Stanislavsky Drama Theater on Tverskaya. How does the Stanislavsky Electric Theater work?

The Stanislavsky Electrotheater is a well-equipped and comfortable art space in the very center of Moscow, on Tverskaya Street 23.

Opened after reconstruction in 2015, the theater is the quintessence of drama theater and new music. Within the walls of the theater, artistic innovations are generated, and modern directing flourishes.

The name symbolically combines a triple heritage: the Ars Electrotheater (1915), the opera and drama studio of K.S. Stanislavsky (1935), Moscow Theatre of Drama them. K.S. Stanislavsky (1950).

Over the course of three years, the Electrotheater’s posters presented 46 premieres of performances by both debutants and renowned directors:

• "The Human Use of Human Beings" by Romeo Castellucci;
• The Bacchae by Theodoros Terzopoulos;
• opera series by Boris Yukhananov “The Drillers”.

Since May 2017, the Stanislavsky Electrotheater has been a member of the Union of European Theaters.

On our website you can familiarize yourself with the entire rich repertoire of the theater. It is better to take care of purchasing tickets in advance, choosing a convenient seat according to the seating chart and price category.

Entourage of the Stanislavsky Electrotheater

The main transforming stage provides unique technical capabilities for the implementation of projects of any complexity. In 2016, the Small Stage was opened for directorial debuts, which is also used for film and video screenings. You will not find velvet chairs in the hall, but you will sit comfortably, and your neighbors will not block your stage.

There is an Electric Zone in the lobby. It involves a cafe, a bookstore, a staircase and a wardrobe. This is a place for performances, lectures, discussions, film screenings, concerts modern music. The electric zone also includes educational project"School modern viewer and the listener." Open-air events take place in the theater courtyard.

Advantages of ordering tickets on kassir.ru

Always on our website latest information and current prices from the theater. You can explore the repertoire of the Stanislavsky Electrotheater, choose an event to your liking and buy a ticket online (click) or at our theater box office in Moscow.

When paying online e-ticket comes to the specified e-mail. You can place an order with delivery, then the ticket will be delivered by courier in Moscow and the nearest Moscow region. If necessary, you can return it by reading our rules on.

More about the theater

Electrotheater Stanislavsky

In January 2015, after a global reconstruction, the Moscow Drama Theater named after Konstantin Stanislavsky opened new theater, called "Electrotheater Stanislavsky". The ideologist of the new concept was director Boris Yukhananov, who won the competition for artistic direction of the theater together with a team of like-minded people. The changes were carried out with the support of the Moscow government and the private Foundation for Support and Development of the Stanislavsky Electrotheater.

In 1915, the Ars electric theater was opened in this building (at that time cinemas were called electric theaters). And in 1950, the Moscow Drama Theater named after K.S. moved here. Stanislavsky, successor to the Opera and Drama Studio, the last endeavor of the great director. These historical facts determined a new name for the theater, which is a unique space located in the very center of Moscow.

The concept of the Electrotheater included the idea of ​​combining the operatic and dramatic principles of the theater. And the concept is based on the principle of generating artistic innovation associated with new directing strategies.

Equipped to the latest technical standards, the Main Stage is designed for the most diverse repertoire. Masters of directing, drama and opera stage their performances here. The first performance of the Main Stage was “The Bacchae” by the outstanding Greek director Theodoros Terzopoulos, while working on it, the artists of the Electrotheater plunged into the world of ancient Dionysian myth and energy and voice practices.

Even before the official opening of the theater, Romeo Castellucci’s performance “The Human Use of Human Beings” was staged on the Main Stage - the first and only production Italian artist and director in Russia. The performance was presented in three Golden Mask nominations. And as part of the NET festival, Katie Mitchell’s play “Breath” was shown at the Electrotheater.

The unique technical capabilities of the transforming stage made it possible to stage the production of “Max Black, or 62 ways to support your head with your hand” by the German director and composer Heiner Goebbels. The play took part in the Theater Olympiad in Wroclaw and was nominated for the Russian national award « Golden Mask" The Electrotheater publishing house published Goebbels’ book “The Aesthetics of Absence,” the director’s first work in Russian.

Since its birth, the Electrotheater, musical director which is the composer Dmitry Kurlyandsky, has become the only theater platform in Russia that is strategically open to modern academic and experimental music.

