Tomorrow at the Theater. Lensovet Prime Minister. The play “Chekhov. Vaudeville" is produced by director Andrey Prikotenko: the ex-chief director of the Riga Russian Drama, who returned to St. Petersburg, where he started very successfully in the 90s. Prikotenko's new St. Petersburg works pleasantly surprise with the clarity of the director's thought. The premiere performance features three short Chekhov's plays- “The Proposal”, “Anniversary” and the monologue “On the dangers of tobacco” are turned into milestones in the fate of one character.
Tomorrow at the Theater. Lensovet Prime Minister. The play “Chekhov. Vaudeville" is produced by director Andrey Prikotenko: the ex-chief director of the Riga Russian Drama, who returned to St. Petersburg, where he started very successfully in the 90s. Prikotenko's new St. Petersburg works pleasantly surprise with the clarity of the director's thought. In the premiere performance, three short Chekhov plays - “The Proposal”, “Anniversary” and the monologue “On the Harm of Tobacco” - are turned into milestones in the fate of one character.
Andrey, from the interviews you have already given, I am aware of the main idea of your Chekhov play: that marriage destroys a man, deprives him of his inner core and, indeed, personality. Where did such radical thoughts come from?
Marriage is too difficult a category. It is just as difficult to talk about it as an ideal concept as it is to talk about it being unnatural. Of course, there is quite a noticeable element of play in our statement. Theater is not an institution that can seriously approve or cancel something.
—Are you staging a play about a particular case or about a psychological pattern?
Of course, about a special case. There are no laws in marriage at all. Too many exceptions. Well, besides, our bold statement is also a publicity stunt. Our performance will end with family happiness, as you might guess.
I have no idea. I thought it would all end with a monologue “On the dangers of tobacco,” where his wife’s husband appears, deprived not only of masculine, but also of many human characteristics.
No, the ending will be completely different.
How does the young actress Ulyana Fomicheva, whom you invited to play the main role, feel inside the Lensovet Theater? female roles in all parts of the performance? It always seemed to me that the Lensoviet troupe was quite hermetic and not very inclined to allow outsiders into their circle.
Yes, there is such a circumstance. But Ulyana somehow surprisingly easily fit into this company, she is kindly treated by the old-timers and works very well.
The protagonist is played by Alexander Novikov. Until now, you have never worked with this artist. Why did you choose it? What features of him fit into your story?
He is smart, subtle, vulnerable, nervous, intelligent. Real Chekhov's hero. And at the same time, for some reason he never played Chekhov - only in his college years, for some episodes. It didn't seem right to me.
Rehearsal of the play "Chekhov. Vaudeville": Alexander Novikov
The scenery, as far as I know, is also yours? How would you define the location of the action: domestic or conventional space?
The scenery is mine, but the theater’s resident artist, Maria Bryantseva, helps me. The action takes place in four places. But all this is a real, everyday environment, very detailed.
—Which way does the action lean: towards comedy or drama?
This is what I cannot say yet. Chekhov's one-act plays are not vaudeville, they are rather something between drama and farce. But we want to extend the action to tragic notes. “About the dangers of tobacco” - this is pure tragic work. You can also look at it as a melodrama - just feel sorry for the hero. But we are not interested in this.
Do you blame the woman for the terrible metamorphoses that occur in the process? family life with a man?
In no case. Blaming is not Chekhov's way. And the position of the prosecutor is not close to me. You can't blame anyone in life but yourself. This, by the way, is the difference between tragedy and drama: drama is when a person is to blame himself, tragedy is when the gods control his fate. Chekhov is a drama. And when I talk about tragic notes, I mean tearless intonation.
— How do you feel at the Lensovet Theater?
Great. This is such an elastic theater, tuned to work. There, in fact, the spirit of Igor Petrovich Vladimirov is still felt, but it does not interfere, does not pull into the past, but constantly feeds creative energy, theatricality in the very in a good way. We don’t have any problems: we rehearse as much as necessary, no one whines or looks at the clock. You rarely see something like this these days. In addition, this theater has a very strong service staff– all workshops work smoothly and efficiently.
In Riga, the main director for the second season is Andrei Prikotenko, who traveled half the world with his “Oedipus the King” and in three months managed to stage four completely different versions of “The Inspector General” at the final acting course of V. M. Filshtinsky at the St. Petersburg Academy of Theater Arts.
