The largest and oldest theatrical arts school in Russia
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The largest and oldest theatrical arts school in Russia
From method
to legacy
The pioneering Russian Institute of
Theatre Arts is building on its past to
raise its profile around the world
T
here can be few drama schools welcomed a number of new students on to
worldwide that share the colourful his course and wanted to find someone
history of the Russian Institute of with whom he could “create a theatre
Theatre Arts (GITIS), the largest and oldest arts worthy of these great new actors”.
school in Russia. The Moscow-based institute’s In Nemirovich-Danchenko’s opinion,
original patron was a member of the Romanov performers tended to act too East 15 Acting
dynasty that was overthrown by the Bolsheviks grandiosely: their performances were School [in
in the revolution. It opened its doors in 1878, too laboured. Stanislavsky agreed, and London] and the
beginning life as a free arts school before a momentous 18-hour meeting in the Beijing Central
welcoming drama students five years later. Slavyansky Bazar restaurant led to them Academy of
Perhaps the most creating leading Drama, regularly
notable personality in company the bring us applicants
“The results of
GITIS’ history is Moscow Art who want full-time
Konstantin Stanislavsky, our training are Theatre in 1898. training. We held a
an actor and director Another of his GITIS school in Paris in
known today to
most famous for students, Vsevolod November 2019, and in
directing Chekhov plays professionals all Meyerhold, December we opened
and his “method” – a established GITIS’ two exhibitions and gave
over the world”
system of techniques Grigory Zaslavsky directing faculty, a concert in Barcelona.”
designed to enable Rector of GITIS realising that Partnerships with
actors to create such techniques drama schools across the “A few years ago, we launched an experimental practitioners. Also in 2020 it is scheduled to
more believable characters and fully put needed to be taught. Today, GITIS teaches world are increasing GITIS’ theatre historians and researchers. course for directors and artists of puppet take part in an international project in
themselves in the characters’ shoes. “Tradition more than 1,500 students in a range of art forms international profile, part of a wider effort by But while GITIS’ global visibility is important theatre, which obviously should be taught Barcelona’s National Theatre of Catalonia,
isn’t everything, of course, but the importance including design, ballet, musical theatre, GITIS to become more recognisable on the to its growth – with many graduates now together, but in Russia they have studied before it publishes a book of contemporary
of it to GITIS is clear,” says GITIS rector Grigory theatre management and production. global higher education stage and attract even laureates of festivals and programmes in other separately,” says Zaslavsky, referring to the drama plays in Catalan in 2021.
Zaslavsky. “It can be calculated in the list of GITIS is also known for its agenda for social more international talent. That said, the countries – Zaslavsky believes that the school school’s philosophy that actors and directors “The results of our training are known today
graduates who continue their work as [its] change. Meyerhold was behind the acceptance institute’s standing is already recognised by its also has much to offer for those who want to should always be taught alongside one another. to professionals all over the world. Of course,
teachers. This is the tradition.” For example, a of foreign students in the school from the 1930s peers at world-famous companies such as La learn from Russia’s own rich history in theatre “We’ve also started training artist-technologists we are proud that more than 100 years ago,
number of Russia’s most popular theatre and onwards, and after the October Revolution of Scala in Milan, the Metropolitan Opera House in and the arts. “We are interested in the and opened a master’s programme for GITIS began to give actors higher education for
film actors are students of one of GITIS’ oldest 1917, it was the only drama education New York and the English National Opera, experience of, say, the production departments playwrights, but the main thing is that we the first time in Russia, and later produced the
masters, Leonid Heifetz, who is now 85 years establishment in Russia that would accept all of whom invite its graduates to take part of British theatre academies and looking for understand how rapidly the times are changing great theatre reformers such as Vsevolod
old. Heifetz was a disciple of Maria Knebel, students regardless of their birthplace or social in productions. exchange programmes for training in new, and what new competencies are needed for Meyerhold and Jerzy Grotowski, and
herself a student of Stanislavsky. Opera status. It continues to be as inclusive as Summer and winter schools in Moscow fashionable approaches,” he says. “But we producers and actors.” outstanding directors in Eimuntas Nekrošius,
reformer Boris Pokrovsky is another celebrated possible, and in the past 17 years has organised bring in international students from understand, without false self-confidence, that There are some ambitious projects in the Anatoly Vasiliev and Rimas Tuminas,” says
alumnus, whose students now appear in 276 international events welcoming theatres institutions such as the Athens Conservatory Moscow and GITIS can offer, perhaps, even pipeline, too. From February 2020, at the Zaslavsky. “But even today, our graduates win
performances in illustrious venues from the and students from Greece, Israel, China, Spain, and Estonian Academy of Music and Drama, more interesting things, taking into account the initiative of Bulgaria’s Krastyo Sarafov National prizes at prestigious international festivals,
Bolshoi Theatre to the Royal Opera House Serbia, Estonia, the UK and former Soviet while an annual international festival diversity of our faculties and programmes.” Academy for Theatre and Film Arts, GITIS such as Samal Yeslyamova, who won the best
in Madrid. countries. “In the last three years we have been showcases the work of final-year acting As part of GITIS’ ethos of continuous became part of the Rhombus project, where actress award at the 2018 Cannes Film Festival.”
