Alexander Shirvindt is the artistic director of the Satire Theater. Satire Theater

The creative role of the Moscow Academic Theater of Satire is inimitable and unique, thanks to the star cast and the talented theater director Valentin Nikolaevich Pluchek. The theater works in the genre of satire, which is one of the most difficult in art. In performances, humor is often intertwined with causticity and mockery. But the legendary theater director V.N. For many years, Pluchek masterfully stayed on this thin line separating one from the other. Performances staged in the theater always have topical and acute issues. After all, the fight against the remnants of the past, against personal and social vices is one of the main purposes of satire. And humor is a weapon with which you can achieve a lot.

If you are interested in the Satire Theater and would like to attend one of the performances, take the chance to order tickets through our website. The repertoire of this theater, of course, is not at all the same as in the usual one. After all, the name itself obliges the Satire Theater to keep its brand. Just look at the theater’s catchy and provocative posters, which were hung all over Moscow in the first years of the group’s work! “Aren’t you a hooligan, citizen?” “Calm down, I’m filming!” and eccentric names like them shocked the public and caused bewilderment among passers-by. Each performance is a sharp, topical satire and a bold challenge to society. For many years now, the main repertoire of the theater has been the classic of the genre - M.E. Saltykov-Shchedrin, A. P. Chekhov, I. S. Turgenev, J. B. Moliere and Bernard Shaw.

After the tremendous success of the play “Bath” based on Mayakovsky, the Satire Theater began a new creative takeoff associated with drama. Inspired by the successful production, the director began work on Mayakovsky’s other plays “Mystery-Bouffe” and “The Bedbug”.

But the theater is known not only for its excellent repertoire. Its main asset is a unique acting troupe, which at different times included such talented and popular actors as A. Mironov, M. Derzhavin, A. Shirvind, T. Peltzer, A. Papanov, G. Menglet, V. Vasilyeva, N. Kornienko, A. Levinsky, A. Didenko, L. Gavrilova, E. Gradova, S. Mishulin, T. Itsykovich, N. Arkhilova, N. Zashchipina, Yu. Avsharov, R. Tkachuk, V. Baykov. And today young, but already quite famous and promising artists play in the Satire Theater.

Artistic director - Shirvindt Alexander Anatolievich
Head of the literary and dramatic department - Karpova Nina Nikitichna
Production designer - Shikharev Valentin Nikolaevich
Head of the troupe - Chunikhina Bronislava Sergeevna
Head of artistic and production department - Lazarev Viktor Yakovlevich

Address of the Satire Theater: 125009 Moscow, Triumfalnaya Square, building 2

The Moscow Academic Theater of Satire celebrates its 90th anniversary on October 1. Especially for the anniversary, a review play “Sad but Funny” was staged here, in which the main cast of the troupe was involved.

Today, the theater under the artistic direction of Alexander Shirvindt is a kind of Moscow mecca of humor and parody. Classics and plays by modern authors are staged here, jokes are sparkling, bold and to the point. The repertoire includes productions based on works by Ray Cooney, Astrid Lindgren, Moliere, Bernard Slade.

Actor, director and screenwriter Alexander Shirvindt spoke about how the Satire Theater lives today, why the conveyor belt of humor is dangerous, how funny performances are born and how the shortage of jokes is useful.

In the 1920s, satire was a bold and dangerous genre for the theater. Nowadays you can joke about anything and anyone. Under these conditions, are you able to make jokes that are also topical and attract the viewer?

Satire is a rather suspicious word. You are talking about the last century, when there were allusions, “figs in your pocket”, it was necessary to show something through hints. For example, the great theater performance "Profitable Place", staged by Zakharov, was a closed performance. Pluchek closed nine performances. It’s not that they weren’t allowed to stage it; finished performances were closed the day before. But the desire to do something always broke through this taboo.

Scarcity is the engine of emotions. I’ve been smoking a pipe all my life, and before there were only two types of tobacco: “Pipe of Peace” in St. Petersburg and “Golden Fleece” here. We mixed them. The late artist Efim Kopelyan sent me “Pipe of Peace”, I sent him “Golden Fleece”. And now in every gateway you can buy any tobacco. It's the same with satire. How can one now re-satize the polemics between Zhirinovsky and Chubais or Mikhalkov and Ksenia Sobchak? Therefore, our theater is named after satire, in memory of satire.

