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Saturday, July 15, 2017

“MK” sums up the theatrical season

The end of the season in the endless theater. Indeed, the theatre has no end — was before us and many will after. I firmly believe, because theatre remained the almost the only place where there are no on/off button, where the audience is yet another lazy flick of a finger can’t change the scenery or strike out artists, as on any gadget. And sore, and his nature remain the same as was before us and will be much later.

I propose to look at a chronicle of various events of the season 2015/2016, which have become history, adding to the picture of the theatrical life of Moscow in the first half of the twenty-first century.

photo: morguefile.com

This season marked a few obvious trends which, no doubt, will be further developed.

The first trend is critical. It is in this season like never to the fore (attention!) not filmmakers with artists and actors, and theatre critics. Move yourself and come on in a relationship to find out: who’s in charge, who is more powerful. Today critic clearly wants to be the leader of the theatrical process will certainly be called an expert writing Pro tip for life or death. Is created Association of theatre critics, and the global split in their camp continues.

But this time… In early October, the Vakhtangov theatre opens a new scene 13 years stood in the unfinished. Space the envy of all: hall — 200 seats, modern shop (for example the biggest woodwork in the capital), a gym with saunas and swimming pool to keep only the employees of the theater — no Commerce. A few months later the Vakhtangov theatre will open the Museum-apartment of its founder in the Cash lane. Thus, thanks to the competent work of the theatre in Arbat area will be a real Vakhtangov theater district, although this name on the map yet. Route — Theatrical school of a name of Schukin (the famous Pike) — the theater itself is a basic, small and new scenes — a Museum-apartment.” The figure will complete the branch of the Vakhtangov name of Simon, which after renovation will open in the new season.

The real threat of bankruptcy hangs over the “Gogol-center” — a financial check find a lot of serious irregularities in the work of the Directorate, resulting in a hotbed of radical art listed debt of more than 80 000 million rubles. But to the credit of the theatre, is to say that part of the funds he finds himself, of the cover of his colleagues on theatrical shop, and auction, organized by the theatrical community for the salvation of the “Gogol-center”. So the debt to the Department of culture redeemed — theatre starts to work on the bugs.

“Contemporary” has temporarily moved on Yauza, but as you know, we have nothing more permanent than temporary. Theatre works, and building on Clean ponds, repair work did not begin bureaucratic red tape, endless negotiation documentation, money… All in shock, nervous, and among the worshippers arise groundless rumors that a favorite Muscovites may not return to its rightful place. But the latest news from the “fields” are encouraging: it seems that the paper process is completed, and in late summer will begin the repair.

Irina Apeksimova, despite enormous pressure from the people who in 2011 kicked Yuri Lyubimov from the theater, renovating the old scene and launches the project “Open rehearsal”. It has spawned great hope is to return the exhausted meetings, rallies and courts staff to normal working life.

Dream come true fans of Opera — in the former manor of Princess Shakhovskaya after an eight-year renovation finally opened to the “Helikon-Opera”. The building is luxurious with large, small and multi-chamber facilities. A source of pride — an architectural decision that allowed not only to preserve the historic porch houses, and make it a functional element of the hall. The main hero of the event — Dmitry Bertman: he survived years of struggle with different bureaucratic, construction and other organizations, and to him we owe the opening of “Helikon-Opera” with its signature orange color — the color of victory.

All the talk about the fact that in Moscow there is a personnel reserve of chubrukov of Directors of the Metropolitan theatres remain at the level of conversation instead of specific steps that could make the Ministry of culture of the Russian Federation and the Department of culture. And the footage is there, but so far without their theaters remain leaders like Vladimir Pankov and Dmitry Brusnikin, who on merit could be a long time to get them. Their assets — students, loud performances and formed the style, but… punks, the leader of SounDrama, rushing for sites, and Brusnikina not envy: first, his workshop was sent to the Studio “Man”, and now — in the “Practice” of a resident.

For the first time in Russia the audience is revealed in the theatre of the mass of naked bodies — play “Mueller machine” in the “Gogol-center”. The experiment on the crossing of social text with the completely naked kind of extras 18 opponents and supporters, 50 to 50. People breaking to see the usual naked (and not novogrudek and polynomial), but, having satisfied his curiosity, the other an hour and a half posivive. Naked many talented few.

Notice that nudity in theater (and this is the second trend) becomes a stable trend. Even on the STD award — “hit of the season”, the first agent provocateur in our theatre Konstantin Bogomolov, highly sensitive to fashion trends, too exposed, while hiding behind the principles of state policy in the field of culture, that is naturally put on the basics of the instrument. What gets the nickname she is Naked.

Due to the rapidly deteriorating economic situation, the businessman Gordeev can not in the necessary volume to Finance one of the best young Moscow theatres — the Studio of theatrical art under the direction of Sergey Zhenovach. Year the troupe trying to survive on their own: lots of touring, playing, but nevertheless, without state support, and it is clear it will not survive. And the theatre is unique, and it is clear that it is necessary to keep to the descendants said: “renovaci” died during Kibovsky and Medina.

To everyone’s delight, the Ministry of culture extends for another year the contract with the Director of BDT Andrey Moguchy. Although many expected the opposite, because a very talented artist and the organizer is not yet possible to combine cash with art. This dilemma — art or money — the third trend will be more obvious to stand in front of artists. And the hand of the giver (the Ministry of culture, Department of culture) increasingly will ask theatres “where the money is” — and to increase their state assignment.

In Sokolniki after years of repairs opened a new theater of Roman Viktyuk, Moscow cost a billion, but… the building of the famous architect Melnikov as a toy and not opens its doors to the public, and the company continues to roam on removable platforms.

Meanwhile, the entire season does not subside passion for the “Golden mask” — inside the main Norpramin in the field of theatre, around and in the distance. All the louder the charges against her are unfair hand, pinching some sassy promoting the other. That proves once again: where is the competition, there will always be resentful and unhappy. But at some point, the number of unhappy turns into quality, and the Ministry of culture, as the main financier, puts squarely the question of reform of the award. A working group, which seeks: 1) rotation of critics in expert councils and their members are people with different aesthetic views; 2) expanded representation of experts from the regions; and (3) the organizers strive to ensure that as many experts looked alive (and not video) of the Russian contenders for the “GP”.

Oddly enough, as a result of changes (and maybe coincidentally), but in this season the award ceremony “Masks” for the first time in recent years goes with a Bang, and set it by Yevgeny Pisarev in the style of a circus antic does not receive any black ball.

Another trend is the rating of the artist in his political views and participation in political life of the country. Liberal views of the creators already guaranteed a high score and the status (online, not state-controlled media, award), even if this show of dubious quality.

And all year at different levels raises the question of evaluation criteria of work of cultural institutions in General, and especially theaters. What principle should underlie — sold tickets or artistic value — no one can answer. But the question itself is an alarming signal for action from the state, which sooner or later will undertake tough reforms in the theatrical field. And then all of a sudden remember those blessed times when the theaters (especially the capital) money is not considered, and artists were favored by the jesters at the court of the Soviet government.

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