It's great that in our life - realistic, selfish and increasingly virtual - there is a place for romanticism. And it does not matter that only in the theater. The staging of one of the best books in the genre of "cloak and sword" by the French classic Theophile Gauthier is a great success. Most likely, a modern teenager, at best, has an idea of ​​\u200b\u200bthis direction in art from the film about the Three Musketeers. Roman Gauthier is not so popular - and it's a shame! After all, it is he who represents the pearl of the adventure-romantic style.

There is everything here: intrigue, bandits, fights, disguises, kidnappings, villains and lovers. Agree that such a set is able to attract even a skeptical viewer in a difficult transitional age. But the main character in the performance of the Workshop is still the theater: the theater according to Shakespeare, which, as you know, is the whole world, and the people in it are actors.

Sometimes you have to not be afraid to “leave the room”, go on a journey and find yourself by trying on a different role. It is precisely this act that the protagonist, the young, poor Baron de Signonac, commits, having gone on a journey with a troupe of itinerant artists. In the wake of his beloved - a theater actress - he becomes a mask: Captain Fracasse.

I went to the performance with only one fear: I was embarrassed by its duration. "Captain Fracasse" starts at seven in the evening, and ends closer to eleven. Worried not about myself, but about the children. It turned out - in vain! They looked great and, according to their own impressions, they did not get bored for a single minute. The performance is incredibly spectacular, theatricality is raised to the third degree in it: magnificent, sprawling costumes, which, on the one hand, refer to the era of Louis XIII, and on the other, of course, echo the masks of the Venice Carnival - the immortal commedia Del'arte. The main "feature" of the scenery, which helps to catch, to catch the main motive of perpetual motion, the path of a wandering theater troupe (and of all life), is three travolators on the stage. Remember? There are such moving stepless paths that allow you to speed up the movement of pedestrians. The heroes of the play move along them. Very sharp and precise.

The roles are all bright, characteristic. The main villain, the rival of the baron, is especially beautiful. You will die laughing. In Gauthier's novel, after being on the verge of death, he suddenly (according to all the laws of the genre) realizes his atrocities and becomes a noble hero. In the performance, he seems to be a little touched by the mind and does terribly funny things.

The play "Ruslan and Lyudmila" was invented in an ironic, caustic style. After all, the poem itself was originally conceived with elements of a parody (on Zhukovsky's ballad "The Twelve Sleeping Maidens"). Pushkin deliberately ironically belittled the noble images of Zhukovsky, inserted humorous, grotesque details into the narrative. In the performance, the image of Pushkin is a joker, hooligan, mocking, but very sensual.

Here the fearless warriors and Ruslan saddle mops and brooms instead of horses, put battered buckets on their heads and fight with toy swords. Well-fed Farlaf with a big red mustache terribly resembles either Barmaley or Gerard Depardieu in the role of Obelix. Chernomor's beard looks more like a long New Year's garland, and the "cherished ring" for Lyudmila is kept in a kinder surprise.

The performance is played on a small stage in the new building of the Workshop, which, as you know, has a secret. The audience in the hall opens up the perspective of the lower theatrical foyer with its three-dimensional geometric architecture: steps, a balcony, columns, openings, ceilings. In addition to the architecture of the foyer, a tree-column with a chain - “green oak” and knots-steps, as well as a wooden inclined platform that serves as a kind of shelter grows on the stage. And it's all! The rest is a play of the imagination. If this is Ruslan's meeting with the old Finn, then you just need to listen, and a light echo and the sound of dripping water will take you to the deaf cave of the old man. If these are the possessions of Chernomor with beautiful waterfalls and gardens, then these are flowing fabrics and real oranges scattered all over the stage. And if this is the principality of Vladimir, then this is an ordinary long feast table, which, if desired, is divided into two halves (the promised “half of the kingdom of great-grandfathers”).

It's not like it's serious here. This is a kind of comic book on a classic theme, which will definitely appeal to a capricious teenager: he will get acquainted with the immortal plot, learn the school curriculum in literature, and enjoy it.

