topic of the cult of personality. The leader of the peoples had not yet been buried; farewells continued in the Hall of Columns of the House of Unions. I was sick, which happened to me often as a child, and was waiting for a visit from a nurse who was supposed to give me an injection. Like all children, I really didn’t like this procedure, I was even afraid of it, because they were pricked with thick needles, it was painful and unpleasant. I resisted to the last, tried to break free. Mom began to exhort: “Leva, aren’t you ashamed to cry over such a trifle? Stalin is dead! I shouted back: “I don’t care about your Stalin! I don’t want an injection.” I spoke and suddenly saw my mother turn white. She was mortally afraid that the nurse would report, and began to wail: “Don’t pay attention, he’s not himself, he has a high temperature...” Yes, there was such a time, for a careless word there was a threat of a real camp sentence... Gradually, the realization came to my mother that the words spoken from the stands, words and real deeds are very far from each other. In the seventies, she experienced the collapse of her previous illusions, but until the end of her life she remained an unusually active, active person. I remember how I decided to help a disabled person from the First World War, who was crowded together with his wife in a tiny room in a huge communal apartment. The old man hardly moved, could not independently get to the shared bathroom and toilet, his life turned into a living hell. According to the laws of that time, only those who lost their health on the fronts of the Great Patriotic War and, it seems, the Civil War could count on improved living conditions. Benefits did not apply to participants in the First World War, which was called imperialist in the USSR, emphasizing its anti-people essence. This did not stop my mother, she spent two years of her life trying to get a separate apartment for her neighbor, and reached the position of first secretary of the district party committee, which was almost equivalent to a feat. You should have seen the face of an elderly woman, the wife of a veteran, who, not believing her own happiness, cried and said: “Today we washed ourselves in our bathroom for the first time in our lives. I kissed all the walls in it...”

I, too, lived in a communal apartment until I was twenty, and in a certain sense I’m even grateful to fate for that invaluable experience. The huge apartment was home to about fifty tenants, representatives of all social strata of Leningrad - workers, engineers, teachers, police officers, criminals... There were Kolka the plumber, Lenka the speculator and Vitka the district police officer... Together they drank, sang, beat, loved, quarreled, fought , reconciled, got married, got divorced... Once again I was visiting Fyodor Abramov in Verkola and spent the whole evening talking about my communal apartment. Fyodor Alexandrovich listened and listened, and then chuckled and said: “Look at you! And it turns out that you can write interesting things about the city!” Indeed, this apartment was a concentrated clot of passions, representing an absolutely accurate cross-section of society. I still keep in touch with some of my neighbors, and I’m even close friends with one of my peers.

- Really with Kolka the plumber or Vitka the policeman?

Alas, Vitka came to a bad end and became an alcoholic by the time he was forty. And Kolka ruined her vodka. His wife once pierced his head with an ax, but then he survived, and the next time his missus kicked him out of the apartment, and a dead drunk Kolka froze to death in the hallway under the door... And my friendship connects me with Misha Mazur. He is a philologist, knows several languages, and has lived in France for a long time. We met after a long break during our first tour in Paris and from that moment we never lost sight of each other...

- Where did you live in St. Petersburg?

On the corner of Khersonskaya and Bakunin. This is the Smolninsky district. We were not allowed back to Leningrad immediately after the war; they demanded that we prove that we deserved this honor. But dad was a major geologist, worked at a leading scientific institute... My parents returned to the same two rooms that they occupied before the war. They stood empty, without furniture; my aunt, who survived the blockade, burned it in the potbelly stove during the long winters, trying to somehow keep warm. Nothing from my father’s library has survived either. Empty space: bare walls and a lonely chair in the center. The first piece of furniture that appeared was a bookcase knocked together from scrap materials, essentially from a rifle pyramid with traces of a butt rack. Then it stood in David’s apartment for a long time, no one raised the hand to throw it away, take it to the trash heap... Until the end of her life, my Aunt Lyubochka had a difficult attitude towards food. She constantly tried to feed everyone, but she herself ate very little. As a child, I did not understand the reason for this behavior, it irritated and angered me, only later, as I grew up, I realized what a wonderful and kind person my aunt was. She hardly talked about the blockade. Like most people who lived through that time. She didn’t even watch movies or TV shows, she silently got up and left the room. Apparently the memories were too terrible. This tragic page in the history of our people still awaits true researchers. “The Siege Book” by Ales Adamovich and Daniil Granin, which sounded loudly in the early 80s, will seem like a homeopathic dose of truth that is yet to be discovered... At some point, I was closely involved in this issue, working together with the writer Kirnosov. Alexey survived the siege as a child and wrote a story, we tried to turn it into a play and put it on stage. There were a lot of chilling details, including confirmed cases of cannibalism. However, the secret menu of the Smolny canteen, which served the top party leadership of the city, was no less eerie to read. Everything remained there during the hungriest days of the blockade. Right down to black caviar... The play was called “What is a Bomb”. I worked at the Leningrad Theater for Young Spectators and persuaded the main director Korogodsky to send the play to Glavlit. Soon the censors called the chief director, but Zinovy ​​Yakovlevich said: “You started this mess, now clean it up.” I was a boy, I was not afraid of anyone or anything. The censor turned out to be a smart person. He pulled the text out of his desk and began flipping through it, periodically glancing at me. Each page was crossed out with two thick red lines. From corner to corner, criss-cross! Having finished leafing through the pages, the man said: “If you insist, I will hand over the play to the regional party committee. With all the ensuing consequences for you personally and for the theater... I advise you not to persist and pretend that this sedition did not exist in nature.” I realized that there was no point in arguing, I took the play away and never returned to the issue of production. For some time, by inertia, I continued to collect eyewitness accounts of the blockade, but only became convinced that I could not show this material from the stage. They won't allow it. A dark room that is scary to enter even after decades. The greatness of the feat of the defenders and residents of Leningrad overshadowed the horror of what they suffered over nine hundred days and the guilt of those who doomed them to this.

- Why didn’t you return to the topic later?

We were preparing for a production in a children's theater. It would be necessary to speak even more harshly and frankly with an adult audience, but such material is not at hand. What seemed bold and revolutionary in the late sixties now risks looking pale, banal and toothless. However, the point is not only in the documentary basis, but also in meeting the modern level of artistic demands...

- Did you face the problem of choosing a life path, Lev Abramovich?

For some reason, adults love to ask little children what they want to be. I remember my peers answered the question in a standard way, choosing one of three options - fireman, driver or policeman. Gentleman's set of the late forties. There were no astronauts then... Against this background, I stood out sharply, because since kindergarten I had been repeating that I would be a geologist. Many guys have never heard such a word... I stuck to this version until I became interested in theater, and my older brother went into geology, now he is already a corresponding member... I liked reading poetry, although my first experience of public speaking was extremely unsuccessful. I disgraced myself in front of my parents who came to visit me at the pioneer camp. I took part in the concert and spoke from the stage so quietly that none of the spectators heard a word. Mom and Dad were terribly upset and recalled the ill-fated episode with a shudder, even when I had already been studying for several years at the Theater of Youth Creativity under the guidance of Meyerhold’s student Matvey Dubrovin, whose centenary we celebrated recently. His main talent was his ability to communicate with children. He was a great teacher on the scale of Korczak. Dubrovin created a unique atmosphere at rehearsals and found the key to each child. He talked to twelve-year-old boys and girls for hours about the meaning of life, and we sat holding our breath, afraid that the teacher would fall silent. Such a rebbe, caring for his flock... I owe a lot to Matvey Grigorievich, he helped me become successful. Like my second mentor, course master at the Theater Institute Boris Vulfovich Zon, a student of Stanislavsky. So you say: choice... Do you, for example, know that from the first grade I sat at the same desk with Seryozha Solovyov?

Exactly! Seryozha and I conducted a pairs show that was fashionable at that time, wrote jokes, invented some skits, and acted them out at concerts at school. Apparently, it didn’t turn out too bad, because they began to invite us to the Raduga cinema to perform before the screenings. Although we were paid for the sketches not with money, but with ice cream, we were absolutely happy... By the way, a detail that confirms that our whole life is woven from amazing coincidences. In the third grade, Seryozha and I showed a skit about an Italian boy who distributed the local socialist newspaper Avanti!, and an evil priest tricked him into luring him and turned him in to the police. Seryozha played a boy, but as usual, I got the role of a negative character. And seven or eight years ago, while in Rome, I met the lifelong senator of the Italian Republic, Giovanni Pieraccini. At first we talked, as they say, on business, and then we became friends, and one day he invited me to his country house. And when we sat down to dinner, the owner began to tell episodes of his biography and suddenly announced that he was one of the founders of the Avanti newspaper! and was even its editor-in-chief. I figured it out in my mind: it turned out that my friend was in charge of the editorial office at the moment when I was playing a story related to this newspaper at school. Isn’t it an amazing intricacy?.. If we return to the story about Solovyov, in the sixth grade we became interested in cinema, founded our own studio “Detyunfilm”, and recruited staff. Yes, yes, everything is adult! We had deputies, cameramen, lighting technicians, assistants... And we appointed ourselves as artistic directors and directors at the same time. It seems incredible, but we went to a reception with the main boss at Lenfilm, and he received us - two boys in identical gray jackets, white shirts and red ties. We carefully prepared for the meeting and laid out on the table a plan of what we were going to shoot, as well as a list of the necessary equipment. The director of the studio, either out of surprise, or out of spiritual breadth, or maybe both the first and the second, gave us everything! A day later, two trucks loaded with professional filming equipment arrived at the school yard. There were huge digs, jupiters, a cart with rails, boxes of film, a movie camera... We wrote a script together and started filming. Apparently, some kind of indestructible energy was emanating from us, since everything we planned worked out. They found abandoned mechanical workshops on the Sinopskaya embankment of the Neva and set up a film set there. We went to the neighboring police station and asked to post security: we couldn’t take away the equipment every evening! Apparently, out of shock, the head of the police department allocated two guards who stood guard for three nights until the filming ended. We honestly returned all the equipment we received to Lenfilm, where they showed us the footage... Many years later, when I was studying at the institute, I accidentally met the director of our school on the street, who said: “Leva, we still receive bills from the studio to pay for the development of your and Solovyov’s film...” I just threw up my hands.

