Rozov Viktor

Rozov Viktor

Over the course of ten years, I staged Rozov’s plays. Ten years – it’s not a short time. All that time I was very friendly with Rozov. Something became deeply ingrained into my memory and forever remained in my soul. It was about Rozov’s own character, who he was during the period of my closest friendship with the Central Children’s Theatre. I will not exaggerate, if I talk about – if I can use the expression – easy wisdom. That’s it – easy. Because there are, presumably, all kinds of wisdom. But there was in him some sort of peaceful equilibrium. And I really loved talking with him. Because that equilibrium was transferred to you. And in our nervous work, that’s absolutely essential.
After a conversation with him, I left with a clear head and knew clearly what I had to do the next day in rehearsal. At first, I discussed almost every scene and character development with him. They say that Rozov, at some point, never lived up to his potential as a director. That may very well be, because a director has to be possession of specific qualities: he has to be able to organize a show, to realize what he plans out. Rozov probably didn’t possess those capabilities. He didn’t think like a director. But when, in a more homey environment/under his own conditions, one on one, he hinted at the theory of one scene of his or another – this was always especially interesting to me. He helped me think out of the box. He hinted at the ethos of his own dramatis personae, which immediately knocked down any forced theatrical solution… 

In Theatre

Good Luck! 1954, Central Children’s Theatre


Other Life


Ranevskaya Faina
Sappak Vladimir
© 2015. «Dmitry Krymov Lab». All rights reserved.
Website made by ICO