1. General Provisions

1.1. An artistic director is classified as a leader.

1.2. Qualification requirements:
Higher professional equipment and work experience in the specialty for at least 1 year or secondary vocational education and work experience in the specialty for at least 3 years.

- the main regulatory documents regulating the activities of the enterprise;
- theory and practice of artistic and stage work;
- the basics of interpersonal communication and etiquette;
- professional terminology;
- rules and requirements for fire safety;
- forms and rules for reporting and internal documentation;
- the operating mode of the enterprise;
- internal standards of clothing (uniforms);
- fundamentals of labor legislation;
- rules and regulations of labor protection.

1.4. Appointment to the position of art director and dismissal from office are made by order of the general director at the suggestion of the art director.

1.5. The art director reports directly to the art director.

1.6. To ensure his activities, the artistic director is given the right to sign organizational and administrative documents on issues that are part of his functional duties.

1.7. During the absence of the artistic director (business trip, vacation, illness, etc.), his duties are performed by a person appointed in accordance with the established procedure. This person acquires the appropriate rights and is responsible for the improper performance of the duties assigned to him.

2. Job responsibilities

Artistic director:

2.1. Recruits and prepares personnel for the performance.

2.2. Conducts rehearsals and dress runs according to the established schedule.

2.3. He is engaged in the preparation, organization and implementation of thematic shows - programs in accordance with the club's work plan.

2.4. Develops scenarios and direction for theme parties and show programs.

2.5. Invites artists to participate in parties and show programs in accordance with the budget and thematic focus of the show.

2.6. Gives a task to the DJ for the selection and preparation of audio and video materials.

2.7. Responsible for producing programs and organizing parties.

2.8. Responsible for internal discipline in the team. Keeps a timesheet. Teaches subordinate personnel certain etiquette of behavior.

2.9. He thinks over the design of the show with costumes and accessories.

2.10. Is responsible for the costumes, props, accessories provided by the club for professional activities.

2.11. In his professional activity he fulfills the instructions, rules and one-time requirements of the complex.

2.12. Attends the organizational meetings of the art department. Participates in the work of the artistic council.

2.13. Observes production discipline, work schedule, safety precautions, fire safety rules.

3. Rights

The artistic director has the right:

3.1. Request and receive from structural divisions information, reference and other materials necessary to perform the duties provided for by this Job Description.

3.2. Provide subordinate employees with binding instructions.

3.3. Take action when disciplinary violations of subordinate employees are detected and report these violations to the head of the enterprise in order to bring the perpetrators to justice.

3.4. In agreement with the head of the enterprise, involve experts and specialists for consultations, preparation of conclusions, recommendations and proposals.

3.5. To get acquainted with the documents defining his rights and obligations in the position held, the criteria for assessing the quality of the performance of official duties.

3.6. Submit proposals for improving the work related to the responsibilities provided for in this Instruction for consideration by the management.

3.7. Require the management of the enterprise to ensure organizational and technical conditions and the execution of the established documents necessary for the performance of official duties.

4. Responsibility

The artistic director is responsible for:

4.1. For improper performance or non-performance of their official duties provided for by this Job Description, within the limits established by the current labor legislation Russian Federation.

4.2. For offenses committed in the course of their activities - within the limits established by the current administrative, criminal and civil legislation of the Russian Federation.

4.3. For causing material damage to the enterprise - within the limits established by the current labor and civil legislation of the Russian Federation.

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	Collection of job descriptions The collection includes job descriptions drawn up in accordance with the qualification characteristics contained in the Qualification handbook of the positions of managers, specialists and other employees, approved by the Resolution of the Ministry of Labor of Russia dated August 21, 1998 No. 37, as well as in accordance with other regulations on tariff and qualification characteristics (requirements). The collection consists of two sections: the first includes industry-wide job descriptions of managers, specialists, technical executors, the second - job descriptions by industry (editorial and publishing, transport, banking, trade, research, education, healthcare). For heads of organizations, employees of human resources and legal services.

Artistic director

Job responsibilities. Analyzes and organizes the work of creative amateur groups. Draws up a schedule of classes together with the leaders of the groups, approves the repertoire, the plan of rehearsal and concert activities. Exercises control over keeping a journal of the work of creative teams or other reporting documentation. Keeps a journal of club work. Attends classes of subordinate creative teams and provides them with methodological assistance. Organizes the study and exchange of experience in the work of amateur art groups, their participation in festivals, shows, competitions, and other creative programs. Participates in the development of programs for the development of cultural and leisure organizations, in the preparation of scenarios, cost estimates for the maintenance of creative teams and the implementation of creative projects and events.

Must know: laws and other regulatory legal acts of the Russian Federation on cultural issues; normative and methodological documents regulating the production and financial and economic activities of cultural and leisure organizations; the structure of the cultural and leisure organization; technology of the creative and production process; the procedure for drawing up and agreeing on creative and production plans; market methods of business and management; the procedure for the conclusion and execution of contracts; artistic and creative, scientific, technical achievements and problems in the field of culture, art, folk art and cultural and leisure activities; forms and methods of organizational and creative work with the population, taking into account national and demographic characteristics; the procedure for the development and conclusion of sectoral tariff agreements, collective agreements and regulation of social and labor relations; theory and practice of management; management psychology; sociology of cultural and leisure activities; foundations of the history and theory of art, directing mass performances and theatrical holidays; formation of a repertoire, organizational and methodological work with creative teams; the specifics of club work and work with amateur art groups; fundamentals of labor, civil legislation, copyright; internal labor regulations; rules for labor protection and fire safety.

Qualification requirements.