- Has the film survived?

Seryozha has several parts left.

- What was his name?

If I’m not mistaken, Iskra is working.” Soloviev reasonably does not mention this student work in his filmography. I, as you guessed, too... Yes, I don’t even have a filmography... The plot was based on an almost autobiographical incident from early childhood, when we, together with several other friends from our yard, created a semi-underground organization designed to fight hooligans who persecute and abuse children. There were a lot of punks then. It’s an interesting thing, although I grew up in an intelligent family, my childhood was still spent under a criminal overtone. In the third or fourth grade, we became obsessed with the fashion for dental bonding, when gold-plated and silver crowns made of candy foil were attached to healthy teeth in imitation of prisoners returning from the camps. And in the fifth grade, two over-aged dunces were placed behind Seryozha and me. They managed to commit some crime, receive a prison sentence for what they did, serve their time and return to school. Back then, they weren’t expelled for poor academic performance; they stayed in the same class for another year, two, three... Of course, eighteen-year-old bullies were not going to study, but they periodically came to lessons. They sat at their desks and swore continuously. No, they didn’t swear, they just talked, thieves’ and obscene slang replaced their normal speech. One day Seryozha could not stand it, turned around and politely asked to speak a little more quietly. And there was a labor lesson. Our so-called classmate, without thinking twice, took the scissors lying in front of him on the table and hit Solovyov in the back of the head, piercing his head with the blade. Happiness is not too deep, otherwise tragedy would happen. But in any case, Seryozha needed medical help, I had to call an ambulance, which took my friend to the hospital... Here’s the story. We wanted to make a film with Seryozha about our organization, which tried to resist the yard hooligan. And together we went to the Theater of Youth Creativity to see Matvey Grigoryevich Dubrovin. Interestingly, at first we thought of signing up for the swimming pool. Then there were almost no of them in Leningrad, literally two or three in the whole city. But we weren’t accepted into the swimming section; enrollment was over. However, we had already accelerated, decided to enroll somewhere, and then, very opportunely, an invitation to TYuT caught our eye. We went straight from the pool to the Palace of Pioneers. There was a competition, three rounds. They accepted both of us. From that moment on, I fell in love with the theater forever, and Seryozha eventually returned to cinema, and we began to do different things, although we still continue to communicate. Not long ago, Solovyov was filming a documentary about his childhood and called me to our old house on Khersonskaya Street. Of course, everything was rebuilt there, but the courtyard was preserved. How small he turned out to be! And before it contained the whole world... To cross it from end to end, you had to make an almost round-the-world trip! In one corner of the yard lived Sedy's gang, the second was controlled by Lysy's gang, I did not join either one, so neither of them liked me... Our balcony on the third floor survived, from it I looked at Ovsyannikovsky, which was destroyed on the site of the former Winter Equestrian Square the garden where Chernyshevsky was subjected to civil execution in May 1864. There are many memories associated with the garden in my life. All kinds - both funny and sad. There my volleyball was stolen. Brand new, tarpaulin... It was a terrible shortage at that time! Dad tried to persuade me not to take the gift outside, but I had to show off to the guys. As soon as I entered the garden, unfamiliar boys knocked the ball out of my hands and ran away. I cried for five hours and almost gave my mother a heart attack... You know, sometimes I even envy those who have left their native places far, far away and cannot return there. The world of childhood remains unchanged in their memory. Reality sometimes mercilessly destroys old images. To be honest, I was not glad that I listened to Seryozha and went with him to Khersonskaya, which I had not visited for a long time. Suddenly I saw how thin everything in our life was.

- That’s why you’re not going to Novokuznetsk?

Quite likely... Subconsciously. I drove all around, but didn’t get there. I think facing the past is not easy for everyone. As the poet said, “you can return to the same places, but it is impossible to go back.” It’s one thing when you grow up next to someone without noticing the gradual changes in them, in yourself, and it’s a completely different story to see each other decades later. It's always a blow, a shock.

- Have you and Solovyov kept each other in sight all your life?

Almost yes. If there were pauses in communication, at least they were aware of what was happening. After all, we spent eight years sitting at the same desk, and school friendship, you know, is a serious thing... We lived next door. I still remember Serezha’s phone number - A-10455. Every day before classes we called each other and met in the yard. Although the school was two steps away, you just had to turn the corner. We read books together, came up with some dramatizations, literally raved about cinema...

- Why didn’t you have a relationship with him, Lev Abramovich?

After college, I worked a little on television, but you’re right, it never made it to big cinema. Vague ideas arose several times, but they invariably shattered into reality, and I gradually stopped thinking about it. What I wanted to do always turned out to be at the wrong time. This is such a strange pattern. There was a moment when I became interested in Ward No. 6, worked with Oleg Borisov and Innokenty Smoktunovsky, and dreamed of filming them. I even tried to write a script proposal, but they looked at me like I was crazy, making it clear that the conversation was inappropriate. Then I decided to transfer Fyodor Abramov’s “Brothers and Sisters” to the screen, but this idea was also nipped in the bud...

Actually, in the theater I often took on disastrous projects. For about ten years I toyed with the idea of ​​staging Petrushevskaya’s “Music Lessons.” I didn’t offer it to any of the main directors - everyone refused! A similar story happened with a play without a title by Chekhov. They didn't take it! Self-censorship was worse than the official ban. Fear lives in our people at the genetic level. Sometimes a half-hint was enough for a person to get scared and back up. No one wanted to take unnecessary risks; the sly question served as a universal cover: “Well, will they let this pass?” Unfortunately, many ideas died without actually being born. I can't say I did everything I wanted. The only good thing is that I didn’t do anything I didn’t want to. This is perhaps the only thing I am ready to be truly proud of.

Yes, for the 50th anniversary of the October Revolution, Zinovy ​​Korogodsky and I produced at the Youth Theater the play “After the Execution, I ask...” about Pyotr Schmidt, but I worked on it absolutely sincerely. And today I wouldn’t refuse that production. There is nothing shameful or opportunistic about it... All sorts of situations happened. In 1974 he staged Chapek's The Robber at the Maly Drama Theatre. The deputy head of the Leningrad cultural department talked to me, sitting on the windowsill and dangling his legs. He said: “Young man, we treat you well and the best we can do is not to miss the performance. For your sake. You’ll say thank you later.” Nevertheless, after lengthy approvals, “The Robber” was still allowed to be played, but the performance did not bring much harm to the Soviet regime, since the audience did not attend it well. At that time, this theater was visited by a peculiar audience.

- Which?

The small dramatic one was literally small. Much was predetermined by its regional status. The theater was created in 1944, shortly after the siege of Leningrad was lifted. The troupe had a task: to travel around villages and play in clubs. Essentially, touring non-stop. The wonderful actress Svetlana Vasilievna Grigorieva still works for us, she is already eighty-five, and she remembers how, together with her colleagues, she rode in carts on broken roads... Then the theater was given a building on Rubinstein Street. At first I had to share it with several other creative groups, playing simple productions two or three times a week. An equally unpretentious viewer attended them. It took a lot of time and effort to change the image of the theater. Of course, the great merit of this is Efim Padve, who headed the MDT in 1973. Perhaps I was lucky; I became the main director in 1983, when the Soviet system was decrepit before our eyes and was losing its grip. And although we had been pushing the already made “Brothers and Sisters” through the prohibitions for almost a year, none of the bosses took upon themselves the responsibility to say the final “no.”

- There was a moment when you were completely out of work, Lev Abramovich...

After leaving the Youth Theater, where he served, or rather lived, for eight or nine seasons. I fell out of favor with the authorities, and they didn’t risk taking me anywhere. In fact, I didn’t have a permanent job for ten years. I put it here and there. Two performances at the Drama and Comedy Theater on Liteiny, several at the Maly Drama Theater... From 1970 to 1983, he worked at the Theater Institute, remaining an hourly teacher, receiving about forty-two rubles - it was impossible to live on them for even a few days. A monstrous time, if you think about it! It’s probably hard for young people to believe, but sometimes the subjective opinion of one person was enough to essentially erase you from the profession. The head of the theater sector of the Leningrad Regional Party Committee, by the way, was a former teacher of scientific communism at the Theater Institute, who loved to tell students bold political jokes about Khrushchev, Lenin and Stalin, for which he was considered a liberal and a frontier. And then the man became a boss and changed dramatically. It turned out that an official from among the ex-intellectuals was the worst option possible. He had a peculiar manner, he never stayed for discussion. He watched the performance without emotion and went to the director’s office, who handed him his coat. He dressed silently and at the door casually said over his shoulder: “Of course, this can’t be let out.” That's all. Then he calmly left. The reaction of the management immediately became known to the artistic council, and further discussion turned into an empty formality. Yes, there were people who found the courage to object, defending their own position, but, by and large, this did not change anything.