The birth of a director is always a mystery. A. Prikotenko, a slender boy with a clear gaze, danced diligently in the 1980s in the famous ensemble “Young Leningrader”. He served in the army in the song and dance ensemble of the Leningrad Military District - oh, how this ensemble helped our brother out then! Songs and dances did not obscure the interest in classical art, so the Philharmonic was familiar firsthand, and Theatre of Drama aroused interest. His penchant for choreography will later affect his performances, manifesting itself in the elegance of mise-en-scène, in the fragility of the lines of stage action, in the musicality of construction.
But that was still a long way off. I tried to go into directing. I.B. Malochevskaya was taking the course - no, she told him, don’t get involved in this matter... The first step, as it turned out later, was the right one. The time just hasn't come. And then, together with a friend from the ensemble, I decided to take a risk and, unexpectedly for myself, enrolled in an acting course with Filshtinsky.
The company turned out to be more than wonderful, as is clear today: Kostya Khabensky, Misha Porechenkov, Misha Trukhin, Andrey Zibrov, Ilya Shakunov, Ville Haapsalo, Masha Lobacheva, Misha Krylov and others... This course, like other Filshtinsky courses, was distinguished by obstinacy and conceit extraordinary, fanaberia (though not out of nowhere) and a latent tendency to rebellion. And, of course, the collective talent, which emerged already at the beginning of the second year, when the play “Vysotsky’s Time” grew out of a creative task, which amazed the first spectators. The future artist Prikotenko, even then, was more interested in, as he himself puts it, “where to stand and what to include.” That is, the organization of the process. He played wonderfully in that performance, but considered his main achievement to be “Wolf Hunt,” which he invented and carried out from beginning to end.
He played different things during the course, and became ill with the material for a long time: this is how “Days of Our Lives” by Leonid Andreev entered his consciousness, where he played the Janitor, and then staged it twice - in Orel and in Riga, until he got rid of this topic. Andrei also appeared in “Three Sisters” (I hope he will direct it somewhere someday; it’s not for nothing that he is a student of Filshtinsky). He played and stubbornly set his sights on directing, on creating an artistic volume determined by a whole team of different people whom he knew how to unite and infect with ideas and meanings.
The master was always nearby: he gave a recommendation to Prikotenko, and he made his graduation performance in Novosibirsk, at the Old House Theater. Then there was Orel, where he staged both fairy tales (“The Little Humpbacked Horse” by Ershov) and L. Andreeva (“Days of Our Lives” are still shown there). In short, I learned to work, got my teeth into things, quarreled and made peace with artistic directors, because I was not born white and fluffy, confused stubbornness with perseverance, and did not want to distinguish the subtle shades in relationships. The experience was different. Including the negative: after the alterations, another director signed the practically made, worn out and born in agony “The Inspector General”. It turned out that this is not uncommon in the theater, and the unfinished meeting with Gogol’s play, apparently, subsequently resulted in a whole fountain of “The Inspector General”.
When Filshtinsky released his next course, one of his former students, Giuliano di Capua, supported Prikotenko’s proposal to stage Oedipus the King. Any theater expert now knows what came of it. “Oedipus” has been shown more than 150 times and still attracts a full audience. The workshop of the Theater on Liteiny, under the direction of Andrei Prikotenko, produced three performances (“Oedipus the King”, “Antigone”, “The Servant of Two Masters”, all are still running to this day, moreover, “Antigone” has grown, strengthened, become more courageous and deeper).
The longer the play had a trail of traditions, the more fearlessly Prikotenko approached it: “Dance of Death” by Strindberg, “Hamlet” by Shakespeare, “Tartuffe” by Molière. IN different points country, the outlines of the Theater that he dreamed of building were gradually emerging. Theater strong emotion, rigid form and capacious content. Theater of like-minded people.
A young director must wander long and hard in search of his own Theater-Home - that’s how it is with us. So they roam: some in Siberia, some in neighboring countries, and some in far abroad countries. Someday the Motherland, that is, native Petersburg, will call you back, take you into its cool embrace and say: “Here you are at home. We've been waiting for you!" But he’s not calling yet...