And what is it, the current satire?

I believe that in addition to satire, which implies anger, there is irony, parody, caricature, humor, which is so necessary for the population today. Because you can’t force negativity, catastrophe and apocalypse. There is only one life, there must be sighs, no matter how difficult it is. So the people and the viewer have the right to sigh - to smile, to irony, and if self-irony were born in this way, then there would be less bitterness in society.

20 days were allotted to prepare for the celebration of the anniversary of the Satire Theater. Why so few?

Because the theater is an institution where, in addition to anniversary reviews, it is also necessary to provide a repertoire. Since we need to release three or four premieres a month, there is no time for review. This year, on September 9, we managed to play the premiere of Lysistrata. From September 10 to October 1, we had to prepare an anniversary performance. Not because they were lazy, but because there was no time.

Alexander Shirvindt. Photo: website

Especially for the anniversary you are preparing the play “Sad but funny”. What will it be?

We are now doing an anniversary review of the theater for October 1st. This is a tradition; we never organize get-togethers, corporate parties or drinking parties for the team. That is, we drink, but after. We did the review “We are 50” for the theater with an orchestra, we did a wonderful touching piece with Andrei Mironov. With this production we traveled all over the world. Five years ago we staged the play “Triumph on Triumfalnaya”. And now we are doing the review “Sad, but funny” - three “buts”. Such a parody-smiling walk through a biography.

The play will present scenes from comedies from the Satire Theater's repertoire in a new way. Do you want to remember the past?

We decided to step through the repertoire a little, because we are cunning. Advertising is the engine of trade, we want to fragmentarily and a little ironically show small pieces from our repertoire and thereby once again introduce all our leading artists. The entire main troupe is involved in the performance: Vera Kuzminichna Vasilyeva, Igor Borisovich Vasiliev, Alena Yuryevna Yakovleva, Fedya Dobronravov, Lenochka Podkaminskaya.

Let's talk about the name of the play - “Sad but funny.” What outweighs – sadness or joy?

Outweighs the “but”.

Is it difficult for your theater to be funny today?

It’s very bad with humor, because no matter how you look at it, you can’t do anything without drama. All these attempts to dramatize the classics are secondary, no one writes anything, unfortunately, there are no Roshchins, Gorins and Rozovys. Young people are probably wonderful, but for some reason I don’t see them.

I have a positive attitude towards today's television humor. Galkin, Vanya Urgant, Galtsev - I remember them as children. All the guys from the Comedy Club and Ural Dumplings are amazing and efficient. I'm amazed at their imagination. But when there is a conveyor belt around the clock, the need to make people laugh, it gets boring. You always need to miss something a little, and with every turn of humor the bar lowers. This is a huge danger.

Background

The Moscow Academic Theater of Satire was founded in 1924. At first, the performances were performed in the basement of a building located on Bolshoy Gnezdnikovsky Lane. In the 1930s, the theater moved to Sadovo-Triumfalnaya Street. Some time later, the theater settled on Mayakovsky Square.

Over the years, Tatiana Peltzer, Anatoly Papanov, Andrei Mironov, and Spartak Mishulin played in the performances of the Satire Theater. The artistic directors of the theater were Alexey Alekseev, Nikolai Gorchakov, Nikolai Petrov, Valentin Pluchek. Since 2000, the artistic director of the theater has been Alexander Shirvindt.

Honored Artist of the RSFSR (10/16/1974).
People's Artist of the RSFSR (06/1/1989).

I spent my childhood in the center of Moscow, in an old house on Skatertny Lane. His mother, Raisa Samoilovna, began as an actress at the Moscow Art Theater in her youth, but left the stage and worked for a long time as an editor at the Moscow Philharmonic. Father, Anatoly Gustavovich (Theodor Gdalyevich), was a musician, violinist, played in the Bolshoi Theater orchestra, then taught at a music school. Outstanding artists, stage and stage masters often visited the parents' house: V. Yakhontov, Y. Flier, D. Zhuravlev, V. Kachalov, R. Plyatt, R. Zelenaya. L. Utesov...