Party officials had an amazing nose for everything alien. I didn’t stage contemporary plays then, I only took on the classics. It would seem, where is the estate, where is the water, and where is the flood? Let's say, "Rose Bernd" by Hauptmann. It seems to be a completely harmless work for the Soviet regime without any deep implications. But the authorities found something to complain about. The regional committee leader saw a cattle pen on stage and immediately called the director of the theater to him: “Just don’t take us for complete fools! Do you think we don’t understand what Dodin is hinting at? Like, there are no freedoms in the USSR and the Soviet people live in a stable?” What could be talked about after such a statement? I still don’t understand how everything fit into people’s brains. However, on a subconscious level, it means they understood that they had built a cattle pen for people...

There was an equally funny and sad story when I released “Nedoroslya” on Liteiny. After the scandal with “Rose,” the chief executive Yakov Khamarmer and the theater director Vera Tolstoy were forbidden to deal with me, but our initial agreement was intended for two productions, and people decided to keep their word, which required considerable courage at that time. We rehearsed for nine months and finally finished. The decision whether or not to have a performance depended on the same head of the regional committee sector. The day before there was a rumor that he was being removed from his position. Apparently, on the last day of work, the man’s conscience awoke, or maybe he was simply too lazy to strain himself, but, first criticizing me for distorting and modernizing the classic, after a truly MKhAT pause, he said, waving his hand: “However... let him go!” And the artistic council breathed a sigh of relief, because they were mentally preparing for the worst... Such moments gave life a particularly tart taste and smell.

Today I remember this easily, but then it was not too sweet. Think about it: ten years of unemployment! Performances happened once a year, or even less often, the money paid for them was tiny...

- And how did you get out?

- Why, by the way, did you fall into disgrace?

Probably, my performances “didn’t fit into the flow”, they broke out of the general series. In addition, in the last year of work at the Youth Theater, I secretly staged “Mother of Jesus” by Volodin. Wonderful play! Today it would seem insufficiently religious and too secular, but then it was perceived as impermissible clerical propaganda and was officially prohibited. We rehearsed at night in the hall on the fifth floor (now this is the Small Stage of the Youth Theater), then in the same way, under the cover of darkness, I organized closed screenings, leading the audience by the hand and persuading the theater security not to tell anyone about what was happening. But you can’t hide an sew in a bag. The right people became aware of freethinking in the Youth Theater. This quarreled me with the main director Zinovy ​​Korogodsky. To top it all off, I gained a reputation as a young extremist...

I left voluntarily, writing a statement of my own free will, because I realized that I could no longer remain under the roof of the official theater. We had a successful creative union with Zinovy ​​Yakovlevich, but when it collapsed, further stay in the Youth Theater became meaningless.

- What about your work book? Where did they put her so as not to be branded, like Brodsky, as a parasite?

To be honest, I don't even remember. He probably took it to the Theater Institute. They didn’t want to hire me as a staff member there, although I started teaching acting, essentially, immediately after receiving my diploma, the next year after graduating from college. This is how, in fact, the course “Our Circus” was born, then “Brothers and Sisters”, “The Karamazov Brothers”... Today’s basis of MDT are my students from different years. From the very first set, Tyuzov's, Tanyusha Shestakova, his wife, and the wonderful Kolya Lavrov, who left us not so long ago. And then the names of favorite students who became masters can be listed for a long time...

In recent decades, the concept of apprenticeship has faded from people’s consciousness; today they do not teach, but provide educational services, which, you see, is not the same thing. After all, the main task is not the transfer of knowledge, but the inheritance of human values. However, this is a topic for a separate big conversation.

- Have you ever thought about leaving your profession, Lev Abramovich?

Never. Even during the most severe bummers, when I was unemployed. Apparently, I am a stubborn person and am not used to giving up. There was something else - melancholy. It seemed that nothing would change until the end of time, everything would continue to drag on. Suddenly I physically felt what timelessness was and wanted to express it in performances. Maybe my mood was felt at a distance, which is why the productions were canceled so often?

- What about leaving the country?

Paradoxically, I hardly thought about this either, although I never condemned those who chose the path of emigration. Some left their homeland with hope, others left out of despair, others challenged themselves and their circumstances. Therefore, seeing off could also be both joyful and sad, more like a funeral. Sometimes I even envied those who decided to take such a desperate step, but I always understood that I myself would not go anywhere. I felt like I was born on this earth and had to do something useful here... Then I began to travel around the world, discovered many wonderful places, but never found the answer to the question of where I wanted and could live, except for Russia. Yes, probably nowhere. Despite all the horror of what I observed and sometimes observe around me...

Siberia is my native land, the Russian North, the Volga region... Everywhere I feel good, like at home. I won’t be able to do theater anywhere like I do here. Although there are a lot of offers from abroad, I don’t want to. Firstly, a foreign language, and secondly, a completely different structure of the theater... The first time I came to Paris, it seems, was in 1977. It was a real miracle! I was included in a group of young actors and directors for a tourist trip. They sold us vouchers at a big discount, and still I collected money from friends and acquaintances. I still remember who borrowed and how much. For a long time I did not believe that they would let me out of the country, because before that my trips were canceled twice. First I had to fly with the Youth Theater on tour to England. The plane is at nine in the morning, and the day before at eleven in the evening they told me: you stay at home. The guys then brought a sign from the hotel room they had booked for me as a souvenir. It said Lev Dodin... After some time, another departure was planned, and I was dropped off again at the last moment. In a word, I mentally resigned myself, so I prepared for France, but internally I was preparing for the worst. I didn’t even pack my suitcase until the last moment, so as not to look like a fool. I told my students at the Theater Institute that I was going to Moscow on business.

The departing delegation was gathered at the Ministry of Culture, presented with foreign passports, and instructed for an hour and a half, telling us what an honor we had been given and how we should behave with foreigners. I looked at the visa and continued to not believe in a miracle. We arrived at the airport, went through customs, border control... I kept looking around, waiting for someone to stop me. And then the flight was delayed. It flashed in my brain: “Well! Q.E.D!" I looked at my fellow travelers and realized that about half of our company was in the same mood. We went together to a restaurant located in the departure area and drank heavily. As soon as everyone had gathered, they called for boarding. Only at the moment when the plane's landing gear lifted off the runway did I realize that I was flying to France! The trip was wonderful - Paris, the banks of the Loire, Versailles... And now I’m returning to Moscow. The flight was in the evening, so I stayed overnight with a friend. I’m calling Leningrad to tell my mother: I’m back, everything is fine. She picks up the phone and starts asking: “Leva, is that you? You are in Moscow?" I don’t understand anything and repeat over and over again: “Yes, mom, I’ve arrived, everything is fine...” It took about three minutes to explain what seemed to be the obvious. And only a few days later, when I was already in St. Petersburg, my mother admitted that she did not expect me to return, she had no doubt: I would stay in France, take advantage of the only chance. Indeed, I did not have a permanent job, I was often without money, and was listed as persecuted, but it never occurred to me to flee to the West...

When the putsch happened in August 1991, my mother called the theater and began shouting into the phone: “Leva, why didn’t you listen to my advice? How many years have I been saying that I need to leave here!” No, for me the question was not that way. I am very stubborn, I love what I love, I want what I want, and I don’t agree with anything else...

To be continued.

Lev Abramovich Dodin(born May 14, Stalinsk) - Soviet and Russian theater director, People's Artist of the Russian Federation (), laureate of the USSR State Prize () and State Prizes of the Russian Federation (,,).

Biography

Lev Dodin was born in Stalinsk (now Novokuznetsk), where his parents were evacuated. In 1945, the family returned to Leningrad. Passionate about theater since childhood, Lev Dodin, together with classmate Sergei Solovyov, studied at the Theater of Youth Creativity (TYUT) at the Leningrad Palace of Pioneers under the direction of Matvey Dubrovin. Immediately after school, in 1961, he entered the B.V. Zone course. Olga Antonova, Victor Kostetsky, Leonid Mozgovoy, Sergei Nadporozhsky, Natalya Tenyakova, Vladimir Tykke studied with him in the acting group here. But L. A. Dodin completed his studies a year later than his classmates in the directing department at the Zone workshop.

In 1967, Lev Dodin began teaching acting and directing at LGITMiK, and trained more than one generation of actors and directors.

He staged performances on the Small Stage of the Bolshoi Drama Theater - Oleg Borisov's one-man show "The Meek" based on the story by F. M. Dostoevsky (1981) and at the Moscow Art Theater - "The Golovlevs" based on the novel by M. E. Saltykov-Shchedrin with Innokenty Smoktunovsky (1984), "The Meek" with Oleg Borisov (1985).

In 1975, Lev Dodin’s collaboration with the Maly Drama Theater began with the production of the play “The Robber” based on the play by K. Chapek. Since 1983 he has been the artistic director of the theater, and since 2002 the director.

