Chief director of the Taganka Theatre. The Taganka Theater: history and architecture

The same theater where Vysotsky once worked, and where Zolotukhin began his great career. The theater, which began its work not with drama productions, but with dramatizations of the poetic works of Pushkin and Mayakovsky. Drama and Comedy Theatre, Taganka Theatre. Today he will tell about the history of the famous Moscow theaterwebsite.

Drama and Comedy Theater

The Taganka Theater was founded in 1946, almost immediately after the end of the war. At that time, Alexander Plotnikov was appointed the chief director, who proposed for the premiere performance "The People is Immortal" based on the novel by Vasily Grossman. The troupe was recruited quickly - from students of Moscow theater studios and various smaller theaters.

The Taganka Theater was created almost immediately after the end of the war

True, things somehow did not work out: the theater was not popular with the audience. By 1964, the situation was so bad that the Drama and Comedy Theater had the lowest ratings and was the last theater in attendance. It was then that Yuri Lyubimov, at that time an actor of the Vakhtangov Theater, was appointed the chief director, who made the Taganka Theater the way we know and love it.

Theater on Taganka

Debut of Lyubimov

Lyubimov's debut production as a director on the stage of the Taganka Theater was a performance based on Brecht's play "The Good Man from Sesuan", which became a real symbol of the theater and has been preserved in the repertoire to this day. It was a graduation production of his students at the Shchukin School, whom he brought with him to the troupe. The following performances only reinforced the success of Lyubimov. Some of the most famous were "Ten Days That Shook the World" by Reid, "The Dawns Here Are Quiet", "Hamlet", "Wooden Horses" and "The Master and Margarita".

Yuri Lyubimov, famous director of the Taganka theater

Brecht at the heart of Taganka

In general, Lyubimov was a fan of the ideas of Brecht's "epic theater". He put the German playwright on a par with such famous writers as Shakespeare and Moliere. Having ascended the director's throne, Lyubimov hung portraits of the "three pillars of the theater" in the foyer of the theater: Brecht, Vakhtangov and Meyerhold. True, the district committee of the party persistently recommended that he add Stanislavsky to this trinity.

Yuri Lyubimov was a fan of the ideas of the "epic theater"

By the way, it was Lyubimov who added the famous “on Taganka” to the name of the Drama and Comedy Theater, which, with the light hand of Moscow theatergoers, quickly turned into simply “Taganka”. Lyubimov turned everything upside down, not only in the field of repertoire, but also in relation to the scenery. Under him, the rather conservative Taganka Theater became the most avant-garde theater in the country. The theater did almost without a curtain and scenery, pantomime and shadow theater were used. After 10 years, the theater became the most visited in Moscow.

Exhibition in the lobby of the theater

Poetry and prose: a new vision

Lyubimov brought new ideas to the work of the theatre. For example, the words on the stage no longer have such a big meaning, music, singing and movement come to the fore. The first performance based on poetry was Antimirs after Voznesensky. Chekhov and Brecht, Pushkin and Mayakovsky, Bulgakov, Pasternak and Dostoevsky appeared on the stage, the Silver Age and poems of the war time met here. All this organically coexisted in the avant-garde theater on Taganka.

Vysotsky for "Hamlet" received the Grand Prix at the festival "BITEF"

Famous actors worked on the stage, including Valery Zolotukhin, Leonid Filatov, Veniamin Smekhov, Zinaida Slavina, Alla Demidova and Vladimir Vysotsky himself! He was a truly scandalous person, for example, many critics noted that he performed the famous Khlopushi monologue from Pugachev according to Yesenin beyond the limits of human physical capabilities. And in 1976, at the theater festival "BITEF" in Yugoslavia, the play "Hamlet" with Vysotsky in the title role received the Grand Prix. In the 80s, a performance was staged in honor of the artist, named after him, but it was soon banned.

Vladimir Vysotsky in the famous role of Hamlet

Separation and split

Due to an unusual view of the principles of theatrical art, Lyubimov did not stop having problems with the Soviet authorities. It all ended with the fact that in 1984 the director was forced to leave the country and part with his beloved theater. The strip of alienation lasted 5 years, and the life of the Taganka Theater was divided into "before" and "after".

Due to problems with the Soviet authorities, Lyubimov left the country for 5 years

All this time, Efros was the director, whose creative vision was fundamentally at odds with the point of view of Lyubimov. At the beginning of perestroika, Lyubimov was allowed to return, and he began to revive his beloved brainchild with renewed vigor. It was thanks to him that the famous performances “Alive”, Vladimir Vysotsky” and “Boris Godunov”, which were banned, appeared on the Taganka stage. He also staged new performances: “Suicide”, “Electra”, “Eugene Onegin”.

