Chief director of the Vakhtangov Theater 1939 1968. Theater named after

THEATER NAMED AFTER EVGENY VAKHTANGOV. History of the theater. Evg. Vakhtangov begins long before the date of its official opening. At the end of 1913, a group of Moscow students created the Student Drama Studio, the purpose of which was to study theatrical art according to the system of K. S. Stanislavsky. The actor and director of the Art Theater Evgeny Bagrationovich Vakhtangov (1883–1922) agreed to head it; his closest assistant in organizing the studio was Ksenia Ivanovna Kotlubay (1890–1931). Until 1917, the studio was called Studencheskaya (or Mansurovskaya, after the name of the lane where it temporarily settled); from 1917 to 1920 - Moscow Drama Studio of E.B. Vakhtangov. On September 13, 1920, the team was accepted into the family of the Art Theater under the name of its 3rd Studio. On November 13, 1921, the permanent theater of the 3rd Studio of the Moscow Art Theater opened (at Arbat 26, where it is still located). The Studio officially received theater status only in 1926.

The studio, headed by director-teacher Vakhtangov, produced performances Lanin Estate B. Zaitseva (1914), Miracle of Saint Anthony M. Maeterlinck (1918, 1921), Wedding A.P. Chekhov (1920, 1921). The second editions of the last two performances differed sharply from the first versions - they were devoid of condescending gentleness and good nature, but full of all-consuming grotesqueness. Work was underway on a play by studio poet P. Antokolsky Betrothal in a dream, were rehearsing Electra Sophocles and Feast in Time of Plague A. Pushkin.

In 1919, twelve gifted studio members left the Studio (this was a blow for the team as a whole and for Vakhtangov personally). At the same time, admission to the first year of the school was announced - this is how B. Shchukin and Ts. Mansurova appeared, followed by R. Simonov, A. Remizova, M. Sinelnikova, E. Alekseeva. In 1922 the legendary ramp was released Princess Turandot K. Gozzi (Schiller's play under the same name was originally rehearsed) of the dying Vakhtangov. After the tragic “screaming performances” ( Eric XIV A. Strindberg in the 1st Studio of the Moscow Art Theater or Gadibook S. An-sky in the Habima studio), fractured and grotesque, full of painful discord and nightmarish visions, the director in his last production glorified life with its festive theatricality. IN To Princess Turandot, which became the brightest and most significant stage in the history of the theater, they talentedly played Mansurov - Turandot, Zavadsky - Kalaf, Orochko - Adelma, Basov - Altoum, Zakhava - Timur, Shchukin - Tartaglia, Simonov - Truffaldino, Kudryavtsev - Pantalone, Glazunov - Brighella, Lyaudanskaya - Skirin, Remizova - Zelima and others. The performance was resumed twice - by R. Simonov (1963) and G. Chernyakhovsky (1991).

After the death of Vakhtangov on May 29, 1922, a new Art Council of the Studio was elected: Zavadsky, Zakhava, Turaev, Kotlubai, Orochko, Tolchanov, Lyaudanskaya, Elagina, Glazunov and Basov. However, the collective leadership could not relieve the tension that arose in the Studio: everyone was convinced of the need to continue Vakhtangov’s line, but everyone had their own ideas about what methods to achieve this. Many of Vakhtangov’s students gravitated toward directing, but there was no clear leader among them.

After the failure of the performance Truth is good, but happiness is better A.N. Ostrovsky (B. Zakhava’s directorial debut, 1923) V. Nemirovich-Danchenko appoints director of the 3rd Studio of Y. Zavadsky, whose eccentric production of Gogol’s Marriages(1924) became the second premiere of the Studio after the death of Vakhtangov. The performance was not received by the public. Zavadsky had to leave the post of director, to whose position actor O. Glazunov was elected.

During the period when the Studio defended its independence (the proposal to join the Art Theater was rejected), director A. Popov came here. The 1924–1925 season brought two successes at once - Popov’s productions Comedy Merimee(four plays from the cycle Clara Gazul Theater) And Lev Gurych Sinichkin D. Lensky. Next Popov puts Virinea L. Seifullina (1925), Zoykin apartment M. Bulgakov (1926), Fault B. Lavreneva (1927), Conspiracy of feelings Yu. Olesha (1929), Vanguard V. Kataeva (1930). On the day of the fifth anniversary of the Studio, which was on the rise, it was renamed the Vakhtangov State Academic Theater. Since the second half of the 1920s, performances have been staged by R. Simonov ( Marion de Lorme V. Hugo, 1926, and On the blood S. Mstislavsky, 1928), I. Tolchanov ( Party of Honest People J.Romain, 1927), Zahava ( Badgers L. Leonov, 1927), joint productions of two, three and even four directors are carried out (performances 1930 Deceit and love Fr. Schiller, staged by Antokolsky, O. Basov, Zahava and Pace N. Pogodin, staged by Basov, K. Mironov, A. Orochko, Shchukin). During the same period (since 1927), the artist and subsequently director N. Akimov began collaborating with the theater.