Family

Productions

Leningrad Youth Theater

• - “Our Circus” Composition and production by Z. Korogodsky, L. Dodin, V. M. Filshtinsky. Artist Z. Arshakuni
• - “Ours, only ours...” Composition and production by Z. Korogodsky, Dodin, V. Filshtinsky. Artist M. Azizyan
• - “Tales of Chukovsky” (“Our Chukovsky”). Composition and production by Z. Korogodsky, Dodin, V. Filyshtinsky. Artists Z. Arshakuni, N. Polyakova, A. E. Poraj-Koshits, V. Solovyova (under the direction of N. Ivanova)
• - "Public lesson". Composition and production by Z. Korogodsky, Dodin, V. Filshtinsky. Artist A. E. Porai-Koshits
• - “What would you choose?..” A. Kurgatnikova. Artist M. Smirnov

Maly Drama Theater

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

Other theaters

• - “Rose Bernd” by G. Hauptmann. Artist L. Mikhailov. - Leningrad Regional Drama and Comedy Theater.
• - “Minor” by D. Fonvizin. Design by E. Kochergin, costumes by I. Gabay. - Leningrad Regional Drama and Comedy Theater.
• - “Continuation of Don Juan” by E. Radzinsky. Design by M. Kitaev, costumes by O. Savarenskaya. - Leningrad Comedy Theater.
• - “Meek” according to F. M. Dostoevsky. Design by E. Kochergin, costumes by I. Gabay. - Leningrad Bolshoi Drama Theater named after. M. Gorky.
• - “Gentlemen Golovlevs” by M. E. Saltykov-Shchedrin. Design by E. Kochergin, costumes by I. Gabay. Moscow Art Theater named after. M. Gorky.
• - “Meek” according to F. M. Dostoevsky. Design by E. Kochergin, costumes by I. Gabay. - Moscow Art Theater named after. M. Gorky

Productions abroad

• 1986 - “Bankrupt” (“Our people - we will be numbered!”) by A. N. Ostrovsky. Design by E. Kochergin, costumes by I. Gabay. - National Theatre, Helsinki, Finland.
• 1995 - “Electra” by R. Strauss. Conducted by C. Abbado. Artist D. L. Borovsky. - Salzburg Easter Festival.
• 1996 - “Electra” by R. Strauss. Conductor K. Abbado. Artist D. L. Borovsky. - Teatro Communale, Florence Musical May.
• 1998 - “Lady Macbeth of Mtsensk” by D. D. Shostakovich. Conductor S. Bychkov. Artist D. L. Borovsky. - Teatro Communale, Florence Musical May.
• 1998 - “The Queen of Spades” by P. I. Tchaikovsky. Conductor S. Bychkov. Artist D. L. Borovsky. - Dutch Opera (Stopera), Amsterdam. "Love Under the Elms"

Confession

• Honored Artist of the RSFSR ()
• People's Artist of the Russian Federation (October 26, 1993) - for great achievements in the field of theatrical art
• USSR State Prize (1986) - for the performances “Home” and “Brothers and Sisters” based on the works of F. A. Abramov at the Maly Drama Theater
• State Prize of the Russian Federation (1992) - for the play “We are given young years for fun” based on S. Kaledin’s story “Stroybat” at the Maly Drama Theater, St. Petersburg
• State Prize of the Russian Federation (2002) - for the performance of the Academic Maly Drama Theater - Theater of Europe "Moscow Choir"
• Order of Merit for the Fatherland, III degree (March 24, 2009) - for his great contribution to the development of domestic theatrical art and many years of creative activity
• Order of Merit for the Fatherland, IV degree (May 9, 2004) - for his great contribution to the development of theatrical art
• Order of Honor (February 3, 2015) - for great services in the development of national culture and art, television and radio broadcasting, the press and many years of fruitful activity
• Prize of the President of the Russian Federation in the field of literature and art 2000
• Officer of the Order of Arts and Letters (France, 1994) - for his enormous contribution to the cooperation of Russian and French cultures
• Georgy Tovstonogov Prize (2002)
• Honorary Doctor of St. Petersburg State Unitary Enterprise (2006)
• Award of the Federation of Jewish Communities of Russia “Person of the Year” (2007)
• Honorary Member of the Russian Academy of Arts
• Honorary President of the Union of European Theaters (2012)
• Theater award "Golden Sofit" (2013)
• Prize of the Government of the Russian Federation in the field of culture (2014) for the creation of the play “Cunning and Love” based on the tragedy of F. Schiller
• State Prize of the Russian Federation for 2015 in the field of literature and art ()

Books

• Dodin L. A. A journey without end. Immersion in worlds. "Three sisters". St. Petersburg: “Baltic Seasons”, 2011. 408 p. ISBN 978-5-903368-59-4
• Dodin L. A. A journey without end. Immersion in worlds. Chekhov. St. Petersburg: “Baltic Seasons”, 2010. ISBN 978-5-903368-45-7
• Dodin L. A. A journey without end. Immersion in worlds. St. Petersburg: “Baltic Seasons”, 2009. 432 pp., 48 ILL. ISBN 978-5-903368-28-0
• Dodin L. A. A journey without end. Dialogues with the world. St. Petersburg: Baltic Seasons, 2009. 546 p. ISBN 978-5-903368-19-8
• Dodin L.A. Rehearsals of a play without a title. St. Petersburg: Baltic Seasons, 2004. 480 pp. ISBN 5-902675-01-4
• Lev Dodin Journey Without End. Reflections and Memoirs. Platonov Observed: Rehearsal Notes / Foreword by Peter Brook. London: Tantalus Books, 2005.

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Notes

Links

• on the website of the Maly Drama Theater.

Excerpt characterizing Dodin, Lev Abramovich

Staggering on his long thin legs, in a flowing robe, this madman ran quickly, not taking his eyes off Rostopchin, shouting something to him in a hoarse voice and making signs for him to stop. Overgrown with uneven tufts of beard, the gloomy and solemn face of the madman was thin and yellow. His black agate pupils ran low and anxiously over the saffron yellow whites.
- Stop! Stop! I speak! - he screamed shrilly and again, breathlessly, shouted something with impressive intonations and gestures.
He caught up with the carriage and ran alongside it.
- They killed me three times, three times I rose from the dead. They stoned me, crucified me... I will rise... I will rise... I will rise. They tore my body apart. The kingdom of God will be destroyed... I will destroy it three times and build it up three times,” he shouted, raising his voice more and more. Count Rastopchin suddenly turned pale, just as he had turned pale when the crowd rushed at Vereshchagin. He turned away.
- Let's go... let's go quickly! - he shouted at the coachman in a trembling voice.
The carriage rushed at all the horses' feet; but for a long time behind him, Count Rastopchin heard a distant, insane, desperate cry, and before his eyes he saw one surprised, frightened, bloody face of a traitor in a fur sheepskin coat.
No matter how fresh this memory was, Rostopchin now felt that it had cut deep into his heart, to the point of bleeding. He now clearly felt that the bloody trail of this memory would never heal, but that, on the contrary, the further, the more evil, the more painful this terrible memory would live in his heart for the rest of his life. He heard, it seemed to him now, the sounds of his words:
“Cut him, you will answer me with your head!” - “Why did I say these words! Somehow I accidentally said... I could not have said them (he thought): then nothing would have happened.” He saw the frightened and then suddenly hardened face of the dragoon who struck and the look of silent, timid reproach that this boy in a fox sheepskin coat threw at him... “But I didn’t do it for myself. I should have done this. La plebe, le traitre... le bien publique”, [Mob, villain... public good.] - he thought.
The army was still crowded at the Yauzsky Bridge. It was hot. Kutuzov, frowning and despondent, was sitting on a bench near the bridge and playing with a whip in the sand, when a carriage noisily galloped up to him. A man in a general's uniform, wearing a hat with a plume, with darting eyes that were either angry or frightened, approached Kutuzov and began telling him something in French. It was Count Rastopchin. He told Kutuzov that he came here because Moscow and the capital no longer exist and there is only one army.
“It would have been different if your lordship had not told me that you would not surrender Moscow without fighting: all this would not have happened!” - he said.
Kutuzov looked at Rastopchin and, as if not understanding the meaning of the words addressed to him, carefully tried to read something special written at that moment on the face of the person speaking to him. Rastopchin, embarrassed, fell silent. Kutuzov shook his head slightly and, without taking his searching gaze off Rastopchin’s face, said quietly:
– Yes, I will not give up Moscow without giving a battle.
Was Kutuzov thinking about something completely different when he said these words, or did he say them on purpose, knowing their meaninglessness, but Count Rostopchin did not answer anything and hastily walked away from Kutuzov. And a strange thing! The commander-in-chief of Moscow, the proud Count Rostopchin, taking a whip in his hands, approached the bridge and began to disperse the crowded carts with a shout.

