Taganka Theater. Actors of the Taganka Theater

TAGANKA THEATER, Moscow Taganka Theater - created in 1964 on the basis of the troupe of the Moscow Drama and Comedy Theater (organized in 1946), which included graduates Theater School them. Shchukin. Main directors: Yu.P. Lyubimov (1964–1984), A.V. Efros (1984–1987), N.N. Gubenko (1987–1989), Yu.P. Lyubimov (since 1989). Each of these names is associated with its own stormy and dramatic period in the history of the theater.

The early 1960s were a time of reformation in the Soviet theater. A new aesthetics was established, the names of young directors O. Efremov, A. Efros, and in Leningrad - G. Tovstonogov thundered. Theater, along with poetry, became the main art of the period Khrushchev's thaw, a herald of new ideas, a stronghold of the liberal intelligentsia.

In 1963, the third year of the Shchukin School under the direction of Yu. Lyubimov performed a performance a kind person from Szechwan B. Brecht. The aesthetics of the performance were sharply out of line with the trends that existed at that time; it proclaimed vivid theatricality, the fundamental absence of a “fourth wall,” multiplicity, even redundancy of stage techniques, which miraculously fused the spectacle into a single integrity. There was a clear sense of rebirth in him. theatrical traditions dynamic 1920s, directed by V.E. Meyerhold and E. Vakhtangov. Yu. Lyubimov was asked to head the Moscow Drama and Comedy Theater, and he reorganized its troupe from graduates of his course.

Preparations for the opening of the renovated theater lasted about a year. Portraits placed in the foyer of the theater became his sign: V. Meyerhold, E. Vakhtangov, B. Brecht, K. Stanislavsky. They continue to decorate the theater foyer.

The Taganka Drama and Comedy Theater opened on April 23, 1964 with a performance The Good Man from Szechwan. However, his cast was already somewhat different. Yu. Lyubimov carefully formed the theater troupe, recruiting actors close to him aesthetic principles, ready to improve their technique, master new techniques and ways of stage existence. Probably the main achievement of Tagankov’s first performance was the impossibility of dividing the participants into “insiders” and “outsiders”: they all spoke the same language, maintaining the unity of the aesthetics of the performance and enriching it with their personal and acting experience.

Thus began the first stage in the life of probably the loudest Moscow theater - the Taganka Theater. Here the principles of the “sixties” about which B. Okudzhava sang were maximally reflected: “Let’s join hands, friends, so as not to perish alone...” Lyubimov united in the production groups of his performances writers and poets close to him in spirit (A. Voznesensky, B .Mozhaev, F.Abramov, Y.Trifonov), theater artists (B.Blank, D.Borovsky, E.Stenberg, Y.Vasiliev, E.Kochergin, S.Barkhin, M.Anikst), composers (D.Shostakovich, A. Schnittke, E. Denisov, S. Gubaidulina, N. Sidelnikov). The theater’s artistic council became a special phenomenon, each of whose members had significant professional and public authority and was ready to defend Taganka’s performances in the “highest” offices.

Main creative direction Taganka became a poetic theater, but not chamber, but journalistic poetry. This is the direction in in a certain sense was “doomed to success”: it was the poet-publicists who gathered full stadiums of spectators and listeners in the late 1960s and became the idols of their contemporaries. It is no coincidence that the theater’s repertoire included two performances based on the works of A. Voznesensky - Antiworlds And Take care of your faces(the second of them was banned shortly after the premiere, which only added to the popularity of the performance). Mirror art program theater there were poetry performances Fallen and living, Listen, Pugachev etc. However, even in prose or prose productions dramatic works The spirit of free and socially significant poetry, a vivid stage metaphor, full of modern allusions, prevailed. That's how it was with performances Ten days that shook the world, And the dawns here are quiet, Hamlet, Wooden horses, Exchange, The Master and Margarita, House on the embankment and etc.