One key moment in the school’s history, very active in attracting foreign students,” students. There’s also an international festival improvement and dedication to lifelong four theatre schools rehearse the same scene Maintaining a link between GITIS’ history of
Zaslavsky cites, was when Vladimir Nemirovich- notes Zaslavsky. “Our summer and winter of stage fencing called the Silver Sword, learning, its graduates often return to assist from The Inspector General by Nikolai Gogol, innovation and its future plans is likely to boost
Danchenko, a tutor in the drama department, schools, which we hold in cooperation with and an international student conference for teachers or lead independent workshops. changing around students, directors and master its reputation in years to come.
2 Russian Institute of Theatre Arts Russian Institute of Theatre Arts 3
T
radition remains at the heart of ballet “Every artistic changed since the ballet department first
The right direction
and choreography at the Russian troupe has an opened its doors to students, not least because
Institute of Theatre Arts (GITIS), says of the rise of international exchange. During her
Olga Tarasova, a professor and workshop leader opportunity career, as both a Bolshoi ballerina and later a
in the choreography department. “Our Russian to show their choreographer and stage director, Professor
school has a long history and has existed for achievements” Tarasova has travelled a great deal, and this is
nearly 300 years. Its experience provides something that has become increasingly
stability to fundamental principles which, in my Olga Tarasova important within the department.
Professor and workshop leader in
opinion, are the unshakable basis for our “For us art people, it is truly a creative
Preparing arts and feeling of the whole. One must tune oneself more,” says Professor Zhenovach. “That is why Russian school.”
the choreography department
exchange,” she says. “Thanks to tours, every
for the following idea: when a theatre becomes now the most interesting works of youngsters In the aftermath of the Second World War, artistic troupe has an opportunity to show their
students for not only a part of your life but your destiny, and are their diploma performances.” theatres across Russia suffered from a lack of only methods – they also borrow a style of national and classical achievements, and to
you cannot live and breathe without theatre. GITIS has eight faculties: acting, directing, professional choreographers. GITIS alumni performing. They borrow something that also develop their artistic perspectives.” This is what
performance is You must work on yourself.” musical theatre, variety show theatre, ballet, returned to breathe life into the arts during the forms part of our Russian mentality: spirituality, happened at GITIS: “People of different
The students accepted on to GITIS’ directing producing, set design, and theatre history post-war period. Recognising this gap in the softness, lyricism, breadth.” nationalities started to know each other. It was
a skill in itself programme all have this way of thinking, and and criticism. Collaboration between these Russian cultural landscape, renowned dancer and Professor Tarasova graduated from GITIS in something that did not exist before.”