At four o'clock in the afternoon, Murat's troops entered Moscow. A detachment of Wirtemberg hussars rode ahead, and the Neapolitan king himself rode behind on horseback with a large retinue.
Near the middle of the Arbat, near St. Nicholas the Revealed, Murat stopped, awaiting news from the advance detachment about the situation of the city fortress “le Kremlin”.
A small group of people from the residents remaining in Moscow gathered around Murat. Everyone looked with timid bewilderment at the strange, long-haired boss adorned with feathers and gold.
- Well, is this their king himself? Nothing! – quiet voices were heard.
The translator approached a group of people.
“Take off your hat... take off your hat,” they said in the crowd, turning to each other. The translator turned to one old janitor and asked how far it was from the Kremlin? The janitor, listening in bewilderment to the alien Polish accent and not recognizing the sounds of the translator's dialect as Russian speech, did not understand what was being said to him and hid behind others.
Murat moved towards the translator and ordered to ask where the Russian troops were. One of the Russian people understood what was being asked of him, and several voices suddenly began to answer the translator. A French officer from the advance detachment rode up to Murat and reported that the gates to the fortress were sealed and that there was probably an ambush there.
“Okay,” said Murat and, turning to one of the gentlemen of his retinue, he ordered four light guns to be brought forward and fired at the gate.
The artillery came out at a trot from behind the column following Murat and rode along the Arbat. Having descended to the end of Vzdvizhenka, the artillery stopped and lined up in the square. Several French officers controlled the cannons, positioning them, and looked into the Kremlin through a telescope.
The bell for Vespers was heard in the Kremlin, and this ringing confused the French. They assumed it was a call to arms. Several infantry soldiers ran to the Kutafyevsky Gate. There were logs and planks at the gate. Two rifle shots rang out from under the gate as soon as the officer and his team began to run up to them. The general standing at the cannons shouted command words to the officer, and the officer and the soldiers ran back.
Three more shots were heard from the gate.
One shot hit a French soldier in the leg, and a strange cry of a few voices was heard from behind the shields. On the faces of the French general, officers and soldiers at the same time, as if on command, the previous expression of gaiety and calm was replaced by a stubborn, concentrated expression of readiness to fight and suffer. For all of them, from the marshal to the last soldier, this place was not Vzdvizhenka, Mokhovaya, Kutafya and Trinity Gate, but this was a new area of ​​a new field, probably a bloody battle. And everyone prepared for this battle. The screams from the gate died down. The guns were deployed. The artillerymen blew off the burnt blazers. The officer commanded “feu!” [fallen!], and two whistling sounds of tins were heard one after another. Grapeshot bullets crackled against the stone of the gate, logs and shields; and two clouds of smoke wavered in the square.
A few moments after the rolling of shots across the stone Kremlin died down, a strange sound was heard above the heads of the French. A huge flock of jackdaws rose above the walls and, cawing and rustling with thousands of wings, circled in the air. Along with this sound, a lonely human cry was heard at the gate, and from behind the smoke the figure of a man without a hat, in a caftan, appeared. Holding a gun, he aimed at the French. Feu! - the artillery officer repeated, and at the same time one rifle and two cannon shots were heard. The smoke closed the gate again.
Nothing else moved behind the shields, and the French infantry soldiers and officers went to the gate. There were three wounded and four dead people lying at the gate. Two people in caftans were running away from below, along the walls, towards Znamenka.
“Enlevez moi ca, [Take it away,” said the officer, pointing to the logs and corpses; and the French, having finished off the wounded, threw the corpses down beyond the fence. Nobody knew who these people were. “Enlevez moi ca,” was the only word said about them, and they were thrown away and cleaned up later so they wouldn’t stink. Thiers alone dedicated several eloquent lines to their memory: “Ces miserables avaient envahi la citadelle sacree, s"etaient empares des fusils de l"arsenal, et tiraient (ces miserables) sur les Francais. On en sabra quelques "uns et on purgea le Kremlin de leur presence. [These unfortunates filled the sacred fortress, took possession of the guns of the arsenal and shot at the French. Some of them were cut down with sabers, and cleared the Kremlin of their presence.]
Murat was informed that the path had been cleared. The French entered the gates and began to camp on Senate Square. The soldiers threw chairs out of the Senate windows into the square and laid out fires.
Other detachments passed through the Kremlin and were stationed along Maroseyka, Lubyanka, and Pokrovka. Still others were located along Vzdvizhenka, Znamenka, Nikolskaya, Tverskaya. Everywhere, not finding owners, the French settled not as in apartments in the city, but as in a camp located in the city.
Although ragged, hungry, exhausted and reduced to 1/3 of their previous strength, the French soldiers entered Moscow in orderly order. It was an exhausted, exhausted, but still fighting and formidable army. But it was an army only until the minute the soldiers of this army went to their apartments. As soon as the people of the regiments began to disperse to empty and rich houses, the army was destroyed forever and neither residents nor soldiers were formed, but something in between, called marauders. When, five weeks later, the same people left Moscow, they no longer constituted an army. It was a crowd of marauders, each of whom carried or carried with him a bunch of things that seemed valuable and necessary to him. The goal of each of these people when leaving Moscow was not, as before, to conquer, but only to retain what they had acquired. Like that monkey who, having put his hand into the narrow neck of a jug and grabbed a handful of nuts, does not unclench his fist so as not to lose what he has grabbed, and thereby destroys himself, the French, when leaving Moscow, obviously had to die due to the fact that they were dragging with the loot, but it was as impossible for him to throw away this loot as it is impossible for a monkey to unclench a handful of nuts. Ten minutes after each French regiment entered some quarter of Moscow, not a single soldier or officer remained. In the windows of the houses people in greatcoats and boots could be seen walking around the rooms laughing; in the cellars and basements the same people managed the provisions; in the courtyards the same people unlocked or beat down the gates of barns and stables; they lit fires in the kitchens, baked, kneaded and cooked with their hands rolled up, scared, made them laugh and caressed women and children. And there were many of these people everywhere, in shops and in homes; but the army was no longer there.
On the same day, order after order was given by the French commanders to prohibit troops from dispersing throughout the city, to strictly prohibit violence against residents and looting, and to make a general roll call that same evening; but, despite any measures. the people who had previously made up the army dispersed throughout the rich, empty city, abundant in amenities and supplies. Just as a hungry herd walks in a heap across a bare field, but immediately scatters uncontrollably as soon as it attacks rich pastures, so the army scattered uncontrollably throughout the rich city.
There were no inhabitants in Moscow, and the soldiers, like water into sand, were sucked into it and, like an unstoppable star, spread out in all directions from the Kremlin, which they entered first of all. The cavalry soldiers, entering a merchant's house abandoned with all its goods and finding stalls not only for their horses, but also extra ones, still went nearby to occupy another house, which seemed better to them. Many occupied several houses, writing in chalk who occupied it, and arguing and even fighting with other teams. Before they could fit in, the soldiers ran outside to inspect the city and, hearing that everything had been abandoned, rushed to where they could take away valuables for nothing. The commanders went to stop the soldiers and themselves unwittingly became involved in the same actions. In Carriage Row there were shops with carriages, and the generals crowded there, choosing carriages and carriages for themselves. The remaining residents invited their leaders to their place, hoping to thereby protect themselves from robbery. There was an abyss of wealth, and there was no end in sight; everywhere, around the place that the French occupied, there were still unexplored, unoccupied places, in which, as it seemed to the French, there was even more wealth. And Moscow sucked them in further and further. Just as when water pours onto dry land, water and dry land disappear; in the same way, due to the fact that a hungry army entered an abundant, empty city, the army was destroyed, and the abundant city was destroyed; and there was dirt, fires and looting.

The French attributed the fire of Moscow to au patriotisme feroce de Rastopchine [to Rastopchin's wild patriotism]; Russians – to the fanaticism of the French. In essence, there were no reasons for the fire of Moscow in the sense that this fire could be attributed to the responsibility of one or several persons. Moscow burned down due to the fact that it was placed in such conditions under which every wooden city should burn down, regardless of whether the city had one hundred and thirty bad fire pipes or not. Moscow had to burn due to the fact that the inhabitants left it, and just as inevitably as a heap of shavings should catch fire, on which sparks of fire would rain down for several days. A wooden city, in which there are fires almost every day in the summer under the residents, house owners and under the police, cannot help but burn down when there are no inhabitants in it, but live troops smoking pipes, making fires on Senate Square from Senate chairs and cooking themselves two once a day. In peacetime, as soon as troops settle into quarters in villages in a certain area, the number of fires in this area immediately increases. To what extent should the probability of fires increase in an empty wooden city in which an alien army is stationed? Le patriotisme feroce de Rastopchine and the fanaticism of the French are not to blame for anything here. Moscow caught fire from pipes, from kitchens, from fires, from the sloppiness of enemy soldiers and residents - not the owners of the houses. If there were arson (which is very doubtful, because there was no reason for anyone to set fire, and, in any case, it was troublesome and dangerous), then the arson cannot be taken as the cause, since without the arson it would have been the same.
No matter how flattering it was for the French to blame the atrocity of Rostopchin and for the Russians to blame the villain Bonaparte or then to place the heroic torch in the hands of their people, one cannot help but see that there could not have been such a direct cause of the fire, because Moscow had to burn, just as every village and factory had to burn , every house from which the owners will come out and into which strangers will be allowed to run the house and cook their own porridge. Moscow was burned by its inhabitants, it’s true; but not by those residents who remained in it, but by those who left it. Moscow, occupied by the enemy, did not remain intact, like Berlin, Vienna and other cities, only due to the fact that its inhabitants did not offer bread, salt and keys to the French, but left it.

