“…I would want to invent my very own theatre, my own artistry, which would appear as the fruits of my observations, of my own reasonings. But it’s so hard. It’s almost impossible. It appears to me that in art, there should be truth, insofar as there is authentic truth, and complete freedom of stylistic, genre, artistic, and directorial method…”
In March of 1967, Anatoly Efros was named as a director in the Moscow Drama Theatre on Malaya Bronnaya. He continued work on “Three Sisters,” by A. P. Chekhov, which had been started while he was still at the Moscow Theatre of the Lenin's Komsomol. However, shortly after the premiere of the show, it was taken out of the repertoire, as was his next work, “Kolobashkin The Seducer,” by E. S. Radzinskiy.
In 1968, Efros directed “Platon Krechet,” by A. Korneychuk at the Theatre on Malaya Bronnaya, and in 1969 – “The Happy Days of an Unhappy Man,” by A. N. Arbuzov.
In the following years, a repertoire of “Efros' theatre” was built up, which existed within the Theatre on Malaya Bronnaya, of which the chief director was A. L. Dunayev. Contemporary dramaturgy (“Tales of the Old Arbat,” by A. N. Arbuzov; “The Outsider,” by I. M. Dvoryetskiy; “The Situation,” by V. S. Rozov; and “Taken and Punished,” by Y. Volchek) joined splendid classics (“Romeo and Juliet,” by W. Shakespeare; “Brother Alyosha,” by V. S. Rozov, a staging of “The Brothers Karamazov,” by F. M. Dostoevskiy; “Don Juan,” by Molière; “Marriage,” by N. V. Gogol; “Othello,” by W. Shakespeare; and “A Month in the Country,” by I. S. Turgenev) in that theatre.
“It's beautiful to sit among your own and think in peace. And not fear that there’s some hidden meaning behind somebody’s words. I love the room where we usually sit, and when a break comes and everyone’s away, I go there and I want so badly for there to be winter and work once again…”
In these years, A. V. Efros worked extensively on television – he again turned to “Boris Godunov” and “Molière” (“A few words in honor of the gentleman Molière”); he filmed Lermontov’s “Hero of Our Time” (“Pages from Pechorin's Journal”); filmed “television plays” of his own staged works: “Marat, Lika, and Leonidik,” by A. N. Arbuzov; “Platon Krechet;” “The Outsider,” and the TV movies “Tanya,” by A. N. Arbuzov and “Fantasy,” based on I. S. Turgenev's story, “Spring Waters;” and did a television version of the MXAT play “Dear Liar,” by J. Kilty.
He released several radio plays: “The Gunshot,” by A. S. Pushkin, and “Martin Eden,” by J. London.
In 1969, he staged “Then Comes Silence,” by V. Delmar, in the Mossoviet Theatre; there, in 1974, he also staged “The Tourist Camp,” by E. S. Radzinskiy. In 1975, he worked on the stagings of the shows “The Evacuation Train, by M. M. Roshchin, at MXAT (revived on 9 May, 1980) and “The Cherry Orchard,” by A. P. Chekhov at the Theatre on Taganka.
In 1975, the publisher “Iskusstvo” released his book, “Rehearsal, My Love.” In 1976, A. V. Efros was assigned the title Distinguished Figure of the Arts of the Russian Soviet Federative Socialist Republic.
“…To be able to feel in art is absolutely not the same as the ability to feel in your own life. And this, I have to confess, is a privilege not possessed by every artist. Some can think, others can compare and philosophize; some hurry, and others can comfortably appear as though they feel. But it's far from all artists who can feel. And this distinguishes them. A reciprocal tenderness appears to them. Because in genuine feeling, there is something alive and dear. And surprisingly close…"