Theatre is my extremely happy and very hard fate.
Theatre artists is a special brotherhood. Though, because the theater itself a complex multidimensional body. It combines talented people, but talented in their own way. And each depends on the atmosphere of a creative space in which performances are born. In the theatre it is impossible to work only on themselves. Everyone is necessarily part of a common cause in it. And especially it concerns theatre scene-painters, applications, as they call themselves. So how does the working process look like? Tatiana Krylova shares with us some of the secrets of their profession.
T.K. As-I work closely with the Chief artist of the theatre Alexei Kondratyev. He trusts me and is very important for my work. Because from the first steps of birth play by stage designs and design ideas, I have to figure out which direction to go in their quest. And before products and designs theatre scene studio, we are looking for texture artist materials, I try to do the "labels". In short I experiment. The specificity of our art is such that we need to "cheat on" audience, textures, light. Any close object may look like an abracadabra. And shrink back on two feet and delight! Need to get the idea, form and texture have grown together and gave the desired result.
At theatre "Lenkom" a few years was the play "the Czech photo", which was designed by David Borovsky. It was put on two brilliant actors Nikolai Karachentsov and Alexander Kalyagin. Tatiana connected with this performance by the history that is unlikely to happen to an artist-painter. And in the profession of theatrical artist it is very revealing.
T.K. - David Borovsky and me were looking for the texture of old peeling paint on the ship's landing stage, which is on the water. And I found a way to convey this effect by using paper. And then we went on tour in Dnepropetrovsk and other performances when touring program, the scenery "Czech photo" stood in the courtyard of the open-air theatre. First they poured rain, then they got frozen, then thawed. As a result, the wooden structures were twisted in a spiral, they cracked and all my paper was broken ... I remember that at first I was gripped with horror. But then I realized that this situation added effect, which we have long sought. I began to think, how to save the resulting texture, and I succeeded. And when we came back to Moscow, Borovsky told me: "Tania, do you know how much this effect cost abroad!" these things happen in the work of the decorator. An ongoing creative process. But in addition to the decorations have furniture, props, which partly bought and partly done workshops.
One can see the end result of the invisible work of Tatiana Krylova only at the premiere of the play. This work is painstaking, sometimes sacrificial, not bringing fame. This is the dark side of theatre. Tatiana spends 12 hours a day, and when it is necessary even 20 hours in a theatre. And once during the release of the performance "The executioner's Lament" with Alexander Abdulov in the title role, she spent a week in the theater without leaving it for home. Tatiana says by that time she had a thought: " It is similar to the monastic life. Nobody knows what's going on behind the walls of this monastery, the main thing is that everyone knows your prayer had the result ". But all the difficulties would eventually pay off the success of the play, the happy audience and grateful actors. Sometimes professional life becomes an integral part of stage life.
T.K. "The play" The Cherry Orchard "has been on the stage for 15 years already. In this production Mark Zakharov puts a very strong in impact on the viewer, but a technically difficult final - a huge wall collapses. And there was no play, so that at that moment those who were involved in its creation, including myself, were not behind the scenes. It is always a common prayer for the final scene to go right, the wall has collapsed and no one has suffered. Physics sometimes works in such a way that all the components of this wall have fallen, and one is standing. But by law, it must fall too. And the actors must go out to bow. This is the only performance that has been keeping us on a leash for 15 years of its existence. Someone may think that this is an unjustified risk. But the fact of the matter is that without this collapsing wall the performance will not take place. This is a powerful final point. And for us, responsible for this scene, every performance is both stress and joy, if everything happened correctly. Such moments are very close to the people of the theatre. Maybe that's why, every performance has its own score of life behind the scenes, which is born during rehearsals. It is invisible to those around and especially viewers, but it is an integral part of the play. This is a kind of ritual. For example, in the performance "Czech photo" Alexander Kalyagin and me waltzed behind the scenes before the beginning . This is general support, the right mood, everything is so subtle and important.
In the "Lenkom", as a rule, the life from the stage organically flows into the backstage part of the theatre, and it creates a unique Lenkom atmosphere, filled with warm human communication. So the theatre becomes a home. It is enough to cross the threshold of the theatre to see how Tatiana is respected and loved in this house. They are drawn to her for support, advice, just human warmth. She knows this and never deceives people's trust. Uneasy life hardened her spirit, enriched her with her patience and wisdom. Sport, to which Tatiana devoted conscious years of her youth, brought up a strong and enduring character in her. Some difficulties of life make people be capricious and weak. It's not about Tatiana. When she produced her first and incredibly difficult performance from the technological point of view, "Death Room" in "Tabakerka" (directed by Vladimir Mashkov, artist Alexander Borovsky), her husband died tragically. The will of fate, which sometimes presents terrible trials, the funeral almost coincided with the premiere of the play! The first performance in her life became the legend of "Snuffbox", and firmly linked her life with the theatre. But Tatiana had never dreamed of a theatre and was about to become an athlete.