The influx of Frenchmen, spreading like a star across Moscow on the day of September 2, reached the block in which Pierre now lived only in the evening.
After the last two days, spent alone and unusually, Pierre was in a state close to madness. His whole being was taken over by one persistent thought. He himself did not know how and when, but this thought now took possession of him so that he did not remember anything from the past, did not understand anything from the present; and everything that he saw and heard happened before him as in a dream.
Pierre left his home only to get rid of the complex tangle of life's demands that gripped him, and which, in his then state, he was able to unravel. He went to Joseph Alekseevich’s apartment under the pretext of sorting through the books and papers of the deceased only because he was looking for peace from life’s anxiety - and with the memory of Joseph Alekseevich, a world of eternal, calm and solemn thoughts was associated in his soul, completely opposite to the anxious confusion in which he felt himself being drawn in. He was looking for a quiet refuge and really found it in the office of Joseph Alekseevich. When, in the dead silence of the office, he sat down, leaning on his hands, over the dusty desk of the deceased, in his imagination, calmly and significantly, one after another, the memories of the last days began to appear, especially the Battle of Borodino and that indefinable feeling for him of his insignificance and falsity in comparison with the truth, simplicity and strength of that category of people who were imprinted on his soul under the name they. When Gerasim woke him from his reverie, the thought occurred to Pierre that he would take part in the supposed - as he knew - popular defense of Moscow. And for this purpose, he immediately asked Gerasim to get him a caftan and a pistol and announced to him his intention, hiding his name, to stay in the house of Joseph Alekseevich. Then, during the first solitary and idle day (Pierre tried several times and could not stop his attention on the Masonic manuscripts), he vaguely imagined several times the previously thought about the cabalistic meaning of his name in connection with the name of Bonaparte; but this thought that he, l "Russe Besuhof, was destined to put a limit to the power of the beast, came to him only as one of the dreams that run through his imagination for no reason and without a trace.
When, having bought a caftan (with the sole purpose of participating in the people's defense of Moscow), Pierre met the Rostovs and Natasha said to him: “Are you staying? Oh, how good it is!” – the thought flashed through his head that it would really be good, even if they took Moscow, for him to stay in it and fulfill what was predetermined for him.

Lev Abramovich Dodin(born May 14, 1944, Stalinsk) - Soviet and Russian theater director, People's Artist of the Russian Federation (1993), laureate of the USSR State Prize (1986) and State Prizes of the Russian Federation (1992, 2002, 2015).

Biography

Lev Dodin was born in Stalinsk (now Novokuznetsk), where his parents were evacuated. In 1945, the family returned to Leningrad. Passionate about theater since childhood, Lev Dodin, together with classmate Sergei Solovyov, studied at the Theater of Youth Creativity (TYUT) at the Leningrad Palace of Pioneers under the direction of Matvey Dubrovin. Immediately after school, in 1961, he entered the Leningrad Institute of Theater, Music and Cinematography on the B.V. Zone course. Olga Antonova, Viktor Kostetsky, Leonid Mozgovoy, Sergei Nadporozhsky, Natalya Tenyakova, Vladimir Tykke studied with him in the acting group here. But L. A. Dodin completed his studies a year later than his classmates in the directing department at the Zone workshop.

After graduating from the institute in 1966, Dodin made his debut as a director with the teleplay “First Love” based on the story by I. S. Turgenev. 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 1967, Lev Dodin began teaching acting and directing at LGITMiK, and trained more than one generation of actors and directors.

In 1975-1979 he worked at the Drama and Comedy Theater on Liteiny, staged the plays “The Minor” by D. I. Fonvizin, “Rosa Berndt” by G. Hauptmann and others.

He staged performances on the Small Stage of the Bolshoi Drama Theater - Oleg Borisov's one-man show "The Meek" based on the story by F. M. Dostoevsky (1981) and at the Moscow Art Theater - "The Golovlevs" based on the novel by M. E. Saltykov-Shchedrin with Innokenty Smoktunovsky (1984), "The Meek" with Oleg Borisov (1985).

In 1975, Lev Dodin’s collaboration with the Maly Drama Theater began with the production of the play “The Robber” based on the play by K. Chapek. Since 1983 he has been the artistic director of the theater, and since 2002 the 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.

Family

• His wife is People's Artist of Russia Tatyana Shestakova.
• Brother - Doctor of Geological and Mineralogical Sciences, corresponding member. RAS David Dodin.
• The niece is the deputy artistic director of the Academic Maly Drama Theater - Theater of Europe Dina Dodin.

He was married to actress Natalya Tenyakova.

Productions

• 1968 - “Our Circus” Composition and production by Z. Korogodsky, L. Dodin, V. M. Filshtinsky. Artist Z. Arshakuni
• 1969 - “Ours, only ours...”. Composition and production by Z. Korogodsky, Dodin, V. Filshtinsky. Artist M. Azizyan
• 1970 - “Tales of Chukovsky” (“Our Chukovsky”). Composition and production by Z. Korogodsky, Dodin, V. Filyshtinsky. Artists Z. Arshakuni, N. Polyakova, A. E. Poraj-Koshits, V. Solovyova (under the direction of N. Ivanova)
• 1971 - “Open Lesson”. Composition and production by Z. Korogodsky, Dodin, V. Filshtinsky. Artist A. E. Porai-Koshits
• 1971 - “What would you choose?..” A. Kurgatnikova. Artist M. Smirnov

• 1974 - “The Robber” by K. Capek. Design by E. Kochergin, costumes by I. Gabay
• 1977 - “The Rose Tattoo” by T. Williams. Design by M. Kataev, costumes by I. Gabay
• 1978 - “Appointment” by A. Volodin. Artist M. Kitaev
• 1979 - “Live and Remember” based on the story by V. Rasputin. Design by E. Kochergin, costumes by I. Gabay
• 1980 - “Home” based on the novel by F. Abramov. Design by E. Kochergin, costumes by I. Gabay
• 1984 - “Bench” by A. Gelman. Directed by E. Arie. Artist D. A. Krymov (artistic director of the production)
• 1985 - “Brothers and Sisters” based on F. Abramov’s trilogy “Pryasliny”. Design by E. Kochergin, costumes by I. Gabay
• 1986 - “Lord of the Flies” based on the novel by W. Golding. Artist D. L. Borovsky
• 1987 - “Towards the Sun” based on one-act plays by A. Volodin. Artist M. Kitaev
• 1987 - “Stars in the morning sky” A. Galin. Directed by T. Shestakova. Artist A. E. Poraj-Koshits (artistic director of the production)
• 1988 - “The Old Man” based on the novel by Yu. Trifonov. Design by E. Kochergin, costumes by I. Gabay
• 1988 - “Returned Pages” (literary evening). Staged by Dodin. Directed by V. Galendeev. Artist A. E. Porai-Koshits
• 1990 - “Gaudeamus” based on the story “Stroibat” by S. Kaledin. Artist A. E. Porai-Koshits
• 1991 - “Demons” according to F. M. Dostoevsky. Design by E. Kochergin, costumes by I. Gabay
• 1992 - “The Broken Jug” by G. von Kleist. Director V. Filshtinsky. Design by A. Orlov, costumes by O. Savarenskaya (artistic director of the production)
• 1994 - “Love under the Elms” by Yu. O’Neill. Design by E. Kochergin, costumes by I. Gabay
• 1994 - “The Cherry Orchard” by A.P. Chekhov. Design by E. Kochergin, costumes by I. Gabay
• 1994 - “Claustrophobia” based on modern Russian prose. Artist A. E. Porai-Koshits
• 1997 - “A Play Without a Title” by A.P. Chekhov. Design by A. E. Porai-Koshits, costumes by I. Tsvetkova
• 1999 - “Chevengur” after A.P. Platonov. Artist A. E. Porai-Koshits
• 2000 - “Molly Sweeney” by B. Friel. Artist D. L. Borovsky
• 2001 - “The Seagull” by A.P. Chekhov. Artist A. E. Porai-Koshits
• 2002 - “Moscow Choir” by L. Petrushevskaya (artistic director of the production
• 2003 - “Uncle Vanya” by A.P. Chekhov. Artist D. L. Borovsky
• 2006 - “King Lear” by W. Shakespeare. Artist D. L. Borovsky
• 2007 - “Life and Fate” based on V. S. Grossman, staged by L. Dodin.
• 2007 - “Warsaw Melody” by L. Zorin (artistic director of the production) Scenography idea by D. L. Borovsky; Artist A. E. Porai-Koshits.
• 2008 - “Long Journey Into Night” by Yu. O’Neill
• 2008 - “Love’s Labour’s Lost” by W. Shakespeare
• 2009 - “Lord of the Flies” by W. Golding. Scenography and costumes D. L. Borovsky; implementation of scenography by A. E. Porai-Koshits.
• 2009 - “A Beautiful Sunday for a Broken Heart” by T. Williams. Artist Alexander Borovsky.
• 2010 - “Three Sisters” by A.P. Chekhov.
• 2011 - “Portrait with Rain” based on the film script by A. Volodin. Artist A. Borovsky
• 2012 - “Cunning and Love” by F. Schiller. Artist A. Borovsky
• 2014 - “Enemy of the People” by G. Ibsen
• 2014 - “The Cherry Orchard” by A. P. Chekhov

Born in 1944 in the city of Stalinsk, Kemerovo region. From childhood he studied at the Leningrad Theater of Youth Creativity under the guidance of a wonderful teacher and director Matvey Dubrovin, a student of Meyerhold. At the Leningrad Theater Institute he graduated from the class of the outstanding director and teacher Boris Zon, a student of Stanislavsky.