The Cannibal is based on the play of the same name by contemporary Canadian playwright Suzanne LeBeau. The plot is not inferior to the thriller: there is a strange mystery, and increasing tension, and an unexpected denouement. A mother and son live far away from people in the forest. He is of enormous stature at 6 years old, and responds to an unusual, domestic nickname - the Ogre. She is a lost in love for her only child, intimidated by an aggressive world, but a proud woman with a mysterious past.

In such a story, meanings are hidden, addressed to today's younger generation and their parents. Here and overprotection of the child - fears that devour adults; and the struggle with passions and desires in suddenly grown-up children. The performance is played on the small stage of the theater: everything is very close (the action unfolds at arm's length) and very truthfully, in places to a coma in the throat, to tears. Almost always dark and a little scary.

The performance was based on the play "At the Ark at Eight" by the famous German playwright, director and actor Ulrich Hub. Hub wrote it in 2006 after a German publishing house invited several theaters to raise the issue of religion in children's performances. Agree that the topic is very delicate, not easy for the theater, but it seems to me that it is certainly important and necessary for a conversation with a teenager. And this is the rare case when the author managed to successfully combine the pathos appropriate here with the ease of narration and good irony.

The plot is simple: God was angry with people and animals for their rigidity, ingratitude, unbelief and arranges a global flood. As you know, only "creatures in pairs" can be saved in Noah's ark. But there are three penguins. One of them (by the will of friends) has to sail on the ark as a "hare". How to learn to sacrifice yourself for the sake of another? How to see and be able to admit your mistakes? How to forgive your neighbor and not grumble at God? Obvious answers are born to these "unbearable" questions simply, and most importantly - with subtle humor and love in an hour and a half. The penguins in the performance are three funny unfortunate musicians.

No beaks, tails and other nonsense. Penguins are people too. They quarrel, reconcile, fear, rejoice, grieve, sing and play a lot: either on a giant balalaika, or on a dull harmonica, or on drums. By the way, for dads and moms in the play there are "adult" greetings from the director of the play: from time to time the penguins begin to speak in phrases of Chekhov's characters or Brodsky's poems. Very funny and surprisingly accurate.

My children always enjoy listening to stories from my childhood. I think all kids love it. The performance at the A-Ya Theater is living pictures from the past: funny to tears, desperately sad, familiar to the point of aching pain in the solar plexus area, and all, without exception, musical. This is a production that is able to give adults a piece of irretrievably gone, uncomplicated happiness, and for grown-up children to slightly open the cherished door to such a strange Soviet childhood of parents, grandparents.

The performance is based on the memories of real people whose childhood was in the 40-80s of the last century. There is no chronology - everything is mixed up. Here is the war with the evacuation, and stories about pioneers with hooligans, and life in a communal apartment. Musical records, coveted bicycles, the first TV, black bread with toothpaste instead of cakes ... You listen to every sign of the time, figure out when the cake could cost 25 rubles and slowly whisper in your son’s ear that this wonderful actor is burr on purpose: he is Volodya Ulyanov.
All the actors involved in the performance easily transform into musicians: saxophone, electric guitars, drums. Music is a barometer of time: Khil, Zykina, Tsoi, Butusov.

Every memory is unique. And it is not just played, it is lived: here and now. With great love, without pathos and pseudo-nostalgia for the past. And you have no idea how many questions are born in the mind of a teenager after watching the performance. Isn't this the most beautiful thing: to talk heart to heart after what they saw together in the theater?

Another work from the school curriculum on literature, which for some reason is customary to watch behind the scenes at the Maly Theater. Without belittling the merits of this production, I would like to recommend The Undergrowth in Chikhachevka (as theater fans affectionately call this theater.) Fonvizin's play was successfully turned into a vaudeville opperta. The music was written by the famous composer Andrey Zhurbin, the author of more than a dozen operas, ballets and composing hundreds of musical hits for pop and cinema (what are the songs from the movie "Squadron of Flying Hussars" worth).

