Theatre sew business: tough season ends on a tragic note

Theatrical season‑2016/2017 hard and ends on a tragic note: that is not in our theatrical state. From the end of may played the show that became “highlight” of the season — “It Serebrennikov and “the Seventh Studio”. Performance ugly, rude, uninventive, to which was added one more — “Nureyev”. Alas, this is the sad reality of our theatre, which has overshadowed the most important thing in it — a premiere of the actor’s victory, projects, experiments. And they can not be overlooked. But first things first.

“Oedipus The King” (The Vakhtangov Theatre). Photo: Alexander Toloshinov

September 2016. Oleg Tabakov still wait for the opening of the building of his new “Snuff”, although nobody believed that this would happen. Nevertheless luxury building in Sukharevskaya square, the opening of which 10 years of waiting and the O. P., and two generations of his disciples happened . Now this is one of the most modern, technically equipped venues in Moscow (transformer-hall and stage, the system of floating stancato, rotating, lifting and lowering the platform, sound-reflecting ceiling). After the euphoria of the housewarming the founder of “the basement” theater does not promise anyone an easy life: moving old performances in a new space — the process is difficult and testing is dangerous. Housewarming Alexander Shirvindt aptly observes: “After Lelik Moscow will remain two monuments (the Stanislavsky and Nemirovich-Danchenko in Chamberlain and three playwrights in the courtyard on the Chaplygin), two theatres (the old and new Box), College, and all manicured graves of mhatovtsy at Novodevichy. Why Russia is always so — while some people scream and break, others are silent and build”.

September and the rest of the season. Theatre. Pushkin (built in 1914 as a Chamber) and not wait for repair. The theater Evgeny Pisarev is the second in the queue “kapitalku” after “the Contemporary”. This means that in the current economic climate is not something that the end, but the beginning of the repair to wait for difficult. Not to be ashamed in front of the audience, cracks on the walls covers the historical exhibition of paper suits Victoria Sevrukova, made in the spirit of the work of the founder of theatre of Alexander Tairov. And the saddest thing is how many Pisarev, no beating, no movement with regard to perpetuate his memory: a petition, a memorial plaque to a large artist signed all great, except that existing legislation does not allow any restoration approach: a bronze plaque made, incidentally, sculptors, absolutely free, on a theater set. Here in these “legal” conditions of a talented troupe continues to produce performances, projects, to raise artists. Great patience and humility of our people.

October. In “School of modern play” on stage poured natural, and not fake beer. And unfiltered. At the counter, wielding Evgeny Grishkovets, who wrote the play “While filled with beer.” This is a masterful performance-jazz Iosif reichelgaus about us and our lives, where the solo Grishkovec: no polemical excitement, apropos and under the foam it sets the theme of the day, and other artists her how long played the part that pick up and develop. To top it off the beer session at a bar break also real fighters from the group “alpha” that causes the audience to experience some strong emotions, amuses and scares (“Nord-OST” is not forgotten). But in the end the presence of armed men with a stern expression on his face is calming, looks like they alone can guarantee security for citizens. As you like and understand. While the beer is poured.

October. At the next Congress of the Union of theatrical figures suddenly hell-the-box flew the word “censorship”. In the theatrical figures it runs quite well the artistic Director of the theatre. So strongly and boldly that the provincials becomes even uncomfortable with their mundane stuff — lying down on the theatre of local officials, with the appalling state of the buildings and especially the humiliating salaries (in some regions up to 12 thousand per month comes). But the word takes off its like a ball, pick up and carry with him a month, even evil creeps the suspicion that this very censorship of the theatre themselves and others figures call. If without her, darling, there can be crazy fantasies, crazy ideas, what in Russia there why-that only in conditions of freedom, after a long stay in a “cage”. And no matter how rusty or gold.