Comments on the post

Unified qualification reference book of positions of managers, specialists and other employees (CEN), 2017
Section "Qualification characteristics of positions of workers in culture, art and cinematography"
The section was approved by the Order of the Ministry of Health and Social Development of the Russian Federation of 30.03.2011 N 251n

Artistic director

Job responsibilities. Plans and organizes work on the methodological guidance of amateur art groups. Takes part in the development of regulations on festivals, competitions, shows. Coordinates the work of the creative departments of the cultural and leisure organization for holding art events. Directly supervises the basic collectives of the cultural and leisure organization. Takes part in the work of the jury of festivals, competitions and shows. Supervises the development and implementation of scenarios for large-scale art events (theatrical celebrations, folk festivals, song festivals, etc.), and also participates in the development of criteria and expert assessment of the provisions and guidelines for large art events, comprehensive and targeted programs for the development of creative genres. Prepares proposals and recommendations for the leaders of creative teams on the formation of the repertoire of teams, as well as on the content of information and methodological literature produced by the organization.

Art Director

Provides methodological assistance to creative workers, organizes and takes part in creative seminars and master classes. Liaises with creative unions and public organizations.

Must know: laws and other normative legal acts of the Russian Federation that regulate the production and financial and economic activities of cultural and leisure organizations; technology of the creative and production process; the procedure for drawing up and agreeing on promising repertoire, production and financial plans, preparing performances; market methods of business and management; the procedure for concluding and executing contracts; artistic and creative, scientific, technical achievements in the field of culture, art, folk art and cultural and leisure activities; forms and methods of organizational and creative work with the population, taking into account national and demographic characteristics; the procedure for the development and conclusion of sectoral tariff agreements, collective agreements, regulation of social and labor relations; theory and practice of management; management psychology; sociology of art; the basics of the history and theory of art, directing mass performances and theatrical holidays; formation of a repertoire, organizational and methodological work with creative teams; the specifics of club work and work with amateur art groups; fundamentals of labor, civil legislation, copyright; internal labor regulations; rules for labor protection and fire safety.

Qualification requirements. Higher professional education (culture and art) and work experience of at least 3 years or secondary vocational education (culture and art) and work experience of at least 5 years.

Comments on the post

The above qualification characteristics of the position of "Artistic Director" are designed to address issues related to the regulation of labor relations and ensuring an effective system of personnel management in various organizations. On the basis of these characteristics, a job description of the artistic director is developed, containing the rights and responsibilities of the employee, as well as a specific list of his job duties, taking into account the peculiarities of the organization and management of the enterprise (institution).

When drawing up job descriptions for managers and specialists, it is necessary to take into account the general provisions for this issue of the handbook and an introduction with general provisions for the first release of the handbook of positions.

Please note that the same and similar job titles can be found in different issues of the TSA. You can find similar names through the job directory (alphabetically).

JOB DESCRIPTION
director of the house of culture, club

1. GENERAL PROVISIONS

1.1. The director (head) of the house (palace) of culture, club (hereinafter referred to as the "Employee") refers to the leaders.
1.2. This job description defines the functional duties, rights, duties, responsibilities, working conditions, relationships (connections by position) of the Employee, criteria for assessing his business qualities and work results when performing work in the specialty and directly at the workplace in "______________" (hereinafter - " Employer").
1.3. The employee is appointed to the position and dismissed by the order of the Employer in the manner prescribed by the current labor legislation.
1.4.

Artistic director of the house

(center) of folk art, other similar

organizations providing guidance

cultural and leisure organizations

—————————— (name of organization) APPROVED THE OFFICIAL INSTRUCTIONS —————————— (position name) 00.00.0000 N 000 ——— ——————- (signature) ( initials, surname) Artistic director 00.00.0000

The artistic director of the house (center) of folk art, other similar organizations that provide methodological guidance to organizations of cultural and leisure type, belongs to the category of specialists<1>.

———————————

<1> In accordance with OKPDTR.

1.2. A person with a higher professional education (culture and art) and work experience of at least 3 years or secondary vocational education (culture and art) and work experience of at least 5 years is accepted for the position of artistic director.

1.3. The artistic director should know:

- Fundamentals of the legislation of the Russian Federation on culture, other federal laws on culture and art;

- Resolutions of the Government of the Russian Federation (Regulation on the fundamentals of economic activity and financing of cultural and art organizations, Regulation on theater in the Russian Federation, etc.), regulatory legal acts of the Ministry of Culture of the Russian Federation that determine the development of culture;

- fundamentals of civil law (regulation of copyright issues, rights related to copyright);

- orders and other normative documents of the higher authorities on culture and art;

- the structure of __________________________________________________________, (name of the institution (organization) of culture) the main functions of its divisions; - the main composition of the _____________________________ audience; (spectator; listener)

- technology of creative and production process;

- the procedure for drawing up and agreeing on promising repertoire, production and financial plans, preparing performances;

- market methods of business and management; the procedure for concluding and executing contracts;

artistic and creative, scientific, technical achievements in the field of culture, art, folk art and cultural and leisure activities;

- forms and methods of organizational and creative work with the population, taking into account national and demographic characteristics;

- the procedure for the development and conclusion of sectoral tariff agreements, collective agreements, regulation of social and labor relations;

- theory and practice of management;

- management psychology;

- the sociology of art;

- the basics of the history and theory of art, the direction of mass performances and theatrical holidays;

- formation of the repertoire, organizational and methodological work with creative teams;

- the specifics of club work and work with amateur art groups;

- the basics of labor organization;

- fundamentals of labor legislation;

- Internal labor regulations;

- rules and norms of labor protection and safety measures, industrial sanitation and fire protection;

— ______________________________________________________________________.

