Malaya Bronnoy Theater directors. Like the history of Moscow theaters

29.06.2019

IN 1945, A NEW CREATIVE TEAM APPEARED ON THE THEATER MAP OF THE CAPITAL - THE MOSCOW DRAMA THEATER, WHICH WAS HEADED BY DIRECTOR SERGEY MAYOROV. THE BASIS OF THE NEW TROPE WERE COMPLETED BY ACTORS FROM DIFFERENT MOSCOW THEATERS AND SEVERAL GRADUATES OF THE THEATER SCHOOL. M. S. SHCHEPKINA. THE THEATER WAS PROVIDED WITH A BUILDING AT 26 SPARTAKOVSKAYA STREET, NEAR THE BAUMANSKAYA METRO STATION. REHEARSALS WENT IN PARALLEL WITH THE RECONSTRUCTION OF THE THEATER BUILDING, THE DOORS OF WHICH OPENED TO THE SPECTATORS ON MARCH 9, 1946, WHEN THE FIRST PERFORMANCE WAS SHOWN (THE GOLDEN HOOP, A PLAY BY M. KOZAKOV AND A. MARIENHOF).

OVER ELEVEN YEARS, 45 PREMIERES WERE HELD HERE. THE MOST FAMOUS ARE “THE GIRL WITH A JUG” BY LOPE DE VEGA, “THE DEAD GRIP” BY D. GALSWORTHY, “THE MAN WITH A BRIEFCASE” by A. FAYKO - ALL PRODUCED BY S. MAYOROV; “STRONG OF SPIRIT” BY D. MEDVEDEV, A. GREBNEV AND “WITHOUT NAMING NAMES” BY V. MINKO - BOTH PRODUCED BY V. BORTKO. MANY OF THEM HAD GREAT SUCCESS, BUT IN 1957 THE THEATER MANAGEMENT WAS ACCUSED OF LACK OF ATTENTION TO MODERN SOVIET DRAMA. SHORTLY FOLLOWING THIS, THE DIRECTORS WERE REMOVED WITHOUT ANOTHER NOISE, AND MAIOROV WAS TRANSFERRED TO THE THEATER OF THE LENIN KOMSOMOL.

IN THE AUTUMN OF 1957, THE TROPE WAS INTRODUCED TO A NEW CHIEF DIRECTOR - ILYA SUDAKOV, ONE OF THE MOST TALENTED STUDENTS OF STANISLAVSKY AND NEMIROVIC-DANCHENKO - THE THEATER HAD GREAT HOPES WITH HIM. BUT, UNFORTUNATELY, SERIOUS ILLNESS INTERRUPTED COOPERATION WITH THE THEATER AFTER THE FIRST PRODUCTION.

IN THE 1958-59 SEASON, THE TROPE WAS INTRODUCED TO A NEW CREATIVE DIRECTOR - ANDREY GONCHAROV, WHO FOR THE NEXT EIGHT YEARS DETERMINED THE FACE OF THE THEATER. ONE OF HIS FIRST PRODUCTIONS, ARTHUR MILLER'S A VIEW FROM THE BRIDGE, WAS A HUGE SUCCESS AND WAS SHOWN ABOUT 500 TIMES IN THE FIRST FIVE YEARS. A. GONCHAROV INVOLVED MODERN AUTHORS INTO THE WORK: Y. EDLIS (“ARGONAUTS”), Y. VOLCHEK (“PHYSICISTS AND LYRICS”), V. MAKSIMOV (“A MAN LIVES”), B. GORBATOV (“THE LAW OF WINTERING”). THE THEATER'S WORKS AVOID GREAT INTEREST OF BOTH THE PUBLIC AND CRITICS.

THE MODERATE BUILDING ON SPARTAKOVSKAYA ALREADY BECAME CROMPTED, AND IN 1962 THE THEATER’S LONG-WAITED MOVE TO THE NEW ADDRESS MALAYA BRONNAYA, 4. BEFORE THE REVOLUTION, THERE WAS THE MOSCOW CARRIERS’ CLUB, THEN A STUDENT’S CLUB LUB, CONCERT HALL, CLUB OF TRADE AND INDUSTRIAL EMPLOYEES. FROM 1921 TO 1951 THE BUILDING BELONGED TO THE GOSET - THE FAMOUS STATE JEWISH THEATER UNDER THE LEADERSHIP OF SOLOMON MIKHOELS. AFTER THE CLOSURE OF THE GOSETE, THE MOSCOW THEATER OF SATIRE WORKED HERE FOR SEVERAL YEARS.

ALREADY HERE IN 1965, A. GONCHAROV CARRIED OUT A WONDERFUL PRODUCTION OF F. DURRENMATTT’S PLAY “THE LADY’S VISIT”, IN WHICH L. SUKHAREVSKAYA AND B. TENIN SHINED IN THE MAIN ROLES.

