Reichelgauz Joseph Leonidovich biography family. Joseph Reichelgauz

Iosif Reichelgauz can rightly be called one of the key figures of the modern Russian theater. In 1989, Reichelgauz, by the way, a native from Odessa, created a new type of theater in Moscow, called the “School of the Modern Play”. “The performances that take place in our theater are unique: there are only world premieres and “one-time-use” performances,” the director proudly says. The director spoke about his hobbies, about his hometown, about his attitude to life and art in an interview with a website correspondent.

- Iosif Leonidovich, were you interested in the history of your family? Where are your ancestors from?

Certainly! He was interested in what kind of strange surname this is - Reichelgauz, and where it came from. My parents are from the Odessa region, they lived on a Jewish collective farm, organized shortly before the start of the war. At one time my grandfather was the chairman there. I found him (he lived to be more than ninety years old) and often asked him who we were and where we came from. He said that traces of our family are lost somewhere in Finland. On the territory of Russia, my ancestors lived in a place called Efingar. I found information about him on the Internet and it turned out that many people named Reichelgauz come from there. I never met my namesakes - only relatives. Many years ago, when I had just graduated from GITIS and started working at the Sovremennik Theater, a young man came to us and showed us a passport at the service entrance, in which it was written: Leonid Raihelgauz. He turned out to be a student at the Faculty of Architecture of the Leningrad Academy of Arts, but he himself was from Omsk. Then I remembered how my grandfather told me that his three brothers (there were six in all) were sent to Siberia for some offense. Some of them ended up in Omsk. Thus it turned out that Lenya is my seventh cousin. I would really like to know more about the family history. My mother is still alive, she is 84 years old, but, unfortunately, she does not remember much.

- Did your father fight?

Yes, my father (he is no longer alive) went through the whole war, he was a tanker. His jacket, which I naturally keep as the main relic of the family, is hung with a huge number of orders and medals. Dad often told me about how he signed the Reichstag. How many times have I been there - I didn’t find anything, but in May of this year my sister and I went into the Bundestag meeting room, and it turned out that in the corridors of the hall there were preserved, as they call it in Germany, “graffiti of Russian soldiers”. Among them we found the father's surname - we recognized his handwriting. He was not just a front-line soldier - he was a real hero - with awards for the capture of Warsaw, Prague, Berlin and other capitals. Moreover, he was an excellent motorcyclist, master of sports, and also the champion of the Armed Forces of the USSR. Mom's parents died during the war years in the echelon. This story formed the basis of my film "Echelon". Mom, a medical student, and her 12-year-old sister were left orphans. Mom until the end of the war worked as a nurse in a hospital. A classic and utterly iconic biography...

- Your parents had nothing to do with art. When did you decide to connect your life with the theater?

Everything is very simple - I began to understand quite early that I wanted to do something: compose, build a house, be a captain of a ship, play musical instruments, and even better, conduct. In first grade, I wanted to be a writer! I have the happiest and most wonderful life. I am an atheist, although I understand that there are the greatest laws of being, which cannot be known either with the help of the Talmud, or with the help of the Bible or the Koran. G-d is within me and I am responsible for myself. Naturally, I'm not crazy and I understand that at any moment I can get hit by a car or fall into an abyss ... Moreover, it happened to me, because I'm into racing and a couple of times I found myself on the verge of death. However, in what depends on me, only I am guilty.

- In your opinion, every person is the blacksmith of his own happiness?

Quite right! I am convinced that every person deserves his job, his children, oddly enough - his parents, creativity, longevity, and so on. Every time I start to complain, I say to myself: "Shame on you, because all this is you." If you manage a good theater - this is your merit, if you manage a bad one - this is your failure. I must say that everything that I fantasized about myself as a child - everything materialized. Once in Paris, I saw one amazing theater and thought how good it would be to come there on tour. It was the theater of Pierre Cardin, which I never knew and did not even know if he was alive. What do you think - two years later we came there on tour! I have many such examples. When I was 16 years old, I wrote a receipt to my artist friend saying that in ten years, when I would be the director of one of the famous Moscow theaters, I would invite him to work. Ten years later, this is exactly what happened: I, being the director of Sovremennik, invited him to work in our theater. I'm not talking about this because I'm so talented and wonderful, it's just that the profession leaves a big imprint on a person. Communicating with a person, I begin to perceive him as a character, I try to figure out what his interest is and what he wants, what is his fear, pleasure.

- So you are a psychologist?

Directing - this is practical psychology!

- Iosif Leonidovich, I know that you also teach. How do you work with students? Are you a strict teacher?

I have been doing this for many years and I think that I am a qualified teacher. I taught at VGIK, Russian State University for the Humanities, taught a course on drama theory and acting skills at the University of Rochester in the USA. I conduct master classes, summer schools in many foreign educational institutions.

- When are you all done?

I manage a lot, but, firstly, I use technology, and, secondly, I sleep little. In addition, I have qualified assistants whom I trust very much. In GITIS, I run two workshops - acting and directing. Very strong teachers help me with this. In the theater, I have assistants in all areas: for the troupe, for foreign activities, for the staging, for the media, and so on.

- Are you an emotional person?

Unfortunately, I am terribly emotional ... It happens that suddenly it seems to me that everyone has abandoned me, no one loves me. Here, as they say, you can take me with your bare hands.

- Iosif Leonidovich, is there something that you would definitely like to do?

And what you want - that's what I do! I love photography and have been doing it all my life. I was recently informed that my photographs would be included in the album of works by the best Russian photographers, and I was completely shocked. I always wanted to write books - I write, I wanted to teach - I teach, I wanted to stage performances - I have already staged more than a hundred. Now I have a new hobby - I like to make travel documentaries. I do whatever I want! I want to build houses - and build. I used to do it with my own hands: laying bricks, planing boards. Now I act more as a co-author of the project, I participate in the discussion of some engineering solutions. There are many things I would like to do and many things I like to do. I have a wonderful conservatory. I often bring some amazing plants from different parts of the world. Ever since they began to let me out of the country, and this happened in the 90s, wherever I go, I look for flea markets everywhere. Not antique shops, but flea markets. I bring a huge amount of all sorts of “rubbish” from there: I give something away, I change something, I put it in order, I restore it. It doesn't fit at home anymore.