The first event musical life The opera series “Drillers” by Boris Yukhananov became the Electrotheater. The music for “Sverliytsy” was written by six leading contemporary Russian composers, who each interpreted in their own way the text of a philosophical and poetic novel about civilization called Drilling. "Sverliytsy" was highly appreciated by critics, was presented in 9 nominations for the Golden Mask Award and became a milestone in modern history operas.

Important co-production experience Russian theater The opera “Octavia” became a major European festival. Trepanation” by Boris Yukhananov and Dmitry Kurlyandsky, shown at the Holland Festival in the year of the centenary of the Russian Revolution. In the fall of 2017, the play, which is a conceptual reflection on the nature of tyranny, was shown at the Teatro Olimpico in Vicenza.

The opera “Prose” by composer Vladimir Rannev, in which he acted not only as a composer but also as a director, combined modern art animation, a complex vocal score and texts by Chekhov and Yuri Mamleev. And the opera “Maniosis” by composer and director Alexander Belousov, released on the Small Stage, became an example of a radical experiment in the field of electronic and academic music in a chamber presentation.

The opera block of the Electrotheater and the high concentration of events allowed the theater to enter the international festival stage and turn it into the only place in Russia where people are involved in the intensive theatrical process key figures modern composer's music.

The dramatic repertoire of the Main Stage is represented by performances by foreign and Russian directors and large-scale projects by Boris Yukhananov himself.

Yukhananov’s first performance with the artists of the Electrotheater was “The Blue Bird” - a three-day esoteric journey based on Maeterlinck’s play into the depths of the Soviet empire. The main roles - the children Tiltil and Mytyl - in this performance are played by the oldest actors of the theater, Vladimir Korenev and Aleftina Konstantinova. The performance is permeated with their personal memories of the history of the theater and the country. "Blue Bird" is technically the most complex project a theater in which all the capabilities of the stage are used.

“The Enduring Principle,” directed by Boris Yukhananov based on texts by Calderon and Pushkin, reveals the topical topic of intolerance and ontological war today in the language of perfectionism and theatrical beauty.

A revolutionary innovation was Boris Yukhananov’s five-day project “The Golden Ass” based on Apuleius - the embodiment of a new type of theatrical strategy based on the rejection of the format. “The Golden Donkey” rethought the communication accepted in the theater: the process of creating a work becomes a performance. This principle is called “open work space”.

Over the three years of the Electrotheater’s existence, 46 premieres were produced, created by both top Russian directors and debutants.

Contemporary Russian theater headliner Konstantin Bogomolov turned Thomas Mann's The Magic Mountain into a radical artistic gesture. Philip Grigoryan translated the plot of Moliere's Tartuffe into the context of a tragic Russian history— the performance was nominated in three categories for the Golden Mask Award. Film director Alexander Zeldovich in “Psychosis” combined the text of Sarah Kane with video animation by the famous art group AES+F. Vladimir Kosmachevsky and artist Yuri Kharikov composed an expressionist play about the death of civilization based on Hauptmann’s play “Before Sunset”; The performance received an award from the Moskovsky Komsomolets newspaper. Inna Dulerain's multidisciplinary project "Songs of Ptsa" with the participation of contemporary artists from Taiwan, Greece and the UK demonstrates the openness of the Electrotheater to different types arts Director Oleg Dobrovolsky recoded famous play Dürrenmatt's "The Old Lady's Visit" into the myth of the limits of power. A team of young Russian directors and artists composed “The Seagull” - a live experience in the deconstruction of Chekhov’s play, in which each of the directors played Treplev. The experience of transferring the Broadway drama “Anna in the Tropics” by Nilo Cruz into a sophisticated dramatic performance was carried out by director Alexander Ogarev. In his play “Colonel the Bird” based on the play by Hristo Boychev, director Roman Drobot turned to the traumatic aspects of the theme of war in modern Europe.

On the Small Stage specially built by the theatre, which opened in September 2016, 10 debuts took place: “Faryatyev’s Fantasies” by Alla Sokolova, directed by Evgeny Bednyakov, “Idiotology” by Klim Kozinsky based on the novel by Dostoevsky, “A Stain on the Wall” directed by Polina Fractall based on the text by Virginia Woolf, “Love Machines” by Maria Chirkova based on the poem by philosopher Keti Chukhrov, “Bunin” by Svetlana Prokhorova based on the stories of Ivan Bunin, “The House of Bernarda Alba” by Lorca directed by Alisa Seletskaya, “On the Wise Man” by Georgy Grishchenkov based on the play by Ostrovsky, “A Boring Story” by Vasily Skvortsov Chekhov's story, "Andromache" by Leysan Faizullina based on Racine's tragedy and "Zoyka's Apartment" based on Bulgakov's play directed by Olga Lukicheva.