At the end of the 1920s, it became increasingly difficult for Popov to work in the theater: his performance failed Vanguard, relations with the management of the theater, headed by Zakhava and Simonov, are complicated. On May 12, 1930, a note appeared in the Literary Gazette: “Due to differences on issues of artistic and ideological leadership from the Theater. Vakhtangov director Alexei Popov dropped out.” Another bright stage in the work of the Vakhtangov Theater has ended. Rehearsals for the play started by Popov Pace completed by an entire director's panel.

The 1930s at the Vakhtangov Theater were marked not only by productions of Soviet plays (Pogodin, Kataev, A. Afinogenov, A. Kron, V. Kirshon), but also by the famous Hamlet Akimov, who saw in Shakespeare’s play the struggle of the riotous prince Hamlet (A. Goryunov) for the throne - tragedy was talentedly replaced by comedy and farce. Zahava stages two plays by M. Gorky: Egor Bulychov and others(1932) with Shchukin-Bulychov, recognized as a genius in this role, and Dostigaev and others(1933). In the 1936–1937 season, I. Rapoport produced the play Much ado about nothing Shakespeare (with the unforgettable Mansurova and Simonov in the roles of Beatrice and Benedict) is the embodiment of what many saw as the “Vakhtangov principle” (unforced comedy, ironic lightness and brilliance of wit).

In 1939, R. Simonov was appointed artistic director of the theater, the period of collective leadership ended. The theater is searching for a relevant Soviet play; the former chief director of the Realistic Theater, which by the will of the authorities merged with the Kamerny Theater, N. Okhlopkov, who produces the play, is invited to the production Field Marshal Kutuzov V. Solovyov (1940). In the pre-war months they saw the light Before sunset G. Hauptmann (the first independent directorial work of A. Remizova), Don Quixote Bulgakov, staged by Rapoport, Masquerade M. Lermontov (director A. Tutyshkin).

In the first years of the Great Patriotic War, the theater operated in Omsk (1941–1943). Performances were staged here Oleko Dundich A. Rzheshevsky and M. Katz and Russian people K. Simonova (dir. A. Dikiy, 1942), Cyrano de Bergerac E. Rostand (dir. Okhlopkov, 1942), Front A. Korneychuk (dir. Simonov, 1942), etc. The Front Branch of the theater was created, which produced performances Immortal A. Arbuzov and A. Gladkov (dir. A. Orochko, 1942), Not to yours don't get on the sleigh A. Ostrovsky (dir. Mansurov, 1944) and Somewhere in Moscow V. Massa and M. Chervinsky (dir. Remizova and A. Gabovich, 1944), etc.

During the war, Okhlopkov left the theater and agreed to head the Theater of the Revolution. Have wild success Servant of two masters C. Goldoni (1943) directed by Tutyshkin with N. Plotnikov in the role of Truffaldino and comedy-operetta by F. Hervé Mademoiselle Nitouche(1944), staged by Simonov and designed by Akimov. In the difficult post-war years for the country and its art, the theater was forced to release one after another heroic-revolutionary paintings, which, however, justified their existence on stage by the seriousness of the acting work. These were Young guard based on the novel by A. Fadeev (1948), First joys(1950) and Kirill Forever(1951) based on the novels by K. Fedin, directed by Zahava, where Yu. Lyubimov, G. Pashkova, M. Astangov, N. Gritsenko and others played. A series of “rural” productions were created, the beginning of which was laid by the play Come to Zvonkovoe A. Korneychuk (dir. Remizov, 1947), and one of the final chords was Cook A. Sofronov, staged by Simonov (1959). The dramaturgy of K. Simonov, B. Polevoy, N. Virta, N. Pogodin, A. Kron is staged. Are resuming Egor Bulychov and other(1951) and Before sunset (1954).

In 1956 the theater received academic status. From the late 1940s to the early 1960s from the school. B.V. Shchukin, those who will come to be called the Second Generation of the Vakhtangov Theater come to the theater: 1948 - E. Simonov, son of the main director R. Simonov; 1949 – Y. Borisova, 1950 – M. Ulyanov; 1952 – Yu. Yakovlev; 1958 – V. Lanovoy; 1961 – L. Maksakova. In the same years, A. Katsynsky, A. Parfanyak, G. Abrikosov, V. Shalevich, E. Raikina, Yu. Volyntsev and others appeared.

In 1950 he made his debut as a director E. Simonov ( Summer day Ts. Solodar), puts Two Veronese Shakespeare (1952), To be afraid of grief is to be afraid of happiness not in sight S. Marshak (1954), Filumena Marturano E. de Filippo (1956) with the brilliant Mansurova and R. Simonov, City at dawn A. Arbuzova (1957), Little tragedies A. Pushkin (1959), Irkutsk history Arbuzova (1959).

