Kirill Serebrennikov

Kirill Serebrennikov

Born in  Rostov-on-Don, Kirill Serebrennikov completed his formal education in Physics in his hometown in 1992. During his studies he began a self-taught education as a director of theater opera, film and television as well as a costume designer.

The first acclaimed productions Serebrennikov was able to direct outside of Russia were Salome at the Stuttgart Opera and l barbiere die Siviglia at Komische Oper Berlin.
In collaboration with Teodor Currentzis, Serebrennikov developed the project  Mysterion (after Carl Orffs De Temporum Fine Comedia) and the benefit project Requiem, for which he also served as author.
He directed additional opera productions such as  Falstaff  at the  Mariinsky Theater in St. Petersburg, Le coq d´or at the  Bolshoi in Moscow and American Lulu at the Wiener Festwochen.

Kirill Serebrennikov was recognized by the Cannes Film Festival in 2016 for such film-making work as The Student. Further films by Serebrennikov such as The Swallow, Mysteries of the Storm, Playing the Victim, and The Diary of a Murderer have been shown at film festival in Rome, Locarno and Venice, as well as nominated for the Golden Lion and the Grand Prix of Kinotvar in Sochi.

Beyond the numerous classics of Russian literature which he has brought to the stage, Kirill Serebrennikov has also directed the work of playwrights such as Shakespeare and Brecht, along with that of the Irish playwright Martin McDonagh. Hi staging of Vassily Sigarev’s Plastilin was recognized by Arte and programmed by many European theater festivals.

In 2011 Kirill Serebrennikov founded an experimental workshop-project called “Plattform.”

As Artistic Director of the collective of young artists known as Studio Seve, Serebrennikov has staged A Midsummer Night’s Dream and Lewis Carroll’s The Hunting of the Snark among other works. Studio Seven is a part of the Gogol Center, whicKirill Serebrennikov has led artistically since 2012.
Moscow’s Gogol Center is a genre-bending theater laboratory, which is unique in the Russian cultural landscape, where Serebrennikov has staged such works at Gogol’s Dead Souls, a musical adaptation by Duncan Sheik based on Frank Wedekind’s Spring Awakening, as well as Machine Müller, inspired by Meiner Müller’s Hameltmaschine and in collaboration with the Goethe Institut.

Next season brings a production of Hänsel and Gretel, and in the 18/19 season Cosi fan tutte at the Zurich Opera.

2017/18

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