Theater director Boris Pavlovich has a rare gift: he has his own point of view on people, things, phenomena. Does not lend itself to stereotypes and blurry cliches, and therefore differs from his fellow directors, and from other people in general. Whether it is good or not, he knows, perhaps, only himself.
And he also, as his theater brothers say, has a magnificent gift of persuasion without pressure and insistence on his own. Meanwhile, an outwardly gentle person has vast experience in the theater, including as a leader.
Boris Pavlovich was born in 1980 in Leningrad. His family lived on the famous Ligovka, and the boy of intelligent parents had to closely communicate with local brothers - there was simply no one else around. He was saved by his love of reading: he re-read a lot of fantastic literature and during parties he retells the stories to the boys.
These were children from poor families, for whom going to the cinema for one ruble was an unaffordable luxury, and they had Boris as something of a mass entertainer. He told his "stories", not suspecting that in the future it will be very useful to him.
Later, the director said that it was then that he had the opportunity to bring his fantasies into these stories. Because I had to remove something, add something of my own in the course of the story. At these kid's gatherings, he essentially converted the books so that they were convenient for the perception of a certain audience.
And while he was interesting to the listeners, he got away with his intelligence and dissimilarity from the other courtyard guys. Therefore, I had to read and retell a lot.
After leaving school, Boris entered the theater institute, the acting and directing department. Although he was not going to become a director - I did not see myself in this role.
Career in theater
After graduation, Pavlovich worked for several years at the Pushkin Theater Center, then became its director. In 2006 he took the place of artistic director of the Theater on Spasskaya in the city of Kirov. Six years later, in 2012, he became a cultural advisor to the governor of the Kirov region. In 2013, he began to lead the social and educational department of the Bolshoi Drama Theater named after I. G. A. Tovstonogov and held this post until 2016.
Wherever Pavlovich worked, he left a noticeable mark and contributed to the development of theatrical art. Often they call him a trendsetter because he is the first to do something that others pick up later. He has a social theater project, and within the framework of this project, in 2015, he created the play "Language of the Birds", in which people with an autistic disorder played along with the actors. This is the only "special" performance that is regularly staged at the federal theater. And if you need a presenter for inclusive training, everyone knows that Pavlovich should be invited to this role.
However, this does not change his life in any way, because there is no director's snobbery in him. Moreover, he considers himself "not a great director" and does not seek to stage performances on the main stages of the country. And he believes that directing should not be great - it just should be real. In fact, Boris Dmitrievich made changes to the staging of performances, and very significant ones. The fact is that throughout the twentieth century it was believed that the production did not at all depend on the script, on the text. The main thing here was the director, he was also considered the author of the play, its writer. And without the text, supposedly, you can safely do.
And Pavlovich put the text in the center, in the epicenter, one might say. And when the actors try to retell it in their own words, he returns them to the source, saying that there is no need to change what is written well, sometimes completely.
During his career, Pavlovich worked in many theaters, staged many performances, and watched many works by other directors. He constantly talks about his insights in this process and thanks those directors who revealed this or that truth to him.
Language, speech, text for him as a way of self-improvement, self-knowledge, a way to free himself from thoughts and doubts. He is sure that when a person speaks, he understands himself better. And when the actor speaks, then the viewer understands more about himself too.
And then there is such a mystery as the difference in perception. And this makes the theater unusually and endlessly attractive for both artists and spectators. How the actor and the audience understands the play, what they take from there is an eternal mystery and an eternal process of knowing oneself and the world.
In general, Boris Dmitrievich is still a philosopher. And he himself gradually switched from fiction to the classics, and then to philosophy. And, despite the fact that there is no plot and no intrigue in philosophical books, he would very much like to stage a philosophical thing.
Leave to return
In one interview, Pavlovich said that once he was lucky to leave the theater. To the bewildered question of the journalist, he replied that every director dreams of such a break, when he can be in the theater, but not stage performances.
He had such a period: he worked as an actor, did a social project, taught young artists and was very busy. But directing has not yet attracted him. And after a two-year break, he returned to his profession renewed and with a great desire to do something new for the audience.
Now Pavlovich is the artistic director of the "Kvartira" space in St. Petersburg, which collaborates with the "Anton is here next" Center. It was this center that became an experimental platform for the performance "The Language of the Birds". And this means that the experiments of the director Pavlovich continue.