In 1963, on the occasion of the 100th anniversary of the birth of K.S. Stanislavsky and the 80th anniversary of E.B. Vakhtangov, R. Simonov resumed Princess Turandot with Y. Borisova, L. Maksakova and V. Lanov in leading roles. Enjoyed enormous success in the mid-1960s Idiot, staged by Y. Olesha based on the novel by F. Dostoevsky (directed by Remizova, 1958), Millionaire B. Show (production by Remizova, 1964), Warsaw Melody L. Zorina (production by R. Simonov, 1967) and For every sage quite simple Ostrovsky (production by Remizova, 1968). In these performances, Borisova, Gritsenko, Yakovlev, Ulyanov, Plotnikov and others captivated the audience.

After the death of R. Simonov (1968), E. Simonov became the main director of the Vakhtangov Theater and directed it for almost twenty years. These years became a time of individual acting successes: Borisova-Cleopatra and Ulyanov-Antony in Antony and Cleopatra Shakespeare (production by E. Simonov, 1971), Ulyanov-Richard in Richard III Shakespeare (staged by R. Ghaplanyan, 1976), Yakovlev-Calogero di Spelta and L. Maksakova-Dzaira in Great Magic E. de Filippo (production by Yugoslav director M. Belovich, 1979), etc.

In the late 1960s - early 1970s, the next generation of actors joined the theater: I. Kupchenko, M. Vertinskaya, V. Malyavina, V. Zozulin, E. Karelskikh, Y. Shlykov, V. Ivanov and others.

E. Simonov saw the production of a poetic triptych, which he created mainly with young people, as fundamentally important for the Vakhtangov troupe: Mystery-buff V. Mayakovsky (1981), Rose and cross A. Blok (1983) and Three ages of Casanova based on plays by M. Tsvetaeva Adventure And Phoenix(1985). Only Tsvetaev's performance was a success.

On September 25, 1987, a meeting was held at the Vakhtangov Theater at which Mikhail Ulyanov was elected artistic director (E. Simonov, who was removed from office, left the theater). Directors P. Fomenko, R. Viktyuk, A. Katz are accepted into the theater staff. They produce performances by A. Shapiro ( Kabanchik V. Rozova, 1987), R. Sturua ( Treaty of Brest-Litovsk M. Shatrova, 1987), A. Belinsky ( Glass of water E. Scriba, 1988). The theater is gradually coming to life. The school once again replenishes the troupe with young people - S. Makovetsky, O. Chipovskaya, A. Ryshchenkov, V. Simonov, E. Knyazev, E. Sotnikova, M. Vaskov, M. Sukhanov, Yu. Rutberg, M. Esipenko and others. Chernyakhovsky's student production is being transferred to the theater stage Zoyka's apartment Bulgakov (1989) with Yu. Rutberg in the title role. Resumes for the third time Princess Turandot with Esipenko, Chipovskaya and Ryshchenkov (renewal director Chernyakhovsky, 1991). Directed by Fomenko ( Case A. Sukhovo-Kobylina, 1988; You are our lord, father... F. Gorenshtein, 1991; Guilty without guilt Ostrovsky with a brilliant acting ensemble, 1993; Queen of Spades Pushkina, 1996; Resurrection or Miracle Saint Anthony M. Maeterlinck, 1999) and Viktyuk ( Lessons from the master D. Pownella, 1990; Lady Without Camellias T. Rattigan, 1990; Soboryans N. Sadur after N. Leskov, 1992; I I don't know you anymore, honey A. de Benedetti, 1994). The space of the so-called “scene in the buffet” is staged: Guilty without guilt Ostrovsky directed by Fomenko, Dear Liar J. Kilty (dir. Shapiro, 1994), etc.

In addition to the mentioned directors, the last seasons on the stage of the theater named after. Evg. Vakhtangov is staged by A. Zhitinkin ( Funny guys N. Simon, 1996), V. Mirzoev ( Amphitryon Moliere, 1998), A. Gorban ( Chasing two birds with one stone M. Staritsky, 1997 and Lefty according to Leskov and E. Zamyatin, 1999), V. Ivanov ( Miss Julie A. Strindberg, 1999), E. Marcelli ( Othello Shakespeare, 2000), S. Evlakhishvili ( Promised land S. Maugham, 2000). The theater collaborates with artists St. Morozov, T. Selvinskaya, V. Boyer, P. Kaplevich and others.

Along with famous performers, young performers appear on the stage of the theater - A. Zavyalov, M. Aronova, A. Dubrovskaya, N. Grishaeva, P. Safonov, A. Pushkin and others.

After the death of M. Ulyanov in 2007, the famous Lithuanian director Rimas Tuminas became the new artistic director of the theater.

The old building of the theater named after. Evg. Vakhtangov. Arbat, 26

The modern theater building was built in 1946-47, architect P.V. Abrosimov.

At the theater. Evgeniy Vakhtangov worked and served for many years as national artists, father and son -

People's Artist of the USSR Andrey Lvovich Abrikosov(1906 - 1973) and
People's Artist of Russia Grigory Andreevich Abrikosov(1932 - 1993).

In 1953-59 A.L. Abrikosov served as director of the theater.

State Academic Theater named after. E. Vakhtangova
Arbat street house 26

The theater originates from Studio E.B. Vakhtangov, created by him in 1913. Until 1917, Student Drama Studio, Mansurov Studio (from the name of the lane where it was located). In 1917–20 the Moscow Drama Studio under the leadership of Vakhtangov, from 1920 the 3rd Moscow Art Theater Studio, from 1926 its modern name.

On November 13, 1921, spectators who came to the ancient Arbat mansion for the play “The Miracle of St. Anthony” by Maurice Maeterlinck, directed by E. B. Vakhtangov, witnessed the birth of a new theater - the Third Studio of the Moscow Art Theater, which was later renamed, in 1926, to the Theater named after its founder and leader - Evgeny Vakhtangov.

Vakhtangov.
Cartoon by Yu. Zavadsky, 1913

Evgeny Bargationovich Vakhtangov (February 1 (13), 1883, Vladikavkaz - May 29, 1922, Moscow) - Soviet actor, theater director, founder and director (since 1913) of the Student Drama (later "Mansurov") studio, which in 1921 became 3rd Studio of the Moscow Art Theater, and since 1926 - the Theater named after. Evgenia Vakhtangova.

In 1922, Vakhtangov staged the play “Princess Turandot” by C. Gozzi; The elegant artistic form, the rapid dynamics of the action, and the wealth of acting talent determined the unconditional success of the performance, which became the hallmark of the theater. The performance featured Vakhtangov’s best students: Ts.L. Mansurova, Yu.A. Zavadsky, A.A. Orochko, O.N. Basov, B.E. Zahava, B.V. Shchukin, R.N. Simonov and others; the second production was carried out in 1963 by R.N. Simonov, most recently G. Chernyakhovsky (1992). “Princess Turandot” defined the main features of the art of theater: the desire to combine the truth of feelings with an acute spectacular form, attention to the means of external expression - rhythm, plasticity, gesture.

After Vakhtangov's death in 1922–39, the theater was managed by artistic council, which included: Yuri Zavadsky, Boris Zakhava, N. Turaev, Ksenia Kotlubay, Anna Orochko, Joseph Tolchanov, Elizaveta Lyadanskaya, Elagina, Glazunov and Osip Basov.

From the mid-20s. The leading place in the repertoire was occupied by modern plays: “Virineya” by L.N. Seifullina and V.P. Pravdukhina (1925), “Badgers” by L.M. Leonov (1927), “Conspiracy of Feelings” by Yu.K. Olesha (1929), “Temp” (1930) and “Aristocrats” (1935) N.F. Weather.

Among the best creations of Russian theatrical art are the productions of M. Gorky’s drama “Egor Bulychov and Others” (1932, directed by Zakhava, Egor - Shchukin) and W. Shakespeare’s comedy “Much Ado About Nothing” (1936, directed by I.M. Rapoport, Benedict - R.N. Simonov, Beatrice - Mansurova).

In 1939, the artistic director of the theater became Ruben Nikolaevich Simonov.

During the Great Patriotic War, “Front” by A.E. was staged. Korneychuk (1942), “Russian people” by K.M. Simonov (1942), “Cyrano de Bergerac” by E. Rostand (1943). A front-line branch of the theater was created, serving the troops of the 1st Ukrainian Front. In the 50-70s. The success of the theater was brought by the following performances: “Filumena Marturano” by E. de Filippo (1956), “The Idiot” by F.M. Dostoevsky (1958), “Irkutsk History” (1959) by A.N. Arbuzova, “Antony and Cleopatra” (1971) and “Richard III” (1976) by Shakespeare. In 1968–87 the main director of the theater was E.R. Simonov, in 1987 M.A. headed the theater as artistic director. Ulyanov. Over the years, directors worked here: R. Sturua, A.F. Katz, R.G. Viktyuk, P.N. Fomenko, A.Ya. Shapiro, V.V. Lanskoy, Chernyakhovsky.

In 1956 the theater received academic status.
From the late 1940s to the early 1960s from the school. B.V. Shchukin, those who will come to be called the Second Generation of the Vakhtangov Theater come to the theater: 1948 - E. Simonov, son of the chief director R. Simonov; 1949 - Y. Borisova, 1950 - M. Ulyanov; 1952 - Yu. Yakovlev; 1958 - V. Lanovoy;
1961 - L. Maksakova. In those same years, A. Katsynsky, A. Parfanyak, G. Abrikosov, V. Shalevich, E. Raikina, Y. Volyntsev and others.

Evgeny Rubenovich Simonov- artistic director of the theater from 1969 to 1987.

Mikhail Alexandrovich Ulyanov- artistic director of the theater from 1987 to 2007.

Andrey Lvovich Abrikosov.
He worked and served in the theater. E. Vakhtangov from 1938 to 1973.

