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Post: Theater director on Bronnaya – tandem with Bogomolov, about sales and premieres


MOSCOW, December 28 – RIA Novosti, Anna Nekhaeva. Theater in Bronnaya carries out various projects, introduces the audience to the classics and experiments. In an interview with RIA Novosti, theater director Elena Mironenko talked about how she measures the success of a performance, explained why there are low-selling productions in her repertoire, talked about the successful collaboration of the artistic director and director and their new works. season.

Which premiere in the theater became the brightest last year and why?

– I can personally call the play “Tanya” based on the play by Alexei Arbuzov such a premiere. The project was awaited for us for a long time, after its restoration was completed, we opened the theater with it. This production is the reunion of tradition and modernity.

Our theater is known by great and legendary names. One of them, of course, is Anatoly Efros. “Tanya” was staged in the format of a TV movie, many actors of our theater participated. These are Olga Yakovleva, Leonid Bronevoy, Valentin Gaft.

The spectacle is a combination of the great past of the theatre, and the present we are now building. The premiere was a confirmation that we have created a new theater for us, and at the same time, as both Theater on Bronnaya and GOSET, we do not deny the legacy it has accumulated in this historic building over all its years of existence. .

Auditorium - RIA Novosti, 1920, 28.12.2022

How do you measure the success of a production other than sold out tickets?

– Tickets are completely sold out. On this I agree with Sir Laurence Olivier, director of the National Theater Royal in London: “My goal is to find the right ass for every seat in the National Theatre.”

Tanya (Anya Patokina and Daniil Chup)
Buying tickets at the theater ticket machine
Alexander Zbruev at the premiere of Tanya
Guests of the Bronnaya Theater

At the same time, of course, theater can and should be experimental. There are some productions in our repertoire that cannot boast of high sales so far. They are solid and serious in terms of the creative process, but in this case they stay on our banner. Working with them is a little more difficult in terms of sales and promotion, which becomes an additional challenge for us and an opportunity to try out marketing and PR tools.

– Do you think performances based on classical works are comparable in popularity to performances based on works by modern playwrights?

— Let me give you an example: Hamlet in Moscow, staged by Konstantin Bogomolov, was of course revised (in any case, it is a staging with brilliant additions and comments by the director). Despite all the improvements, the foundation of Shakespeare has been preserved. The plot is of great interest to the audience. Thanks to this production, it is important for us that people become familiar with the texts of the great classics.

Hamlet (Alexandra Child and Evgeny Perevalov) - RIA Novosti, 1920, 28.12.2022
“Hamlet in Moscow” (Alexandra Child and Evgeny Perevalov)

Or, for example, “Tanya” – a performance with a completely different sound. As Konstantin Yuryevich said, it has the hum of great times. We live in a big time. And now more relevant than ever.

The performance of Sasha Denisova, who staged the play “Batman Against Brezhnev” with us in the last theater season. A modern text, as the second season is sold out.

I gave three completely different examples. I think anything can be popular. And it just depends on the director, his vision and meanings embedded in the production, the artists he broadcasts it to, the relevance and relevance of the performance.

Hamlet (Lera Gorin and Igor Mirkurbanov)
Batman vs. Brezhnev (Elizaveta Bazykina, Alexander Semchev, Lina Veselkina, Sergey Epishev)
Tanya (Anya Patokina)

What do you think are the main characteristics of a successful theater manager? Can they be taught or does the management need to be skilled?

— I do not believe that management skills can be acquired. A person either has innate leadership qualities or he does not. Of course line management can be learned, I don’t deny it. But you have to be born with it to take great risks. Managers have to face the burden of responsibility every day and live with it. Such a burden on the soul, it seems to me, is not subject to everyone.

How important is the connection between the director and the art director? What does a successful tandem depend on? How does this happen at the Malaya Bronnaya Theatre?

– It is very important for the art director to have time to be creative. He is the person who creates the art policy of the institution, is responsible for the quality of the productions, the selection of the directors he invites, the level, efficiency and flexibility of the group. This is his superpower. A tandem can succeed by using precisely each other’s superpowers. For example, if I have skills in strategic management and cultural management, I should use them before I get to the creative part.

Konstantin Bogomolov and Elena Mironenko, St.  Petersburg - RIA Novosti, 1920, 28.12.2022
Konstantin Bogomolov and Elena Mironenko, St. Petersburg at a press conference on the occasion of his trip

And of course, the check and balance system is always at work. This is a guarantee that there will be no madness, we are always in balance.

We have big plans for the season. Recently, the premiere of Roman Samgin, based on the play “Guilty Without Guilt” by Alexander Ostrovsky, was released.

Another performance based on Ostrovsky’s plays “Rich Brides” and “Slaves” is scheduled to be staged in February, rehearsals are currently underway (directed by Kirill Vytoptov). In March we would like to release the film “Princess Turandot” by director Andrey Prikotenko. Towards the end of the season – “Forever Alive” directed by Konstantin Bogomolov.

Source: Ria

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