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

The Satire Theater (Moscow) appeared in the capital in the first half of the 20th century, namely in 1924. Already from the name it is clear that the theater’s repertoire is based on comedies, comic characters. People at that time really lacked an additional source of positivity, and so they found it within the walls of this institution. The theater still exists today and enjoys no less popularity and love from the audience.

Becoming

The Academic Theater of Satire (Moscow), as noted earlier, opened its doors in 1924. Initially, it occupied the basement of a residential building located in Bolshoi Gnezdnikovsky Lane, displacing the cabaret" Bat".

The management of the theater was headed by David Gutman. And, it must be admitted, under his leadership the Satire Theater (Moscow) gained enormous popularity: the troupe was immediately accepted by the audience, the performances were sold out, and tickets were sold out long before they took place. The repertoire at the initial stage was represented by small plays and parodies - it was simply impossible to see something similar in other theaters in the city.

New stage

The address of the Satire Theater in Moscow soon changed: it moved to new premises on Sadovo-Triumfalnaya Street. His repertoire was replenished with comedies and plays with a clear predominance of parodies. New era Many people associate the theater with the arrival of Valentin Nikolaevich Pluchek. This event happened in 1950. It was under him that the repertoire was expanded, and the theater itself reached a new level. His productions excited the entire public; they were the most successful, bright and enchanting. But at that difficult time, not all productions reached the audience: no matter how popular the satire was, no matter how much admiration it aroused among the public, many performances were banned by the government. By the way, the works of V. Pluchek and the young M. Zakharov were also in the prohibited zone, theatrical career which began precisely within the walls of the Satire Theater.

In 1964, the Satire Theater moved to a new building, this time on Mayakovskaya Square. And only in 1970 he occupied premises on Triumphal Square, where he is located to this day.

1987 turned out to be a very difficult year for the Satire Theater. It was in this year that some of the most talented actors of the century passed away: Andrei Mironov and Anatoly Papanov. The repertoire of the Satire Theater (Moscow) then lost about 13 performances, which did not affect its popularity.

The head of the theater, Valentin Pluchek, sought to popularize it, which is why, even during the difficult perestroika years, he reduced the cost of tickets so that people could continue to visit the theater and experience beauty.

Achievements

V. Pluchek collected his own corpse, and its descendants became famous theater actors countries. Among them are Olga Aroseva, Andrei Mironov, Tatyana Peltzer, Vera Vasilyeva, Mikhail Derzhavin, Alexander Shirvindt and many others. We can safely say that the Satire Theater (Moscow) allowed many to open up talented actors, representing the elite of our country. Currently, the theater is actively promoting young but talented actors.

Repertoire today

Of course, everyone should visit the Satire Theater (Moscow). Performances are held there with enviable regularity and often attract full houses. Currently, all fans of satire will be able to attend stunning performances featuring the best actors of our time:

• "Twelfth Night" is the last production of William Shakespeare, where he says goodbye to the gaiety of his former existence. Romance, poetry, the realities of everyday life, the charm of funny and sometimes thoughtless actions - all this is intertwined in complex plot plays. Pavel Safonov tried to show the completely earthly feelings of all the characters, in the world in which they live... However, you will find out everything yourself by buying tickets to this performance.
• “The Roads That Choose Us” is a production based on the stories of O. Henry. In search of an answer to serious life questions This time the satire theater turned to the funny and simple stories of O. Henry, giving them a modern twist.

• "It's Never Too Late" is a comedy by American playwright Sam Bobrick, which was first staged on Russian stage Alexander Shirvindt. Love, jealousy, betrayal are beautifully portrayed by the talented Alena Yakovlevo and Yuri Vasiliev. An excellent production that attracts full houses.
• "Wedding in Malinovka" - loved by many musical comedy, which takes place over the years civil war. The plot of the production is familiar to many, but professional actors manages to breathe new life into it.

This is only a small part of the repertoire of the Satire Theater; it is regularly updated and replenished with new productions that arouse the admiration of the public.

Cast

The theater troupe is presented best actors modernity. Among them are many talented and legendary personalities:

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

Artistic director

For the last 16 years of the theater’s existence, it has been headed by Alexander Shirvindt. He is both a director and an actor here. After graduating from the Shchukin School, he became an actor in the Lenkom Theater. To Moscow academic theater he came in 1970, marking the beginning of his new stage. At first he was one of the actors, but in 2000 he took over as artistic director. He managed to preserve the individuality of the theater and expand its repertoire with new productions that are popular among Muscovites and guests of the city.

Ticket prices

All those who decide to visit the Satire Theater (Moscow) must purchase tickets in advance. The fact is that the theater is popular among Muscovites and guests of the city. There are simply no tickets available for the premiere screenings.

You can purchase tickets at the theater box office. Their cost is 300-2000 rubles. Such a significant difference in price is primarily due to the space occupied. On weekends and holidays ticket prices increase by 15-20 percent. That is why, if you want to enjoy the production and save a significant part of your budget, it is better to purchase tickets in advance for the performance on a weekday.

How to get there

The Satire Theater is located at: Moscow, Triumfalnaya Square, 2. Of course, it doesn’t mean anything to many. If you decide to visit the Satire Theater (Moscow), the Mayakovskaya metro station is your destination. From the metro you need to get off at in the indicated direction. Coming out of the glass doors of the Moscow metro, you should turn left and walk a few meters along Concert hall named after Tchaikovsky. Externally, the Satire Theater (Moscow) is a gray building, evenly distributed along Triumphal Square. You definitely won’t pass by it when you see the huge posters.

You can purchase a ticket to a theater performance here at the box office. It is open daily from 10:00 to 20:00. By the way, tickets can be redeemed not only in cash, but also with the help of bank card. Moreover, you can order them for delivery using the services of a courier service - an excellent solution for constantly busy residents of the metropolis.

Dress

Suppose you are planning to visit the Satire Theater (Moscow). Performances take place here almost every day. The establishment is more loyal to the dress code, but still, do not forget that you are not going to the cinema, but to the theater, so it is better for girls to dress in formal attire, and for men in a suit.

Vacancies

Do you want to be closer to the stage, do you care about the Satire Theater? Job vacancies (Moscow) are quite rare, however, if you wish, you can find something interesting. Due to the expansion of the repertoire, the theater requires costume shop managers, and experienced seamstresses are invited. Wage discussed with each potential candidate. If you have work experience, want to be closer to theater world, his actor, this is an amazing opportunity.

Conclusion

Academic Theater of Satire (Moscow) - great option for organizing cultural leisure and recreation. The comedy repertoire allows you to escape from the hustle and bustle of everyday life, forget about all the problems and difficulties and acquire additional source positive on for a long time. Be sure to choose a time, find worthy company, order tickets and feel free to go to your chosen production - positive emotions you are guaranteed. The only thing is that it is better to purchase a ticket for the premiere show in advance, otherwise you simply may not get to it, since there are usually plenty of people interested. Join the cultural life capital, enjoy professional acting.

History of the theater

October 1, 1924 in the basement floor of house No. 10 in B. Gnezdnikovsky Lane, called the “First House of Nirnzee”, where the “Bat” cabarets used to be located, then “Crooked Jimmy”, now educational theater 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 David Gutman stood. 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.

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, smart comedy. 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 Theater is “registered” Theatre of Drama on M. Bronnaya.

Among the directors are Lobanov, Goncharov, Ravenskikh, whose production of the comedy N
. Dyakonov’s “Wedding with a Dowry” with V. Vasilyeva, V. Doronin and T. Peltzer enjoyed incredible popularity. 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 - 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 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 in different 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 demolished doors to get into 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, “ Convent» V. Dykhovichny and M. Slobodsky enjoyed enormous popularity.

In 1969, the premiere of the play “The Marriage of Figaro” by P. Beaumarchais with A. A. Mironov took place in leading role, 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.

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, 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” at eternal theme 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 P
Odsekalnikova. 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 “The Eighteenth Camel” is the directorial debut of E. Kamenkovich, “ The Cherry Orchard", "My Dear Ones" staged 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 the theater director

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 of house no. 10 in B. Gnezdnikovsky Lane, called the “First House of Nirnzee”, where the “Die Fledermaus” cabaret was previously 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 the comedy N
. Dyakonov’s “Wedding with a Dowry” with V. Vasilyeva, V. Doronin and T. Peltzer enjoyed incredible popularity. N.M. Gorchakov was replaced as artistic director P. P. Vasiliev, Vasilyeva -. 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 star cast - A. Shirvindt,
M. Derzhavin, G. Menglet, Y. 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 P
Odsekalnikova. 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, he became the artistic director of the theater. National artist Russia 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.

The Moscow Academic Theater of Satire 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 passed away legendary artist: 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 the Higher Shchukin School 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.

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 work with Andrey 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 Comedy Club And " Ural dumplings"They are amazingly efficient. I am 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 each round 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.