In 2006, Andrey Prikotenko was invited as artistic director to the Riga Russian Theater named after M. Chekhov. A new period began in his life, a difficult period full of trials, for it turned out that without his own home it was difficult, but it was also not easy with a house. McDonagh became the programmer. “The Cripple from the Island of Inishmaan” has been his long-time dream. To stage this play, he needed a well-coordinated team (how wonderful it would be to stage it with Filshtin graduates!). Such a team had to be created in a short time. The troupe brought together a variety of young people: graduates of the acting class of the Petrozavodsk Conservatory (class of Arvid Zeland), the Filshtinsky workshop, the Moscow Art Theater School (class of Oleg Tabakov), and the acting department of the Latvian Conservatory. The age roles were played by the actors of the troupe (including graduates of our Academy from many years ago), whom the young director was able to induce to work together: not everyone liked the play. However, such a reception awaits the fashionable Irishman in almost any traditional theater.
Photo by K. Suslov
Prikotenko's performance balances on the brink of a dark psychological drama and absurdist comedy. He is cold in a northern way - and reckless in a Russian way, his lyrical moods are organic in counterpoint with the rollicking abandon of the heroes of a strange story about people from the Aran Islands (check - this is a tiny dot on the map of Ireland).
The artist Oleg Golovko, with whom Andrey Prikotenko likes to work, prefers metal structures in various modifications. He did a nice job with iron here too: above the metal platform that connects the land with the sea, a dirty gray cloth is stretched across the mirror of the stage. It reminded me of a gloomy-looking sail. Moreover, this entire structure apparently tilts to the right, creating a tragic diagonal movement - of the heroes, and of the water, of which there will be a lot on stage, and even of sounds. The heroes also run down the gangplank, creating another scenic dimension.
E. Terskikh (Billy).
Photo by K. Suslov
"The Cripple of Inishmaan." Scene from the play.
Photo by K. Suslov
This design is quite lived-in by the actors. The performance begins with the usual unloading of imported goods for a local shop, as is usual for island residents. Cardboard boxes fly monotonously across the stage, which Kate and Ellin skillfully handle (the director turned the main character’s two aunts into mother and daughter, giving interesting job two actresses of different generations). Siege survivor L. Golubeva is quite natural in the role of old Kate, accustomed to cold northern winds and unable to openly express her feelings. But she talks to stones... She dotes on her adopted child, the crippled Billy. Actually, mother and daughter (S. Shilyaeva) live for him. This is a very warm duet, the clear relationships within which are subtly built by the director.
According to McDonagh, life on the island is special. On the one hand, it seemed to freeze, stop, freeze in the northern latitudes. On the other hand, any event here sharpens feelings, thoughts, thickens the very meaning of existence, acquiring special value.
The chatterbox and gossip Johnny Patinmike (M. Borovkov), whose every appearance is heralded by clouds of tobacco smoke, is not at all a fiend of hell. On the contrary, he is an organic component of this motley company; without him not a single event happens. He is the local mail and television, the teletype feed of the local news. And only at the very end of the play, with a detective move characteristic of McDonagh, the true face of this talker, who solders his own mother (I. Egorova), is revealed: after all, it was he who once saved the crippled Billy from death...
Brother Bobby (E. Kornev) and sister Helen (D. Podolyako, in turn with her this role is played by the filthy U. Fomichev), a couple in the spirit of Beavis and Budhead, cheeky kids who do not take into account those around them. Ironic detachment is achieved by the director through comic tricks, which are performed quite seriously by the actors. So, Bartley (A. Fechin) washes clothes directly on himself: he carefully soaps his pants and sweater, and then furiously scrubs himself with a washcloth, whipping up whole clusters of foam. So convenient! Helen beats the eggs with gusto, which she carries in her string bag...
The absurd, funny and generally quite good-natured inhabitants of the island are actively drawn into the story of the departure of the crippled Billy to the Hollywood filming of a film about Irish fishermen.
