Interview with Andrej Dugin and Olga Dugina (on January, 26th, 2010)

<strong>Interview</strong> <strong>with</strong> <strong>Andrej</strong> <strong>Dugin</strong> <strong>and</strong> <strong>Olga</strong> <strong>Dugin</strong>a (on January, 26th, 2010)
1.) How is the work to interpret tales which are pitched <strong>and</strong> published so many years ago?
All of us were actually wondering about this question, as we haven’t really understood it. But neverthe-
less <strong>Andrej</strong> <strong>and</strong> the rest of us tried to answer it as follows:
Esslinger Verlag once decided to start publishing more classical <strong>and</strong> general known Fairy Tales, as before
that we published a couple of author’s fairy tales that were not know to the public <strong>and</strong> these were
not very successful.
Back then the former managing director <strong>and</strong> the editorial director chose popular classical fairy tales,
because they are known to a majority of the population. The <strong>Dugin</strong>’s being artists <strong>and</strong> having a university
degree in classical art <strong>and</strong> design were thus keen on getting the job of illustrating these fairy tales
for Esslinger then.
2.) At „Das tapfere Schneiderlein“ <strong>and</strong> „Die Drachenfedern“ the illustrations tell a parallel tale alongside
to the original narration. Could you comment this appeal?
<strong>Andrej</strong>’s general intention was, that the readers could ‘read’ the story <strong>with</strong>out even reading the text,
just by looking at the illustrations, which tell a story on their own. Thus, he wanted to tickle the reader’s
attention <strong>and</strong> to inspire his phantasy. <strong>Olga</strong> told us that, once the books were published they received
many letters from children <strong>and</strong> kids, who even explained the symbols <strong>and</strong> above that invented own
stories <strong>with</strong> regard to the illustrations <strong>and</strong> symbols. This was amazing <strong>and</strong> exactly the aim that <strong>Andrej</strong>
wanted to achive. <strong>Andrej</strong> told us that children do not need as much explanations as adults do in general.
Children, so he says, are more capable to do the so-called ‘free-interpretation’, which is very good
<strong>and</strong> crucial for their social <strong>and</strong> educational development.
3.) Could you explain how does arise the esthetic creation of the characters, that became like your
trademark?
4.) About “Die Drachenfedern” could you please explain some elements in the images, like the letters,
flutes <strong>and</strong> c<strong>and</strong>lesticks.
© Esslinger Verlag J. F. Schreiber GmbH . Postfach 10 03 25 . 73703 Esslingen . www.esslinger-verlag.de

We decided to pick up the title “Die Drachenfedern”, in order to explain the symbolism <strong>and</strong> illustrations
in more detail. So we went through the individual pages <strong>and</strong> picked up various single signs <strong>and</strong> symbols:
<strong>Andrej</strong> sporadically used stylistic methods that once had been used by artists like Breugel, Kranach
<strong>and</strong> others from that period, this is why he added single letters <strong>and</strong> abbreviations like the ‘K’ for
Kranach <strong>and</strong> ‘B’ for Breugel, etc. to the illustrations. He did that as ‘hommage’ to these artists.
By studying their works <strong>and</strong> adapting some of their techniques, he also developed his individual style
of illustrating.
The symbols in “Die Drachenfedern”: In older story telling the dragon st<strong>and</strong>s for the four elements: fire,
water, air <strong>and</strong> soil, which symbolize the the circle of life, which is the core of the story of the Dragonfeathers
as well. All these elements are thus picked up <strong>and</strong> illustrated on various pages, like e. g. the ‚river’,
on which the fairy boat goes, the wind in the tree near the river, etc.
C<strong>and</strong>lestickes: <strong>Andrej</strong> emphasized that the c<strong>and</strong>lesticks do not have any meaning, like the backpipes
as well don’t have one. But on the last page there is this little guy, carrying c<strong>and</strong>les on his hat, probably
you thought of him? <strong>Andrej</strong> told us that in the past artists did that, they put c<strong>and</strong>les on their hat in order
to be able to work as well when it’s dark.
House of the dragon: The dragon being a creature of the underworld, is known to be a scientist <strong>and</strong> alchemist
as well. In his house a couple of things seem to be kind of disordered or somehow odd, like e.
g. the window being stick directly to the stair rail. <strong>Andrej</strong> thus wanted to express that normality in this
‘world’ is abrogated. (this could be compared a bit to the world of Alice in Wonderl<strong>and</strong>). <strong>Andrej</strong> said that
he added the further little ‘items’ to the illustrated story in order to just tickle the reader’s attention.
All in all one could say that ‘Die Drachenfedern’ tells us the story of the circle of life, so that all symbols
recur several times.
© Esslinger Verlag J. F. Schreiber GmbH . Postfach 10 03 25 . 73703 Esslingen . www.esslinger-verlag.de

Questions to <strong>Olga</strong> <strong>Dugin</strong>a - Die schönsten Märchen aus 1001 Nacht
1.) Which means Sherazade’s representation at „Die schönsten Märchen aus 1001 Nacht“? She turns as a
bird in the illustrations. What does that tell us about the character?
When starting the research for the work on “Die schönsten Märchen aus 1001 Nacht” <strong>Olga</strong> studied intensely
the arab <strong>and</strong> mongolian mythology. As the stories from the 1001 nights are dated back to Persia
during the period of the Mogul, where <strong>and</strong> when these tales obviously arised. She found out that in the
arab mythology there exists a mythical creature that consists out of the body of a bird <strong>and</strong> the head of
a human being. This being is sitting in a tree <strong>and</strong> people say that when you st<strong>and</strong> below this tree <strong>and</strong>
listen to it you learn about the mysteries of life <strong>and</strong> the universe. As Shereazade is known for her wisdom
<strong>Olga</strong> found this mystic being perfect as model for developing Sherazade’s character.
2.) The illustrations from this book are much different than „Das tapfere Schneiderlein“ und „Die Drachenfedern“,
where you <strong>and</strong> <strong>Andrej</strong> <strong>Dugin</strong> were co-workers. What is the difference between illustrating
on your own <strong>and</strong> working together <strong>with</strong> him? How is the illustrating process when it’s made in a partnership?
When <strong>Olga</strong> was working together <strong>with</strong> Andej on the first two books, she was still studying at university,
so that this period was her year of apprenticeship.
She revealed us, that during that time <strong>Andrej</strong> was like her teacher <strong>and</strong> he was very severe. In the beginning
she was just allowed to do the patterns on the endpapers or just colouring <strong>and</strong> little scribbles
works. But she thus obviously learned quite a lot. When later she worked on her so-to-say ‘chefd’oeuvre’
„Die schönsten Märchen aus 1001 Nacht“, she worked completely indipendently <strong>and</strong> was free
to realize her own individual style. Today both are equal partners in work <strong>and</strong> obviously <strong>Andrej</strong> asks her
for advice quite often as well.
© Esslinger Verlag J. F. Schreiber GmbH . Postfach 10 03 25 . 73703 Esslingen . www.esslinger-verlag.de