Equipment Small stage allows for film and video screenings. A screening of Jacques Rivette's film OUT 1 took place here, with actor Jean-Pierre Léaud as a guest.

Opening with the performance “Galileo. Opera for Violin and Scientist" in the summer of 2017, the Theater Court became the "Moscow Avignon" - an open-air venue suitable for concerts, performances, film festivals and lectures. The opera Galileo has been nominated for the Golden Mask Award in three categories.

In the foyer of the theater, which includes a café and bookstore, on the stairs and in the cloakroom, it unfolds rich life Electric zones. These venues are used for lectures, performances, contemporary music concerts, film screenings, exhibitions and performances.

Powerful exhibition projects and installations are carried out here: resonant events were the installation of Katie Mitchell and the Victoria and Albert Museum “Five Truths”, as well as the video installation of Boris Yukhananov, Dmitry Kurlyandsky and Elena Koptyaeva “Melting Apocalypse”, capturing Boris Yukhananov’s dialogues with Castellucci, Goebbels and Terzopoulos . The intellectual activity of the theater is supported by the publishing activities of the “Theater and Its Diary” line, which publishes books on the theory of theater and related arts. Educational and creative activity Electrozones gather a wide audience and create the context that theater needs today.

In May 2017, the Stanislavsky Electrotheater became part of the Union of European Theaters.

The unique status and artistic policy have made the Electrotheater a place where the image of new communication is taking shape. Electrotheater practice reflects being modern culture, which involves an open dialogue with a person.

A four-story building at Tverskaya Street, 23 - next door to the English Club (Museum of the Revolution - State central museum modern history Russia) - was built in the 19th century as apartment building. In 1915, a different kind of income began to be generated from the building. One of the most famous “electric theaters” in Moscow, the Ars cinema, opened here. Under Soviet rule, the building was gradually reclaimed by the children's theater of Natalia Sats, which existed at this address until 1936. Since 1937, the Moscow Theater for Young Spectators has been located here. And a little more than a decade later, the Drama Theater named after K. S. Stanislavsky moved here, growing out of an opera and drama studio, which was once founded and headed by the master of Russian directing himself.

With the prefix "electro"

The Stanislavsky Theater, as it was usually called, existed in its original form for many decades, was very popular, especially in the 1950s-1960s, knew and creative crises. But in 2015, almost everything changed.

Now on the building at Tverskaya, 23 it is written: Stanislavsky Electrotheater. On the surface there is a desire to emphasize the continuity of the renovated theater with both the Stanislavsky studio and the Ars cinema. However, it is unlikely that many current Muscovites (except for connoisseurs of old Moscow) will associate the new name with cinema. They would rather think that the theater wants to declare itself as a stage venue of a new type, using modern technologies to create a different visual environment. And this will be a thought in the right direction.

The concept of a transforming theater provides for the creation for each individual performance of a special configuration of the stage space and a specially selected arrangement of seats, which allows each viewer to fully perceive the concept of the production.

The initiator of the changes was the new artistic director - theater, film and television director Boris Yukhananov, also known as a producer, actor, writer, teacher and one of the pioneers of the Russian film avant-garde (by the way, films are also sometimes shown within the walls of the Electrotheater, but, of course, not mainstream) . Not only the interior design was radically changed (the famous architectural bureau Wowhaus worked on the project), but the concept of a transforming theater was implemented, in which the Main and Small stages, as well as other rooms, can be adapted for performances, shows, presentations, etc.

The stage is for souvenirs

“The reconstruction work that we had to do,” says Sergei Kotov, Technical Director Electrotheater, - contained many difficulties of an engineering nature. Yes, a popular Moscow theater operated in this building for a long time, but, generally speaking, this is still a cinema hall, and it is difficult to arrange a theater here in the classical sense. Above the hall big stage- one more floor, that is, there is no possibility of organizing a grate space. To attach the scenes and decorations, several rod lifts (a pipe suspended on cables) were used. The stage was small - 80 cm high and 10 x 10 m in size, that is, there was practically no backstage space either. True, they managed to build a circle into the stage for a quick change of scenery. All this had to be dismantled. The only thing we were not allowed to demolish was the balcony of the auditorium. He is considered historical value: Lenin once spoke from it. And from a scene that many remembered popular actors different generations, we cut into cubes. For memory, like souvenirs.”