Cripple Billy is the center of the story, the key to understanding the island of Inishmaan and its inhabitants. The role of Billy is played by a young artist, a recent graduate of the acting class of the Petrozavodsk Conservatory, Evgeny Terskikh. He transforms beyond recognition in this role. After the performance, the audience timidly asked the usherette whether it was humane to use in the theater the work of a seriously ill person - a real cripple? They still did not believe that behind the scenes at that time a tall, strongly built, handsome actor(just see him in military uniform with golden epaulettes in the role of Prince Tomsky from The Queen of Spades!).
Here, a short, angular guy in a child’s cap with strings is hobbling across the stage, turning his legs inward, as if he had polio. He can barely pronounce the words - as if he is painfully tearing them out of himself (I don’t know what kind of device the artist used, but the illusion of organic tongue-tiedness is complete). He looks from under his brows, moves irregularly, jerkily. Disabled, freak, punishment. At the same time, he is extremely charming and does not cause the slightest disgust.
Actually, the intrigue begins at the moment when Billy decides to leave the island for filming. His inferiority, which everyone around him repeats every day and hour, should finally serve him well: he wants to play a cripple, become an actor, respected, recognized by others and a professional. And he sails to the mainland - by deception, having invented a fatal disease for himself (otherwise how to escape from this damn island?) ...
They wait for Billy for a long time, the whole company gossips about his fate, sitting on a miserable pier in the frontal mise-en-scène and evoking, despite the director’s harsh smile, aching pity. So we all, despite the benefits of megacities and modern technologies, lonely and greedily wait by the sea for the weather, wait for Events, wait for understanding and loyalty from those we love. The philosophy is simple, but it is difficult for it to reach the human heart today. At the end of the first act, a hurricane rages on the stage: thunder rumbles, slanting rain pelts, a little old woman stands on the pier, peering into the horizon... Music by E. Artemyev completes this strong and piercing scene.
Billy returns in a white suit, smartly dressed, a little different (the actor subtly changes something in his movements, turning his head) - he looks calmer, he is wiser from his new experience. Keeping his loved ones in suspense, Billy does not immediately reveal the secret of his return: he turned out to be unnecessary - the cripple should be played not by a cripple, but by a normal actor. Outcasts are not needed anywhere; healthy people are afraid of them, afraid to take on part of their misfortune. Billy returns to his roots, to his family (who are actually not his family at all!).
The brutal scene of the beating of a cripple (he is dealt with by the narrow-minded brutal Little Bobby because he tricked him into getting into his boat and swam to the mainland) was solved by the director almost symbolically: dull blows with an oar from behind the wall and a thin tube - blood flows through it, which he spits out Billy…
But finally all the worries are over, Billy and his caregivers are carrying boxes, the rude Helen agrees to go on a date with him. Prikotenko’s “Black” McDonagh is read in different intonations, rich in range, including lyrical ones. This is due to the general structure of the production, precisely selected music (musical design by N. Yakimov) and unobtrusive, but very appropriate expressive choreography (choreographer I. Lyakhovskaya). And, of course, thanks to the actors, among whom E. Terskikh certainly and rightfully takes the lead in the role of the crippled Billy.
The director managed to create a strong ensemble, including both young people, with whom he knows and loves to work, and veterans of the Riga troupe. He was able to captivate, infect, and “spin” artists into invention and improvisation, giving an important key to understanding difficult and unusual material. There is an atmosphere here - a quality of the performance that is half-forgotten today.
“The Cripple from the Island of Inishmaan” is playing to a full house, as is the stage version of J. Amadou’s novel “Donna Flor and Her Two Husbands,” staged by the director after “The Cripple.” New job Prikotenko - play “Rules of the Game” (based on “The Snowstorm” and “The Queen of Spades” by Pushkin).
Photo by K. Suslov
"Rules of the game". Scene from the play.
Photo by K. Suslov
It was difficult to count on unconditional success: the very principle of combining such different Pushkin’s creations could be challenged at the textual level, especially since “The Snowstorm” was staged by V. Sigarev, and “ Queen of Spades"interpreted by N. Kolyada in the play "Dreisiebenas". One thing is clear: the director was interested in today's, modern view of Pushkin and his heroes. It was important for him to break through the thickness of academically boring, approximately costume stage Pushkins. Both authors boldly invade Pushkin’s text, incorporating modern vocabulary with some daring.
Why did Prikotenko combine these stories? Both are about fate, about its call and mockery, about a turning point in the lives of the main characters - the War of 1812, a fateful event of the Pushkin era, which divided the life of Russian society into “before the war” and “after”.
