“... Moiseev in 15 years has made a lot for the young theater. In fact, this theater in his current image and likeness is his brainchild. And, of course, there is a range of artists for whom he is literally a native father, ”this was characterized in an interview with our publication in 2012 at that time, the new acting director and artistic director of the young theater Andrei Bilouse. This year he quit, slamming the door loudly, and took 23 performances from the repertoire of the theater, which significantly complicated the beginning of the next theater season.

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The new leader is not particularly necessary - this is the well -known director in Ukraine and some European countries, director Stanislav Moiseev, who has already led the young theater from 1996 to 2012. At the first cadence of Moiseev, many of my friends and friends are the actors of this theater, as well as the staff really characterized him as a liberal leader who tries not to bring the situation to the conflict, does not support quarrels and knows how to listen and hear. Will there be such characteristics of reality, now it is too early to speak.

As a location for an interview, Stanislav Moiseev offered a study on the top floor of the theater. This space was arranged for himself the previous leader. The cabinet is bright, spacious, with modern repair. By the beginning of the recording of the conversation, Stanislav Moiseev notes that he does not share my opinion about the comfortable conditions of the room and, hospitably preparing coffee, notes that he would have converted everything, but it will not be, because now it is generally untimely.

- Stanislav Anatolyevich, I here held a small audit of an interview with you over the past years. So, in 2012, in one interview about returning to the young theater, you called yourself a supporter of the thesis that they are not included twice in the same river. What sensations did you return to the theater? What has changed?

- Honestly, I did not think that it would be " It happened. The sensations are normal, because it is such a pragmatic workflow, I do not really like sentiments about professional activities. If we talk about changes, then in fact not everything has changed. If we talk about any administrative premises of the theater there, then yes, something has changed, something has improved. But the main scene is my pride, together with architect Sergei Stepanov, we developed a project for its reconstruction. I always joked that maybe no one would remember my performances, but they will remember that I made this hall. Nothing of the kind. It was also forgotten. The performances are still remembered.

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- You can name at least a few positive economic changes that you noticed, something that was not with your first cadence? For example, a good buffet appeared - a power place for workers of the theater - where there used to be a warehouse of rubbish; a good repair of the restrooms, which used to be in unsanitary state, was made; The theater separated the closed courtyard and the like.

-It really has become better to look, it indicates some correct steps that were taken. Each leader should improve the situation, not worsen. Because if you recall which theater I went in at the end of 1996, then one word that characterizes its condition is suggesting - Sarai.

- I am not a span, but by analogy with the legislative age limit for civil servants at 65 (and this is the same state theater), you are a little more than this restriction. If we take national theaters, their leaders are Evgeny Nishchuk, Rostislav Derzhipilsky, Kirill Kashlykov, Anatoly Solovyanenko....

- Benyuk.

- Bogdan Benyuk is the only one who is older than you from the theater leadership, but this is not a national theater. On what conditions did you agree to work at this age and how objectively evaluating your strength?

- You want to retire me already (laughs). As for the age restriction, I want to tell you that this norm relative to civil servants is really valid. However, there is no such norm for the leaders of art institutions. Although I am not a supporter of the fact that the theaters or artistic institutions were ruled by people who reached the age of the Aksakalov, you understand? I thought for a long time. The fact that my leader’s experience is unique is my big plus, but as for energy, strength, perseverance, here I had questions for myself. Well, as always, in such situations some other mechanisms within a person are triggered.

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- What performances have you seen in the young theater under Andrey Bilose? And whether the theater visited at this time at all?

- Very little. At first he visited, not all the premieres, but was on the first - on the " Then I saw " Later, of course, he came to look at my beloved Victoria Avdeenko and Nastya Yevtushenko in the play “Sasha, Campai Smintti”. And there was something else, I don’t remember... But later, unfortunately, there was a very unethical conflict associated with my performance “Uncle Vanya” in the theater.

- And what was this conflict? Your performance was removed from the repertoire?

- No, I forbade its operation using my copyright. After that conflict, I no longer visited the theater.

