BDT building history. Bolshoi Drama Theatre. History of the birth of the theater
Famous building The Bolshoi Drama Theater, which is located on the Fontanka, was built in 1877. Its customer was Count Anton Apraksin. It was originally conceived as a theater venue, and was supposed to become an auxiliary stage at Alexandrinka. For a long time, the building was rented by the Directorate of the Imperial Theaters. At the end of the 19th century, it came under the jurisdiction of the Literary and Artistic Society, founded by playwright Alexei Suvorin. In 1917 the building was confiscated Soviet authority, in 1920 the Bolshoi was founded here Theatre of Drama.
Architect Ludwig Fontana, who built the building commissioned by Count Apraksin, chose an eclectic style. Its appearance combines character traits Baroque and Renaissance. Just 10 years after its construction, the building underwent a number of small changes, and at the beginning of the 20th century, a large-scale reconstruction was carried out, during which the stage space was greatly increased. The concept of lighting the building's interiors has completely changed. During the Soviet years, part of the spectator foyer was converted into a small stage.
At the beginning of the 21st century, the issue of major renovation of theater premises became acute. The last reconstruction of the famous theater was completed in 2014.
History of the troupe
The founders of the Petrograd Bolshoi Drama Theater can be considered Maxim Gorky and one of the oldest Moscow Art Theater actresses, Maria Andreeva, who held the position of Commissioner for Entertainment Institutions of the Soviet North. In 1918, she officially signed the decision to open the BDT. The troupe of the new theater group included best actors Soviet era. Myself Alexander Benois became the main artist of the theater.
Already in 1919, the theater played its first premiere. It was Schiller's play Don Carlos. The theater received a building on the Fontanka only in 1920, and before that, performances were held in the large hall of the Conservatory.
“The theater of great tears and great laughter” - this is how Alexander Blok defined the repertoire policy of the BDT. At the beginning of its journey, the theater, accepting for production works of the best world and Russian playwrights, brought to the public corresponding to the time revolutionary ideas. The main ideologist of the BDT during the first years was Maxim Gorky. Since 1932, the theater officially began to bear his name.
In the early 30s, Konstantin Tverskoy, a student of Vsevolod Meyerhold, became the main director of the theater. Under him, the repertoire was supplemented with productions of modern drama. Plays by such authors as Yuri Olesha made the theater closer to modern times.
In 1936, Tverskoy was arrested and later executed. After this, the time came for a constant change of artistic management of the theater. Many of its creative leaders were repressed and were replaced by others. This could not but affect the quality of the productions and the condition of the troupe. BDT began to lose its popularity and status as the leading theater in the city. During the Great Patriotic War, the troupe continued its activities in evacuation, and after breaking the blockade, it returned to Leningrad, where it began providing leisure activities for hospitals.
The creative stagnation of the theater lasted until the post artistic director in 1956 Georgy Tovstonogov did not occupy. He completely reorganized the BDT, updated the troupe and attracted a new audience to the site. During the thirty-three years of his leadership, the theater troupe was replenished with such stars as Zinaida Sharko, Tatyana Doronina, Natalya Tenyakova, Alisa Freundlich. Innokenty Smoktunovsky, Pavel Luspekayev, Sergey Yursky, Oleg Basilashvili shone on the BDT stage.
After the death of the great master, the star troupe changed its main directors several times, among whom were Kirill Lavrov, Grigory Dityatkovsky, Temur Chkheidze.
In 2013, the BDT was headed by one of the most prominent directors of modern Russian theater- Andrey Moguchiy. His first performance, “Alice,” based on the works of Lewis Carroll, with Alice Freundlich in the title role, immediately won the most prestigious theater awards in Moscow and St. Petersburg.
Ended in 2014 large-scale reconstruction BDT buildings - thus the theater was updated not only artistically, but also architecturally. While preserving its historical appearance, it significantly modernized its technical base.