November. At the new stage of the Vakhtangov theatre “Our class”. Production of his last play of that title (in ten countries), the pole Tadeusz Slobodzianek allows the teacher to put the Shchukin Institute Natalia Kovaleva only after personally watched the tape of the rehearsals. Innocent name school bias — 14 the terrible lessons of Polish history and the Jewish question in Poland during the Second world war with a ruthless assessment of the nation. The viewer shock, but a tragic theme not deterred, the play looks at one breath, the scene is a virtuoso work of a young generation of the Vakhtangov theatre in an extraordinary setting.

“Benefis” (Theatre Of Vahtangova).

Dec. Starts theatrical reform, which for so long said the city authorities themselves and theatrical figures. At a great meeting of chubrukov theatres in Moscow Vice-mayor Leonid Pechatnikov voiced by the new rules, which will now live theatres. The Department of culture represents a “road map”, where all, without exception, clearly spelled out the new rules of the “movement” of groups of different genre affiliation. Announced provisions while inspiring: the money earned from the main theatres and neustanno activities remain in the theaters and spend at their discretion, all employees are only urgent (!!!) contracts. No equalization and relationships: the more efficient theater works, the more one gets from the budget. And Vice versa. Monitoring and adjustment of a new system of government takes two seasons. And introduction: the funds allocated by the city for the maintenance of the theatres, in the amount of 8.5 billion rubles, remain intact. So budget for the theater can boast not a single Russian region. And not only Russian.

Dec. The first occurs in recent decades, the dismissal of artistic Director of the theatre. Svetlana Vragova, many years headed the theater “Modern”, has been dismissed. But not for ideological or artistic reasons, and “in connection with numerous violations of financial and economic activity.” Yes, dismissed and can’t be recovered, despite the efforts of colleagues, however, are not numerous. A few months later the place Svetlana Vragova is Yuri Grymov working more in cinema than in theatre. He strongly takes up the case, succeeded on the part of the PR and change the image of “Modernity.” You can not say about the theatre production: premiere of “brave new world” as the first pancake is always lumpy.

Dec. The theatre in the usual sense of the word, there is another competitor — immersive theater. The theatre-Walker, involving the viewer into a mystical action is a strong “infusion” of the theater, quest and performance. Moscow revealed two immersive show — “Black Russian” for “Dubrovsky” Pushkin and “Returned” on the “Ghosts” Ibsen. Of course, to a Western show it is far, especially in terms of financial investments and performing culture (as scenery and props leaves much to be desired), but for those in the theatre were not at all or the rare visitor, it is a good door to wondrous his world. So roam masked through dark alleys surviving Moscow mansions among suspicious people — watching, and gets to the theatre of the present.

January 2017. “Contemporary” on the Yauza produces the premiere of “Amsterdam” that beats all records for attendance. It’s impossible to get tickets from scalpers during the peak season reach 40 thousand. Hype dictated by two circumstances: first, the brilliant work of Michael Ephraim, which can be described as: he’s playing Russia in all its painful points. How? This is a must see but is obvious to everyone that his acting today he has no equal. Next to him, all celebrating the work of Evgeny Pavlov, for many years published in the “contemporary” on the third cast. And second, very significant, — the play of Alexander Galin offers a different view of delicate and, as it turns out, dangerous for the Russian society the topic of sexual orientation and tolerance in this matter. Look not painful-passive-showski, and Comedy, where through the laughter through the tears.

“Amsterdam” (“Contemporary”).

January and all spring. Sergey Bezrukov, the artistic Director of a Provincial theatre, affects the scale of his ideas and actions aimed at one thing — to win a place for his “province,” “capital yard” and prove that it is not the capital of a United country alive. And I must say, nebezrazlichna: it has seven premieres, including the project for the anniversary of Vladimir Vysotsky (singing with orchestra, film, and documents), the idea of holding a national children’s festival of the arts, financially supported by the Ministry of culture. Finally, the first festival of provincial theaters (in the framework of the “Stanislavsky Season”) in the movie. If this goes on, the indomitable and quite sincere energy Sergey Vitalyevich may lead him to a higher authoritative chair. For example, the STD Chairman or the head of the culture Committee of the State Duma.