The play "Eugene Onegin" on the stage of the Taganka Theater

In 1992, the theater troupe split in two, and a group separated from Taganka, calling itself the "Commonwealth of Taganka Theaters", which, under the leadership of Nikolai Gubenko, occupied the new building of the Taganka Theater. But this did not break the iron will of Lyubimov: he continued his creative work, took up Faust and even the poetry of the Oberiuts.

Yuri Lyubimov left the post of head of the Taganka Theater in 2011

In 2011, Yuri Lyubimov nevertheless left the post of head of the theater, and the reins of government passed to Valery Zolotukhin. But due to poor health, Zolotukhin was also forced to refuse, and a year and a half later, Vladimir Fleischer was appointed the new director.

Created on April 23, 1964 on the basis of the troupe of the Moscow Drama and Comedy Theater (organized in 1946).
In 1964, a new chief director came to the Moscow Drama and Comedy Theater, located on Taganka, - an artist of the Theater. Evg. Vakhtangov, teacher of the theater school. B. V. Schukina, Yuri Petrovich Lyubimov. He came with his students and with their diploma performance Brecht's The Good Man from Sezuan, which became a symbol of the young theater and has survived in it to this day. Soon the theater will change its name and will be called according to its place of residence - the Taganka Theater, in everyday life - simply Taganka.

The charm of the studio, gambling and clever play, light and expressive conventionality immediately captivated Muscovites. The following performances consolidated the success. In "Ten Days That Shook the World" according to D. Reid - "a folk performance in 2 parts with pantomime, circus, buffoonery, shooting" - the audience fell into the heated and festive world of the revolution. Everything here became a holiday of the theater. The free element of the game, the courage of the square spectacles, the revived traditions of Vakhtangov and Meyerhold, the lively breath of the day - all this made Taganka not only popular, but vital. They spoke to the public directly and without hiding their faces. Inner freedom, dignity, an imprint of one's own personality distinguished the Taganka actors of its first time - Vladimir Vysotsky and Valery Zolotukhin, Zinaida Slavina and Alla Demidova - and have become a tradition that is still mandatory.

Another tradition is the possession of the entire palette of arts. Word and action - the basis of drama - were as important as music, movement, singing. From the play "Antimira" based on the poems of Voznesensky, the theater of poetry began on Taganka; from the play "Alive" based on the story of Mozhaev - prose theater. The theater gave its audience lessons in literature, having walked with them for 40 years the path of world classics from ancient times to Chekhov and Brecht. Pushkin and Mayakovsky, the poets of the Silver Age and the military era, reigned here; based on the works of Dostoevsky, Bulgakov and Pasternak, "village", "urban" and military prose, a stage epic was created.

Taganka also gave lessons in history and civic fearless thinking; gave the maximum of what the theater was capable of in conditions of lack of freedom, serving as a pulpit and tribune, the realm of the arts - and a meeting place for people. Therefore, such a powerful and dense layer of friends surrounded her - from among those that are commonly called the color of the nation: scientists, public figures, artists.

The fate of Taganka has never been easy. The constant conflict with the authorities was resolved tragically and abruptly: Lyubimov's departure abroad, his excommunication from the country, from the theater, separation. A strip of alienation of five years (1984-1989) cut the history of Taganka into two unequal parts. Returning at the beginning of perestroika, Lyubimov began to revive his theater; achieved the publication of banned performances: "Alive", "Vladimir Vysotsky", "Boris Godunov". I also had to go through a split in the theater, which was not uncommon in those years, from which a group separated, calling itself the “Commonwealth of Taganka Actors”. But no one has yet managed to break the will of the creator of Taganka, to extinguish the creative fuse of the team, and this is hardly possible. The indefatigable Lyubimov, the patriarch of Russian stage direction, who has already crossed the line of his 80th birthday, stages Faust and the poetry of the Oberiuts, surrounds himself with youth and catches the rhythms of a new day.

Today the capital (and Russia as a whole), in the opinion of most experts in theatrical craft, is faced with the problem of a shortage of strong, talented leaders. So, director of the theater "Lenkom" Mark Varshaver noted that he was ready to work "from morning to night", but only "for a genius." However, today there are no such leaders, he believes. "This is the misfortune that exists in Moscow. If there is no creativity, this is not a theater. There are walls, repairs, material "victory" that many theaters do not have. The main thing is where to get directors. Where to get a creator? Warsawer commented.