1.4. The artistic director in his activities is guided by:

- Regulation on _______________________________________________________; (name of the institution (organization) of culture) - this job description; - ____________________________________________________________________. (other acts and documents directly related to the labor function of the artistic director) 1.5. The artistic director reports directly to __________ (to the head of the _______________________________________________. Artistic production part; to another person)

1.6. During the absence of an artistic director (vacation, illness, etc.), his duties are performed by an employee appointed in accordance with the established procedure, who acquires the corresponding rights and is responsible for non-performance or improper performance of the duties assigned to him in connection with the replacement.

1.7. ___________________________________________________________________.

2. Functions

2.1. Organization of the theater's creative activities.

2.2. Providing the theater with qualified personnel.

3. Job responsibilities

The artistic director performs the following duties:

3.1. Plans and organizes work on the methodological guidance of amateur art groups.

New artistic director of Tabakerka appointed

Takes part in the development of regulations on festivals, competitions, shows.

3.3. Coordinates the work of the creative departments of the cultural and leisure organization for holding art events.

3.4. Directly supervises the basic collectives of the cultural and leisure organization.

3.5. Takes part in the work of the jury of festivals, competitions and shows.

3.6. Supervises the development and implementation of scenarios for large-scale art events (theatrical celebrations, folk festivals, song festivals, etc.), and also participates in the development of criteria and expert assessment of the provisions and guidelines for large art events, comprehensive and targeted programs for the development of creative genres.

3.7. Prepares proposals and recommendations for the leaders of creative teams on the formation of the repertoire of teams, as well as on the content of information and methodological literature produced by the organization

3.8. Provides methodological assistance to creative workers, organizes and takes part in creative seminars and master classes.

3.9. Liaises with creative unions and public organizations.

3.10. __________________________________________________________________.

4. Rights

The artistic director has the right:

4.1. Participate in the discussion of draft decisions of the management of the institution (organization).

4.3. Sign and endorse ________________________________________. (types of documents)

4.4. Participate in the discussion of issues related to the duties performed by him.

4.5. Require the management of the institution (organization) to assist in the performance of his official duties and rights.

4.6. _________________________________________________________________. (other rights)

5. Responsibility

5.1. The artistic director is held accountable:

- for improper performance or non-performance of their official duties, provided for by this job description, in the manner prescribed by the current labor legislation of the Russian Federation;

- for offenses committed in the course of their activities - in the manner prescribed by the current administrative, criminal and civil legislation of the Russian Federation;

- for causing damage to an institution (organization) - in the manner prescribed by the current labor legislation of the Russian Federation.

5.2. ___________________________________________________________________.

6. Final provisions

6.1. This job description was developed on the basis of the Qualification characteristics of the position "Artistic director" (Unified qualification reference book of positions of managers, specialists and employees. Section "Qualification characteristics of positions of workers in culture, art and cinematography", approved by the Order of the Ministry of Health and Social Development of Russia dated March 30, 2011 N 251n) , ___________________ (details of other _____________________. acts and documents) 6.2. Familiarization of the employee with this job description is carried out when hiring (before signing an employment contract). The fact of familiarization of the employee with this job description is confirmed by ____________________________________________________________ (by writing on the acquaintance sheet, which is an integral ___________________________________________________________________________ part of this instruction (in the log of familiarization with job description ___________________________________________________________________________ instructions); in a copy of the job description kept by the employer __________________________________________________________________________; another method)

6.3. ___________________________________________________________________.

Artistic director

For twenty years I have been heading the Vakhtangov Theater, but it is difficult to talk about myself as an artistic director. Therefore, I want to dwell only on some general aspects of my activities.

When I was offered this position, I thought about it for a long time, it was not easy for me, because I imagined the responsibility that this post imposes, and felt a completely understandable feeling of fear: can I cope? But nevertheless he agreed, because he knew that the Vakhtangovites would not accept the "Varangian". Also, and this was shown by the then experience of the Moscow Art Theater, you can not manage the theater collectively. Only one person can lead it. Only one person can lift it. And, having weighed all the pros and cons, I hoped that I would still be able to maintain the prestige and level of our theater. Therefore, I entered the post with the main task in front of me - to preserve the Vakhtangov Theater, to prevent its collective from breaking up into groups.

For this, he formulated three points of his program. Firstly, the attraction of well-known directors to the theater to stage individual performances. Secondly - reliance on talented drama. And thirdly, already having experience in theater and film directing, I gave my word not to stage performances myself, because I knew: as soon as the artistic director starts to stage performances, they immediately become the dominant feature of the repertoire. But I don't have a real director's gift. If I understand where, it's only in acting.

Over these twenty years, our theater has been judged in different ways. In the difficult decade after perestroika, some said that the theater was ruined, others only complained that its former glory had faded. However, at first we survived when, together with the collapse

The USSR perished much of the Soviet, and then the theater came to life and is now actively developing, and in this I partly see my merit.

There was a time when we, to some extent, shared the fate of all theaters: with a sharp fall in the ideological press, it was as if we were struck by a disease like a caisson. Indeed, for decades everything was strictly regulated, sometimes they only slightly loosened the valve and suddenly declared complete freedom! Isn't it a sharp change in pressure? .. And I had to live in a new way in the unfamiliar for us conditions of a market economy.

The destruction of the aesthetics of associative art turned into a big trouble for the theater. Aesopian language suddenly became unnecessary in our country. And Shatrov's "Brest Peace", which was sold out even abroad, began to run with half-empty halls, and it had to be removed from the repertoire. The viewer also coolly perceived the highly topical performance “Ides of March” based on Wilder.

What can I say, if even in “Taganka”, where fierce, civil performances were staged, everything also became “normal-cool” from the suddenly decreased attention of the audience. And the theater-wrestler Yuri Lyubimov seemed to pause in bewilderment: with whom to fight? For some period he also lost his voice. This strange time of change required new colors and words from theaters. And finding them became more and more difficult.

