Zurab Nanobashvili

Theater director. Honored Artist of Russia.
Laureate of International and Russian theater festivals and competitions.
Three times laureate of the Vologda Oblast State Prize (2006, 2009, 2017).
Awarded the Order of Friendship. He was awarded the Badge of honor "For Services to Vologda".

To the 200th anniversary of Alexander Nikolaevich Ostrovsky
Performances based on the plays of Alexander Ostrovsky are the basis of the repertoire, they contain an integral system of moral foundations and values necessary for the preservation of Russian and world culture.

Frequent appeals to Ostrovsky are connected with the task of bringing to the public the priceless gift of Russian and world classical literature, to return to the theater educational functions. In performances of different years based on the works of A.N. Ostrovsky, a traditional and at the same time innovative reading of textbook works is presented. Laconic scenography with minimal use of technical means – so as not to distract the viewer from the word and form a whole memorable image of the performance in the mind.
Russian writer, a talented and desperate young writer, once told me, "I like it when people of other nationalities participate in Russian cultural construction." And I agree with him, but with one "reservation". Yes, this position does not speak about our generosity (let's not be so proud of ourselves!), but about the ability of Russian culture to draw others into itself, not to be afraid to share its strength and power with anyone. And there is actually one "reservation" - does Zurab Nanobashvili like Russian culture? The answer is clear and definite - he loves. He was brought up by her and he became a director in Russian theatre. For him, our classics are exactly the same interlocutors as for you and me. All. The question is settled. We have only one main measure, and others only obey it - this is the measure of love. (And neither his personal fervor nor his furious temperament is absolutely important anymore, which are much clearer and closer to a Russian person than cold prudence.) So let's talk about which his work-which kind of Ostrovsky he introduced...
Kapitolina Koksheneva. A clock without hands. Literary Russia
Perhaps the playwright's main idea of a Profitable place as official feeding and sacrificing human beings for the sake of this feeding was expanded by the director of the play Zurab Nanobashvili and the set designer Elena Senatova into the depths of history, to the times of Gogol's birth of the official theme in Russian literature, and brought closer to us - today with its fantastic growth of bureaucracy. That's why we see a compact, but very meaningful stage structure - a huge "throne chair" symbolizes not just a life or state hierarchy, but also personifies the "hierarchy" of success, income, and a well-fed life. Inside this very "chair - the house", the "chair - the office" space, there are other chairs, stools and just poor "standing places" of those who are at the very bottom, at the foot of the bureaucratic machine pecking like a chicken, "grain by grain". <...> Ostrovsky turned out to be social - and today it is the highest point, the peak of theatrical freedom of thought.
Kapitolina Koksheneva, Literary Russia
There were also some sensations at the festival. The Vologda Drama Theater appeared in a new capacity, where a new artistic director, Zurab Nanobashvili, recently appeared. In his tragicomedy in two parts "Balsaminov, Balsaminov!.." usually half-asleep Zamoskvorechye turned into a phantasmagoric life, a life of transcendent energy, electrified by the thirst to hit the jackpot! And to immediately and a lot! The luxurious life "on the droshky" appears in the delusional half-dreams, half-fantasies of the near-minded Misha Balzaminov (I. Rudzinsky) and his mother Pavel Petrovna (S.Trubina). The looming wealth gives such energy to the Matchmaker, S. Smybina, that it seems the house will blow up. Even the usually phlegmatic cook Matryona L.Likhacheva is extremely heated here, even the merchant's wife Belotelova N.Lukyanova, doomed to languish from boredom, languishes in some kind of quite explosive state, and the maid Himka N.Vorobyova is some kind of meteor! The fact that Ostrovsky's characters often gravitate towards grotesque forms is not news. The problem is that in Ostrovsky it is impossible to limit the grotesque only to the external - the characters immediately lose volume, turn into masks, and the "internal support" of the grotesque is extremely rare... In the performance of Vologda - it was possible. In addition, the director perfectly combines all the variety of characters into an ensemble, remarkable for its completeness of form and masterful finishing of details. In a word, what to say? The work!
Nikolai Zhegin, theater critic. Newspaper "Culture"
Theater is a way of life, a way of cognition the world and a means by which you can try to change it.
For me, nothing is more important than the Theater. And there is nothing more exciting than the second, when an actor, filled with stage truth, fascinates the viewer. The audience is silent, but his breathing and heartbeat sound in unison with the breathing and heart of the actor, with the events taking place on stage at this moment, which will never happen again.

My theater is most like a bright multi-genre book, in which next to a novel you suddenly find an essay, next to journalism - poetry. This is how the idea of making a theater for everyone and for each person was realized. Difficult? And it is even more difficult to achieve perfection in this.

Today I want to live and compose - this is very important for me and for those people who are next to me - artists, painters, musicians, props and decorators... And, I hope, for the most dears - for the audience.
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