Terrible rock over the theater of Europe. The FSB announced the embezzlement of ₽45 million of budgetary funds at the Lev Dodin Theater The most famous world productions of the director

Maly Drama Theater of St. Petersburg - Theater of Europe occupies a special place in the life of Danila Kozlovsky. The actor has to constantly combine numerous filming in the cinema with work in the theater. He regularly runs in the "Sapsan" between Moscow and St. Petersburg, since in Moscow often filming of some next film takes place, and in St. Petersburg no one cancels performances and rehearsals for this period. Rehearsals begin, as a rule, with a warm-up, chants that last an hour and a half, then lunch, and by four or five Dodin comes, and the rehearsal itself begins, which ends at midnight. The schedule is not easy, but Danila is devoted to Dodin and believes that he was lucky with the theater. You shouldn't wish for a better fate. The actor says:

“Another theater is out of the question. I am very radical in this matter. "

Danila about the theater and his teacher Lev Abramovich Dodin (from an interview with the Tallinn newspaper Stolitsa - October 2013):

“If we talk about the scale of mine and the Maly Drama Theater, then they are absolutely incommensurable and incommensurable in favor of the Maly Drama Theater. It is generally known that this is one of the best theaters in the world. And its director, Lev Abramovich Dodin, is one of the most significant directors of our time. My teacher. Therefore, working under his supervision and being on the staff of the Theater is a privilege, a great happiness for an artist. I hold on to this work with my hands and feet.

An artist needs theater, because it is a completely different world than cinema - a different energy, a different atmosphere - everything happens here and now. It is necessary to tell, for example, the story of a lifetime in front of several hundred spectators in three hours of one evening - this is an amazing feeling. This is a kind of drug that is very difficult to part with. "

Lev Abramovich Dodin regularly cites Danila as an example for future students. At a meeting with applicants in August 2013, he said (recorded by Alex Lazarevskaya from the words of one of the applicants):

“Did Danila's talent strike me when we first met? I don’t think ... This our first meeting took place back in 2002 here, in SPbGATI, where Danila got as an applicant, like you, on my course (acting and directing course by L.A. Dodin). It was not his talent that struck me, although there certainly was one, but his fantastic arrogance. But it was arrogance so infectious, naive, youthfully perky. I love this kind of insolence. It moves the artist forward, makes him grow above himself and above others. And in the end, it is this impudence that grows into healthy professional ambitions. I remember thinking that it would be interesting for me to work with this. And then I heard Valery Nikolayevich (VN Galendeev - professor of SPbGATI, teacher of stage speech) say: "Hmm, what material! A little lisp, but it will be all the more interesting to work with him." This is how we have been working for almost 11 years. Since then, Danila has more than once amazed me with his talent, fantastic performance, and acting stamina. With your courage to try something new, accept this new, let it pass through yourself. Without this quality, it is impossible to take place in our profession, not a single truly great artist has succeeded. Danila has a heightened sense of justice and amazing intelligence and decency. You will not acquire this over the years, you will not work: you have to be born with this. He is extremely demanding of himself and of others, but most importantly - of himself! I learned a lot from him in this regard. What do I love about him the most? His eyes are always burning! It's contagious! He is always interested in what he is doing, and it becomes interesting to everyone around him! "

And here is what Danila told about Lev Abramovich to the dog.ru correspondent in March 2014:

“For the first time I saw Lev Abramovich at the entrance exams. We sat in the audience and waited, he was about to appear. At that time, I didn’t shine with theatrical knowledge, to put it mildly: my foot had never set foot in the Maly Drama Theater and, naturally, I had no idea what its artistic director looked like. As soon as a man appeared at the door, I immediately turned to Vanya Nikolaev, who was sitting next to me, my future classmate and friend, and asked: "Is this him?" Wrong every time. When he finally entered, I didn't bother Vanya, and that's how I understood everything. Remember, in the movie "Independence Day" the spaceship slowly descends to the ground and none of the earthlings asks: "Excuse me, what is this?" Spaceship? " They watch him silently and bewitched. Here I am the same way. He enters - and this picture is still in front of my eyes, it is with me forever. Lev Abramovich is an unpredictable person in the best sense of the word, he constantly surprises me: judgments, actions, decisions that arise during rehearsals. Sometimes it even plunges me into despondency: why am I not so bright, paradoxical and unexpected myself? When our theater accepted Cunning and Love for the production, I honestly overpowered this play by Schiller and was absolutely convinced that even if it is great, it is still incredibly verbose, crackling, old-fashioned and uninteresting to modern audiences, myself included. I ventured to share my thoughts with Lev Abramovich. “Let's not jump to conclusions,” he replied after patiently listening to my tirade. "Let's just try to start." After two rehearsals, I sincerely asked him for forgiveness for my own stupidity. Now it is one of my favorite performances and, as it seems to me, one of the most modern in our theater. The influence of my teacher on me is not just extensive, but, I would say, total, his help to me is also. I cannot single out any special areas of its influence in my life: let's say theater, or theater and cinema, or theater, cinema and something else. He entered my life, not only professional, and changed it. His lessons helped me understand important things, and I know that they will help me more than once. This, I hope, gives me the happy right to consider Lev Abramovich Dodin my teacher. "

Until now, I have deliberately not given any comments on the construction of the future building of the new stage of the Maly Drama Theater - the Theater of Europe, because I think the situation is still in such a problematic state that any comment in this situation can only worsen the situation. Nevertheless, I cannot but respond to the remark of the head of the North-West Directorate for Construction, Reconstruction and Restoration, Mrs. Volynskaya, which surprised me extremely. When asked by a journalist how she interacts with the Maly Drama Theater, she literally replies that Lev Abramovich is a creative person, and he has many different new ideas and desires, some of which we try to take into account whenever possible.

So, I would like to say that maybe Lev Abramovich is a creative person, but neither the theater nor I have had a single new desire, not a single new proposal on this matter since the theater project was approved. In the course of work with one of the co-authors of the project, Alexander Borovsky, and then with the second co-author of the project, Mikhail Mamoshin, and with the staff of his workshop, everything was thought out and agreed to the smallest detail. And all this is expressed in a model made by one of the co-authors of the project, Alexander Borovsky, on a scale of 1:50 with an accuracy of one centimeter. All the materials from which the theater should be built were selected and agreed with the theater: the type and color of wood, the type and color of bricks, St. Petersburg limestone was selected, it is known from which quarry it should be taken ... and so on, and so on.

Somehow, a variant was submitted for examination, which was not fully coordinated with the theater and violated a number of what was agreed upon. For example, from the very beginning it was agreed that the space of the main rehearsal room would be absolutely identical to the main stage space, which would allow rehearsing the performance until the last generals in the rehearsal room, and then transferring them to the stage - that was how it should be, and not the way for some reason it turned out in the documents submitted for examination, where the required depth and the required footage of the rehearsal hall were absent. For example, we said from the very beginning that the entrance under the roof of the theater at the main entrance cannot end for the viewer with the absence of a roof, forcing the viewer to go out again under the open St. Petersburg sky with its rain and snow - accordingly, this interval-hole in the roof should not have been be.

Once again, I want to emphasize that we do not express, did not express and will not express new ideas and wishes, since all the ideas that we wanted to put into this project we put into it from the very beginning. But we will certainly demand the fulfillment of this initial agreement, not ask, but demand, because the initial agreement with the state represented by the Ministry of Culture - first of all, of course, with Vladimir Rostislavovich Medinsky, who, fortunately, is showing great interest in implementing of this project, - consisted precisely in the fact that not just another typical "theater, station, or palace of culture" is being built, that we are all together trying to build an exemplary (I beg your pardon for this expression) repertoire Russian drama theater. In any case, such as it seems today to my comrades-in-arms in the theater, the best artists and specialists of the drama theater in Russia and Europe, and, finally, to myself. If this condition is not met, then - as I have repeatedly explained to the previous and current leadership of the North-West Directorate for Construction, Reconstruction and Restoration - we will have to give up this building with great regret for other numerous theatrical and entertainment needs of St. Petersburg. We are not solving the housing issue, we want to leave the city with a building that it could be proud of for many years after us.