People visited theaters much less often, not least because of ticket prices that were inaccessible to an impoverished society. Of course, people lost a lot, but the theater suffered no less, lacking in common with the audience reflections, experiences, feelings. He simply could not keep up with life when events fell like a rockfall on the confused citizens of Russia. Was it possible to shake them with a theatrical performance, when life itself amazed and shocked every hour? Therefore, not one of our theaters lingered at a crossroads: what direction to choose now in their work, where to look for points of contact with the audience? But I didn’t want to go to any means in pursuit of him, to lose face, sinking to the level of the service sector, or even outright connivance at lack of culture. But there was a great desire to preserve the eternal values \u200b\u200bof art in the theater under the new conditions!

And around there were created many commercial theaters that lived and live, in fact, for the sake of the ruble. By and large, not a single significant performance has been staged there, not a single actor has been trained. Because it is profitable to take already recognized professionals there, and they go, because they pay well there! Humanly they can be understood: who does not want to earn more money and faster. And famous actors cannot stay in one place for a long time, they are expected everywhere. Hence the hack, the decrease in the level of the game, the surprise of the peripheral viewer: where did the talented actor imerek go? And he asceticised in some French trinket. In the end, it was, is and will be. And let it be, at least to keep the gray background for a sharp drawing in the foreground of real theatrical discoveries!

Despite all the difficulties that we had to endure in the past, we still did not fully feel what a spiritual crisis is. You can mock this as much as you like, but we still have many educated people, although there was a moment when education was not in vogue. What was this little phrase worth: "Why are you so poor, since you are so smart?" But our audience - and this is noted by everyone - has remained the most sophisticated when it comes to art, whether it be theater, music or painting. And I don't want this level to go down at all. And there are reasons for concern.

See what is happening on our stage. Who is the idol of youth, the hero, so to speak, of our time? Philip Kirkorov. He has a lot of fans and admirers. He is extolled in every possible way. They imitate him, envy him. Yes, he is not devoid of talent and beauty. But they envy not so much this as his wealth. In fact, he almost flies on his own plane, his Lincoln is loaded there, because only in Lincoln can an idol enter Krasnoyarsk or some other city. But even this is not so bad, because Kirkorov is at least recognizable, he has personality. However, new fads from mass culture have puffed up some kind of "factories of stars" that churn out faceless performers, and they change in batches in the composition of early vocal collectives without harm to their commercial program. However, there is especially nothing to harm, if we consider the issue from the standpoint of culture.

I understand, all this is advertising, shocking. However, if our Vakhtangov theater wanted to advertise any of its performances, it would not have found even a hundredth of the funds spent by show business on promoting its favorites. Besides, it seems to me that the theater will never learn to advertise itself. He is old-fashioned, as if he is dressed in old clothes that hinder movement. He is ashamed to talk about himself and retains his dignity.

It seems that through joint efforts of state and private structures, the country is being able to get out of the general economic crisis. But every theater is looking for a way out of its problems almost alone. This is a difficult path, but the road will be mastered by the one walking.

When Evgeny Rubenovich Simonov left us, he did not sever ties with the Vakhtangov Theater. The name of this director went down in the history of the theater, which I, like all Vakhtangovites, sacredly honor - with all our victories, defeats, gains and losses. And we will not rewrite it, "adjusting" the past to the advantageous layout of the present. Evgeny Simonov devoted his last years to the creation of the Theater named after his father, considering it his filial duty to perpetuate his memory. And the theater has been around for many years. It is located in the Arbat lanes very close to us, and today it is directed by one of the leading actors of the Vakhtangov Theater Vyacheslav Shalevich. And we solve many problems of today's life together: the Vakhtangov Theater, the Shchukin Theater School, the Ruben Simonov Theater, actors and directors of all generations of Vakhtangovites.

We are still looking. We are looking for in the precious storerooms of Russian classics, in modern drama. Our goal is to defend the theater as a temple of culture. Catching the viewer's mental attraction is the key to success. And all theaters today are in search of what, perhaps, a very simple stage action that will lead people into the auditoriums, eager to understand who we are today, what we need to feel our human height, our need for life. I think that literature, theater, and art in general are needed by themselves in order to increase, add the amount of kindness in the world. So that people can draw from this source of truth and justice, faith and love as much as they can.

When you think about what is most important in the art of theater, you understand that it is skill, professionalism, an ear that hears today's time, a voice that can tell about time.

First of all, the director must possess this skill. Creating a play, he becomes everything: an actor, artist, music designer, magician, creator, liar, dreamer - everything! Finally, he puts out a play, and he already lives by himself, regardless of his creator.

Today's problem with directing is that a kind of "hammock" has arisen, a sagging between a cohort of great theater experts of the 1920s and 1930s - Stanislavsky, Nemirovich-Danchenko, Vakhtangov, Meyerhold, Tairov, their students Ruben Simonov, Zavadsky, Okhlopkov , Akimov, Lobanov, Tovstonogov - and contemporary directors.

The generation of "teachers" has not raised its shift, which has a tangible effect on the director's field. I feel the inappropriateness of this reproach of mine: to raise a director from a person who does not have a natural gift for that is like intending to teach someone to become a great writer. Georgy Aleksandrovich Tovstonogov stated bluntly: "A director cannot bring up a successor, because it is artistically impossible." And how could he not know all the directions for directing.