In Moscow alone, specialized universities graduate 60-80 administrative specialists annually. However, it is extremely difficult for theaters to find an intelligent employee in this "line", the "administrative" head of Lenkom noted.

The "happy" directors of Moscow theaters, whom they consider themselves to be, loudly repeat that a tandem of an artistic director and director is necessary for prosperity. Where this is not the case, the "director's theater" model is being implemented.

This practice has recently been widely used by the Ministry of Culture and city cultural departments. However, not everyone supports the concept that there is no artistic director. Especially if the role of the "two-headed eagle" in the management of the theater is played by a person "outside the system", the so-called result of the "appointment leapfrog" initiated by the cultural authorities.

The "consequence" of this, to put it mildly, risky policy was the appointment of an actress Irina Apeksimova in March 2015, to the post of director of the Taganka Theater - a place where the "Varangians" who promised "big changes" were not very fond of before. The new head of "Taganka" - personnel decision ex-head of the department of culture of the capital Sergey Kapkov taken "at the end" of his career. Crisis manager Apeksimova, as expected, should complete the renovation of the premises of the historical building of the theater, as well as harmonize the creative process in the team.

The arrival of Apeksimova in the theater was taken extremely sharply by the troupe artists Her first actions to dismiss a number of employees from the administration and accounting departments, of course, were not met with "applause". The actors are outraged by the "new" course of continuing the "old" restoration of the theater instead of the approved repertoire plan and the preservation of their native stage, the "know-how" of the space invented by the masters. The "titans" of art announced a picket on April 23, and, if necessary, its continuation in the form of a hunger strike. In addition, the artists of "Taganka" made an appeal to the organization for the protection of human rights and intend to complain to the prosecutor's office.

Director of the Moscow Bureau for Human Rights, member of the HRC under the President of the Russian Federation Alexander Brod confirmed that he had received a call from the Russian Trade Union of Cultural Workers. It says in particular:

"The situation in the theater is catastrophic. Repairs started in violation of the state contract, the schedules are all violated. According to experts, there is no emergency condition in the theater. However, false documents are being issued about the accident rate. Probably to justify the unreasonable spending of funds for repairs from the Moscow budget."

The "signers" also claim that the brilliant legacy of director Yuri Lyubimov (died on October 5, 2014 at the age of 97) is "thrown into the trash", and the absence of an artistic director and a clear artistic policy "destroys" the theater.

For clarity: since the summer of 2014, the Taganka Theater has not been fully functional: old performances are not played, new ones are not staged.

"To our entreaties and requests to give us an artistic [director] to preserve the legendary repertoire of Lyubimov, as well as 11 performances that were staged under Zolotukhin, the troupe and creative workshops, we received only deathly silence, or a reply that this issue was not being considered. There are the certainty that, by recommending spending money on the restoration of the theater due to an imaginary accident rate, they want to kill the troupe of one of the most iconic theaters in the world",- emphasized theater actress Tatyana Sidorenko.

The artists take a consolidated position, believing that the statement about the accident rate of the building is "outright slyness." According to their data, in 2012-2014. a study of the foundation was carried out, which was found to be satisfactory, with the exception of certain areas.

"Who needs to spend hundreds of millions of our taxpayers' money? It is not clear on what grounds they want to change the previously approved reconstruction project. This will lead to the fact that the theater will stop for 3-4 years, and as a result - to its destruction",- added Sidorenko.

The price of the state contract for the repair of the building is 157 million 610 thousand rubles. During the dismantling of the structure, the contractor revealed that a number of sections of the theater building were in disrepair. However, they were not reflected in the design estimates, said Deputy Head of the Moscow Department of Culture Dmitry Ipatov. In this regard, it is necessary to conduct an additional survey in order to stop the repair or make adjustments to the reconstruction project. According to him, the experts of the Department of Cultural Heritage conducted a visual inspection of the state of the object and drew up an act, which indicated the following conclusions: for a detailed study, it is necessary to conduct a comprehensive instrumental examination of the structure and soil. Thus, the state contract has been suspended, which excludes the presence of "employed" under the roof of the Taganka theater, Ipatov specified.

Apeksimova said that at the time of her arrival - March 6, 2015 - the state task for the first quarter of 2015 had not been fulfilled. "Further repertoire was not planned, venues were not rented. Until the end of this season (April-May) it is not possible to rent other premises, because it is quite late to do it, the repertoire is made up everywhere. I, just like you, get acquainted with the information, why the renovation was suspended. I ask the Department of Culture how we will continue to exist",- the new head of the theater commented on the situation.