Performances in which A.L. participated Abrikosov:

1936 “Much Ado About Nothing” by Shakespeare, directors M. Sinelnikova, I. Rapoport - Claudio
“A soldier walked from the front” by Kataev - Semyon Kotko
1942 “Russian People” by K. Simonov, director A. Dikiy - Safonov
1942 “Front” by Korneychuk, director R. N. Simonov - Ognev
1950 - “Les Miserables” by V. Hugo, staged by S. Radzinsky, directed by Alexander Remizov - Jean Valjean
1956 “Foma Gordeev” by M. Gorky, director R. N. Simonov - Ignat Gordeev
1957 - “City at Dawn” by A.N. Arbuzova, director Evgeny Simonov - Ignat Dobrov
“Kirill Izvekov” Fedin - Ragozin
"The Seagull" by Chekhov - Trigorin
“I am the son of the working people” by V. Kataev - Semyon Kotko.

Grigory Andreevich Abrikosov
He worked and served in the theater. E. Vakhtangov from 1954 to 1993.

Roles G.A. Abrikosov in the theater.

1956 - “Foma Gordeev” by M. Gorky. Director: R. N. Simonov - Foma Gordeev
1957 - “City at Dawn” by A. N. Arbuzov and the Arbuzov Studio. Director: E. R. Simonov - choir member
1960 “Irkutsk History” by A. Arbuzov. Director: Evgeny Simonov - Serdyuk
1965 - “Dion” by L. Zorin. Director: R. N. Simonov - Servilius
1966 - “Cavalry” based on the stories of Isaac Babel. Director: Ruben Simonov - Nikita Balmashov (the play was recorded for TV in 1975)
1975 “The Lords of Glembai” by M. Krleža. Director: M. Belovich - old man Ignat (the performance was recorded for TV in 1979)
1979 - “The Great Magic” by Eduardo de Filippo. Director: Miroslav Belovic - Arturo Recchia
“Old Russian vaudevilles” (vaudeville “Give me an old woman!” by V. Savinov)
January 24, 1983 - “Be healthy!” Pierre Chenault. Director: Vladimir Shlesinger - Professor Garon (the performance was recorded for TV)

In the repertoire of the E. Vakhtangov Theater: “Zoykina’s Apartment” by M.A. Bulgakova (1989), “Princess Turandot” by Gozzi (1991), “The Marriage of Balzaminov” (1992) and “Guilty Without Guilt” (1993) by A.N. Ostrovsky, “Dear Liar” by D. Kilty (1994), “I Don’t Know You Anymore, Darling” by A. Benedetti (1994), “The Ides of March” by T. Wilder (1994), “The Queen of Spades” by A.S. Pushkin (1996).

History of the Vakhtangov Theater

History of the Theater named after Evg. Vakhtangov began long before his birth. At the end of 1913, a group of very young Moscow students organized the Student Drama Studio, deciding to study theatrical art according to the Stanislavsky system. Yevgeny Bagrationovich Vakhtangov, a thirty-year-old artist and director of the Art Theater, who had already established a reputation as a chosen teacher according to Stanislavsky’s “system,” agreed to lead the classes.

They decided to start with a play - they chose B. Zaitsev’s play “The Lanins’ Estate,” written in soft, Chekhovian tones. The Studio did not have its own place; they gathered every day in a new building: either in a tiny studio room, or in the living room of some private apartment rented for one evening. Everything seemed romantic. Three moons later, on March 26, 1914, “The Lanin Manor” was played at the Hunting Club.

They played, however, hesitantly and timidly; some performers simply could not be heard. But the happy artists didn’t even notice their failure - they went to a restaurant to celebrate the premiere, then together with Vakhtangov they wandered around Moscow all night, but in the morning, having bought the latest newspapers, they laughed at the devastating reviews.

After such a disgrace, the management of the Art Theater forbade Vakhtangov from any outside work, and the Studio decided to “go underground.” In the fall of 1914, the Studio had already settled in a small apartment in Mansurovsky Lane on Ostozhenka (then they began to call it “Mansurovskaya”).

Vakhtangov's connection with the Studio was like love - with jealousy, endless showdowns, intolerance, a tragic breakup and a new connection. The most terrible day for him was the one when, in 1919, twelve gifted studio students left the Studio. Vakhtangov was killed, because this was already his home.

Since 1917, having emerged from the “underground”, the former Mansurovskaya began to be called the “Moscow Drama Studio of E. B. Vakhtangov”. Young people from other studios came, they announced admission to the first year of the school - this is how B. Shchukin and Ts. Mansurova appeared, followed by R. Simonov, A. Remizova, M. Sinelnikova, E. Alekseeva.

Rehearsals continued. Maeterlinck’s “The Miracle of St. Anthony,” shown back in 1918, was restored with a new cast, and in the summer Vakhtangov staged Chekhov’s “The Wedding.”

On September 13, 1920, the Studio of E. B. Vakhtangov was accepted into the family of the Art Theater under the name of its Third Studio. On January 29, 1921, the premiere of the second version of “The Miracle of St. Anthony” was shown.

On November 13, 1921, the permanent theater of the Third Studio of the Moscow Art Theater opened at the address: “Arbat, 26” (where the Evg. Vakhtangov Theater is located today). The Studio secured the Berg mansion for itself the previous summer and has since made a thorough renovation of it. In honor of the opening, they performed the “Miracle of St. Anthony.” This day began to be considered the birthday of the Vakhtangov Theater.

