Artistic director of a theatrical and entertainment enterprise job description. Artistic director Description of work, tasks and job responsibilities

At least fourteen theaters in 2013–2017 concluded more than 60 contracts totaling more than 97 million rubles with their own managers as individuals or individual entrepreneurs. Theaters hired their own artistic directors as actors and directors, and also rented space and props from them for productions.

Thus, the director of Helikon Opera, Dmitry Bertman, received an average of approximately 440 thousand rubles from his theater. for staging one performance, the head of the Pushkin Theater Evgeny Pisarev - 480 thousand rubles each, the head of the Theater in the South-West Oleg Leushin - 180 thousand rubles each, the head of the Gogol Center Kirill Serebrennikov - 345 thousand rubles each. For acting in their theaters, Oleg Tabakov and Oleg Menshikov earned more than 600 thousand per month, Nadezhda Babkina - 520 thousand per month.

Yuri Kuklachev entered into two contracts for the rental of premises with his own son for 3.76 million rubles, and Pavel Slobodkin rented the premises of his theater and concert center for two years from a company in which he owns a 50% share for 38.6 million rubles. At the same time, they all continued to receive the salary of artistic directors of state theaters.

As a rule, deals were signed on behalf of the theater by deputy artistic directors. It is obvious that they depend on their immediate superiors and cannot make decisions contrary to their interests. This means that this does not free theater managers from conflicts of interest.

All contracts are concluded on a non-alternative basis - with a single supplier. The justification for the contract stated that the artistic directors of theaters are better than others in being able to stage performances and perform roles in them.

Individual entrepreneur Evgeny Pisarev performs in a play directed by Evgeny Pisarev (photo from the Pushkin Theater website)

In addition, it seems difficult to verify the fact of approval: hypothetically, theater managers can approve transactions with the department of culture retroactively after receiving a request from the prosecutor's office to provide documents on the transactions.

For example, the play “Green Zone” by Evgeny Marcelli was shown before approval from the Ministry of Culture of the Russian Federation.

Sergei Zhenovach is the only purely literary theater in the capital. The main part of the performances is based on prose works. Being a student of Pyotr Fomenko, Sergei Zhenovach follows the master’s precepts and, in principle, works in the same coordinate system. It is characterized by the idea of joint creativity, a common composition with the actors, aimed at the free flow of creative imagination, and the director himself plays the role of a leader, combining individual episodes into a single and holistic composition.

The playwright, theater and film director staged more than ten performances in Moscow, Irkutsk and the Polish cities of Warsaw and Krakow. For the play “Oxygen” Vyrypaev was awarded the “Golden Mask”, and is also a laureate of numerous Russian and international theater festivals. In 2009, Vyrypaev was named the best playwright of the year in Germany, his plays have been translated into many languages and are performed throughout Europe.

Came to directing from the acting troupe of the Theater. Vakhtangov, also acted as a performer. For a long time he refused to stage productions based on texts, but after meeting Pavel Pryazhko, he began actively staging his plays. Grigoryan's directing style is called designer style; the predecessor of this direction is Bob Wilson. The director's largest works are a wandering play at the Theater of Nations and the premiere of the 2014-2015 season - Gogol's with Ksenia Sobchak and Maxim Vitorgan in the leading roles.

The founder of the Moscow theater, winner of TEFI, Golden Mask and other prestigious awards, Kirill Serebrennikov is famous not only as a theater director, but also as a film director. His performances have been and are being performed at the largest theater venues in Moscow and St. Petersburg (Bolshoi Theatre, Mariinsky Theatre, Sovremennik, Theater of Nations and others), as well as on the stages of Riga and Berlin.

People's Artist of the Russian Federation, professor at the Moscow Art Theater School, winner of major theater awards, including Golden Mask, The Seagull and Crystal Turandot. Ginkas are distinguished by their dark coloring, sensuality, ruthlessness and naturalism of detail. Masterfully embodying tragedy, he is also interested in Russian classics, tragic farce, and the theme of death and fate.

Artistic director, Rimas Tuminas adheres to the traditions of the Russian psychological school. There is no shocking or political satire in his productions; they are always philosophical and unhurried. Classic Russian drama directed by Tuminas is filled with metaphors, poetry and visual symbols. The director was awarded the State Prize of the Russian Federation, the Order of Friendship and the Golden Mask.

The unexpected mixture of drama and painting in his works is explained by the fact that Dmitry Krymov is not only a director, but also a set designer. He is struck by visual metaphors, they contain a lot of humor and fantasy, while the dialogue of the characters or even the plot may be completely absent. Dmitry Krymov is a member of the Union of Artists of Russia, a laureate of the Golden Mask and international theater awards.