Currently, the theater has three operating stages - the large and small stages in the main building on Fontanka, as well as the Kamennoostrovsky Theater, known as the “second stage of the BDT”.
During the last three-year reconstruction of the BDT, unique bas-reliefs, drawings and stucco moldings, the existence of which was previously unknown, were discovered inside the building under several layers of plaster and paint.
After spending major renovation buildings, the builders preserved intact such memorable objects as the office of Georgy Tovstonogov, as well as the interiors in the dressing rooms, where the great theater figures of our time left their autographs on the walls and ceiling.
One of the most famous Russian drama theaters in 2015 was awarded the National Theater Award " Golden mask" in the nomination "Puppet Theatre", since one of the last premieres of the BDT was classified by experts not as a dramatic genre, but as a puppet genre. The play “When I become little again” based on the works of Janusz Korczak was staged on the stage of the Bolshoi Drama Theater by the outstanding Russian puppeteer director Evgeniy Ibragimov.
In the autumn of 1918, the Bolshoi Drama Theater was founded in Petrograd on the initiative of the writer Maxim Gorky, the poet Alexander Blok and the Moscow Art Theater actress Maria Andreeva. The repertoire policy of the theater was determined by its first artistic director, Alexander Blok:“The Bolshoi Drama Theater is, by design, a theater of high drama: high tragedy And high comedy». The special aesthetics and style of the BDT were formed under the influence of the architect Vladimir Shchuko and artists from the World of Art association: Alexander Benois, Mstislav Dobuzhinsky, Boris Kustodiev - the first set designers of the theater.
On February 15, 1919, the premiere took place: the tragedy of F. Schiller “Don Carlos” was staged by director Andrei Lavrentyev. Among the directors of the BDT in the following years: Meyerhold's student Konstantin Tverskoy, Nemirovich-Danchenko's student Nikolai Petrov, World of Art artist Alexander Benois, the famous Chapaev from the film of the same name - actor Boris Babochkin. From 1932 to 1992, the BDT bore the name of its founder, Maxim Gorky.
In 1956, Georgy Tovstonogov was appointed chief director and artistic director of the theater. Under him, the BDT became an author's director's theater, known throughout the world, and the best dramatic stage in the USSR. In the performances Tovstonogov was played by Tatyana Doronina and Sergei Yursky, Innokenty Smoktunovsky and Zinaida Sharko, Evgeny Lebedev and Valentina Kovel, Oleg Basilashvili and Svetlana Kryuchkova, Vladislav Strzhelchik, Pavel Luspekayev, Oleg Borisov, Nikolai Trofimov, Efim Kopelyan, Kirill Lavrov and many other wonderful actors . In those years the theater toured a lot. In a situation of confrontation between two political systems, mode " iron curtain", BDT was a cultural link between East and West. After Tovstonogov's death in 1989, People's Artist of the USSR Kirill Lavrov took over the artistic direction, followed by director Temur Chkheidze. Since 1992, the theater began to bear the name of Georgy Alexandrovich Tovstonogov.
In 2013, director Andrei Moguchiy, one of the leaders of the theater avant-garde, became the artistic director of the BDT. Under the leadership of Moguchy, the BDT regained recognition from the public and critics and became one of the main theatrical newsmakers in the country. In December 2015, the theater was awarded by experts from the Russian Association of Theater Critics “For building a new artistic strategy for the Bolshoi Drama Theatre.”
The creative credo of the BDT is an open dialogue on topics relevant to modern society. Every performance, every project of the new BDT addresses the problems of a person of his time.
The productions of the Bolshoi Drama Theater involve artists of all generations of the troupe - from very young actors of the trainee group to leading stage masters, such as People's Artist of the USSR Alisa Freindlikh, People's Artist of Russia and Ukraine Valery Ivchenko, People's Artists of Russia Svetlana Kryuchkova, Irute Vengalite, Marina Ignatova, Elena Popova, folk artists Russia Gennady Bogachev, Valery Degtyar, Honored Artists of Russia Anatoly Petrov, Vasily Reutov, Andrey Sharkov, Honored Artist of Russia Maria Lavrova and others.Every season, BDT performances become laureates of the country's main theater awards, including the national one. theater award"Golden Mask".