There is one flaw in this concept: it is speculative. And in the performance the two parts did not merge into a single whole. Moreover, “The Queen of Spades” froze in the “Procrustean bed” of the concept, and “Blizzard” was surprisingly filled with a transparent, bewitching atmosphere of stage acting, which imperceptibly moved to another scale - playing with fate, playing with history.
The main plot of “The Queen of Spades” was the conflict of Hermann, who was lured into the world of excitement and chance by fate in the form of an old countess, with his “Germanness” (economy, measure and diligence)... Fair-haired tall actor with light eyes, a discreet appearance, really looking like an average German (A. Mozheiko), fully corresponds to the ideal of German narrow-mindedness in everything. However, in the scene of the confrontation with the Werewolf Countess (E. Frolova), the actor turns out to be unable to strike a piercing note, wilts, and gives up. The image of Hermann lacks the volume and spiritual tension that would reveal the painful internal contradiction of this hero.
E. Frolova (Countess).
Photo by K. Suslov
The second participant in the conflict is the Old Countess, a she-devil in human form, which is capable of instantly transforming from a mumbling paralytic into a young, full of strength woman, making a desperate somersault right on the table. The actress is too fascinated by external devices - the position of the tongue hanging out of the corner of the mouth, the senile wooden plastic, the modulations of a hoarse voice. But the hell into which she must drag the ingenuous German Hermann is not born. There is no mystery in it, attractive and scary at the same time. And since this most important link in the production is dropped, everything else loses its meaning.
Other lines of the play, originally and inventively decided by A. Prikotenko, do not go beyond the boundaries of a gloomy anecdote. Even the man-wind, aka Shishok (A. Korgin), infernally plastic, mobile like mercury, does not change the situation.
It seems to me that Andrei Prikotenko fell into the trap of his own concept. For a moment, the intellectual defeated the artist, so the director’s thoughts can be read, but feelings do not arise. Neither the expressive work of set designer N. Abdrashitova and costume designer I. Dolgova, nor the excellent work of lighting designer G. Filshtinsky, nor the exquisite choreography of I. Lyakhovskaya can save the day.
But all this works completely differently in the second part, where the lack of emotional element is more than made up for. “Blizzard” begins sunny and joyfully: young ladies are merrily skating at the city skating rink, laughter, noise, din... In the middle, like a Christmas tree, stands Volodya (A. Malikov), with snowballs sticking to his dress. The lovely Masha (A. Timoshenko), in a white fur high hat, is having fun from the heart, declaring her love. Nothing foreshadows trouble, a turning point that will destroy their illusory, but such sincere love. Volodya plays war like a child: he marches funny and salutes. And Masha plays with rag dolls in her room - there are many, many of them, they make up her little cozy world, in which all problems are solved with the help of children's toys... A. Timoshenko is very good in the episodes where her heroine is childishly naive and happy. Everything else is still difficult for her. When a terrible thing happens (a wedding with a stranger, and even a drunken young officer), Masha faints. For her, the tragedy of the situation will be indicated by U. Fomicheva in the role of the maid Nastya: for a moment her face will become a tragic mask, and time will flow differently.
The director solved the theme of war with the help of toy soldiers. They appear in orderly rows above the screen, the roar of shells, smoke obscures the eyes. War... It seems to be completely puppet-like, unreal. Only the characters we meet four years later have aged a lifetime. And when Colonel Burmin (E. Kornev) sits on a chair, with his mutilated hand resting on a stiff leg, wise by unnecessary experience and matured beyond recognition, and on his shoulders lie the hands of his wife Masha, who looks like a widow in a black robe, with a mournful, haggard face, There is a strong feeling of the tragedy of existence, the irreversibility of the course of events, the inexorability of history, which plays with a person like cards.
And the victory fireworks are explosions from those same rag dolls, they fly in different directions from behind a white screen - there is no place for toys in life now.
“Rules of the Game” has mischief and the element of play, and the director’s own view is obvious in them. And although the production is characterized by contradictions, many of which are live, it testifies to the same thing as the previous ones: Andrei Prikotenko is confidently moving towards creating his own Theater.