IN 1966 A. GONCHAROV MOVES TO THE THEATER NAMED AFTER V.V. MAYAKOVSKY, AND A. DUNAEV, WHO WORKED HERE UNTIL 1984, IS APPOINTED AS THE CHIEF DIRECTOR OF THE MOSCOW DRAMA THEATER ON MALAY BRONNAYA. THE LIST OF PERFORMANCES HE PRODUCED IS “THE GOLDEN CARRIAGE” AND “LENUSHKA” BY L. LEONOV, “ENEMIES” AND “BARBARS” BY M. GORKY, “WOLVES AND SHEEP” BY A. OSTROVSKY, “LUNIN OR THE DEATH OF JACQUES” BY E. RADZINSKY AND OTHERS.

SHORTLY BEFORE THE APPOINTMENT OF A. DUNAEV, THE MOSCOW DRAMA THEATER INVITED ANATOLY EFROS, A TALENTED DIRECTOR WHO WORKED FOR FOUR SEASONS IN THE THEATER, TO WORK AS A STAFF DIRECTOR. LENINIST KOMSOMOL AND EXPELLED FROM THERE BY THE AUTHORITIES “FOR DISOBEDIENCE.” EFROS COMES TO THE THEATER ON MALAY BRONNAYA WITH TWELVE LIKE-MINDED ACTORS. ANATOLY EFROS HAS ENTERED ONE OF THE MOST INTERESTING PAGES INTO THE HISTORY OF THE THEATER ON MALAY BRONNAYA. “THREE SISTERS” by CHEKHOV, “ROMEO AND JULIET” AND “OTELLO” by SHAKESPEARE, “A MONTH IN THE COUNTRY” by TURGENEV, “MARRIAGE” by GOGOL, “DON JUAN” by MOLIère - ALL THESE PERFORMANCES BECAME CLASSICS OF THE RUSSIAN THEATER, AND THE DIRECTOR’S METHOD OF EFRO SA RECEIVES WORLDWIDE RECOGNITION . IN ADDITION TO EFROS AND DUNAEV, THE LEADING ACTORS OF THE THEATER - LEV DUROV, MIKHAIL KOZAKOV, GENNADY SAIFULIN - STAGED THE PERFORMANCES.

IN THE SEVENTIES - EARLY EIGHTIES OF THE PAST CENTURY, THE THEATER ON MALAY BRONNA BECAME ONE OF THE MOST POPULAR IN MOSCOW. HE TOURED A LOT AROUND THE COUNTRY AND ABROAD, AND WAS AWARDED HONORABLE AWARDS AT INTERNATIONAL FESTIVALS.

ANATOLY EFROS WORKED IN THE THEATER UNTIL 1984, UNTIL BECOMING CHIEF DIRECTOR AT THE TAGANKA THEATER. IN THE SAME 1984, ALEXANDER DUNAEV WAS TRANSFERTED AS CHIEF DIRECTOR TO THE HERMITAGE THEATER.
FOLLOWING EFROS, A WHOLE PLANET OF WONDERFUL DIRECTORS WORKED IN THE THEATER: E. LAZAREV, V. PORTNOV, S. ZHENOVACH, A. ZHITINKIN. FROM 2003 TO 2006, THE MAIN DIRECTOR OF THE THEATER WAS PEOPLE'S ARTIST OF THE USSR, POPULAR ARTIST LEV DUROV.

IN 2007, THE THEATER WAS HEADED BY SERGEY GOLOMAZOV, WHOSE PRODUCTIONS ARE FAVORITE BY SPECTATORS AND CRITICS, AND ARE AWARDED WITH THEATER PRIZES. GOLOMAZOV’S FIRST PERFORMANCE “THE PASTERS OF SCAPINA” AFTER J.-B. MOLIERE, PRODUCED AT THE THEATER ON MALAY BRONNAYA, IMMEDIATELY BECAME POPULAR WITH THE PUBLIC. OVER THREE SEASONS, THE THEATER PRODUCED NINE PREMIERES, AND ATTENDANCE TO THE THEATER DOUBLED. THE NEW PERFORMANCES OF THE THEATER INVOLVE A LARGE PART OF THE TROPE, AND FUTURE ARTISTS - GRADUATES OF SERGEY GOLOMAZOV'S COURSE AT THE RATI ORGANICALLY JOINED INTO THE TEAM.

TODAY THE THEATER'S REPERTOIRE HAS RUSSIAN AND FOREIGN CLASSICS AND CHILDREN'S MAGICAL TALES. SERGEY GOLOMAZOV'S PERFORMANCES MARKED THE BEGINNING OF A NEW ERA IN THE LIFE OF THE THEATER, ATTRACTING NEW, MODERN SPECTATORS TO THE THEATER, INCLUDING YOUTH. CURRENTLY THE THEATER ON MALAY BRONNAYA IS ONE OF THE TEN MOST VISITED THEATERS IN THE CAPITAL.

