entreprise - enterprise ) - a form of organizing a theatrical business in which the organizer (entrepreneur) invites actors from various theaters to participate in the performance (as opposed to the form of a repertory theater with a permanent troupe).

An example of a modern theater company operating on an entrepreneurial basis is “Art-Partner XXI” and “Theatrical Partnership 814”. In modern theater world, many European and world theater groups are switching to a system of entrepreneurial self-organization, which is not necessarily a sign of the commercial dominance of their activities. The growth of independent enterprise performance groups in the world was facilitated by the reform in the financing of cultural institutions and the possibility of receiving grants and subsidies from the state, both for individual directors, producers, actors or performers, and for organizations involved in the creation and distribution of enterprise performances.

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An excerpt characterizing Entreprise

At this time the door opened.
“Here he is, finally,” Rostov shouted. - And Berg is here! Oh, petisanfant, ale cushe dormir, [Children, go to bed,] he shouted, repeating the words of the nanny, which he and Boris had once laughed at.
- Fathers! how you have changed! - Boris stood up to meet Rostov, but while getting up, he did not forget to support and put in place the falling chess and wanted to hug his friend, but Nikolai moved away from him. With that special feeling of youth that is afraid broken roads, wants, without imitating others, to express his feelings in a new way, in his own way, just not in the way the elders express it, often feignedly, Nikolai wanted to do something special when meeting with a friend: he wanted to somehow pinch, push Boris, but just don’t kiss, like everyone else did. Boris, on the contrary, calmly and friendlyly hugged and kissed Rostov three times.
They didn't see each other for almost six months; and at that age when young people take their first steps on the path of life, both found in each other enormous changes, completely new reflections of the societies in which they took their first steps in life. Both have changed a lot since their last date and both wanted to quickly show each other the changes that had taken place in them.

In the theatrical environment there is a legend, and maybe even a fact. When Vladimir Lenin decided to nationalize Russian theaters, Stanislavsky, kneeling before the Minister of Culture Lunacharsky, persuaded him to put in a word with Ilyich so that this would not happen. As you know, Lenin did not listen to Lunacharsky. Stanislavsky has practically not appeared at the Moscow Art Theater since then. And I never went to state theaters...
At the beginning of September on the stage of the Mayakovsky Theater there will be a performance « The Cherry Orchard» performed by the actors of La Theater. We met with the theater director and producer of one of the first enterprises in the country Vadim Dubrovitsky and talked about theatrical entrepreneurship, the spirituality of the audience and why the word enterprise has acquired a derogatory meaning.

How do you personally define enterprise?

Entreprise is the free expression of the artists' will. Unfortunately, in our country it is customary to swear by the word enterprise. How many times have I heard on the radio: “Oh yes, it was a performance, not some kind of entertainment”. At the same time, most theater critics diligently ignore the fact that enterprise performances in Moscow were staged by Peter Stein.
In general, entrepreneurial enterprise in Russia has rich history. Suffice it to remember that creative birth Chekhov’s success as a playwright was achieved precisely thanks to the enterprise: entrepreneur Fyodor Adamovich Korsh was the first to order Chekhov to write a play, and before that Anton Pavlovich had not even thought about drama. The play “Ivanov” became the beginning of his theatrical journey. Our greatest actresses– , – took part in enterprises. In those days, there were only a few state imperial theaters, which we now call academic. And everything else was enterprises.

What place, in your opinion, does the enterprise occupy in today's theatrical space?

It's bitter to say, but this is a place of outcasts. The fact is that for theatrical functionaries representing the interests state theaters, the enterprise poses a real threat. It's about not only that entrepreneurs are taking viewers away from state theaters. They are worried about something else - sooner or later, representatives of the authorities will definitely ask the question, “why year after year the state theater stands with its hand outstretched, demanding more and more subsidies, while the enterprise, in addition to existing at its own expense, pays taxes and very significant fees to everyone participants creative process" In order to prevent this question from arising, the myth was launched that the enterprise is just a hack job theatrical performance. In turn, for the audience, when they watch a high-quality performance, it does not matter whether it was staged by a state theater or an enterprise theater.

photo: La’Theatre

Is there an opinion that enterprise is a purely commercial event?