February. In the Stanislavsky “Stanislavsky” by Boris Yukhananov, working in the field of pure art and experiment, there is a performance “Before sunset”. The work is significant in many ways, but his main achievement — the idea that a real artist is not replaced by any technology, however advanced they may be. The decision of the artist Yuri Hurikova amazing (unity in the scenery, costumes and makeup), and, in fact, solves the performance.

“Before sunset” (Stanislavsky “Stanislavsky”). Photo: electrotheatre.ru

March. The theatre of Nations Yevgeny Mironov is gradually implementing the idea of building the theater district. Behind it the main building offers a “New space”. A small house on Strastnoy Boulevard is becoming a laboratory for interdisciplinary research and experimentation. First it includes an amazing Director, researcher, sounds and texts in their indissoluble existence, philosopher Heiner Goebbels.

March–April. The”birth” of the actor Vyacheslav Kovalyov from the Mayakovsky Theater, where he serves 13 years. He’s 48, engaged in the repertoire, but not in the lead roles. And only after the premiere of “Exile” (dir. Mindaugas Karbauskis) talking about him. It is in “Exile” Kovalev plays brilliantly immigrant from Lithuania, trying to find himself and his place in the sun, or rather in the capital of the British Empire. It is known that such a case is waiting for every actor, but not everyone is waiting for. And it’s the worst thing in the acting profession.

May. Starts Chekhov festival, thanks to which Moscow in addition to the performances of the leading Directors and choreographers of the world (Lepage, Thierry, jeanty, Ivo van Hove and Akram Khan, etc.) saw the last performance of the great Peter brook with a very telling title “battlefield”. The sequel to his legendary “Mahabharata” (it was 11 hours) today looks like a short (1 hour 10 minutes), but the last warning to humanity, approached the edge of his existence. Minimalism built by the brook in the absolute, and it seems that today only the Mat, the sounds of the African drum and the mean performance of the actors (I think, not playing at all) is able to stop those who push the policy world and makes a fateful decision. However, not the fact that they are unlike us, watching this.

May and whole June. Suddenly the story begins, which is popularly called “the Business government”. Starts scary, as if we live in the 37th year of the Director directly from the rehearsals taken on many hours of interrogation, to make searches at 17 locations, including his home. He is a witness in the case, and two people (ex-Director Yuri Itin and ex-accountant Nina Maslyaeva) arrested. Itin sent under house arrest, Masliaev — in jail. The rising tide of outrage at the brutality of a measure of restraint (especially compared to greenhouse conditions of detention of defendants in multibillion-dollar cases), collected signatures in defense. But most importantly, people do not understand that this matter is purely economic or is it without the policy there has not been? There is a consequence, but everyone is asking one question: “Why are people convicted only in cash, must be kept behind bars?”.

June. Quietly, behind the scenes developing other theatre — “Perovo”, which crimes does the seizure of documents, finds a lot of violations and even initiating a criminal case under article 158 “Theft committed group of persons on preliminary arrangement”. Director Andrey Panchenko dismissed it looking for the relevant authorities, investigators dismantled a complex scheme of money withdrawal, and artists sit without salaries because the cash box is empty. But their fate is not interesting: professional community continues to show solidarity only where there big names.

June. The business of Studio seven receives an unexpected development: detained former Studio Manager Serebrennikov Alexey Malopolski, who did not have (!!!) right of the financial signature. However, detaining him, accusing that he has not produced a play (“a Midsummer night’s Dream”) on which the money was allocated. Malopolska after court sent to jail. The accusation sounds absurd, because the play everyone remembers, but no evidence of its existence (and success) will not be accepted. However, many are surprised that Kirill Serebrennikov did not appear in court, while Idina and Malopolska come to support other Directors and creative Director. Distanciruemsa from the suspect or the lawyer advises?

July. Well finally one more thing — “Nureyev”. It bears no relation to Finance, and the eponymous ballet, whose production of a management of the Bolshoi theatre promises to transfer the first indefinitely and then for 8 months. The official reason is only one — the unavailability of the play, but informal weight from the non-gay topics on the main stage of the country (especially historic) to the political persecution of Kirill Serebrennikov. But if “Nureyev” did not Serebrennikov, is unlikely to be an uproar and no one would notice it “wet”. Whatever it was, but this case (and many others) proves that the artist who agreed to be a “banner” of those or other political forces, should be ready for the fact that “banner” is worn, but sooner or later you tear someone else’s or your own.