The Taganka Theater gave rise to the enormous popularity of its actors. Many of them began to act a lot in films (V. Zolotukhin, L. Filatov, I. Bortnik, S. Farada, A. Demidova, I. Ulyanova, etc.). However, the names of those Taganka artists whose cinematic life was less successful also became legendary. The clearest example– Z. Slavina, who has practically no high-profile roles in films, but, undoubtedly, was a star of the first magnitude in those years. And, of course, V. Vysotsky, whose fame was absolute, and just as “scandalous” as the glory of the entire Taganka Theater. The theater's acting work amazed not only with its journalistic temperament and unusual way of stage existence, but also with its unique plastic development of images. For example, famous monologue Clappers in the play based on S. Yesenin Pugachev V. Vysotsky performed, it seemed, beyond the limits of human physical capabilities.

Y. Lyubimov’s performances were always, undoubtedly, original, and differed extremely interesting work with text. The author of many compositions was Lyubimov’s then wife, actress of the Vakhtangov Theater, L. Tselikovskaya ( And the dawns here are quiet, Wooden horses, Comrade, believe... and etc.).

By the end of the 1970s, the Taganka Theater acquired world fame. At the International theater festival"BITEF" in Yugoslavia (1976) the play "Hamlet" directed by Y. Lyubimov with V. Vysotsky in the title role was awarded the Grand Prix. Yu. Lyubimov received the first prize at the II International Theater Festival “Warsaw Theater Meetings” (1980). Many aesthetic techniques of the Taganka Theater became truly innovative and became classics. modern theater(light curtain, etc.). In developing the visual image of performances huge contribution contributed by one of the best set designers of our time, permanent theater artist D. Borovsky.

However, along with the artistic one, the public, social authority of the Taganka Theater of that time is of particular interest. With each performance, his political sound became more acute and outspoken. The theater has developed contradictory and ambiguous relations with the official authorities. On the one hand, Yu. Lyubimov took the position of an “official dissident”: almost every performance of his had difficulty making its way to the audience, experiencing serious pressure and being under the threat of a ban. At the same time, by 1980, the authorities built a new building with modern technical equipment for the Taganka Theater. Democratic, anti-philistine and very aesthetically complex theater performances counted among their fans not only the liberal intelligentsia, but also the managerial and bureaucratic elite. In the 1970s, a ticket to the Taganka Theater became a sign of prestige among the so-called. the “bourgeois” layer - along with a sheepskin coat, branded jeans, a car, a cooperative apartment.

This stage of the theater's life was accompanied by loud scandals; even before release, his performances were included in the context artistic life Moscow. This situation could not last long. In a certain sense, the sign that marked the end of this stage of the theater’s life was the death of V. Vysotsky in 1980. In the same year, at the invitation of Yu. Lyubimov, N. Gubenko returned to the Taganka Theater.

In the early 1980s the performance Vladimir Vysotsky, dedicated to Lyubimov’s memory of the poet and artist, was strictly prohibited from showing. The next performance was also closed, Boris Godunov, as well as rehearsals Theatrical novel. And in 1984, while Yu. Lyubimov was in England at the production of the play Crime and Punishment, he was relieved of his post artistic director Theater on Taganka and deprived of Soviet citizenship.

The Taganka Theater staff was completely at a loss. And at this time, the authorities are making a very strong political move, leading the theater to zugzwang, to a situation where under no circumstances could it win: A. Efros is appointed chief director. Creative individuality A. Efrosa was very different from, if not contradictory to, the individuality of Yu. Lyubimov. True, back in 1975 Lyubimov invited A. Efros to the Taganka Theater for the production Cherry Orchard. Then this was undoubtedly a step of solidarity with the disgraced director; and the actors’ one-time work with a representative of a different aesthetic movement was regarded as an enrichment of the collective’s creative palette. But in 1984 a change in artistic direction would have meant dramatic change the entire aesthetic platform of the theater. However, the reasons for the deep conflict between Taganka and Efros in the mid-1980s were undoubtedly not creative, but social and moral: it was violated main principle“sixties” – unity.