And "Undergrowth" is no exception: not only true connoisseurs of musical theater will be imbued with music in the performance, but even those who will encounter this genre for the first time. However, everything here is on top: both original costumes and beautiful voices of artists. There is also a small deviation from the classical plot, which becomes the spring of the whole action: in the performance, one of the main characters is Empress Catherine II herself. It was under her reign that the premiere of Fonvizin's comedy took place in the theater. Her image creates a historical context, expands the boundaries of the play, which, of course, only benefits the modern teenager. Two in one: both a lesson of literature and a lesson of history.

Stories about Sherlock Holmes seem to be created in order to be embodied in the shadow theater. Where, if not here, a unique atmosphere of mystery is created: there is no more precise place for detective stories.
We already wrote that the theater has conceived an interesting project: a theatrical series based on the famous stories of Conan Doyle about Sherlock Holmes. The first two performances were based on the stories "The Hound of the Baskervilles" and "The Sussex Vampire". And here's the next episode! This time - one of the most popular plots about the English detective: "Motley Ribbon". We watched all the episodes and after each one the children just exhaled: “Wow!”

Each performance is an amazingly harmonious synthesis of dramatic, puppet and shadow theatre: all techniques are combined and intertwined. Behind the screen, in complete darkness, the shadows of exotic animals appear - a baboon and a cheetah, walking around the estate of the cruel Roylott; but graceful cane puppets of twin sisters appear on the stage, and glove puppets suddenly appear on the hands of the actors - funny miniature copies of the famous detective and his assistant.

The duo of two dramatic actors playing the roles of Holmes and Watson (and this is in a fierce competition with the cinema, where iconic images of Conan Doyle were created at different times), is certainly a success of the production. Sherlock is young, impulsive and ironic. Watson is funny, clumsy, but terribly charming. The main feature in their communication is (to put it in a language understandable to today's teenagers) kind trolling of each other. And in general, the whole production is sustained in essence in this vein. What is Gypsy Girl worth with a live violin performed by Watson in Russian-English: one, one, and even one (remember, gypsies lived on the Roylott estate?). You definitely won't be bored.

***
Svetlana Berdichevskaya

We all fondly remember trips to the theaters of our childhood, to this wonderful world of magic and reincarnations. So let's get back to it with our grown children. We offer an overview of theatrical premieres of the 2015-16 season for viewers of the so-called 12+ category.

Moscow theater for young spectators presents the premiere of the season - a performance for the whole family "Penguins". The basis of the new work of Evgenia Berkovich (student of Kirill Serebrennikov) was the play by the German playwright Ulrich Hub "At the Ark at Eight". Your attention will be offered a witty variation on the famous biblical legend of the Flood. The main characters are a trinity of stupid, ridiculous, but very cute penguins who are killing time while waiting for Noah. They play the balalaika, perform amazing penguin blues and just goof around. They endlessly argue and quarrel over trifles, pester everyone with stupid questions and stink terribly of fish. Meanwhile, the Ark, with the trio of penguins, Noah and his motley team on board, overcoming the boundaries of space and time, is moving in an unknown direction, which the audience will have to determine.

Moscow, Mamonovsky lane, 10

The premiere took place on 09.10.2015.

Theater on Malaya Bronnaya invites you to the premiere performance directed by Yegor Arsenov "The True Story of Miss Bok". This is an extraordinary solo performance performed by the Honored Artist of the Russian Federation Ekaterina Durova.

The author of the play, Oleg Mikhailov, offers to get acquainted with the famous "housekeeper" from the book about Malysh and Carlson from a completely different angle. Working in the house of the Svanteson family is just an episode in the life of Miss Bock, who was the same age as the last century. Now she is many years old, her husband died a long time ago, and there are no children. Freken Bock still lives in the Swedish wilderness among his old things - suitcases, floor lamps, sewing machines, TVs and old furniture. Talking with them, with the audience, and even with herself, she begins to recall aloud the story of her long life. And suddenly, from an old shuffling ruin, Freken Bok turns into a little provincial girl. And together with her, the audience sees how objects come to life: the sewing machine turns out to be a steam locomotive, and the floor lamp turns out to be the doctor she once served with. A completely different Miss Bok will appear before us - a kind, mischievous, loving woman who knows how to believe in a dream. At the end of the performance, she goes out the window, as if she knows for sure that they are waiting for her - either in the house on the roof, or in heaven ...

The premiere took place on 08/28/16.

main stage Theater on Malaya Bronnaya waiting for its guests at the premiere of the performance "Trees die standing" Based on the play by the Spanish playwright Alejandro Cason, directed by Yuri Ioffe. In the plot of the play, two elements converge - love and sacrifice, two passions - to live and play, entering into a desperate battle with cruel life circumstances.

An elderly couple who lost children raised a grandson who went down a criminal path and ran away from home 20 years ago. All these years, grandfather, Senor Balboa, writes letters to his beloved wife on his behalf. Instead of a thief and a bandit, he creates the image of a smart and kind person, a talented architect, a happy family man. "Letters" from the grandson bring the inconsolable grandmother back to life. Señor Balboa hires comedians posing as Mauricio and his young wife, who have come to visit their native nest. And this is where a skillful farce almost turns into a tragedy. For each of the characters, this story becomes a test of nobility and humanity.

Moscow, st. Malaya Bronnaya, 4

The premiere will take place on 11/25/16.

Legendary Maly Theater invites viewers to watch a new stage version of the comedy "Every day is not Sunday" based on one of the most witty and funny plays by the great Russian playwright A. Ostrovsky. It's hard to believe, but this year marks 145 years since this performance was staged at the Maly Theatre. The new production of the play is presented by Vitaly Ivanov, Honored Art Worker of the Russian Federation. The music for the performance was written by composer Maxim Dunayevsky. The instructive story of a modest girl Agnia from a poor family will be presented to the attention of the audience. Her hands are sought by two - the rich merchant Akhov and his clerk Ippolit. The swaggering merchant Akhov consoles himself with the thought that money and expensive gifts decide everything, believing that the naive twenty-year-old Agnia will be tempted by his wealth. But sincere feelings are more important than material wealth, and, having appreciated the courage, courage and determination, Agniya gives her consent to Hippolytus.

The premiere took place on 03/15/16.

Maly Theater invites its viewers to another premiere of the new season - a cheerful performance based on the early stories of A.P. Chekhov (then Antosha Chekhonte) "Rereading Chekhov" staged by Honored Artist of the Russian Federation Elena Olenina. The performance combines nine Chekhov's stories - "Joy", "Whom to Pay", "Comedian", "In a Foreign Land", "Long Tongue", "Defenseless Creature", "Diplomat", "Wallet" and "Lucky". Chekhov, like no one else, knew how to subtly and ironically ridicule human vices, the desire for profit and easy money. The heroes of the play are smart and cunning, laugh and feel sad, find themselves in unforeseen comical situations. The problems raised by the classic are relevant in our time, so the performance is quite modern and looks in one breath.

Moscow, st. Bolshaya Ordynka, 69

The premiere took place on 03/22/16.

Maly Theater presents a new performance directed by Andriy Tsisaruk "Late love" based on the play of the same name by A. Ostrovsky. This is probably one of the most touching works of the classic. Once famous, but now impoverished, Moscow lawyer Margaritov rents a room with his adult daughter Lyudmila. A bookcase, a desk, a hanger, a table and a bench - this is the uncomplicated interior of the "outback". But even in this unremarkable atmosphere of a measured life, passions sometimes play out. The daughter is in love with the master's son Nikolai, a dissolute and riotous guy. To save her beloved, Lyudmila is ready to deceive her father and steal an important document. What will her desperate act lead to? Through subtle acting, the audience will be led through the labyrinths of the human soul, forced to sympathize, laugh, empathize, tremble and hope ... A play about love - real, funny, corrupt, timid and strong. About late love...

Moscow, st. Bolshaya Ordynka, 69

The premiere took place on 20.12.15

"Fox. Love"– the first opera premiere of the 50th anniversary season Children's musical theater them. Natalia Sats. The performance was staged based on Leoš Janáček's opera The Adventures of the Cunning Chanterelle. Simple, at first glance, the life of the main character Chanterelle in the retelling of theater actors becomes as complex as the life of each of us. “The story of Chanterelle, who lives, falls in love, raises children, and then dies, is a parable about the cyclical nature of life, about the fact that winter turns into spring, spring into summer, summer into autumn, and so from year to year, always. There is no pathos in this, but only this makes sense,” says the director of the play, Georgy Isahakyan. The performance is addressed primarily to teenagers, teenagers, young people who are just entering adulthood, thinking about its meaning, about love, about losses and about their place in this vast, complex and beautiful world...

Moscow, Vernadsky Ave., 5

Premiere of the performance on 16 and 17.10.16.

Another extraordinary premiere in theater them. N. Sats- spectacle "Love Kills" based on the opera by Juan Hidalgo de Polanco to the text of the great Pedro Calderon de la Barca "Celos aun del aire matan" ("Jealousy kills with just one look"). This opera, which is an outstanding but unfamiliar phenomenon of the “Spanish baroque zarzuela opera”, has been staged a few times over the three and a half centuries of its existence and even today remains the most majestic masterpiece of this genre, preserved in its entirety. The performance was created by director Georgy Isahakyan in cooperation with and thanks to the enthusiasm and encyclopedic knowledge of one of the best baroque harpists in Europe, Grammy Award winner Andrew Lawrence-King. The famous conductor described this opera performance in an interview with Nezavisimaya Gazeta as follows: “Love Kills” is a Spanish-Spanish opera: a bright, dynamic, explosive mixture of tragedy and comedy, with incendiary rhythms and wonderful melodies. And I am sure that the public will love it from the first sounds.

"Woe from Wit" directed by Alexander Yatsko is a rare example of a modern, but respectful attitude to the classics. The actors are dressed in costumes as if from a stylish boutique, but at the same time they thoughtfully pronounce the text of Griboedov's comedy without distortion. The reduction affected only six Tugoukhovsky princesses: they would have been crowded on the small "Stage Under the Roof". "Woe from Wit" at the Mossovet Theater is a chamber story of young people, fashionable and uncompromising.

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famous theater experiment

The French director offered an avant-garde reading of Gogol's text. All the phantasmagoria is played by punks - in black leather suits with heavy metal rivets, sophisticated tattoos, colored mohawks on their heads. The puppets on stage are just as unusual for Moscow audiences. Together with the performers, they appear as a kind of centaurs, and at some moments the actor conducts a dialogue with the puppet, which he himself controls.

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Great play played without words

Not a single word of Gogol sounds in this interpretation, there are no words at all. Director Sergei Zemlyansky is known for translating literature into plastic. In just an hour and a half, the dancers will simultaneously convey a satirical and lyrical story about the life of people in a provincial town, where they live with their weaknesses and hopes.

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Classic puppet show

Gogol's play is only slightly abridged, focusing on human relationships rather than satirical caricatures. Puppet characters are primarily charming, and therefore cause not only sympathy, but understanding. Unexpected solutions arise when the puppets interact with the characters played by the actors in a "live plan" (as in the puppet theater they say about the reception when the actor plays the role exclusively by means of drama theater).

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It's only the beginning

They are still only talking about the war, and they are only going to flaunt it. The world is represented by Moscow and St. Petersburg families with Natasha and Andrey beginning to grow up. The masterpiece directed by Pyotr Fomenko runs for almost four hours, but is perceived in one breath. The actors barely have time to present the events of the incomplete first volume of the great novel, playing several diverse roles and demonstrating the enchanting skill for which the audience fell in love with the "fomenok" so much.

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A great actress talks about a great poet

Alla Demidova does not just present the poems of Anna Akhmatova, which she often did in her reading programs. She talks about Akhmatova and acts, reading the text in mise-en-scenes and set design by Kirill Serebrennikov, surrounded by modern sound design and video animation. The neon inscription in Latin, which adorns the Fountain House in St. Petersburg, "God preserves everything" becomes an important detail in the design of the performance, which is only an hour long, but extremely rich in meanings.

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Performance for advanced teenagers and their advanced parents

Yevgeny Mironov tried on the role of the Narrator, who, in an incredibly beautiful performance by world theater star Bob Wilson, wears a red wig and dangles his legs, sitting on an oak tree above a scientist cat. He ironically comments on what is happening, either driving around in a red convertible instead of shipbuilders, or instantly aging, sharing with the public the little-known "Tale of the Bear". The performance is an occasion to look at the poems memorized from childhood with a fresh look from a foreign visionary director.

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Theater as a garden

Of course, in order to accept this performance, one must accept the manner of acting by Renata Litvinova, who does not play Ranevskaya here, but lives in this way, ironically over her own intonations and gestures. Nevertheless, she pities her heroine, the "klut". The garden itself, as interpreted by director Adolf Shapiro, is a theater. New actors replace the old masters, represented here by Nikolai Chindyaikin and Sergei Dreyden, and the usual curtain with a seagull does not open, but breaks into segments, cutting the space of the entire legendary stage of the Moscow Art Theater, becoming like blossoming trees in a cold spring.

The capital presents a huge number of performances according to the school curriculum and works that are considered classics of world literature.

When is it worth watching the performance: before reading the original or after? The answer is not clear. As practice shows, it is still better to watch the performance after reading a literary work. Then there is one's own view of the material read, a concept is formed, an understanding of the plot, the placement of characters is clear. The work of art was analyzed in the lessons, accents were made.

If you watch the performance before reading, then often the student has the thought: “Why read if you saw the performance? If the plot is clear and the characters are familiar?

There are a number of performances staged based on the works of Russian and Western classics that are not held at school, but every educated person needs to know them. Therefore, if you watch them even without reading the original, then this in itself is wonderful. This series is opened by Shakespeare, Stendhal, Mark Twain, Salinger...

It is important not only what to watch, but also where, because theater directors can interpret the author's text in different ways and present familiar classics in such a way that not only adults, but also children are “embarrassed” by what they see.

Now you can take a closer look at the poster of Moscow theaters and analyze the repertoire designed for a teenage audience.

Maly Theater

This is a win-win. The classic never leaves the stage. Excellent actors, classical interpretation of the work, rich costumes, scenery and props.

The peculiarity of this theater is that it is difficult to get tickets for performances according to the school program - they are redeemed by schools. Therefore, you need to take care in advance, about two months in advance, in order to purchase tickets for the desired performance.

RAMT (Russian Academic Youth Theatre)

Located opposite the Maly Theatre. The performances on its stage are designed for a youthful audience. The works on which they are staged are not included in the mandatory program, but belong to the treasury of world literature:

The theater has a classical vision of staged material.

Children's Musical Theatre. N. I. Sats

With an orchestra pit. And this says a lot: about live music, about beautiful voices (how else in a musical theater?) The hall is equipped for young spectators, with excellent acoustics and the rise of the auditorium, the stage is clearly visible from any seat.

The theater is also interesting because it introduces the audience to various genres of theatrical art: opera, ballet, musical. Each performance is adapted for children. The operas Thumbelina, The Magic Flute, Twelve Months, Eugene Onegin, The Marriage, the ballets Cinderella, Swan Lake, Sherlock Holmes, The Nutcracker, the musical The Magician Emerald City".

Theatrical creations

Reading the titles of performances, it is impossible to imagine how it is possible to “depict” this on stage, where the means of expression, presentation of material are limited by space? Everything is now possible in the cinema, computer graphics will "draw" any fantasy of the creator. And how, for example, to convey movements on stage (workshop of P. Fomenko)? The director of the performance, I. Popovski, succeeded masterfully. It is not clear how, but the impression is enchanting! No wonder this show is not to be missed.

And how to stage classics using puppets instead of actors? masterfully coped with this task. Performances are staged on its stage: "Little Tragedies", "Chichikov's Concert with the Orchestra", "Gulliver", "The Night Before Christmas". An action is played out on the stage, where actors and puppets partner. For example, the faces of Korobochka, Sobakevich and other Dead Souls dolls are so emotional that they seem to outplay real actors.

And how to play the novel "The Catcher in the Rye" on a stage the size of a piglet? How to keep the audience on their toes for over two hours when there are no special effects, no scenery, no costume changes? And keep who? The most critical, ironically inclined audience - teenagers? The theater at the Nikitsky Gate succeeds with great success. Proof? Try to buy tickets for the performance.

"Carefully! Children"

And there are enough such modernly interpreted performances in Moscow. A vivid example of this is the production of "Eugene Onegin" in the Taganka Theater. Yuri Lyubimov squeezed this novel into one act. It seems that it was not because he was afraid that half of the audience would leave the theater during the intermission? The performance is conditional: there are no classical theatrical attributes. It resembles an amateur concert. Instead of scenery - some kind of cardboard partitions, curtains, ladders. One came out - spoke the text in a patter and left, followed by the second. He rattled off the words in his own way and left. Each Pushkin character performs with his own solo number and his task is to surprise the audience, no matter what.

In an effort to modernize the "poem in verse", the director included jazz, rap, Russian and African folk in the performance. The performance leaves an ambiguous impression. Where is the lightness and airiness of Pushkin's line? Where is the poetic tenderness and sadness?

The task of any theatrical production is seen as arousing the interest of the younger generation in literature and other arts. And there are many performances that serve precisely this idea. Search, read reviews and do not rely only on the name of the performance.

The first trip to the theater is either like first love - exciting and sweet memories for life, or like the first disappointment - immediately and forever. Therefore, here are the announcements of the best performances for children and shows taking place on the stages of children's theaters.

What will be the first meeting of your child with the theater - depends on you. Child psychologists recommend starting preparations for this solemn event a few weeks before the performance: read the book that served as the basis for the production, discuss its plot with the child, think over the outfit. Be sure to explain to the child the rules of behavior in the theater and, perhaps, even play theater at home, so that later, with constant pulling, you don’t spoil your mood, but the baby’s holiday.

It is extremely important to choose the right theaters in Moscow and performances for children. For the first time, it is better to choose a chamber children's theater, with a small cozy hall, because it is difficult and scary for a small child among too many people. You can choose a puppet show if you are firmly convinced that the puppets will not scare the baby. If there is no such confidence, then it is better to go to the children's drama theater. The performance should not have too loud and harsh music, bright flashes and frightening special effects.

The scenery should create a feeling of magic, falling into a fairy tale, but also not be too scary. The plot should be exciting, exciting, but in no case frightening. And of course with a happy ending. Then, almost certainly, a small viewer will look forward to the opportunity to once again be in this magical place where fairy tales come to life.

School-age children are happy to watch performances for teenagers, because the story put on stage based on their favorite books is so easy to understand. Yes, and it is easier for teachers of literature to acquaint teenagers with the program works of the school curriculum, taking students to the play. You look, and many will be interested, and they will also read the book.

Where to go in Moscow with a girl? The theater for children is not the last in the list of places where you can have a date: sit side by side in the dark, experience the funny or scary adventures of the characters together, and after the performance, do not suffer in search of a topic for conversation, because after a good performance it will appear by itself.

Well, the poster of theaters works so that you can choose the best repertoire of theaters and not spend a lot of time choosing a place where to go with a child in Moscow.

If you are interested:

performance tickets,
buy theater tickets,
Moscow theater poster,
children's performances in Moscow,

then the section "Children's performances" best suits your needs.