Main directors of the Mayakovsky Theater. Mayakovsky Theater

29.06.2019

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The Moscow Academic Theater named after Vl. Mayakovsky is one of the oldest and most famous theater groups in Moscow and Russia.

Its building was built in 1886 specifically for famous guest performers from abroad. Such world-famous people played on this stage famous artists like Sarah Bernhardt, Eleanor Duse, Ernst Possart, Mounet-Suly, Coquelin Sr., Coquelin Jr. and other celebrities. At the turn of the XIX-XX centuries. the theater was even called “International” due to the all-European composition of the artists performing here.

The revolution changes the fate of the theater on Nikitskaya Street. Since 1920, the building has housed the Theater of Revolutionary Satire (Terevsat), and since 1922 it has been transformed into the Theater of Revolution, whose director is Vsevolod Meyerhold.

From this moment it begins modern biography Theater named after Vl. Mayakovsky.

Meyerhold led the Theater of the Revolution for only two years, later switching entirely to his own theatrical business. Since 1931, an outstanding figure became the head of the theater Soviet culture A.D.Popov. During the years of his leadership (1931-1942) the following were staged: “The Ax Poem”, “My Friend”, “Romeo and Juliet”, “Death of the Squadron”, “Dog in the Manger”, “Tanya”, “Dowry”, "Mary Stuart" and other performances.

Since 1943, the theater has been headed by N.P. Okhlopkov. The time of his leadership, which lasted until 1967, brought the theater such performances as “Young Guard”, “Mother”, “Zykovs”, “Thunderstorm”, “Hamlet”, “Bedbug”, “Aristocrats”, “Irkutsk Story”, “Mother” Courage...", "Medea", "The Death of Tarelkin"...

In 1968, A.A. Goncharov became the artistic director of the theater. He directed the theater for more than 30 years until his death in 2001. The most significant performances of three decades were: “Talents and Admirers”, “Vanyushin’s Children”, “Destruction”, “A Streetcar Named Desire”, “Man of La Mancha”, “Bankrupt”, “Conversations with Socrates”, “Running”, “The Seagull” , "Lady Macbeth Mtsensk district", "The Life of Klim Samgin", "The Fruits of Enlightenment", "Sunset", "Napoleon the First", "Victim of the Century", " Dollhouse"...

In January 2002, S.N. Artsibashev was appointed artistic director of the Vl. Mayakovsky Theater, who had previously directed the Pokrovka Theater he created for 10 years. Among the main productions of this director one can name Gogol's "Marriage", " Dead Souls", "How we quarreled...", "The Karamazovs" according to Dostoevsky.

On May 20, 2011, the Moscow Department of Culture decided to appoint new management of the Moscow Academic Theater named after Vl. Mayakovsky. Director Mindaugas Karbauskis, winner of Russia's highest theater awards, became the artistic director of the theater.

At all times, the Theater named after. Vl. Mayakovsky was famous for his actors. IN different years Maria Babanova and Mikhail Astangov, Maxim Shtraukh and Lev Sverdlin, Faina Ranevskaya and Lydia Sukharevskaya, Armen Dzhigarkhanyan and Olga Yakovleva, Natalya Gundareva and Alexander Lazarev Sr. played here. Today the theater troupe is represented by the following wonderful craftsmen as Svetlana Nemolyaeva, Igor Kostolevsky, Mikhail Filippov, Evgenia Simonova, Olga Prokofieva, Anatoly Lobotsky, Anna Ardova, Tatyana Orlova, Lyubov Rudenko and others.

The Mayakovsky cathedral is one of the oldest and most famous not only in the capital, but throughout Russia. His repertoire is wide and varied. The troupe employs many famous artists.

History of the theater

Vl. Mayakovsky's roots go back to the 19th century. It was then that the building was built in which it is located throughout its entire life. creative life. Initially, only visiting guest performers performed on this stage. After the revolution everything changed. In 1920, the history of the drama named after Mayakovsky began. The theater was then called a little differently - revolutionary satire. Vsevolod Meyerhold was appointed its first leader. The repertoire of that time consisted of classics.

From 1943, for 24 years, the theater was led by N.P. Okhlopkov. Thanks to him, the repertoire expanded. It includes works by Soviet playwrights.

After him, the Mayakovsky Academic Theater was headed by A. A. Goncharov for 30 years, until his death.

The name of Vladimir Mayakovsky was given to the Moscow drama in 1954.

From 2002 to 2011, the artistic director was Sergei Artsibashev. And then he was replaced by a director, winner of the highest theater awards in Russia. He holds this post to this day.