Since 2013, the Bolshoi Drama Theater named after G. A. Tovstonogov has had a large-scale educational program"The Age of Enlightenment". These are lectures, concerts, exhibitions, round tables dedicated to current creative issues, meetings with people who create modern theater, as well as excursions around the museum and behind the scenes of the theater, author’s programs, dedicated to history BDT. An important direction“The Age of Enlightenment” is the “BDT Pedagogical Laboratory” - directors, actors, theater critics and teachers train teachers of secondary schools and kindergartens in St. Petersburg to introduce modern theatrical language and stage techniques into the school educational program. In 2015, the BDT became the first Russian repertory drama theater to permanently include the inclusive play “The Language of Birds” in its playbill, created in collaboration with the Center for Creativity, Education and Social Habilitation for adults with autism “Anton Is Near”. Along with professional actors, people with autism spectrum disorder play in this performance.
The Bolshoi Drama Theater named after G. A. Tovstonogov has three stages. The Main Stage (750 seats) and Small Stage (120 seats) are located in historical building on the Fontanka embankment, 65, erected in 1878 by the architect Ludwig Fontana by order of Count Anton Apraksin. The second stage of the Bolshoi Drama Theater (300 seats) is located on the Old Theater Square, 13, in the building of the Kamennoostrovsky Theater, the oldest surviving wooden theater in Russia, built by the architect Smaragd Shustov by order of Emperor Nicholas I in 1827. Each season, these three venues host at least five premieres and more than 350 performances.
Bolshoi Drama Theater
The Bolshoi Drama Theater is one of the first theaters created in Petrograd after the 1917 revolution. It was organized by the Department of Theaters and Entertainment represented by M. F. Andreeva with the direct participation of A. M. Gorky and A. V. Lunacharsky to carry out the task set by the party - “to open and make accessible to the working people the treasures classical art" To create the Bolshoi Drama Theater of such a “theater of the classical repertoire”, large artistic forces- artists Yu. M. Yuryev, N. F. Monakhov, V. V. Maksimov, main director A. N. Lavrentiev, artists V. A. Shchuko, M. V. Dobuzhinsky and Alexander Benois. A. A. Blok was appointed chairman of the theater management. M.F. Andreeva herself was the chairman of the director’s department of the theater and was an actress in its troupe.
The pre-revolutionary theater was filled with numerous entertaining performances. After February revolution 1917, which lifted all repertoire prohibitions, the line of the repertoire associated with ridiculing everyone and everything became even more frank. Theaters and small theaters were simply filled with “Rasputin issues”, interpreted on a thoughtless and scandalous level. There were plays like “The Tsar’s Kept Woman”, “Grishka Rasputin”, “Rasputin in Hell”, “Rasputin and Vyrubova”, in which the Tsar, Rasputin, and ministers were portrayed as feuilleton characters. Freedom from censorship immediately turned into mockery and the “socialization of beauty” - for example, in one of the theaters they played Anatoly Kamensky’s play “Leda”, while the actress playing Leda appeared in front of the public completely naked. The troupe toured many cities with this performance, and before the performance lectures were given on nudity and freedom. But salon comedies with tired heroes in tailcoats and “paradoxical ladies” in fashionable dresses did not immediately disappear from the theater repertoire. There was practically no new repertoire.