In her interview, Natalya Vladimirovna convincingly explains why the construction should not be carried out by the “end user” - this is how the theater for which a new stage is being built is called in bureaucratic language - “the end user” should only set tasks and control their implementation, and the management and general contractors - to carry out these projects. "We have collected professional personnel," Natalya Vladimirovna rightly notes, "who can fully and efficiently implement all projects."

This is the only creative wish of the MDT - Theater of Europe: please, implement our project "fully and efficiently".

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

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

From early childhood, little Leo was carried away by the theater, was a frequent frequenter of the Leningrad stages for young spectators. As a schoolboy, he began to go to the Theater of Youth Creativity at the Palace of Pioneers and there for the first time felt the power of art and the realization that he should belong to this world.

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

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

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

The creative path of Lev Dodin / Lev Dodin

The first independent creative work of Lev Dodin was the television show "First Love", based on the story of Turgenev.

Since 1967, Dodin has come to the Leningrad Theater of the Young Spectator, where in six years he has staged about 10 performances.

In 1974 he left for the Maly Drama Theater of St. Petersburg. Under his leadership, MDT is a member of the Union of European Theaters, and then receives the status of "Theater of Europe".

Lev Dodin is the owner of many theatrical and state awards. Among them are the Georgy Tovstonogov Prize, the Golden Soffit Theater Prize, the Order of Merit to the Fatherland, the Prize of the President of the Russian Federation in the field of literature and art, the USSR State Prize, the Russian Federation State Prize, and the European Theater Prize.

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

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

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

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

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

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

• Filmography Lev Dodin / Lev Dodin

• 2009 Chevengur (film-play)
• 2009 A play without a title (film-performance)
• 2009 Moscow Choir (film-performance)
• 2008 Demons (film-play)
• 1989 Stars in the morning sky (film / play)
• 1987 Meek (film / play)
• 1983 Ah, these stars ... (film-play)
• 1982 House (film / play)
• 1966 First Love (film / play)

Born May 14, 1944 in Novokuznetsk, Kemerovo Region. Wife - Tatyana Borisovna Shestakova, actress of the Academic Maly Drama Theater.

From childhood, Lev Dodin began to study at the Leningrad Theater of Youth Creativity, which was led by an excellent teacher Matvey Grigorievich Dubrovin. Largely due to his influence, Leo formed a strong desire to devote himself to the theater. Immediately after leaving school, he entered the Leningrad State Institute of Theater, Music and Cinematography, where he studied with the outstanding director and teacher Boris Vulfovich Zon.

The year of graduation from the institute coincided with the year of Lev Dodin's directorial debut. In 1966, his television show "First Love" based on the story of I.S. Turgenev. This was followed by performances at the Leningrad Youth Theater ("Our People - We Are Numbered" by A. Ostrovsky) and the Theater of Drama and Comedy ("The Minor" by Fonvizin and "Rosa Berndt").

Lev Dodin's collaboration with the Maly Drama Theater began in 1975 with K. Chapek's "The Robber". The production of the play "House" by F. Abramov in 1980 received all-Union fame and largely determined the subsequent creative destiny of Lev Dodin. In 1983 he became the artistic director of the Maly Drama Theater. Over the years, performances were born: "Brothers and Sisters" by F. Abramov, "Lord of the Flies" by W. Golding, "Stars in the Morning Sky" by A. Galin, "Gaudeamus" by S. Kaledin, "Demons" by F.M. Dostoevsky, "Love under the Elms" by Yu. O "Nile," Claustrophobia "based on the works of contemporary Russian writers," The Cherry Orchard "by A.P. Chekhov," A Play without a Title "by A.P. Chekhov," Chevengur "by A. Platonov, "The Seagull" by A.P. Chekhov and others.

