Art When we see such works, we see that professional understanding exists — something which strikes to the quick. We can see beyond a malformed face or hand in abstract painting. In theatre, stage directors sometimes twist relationships to fit an artificial idea. However, their lack of understanding of the deeper essence doesn’t stir our imagination or touch our soul. Is contemporary Belarusian theatre developing in such a way that its future is secure? Theatre has always relied on a community of talents. It was so yesterday and remains so now. It is a flexible organism, ever changing. Everything depends on who assesses this community: stage directors, actors, playwrights, composers and set designers. If a community of creative personalities exists, then a theatre of a definite quality exists. If no such community develops, a whole range of problems arises and ‘modernisation’ begins. Artistic groups’ programmes require harmonisation of many aspects — including personnel and repertoire. Do programmes require ethical principles? Ethical, disciplinary, creative and organisational principles exist, guiding troupes. These are sacredly preserved over the years in serious theatres. If we look at European theatres — such as Comédie-Française or Britain’s Royal National Theatre — we see that they reverently preserve their principles. Once, the Russian director Efros told me that, in Japan, poorer actors are greatly respected by those who have reached star status. The latter will leave their luxurious cars away from the theatre and walk, so as not to embarrass their less well-off colleagues. This is how ethics is observed. Unfortunately, such principles have been lost in our time. Every Belarusian theatrical company has interesting actors, and good performances and directors, yet the spirit of the theatre needs to be reinforced, as does the spirit of those who can influence the theatrical process in some way. What can be done to inspire this spirit? We should never forget who we are and where we’re from, where we’re going
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and what we’re aiming for. For instance, we can’t become African in spirit, because of our mentality; we won’t ever be able to play blues as they do. Yes, we can be keen on blues, but we should explore our own mentality. We’re a talented nation. What inspires hope? Hope is inspired by the aspiration of certain theatres to preserve the fundamentals of classical theatre, based on traditions. We have some directors who want to achieve this. One of Belarus’ most powerful theatrical companies is the Theatre-Studio of Film Actors. Its artistic leader, Oleg Yefremov, is working hard to this end. Another interesting company is the Belarusian Army Drama Theatre, headed by Alexey Dudarev, which boasts a theatrical atmosphere and team spirit. Valery Anisenko, [the artistic leader of the Republican Theatre of Belarusian Drama] is working hard to preserve theatrical foundations in our country. Some performances not only strengthen these but further develop and renew them. Another interesting stage director in Minsk is Vladimir Savitsky, who has recently become head of the Young Spectators’ Theatre. Mr. Savitsky is one of a few bold and talented personalities who are really concerned about theatre, our country and social problems. As a stage director, he consistently selects Belarusian drama works. Even when he stages foreign drama, he gives it a Belarusian spirit. Mr. Savitsky tries to be sincere in his reactions towards today's life. Slavonic theatrical art has always been logical, exploring the human essence, alongside daily life. Do you teach stage direction? I teach stage direction and stagecraft — vital elements for a stage director. Stage direction courses are also headed by talented directors like Alexander Yefremov, Boris Lutsenko, Valery Raevsky, Valery Anisenko and Vitaly Katovitsky. How many people are enrolled in stage direction? Six people, as a rule. After graduation, only 2-3 used to gain employment with the theatre a decade ago, for various
reasons. However, this figure has now risen to 4-5 people. Which of your graduates are you most proud of? I’m proud of many of my pupils. Among them are laureates of various theatrical festivals and honoured artistes. S ome now head drama theatres in Mozyr, Gomel, Mogilev and Bobruisk. Others work as stage directors while some are employed in Ukraine or in Russia. Some have received employment from me while others have been
A scene from a performance put on at Yevstigney Mirovich Theatre-Studio (Academy of Arts)
taken by the Young Spectators’ Theatre while still students. Some were viewed as unpromising actors early on, but I’ve helped them to establish themselves; one is now a famous stage director in Belarus, gaining popularity for his avant-garde performances. Another of my pupils works for a Moscow theatre and has appeared on the red carpet at the Cannes Film Festival, alongside Hollywood celebrities. My pupils work with pop musicians, some teach and others occupy executive posts in the sphere of culture. We sometimes hear that there are few good stage directors. Do you agree with this?