Lyubimov himself regarded A. Efros’s arrival at Taganka as strikebreaking and a violation of corporate solidarity. Some of the artists, joining his opinion, defiantly left the troupe (for example, L. Filatov). Few were capable of creative cooperation - V. Zolotukhin, V. Smekhov, A. Demidova. The majority of Lyubimov’s artists actually boycotted Efros. In this conflict there were no right or wrong: everyone was right; and they all lost too. A. Efros restored at the Taganka Theater The Cherry Orchard, put At the Bottom, Misanthrope, Lovely Sunday for a Picnic. And in 1987 A. Efros died.

At the request of the group, N. Gubenko became the artistic director of the Taganka Theater. He also led the two-year struggle to return to his homeland and to the Yu. Lyubimov Theater. In 1989, Yu. Lyubimov became the first famous emigrant to whom citizenship was returned. His name was officially returned to the context of Russian artistic life; previously banned performances have been restored. However, there was no “return to normal.” Yu. Lyubimov could not devote as much time to the Taganka Theater as before - he was forced to combine work with productions under already concluded foreign contracts. The existence of the actors was also complicated by the social upheavals of that time associated with hyperinflation and changes in the political formation. The theater was once again divided. This time the conflict with Yu. Lyubimov grew.

In 1993, a significant part of the Taganka team (including 36 actors) formed a separate theater under the direction of N. Gubenko. The “Commonwealth of Taganka Actors” works on the new stage of the theater. Yu. Lyubimov, with the remaining and newly recruited actors, works in the old building. Among them are such “veterans” of Taganka as V. Zolotukhin, V. Shapovalov, B. Khmelnitsky, A. Trofimov, A. Grabbe, I. Bortnik and others.

Since 1997, Yu. Lyubimov refused foreign contracts, deciding to once again devote himself entirely to the Taganka Theater. After returning, he set a row classical performances: Feast in Time of Plague A.S. Pushkin, Suicide N. Erdman, Electra Sophocles, Zhivago (Doctor) B. Pasternak, Medea Euripides, Teenager F.M. Dostoevsky, Chronicles W. Shakespeare, Eugene Onegin A.S. Pushkin, Theatrical novel M. Bulgakova, Faust I.V. Goethe. In the repertoire - and modern works: Marat and the Marquis de Sade P. Weiss, Sharashka according to A. Solzhenitsyn and others. The Taganka Theater is popular among spectators, however, this is undoubtedly a completely different theater.

In December 2010 Lyubimov resigned. The reason for his departure was a conflict with the troupe.

In July 2011, Valery Zolotukhin became the director of the theater and artistic director. In March 2013, Zolotukhin left his post due to health reasons.

An amazing building is located in the building on the corner of Zemlyanny Val and Verkhnyaya Radishchevskaya streets. He successfully survived the test of both fame and schism, and today continues to defend the right to his own vision and interpretation, carefully preserving the traditions of his founding director, Yuri Lyubimov. Taganka's performances are distinguished by the bright personalities of the actors, gambling and intellectual game, using the entire palette of arts in productions: music, dance, circus.

The theater was officially founded in 1946 and experienced its rebirth in 1964 with the arrival of the legendary director Yuri Lyubimov. In those years, Moscow was experiencing a real surge in cultural life— a whole galaxy of young ambitious actors appeared in the capital, delighting audiences with new productions. But even against this background, Taganka immediately managed to loudly declare itself: the first performance by Yu. Lyubimov, “The Good Man from Szechwan” based on the play by Bertolt Brecht, instantly glorified the theater and still attracts full houses. The theater still enjoys admiration for the past of Taganka, where the legendary Vladimir Vysotsky, Valery Zolotukhin, Veniamin Smekhov played and where the best performances of that time were performed.

The era of Lyubimov and Vysotsky

The Taganka Theater revived the traditions of Vakhtangov and Meyerhold. His bold performances were filled with a feeling creative freedom: they have always been distinguished by their innovative approach and topical reading work of art. Yuri Lyubimov, familiar with the systems of E. Vakhtangov and, combined these concepts in his work and introduced elements into them epic theater Brecht. The viewer was actively involved in what was happening on stage, feeling like a full participant in the action.

