Opus No. 7

2008, School of Dramatic Art

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.

Dmitry Krymov

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, the Crystal Turandot prize was awarded to Dmitry Krymov for “Opus No. 7,” for “best direction of the season.”

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).

Part 1. “Genealogy”

Do you remember Tsylia?

Performed by:

Anna Sinyakina, Maxim Maminov, Mikhail Umanets, Olga Nadezhdina, Natalia Gorchakova / Alina Khodzhevanova, Arkady Kirichenko, Vadim Dubrovin
 
Her name was Dora, it seems...

Designer:

Vera Martynova
 
Text:
Lev Rubinshtein
 
Composer:
Aleksandr Bakshi
 
Yasha was fat and silent all the time. More I cannot say.
 
Part 2. “Shostakovich”
 
Performed by:
Anna Sinyakina, Kristina Pivneva, Maxim Maminov, Mikhail Umanets, Sergey Melkonyan, Natalia Gorchakova / Alina Khodzhevanova, Olga Nadezhdina, Vadim Dubrovin
 
Designer:
Maria Tregubova
 
Featuring the music of
Dmitry Shostakovich
 
“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 –
Dmitry Krymov
 
Movement director –
Andrey Shchukin
 
Musical director –
Lyudmila Bakshi
 
Film –
Aleksandr Shaposhnikov, Vyacheslav Zaytsev
  
Vocal coach –
Armen Pogosyan
 
Puppets –
Viktor Platonov
 
Lighting designer –
Olga Ravvich
 
Special effects –
V. Shishakov, E. Molchan, F. Piggot, V. Dzhabarov.
 
Lights —
Olga Ravvich, Anton Morozov, Alexander Korotkov
 
Sound —
Sergey Alexandrov
 
Props —
Natalia Urvacheva
 
The set was made under the supervision of the technical director
Alexander Nazarov
 
Technicians —
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.

Photo, Video, Audio

Photogallery
2016-2017
Interview Krymov 2009 09 fetival sens interdits
LIFT 2014: Opus No.7
Opus 7 by Channel 1
Opus No. 7 | Voices On Talkback
Turandot
Программа"Персона Грата" НТВ-Америка.

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