- And how did it happen that Bilow and Nazarenko, his assistant and later the director, removed all their performances from the repertoire? You tried to solve this issue in the legal plane?

- No, no one tried to solve anything. Just put before the fact. You see, there is our local, let's say, nonsense - copyright of the director. Because nowhere else in Europe the director has such rights. And at one time, outstanding Peter Brooke and Georgio arrows tried to change this through the institutions of the European Union for directors, but they could not legally justify it. We also have such a practice. Is it right? I think no. Although I am the director himself and should have to advocate for this, but, I think, the problem is that the performance is a collective work. The director in this process is a key figure, but it is still a collective work, and it cannot be that one person prohibits the result of the works of a whole group of people. Obviously, this must be prescribed in the contracts.

-Suppose Bilow will create its own theater or find some kind of site, and there will appear performances that were in the repertoire of the young theater, and its actors will be involved. Here, for example, in the play “Rabbit Harvі”, Alexei Vertinsky appears on the new site. The theater will somehow react?

-We cannot in the legal sense, legal grounds in order to react to it somehow, no.

- How you are now planning to restore the reputation of the theater? After all, she still suffered.

- Let's try to share these things. Because the artistic reputation of the theater is one story, no matter how we or I relate to the artistic policy of the previous leader. But the private scandal with the head of the theater is already completely different. And this reputation loss is still Pan Bilos. I would like us to try to understand this. Obviously, the theater should respond to such phenomena that exist not only in it. Let's not forget that this is a rather taboo topic, which is now becoming non -Tabuine - the problem of harace, humiliation of human dignity. They will undoubtedly be reflected in the repertoire policy of the theater. This does not mean that it will be a top-set, we just want to be more open to public life, to the processes that occur in it, to people who come here.

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- In addition to filling the repertoire, what the main problems now have the theater?

- The first is really a repertoire, because minus 23 performances from the repertoire posture. Personnel problems are the second question, because some positions in the theater simply were not. For example, an applied (head of the literary part. - Yu. ), in the old way. There was no playwright of the theater either. Now my new assistant Irina Boyko has come and is already engaged in the problems of the repertoire, texts and other things.

- Who, besides the apple, will strengthen your team?

-The new chief administrator Marina Sheiko is already working and from July 23, the director-administrator Sergei Dorofeev comes up (general director of the theater is the artistic director of the Sumy National Academic Drama Theater and Musical Comedy named after M. Shchepkina. - Yu.

- In one of the interviews about theatrical reforms, you said: " After so many years, whether you support this opinion?

- A very simple example. I asked everything: how can a young theater be academic? This is the theater that declares its alternative. He was always famous for the search, an innovative approach. But almost everyone has become academic. Non -academic, maybe one percent. This is a complete nonsense, and I continue to think so. There can also be a large number of national theaters, because we do not know anything about these theaters, about their achievements, integration into European space. On what basis they provide this status? If the state or the municipality has an interest in supporting these theaters, artists, let's create a system of category of theaters, which was even under the “Soviets”, and we will regulate salary processes using categories. One theater is the second category, the other is the first or highest category, and this should affect the salary. Unfortunately, we do not have such a system, so there is a pursuit of these mythical statuses.

- The Law of Ukraine “On Theaters and Theater” states that the National Theater is a theater with national and international recognition. On financial support, the young theater is definitely not national. Here, overwhelming a hand on his heart, he now has the right to this status?

- Yes, there are no allowances, because it is a theater that is in the jurisdiction of the Kyiv City State Administration. Financing should be resolved through the city. This is a difficult question, we will think whether this is a national recognition. The theater has been active international activities before the status of national. I made a lot of collaborations with different cultural institutions in that cadence. There were many foreign tour at a time when most theaters of Ukraine did not even know how to cross the border. In a situation where the state does not have an adequate system for the categorization of cultural establishments, let it be national. It so happened. Well, we won’t get up and will not say, they say, take us the status of national. Or what should we do?