T.K. - There are many surprises in my life. I seriously engaged in skiing. I even tried to get an education at the Institute of Physical Education. Then fate led me to the architectural department of the Moscow Art College. After graduation she worked at the Central Institute for Experimental Design of Educational Buildings (TsNIIEP), participated in the creation of schools, pioneer houses. Then she worked for the regime enterprise of Zelenograd, in the esthete group, which dealt with industrial design, interiors and, of course, designed demonstrations that were an integral part of the life of the Soviet people. In those years, the country lived from the May demonstration to October; one ended, they began to prepare for another. We tried different styles of art in design. For me it was a great experience, and the range of works is huge - from funeral tapes to large serious objects. Then there was an amazing vernissage period in Izmaylovsky Park, an outlet for artists of the Soviet period. A huge flow of interesting people, the joy of direct contact with them, the possibility of self-realization. This was already a "reorganization" time. For me, it's the happiest time in my life. Then I got carried away with a special technique of working with the leather. It was a panel, actually inlaid from the leather. A very complex technique, not commercial at all, which became my know-how - so no one has worked. And these works were already abstract then, like those that I create today, only with other material. To be honest I tried almost everything.
For Tatiana it was the time of gaining experience in applied arts. Then she did not realize that her appearance in the theatre was not an accident. She agreed to help in the design of one room and got acquainted with theatrical artist Alexander Borovsky, who was then preparing to stage the play Deadly Room in Tabakerka. He became her first mentor in the theatre. No less important was the acquaintance and joint work with Borovsky-senior. With David Borovsky almost parallel Tatiana participated in the creation of the play "Dinner" on the big stage of the Moscow Art Theater with the participation of Oleg Tabakov and Armen Dzhigarkhanyan. This season of 93-94 in the "Tabakerka" was surprisingly intense for the artist. She did a lot for the first time in this period. Including Venus of Milos from papier-mache in full size. At the same time, a meeting took place with Pavel Kaplevich, with whom several works were subsequently done. In the same year 1994, Tatiana was invited to Lenkom, where her work with Oleg Sheintsis began. In the theatre you are always not alone, a lot of the same talented people are beside you, and they can not be let down. The theatre requires a colossal measure of responsibility, and it is not everyone who succeeds in gaining respect in such a community. It's hard to imagine Tatiana outside the Lenkom. Theatre habitually silently breathes with her work and her creative potential. She is in her place, in her theatre house, in her favorite profession. She is close to its style, its atmosphere. One can ask what else she needs? So the craftsman would have thought, but not a talented artist, like Tatiana.
T.K. It's always very difficult to evaluate your work from the inside. Therefore, it is always important for me to hear the opinions of those who see my paintings and works. Of course, for me this is a completely new experience. But on the other hand, the decorator often mixes something that does not mix in the usual life. Sometimes you have to use the most unexpected items for the design of the play. For example, when we did an installation for the performance " The executioner's Lament ". I went to the tractor workshops and brought out various details from there. Of these, we created an unusual and beautiful instrument - a kinematic machine that moved and made strange sounds. It was invented by our artist Oleg Shayntsis. It was in itself a work of art. In fact, each performance gives rise to something unusual and beautiful. Once I flipped through a new booklet and stumbled upon a description of enamel paints, which were originally created for costume jewelry. With them, even sold blanks for bracelets, earrings and medallions. And I thought that probably these colors can create something else. Then on the Internet I came across a mention of a Japanese person who includes these colors in his painting. I decided to work with them and since then they have simply fascinated me. For the third year I have been trying to come to an agreement with them. Because they manifest themselves absolutely unpredictably and it is impossible to know exactly what you will get as a result of the work. These colors live their own lives. And now I'm just starting to manage them a little. You can paint, make the picture you need, and come in the morning and see a completely different story. The most reliable theme is flowers. I have already mastered in this field. But abstract things are hard to be figured out. I'm still trying to understand the nature of these colors, their secret. They do not allow you to flirt with themselves. You have to be around with them for a long time, as long as they show their inner strength. Sometimes I stand over a painting all night until the colors get the shapes I need. They do not seem to let me go, and I understand why. Literally, in every drop of them, a huge genre variety is concealed, allowing any fantasy to be realized!
I use a cold enamel of two kinds, each of which manifests itself in different ways. One paint has a specific fine-meshed, prismatic texture. And there are others, with a more fantasy effect. Trying to experiment with them, I learned to add paint to them on stained glass and ceramics, and as a result of this mixing the structure becomes more pronounced, they start to open up brighter. Sometimes the business is a solvent and some secret tricks. In short, this is a whole uncharted world that can push you to the most unexpected results. One of my fantasies was the idea of painting interior items. For example, I made a screen as a present for the actress of our theatre Anna Yakunina. I made decorative tiles at home. Paints can paint a vase, decorate the furniture, everything that is enough for fantasy. But for this you need to be friends with them, their character is obstinate. They can be wiped and even washed when they are dry. I perform my decorative panels mainly on a canvas with a stretcher or use a canvas on cardboard. But the experience of my theatrical activity gives me the opportunity to use several more bases for painting. For example, the series under the general name "LOFT" is made on plastic panels, which we ourselves cast in the theatre. The panels are decorated for rust or bronze with patina and the finishing touch is the painting with cold enamel. Despite the fact that I have already learned how to conduct a dialogue with these colors, they remain a mystery to me. I think I will stay with them for a long time ...
Tatiana is an amazing artist. She is always in creative search and is ready for discoveries not only in the theatre, but also beyond its walls. It is important for her to realize herself every minute of her life. She willingly participates in charitable actions, with joy decorates the church and makes out the performances of the Sunday school. She has accumulated a great spiritual and emotional experience, a new understanding of color, texture, which she gives a creative way. After all, this is a way to understand yourself, your artistic nature, and this is confirmed by her paintings painted with cold enamel. And, of course, it is clear that this is not the limit of possibilities and it will more than once surprise everyone with the results of her new searches.
Tatiana's works are so unusual and wonderful that one can involuntarily think that the Lord controls everything, and we can only trust him in time.