Kama Ginkas Mironovich

Ginkas, KAMA MIRONOVICH (p. 1941), Russian director. Honored Artist of Russia (1997), State Prize Laureate (1999). Born May 7, 1941 in Kaunas (Lithuania). Early childhood spent in the ghetto, . narrowly escaped, . and, . perhaps, . therefore quite natural in the future it some skepticism in dealing with the world, . lack of ease in dealing with life, . is for him an object of study, . a theater - "the ideal laboratory, . where possible audacious experiments',
. 'Playing attitude' to the death of genetically entered the art Ginkas, identified the sources and the pathos of his theater

. In 1959 he entered the Acting Department of the Vilnius Conservatory, . graduated from the three courses, . From 1962 he studied at the directing department of the Leningrad State Institute of Theater, . Music and Cinema (workshop Towstonogow), . which he graduated in 1967,
. Student set himself to perfect the Leningrad Palace of Art show "Night Talk with a man whom I despise" Fr. Dц?rrenmatt.

He made his debut in 1967 performance of "traditional fee" VS pink in the Russian Drama Theater of Riga (Latvia). In 1968 in Leningrad, staged "Latest" Gorky and mocking my happiness "LA Malyugin (Head of Production R. Agamirzyan). In 1970-1972 headed the Krasnoyarsk TUZ, staged Fahrenheit 451 Bradbury, R. (1970), "Theft" by VP Astafyev (1971), and (with the artist ES Kochergin) "Hamlet" by W. Shakespeare (1972 ). Short period of Ginkas in Krasnoyarsk TYuZe was one of the brightest pages in the history of this theater.

After working in theaters Krasnoyarsk Leningrad. The most famous performances of this period - "Monologue on Marriage" ES Radzinsky (1973), . "Resembling a Lion Ibrahimbeyov R. (1974), . "The drama of the lyrics for" Mr. Polonsky (1975), . "Hey, . anyone! "one-act play by William Saroyan, . I. Hanera, . Mal'tsev (1976), . "Holy of holies" IP Druta (1977), . "The kingdom of earth" by T. Williams (1978) and especially "Pushkin and Natalie (the director's own dramatization of the letters of Pushkin, . 1979),
. The idea of the performance - 'just another illustration of the background and not a claim to the embodiment of Pushkin's genius, and the suggestion guess about the emotional state of the poet in the specific circumstances of life. I guess this is due to - access to the identity of Pushkin '. The spirit of national poet arose through an ironic and even parody intonation, . in a few minutes after the start of the play ceased to notice, . been nevomozhno to tear himself away from the hero, . played by V. Gvozditskikh, . and from the chorus and sapella, . perform folk lament, . lamentations, . songs, . who could hear Pushkin, . and it was another 'significant substantive point in understanding the personality of the poet and his fate',
. In 1980, placed in the Maritime boundary Gorky Drama Theater "The Famous Adventures of" mc. and G.F. GN Yanovskaya on the novel by M. Twain.

Since 1981 began the Moscow stage of creativity Ginkas. His performances of "Five Corners" SB Kokovkina (1981), . "Trailer" NA Pavlova (1982), . "Hedda Gabler" by H. Ibsen (1983), . "Blonde" AM Volodin (1984), . "Tamada A. Galina M. (1986) invariably became events theater life in Moscow, . they were busy leading actors theaters IM Smoktunovskij, . S. Yursky, . AA Kalyagin etc.,
. Since 1988 Ginkas works in Moscow TYuZe. His performance of "Notes from Underground by FM Dostoevsky (1988) - participant and winner of international theater festivals in Germany, Yugoslavia, Belgium, Turkey, etc.. countries. 'Accursed questions' of Dostoevsky's always worried producer. The next performance by Dostoevsky, "Playing 'crime'" (1991), Raskolnikov (in this role was invited actor of Finland Marcus Grott) took an ax, put on the floor live chicken. Habitually moving on the threshold of consciousness paradigmatic killing the old woman took on the initial horror of Crimes. Here and now, the audience has witnessed the killing of living beings.

