Rodion Ovchinnikov director biography

Matsan:-And they did not go to success, did they go to something else? Ovchinnikov: - No, sometimes, as a rule, a gift is always more talented than the person himself, here is a person in his gift smart, and in life a fool, and so it happens, and very often, here is a gift, he is so smart that I am interested in a person, in my life I begin to talk with him, he does not represent anything in life.

And there was a huge number, just look at Soviet films that not a film, then five, six, seven or more people, well, just such a first echelon. Now it all has gone, and the quality of what they are doing now on the screen and in the theater, the quality of that, and the claims for what is very small. Matsan:-Well, you still called the great artists here are "holding", and what do they adhere to what they are?

They seemed to be given that that, you started with the fact that it was very easy to go to success, and before there were these great artists who, somehow they showed some other trajectory? They didn’t give you too much to think about yourself? Ovchinnikov:-When you looked, you looked at him, now you can, I look there at someone else-why is he, not me?

He is as awkward as me, he is the same, and go, move Evgeny Pavlovich Leonov or go, move Evstigneev, or Smoktunovsky, because when you look, at least you will be young, seven spans in the forehead, you understand that this is skill, and that you still have to stomp and stomp, and there are no such impudent ones that are “and now, when everything is going on, when everything is going on.

it is clear that none of us will go to a dentist, you see, but, here is a group of our own, for example, modern stars, they treat our teeth: “Eliminate caries”-I beg you, a bunch of people will come, and a bunch of idiots will sit in these chairs, and they will treat decays for the first time, because it is, so to say, it is, so it is a “caliper. At least a little, but I will stay at this top, it doesn’t matter to me that I will be responsible for this top, that they look at me that I, already being on the crest, gives this to, unfortunately, this is the Matsan: “Do you teach students to this worldview vector?” This is about the soul, in general, and not just about the artistic art.

Ovchinnikov: - I, in fact, almost stopped, I make performances, make excerpts, but I consider pedagogy the main task. I always say to students, and here is the current first course of Vladimir Vladimirovich Ivanov, I said that there are still enough good teachers, you will teach you skill. It doesn’t matter to me what professionals you will be, it is important what kind of people you will be, and it is important to me.

People are needed. I say: you need children, so that the worldviews go on scenes and on the screen. I am tired of seeing these empty nuts that do not even need your teeth to break down, and it is empty inside, all the nuts are empty. Outwardly, it is still visible, the inside is empty. What you will be, because it is interesting to look at the worlds. Matsan: - And how is it, what you say now, how is it embodied or can be put into practice?

It is only possible to feel that-yes, this is the worldview on the screen or on the stage, or, roughly speaking, the artist, he will say in some situation: “You know, director, I won’t do this, because I think that this is not necessary. I won’t play this scene like that, because here the character should get sick about another, and there are t-tu-tu. ” Ovchinnikov-well, an artist is a subordinate, and he must obey, these are also some rules of the game, I say to leave from under this only when they insult God, homeland, family and your human dignity, when your shrines are trampled, when you are forced to do it publicly, then you are as much as you can abandon this.

Everything else, even difficult tasks: “I feel like that, I don’t feel like that,” you must do it. But this must be distinguished very accurately, and this, of course, is impossible, in four years of their studies, “here after four years he came out a true person”, no, of course. You throw these mesh at this black hole, throw-wing-smoke-smoke, do not wait for seedlings, the teacher is the one who does not wait for seedlings, and he understands that his business is to throw the snow.

You are this, and there, you know, someone will come, he will reap. Matsan:-Well, but still there were examples when your students somehow returned, and you understood that still a man became a man with gratitude, that what you taught, worked? But there are such examples, for example, I remember this: I staged a performance in Nizhny Novgorod, and I’m sitting, already a deep night, and Vitya Dobronravov calls, who says: “Rodion Yuryevich, do you remember what number is today?

He says: "Today is exactly fifteen years, as we made an excerpt for Shukshin, after which I was born as an artist." Matsan: - Amazing. Ovchinnikov: - says: "Father, I drink for you." Nobody asks for this “thank you”, he is an independent person, but he remembers it for years, and he is as much as a person as he remembers who helped him.All the trouble of the current generation in the only one, it seems to me - they begin the countdown.

Well, there are some parents, there are certain grandfathers and grandmothers who are there something, but as a result I appeared, I understand that. But this is a movement that, who, when turn around and bow, then turn around and worship you, and when we boldly go forward, not thinking that behind us, behind our, behind our backs and this I remember, and there are a lot of such things.

For example, I had stunning things like “Crime and Punishment”, I staged a performance, I played Raskolnikov myself there, and after the performance a young man comes up to me, but it was already a long time ago, years ago, thirty ago, he approaches me and so directly said: “You know, I accidentally got to your performance, but I went to kill a person. I won’t tell you that I won’t do this, but I will think.

” Matsan: - This is a story from x. Ovchinnikov: - Well, then, in fact, it was. And this is for me, here you understand-for this, you exist for this, because if there is a lie in what you do, returning to what we carry from the stage-well, some kind of installation, but to shock human soul, and this is terribly difficult, because in order to shock human soul, you need to deal with it yourself, because it is not on the stage, because this is, because this Our fathers will accept this, but for me it is also a confessional element: if you do not lay out your soul here, then you cannot demand anything from the auditorium if you are warmly dignified with them.