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- At the collection of the team before the end of the season, as far as I know, you named the name of the director Andrei May, who will put in young. However, you have a “full-time Frenchman” Grigor Mane, there is director Taras Krivoruchenko, who will now be able to join in work and not wait for May or someone else?

- Undoubtedly. I will say that many young directors came to me: Andrei May wrote to me with a proposal, and Oleg Liptsin, and Valentin Kozmenko-Delinda.

- In the young theater there was an experience of setting, at one time shocked everyone who saw her. And it was Andrei May who put it. Then one of the locations of the action was chosen by the pre -commercial restrooms of the theater, where there was a terrible stench. Now Andrei will also put some kind of performance-provocation or plans for something more balanced?

- This was his first project, with which he came to the theater, - an ivory performance that was on different locations of the theater. This is a German author, and the play was devoted to the problem of bullying in high school in a German school. I can't say that the performance was shocking. I think the more active the theater will go beyond the scene and boxes, the more interesting it will be for everyone.

-Who else showed the initiative and wants to put, support the theater somehow, perhaps wants to return?

- Irma Vitovskaya showed the initiative on one project. It's too early to talk about it now. It could be somewhere in 2027.

- Recently, you staged in the Wild Theater Entreprise - the play “Three Shvidki that is Modnі in the Tsom season of Perukarki” according to the script of Maxim Kurochkin. Planning to transfer it to a large scene of the young theater. Will it be too sharp? On the one hand, you need to fill out the repertoire, and on the other, there are all “strangers” actors, although they are popular, and media, and talented, but from other theaters. Maybe now, in the offseason, to put something, or you still want your performance? Or let him go wildly?

- This is not a performance of a wild theater, I want to emphasize. He walked on stage No. 6. It must be understood that this is a project of a social direction, which was created as part of the project “Semantic Shield” with the Country in Ukraine fund. These are my good friends with whom I have been cooperating for a long time, and finally they decided that we need to make a theater performance. Therefore, to my invitation, Maxim Kurochkin wrote this text, and we did this project. I do not see any problems, because, for example, there were still a lot of invited actors in the available troupe of the young theater, the so -called Obzovsov, as we say in professional jargon. We have such - more than twenty people in the troupe, and I cannot say that this is the norm. Depends on how we will look at the principles of the formation of the troupe, how best to do it. To date, for technical reasons, in particular, there is no time and the opportunity to make a different composition, because it will essentially be a new performance. And so we get a finished product where there are a lot of stellar names. I hope that he will cause some resonance and will become a software performance that will set a clear vector for the future.

- Honestly, I am afraid to see this performance in the repertoire of the theater, because there are very stereotypical thinking: all the inhabitants of Donbass are a little primitive, and the rest are either heroes or objects for praise. You are not afraid, as you said, the resonance of the failure of such stereotype?

- Well, listen, in fact, I can not quite agree with you. The project was created as the answer of the Ukrainian counter -propaganda to Russian narratives, and this is very clearly traced in the text. Maxim Kurochkin is a too complicated intellectual playwright to classify him to the category of those who think primitively. It seems to me that there is a little more hidden there than what you note. There are some characters-characters that live in the Donbass, this is normal-the farc structure of the performance, a certain satire. And if you look at our heroes, then they, too, are far from so simple and not so smooth. There is no idealization there, and it is very important.

- At the meeting of the troupe, you said that in the next season you yourself will not put anything. This is because there are a lot of organizational and other issues, or because there is no desire, because you do not know the team until the end, in particular young actors, and their capabilities?

- There is such a nuance. But I already looked something, I know someone somehow. The reason is probably not this, but to a greater extent that I need a pause to deal with all administrative and organizational problems now. This is my responsibility. There is no one else who is responsible for this in the theater.

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- How much time do you stand out for this? And when we will already see the first performance in the young theater set by you? I know you have a large selection of Shakespeare's literature. That, most likely, you will be the first to draw out of your directorial portfolio and when?