Born on January 4, 1971 in Leningrad. Graduated from SPGATI in 1998 (course of V.M. Filshtinsky).
From 2002 to 2007 - founder and director of the workshop of the St. Petersburg Theater on Liteiny. The first performance of the workshop, “Oedipus the King,” brought fame to the director and was awarded a special prize from the jury of the Russian National theater award and festival Golden mask"(2003), the highest theater award of St. Petersburg "Golden Sofit" in the nomination "Best Director's Work" (2002).
In 2005 he staged the play “Tartuffe” at the Novosibirsk Red Torch Theater. The production was recognized as “Best Ensemble Performance” at the Regional theater festival“Siberian Transit” (2006), laureate in the categories “Best Scenography” (Oleg Golovko) and “Best male role"(Igor Belozerov - Tartuffe) in the Novosibirsk theater competition "Paradise" (2006). “Tartuffe” was presented in the main program of the Russian National Theater Award “Golden Mask” in 2007 in four categories.
From 2007 to 2009, he directed the Riga Russian Theater named after M. Chekhov, where he staged the plays: “Days of Our Lives” by L. Andreev, “Rules of the Game” (based on the stories of A.S. Pushkin “The Queen of Spades” and “Blizzard” in the interpretation N. Kolyada and V. Sigarev), “The Cripple from the Island of Inishmaan” by M. McDonagh, “Dona Flor and her two husbands” by J. Amadou.
From 2001 to 2006 he worked as a senior lecturer at the department of directing at St. Petersburg State Academy of Theater Arts (now RGISI), course of V.M. Filshtinsky.
In the period from 2010 to 2013, he actively collaborated with the Bolshoi Drama Theater named after. G.A. Tovstonogov. He staged the plays “One Summer” by E. Thompson, “The Innkeeper” by K. Goldoni, “The Inspector General” by N.V. Gogol, “The Cripple from the Island of Inishmaan” by M. McDonagh.
Since 2013, he has been creating performances in famous Moscow theaters: “Five Evenings” and “Dona Flor and Her Two Husbands” at the Lenkom Theater, “#Operanishchikh” at the Academic Theater of Satire.
In 2016 he staged the play “ The Cherry Orchard"at the Novosibirsk State Drama Theater" an old house", which became a laureate of the Novosibirsk theater competition "Paradise" in the categories "Best Director" and "Best Actor" (Anatoly Grigoriev) in 2017.
In 2017, he was invited to the Old House Theater to the position of chief director.
Andrey Prikotenko is the winner of the Oleg Sheintsis prize “For artistic embodiment concept of the play" of the IV All-Russian Festival "Russian Comedy" in Rostov-on-Don (play "Chekhov. Vaudeville", St. Petersburg Lensoveta Theater).
His performances took part in the Interregional Theater Festival “New Siberian Transit”, All-Russian festival“Real Theatre”, All-Russian Festival “Voices of History”, All-Russian Festival “Spectator Success”, International festival M. McDonagh, International Festival ancient Greek drama, International Theater Festival "Baltic House".