Given the inevitable constraints imposed by the reality of the historic building, the renovation team had to look for unconventional solutions. They did not follow the path of their predecessors and abandoned the fly bars, which also absorbed a lot of space. Instead, a technological ceiling was installed on the ceiling of the large stage hall - something like a metal lattice. Over the entire area of ​​the structure, rollers were fixed in small increments, onto which cables from low-noise electric winches mounted on the wall were thrown. The result is a system of lifts covering the entire hall, on which you can hang vertically moving lighting fixtures, decoration elements, etc. The lifts are controlled from a computer, the program can synchronize their operation, assemble several lifts into groups - in other words, the result is an accurate and flexible tool working with the space of the hall. At the same time, enough air remains above the spectators' heads.

“The theater is a single digital multimedia field,” says Sergei Kotov. — All premises are connected to each other by a fiber-optic network controlled by a server. You can listen to and watch the performance on one of the stages, being, for example, in a recording studio. And at the same time high quality record sound. All lifts and lamps are controlled by the operator from a computer or run under the control of a running program.”

Engineered Sound

“Another problem that we had to face was the acoustic characteristics of the old hall,” Sergey Kotov continues his story. — The idea of ​​a transforming theater assumed that sound from every point in the hall should spread equally well to any other point. To achieve this, we had to order an acoustic project and rebuild the hall according to the calculations. As a result, the walls received a wavy relief and a gray color due to special acoustic plaster.

The photo of the large stage hall clearly shows the acoustic walls, which have a wavy relief and are covered with special plaster. Black lattice structures - technological walls and technological ceiling.

In addition, we equipped the hall with a high-tech sound reinforcement system, which allows you to create interesting sound effects- for example, making sound flow from almost anywhere in the hall. It is not always possible to see our acoustic walls: sometimes, if the design of the performance requires it, they are draped with black curtains. In addition, structures similar to a technological ceiling were built along the walls. These are grilles that have standard fastenings for placing decorations, lamps, and multimedia screens. By the way, there are similar technological walls and ceilings in the foyer. With their help, we can easily transform this large space for performances, exhibitions and other events.”

In our story about the history of the former Ars building, one is missing interesting page. In the 1930s, this house was moved to the new red line planned for the expanded Tverskaya (Gorky Street). It was done like this: rails were laid under the building, the house was sawed off from the foundation, raised on jacks, rollers were brought under it and the building was towed to its destination. So, during the reconstruction of the lower premises of the theater, a fragment of one such rail was discovered. And they decided to leave it in place. This is also memory.

Dialogue with virtuality

Electrotheater is saturated modern technology- both ordinary, like a recording studio or video editing room, and not so much. We enter the hall and see that the stage is separated from the auditorium by some kind of frame with stretched film (the theater is preparing for the premiere of the play “Prose”). Here is an element of Musion Eyeliner technology. It is used to combine what is happening on stage with the video image. This is how they organize, for example, joint performances with Michael Jackson, Elvis Presley or other stars who have left this mortal coil.

For its productions, the Stanislavsky Electrotheater sews hundreds of costumes and creates many original sets. The photo shows a scaled-down mock-up of a Boeing 777.

The projector sends a video image to a horizontal screen, from the screen it is cast onto a translucent-half-mirror film placed in front of the stage at a certain angle. This achieves the illusion of the simultaneous presence of the real and the virtual on stage. In the performance of the Electrotheater everything is even more complicated. There, actors standing on stage, videos and images of two more actors who seem to be floating in the air are collected into a single picture. In fact, they are in a “pit” invisible to the viewer on boxes covered with black cloth, and their appearance on stage is a trick mirror reflection. By the way, the illusion occurs only when the viewer looks at the stage from a certain angle, so the tilt of the stalls was specially calculated. For a different performance, the tilt may be different, and the chairs may be placed completely differently, either across the hall or lengthwise. This is a transforming hall.

Magic ball with a video picture.