- You were born and raised in Odessa. How often do you get to go home?

I often visit Odessa. A few years ago, the city authorities gave me an apartment as a gift. The previous mayor of Odessa, whom I respect very much, Eduard Iosifovich Gurvits, did a lot for the city: he moved the monument to Potemkin, restored the monument to Catherine, put the whole center in order. He decided to gather in the city all the dispersed Odessans by issuing apartments and invitations to various festivals. By the way, this summer, under the auspices of the city authorities, an event took place that we have been waiting for 20 years - our theater played a grandiose tour in Odessa. Moreover, the city authorities offered me to become the artistic director of the theater, to which I answered them with my offer - to make the best theater in the world. This requires money, energy, a great desire, but it turned out that the previous administration came up with a proposal, to which I responded, but the new one is silent. Odessa is a city that gave the world a huge number of wonderful writers, composers, directors, actors, artists - but took nothing for itself. To date, Odessa theatrical art is in a terrible decline. I am very sorry, and I would like to do everything in my power to change this situation. I even came up with a unique project that would play only the Odessa program. It's a matter of desire - there will be money.

- Do you use Odessa motifs in your productions?

In The School of the Modern Play, I stage only what is written here and now. I have a friend in Odessa - a wonderful playwright Alexander Mardan. About seven years ago I was the first to stage his play at the Odessa Russian Theatre. Today he is one of the most repertoire playwrights in Ukraine and Russia, winner of endless awards. Even in dramaturgy I am still connected with Odessa. If we talk about some literal manifestations, then I manifest myself in the performances, and I am the product of my parents and my city. If I had not grown up in Odessa, I would have seen the world differently, talked, treated the events of my own and other people's lives. Odessa, of course, shaped me.

I read plays every day and choose those that are relevant to my life, and I have something to write about this. I have to understand why a person buys a ticket, comes to the auditorium and sits in the place where I sit and tell the artists what to leave and what to fix. I create for him a kind of spectacle, structure and experience in which he will participate. I read, for example, another play by Zhenya Grishkovets, which tells about how a person wants to buy a house. It's simple - he wants to buy a house for himself, goes around and lends money to friends. I understand that the audience will respond, and I'm not mistaken - this performance is watched with interest by people who are rich and not very rich, those who have already bought more than one house for themselves, and those who will never be able to buy a house for themselves.

In September of this year, rehearsals of a play based on a work by journalist Dmitry Bykov began at the School of Modern Play. Can you tell me what kind of performance it will be?

Dmitry Bykov is not just a journalist, but a major Russian writer! The play is called "The Bear", it is a political pamphlet about the Russian national idea (the bear is a symbol of the ruling party). This is a story about how a bear spontaneously spawned in a man's bathroom. At first he wants to get rid of him, but government officials come and congratulate him, begin to shower him with all sorts of blessings - after all, a national idea in the form of a bear was born in his house.

- Performances based on the works of which contemporary authors can be seen in the "School of the Modern Play"?

Seeds of Zlotnikov, Lyudmila Ulitskaya, Evgeny Grishkovets, Boris Akunin and many others. There are plays by both very young authors and recognized classics. The performances that take place in our theater are unique. Our repertoire includes only world premieres and performances of "one-time use". I recently released the premiere of a play that I myself really like. It is called "Russian grief" and is based on Griboedov's play "Woe from Wit". Sergei Nikitin wrote wonderful music for it, Vadim Zhuk wrote comments on Griboyedov. Mostly young artists play - graduates of my workshop, as well as current students. I decided that if there is a play "Russian Woe", then there must be "Jewish Happiness": after all, this, in fact, is one and the same. After "The Bear" I will start rehearsing it. It will be a kind of fantasy, a game on the theme of Jewish jokes. I have never dealt with the Jewish theme, but now I want to, because Jewish anecdotes are a tragic farce, a mixture of the tragic and the funny.

A very informative episode took place on the evening show of Vladimir Solovyov on February 21. Protesting against the obvious, director Iosif Reichelgauz decided to prove to the political scientist Dmitry Kulikov on his fists that the Odessa Alexei Goncharenko, affectionately referred to as Lyoshik Cattle Base, is a worthy person and never a corpse eater.

Goncharenko and Reichelgauz: the shame of Odessa

Despite the fact that millions of people carefully watched the video filmed by Bandera gopota, immediately, in the wake of the massacre of the “Kulikovites”, in the Odessa House of Trade Unions. Among the group of killers in balaclavas, there was a lipped steam a niche with a camera - a "soap box", joyfully filming charred bodies under his own enthusiastic chatter. In this little ghoul, any dog ​​was able to identify the former “burp” Goncharenko, who a couple of months ago caught a fofan under a video camera in the prime of the Crimean Spring on Simferopol street.

And so, it means that the director Reichelgauz from the blue screens convinces not to believe his eyes. In Solovyov's studio, Donetsk political scientist Vladimir Kornilov and his Russian colleague Dmitry Kulikov tried to enter into a controversy with the director. The conversation went something like this: Goncharenko is a murderer or an accomplice!

Vyvsevretii! .. This is a fake!

It's a lie! He wasn't there!

Yes, but Goncharenko was filming a stream in the House of Trade Unions ... Vyvsevretii! ..

He got there later!

But there is a video where he says “we burned the separatists”…

Lies! I don't believe a single word! We have all the moves recorded!

You're out! You lie here every Sunday! You are propagandists!

Right now, as ladies in the face!

During the entire dispute, the director Reichelgauz poured black blood, then splashed boiling saliva into the studio, and at the very end of the verbal sparring, jumping out of his underpants in a rage, ran out from behind the counter with a contorted face and began to spew curses, waving his fist over the head of the one who stood up to him on the path of Solovyov, under the ironic smiles of opponents.

There are no other liberals for you, dear citizens. The time of Herzen and Chernyshevsky is gone forever.

