The most innovative Russian theatre director at the World Shakespeare Festival 2012

Dmitry Krymov’s production of Midsummer Night’s Dream in Stratford-upon-Avon and Edinburgh this August – highly recommended!

Dmitry Krymov is one of the most innovative directors to emerge in Moscow in the last decade. He began as a stage designer in the mid-1970s, often creating sets for his father, the great director Anatoly Efros. From the late 1980s to the early 2000s, Krymov rarely worked in theater, preferring to focus on his highly successful career as a painter. He made his directing debut in 2002 with a production of Hamlet at the Stanislavsky Drama Theater. He also began teaching design at RATI (Russian Academy of Theater Arts) and it was here that his life and work changed drastically. Not satisfied with teaching young designers merely to make models and practice designing costumes, he required his students to perform in the spaces and with the props they designed. From this grew a new and whimsical kind of theater, in which design, acting and dramatic texts existed on equal levels, and which eventually was accepted as a semi-independent studio at Anatoly Vasilyev’s famous School of Dramatic Art. Thus was born the independent, experimental, creative collective called Dmitry Krymov’s Theatre Laboratory.

  • About Us

    Sputnik is a British theatre company dedicated to sourcing, translating and producing new Russian drama for British audiences.

    There are several strands to Sputnik's work including:
    - producing new Russian plays in the UK
    - programming and organising the Russian Theatre Festival in London
    - developing Russian playwriting through commissions and exchanges
    - outreach work bringing drama to disadvantaged young people
    - cultural events with Russian literature and music

    Why Russia?
    Russia has a history of theatrical innovation. Russian playwrights have played a significant role in shaping modern European theatre.

    Contemporary playwriting in Russia has been going through an important and innovative period since 1991 with a prolific output by predominantly young dramatists.

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