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26. The theater troupe consisted of actors from other Moscow theaters and several graduates of the theater school named after. M. S. Shchepkina.

The first performance, “The Golden Hoop,” based on the play by M. I. Kozakov and A. B. Mariengof, was staged in March 1946.

Sergei Mayorov directed the theater from 1946 to 1957. During these years, the theater's repertoire was based on plays by modern playwrights; 45 premieres took place over 11 years. Among the productions of those years: “Deputy” (“Professor Polezhaev” by L. N. Rakhmanov (), “Poddubensky ditties” by S. P. Antonov (), “Man with a Briefcase” by A. M. Faiko (). Despite the brilliant success some productions, in 1957 the theater management was accused of insufficient attention to modern Soviet drama. This was followed by the transfer of the main director Mayorov to the Lenin Komsomol Theater and the removal of the director.

In the fall of 1957, Ilya Yakovlevich Sudakov was appointed chief director of the theater, but the collective’s hopes for a fruitful creative life with a new main director, one of the most talented students Stanislavsky and Nemirovich-Danchenko, did not come true - Sudakov became seriously ill.

From 1958 to 1966, the main director of the theater was A. A. Goncharov.

Since 1968 the theater has been modern name. Its current name is Moscow Theatre of Drama on Malaya Bronnaya - he received the address Malaya Bronnaya, building 4, where it has been located since 1962.

The building that currently houses the theater was built in 1902 according to the design of the architect K. K. Gippius. It was apartment building"Society for benefits to needy students of the Imperial Moscow University."

In 1985-1987 The director of the theater was S.I. Yashin.

Outstanding productions of past years

- “Girl with a Jug” by Lope de Vega
- “Strong in spirit” by D. N. Medvedev and A. B. Grebnev
“Don Juan” (based on Moliere’s play “Don Juan, or the Stone Feast”, staged by Anatoly Efros)
“Romeo and Juliet” (based on the play of the same name by William Shakespeare, directed by Anatoly Efros)
1967 - “Three Sisters” by A.P. Chekhov. Director A. V. Efros
1968 - “The Seducer Kolobashkin” by E. Radzinsky. Directed by A. V. Efros. Artists V. Durgin, A. Chernova.
1968 - “Plato the Krechet” by A. E. Korneychuk and V. Durgin, A. Chernov.
1969 - " Happy Days an unhappy person" by A. Arbuzov. Directed by A. V. Efros. Artist V. Petrov.
1970 - “Romeo and Juliet” by W. Shakespeare. Directed by A. V. Efros. Artists V. Durgin, A. Chernova.
1970 - “The Cause You Serve” by Y. German (April 28, 1970 - premiere)
1970 - “Tales of the Old Arbat” by A. N. Arbuzov. Directed by A. V. Efros. Artist D. L. Borovsky.
1971 - “A Man from the Outside” by I. M. Dvoretsky. Directed by A. V. Efros.
1972 - “Brother Alyosha” by V. S. Rozov based on the novel by F. Dostoevsky “The Brothers Karamazov”. Directed by A. V. Efros. Artist V. Paperny.
1973 - “The Situation” by V. Rozov. Directed by A. V. Efros. Artist V. Paperny.
1973 - “Don Juan” by J.-B. Moliere. Directed by A. V. Efros. Artist D. L. Borovsky.
1975 - “Marriage” by N.V. Gogol. Directed by A. V. Efros. Artist V. Leventhal.
1975 - “Removed and Appointed” by Ya. I. Volchek (together with L. Durov). Directed by A. V. Efros. Artist V. Serebrovsky.
1976 - “Othello” by W. Shakespeare. Directed by A. V. Efros. Artist D. A. Krymov.
1977 - “A Month in the Village” by I. S. Turgenev
1978 - “Veranda in the Forest” by I. M. Dvoretsky. Directed by A. V. Efros. Artists D. and L. Bulanov.
1979 - “Continuation of Don Juan” by E. Radzinsky. Directed by A. V. Efros. Artist V. Komolova.
1979 - “The Road” based on “Dead Souls” by N.V. Gogol. Directed by A. V. Efros. Artist V. Leventhal.
1981 - “Summer and Smoke” by T. Williams. Directed by A. V. Efros. Artist D. A. Krymov.
1982 - “Memory” by A. N. Arbuzov. Directed by A. V. Efros. Artist D. A. Krymov.
1982 - “Three Sisters” by A.P. Chekhov. Directed by A. V. Efros. Artist V. Ya. Levental.
1983 - “Napoleon the First” by F. Bruckner. Directed by A. V. Efros. Artist D. A. Krymov.
1980s - “Lunin or the Death of Jacques” by E. Radzinsky (also in 1986 a film-play was shot with the same cast)

Today's theater day

Since 2007, Sergei Golomazov became the artistic director of the theater. In 2010, several graduates of his acting and directing course at the Russian Academy of Theater Arts were accepted into the theater troupe. The theater's repertoire includes Russian and foreign classics, fairy tale performances for children. The theater is one of the ten most visited theaters in Moscow.

