Internationally recognised art and literary critic, writer and cultural producer. Published in ELLE, Glamour, Esquire and Cosmopolitan; member of the Union of Writers.
In anticipation of the upcoming performance of Very Simple Story, I had the pleasure of interviewing director Dmitry Turchaninov, who shares his insights into the play, its philosophical underpinnings and the joy it aims to bring to audiences. This conversation illuminates the themes that resonate deeply within the production and highlights the unique artistic choices that have been made.
Interview with Dmitry Turchaninov
Maria Bregman: Good afternoon, Dmitry. Before we get into the details, what would you like to say about the production of Very Simple Story?
Dmitry Turchaninov: The first thing I would like to say is that theatre, as part of human self-expression, should bring joy to people. It should not focus on sadness, bitterness or pain, but rather celebrate our short time on earth. The writers of this play explore themes such as suicide and the tragedy of the lack of happiness, meaning, purpose, love and mutual support between people. This show is no exception. After more than three years of joyful rehearsals, it’s time to share this experience with the audience.
Maria Bregman: What interpretation of Maria Lado’s main philosophical idea did you try to convey in your production?
Dmitry Turchaninov: As a director, I don’t approach this parable play from a serious scientific or religious point of view; sometimes it doesn’t even stand up to basic logic. But it gives the audience a chance to reflect, to think, to laugh and even to cry. This play flows like a river and will not leave anyone indifferent. So the philosophical component takes a back seat to the celebration of theatre and play as the primary source of joy.
Maria Bregman: Why do you think Very Simple Story remains popular and relevant?
Dmitry Turchaninov: The answer is simple. The play deals with “eternal” themes – biblical motifs that have inspired artists throughout history. It delves into the mystery of human birth, which is an underrated magic, far more profound than the fantasies of many authors.
Maria Bregman: How did you adapt the production for a British audience? Were cultural differences in themes such as sin and salvation taken into account?
Dmitry Turchaninov: No significant effort was required, apart from creating subtitles for the screen. The play revolves around common Christian myths, where these themes are interpreted similarly across cultures. There’s no significant difference in mentalities regarding these themes.
Maria Bregman: What visual and artistic solutions did you use to create the touching atmosphere of the play?
Dmitry Turchaninov: The visual elements are crucial for conveying the mood of the play. They serve to enhance the audience’s understanding of the content – through character behaviour, movement and scene atmosphere. Each element emphasises character traits and helps to create an engaging experience.
Maria Bregman: The role of animals in this production is unusual and metaphorical. What directorial techniques did you use to bring their characters to life on stage?
Dmitry Turchaninov: The language of the director is mise-en-scène. Accurate and successful staging allows you to open up the scene and reveal emotions, meanings and metaphors. It is a wonderful challenge to play a domestic animal, for example a cow, to speak its lines, to live its emotions and to immerse yourself in its world. It’s about feeling in your own skin the difference between a rational human being, a free human being, and a creature completely dependent on a human being – a slave creature from birth. Whether that dependency is voluntary or not does not matter.
It’s easy to draw an analogy with the relationships between people of different social status in society: the powerful versus the subordinate, the rich versus the poor. So it is quite easy to revive and humanise animal characters. As for the metaphorical nature of each animal and its totemic significance in the history of civilisation – such as the gluttony of the pig, the beauty of the horse or the devotion of the dog – we tried not to go beyond the limits set by the playwright, so as not to embrace the immensity.
Maria Bregman: How does music or soundtrack help to enhance the drama and philosophical context of the play?
Dmitry Turchaninov: I am an advocate of acting without music. Of course, it’s difficult to imagine the impact of The Godfather without its leitmotif; it’s impossible to imagine cinema without music! But music without cinema has lived and will continue to live because it is completely self-sufficient. I want theatre to be a self-sufficient art form too. For example, “Romeo and Juliet” can convey the atmosphere of eternal youth and endless love without background music.
In this performance, music has a very narrow meaning; it serves only as it does in life – to be present in sorrow and joy, but not necessarily to create an atmosphere.
Maria Bregman: How did you work with the actors to create their characters? Was it difficult to embody such a fine line between human and animal?
Dmitry Turchaninov: Working with actors is always a pleasure, whether they are portraying a talking cactus or a silent stool. There’s always a search for an expressive form, followed by the joy of finding it, then a new search and new joy. This spiral continues after the premiere. The challenge is to walk that fine line between human and animal, but that’s what makes the process so rewarding.
Maria Bregman: What aspects of the play were particularly difficult to bring to the stage? Did you encounter any unexpected challenges during rehearsals?
Dmitry Turchaninov: Working with people who have different visions than the director and collaborators can present expected challenges. However, these challenges have a decisive impact on the productivity of the rehearsals. The key is to bring everyone to a common denominator; once that’s achieved, all other challenges become easier and less noticeable.
Maria Bregman: What do you think is the role of theatre in the modern world in exploring and understanding issues such as humanity, compassion and spiritual development? How can this production influence the audience’s perception of these issues?
Dmitry Turchaninov: Theatre plays a modest role compared to the music or film industry; I won’t even mention the entertainment industry. Family, school, social attitudes – supported by science and economics – are what really shape humanity, compassion and spiritual development. Theatre has always been about something else: the possibility for a person to rise above this world, which is entirely subject to the laws of survival, into another realm – a world where creative thought can soar, where emotional emancipation exists.
In this space, the laws are different from those of real life; here, two times two can equal seven or zero. Yesterday may not exist, and the day after tomorrow may be today. It’s about artistic freedom. This freedom can be immoral and soulless or, conversely, a concentration of mercy in every moment on stage. It is precisely this essence that forms the material from which we create our performances.
Very Simple Story at Cambridge Theatre Studio
Join us for Very Simple Story at the Cambridge Theatre Studio. In this compelling production by contemporary playwright Maria Lado, the inhabitants of a small farm are faced with crucial life choices – between birth and death, love and hate, sin and redemption.
Under the direction of Dmitry Turchaninov, audiences are taken on an unforgettable theatrical journey that invites reflection on eternal values and the human condition.
Performance dates: 7, 13 and 14 December
Time: 7pm
Venue: Harston Village Hall, Cambridge CB22 7 PX
A Very Simple Story promises to be a thought-provoking and emotionally resonant theatre experience. Don’t miss the opportunity to witness Dmitry Turchaninov’s unique interpretation of Maria Lado’s compelling work.