Actor Ivan Ryzhikov, in turn, notes that if we consider this case as "some kind of business project", then there are "signs of a raider takeover."

“Over the past two years, budgetary funds have been irrationally spent, the state task has been reduced, the efficiency of performance indicators has fallen sharply. Artists do not receive allowances. There is a clear lobbying for the expansion of the scope of repair work that our theater "so needs"", he complains. When appointing a director, no one consulted with the troupe, decisions were made "behind the scenes". “Today, almost all the senior management has been fired - the accounting department and the economic department, highly qualified people who worked under Lyubimov and Zolotukhin. positions were taken by new employees whose qualifications remain in doubt, Ryzhikov says.

In its history, "Taganka" experienced 4-5 overhauls, but labor activity never stopped. Here, the new leadership "in order to avoid the effect of a house of cards" banned any rehearsals and creative contacts in the theater, the artist emphasized. The theater in the person of Apeksimova does not have a development plan, he added.

According to Ryzhikov, the artists have no choice but to "slander". “We are often accused of writing letters. We are artists, we want to play, not write letters, but they leave us no hope. We write to Sobyanin. All this stops at the level of Mr. Pechatnikov, who answers me that the troupe safely plays on all other venues in Moscow", - says the artist. "Well-being" is measured by 4-5 performances per month.

Professor at Moscow State University Lomonosov, political scientist Sergei Chernyakhovsky I am sure: we must try to save the theater, because in the end, in the dispute between the actor and the administrator, the actor always remains right. "It is not normal when the director of the theater is appointed in addition to agreeing with the team. It is sad if the director cannot find a common language with the actors. There is a theatrical principle of leadership in politics. There is a chief director, a prima and a director. All disasters come from the fact that one wants to unite everything. The fact that this has become possible in the theatrical sphere is doubtful by the very nature of this sphere. Economic and administrative decisions must depend on artistic ones, " he commented.

The "legs" of the conflict, according to the expert, "grow" from the Department of Culture of Moscow, which created another conflict in the theatrical environment . "There is a difference between a construction site and a theater. The department talks about conclusions, contract numbers, but not a word about the creative process and actors," - Chernyakhovsky said. The department allegedly acts according to the usual "corruption scheme": it concludes a contract, starts working, then asks for additional funding. In this case, it is quite reasonable, in his opinion, to talk about a special investigation and appeal to the prosecutor's office.

Artistic Director of the Theater at the Nikitsky Gates Mark Rozovsky invited the actors to spend less energy, nerves and time on "paperwork" and focus on preserving and developing the creative tradition of the legendary theater - the theater of "live, poetic, metaphorical". "The theater is movement, if it is not there, dead things will come,"- he said. The director wished the artists to "revive" the artistic creed, which will allow them to create a precedent, to attract public attention through creative expression, even performing "on the rocks" . "We need to engage in creativity, start making stunning theater projects as soon as possible. Then you will come to life and begin to believe this person. Anyone who is passionate, who will lead, will give impetus to the development of the Taganka Theater. No repair can interfere with creativity," - he said.

"Tagantsy" do not support this idea, relying on their rights guaranteed by the terms of the collective agreement. Artists do not want to see "a beautiful, promoted actress, a charming girl" with a new economic policy "in their pocket", they demand a creative leader from the city authorities.

These same artists, by the way, themselves became the catalyst for the current state of Taganka. Previously, they actively advocated for Yuri Petrovich Lyubimov to leave his home, recalled Head of the State Academic Theatre. E. Vakhtangov Kirill Krokk. Today they are speculating on the director's name. "That shouldn't be discounted either," he noted. The founder does not have to agree with the staff on the appointment to the position of director. This has never happened and never will, Krokk stressed. "The director is a profession, not a trade union leader that we choose. The founder, trusting this person, shifts responsibility for the theater to him. Elections are outside the legal law in force in Russia,"- explained the director.

The first thing to do is to try to start working together with Apeksimova, and not engage in squabbles and writing complaints, Krokk is sure. "I understand that this is already the norm for you. No matter who the department of culture appoints, I am convinced that the trade union will lead this line that is detrimental to the theater, even oppose the director with experience and experience. This is a given of today," he concluded.