Modern directors for the most part did not grow up in a natural way of "gradual maturation", but pumped up their muscles. The "jocks" stage a lot, they are energetic, masterful, they cannot be blamed for not knowing their job, but the absence of a school affects their work. Philosophical understanding of the theme, spirituality and convincing life "equipment", which was present in the performances of famous directors of the recent past, who proceeded in their work from the deep essence of theatrical art, are sorely lacking in current productions.

I can't judge everyone, I say, based on my own observations of the artistic director of the theater. By what young directors bring us, I can see that they are "brain-trained", cold-calculating professionals. This is not their fault: they live in an era when old concepts and familiar categories are broken in the theater, and even in everyday life a person does not always feel solid ground under his feet. Here, as they say, there is no time for spiritual comprehension and gazing into heaven, here many are thinking about how to settle in this extravagant world, what to catch on in this "Brownian movement", in the ongoing mess. And directors bring this mess to the theater. And the spiritual comprehension of the beautiful requires peace and creative leisure. But in the pursuit of material, neither one nor the other exists for anyone today. Unfortunately, the audience's needs have also changed: having run about on business, the modern public for the most part wants one thing from any staged action - the opportunity to let off steam. Here is the talk show "Towards the Barrier" on television. It is led by the talented journalist Vladimir Soloviev, he skillfully manipulates the actions of the country's most influential politicians and simply famous people... They are his actors. But what does his transfer decide? Nothing! This is all empty talk, exclamations of stage puppets insisting on their innocence, but none of them listens to anyone. To some extent, it is beneficial for the talk show participants - this is how they attract public attention. And what does the viewer get? Fatigue, a tiring bedtime story, a portion of a kind of sleeping pill and - at the same time - slow-acting doping, after taking which, after a few hours of rest, you can again rush headlong into the hustle and bustle of affairs. So now talk about the fact that directors are priests of beauty ...

The same picture in modern drama: there seem to be many plays, but they all say the same thing - how bad we are today and how good it will be if we do this and that. This is what you will not surprise the viewer with!

In this regard, for some reason I recalled the play "Oginsky's Polonaise" by Roman Vikgyuk. There was shown a general collapse. And what did this performance reveal to me? That the world has gone crazy? I already know that. That people are transformed into beasts through temptations? In my life, I have often seen this. That they don't know where to go? I sometimes feel it myself. So why such a performance if I am not prompted for a way out? If there is not even a gap in it? But salt is poured on my wounds in it and poured! For what?

Real theater is not a sedative drug, but it is also not a psychotropic agent in order to excite warped souls. I would say that he is an example of a more normal, smarter and more integral world than the one that often remains outside the threshold of the auditorium. An ideal world? It is quite possible, since art is almost always the pursuit of the ideal.

Yes, the theater should be modern, but the viewer, and the actor, needs more figures and collisions that contain timeless values. And they remain values \u200b\u200bbecause they always have an echo with what is happening today. But also a reminder that life is not only about the dollar exchange rate and police reports. However, we, being in the seething cauldron of everyday life, are far from always able to grasp the essence of what is happening, and therefore we cannot ourselves answer the questions that reality puts before us. Then the classics come to the rescue. It contains eternal spiritual riches - answers to the questions of human existence, which means that it is a support for all living today.

It is impossible to imagine what we would do today without Ostrovsky, Gogol, Dostoevsky, Chekhov, Shakespeare! But you can't just put the classics today. It must be read anew in each new era, at each new turn of time. After all, everything is constantly changing. Something dies off and is born in society. A person is changing, his attitude, tastes. The aesthetics are being updated. And the performance should organically fit into our “crazy, crazy, crazy world”. You can't be complacent, over a cup of tea with jam, against the background of a painted wooden Zamoskvorechye from the 19th century, when skyscrapers of glass and concrete are being built behind the wall.

But there is something that unites both sets - the recognition of human passions and the invariability of moral values, which in all ages allows the theater to draw and draw from the truly bottomless storehouse of drama of all times and peoples.

Love ... No matter how much we talk or write about it, no matter how deeply we ourselves experience it, it remains a mysterious, intimate, incomprehensible feeling. There is no definition of love that fits all occasions. She is always a discovery. It is difficult to predict what action she will inspire or push a person to. Yes, almost all the classics are the etre of a love story. And none of them are like the other. To paraphrase the poet, we can say: love is the only news that is always new ...

The classics are always new too. But it does not always happen that he scooped up - and here it is, the goldfish of success! And we argue until hoarse in the theater about what to take in current repertoire... The director suggests The Inspector General or Chekhov's The Seagull. It seems to me that it has become a kind of obsessive fashion - all the time to interpret Chekhov and Gogol in their own way. As if every theater is trying to find something in Chekhov that no one has ever found. Yes, both Chekhov and Gogol are great connoisseurs of man, but I am afraid of fashion, which in the theatrical repertoire is becoming as compulsorily indispensable as jeans.

Once, having become the artistic director, I set myself the task of opening the doors of the Vakhtangov theater wide for new topical drama and sharp, modern-sounding classics. For this, it was required to invite both serious well-known directors and young, but already interesting directors promising to reveal themselves in an original way. I worked on this, and there were successes on this path, although no one gave me insurance against failures. Only successes and failures are normal for creative pursuits. You cannot name everyone I invited. However, I will mention that Robert Sturua, Pyotr Fomenko, Arkady Katz, Roman Viktyuk, Vladimir Mirzoev, Vyacheslav Shalevich, Sergei Yashin, Alexander Gorban revealed their directorial ideas with us. Under their leadership, such performances were staged as "The Peace of Brest", "The Master's Lessons", "March Ides", "Guilty Without Guilt", "Aliba and Forty Thieves", "After Two Hares", "Dedication to Eve", "Cyrano de Bergerac", "Nbch iguanas" and many others. But, of course, not all of what was done was crowned with the laurels of great audience success. Nevertheless, these performances are stages in the formation of our theater in difficult years, when in Russia all our compatriots were looking for their own, often a new place in the sun.

