Artistic director of Archangelsk Puppet Theatre, Honored Arts Professional of the Russian Federation, winner of the Russian National Theatre Award THE GOLDEN MASK, recipient of the Order of Friendship.
Dmitry Lokhov’s creative biography is inseparably tied to Archangelsk Regional Puppet Theatre, where he started working in 1968, in 1985 became its principal director, and in 1992 – its artistic director. During these years, Lokhov practically formed his theatre, which gained him the recent Fyodor Volkov award of the Government of the Russian Federation: For the creation of Archangelsk Puppet Theatre as an institution of all-Russian and international cultural importance. The director staged about fifty productions, the most famous of which – Nativity Scene and Khamlet, Danish Prince – became the winners of the Russian National Theatre Award THE GOLDEN MASK. Dmitry Lokhov is the author of the idea and one of the organizers of the International Festival of chamber productions of puppet theatres Ulitka [Snail].
The principal character of Khamlet used to say: “The world is not theatre, but the fairground booth, where puppets act.” Meyerhold argued that the fairground booth is the quintessence of theatre art: “The fairground booth is eternal. Its characters never die. They only change faces and adopt a new form.” The fairground booth, masks, ludic element – these are Dmitry Lokhov’s favorite creative motifs.
Nativity Scene — 1992, Archangelsk Puppet Theatre
Khamlet, Danish Prince — 2002, Archangelsk Puppet Theatre
An Umbrella for the Princess — 1996, Theatre of Marionettes named after E.S.Demmeni
Mashenka and the Bear — 2001, Archangelsk Puppet Theatre
Love for the Three Oranges — 2007, Theatre of Marionettes named after E.S.Demmeni
The Puppet Fairground Booth “Don Giovanni in Venice” — 2009, Archangelsk Puppet Theatre
The Seagull — 2005, Archangelsk Puppet Theatre
The Magic Fairytales of a Parrot — 2007, Archangelsk Puppet Theatre
St. Petersburg Dreams — 2012, Archangelsk Puppet Theatre
About the Scary Dragon and the Brave Shoemaker, the beautiful Princess and the king Nail — 1990, Archangelsk Puppet Theatre
“In Ancient Rome they decided to make parodies of myths, which had become the plots of tragedies in Ancient Greek theatre – this genre received the title ‘para-tragedy’. Gods and kings behaved in para-tragedies almost like satyrs. Showing the legendary characters in the fairground booth, Dmitry Lokhov, as a matter of fact, conducts a similar operation with celebrated plays. There is something in them that we, despite thousands of stage versions, did not know about. The director does not forget about ‘the beard’ of theatre tradition and intentionally travesties it, boldly mixing seemingly different style trends and stage stories. As a result, a genuinely Rabelaisian unity emerges – the unity of the fairground booth, where there is a place for cheeky jokes and theatre references.”
"St. Petersburg Theatre Journal"
“Khamlet, Danish Prince is not Shakespeare. This is not tragedy, but farce. Khamlet, invented by Dmitry Lokhov, goes beyond the Danish prince we all know. Is all the world a stage? No, it is the fairground booth, which means that glove puppets or, as they are also known, petrushkas [the Russian version of Punch] perform – which is incredibly important for this production. Why was the tragedy put into the fairground booth? Is modern theatre capable only of farcical emotions?”
Toronto Slavic Quarterly