Probably, classical theaters with a decorous foyer, velvet curtains and grates above the stage will be honored by fans of performing arts for a long time to come. But times are changing, and it is natural that platforms will appear that expand the possibilities of theater directing and allow one to look at the art of Melpomene from other angles. You can find out what these possibilities and angles are at the Stanislavsky Electrotheatre. Where Ars used to be.

Electrotheater "Stanislavsky"

The STANISLAVSKY Electrotheater continues the history of one of the important cultural institutions of Moscow, whose activities began a hundred years ago, in 1915. That's when the ex apartment building turned into a “cinema palace” - the Ars electric theater. The largest and most modernly equipped cinema hall in Moscow immediately became one of the most fashionable and lively places in the city. Ars survived the revolution, but was closed in the first years of Soviet power.

After this, the building on Tverskaya turned into a famous theater address on the map of Moscow artistic life. Worked here since 1921 children's theater N.I. Sats, and from 1937 - MTuZ. In 1935, the Opera and Drama Studio of Konstantin Sergeevich Stanislavsky opened next door - an experimental laboratory that was supposed to become a place for the practical implementation of his creative system. In working with students of the opera and drama classes of the Studio K. S. Stanislavsky hoped to summarize his entire teaching experience, try out ways to educate a universal actor and create a synthetic performance. In this work, K.S. Stanislavsky was helped best actors Moscow Art Theater: M. P. Lilina, O. L. Knipper-Chekhova, I. M. Moskvin, V. I. Kachalov, L. M. Leonidov. The repertoire that the studio members worked on consisted of plays by A. P. Chekhov, L. N. Tolstoy and W. Shakespeare.

After Stanislavsky's death in 1938, the Opera and Drama Studio was headed by his student - actor, director and teacher Mikhail Nikolaevich Kedrov. In 1940, the studio members presented the audience with their first big performance- “Three Sisters” by A. P. Chekhov, directed by M. N. Kedrov. The play ran for many years and was performed more than 600 times.

In 1946, the status of the Studio changed; it was transformed into the Opera and Drama Theater. K. S. Stanislavsky. Just two years later, in 1948, the opera department was abolished, the theater became a drama theater - and two years later it moved to the premises of the former Ars cinema.

A period of stable and successful work you can call the time between 1950 and 1963. Then the theater was headed by another student K.S. Stanislavsky, outstanding actor and teacher Mikhail Mikhailovich Yanshin. It was in those years that a bright acting ensemble was formed, which included actors Evgeny Urbansky, Evgeny Leonov, Liliya Gritsenko, Leonid Satanovsky, Maya Menglet, Vladimir Anisko, Yuri Grebenshchikov, Elizaveta Nikishchikhina, Aleftina Konstantinova, Vladimir Korenev and others. “The Seagull” by A.P. Chekhov (1954) and “Days of the Turbins” by M. Bulgakov (1954), directed by Yanshin, the theater played with great success for more than one season.

In 1963, the theater was headed by director and theater historian Boris Aleksandrovich Lvov-Anokhin, who largely continued Yanshin’s efforts aimed at creating a strong and diverse troupe capable of interesting work with a repertoire that was unusual for the then Soviet theater. The theater’s successful production was “Antigone” by Jean Anouilh, and the role of Antigone performed by Elizaveta Nikishchikhina still remains one of the most significant female images post-war Soviet theater.

In the 1970s, the theater experienced a crisis, which ended in 1977 with the arrival of Andrei Alekseevich Popov as chief director. Like Yanshin, Popov had the talent of a teacher and a “talent collector” - a person in whose sphere of attraction were young directors and actors, behind whom Popov himself saw the potential of the theater of the future. So, his students came to the theater with him: Anatoly Vasiliev, Boris Morozov and Joseph Raikhelgauz. They carried out productions with which it is customary to associate a breakthrough in creative life Theater named after K.S. Stanislavsky. And two performances by Anatoly Vasilyev - “The first version of “Vassa Zheleznova”” (1978) and “ Adult daughter young man"(1979) - became a theatrical phenomenon that influenced not only Moscow or even Soviet, but world theater.