In total, Lev Dodin is the author of over 50 drama and opera productions. His creative assets include the performances "Bankrupt" at the Finnish National Theater, "Lord Golovlevs" at the Moscow Art Theater, "Meek" on the stages of the Bolshoi Drama Theater and the Moscow Art Theater, as well as the opera "Electra" by R. Strauss at the Salzburg Music Easter Festival 1995 (conductor Claudio Abaddo ), "Katerina Izmailova" D.D. Shostakovich at the 1998 festival in Florence, "The Queen of Spades" by P.I. Tchaikovsky in Florence and Amsterdam in 1998 (conductor S. Bychkov), "Lady Macbeth of the Mtsensk District" at the "Florentine Musical May" festival, "Mazepa" by P.I. Tchaikovsky at the Teatro alla Scala in 1999 (conductor ML Rostropovich).

In the fall of 1999 at the Parisian theater "Bastille" L. Dodin staged a new version of "The Queen of Spades", and in 2001 in the same theater "The Queen of Spades" was restored.

Lev Dodin's performances were played in 27 countries of the world, including the USA, Australia, Japan, France, Germany, Great Britain, Switzerland, Italy, Finland, Czech Republic, Spain, Sweden, Brazil, Israel, Greece, Denmark, Ireland, Finland, Poland , Romania, Norway, Portugal, Canada, Holland, Austria, Yugoslavia, New Zealand, Belgium, Hungary. In the fall of 1999, the Dodin Festival of Performances was held in Italy.

Maly Drama Theater under the direction of L.A. Dodin is one of the most popular theaters in St. Petersburg and "international" theaters in Russia, demonstrating the strength of Lev Dodin's directorial talent and, at the same time, the fruitfulness of the Russian acting school. It is no coincidence that in 1992 the theater and the director himself were invited to the Union of Theaters of Europe, and in September 1998 the Maly Drama Theater from St. Petersburg was the first and so far the only Russian group to receive the status of the Theater of Europe, becoming the third in the world after the Parisian "Odeon" and Milan's Piccolo Theater.

The boldness of the staging plans of the outstanding director is based on the capabilities of a brilliantly trained troupe, many of whose actors are students of Lev Dodin. For 15 years now, Dodin has been cultivating in himself and the actors a passion for the truth - to live not by lies!

L.A. Dodin - People's Artist of Russia, laureate of State Prizes of the USSR (1986) and RF (1998), Prize of the President of the RF (2001). His theatrical activities and performances have received many national and international prizes and awards. Among them: the Russian National Independent Prize "Triumph" (1992), twice - the National Prize "Golden Mask" (1997, 1999), the Prize of the K.S. Stanislavsky "For Outstanding Service in Pedagogy" (1996), "Golden Spotlight" (1996), Laurence Olivier Prize (1988), French Theater and Music Critics Prize (1992), Regional English Theater Prize (1992), Italian UBU Prize ( 1993, 1994), Italian Criticism Abbiati Award for Best Opera Performance (1998), and the highest European theater award Europe for Theater (2000). The director was also awarded the French Order of Literature and Art of Officer Dignity "For his enormous contribution to the cooperation of Russian and French cultures" (1994).

Back in 1967 L.A. Dodin began teaching acting and directing. He has brought up more than one generation of actors and directors. Now he is a professor at the St. Petersburg Academy of Theater Arts, heads the directing department, regularly conducts master classes in theater schools in Great Britain, France, Japan, and the USA, is a permanent member of the jury of the professional literary competition "Northern Palmyra" and a member of the jury of the St. Petersburg Theater Prize "Golden soffit".

Lives and works in St. Petersburg.

Having passed an exceptionally difficult path with honor and dignity, Veniamin Zalmanovich Dodin (1924-2014) passed away in the 91st year.

The first happy years were spent in a German kindergarten in Moscow. It was then that he first saw the legendary polar explorer Ernst Krenkel; this meeting later played a very important role in the fate of Dodin.