But if you are honest, then there is such an answer from there that you will pursue a very long time, because this exchange of energies, it is some kind of colossal, but it must be learned. I say: we must learn, guys, to feel the joy of what I gave and did not take, it is terribly difficult, because it is the Matsan: - And this, it seems to you, is the modern young people with whom you work, or is it generally in human nature - not to give?

Ovchinnikov: - Yes, this is generally manifested by humanity. Humanity is striving, so I do not think, if there were no temple or how humanity has been striving all the time in a horizontal. A person strives to lie down all the time. And everything in a person, except for the soul, everything is horizontally, only the soul is vertical, and it all the time makes the body rise, go somewhere, do something, stretch to something.

Matsan: - But there is no problem for you, that sometimes the teacher camouflages his religious worldview so, so as not to show, so as not to bother anyone there, so as not to ask him: “Are you believing in God? Ovchinnikov:-No, no, this streamlines are the destiny of the intelligentsia, to which I, glory to you, Lord, do not belong. Matsan: - As Gumilyov said: "What an intellectual I am, I have a profession." Ovchinnikov:-Yes, yes.

For me, this is Zhupel, because of this I lose a lot of connections, but I'm not afraid of it, this is their business-to flow. I always said honestly that, well, how is it, how can I say - “And you are a Christian? How do you tell you what kind of warrior of Christ if you are afraid? No need to impose it, do not run and start the students and start baptizing, and the one who made it bad, he doesn’t need to anathematize at once, this is not a temple, this is a place of work.

But to call for the fact that there is the Creator, and you are the creators too, my dear, we will become like our great father, let's make something something, I'm not afraid. - Matsan: - Well, what reaction does this meet among students, I mean even when they just find out that their teacher, here he is a church person - maybe this is not caused by any reaction, or a question, suspicion or curiosity, what?

Ovchinnikov:-Here, you understand how they asked, I said, in my opinion, as Father Pavel Florensky was asked: “What is the main thing in art-what or what? If I conduct my classes well, if they know me as a good master, and even more so young people always understand: I need to stick to him, and there will be success, the best say: there will be a profession, I know that they will give me something that they say to me and the good ones say: “It will be a cool passage, it will be the best passage, and, so to speak, I have to talk about some things, you need to understand who you are.

Here you can wave your hands as much as you like-no one will come to you, and here, when you understand that you have the right, they listen to you because they depend on you, and not just a teacher, but on the fact that they understand that emanating from this person, and it can also bring something, and maybe it is worth listening. Matsan: - Rodion Ovchinnikov, Honored Artist of Russia, professor of the Schukin Theater Institute, today with us in the program "Bright evening".

Here is such a topic as a theater and values, Christian values-it is often believed that in order for these values ​​the theater carried, you need to somehow choose a repertoire in a special way: let's put something about saints, for example. Is this the only way to make what you are talking about is embodied in practice, in specific productions, in the repertoire of a particular theater?

Ovchinnikov: - Well, no, this is generally not a way, because everyone should do their own business. You never need this nightingale, this is this the thorgic art. Art should be art, the church should be a church, values ​​should be, and values ​​can be in front of us a huge ocean of Russian literature and dramaturgy, you will never intervene it, understand? To rearrange everything Leskovskoye that I love, I will have enough for another ten years.

And Dostoevsky, Ostrovsky? Well, this is endless! And we have a huge literature, and a huge amount of literature, the same Shakespeare, who is placed and put endlessly. Why is it put endlessly? Because he poses ethnic questions because he is not busy: what is your lawn mower, “Siemens” or “Telefunin”, and he raises questions of honor, dignity, kind, love, devotion, they are high, they cannot be played, so to speak, the kitchen option, it is necessary to spend money there, well, that Hamlet is now possible, like “Hamlet” without Hamlet!

This is not the point and the point is not even in Shakespeare, and it's not in the plot, but what's the matter? -Matsan:-Look, it is clear that Dostoevsky, Leskov for, let’s say, those who are looking for authors, consonant with the Christian worldview, this is such a win-win choice, although you can put Dostoevsky and Leskov differently, but this topic is clear there, it is there.

Tolstoy has it, everywhere in different ways, but there is, of course, what a wonderful world of Orthodoxy in the “war and the world”, Princess Marya Bolkonskaya. But there are authors-the great Chekhov, where this topic, at first glance, is somehow not on the surface, but what about the Czechs in this sense? Ovchinnikov: - You know, I am friends with Chekhov very fragmentary.

Matsan: - At the distance? Ovchinnikov: - At a distance. This is not the hero of my novel, I read it everything, to my honor I must say that all twelve volumes and letters, I read it all, this can be said about love or not love, when you do not know all this, it’s easier. You know how Akhmatova said about him that - "I do not like Chekhov, not a single character is capable of a feat." And I agree with her.

It’s great when we can, like this, “Slonets” to talk about such authors, he is a genius, of course. But our literature is so rich, you understand that, for example, I can, when I say: “Let's talk, so to speak, about the second echelon of Russian literature, about Bulgakov,” the intelligentsia throws up: “Yes, how can you! Yes, you are ours! ..

When they offer me to participate in this, play, I say: "No." I said to Yuri Petrovich Lyubimov: “No, Koroviev - no, no, I don’t want to, this is outside the tradition of Russian literature, no matter how good it is, read, but do not put it.”