Most of the performances were performed without a curtain, in minimalist decorations using complex technical structures. Leading artists of the country worked on them: S. Barkhin, D. Borovsky, E. Kochergin, E. Stenberg. Together with Yuri Lyubimov, they created the history of Taganka, producing high-profile performances - “Hero of Our Time” (based on), “Anti-Worlds” (based on A. A. Voznesensky), “The Master and Margarita” (based on M. A. Bulgakov), banned by censorship “Alive” (according to B.P. Mozhaev) and many others.

The actors of Taganka, bright and multifaceted, demonstrated the most different talents: excellent vocal skills, plasticity, pantomime; Some productions even involved shadow theater. Many of them made their debut on this stage and received popular recognition and fame: Alla Demidova, Boris Khmelnitsky, Anatoly Vasiliev, etc. But, perhaps, one of the most bright stars theater was Vladimir Vysotsky. Each of his roles became a real event in the cultural life of Moscow; performances with his participation attracted incredible sold-out crowds with long lines for “extra tickets.” In 1971, Hamlet, staged by Lyubimov, with Vladimir Vysotsky in the title role, Alla Demidova as Gertrude and Veniamin Smekhov as Claudius, thundered throughout the country.

Split and search for a new path

Theater building

The theater building was rebuilt from the Vulcan cinema, one of the first in Moscow. In the 70s - 80s of the XX century, the theater was reconstructed. For this work, the authors of the project - architects A. Anisimov, Yu. Gnedovsky, and others - received the USSR State Prize and the International Academy of Architecture Prize. Nowadays, the theater has three halls with stages for 800, 500 and 150 seats. The main stage is a transformable hall. In 2015, Vysotskogo Street appeared next to the theater, on which the State Cultural Center"Museum of V. S. Vysotsky."

2016-2019 moscovery.com

The Taganka Theater was founded in 1946. But his real story begins almost two decades later, when Yuri Lyubimov took over as chief director. He came with his graduation performance, which caused a resonance from the very first showing. on Taganka, involved in Lyubimov’s productions in subsequent years, became known throughout the country. Among them are Vladimir Vysotsky, Valery Zolotukhin, Leonid Yarmolnik.

Short story

The theater was founded a year after the end of the war. It was called differently then. The first production at the Drama and Comedy Theater, whose chief director was A. Plotnikov, was a play based on the work of the writer Vasily Grossman.

Yuri Lyubimov, who took Plotnikov's place in 1964, came to the theater with his students. The first performance of the new director was “The Good Man from Sichuan.” The leading actors of the Taganka Theater at that time were Boris Khmelnitsky, Anatoly Vasiliev, Alla Demidova.

Lyubimov regularly updated the troupe. He gave preference to graduates of the Shchukin School. So, in the mid-sixties, Vladimir Vysotsky, Nikolai Gubenko, Valery Zolotukhin came to the theater. A few years later, the director invited Ivan Bortnik, Leonid Filatov, and Vitaly Shaposhnikov to join the troupe.

Heyday

The Taganka Theater soon becomes known throughout the country as the most avant-garde. Lyubimov uses almost no scenery. His productions cause incessant controversy among critics. The actors of the Taganka Theater become real stars. In the sixties and seventies, every Soviet intelligent person dreamed of attending Lyubimov’s productions.

In the eighties, Yuri Lyubimov went abroad. During this period, the popularity of the theater declines. Nikolai Gubenko becomes the head. Then, after Lyubimov returned from emigration, the theater was reorganized. Valery Zolotukhin has been holding the position of artistic director for several years.

Today the actors of the Taganka Theater are Dmitry Vysotsky, Anastasia Kolpikova, Ivan Bortnik and others.

Vladimir Vysotsky

The theater was worried different times. The composition of the troupe was constantly updated. But the name of this actor, even more than thirty years after his death, is forever associated with him.