Now this is just the way it is.

Why would a Russian director have such love for a corrupt creature and an accomplice of neo-Nazis Skotobaza Goncharenko?

It's an old thing. As the Internet resource “Dumskaya.net” suggests, in September 2012, Joseph Reichelgauz came to Odessa to personally convey to the young “rygianal” and deputy chairman of the Odessa regional council Goncharenko a certificate of honor from the Union of Theater Workers of Russia signed by Alexander Kalyagin, also known as “Aunt Charlie from Brazil."

“Dumskaya” cites curious speeches made during the presentation of the diploma, from which bright tears of tenderness come to the eyes: Goncharenko: “I am convinced that the main thing that we must do today is to interact more closely with our brotherly Russian people, and the sphere of culture for this is the main thing. Because all those relationship problems that can arise must be solved through culture.

Even more stunning reports the resource "Ukrainian Truth": Goncharenko: "Odessa was not a Ukrainian city.

Odessa was created as the center of New Russia, in which there were Russians, Greeks, Ukrainians, Jews, Bulgarians and others. The Russian language has always been in Odessa, it is not brought there from somewhere.”

Hey righties! Would you like to give your portion of fofans to an unscrupulous creature?

Indeed, “to betray in time is not to betray, but to foresee!”, as one haberdashery character from the Ryazan film “Garage” used to say, since self-PR on charred corpses under the muttering became the apophygee of the miserable life of the opportunist Goncharenko - “We went to the separatist camp on Kulikovo Pole, we took it, the camp was destroyed. Recommended:

It would seem, what does Reichelgauz have to do with it?

Yes, despite the fact that his "Theater of the Modern Play" is a miserable and unprofitable institution.

And if you quarrel with Goncharenko, then the faucet of the meager stream of pennies received by the theater from seasonal chess in Odessa, or other cities and towns of Ukraine, can be blocked at any time.

In Ukraine, after all, they don’t know that the audience doesn’t go to the performances of Reichelgauz, but focuses on the fact that, “here is a director from Odessa, in Moscow he is in charge of the theater - you have to go!” ...

And you can also get into the “cotton” list - and this is quite zapad for a director with a stable hacked-up worldview “oh, forgive us Bandera, ISIS and all, all, all!” Once upon a time, in the most democratic state of Germany, in which a crowd of yesterday's Nazis was in power, the government adopted the provision "berufsverbot" (Berufsverbot) - a ban on the profession.

And for dessert, a little about what kind of genius this is - this very bandera-loving director Joseph Reichelgauz, whose masterpieces without the help of Google are unlikely to be remembered even by an amateur theatrical.

As Wikipedia informs us with reference to the Lyceum newspaper, “Joseph Reichelgauz was born and raised in Odessa. In 1962–1964 he worked as an electric and gas welder at a motor depot. In 1964 he entered the Kharkov Theater Institute at the directing department, but a week later he was expelled with the wording: “Professional unsuitability”. In 1965, Reichelgauz became an artist of the auxiliary composition of the Odessa Youth Theater.

In 1966 he came to Leningrad and entered the directing faculty of LGITMiK. And again, in the same year, he was expelled for incompetence. In 1965–1966 he was a stage worker at the Leningrad Bolshoy Theater named after V.I. Gorky. In 1966 he entered the Faculty of Journalism of the Leningrad State University, where he was finally able to take up directing: he became the head of the student theater of the Leningrad State University. In 1968, Iosif Reichelgauz left the university and entered the directing department of GITIS, in the workshop of M.O. Knebel and A.A. Popov.

At the same time, he worked as a director at the famous student theater of Moscow State University, in 1970 he led concert student teams to service the builders of Siberian hydroelectric power stations. In 1971, he had a directing practice at the Central Theater of the Soviet Army, but the play "And I Didn't Say a Single Word" based on the novel by G. Böll was not allowed to be shown. In 1972 he staged his pre-diploma performance, My Poor Marat, based on the play by A. Arbuzov, in his native Odessa.

Hug and cry. The luminary was twice carried out on kicks from theatrical universities, and, for the first time, from a provincial one.

But Melpomene did not let go back to the electric and gas welders.

He went into amateur performance, hitting William, you know, our Shakespeare.

On the basis of amateur performance, he grew strong calluses on his buttocks and took GITIS to starvation.

But he did not give up amateur performance - in the north, among harsh and well-earning people who yearn for culture, even in the form of amateur cultural enlightenment, this is sacred.

Christmas trees feed the actor for a whole year, yes!

The very first performance at the TsTSA was rejected.

With his hack I was able to get out only in my native Odessa.

Until 1993, he was widely known in narrow circles.

He became a laureate and luminary only under Yolkin, when the titles of honored and people were handed out for a party card burned in front of witnesses.

In short, a typical representative of the society "Down with routine from the opera stage!"

Is it any wonder that Pinocchio from his theater are ready to work for food?

Alexander Rostovtsev

, Odessa) - Soviet and Russian theater director, teacher; People's Artist of Russia (), professor at the Russian University of Theater Arts (GITIS), creator and artistic director of the Moscow theater "School of the Modern Play". Member of the Public Council of the Russian Jewish Congress.

Biography

Iosif Reichelgauz was born and raised in Odessa. In 1962-1964 he worked as an electric and gas welder at a motor depot. In 1964 he entered the Kharkov Theater Institute at the directing department, but a week later he was expelled with the wording: “Professional unsuitability”.

In 1965, Reichelgauz became an artist of the auxiliary composition of the Odessa Youth Theater. In 1966 he came to Leningrad and entered the directing department of LGITMiK. And again, in the same year, he was expelled for incompetence. In 1965-1966 he was a stage worker in the Leningrad Bolshoy Theater. Gorky. In 1966 he entered the Faculty of Journalism of the Leningrad State University, where he was finally able to take up directing: he became the head of the student theater of the Leningrad State University.