The Theater Department of the People's Commissariat for Education (TEO) was called upon to deal with issues of directing and the formation of a new repertoire, pedagogical problems and the creation of new theaters, the education of young personnel and the organization of theater museums. A lot of people have arisen around TEO educational institutions, studios, with grandiose and often idealistic plans. The theater department constantly organized discussions, including on the topic of “consonance with the revolution.” Naturally, in these disputes theory often prevailed over practice. Grouped around TEO were the most different people- some of them, like Vyacheslav Ivanov, “at the discussion of the theater university program were able to conduct a philosophical discussion, a brilliant polemic with Andrei Bely about the study of the philosophy of St. Augustine by future students,” others - like the famous A. A. Bakhrushin, the creator of the theater museum, They were always specific in their plans and deeds. But it was precisely in the very first years after the revolution that in the Theater Department it was really possible for the collaboration of people with very different ideological and aesthetic ideas to be engaged in completely specific cases- from the creation of theaters to the compilation of a bibliography on the history of Russian theater.
The theater opened on February 15, 1919 indoors Great Hall conservatory, and since 1920 began to occupy the building former theater Suvorin on Fontanka. According to the initiators, the BDT was to become a theater of heroic repertoire, which would reflect great social passions and revolutionary pathos. Gorky saw the task of the newly organized theater as “to teach people to love, to respect true humanity, so that they can finally be proud of themselves. Therefore, a hero is needed on the stage of modern theater.” For Gorky, the organization of the Bolshoi Drama Theater was not the first attempt to create a theater of the classical repertoire. He's still with late XIX century actively participated in the construction of the workers' theater. While in exile in Nizhny Novgorod, he organizes the “People's House Theater”.
The Bolshoi Drama Theater opened with Schiller's Don Carlos and was greeted with sympathy by the party press. In the Petrograd Pravda, Lunacharsky persistently invited workers' organizations to attend an "outstanding performance." Alexander Blok, who accepted the “music of the revolution” and its elemental power, but soon learned through his personal fate the tragedy of this element (“the revolutionary masses” burned his estate), became an active participant in the construction of the new theater. Back in 1918, he spoke of the need to resolutely demand “Shakespeare and Goethe, Sophocles and Moliere - great tears and great laughter - not in homeopathic doses, but in real ones,” “it is shameful to deprive the viewer of a city equal in number and diversity population big cities Europe, the opportunity to listen every year ten times to Richard’s explanations with Lady Anne and Hamlet’s monologues.” But Blok’s perception of reality was, of course, different from Gorky’s. Blok sees and feels that his “music” and “hop” of the revolution are disappearing from reality more and more clearly every year. It is no coincidence that at the first anniversary of the Bolshoi Drama Theater in early 1920, he said: “In every movement there is a minute of slowdown, as if a minute of reflection, fatigue, abandonment by the spirit of the time. In a revolution where superhuman forces are at work, this is a special moment. The destruction is not yet complete, but it is already subsiding. Construction has not yet begun. The old music is no longer there, the new is not yet there. Boring". The meaning and justification for the emergence of the BDT for Blok is precisely and, above all, that it became a theater of the classical repertoire. The classical repertoire was like a salvation from real world revolution, which “music abandoned.” That’s why Blok called the theater to “breathe, breathe, as long as you can, the mountain air of tragedy.” And the leading actor of the theater, V. Maksimov, believes that the theater gives the opportunity to “go into the world of the beautiful and noble, makes us believe in nobility human soul, to believe in “love to the grave”, “loyalty of a friend”, lordship and happiness of all people.” This was idealism, and those theater managers and actors who did not perceive the revolution at all in a purely social sense tried to preserve it.
The production of “Don Carlos” raised some concerns, which was reflected in the press in the following words: “How is it possible that next to the tragic actor Yuriev, next to the artist of the Shchepkin House, Maximov, the operetta simpleton Monakhov will play the responsible role of King Philip?” But all doubts were dispelled at the premiere - the public and critics accepted the performance. N. F. Monakhov, however, gave some reduction to the image of the king, using realistic and naturalistic means: he scratched his beard, he smiled, squinting one eye. He created the image not of a “despot in general,” but of a terrible, cruel, low and at the same time unhappy person. In another performance - “The Servant of Two Masters” by Goldoni - the same artist used the technique of Russian booth actors, as well as the “garden coupletist” to create a cheerful image of a servant, superior to his masters in intelligence and intelligence. In Julius Caesar Monakhov, playing main role, shows his hero as a great politician, but suppressed by old age and fear.
The artists of the Bolshoi Drama Theater were associated with the pre-revolutionary art group“World of Art”, which was reflected in the design of the performances, which were distinguished by spectacular pomp and decorative solemnity.
In the first years of its existence, the theater carried out a fairly intense program of classical repertoire, staging Macbeth, Much Ado About Nothing, The Robbers, Othello, King Lear, The Merchant of Venice, Julius Caesar, " Shakespeare's Twelfth Night, as well as others classical productions. The performances were supported by the press and the public, and were widely attended by workers and Red Army soldiers (trips to the theater, as a rule, were organized, so the concept of an “organized spectator” arose). The theater's consistent repertoire line (classical) was quite consistent in artistic terms, but the theater's “political line” was not always so clearly accepted. Speaking with introductory remarks in front of the Red Army soldiers at the play “Much Ado About Nothing.” Blok interpreted Shakespeare’s comedy this way: “There were, however, times and countries where people could not make peace for a long time and exterminated each other. Then things ended worse than they began. Countries where there was no end in sight to the fratricidal war, where people destroyed and plundered everything, instead of starting to build and protect, these countries lost their strength. They became weak and poor, then their neighbors, who were stronger, took them with their bare hands. Then the people who began the struggle for freedom became more unhappy slaves than before.” Of course, these words reflected Blok’s personal, very personal experience of revolutionary destruction, and he, as an honest artist, tried to convey this to a democratic viewer. He also spoke to the Red Army soldiers, explaining to them the play “Don Carlos”. And then Blok also said that the play contained a protest against state power associated with violence, lies, betrayal, and the Inquisition. And these speeches by Blok (during the performance, the “old audience” literally staged demonstrations, supporting the monologue of the Marquis Pose for freedom of conscience) were perceived by the revolutionary intelligentsia as a “reactionary protest against civil war and terror.”
However, Alexander Blok was not the only one who thought this way—the Bolshoi Drama Theater shared his views. In general, the theme of violence will be heard more than once in theater performances. In April 1919, the premiere of the play by the Finnish writer Iernefeld “The Destroyer of Jerusalem” took place. The content of the play was as follows: the Roman emperor Titus destroyed Jerusalem, stained his hands with blood, and committed violence. But, having gained power through bloodshed, he understands that such violence is unfair, that “mercy is higher than force.” Titus becomes merciful, and the people honor the enlightened emperor Christian faith. Titus Flavius abdicates the throne. The theater contrasts the world of violence with the world of love. The play was staged and played during the first campaign white general Yudenich to Petrograd and was part of the same left intelligentsia was perceived as a “protest against the armed defense of the proletarian dictatorship.” Soon the theater again staged a play by a modern author - this time Maria Levberg “Danton”. Danton is shown in it as a patriotic hero. Blok believed that “the lives of people like Danton help us interpret our time.” Danton dies at the hands of Robespierre, who “was more greedy for human blood.” In Danton, as in Titus, the theater emphasized mercy. And this during the civil war! Just as politically “ambiguous” (as required by the political line new government) D. Merezhkovsky’s play “Tsarevich Alexey”, staged in 1920, was also heard, called “another protest of the humanitarian intelligentsia against the crushing human personality harsh class practice."
But Civil War was completed, and the NEP flourished magnificently in the yard. The theater staged Shakespeare and Goldoni, in which the magnificent design by Alexandre Benois seemed like an aesthetic gourmand. The theater also stages entertainment plays. Critics say that the theater in the new conditions is trying to “acquire box office capital and maintain artistic innocence, to feed the hungry NEP wolf with a vegetarian salad from Shaw and Maupassant.” This position of the theater forces it to stage “jacket trifles”, lightweight plays. On the other hand, at the BDT they are carried away by expressionism and stage “Earth” by Bryusov, “Gas” by G. Kaiser with motives for the death of civilization, disasters and pessimism, completely far from the revolutionary cheerful mood. And in 1925, the chronicle play “The Conspiracy of the Empress” by A.N. Tolstoy and Shchegolev appeared on the stage of the Bolshoi Drama Theater, in which the “revolutionary theme” was transformed into a series of sensational, revealing and adventurous alcove anecdotes. This artistic eclecticism inherent in the theater in the 20s was probably largely inevitable. And because the theater declared its passion for “good form”, and because no one had yet written modern serious plays, and because there were several directors in the theater.
A new period in the life of the theater begins with the production of Lavrenev’s “Mutiny,” when the Bolshoi Drama Theater becomes one of the propagandists of the young Soviet drama. Blok had already died, new directors had already appeared, and the theater’s repertoire line had already become more “correct.” Plays by Bill-Belotserkovsky, Faiko, Shchegolev, Kirshon, Mayakovsky, Kataev and other modern playwrights are staged. In the 30s, the theater again turned to the classics: “Yegor Bulychev and Others”, “Dostigaev and Others” by Gorky became significant theatrical events, as did the subsequent production of Gorky’s “Dachniki” (1939) directed by B. Babochkin.
In the first years of the Great Patriotic War the theater was located in Kirov, and in 1943 it returned to besieged Leningrad and worked under blockade conditions. IN post-war years dramas of Russian classics and plays are again shown in the theater modern authors. In 1956, the theater was headed by G. A. Tovstonogov, and since then this theater is often called “Tovstonogovsky”, because his fame and prosperity are associated with the name of this director. Tovstonogov staged many performances that went down in history Soviet theater. He spoke of himself as a successor to the traditions of Stanislavsky, working in the style of psychological acting school. Tovstonogov, indeed, trained brilliant actors in his theater. He staged the famous “The Idiot” based on the novel by Dostoevsky (1957) with I. Smoktunovsky in the role of Prince Myshkin, “Barbarians” by Gorky, “ Irkutsk history"by Arbuzov, "Five Evenings" by Volodin and many, many other plays. The theater troupe consists of actors: V. P. Polizeimako, E. M. Granovskaya, E. Z. Kopelyan, E. A. Lebedev. L. I. Makarova, B. S. Ryzhukhin, V. I. Strzhelchik, Z. M. Sharko.
Bolshoi Drama Theater named after. G. A. Tovstonogova (St. Petersburg, Russia) - repertoire, ticket prices, address, phone numbers, official website.
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Thirty paces long. Twenty deep. Up - to the height of the curtain. The stage space is not that big. This space could accommodate a modern apartment - it would not be so unnaturally spacious. You can place a garden here. Perhaps a corner of the garden, no more. Here you can create a world.
G. A. Tovstonogov
The Bolshoi Drama Theater was founded in 1918 - it is one of the first theaters created after October revolution. It received its current name in 1956 in honor of its eleventh director and artistic director G. A. Tovstonogov.
This is one of the few domestic theaters whose fate and repertoire policy played an important role in the development of high-quality Russian drama. Thanks to the efforts of current directors and actors, the theater troupe to this day honors the traditions declared as a credo at its very opening.
The theater was organized with the direct participation of the writer Maxim Gorky, the poet Alexander Blok and the commissioner of theaters and entertainment of the Union of Communes of the Northern Region, Maria Andreeva.
The theater is located in a building designed by the Swiss architect Fontana in 1876-1878, and rebuilt after a fire in 1900-1901. The theater's interiors delight you with the richness and elegance of its decoration: the ceilings are decorated with picturesque lampshades, the decorative elements are gilded, the openwork marble staircase is illuminated by lanterns in the Art Nouveau style.
Today Academic Theater them. G. A. Tovstonogov - these are two venues: a richly decorated large hall with 1119 seats and a small cozy scene, designed for 209 spectators.
Each venue offers a rich repertoire of performances. On both stages there are staged performances of works of world and Russian classics. Fans of modern drama are advised to pay attention to the repertoire of the small stage, where you can see original productions based on the poetry of Frederico Garcia Lorca or operas by Stravinsky.
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To a modern St. Petersburger, the Bolshoi Drama Theater seems integral part city, building - peer Alexandrinsky Theater. However, the building is a little over a hundred years old, and the history of the Bolshoi Drama Theater does not even go back a century: the centenary will be celebrated in 2019. It is Georgiy Tovstonogov who is credited with integrating the BDT into the system cultural values cities on a par with the Hermitage. We will conduct a brief educational program on the history of the theater - from the beginning to the era of the Master.
Suvorin Theater
In 1862, the chaotic home-made Apraksin market, combined from the Shchukin and Apraksin courtyards, burned down. The fire destroyed all temporary and some permanent buildings. Count Anton Apraksin, whose losses amounted to millions of rubles, began to settle his territories anew. Anton Stepanovich was a man of many talents and interests: he flew in balloons, played music and suppressed uprisings, did not boast of wealth, and did not spare money for charity and art. By his order, the architect Ludwig Frantsevich Fonton redesigned not only the buildings of Apraksin Dvor, but also the building of the theater we know.
The Apraksin Theater was technically considered one of the best private stages in St. Petersburg, but its troupe for a long time did not have: Count Apraksin rented out the premises to the Directorate of the Imperial Theaters, and they used the building as a small stage at the Alexandrinsky Theater.
In 1895, the permanent tenant changed and the Apraksin Theater became the theater of the Literary and Artistic Society or, as they also called themselves, the literary and artistic circle, where the main co-founders were Alexey Suvorin, Pyotr Gnedich and Prince Pavel Obolensky.
Suvorin was a journalist, writer and theater critic, born in Voronezh, and came to the capital in 1863, where, already in the status of a promising writer, he got a job at St. Petersburg Vedomosti. There he worked as a caustic feuilletonist under the pseudonym “Stranger.” When the entire editorial staff was fired at once in 1874, there were rumors that main reason that was the Stranger. By that time, Suvorin already had a new hobby - publishing, both book and newspaper: it was he who published the first "Yellow Pages" of the city - the address directory "All Petersburg". It is believed that Suvorin contributed to Chekhov’s success by publishing the great playwright on the pages of his publication “New Time”.
Pyotr Gnedich, despite his active literary and journalistic activity before the Suvorin Theater, received recognition later, becoming in 1900 the manager of the Alexandrinsky Theater troupe. As for Pavel Obolensky, the prince did not aspire to become a playwright - he was attracted by the stage. Alexandrinka, where he had played since 1890, was obviously not enough for him.
The theater on Fontanka, 65 was colloquially called Suvorinsky; after the death of Suvorin himself, this name became official, as well as Maly - in relation to Alexandrinka. IN Maly-Bolshoi Theater At that time, fresh plays were successfully staged and delighted the aristocratic audience. In general, the Suvorinsky Theater was a fashionable and well-frequented institution. At the turn of the century, Suvorin became the sole leader of the Maly Theater. After the death of the journalist in 1912, his son supported the theater of the literary and artistic society for several more years, and in 1917 the revolutionaries took the theater away from the Suvorin family. At first - just so that it doesn't happen. Three years later, the then homeless troupe of the Bolshoi Drama Theater was relocated to Fontanka.
Gorky Theater
Strictly speaking, centenary anniversary BDT St. Petersburg will have to celebrate in the middle of the World Cup in Russia - in August 2018: it was in August 1918 that the Moscow Art Theater actress and the Commissioner of Theaters and Entertainment of the Union of Communes of the Northern Region, Maria Fedorovna Andreeva, signed a decree on the creation in Petrograd of a “theater of tragedy, romantic drama and high comedy." Andreeva’s position and the wording of the decree sound quite funny in our time, but the Bolsheviks took the matter seriously.
The theater was created on the initiative and under the strict control of Maxim Gorky. The design of the performances was done by the artist Alexander Benois, however, he worked part-time, combining work on sets and costumes with the management of the Hermitage art gallery. In 1926, Benoit left Russia completely on a business trip, from which he reasonably decided not to return. Assembled the troupe famous artist operetta Nikolai Monakhov - until his death in 1936, he was included in its composition and appeared on stage. Together with him, Alexandrinka actor Yuri Yuryev and Vladimir Maksimov, who, by the way, had previously served at the Maly Theater, were appointed to the honorary first roles. Yuriev also brought the team of his Tragedy Theater to the BDT.
We also decided on the main director: Andrey Lavrentyev, a student of Nemirovich-Danchenko. It was his performance of “Don Carlos” based on Schiller’s play on February 15, 1919 that became the first appearance of the BDT troupe on stage - however, not on their own, but in the Great Hall of the Conservatory. In April of the same year, Alexander Blok became chairman of the BDT artistic council. Next year Grand Theatre has already settled in the place of Maly - where it is located to this day. In contrast to the Suvorinsky Theater - sophisticated, aristocratic and avant-garde, the Bolshoi Drama Theater strove for the pathos of the revolution and heroic plots, which, however, were not found in the absence of Soviet playwrights. Therefore, during the first years at the Bolshoi Drama Theater they staged “Macbeth” and “The Servant of Two Masters” with heroic passion.
Theater of many
Two seasons in the theater went off with a bang, and then it was time to let off steam: Gorky and Andreeva left the USSR, Blok left this world, Lavrentiev went on sabbatical for two years. During this time, first Nikolai Petrov and then Konstantin Khokhlov tried themselves in the role of artistic director, who still had to return to the BDT many years later, so that, after working for a year, he would give up the chair to Georgy Tovtonogov. But they were already times of crisis, and in the twenties, the BDT was well-known and on horseback: Lavrentiev’s return brought stability, and at the same time Adrian Piotrovsky, a philologist and translator of ancient authors, began to manage the literary part of the theater. It was thanks to the latter that the BDT began staging plays by young Soviet (and not only) playwrights. In 1928, Piotrovsky left the theater for the position of artistic director of the Sovkino factory - the current Lenfilm.
A year later, Lavrentiev gave up the position of chief director to Meyerhold's student Konstantin Tverskoy, while remaining in the theater as an actor. Tverskoy took on the task with pleasure modern dramaturgy, the base of which was prepared by Piotrovsky. For the next six years at the BDT, if they staged classics, they did so, striving for an original reading. Another student of Meyerhold, Vladimir Lyutse, worked side by side with Tversky. In the Apraksin Theater, young voices began to speak again, style and taste appeared: Lyutse and Tverskoy built a modern theater on the cooling ashes of the revolution. But in 1935, Konstantin Tverskoy was evicted from St. Petersburg in connection with the murder of Kirov, and two years later he was shot in Saratov.
Alexei Dikiy could have become a bright chief director, but he worked at the BDT for only a season (1936-1937), after which he was arrested and sentenced to five years in prison for counter-revolutionary activities. After his liberation, Dikiy did not return to Leningrad. Following him, the main directors were Boris Babochkin, Lev Rudnik, Natalya Rashevskaya, Ivan Efremov and, finally, Konstantin Khokhlov. The theater was dying in its own internal squabbles, it owed everything to everyone, and the audience was completely bypassed by the Big Party. The BDT needed not a director, but a leader.
In 1956, delegates to the 20th Congress of the CPSU were presented with the play “Optimistic Tragedy” at the Leningrad Pushkin Theater. A few months later, the director of the production, an elderly man, the chief director of the Lenin Komsomol theater, the son of an enemy of the people, Tovstonogov, was asked to literally “save the first proletarian theater” by any means necessary. On February 13, 1956 he took office. And after some time, the BDT became as we know it. At least, as they knew before 2013.
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