Best actor — Vladimir Korenev (Matthias Clausen, “Before sunset”, “Electrotheatre Stanislavsky”); Alexander Kalyagin (“Actor”, “Inspector. Version”, Et Cetera);

Best actress — Lyudmila Maksakova (Jocasta, “Oedipus the King”, the Vakhtangov theatre); Vera Alentova (Judith bliss, “Oranges & Lemons”, Pushkin Theatre);

“Oranges & Lemons” (Pushkin Theatre). Photo: teatrpushkin.ru

Best female actor in a supporting role — Nina Marushina (Clara, “Oranges & Lemons”, Pushkin Theatre); Marina Khazova (Felicita Antonovna, “Late love”, “Contemporary”);

Best male role of the second plan — Eugene Knyazev (Tiresias, “Oedipus the King”, the Vakhtangov Theatre);

Best performance — “Day of the Oprichnik” (dir. Mark Zakharov, Lenkom), “Oedipus the King” (dir. Rimas Tuminas, the Vakhtangov Theatre);

“Day of the Oprichnik” (“Lenkom”). Photo: lenkom.ru

Best artist — Yuri Harika (“Before sunset”, “Electrotheatre Stanislavsky”); Adomas Jacovskis (“Oedipus the King”, the Vakhtangov Theatre).


Best actor — Mikhail Efremov (Skvortsov, “Amsterdam”, “Contemporary”);

Best actress Olga Prokofiev (kat Keller “All my sons”, Mayakovsky Theater, the stage on Sretenka);

Best male role of the second plan, — Dmitry Pevtsov (the Emperor Platon Nikolaevich, “Day of the Oprichnik”, “Lenk”); Aleksey Vertkov (Voland, “the Master and Margarita”, the Studio of theatrical art of Sergey Zhenovach);

“The master and Margarita” (STI). Photo: sti.ru

Best actress of the second plan — Irina Koreneva (Bettina, Clausen, “Before sunset”, “Electrotheatre Stanislavsky”);

Best play — “the Master and Margarita” (dir. Sergei Zhenovach Studio of theatre art).


Best male role — Viktor Dobronravov (Oedipus, “Oedipus the King”, the Vakhtangov Theatre);

Best actress — Anna Senina (Inken, “Before sunset”, “Electrotheatre Stanislavsky”);

Best male role of the second plan — Evgeny Pavlov (Dolores, “Amsterdam”, “Contemporary”); Ivan Yankovsky (the poet Homeless, “the Master and Margarita”, the theatre art Studio);

Best female actor in a supporting role — Catherine Simon (Lena, “benefit”, the Vakhtangov Theatre);

Best play — “the Man who mistook his wife for a hat” (dir. Nikita Kobelev, the Mayakovsky Theatre, the stage on Sretenka).


Performance-improvisation — “While the beer is poured” (dir. Joseph Raihelgauz, “School of modern play”);

Solo performance — Ekaterina Durov (“the True story of Patrick”, the Theater on Malaya Bronnaya);

The best performance for adolescents “Transition to adulthood” (Olga Sidorkevich, “teatrium na serpukhovke”);

photo: Vladimir Mayorov
“Awkward age” (“teatrium na serpukhovke”).

Composer faustas Latenas (“Oedipus the King”, the Vakhtangov Theatre);

Ensemble — “Our Class” (the Vakhtangov Theatre, New stage); “Gardenia”, (film branch);

Individual genre “Soundtrack” (the house of the actor Workshop theatre crafts Andrey Shchukin);

Student performance — “one Hundred years of solitude” (Dir. Yegor Peregudov, GITIS);

Breakthrough — Vyacheslav Kovalev (“The Exile”, The Mayakovsky Theatre).

Actor of the year — Vladimir Etush.

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