The artistic director of the Pyotr Fomenko Workshop gravitates toward large-scale productions based on novels by “non-theatrical authors” (James Joyce, ). His performances are often ironic and even grotesque. In addition to the Workshop stage, Kamenkovich’s productions are staged at Sovremennik, the Theater named after. Ermolova, Theater Arts Studio. The director is a winner of the Golden Mask, Highlight of the Season and other awards.

Artistic director of the Theatre. Vl. Mayakovsky was awarded the prize named after. Stanislavsky, “Crystal Turandot”, “Golden Mask” and more. Most often based on classical texts, they are restrained, subtle and imbued with philosophical depth. Karbauskis's works have nothing to do with entertainment theater, and he prefers a clearly expressed main idea to innovation and enthusiasm.

A graduate of VGIK and GITIS, winner of the Golden Mask special prize for the play “Life is a Good Thing,” Marat Gatsalov stages plays by contemporary young playwrights using . According to the director, he is interested in studying life at arm's length. The “new drama” became such an experimental laboratory for him, cultivating in the young director a keen ear for theatrical falsehood.

The young director, a graduate of the Moscow Art Theater School, became famous thanks to his hip-hop opera “Cops on Fire,” the heroes of which soon went beyond the stage into the media space. Today Yuri Kvyatkovsky teaches at the Moscow Art Theater School, and one of the performances staged with students, Verbatim, has entered the repertoire of the Praktika Theater. The director’s recent grandiose project was a wandering play staged in the space of the Center. Meyerhold.

A graduate of GITIS, he received a diploma as the owner of the “Golden Mask” - common to the entire Liquid Theater, in the performance of which Vytoptov participated as an actor. Actively participates. Among the director’s best works is the production of the synthetic modern opera “Dreams of the Minotaur.” There is no destructive element in Vytoptov’s direction; he clings tightly to what is reliable and proven, while not being afraid to use the latest technologies.

Pavel Viktorovich Kurochkin(born 1963) – one of the founders and artistic director of the Vedogon Theater, Honored Artist of the Russian Federation (2005), associate professor at the Higher Theater School (Institute) named after. M.S. Shchepkin at the State Academic Maly Theater of Russia, winner of the Moscow Mayor's Prize (1995).
Graduated from the Higher Theater School (VUZ) named after. M. S. Shchepkin at the State Academic Maly Theater of Russia in 1985, course of Professor V. B. Monakhov.

He performed about twenty productions, including:

“About good places, bright dreams and damned life” (1992),
“In someone else’s feast there is a hangover” by A. Ostrovsky (2000),
“Squaring the Circle” by V. Kataev (2001),
“Angelo” based on the poem by A. Pushkin,
“In Shoes”, Theatrical fantasy based on the reading of H. C. Andersen (2005),
“Profitable Place” by A. Ostrovsky (2006),
“All My Sons” by A. Miller,
“Beyond the Horizon” by Yu. O’Neill,
“Murderous and Unique” by A. Ayckbourn (2008),
“Talents and Fans” by A. Ostrovsky (2009),
“Vanya the Danish” after B. Shergin (2008),
“Word as a word” by M. Ramloese (2011),
"Dowry" by A. Ostrovsky (2011),
V. Kondratyev “Greetings from the front”,
“The Battle of Borodino through the eyes of Leo Tolstoy and his heroes” (Literary and musical program based on the novel “War and Peace”).
“A man came to a woman” S. Zlotnikov (2014)
“Cat and Mouse” by I. Erken (2015) at the Pushkin Theater
"Freak" M. von Mayenburg (2016)
“Chuchunya and New Year’s gifts” D. Golubetsky (2016)
Theater cafe “A la “Voila”!”
“Easy People” M. Durnenkov
“Squirrels, pines, microcircuits” by E. Bondarenko

Acting works:

Pakhom in the folk comedy “Pakhomushka” (1993),
Freddie - "Parade alley, slackers!" R. Thoma (1994),
Krutitsky - “There was no penny, but suddenly there was altyn” by A. Ostrovsky (1998),
Kochkarev - “Marriage” by N. Gogol (2002),
Leva Gruzdev - “From Evening to Noon” by V. Rozov (2003),
Antipholus - “The Comedy of Errors” by W. Shakespeare (2004),
Tsar Fyodor Ioannovich - “Tsar Fyodor Ioannovich” A.K. Tolstoy (2006),
Count Almaviva - “The Barber of Seville” by P. Beaumarchais (2008),
Actor - “At the Lower Depths” by M. Gorky (2009),
Nikolai Ivanov - “Ivanov” by A. Chekhov
Turai - “Game in the Castle” by F. Molnar,
Narokov - “Talents and Admirers” A. Ostrovsky.
Harpagon - “The Miser” by J.-B. Molière
Poetry program “The Victorious Spirit”
Theater cafe A la “Voila”!
Director - “Squirrels, Pines, Microcircuits” E. Bondarenko