they all have the talent. Developing it is “a choreographer Rostislav Zakharov established a 1957, going on to perform as a ballerina with the Professor Tarasova’s goal is to produce
W “The most
hat makes a good theatre director? process of mutual enrichment” for the student ballet master faculty, and with it the department Bolshoi Theatre for many years. She danced in another generation of
Sergey Zhenovach, head of the and the institute, Professor Zhenovach of choreography, within the GITIS. numerous ballets including The Little young choreographers,
drama directing department at the explains. “I am always fascinated by the
important thing The first students represented the 15 Humpbacked Horse, Mirandolina, Don Quixote, balancing the
Russian Institute of Theatre Arts (GITIS), students’ talents and want just to help them to is to have a republics of the USSR, and later groups Raymonda and The Thunder Trail. requirements of
believes that it requires a specific mindset: a express what they already have.” ‘directing’ way included students from other socialist countries In 1968, she returned to the institute, as a the modern dance
“compositional way of thinking” that is nurtured Professor Zhenovach acknowledges that the throughout Europe, from the German second ballet teacher, where she worked with world while keeping
and developed through teaching. life of the director is uncertain and
of thinking... Democratic Republic to Bulgaria. Today, Professor Zakharov himself. There are a number Russian ballet
Professor Zhenovach graduated from GITIS, that students must ultimately the structure students hail from all over the world, but these of notable performers among her former traditions alive – the
Sergey Zhenovach
where he studied under the great Pyotr believe in themselves and commit Head of the drama directing and feeling of alumni retain the core traits of Russian training, students, including Boriana Sechanova, spirit of GITIS’ ballet
Fomenko, in 1988. He has since divided his time to the uncertainty. After a rigorous irrespective of where they end up performing, an artistic director and choreographer with the master faculty and
between teaching and directing, staging works teaching programme in an
department
the whole” teaching or practising their craft, Professor Arabesque Contemporary Dance Company in choreography
by Chekhov, Ibsen and Shakespeare, and environment where students can Tarasova notes. Bulgaria, and Angelica Cholina, choreographer of department.
winning a Golden Mask for Ostrovsky’s Truth is stage performances, such as at GITIS, this faculties is invaluable for enhancing its “In our faculty students may acquire the the Vakhtangov
Good, but Happiness is Better at Russia’s uncertainty should seem a little less daunting. student experience. After all, theatre is a speciality not only of choreographer, but of Theatre in
Learning from the
national theatre awards. He sees directing One of the most important freedoms a collaborative art. “We have united not only choreography teacher as well,” she says. “That Moscow.
as the ability to look beyond the scene, to director must have is the licence to experiment actors and directors but set designers too,” is why many of our graduates teach at dance However, the
think deeper about the performance, the text with no expectation of success, to make says Professor Zhenovach. “The earlier people schools in Russia and other parts of the world.” world and
and the production. mistakes. This is where GITIS’ theatre institute of these professions meet, the better they Additionally, ballet schools and teachers in Russia have
“Acting skills can be learned during the
course of studying and while working with other
actors,” Professor Zhenovach says. “The most
important thing is to have a ‘directing’ way of
is invaluable. Many have assumed the role in
experimental studio theatres, where new ideas
can be workshopped and the art can be pushed
further. “Sometimes a failure teaches us a bit
realise that they can’t work at the theatre
without each other.”
other countries often incorporate Russian ballet
traditions into their curricula, she says. “And not
ballet masters
thinking. One must have many different
qualities, but most important is the structure
Renowned
choreography
with an
international
approach
4 Russian Institute of Theatre Arts Russian Institute of Theatre Arts 5
“T
here is a strong link here between speech, movement and fighting; drama theory; Pompidou-Metz Centre in France. Professor
Putting creativity
teaching and studying, because staging; and the history of directing and Pankov calls the international collaboration with
both acting and directing skills costume. Its four- and five-year courses delve this renowned arts centre a “powerful upsurge”.
are supposed to be enhanced,” says Vladimir into theory and practice to prepare students to The work fell under the “soundrama” genre
centre stage
Pankov, course director of the variety show perform in and direct dramatic productions, – a term Professor Pankov coined to describe a
theatre faculty at the Russian Institute of musicals and variety shows. performance that could be categorised as
Theatre Arts (GITIS). After working together throughout their neither musical nor dramatic play. It is also the
“The process of gradual transformation, from course, students stage productions in their final name for the SounDrama Studio, a group of
an apprentice to an experienced master of year. Professor Pankov’s students’ material musicians, actors, artists, sound designers and
dramatic and scenic arts, and an independent ranges from classics to 20th-century texts and choreographers that he founded in 2003. “It is a
researcher, is the result of continuous contemporary literature. Recently they have joint art process, there are no canons, every
development,” he adds. worked with choreographer Ekaterina Kislova person introduces his own share... It’s all about Set design requires
Professor Pankov graduated from improvisation, which grows into productions,”
GITIS in 1999 and returned after “It’s all about he says. diversity and
establishing an award-winning career improvisation, Like soundrama, Professor Pankov says that
directing productions in arts festivals which grows into GITIS’ variety show faculty’s workshop “invites innovation
and venues worldwide. He is also us to be engaged in a synthesised theatre” – an
T
director of the department’s productions” amalgam of the arts that aims to go beyond he advice that Stanislav Morozov gives
workshop and artistic on a reimagining of Horace what has come before. “Theatrical arts are his students is clear. “You must love
director of the Playwright McCoy’s 1930s novel They Shoot moving to erase the boundaries between theatre,” says the head of the set design
and Director Center in Vladimir Pankov Horses, Don’t They?, and they hope diverse genres and trends, towards a new department at the Russian Institute of Theatre
Course director of the variety
Moscow. show theatre faculty to premiere an adaptation of fusion,” he explains. Arts (GITIS).