The Mayakovsky Theater has always been famous for its artists. People like that worked here legendary personalities, like Faina Ranevskaya, Armen Dzhigarkhanyan, Natalya Gundareva, Alexander Lazarev Sr. Today, no less eminent artists serve in the theater troupe.

Repertoire

The Moscow Academic Theater named after Mayakovsky offers its audience the following productions:

"Children ruin relationships."
"Cat Mom."
"On suitcases."
"Talents and fans."
"Cupids in the Snow."
"Enemy of the people".
"Decalogue on Sretenka".
"People's love"
"In a busy place."
"Divorce like a man."
"I was in the house and waited."
"Diary of a Madman".
"Love through the eyes of a detective."
"Mayakovsky goes for sugar."
"Word Factory".
"Mr. Puntila and his servant Matti."
"On the grass of the yard."
"Nine-ten."
"Maestro" and others.

Liebe. Schiller

Production by Liebe. Schiller is one of the brightest and loudest premieres of the last few years that the drama named after Mayakovsky presented to the viewer. The theater, represented by the director, defines its genre as an essay based on the play “The Robbers” by F. Schiller. This performance was staged together with the roles performed by: Natalya Ushakova, Yulia Solomatina and Polina Pushkaruk. There are only 5 characters in the play. And they are all played by women. The production is filled with boiling passions, a storm of emotions, and ambitions. This is a story about love and the desire for the impossible. Liebe. Schiller was the winner International festival theatrical debuts in Vilnius in the category " Best performance" And Natalya Ushakova received an award in the “Best Actress” category.

Troupe

The Vladimir Mayakovsky Theater is famous for its troupe. Many of the artists are known to a wide audience for their bright roles in films and TV series:

Anna Ardova.
Olga Blazhevich.
Vitaly Grebennikov.
Alexey Zolotovitsky.
Igor Kostolevsky.
Evgenia Simonova.
Zoya Kaidanovskaya.
Vladimir Guskov.
Evgeny Matveev.
Vera Panfilova.
Olesya Sudzilovskaya.
Sergey Udovik.
Olga Prokofieva.
Lyubov Rudenko.
Yulia Samoilenko.
Daria Poverennova.
Mikhail Filippov.
Svetlana Nemolyaeva and many others.

Sergey Artsibashev

Sergei Nikolaevich Artsibashev was one of the most prominent directors and artistic directors of the Mayakovsky drama. The theater under his leadership presented the audience with many interesting productions.

Sergei Nikolaevich was born in 1951 in the village of Kalya, Sverdlovsk region. At first, the future director received a completely non-theater profession. He graduated from the Polytechnic College. After that, he received an acting education at the Sverdlovsk Theater School.

In 1981 he graduated from GITIS, directing department. From 1980 to 1989 he served at the Taganka Theater. There he was both an actor and a director. After that, he devoted several years to working at the Moscow Comedy Theater. Here he was the main director. In 1991 he founded the Theater on Pokrovka. In the drama named after Vl. Mayakovsky came in 2002. Here he was a stage director and artistic director.

Sergei Nikolaevich died in July 2015 from cancer. Buried National artist at the Vagankovskoye cemetery.

S. Artsibashev is known to viewers for his numerous roles in films. He starred in such films as " Cruel romance", "Forgotten melody for flute", "Face", "Promised Heaven", "June 22, exactly at 4 o'clock...", "Shirley-Myrli", "Northern Sphinx", "12" and many others.

Visiting rules

There are certain rules for spectators in the theater. Compliance with them is necessary for safety reasons. A ticket is required for every viewer, regardless of age. It should be kept until the end of the performance, since at any time representatives of the administration may ask to see it. When purchasing tickets for minor spectators, please take into account age restrictions indicated on the poster or in the repertoire plan.

Children under twelve years of age are not allowed to attend performances for adults. Persons 12-18 years old are allowed to attend such events only if accompanied by an adult. Tickets are refunded only in cases where the performance is canceled or rescheduled. You are allowed to enter the hall no earlier than 45 minutes before the start of the performance.

Each spectator must undergo a metal detector check to identify prohibited and dangerous items. You cannot bring food, drinks, weapons, cutting or piercing objects, self-defense equipment, etc. into the theater. If the spectator has such items with him, he will be required to hand them over to security officers during the performance. It is also prohibited to take large bags, backpacks, or baby strollers into the hall. Spectators in a state of intoxication or in dirty clothes are not allowed into the hall. In the hall during the performance you cannot make noise, talk, take other people’s seats, stand in the aisles, or use mobile phones and by means of video and audio recording, walking, drinking any drinks, and eating.

Buying tickets

There are several ways to purchase tickets for performances of the Mayakovsky drama. In addition to purchasing at the box office, the theater offers online reservations. Ticket sales are open on the official website of the drama named after V. Mayakovsky. Payment is made using a bank card online. The hall diagram presented in this article will help you choose a convenient and affordable place. When purchasing tickets through the website, you do not need to pick them up at the box office; you just need to print them yourself on a regular printer.

THEATER IM. VL.MAYAKOVSKY, opened in Moscow in 1922, until 1943 it was called the Theater of the Revolution. From 1943 to 1954 - Moscow Drama Theater, from 1954 to the present - Moscow Theater named after. Vl. Mayakovsky. In 1964 the theater was awarded the title Academic. Over the course of 75 years of existence, four masters determined the life of the theater, the art of each of them personified the goals and objectives of the theater in a certain period of time. Thus, the 1920s are associated with the name of V.E. Meyerhold, the 1930s - with A.D. Popov, the 1940s–1960s - with N.P. Okhlopkov. From the 1970s to the present time, the Theater named after. Vl. Mayakovsky is headed by A. A. Goncharov, and his handwriting, his style are the face of the theater, inheriting the traditions of the Theater of the Revolution.

The history of the theater begins in April 1920, when the Terevsat agitation theater (Theater of Revolutionary Satire) was organized on Bolshaya Nikitskaya Street in Moscow. Civil War engage in political education of a new audience - workers and Red Army soldiers. The repertoire was based on various kinds of sketches, skits, poems and ditties of a satirical nature on politically topical topics. Outdoor indoor former Theater Potopchina (operetta theater), Terevsat inherited its choir, orchestra, and corps de ballet. Later, artists from some Moscow theaters, stage and circus joined the troupe. Terevsat's troupe became unusually large, motley and, according to contemporaries, completely faceless. On June 26, 1922, the Moscow Council decided to disband Terevsat and create a new theater on its basis. A.V. Lunacharsky noted that only the arrival of a strong director here (meaning Vs. Meyerhold) could “pour new juices into this theater.”

Meyerhold commissioned the first performance to be staged by the artist and director of the Nezlobinsky Theater A.B. Velizhev, the play was chosen French writer M.Martine Night(premiere took place on October 29, 1922). Meyerhold did not want to interfere with Velizhev’s work, but, having reworked the play with the help of the writer V. Tretyakov, he produced one of his most striking performances at TIM in 1923 The ground stands on end. The following performances did not bring success to the Revolution Theater ( Machine Destroyers E. Toller, director P.P. Repnin; Man-mass E. Toller, director A.B. Velizhev; Return of Don Juan P. Sukhotin and N. Shchekotova, director A.B. Velizhev). Only a few days before the end of the first season, the premiere was shown Profitable place A.N. Ostrovsky staged by Meyerhold - this performance became one of the theater’s significant works. The main event of the 1923–1924 season was the performance Lake Lyul A. Fayko, but it was also last work Meyerhold at the Theater of the Revolution - in September 1924 the director decided to leave the theater.

After six inexpressive years in 1930, A.D. Popov appeared at the Theater of the Revolution, staged A poem about an ax N. Pogodina. From 1931 to 1935 Popov was the artistic director of the Theater of the Revolution. The director staged such large-scale productions on this stage as My friend And After the ball N. Pogodina, Romeo and Juliet Shakespeare. Soon after the premiere Romeo and Juliet, a performance called by critic Vl. Blok “not only one of best productions Popov and the Theater of the Revolution, but also - one can confidently diagnose without fear of falling into exaggeration - one of the best Shakespearean incarnations in the Russian and world theater,” the director left the Theater of the Revolution. In 1943, Meyerhold’s student N.P. Okhlopkov came to the Theater of the Revolution. Okhlopkov worked in this theater until his death (1967), under him the theater became widely known, the repertoire was built seriously, thoughtfully, although a large number of performances were prohibited. Such performances as Young guard A. Fadeeva, Aristocrats N. Pogodina, Irkutsk history And Tanya A. Arbuzova, Storm A.N. Ostrovsky, Hamlet Shakespeare and others

After Okhlopkov’s death, the theater was headed by A.A. Goncharov. Among the most famous performances of Goncharov are Children Vanyushina S. Naydenova, Tram« Wish» T. Williams, Bankrupt A.N. Ostrovsky, Characters V. Shukshina, Man of La Mancha D. Wasserman and D. Darion, Conversations with Socrates And Theater of the times of Nero and Seneca E. Radzinsky, Run M. Bulgakova, Lady Macbeth of Mtsensk N. Leskova, Life of Klim Samgin M. Gorky, Rumor A. Salynsky, Sunset I. Babel, Victoria?.. T. Rattigan, Victim of the Century(based on the play by A.N. Ostrovsky Last victim), Theater romance(based on the play by A.N. Tolstoy Cuckoo's tears), How you'll like it Shakespeare and many others. Behind last decades at the Theater. Vl. Mayakovsky many young directors made their presence known - B. Morozov, A. Vilkin, S. Artsibashev, S. Yashin, T. Akhramkova, Yu. Ioffe and others.

TALLINN, March 27 – Sputnik, Alexey Stefanov. In the spring of 2017, it will be 20 years since the Lithuanian actor Mindaugas Karbauskis arrived in Moscow, where he entered the RATI-GITIS for the directing course of Pyotr Fomenko. Sputnik Lithuania spoke with Karbauskis on the eve of this “anniversary”.

Having received a second education, Karbauskis remained in the capital of Russia and began staging plays at the Studio Theater under the direction of Oleg Tabakov, then at the Chekhov Moscow Art Theater, at the Russian Academic youth theater. And six years ago, Karbauskis received an offer to become the artistic director of the Moscow Academic Theater named after Vladimir Mayakovsky.

Since then, he has combined the work of artistic director and director.

In my father's footsteps

Mindaugas, first of all, I would like to ask the same question as your fellow countryman, playwright Marius Ivaskevicius, based on whose plays you have already staged three performances at the Mayakovsky Theater: why are there so many Lithuanians among the artists in Moscow?

- I never thought about it at all. People work all over the world different nationalities, and there are also Lithuanians everywhere. I am a man of peace. I don’t think about who is what nationality.

- How did you end up in the theater - did you follow in the footsteps of your parents?

— No, my mother is a defectologist, my father was the chairman of a collective farm in the Siauliai region. I was born there. In the village of Naisyai. This is the birthplace of the poet Zigmas Gaidamavicius - Gele, who died when he was only 18 years old. He managed to release only one collection of his poems.

Previously, there was a manor on this land, from which several buildings have survived. In one of them the father opened literary museum. For forty years now there has been a literary prize to aspiring poets for their first book. These are all father's initiatives. It would seem that he is the chairman of a collective farm, but in fact he is almost an advanced worker on the cultural front.

Now about 600 people live in Naisiai, but it is a large Cultural Center. There are already seven museums, a theater, and various festivals are held there. My brother picked up his love for this land, developed his father’s ideas and brought a lot of his own. I remember he started at a stud farm, where he bred a rare Lithuanian breed of horses. Then he started filming a TV series, which made the village famous throughout Lithuania. His latest idea is a Coliseum-sized mounded grandstand for a summer festival. When Sergei Barkhin, the great Russian artist, with whom I collaborate, saw this amphitheater, he was simply delighted.

If we add that my father loves theater very much and taught us to do the same since childhood, then we can say that I literally followed in his footsteps.

So, you got into the theater thanks to your father? But didn’t dad really put pressure on you to make you, say, an agronomist - he led an entire collective farm?

“He didn’t insist on anything.” Maybe he was just watching to see what would come of me. Very careful. Father, of course, was a great authority for us, we saw ourselves in him, but we decided for ourselves what to do next. My brother just became an agronomist. I became interested in theater. Graduated acting department in Vilnius. But, alas, he was not in demand in this capacity. For some time I didn’t understand who I would become, what I would do. I can say for sure that I did not imagine myself as a director at all. Then everything was very adventurous and unexpectedly successful.

Became needed in Moscow

- And what did you do - what was the adventure?

— The workshop of Pyotr Fomenko came to Lithuania for the Life festival. They showed their famous performance after Ostrovsky "Wolves and Sheep". In arguments with friends about the nature of talent, I began to insist that school was behind this ease and inspiration. And I decided to study this school. I found out when Pyotr Naumovich was taking a course in Moscow, and went to enroll with him. In the end I did it, but did I achieve it? This is an open question.

- Did you plan to return to Lithuania after studying?

“I didn’t plan anything at all then, because I didn’t entertain the idea of becoming a director. I studied hard and didn’t think at all what it would lead to. And this resulted in demand. I became needed in Moscow. Here he stayed.

- And who was the first to propose to you?

