|Directed:||By Oleg Tabakov|
|Designed:||By David Borovsky|
|Cast:||Sergei Bezrukov, Evgeny Mironov (glumov), Natalia Kochetova (glumova), Mikhail Khomiakov (mamaev), Marina Zudina (mamaeva), Evgeny Kindinov (krutitsky). Other Parts Are Played By Members Of The Cast|
Oleg Tabakov is a celebrated Russian theatre and cinema actor, a professor of dramatic art, and the founder and Artistic Director of a theatre-studio. Born in Saratov in 1935, Tabakov graduated fr om Vasily Toporkov's class at the Moscow Art Theatre School, and immediately afterwards, in 1957, joined forces with Oleg Yefremov and a number of his fellow graduates to form the Sovremennik ('The Contemporary') Theatre. His popularity with the Russian audiences began with his first parts at the Sovremennik, and in the West he became known as Oblomov in Nikita Mikhalkov's film Several Days in the Life of Ilya Ilyich Oblomov. In 1983, after his twenty-five years' attachment to the Sovremennik, Tabakov, together with Oleg Yefremov, left it to join the Moscow Art Theatre, whose Drama school he is now heading. Over the forty years of his career, Tabakov has played about a hundred parts in the theatre, cinema and on television. His performance in such films as Shine, My Star, Shine, Seventeen Moments of Spring, A Handsome Man and others brought him a nation-wide fame. Since the mid-1970s, Oleg Tabakov has been engaged in teaching future actors: at first at the State Institute of Theatrical Art and then at the Moscow Art Theatre School, wh ere he still is a professor. He trained a whole generation of actors who are now successfully working in various Moscow theatres, and the core of his own cast is formed of his pupils. Over the past five years Oleg Tabakov has been head of the Stanislavsky Summer School in Boston, which he founded in collaboration with a group of the leading Moscow drama teachers and actors. He also supervises the international postgraduate course in acting run by the Carnegie Melon University in Pittsburgh, USA. Tabakov has recently tried his hand at direction, in concordance with his professed principle of the director's and the actor's equal positions in a theatre.