Psychoanalytic Aspects in the Work of Kirill Serebrennikov

The main focus of this research is to study the psychoanalytic aspects of the work of the Russian theater and film director Kirill Serebrennikov. The subject of the connection between theatrical art and psychoanalysis is widely covered in the world scientific literature, however, for the Russian audience, viewing psychoanalytically oriented performances is more likely an exception to the rule. Kirill Serebrennikov is one of the most striking directors of our time, who boldly experiments with manifestations of the individual and collective unconscious. The theoretical part of the work is devoted to the study of the history of the theater from the time of Ancient Egypt to the present and the connection of theater art with psychoanalysis. The first section shows how gradually, over three millennia, there have been changes in the perception of the theater by the public and its consistent development, as well as on the role of the director and actors in working on the productions, on their inner experiences and on the qualities that they should possess. It is shown how the history of the development of the theater is inextricably linked with the evolution of human ideas about the soul. The second section is devoted to the connection between art and psychoanalysis, which was first laid by Sigmund Freud in 1910, when detailed interpretations of the work of Leonardo Da Vinci “Saint Anna with the Madonna and Child Christ” in “Memoirs of Leonardo Da Vinci” about early childhood were made. The empirical part is based on an analysis of the performances of Kirill Serebrennikov, such as “A Midsummer Night's Dream”, “Muller Machine”, “Kafka”, “Martyr”, “Akhmatova. A poem without a hero ”,“ Metamorphoses ”and a description of the psychological techniques that the author uses when interacting with the viewer. Each performance is analysed from a psychoanalytic point of view.