Vladimir Vysotsky has been an actor at the Taganka Theater since 1964. He was involved in sixteen years of work in fourteen productions. In a few of them - in the leading role. However, it was partly to Vysotsky that the theater owed such a resounding fame that swept throughout the Soviet Union. Millions dreamed of attending a production of Hamlet. However, not even every resident of the capital was able to purchase the coveted ticket.

For the first time, Vladimir Vysotsky appeared on stage in the role of the Second God in the production of “The Good Man from Sichuan.” Then there were works in such performances as “Antiworlds”, “Ten Days That Shook the World”, “Fallen and Living”. In 1966, the premiere of “The Life of Gelileus” took place. In this production, Vysotsky played the main role.

"Hamlet"

Actors of the Taganka Theater who played in the production of Shakespeare's work:

1. Vladimir Vysotsky.
2. Veniamin Smekhov.
3. Alla Demidova.
4. Natalya Saiko.
5. Ivan Bortnik.
6. Alexander Filippenko.

The play premiered in 1971. The production received many positive feedback, despite the fact that it was innovative for the Soviet theater stage. In addition, it was easy to consider criticism of the government that existed at that time. For Vysotsky, the role of Hamlet became, according to many, the pinnacle of his acting skills. At the same time some modern critics It is believed that the actor succeeded in this role, with the exception of the famous, key monologue in the plot “To be or not to be.” Vysotsky, according to professionals, could not play the doubt. This actor could only “be.”

"Crime and Punishment"

The play premiered in 1979. Raskolnikov was played by Alexander Trofimov. Boris Khmelnitsky appeared on stage in the role of Razumikhin. The Taganka Theater was the most visited in Moscow. And the production based on Dostoevsky’s work aroused no less public interest than the performances “Hamlet” and “The Life of Galileo”. A year and a half after the premiere, the performer of the role of Svidrigailov passed away. On July 25, 1980, the Taganka Theater, whose poster for the next few days was known to all the capital's theatergoers, was closed to spectators: Vladimir Vysotsky died. The performances were canceled, but not a single person returned the ticket to the box office.

Valery Zolotukhin

This actor played more than twenty roles at the Taganka Theater. Including in the play “Vladimir Vysotsky,” which premiered in 1981. Actors of the Taganka Theater involved in this production:

1. Ekaterina Varkova.
2. Alexey Grabbe.
3. Anastasia Kolpikova.
4. Anatoly Vasiliev.
5. Tatiana Sidorenko.
6. Sergey Trifonov.

In 2011, Zolotukhin was appointed director of the theater. This event was preceded by a scandal caused by disagreements between Lyubimov and the actors. Two years later, Zolotukhin left the post of director. At the end of March 2013, the actor and director passed away.

Anatoly Vasiliev

This actor came to the theater in 1964. He acted little in films, but was involved in most of Lyubimov’s productions. Anatoly Vasiliev is an actor of the Taganka Theater, who devoted more than fifty years to it. The last production in which he played was a play based on Kafka’s phantasmagoric work “The Castle”.

Other actors

Leonid Yarmolnik worked at the Taganka Theater for several years. He was involved in only a few performances. Among them are “Rush Hour”, “The Master and Margarita”, “Fallen and Living”.

Vitaly Shaposhnikov has been an actor at the Taganka Theater since 1968. In 1985 he moved to Sovremennik. But two years later he returned again to the walls of his native theater. Shaposhnikov played Sergeant Major Vaskov in the production of “The Dawns Here Are Quiet” and the main role in the play “Emelyan Pugachev”. After Vysotsky's death, the actor appeared on stage in the role of the scoundrel Svidrigailov. Vitaly Shaposhnikov was also involved in the plays “Tartuffe”, “Mother”, “Fasten your seat belts”.

Boris Khmelnitsky played Woland in the production of Bulgakov's novel The Master and Margarita. He also has theatrical works in such performances as “Life Galileo Galilei", "Pugachev", "Three Sisters".

Dmitry Vysotsky has been an actor at the Taganka Theater since 2001. Involved in the following performances:

1. "Venetian Twins"
2. "Woe from Wit."
3. "Eugene Onegin".
4. "Master and Margarita".
5. "Arabesque".
6. "Lock".

