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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, 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?

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.