— Oleg Tabakov. He directed his own Studio Theatre. In the same year, he was appointed head of the Chekhov Moscow Art Theater. And Oleg Pavlovich decided to train his staff from scratch. He invited a lot of young directors to work. Some left, some became masters before our eyes. You could say he turned the tide in Russian theater. Young people appeared in the theater.

I, being a debutant, released on big stage MHT "Copenhagen" by Michael Frain with Oleg Pavlovich in leading role. And also with Olga Barnet and Boris Plotnikov. And all of these were great masters.

- It turns out you were in the right place at the right time. Did Oleg Pavlovich’s reforms help you find yourself?

“The school helped me find myself.” And Oleg Pavlovich paid special attention to school, to education.

As a result, you stayed in Moscow, a metropolis with millions of inhabitants. How did you live here after the calm Vilnius?

— I didn’t choose the city where to live. I chose a place to work. And everything has already been said about Moscow. She doesn't believe in tears. It happened: they were robbed on the street, and there was nowhere to drink coffee. Now everything has changed. It has become more democratic and easier. Moscow became the European capital. In its own way, of course, but European.

Homecoming

- This year it will be 20 years since you have lived in Moscow, have you retained Lithuanian citizenship or taken Russian citizenship?

— I have a residence permit in Russia. It took some effort to complete all these documents, but for me this is the ideal form of stay. I live according to the laws of Russia, without the right to choose the president and the Duma. This suits my apolitical nature very well. Sooner or later I will return to my homeland. I want to be buried there.

It turns out that you live here as a migrant worker. Just like in the play “Exile” by Marius Ivaskevicius, which you recently staged on the stage of the Mayakovsky Theater. Did you feel like you were making a production about yourself too?

— Without this “about yourself” you shouldn’t start anything at all. This is very important for a director, these intersections between you and the story you are telling. Moreover, I had the experience of London as a place of formation. At the age of 24, when I could not find myself in Vilnius, I also went to England. I poked around there a little. And I made several important conclusions. One of them is that no one needs me there! I even came up with a formula for myself. Choose not what you need, but where you are needed.

- And in Ivaskevicius’s play about emigrants from Lithuania and Latvia, we are talking about the same thing...

— The good thing about the play “Exile” is that everything in it is not so simple. She's like life. It's stupid at the beginning, exciting in the middle, and tragic at the end. This ending is especially clear to me now.

Recently, your colleague from the Gogol Center, Kirill Serebrennikov, staged the play “Near Light” based on the play by Marius Ivaskevicius in Riga. Will you produce more productions by this playwright?

— Marius is damn talented, and you become somewhat dependent on him. But even if I had another of his plays lying around right now, I would pause. No, I’m lying - I, of course, would immediately start working. The theater artists would have forced me to take it up right away. That's how they love Marius. As you know, in performances, due to illness of actors, sometimes there are introductions to roles, so-called replacements. But in our performances based on Ivaskevicius’ plays, for some reason no one gets sick.

Your own course at GITIS

You once said that your work is similar to the work of a producer - in fifteen years you have staged 15 performances, and as an artistic director you have already been involved in more than thirty productions.

- This is true. In the first years, since I was young and energetic, I staged three performances a year, then I started producing two performances. And when the responsibility became greater, I don’t stage more than one performance a year. But I watch what other directors are doing at the Mayakovsky Theater.

- Do you have to interfere with their work?

— In the first years it was necessary. Now I have organized everything in such a way that there is no need to interfere anymore. They work very well for me good directors, whom I trust, who cope with the team. Now there are four directors in the theater - Leonid Kheifets, Yuri Ioffe, Nikita Kobelev and me. We work together, discuss the choice of material, and solve the very important problem of keeping artists busy. The theater also invites directors. There are few of them, but for the theater they are no less important people than those who work here permanently. This is the wonderful Svetlana Zemlyakova, the amazing Olya Lapina. And Anatoly Shuliev is young and talented.

And now you want to give a chance to those who are just thinking about becoming an actor - starting next year you are taking a course in Russian University theatrical arts- GITIS.

— GITIS is an area that is located side by side with the Mayakovsky Theater. For 17 years now the Mayakovsky Theater has not had its own students in any educational institution. Although, according to tradition, we take actors from GITIS. I taught there at one time artistic director of our theater Andrei Goncharov, Pyotr Fomenko studied with him.

- And you are at Fomenko’s. This means that it will again be possible to talk about the continuity of generations.

“I had such a chance and such responsibility.” I will create a course together with our directors, and it will be very closely connected with the Mayakovsky Theater. We can say that they will have to study here, which makes me very happy. This is very interesting: not just dreaming about the theater, but being present in it from the first days.