In Moscow

Since 1975, Reichelgauz, together with Anatoly Vasilyev, directed the Theater on Mytnaya; in 1977 he was accepted as a stage director at the Theater. Stanislavsky, was a member of the director's board of the theater, released the play "Self-Portrait", began to rehearse "Adult Daughter of a Young Man", but in 1978 he was relieved of his post due to the lack of a Moscow residence permit.

At the same time, Reichelgauz staged performances in other theaters, including abroad: in the theaters "Koruz" (Switzerland), "Kenter" (Turkey), "La Mama" (USA), the national theater "Habima" (Israel); he works a lot on television, where he staged, in particular, "Echelon" by M. Roshchin and "Picture" by V. Slavkin.

public position

Performances

• - "Self-portrait" by A. Remiz (Stanislavsky Theatre)
• - "Scenes at the Fountain" (Moscow Drama and Comedy Theater on Taganka)

• - “Weather for tomorrow” by M. Shatrov (together with G. Volchek and V. Fokin)
• - "From Lopatin's Notes" by K. Simonov
• - “And in the morning they woke up” by V. Shukshin
• - "1945", composition by Reichelgauz
• - "Amateurs"
• - "Two stories for men" by V. Slavkin by F. Dürrenmatt

• - “A man came to a woman” by Semyon Zlotnikov
• - "Everything will be fine, as you wanted" S. Zlotnikova
• - “And why are you in a tailcoat? » according to A.P. Chekhov
• - “The old man left the old woman” by S. Zlotnikov
• - “Without mirrors” by N. Klimontovich
• - "About the promised oil" based on the songs of Sergei Nikitin
• - "... With greetings, Don Quixote!", a composition for the stage by Viktor Korkiy, Alexander Lavrin, Iosif Reichelgauz, Valery Berezin
• - "Anton Chekhov. Gull"
• - "Love Karlovna" O. Mukhina
• - "Notes of a Russian Traveler" by E. Grishkovets
• - “A wonderful cure for longing” by S. Zlotnikov
• - “Boris Akunin. Gull"
• - "City" by E. Grishkovets
• - Seagull. A real operetta" based on the play by A.P. Chekhov
• - "In your own words"
• - "Russian jam" L. Ulitskaya
• “A man came to a woman. New version "S. Zlotnikova
• - "House" by E. Grishkovets
• - "Star fever"
• - “Russian grief” based on the comedy “Woe from Wit” by A. S. Griboyedov
• - "Bear" by Dmitry Bykov
• 2012 - “Overheard, peeped, unrecorded” by E. Grishkovets, I. Reichelgauz
• 2013 - “Save the chamber junker Pushkin” by M. Heifetz
• - "The Last Aztec" by V. Shenderovich
• - "WEEK END" by E. Grishkovets, A. Mathison
• - "A man came to a woman"

Awards and prizes

• 1975 - Moscow Komsomol Prize for the play "From Lopatin's Notes" ("Contemporary")
• 1973 - Moscow Theater Spring Award for the play "Weather for Tomorrow" ("Contemporary")

Write a review on the article "Reichelgauz, Iosif Leonidovich"

Notes

Links

• . Journal "Theatrical New News TEATRAL" (teatral-online.ru) (July 1, 2008). Retrieved January 1, 2013. .