The variety directing Nikolai Leskov’s 1887 novella In this vein, Professor Pankov can foresee Professor Morozov, an architect by training,
facility at GITIS, which Skomorokh Pamfalon in 2020. collaborations with institutions such as the did not begin his career in the arts. “I was
expanded into the variety show faculty, opened They have also staged a performance of Le Moscow Conservatory. “It is vital that the invited to work in television in the editorial
in 1973, nearly a century after the institute was Montage des Attractions, a new version of a composers and musicians have the opportunity office of literature and drama programmes,
founded. It originally trained directors and later 19th-century comedy by the Russian Empire- to overlap with the directors and artists within where I created a scenographic space for lots of
actors, too. Both learn skills as diverse as stage era playwright Alexander Ostrovsky, at the the course of education,” he says. “The variety performances. This determined my future
faculty offers such a capacity.” creative life,” he says of nearly 30 years spent
working with some of Moscow’s leading
s
As Russia’s oldest state-owned theatre
ideas and form
directors on more than 150 TV shows.
w
arts school, the continued successful
Ne
evolution of GITIS, says Professor Pankov, An honorary member of the Russian Academy
“seems to me…to consist of perpetually of Arts, Professor Morozov has been teaching
searching for new forms and ideas to stage design at GITIS since the department was
absorb”. created in 1992. “In the institute, there were
many departments that trained actors and “We needed
directors related to musical and drama graduates who
theatres,” he explains. “And, of course,
Developing variety we needed graduates who could create
could create
scenographic
scenographic spaces for all types of Republic and France, Professor Morozov shares
show students to theatre art.” spaces for his international experience with the next
Within the department, four- and generation of set designers, and the
become masters of five-year bachelor’s degree courses
Stanislav Morozov
Head of the set design
all types of
theatre art”
department encourages collaborations with
are offered in theatre design, theatre international universities. “This gives you an
their craft costume design, puppet theatre
department
opportunity to learn new trends in the
design and puppet theatre directing. and all of this makes graduates feel confident development of scenography, because in
These courses align with the creative vision on any stage.” different countries it is approached in different
for GITIS, the largest and oldest state-owned The teaching is complemented with ways,” he says.
theatrical arts school in Russia. It aims to practical work experience at leading Moscow Whatever the location, working with the
train Russian and international students in theatres, where students help to make sets for director and immersing yourself in the story
various disciplines using a combination of major productions. Professor Morozov’s own being told is essential for producing a great
traditional tertiary education and modern work in creating sets for some of Moscow’s top stage, says Professor Morozov. “To create a
innovative methods. theatres was recognised with a medal for wonderful scene, you need to read the play
“The programme trains set designers with outstanding contribution to the national carefully, discuss everything with the director,
such a diverse knowledge of theatre that they culture. He continues to work on leading shows, understand how he sees the scene – and don’t
will be able to solve the most difficult tasks in including The Captain’s Daughter, which impose your vision of what is happening.”
any field – theatre, film and television – and to premiered at the Nikitsky Gate Theatre in 2019. Professor Morozov also believes that knowing
teach, do graphics and painting,” Professor Another production at the theatre, based on the history of theatre is as important as
Morozov says. “Whereas before the basis of the life of Fanny Kaplan, the woman who understanding the latest technical
scenography was architectural and pictorial allegedly attempted to assassinate Lenin, will advancements – and that embracing the art
objects, now there are many new trends in also use Professor Morozov’s lighting and form will lead to success. “We must accept
lighting and projection. These new trends are projection set-up. theatre with an open soul, with all our heart,”
included in the student training programme, Having worked in Austria, Belgium, the Czech he tells his students. “This is your life.”