In 1966, the television play “First Love” based on Turgenev’s story became the directorial debut of Lev Dodin. After this there were dozens of dramatic performances, including Dostoevsky’s “The Meek One” at the Bolshoi Drama Theater and the Moscow Art Theater, “The Golovlevs” at the Moscow Art Theater, “We Will Be Our Own People” at the Leningrad Youth Theater and at the Finnish National Theater in Helsinki.

Collaboration with the Maly Drama Theater began in 1974 with Chapek's The Robber. The production of Abramov’s “House” in 1980 determined the creative fate of Lev Dodin and MDT. In 1983, Dodin became artistic director of the theater. In 1985, he staged the dramatic play “Brothers and Sisters” based on Abramov’s trilogy “Pryasliny” at the Maly Theater - it was this production that would become the artistic and human manifesto of MDT. By staging performances at the MDT and teaching at the Leningrad Theater Institute, Dodin blurs the line between the process of training an artist and the “service” of an actor in a professional theater. The legendary MDT performances “Lord of the Flies”, “Gaudeamus”, “Demons”, “A Play Without a Title”, “King Lear”, “Life and Fate” are born in the creative collaboration of the adult artists of the troupe and very young students. Today, almost the entire theater troupe is Dodin’s students from different years of graduation. The process of jointly comprehending the mysteries of great literature and the secrets of human nature binds Dodin and several generations of his artists with common ideals of constant artistic search. Recent MDT premieres staged by Dodin: Schiller's "Cunning and Love", Ibsen's "Enemy of the People", a new production of "The Cherry Orchard" - prove that this search is certainly interesting not only to the theater troupe, but also to audiences in Russia and around the world.

From the beginning of the nineties to this day, the Dodin Theater has been actively touring in Russia and abroad. The theater's performances were shown on all continents except Antarctica - more than eighty cities in Europe, Australia, South and North America, Asia hosted the MDT on their stages, and today the level of Russian dramatic art in the world is judged largely by the productions of Lev Dodin and the Maly Drama Theater . In September 1998, the Dodin Theater received the status of the Theater of Europe - the third after the Odeon Theater in Paris and the Piccolo Theater in Milan. Lev Dodin is a member of the General Assembly of the Union of European Theaters. In 2012, he was elected honorary President of the Union of European Theaters. It is not for nothing that researchers call the Dodin Theater “the most European theater in Russia and the most Russian theater in Europe.”

Acquaintance and friendship with the great Claudio Abbado became Dodin's first step towards opera directing - in 1995 Abbado invited him to stage Strauss's Elektra at the Salzburg Festival. From that moment on, the combination of great music and outstanding conductors accompanied Dodin in his extremely careful selection of opera productions: Strauss's Electra with Abbado in Salzburg, and then in Florence; Shostakovich's "Lady Macbeth of Mtsensk" in Florence, first with Semyon Bychkov and then with James Conlon; “The Queen of Spades” by Tchaikovsky in Amsterdam with Semyon Bychkov; “Mazepa” by Tchaikovsky with Mstislav Rostropovich at La Scala in Milan, “The Demon” by Rubinstein with Valery Gergiev at the Chatelet Theater in Paris, “Othello” by Verdi with Zubin Mehta in Florence, “Salome” by Strauss with James Conlon in Paris. Dodin repeatedly returns to “The Queen of Spades” - new editions of the Amsterdam production bring him together at the Paris Opera with wonderful conductors Vladimir Yurovsky, Gennady Rozhdestvensky, Dmitry Yurovsky.

And Dodin stages all these operas in a happy artistic partnership with the great set designer David Borovsky. Dodin, an opera director, is no less demanding of opera soloists, chorus, and extras than of his own drama troupe - he always tries to involve them in the process of jointly comprehending history, the fate of the heroes, and the world that appears on stage. The star of co-creation, collaboration and friendship accompanies Dodin in his opera productions: in 2014, he staged Mussorgsky’s Khovanshchina at the Vienna State Opera: Semyon Bychkov at the conductor’s stand, set design and costumes by Alexander Borovsky, lighting by Damir Ismagilov - these two artists are Dodin’s constant collaborators in performances of recent years at the Maly Drama Theater.

The theatrical and pedagogical activities of Lev Dodin and his performances have been recognized with many state and international prizes and awards. Including State Prizes of Russia and the USSR, the Prize of the President of Russia in 2001, the Order of Merit for the Fatherland, III and IV degrees, the independent Triumph Prize, the K. S. Stanislavsky Prize, the national Golden Mask awards, the Lawrence Prize Olivier, the Italian Abbiati Prize for the best opera performance and others. In 2000, he was the first and so far the only Russian director to be awarded the highest European theater prize “Europe - Theater”. Lev Dodin is an honorary academician of the Russian Academy of Arts, an officer of the French Order of Arts and Letters, a laureate of the Platonov Prize in 2012, an honorary doctor of the St. Petersburg Humanitarian University. Head of the Department of Directing at the St. Petersburg Academy of Theater Arts, professor.

Laureate of the USSR State Prize in 1986
Laureate of the Laurence Olivier Award in 1988
Winner of the French Theater and Music Critics Award in 1992
Winner of the English Regional Theater Award in 1992
Laureate of the Russian National Independent TRIUMPH Award in 1992
Laureate of the State Prize of Russia in 1993, 2003
Winner of the Italian UBU Prize in 1994
Laureate of the K. S. Stanislavsky Foundation Prize “For outstanding achievements in pedagogy” in 1996, “For contribution to the development of the Russian theater” in 2008
Winner of the Golden Sofit Award in 1996, 2007, 2008, 2011, 2013, 2014
Winner of the National Theater Award "Golden Mask" in 1997, 1999 and 2004
Winner of the Italian Abbiati Critics' Prize for "Best Opera Performance" in 1998
Awarded the Order of Literature and Art of Officer Dignity “For his enormous contribution to the cooperation of Russian and French cultures” in 1994
Awarded the Highest Theater Prize of Europe “Europe to the Theatre” in 2000
Awarded the Russian Presidential Prize “For Outstanding Achievement” in 2001
G.A. Tovstonogov Prize “for outstanding contribution to the development of theatrical art” (2002)
Winner of the independent Moscow theater award "Chaika" in 2003
Winner of the National Association of Theater Critics of Italy Award for the 2003/2004 season
Awarded the Order of the Russian Federation “For Services to the Fatherland”, 4th degree (2004)
Prize of the Government of St. Petersburg in the field of culture, literature and architecture in 2004
Awarded the medal of the Hungarian government “For contribution to the development of Hungarian culture” in 2005
International award for the development and strengthening of humanitarian ties in the countries of the Baltic region “Baltic Star” in 2007
Laureate of the Federation of Jewish Communities of Russia “Person of the Year” Award in the “Theatre” category (2007)
Awarded the Order of the Russian Federation “For Services to the Fatherland”, 3rd degree (2009)
Awarded the title of honorary academician of the Russian Academy of Arts (2010)
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)
Honorary President of the Union of European Theaters (2012)
National Acting Award. Andrey Mironov’s “Figaro” in the nomination “For service to the Russian repertory theater” (2013)
Honorary Badge “For Services to St. Petersburg” (2013)
Tsarskoye Selo Art Prize "For outstanding contribution to world theater art" (2013)
Star of Glory by Lev Dodin (Sibiu, Romania, 2014)
Theater star (best director for the play “The Cherry Orchard”), 2014
Prize of the Government of the Russian Federation (for creating the play “Cunning and Love”), 2014