see also

An excerpt characterizing Reichelgauz, Joseph Leonidovich

From the end of 1811, increased armament and concentration of forces in Western Europe began, and in 1812 these forces - millions of people (including those who transported and fed the army) moved from West to East, to the borders of Russia, to which in exactly the same way since 1811 th year, the forces of Russia were drawn together. On June 12, the forces of Western Europe crossed the borders of Russia, and the war began, that is, an event contrary to human reason and all human nature took place. Millions of people have committed against each other such countless atrocities, deceptions, treason, theft, forgery and issuance of false banknotes, robberies, arson and murders, which for centuries will not be collected by the chronicle of all the courts of the world and which, in this period of time, people those who committed them were not looked upon as crimes.
What produced this extraordinary event? What were the reasons for it? Historians say with naive certainty that the causes of this event were the insult inflicted on the Duke of Oldenburg, non-compliance with the continental system, Napoleon's lust for power, Alexander's firmness, diplomats' mistakes, etc.
Therefore, it was only necessary for Metternich, Rumyantsev or Talleyrand, between the exit and the reception, to try hard and write a more ingenious piece of paper or write to Alexander to Napoleon: Monsieur mon frere, je consens a rendre le duche au duc d "Oldenbourg, [My lord brother, I agree return the duchy to the Duke of Oldenburg.] - and there would be no war.
It is clear that such was the case for contemporaries. It is clear that it seemed to Napoleon that the intrigues of England were the cause of the war (as he said this on the island of St. Helena); it is understandable that it seemed to the members of the English Chamber that Napoleon's lust for power was the cause of the war; that it seemed to the Prince of Oldenburg that the cause of the war was the violence committed against him; that it seemed to the merchants that the cause of the war was the continental system, which was ruining Europe, that it seemed to the old soldiers and generals that the main reason was the need to put them to work; to the legitimists of the time that it was necessary to restore les bons principes [good principles], and to the diplomats of the time that everything happened because the alliance of Russia with Austria in 1809 was not cleverly hidden from Napoleon and that a memorandum was awkwardly written for No. 178. It is clear that these and countless, infinite number of reasons, the number of which depends on the countless difference of points of view, seemed to contemporaries; but for us, the descendants, who contemplate in all its volume the enormity of the event that has taken place and delve into its simple and terrible meaning, these reasons seem insufficient. It is incomprehensible to us that millions of Christians killed and tortured each other, because Napoleon was power-hungry, Alexander was firm, the policy of England was cunning and the Duke of Oldenburg was offended. It is impossible to understand what connection these circumstances have with the very fact of murder and violence; why, due to the fact that the duke was offended, thousands of people from the other side of Europe killed and ruined the people of Smolensk and Moscow provinces and were killed by them.
For us, descendants, who are not historians, who are not carried away by the process of research and therefore contemplate the event with unobscured common sense, its causes appear in innumerable numbers. The more we delve into the search for causes, the more they are revealed to us, and any single reason or a whole series of reasons seems to us equally just in itself, and equally false in its insignificance in comparison with the enormity of the event, and equally false in its invalidity ( without the participation of all other coincident causes) to produce an accomplished event. The same reason as Napoleon's refusal to withdraw his troops beyond the Vistula and give back the Duchy of Oldenburg seems to us the desire or unwillingness of the first French corporal to enter the secondary service: for if he did not want to go to the service and would not want another, and the third , and a thousandth corporal and soldier, so much less people would be in Napoleon's army, and there could be no war.
If Napoleon had not been offended by the demand to retreat beyond the Vistula and had not ordered the troops to advance, there would have been no war; but if all the sergeants did not wish to enter the secondary service, there could also be no war. There could also be no war if there were no intrigues of England, and there would be no Prince of Oldenburg and a feeling of insult in Alexander, and there would be no autocratic power in Russia, and there would be no French revolution and the subsequent dictatorship and empire, and all that that produced the French Revolution, and so on. Without one of these reasons, nothing could have happened. Therefore, all these causes - billions of reasons - coincided in order to produce what was. And therefore, nothing was the exclusive cause of the event, and the event had to happen only because it had to happen. Millions of people, having renounced their human feelings and their minds, had to go to the East from the West and kill their own kind, just as several centuries ago crowds of people went from East to West, killing their own kind.
The actions of Napoleon and Alexander, on whose word it seemed that the event took place or not took place, were as little arbitrary as the action of every soldier who went on a campaign by lot or by recruitment. It could not be otherwise, because in order for the will of Napoleon and Alexander (those people on whom the event seemed to depend) to be fulfilled, the coincidence of innumerable circumstances was necessary, without one of which the event could not have taken place. It was necessary that millions of people in whose hands was real power, soldiers who fired, carried provisions and guns, it was necessary that they agreed to fulfill this will of individual and weak people and were led to this by countless complex, diverse reasons.
Fatalism in history is inevitable for explaining unreasonable phenomena (that is, those whose rationality we do not understand). The more we try to rationally explain these phenomena in history, the more unreasonable and incomprehensible they become for us.
Each person lives for himself, enjoys freedom to achieve his personal goals and feels with his whole being that he can now do or not do such and such an action; but as soon as he does it, so this action, committed at a certain moment in time, becomes irrevocable and becomes the property of history, in which it has not a free, but a predetermined significance.
There are two aspects of life in every person: personal life, which is all the more free, the more abstract its interests, and spontaneous, swarm life, where a person inevitably fulfills the laws prescribed to him.
A person consciously lives for himself, but serves as an unconscious tool for achieving historical, universal goals. A perfect deed is irrevocable, and its action, coinciding in time with millions of actions of other people, acquires historical significance. The higher a person stands on the social ladder, the more he is connected with great people, the more power he has over other people, the more obvious is the predestination and inevitability of his every action.
"The heart of the king is in the hand of God."
The king is a slave of history.
History, that is, the unconscious, general, swarming life of mankind, uses every minute of the life of kings as a tool for its own purposes.
Napoleon, despite the fact that more than ever, now, in 1812, it seemed to him that it depended on him verser or not verser le sang de ses peuples [to shed or not to shed the blood of his peoples] (as in the last letter he wrote to him Alexander), was never more than now subject to those inevitable laws that compelled him (acting in relation to himself, as it seemed to him, according to his own arbitrariness) to do for the common cause, for the sake of history, what had to be done.
The people of the West moved to the East in order to kill each other. And according to the law of the coincidence of causes, thousands of petty reasons for this movement and for the war coincided with this event: reproaches for non-observance of the continental system, and the Duke of Oldenburg, and the movement of troops to Prussia, undertaken (as it seemed to Napoleon) only to to achieve an armed peace, and the love and habit of the French emperor for war, which coincided with the disposition of his people, the fascination with the grandeur of preparations, and the costs of preparation, and the need to acquire such benefits that would pay for these costs, and intoxicated honors in Dresden, and diplomatic negotiations, which, in the opinion of contemporaries, were led with a sincere desire to achieve peace and which only hurt the vanity of both sides, and millions and millions of other reasons that were faked as an event that was about to happen, coincided with it.

June 12, 1947 was born director Iosif Reichelgauz, creator and artistic director of the Moscow theater "School of the modern play"

Private bussiness

Iosif Leonidovich Reichelgauz (71 years old) Born in Odessa in a family of immigrants from the first Soviet Jewish collective farm named after Andrei Ivanov, where his grandfather, after whom the boy was named Joseph, served as chairman. My father went through the entire war from the first day to the last, was a tanker and wrote his name on the Reichstag. After the war he worked as a driver. Mother Faina Iosifovna worked as a typist-stenographer. She sang well, had an excellent ear, and throughout Joseph's childhood she took him and her sister to the Odessa Opera House.

From childhood, by his own admission, Joseph Reichelgauz was a bully and a bully. At the age of four, he broke the glass on the honors board on the Ivanov collective farm, not finding his grandfather among the foremost workers, at five he was expelled from kindergarten for ugly behavior, and at twelve he tried to cross on a makeshift ship to the other side of the Black Sea and see Turkey.

At the age of 14, Joseph declared that he no longer wanted to study, but would rather become "a ship's captain or a conductor." After that, his father brought him to the motor depot and arranged him as an apprentice gas and electric welder.

In 1964, Iosif Reichelgauz entered the Kharkov Theater Institute at the directing department, but a week later he was expelled with the wording: "Professional unsuitability."

Returning to Odessa, I accidentally saw an ad: “The Youth Theater urgently needs an artist. Size 48". “I wore the 46th, but I went to the theater right there. I thought that they would ask me to read something, but the director, with the words: “Let's check it now,” took me straight to the costume shop. All the costumes that they tried on me turned out to be great. Nevertheless, I was accepted into the troupe, because the artist they were looking for unexpectedly entered VGIK and left for Moscow, and the season had to be played out. This artist was Kolya Gubenko,” Reichelgauz said. Thus, in 1965, he became an artist of the auxiliary composition of the Odessa Youth Theater.