For Ginkas Theater interesting when, following the 'zone of the theater' begins uncharted land. The director explains his theatrical experiments: 'I've been doing theater because the games in the theater is not so dangerous. You can play this game without killing the old woman, but nevertheless something to learn in themselves and in people '. "We play 'crime'" was named best performance of the season 1990-1991.

In 1995 Ginkas released 'historical and theatrical reproduction of' The Execution of the Decembrists' on his own play. Pitting past and present within a time-space, the director once again explores human nature, its depths, its limitations and possibilities. In outlining more or less reliable evidence (Memoires, . memoranda, . eyewitness) show through challenging each other 'concept', . each, . for the sake of harmony, . flavor deception, . voluntary or involuntary omissions, . errors obliging memory,
. In the play perfectly evident actor individuality D. Suponina, E. Sarmont, M. Vitorgan, V. Puchkov, A. Kovrizhnykh. In 1998, Ginkas put in MTYuZe "Golden Cockerel" by Pushkin's tale. Few clowns act out childhood friend story. Harmony - familiar concept associated with Pushkin's poetry, but the director heard and has increased discordant and turmoil of this tale: the rhythm of the verse now and then tear cantilena breaks, the story shatters to pieces and re-assembled in a single unit. Clown fun permeated with a vague sense of hostility and rivalry, rather than community. Next Ginkas, the play "House of mirrors" on the play OA Bogaeva "Russian folk-mail", was staged in Studio Theater under the direction of O. Tabakov (1998), who himself played a major role. Performance Pushkin. Duel. Death "(1999, MTYUZ) - absolutely the author's performance. Directed by inventing a plot on the basis of documents and decides on his own space, working without a set designer. White Room, the poet's death mask, the actors in black and white suits. Strict dvuhtsvete in the finale explodes with all the colors of the rainbow of lush female fans. Actors are committed to the director's idea, just do design, true to style. During performances of "The Golden Cockerel" and "Pushkin. Duel. Death "Ginkas was named best director for the All-Russia festival" Russia's first love ... '. Also in 1999 put Black Monk on the novel by AP Chekhov. This is not staged, played almost entirely prose given by a quartet of performers (S. Makovetskii, V. Kashpur, V. Verberg, IM Yasulovich), in which each maintains its own party.

In 2000 Ginkas released on the big stage MTYuZa play "The Happy Prince" O. Wilde. For the director, this tale - a parable about love, and the most difficult test in life - love this test. Those Prince sacrificing himself and swallow, in the play are cruel, vulgar, worse than a fairy tale Wilde. But the importance of this ability to sacrifice, and that makes a man a man. Prince in the play is almost a symbol of 'old culture': distributing gold and sapphires, this culture is frozen over the city 'in the form of ragamuffin'. Sense of crisis of culture, pragmatism surrounding life did not allow the director to make a final play with emotion. Actresses Nesterova (Swallow) and O. Lagutin (Prince) and talented young actors, . for the recognition of producer, . create 'this strange genre, . consisting of patches, . religious, . kapustnicheskih: music-hollnyh patches, . philosophical patches and truly tragic: Dostoevsky and the patches',
.

Ginkas a lot of work abroad. In 1988, staged Theater guard Nikita "on" House? "6" Chekhov (Helsinki), . Crime and Punishment by Dostoevsky (ibid., . 1990), . both performances designed the DL Borovsky; with SM Barkhin of productions "Life is Beautiful" to "Lady with the Dog" Chekhov (Istanbul, . 1993; Helsinki, . 1994) and others,
. Teaching Ginkas began in 1985 in GITIS them. Lunacharsky, continued in the Studio School of. Vl.I.Nemirovicha-Danchenko Moscow Art Theater and at the Advanced Directing Courses. In 2000 was again invited Tabakov in the school-studio of the Moscow Art Theater. Professor of the Swedish Theater Academy in Helsinki. Repeatedly traveled abroad to give lectures, workshops and laboratories in theater schools in the UK, USA, Norway and Finland. In 1998 led the directing-acting laboratory at the Royal Shakespeare Theater.