Krymov is a chameleon of a theater artist. If I think back over the major productions he has created for the School of Dramatic Art — “The Demon: A View From Above,” “The Cow,” “Opus No. 7,”
“Tararabumbia” and now “Katya, Sonya” — they come at me from different directions at different speeds.
All are unified in their inventiveness, their uncovered use of the tricks of the trade — such as painting, sculpture, light, space and makeup — but the end results are quite diverse.
The elegant, grandiose procession of “Tararabumbia” is diametrically opposed to the marvelously chaotic and intimate “Demon.” The childlike “Cow” is unlike the exquisite complexity of “Opus No. 7.”
“Katya, Sonya” also differs from Krymov’s previous shows because it was created for a different space, the hall at the Meyerhold Center. The stages Krymov uses at the School of Dramatic Art are unique to that theater alone. The Meyerhold stage is a generic modern black box, and Krymov uses its every advantage to the fullest.
More: http://www.themoscowtimes.com/arts_n_ideas/article/bunin-love-stories-get-grand-guignol-treatment/434654.html
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