Chamber theater poster for January. Chamber theater

The most successful performances of the Free Theater were Tairov's "Pierrette's Veil" And "Yellow Jacket", in which Alisa Koonen played the main role. Fate was not kind to Mardzhanov, and the Free Theater disintegrated, laying the foundation for the Chamber Theatre. A group of young people without money, connections or premises was already a Theater; everything else was not slow to follow. A mansion was found on Tverskoy Boulevard, which, according to legend, Alisa Koonen pointed out to Tairov. “We wanted to have a small chamber audience of our spectators, just as dissatisfied and searching as we are, we wanted to immediately tell the proliferating theater public that we are not looking for his friendship, and we do not want his afternoon visits,” Tairov explained the essence of the name of the theater .

"Uninhibited" theater

The creators of the new theater had their own program. It consisted in the renunciation of all trends that existed at that time. The director and his like-minded people proposed creating a kind of “liberated theater”, plastic, effective, emotional, speaking in its own purely theatrical language. Tairov seemed to sweep away the entire history of the theater, establishing new relationships with literature, music, space, and painting. And most importantly, he was raising a new actor, masterfully in control of his body, voice, emotions, capable of being a dancer, singer, acrobat, dramatic artist, able to feel absolutely free in the two main genres of the Chamber Theater - tragedy and slapstick.

The theater opened on December 12 (25), 1914 with the drama of the ancient Indian author Kalidasa "Sakuntala". The tragic love story of Sakuntala, brilliantly played by Alisa Koonen, was a great success. But the new system did not take shape immediately. The real victory was won at the performance "Famira Kifared" based on the tragedy of Innokenty Annensky. The individual finds finally merged into a single whole. Everything in the performance was harmonious: the production by A. Tairov, the fundamentally new constructivist design by A. Exter, and the music by A. Forter... “Famira Kifared” gave the impression of a bomb exploding. Even opponents of the new theater were forced to admit its victory. The circle of Kamerny admirers has expanded, the theater has “its own audience.”

During the 1916-1917 season, the theater had to leave the building on Tverskoy Boulevard. It was rented to another theater on more favorable terms. But the Chamber Theater did not disintegrate; on the tiny stage of the Actors' Exchange the following program performance was born - "Salome". A. Efros wrote about this: “An experience of great courage. The theater has never gone this far before.”. The role of Salome opened a gallery of tragic images of Alice Koonen. The brilliant works of I. Arkadin (Herod) and N. Tsereteli (Iokanaan) indicated that Tairov’s dream of a “super-actor” was beginning to come true.

The premiere took place three days before the revolution. The bright entertainment, romantic elation and beauty of Alexander Tairov’s performances turned out to be in tune with the new era. Lunacharsky decided to return the building at 23 Tverskoy Boulevard to the Theater and allocate money to rebuild the auditorium with 800 seats. While construction was underway, the troupe went on tour to Smolensk, where it was born in camp conditions "Adrienne Lecouvreur"- a legendary performance of the Chamber Theater, which lasted in the repertoire for 30 years, a performance with which the Chamber bid farewell to the audience forever in 1949...

Almost as noisy was the success and "Princesses of Brambilla", capriccio of the Chamber Theater based on Hoffmann’s fairy tale, which began the line of harlequinade in Tairov’s work.

The next season Tairov released "Phaedra". Especially for this performance, Valery Bryusov made a new translation of the tragedy by Jean Racine. "Phaedra" became one of the most famous performances of the Chamber Theater and one of the best tragic roles of Alisa Koonen. This production crystallized everything that Tairov taught his troupe. “Phaedra” established the theater’s position in the tragedy, and the play, released in the fall of 1922 "Girofle-Giroflya" Charles Lecocca became a true triumph of buffoonery. Alisa Koonen easily transformed from Phaedra into Girofle-Girofle, and Nikolai Tsereteli from Hippolytus into Maraschino. And this was another evidence of the fidelity of Tairov’s method of educating a synthetic actor.

The Chamber Theater became one of the most beloved in Moscow, and foreign tours in 1923, 1925 and 1930 brought it worldwide fame! Their own theatrical language was found, a troupe was brought up, which, by universal recognition, had no equal in Europe. But the theater was faced with the difficult task of choosing a repertoire that would correspond to its aesthetic principles - “neorealism”, romantic elation, commitment to tragedy and buffoonery, isolation from everyday details. After a not very successful experience with Ostrovsky’s play “The Thunderstorm,” Tairov staged three plays by Eugene O’Neill: "Shaggy Monkey", "Love Under the Elms" And "Black person". All three performances were a great success with the public, and “Love Under the Elms” especially shocked the hearts of the audience.

A continuation of this direction in Tairov’s work was performances based on the play by Bertolt Brecht "Beggar's Opera" and the play by Sophie Treadwell "Machinal". Tairov proved that he can talk about modern problems in modern language, without deviating at all from his system. "Cukirol", "Day and night", "The Man Who Was Thursday"- continued the line of buffoonery, grotesque and bright entertainment. But gradually the theater faced a serious problem in choosing a repertoire. The theater could not stage only foreign authors, and Soviet drama could not satisfy Tairov. Several of his experiments in this direction ended in failure. And only "Optimistic Tragedy" was an undeniable success. Subsequently, modern Soviet themes took an important place in the performances of the Chamber Theater. "Moscow Sky" G. Mdivani, "Front" S. Korneychuk, "Until the Heart Stops" K. Paustovsky, "The sea spreads wide" Sun. Vishnevsky, A. Kron and V. Azarov...

And yet, the success of the Chamber Theater in these years is more connected with the production of Russian and foreign classics. The play premiered in 1940 "Madame Bovary" Gustave Flaubert, staged by A. Koonen, music by D. Kabalevsky. “Madame Bovary” is one of the pinnacles of Alexander Tairov’s directorial skills. (In 1940, the French government awarded the theater a medal as a sign of its deepest gratitude for this performance). It seemed that Tairov and Koonen were able to penetrate into the very essence of the human soul. The subtle psychologism that distinguishes the performance is also characteristic of the director’s later productions, such as the concert performance "Gull" based on the play by A.P. Chekhov, "Guilty without guilt" A.N. Ostrovsky, "Old man" A.M. Gorky.

Closed forever

A systematic struggle against the “formalist theater” has been carried out intermittently since 1936. The theater released a funny fairy tale parody "Bogatyrs". The performance was supposed to continue the tradition of musical productions on the Chamber stage. The premiere was a success. But the storm broke out suddenly. A month after the premiere, Pravda published an article explaining the anti-people essence of the play. A real persecution began in the press. In 1937, a decree was issued to merge the Tairov Chamber Theater and the Okhlopkov Realistic Theater into one team. It was impossible to imagine theaters more opposite in their aesthetic principles! The theater was saved from destruction by a reshuffle in the Culture Committee. Instead of P.M. Kerzhentsev was appointed M.B. Khrapchenko, who canceled the resolution.

The theater survived the war, playing performances during the evacuation on a tiny club stage in the city of Balkhash. In 1945, the 30th anniversary of the Chamber was widely celebrated, and Tairov was awarded the Order of Lenin. But on August 20, 1946, a decree of the Central Committee of the All-Union Communist Party of Bolsheviks was issued, practically prohibiting foreign drama and directing theaters towards Soviet “conflict-free” plays about the struggle between good and best. Such a repertoire was unnatural to the Tairov method. And again the struggle began, which led to the closure of the theater in 1949. Going to the last meeting of the Arts Committee, Tairov was not going to give up. He read the report, trying to analyze the real state of affairs in the theater. But the report did not achieve its goal. Anticipating the committee's decision, he himself announced his resignation from his theater. The Chamber's last performance was Adrienne Lecouvreur, after which its curtain closed forever.

Do you want to visit the Backstage? I visited)
I really like going on excursions to the theater, it’s interesting to see where and how what you then see on stage is born.
Many thanks to Dasha for the tour and interesting story about the theater, its history and present time.
It’s a pity that the theater is facing closure, and this may be the last time I visited it...
And we go to places where spectators cannot enter on a regular day.
The orchestra pit is very compact, but up to fifty people can fit there (I can’t imagine how), so every millimeter of personal space is important. Because of this, you could only look in there, otherwise they might move something.
The stage is already ready for the evening performance. What I like about this theater is that the stage can be transformed for a certain performance, change its shape, and it even happens that the audience is on the stage, and the actors are in the auditorium (I have never been to such a performance)
Behind the stage, in a “pocket” on the wall, cheat sheets for the performance are already ready, and the props that will be needed in the evening have been prepared.
Usually theaters have two “pockets,” but here there is one, and it’s very compact. We had a hard time fitting in here; I can’t imagine how they manage to change clothes and fix makeup.
And we leave the stage to wander through the corridors.
Costume shop
And a very unusual thing - a luminous dress
The men's make-up shop is designed for two actors; here the actors are only given make-up, although for some performances the actors prefer to do their own make-up
Here the actors are rehearsing, I can’t imagine how to do it in that stuffiness, especially if all the actors gather.
The stripes on the floor are there for a reason - they indicate the scenery; you can’t drag them right up to the roof of the building, and not all the scenery will fit here.
And here is the decorations, or rather the workshop where they are assembled and stored.
Layouts for the scenery are made observing all proportions, all the details move, just like in those that will later be created on stage.
One person works here, but he quickly disappeared when he saw our group)
Women's costume shop.
If a play has two casts, special tags are placed on the hangers so that the actors take exactly their costume.
Women's dressing room, here all sorts of details for female images of various performances are stored in boxes.
And if the actress wears some details in different performances, then the jewelry is stored in personalized boxes.
This is what I understand - a cosmetic bag, it closes and can be easily moved because it is on wheels.
Here, one young participant in our excursion had a lot of questions, and the make-up artist answered them in detail, where and what should be studied in order to work in this profession.
Men's costume shop, there are quite a few suits here too.

Chamber Musical Theater named after. Pokrovsky is one of the best theaters in the capital. The schedule and repertoire are rich in numerous events and performances of a wide scale. Chamber Theater Musical Theater named after. Pokrovsky, you can buy tickets for the performance today on our website. It is best to purchase tickets to the Chamber Musical Theater in advance. Pokrovsky with free delivery within the Moscow Ring Road. You can find out about the price and cost of the ticket from our managers by calling our number 8 495 921-34-40.

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