Uncle (father's brother) - the first head of the military escort guard of the USSR, Doctor of Law, Professor Evsey Gustavovich (Gdalyevich) Shirvindt (1891-1958). Another uncle (father’s twin brother) is pediatric infectious disease specialist, Doctor of Medical Sciences Boris Gustavovich (Gdalyevich) Shirvindt (1896-1966), senior researcher at the Institute of Pediatrics and Pediatric Surgery of the Ministry of Health of the RSFSR.

In 1952 he entered the Theater School named after B.V. Shchukin, studied in the class of Vera Konstantinovna Lvova. He played the main roles in graduation performances of “Labor Bread” by A.N. Ostrovsky and “Night of Errors” by O. Goldsmith.
After graduating from college with honors, in 1956 he was accepted into the Lenin Komsomol Theater, which at that time was led by S.V. Giatsintov and S.G. Birman. He made his debut on the theater stage in the role of a White officer in the play based on the play Vs. Vishnevsky "First Horse".
The young actor’s main success came from his roles in plays staged by A.V. Efros, who headed the theater in 1964.
In total, the actor played more than 30 roles on the stage of the Lenin Komsomol Theater.
In 1968 he moved to the Moscow Drama Theater on Malaya Bronnaya, where he worked for 2 years.
Since 1970 - actor at the Moscow Satire Theater. In this theater he played more than 30 roles and staged many performances as a director.
Since December 2000 - artistic director of the Satire Theater.

The first role in the Theater of Satire was Count Almaviva in the famous production by V.N. Pluchek “Crazy Day, or The Marriage of Figaro” by Beaumarchais (1970).
From the first days of work at the Satire Theater, Alexander Shirvindt began directing. In 1970, he, together with M.A. Zakharov staged the play “Awake and Sing!” based on the play by M. Dyarfash. Repeatedly acted as the author or co-author of the script. Among such works are performances staged by him from scripts co-written with G. Gorin: “We Are 50” (joint production with M. Mikaelyan, 1974) and “Concert for Theater and Orchestra” (1982), as well as performances based on his own scripts: “Be silent, sadness, be silent...” (1985), “Spartak” (Mishulin) - “Spectator” (team) (1992).
In total, during his work at the Satire Theater he staged more than 10 performances.

Author and director of anniversary evenings for actors of the Theater of Satire Tatyana Peltzer, Georgy Tusuzov, Valentin Pluchek, Georgy Menglet, Olga Aroseva, as well as evenings dedicated to the 60th, 70th and 75th anniversary of the Moscow Theater of Satire. The program for the 60th anniversary of the theater subsequently formed the basis for the review stage “Be silent, sad, be silent...”.
The stage occupies a special place in the work of Alexander Shirvindt. As an author and director, he worked with Tarapunka and Shtepsel, Mirov and Novitsky, L. Utesov, and later with L. Shimelov, L. Ashrafova, V. Vinokur, I. Oleinikov; invented the popular duet “Veronika Mavrikievna and Avdotya Nikitichna” (V. Tonkov and B. Vladimirov), wrote pop monologues for actors V. Maretskaya, M. Pugovkin, V. Sanaev and many others.
On stage he worked with Mikhail Derzhavin and Andrei Mironov.
The duet with M. Derzhavin arose at the Lenin Komsomol Theater during the preparation of the “kapustniks”.
He made his film debut in 1956 in the role of Ukhov in the film “She Loves You.”
Works on television: series of programs “Seven of Us and Jazz”, “Terem-Teremok”; “Theatrical Meetings” from the House of Actors based on the script by A. Shirvindt and L. Losev - television programs about M.I. Zharove, L.O. Utesov, N.V. Bogoslovsky.
He took part in benefit performances by V. Vasilyeva, L. Gurchenko, L. Golubkina, and in the program “Benefit performance about benefit performances” staged by director E. Ginzburg.
Since 1958 he has been teaching at the B.V. Higher Theater School. Shchukin (since 1995 - professor).

Member of the Union of Theater Workers (1961), member of the Union of Cinematographers (1978), full member of the Russian Film Academy, full member of the American Pushkin Academy of Arts, board member and co-chairman of the Moscow English Club, president and full member of the Academy of Humorous Authorities, member of the Public Council of the Moscow City Internal Affairs Directorate.