The happiness was short-lived. In 1929, his parents were arrested, and five-year-old Benya was taken to the children's home, changing his name and surname. After spending a year in the hungry orphanages of the Taganskaya prison and the Danilovsky monastery, Benya, who had already read and wrote in two languages, disaccustomed not only to smile and laugh, but even to speak. Then he was transferred to a special children's home. Here the pupils were fed hearty and tasty food, they were taken to the shower every day, and the underwear and bed linen were often changed. They were handled by elderly "educators", most of whom had previously served in the troops and institutions of the Cheka - OGPU - NKVD. They monitored discipline, regime, everyday life, but did not get into the soul and did not punish in vain.

The orphanage was regularly visited by the Narkompros commissions headed by the "learned aunt professor", the Soviet doctor Mengele, and carried out medical examinations, after which the healthiest children disappeared somewhere. And the rest continued to live ...

The head teacher of the orphanage school Evdokia Ivanovna Markova, seeing Beni's interest in reading, began to take him to the library and theater of the Builders' Club, and took him backstage to the famous artist Yaron. Yaron noticed the boy's penchant for drawing and, under the escort of the head teacher, took him to the studio of the artist Yuon. As a result, Dodin was admitted to the Central House of Artistic Education of Children, where he was escorted by Ivan Stepanovich Pankratov. Feeling that this man would not betray him, Benya trusted him with all his secrets, and he also fell in love with the boy. Their relationship continued until the death of "Stepanych" and played an important role in the life of Dodin.

In the studio, Benya became friends with Alexei Molchanov, the son of the director of the aircraft plant. He begged Evdokia Ivanovna to invite Alik "to us" to the Builders' Club for a concert, where he wanted to introduce Yaron to him. The children presented their watercolors to Yaron. Dodin's watercolors, which he had never shown to anyone before, showed the interior of an apartment plundered before his eyes, from which he was taken away.

Yaron was adopted by Dodin's cousin, the great dancer Ekaterina Geltser. And when he showed her the watercolors, she immediately recognized the apartment and understood who this artist Viktor Belov was. But she could not rescue her nephew: the authorities refused.

When the Chelyuskin sank, Veniamin and Alexei fled to save the Chelyuskinites. They were seized behind the Bologoye station (on the way from Moscow to Leningrad) and sent Alik home, and Benya - to the punishment cell of the Taganskaya prison. “What happened to me there, I don’t want to remember. But lying for three months on the stone floor of the punishment cell, I survived” / Veniamin Dodin. "Razgulyay Square" /. Dodina Stepanich got out, having formalized his guardianship over him.

He was kicked out of the medical examination, the director of the orphanage shouted to him:

Taganka saved your life, you fool - profitable!

In the orphanage and at his aunt's, Dodin was fed and cared for. Having come to his senses, he painted his main picture in a week: “Crushed by the compression of ice, the Chelyuskin goes under the water. And on the flip side is a call to salvation and your real name. At the exhibition in 1935, this painting was liked by the honorary visitor Ernst Krenkel. They brought it to him, and he learned from the inscription on the back that the author was the same boy whom he had seen many years ago. Having spent a year looking for his relatives, Krenkel and his friends found Dodin's great-grandmother in 1936, and she immediately took him from the orphanage.

In the "coffin-shaped" room of a communal apartment, where seventy-six tenants had one point and one water tap, they lived "poorly, but cheerfully." To the delight of his grandmother, Benjamin studied at a secondary and art school. Together they attended interesting performances and exhibitions. In the salon Geltser Dodin met and listened to pianists Gnesins, Alexander Goldenweiser, Svyatoslav Richter, singers Mark Reisen, Maxim Mikhailov, Maria Maksakova and others.