In 1966 he came to Leningrad and entered the directing department of LGITMiK. And again he was expelled for incompetence - this time after a few months.

In 1965-1966 he was a stage worker in the Leningrad Bolshoy Theater. Gorky. In 1966 he entered the Faculty of Journalism of the Leningrad State University, where he was finally able to take up directing: he became the head of the student theater of the Leningrad State University.

In 1968, Iosif Reichelgauz left the university and moved to Moscow, where he entered the directing department of GITIS, in the workshop of Maria Knebel and Andrey Popov. At the same time, she also worked as a director at the famous student theater of Moscow State University and led concert student teams to service the builders of Siberian hydroelectric power stations.

In 1972, he staged his pre-graduation performance “My poor Marat” based on the play by Alexei Arbuzov in his native Odessa. After that, Arbuzov invited him to his Higher Literary Courses, where the then unknown L. Petrushevskaya, V. Slavkin, A. Kazantsev, A. Kuchaev and others studied. “And we, the directors, plunged into literature, began to read it, understand it, and even created our own “Second Arbuzov Studio”. We were the first to stage performances by these authors,” Reichelgauz recalled.

In 1971, Reichelgauz took part in directing, the so-called "contemplative" practice at the Central Theater of the Soviet Army. “Future directors should just sit and watch how others put on performances. I found it terribly boring. I invited two good artists, put on a sharp performance with them based on the novel by Heinrich Böll “And I didn’t say a single word” and showed it to the chief director of the theater, my teacher Andrei Alekseevich Popov, ”said Reichelgauz. A commission from the political department of the army forbade the performance, but Galina Vovchek, the chief director of the Sovremennik Theater, found out about an interesting production and invited him to her theater.

“To our shame, we had a cool attitude to Sovremennik at that time, considering it a theater without direction: the actors gathered and play for themselves. Then everyone was infatuated with the great Efros, Tovstonogov. Perhaps that is why I also took my acquaintance with this theater somehow frivolously: before Galina Volchek and Oleg Tabakov, I, 25-year-old, appeared without shyness.

They offered to show them the performance, which the artists and I did that very night. They played a performance in front of the artistic council, which already included the then famous theater critic Vitaly Wolf. He often reminded me of this: “Do you remember, Joseph, why did you become a director at Sovremennik? It was I who first said: "Galya, we need to take this boy." A year before the events described, Oleg Efremov left Sovremennik, and Galina Volchek made a bet on the young. I recruited unknown actors into the troupe: Yura Bogatyrev, Stanislav Sadalsky, Elena Koreneva, Kostya Raikin, Marina Neelova, as well as two directors - Valery Fokin and me, ”said Reichelgauz.

As a result, in 1973 he was invited to the Sovremennik Theater as a stage director.

His first success at Sovremennik was the production of the play Weather for Tomorrow, for which the director was awarded the Moscow Theater Spring award. Later, he staged performances in the theater that were awarded theatrical awards and highly appreciated by critics and the audience: “From Lopatin’s notes” by K. Simonov, “And in the morning they woke up ...” by V. Shukshin, “1945” (the author of the play is Reichelgauz himself), “ Ghosts” by G. Ibsen.

Since 1974, he taught acting at the first studio of Oleg Tabakov.

Since 1975, Reichelgauz, together with Anatoly Vasilyev, directed the Theater on Mytnaya.

Since 1976, he began to teach the skill of an actor at GITIS. Lunacharsky.

In 1977 he was accepted as a stage director at the Theater. Stanislavsky, was a member of the director's board of the theater, released the play "Self-Portrait" by A. Remez, but it did not last long on stage. The second performance - "The Adult Daughter of a Young Man" was not allowed to be released. He began to rehearse it, but in 1978 he was fired due to the lack of a Moscow residence permit. The premiere of the play was already released by Vasiliev.

Since 1979 - director of the Moscow Theater. A. S. Pushkin; since 1980 he also worked at the Moscow Theater of Miniatures (now the Hermitage Theatre).

In 1980-1982, Reichelgauz staged performances in different cities of the country: Lipetsk, Omsk, Minsk, Khabarovsk and others. In 1983-1985 he was a stage director at the Taganka Drama and Comedy Theater, staged the play "Scenes at the Fountain" there. In 1985 he returned to Sovremennik, where he worked until 1989.

In 1988, Iosif Reichelgauz initiated the creation of the Moscow Theater "School of the Modern Play", which opened on March 27, 1989 with his performance "A Man Came to a Woman" based on the play by Semyon Zlotnikov. He became the artistic director of the theater and holds this post to this day. He staged more than 20 performances on this stage.

At the same time, Reichelgauz staged performances in other theaters, including abroad: in the theaters "Koruz" (Switzerland), "Kenter" (Turkey), "La Mama" (USA), the national theater "Habima" (Israel). He works a lot on television, where he directed, in particular, M. Roshchin's "Echelon" and V. Slavkin's "Picture".

Since 2003, he has been in charge of the director's and acting workshop at the directing department at GITIS. Since 2004 he has been a professor.

In November 2013, the School of Modern Play survived a fire, after which the theater temporarily moved to the Theater Club on Tishinka.

Iosif Reichelgauz regularly conducts master classes, theater sessions, lectures at leading educational institutions abroad: the University of Rochester (USA), the Higher Theater School of Lausanne (Switzerland), the Conservatory of Marseille (France), the University of Tehran (Iran).

Joseph Reichelgauz

Dmitry Rozhkov/Wikimedia Commons

What is famous

Iosif Reichelgauz is a cult figure in the Russian theater, the creator and artistic director of the Moscow theater "School of the Modern Play", which he has been directing for more than twenty-five years.

His performances go on for decades and become classics. The performances “A man came to a woman”, “Why are you in a tailcoat”, “The old man left the old woman”, “Notes of a Russian traveler”, the triptych “The Seagull” and many others are well known.

