Once, I watched all of Balanchine’s one-act ballets. I really liked the form, and I immediately watched to do two such works myself. In them, the dancers dance something out, then relax, and afterwards – they do it all over again.
It was assumed that the first act would be dedicated to the genealogy of Jesus Christ. But in the rehearsal process, the accents shifted around. I started to feel a strong link between ourselves and Christ. More appropriately, between Christ and everyone who came before us – regardless of nationality! For instance, you look at a family photo album – and you already don’t know many of the faces in it. And you never had time to ask. Turns out that Christ knew his family tree, and we don’t. And that’s a shame. Therefore we’re doing something about THEM, and through them, about US.
The second part is dedicated to Dmitry Shostakovich. He’s like Charlie Chaplin. In him, there’s something funny, something scary, something tragic. His appearance, behavior, even the dirty rumors about him are funny – for he only turned himself into this clown, sad to say, after after a serious beating, a real danger. He put on a fool’s mask, behind which stood all the drama of his relationships not just with power, but with life itself.
The show has been performed as part of festivals in Germany, Poland, France, Finland, Estonia, Great Britain, the United States, Georgia, Brazil, Australia.
In 2009, for his work with “Opus No. 7,” Dmitry Krymov was awarded the Crystal Turandot and the “Person of the Year” award of the Federation of Jewish Communities of Russia, for “Cultural Event of the Year.”
In 2010, the show was honored with two Golden Mask awards: in the Experiment category and for the best design work (Vera Martynova and Maria Tregubova).
In 2013, Dmitry Krymov was awarded the “Theatrical Art” prize by the City of Moscow (in the literature and art category) for “Opus No. 7.”
Part 1. “Genealogy”
Do you remember Tsylia?
Anna Sinyakina, Maxim Maminov, Mikhail Umanets, Olga Nadezhdina, Natalia Gorchakova / Alina Khodzhevanova, Arkady Kirichenko, Vadim Dubrovin
Her name was Dora, it seems...
Yasha was fat and silent all the time. More I cannot say.
Part 2. “Shostakovich”
Anna Sinyakina, Kristina Pivneva, Maxim Maminov, Mikhail Umanets, Sergey Melkonyan, Natalia Gorchakova / Alina Khodzhevanova, Olga Nadezhdina, Vadim Dubrovin
Featuring the music of
“My ugly mug is like a glass of Bordeaux. On a bed of nerves. Here’s the twist: I get all anxious, because that mug is all Bordeaux; and all that Bordeaux is because I’m anxious. A squaring of the circle, if you will.”
From a letter by Dmitry Shostakovich to Ivan Sollertinsky, 1933
Idea, composition, and direction –
Movement director –
Musical director –
Aleksandr Shaposhnikov, Vyacheslav Zaytsev
Vocal coach –
Lighting designer –
Special effects –
V. Shishakov, E. Molchan, F. Piggot, V. Dzhabarov.
Olga Ravvich, Anton Morozov, Alexander Korotkov
The set was made under the supervision of the technical director
Valery Gurianov, Ivan Barakin, Ivan Eryshev, Nikolay Markov, Sergey Nazarov
Stage Manager -
Margarita Mikhailovna Bondarenko
Thanks to I. Barakin, V. Vishnyakov, A. Bakshi, Y. Gorskiy, V. Grishanin, I. Cornish, A. Malobrodsky, L. Rubinshtein, E. Khudyakov for their participation in filming.
Thanks to the Dmitry Shostakovich Fund for providing materials, and M.Kh. Shmulevich for the preparation of the puppets.
Collaborative project between the School of Dramatic Art and the TERRITORIЯ Festival.
Premiere: 5 October, 2008.
Runtime: 2 hours 40 minutes, with an intermission.