- I don't know, I really don't know. I would like to know when... Well, look, such a pleasant event is approaching - the anniversary of Alexei Vertinsky (January 2, 2026, the actor will turn 70 years old. - Yu. Just yesterday he was sitting here, we talked about this, and I told him: get ready, it will not be possible to avoid, you will have to find the strength and desire to play something important and interesting. I would like it to be the " And I would be eagerly and with joy, given our colossal background of joint work in the theater, I made this performance, but, evaluating the realities, I know for sure that I can not.

- Vertinsky now in the young theater Obvyk. In general, a lot of stars with Bilos left the theater. Who, except Valeria Khodos and Mark Drobot, will still return? Here, for example, the popular favorite Tamara Yatsenko plays in the entreprises. Well, why don't she put a performance here here? She collects \! Who else will return?

- Did I tell you that I would return Khodos and Drobot? (Laughs). They don't need to return to the state. Neither Vertinsky, nobody needs. Here in the near future, I think, Irma Vitovskaya, Rimma Zyubina and Natalia Vasko will appear. I do not exclude this. But they already need to come to projects in their status as invited stars (and they are well aware and exactly what they want), and not enter the troupe, sit there like a mushroom, and wait until something falls from the sky.

- Given the fact that the youth actually entered the theater in whole courses by Andrei Bilos, in our Cloarrix Theater Circles expressed the opinion that the young theater became the National Student Theater. In my audience opinion, among this youth there are actors who look like each other outwardly and the manner of the game, like clones. So that one performance can be put in five compositions, and there will be no difference. How to deal with this to the leader, so as not to break a fate to a person?

- I share your feeling. I also have it - sometimes it seems that the types and methods of stage existence are very similar. Well, nothing, all this must also be adjusted by reformatting the troupe-in a normal way, and not in some kind of radical-revolutionary. These are evolutionary processes: a new repertoire, the directors who will put it will breed whether they want it or not. And it will be seen who comes to the first positions, who the theater is extremely necessary, who is less needed, and who is not at all.

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- How do you feel about the young theater declared himself the heir to Lesa Kurbas and very actively began to promote the story with the age of the theater? You will continue the thesis that Les Kurbas is the founder of the young theater?

- Oh, this is a very unpopular topic: I then spoke out, wrote a post about it, and although I tried to be as correct as possible, it still offended many people in the theater. As if I do not want the young theater to become national. It looked like a claim to me. This is a little strange, because I am not against any awards, let everyone be fine. And I repeat the old thesis: “I served for ten years, I have not noticed in drunkenness and vice - give a honored artist. He served twenty years - give the people's artist " So we came up with a hundred years to this theater, and it will be national. Listen, the current young theater, except for the premises in which the young Kurbas Theater was in no way connected with its heritage. Well, just nothing. The centenary of the young theater is absolute falsification. It is already like this, and you do not need to touch it. This is a problem and those people who gave it, who promoted. Did they realize what was happening? We cannot live in the country and try to defeat this terrible enemy, using the methods that the Russian Federation lives - by lies, deception and falsification.

- What are you planning to open a new season?

- September sixth we plan the play "

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- A very good production of director Alexandra Merkulova, who, as far as I know, did not support Group 46, who advocated the dismissal of Andrei Bilos. Alexandra will continue to put whether there can be another development of events?

- No, no, Sasha will continue to put. There is already a proposal from her about new possible performances. Now I am considering them.

- What tasks do you set for your second cadence? Thirteen years ago you were asked about this in another national theater, and you said: “So that there was less unpleasant things and follow Stanislavsky more”. Then this " What are the guidelines now?

- I want a healthy, normal creative atmosphere to appear in the theater. Because, as for me, except for a well -known scandal with bilos, the troupe has a problem of relationships between the older and young generation. This should not be. It is necessary that the younger ones respect the elders, the elders cease to be too critical of the young people and everyone worked at the same time on what should be done now. One of the main tasks is to establish these processes, to combine the team.

The theater should be open, build high -quality communication with the expert environment, become a member of art projects, in particular foreign. I most of all want it to be a normal and successful theater.