1933 big theater sport. Tatyana Marshkova
1930 For the first time on the Soviet stage, in the Chamber Theater, a play by Bertolt Brecht, the brightest German playwright, was staged. Tairov's choice fell on the "Opera of the Beggars", in which the corrupt, hypocritical bourgeois world was ridiculed. The Beggar's Opera at the Chamber Theater on July 21, 1931 was visited by the famous English writer Bernard Shaw.
1931 In the course of the play, playwright Mykola Kulish tried to expose Ukrainian nationalism, but did not exaggerate enough and was accused of promoting what he intended to expose. The production was banned very quickly, it was performed on the stage of the Chamber Theater only 40 times. Faina Ranevskaya played in this performance.
HERMITAGE THEATER. Theater. the building was built in 1783-87 (the facade was completed in 1802) in St. Petersburg (architect G. Quarenghi) in the traditions of antiquity. architecture. E. t. played means. role in the development of Russian. theatrical and musical culture con. 18th century Balls, masquerades were held here, amateur performances were played (by the nobility), Italian, French were staged. (primarily comic) and Russian. operas, drama performances, Russian, French, German, Italian. opera and ballet companies. Opened 22 Nov. 1785 (before construction was completed) comic. opera M . M. Sokolovsky "Melnik - a sorcerer, a deceiver and a matchmaker." The operas The Barber of Seville, or The Vain Precaution by Paisiello, Richard the Lionheart by Gretry, and others were performed on the stage of the theater (composers D. Cimarosa, V. Martin y Solera, J. Sarti, and V. A. Pashkevich created a number of operas especially for E. t.). Drams were set. performances - "Nanina" and "Adelaide de Teclin" by Voltaire, "The Liar" by Corneille, "The Philistine in the Nobility" and "Tartuffe" by Molière, "School of Scandal" by Sheridan, "Undergrowth" by Fonvizin, etc. Widely known dramas performed. actors - I. A. Dmitrevsky, J. Offren, P. A. Plavilshchikov, S. N. Sandunov, T. M. Troepolskaya, Ya. etc. The scenery for the theater was written by P. Gonzaga. In the 19th century E. t. gradually fell into decay, performances were staged irregularly. The building was repeatedly restored (architect L. I. Charlemagne, D. I. Visconti, C. I. Rossi, A. I. Stackenschneider). After a major overhaul, which began in 1895 under the arms. adv. architect A. F. Krasovsky (who sought to return the “quarengiev look” to the theater), the E. t. opened on January 16. 1898 with the vaudeville Diplomat by Scribe and Delavigne and a ballet suite to music by L. Delibes. In 1898-1909, the theater staged plays by A. S. Griboyedov, N. V. Gogol, A. N. Ostrovsky, I. S. Turgenev, and others, the operas Amur’s Revenge by A. S. Taneyev, Mozart and Salieri by Rimsky-Korsakov, excerpts from the operas Boris Godunov; "Judith" by Serov, "Lohengrin", "Romeo and Juliet", "Faust"; Boito's Mephistopheles, Offenbach's The Tales of Hoffmann, Berlioz's The Trojans in Carthage, Bayer's The Doll Fairy, Glazunov's The Four Seasons, and others. actors - K. A. Varlamov, V. N. Davydov, A. P. Lensky, E. K. Leshkovskaya, M. G. Savina, H . P. Sazonov, G. N. Fedotova, A. I. Yuzhin, Yu. M. Yuriev; singers - I. A. Alchevsky, A. Yu. Bolska, A. M. Davydov, M. I. Dolina, I. V. Ershov, M. D. Kamenskaya, A. M. Labinsky, F. V. Litvin, K. T. Serebryakov, M. A. Slavina, L. V. Sobinov, I. V. Tartakov, N. N. and M. I. Figners, F. I. Chaliapin; ballet dancers - M. F. Kshesinskaya, S. G. and N. G. Legat, A. P. Pavlova, O. I. Preobrazhenskaya, V. A. Trefilova and others. revolution of 1917, the country's first workers' university was opened in E. T. Here since the 1920s. lectures were given on the history of culture and art. In 1932-35, a music teacher worked in the premises of the E. t. museum where thematic concerts-exhibitions; artists from Leningrad took part in them. theaters and teachers of the conservatory. To the concerts published will explain. programs, brochures. In 1933 there were posts on the stage of E. T. excerpts from Wagner's Der Ring des Nibelungen tetralogy and Pergolesi's entire Maid-Mistress. The performances were accompanied by lectures. A branch of the Center operates in E. t. lecture hall. Muses are staged here periodically. performances (for example, in 1967, students of the conservatory and musical theaters staged a final performance of Monteverdi's Coronation of Poppea), chamber concerts are organized for the Hermitage employees, and scientific. conferences, sessions, symposia; in 1977, the congress of the Intern. museum council.
On its 82nd birthday on May 25, the Bolshoi Opera and Ballet Theater opened its doors to the audience and let them into its bowels: onto the stage and even under the roof. More than two thousand people who signed up for the tour saw the Bolshoi from the inside and learned how it prepares for performances, how rehearsals are held and how the scenery is created.
"When you do something for the first time, everyone considers it a gamble. So it was with the Christmas Opera Forum, the Grand Ball, the evenings of the Bolshoi Theater in the Radziwill Castle, the International Vocal Competition ... Everything happens for the first time, and then everything good becomes a tradition", - said on a solemn day the general director of the Bolshoi Theater Vladimir Gridyushko in your office.
Even in winter, an internal competition of proposals was announced on how to celebrate the theater's birthday. Among other ideas, the head of marketing and advertising Tatyana Aleksandrova and Deputy General Manager Svetlana Kazyulina offered to show the inner life of the Bolshoi that day.
"When a person comes to the theater, he sees everything in a festive format. But not everyone can understand what it means to create a performance. This is hard labor", - Vladimir Gridyushko explained why he liked the idea. This idea was brought to the attention of visitors on the holiday by 20 guides, specially trained theater employees.
Winding through the corridors of the theater, we find ourselves on a stage of 600 square meters without a backstage (at the back of the stage, a reserve room for scenery that creates the illusion of depth; with it, the stage area is 800 square meters. – TUT.BY) .Back in the 1920s, an opera and ballet troupe, a choir and an orchestra operated on the basis of the BDT-1. In 1924, a musical technical school was established, and a year later, opera and ballet departments appeared on the basis of the technical school. Then, in 1930, an opera and ballet studio appeared, and on May 25, 1933, the premiere of the opera Carmen by the then State Opera and Ballet Theater of the BSSR took place on the stage of the current Kupala Theater. The main part was performed by Larisa Pompeevna Alexandrovskaya. It is noteworthy that the opera was in Belarusian, Carmen was the heroine of the proletariat, and the smugglers fought against injustice. In 1935, "Carmen" was staged again, also in the Belarusian language, but without the proletarian flair.
In 1939, the current building of the Bolshoi Theater was built, and Mikhas Padgorny became the first opera. Together with "The Flower of Happiness" and the ballet "The Nightingale" it was shown in 1940 at the decade of Belarusian art in Moscow. Then the theater received the title of Bolshoi. In 1964, the theater was awarded the title of academic, and in 1996 - national.
On June 14, the eighth production of "Carmen" in the history of the theater will take place at the Bolshoi. The theater administration revealed the secret and said that the artists were learning flamenco and sevillana.
If there is no performance, the stage is covered with a fire curtain. Mechanic Anatoly specially on the day of open doors raised the barrier for a while, and the auditorium appeared - at first glance it is so small from the stage.
On the stage itself there are seven tripods with spotlights and four more side towers for lighting. Each spotlight rotates in any plane independently of the other. This allows you to create the necessary lighting for the performance. All the mechanics of the stage are controlled by an electronic remote control and a touch screen. There are 21 platforms under the stage, which can rise separately and change the slope. The stage itself, according to the rules, has a slope of 4 degrees.
The chandelier in the auditorium, 4 meters in diameter and weighing 1200 kg, consists of 30,000 pendants, 500 light bulbs connected with 1 km of wires. After the season closes, the chandelier is lowered, and one can be sure that it is two times the height of a man.
With the fire curtain up
Scene without fire curtain. After the reconstruction of the theater, which took place from 2006 to 2009, the structures were fixed. There is a schedule for regular inspection of the premises, when the slightest changes are measured.
There is a small props room near the stage so that cups, swords, sabers, masks and bottles for stage feasts are at hand.
On the day of open doors, the theater was preparing for the evening ballet "Sleeping Beauty". In the scene, a safe was lifted from the floor, in which soft scenery is stored. Each of the four tiers contains three sets of decorations. All of them are signed so that the workers know which beam to tie the drapery to.
The upper part of the theater stage is the grate. They are high above the stage and lined with bars to lower the scenery. Frankly, even on a flat floor, you feel uncomfortable and your legs give way when you look down through the cracks. In the grate there are motors capable of lifting up to 1 kg of scenery.
Grids. The most mystical room under the roof of the Bolshoi.
More than 40 thousand costumes for performances are stored under the roof. Looping in the corridors with the dresser Natalia Kharabrova, we are talking about the labyrinths of the theater.
According to her, in the first year of work, the employees themselves are lost. But the turnover in the theater is small, people have been working for decades, so they navigate almost intuitively, including in the room with costumes.
Natalya herself already remembers by heart where the costume is stored. It’s hard to believe this for an inexperienced person, because without training in such a mass of costumes, even with the signatures of each row, it would be difficult to find something. We went to the largest warehouse, and there are 11 more in the theater, but smaller in size.
250-300 costumes can be involved in one performance, and this day is busy for the costume designer: all the costumes are carried by hand or on trolleys. " The dresser must have a good memory in order to remember where which sock, handkerchief", - says Natalya Kharabrova.
Periodically, a sanitation station comes to the warehouses and processes them so that moths do not start up and there is no dust. After the performance, some costumes are washed, and some are dry-cleaned, some are washed by hand in a special laundry. According to the costume designer, all the outfits for the performance are unique, "it is impossible to repeat them," for this reason the theater does not rent them out - it's like a work of art. And some costumes have been kept for decades, like, for example, the leather costumes for the ballet "Spartacus" - they have been in the Bolshoi since the 80s.
However, the theater will not be limited to opening doors. The birthday boy is already preparing certificates for performances by the next season. According to the director, when they give tickets to the theater, a person does not always have the opportunity to go to a specific performance at a specific time. The certificate will allow you to buy any ticket for any time for the specified amount.
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OlegDikun: The question of whether to join the Belarusian Republican Youth Union or not is the business of each young person specifically. But the organization is a platform for young people to express themselves. If a person is not set up for active work, in principle, he is not interested in anything, then, probably, he will not find himself in the organization. But if a person has some specific projects, ideas, or he feels the potential in himself, then the organization will certainly help him open up.
It seems to me that there are even too many areas of activity for the organization. They are for every taste. These are cultural projects, and educational ones, and the movement of student groups (we help children find jobs), and the youth law enforcement movement, volunteering, work on the Internet - that is, there are enough directions for everyone, so we are waiting for everyone in our organization. I am sure that every young person can find a place for himself here. The main thing is that the guys should not be shy, come to our organizations, offer ideas, and we will definitely support them. Today, the policy of our organization is to support the ideas of every young person to the extent that the organization can do so.
We have a lot of projects that are being implemented at the national level, but it was the guys who initiated them. A project that has recently begun to be implemented - "PapaZal" came to us from a family in the Gomel region. It is about the participation of dads in the upbringing of children. Dads come with their children to gyms and play sports with them, thereby instilling in children a love of physical culture and promoting a healthy lifestyle. Unfortunately, our dads often cannot devote enough time to their children, because they work and provide for the family - this is the main thing for a man. "PapaZal" will allow them to spend more time with their children.
AlexandraGoncharova: And as a plus, at this time, mom can relax a little and take time for herself.
I will add. Oleg did not say about the direction that is now developing very much in our country - this is international cooperation. Our organization makes it possible for children from different countries to communicate, to gather at some international platforms and events. So, being a member of the Belarusian Republican Youth Union, you can also visit international forums and participate in interesting programs.
How many people are now members of the Youth Union? Is there an age limit or can one be a member of the Belarusian Republican Youth Union for life?
Nikolay (Brest):Oleg Dikun: Every fifth young person in the country is a member of the Belarusian Republican Youth Union, and we are certainly proud of this. We cannot say that we are chasing quantity. We try to organize and hold high-quality events so that people come to us. And quality will turn into quantity.
I have an idea for the improvement of my hometown. Where can I apply?
Ekaterina (Orsha):OlegDikun: Of course, the organization is engaged in this direction. In order to get help (for example, you want to create a playground or just organize people for a community work day to improve your hometown, and you do not have enough equipment or need technical assistance), you can contact the district or city organization of the Belarusian Republican Youth Union. I am sure that you will not be refused, because we must make the places where we live cleaner, better. In addition, we are having the Year of the Small Motherland, so we urge everyone to join and take part in the improvement of their cities and villages.
AlexandraGoncharova: You can go to the “Contacts” section on the brsm.by website, find the regional organization of the city of Orsha and go there with all the ideas, not only for the improvement of the city.
OlegDikun: I would also like to add that we are widely represented in social networks. If you don’t want to visit the site, we are on Instagram, VKontakte, look for us there.
I heard about your application "I vote!" Please tell us what it is for and how it was developed? How secure will my device be if I install it?
Alexandra (Minsk):AlexandraGoncharova: The application was not developed this year, it was prepared by our activists for the elections to local Councils, an addendum was passed, and now our developers from the BSUIR primary organization have offered it to everyone for download. The application allows you to enter your address and find out how to get to the polling station, get directions on foot, by transport or by bike, and most importantly, find out about the candidates who run for the House of Representatives of the National Assembly of the Republic of Belarus of the 7th convocation.
OlegDikun: The main task of the application was to make it easier and faster to learn about elections. Young people are very mobile now. The same information that the CEC will place on the stands will be provided in the application. So there will be no need to waste time at the polling station, we urge everyone to install the "I vote!" application, it is available in the App Store and Play Market.
Host: What about security?
AlexandraGoncharova: There were no complaints. It was developed by professionals, our IT university students, so I think they took care of security.
OlegDikun: The application is also posted on the CEC website, if you don’t trust us, then the CEC should, they definitely checked everything there.
The Belarusian Republican Youth Union keeps up with the times and I constantly hear that you are developing and inventing applications. Why such an emphasis on this area, what is the effectiveness? It seems to me that few people already clog their phone with various applications?
Alena (Vitebsk) :OlegDikun: Today we are actively working on the creation of the BRSM application. It will be possible to see what the organization is doing, quickly receive information about our projects, and it will be possible to contact us. Today, young people want to receive information in the most convenient way, and we believe that the most convenient is the application. I downloaded it, logged in, and received a notification that such and such an event is taking place in your city today.
How many projects have found their practical application and been implemented from "100 Ideas for Belarus"?
Mikhail (Bobruisk):OlegDikun: The project "100 Ideas for Belarus" is already 8 years old. The project is developing, and today I can proudly say that it covers all regions. Now we have zonal stages, after them - regional and Minsk city stages. We plan that the Republican one will be held in February. First of all, this is a platform for the guys to show their projects, work with mentors who will tell them where, what and how they can improve. And this gives young people the opportunity to reach a new level, to improve their project.
10 winners of the republican stage get the opportunity to develop a business plan for free. The presence of a business plan gives automatic participation in the competition of innovative projects. The winners of the competition for innovative projects receive the first funding for the implementation of their projects. It is difficult to say how many projects have been implemented to date, because there were a lot of regional projects. One of the most striking recent examples is a prosthetic hand, which was developed by Maxim Kiryanov. There are many such guys, and every year there are even more of them, which we are glad about. Therefore, we will develop "100 Ideas for Belarus" and make it more mobile so that it is more interesting for young people.
AlexandraGoncharova: Another star of our organization is a young mother, she herself conquered the peaks of volcanoes and developed a sorbent with a very difficult name. And she already has two patents as a young scientist. There are many bright stars in the Belarusian Republican Youth Union!
OlegDikun: The more the guys declare themselves and their projects at various venues, including the "100 Ideas for Belarus", the more opportunities there are to find an investor, a sponsor who will invest money in their implementation.
Our youth is active and proactive. And how, in your experience, does this manifest itself in political campaigns? What initiatives does the Belarusian Republican Youth Union have?
Tatyana (Grodno):Alexandra Goncharova: We have a game of the same name. We are not a political party, but we have a very active position. There are guys who participate at different levels in the composition of precinct election commissions as observers (on the days of early voting and November 17, they will observe at polling stations). There are candidates for deputies - members of our organization. We are very active in this campaign, and not only in this one.
Oleg Dikun: To date, we support 10 of our young candidates. Yesterday, we did not gather all of them at one site, where they discussed what they are going to the House of Representatives with, what projects they would like to implement, what ideas they have, what the population voiced to them during the collection of signatures, meetings. We will accumulate all information from voters and seek opportunities to resolve people's issues. Even though our guys will pass or not, we really hope that the population will support the young candidates.
Facilitator: How actively do members of your organization respond to such events as, for example, an election campaign?
Alexandra Goncharova: Every Saturday in large cities we hold youth campaign pickets, where we tell when the elections are held, how to find their own polling station, and introduce residents to our application "I vote!".
In Gomel, the initiative “ABC of a Citizen” was developed, when you can try on the role of a parliamentarian. The guys themselves develop bills, send them for revision. Thus, we are not only working with young people who already have the right to vote, but with those who will vote in a year or two. A lot of information work is being done with the guys.
Maybe the question is expected, but still. The Internet, social networks - a lot of young people and a lot of ambiguous information are concentrated there. Please tell us about this direction. How do you work on the Internet, is it necessary? Maybe there are some informational seminars, because children need to be taught in this stream to choose what is necessary and useful, and not a stream of fakes.
Xenia (Mogilev):Oleg Dikun: Complex issue. Today it is the problem of all mankind. There are a lot of cybersecurity conferences going on. We can say that the Internet brings benefits and negatives at the same time. We are actively working on the Internet, and this is certainly necessary, because all young people are online, and therefore we must convey information in any way convenient for them. We are on social networks, groups have been created on VKontakte, on Instagram and on Facebook for all our regional organizations. We work in messengers - Telegram, Viber. We are thinking about programs that would, perhaps, in a playful way, convey to the guys what is good and what is bad. We will be glad to any proposals and initiatives, because in fact - this is a sore point.
Is it worth banning the Internet, recently the Head of State was asked this question. In my opinion, it is not worth it, because the ban creates interest. You just need to correctly present information and tell what is useful and how to get it on the Internet. Well, no one canceled parental control, you need to be interested in what children do on social networks, what sites they visit.
Alexandra Goncharova: When we discussed how to remove the guys from the Internet, we came to the conclusion that there is no way. And then the question is how we will saturate this information field, where they communicate. Now there are a lot of projects for pioneers and even for octobers placed on our platform. I’ll immediately boast that our resource was awarded the TIBO-2019 award as the best site for children and teenagers. We have a lot of projects, thanks to which children learn how to find information, use it correctly and spend time positively on the Internet. In our Votchyna Bai project, children create QR codes for one or two. We try to fill this information field with useful and interesting information.
Please tell us about the Open Dialogue project. With whom, how and why this dialogue?
Elizabeth (Minsk):AlexandraGoncharova: This is one of the communication platforms that the Belarusian Republican Youth Union has been organizing for many years, we invite experts there, and young people can communicate in an open format on various topics with government officials, athletes, our famous people, and discuss problems that concern the younger generation. Now we have opened a series of dialogues under the general title "Belarus and I", which is dedicated to the electoral campaign. This project has been running successfully for a long time.
OlegDikun: It is important to clarify why "Belarus and me". Everyone says that the state did not give us that, did not do this, the state is bad. We thought about it and decided to discuss the topic: "What the state has done for the youth, and what the youth has done for the state." What each of us personally gave to the state or plans to give, what ideas and projects we have. It's easy to criticize, but you suggest something. If you have ideas, suggestions, we are always ready for dialogue.
How did you personally end up in the Belarusian Republican Youth Union? Do you regret it, is it hard to be active and a leader, and what did it give you?
Gleb (Shklov):Oleg Dikun: I came to the organization because I had a good teacher-organizer at school, who managed to captivate me with various activities, including the Youth Union. We took an active part in cultural programs, competitions and, as a reward, got to the profile shift of the Belarusian Republican Youth Union in Zubrenok, where we were specifically introduced to what the organization does. The secretaries of the Central Committee came to replace me, for me they were almost gods. I watched, listened, admired and thought, such busy people, so serious. I started my active work at school, then entered the university, where over time I became the secretary of the faculty, then the secretary of the primary organization of the university. Today I work in the Central Committee of the Belarusian Republican Youth Union. Is it difficult - not easy, but when you implement a project, and it is at the completion stage, you get a buzz from the fact that the guys' eyes are burning. Most of all I like to support and help to realize the ideas of the guys. This is cool!
Alexandra Goncharova: Some time ago, I was in the role of that teacher-organizer who carried away the guys. Now there are so many public associations, and I had to involve the guys in this activity. I did not agree with something in the work of youth organizations, and now the desire to change this and make the organization better played in me. When guys start hanging out in the room of public associations - you understand that they need it ... Is it difficult - difficult. But the feedback that you get every time after events and projects convinces me that what I am doing is right. And most importantly, I get it from my own child. This is the coolest thing, when the guys' eyes are burning, they want to make the organization better, and I hope that we succeed. And we will not stop there.
- Specialty HAC RF17.00.01
- Number of pages 181
Chapter I. Stages of spatial and decorative searches of K.A. Mardzhanishvili from 1901 to 1917.
Chapter 2. Scenographic image of the revolutionary era in the performances of K. A. Mardzhanishvili.
Chapter 3
Chapter 4. The last performances of K.A. Mardzhanishvili on the Russian Soviet stage. III
Recommended list of dissertations
Ancient play on the St. Petersburg stage of the late 19th - early 20th century 2009, candidate of art criticism Yakimova, Zhanna Valerievna
New technologies in the modern staging process: based on the material of the theatrical art of St. Petersburg in 1990-2010. 2011, candidate of art criticism Astafieva, Tatyana Vladimirovna
Directing methodology Vs.E. Meyerhold and its influence on modern theater 2005, Ph.D. in art history Zhong Zhong Ok
Rhythm in the scenography of Russian ballet performances of the 20th century 2003, candidate of art history Vasilyeva, Alena Aleksandrovna
The evolution of the principles of stage design in the performances of the Leningrad State Maly Opera House. Artists MALEGOT. 1918-1970s 2006, candidate of art criticism Oves, Lyubov Solomonovna
Introduction to the thesis (part of the abstract) on the topic “Spatial and decorative searches of K.A. Marjanishvili on the Russian stage. 1917-1933"
The creative work of K.A. Mardzhanishvili occupies a prominent place in the history of the director's theater of the early twentieth century. K. Marjanishvili had a decisive influence on the formation and development of the entire theatrical art of Soviet Georgia, at the origins of which he was. "Meanwhile, the live practice of the theater proves that interest in the legacy of the emerging director has not faded to this day, and many of the successes of modern Georgian stage masters should be perceived not only as the result of innovative searches, but also as a direct continuation of the traditions that were laid down during the formation of the Soviet theater. Therefore, the refusal to understand the searches taking place in the theater today prompts us to come to grips with the analysis of the key moments of its development, and therefore again and again, from the position of the present, to address to the creative heritage of K.A. Mardzhanishvili.
An expressive feature of Marjanishvili's directorial thinking was his awareness of the high role of each component of the performance and a keen sense of the whole, as a result of the complex interaction of these components. Naturally, in Georgia, his reforming activity affected the entire theatrical organism and had a decisive influence on all the creators of the performance: playwrights, directors, actors, artists, composers, choreographers.
As the issues of interaction between various expressive means in art, the problems of stage synthesis attract more and more attention in the theory and practice of modern theater, the interest in studying the very process of creating the artistic image of a performance is also growing. It is in this aspect that the creative lessons of K. Marjanishvili acquire special significance, which in the historical perspective are so obviously large-scale and fruitful that there is an urgent need to consider in detail the principles of the relationship between the director and other authors of his performances.
This study is devoted to one of the facets of Marjanishvili's activity, namely his cooperation with artists in creating theatrical design and, more broadly, the image of the performance.
Marjanishvili's work with artists really deserves to be singled out for special consideration. The first practical attempts to create a synthetic theater are associated with the name of Marjanishvili. The idea of synthesis of arts within the framework of one theater found different interpretations throughout the life of the director, starting from the organization of the Free Theater in 1913, which turned out to be in fact a common roof and stage for performances of various kinds and genres, and to the dying unfulfilled idea of staging under the dome of the Tbilisi Circus, where he wanted to show the world what a "synthetic actor" should be like: a tragedian, a poet, a juggler, singer, sportsman. Wherein
1 Mikhailova A. The image of the performance. M., 1978; Tovstonogov G. The image of the performance - In the book: G. Tovstonogov. Stage Mirror, vol.2. L., 1980; Collections - Artist, stage, screen. M., 197; Artist, stage. M., 1978; Soviet theater and film artists - 1975, 1976, 1977-1978, 1979, 1980, 1981, etc.
2 Vakhvakhishvili T. II years with Kote Marjanishvili. - "Literary Georgia", 1972, £ II, p.72. the attitude towards the stage design of the stage action as one of the strongest expressive means of the theater remained constant. Therefore, the change in aesthetic programs naturally reflected on the results of Marjanishvili's spatial and decorative searches, and was partially embodied in them. Indeed, the interests of the director were not limited to the achievements of any one and only theatrical direction. Often in his biography, performances that differed in spirit and principles of staging coincided chronologically. Of course, as a consequence of the above, the types of stage design also varied. At the same time, a common feature of Mardzhan's directorial style is clearly indicated - an accentuated attention to the form of the performance, expressive, bright, spectacular, which was reflected in the special requirements of the director, primarily to the actors, but to a large extent to the set designers as the main assistants in creating the spectacle. However, one should not think that the requirements of the relsisser to the artists were limited to the pictorial side; the scenery in his performances must bear both the psychological and emotional load. The artist was the director's first assistant in the creation of new principles of communication between the theater and the audience each time. Finally, in collaboration with the artist, the first material embodiment of the director's interpretive intention was born.
The best works of V. Sidamon-Eristavi, I. Gamrekeli, P. Otskheli, E. Akhvlediani, L. Gudiashvili and other artists who went through the “Marjanishvili school” became remarkable milestones in the development of Georgian culture. Possessing high aesthetic merit, they are not only objects of study for art historians, but even today they attract the close attention of theater practitioners.
A wide flow of critical, scientific and memoir literature, the appearance of which over the past decade is due to many reasons, makes it possible to relatively fully recreate the chain of development of Georgian Soviet stage design and determine the measure of Marjanishvili's influence in this area.
The limitation of this study to the Russian-Georgian creative relationships of Marjanishvili in his work with artists is not accidental. Significant for us was the fact that Mardzhanishvili came to Soviet Georgia as an established, mature master, whose work until 1922 was an integral part of the art of Russia. According to A.V. Lunacharsky: "Konstantin Alexandrovich returned to Georgia not only with the stock of knowledge, skills and cultural strings in himself that he originally had when he came to the impudent; through the Russian theater, even if it was pre-revolutionary, he came into contact with all world art and world culture, he already tried his hand at implementing the most diverse theatrical systems, and with this vast culture he returned his genius to Soviet Georgia."
Biographers of Marjanishvili recorded such important stages of his life as moving to Russia in 1897 and returning to his homeland twenty-five years later. In addition, performances that he staged in Moscow, already being the head of the II Georgian Drama Theater, became significant events in his biography. It is natural, therefore, that when it comes to the art of Marjanishvili, one can clearly see the interlacing
I Kote Marjanishvili (Marjanov). Creative heritage. Memories. Articles, Report. Articles about Marjanishvili. Tbilisi, 1958, p.375. shading and echoing the traditions of two cultures - Georgian and Russian. Marjanishvili himself, clearly feeling this fusion of two principles in the nature of his work, tried to define it in a lyrical digression of his memoirs: “Thanks to great Russia, she gave me a great insight - the ability to look into the secrets of the human soul. Dostoevsky did this. She, Russia, taught me to look at life from the inside, look at it through the prism of my soul; sobbing - this was done by Scriabin. Thanks to her, my second homeland, thanks to wonderful Russia. She never for a minute cooled my Kakhetian blood, the blood of my mother. Her wonderful frosty days did not kill in me the memories of the hot stone of my mountains. Her magic white nights did not dilute the dark southern velvet sky, generously covered with ringing stars. Her calm good nature did not delay native rhythms for a minute, Georgian tempera ment, an unbridled flight of fantasy - this was given to me by my little, my beloved Georgia.
It is interesting and logical that the creative fate of the artist not only confirms the historical roots of cultural relations between Georgia and Russia, but also becomes one of the initial pillars in the creation of new traditions: we are talking about the intensive mutual enrichment of the theatrical art of the peoples of the USSR as a historical feature of the Soviet theater.
With regard to the narrow sphere of scenography, what has been said can be illustrated with an eloquent example. In the section on
1 Marjanishvili K. 1958, p.65.
2 Anastasiev A., Boyadzhiev G., Obraztsova I., Rudnitsky K. Innovation of the Soviet theater. M., 1963, p.7. in the thirties of the book by F.Ya. Syrkina and E.M. Kostina "Russian theatrical and decorative art" (M., 1978, p. 178) we read: "In the practice of theaters, one can notice a tendency to attract artists from other national republics. The gradual, complex process of the interaction of Russian art with the art of the artists of Armenia, Ukraine, Georgia in this period was especially intensified and was very significant for Soviet artistic culture as a whole.
The trend has grown into a tradition. During the Soviet period, Georgian artists staged about a hundred performances on the stages of the capital alone, and their number increases from season to season. The first of the Georgian Soviet stage designers who worked in Moscow theaters was P. G. Otskhel, who in 1931 was part of the production group of the performance based on the play by G. Ibsen "The Builder Solnes" at the theater b. Korsh, directed by K. Mardzhanishvili.
It cannot be said that the area of creative contacts between the director and the artist has completely fallen out of sight of historians of his art. The brightness of plastic concepts, the consistency of scenery and costumes in Marjanishvili's productions with the general structure of the stage action prompted to pay attention to the work of set designers in almost every study devoted to the theatrical heritage of the director. However, no independent study of this issue has been done so far. This is the first time such an attempt has been made.
At the same time, a detailed analysis of the co-creation of Marjanishvili and the artists who designed his performances reveals a number of significant problems, both historical and theoretical. First of all, this is the question of the development of Marjanishvili's creative principles in different years of his activity and in the process of working on one performance. It should not be forgotten that the development of Marjanishvili as a director coincides with a period of intensive development of directing. Therefore, it is important to understand the new that Marjanishvili introduced into the sphere of spatial and decorative ideas of this art. Working with young artists after the establishment of Soviet power, the master passed on to them his rich experience in staging culture, sometimes determining their creative destiny for a long time. It is impossible to determine the exact extent of its influence, but for us it is also significant when and how it manifested itself. A concrete historical analysis of the evolution of Marjanishvili's staging ideas allows one to penetrate into the complex patterns of the process of creating his performances, clearly revealing the methods of his work and relationships with artists, as well as the qualities that he most valued in co-authors-scenographers at different stages of his creative path.
The answers to these questions are important for a more accurate and comprehensive understanding of Marjanishvili's art, in particular, and the theatrical culture of his time in general. It is the content of this study.
It should be noted why the title of the dissertation is specifically Russian-Georgian theatrical relations, while the director's activities in Ukraine in 1919 became, perhaps, the most exciting page in his biography. The defining moment for us was the fact that the troupes of the Kyiv theaters in which Mardzhanishvili staged were Russian, which means that \/ and the connection with Ukrainian culture was carried out through Russian4
Without taking into account the essential experience that the director had accumulated before the revolution, it is impossible to grasp the logic and pattern of his subsequent creative development and to get a complete picture of the scale of his spiritual and aesthetic quest. Proceeding from this, the main part of this work, devoted to the productions of the Soviet period, is preceded by a review section, which highlights the main stages in the evolution of his approach to the image of the performance from the beginning of his directorial career until 1917.
A short period of time, several months in 1919, the period of creative activity in Soviet Kiev, turned out to be not only the most responsible and fundamentally important in the biography of Marjanishvili, a man and artist, but also constituted a certain stage in the development of the entire young Soviet theater. That is why in the second chapter of the dissertation devoted to this period, the dissertation student set himself the task of reviewing and analyzing, with the possible completeness, the scenographic solutions of the performances produced at that time.
Marjanishvili's theatrical hobbies were extremely versatile, but it is completely wrong to interpret them as a kind of eclecticism. Starting from the 1910s, the idea of creating a synthetic performance runs like a red thread through all of Marjanishvili's work, a performance whose stage form would be born in the process of using the expressive means of various arts. Naturally, music played a special role in the productions of the Free Theatre. The first decades of our century were a time of decisive renewal of the traditional forms of musical theatre, and here the experiments of musical productions of the luminaries of direction were of decisive importance: K.S. Stanislavsky, V.I. Nemirovich-Danchenko, V.E. Meyerhold, A.Ya. Tairov. A worthy place in this series rightfully belongs to KD. Mardzhanishvili. The director's innovative search in the field of musical theater, in our opinion, was most fully expressed in the performances of the Comic Opera Theater, which he created in 1920 in Petrograd. The most significant of them to characterize his creative searches and principles are the focus of attention in the third chapter of this study.
The performances staged by Mardzhanishvili in Moscow in the thirties are not numerous, they are scattered over the stages of different theaters and, at first glance, are not connected with each other either chronologically or in content. And yet, each of them was the creation of the creative thought of one of the founders of Soviet directing at the very last stage of his activity and, therefore, requires research attention.
The main material of the research was Z. Gugushvili's doctoral dissertation, dedicated to the work of Marjanishvili, and two volumes of the director's published creative heritage. The specifics of the topic implied a wide appeal also to the primary source - archival and iconographic materials concentrated in the TsGALI, the Archive of the October Revolution, the Archive of the USSR Academy of Sciences, the museums of the Theater, music and cinema of the GSSR, the Maly Theater, the Moscow Art Theater, theaters named after. K.A.Mardzhanishvili and Sh.Rustaveli, the State School of Music named after A.A.Bakhrushin, the Museums of Ir.Gamrekeli and Z.Akhvlediani, etc., as well as to the press and literature, modern Mardzhan productions. Some of the materials are introduced into scientific use for the first time.
The author does not intend to confine himself to this study of K. Marjanishvili's co-creation with stage designers and in the future intends to continue it on the basis of the work of the director of the pre-revolutionary period, as well as his productions in the Georgian theater.
Similar theses in the specialty "Theatrical Art", 17.00.01 VAK code
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Artists of the Opera S.I. Zimin. To the problem of stylistic diversity of decorative solutions 2012, candidate of art criticism Gordeeva, Marina Nikolaevna
Interrelation of arts in the culture of Georgia: On the example of silent cinema 1912-1934 0 year, Candidate of Cultural Studies Ratiani, Irina Ivanovna
Basic principles of artistic relationships between directing and scenography and their evolution in the Latvian theater 1985, Candidate of Art Criticism Tishkheyzere, Edite Eizhenovna
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208. Arapov A. Costume designs for Don Carlos. ibid., ex.31.
210. Akhmeteli A.V. Essay on the history of the Georgian theater named after Sh.Bustaveli. TsGALI, f.2503 /Glebov/, op.1, ex.565.
211. Bronstein G.H. Heroes of the moment. /Memories of the viewer/. Manuscript Department of the State Public Library named after V.I. Lenin, f.218, No. 856.
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213. Golubeva 0. Memories of the Free Theatre. TsGALI, f. 2016, op.1, ex. 276.
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217. Kara-Murza S. Konstantin Aleksandrovich Mardzhanov. Ways of development of director's theatre. manuscript department of the V.I. Lenin All-Union Public Library, f.561, k.XIII.
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220. Kundzin K.E. History of the Latvian theatre. Doctoral dissertation. b.m., 1969.
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223. Lundberg E. Tsut and legacy of the master. Museum of Theatre, Music and Cinema of Georgia, f. I, d. 18, 6 - 20644/8, 21563.
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229. Marjanishvili K.A. Interludes for the play "Shine the Stars". -1932 Ibid., 6 - 3441-3442.
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