Contemporary repertoire

Theater troupe

Olga Aroseva (1969-1971)
Leonid Bronevoy (1962-1988)
Goncharov, Andrey Alexandrovich (1958-1967)
Tigran Davydov (1960-1978)
Oleg Dal (1976-1980)
Durov Lev (from 1967-2015), People's Artist of the USSR
Kanevsky, Leonid Semyonovich (1967-1991)
Katin-Yartsev, Yuri Vasilievich (1950-1994)
Kashintsev, Igor Konstantinovich (1965-1975)
Kozakov, Mikhail Mikhailovich (1972-1981)
Colin (Gross), Joseph Moiseevich (1949-1972)
Lazareva, Nelly Filaretovna (1966-2014)
Andrey Martynov (1972-1981)
Georgy Martynyuk (1962-2014), People's Artist of the RSFSR
Olga Ostroumova (1973-1983)
Lyudmila Perepelkina (1953-2014)
Irina Rozanova (1991-1998)
Smirnitsky, Valentin Georgievich (1967-1999)
Sokolovsky, Semyon Grigorievich (1945-1995)
Yakovleva, Olga Mikhailovna (1967-1984)
Yankovsky, Igor Rostislavovich (1974-1992)

Modern theater troupe

Anna Antonenko-Lukonina (since 1960), People's Artist of the Russian Federation (2007)
Babicheva Vera (since 2008), Honored Artist of Armenia
Berebenya Nadezhda (since 2010), laureate of the Triumph youth award (2011).
Ekaterina Durova (since 1984), Honored Artist of the Russian Federation
Ershov Vladimir (since 1984), Honored Artist of the Russian Federation (2005)
Krechetova Tatyana (since 1974), Honored Artist of the Russian Federation (2005)
Lakirev, Viktor Nikolaevich (since 1967), Honored Artist of the Russian Federation
Matveeva Albina (since 1969), People's Artist of the Russian Federation
Nikulin Alexander
Parfenov Sergey (since 2003), Honored Artist of the Russian Federation
Dmitry Serdyuk (since 2010), winner of the theater prize of the Moskovsky Komsomolets newspaper (2011) in the category “Beginners - Best Actor” (for the role of Verkhovensky in the play “DEMONS. Scenes from the Life of Nikolai Stavrogin”).
Strakhov Daniil (2001-2003 and from 2009 to the present time)
Khmelnitskaya Lyudmila (from 1959, from 2006 to the present time)
Shabaltas Ivan (since 1986), Honored Artist of the Russian Federation