In the performance famous work Mikhail Bulgakov Vysotsky plays the main role.

"Fallen and Living"

The play premiered in 1965. It is dedicated to writers and poets who participated in the Second World War. The performance featured poetic works Mayakovsky, Tvardovsky, Svetlov. Mikhail Kulchitsky - a young poet who died at the front in 1943 - played the role of Pavel Kogan - the author romantic works, who also did not return from the battlefield, was performed by Boris Khmelnitsky.

"House on the Embankment"

In 1980, Yuri Lyubimov staged a play based on the story by Yuri Trifonov. In those distant Soviet years it was quite a brave move. They knew a lot about the Stalinist terror of the thirties, but to talk about these tragic pages in Soviet history it was dangerous to be so loud. The premiere of “The House on the Embankment” became an exciting event in the cultural life of Moscow. The main roles were played by Valery Zolotukhin and

"Doctor Zhivago"

Premiere of the play based on the novel, for which the author was awarded Nobel Prize in 1965, took place two years after the collapse Soviet Union. The director managed to preserve Pasternak's unique poetics. The production featured music by Alfred Schnittke.

Other performances that once took place on the stage of the Taganka Theater:

1. "Electra".
2. "Teenager".
3. "Medea".
4. "The Brothers Karamazov".
5. "Sharashka".
6. "Socrates".

"Master and Margarita"

Yuri Lyubimov is the first theater director to transfer the plot of the great novel to the stage. The production uses works by composers Prokofiev, Strauss and Albinoni. The play is on more than a quarter of a century. Reviews from viewers about him vary: from negative to enthusiastic. However, Lyubimov’s production style has always evoked mixed responses from the public.

The masters in the play are played alternately by Dmitry Vysotsky and the role of the protagonist’s beloved is played by three actresses: Maria Matveeva, Alla Smirdan, Anastasia Kolpikova. Pontius Pilate is played by Ivan Ryzhikov. Other actors involved in the production:

1. Alexander Trofimov.
2. Nikita Luchikhin.
3. Erwin Haase.
4. Sergey Trifonov.
5. Timur Badalbeyli.
6. Alexander Lyrchikov.

"Viy"

The premiere of the play based on Gogol’s most mystical story took place in October 2016. This production is an unusual combination of texts by the Russian classic and compositions by musician Venya D’rkin, who passed away in 1999. Khoma Brut plays Pannochka - Alexander Basov.

What performances will the Taganka Theater present in 2017?

Poster

1. "Elsa" (January 14).
2. "Venetian Twins" (January 15).
3. “Vladimir Vysotsky” (January 25).
4. "Golden Dragon" (January 26).
5. "Faust" (February 1).
6. "Old, old tale" (February 5th).
7. “The Master and Margarita” (February 7).
8. "Eugene Onegin" (February 11).

"The Taganka Youth Theater, created by Yuri Lyubimov, continues the traditions of revolutionary theater - the traditions of Mayakovsky, The Blue Blouse, Vsevolod Meyerhold, Bertolt Brecht. Thin psychological dialogue, shadow theater, cinema, pantomime, stage, play of light - everything merged into an extraordinary fusion, incandescent with the enthusiasm of young artists. This theater is very young. He is only taking his first steps. But these steps are decisive. And let them resound firmly in our art!”
Alexander Svobodin, theater critic
"Krugozor" No. 6 1965

The Moscow Drama and Comedy Theater was founded in 1946, the main director was Alexander Plotnikov, and the troupe was made up of students of Moscow theater studios and actors of peripheral theaters. The first premiere of the new group was the play “The People Are Immortal” based on the novel by Vasily Grossman. The theater was given the premises of the former electric theater (cinema) "Vulcan" built in 1911 (architect G.A. Gelrich). Actually, cinema existed there only before the revolution, and in the 1920-1930s this hall became a theater venue.

1915:

In the early 60s, the Drama and Comedy Theater turned out to be one of the least visited theaters in the capital - in January 1964, Plotnikov had to resign, the position of chief director was entrusted to Yuri Lyubimov, at that time better known as an actor at the Vakhtangov Theater and a teacher at the Vakhtangov School Shchukin.