6 Russian Institute of Theatre Arts Russian Institute of Theatre Arts 7
www.gitis.net www.gitis.net www.gitis.net www.gitis.net
A
activate interdisciplinary suggests, “create a
t
The five-year programme also features key component of the Russian Institute
e x
“It is a sketch
g th e n
directions for the
n
practical training at major Moscow of Theatre Arts (GITIS), the circus possibility for
Produci theatres, concert halls and television
companies.
directing department was founded in
1978 by Georgy Bardian, who created many
Russian circus,”
Professor Poldi says.
method, refined
according to
Rumyantsev students
to become deeply
tio n of tale n t At a time when the theatre is facing influential circus shows, including Circus on Ice, As GITIS
circus genres
immersed in theatre
genera
threats from on-demand platforms such as Ballet on Ice and Russian Youth Circus. continues to aesthetics and the
Netflix and YouTube, Professor Mamedov During Professor Bardian’s tenure, Soviet establish itself and different theoretical
says that it is essential to understand – and artists began to tour abroad and his influence on the world
Helena Poldi ways of staging development of global
teach – the latest trends. “I visit international grew through several other roles, including stage, there are dramatic and
theatre cities and watch everything new, chairman of the Union State Circus Arts Council big changes
An artistic director in GITIS’ scenes” theatrical heritage”.
circus directing department
modern and sensational, then I describe my and editorial board member of several circus ahead, with a In turn, GITIS students
impressions in detail to the students,” he says. magazines. His work raised the profile of Soviet pending would have yet more opportunities to “master
“They have to realise the existence of the great circus – the emphasis of which was towards proposal to unite its circus directing the practical circus skills of physical theatre,
global theatre, not only Russian theatre.” That dance and narrative, in contrast to western department and the Rumyantsev State School new modern choreography and visual drama”,
international mindset helps GITIS to organise Europe’s circus style – and it is the Soviet style of Circus. Such a merger would, Professor Poldi she says.
regular events and exchanges with students that has prevailed.
and theatres from countries such as the UK, Carrying on
Under the big top
China and former Soviet republics. his legacy is
Professor Mamedov believes that the way Helena Poldi,
traditional theatre performances are being an artistic
reimagined is an opportunity and a positive sign director in
for the future of the arts. “There is a lot of talk GITIS’ circus Circus directing
about the decline in interest of puppet theatre, directing
for example,” he says. “But what does the department. She is also the artistic director of crosses disciplinary
success of the sensational musical version of Antique Circus, an independent theatre and
The Lion King mean? It’s a new way of seeing interdisciplinary circus company founded in boundaries and
puppet theatre. It’s puppet theatre, but in 2010 with Gulnara Gibadullina, another member
modern wrapping.” of the GITIS faculty. international borders
In his own career, Professor Mamedov has A graduate of the institute’s circus directing
never been afraid to innovate. His production department, Professor Poldi believes that
company, Independent Theatre Project, which GITIS’ teaching of the history of the discipline is
has been operating for three decades, was one the bedrock of a curriculum that helps to train
of the first private producing companies in the next generation of internationally
Russia. Its current productions include the recognised circus directors. There is also a
works of the celebrated playwrights Neil Simon connection between the circus and drama
directing programmes, giving the circus
“One can directing students a wide-ranging knowledge of
exercise the discipline.
The practical side of circus directing is finely
management in honed at GITIS, too. Describing students’
various spheres, training, Professor Poldi says that it runs “from
but one cannot simple to complex. It is a sketch method,
refined according to circus genres and different
Elshan Mamedov
exercise theatre ways of staging scenes.”
the arts as well,” he says. “The earlier Leader in the producing management Graduates have participated in many
department
students experience theatre, the better.” without love” productions and projects both in Russia and
Professor Mamedov, a course leader in around the world. In recent times, the activities
the producing department at the Russian and Edward Albee. He is also credited with of the department and GITIS as a whole have
Inspiring the Institute of Theatre Arts (GITIS), is a graduate creating a new genre of musical theatre with his also become “more complete and diverse”, as
of the institute’s theatre department and also popular stage show Moscow Boys. collaborations between departments have
future managers of holds a PhD in art criticism. When arts “All my long-running, successful productions increased. And the profile of GITIS has been
producing courses were introduced at GITIS 40 were made against general trends,” he says. It further raised by an exhibition dedicated to its
concerts, theatre, years ago, they were included in the theatre is that passion, combined with creativity and 140th anniversary, held at the Moscow Museum
history and criticism faculty, but production financial competence, he tells his students, that of Modern Art. “In my opinion, this exhibition
film and TV became its own department in 1994. Today, it is essential for a successful producing career. has become a bright and significant event in the
trains students to be expert producers capable “My main advice to young people is to cultural life of Moscow,” Professor Poldi says.
