The performances of theatrical director Henrietta Yanovskaya are always distinguished by their relevance, the author's view of things. People's Artist of the Russian Federation and winner of the "Crystal Turandot" prize has repeatedly represented the domestic art of theater at festivals abroad, held master classes.
The directing profession is very difficult. And this kind of creativity can hardly be called female. Directing requires toughness, resilience, and an iron will.
The road to vocation
If, in such a case, a woman nevertheless succeeded, and even supplemented the theater with a hitherto unseen, made a breakthrough, then this is a real talent. Not everyone is capable of this, even with a gift from nature.
Colleagues and critics say about Henrietta Naumovna that she has an amazing energy, unique style and incomparable intelligibility of productions.
The biography of the future theater director began in 1940. The child was born in Leningrad on June 24. After school, the graduate decided to continue her education in her hometown. She graduated from a technical university with a degree in radar and started working. However, she quickly realized that her calling was different and became a student at the State Institute of Theater, Music and Cinema. Henrietta Naumovna studied on the course of the famous Georgy Tovstonogov. His lectures had a considerable influence on the further work of Yanovskaya.
Later, the stage director, who had already taken place in the profession, admitted that working, as well as just being next to a recognized master, was very difficult, but extremely interesting. The career of a theatrical actress did not appeal to the girl. She was too freedom-loving, she did not tolerate the orders of others. Being a leader by nature, Yanovskaya decided to pursue a career in directing.
Bright debuts
The debut was a production at the regional Maly Drama Theater with Zorin's play "Warsaw Melody" in 1967 immediately after graduation. Then the former student was convinced that she had chosen the case correctly.
During her studies, a talented girl managed to arrange her personal life. Her fellow student Kama (Kalman) Ginkas became her chosen one. Together with him, his wife went to work in Krasnoyarsk, where her husband headed the Theater of the Young Spectator. Yanovskaya also worked there from 1970 to 1972.
Her first work in a new place was the play "The Miracle Worker". Its main character was a deaf-mute girl and the story of her training. The production immediately showed that as a director, Yanovskaya is not like anyone else. Then there were performances of plays by many famous Russian and foreign playwrights. In different cities of the country.
In the late seventies, Henrietta Naumovna headed the troupe of the "Blue Bridge", the theater of Leningrad. In 1984 she made her successful debut on the Moscow stage at the Mossovet Theater with the play "The Widow Steamer".
Confession
In 1987 Yanovskaya took the post of chief director at the Moscow Theater for the Young Spectator. The actors presented their first production based on Bulgakov's "Heart of a Dog" in 1987. It turned into a notable event in the season. Ostrovsky's Thunderstorm became a new triumph. In the play, Yanovskaya's version conveys her vision of the world, a look at the heroes. In many ways, the concepts contradicted the traditional ones. For her work, Henrietta Naumovna was nominated for the State Prize.
Although she was not going to carry out radical changes in the MTYUZ, the theater was transformed into something completely new under her leadership. He ceased to be only childish. His evening performances were addressed to adult connoisseurs of art. They spoke from the stage about serious problems, life values, society and personality. It was directed by Kama Ginkas.
Yanovskaya more than once admitted with chagrin in an interview that the theater had turned into entertainment, intrigue and greatness had disappeared from it. However, despite the departure of the sublime audience, true fans of the director's talent remain.
The audience is completely immersed in the master's performances in the story told by him. In this case, the perception is only at the emotional level. No analysis or attention to detail is needed. This presentation is the hallmark of true mastery of the production.
Each performance Henrietta Naumovna lives and experiences herself again and again. She is sure that every production must be brought to the ideal. Therefore, after each show, Yanovskaya feels a feeling of spiritual emptiness. She calls her works cones, the top of which is an idea, from which she starts as a director. And the master calls his task everything possible to disperse the effect of the performances in space.
Family and work
The perception of the situation by each viewer is a point on a cone for her. Everyone has their own view of things. And therefore, the original design can be invisible, modified. But only such a model has the right to exist, because only it guarantees the viability of the theater itself.
Henrietta Naumovna puts on one performance a year. She is sure that it is impossible to quickly create something grandiose. Life experience, suffering and knowledge are needed. And he does not want to waste his time on trifles in order to gain popularity. In 1998 she took part in the drama of Herman "Khrustalev, a car!" in an acting role. The general's sister became her heroine.
The family life of the master developed happily. They have a son. Daniel (Daniel). He chose a career as a playwright and director.
Yanovskaya tells reporters that even a mature age does not guarantee complete clarity in life. At the same time, she admits that the profession does not force her to abandon her family. Creative activity gives her inspiration and strength, teaches her to understand and appreciate life in all its manifestations.