Moscow City Duma in the face Chairman of the Commission on Culture and Mass Communications Yevgeny Gerasimov took on the responsibility of supervising this issue and asked Apeksimova in two weeks to "provide" the creative concept for the development of the Taganka Theater. The prospects of "becoming one family" and establishing a dialogue in the name of preserving the creative heritage of Lyubimov are still vague. "Taganka", full of "fire of anger", destroys the very process of creation, and the new director has nothing to offer as an alternative.

Actress Irina Apeksimova became the director of the Moscow Taganka Theater. Sergey Kapkov, head of the Moscow Department of Culture, announced a new appointment at the theatre. Soon he himself will introduce Mrs. Apeksimova to the Taganka Theater team.

“Apeksimova was appointed director of the Taganka Theater by my order,” Sergey Kapkov, head of the Moscow Department of Culture, told Interfax.

Problems with the management of the theater began back in 2011, when, as a result of a conflict with the actors, Yuri Lyubimov, the founder of the Moscow Taganka Drama and Comedy Theater, left the troupe with a resonant scandal. The vacant post was taken by People's Artist of Russia and one of the leading actors of the theater Valery Zolotukhin, who was neither the initiator nor a direct participant in the conflict. In 2013, for health reasons, he left the theater and soon died after a serious illness. Mr. Lyubimov himself was actually in the status of an exile, his performances gradually disappeared from the repertoire of his native theater.

Soon the department of culture appointed Vladimir Fleischer, who had worked for many years as the director of the Moscow Meyerhold Center, to the leading position. Experts noted that this decision was more technical than creative: Mr. Fleischer was never able to develop a coherent repertoire policy. As a result, the Moscow Department of Culture made a strong-willed decision on a new personnel appointment. Instead of Mr. Fleischer, the post of theater director will be taken by actress and producer Irina Apeksimova.

The key question at the moment is who will determine the artistic tasks of the theater, which is today in a difficult situation. If Mrs. Apeksimova was transferred by the Department of Culture to the Taganka Theater as a successful manager to solve administrative problems, then she needs an artistic director as a couple. However, if she is appointed to single-handedly determine the repertoire, then this decision seems rather extravagant, since the actress does not have experience in independent leading artistic activities, she was not noticed in major artistic actions.

Irina Apeksimova, who has successfully worked for ten years at the Chekhov Moscow Art Theater and has played more than 60 roles in theater and cinema, is currently the head of the Roman Viktyuk Theater. In a statement to TASS, the artist noted that she "plans to combine these two positions." Roman Viktyuk invited the famous actress to an administrative, in fact, position in 2012. Then she was given the task, together with the artistic director, to prepare the theater troupe to work under the conditions of regular shows in her own building. The building of the House of Culture named after Rusakov, in which the Roman Viktyuk Theater was based, had been waiting for reconstruction for a long time, which is why the artists had to perform at various other Moscow venues. So the actress Apeksimova repeatedly played in the performances of Roman Viktyuk, such as Our Decameron and Carmen. As you know, during the time of cooperation in the reconstruction field, relations between the artist and the director completely ceased to develop. One way or another, the Viktyuk Theater will be under repair until the end of March.

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Created in 1964 on the basis of the troupe of the Moscow Drama and Comedy Theater (organized in 1946), which included graduates of the Theater School. Schukin. Main directors: Yu. P. Lyubimov (1964 84), A. V. Efros (1984 87), N. N. Gubenko (1987 89), ... ... encyclopedic Dictionary

Moscow Taganka Theater- MOSCOW TAGANKA THEATER, drama, founded in 1964 on the basis of the Moscow Theater of Drama and Comedy (created in 1946) and a group of graduates of the Theater School named after B.V. Schukin. Artistic directors: Yu.P. Lyubimov (1964 84 and since 1989), A ... Illustrated Encyclopedic Dictionary

Created in 1964 on the basis of the troupe of the Moscow Drama and Comedy Theater (organized in 1946), which included graduates of the Theater School. Schukin. The main directors are Yu. P. Lyubimov (1964 84), A. V. Efros (1984 87), N. N. Gubenko (1987 89), Lyubimov ... Big Encyclopedic Dictionary

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Books

• , Chicherina Victoria Viktorovna Category: Theater Publisher: Algorithm,
• Theater on Taganka with Vysotsky and without. People, events, opinions, Chicherina Victoria Viktorovna, The book publishes historical essays on the Moscow Taganka Drama and Comedy Theater, interviews with its leading artists of the early 1990s, as well as materials on cultural life ... Category: History of theatrical art Series: Publisher: