Trickster

Kunstiline juht teeb põhimõtteliselt kõike ja mitte midagi. Ma hoolitsen kõige eest, mis majas loominguliselt toimub. Aga kuna meil on praegu nö uus algus, siis mu suurim huvi on see, et uus trupp majja ilusti sisse elaks ja et nad saaksid ennast loominguliselt teostada. Ja kuidagi olen end niimoodi sisse mässinud, et ma ka näitlen mitmes asjas, samal ajal kui peaks tegelema selle seletamatu kunstilise juhtimisega.

(Naerab.) Jah, võib-olla on natuke tüütu kõrvalseisjal seda kõike lugeda. Ja ilmselt tekib ka küsimus, et paljudel on praegu raske, ja et mis see teater nüüd siis, eks. Aga tuleb aru saada, et paljud väiketeatrid praegu reaalselt võitlevad enda eksistentsi eest — mitte selle eest, et hästi elada. Ma arvan, et lähiaastatel leiavad ilmselt aset muutused, sest niimoodi nagu praegu lihtsalt enam ei vea välja.

Veel rohkem andekust. Seda ei ole kunagi küllalt. Alati võiks parem olla!

Viimati ma käisin vaatamas Helsingis vana sõbra ja võitluskaaslase Kristian Smedsi “Jänese aastat”, mis on veel huvitav seetõttu, et see dramatiseering, mis nüüd Kansallisteatteris esietendus, tegi Kristian kunagi koos meiega Von Krahlis.

Igasugused kunstiteosed võivad kandma jääda läbi aastate, väga erinevatel põhjustel ka. Need ei pruugi isegi tingimata lõpuni positiivsed olla. Meenuvad pigem õrnas eas kogetud teosed — siis, kui maailm alles avanes ja oli võimalus näha erinevat teatrit. Tollal toimusid ka igasugused äratundmised, et “Ahaa, nii võib ka teha!” ja mõttekaaslaste leidmised seltskondade ja teatrite näol. Aga ma ei oska mingit konkreetset tükki välja tuua.

Kui me kunagi Krahli tegema hakkasime, siis oli nii, et meie käisime mööda ilma ringi, kutsuti erinevatele tähtsatele festivalidele aga samal ajal istus kodusaalis 14 inimest. Et oli küll see “sündroom”, aga siis sai prohvet kuulsaks ka omal maal.

Ega teater ei ole hoone, teater on inimesed. Ja meie uue hingamise annavadki uued inimesed. Lisaks me oleme uues majas, Telliskivi keskuses.

Samas, teater on nii anakronistlik ja vana asi, et ta peab ennast pidevalt tõestama uutele põlvkondadele. Kõige olulisem on see, et teater oleks osa elavast, zeitgeist’ist, kultuurist ja peegeldaks uute põlvkondade rõõme ja muresid. Oleks elus.

Ega me mingisuguse sumbuurse laboratooriumiga ei tegele. Teeme ikka seda, mis on loomulik: teater avab oma uksed, kutsub inimesed sisse ja siis inimesed tulevad ja vaatavad. See on ju ikkagi see, mille pärast kogu värk toimub. Ja minu arust on meil sel aastal huvitav ja mitmekesine programm, mis on suuresti koostööle üles ehitatud. 

Praegu me tegeleme ühe suurvormiga, mis on võib-olla hetkel Eesti teatris vähemlevinud žanr — poliitiline satiir “Kindlates kätes”, mis esietendub 20. novembril. Lisaks veel jaanuaris esietenduv Mart Kangro autorilavastus “Pantheon” koostöös Kanuti Gildi SAALiga. 

Kui nüüd kokku võtta, siis koostöö aspekt ongi üks niisugune suund, kuhu Von Krahli teater vaatab. Just teiste kodumaiste teatritega jõudude ühendamine on see, millele rohkem rõhku paneme.

Mind väga huvitab see, mida sõbrad Ekspeditsioonis teevad. Näiteks Lauri Lagle tükk “Leviaatan” on silmapiiril. Aga absoluutselt teisest ooperist, õnnestus mul suvel pääseda vaatama Draamateatri menukit “Rahamaa”, mis oli väga hästi tehtud. Nii et kindlasti hoian Hendrikule (Hendrik Toompere jr) pöialt, kes paneb hästi ja tahaks ka tema viimast tööd näha, kui aega saan. Ma olen kõigesööja!