In 1922, thirty-nine-year-old E.B. passed away. Vakhtangov. Vakhtangov’s performances marked the beginning of a certain direction in theatrical art, called “Vakhtangov’s”. The harmonious combination of a deep realistic revelation of dramatic material and a bright, festive, not shying away from the conventions of the theatrical form of the performance is the dominant tendency of Vakhtangov’s art. “No holiday, no performance,” said Vakhtangov. Vakhtangov’s attraction to sharp form, to the grotesque, to the metaphorical solution of the performance expressed the active position of the artist - a citizen, convinced that “new art should most deeply express its attitude to the reality depicted.” Vakhtangov’s motto, included in the title of his famous article “The artist will be asked!”, became decisive for the entire creative life of the theater that bears his name.

After Vakhtangov's death in 1922-39, the management of the theater was carried out by the artistic activists, which included the director's students and followers. In 1938, R.N. Simonov was appointed chief director. Having realized Vakhtangov's dream of continuity in the creative education of an actor ("school-studio-theater"), he created an acting ensemble that was capable of solving the most complex creative problems. R. N. Simonov's son Evgeny Simonov headed the theater, being its chief director, from 1968 to 1987. In 1987, its leading artist Mikhail Ulyanov was elected artistic director of the theater, who glorified the Vakhtangov stage and Russian cinema with his wonderful creations of acting.

Over the years, directors worked here: R. Sturua, A.F. Katz, R.G. Viktyuk, P.N. Fomenko, A.Ya. Shapiro, V.V. Lanskoy, Chernyakhovsky.

The following actors made a great contribution to the formation and development of the art of the Vakhtangov Theater: R.N. Simonov, Mansurova, Zakhava, Shchukin, Zavadsky, A.D. Popov, A.D. Dikiy, N.P. Okhlopkov, M.F. Astangov, N.O. Gritsenko, A.L. Abrikosov, Yu.P. Lyubimov, L.V. Tselikovskaya, Yu.K. Borisova, M.A. Vertinskaya, Yu.V. Volyntsev, I.P. Kupchenko, V.S. Lanovoy, S.V. Makovetsky, L.V. Maksakova, Ulyanov, V.A. Etush, V.A. Shalevich, Yu.V. Yakovlev, E.V. Knyazev, Yu.I. Rutberg, V.A. Simonov and others. The Shchukin Theater School operates at the theater. Since 1931 there has been a museum, the founder of which was Vakhtangov’s wife, N.M. Vakhtangov.

The modern building of the Vakhtangov Theater was built in 1946-47 (architect P.V. Abrosimov). Previously, there was a residential mansion here at the end of the 19th - beginning of the 20th centuries, which belonged to V.P. Berg. An auditorium was set up in the hall of the mansion, where the opening of the theater took place. At the beginning of the Great Patriotic War, a bomb hit the building and it was almost completely destroyed.

The State Academic Theater named after Evgeniy Vakhtangov is located in the historical center of Moscow, in its very heart, in the middle of Old Arbat. Since 2008, the theater has been annually and systematically re-equipping its stage equipment, as a result of which today's light and sound complexes of the theater's Big Stage are among the best in Russia. In the summer of 2011, a major renovation of the theater auditorium was carried out (among other things: new oak parquet was laid, the audience seats were re-upholstered, the decorative furniture was restored).

The Vakhtangov Theater is a combination of bright form and deep content, it is a variety of genres, from classical tragedy to mischievous vaudeville; This is a wonderful troupe, which includes well-known actors in Russia and abroad.

The Vakhtangov Theater has won the hearts of millions of spectators in Russia, Paris, London, Vienna, Venice, Athens, Stockholm, Prague, Warsaw, Berlin, Budapest, Madrid and many other foreign cities.

The Vakhtangov Theater has 90 years of experience behind it. In the youthful enthusiasm of its artists and directors (veterans and recruits), in the desire to understand complex moral problems, awakening good feelings from the audience in today's difficult times, in the multicolored theatricality lies the secret of the theater's creative longevity.

September 6, 2017. Artistic director of the Theater. Vakhtangov Rimas Tuminas during the gathering of the troupe of the State Academic Theater named after Evgeny Vakhtangov

For 10 years, the Lithuanian director, GITIS graduate Tuminas has been heading the legendary theater, and under his leadership, the Vakhtangov actors have reached such heights and recognition that their fame knows no bounds. Russian Minister of Culture Vladimir Medinsky named figures that indicate the absolute leadership of the theater:

The Vakhtangov Theater is the record holder for the occupancy of the halls - 90 percent of the audience. Last season, 308 thousand watched the performances. The most performances of any Russian theater were performed - 606. The theater not only effectively uses budget funds, but also attracts extra-budgetary funds, noted Vladimir Medinsky.

Theater director Kirill Krok told the large theater team good news, one of which was a salary increase of five thousand rubles for all employees, including service personnel.