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Notes

ISBN 5-85270-167-X (page 294)
Russian Drama Theatre: Encyclopedia / Ed. ed. M. I. Andreeva, N. E. Zvenigorodskaya, A. V. Martynova and others - M.: Great Russian Encyclopedia, 2001. - 568 pp.: ill. ISBN 5-85270-167-X (page 139)
"Rossiyskaya Gazeta" from 03/09/2011
in the encyclopedia "Around the World"
»
An excerpt characterizing the Moscow Drama Theater on Malaya Bronnaya
“It’s decent for a young count of sixteen to say these pleasantries,” Dolokhov said with a cold grin, “but it’s time for you to leave it.”
“Well, I’m not saying anything, I’m just saying that I will definitely go with you,” Petya said timidly.
“And it’s time for you and me, brother, to give up these pleasantries,” Dolokhov continued, as if he found special pleasure in talking about this subject that irritated Denisov. - Well, why did you take this to you? - he said, shaking his head. - Then why do you feel sorry for him? After all, we know these receipts of yours. You send them a hundred people, and thirty will come. They will starve or be beaten. So is it all the same not to take them?
Esaul, narrowing his bright eyes, nodded his head approvingly.
- This is all shit, there’s nothing to argue about. I don’t want to take it on my soul. You talk - help. Well, hog "osho." Just not from me.
Dolokhov laughed.
“Who didn’t tell them to catch me twenty times?” But they will catch me and you, with your chivalry, anyway. – He paused. - However, we need to do something. Send my Cossack with a pack! I have two French uniforms. Well, are you coming with me? – he asked Petya.
- I? Yes, yes, absolutely,” Petya cried, blushing almost to tears, looking at Denisov.
Again, while Dolokhov was arguing with Denisov about what should be done with the prisoners, Petya felt awkward and hasty; but again I did not have time to fully understand what they were talking about. “If big, famous people think so, then it must be so, therefore it’s good,” he thought. “And most importantly, Denisov must not dare to think that I will obey him, that he can command me.” I will definitely go with Dolokhov to the French camp. He can do it and so can I.”
To all of Denisov’s urgings not to travel, Petya replied that he, too, was used to doing everything carefully, and not Lazar’s at random, and that he never thought about danger to himself.
“Because,” you yourself must agree, “if you don’t know correctly how many there are, the lives of maybe hundreds depend on it, but here we are alone, and then I really want this, and I will definitely, definitely go, you won’t stop me.” “, he said, “it will only get worse...
Dressed in French greatcoats and shakos, Petya and Dolokhov drove to the clearing from which Denisov looked at the camp, and, leaving the forest in complete darkness, descended into the ravine. Having driven down, Dolokhov ordered the Cossacks accompanying him to wait here and rode at a fast trot along the road to the bridge. Petya, transfixed with excitement, rode next to him.
“If we get caught, I won’t give up alive, I have a gun,” Petya whispered.
“Don’t speak Russian,” Dolokhov said in a quick whisper, and at that same moment a cry was heard in the darkness: “Qui vive?” [Who's coming?] and the ringing of a gun.
Blood rushed to Petya's face, and he grabbed the pistol.
“Lanciers du sixieme, [Lancers of the sixth regiment.],” said Dolokhov, without shortening or increasing the horse’s stride. The black figure of a sentry stood on the bridge.
– Mot d’ordre? [Review?] – Dolokhov held his horse and rode at a walk.
– Dites donc, le colonel Gerard est ici? [Tell me, is Colonel Gerard here?] - he said.
“Mot d'ordre!” said the sentry without answering, blocking the road.
“Quand un officier fait sa ronde, les sentinelles ne demandent pas le mot d"ordre...,” Dolokhov shouted, suddenly flushing, running his horse into the sentry. “Je vous demande si le colonel est ici?” [When an officer goes around the chain, the sentries do not ask review... I ask, is the colonel here?]
And, without waiting for an answer from the guard who stood aside, Dolokhov walked up the hill at a pace.
Noticing the black shadow of a man crossing the road, Dolokhov stopped this man and asked where the commander and officers were? This man, a soldier with a sack on his shoulder, stopped, came close to Dolokhov’s horse, touching it with his hand, and simply and friendlyly said that the commander and officers were higher on the mountain, on the right side, in the farm yard (that’s what he called the master’s estate).
Having driven along the road, on both sides of which French dialect could be heard from the fires, Dolokhov turned into the courtyard manor house. Having passed through the gate, he dismounted from his horse and approached a large blazing fire, around which several people were sitting, talking loudly. Something was boiling in a pot on the edge, and a soldier in a cap and blue overcoat, kneeling, brightly illuminated by the fire, stirred it with a ramrod.
“Oh, c"est un dur a cuire, [You can’t deal with this devil.],” said one of the officers sitting in the shadows on the opposite side of the fire.
“Il les fera marcher les lapins... [He will get through them...],” said another with a laugh. Both fell silent, peering into the darkness at the sound of the steps of Dolokhov and Petya, approaching the fire with their horses.
- Bonjour, messieurs! [Hello, gentlemen!] - Dolokhov said loudly and clearly.
The officers stirred in the shadow of the fire, and one, a tall officer with a long neck, walked around the fire and approached Dolokhov.
“C”est vous, Clement?” he said. “D”ou, diable... [Is that you, Clement? Where the hell...] - but he did not finish, having learned his mistake, and, frowning slightly, as if he were a stranger, he greeted Dolokhov, asking him how he could serve. Dolokhov said that he and a friend were catching up with their regiment, and asked, turning to everyone in general, if the officers knew anything about the sixth regiment. Nobody knew anything; and it seemed to Petya that the officers began to examine him and Dolokhov with hostility and suspicion. Everyone was silent for a few seconds.
“Si vous comptez sur la soupe du soir, vous venez trop tard, [If you are counting on dinner, then you are late.],” said a voice from behind the fire with a restrained laugh.
Dolokhov replied that they were full and that they needed to move on at night.
He gave the horses to the soldier who was stirring the pot, and squatted down by the fire next to the long-necked officer. This officer, without taking his eyes off, looked at Dolokhov and asked him again: what regiment was he in? Dolokhov did not answer, as if he had not heard the question, and, lighting a short French pipe, which he took out of his pocket, asked the officers how safe the road was from the Cossacks ahead of them.
“Les brigands sont partout, [These robbers are everywhere.],” answered the officer from behind the fire.
Dolokhov said that the Cossacks were terrible only for such backward people as he and his comrade, but that the Cossacks probably did not dare to attack large detachments, he added questioningly. Nobody answered.
“Well, now he’ll leave,” Petya thought every minute, standing in front of the fire and listening to his conversation.
But Dolokhov again began the conversation that had stopped and directly began asking how many people they had in the battalion, how many battalions, how many prisoners. Asking about the captured Russians who were with their detachment, Dolokhov said:
– La vilaine affaire de trainer ces cadavres apres soi. Vaudrait mieux fusiller cette canaille, [It’s a bad thing to carry these corpses around with you. It would be better to shoot this bastard.] - and laughed loudly with such a strange laugh that Petya thought the French would now recognize the deception, and he involuntarily took a step away from the fire. No one responded to Dolokhov’s words and laughter, and the French officer, who was not visible (he was lying wrapped in an overcoat), stood up and whispered something to his comrade. Dolokhov stood up and called to the soldier with the horses.
“Will they serve the horses or not?” - Petya thought, involuntarily approaching Dolokhov.
The horses were brought in.
“Bonjour, messieurs, [Here: farewell, gentlemen.],” said Dolokhov.
Petya wanted to say bonsoir [good evening] and could not finish the words. The officers were whispering something to each other. Dolokhov took a long time to mount the horse, which was not standing; then he walked out of the gate. Petya rode beside him, wanting and not daring to look back to see whether the French were running or not running after them.
Having reached the road, Dolokhov drove not back into the field, but along the village. At one point he stopped, listening.
- Do you hear? - he said.
Petya recognized the sounds of Russian voices and saw the dark figures of Russian prisoners near the fires. Going down to the bridge, Petya and Dolokhov passed the sentry, who, without saying a word, walked gloomily along the bridge, and drove out into the ravine where the Cossacks were waiting.
- Well, goodbye now. Tell Denisov that at dawn, at the first shot,” said Dolokhov and wanted to go, but Petya grabbed him with his hand.
- No! - he cried, - you are such a hero. Oh, how good! How great! How I love you.
“Okay, okay,” said Dolokhov, but Petya did not let him go, and in the darkness Dolokhov saw that Petya was bending down towards him. He wanted to kiss. Dolokhov kissed him, laughed and, turning his horse, disappeared into the darkness.
X
Returning to the guardhouse, Petya found Denisov in the entryway. Denisov, in excitement, anxiety and annoyance at himself for letting Petya go, was waiting for him.
- God bless! - he shouted. - Well, thank God! - he repeated, listening to Petya’s enthusiastic story. “What the hell, I couldn’t sleep because of you!” Denisov said. “Well, thank God, now go to bed.” Still sighing and eating until the end.
“Yes... No,” said Petya. – I don’t want to sleep yet. Yes, I know myself, if I fall asleep, it’s over. And then I got used to not sleeping before the battle.
Petya sat for some time in the hut, joyfully recalling the details of his trip and vividly imagining what would happen tomorrow. Then, noticing that Denisov had fallen asleep, he got up and went into the yard.
It was still completely dark outside. The rain had passed, but drops were still falling from the trees. Close to the guardhouse one could see black figures of Cossack huts and horses tied together. Behind the hut were two black wagons with horses standing, and in the ravine the dying fire was red. The Cossacks and hussars were not all asleep: in some places, along with the sound of falling drops and the nearby sound of horses chewing, soft, as if whispering voices were heard.
Petya came out of the entryway, looked around in the darkness and approached the wagons. Someone was snoring under the wagons, and saddled horses stood around them, chewing oats. In the darkness, Petya recognized his horse, which he called Karabakh, although it was a Little Russian horse, and approached it.
“Well, Karabakh, we’ll serve tomorrow,” he said, smelling her nostrils and kissing her.
- What, master, aren’t you sleeping? - said the Cossack sitting under the truck.
- No; and... Likhachev, I think your name is? After all, I just arrived. We went to the French. - And Petya told the Cossack in detail not only his trip, but also why he went and why he believes that it is better to risk his life than to make Lazar at random.
“Well, they should have slept,” said the Cossack.
“No, I’m used to it,” answered Petya. - What, you don’t have flints in your pistols? I brought it with me. Isn't it necessary? You take it.
The Cossack leaned out from under the truck to take a closer look at Petya.
“Because I’m used to doing everything carefully,” said Petya. “Some people just don’t get ready, and then they regret it.” I don't like it that way.
“That’s for sure,” said the Cossack.
“And one more thing, please, my dear, sharpen my saber; dull it... (but Petya was afraid to lie) it was never sharpened. Can this be done?
- Why, it’s possible.
Likhachev stood up, rummaged through his packs, and Petya soon heard the warlike sound of steel on a block. He climbed onto the truck and sat on the edge of it. The Cossack was sharpening his saber under the truck.
- Well, are the fellows sleeping? - said Petya.
– Some are sleeping, and some are like this.
- Well, what about the boy?
- Is it spring? He collapsed there in the entryway. He sleeps with fear. I was really glad.
For a long time after this, Petya was silent, listening to the sounds. Footsteps were heard in the darkness and a black figure appeared.
- What are you sharpening? – the man asked, approaching the truck.
- But sharpen the master’s saber.
“Good job,” said the man who seemed to Petya to be a hussar. - Do you still have a cup?
- And over there by the wheel.
The hussar took the cup.
“It’ll probably be light soon,” he said, yawning, and walked off somewhere.
Petya should have known that he was in the forest, in Denisov’s party, a mile from the road, that he was sitting on a wagon captured from the French, around which horses were tied, that the Cossack Likhachev was sitting under him and sharpening his saber, what a big black spot to the right is a guardhouse, and a bright red spot below to the left is a dying fire, that the man who came for a cup is a hussar who was thirsty; but he knew nothing and did not want to know it. He was in a magical kingdom in which there was nothing like reality. A large black spot, perhaps there was definitely a guardhouse, or perhaps there was a cave that led into the very depths of the earth. The red spot might have been fire, or maybe the eye of a huge monster. Maybe he’s definitely sitting on a wagon now, but it’s very possible that he’s not sitting on a wagon, but on a terribly high tower, from which if he fell, he’d fly to the ground for a whole day, a whole month - keep flying and never reach it . It may be that just a Cossack Likhachev is sitting under the truck, but it may very well be that this is the kindest, bravest, most wonderful, most excellent person in the world, whom no one knows. Maybe it was just a hussar passing for water and going into the ravine, or maybe he just disappeared from sight and completely disappeared, and he was not there.
Whatever Petya saw now, nothing would surprise him. He was in a magical kingdom where everything was possible.
He looked at the sky. And the sky was as magical as the earth. The sky was clearing, and clouds were moving quickly over the tops of the trees, as if revealing the stars. Sometimes it seemed that the sky cleared and a black, clear sky appeared. Sometimes it seemed that these black spots were clouds. Sometimes it seemed as if the sky was rising high, high above your head; sometimes the sky dropped completely, so that you could reach it with your hand.
Petya began to close his eyes and sway.
The drops were dripping. There was a quiet conversation. The horses neighed and fought. Someone was snoring.
“Ozhig, zhig, zhig, zhig...” the saber being sharpened whistled. And suddenly Petya heard a harmonious choir of music playing some unknown, solemnly sweet hymn. Petya was musical, just like Natasha, and more than Nikolai, but he had never studied music, did not think about music, and therefore the motives that unexpectedly came to his mind were especially new and attractive to him. The music played louder and louder. The melody grew, moving from one instrument to another. What was called a fugue was happening, although Petya did not have the slightest idea what a fugue was. Each instrument, sometimes similar to a violin, sometimes like trumpets - but better and cleaner than violins and trumpets - each instrument played its own and, not yet finishing the tune, merged with another, which started almost the same, and with the third, and with the fourth , and they all merged into one and scattered again, and again merged, now into the solemn church, now into the brightly brilliant and victorious.
“Oh, yes, it’s me in a dream,” Petya said to himself, swaying forward. - It's in my ears. Or maybe it's my music. Well, again. Go ahead my music! Well!.."

The history of the theater on Malaya Bronnaya, which dates back more than one decade, is very bright and fascinating and is connected with a large number of famous theater arts names Initially, in 1945, the theater was not located on Malaya Bronnaya, but in a building on Spartakovskaya Street. His troupe included actors from different theaters Moscow and several graduates of the school. Shchepkina. The first premiere took place on the stage of this theater on May 9, 1946. It was the play “The Golden Hoop”, based on the play by M. Kozakov and A. Mariengof. Mastery creative team was truly amazing, so the theater, which at that time was called the Moscow Drama Theater and was headed by Sergei Mayorov, became very popular in the capital.

Moving to Malaya Bronnaya

IN Soviet times The authorities repeatedly changed the management of the theater, but in 1958 it was headed by Andrei Goncharov, who made a significant contribution to the development of the drama theater. One of the first productions created under the direction of Goncharov, “View from the Bridge,” was a huge success, and was shown more than 500 times in five years. The theater received the building on Malaya Bronnaya, which previously belonged to GOSET, in 1962, and this was also under Goncharov. The long-awaited move of the theater was a real event, because it opened up new opportunities and prospects for it.

Already in a new place, Goncharov created a grandiose performance based on the play “The Lady’s Visit” by Dürrenmatt. The production was also a resounding success. But a year later, Goncharov went to work at the Theater. V. Mayakovsky, and the theater on Malaya Bronnaya again changed its director. It was Alexander Leonidovich Dunaev. The list of performances staged by the new director includes “The Golden Carriage” by L. Leonov, “Wolves and Sheep” by A. Ostrovsky, “Enemies” by M. Gorky and other wonderful productions. Dunaev worked at the theater until 1984.