Aga veel ootan suvel toimuvat SAAL Biennaali, mida korraldab Kanuti Gildi SAAL, kus on alati väga tugev programm.

Eks paljud meist ole ühel või teisel ajahetkel koos töötanud või koos alustanud oma tegemisi, selles suhtes oleme jah üks suur kamp. Aga me oleme siiski erinevate programmidega ja erineva suunitlusega majad. Samas aeg-ajalt tuleb ikka õlad-seljad kokku panna.

Mis sa ise arvad?

Jää siis oma arvamuse juurde. (Naerab.) Ma ei tea endast midagi, ma tean ainult kinganumbrit ja isegi sellega panen vahel mööda. Las teised ütlevad!

An artistic director basically does everything and nothing. I oversee everything that creatively happens in the house. But since we're currently in a kind of new beginning, my biggest interest is ensuring that the new troupe settles into the house well and that they can creatively express themselves. And somehow, I've gotten myself tangled up in such a way that I also act in several pieces while I'm supposed to be handling this indescribable artistic direction.

(Laughs.) Yeah, maybe it’s a bit annoying for bystanders to read all this. And I’m sure the question arises that many are struggling now, so why make a fuss about theatre? But one has to understand that many small theatres are currently fighting for their very existence — not only for the salary to be higher. I think changes will probably occur in the coming years because we just can't carry on as we are.

Even more talent. There can never be enough. It could always be better!

Recently, I went to see "The Year of the Hare" in Helsinki’s Kansallisteatteri by an old friend and comrade Kristian Smeds. What made the play even more interesting was its dramatisation which was originally done by Kristian with us at Von Krahl.

All kinds of art can stay with you over the years, for very different reasons. And they don't always have to be positive. I remember pieces experienced in my youth — when the world was still opening up, and I had the chance to see different kinds of theatre. Back then, there were also all sorts of realisations like, "Aha, it can be done this way!" and meeting like-minded people in various groups and theatres. But I can't pinpoint any specific piece.

All kinds of art can stay with you over the years, for very different reasons. And they don't always have to be positive. I remember pieces experienced in my youth — when the world was still opening up, and I had the chance to see different kinds of theatre. Back then, there were also all sorts of realisations like, "Aha, it can be done this way!" and meeting like-minded people in various groups and theatres. But I can't pinpoint any specific piece.

When we started with Krahl, we travelled around the world, were invited to various important festivals, but at the same time, 14 people would be sitting in our theatre hall back home. So, yes, we had that "syndrome," but eventually, the prophet was recognised in his homeland too.

A theatre isn’t a building; it’s the people. And our new breath of life comes from new people. Additionally, we’re in a new building, at the heart of Telliskivi Creative City.

At the same time, theatre is such an ancient, anachronistic thing that it must constantly prove itself to new generations. The most important thing is that theatre must be part of the living zeitgeist, part of the culture, reflecting the joys and concerns of new generations. It has to be alive.

We’re not working on some kind of sprawling laboratory experiment. We're just doing what’s natural: the theatre opens its doors, invites people in, and then people come and watch. That’s what it’s all about, after all. And I think we have an interesting and diverse program this year, largely built on collaboration.

Right now, we're working on a large-scale project, a political satire called "In Safe Hands," which premieres on November 20th, a genre perhaps less common in Estonian theatre. Additionally, in January, we have Mart Kangro's solo work, "Pantheon," premiering in collaboration with Kanuti Gildi SAAL.

So, in summary, the aspect of collaboration is one direction Von Krahl is focussed on. We’re putting more emphasis on joining forces with other domestic theatres.

I'm very interested in what friends at Ekspeditsioon are doing. For example, Lauri Lagle’s piece “Leviathan” is on the horizon. But from a completely different genre, I managed to see Draamateater’s hit-piece "Money Land" this summer, which was very well done. So, I’m definitely cheering on Hendrik (Hendrik Toompere Jr), who's doing great, and I’d also like to see his latest work when I get the time.

Additionally, I'm very much looking forward to the SAAL Biennale this summer, organised by Kanuti Gildi SAAL, which always has a strong program.

Many of us have worked together at one time or another or started our journeys together, so, yes, you could say we’re one big “gang”. But we’re still houses with different programs and focuses. However, sometimes we do have to stand shoulder-to-shoulder to make things happen.

What do you think?

Then stick to your opinion. (Laughs.) I don’t know much about myself; I only know my shoe size, and even that I sometimes get wrong. Let others be the judge!