Prizes and awards:

Moscow Mayor's Prize in the field of education (1995)
Medal of the Order "For Merit to the Fatherland, II degree" (1997)
Medal “In Memory of the 850th Anniversary of Moscow” (1997)
Honorary title “Honored Artist of the Russian Federation” (2005)
Diploma “For the most unusual, fabulous performance” at the Moscow International Festival of Chamber Theaters and Small Form Performances “Slavic Crown for Children” (play “In Shoes”, Moscow, 2006),
Special prize for playing the role of Tsar Fyodor in the play “Tsar Fyodor Ioannovich” by A.K. Tolstoy (IX International Theater Festival “Voices of History” - Vologda, 2007),
Prize “Best Actor” for playing the role of Tsar Fyodor at the XVI International Festival “Slavic Theater Meetings” (Bryansk, 2008),
Prize “Best Actor” for playing the role of Tsar Fyodor at the VI International Theater Forum “Golden Knight” (Moscow, 2008),
Prize “Best Actor” for playing the role of Tsar Fyodor at the VII International Festival “Young Theaters of Russia” (Omsk, 2009),
Prize "Best Children's Performance" at the X International Theater Festival "Tsar-Tale" (play "Vanya the Danish", Veliky Novgorod, 2009).
Diploma “For the most delicious national meaning” VII Fairytale theater festival “I am small, hello!” Novy Urengoy, 2010 Performance “Vanya the Danish”
Diploma “For the best performance”. International youth theater festival “Russian Classics”, Lobnya, Performance “Vanya the Danish”, 2015
II International Theater Festival "At the Trinity", Sergiev Posad, 2015. Performance "Tsar Fyodor Ioannovich" Director - A. Kuzin. Diploma "Best Actor" - Pavel Kurochkin.

0.1. The document comes into force from the moment of approval.

0.2. Document developer: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _.

0.3. The document has been approved: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _.

0.4. Periodic verification of this document is carried out at intervals not exceeding 3 years.

1. General provisions

1.1. The position "Artistic director of a theatrical and entertainment enterprise" belongs to the "Professionals" category.

1.2. Qualification requirements - complete higher education in the relevant field of training (master, specialist) and advanced training. Minimum 5 years of creative work experience.

1.3. Knows and applies in practice:
- current legislation in the field of culture and art;
- the most important cultural and artistic achievements;
- methodology of the creative process;
- the basics of stage design, directing, vocal, choreographic, acting and musical performance skills;
- experience of domestic and world cultural institutions;
- classical and modern repertoire;
- basics of labor organization and management, copyright and labor law;
- internal labor regulations;
- rules and regulations of labor protection, industrial sanitation and fire protection.

1.4. The artistic director of a theatrical and entertainment enterprise is appointed and dismissed by order of the organization (enterprise/institution).

1.5. The artistic director of a theatrical and entertainment enterprise reports directly to _ _ _ _ _ _ _ _ _ _ .

1.6. The artistic director of a theatrical and entertainment enterprise directs the work of _ _ _ _ _ _ _ _ _ _ .

1.7. During his absence, the artistic director of a theatrical and entertainment enterprise is replaced by a person appointed in accordance with the established procedure, who acquires the appropriate rights and is responsible for the proper performance of the duties assigned to him.

2. Characteristics of work, tasks and job responsibilities

2.1. Organizes the entire range of creative and production activities of the theatrical and entertainment enterprise.

2.2. Determines the general artistic and creative concept, the prospects for creative activity in the general state cultural policy.

2.3. Forms repertoire plans, determines deadlines for their implementation and monitors their compliance.

2.4. Responsible for the creative and economic results of the theater and entertainment enterprise.

2.5. Ensures the artistic quality of the current repertoire, contributing to the formation and satisfaction of the population's needs in the performing arts and musical arts.

2.6. Involves leading masters into creative collaboration, works with composers and writers to create new musical and literary works, and maintains constant contact with creative unions and the media.

2.7. Ensures qualified staffing and use of creative personnel.

2.8. Conducts educational work, determines the system, forms and procedure for improving the professional qualifications of creative workers.

2.9. Controls the creative and labor discipline of the artistic staff, makes proposals for the pricing of artists, incentives and disciplinary sanctions.

2.10. Knows, understands and applies current regulations relating to his activities.

2.11. Knows and complies with the requirements of regulations on labor protection and environmental protection, complies with the norms, methods and techniques for the safe performance of work.

3. Rights

3.1. The artistic director of a theatrical and entertainment enterprise has the right to take actions to prevent and eliminate cases of any violations or inconsistencies.

3.2. The artistic director of a theatrical and entertainment enterprise has the right to receive all social guarantees provided for by law.