In 1997, the Institute of Theoretical Astronomy of the Russian Academy of Sciences assigned the name “Shirvindt” to one of the minor planets.
In 1994, the book “The Past Without Thoughts,” written by A.A., was published. Shirvindt, in collaboration with the famous art critic Boris Poyurovsky, in 2006 - “Schirwindt, erased from the face of the earth. Book of Memories."

Wife (since 1957) - architect Natalya Nikolaevna Belousova (born 1935), niece of the chemist B.P. Belousov; son - TV presenter Mikhail Shirvindt.

theatrical works

Theater named after Lenin Komsomol
“Labor Bread” by A.N. Ostrovsky
Night of Errors by Oliver Goldsmith
“First Horse” by Vsevolod Vishnevsky. Director: B. N. Nord
“First Symphony” by A.K. Gladkov (July 10, 1957 - opening), dir. Alexander Aronovich Rubb
“Comrade Romantics” by Mark Sobol
"Goodbye, boys!" Boris Balter
"Wheel of Happiness" by the Tur brothers
“You’re 22, old people!” Edward Radzinsky
“When the acacia blooms” by Nikolai Vinnikov
“Suitcase with stickers” by Dmitry Ugryumov
“The center of the attack will die at dawn” A. Koussani
“About Lermontov” O. Remez and T. Chebotarevskaya
"Saint Joan" by B. Shaw
“The Seagull” by A. P. Chekhov (dir. A. Efros) - Trigorin
“Molière” M. A. Bulgakov (dir. A. Efros) - Louis
“To Each His Own” S. Aleshin (dir. A. Efros) - Guderian
“104 pages about love” by E. Radzinsky (dir. A. Efros) - Felix
“A movie is being made” by Edward Radzinsky (dir. A. Efros) - Nechaev

Theater on Malaya Bronnaya
“Happy days of an unhappy person” by A. Arbuzov
Shakespeare's Romeo and Juliet

Theater of Satire
1970 - “Crazy Day, or The Marriage of Figaro” by Beaumarchais. Director: V. N. Pluchek - Count Almaviva
1970 - “Gury Lvovich Sinichkin” by V. Dykhovichny, M. Slobodsky - Rodion
1971 - “An Ordinary Miracle” by E. Schwartz - Minister-Administrator
1982 - “The Inspector General” by N.V. Gogol - Dobchinsky
1972 - “Tablet under the tongue” by A. Makaenka - Lomtev
1973 - “Eccentric Man” by V. Azernikov - Factory manual
1973 - “The Bedbug” by V. Mayakovsky - President of the report
1975 - “Heartbreak House” B. Shaw - Hector
1976 - “Clemens” by K. Sy - Red-bearded stranger, Senior merchant, High hat, Big boss
1976 - “Woe from Wit” by A. Griboyedov - Molchalin

1980 - “Eccentric” by N. Hikmet - Ahmet Ryza
1982 - “The Threepenny Opera” by Bertolt Brecht - Robert Peale
1983 - “Kramnagel” by L. Ustinov - Mervyn Spindelman
1985 - “The Burden of Decision” by F. Burlatsky - Pierre Selinger
1986 - “Red mare with a bell” I. Druta - Negrish
1995 - “The battlefield after victory belongs to the marauders” by E. Radzinsky - Mikhalev
1997 - “Schastlivtsev - Neschastlivtsev” by G. Gorin - Neschastlivtsev
1999 - “Greetings from Tsyurupa!” F. Iskander - Thinking about Russia
2001 - “Ornifle” by J. Anouilh - Ornifle
2001 - “Andryusha” by A. Arkanov and A. Shirvindt
2013 - “Moliere” (“The Cabal of the Holy One”) - Moliere

Directing and screenwriting work in the theater
1970 - “Rise and Shine!” M. Dyarfasha (with Mark Zakharov)
1973 - “Little comedies of a big house” by A. Arkanov and G. Gorin (with Andrei Mironov), and the role of Father
1974 - “We are 50” (script together with G. Gorin, production with M. Mikaelyan)
1978 - “Minor” by D. Fonvizin
1979 - “Her Excellency” by S. Aleshin
1982 - “Concert for theater and orchestra” (script with G. Gorin)
1985 - “Be silent, sadness, be silent...”, sc. and director
1988 - “Passion of the Black Sea” by F. Iskander
1992 - “Spartak” (Mishulin) - “Spectator” (team), sc. and director
2001 - play “Andryusha” (scene with A. Arkanov)
2003 - “Too Married Taxi Driver” by R. Cooney
2004 - “Schweik, or a hymn to idiocy” by Jaroslav Hasek
2007 - “Women without borders” by Yu. Polyakov
“Nightmare on Lursin Street” by E. Labiche
November 8, 2012 - “Remedies from inheritance” by Yu. Ryashentsev and G. Polidi
April 20, 2013 - premiere of Neil Simon's "Fools"

prizes and awards

Order of Merit for the Fatherland, II degree (July 19, 2009).
Order of Merit for the Fatherland, IV degree (August 2, 2004).
Order of Friendship of Peoples (June 20, 1994).
Winner of the second prize at the theater spring-74 arts festival.
Winner of the “Golden Ostap” award (1993, for participation in the play “Honoring”).
Awarded the “Crystal Turandot” prize in the category “For many years of valiant service to the theater.”
Chekhov Medal (2010).
Badge of honor “Public Recognition”.
Winner of the national award “Russian of the Year” in the “Star of Russia” category (2005).
Order of Merit for the Fatherland, III degree (2014).

Satires opened in 1924. His repertoire includes comedies, as the name suggests. For the last 16 years, the post of artistic director of the theater has been held by Alexander Anatolyevich Shirvindt.

History of the theater

The Moscow Academic Theater of Satire, a photo of the building of which is presented in this article, opened its doors, as mentioned above, in 1924. Its first premises were the basement of a house in Bolshoi Gnezdnikovsky Lane, where the “Bat” cabaret previously lived.

The very first director of the theater was David Gutman. The troupe was immediately accepted by the audience. The repertoire included plays, parodies and satirical reviews, as they say on the topic of the day. This could not be seen in other theaters. The reviews consisted of interludes, dances, couplets.

The year 1987 became tragic for the theater. Two legendary artists have passed away: Andrei Mironov and In connection with this, thirteen productions in which they played leading roles were removed from the theater’s repertoire. But this did not at all affect the love of the public. During the difficult years of perestroika, the theater reduced the cost of tickets to enable people to continue attending performances during the period of crisis for the country.

Alexander Anatolyevich Shirvindt (artistic director of the theater) strives to preserve the traditions laid down by V. Pluchek.

Repertoire

The Moscow Academic Theater of Satire has the following productions in its repertoire:

"Molière";
"Proceeds from inheritance";
"Ornifle";
"Talents and fans";
"Dog in the manger";
"Women's Cry";
"Tears invisible to the world";
"Wedding in Malinovka";
"Too Married Taxi Driver";
"Nightmare on Lursin Street";
"Mad Money";
"Night of Mistakes";
"Fools";
"The Taming of the Shrew";
"The Old Man and the Sea";
"Suitcase";
"Unforgettable acquaintances";
"Kid and Carlson" and others.

Troupe

The Moscow Academic Theater of Satire has gathered wonderful artists into its troupe. Many of them are known to a wide audience for their roles in films and TV series.

S. Beskakotov;
Yu. Vorobyov;
A. Shirvindt;
F. Dobronravov;
K. Karasik;
Z. Matrosova;
Yu. Nifontov;
R. Vyushkin;
M. Derzhavin;
E. Podkaminskaya;
A. Chernyavsky;
A. Buglak;
L. Ermakova;
O. Kassin;
I. Lagutin;
S. Ryabova;
S. Belyaev;
A. Voevodin;
V. Rukhmanov;
S. Lopatin;
N. Feklisova;
Yu. Vasiliev;
V. Guryev;
T. Titova and many others.

Artistic director

The artistic director of the theater for 16 years has been actor and director Alexander Shirvindt. The folk was born on July 19th. He graduated from Higher Education and was immediately accepted as an actor into the LENKOM troupe. After 12 years, he moved to drama on Malaya Bronnaya. Alexander Anatolyevich came to the Moscow Academic Theater of Satire in 1970, first as an actor. He received the position of artistic director in 2000. A. Shirvindt is famous for his roles not only in the theater, but also in cinema. He starred in such films as “Come Tomorrow”, “Circus Princess”, “The Irony of Fate, or Enjoy Your Bath”, “Station for Two”, “Sky Swallows”, “The Most Charming and Attractive”, “Motley Twilight”, "Russian Ragtime" and many others.

Theater of Satire

Moscow Academic Theater of Satire

Moscow , Triumfalnaya Square, 2

Artistic director of the theater - Alexander Shirvindt

October 1, 1924 In the basement floor of house number 10 in B. Gnezdnikovsky Lane, called the “First House of Nirnzee”, where the “Bat” cabarets used to be located, then “Crooked Jimmy”, now the educational theater of GITIS, the Moscow Theater of Satire began its life. Young writers V. Ardov, N. Aduev, Vl. Mass, B. Volin, V. Tipot, N. Erdman, L. Nikulin, A. Argo took part in the creation of the first performance - the review “Moscow from a Point of View”. And at the head of the new, young theater was David Gutman. At that time he was forty years old, he had experience both as a theater director and as a stage director. But the main thing is that he knew how to stir the imagination of any of the young authors with exciting and funny proposals, he knew how to pick up and enrich the inventions of his interlocutors, come up with a miniature plot for each scene, and find a dramatic form.

The play “Moscow from a Point of View” determined the future of the theater for a long time. Moscow recognized the Satire Theater as its own. Reviews became the leading genre of the repertoire, and small plays and parodies remained the same reviews, staged in the semi-constructivist, semi-traditional style that dominated many theaters in the 1920s. At that time, no one staged reviews in Moscow. There were no templates, but the principle was preserved - on a dramatic core, preserving the main idea, witticisms on the topic of the day were strung together. The chain of dynamic episodes was interrupted by dances, interludes, and couplets that easily fit into the dramatic outline. The decorative design was based on the technique of lightning-fast changes. “The Outback”, “Calmly, I’m filming”, “Europe is what we need”, “Alien Head”, “Current Affairs”, “Art. 114 ug. code.”, “Squabble”, “Cockroachism”, “Vsesvalka”, “Small trump cards”, “Aren’t you a hooligan, citizen”, “Teddy bear, twirl”, “Forty sticks”, “Cockroachism”, “About love” , “Small Trumps” - these and dozens of other reviews were listed on the poster of the Satire Theater until the end of the 20s.

In the 30s, the theater changed its address - from a lived-in basement it moved to Sadovo-Triumfalnaya, where later, in the 50s, the Sovremennik Theater would open.

The dominance of the review was replaced by the dominance of comedy and vaudeville. In 1933, Gutman and his team were replaced by K.S. Stanislavsky and E.B. Vakhtangov. Gorchakov loved bright forms; the tradition of vaudeville and light, intelligent comedy was close to him. Reviews were replaced by dramaturgy, in which irony, a tendency toward aphorism, and paradoxical situations predominated. Contemporaries included V. Shkvarkin, V. Kataev, A. Mariengof, and classics - Moliere, Saltykov-Shchedrin.

They went to the Satire Theater “to watch the actors” - Kurikhin, Polya, Milyutin, Kara-Dmitriev, Khenkin. They were the kings of comedy. G.P. Menglet, remembering Vladimir Yakovlevich Khenkin, wrote about him: “He played with every part of his body, he played calculatedly, with expression, with the virtuosity of a juggler.”

In the mid-forties, the theater was given the premises of the former GOSET, where today the Moscow Drama Theater on M. Bronnaya is “registered”.

Among the directors are Lobanov, Goncharov, Ravenskikh, whose production of N. Dyakonov’s comedy “Dowry Wedding” with V. Vasilyeva, V. Doronin and T. Peltzer was incredibly popular. N.M. Gorchakov was replaced as artistic director P. P. Vasiliev, Vasilyeva -. A new stage in the life of the Satire Theater is associated with the name Valentin Nikolaevich Pluchek. He had a "passion for creating theater." A student of the great V.E. Meyerhold, before the war Pluchek, together with Alexei Arbuzov, headed the studio, created the theater for working youth of electricians, during the war - the theater of the Northern Fleet, after the war - a mobile theater. Pluchek made his debut at the Satire Theater in 1950 with the play “None of Your Business” based on the play by V. Polyakov; Later, together with N. Petrov, he staged the plays “The Spilled Chalice” by Wang Shi-fu and “The Lost Letter” by Caragiale. In 1953, the premiere of “Bath” by Vl. Mayakovsky, staged by N. Petrov, V. Pluchek and S. Yutkevich, in 1955 - “The Bedbug” staged by V. Pluchek and S. Yutkevich, in 1957 - “Mystery-bouffe” staged by V. Pluchek.

In 1957, the “magnificent troika” of directors broke up, V. Pluchek became the main director of the theater. In the same year, the premiere of the play “Was there Ivan Ivanovich?” took place. Nazim Hikmet, and two years later - “The Sword of Damocles”. Both performances excited Moscow. “Was there Ivan Ivanovich?” became one of the most noticeable phenomena of theatrical Moscow. The success was stunning. Remembering this, Pluchek wrote: “There is a cordon of mounted police on Bronnaya, this was the only possible way to maintain order “on the approaches” to the theater. It was a success. As they say in such cases, the spectators were hanging from the chandeliers. During the performance, it happened that the audience applauded for five minutes in a row and the action was interrupted...” Despite its success, after five premiere performances, the performance was banned on the orders of the USSR Minister of Culture E. Furtseva.

In 1963, the Satire Theater left the building on M. Bronnaya and temporarily moved to the premises where the Roman Theater is located today. But the Satire Theater, whose popularity was growing every day, needed a large auditorium, and in 1964 the Satirovites returned to Mayakovsky Square, to the premises that in 1911 were built for the Nikitin brothers’ equestrian circus. Then, when the circus left due to lack of food for the animals, the Moscow Music Hall moved in, then the Operetta Theater was formed from the music hall circus. Before the move, the theater was restored; the only “legacy” of the circus - the dome - has survived to this day.

At its fortieth anniversary in 1964, the Satire Theater was called “the collector, preserver and propagandist of Soviet comedy.” By this time, the theater had staged 112 Soviet comedies - three plays by Mayakovsky, five by V. Kataev, four by V. Shkvarkin, three by Nazim Hikmet, plays by N. Pogodin, S. Mikhalkov, A. Arbuzov. Later - V. Rozova, M. Roshchin, A. Gelman, V. Belov, G. Gorin, A. Arkanov, M. Bulgakov, N. Erdman, V. Voinovich, Yu. Polyakov, V. Shenderovich. Almost all Soviet comedy over the years was “tested on the viewer” at the Moscow Satire Theater.

In the 70s, when the theater had already moved to Triumfalnaya Square, 2, mounted police were called to premieres more than once, and more than once the public tore down doors to get into the auditorium. This was the case at the premiere of “Terkin in the Other World,” which was brilliantly played by young Papanov. Pluchek would release Terkina in 1966, and the entire editorial board of Novy Mir, headed by Tvardovsky, was at the premiere. But after several showings the performance was banned.

There were many such prohibitions - the Satire Theater was considered a record holder. The first “forbidden” performance of the Satire Theater was M. Bulgakov’s comedy “Ivan Vasilyevich”, filmed in 1936 after the first viewing. The performances of Pluchek himself were banned, and the play of the young Mark Zakharov “Profitable Place” was banned. This fueled interest, and in the mid-70s the theater became the most popular and hard-to-reach in Moscow. Valentin Pluchek has assembled an excellent troupe - Tatyana Peltzer, Vera Vasilyeva, Olga Aroseva, Zoya Zelinskaya, Nina Arkhipova, Valentina Tokarskaya, Georgy Menglet, Anatoly Papanov, Andrei Mironov, Spartak Mishulin, Roman Tkachuk, Mikhail Derzhavin, Alexander Shirvindt, Valentina Sharykina, Nina Kornienko , Natalya Zashchipina, and later - Raisa Etush, Alena Yakovleva, Yuri Vasiliev, Marina Ilyina and many others.

The Satire Theater was open to young directors. “The Bungled Apostle” by A. Makayonka, directed by E. Radomyslensky, Mark Zakharov made his directorial debut here, having staged the plays “Profitable Place”, “Banquet”, “Temp-1929”, “Mother Courage and Her Children” and a number of others. “Intervention” by L. Slavin, “Captive of Time” by A. Stein, “The Convent” by V. Dykhovichny and M. Slobodsky were extremely popular.

In 1969, the premiere of the play “The Marriage of Figaro” by P. Beaumarchais with A. A. Mironov in the title role took place, which became the theater’s calling card for eighteen years. It was a manifesto against dullness and despondency. “We need an active hero who responds to intrigue with action, to mockery with intelligence and cunning, like Figaro...”- the director thought. The performance, according to critics, was conceived as a hymn to man. This Figaro by Andrei Mironov was a freedom-loving man who did not tolerate violence, humiliation, or the superiority of the strong and rich. This Figaro was a man with self-respect.

On March 26, 1972, The Inspector General premiered. Pluchek looked at the play through the prism of Gogol’s “The Overcoat.” The performance was undoubtedly an actor's one, there were lively, albeit exaggerated characters and passions, the main thing was the stellar acting team - A. Shirvindt, M. Derzhavin, G. Menglet, Yu. Avsharov, Z. Vysokovsky, G. Tusuzov, V. Vasilyeva, T. Vasilyeva, N. Kornienko. This performance by Pluchek is an exposure of Russian reality, our troubles and misfortunes; it was the director’s turn to real satire, to the tragic farce taking place in society itself. According to Pluchek, both Khlestakov - A. Mironov, and Gorodnichy - A. Papanov become victims of psychological hypnosis.

In 1976, Griboedov’s comedy “Woe from Wit” appeared on the theater’s playbill. Pluchek extracted from the text signs of impending exile - Chatsky’s break with Sophia, Famusism and the entire Moscow clan.

Later he would write that he staged “Woe from Wit” about himself. And here, as always, there is a brilliant cast: Mironov-Chatsky, Papanov-Famusov, Shirvindt-Molchalin, Derzhavin-Skalozub, Peltser-Khlestova, Sofia - T. Vasilyeva. For Chatsky, as Mironov played him, love was the main driving motive. He came for Sophia’s sake, for her sake he committed his actions. Speaking about Chatsky, critic K. Rudnitsky noted that Mironov was a living harbinger of glasnost, he played Chatsky the dissident, Chatsky the dissident, lonely, mournful, ardent.

“The Threepenny Opera,” which appeared on the stage of the Satire Theater in 1980, became a “monumental oratorio” on the eternal theme of dirty wealth with the arbitrariness of money and power over all values and ideals.” And in 1982, Pluchek staged “The Suicide” by N. Erdman with Roman Tkachuk in the role of Podsekalnikov. The play, written in 1928, was neither published nor staged during the author’s lifetime. But the play was banned, and in 1986 the director restored “The Suicide” with a different cast.

In the 80s, the theater’s playbill included “The Eccentric” by N. Hikmet, “The Wood Grouse’s Nest” by V. Rozov, “Mad Money” staged by A. Mironov, “Concert for Theater and Orchestra” staged by A. Shirvindt. And also “The Eighteenth Camel” - the directorial debut of E. Kamenkovich, “The Cherry Orchard”, “My Dear Ones” directed by V. Pluchek.

In 1987, Anatoly Papanov and Andrei Mironov passed away, and thirteen performances had to be removed from the repertoire. But the public continued to love the theater, love the actors, the performances. "We have never deceived our viewers"- says theater director Mamed Agayev. - “If the poster says that Shirvindt and Aroseva are playing, then it’s them who are playing.” And even during the most difficult years of perestroika, when people had no interest in the theater, ticket prices were simply reduced here, thereby “saving” the audience.

In 2000, People's Artist of Russia became the artistic director of the theater. Alexander Anatolyevich Shirvindt. Its repertoire policy is the preservation and continuation of the traditions laid down by the founders of the theater and V.N. Pluchek. Shirvindt “strengthened” the troupe with young actors and today actors of several generations work on the stage of the Satire Theater - actors of several generations - Vera Vasilyeva, Zoya Zelinskaya, Natalya Selezneva, Alena Yakovleva, Svetlana Ryabova, Mikhail Derzhavin, Fedor Dobronravov, Oleg Vavilov, Yuri Vasiliev, Natalya Zashchipina, Marina Ilyina, Natalya Karpunina, Igor Lagutin, Alexander Chernyavsky, Andrey Zenin, Yuri Nifontov, Elena Podkaminskaya, Svetlana Malyukova, Evgenia Sviridova, Andrey Barilo, Konstantin Karasik, Pavel Misailov, Sergey Kolpovsky and many others.