But this, so to speak, is the creative part of the artistic director's concerns, and it is based on an economic and economic foundation and partly depends on interpersonal relations in the troupe - and this also has to be thought about. Such problems were extremely aggravated in the 90s of the last century, and, probably, it would be easiest for me to dismiss them and take some convenient and somewhat detached position. But, I must confess, to this day I feel responsibility for the cause I have been serving all my life - for the theater.

At one time, the perestroika euphoria ended, and it turned out that, along with some administrative independence, the theaters found a bunch of problems, and the mechanisms for their solution were not mastered. And many had to do it myself.

Our props were worn out, stage equipment was outdated, and in a disastrous financial situation (it is well known what was happening in the economy in that era) the theater did not have the means to eliminate this hole. So, we must go to the officials, the chiefs, whose name has always been legion. We still have more bosses than workers. There were many, and now there are even more. Wherever you go, there are a lot of committees, parliaments and departments. It would be good for officials to introduce uniforms - we would then absolutely become similar to Nikolaev's "stick" Russia, as it was described in Soviet times. Only then we never dreamed of what is now! Walking through high offices is akin to Dante's circles of hell: it's not a fact that what is required will be allocated, but you will definitely endure humiliation. And you have to go so that your work is not stopped, so that the best traditions of theatrical art, of national culture in general, which in many respects is already in a state of flux, are not ordered to live long.

So I went. For example, near our theater on the Arbat for a long time there was a wrecked house, which was not subject to restoration and did not belong to anyone. We, like air, needed a second stage for experimental activities in the theater, to expand the repertoire, and finally, to provide work for the entire troupe. And it was not possible to get land in the neighborhood with the wording “full housekeeping” in order to attract investors and builders. There was only one answer to our requests and reasons: "no funds, no opportunities." And it all could have ended with the fact that some smart entrepreneur or the ubiquitous mafia would put their paws on these ruins and another casino would appear in the middle of the Arbat. Indeed, in post-Soviet Russia, it happened that even under a theatrical signboard, dubious shops were opened for the sake of profit, and for this the newly-minted businessmen easily forgot about the true significance of the performing arts for society. However, the Vakhtangov Theater still managed to prove its case, and the land was allocated to us.

There were also difficulties with the tour. It even so happened that due to economic turmoil, for two or three summer off-seasons, Moscow was left without invited theater groups - there was simply nothing to invite them to. Then even the journey from St. Petersburg to Moscow was fraught with hefty problems. Moreover, the country was really threatened by the loss of a single cultural theatrical space. Moreover, the metropolitan troupes were also in serious difficulty when organizing their creative trips to the periphery. We got out of the situation as best we could. And we got out! At the beginning of 2002, the Vakhtangovites in full force went on tour in Kiev, gave performances at the Lesya Ukrainka Theater. This means that the performance of the troupe was full.

How to engage all actors in performances, to provide them with opportunities for creative growth and a decent income - this is a special conversation. The problem is not unique to the Vakhtangovites, it is universal for all theaters. While there was no money, until we learned how to earn it, theater troupes that had been created over the years began to resemble huge clumsy dreadnoughts. On the one hand, young actors came - they had not yet gained enough experience to drag the repertoire, but they already had to be given a perspective. On the other hand, there were a lot of pensioners who played less and less for health reasons, but they can not be fired in any case - the pensions were scanty, and taking away from a deserved person, your long-term companion on the stage, a role in another production means putting him on on the brink of half-starved existence. Therefore, as much as I could muster, I fought to maintain a precarious balance between the older generation of actors and the youth, so to speak, I creatively supported the elderly, still orienting the theater towards young, fresh blood. And here's the result: over the past twenty years, real masters have grown up on the Vakhtangov stage - A. Dubrovskaya, M. Aronova, E. Sotnikova, N. Grishaeva, S. Makovetsky, M. Sukhanov, V. Simonov, E. Knyazev, A. Zavyalov, the names can still be listed. Many of them are known abroad as excellent professionals, they are invited to cooperate at various theater and film sets, and they constantly appear in our troupe. But my old friends-actors are still in honor - on the example of many, many remarkably played roles, they raised a worthy replacement for themselves, this is their merit. And then very young guys, recent graduates of the theater school, gradually begin to make themselves known ... And all the actors of our theater have their own creative voice, they have the right to tell the viewer something important from the stage.

Some of the greats have a wonderful statement about the difference between the oratory of Cicero and Demosthenes. When Mark Tullius Cicero spoke, the Roman Senate was overwhelmed with delight: "God, how he speaks!" And when Demosthenes spoke to the Greeks, the Athenians shouted: "War to Philip the Great!"

The same can be said about the difference in art and direction and acting. Art in general has many faces - and that makes it interesting. Art is limitless - and that's why it is beautiful. Art is omniscient - and that is why it is wonderful.

Today, art is still looking for ways, like in a littered mine - to people, to the light, and often finds them with the help of the classics. And also a classic - a staff in the hand of a weary traveler wandering through life.

If necessary, in difficult years, we relied on it, but we also included works of contemporary authors in our repertoire. Both those and other plays could go with sold-out and without.

But it is important that with their help the Vakhtangov Theater survived. He also survived thanks to his amazing, sparkling acting school. For twenty years I have preserved our traditions as best I could, and now, looking back, I can state with satisfaction: I have succeeded on my part of the road. Perhaps because I perceived the luck of any director, any actor in our theater as mine. And I did not see any benefits for myself, except for the success of the theater.