E
lshan Mamedov likes to quote a phrase of inspiring and managing a wide range of answer honestly [Russian literary critic] Collaborations with external partners are
from the Soviet Union-era circus to shows. Vissarion Belinsky’s question: ‘Do you love equally important, she adds, not least because
explain his philosophy on teaching the GITIS’ performance art producer degree theatre as I do; that is, with all the power of your they fit with GITIS’ wider ethos. One example
arts producers of the future: “To put one’s nose requires the study of subjects such as the heart?’” Professor Mamedov says. “One can is a partnership with the directing department
in the sawdust.” history of Russian and international theatre, exercise management in various spheres, but of the Zurich Institute of Arts. “Interactions
“It means that one can only experience circus how to manage production finances and the one cannot exercise theatre management with circus centres in Europe, Australia and
skills in the arena – and it’s true for the rest of latest technologies in theatre management. without love.” China, which are on the rise, will help to
10 Russian Institute of Theatre Arts Russian Institute of Theatre Arts 11
History lessons
A wide-ranging
curriculum is needed
to strengthen
students’ critical
faculties
F
or the Russian Institute of Theatre Arts
(GITIS), the value of theatre history and
criticism has been clear since the
department’s inception: to create a picture of
world theatre with Russian traditions at its
heart, says Alexey Bartoshevich, head of the
history of foreign theatre.
Established in 1932, the department trains its
Setting the stage for actors
students to understand the nuances of
historical and contemporary theatre –
something that is vital in responding to the
demands of modern theatre and how these
differences play out on today’s stage.
Professor Bartoshevich studied at GITIS as
both an undergraduate (1961) and a
postgraduate (1964), so has observed how the Dramatic fundamentals and a progressive “Every five or six years [theatre] goes through
department and the institute have changed changes,” he says, hinting at subtle
over time. One of the main differences, he says, attitude can produce a new wave of talent generational shifts that take place over time.
is that the connection between the academic “For example, after the demise of our most
R
programme and contemporary theatre has ussian theatre has a storied history and a analyse it in detail. He used to say, ‘Don’t just sit iconic directors, we found ourselves in a
been strengthened. “In my student and formidable reputation, but at the Russian in GITIS. Once you are here, loot Moscow! creative vacuum. Of course, there are young,
postgraduate years, teaching historical themes Institute of Theatre Arts (GITIS), acting Theatres, museums, concerts: they are all promising graduates of theatre universities, but
was much more important than it is now,” students are instructed not to stand on yours.’ I think he wanted to get everything out their works do not become a phenomenon in
he says. classical theatre epochs, as this would hinder enrich and inform students. ceremony. of us.” Moscow theatrical life. They are trying things
GITIS’ current theatre history and criticism their ability to survey the scope of theatre and His particular love is the work of William As an institution, GITIS was the first of its The distance between the stage and the out, finding their way.”
course offers students access to many more interpret modern practice. Shakespeare. Professor Bartoshevich is kind to teach theatre at higher education level, classroom is short at GITIS, where the teaching GITIS plays a key role in helping new actors
facets of modern theatre. “We established This focus on tradition is something that sets chairman of the Shakespeare Commission at and it is acutely aware of its past, yet its staff are impeccably credentialled in the find their voice. The challenge from there
new courses and seminars, specifically GITIS apart from other arts schools. Its rector, the History of World Culture Scientific Council teaching always faces forward. Its acting Moscow theatre scene. There is also an is to engage audiences in an era of
dedicated to the theatre of Grigory Zaslavsky, within the Russian Academy of Sciences. He students are thoroughly immersed in both the ecosystem of interfaculty technological distractions
our times – in the Western “We established says: “Tradition isn’t was also a member of the executive committee history and the fundamentals of their craft, collaboration that – and possibly to “loot” the
as well as the Eastern everything, of course, of the International Shakespeare Association, before being encouraged to put their own provides acting digital platforms that can
traditions, ” he says. For new courses and but the importance of and has written numerous books about the stamp on it. That is how Rimas Tuminas, artistic students with the now be used both for
example, the department seminars, it to GITIS is clear. It Bard’s plays and their themes. Without director of the GITIS actors’ workshop and the opportunity to hone performance and to identify
introduced a special specifically can be calculated in Shakespeare, and the wealth of scholarship Moscow Vakhtangov theatre, learned when he their craft together and to the acting talent of the future.