Theater on Malaya Bronnaya in our time

Now the theater on Malaya Bronnaya is considered one of the best theaters capital Cities. It is one of the ten most visited theater venues. Since 2007, its director has been Sergei Golomazov, who is constantly improving the repertoire, trying to make it interesting for modern youth. Today, the playbill of the theater on Malaya Bronnaya includes productions based on the works of Russian and foreign classics, children's performances, youth productions. That is why theatergoers of all ages are happy to buy tickets to the Theater on Malaya Bronnaya.

The theater on Malaya Bronnaya is famous throughout the country. It is named after the street on which it is located. This theater was born in the mid-20th century. His repertoire is rich and varied. The troupe has wonderful actors. The theater also collaborates with famous talented artists.

History of the theater

This theater was created in 1946. At that time it was called the Moscow Drama Theater. The theater was led by a director. Initially, it was located in a building on Spartakovskaya Street. Only in 1962 did he “settle” on Malaya Bronnaya. The theater presented its first performance in March 1946. It was a play by M.I. Kozakova and A.B. Mariengof "Golden Hoop". The troupe was assembled from actors from other theaters and graduates of the Shchepkinsky School. The repertoire then included performances staged based on plays by contemporary playwrights: “Poddubensky Ditties”, “Deputy”, “Man with a Briefcase”, “Professor Polezhaev” and others.

Over 11 years, 45 premieres took place. But this did not stop them from accusing the theater management of insufficient modern plays on the stage. In 1957, Sergei Mayorov was transferred to the Lenin Komsomol Theater, and the director was removed from his post. In the same year, Ilya Sudakov, one of best students K.S. Stanislavsky. But soon he became seriously ill and was replaced by A. Goncharov.

In 1962, the Moscow drama received a new building, accordingly, in 1968 it received a new name “On Malaya Bronnaya”. The theater is located in this building to this day. The building was built in 1902. It was a tenement house for needy students.

In 1967, Anatoly Efros took over as chief director. He brought with him a group of actors from the Lenin Komsomol Theater. A. Dunaev was appointed chief director. Thanks to these people, the theater became interesting and one of the most visited in Moscow. The repertoire was based on classical plays: “Romeo and Juliet”, “Three Sisters”, “Don Juan”, “Othello”, “Marriage” and so on.

Since 1978 and until now, the position of director of the theater has been held by Ilya Kogan. During this time, many people managed to be the main directors. But no one stays for long, because they cannot work well with the theater director.

Performances

The theater on Malaya Bronnaya presents a varied and rich repertoire to its audience. Its poster offers the following performances:

"Rabbit Hole"
"Arcadia".
"Prince Caspian."
"Pit".
"Cyrano de Bergerac".
"Late love".
"Vassa."
"Tartuffe".
"Squirrel".
"Special people."
"Warsaw Melody".
"Colomba or march to the stage."
"Slavic madness".
"Formalin".
"Cinema Mania Band".
"The Mystery of the Old Wardrobe."
"Inspector".
"Cancun".
"Almost a city."
"Retro".
"Passion according to Torchalov."

Performances in December

IN last month In 2015, the theater on Malaya Bronnaya will show its audiences the performances “Warsaw Melody” and “Prince Caspian”. The poster for December also offered the public the premiere of the play “Vassa”. This is a modern interpretation of the play by Maxim Gorky. The play was staged by director Vyacheslav Tyshchuk, a student of the legendary Mark Zakharov. “Vassa” in his reading will not leave anyone indifferent. The performance at the same time turned out to be funny, and scary, and admiring, and outrageous, like life itself. Role main character performed by Honored Artist of Russia Vassa is a strict and wise keeper of the foundations, who inexorably sacrifices everyone who does not fit into the system. The production features monumental scenery created by artist Ekaterina Galaktionova.

"Warsaw Melody"

The theater on Malaya Bronnaya has been showing Leonid Zorin's legendary play "Warsaw Melody" for several years now, but to this day this love story attracts full houses. The audience really loves this production. Acted as director artistic director Theater Sergei Golomazov. The leading roles are occupied by young actors of the new generation Yulia Peresild and Daniil Strakhov, known for their work in films. The story, which was written half a century ago, resonates with modern viewers.

Received the Crystal Turandot award for her performance leading role in this performance. The production itself also received an award for best director. In the center of the plot is a couple in love - a Polish girl (future singer) and a Moscow student. They met at the conservatory in December 1946. They had just experienced all the horrors of war. Love flares up between them and it seems that no one in the world can prevent such strong feeling. But an insurmountable barrier stood between them - iron curtain. Will their love be able to overcome this wall?