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No country in the world can boast of such a number of stationary collectives that exist at the expense of the budget and require more and more funds for their maintenance every year. There is something to think about here. Say, are they needed in some provincial town with a population of 5 thousand people? Or in the Far North, where the polar night lasts 7-8 months, and the frost reaches 40 degrees? Not to mention the fact that mostly altruists work in these theaters, and damned poverty peeps through all the cracks, no matter how they are plugged. And the patrons, whom they so relied on at the beginning of perestroika, do not go and do not go.

So that's it. On the eve of the elections to the State Duma and the New Year trees, when all the theaters “stand on their ears,” giving three performances a day for children, Vladimir Putin again gathered the artistic directors of the famous Moscow and St. Petersburg theaters and told them the good news: now they can spend without trades from 100 to 400 thousand rubles. It would seem that the figure is rather big and one can understand Valery Fokin, artistic director of Alexandrinka, who thanked Putin for such a generous gift ... But the former favorite of the ex-mayor of St. Petersburg Valentina Matvienko has repeatedly received grants for his performances, including from the government of the Northern capital. As, incidentally, Oleg Tabakov, present at this meeting, with his Moscow Art Theater from the Moscow government, and Galina Volchek with Sovremennik, and Mark Zakharov, in whose theater this significant meeting took place, and the actors were freed from rehearsals. It was Zakharov who, during the period of publicity announced, proposed to close unprofitable theaters, which caused the righteous anger of the province. After that, Mark Anatolyevich had to make excuses for a long time and explain that he meant not only theaters outside the Garden Ring, but also theaters in the capital.

What's true is true. For example, the Stanislavsky Theater, located in the very center of Moscow on Tverskaya, has been shaking for several years from the change of artistic directors and overestimated assessments of its own creativity, which have nothing to do with the real state of affairs, accompanied by scandals with newcomers "appointees." It is no coincidence that Vladimir Putin raised the question: who is in charge of the theater - the artistic director or the director who controls the theater's expenses and income?

Galina Volchek, experienced in conflicts, tried to smooth out this double-edged issue, since she has a full alliance with the director, but, apparently, rumors about "velvet revolutions" in the same Stanislavsky Theater, on Taganka, associated with the departure of the legend of the Russian stage Yuri Lyubimov, the overthrow Sergei Artsibashev in Mayakovka, did not pass by the ears of the Prime Minister. And the meeting with the chairman of the Union of theatrical figures of Russia, Alexander Kalyagin, on the eve of the re-election, gave rich food for thought. First of all, it concerns the reformation of the repertoire theater, which should begin with a contract system for all theater workers: from the actor's workshop to the props. It was evident from everything that Putin liked this idea, and no matter how bitter it might be for the institute of directors, the main thing in the theater, according to the prime minister, should remain the artistic director. So Lev Dodin, who heads the Maly Drama Theater in St. Petersburg, could breathe a sigh of relief, his throne would not shake.

But this is in Moscow and in the city on the Neva, where artistic directors (with rare exceptions) have crushed obstinate directors for themselves and with their many years of authority keep theaters afloat, no matter what criticism writes about them. Well, if you take a province, then there is a completely different calico and a different life, where everything depends on the governors, who can cut off the oxygen, or they can arrange international festivals at their own expense, as in Saransk or Belgorod. By the way, the so-called "morality police" recently appeared in this city bordering on Ukraine, and plays by Yevgeny Grishkovets, Ivan Vyrypaev, Yaroslava Pulinovich, allegedly corrupting young people, were banned from being shown in the student theater of the Institute of Culture. Here are the first signs of censorship, which some representatives of the Communist Party of the Russian Federation are so concerned about. Or maybe this is a kind of manifestation of the fear that has stuck in the genes, which continues to live in us, despite all the democratic transformations and freedom of speech? The same fear - not being left behind - makes the directors of provincial theaters rely only on themselves, and not on visiting artistic directors, who, like Khlestakov, promise from three boxes, and then remember what they called. This means that here, too, it is necessary to establish a separate column related to the obligations of the invited chief director.

It is no coincidence that Vladimir Putin supported the idea of \u200b\u200btaking an inventory of creative personnel. After all, only federal theaters are in sight, and what is happening in the outback is a secret behind seven seals. We must pay tribute to the artistic director of the Maly Theater, Yuri Solomin - he always defended the theatrical periphery with his chest: both when he was the Minister of Culture, and now, which he demonstrated at a meeting with Vladimir Putin.

Oleg Tabakov, the main builder of a public art theater with a commercial streak and tickets sold a month in advance, started a contract system at the Moscow Art Theater long ago and won many ships with dismissed actors, as he was always guided by the principle “no water flows under a lying stone”. Any theater is like a bicycle that either goes forward or falls if you don't pedal. Despite his considerable age, Oleg Pavlovich continues to turn the pedals of management, knowing full well that nothing ensures the success of the performance and the filling of the box office more than an ensemble of well-trained actors who later become stars.

Finally, Vladimir Putin once again reminded the assembled masters that a Concept for the long-term development of theatrical business until 2020 has been prepared, that is, over the next eight years, there will be a reorganization of stationary theaters, as a result of which, as Putin assured, provincial theaters should raise their artistic standards. Well, those who have to do this while trying to survive ...