Performances
- “Sanya. Sanka. Alexander..." based on the play by Yu. Rogozin / Novosibirsk State Drama Theater "Old House" Novosibirsk
- “Mowgli” R. Kipling / Theater named after. Turgeneva, Orel
- “The Little Humpbacked Horse” P. Ershov / Theater named after. Turgeneva, Orel
- “Days of Our Lives” L. Andreev / Theater named after. Turgeneva, Orel
- “Oedipus the King” Sophocles / St. Petersburg Theater on Liteiny
- “The Servant of Two Masters” by C. Goldoni / St. Petersburg Theater on Liteiny
- “Antigone” by Sophocles / St. Petersburg Theater on Liteiny
- “Winnie the Pooh” A. Milne / St. Petersburg Theater on Liteiny
- “Dance of Death” by A. Strindberg / Theater Artel, St. Petersburg
- "Hamlet" Shakespeare / New Drama Theatre, Moscow
- “Tartuffe” by Moliere / Novosibirsk State Academic Drama Theater “Red Torch”
- “Flying over a charitable institution” based on the play “The Inspector General” /SPbGATI, course by V.M. Filshtinsky
- “Goodbye, boys” by B. Okudzhava (together with V. M. Filshtinsky) / SPbGATI, course by V. M. Filshtinsky
- « Golden Age" D. Shostakovich / State Academic Mariinsky Theater
- “Days of Our Lives” L. Andreev / Riga Russian Theater named after. M. Chekhov
- “The Cripple from the Island of Inishmaan” M. McDonagh / Riga Russian Theater named after. M. Chekhov
- “Dona Flor and her two husbands” J. Amadou / Riga Russian Theater named after. M. Chekhov
- “Rules of the Game” by A. Pushkin based on the story “The Queen of Spades” and “Blizzard” / Riga Russian Theater named after. M. Chekhov
- “Lerka” based on the plays of V. Sigarev / Theater-festival “Baltic House”, St. Petersburg
- "Chekhov." Vaudeville" based on the vaudevilles of A. P. Chekhov / St. Petersburg academic theater them. Lensovet
- “Sylvester” V. Bochanov / Novosibirsk State Academic Drama Theater “Red Torch”
- “My poor Marat” A. Arbuzov / State Drama Theater “Comedian’s Shelter”
- “Tartuffe” by Molière / Theater-festival “Baltic House”, St. Petersburg
- “One Summer” by E. Thompson / Bolshoi Drama Theater. G.A. Tovstonogov
- “Five Evenings” A. Volodin / Moskovsky state theater"Lenkom"
- “The Innkeeper” by C. Goldoni / Bolshoi Drama Theater. G.A. Tovstonogov
- “The Inspector” N.V. Gogol / Bolshoi Drama Theater. G.A. Tovstonogov
- “The Cripple from the Island of Inishmaan” M. McDonagh / Bolshoi Drama Theater. G.A. Tovstonogov
- “Dona Flor and her two husbands” by J. Amadou / Moscow State Theater “Lenkom”
- “The Cherry Orchard” by A.P. Chekhov Theater / Novosibirsk State Drama Theater "Old House"
- “#Operanishchikh” / Moscow Academic Drama Theater of Satire
- “Sociopath/Hamlet” / Novosibirsk State Drama Theater “Old House”
Born on January 4, 1971 in Leningrad. Graduated from SPGATI in 1998 (course of V.M. Filshtinsky).
From 2002 to 2007 - founder and director of the workshop of the St. Petersburg Theater on Liteiny. The first performance of the workshop, “Oedipus the King,” brought fame to the director and was awarded a special jury prize of the Russian National Theater Award and Festival “Golden Mask” (2003), the highest theater award of St. Petersburg “Golden Sofit” in the category “Best Director’s Work” (2002).
In 2005 he staged the play “Tartuffe” at the Novosibirsk Red Torch Theater. The production was recognized as “Best Ensemble Performance” at the Regional Theater Festival “Siberian Transit” (2006), laureate in the nominations “Best Scenography” (Oleg Golovko) and “Best Actor” (Igor Belozerov - Tartuffe) in the Novosibirsk theater competition “Paradise” (2006). “Tartuffe” was presented in the main program of the Russian National Theater Award “Golden Mask” in 2007 in four categories.
From 2007 to 2009, he directed the Riga Russian Theater named after M. Chekhov, where he staged the plays: “Days of Our Lives” by L. Andreev, “Rules of the Game” (based on the stories of A.S. Pushkin “The Queen of Spades” and “Blizzard” in the interpretation N. Kolyada and V. Sigarev), “The Cripple from the Island of Inishmaan” by M. McDonagh, “Dona Flor and her two husbands” by J. Amadou.
From 2001 to 2006 he worked as a senior lecturer at the department of directing at St. Petersburg State Academy of Theater Arts (now RGISI), course of V.M. Filshtinsky.
In the period from 2010 to 2013, he actively collaborated with the Bolshoi Drama Theater named after. G.A. Tovstonogov. He staged the plays “One Summer” by E. Thompson, “The Innkeeper” by K. Goldoni, “The Inspector General” by N.V. Gogol, “The Cripple from the Island of Inishmaan” by M. McDonagh.
Since 2013, he has been creating performances in famous Moscow theaters: “Five Evenings” and “Dona Flor and Her Two Husbands” at the Lenkom Theater, “#Operanishchikh” at the Academic Theater of Satire.
In 2016, he staged the play “The Cherry Orchard” at the Novosibirsk State Drama Theater “Old House”, which became a laureate of the Novosibirsk theater competition “Paradise” in the categories “Best Director” and “Best Actor” (Anatoly Grigoriev) in 2017.
In 2017, he was invited to the Old House Theater to the position of chief director.
Andrey Prikotenko is the winner of the Oleg Sheintsis prize “For the artistic embodiment of the concept of the play” at the IV All-Russian Festival “Russian Comedy” in Rostov-on-Don (the play “Chekhov. Vaudeville”, St. Petersburg Lensovet Theater).
His performances took part in the Interregional Theater Festival "Novo-Siberian Transit", the All-Russian Festival "Real Theatre", the All-Russian Festival "Voices of History", the All-Russian Festival "Audience Success", the International M. McDonagh Festival, the International Festival of Ancient Greek Drama, the International Theater Festival "Baltic House"
Performances
- “Sanya. Sanka. Alexander..." based on the play by Yu. Rogozin / Novosibirsk State Drama Theater "Old House" Novosibirsk
- “Mowgli” R. Kipling / Theater named after. Turgeneva, Orel
- “The Little Humpbacked Horse” P. Ershov / Theater named after. Turgeneva, Orel
- “Days of Our Lives” L. Andreev / Theater named after. Turgeneva, Orel
- “Oedipus the King” Sophocles / St. Petersburg Theater on Liteiny
- “The Servant of Two Masters” by C. Goldoni / St. Petersburg Theater on Liteiny
- “Antigone” by Sophocles / St. Petersburg Theater on Liteiny
- “Winnie the Pooh” A. Milne / St. Petersburg Theater on Liteiny
- “Dance of Death” by A. Strindberg / Theater Artel, St. Petersburg
- "Hamlet" Shakespeare / New Drama Theatre, Moscow
- “Tartuffe” by Moliere / Novosibirsk State Academic Drama Theater “Red Torch”
- “Flying over a charitable institution” based on the play “The Inspector General” /SPbGATI, course by V.M. Filshtinsky
- “Goodbye, boys” by B. Okudzhava (together with V. M. Filshtinsky) / SPbGATI, course by V. M. Filshtinsky
- « Golden Age" D. Shostakovich / State Academic Mariinsky Theater
- “Days of Our Lives” L. Andreev / Riga Russian Theater named after. M. Chekhov
- “The Cripple from the Island of Inishmaan” M. McDonagh / Riga Russian Theater named after. M. Chekhov
- “Dona Flor and her two husbands” J. Amadou / Riga Russian Theater named after. M. Chekhov
- “Rules of the Game” by A. Pushkin based on the story “The Queen of Spades” and “Blizzard” / Riga Russian Theater named after. M. Chekhov
- “Lerka” based on the plays of V. Sigarev / Theater-festival “Baltic House”, St. Petersburg
- "Chekhov." Vaudeville" based on the vaudevilles of A. P. Chekhov / St. Petersburg Academic Theater named after. Lensovet
- “Sylvester” V. Bochanov / Novosibirsk State Academic Drama Theater “Red Torch”
- “My poor Marat” A. Arbuzov / State Drama Theater “Comedian’s Shelter”
- “Tartuffe” by Molière / Theater-festival “Baltic House”, St. Petersburg
- “One Summer” by E. Thompson / Bolshoi Drama Theater. G.A. Tovstonogov
- “Five Evenings” A. Volodin / Moscow State Theater “Lenkom”
- “The Innkeeper” by C. Goldoni / Bolshoi Drama Theater. G.A. Tovstonogov
- “The Inspector” N.V. Gogol / Bolshoi Drama Theater. G.A. Tovstonogov
- “The Cripple from the Island of Inishmaan” M. McDonagh / Bolshoi Drama Theater. G.A. Tovstonogov
- “Dona Flor and her two husbands” by J. Amadou / Moscow State Theater “Lenkom”
- “The Cherry Orchard” by A.P. Chekhov Theater / Novosibirsk State Drama Theater "Old House"
- “#Operanishchikh” / Moscow Academic Drama Theater of Satire
- “Sociopath/Hamlet” / Novosibirsk State Drama Theater “Old House”