3.3. The artistic director of a theatrical and entertainment enterprise has the right to demand assistance in the performance of his official duties and the exercise of rights.

3.4. The artistic director of a theatrical and entertainment enterprise has the right to demand the creation of organizational and technical conditions necessary for the performance of official duties and the provision of the necessary equipment and inventory.

3.5. The artistic director of a theatrical and entertainment enterprise has the right to get acquainted with draft documents relating to its activities.

3.6. The artistic director of a theatrical and entertainment enterprise has the right to request and receive documents, materials and information necessary to fulfill his official duties and management orders.

3.7. The artistic director of a theatrical and entertainment enterprise has the right to improve his professional qualifications.

3.8. The artistic director of a theatrical and entertainment enterprise has the right to report all violations and inconsistencies identified in the course of its activities and make proposals for their elimination.

3.9. The artistic director of a theatrical and entertainment enterprise has the right to familiarize himself with documents defining the rights and responsibilities of the position held, and criteria for assessing the quality of performance of official duties.

4. Responsibility

4.1. The artistic director of a theatrical and entertainment enterprise is responsible for failure to fulfill or untimely fulfillment of the duties assigned by this job description and (or) non-use of the granted rights.

4.2. The artistic director of a theatrical and entertainment enterprise is responsible for non-compliance with internal labor regulations, labor protection, safety precautions, industrial sanitation and fire protection.

4.3. The artistic director of a theatrical and entertainment enterprise is responsible for disclosing information about the organization (enterprise/institution) that is a trade secret.

4.4. The artistic director of a theatrical and entertainment enterprise is responsible for non-fulfillment or improper fulfillment of the requirements of internal regulatory documents of the organization (enterprise/institution) and legal orders of management.

4.5. The artistic director of a theatrical and entertainment enterprise is responsible for offenses committed in the course of his activities, within the limits established by the current administrative, criminal and civil legislation.

4.6. The artistic director of a theatrical and entertainment enterprise is responsible for causing material damage to the organization (enterprise/institution) within the limits established by the current administrative, criminal and civil legislation.

4.7. The artistic director of a theatrical and entertainment enterprise is responsible for the unlawful use of the granted official powers, as well as their use for personal purposes.

“Attaching great importance to the role of management in the theater, today we are publishing “Rules for artistic directors and directors.”

1. If you absolutely want to have your own face, don’t forget to first get your own head. All attempts to circumvent this rule ended in failure.

2. When taking office, do not officially announce that everything that happened before you was terrible, and that from now on everything will be fine. This was already said by your predecessor at one time.

3. Reading a repertoire plan drawn up five years in advance makes a great impression. It would be even more effective to draw up a plan fifty years in advance; this would tie the descendants hand and foot. Fortunately, the resonance from such literature lasts no more than a week, after which the planner himself forgets about it.

4. When erecting an inscription in the theater - “THE ROAD TO YOUTH!”, it is better to place it along this road, and not across it.

5. When nominating a young actress for a good role, try to release the premiere before the actress retires.

6. If you like to stage boring plays, be humane and print crossword puzzles on the back of the programs. Introducing a game of dominoes into the auditorium is undesirable, as it distracts the actors.

7. Don’t completely lose yourself in the actors. Mysterious picture - “Where is the director?” has already been used enough, and the viewer is looking for other entertainment.

8. Keep in mind that actors tend to be in one of two states: a) overworked from overwork and b) exhausted from underwork. Transitional stages are extremely rare. Try to keep the actors in the first state, it is more useful for the business.

9. If you set yourself the goal of pleasing everyone in your theater, then very soon you will be hated by everyone.

10. Don't rush into promises. The actor who does not play the role of Hamlet, which you promised him, will console himself by playing the role of your gravedigger.

11. Know that nothing improves the health of the main performer more than the presence of a talented understudy. Therefore, the hygiene of the troupe requires attention to the second cast.

12. The critic you invited to the position of manager can no longer scold you for ethical reasons. All that ethics can allow him to do is scold your opponent.

14. If you have people in your theater who tell you to your face that you are a genius, put on the make-up of the artistic director of the neighboring theater and in this form resume the conversation with them. If they still insist on their statement, you will find out one undoubted truth: that you do not know how to put on makeup.

15. Be tolerant of your opponent’s views, especially if the main difference in your views on theater is that he collects porcelain, and you collect earthenware.

16. Remember that the best cookbook is not an excuse for ruining a meal. Therefore, the quality of the performance you stage is much more important than the system you used to stage this performance.

17. Some believe that creative declarations serve as a complement to practical activities. And if something was missing in practice, then you can add it in words. This is not true."

Akimov N.P., Rules of good manners / About the theater, L., “Iskusstvo”, 1962, p. 301-303.