Unified qualification reference book of positions of managers, specialists and other employees (CEN), 2019
Section "Qualification characteristics of positions of workers in culture, art and cinematography"
The section was approved by the Order of the Ministry of Health and Social Development of the Russian Federation of 30.03.2011 N 251n

Artistic director

Job responsibilities. Leads, within the powers defined by the constituent documents and (or) the employment contract, the creative activities of the performing arts organization, bearing responsibility for the artistic and creative results of the organization. Organizes the work and interaction of artistic and artistic personnel, structural units of the artistic and creative part, directs their activities to the development and improvement of the creative and production process in order to create the most favorable conditions for collective creativity, taking into account specific artistic and social tasks. Provides the artistic quality of the repertoire, determines the readiness of performances and decides on their public performance. Together with the director (general director), ensures that the organization fulfills its obligations to viewers (listeners), creative workers of the organization, authors and performers of the works (phonograms) used, as well as other partners in creative activity. Takes measures to provide the organization with qualified creative personnel, rational use and development of their professional knowledge and skills, create safe and favorable working conditions for their life and health, and comply with the requirements of labor legislation. Participates on the part of the employer of the organization in the development, conclusion and implementation of the collective agreement. Ensures the observance of labor and creative discipline of employees of the artistic and creative staff of the organization. Instructs other employees of the artistic and creative department to conduct certain areas of creative activity.

Must know: laws and other normative legal acts of the Russian Federation concerning the activities of performing arts organizations; the basics of directing and acting, stage and musical design of performances, vocal, choral and choreographic art; history of domestic and world theater, music, circus, other arts and literature; the state of modern domestic and foreign theatrical art, other types of performing arts; modern and classical drama; the procedure for the development and approval of plans for creative and production activities and long-term development plans in the field of the performing arts; fundamentals of management, management psychology, sociology of art, stage technology, economics and management in the field of performing arts, labor and civil law; Copyright; internal labor regulations; rules for labor protection and fire safety.

Qualification requirements. Higher professional education (culture and art) and work experience as a chief director (conductor, choreographer) for at least 3 years or as a director (conductor, choreographer) - stage director, artist, head of a creative division in the field of performing arts for at least 5 years.

Note. Specific rights, obligations, additional requirements and other conditions of creative work (staging, artistic, musical design of a performance, playing a role, etc.) performed by the artistic director at the place of his main job and not included in the artistic director's terms of reference are determined when concluding a labor contracts in the prescribed manner.

art director - "art director"), artistic director, creative leader, art manager, chief artist - the head of the art or other creative department or media project: "the project implementer"; a generic name for a range of similar management positions in various fields of activity, such as: advertising, publishing, film, design, restaurant business, television, Internet, video games, entertainment industry.

History in Russia

The profession of art director was relatively new for the Russian Federation, according to a specialist from a large recruiting agency Svetlana Golovatyuk, in the mid-90s the existence of art directors was not suspected in domestic recruiting agencies, so the famous personnel officer Anatoly Kupchin was surprised not only by the existence of such workers, but also their high salaries in advertising agencies, for example, in Moscow Leo Burnett Worldwide. In Russia in the 2000s, opinions about the profession of an art director differed greatly, at that time the main topic of the dispute was "an art director must have an art education" or can do without it, in this respect it is curious that, for example , in the POK (production and design plant) of the USSR Exhibition of Economic Achievements, the reluctance of professional Soviet artists to take on the low-income troublesome administrative burden led to the fact that it was difficult to find even foremen in the creative teams, not to mention the masters of creative workshops, that is, in fact, few people voluntarily wanted to be an "art director", as a result of this kind of managers, ordinary employees were often appointed, and sometimes cleaning workers of the plant, however, the final work was accepted by the state commission of honored artists, members of the Union of Artists of the USSR, and leaders of VDNKh.

Publishing business

In the publishing business in which the term originated, the art director is responsible for the design of a magazine or newspaper and, in collaboration with an editor, selects or participates in the creation of the desired images and photographs. In major publishing houses and magazines, the art director has assistants. The art director controls the work of the entire creative team and is responsible for it.

Advertising

The art director or creative director in an advertising agency is the head of the art department as in the publishing business. In modern advertising practice, the art director works on the concept of advertising (television, print, outdoor, and any other). Usually, the art director is responsible for tracking modern trends, market analysis, making proposals to the management, preparing technical specifications, selecting a team, analyzing the results of the completion of advertising projects, reporting. The art director is responsible for the quality of the ideas presented, he can offer a visual solution, an interesting slogan, the concept within which the creative team should work. The copywriter and designer are usually subordinate to the creative director. The art director can also oversee the work of copywriters, designers, illustrators (this depends on the structure of the agency). In small agencies, the art director sometimes acts as a designer and illustrator all rolled into one. In large advertising agencies, the hierarchy may include: creative director or art director, creative team leader (head of design), senior designer, and the rest of the creative team.

Cinema

The position of an art director in the film industry (in the production of feature films) is similar to that of a production designer, although he sometimes acts as an artistic director, working alongside a costume designer, set designer, make-up artist, special effects specialists, etc. some of his responsibilities are related to the administrative aspects of artistic production. He sets tasks for the staff and monitors their implementation, as well as the budget and work schedule, and monitors quality. In fact, his duties include control of all visual aspects of the film (from costumes to grandiose scenery) - that is, he directly performs the volume of the production designer.

Entertainment industry

An art director in the entertainment industry, for example, an art director of a nightclub, mainly performs administrative functions: organizing concerts, selecting a repertoire, organizing parties, and also participates in the process of promoting the establishment. The duties of an art director in the entertainment industry include positioning the institution, attracting new customers to the institution, organizing entertainment events in the institution, developing event concepts, and working with the institution's partners.

art

An art director (art manager) in visual arts is engaged in targeted marketing communication with an artist, sculptor, graphic artist, photo artist or a representative of decorative and applied arts in order to promote him to the market.

Creation of a "name" (to make it famous and recognizable).
Sale and promotion (advertising) of the artist's works.
Enhancing the value of a particular artist's artwork.

An art manager should be well versed in art (art education is optional), master PR technologies and sales techniques (marketing education is desirable).

The main duties of an art manager include: