In his view, throughout his career, Roman Viktyuk was an alternative to what was in vogue, recognizing the mainstream: “it was always a separate building, like an extraordinary building.” Moreover, the director “did not always like the authorities” and did not work in the tasks of political parties. “In 2014, at the beginning of the Ukrainian war, Viktyuk staged one of Pavel Arye’s most brilliant Ukrainian plays on the Chernobyl problem, in which he does not hide his love for Ukraine, his care for the Ukrainian people and the Russians, of course. The performance was full of Ukrainian songs. It was a gesture of love for a country that is suffering from certain overloads, ”Rudneve said.
Alla Sigalova, the choreographer of the first version of the play “The Handmaids,” said in an interview with RBC that Viktyu did “brave things” and that “it was the first to open many theater doors” in history. “He was absolutely the clearest person. The most perfect bully, who sometimes couldn’t stop, who walks with courage and a tremendous desire to live, immersed in a love of calling and theater, ballet, dance, anything beautiful, so special beauty. A great person, it was always interesting to be with him, but sometimes he was scary – sometimes he did things that contradicted all the rules of behavior at the time, and he was great, ”Sigalova said.
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Viktyu was called a fighter, a provocateur – he was not afraid to talk about forbidden subjects, he was welcome in his sensuality, physicality, he was free to handle the author’s text and the prototypes of the heroes of the performances. In her performances the roles of women were often played by men, and music and choreography became fully participatory in the performances.
Viktyuk’s innovation is also emphasized by actor and choreographer Yegor Druzhinin: “Back then, when everyone was scared and cautious, he experimented very boldly. The subjects he took up were the study of that inner world, the individual world of a person. […] Her theater was very emotional and elegant, she had her own style. ”
Actor Igor Kostolevsky, who worked with Viktyuk in the film play “The Story of the Chevalier des Grieux and Manon Lescaut,” expressed the master’s astonishing individuality and brilliance. “He totally created his own theater, like no one else. Both he and his theater were a great phenomenon, and I’m sure it’s a big loss. He was a man with an amazing personality, a light, a great personality. Unfortunately, an era is coming out. Everything is somehow in the same row and Zhvanetsky, and Dzhigarkhanyan, and Viktyuk. I understand that people are not young, but those people created the culture, ”the artist said.
In an interview with RBC, theater expert Alexei Bartoshevich named Viktyuk’s poetic theater and set completely different performances as an example. “I remember the pinnacle of his art – ‘The Maids’, a terribly modern performance – and a small performance based on Petrushevskaya’s ‘Music Lessons’ at the Moscow State University club many years ago – a very vivid and perfect reality. That’s how Viktyuk can be,” he said.
The author of these “music lessons”, the playwright Lyudmila Petrushevskaya, in an interview with RBC, recalled the beginning of their theatrical career with Viktyuk. “Rome was my first director to direct my play. Rome had an amazing quality to attract people to it, a quality that has been with it all its life. “Music lessons,” in my opinion, were included in every textbook on the history of modern theater, and were present in every performance. He then set up an unprecedented business. I would compare Amellen Fellini’s ability to get people off the street and make great actors out of them. But then they rarely showed up at Fellini’s house, but they stayed with Roma and a lot of them became professional actors, and they became honorary, ”Petrushevskaya said.
Director Roman Viktyuk will be buried in the crypt of the Lviv family. It remains to be seen whether the director’s farewell will take place in Moscow