course in the list of graduates interpreting his work, it would be “impossible to arrived at GITIS from the Conservatory of push the arts forward as “Will it be possible, with the
European dedicated to who continue their comprehend anything in theatre history and the Lithuania to study directing under the they think deeper and current abundance of modern
avant-garde Alexey Bartoshevich the theatre of work as [its] teachers. modern theatre life”, he says. legendary Joseph Tumanov in 1978. provoke themselves. technologies, to dazzle the
theatre, Head of the history of foreign theatre
our times” This is the tradition.” The department’s students “as a rule…choose “GITIS gave me a lot as far as professional Professor Tuminas audience with the inner world of a
as this Professor to study topics in modern Russian theatre”. setting is concerned,” says Professor Tuminas. describes GITIS as “a person, reveal their story,
experimental movement Bartoshevich echoes However, Professor Bartoshevich encourages “Once again, I became an apprentice, went school of revolution”. To sympathise with them, and not
affects the way many that people make and these sentiments. He sees the future of the them to explore the history of theatre in other through the whole process in detail, studied the that end it is always with ourselves?” asks Professor
respond to theatre today. theatre history and criticism department as one countries, because it complements both their methodology thoroughly. Tumanov was a real looking to find the Tuminas, posing a question that can
However, Professor Bartoshevich notes that it in which teaching balances contemporary understanding of their own heritage and GITIS’ leader: responsible but demanding. He would acting talent of the drive GITIS’ honing of actors’ craft
is dangerous not to teach students about the methodologies with history lessons that further international, collaborative approach. come in every Friday, look at our work and future, then nurture it. into the future.
12 Russian Institute of Theatre Arts Russian Institute of Theatre Arts 13
S
tanislavsky, Prokofiev, Shostakovich: performance traditions and theories which he has staged productions around the
these names are synonymous with diligently, in courses enriched with a history world. He has dedicated a portion of
musical theatre worldwide. Russia has a of Russian and foreign theatre and his career to teaching aspiring
rich history in this tradition, which has both
influenced and been influenced by
internationalisation: opera came to Russia in
literature; cinema history; music; and
the history of costume.
And, of course, students learn
artists – and he has also been
lecturing at Switzerland’s
renowned Bern Opera Studio for
The shining stars of
Russian performing arts
the 18th century and its distinctive Russian form technical skills: solo and ensemble more than 15 years, teaching the
has long since blossomed, being performed singing and stage movement; traditions of Russian icons such as
around the world. staging and solfeggio; acoustic Stanislavsky and Chaliapin.
The Russian greats’ works are still performed analysis and recording. “Daily Before that, he studied at
today, but Moscow’s musical theatre scene now classes are necessary for the GITIS. “An oath to my great
encompasses a rich blend of old and new, arsenal of the opera artist,” teachers to continue the school and
Russian and foreign productions: a musical take Professor Bertman says. methods” compelled him to return in 1996 as
on Tolstoy’s Anna Karenina alongside Western GITIS students from different disciplines artistic director of its musical theatre workshop. in “poor theatre” – where a performance
favourites such as The Phantom of the Opera; the work together from early on in their courses, In 2003, Professor Bertman became head of GITIS’ formidable focuses more on the skill of the actor than on
Bolshoi Ballet performing combining their skills the department, where he says he has tried to costumes and sets – also learned his craft at
Yuri Grigorovich’s “Our graduates to stage inject “more freedom” into its programmes. In alumni of directors, GITIS and earned plaudits for his avant-garde
Spartacus; productions are soloists on performances, future, he would like to expand them still theatre during the 1960s and 70s. Lithuanian
of Eugene Onegin and participate in
the main stages festivals, and to enter
further, offering internships in opera houses, actors and dancers director Eimuntas Nekrošius graduated in 1978,
La Bohème. courses taught in foreign languages and and went on to win many awards for his work
The musical theatre of the world” competitions and training in a greater breadth of singing styles. have shaped its and perform across the globe.