"School of the modern play" - the theater of world premieres. Plays by Semyon Zlotnikov, Yevgeny Grishkovets, Boris Akunin, Lyudmila Ulitskaya, Dmitry Bykov and other contemporary authors were staged for the first time on its stage. There has never been a play going on in another theatre. And even when turning to classical dramaturgy, they always compose their own new performance.

The theater has repeatedly and successfully toured, participated in prestigious festivals in Germany, France, America, Israel, Finland, Australia, Canada, South Korea, Hungary, Bulgaria, India and other countries of near and far abroad.

Reichelgauz has been holding the "Characters" contest in his theater for many years. The plays of the winners of the competition are put on the stage of his theater.

The theater was also the first to start holding various club evenings. At one time, Reichelgauz invited Bulat Okudzhava and gave him an anniversary. Since then, the theater has annually held evenings in honor of Okudzhava. He came up with the idea to celebrate October 19 - Lyceum Day: people of various professions come on stage and read their own and other people's poems.

“It happens that I release non-artists on stage. For example, television presenters Alexander Gordon, Fyokla Tolstaya. The ballerina Lyudmila Semenyaka played with us. I love it when people themselves are voluminous, representing the artistic value that they convey to the audience. It is very important for me that the artist has his own content, in addition to dramaturgy and directing, ”says Reichelgauz.

For more than ten years, the director directed the workshop of theater and film artists of the All-Russian Film Academy - VGIK. For many years and at the present time, Iosif Reichelgauz has been heading the directing and acting workshops at the directing department of RUTI-GITIS.

What you need to know

Iosif Reichelgauz wrote the books “I don’t believe”, “We got into a zapendya”, “Off-road walks”, “Odessa book”.

“For as long as I can remember, I have always been writing something. And then any director is obliged to know the laws of fine arts, music, and must be able to write. Naturally, this is not my main profession, but I write with pleasure. And I am proud that my book "We got into a zapendyu" has already been reprinted several times. It contains 150 theatrical tales. Reichelgauz says.

He is also a member of the editorial board of the journal "Modern Dramaturgy" and the author of many publications on the theory of directing, technology of acting, problems of theater pedagogy and theatrical art. Two new books by Reichelgauz are currently being prepared for publication.

Direct speech

About the theatre:“Talk about the death of the theater has been around for about as long as the theater has existed. In my opinion, there is a live theater and a dead theater. And the living will always be needed.

Live theater is directly related to the life of today's man. When a person cannot understand himself, his loved ones, what is happening around him, he has a need to turn to someone. Someone turns to great literature, someone to religion, someone to a psychologist, and someone goes to the theater. And here are the people who go to the theater to be helped to understand themselves and what is happening in life, they are our spectators. We are waiting for them in order to learn with them about each other and the time in which we live, something else. Therefore, the theater as one of the tools of human self-knowledge does not lose its significance, in spite of any progress. And those who want to live not at the level of plants or animals, but still at the level of a person, should come to the theater, and the theater should be worthy of those who come here.

About viewers:“When I put on a performance, I look at the stage from the auditorium and think, first of all, about what would be interesting to me and my relatives. When I hear from my colleagues or producers the words that the viewer is a fool, he needs a simple entreprise, I want to say: you yourself are a fool, so you have such a viewer and what you yourself are. If the director of the audience considers himself stupider, does not respect him, then he simply has nothing to do in the theater. It seems to me that the viewer is me. My mother is sitting to my right, my daughter is to my left, and I am doing a performance that should be worthy of them and me.

Writer and TV presenter Andrey Maksimov about Joseph Reichelgauz:“He is not interested, as is customary and necessary. He wonders how it doesn't happen.

Put on a play without a play. Invite a well-known businessman to play on stage. Have an evening like never before. Put on a play by a playwright no one knows. Organize a studio at the theater in which very young people play very real performances.

7 facts about Joseph Reichelgauz

• In 1993 he received the title of Honored Artist of the Russian Federation, and in 1999 - People's Artist of the Russian Federation.
• He was awarded the Order of Friendship and the Order of Honor.
• He was a member of the Union of Right Forces party. In 2012, he signed an open letter calling for the release of members of the group Pussy Riot.
• He is a member of the Committee of Civil Initiatives of Alexei Kudrin.
• For more than 30 years he has been married to his former student, actress of the Sovremennik Theater Marina Khazova. In this marriage, two daughters were born - Maria and Alexandra. Maria became an outstanding world-class stage designer, Alexandra graduated from the Faculty of Philology of Moscow State University.
• Raichelgauz has an apartment in Odessa with a sea view. This apartment was given to him by the city, and his children made a design in the form of a ship.
• Joseph Reichelgauz is an inveterate traveler. For many years he has been involved in off-road racing, participates in extreme expeditions on motor vehicles, snowmobiles and jet skis to remote corners of the Earth. He has traveled to South America, Mexico, New Zealand, Uzbekistan, winter Baikal, Southeast Asia, Mongolia, China. The result of each expedition is documentary novels and films from the Off-Road Walks cycle.

Materials about Joseph Reichelgauz

Biography of Joseph Reichelgauz

Joseph Reichelgauz: "Every person deserves his life."

Iosif Reichelgauz: “Oleg Tabakov suggested that I change my last name”

Iosif Reichelgauz: "Live theater will always be needed"

Wikipedia article about Joseph Reichelgauz

People's Artist of Russia (2000). Since 1988 - artistic director, director of the theater "School of Modern Play" (Moscow), focusing on modern drama

Reichelgauz, Iosif Leonidovich

Biography

Director, teacher, author of dramatizations and articles. People's Artist of the Russian Federation (1999), Honored Art Worker (1993), Professor at the University of Rochester (USA), Professor at the All-Russian State Institute of Cinematography. S.A. Gerasimov (1998).

In 1964 he entered the competition as an auxiliary artist in the Odessa Youth Theater. From 1965 to 1968 he lived in Leningrad, where he studied at various universities and worked as a stagehand at the BDT. Reichelgauz staged his first directorial work on the stage of the Student Theater of Leningrad University. In 1973 he graduated from GITIS (course of A.A. Popov and M.O. Knebel). In the same period, Iosif Reichelgauz, together with Anatoly Vasiliev, directed the studio theater on Mytnaya Street - the Second Arbuzov Studio, where the "new wave" of modern dramaturgy was born. Reichelgauz was one of the first in Moscow to stage plays by S. Zlotnikov, L. Petrushevskaya, V. Slavkin, A. Remiz and others.