The theater, whether it is state-owned or private, is always commercial enterprise, but how could it be otherwise, tickets are sold for money, and salaries are paid in money. And he always actively fights for his finances.
I personally don't have great experience works in the state theater, but the one I purchased shows only one thing: the state theater is an incredibly amorphous structure, built on a slow-witted bureaucratic system. But the enterprise is very mobile, everything here is resolved quickly, and this in turn provides huge savings in material and resources.

Can an enterprise be called a small business in a theatrical environment?

You can say that. And how can one not remember this joke: “What do you need to do to open a small business? Open the big one and wait". Our entrepreneurial business is gradually fading away, since all the conditions have been created and continue to be created so that it does not exist. I would say this: war has been declared on entrepreneurial enterprise in our country.

What do you think is the reason for this?

There are several reasons. And they are intertwined so intricately that it is difficult to say which one is the main one. We live in a country where they love to create myths. Here is one of them: the state theater is our national achievement. Moreover, there is a substitution of concepts. The theater is not called state, but repertoire. And replacing one name with another is not entirely correct, since it is impossible to compare the form of ownership and the form of creativity. And the war with the enterprise is nothing more than the struggle of state theaters for their sometimes unjustified subsidies. Although it is possible to erect a monument to the enterprise because in the 90s it saved hundreds Russian actors from hunger.
Many years ago, the great theater critic Lev Gitelman accidentally ended up in St. Petersburg at an enterprise performance that I staged. That same evening, on the train, on the way to Moscow, he confessed to me: “I'm glad I came to your performance. I used to be sure that entrepreneurial enterprise was terrible. But it turned out not. What if we open as part of the award " Golden mask"A special category for an enterprise performance?" I was surprised: “Why do we need to be put in a separate category? Are we not going on stage? Or do we have other actors? Or are we disabled in the theatrical environment? It must be admitted that in our time enterprise as such has been cut out from public life.

What difficulties does the enterprise theater face?

With huge ones. During rehearsals, we rent rehearsal areas, for example, a recreation center, which are more or less close to the conditions of the theater. Then we rent a theater stage from the State Theater.
Unfortunately, none of the theaters gives us time so that we can prepare for the performance in a normal rhythm. As a rule, we are allowed on stage only in the morning of the show. We have to hastily set up the scenery and quickly do a run-through, as they say, on the viewer. It's surprising that in Moscow, modern city In the 21st century, there is not a single free site on which private theaters could exist. I'm not even talking about the fact that the state theater does not pay rent for the hall, it is provided to it by the state. And we shell out 300 thousand rubles. By the way, in July we played “The Cherry Orchard” by Chekhov at the Mayakovsky Theater. The next production will take place on September 7 on the same stage. Imagine the time gap that separates the two performances.

It turns out that every time you stage an enterprise performance, you accomplish a certain feat?

What does feat mean? I just don’t see any other way of self-realization for myself. By the way, there is another myth, supposedly an entrepreneurial performance is performed without decorations, two chairs are brought onto the stage, around which the action takes place. But there are also state theaters where there are two chairs on the stage instead of decorations. And this is not bad if it serves to solve the performance. On the other hand, there are productions at the LA Theater that use large and heavy scenery, and when we inform the management of the theaters that have allocated the stage to us about this, even the professionals cannot hide their surprise: “What, does the enterprise have decorations?”
Yes, we have everything. And artists, and set designers, and make-up artists, and costume designers (people come to us to work part-time from state theaters), and the head of the production department. Our staff is about ten times smaller than the state staff, and our sets don’t fall down, our costumes don’t come apart at the seams, and the light and sound don’t fail. And we fit into the budget, we have enough. Everyone is dressed and wearing shoes, and the entrepreneur does not take money from the state. Maybe state theaters need to be a little more modest. After all, there is a crisis in the country. As the great one said: “No entrepreneur will allow himself to keep at least one extra person on staff”.
Again, when an enterprise theater advertises around the city about where and when a play will be performed, it costs it several times more than a state theater. I would love to see what law enshrines this inequality. I must admit that in our country conditions have been artificially created in which it is extremely difficult for an entrepreneurial theater to exist. But even despite this, we are able to compete with state theaters, gather full houses and save budgets. Personally, if I were the state, I would suggest that entrepreneurs take charge of state theaters (laughs). Why? Yes, because we manage to live without state subsidies and at the same time not die of hunger. And they, sitting with everything ready, constantly go, to put it exaggeratedly, to the president and complain that they don’t have enough money.

photo: La’Theatre

In all your productions, be it Chekhov’s “The Cherry Orchard” or modern play"Rumors" plays star cast actors. What, in your opinion, attracts them to the enterprise?

First of all, respectful attitude. In the state theater, the director rarely personally notifies the actors that they have been assigned to a role. Typically, artists find out about this by seeing their names on the information board. At the same time, no one is interested in what kind of relationship the actors have with each other, whether they sympathize or hate each other fiercely. Sometimes an artist has to play love scenes with a partner with whom he doesn’t even want to shake hands. Some find the courage to refuse to play in “unflattering” duets, others agree. And no one thinks that the audience cannot be deceived, because they feel in their gut what kind of atmosphere - love or hate - reigns on stage.
Entreprise is a freer, freer form of creativity. It was created so that people would gather out of mutual desire, out of love for creativity, out of love for each other. An actor can come to an entrepreneur and admit that he dreams of playing a certain role. For example, I really wanted to play the role of Genaro in Eduardo de Filippo’s play “A Man and a Gentleman,” and I staged this performance “for him.” Or she somehow came to me and shared her dream: “ I'm dying to play the role of Koshy in Friedberg's comedy "Fool, that's love!" And she played it, and she did it superbly.
Out of respect for my colleagues, I must point out another ridiculous myth - “all artists involved in enterprises are either drunkards or make money.” It's funny, that's all. The same Vladimir Steklov, who dreamed of playing the role of Gaev in The Cherry Orchard, responded to my words: “Volodya, I won’t be able to pay you much.”, - without hesitating a second, he answered: “I’m not interested in money, but in the role. Pay as much as you can.".

Name the artists you have worked with.

In the plays “The Cherry Orchard”, “Free Love”, “Rumors” in different time played by Olga Volkova, Vladimir Steklov, , , , , , and many other talented actors. Now the role of Firs in The Cherry Orchard is played by Olga Volkova, Charlotte by Olga Volkova, and Gaeva by Vladimir Steklov.

Certainly not. Only in our LA Theater for several years there were “Theater of the City of Foolov”, staged based on “The History of a City” by Saltykov-Shchedrin, and “I Don’t Remember Anything” based on Miller’s play. Now on the stage of the Mayakovsky Theater we are showing “The Cherry Orchard” by Chekhov. Another thing is that the enterprise, in comparison with state theaters, is placed in obviously unfavorable conditions (expensive rental of halls, inflated advertising rates, etc.). For fear of ending up in a financial disadvantage, many entrepreneurs do not dare to bet classical works, since most viewers prefer entertaining productions.

photo: La’Theatre

How could it happen that the “most reading” nation in the world, brought up on best works classics, began to give preference to “entertainment productions”?

Indeed, for a long time in the Soviet Union they shouted that we were the most reading nation. And how could it be otherwise, if there were only three channels on television, there were no VCRs or video games. But as soon as technological progress gained momentum in our country, it turned out that our people were no longer interested in books. And our compatriots read Marinina exclusively. In a bookstore I once asked: “Do you have books?” - "No" - “And Sukhova-Kobylina?” - "No. No one is interested in them.". Film education is no better. Young actors don’t know who he is, haven’t watched the film, don’t know either himself or his work. I think it’s high time to say out loud: “Guys, there’s trouble. We have a serious national problem. We don't know our culture".

Work in repertory theater allows young actors to adopt creative traditions and, thus, preserve the heritage of this theater school. Will the dominance of the enterprise in the theater space affect the severance of the living connection between generations of actors and, as a consequence, the disappearance of theater schools?

With your lips and drink honey. What kind of continuity can we talk about when theater troupes of state theaters are growing at an unrealistic speed. Most theaters have up to 200 people. People don’t even have time to really get to know each other, let alone eat a ton of salt together. Continuity is born in small teams. Several young artists play in “The Cherry Orchard” with Stanislav Lyubshin. They look at him as if he were a god, they learn from him, every rehearsal, every performance becomes an event for them. This is the continuity of generations.
In addition, it is very important what kind of atmosphere reigns in the theater. Only when friendly attitude, in which love and respect flourish and creative continuity develops. How can 200 people competing for roles in plays love each other? A theater with such a troupe is more like a plant, a factory, or, as they used to say, a “terrarium of like-minded people.”

photo: La’Theatre

Why are LA Theater performances staged? theater stages, and not on such popular platforms for enterprises as the CDKZH, the House of Film Actors, etc.?

Theater begins with a hanger. Is not empty words. Both the audience and the actors care about the general atmosphere in which the mystery of creativity takes place. Houses of culture, of course, could become excellent venues for art reprise performances, we just need to take them out of the hands of the leaders railways, the automobile industry, and so on, who have little knowledge of matters of art. The spirit of officialdom must be removed from these premises, the facelessness must be destroyed and Melpomene settled in them.

What exactly do you think the Ministry of Culture should do to speed up the process? spiritual rebirth our people?

I can give an example of how issues of cultural education are resolved in America. There is no Ministry of Culture, but there is a loving educational attitude towards culture. A few years ago I was walking through a Chicago city park and heard the sounds of "live" classical music. I couldn’t believe my eyes: on the lawn Symphony Orchestra under the direction of maestro Krzysztof Penderecki himself, he played Brahms. About a thousand people gathered around the musicians. I approached and asked: "How much does the ticket cost?" - "For free. The concert is organized by the city municipality". Here's your answer.

photo: La’Theatre

It is known that the perception of art requires significant spiritual work, and the result is spiritual enrichment. In connection with this, the question arises: why do you feel uplifted after watching some performances, and leave others devastated?

I'll tell you an open secret. When a director wants to attract attention to his performance, he resorts to a proven technique - to shock the viewer at any cost. The same thing happens as during an accident on the highway: if something bad happens on the road, and all traffic slows down, every driver is interested to see what exactly happened. It’s the same in the theater, as soon as the director puts a sexual act on stage, the audience’s attention is guaranteed. This is very easy way, and, unfortunately, many directors today use it. As a result, the audience leaves the performance completely “de-energized”, devoid of energy. The circus used to have terminology: “white” and “red” clowns. One gives the audience energy, the other takes it away, and now, I must admit, this also applies to the theater.
Unfortunately, in our country, despite the outward feeling of a theatrical boom, a colossal theatrical crisis is occurring. In my opinion, it should not be taken for a sip fresh air Chekhov's productions, when Nina Zarechnaya's panties are taken off in The Cherry Orchard, and the play Ivanov begins with the author's final scene. If such a theater is the prerogative of the state, I vote only for the enterprise, where they play Chekhov with a reverent attitude towards the author's idea. Do not forget that Anton Pavlovich was certainly smart an intelligent person, who left many things out of brackets. It is in the way the director interprets Chekhov’s “innuendos” that his talent, professionalism and intelligence are revealed.

What would you wish for a theater audience?

Love art! Go to the theater.

photo: La’Theatre

Play "The Cherry Orchard" performed by La Theater actors will take place September 7 stage of the Mayakovsky Theater.

The section is very easy to use. Just enter the desired word in the field provided, and we will give you a list of its meanings. I would like to note that our site provides data from various sources - encyclopedic, explanatory, word-formation dictionaries. Here you can also see examples of the use of the word you entered.

The meaning of the word entreprise

entreprise in the crossword dictionary

Explanatory dictionary of the Russian language. D.N. Ushakov

enterprise

enterprises, w. (French entreprise) (theatre). Exploitation of a private theatrical entertainment enterprise. Keep an enterprise.

New explanatory dictionary of the Russian language, T. F. Efremova.

enterprise

and. Private entertainment enterprise (theater, circus, etc.).

Wikipedia

Entreprise

Entreprise- a form of organizing a theatrical business, in which the organizer (entrepreneur) invites actors from various theaters to participate in the performance (in contrast to the form repertory theater with a permanent troupe).

An example of a modern theater company operating on an entrepreneurial basis is “Art-Partner XXI” and “Theatrical Partnership 814”. In the modern theatrical world, many European and world theater groups are switching to a system of entrepreneurial self-organization, which is not necessarily a sign of the commercial dominance of their activities. The growth of independent enterprise performance groups in the world was facilitated by the reform in the financing of cultural institutions and the possibility of receiving grants and subsidies from the state, both for individual directors, producers, actors or performers, and for organizations involved in the creation and distribution of enterprise performances.

Examples of the use of the word entreprise in literature.

An officer of the General Staff, Colonel Madritov, two years before the war, acted in forest concessions near the Yalu River as the chief authorized officer of the Russian Timber and Mining Trade Company on Far East, as Bezobrazovskaya was called then enterprise.

Opening of the festival Subscription 39 Evening piano music Played by Naum Shtarkman In the program: Beethoven Entreprise MSM Evening - 18.

Program: Alyabyev, Bulakhov, Varlamov, Dubuk, Vielgorsky Oval Hall Enterprises MSM 18.

Entreprise MSM Evening of guitar music In the program: Giuliani, Aguado, Cost, Vinitsky, Osipov Performed by laureate of the International and All-Russian competitions Anastasia Bardina Big hall Polytechnic Museum Concert old romance and Russian song In the program: N.

Schumann, Liszt Entreprise MSM Evening of piano music Program: Schumann, Schubert, Liszt Performed by laureate of the International Competition Alexander Gindin Memorial Museum A.

Program: Schnittke, Farkas, Freitag, Ravel, Enescu, Stravinsky Moscow House of Composers Concert of Young Composers Entreprise MSM Evening - 18.

To the 10th anniversary of the International Fund Slavic writing and culture Gala evening-concert Entreprise MSM Evening - 18.

Subscription 40 Evening of piano music Played by Tatiana Pikaizen Program: Chopin, Liszt Entreprise MSM Evening - 18.

Clerambault, Du Mage Entreprise MSM Evening of guitar music In the program: Weiss, Bach, Giuliani, Belyaev, Raka, Koshkin, Domeniconi Performed by laureate of International competitions Evgeniy Finkelstein Hall Central House scientists Day - 15.

Evening of romantic piano music Played by Tigran Alikhanov Program: Schubert, Schumann, Chopin, Liszt Entreprise MSM Evening - 18.

Evening of piano music Vladimir Ovchinnikov The program includes works by Rachmaninov Oval Hall Enterprises MSM Evening - 18.

Yuri Bashmet Oval Hall Enterprises MSM Laureates international competitions, students High school music

Grigoriev, when the latter was returning to Tambov from his trips to small towns, which he loved more than the respectable enterprise in Tambov.

Then, if he has saved some money, he opens a boxing salon enterprise and soon drinks incessantly - to death or ruin.

ENTREPRISE ENTREPRISE (French entreprise, from entreprendre - entrepreneur), an entertainment enterprise created and headed by a private entrepreneur - entrepreneur (manager, impresario, producer). Enterprises have existed since the emergence of professional troupes (theater, circus, etc.). Many European theater groups were enterprises headed by both entrepreneurs and famous actors- Moliere, D. Garrick, E. Rossi, E. Duse, etc. In Russia, among the famous enterprises are N.N. Solovtsova, N.N. Sinelnikova, S.P. Diaghileva, F.A. Korsha.

Modern encyclopedia. 2000 .

Synonyms:

See what “ENTREPRISE” is in other dictionaries:

Enterprise and activities of an entrepreneur. Dictionary foreign words, included in the Russian language. Chudinov A.N., 1910. ENTREPRISE enterprise of an entrepreneur. Complete dictionary foreign words that have come into use in the Russian language. Popov M., 1907 ... Dictionary of foreign words of the Russian language

enterprise- y. entreprise f. 1. Enterprise, action (military or political nature). Sl. 18. Have troops from Finland and allow the Swedes to carry out a landing... This enterprise of the Swedish side can be carried out very much to their advantage. AK 1 344. However... ... Historical Dictionary Gallicisms of the Russian language

A. Risky business, enterprise. B. Private concert hall, theater, circus, etc. Dictionary of business terms. Akademik.ru. 2001... Dictionary of business terms

ENTREPRIZA, entreprise, women. (French entreprise) (theatre). Exploitation of a private theatrical entertainment enterprise. Keep an enterprise. Ushakov's explanatory dictionary. D.N. Ushakov. 1935 1940 ... Ushakov's Explanatory Dictionary

Existence, number of synonyms: 1 enterprise (52) ASIS Dictionary of Synonyms. V.N. Trishin. 2013… Synonym dictionary

Entreprise- (French entreprise, from entreprendre entrepreneur), an entertainment enterprise created and headed by a private entrepreneur (manager, impresario, producer). Enterprises have existed since the inception... ... Illustrated Encyclopedic Dictionary

G. A private entertainment enterprise (theater, circus, etc.), a small (3-5 actors) troupe, usually created for a certain period of time and performing with a minimum of scenery. Ephraim's explanatory dictionary. T. F. Efremova. 2000... Modern Dictionary Russian language Efremova

Entreprise, entreprise, entreprise, entreprise, entreprise, entreprise, entreprise, entreprise, entreprise, entreprise, entreprise, entreprise, entreprise (Source: “Full accentuated paradigm according to A. A. Zaliznyak”) ... Forms of words

- (French entreprise enterprise) a form of organization of theatrical business, in which self employed(entrepreneur) assembles actors to participate in a play (as opposed to a form of repertory theater with a permanent troupe). An example of modern... ... Wikipedia

enterprise- entrepr isa, s... Russian spelling dictionary

Books

• "Restless!" , Rudolf Furmanov. The heroes of the novel are the great theatrical personalities of Russia in the second half of the 20th century. The book contains photographs and materials family archive author and archive of the St. Petersburg Theater...
• Paris. Invitation to travel, Smirnova Natalia Vyacheslavovna. Paris is often called the best city Europe, the jewel in the crown of France. All tourists in the world flock to this city. Some people come to Paris for its many attractions,…

For the vast majority of Russian critics, entreprise was and remains terra incognita. After talking with ticket distributors and tour organizers, we found out some interesting facts that help us map this land.

1. What is an enterprise

Legally, such an organizational form as an enterprise does not exist. Anyone who registers as an LLC, ANO, or even PBOYUL can engage in the rental or production of performances. According to the reference book Theater Russia, in our country there are several dozen autonomous non-profit organizations, limited liability companies, non-profit partnerships and limited partnerships involved in the production and distribution of performances. At the same time, separate an ordinary enterprise from, say, a Studio Theater Arts under the leadership of Sergei Zhenovach or the Sound Drama studio under the leadership of Vladimir Pankov (these are also non-state theaters) is possible only with the help of creative criteria. The easiest way is to use the formulation proposed by one well-known distributor: an enterprise is a performance produced privately, the main purpose of which is to make a profit.

2. How many enterprises are there in Russia?

It is almost impossible to count the number of entrepreneurial firms, because they often change names: they exist under one name for three years, and then, when they are attacked, tax office, change the sign. Only the most reputable and stable enterprises, founded by former graduates of RATI - GITIS, like the Independent Theater Project of Elshan Mamedov or Art Partner XXI of Leonid Roberman and Anna Kostyukova, retain their name. In addition, it happens that a company (or several companies) produces co-productions with the state theater. The play is on under the theater's banner, but is not completely its property, since the right to it belongs to some production companies. This, of course, is not advertised.

3. Why are there almost no enterprises in the province?

In fact they are. It’s just that proprietary productions in the provinces are almost always made under the stamp of state theaters. And in order to travel around cities and villages, the director of a local theater can open the office of Horns and Hooves - and for 10 rubles she will take his performance under guarantee.

4. Rehearsal period for an enterprise performance

From one and a half months to one week.

5. Prices

Price ceiling - 5000 rubles. Lady’s Night had such ticket prices (Independent Theater Project, director Viktor Shamirov), at Figaro. Events of one day ( Theater company Evgenia Mironova, director Kirill Serebrennikov), at the performances of Oleg Menshikov (Partnership 814). Prices for the Quartet with Alisa Freindlikh, Oleg Basilashvili, Valery Ivchenko and Zinaida Sharko reach up to 3,500 rubles (the performance directed by Sergei Pinigin is under the stamp of the BDT, but the rights to it, as they say, only partially belong to the theater). But these are all exceptions to the rule. Typically, prices for enterprise performances do not rise above 2,500 rubles. And they drop right down to 250. And even lower. Ticket distributors talk about a certain semi-mythical Mr. Vasin, who sells sets of tickets at a discount. For three hundred rubles you can buy a ticket to an enterprise performance from him, and get a ticket to the Laughing Panorama as a bonus. The posters of such laughter panoramas usually include the names of long-dead clowns.

6. How long does it take for an average production to pay for itself?

A successful performance can pay off during a large tour (20 performances) in America or Israel. But it also happens that a seemingly solid project does not sell well from the very beginning - and after 5-7 performances it is removed from the repertoire. If the project does not pay off and the owner cannot pay for the rent of the hall from the profit, he, as a rule, pays his own money. However, even if he has not paid the rent, such a would-be producer is rarely sued - this is not profitable and is not accepted.

7. Who goes where in Russia

Basically, so-called low-budget productions go on tour. Large-budget ones, whose guaranteed value is 600-750 thousand rubles, can only be accepted Big city. A performance with a guaranteed cost of 120-150 thousand rubles - any corner of our homeland. In Moscow, these performances, as a rule, are not performed. They have virtually no scenery, and the costumes are hand-picked. In addition, about thirty people should go with a major performance - make-up artists, costume designers, lighting designers, etc. And eight people can serve a low-budget one. Therefore, a decent performance goes to the regional center, and an indecent one goes to any place where there is a House of Culture. A tub with a palm tree will replace the scenery, the lighting will be installed somehow, the props will be transported as hand luggage. Prices for such a spectacle range from 100 to 700 rubles. It is most profitable to travel through Siberia, to Ukraine (Kharkov - Kyiv - Odessa - Dnepropetrovsk - Nikolaev). There is also a route: Krasnodar - Rostov-on-Don- Taganrog. Enterprises try not to go to Crimea - it is too poor there. In Sochi, traditionally, only the stage is in demand. Enterprises also go to Samara, Saratov and Tolyatti, but the public there is much more demanding, so it’s better not to go there with three suitcases of scenery. You can make decent money on tours in Khabarovsk and Vladivostok, but to go there you need a sponsor who will pay for travel and transportation.

8. Lifespan of an enterprise performance

The average lifespan of a strong production is four years. For five years in a row, the most successful performance was Lady’s Night. The Pinter collection (theatrical agency Art-Most, director Vladimir Mirzoev) was sold out and even more - for 7-8 years. Now the most successful is Figaro. Events of one day. However, according to ticket distributors, both Figaro (premiere - December 2006) and Lady's Night (premiere - October 2002) survive last season- the excitement around these performances began to decline. At current prices, tickets will be sold for another year at most. Then we either have to cancel the performances or sharply reduce prices. Performances with the participation of Maria Aronova are in consistently high demand - Love Potion, Free Couple (Art Partner XXI), Little Comedies (Oasis Production Center) and others. A successful project turned out to be Moonlight, Honeymoon - the directorial debut of Tatyana Dogileva (LeCour theatrical agency). The St. Petersburg performance lived for a very long time Intimate life with Mikhail Boyarsky and Larisa Luppian and the Moscow Sheep with Inna Churikova, directed by Boris Milgram, produced by Oleg Berezkin. Another long-lived play is the play The Old Maid, staged by the same Milgram and again with the participation of Inna Churikova. It has been noticed that almost none of the producers strive to close the performance gracefully, on the crest of success. Except for Oleg Menshikov, who does just this with all his productions.