This sponsored supplement was
produced by THE Connect, the
department at the concerts. Professor “We look at our results in the employment of Back in Russia, Leonid Heifetz became
Russian
Dmitry Bertman
Bertman says this graduates,” he says. “[Our graduates] are reputation artistic director of the Central Theatre of the branded content division of
Times Higher Education, to a brief
Institute of “system of one ensemble” sets GITIS apart already the leaders of the leading theatres in Soviet Army before directing numerous plays
T
Head of the musical theatre
Theatre Arts from other institutions. Russia and soloists representing our school on he Russian Institute of Theatre Arts for Moscow theatre and national television. agreed with Russian Institute of
(GITIS), Outside GITIS, Professor Bertman is artistic the main stages of the world.” (GITIS) may be the largest and oldest Another notable graduate is Anatoly Vasilyev, Theatre Arts (GITIS).
students immerse themselves in this world, director of Helikon Opera in theatre school in Russia, but it is its who studied direction under Andrei Popov and
hoping to become the next generation of Moscow, which he founded alumni who have built its reputation as a Maria Knebel (a student of Stanislavsky) in the
Attuned to
Paid for by GITIS. All editorial
directors, actors and sound engineers. in 1990. Helikon stages pioneer in the performing arts. From great late 1960s – he is now an internationally
content commissioned by
“We are trying to preserve the great national operas, operettas and theatre reformers to Oscar-nominated actors, it acclaimed director and a professor of
musicals, and is now one of Russian theatre. THE World Universities
theatre culture,” says Dmitry Bertman, the boasts an impressive cast of former staff and
musical theatre
head of the musical theatre acting and directing Russia’s biggest opera students that few other schools can match. Musical theatre owes a great debt to GITIS, Insights Limited.
department. He aims to “continue the tradition houses. Among the first GITIS graduates were too. One of the most esteemed graduates from
of training opera directors, the immortality of He says that creating the legendary actors this faculty is Special projects editor
Chaliapin, Stanislavsky and Pokrovsky”. company and its repertoire Olga Knipper and Russian opera Alistair Lawrence
He adds that at GITIS, “we are opposed to is the greatest achievement Ivan Moskvin, and director Boris
the sometimes-unprofessional landscape” of of his career, during Vsevolod Pokrovsky, who Contributors
theatre teaching that has pervaded some Meyerhold, who was stage
higher education institutions. Students Passing on helped to director at the
Jo Faragher, Julian Hall,
Jonathan Horsley, Robert Kidd,
must study the co-found the Bolshoi Theatre
the traditions renowned between 1943 Beckie Smith, Sarah Wild
Moscow Art Theatre with the father of “method and 1982. “His students teach today at GITIS,
of the greats acting”, Konstantin Stanislavsky, in 1898. while one of his former students, Dmitri Images
GITIS rector Grigory Zaslavsky explains the Tcherniakov, has staged performances at the GITIS
significance of these early students, who likes of La Scala and the Royal Opera in
studied under “the most important figure in Madrid,” Professor Zaslavsky says. Tcherniakov Sponsorship and
GITIS history”, Vladimir Nemirovich- graduated in 1993 and has won four of Russia’s
advertising opportunities
Danchenko. “Soon Meyerhold and Knipper, prestigious Golden Mask awards for his opera
direction. Among the graduates of GITIS’ dance branding@timeshighereducation.
before becoming Anton Chekhov’s wife,
appeared on his course. Nemirovich-Danchenko faculty is Alexei Ratmansky, who went on to com
began to look for a man with whom he could study at the Bolshoi Ballet School and is now
create a theatre worthy of these great and new artist in residence at the American Ballet THE (Times Higher Education)
actors,” he says. That man was Stanislavsky. Theatre in New York. 26 Red Lion Square
GITIS also counts many celebrated directors GITIS graduates can also be seen on film. In London, WC1R 4HQ
among its alumni. “Today, the most famous 2018, Kazakh actor Samal Yeslyamova won the UK
Russian theatre director in the world best actress award at the Cannes Film Festival
is our graduate and academy professor for her role as a single mother in Sergey
Rimas Tuminas,” says Professor Zaslavsky. Dvortsevoy’s My Little One. Recently, Dylda
Tuminas graduated from GITIS in 1978, and (or Beanpole), featuring GITIS acting graduate
has won awards for productions including Viktoria Miroshnichenko, was shortlisted for
Eugene Onegin by Alexander Pushkin and best international feature film at the Oscars in
Chekhov’s Uncle Vanya. 2020, as GITIS’ legacy continues to expand into
Polish director Jerzy Grotowski, who believed the future.
14 Russian Institute of Theatre Arts Russian Institute of Theatre Arts 15
Russian Institute
of Theatre Art
www.gitis.net www.gitis.net
16 Russian Institute of Theatre Arts
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