The Moscow Art Theatre named after AP Chekhov did not confirm or deny media reports about the dismissal of director Airat Tukhvatullin. A spokesperson for the theatre said, We are not commenting on this issue at the moment, and the studio’s stance remains unchanged. Chekhov.
Earlier this month, a report from Moskovsky Komsomolets cited a source claiming that Konstantin Khabensky, the artistic director of the Moscow Art Theatre named after Chekhov, decided to part ways with Airat Tukhvatullin. The outlet indicated that Tukhvatullin would step down from his post on January 1, though it did not specify the reasons behind the decision. The report sparked discussion about leadership changes at the theatre and what they might mean for its artistic direction in the new year.
Airat Tukhvatullin has had a notable career in Russian theatre. In May 2022, he was appointed first deputy director of the Moscow Art Theatre named after Chekhov. Prior to that appointment, he led the Russian State Academic Drama Theatre named after FG Volkova. Earlier still, from July 2017 to July 2019, he served as director of the Moscow Moon Theatre, bringing experience from multiple major stages to his current role. These positions reflect a trajectory of leadership roles across significant Russian theatres, suggesting that any transition would be closely watched by practitioners and audiences alike.
Valery Gergiev, who previously headed the Great Theatre, has long been associated with the broader leadership and artistic circles surrounding Moscow’s premier stage community. The dynamics of such positions often involve collaboration with multiple directors and ensembles, and any change in a theatre’s leadership can carry implications for programming, creative focus, and institutional partnerships. While speculation continues in media circles, official statements from the theatre have emphasized restraint and the importance of orderly transitions as of the information available. Sources tracking the matter have noted the absence of formal confirmation from the theatre administration, underscoring the complexity and sensitivity of personnel decisions in major cultural institutions.