In 1937, the father of Alik Molchanov, Dodin's closest friend, was arrested. Alik and Benya at first naively tried to look for him: to spot him among the convicts on the Moscow-Volga canal. Two convicts who were sitting with their mother along with the message from her: "Hurry to do good" - changed Dodin's life. These convicts brought fifty notes from their comrades, remembered the names of hundreds of neighbors in bunks, barracks, and zones. The boys immediately sent notes to the addresses, and from the names they compiled lists of prisoners, multiplied them and put them in apartment mailboxes in different districts of Moscow. At the same time, Benya and Alik began to collect notes near the places from which the night stages left, and send them out. The number of lists increased greatly when, after replacing Yezhov with Beria, convicts began to return. They did all this in such a way that they could not be found. They also sent numerous food parcels to the convicts. Many people participated in the collection of products. The girlfriend of the thief in law, Dodin's neighbor, who worked at the post office, sent parcels and notes without taking money.

Pankratov, who was dying in a special hospital, told Veniamin that the children from the orphanage were first sent for a thorough examination at the institute next to this hospital, and from there somewhere near Moscow. There they were used as raw materials to rejuvenate the lovers of the Kremlin.

On August 28, 1940, Dodin sent a letter to Stalin about the disappearance of his comrades from the orphanage. In order for the letter to reach the addressee, he sent it through the office of the All-Union Central Council of Trade Unions (AUCCTU).

Dodin was arrested. The investigation at Lubyanka lasted 136 days. They beat me, tortured me with insomnia, and “soaked me” in a punishment cell filled with water. Perhaps they wanted to beat him to death: no man - no problem. But by chance he was noticed by a colonel, Pankratov's acquaintance. He was immediately admitted to the hospital, and the new investigator quickly completed the case. A special meeting (CCA) gave him, a youngster, five years. Then there were three camp convictions, one death sentence. The drunken executioner yelled that he would not shoot children, and realizing that he was a youngster, the sentence was changed. A year later, there was a nightmare of the Baku stage. Then, in order to save from the tribunal, under the tacit patronage of the named son of Pankratov, who held a high post, Dodin was convoyed to the far north, changing his surname in the accompanying form. Then there were many years of hard labor in the most difficult jobs in the Arctic and eternal exile to Siberia. He returned to Moscow rehabilitated only in 1954.

Lagernik Dodin helped other prisoners, mostly foreigners, who were especially helpless in the camps. It cost him two convictions. So he continued the activities of the Salvation society created by his parents in 1918, in which he began his participation in 1938.

In the hardest jobs, he managed not only to survive, but also to absorb the knowledge that allowed him to write a monograph (1965), to defend his Ph.D. and doctoral dissertations (1963 and 1969), to manage for many years the Construction Laboratory in the Far North at the head institute of GOSSTROYA USSR (1958 - 1988) and special courses at the Military Engineering Academies (1961 -1982). Among his numerous scientific works there are also discoveries protected by diplomas.

At the same time, Dodin was active in various fields. He was an expert, and then a member of the Higher Attestation Commission, where he organized a group of the "Salvation" society from his colleagues. He was an expert on the Soviet-American Commission on construction in cold climate regions and a correspondent for the Commission under the Presidents of the USSR and the United States on prisoners of war and missing persons. He was a member of the Geographical Society of the Russian Academy of Sciences and vice-president of the Congress of the Deported Peoples of Russia. Until 1991, he organized legal, medical and food support for imprisoned intellectuals. Since the 1960s, Veniamin Zalmanovich has been sought after by the rescued Swedes and Poles, later by the Germans, the Swiss, and in 1990 by the Japanese. So, in particular, there was a connection with the president of the world famous Japanese company SONY, whose brother was at one time in Soviet captivity. He became one of the initiators of the creation in Tokyo of the "Independent organization of volunteers to help victims of arbitrariness, genocide and man-made disasters."

Veniamin Zalmanovich wrote a wonderful autobiographical novel "Razgulyay Square" and published many stories, novellas and articles in various magazines ("Science and Life", "Rodina", "Jewish Tuning Fork", etc.).

In 1991 he immigrated to Israel, where he continued his life's work as best he could.

We are proud that we were lucky enough to communicate with this wonderful person and will preserve the grateful memory of Veniamin Zalmanovich Dodin for the rest of our lives.