Lyubimov came to the theater with his students from the Shchukin School and their graduation performance - “The Good Man from Szechwan” based on the play by B. Brecht. The performance became the debut on the professional stage for Zinaida Slavina, Alla Demidova, Boris Khmelnitsky, Anatoly Vasilyev. Lyubimov significantly updated the troupe, producing an additional set of young artists - Valery Zolotukhin, Inna Ulyanova, Veniamin Smekhov, Nikolai Gubenko, Vladimir Vysotsky were enrolled in the theater, and in the late 60s - Leonid Filatov, Felix Antipov, Ivan Bortnik, Vitaly Shapovalov.

Under the leadership of Lyubimov, the Taganka Drama and Comedy Theater immediately acquired a reputation as the most avant-garde theater in the country. Like the early Sovremennik, the theater did without a curtain and used almost no scenery, replacing them with various stage structures. Pantomime was actively used in the performances, shadow theater, music was used in a Brechtian way. The name of the theater itself became shorter over time: Taganka Theater.

It was almost impossible to buy a ticket for some performances; they say that theatergoers lined up at the box office in the evening. In the early years, the theater’s repertoire included poetic performances “Comrade, believe ...” (according to A. Pushkin), “Listen!” (according to V. Mayakovsky), “Anti-Worlds” (according to A. Voznesensky), “Fallen and Living” (about poets who died in the war), “Under the Skin of the Statue of Liberty” (based on the poem by E. Yevtushenko), dramatic productions “Ten Days that shocked the world" (J. Reed), "Mother" by M. Gorky, "What to do?" N. Chernyshevsky, “...And the dawns here are quiet” by B. Vasilyev, “House on the embankment” by Y. Trifonov.

1966-1970:

1967-1970:

People flocked to the Tagansky performances, but the idyllic relationship between the artist and the official quickly faded away. Main director Yuri Lyubimov was not going to bend and the authorities used force: new performances were not allowed, tours were cancelled. In addition to complaints about the repertoire, art critics in civilian clothes did not like the participation in the performances of Vladimir Vysotsky, a poet who performed his own songs with a guitar of very dubious content. Although Vysotsky himself modestly answered in an interview that “without the Taganka Theater there would be no Vysotsky,” he was the cornerstone in Lyubimov’s construction, the performer of the main roles in best performances: "Hamlet", " The Cherry Orchard", "The Life of Galileo", "Pugachev" and others. Despite all the difficulties, the 1960-1970s became the golden age of Taganka.

In the early 1970s, a decision was made to reconstruct the theater. Architect Alexander Anisimov did great job on the sketches, taking into account the wishes of Yuri Lyubimov. Although construction began in 1972, the new theater hall opened only in April 1980. The reason for the long-term construction was the lack of funding, the shortage of building materials, and the adjustment of plans by Lyubimov. As a result, it was possible to preserve the old theater and attach a red brick building to it with new scene. Lyubimov seemed to have a presentiment that later scandals would begin in the theater and the troupe would split in two. In the meantime, Vysotsky sang about bricks that “remind everyone of a state-owned house.”

1987:

After Vysotsky's death, the theater experienced troubled times, it was as if he was being pursued by an evil fate. One of the artists called the Taganka of the 1980s “a terrarium of like-minded people.” Yuri Lyubimov had conflicts with the authorities and in 1984 was deprived of Soviet citizenship. The Taganka troupe was waiting for his return and boycotted the famous director Anatoly Efros, who was appointed instead of Lyubimov. In 1987-1989, the theater was led by Nikolai Gubenko, who contributed to the return of Yuri Lyubimov to his homeland. But even here there were conflicts; in 1992 the theater was divided into Lyubimov’s “Taganka Theater” (old stage) and Gubenkov’s “Taganka Actors’ Commonwealth” (new stage).

In the Nizhny Tagansky deadlock, the Vysotsky Museum opened in the 1990s, and later the Vysotsky club.