List of performances by L.A. Dodin

1. “After the execution, I ask...” V. Dolgogo. Staged by Z. Korogodsky, director L. Dodin. Artist G. Berman. Leningrad Theater for Young Spectators, 1967
2. “Our circus.” Staged and composed by Z. Korogodsky, L. Dodin, V. Filshtinsky. Artist Z. Arshakuni. Leningrad Youth Theater, 1968
3. “The Boss” based on the stories of M. Gorky “The Boss” and “Konovalov”. Staged by Z. Korogodsky, director Lev Dodin. Artist A.E. Porai-Koshits. Leningrad Youth Theater, 1968
4. “Model 18-68” by B. Goller. Staged by Z. Korogodsky, director L. Dodin. Artist N. Ivanova. Leningrad Youth Theater, 1968
5. “Ours, only ours...” Staged and composed by Z. Korogodsky, L. Dodin and V. Filshtinsky. Artist M. Azizyan. Leningrad Youth Theater, 1969
6. “Tales of Chukovsky” (“Our Chukovsky”). Staged and composed by Z. Korogodsky, L. Dodin, V. Filshtinsky. Artists Z. Arshakuni, N. Polyakova, A. Poraj-Koshits, V. Solovyova (under the direction of N. Ivanova). Leningrad Youth Theater, 1970
7. “The Death of the Squadron” by A. Korneychuk. Staged by Z. Korogodsky, director L. Dodin. Artist V. Dorrer. Leningrad Youth Theater, 1970
8. “Open lesson.” Staged and composed by Z. Korogodsky, L. Dodin, V. Filshtinsky. Artist A.E. Porai-Koshits. Leningrad Youth Theater, 1971
9. “What would you choose?..” A. Kurgatnikova. Artist M. Smirnov. Leningrad Youth Theater, 1971
10. “Mess-Mend” by V. Menshov based on the novel by M. Shaginyan. Staged by Z. Korogodsky, director L. Dodin. Artist M. Kitaev. Leningrad Youth Theater, 1973
11. “Our people - we will be numbered” by A. Ostrovsky. Artist E. Kochergin. Leningrad Youth Theater, 1973
12. “The Robber” by K. Capek. Design by E. Kochergin, costumes by I. Gabay. Leningrad Regional Maly Drama Theater (MDT), 1974
13. “Rose Bernd” by G. Hauptmann. Artist L. Mikhailov. Leningrad Regional Drama and Comedy Theater, 1975
14. “Undergrowth” by D. Fonvizin. Scenography by E. Kochergin, costumes by I. Gabay. Leningrad Regional Drama and Comedy Theater, 1977
15. “Tattooed Rose” by T. Williams. Scenography by M. Kitaev, costumes by I. Gabay. MDT, 1977
16. “Appointment” by A. Volodin. Artist M. Kitaev. MDT, 1978
17. “Brothers and Sisters” based on F. Abramov’s trilogy “Pryasliny”. Staged by A. Katsman and L. Dodin. Artist N. Bilibina. Educational theater LGITMiK, 1978
18. “Live and Remember” based on the novel by V. Rasputin. Scenography by E. Kochergin, costumes by I. Gabay. MDT, 1979
19. “Love’s Labour’s Lost” by W. Shakespeare. Staged by A. Katsman and L. Dodin. Artist N. Bilibina. Educational theater LGITMiK, 1979
20. “If only, if...” Staged by A. Katsman and L. Dodin. Educational theater LGITMiK, 1979
21. “Continuation of Don Juan” by E. Radzinsky. Scenography by M. Kitaev, costumes by O. Savarenskaya. Leningrad Comedy Theater, 1980
22. “House” based on the novel by F. Abramov. Scenography by E. Kochergin, costumes by I. Gabay. MDT, 1980
23. “Meek” according to F. Dostoevsky. Scenography by E. Kochergin, costumes by I. Gabay. Leningrad Bolshoi Drama Theater (now named after G. Tovstonogov), 1981
24. “The Brothers Karamazov” based on the novel by F. Dostoevsky. Staged by A. Katsman, L. Dodin and A. Andreev. Artist N. Bilibina. Educational theater LGITMiK, 1983
25. “Oh, these stars!” Staged by A. Katsman, L. Dodin and A. Andreev. Educational theater LGITMiK, 1983
26. “Gentlemen Golovlevs” based on the novel by M. Saltykov-Shchedrin. Scenography by E. Kochergin, costumes by I. Gabay. Moscow Art Theater named after M. Gorky (now named after A. Chekhov), 1984
27. “Bench” by A. Gelman. Production director L. Dodin, director E. Arie. Artist D. Krymov. MDT, 1984
28. “Meek” according to F. Dostoevsky. Scenography by E. Kochergin, costumes by I. Gabay. Moscow Art Theater named after Gorky (now named after A. Chekhov), 1985
29. “Brothers and Sisters” based on F. Abramov’s trilogy “Pryasliny”. Scenography by E. Kochergin, costumes by I. Gabay. MDT, 1985
30. “Lord of the Flies” based on the novel by W. Golding. Artist D. Borovsky. MDT, 1986
31. “Bankrupt” (“Our people - we will be numbered”) by A. Ostrovsky. Scenography by E. Kochergin, costumes by I. Gabay. Finnish National Theater (Helsinki), 1986
32. “Towards the Sun” based on one-act plays by A. Volodin. Artist E. Kochergin. MDT, 1987
33. “Stars in the morning sky” by A. Galin. Artistic director of the production L. Dodin, director T. Shestakova. Artist A. Poraj-Kosits. MDT, 1987
34. “The Old Man” based on the novel by Y. Trifonov. Scenography by E. Kochergin, costumes by I. Gabay. MDT, 1988
35. “Returned Pages” (literary evening) Staged by L. Dodin, directed by V. Galendeev. Artist A. Poraj-Kosits. MDT, 1988
36. “Gaudeamus” based on the story “Stroibat” by S. Kaledin. Artist A. Poraj-Kosits. MDT, 1990
37. “Demons” based on the novel by F. Dostoevsky. Scenography by E. Kochergin, costumes by I. Gabay. MDT, 1991
38. “The Broken Jug” by G. von Kleist. The artistic director of the production is L. Dodin, director V. Filshtinsky. Scenography by A. Orlov, costumes by O. Savarenskaya. MDT, 1992
39. “Love Under the Elms” by Y.O. Neil. Scenography by E. Kochergin, costumes by I. Gabay. MDT, 1994
40. “The Cherry Orchard” by A. Chekhov. Scenography by E. Kochergin, costumes by I. Gabay. MDT, 1994
41. “Claustrophobia” based on modern Russian prose. Artist A. Poraj-Kosits. MDT, 1994
42. “Electra” by R. Strauss. Conductor K. Abbado. Artist D. Borovsky. Salzburg Easter Festival, 1995
43. “Electra” by R. Strauss. Conductor K. Abbado. Artist D. Borovsky. Teatro Comunale. Florence Musical May. 1996
44. “A Play Without a Title” by A. Chekhov. Scenography by A. Porai-Koshits, costumes by I. Tsvetkova. MDT, 1997
45. “Lady Macbeth of Mtsensk” by D. Shostakovich. Conductor S. Bychkov. Artist D. Borovsky. Teatro Comunale, Florence Musical May, 1998
46. ​​“The Queen of Spades” by P. Tchaikovsky. Conductor S. Bychkov. Artist D. Borovsky. Netherlands Opera (Amsterdam), 1998
47. “The Queen of Spades” by P. Tchaikovsky. Conductor V. Yurovsky. Artist D. Borovsky. Paris National Opera, 1999
48. “Mazeppa” by P. Tchaikovsky. Conductor M. Rostropovich. Artist D. Borovsky. Teatro alla Scala, 1999
49. “Chevengur” by A. Platonov. Scenography by A. Porai-Koshits, costumes by I. Tsvetkova. MDT, 1999
50. “Molly Sweeney” by Brian Friel. Scenography by D. Borovsky, costumes by I. Tsvetkova. MDT, 2000
51. “The Seagull” by A.P. Chekhov. Scenography by A. Poraj-Kosits, costumes by H. Obolenskaya. MDT, 2001
52. “Moscow Choir” by L. Petrushevskaya. The artistic director of the production is Lev Dodin. Scenography by Alexey Porai-Koshits, costumes by I. Tsvetkova. MDT, 2002
53. “Demon” by A. Rubinstein. Conductor V. Gergiev. Artist D. Borovsky. Costume designer Kh. Obolenskaya. Paris, Théâtre Châtelet, 2003
54. “Uncle Vanya” by A.P. Chekhov. Artist D. Borovsky. MDT, 2003
55. “Othello” by G. Verdi. Conductor Z. Meta. Artist D. Borovsky. Florence, Teatro Comunale, 2003
56. “Salome” by R. Strauss. Conducted by J. Conlon. Artist D. Borovsky. Paris. Paris National Opera, 2003
57. “The Queen of Spades” by P. Tchaikovsky. Conductor G. Rozhdestvensky. Artist D. Borovsky. Paris National Opera, 2005
58. “King Lear” by W. Shakespeare. Artist David Borovsky. MDT, 2006
59. “Life and Fate” by V. Grossman. Artist Alexey Porai-Koshits. MDT, 2007
60. “Warsaw Melody” by L. Zorin. The artistic director of the production is Lev Dodin. Artist Alexey Porai-Koshits. MDT, 2007
61. “Love’s Labour’s Lost” by W. Shakespeare. Artist Alexander Borovsky. MDT, 2008
62. “Lady Macbeth of Mtsensk” by D. Shostakovich. Conductor J. Conlon. Artist D. Borovsky. Teatro Comunale, Florence Musical May, 1998
63. “Long Journey Into Night” by Yu. O’Neill. Artist Alexander Borovsky. MDT, 2008
64. “Lord of the Flies” by W. Golding. Scenography and costumes David Borovsky. Implementation of scenography by Alexey Poray-Koshits. MDT, 2009
65. “A Beautiful Sunday for a Broken Heart” by T. Williams. Artist Alexander Borovsky. MDT, 2009
66. “Three Sisters” by A.P. Chekhov. Artist Alexander Borovsky. MDT, 2010
67. “Portrait with Rain” by A. Volodin. Artist Alexander Borovsky. MDT, 2011
68. “The Queen of Spades” by P. Tchaikovsky. Conductor D. Yurovsky. Artist D. Borovsky. Paris National Opera, 2012
69. “Cunning and Love” by F. Schiller. Artist A. Borovsky. MDT, 2012
70. “Enemy of the People” by G. Ibsen. Artist Alexander Borovsky. MDT. 2013
71. “He is in Argentina” by L. Petrushevskaya. The artistic director of the production is Lev Dodin. Directed by T. Shestakova. Artist A. Borovsky. MDT, 2013
72. “The Cherry Orchard” by A. Chekhov. Artist Alexander Borovsky. MDT, 2014
73. "Gaudeamus". New edition. Based on the story by S. Kaledin. Artist A. Porai-Koshits. MDT, 2014
74. “Khovanshchina” by M. Mussorgsky. Conductor S. Bychkov. Artist A. Borovsky. Vienna State Opera. 2014

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