On November 17, the opening of the renovated Simonov Theater building, with two stages, will take place. Kirill Krok thanked the state for the allocated funds in the amount of 25 million rubles for the overhaul of the Simonovsky branch, noting that the total budget for repair work amounted to 200 million, and this is money from sponsors and earned by the theater.

Rimas Tuminas, before announcing plans for the new season (by the way, the second Parade of Premieres is expected), explained why he and his colleagues prefer the classics to the modern:

Classics give a touch to eternity, to beauty, to youth. Classic is an encounter with miracles. We will stage Leskov, Zweig, Shakespeare, Cervantes. Ostrovsky. I myself want to stage “Faust” by Goethe, “War and Peace” based on the script by Sergei Bondarchuk, “Three Sisters” and, possibly, Goldoni’s comedy “Country Fever”.

Every year before the start of the season, Rimas Tuminas gives parting words to the artists. Two years ago, the artistic director advised “to be proud and not waste your time on roles.” This time Tuminas asked “not to lose the taste.”

Last season we had some deviations from good taste, but this should not happen in our theater. Taste is culture, books, feelings, explained Rimas Tuminas.

The head of the Vakhtangov Theater quoted an entry from the diary of his predecessor, People's Artist of the USSR Mikhail Ulyanov, that “he lacks toughness and the ability to say “no” as an artistic director.”

Rimas Tuminas headed the Vakhtangov Theater on the recommendation of Ulyanov. This year marks the 90th anniversary of the great artist. On November 20, an anniversary evening will be held in his honor on the Vakhtangov stage.

Rimas Tuminas confessed his love for the Vakhtangov Theater, and this happened for the first time. The Vakhtangovites know that he has a special reason for this recognition. The artistic director asked for a short break in the theater due to the need to undergo treatment.

At the age of 25, Evgeny Vakhtangov was already teaching at Stanislavsky’s theater studio, and two years later he staged his first performance. He used the latest directorial techniques, experimented with decorations and made the audience participants in the stage action. Vakhtangov invented a new direction in the theater - fantastic realism, and Stanislavsky called the innovative director “the first fruit of our renewed art.”

“Create for yourself. Enjoy for yourself"

Evgeny Vakhtangov was born in Vladikavkaz. His father was a tobacco manufacturer and hoped that his son would continue his business. However, even as a child, Evgeny Vakhtangov became interested in theater and decided to devote his whole life to it. During his high school years, he already played in amateur productions: “Marriage” by Nikolai Gogol, “Poverty is not a vice” by Alexander Ostrovsky and “Children of Vanyushin” by Sergei Naydenov.

After graduating from high school in 1903, Evgeny Vakhtangov entered Moscow University and immediately joined the student theater group. He staged plays and acted himself - both in Moscow and during his visits to Vladikavkaz. For each production, Vakhtangov developed a general plan, carefully listed all the objects that should be on stage, described the costumes, makeup and gait of the actors, and even calculated the pace of the curtain. The Moscow Art Theater was a model of theatrical art for him. Here Evgeny Vakhtangov was inspired by everything: the scenery and acting, sound effects and technical details.

In 1909, Vakhtangov decided to get a professional theater education and entered drama courses at the Moscow Art Theater. Mostly theater artists taught here: Alexander Adashev and Vasily Luzhsky, Nikolai Alexandrov and Vasily Kachalov. They trained young actors using the methods of Konstantin Stanislavsky.

Evgeny Vakhtangov wanted to become a director, and Konstantin Stanislavsky soon began to distinguish him from other students. He appointed Vakhtangov as the chief assistant for working with young actors. Inspired by Stanislavsky's method, Evgeny Vakhtangov dreamed of creating an acting studio.

“I want to create a Studio where we would study. The principle is to achieve everything yourself... Test the system of K.S. [Konstantin Stanislavsky] on yourself. Accept or reject it. Correct, supplement or remove lies. Everyone who comes to the studio should love art in general and stage art in particular. Find joy in creativity. Forget the public. Create for yourself. Enjoy for yourself. Be your own judges."

Evgeny Vakhtangov

Stanislavsky himself strove for this. Therefore, in 1912, together with Leopold Sulerzhitsky, they opened the First Studio of the Moscow Art Theater, in which Evgeny Vakhtangov began teaching. At the same time, Vakhtangov worked in other Moscow theater schools, among which the Student Drama Studio occupied a special place. It was created in 1913 by five students from different Moscow universities. A year later, the aspiring actors invited Vakhtangov as a teacher and director.

Innovative studio of Evgeny Vakhtangov

Evgeny Vakhtangov in his youth. Photo: vakhtangov.ru

Yuri Zavadsky. Cartoon of Evgeny Vakhtangov. 1913

Evgeny Vakhtangov. Photo: vakhtangov.ru

At first, the Student Drama Studio did not have its own premises; participants gathered either in students’ rooms, or in restaurants, or in empty cinemas. Rehearsals took place mainly at night, since during the day Evgeniy Vakhtangov studied with the 1st studio of the Moscow Art Theater, and the students studied and worked.