From 1980 to 1989 the theater was headed by Alexander Tovstonogov - but, despite the still strong cast and several extremely successful productions based on plays by playwrights of the new generation (“Impromptu Fantasy” by V. Tokareva, “The Threshold” by A. Dudarev, “Noah and His Sons” by Y. Kim, “Housewarming in an Old House” by A. Kravtsov, “St. Sholom Aleichem, 40" by A. Stavitsky), during this period the theater began to lose its development dynamics and popularity. era political reforms coincided for the theater. K.S. Stanislavsky from long period ambiguities aesthetic program. Since the 1990s. The theater changed several artistic directors: Roman Kozak, Vitaly Lanskoy, Semyon Spivak, Tatyana Akhramkova, Vladimir Mirzoev, Alexander Galibin and Valery Belyakovich, who headed the team until the end of the 2012/2013 season.

In July 2013, as a result of a competition held by the Moscow Department of Culture artistic director The theater was appointed student of Anatoly Efros and Anatoly Vasilyev, director, teacher and theater theorist Boris Yukhananov. His program is based on two fundamental vectors:
I. Creation of a director's theater and a return to the idea of ​​a synthesis of artistry and accessibility.
II. New process vector of theater development, which implies active cooperation with newest composers, radical artists who took place both in Russia and in the world artistic space, the creation of borderline works, modern operas, the implementation of various artistic strategies, including installations, performances, and others innovative forms.

The theater returned the concept of “electric theater” to its name as a reminder of the hundred-year history that began with the “Ars” electric theater. In addition, this concept can be interpreted as a “theater of light”.

On this moment The theater troupe includes: People's Artists of Russia Valery Afanasyev, Vladimir Korenev, Honored Artists of Russia Aleftina Konstantinova, Lyudmila Lushina, Natalya Pavlenkova, Olga Geze-Stanitsyna, Alexander Panteleev, Yuri Duvanov, Oleg Bazhanov, Leonid Zverintsev, Tatyana Nazarova, artists Fyodor Borisenko, Inna Golovina, Valery Gorin, Maxim Derichev, Vladimir Dolmatovsky, Roman Drobot, Alla Kazakova, Anna Kapaleva, Victor Kinakh, Elena Klishchevskaya, Daria Kolpikova, Irina Koreneva, Anton Kostochkin, Anastasia Ksenofontova, Tatyana Mayst, Alexander Miloserdov, Margarita Movsesyan, Elena Morozova , Dmitry Myagky, Diana Rakhimova, Lyudmila Rozanova, Evgeny Samarin, Anna Senina, Evgeny Sergeev, Alexander Sinyukov, Mikhail Sokolov, Anton Torsukov, Nikolay Trifilov, Tatyana Ukharova, Anastasia Fursa, Lyudmila Khalilullina, Dmitry Chebotarev.

Story

On March 16, 1935, the Soviet government decided to create the State Opera and Drama Studio of K. S. Stanislavsky. Leading actors of the Moscow Art Theater took part in organizing the work of the studio - M. P. Lilina, O. L. Knipper-Chekhova, I. M. Moskvin, V. I. Kachalov, L. M. Leonidov, M. N. Kedrov, N. A. Podgorny and others.

On October 1, 1935, the opening took place in the premises of the Small Stage of the Moscow Art Theater (Gorky St., now Tverskaya St.).

From the very beginning, the Studio dealt with the internal and external technique of the actor, work on the word, sketches - everything necessary to prepare for the immediate mastery of future roles. Stanislavsky considered it advisable to begin classes with students not with excerpts, but with the whole play, achieving a creative ensemble. So he immediately laid the foundation for the future repertoire. Work began on the plays “Three Sisters” and “ The Cherry Orchard"A.P. Chekhov, "The Fruits of Enlightenment" by L.N. Tolstoy, "Hamlet" and "Romeo and Juliet" by W. Shakespeare.

In 1938 (after the death of K. S. Stanislavsky), the Studio was headed by M. N. Kedrov (replacing Venniamin Radomyslensky in this post) and directed it until 1948.

In 1940, the premiere of the studio's first full-fledged performance, on which Stanislavsky began to work, took place - Chekhov's Three Sisters, directed by M. N. Kedrov (directors O. N. Androvskaya and B. I. Flyagin, designer - V. I. Romanovsky). The play ran for many years and was performed more than 600 times. By the summer of 1941, the performances “The Cherry Orchard” by A. P. Chekhov, directed by M. P. Lilina, and “Romeo and Juliet” by W. Shakespeare, directed by M. N. Kedrov, were prepared. The last of these performances was brought to dress rehearsals in makeup and costumes, but it was not possible to show it to a wide audience due to the outbreak of the war.

During the war, the theater continued to function. “The Hostess of the Hotel” (1942) by C. Goldoni, “Trouble from a Tender Heart” by V. Sologub, “The Flowering Tree” by L. Slavin, the operetta “Claudine” by J. Offenbach and others were played in portable formats in difficult front-line conditions. M. P. Lilina and Z. S. Sokolova took an active part in the creation of these performances.

At the end of 1942, rehearsals of plays from the main repertoire, interrupted by the war, resumed. In April 1943, R. Sheridan’s comedy “The Day of Miraculous Deceptions” (“Duenna”) was first shown, directed by Yu. N. Malkovsky and G. V. Christie. The performance lasted more than a thousand performances.

In 1946, the Studio was officially reorganized into the Opera and Drama Theater. K. S. Stanislavsky.

First significant work post-war years became a performance by B. I. Ravenskikh based on the play by Soviet playwright P. F. Nilin “In the Silence of the Forests” (1948). He also staged P. Calderon’s play “No joke with love” (1949) - the play ran for many years. At the same time, director V. O. Toporkov collaborated with the theater, who staged “The Marriage of Balzaminov” (1947) based on the play by A. N. Ostrovsky.

In 1948, the opera department was abolished, and since then the theater has been called the Moscow Drama Theater. K. S. Stanislavsky."

After the departure of M. N. Kedrov to the post of head of the Moscow Art Theater, the theater experienced organizational and creative difficulties for some time.

Everything changed in 1950, when one of the greatest masters of the Moscow Art Theater, a student of Stanislavsky, M. M. Yanshin, was appointed chief director. The performances he staged were very successful: “Griboyedov” (1951), “The Seagull” (1954), “Days of the Turbins” (1954), where the role of Lariosik was played by young Evgeny Leonov.

Under Yanshin, B. A. Lvov-Anokhin began working at the theater, and in 1963 he became the main director. His performances include “Deck” (1963), “Anna” (1964), “Antigone” (1966) with Elizaveta Nikishchikhina and Evgeny Leonov.

L. Varpakhovsky’s productions (“The Rain Seller” (1973), “Wolves and Sheep” (1975)) were highly appreciated by critics and spectators.

From 1976 to 1979 The theater was headed by A.D. Popov, who gave the opportunity to work here for his students - Anatoly Vasiliev, Boris Morozov and Joseph Raikhelgauz. B. A. Morozov put here famous performance"Cyrano de Bergerac" with Sergei Shakurov in leading role. The performances of A. A. Vasilyev - “The Adult Daughter of a Young Man” (1979) and “The first version of “Vassa Zheleznova” (1978) - became a milestone in the history of the national theater. During this period, A. Filozov, L. Savchenko, E. Vitorgan, A. Balter, G. Burkov, E. Nikishchikhina, Yu. Grebenshchikov.

From 1980 to 1989 the theater was headed by A.G. Tovstonogov. Among other things, he staged “Ul. Sholom Aleichem, 40.” His performance " dog's heart"is still preserved in the theater's repertoire.

Over the next decade, the theater changed directors several times. From 1993 to 1997, the artistic director was V. V. Lanskoy. At the same time, V.V. Mirzoev staged his first performances here, from 2003 to 2004. director of the theatre. His performances “Marriage” (1994), “Pigeons” (1997) based on the play by M. Yu. Ugarov, “That Light” based on the play by A. N. Kazantsev (1997), “Twelfth Night or Whatever” (1999), “A Midsummer Night’s Dream” (2004) became a bright page in the history of the theater, and the play “Khlestakov” (1996) with M. Sukhanov in the title role is still performed.

From 1991 to 1992 the theater was directed by R. E. Kozak.

For several years, rock musician and actor P. N. Mamonov actively collaborated with the theater. Performances with his participation were staged here: “The Bald Brunette” (1992, director O. Babitsky), “Nobody Writes to the Colonel” (1994, director O. Babitsky), “Is There Life on Mars?” (1997), “Chocolate Pushkin” (2001), “Mice, boy Kai and The Snow Queen"(2004).

Two seasons - from 2001 to 2003. - the theater was directed by St. Petersburg director S. Ya. Spivak, who, among other things, staged the box office comedy “Masculine, singular" From 2005 to 2008, the theater was headed by T. V. Akhramkova, a student of the legendary A. A. Goncharov. During this period, the plays “Evgraf - Adventurer” (2006), “Cuba - My Love” (2007) and others were released.

In July 2008, the famous director A.V. Galibin became the artistic director of the theater. During the 2008-2009 season. Several performances were released at once: “I Came” based on the play by the modern Belarusian author N. Khalezin, “Crash” by F. Dürrenmatt, “Women’s Gossip” based on C. Goldoni. V.V. Mirzoev released “Betrayal” by G. Pinter with M. Sukhanov and A. Merzlikin in the leading roles. A children's fairy tale, “The Magic Nut,” based on “The Nutcracker” by E. T. A. Hoffmann, directed by R. Ibragimov, appeared. The current season opened with the premiere of J. Giraudoux’s play “There Will Be No Trojan War” directed by A.V. Galibin.

At the moment, the theater troupe includes: People's Artists of Russia V. Afanasyev, V. Korenev, Honored Artists of Russia A. Konstantinova, L. Lushina, N. Pavlenkova, O. Geze-Stanitsyna, M. Geykhman, A. Panteleev, Yu. Duvanov, L. Zverintsev, V. Kutakov, artists L. Gorin, K. Bogdanov, E. Samarin, S. Ryadinsky, V. Kinakh, N. Trifilov, I. Koreneva, T. Meist, T. Ukharova, L. Rozanova , D. Rakhimova, I. Grineva, E. Morozova, O. Lapshina, P. Raikina, M. Remizov, I. Savitskova, L. Khalilullina.

In July 2011, he was appointed artistic director of the theater. National artist Russia Valery Belyakovich.

Repertoire

• 39 steps Genre of production: comedy detective, (adaptation by P. Barlow) Author of the production: original concept by S. Korble and N. Damon Translation: V. Khitrovo-Shmyrov
• Accident Genre of production: ordinary comedy
• English roulette, or... million under contract Genre of production: Romantic thriller in 2 acts
• Indian gossip Genre of production: comedy Author of production: Alexander Galibin
• Magic nut Genre of production: fairy tale" (dramatization by V. Ignatyuk and T. Ibragimov) Author of the production: Ramis Ibragimov
• In search of the miraculous Genre of production: ballet-opera, dedicated to the circle of ideas of George Gurdjieff Author: Author of the production: Vladimir Mirzoev in collaboration with independent choreographer from Toronto Kim Franco. Decorations - V. Fishkin. costumes - P. Kaplevich, composer - A. Shelygin. 1997
• Pigeons Vladimir Mirzoev, Scenography - V. Sulyagin, costumes - P. Kaplevich. 1997 Prize for the best debut of the year, main male role - A. Usov.
• Marriage Genre of the production: Author of the production: Vladimir Mirzoev, 1994. Artists – D. Alekseev, P. Kaplevich
• Who is stronger, Pariah Genre of the production: Author of the production: Vladimir Mirzoev, artist – P. Kaplevich, 1994.
• Cuba - my love Production genre: Nostalgic installation comedy
• Love and cards Genre of production: Comedy in 2 acts Author of production: Vladimir Krasovsky
• Master and Margarita Genre of the production: tragicomedy Author of the production: Sergei Aldonin
• Masculine, singular
• Man and women Genre of production: French comedy in 2 acts
• Betrayal Author of the production: Vladimir Mirzoev
• Romeo and Juliet Genre of the production: fantasies between dreams and reality based on the play Author of the production: Sergei Aldonin
• dog's heart Genre of production: tragicomedy in 2 acts by A. Stavitsky) Author of the production: Alexander Tovstonogov
• Glass of water Genre of production: Carnival extravaganza in 2 acts Author of production: Sergey Aldonin
• That light Production genre: , 1997

Scenography – V. Fishkin, costumes – P. Kaplevich

• There will be no Trojan War Genre of production: drama Author of production: Alexander Galibin
• Khlestakov Author of the production: Vladimir Mirzoev, artist - P. Kaplevich, 1996. Stage version of N. Gogol's comedy "The Inspector General". State Prize for the performance of the leading male role - M. Sukhanov, prize from the newspaper " TVNZ"for best comedy actress - Yu. Rutberg
• Princess Frog Production genre: fairy tale
• Black chicken Production genre: fairy tale
• I came Genre of production: ironic parable

Troupe

Notes

Links

Categories:

• Theaters in alphabetical order
• Theater named after Stanislavsky
• Theaters founded in 1948
• Tverskoy district
• Moscow theaters
• Drama theaters

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