From 1973 to 1979 and from 1985 to 1989 - director of the theater "Contemporary". V. Gaft, O. Dahl, M. Neelova, L. Dobzhanskaya, A. Myagkov, K. Raikin, Yu. Bogatyrev, O. Tabakov, G. Volchek, P. Shcherbakov and other artists were engaged in the performances of Reichelgauz.

Iosif Reichelgauz repeatedly became the author of not only performances, but also literary material for them. His plays based on the works of contemporary writers were staged in dozens of theaters in the USSR and foreign countries. The first performance at the Sovremennik Theater From the Notes of Lopatin (1975) - I. Reichelgauz - staged based on his own staging of the story by Konstantin Simonov.

In 1976, together with G.B. Volchek Reichelgauz created the play Echelon based on the play by M. Roshchin. Later, Reichelgauz wrote a play based on the stories of V. Shukshin. And in the morning they woke up and staged it in 1977.

Since 1977, Reichelgauz has been a director and director and a member of the director's board of the Theater. Stanislavsky. The time when A. Vasiliev, I. Reichelgauz and B. Morozov directed the theater is now being studied as a significant episode in the history of the Soviet theater. According to the directors themselves, at that time they staged their best performances. For Iosif Reichelgauz, this is A. Remez's Self-Portrait.

In total, Reichelgauz staged about 70 performances, including in many Moscow theaters. 1973 My poor Marat Arbuzova at the Odessa Academic Theater of the October Revolution. 1973 And without saying a single word to G. Bell in the theater of the Soviet Army. 1981 performance A man came to a woman S. Zlotnikova in the theater. Pushkin. 1982 performance Triptych for two by S. Zlotnikov and composition Proposal. Wedding. Love. based on the works of A.P. Chekhov, M. Zoshchenko, A. Vampilov in the Hermitage Theater. 1982 V. Merezhko's Proletarian Mill of Happiness in the theater V of O. Tabakov's studio. 1985 Scenes at the fountain of S. Zlotnikov in the theater of drama and comedy on Taganka. 1989 G. Ibsen's ghosts at the Sovremennik Theatre.

Reichelgauz worked a lot in the provincial theaters of Russia. Among the productions: 1984 Mrs. Minister based on Nushich's play at the Omsk Academic Drama Theater. 1986 - Evening in the late autumn of F. Durenmatt at the Lipetsk Academic Drama Theater. L.N. Tolstoy. 1987 v performance-opera based on his own libretto A time to love and a time to hate, the music for which was written by A. Vasiliev at the Lipetsk Academic Drama Theater. L.N. Tolstoy.

In 1989, Reichelgauz founded the Moscow Theater School of Contemporary Play and is its artistic director. Artists Albert Filozov and Lyubov Polishchuk were engaged in the first performance of the theater. Later, A. Petrenko, L. Gurchenko, M. Mironova, M. Gluzsky, T. Vasilyeva, L. Durov, S. Yursky, I. Alferova, E. Vitorgan, A. Filippenko, V. Kachan, V. Steklov.

During the existence of the theater, more than 25 premieres were played on its stage. Including: “A man came to a woman” (1989), “Everything will be fine as you wanted” (1993) and “The old man left the old woman” (1995) all based on the plays by Zlotnikov, “Without Mirrors” (1994) by N. Klimontovich, LA someone you are in a tailcoatN¦ according to "Offer" Chekhov (1992) and "The Seagull" Chekhov (1998), L-With regards, Don Quixote!¦ - composition by Reichelgauz after M. Cervantes, L. Minkus, M.A. Bulgakov et al. (1997), “Notes of a Russian Traveler” by E. Grishkovets (1999), “The Perfect Cure for Longing” by S. Zlotnikova (2001), “Boris Akunin”. Seagull¦ B. Akunina (2001) and others.

At the present time, the play "City" based on the play by E. Grishkovets is being rehearsed. Iosif Reichelgauz staged many performances in foreign theaters, including the Israeli National Theater Habima¦, La Mama¦ in New York, the theater in Rochester (USA), Kenter¦ in Turkey and others. many stages of the world and were awarded prestigious Russian and foreign awards. In June 2000, Iosif Reichelgauz's performance "Notes of a Russian Traveler" opened the most representative review of contemporary plays in Europe - the Bonn Biennale, and the performance "The Seagull" participated in the VI International Festival of Arts. Sakharov.

Reichelgauz made more than ten television films: "Two plots for men" ¦, L1945¦ (1986), "From the notes of Lopatin" , "Echelon" (1985), "Picture" (1987), "A man came to a woman" , "Everything will be fine as you wanted" and others.

In 1997, Reichelgauz was the author and presenter of the television program cycle "Theatre Shop". In 1997, Iosif Reichelgauz received the gratitude of the President of the Russian Federation for his participation in the preparation of the presidential address. In 1999 - gratitude of the Mayor of Moscow for outstanding services in the field of theatrical art.

From 1974 to 1989, Reichelgauz taught at GITIS. In 1994 he read a special course "Chekhov's Dramaturgy" at the University of Rochester (USA). From 1990 to this day he has been the head of the Theater and Film Actors workshop at VGIK. Since 2000, he has been a lecturer on "History and Theory of Directing" at the Russian State University for the Humanities (RSUH) and regularly holds seminars at the Central House of Actors. Reichelgauz is the author of fiction, memoirs and journalistic works, which are regularly published in newspapers and magazines - Modern Dramaturgy¦, Ogonyok¦, Nezavisimaya Gazeta¦ and in many print media in St. Petersburg, Kiev, Lipetsk, Israel, Sweden, Romania, Hungary. The publishing house "CentrePolygraph¦" is preparing to publish an artistic and publicistic book by Reichelgauz - "I don't believe it".