The Student Studio presented its first production, “The Lanins’ Estate,” in 1914. The premiere of the play caused a storm of indignation. Critics wrote sarcastically about the childish helplessness of beginning actors, about the pitifulness of theatrical scenery, and about the incompetence of director Vakhtangov. Stanislavsky was so angry with Vakhtangov for his amateur performances and the failure of “The Lanins’ Estate” that he forbade him to teach outside the walls of the Moscow Art Theater and the 1st Studio.

However, classes in the Student Studio did not stop, but were now held in the strictest confidence. Vakhtangov hired the best innovative teachers for his students, despite the poverty of the studio.

“So, in terms of movement, we had the best teacher Alexandrova, the founder of rhythmic etudes. Evgeniy Bogrationovich said: “I need the best, the bravest, perhaps an innovator in every field. We are so poor that we must learn from the best.” Therefore, if Pyatnitsky was the best in terms of voice production, then give Pyatnitsky. Yes, Evgeniy Bogrationovich knew how to recognize real people of art! He had a feeling for them, and he tried mainly to raise teachers from his older students.”

Actress Cecilia Mansurova, from “Conversations about Vakhtangov” by Chrysanth of Kherson

Gradually, Evgeny Vakhtangov acquired his own understanding of the theater. In his performances, he sought to emphasize the conventionality of what was happening on stage, so, for example, the Vakhtangov actors wore classical theatrical costumes over modern clothes. And to reinforce this idea, the artists wore them right on stage. In a matter of seconds, they transformed from actors into characters in the play. For the decorations, ordinary household items were used, which were played out with the help of light and fabric draperies.

In 1917, the student studio came out of the “underground” and became known as the Moscow Drama Studio of Evgeny Vakhtangov. That same year, Vakhtangov became seriously ill, but he began to work even more and harder. “The first studio, the second studio, my studio, the Jewish studio “Habima”, the Gunst studio, the people’s theatre, the proletkult, the art theatre, the lesson, the performance of the November celebrations - these are the ten institutions where they tear me to pieces.”, wrote Evgeny Vakhtangov.

Grotesque theater and fantastic realism

Evgeny Vakhtangov as Tackleton in the play “The Cricket on the Stove.” 1914 1st studio of the Moscow Art Theater. Photo: wikimedia.org

Evgeny Vakhtangov as Kraft in the play “Thought”. 1914 1st studio of the Moscow Art Theater. Photo: wikimedia.org

Evgeny Vakhtangov as Fraser in the play "The Flood". 1915 1st studio of the Moscow Art Theater. Photo: aif.ru

After the revolution of 1917, it became difficult for Vakhtangov’s avant-garde theater to find a common language with the new audience - “primitive in relation to art.” The director decided to join the Konstantin Stanislavsky Theater. In 1920, Vakhtangov's studio became part of the Moscow Art Theater, and was named the Third Studio.

A year later, the Third Studio of the Moscow Art Theater had its own theater building. In honor of the opening, the artists performed “The Miracle of St. Anthony” based on the comedy of the same name by Maurice Maeterlinck. This was the second time that Vakhtangov’s people turned to this play, and this time Vakhtangov staged the performance in the tradition of grotesque theater. He wrote: “Common theater must die. "Character" actors are no longer needed. Everyone who has the capacity for character must feel the tragedy (even comedians) of any character and must learn to reveal themselves grotesquely. Grotesque - tragic, comic".

Absorbed in his work in several studios, Vakhtangov paid almost no attention to his health: at one time he did yoga exercises and followed a diet, but then broke his regime: he smoked continuously and stayed late after performances at theater parties.

Shortly before his death, Evgeny Vakhtangov began working on the production of “Princess Turandot” based on the fairy tale by Italian playwright Carlo Gozzi. With this performance he opened a new direction in theater directing - “fantastic realism”. Vakhtangov used masked characters and techniques of the Italian commedia dell'arte, but made the fairy tale very modern. The actors dressed up in costumes of fairy-tale characters right on stage, and at the same time talked about topical topics.

“My last conversation with Vakhtangov before the dress rehearsal of Turandot was wonderful. He told me that in this work he is fascinated by a specific acting state, like this: you and I are sitting in the front row and watching the play, but I am also playing this performance. And while I’m free, I share my impressions with you, and then I say: my way out, now I’ll play for you. And I leave the first row, climb onto the stage and start playing everything - grief and joy, and this friend of mine believes me... And then I finish, sit down next to him and say: well, okay?

Leonid Volkov from the book “Evgeny Vakhtangov. Documents and certificates"

Returning home after another rehearsal of the play “Princess Turandot,” Vakhtangov fell ill and never got up again. The premiere took place without him, but Konstantin Stanislavsky was present at the performance. Admiring the work of his student, Stanislavsky personally expressed his recognition to Vakhtangov: “What I saw was talented, unique and, most importantly, cheerful! And the success is brilliant. The youth have grown a lot".

“Princess Turandot” was the last work of Yevgeny Vakhtangov. He died on May 29, 1922. Vakhtangov was buried at the Novodevichy cemetery.