In 1993, after a conflict with director Yuri Lyubimov, some of the actors of the Taganka Theater under the leadership of Nikolai Gubenko organized new theater"Commonwealth of Taganka Actors". 18 years after the split, the current directors of the two theaters, Valery Zolotukhin and Nikolai Gubenko, met and shook hands, which was the beginning of the resumption of creative relations.

The Moscow Theater of Drama and Comedy on Taganka was created on April 23, 1964 on the basis of the Moscow Theater of Drama and Comedy (organized in 1946). The troupe included graduates of the Theater School named after. Shchukin with his graduation performance " a kind person from Szechwan" by Bertolt Brecht. The director of the play, Yuri Lyubimov, became the main director of the renovated theater.

The theater was at the forefront of the theatrical process, developing a new stage language, found new forms of stage literature (poetic theater, prose theater, stage journalism).

The performances of the Taganka Theater were distinguished by studio cohesion, open civic pathos, and active contact with the public.

In 1984, due to conflicts with the party leadership and the Ministry of Culture, Yuri Lyubimov left the theater and left the country, as a result of which he was deprived of citizenship. Anatoly Efros was appointed chief director of the theater. After Efros's death, Nikolai Gubenko (1987-1989) became the main director.

In 1989, Yuri Lyubimov, invited by the acting group, again headed the theater. However, soon a conflict arose between the artistic director of the Taganka Theater Yuri Lyubimov and part of the troupe.

On the one hand, the conflict was based on the fact that Yuri Lyubimov could not devote as much time to the Taganka Theater as before - the director was forced to combine work with productions under already concluded foreign contracts. On the other hand, Yuri Lyubimov, after several years of forced exile, was able to fully appreciate all the advantages of the Western contract system. He decided to privatize the theater and transfer the troupe to contracts. A conflict situation arose, which soon led the theater to a split.

Part of the troupe decided to stand out in new team and asked Russian President Boris Yeltsin for assistance. Yeltsin's resolution of September 23, 1992 stated that the issue of division should be resolved at a general meeting of the theater by secret vote, and if the decision to divide the theater is made, the president will agree with it.

On October 27, 1992, at the general meeting of the theater, it was decided to hold a secret vote, the ballots were approved, the chairman of the counting commission and its composition were elected.

Voting lasted three days. On October 30, 1992, at 5 p.m., the counting commission opened the ballot box and reported the voting results: 185 ballots were issued, 182 were found, and no invalid ones. 146 voted for the division of the theater, 27 voted against and 9 abstained. Thus, the majority of the troupe voted for the division of the theater.

In April 1993, by decision of the Moscow City Council of People's Deputies, the Taganka Actors' Commonwealth Theater was created under the direction of Nikolai Gubenko. The core of the troupe of the new theater consisted of 36 actors and some of the employees of the Taganka Theater. Together with Gubenko, such actors as Zinaida Slavina, Leonid Filatov, Inna Ulyanova, Nina Shatskaya, Tatyana Zhukova, Natalya Saiko, Mikhail Lebedev, Rasmi (Ramses) Dzhabrailov and others moved there.

The first premiere of "Commonwealth" in 1994 was "The Seagull" by Anton Chekhov, directed by Sergei Solovyov.

The split in the theater was loud and dramatic. After the decision of the Moscow City Council to create the “Commonwealth of Taganka Actors,” dozens of lawsuits took place, including twice in the Supreme Arbitration Court of the Russian Federation, mainly regarding the division of stage venues. As a result, the team of the "Commonwealth of Taganka Actors" took a new theater building; The Taganka Theater operates in the old one.

“The Taganka Youth Theater, created by Yuri Lyubimov, continues the traditions of revolutionary theater - the traditions of Mayakovsky, “The Blue Blouse”, Vsevolod Meyerhold, Bertolt Brecht. Subtle psychological dialogue, shadow theater, cinema, pantomime, stage, play of light - everything merged in an extraordinary fusion ", incandescent with the enthusiasm of young artists. This theater is very young. It is only taking its first steps. And let them sound firmly in our art!"
Alexander Svobodin, theater critic
"Krugozor" No. 6 1965

The Moscow Drama and Comedy Theater was founded in 1946, the main director was Alexander Plotnikov, and the troupe consisted of students of Moscow theater studios and actors from peripheral theaters. The first premiere of the new group was the play “The People Are Immortal” based on the novel by Vasily Grossman. The theater was given the premises of the former electric theater (cinema) "Vulcan" built in 1911 (architect G.A. Gelrich). Actually, cinema existed there only before the revolution, and in the 1920-1930s this hall became a theater venue.

1915:

In the early 60s, the Drama and Comedy Theater turned out to be one of the least visited theaters in the capital - in January 1964, Plotnikov had to resign, the position of chief director was entrusted to Yuri Lyubimov, at that time better known as an actor at the Vakhtangov Theater and a teacher at the Vakhtangov School. Shchukin.

Lyubimov came to the theater with his students from the Shchukin School and their graduation performance - “The Good Man from Szechwan” based on the play by B. Brecht. The performance became the debut on the professional stage for Zinaida Slavina, Alla Demidova, Boris Khmelnitsky, Anatoly Vasilyev. Lyubimov significantly updated the troupe, producing an additional set of young artists - Valery Zolotukhin, Inna Ulyanova, Veniamin Smekhov, Nikolai Gubenko, Vladimir Vysotsky were enrolled in the theater, and in the late 60s - Leonid Filatov, Felix Antipov, Ivan Bortnik, Vitaly Shapovalov.

Under the leadership of Lyubimov, the Taganka Drama and Comedy Theater immediately acquired a reputation as the most avant-garde theater in the country. Like the early Sovremennik, the theater did without a curtain and used almost no scenery, replacing them with various stage structures. Pantomime and shadow theater were actively used in the performances, and music was used in Brechtian style. The name of the theater itself became shorter over time: Taganka Theater.

It was almost impossible to buy a ticket for some performances; they say that theatergoers lined up at the box office in the evening. In the early years, the theater’s repertoire included poetic performances “Comrade, believe ...” (according to A. Pushkin), “Listen!” (according to V. Mayakovsky), “Anti-Worlds” (according to A. Voznesensky), “Fallen and Living” (about poets who died in the war), “Under the Skin of the Statue of Liberty” (based on the poem by E. Yevtushenko), dramatic productions “Ten Days that shocked the world" (J. Reed), "Mother" by M. Gorky, "What to do?" N. Chernyshevsky, “...And the dawns here are quiet” by B. Vasilyev, “House on the embankment” by Y. Trifonov.

1966-1970:

1967-1970:

People flocked to the Tagansky performances, but the idyllic relationship between the artist and the official quickly faded away. Main director Yuri Lyubimov was not going to bend and the authorities used force: new performances were not allowed, tours were cancelled. In addition to complaints about the repertoire, art critics in civilian clothes did not like the participation in the performances of Vladimir Vysotsky, a poet who performed his own songs with a guitar of very dubious content. Although Vysotsky himself modestly answered in an interview that “without the Taganka Theater there would be no Vysotsky,” he was the cornerstone in Lyubimov’s construction, the performer of the main roles in best performances: "Hamlet", "The Cherry Orchard", "Life of Galileo", "Pugachev" and others. Despite all the difficulties, the 1960-1970s became the golden age of Taganka.

In the early 1970s, a decision was made to reconstruct the theater. Architect Alexander Anisimov did a lot of work on the sketches, taking into account the wishes of Yuri Lyubimov. Although construction began in 1972, the new theater hall opened only in April 1980. The reason for the long-term construction was the lack of funding, the shortage of building materials, and the adjustment of plans by Lyubimov. As a result, they managed to preserve the old theater and add a red brick building with a new stage to it. Lyubimov seemed to have a presentiment that later scandals would begin in the theater and the troupe would split in two. In the meantime, Vysotsky sang about bricks that “remind everyone of a state-owned house.”

1987:

After Vysotsky’s death, the theater experienced troubled times, as if it were haunted by an evil fate. One of the artists called the Taganka of the 1980s “a terrarium of like-minded people.” Yuri Lyubimov had conflicts with the authorities and in 1984 was deprived of Soviet citizenship. The Taganka troupe was waiting for his return and boycotted the famous director Anatoly Efros, who was appointed instead of Lyubimov. In 1987-1989, the theater was led by Nikolai Gubenko, who contributed to the return of Yuri Lyubimov to his homeland. But even here there were conflicts; in 1992 the theater was divided into Lyubimov’s “Taganka Theater” (old stage) and Gubenkov’s “Taganka Actors’ Commonwealth” (new stage).

In the Nizhny Tagansky deadlock, the Vysotsky Museum opened in the 1990s, and later the Vysotsky club.

TAGANKA THEATER, Moscow Taganka Theater - created in 1964 on the basis of the troupe of the Moscow Drama and Comedy Theater (organized in 1946), which included graduates of the Theater School. Shchukin. Main directors: Yu.P. Lyubimov (1964–1984), A.V. Efros (1984–1987), N.N. Gubenko (1987–1989), Yu.P. Lyubimov (since 1989). Each of these names is associated with its own stormy and dramatic period in the history of the theater.

The early 1960s were a time of reformation Soviet theater. A new aesthetics was established, the names of young directors O. Efremov, A. Efros, and in Leningrad - G. Tovstonogov thundered. Theater, along with poetry, became the main art of the Khrushchev Thaw period, a harbinger of new ideas, and a stronghold of the liberal intelligentsia.

In 1963, the third year of the Shchukin School under the direction of Yu. Lyubimov performed a performance The Good Man from Szechwan B. Brecht. The aesthetics of the performance were sharply out of line with the trends that existed at that time; it proclaimed vivid theatricality, the fundamental absence of a “fourth wall,” multiplicity, even redundancy of stage techniques, which miraculously fused the spectacle into a single integrity. It clearly felt the revival of theatrical traditions of the dynamic 1920s, the direction of V.E. Meyerhold and E. Vakhtangov. Yu. Lyubimov was asked to head the Moscow Drama and Comedy Theater, and he reorganized its troupe from graduates of his course.

Preparations for the opening of the renovated theater lasted about a year. Portraits placed in the foyer of the theater became his sign: V. Meyerhold, E. Vakhtangov, B. Brecht, K. Stanislavsky. They continue to decorate the theater foyer.

The Taganka Drama and Comedy Theater opened on April 23, 1964 with a performance The Good Man from Szechwan. However, its cast was already somewhat different. Yu. Lyubimov carefully formed the theater troupe, recruiting actors close to him in aesthetic principles, ready to improve their technique, master new techniques and ways of stage existence. Probably the main achievement of Tagankov’s first performance was the impossibility of dividing the participants into “insiders” and “outsiders”: they all spoke the same language, maintaining the unity of the aesthetics of the performance and enriching it with their personal and acting experience.

Thus began the first stage in the life of probably the loudest Moscow theater - the Taganka Theater. Here the principles of the “sixties” about which B. Okudzhava sang were maximally reflected: “Let’s join hands, friends, so as not to perish alone...” Lyubimov united in the production groups of his performances writers and poets close to him in spirit (A. Voznesensky, B .Mozhaev, F.Abramov, Y.Trifonov), theater artists (B.Blank, D.Borovsky, E.Stenberg, Y.Vasiliev, E.Kochergin, S.Barkhin, M.Anikst), composers (D.Shostakovich, A. Schnittke, E. Denisov, S. Gubaidulina, N. Sidelnikov). The theater’s artistic council became a special phenomenon, each of whose members had significant professional and public authority and was ready to defend Taganka’s performances in the “highest” offices.

The main creative direction of Taganka became the poetic theater, but not chamber poetry, but journalistic poetry. This is the direction in in a certain sense was “doomed to success”: it was the poet-publicists who gathered full stadiums of spectators and listeners in the late 1960s and became the idols of their contemporaries. It is no coincidence that the theater’s repertoire included two performances based on the works of A. Voznesensky - Antiworlds And Take care of your faces(the second of them was banned shortly after the premiere, which only added to the popularity of the performance). The mirror of the theater’s artistic program were poetic performances Fallen and living, Listen, Pugachev etc. However, even in the productions of prose or dramatic works, the spirit of free and socially significant poetry, a vivid stage metaphor, full of modern allusions, dominated. That's how it was with performances Ten days that shook the world, And the dawns here are quiet, Hamlet, Wooden horses, Exchange, The Master and Margarita, House on the embankment and etc.

The Taganka Theater gave rise to the enormous popularity of its actors. Many of them began to act a lot in films (V. Zolotukhin, L. Filatov, I. Bortnik, S. Farada, A. Demidova, I. Ulyanova, etc.). However, the names of those Taganka artists whose cinematic life was less successful also became legendary. The clearest example is Z. Slavina, who has practically no high-profile roles in films, but, undoubtedly, was a star of the first magnitude in those years. And, of course, V. Vysotsky, whose fame was absolute, and just as “scandalous” as the glory of the entire Taganka Theater. The theater's acting work amazed not only with its journalistic temperament and unusual way of stage existence, but also with its unique plastic development of images. For example, the famous monologue of Khlopushi in the play based on S. Yesenin Pugachev V. Vysotsky performed, it seemed, beyond the limits of human physical capabilities.

Y. Lyubimov’s performances were always, undoubtedly, original, and differed extremely interesting work with text. The author of many compositions was Lyubimov’s then wife, actress of the Vakhtangov Theater, L. Tselikovskaya ( And the dawns here are quiet, Wooden horses, Comrade, believe... and etc.).

By the end of the 1970s, the Taganka Theater became world famous. At the International theater festival"BITEF" in Yugoslavia (1976) play "Hamlet" staged by Y. Lyubimov with V. Vysotsky in leading role was awarded the Grand Prix. Yu. Lyubimov received the first prize at the II International Theater Festival “Warsaw Theater Meetings” (1980). Many aesthetic techniques of the Taganka Theater became truly innovative and became part of the classics of modern theater (light curtain, etc.). One of the best set designers of our time, permanent theater artist D. Borovsky, made a huge contribution to the development of the visual image of the performances.

However, along with the artistic one, the public, social authority of the Taganka Theater of that time is of particular interest. With each performance, his political sound became more acute and outspoken. The theater has developed contradictory and ambiguous relations with the official authorities. On the one hand, Yu. Lyubimov took the position of an “official dissident”: almost every performance of his had difficulty making its way to the audience, experiencing serious pressure and being under the threat of a ban. At the same time, by 1980, the authorities built a new building with modern technical equipment for the Taganka Theater. Democratic, anti-philistine and very aesthetically complex theater performances counted among their fans not only the liberal intelligentsia, but also the managerial and bureaucratic elite. In the 1970s, a ticket to the Taganka Theater became a sign of prestige among the so-called. the “bourgeois” layer - along with a sheepskin coat, branded jeans, a car, a cooperative apartment.

This stage of the theater's life was accompanied by loud scandals; even before release, his performances were included in the context artistic life Moscow. This situation could not last long. In a certain sense, the sign that marked the end of this stage of the theater’s life was the death of V. Vysotsky in 1980. In the same year, at the invitation of Yu. Lyubimov, N. Gubenko returned to the Taganka Theater.

In the early 1980s the performance Vladimir Vysotsky, dedicated to Lyubimov’s memory of the poet and artist, was strictly prohibited from showing. The next performance was also closed, Boris Godunov, as well as rehearsals Theatrical novel. And in 1984, while Yu. Lyubimov was in England at the production of the play Crime and Punishment, he was released from his post as artistic director of the Taganka Theater and deprived of Soviet citizenship.

The Taganka Theater staff was completely at a loss. And at this time, the authorities are making a very strong political move, leading the theater to zugzwang, to a situation where under no circumstances could it win: A. Efros is appointed chief director. The creative individuality of A. Efros was very different, if not contradictory, to the individuality of Yu. Lyubimov. True, back in 1975 Lyubimov invited A. Efros to the Taganka Theater for the production Cherry Orchard. Then this was undoubtedly a step of solidarity with the disgraced director; and the actors’ one-time work with a representative of a different aesthetic movement was regarded as an enrichment of the collective’s creative palette. But in 1984, a change in artistic management should have meant a radical change in the entire aesthetic platform of the theater. However, the reasons for the deep conflict between Taganka and Efros in the mid-1980s were undoubtedly not creative, but social and moral: the main principle of the “sixties” - unity - was violated.

Lyubimov himself regarded A. Efros’s arrival at Taganka as strikebreaking and a violation of corporate solidarity. Some of the artists, joining his opinion, defiantly left the troupe (for example, L. Filatov). Few were capable of creative cooperation - V. Zolotukhin, V. Smekhov, A. Demidova. The majority of Lyubimov’s artists actually boycotted Efros. In this conflict there were no right or wrong: everyone was right; and they all lost too. A. Efros restored at the Taganka Theater The Cherry Orchard , put At the Bottom, Misanthrope, Lovely Sunday for a Picnic. And in 1987 A. Efros died.

At the request of the group, N. Gubenko became the artistic director of the Taganka Theater. He also led the two-year struggle to return to his homeland and to the Yu. Lyubimov Theater. In 1989, Yu. Lyubimov became the first famous emigrant to whom citizenship was returned. His name was officially returned to the context of Russian artistic life; previously banned performances have been restored. However, there was no “return to normal.” Yu. Lyubimov could not devote as much time to the Taganka Theater as before - he was forced to combine work with productions under already concluded foreign contracts. The existence of the actors was also complicated by the social upheavals of that time associated with hyperinflation and changes in the political formation. The theater was once again divided. This time the conflict with Yu. Lyubimov grew.

In 1993, a significant part of the Taganka team (including 36 actors) formed a separate theater under the direction of N. Gubenko. The “Commonwealth of Taganka Actors” works on the new stage of the theater. Yu. Lyubimov, with the remaining and newly recruited actors, works in the old building. Among them are such “veterans” of Taganka as V. Zolotukhin, V. Shapovalov, B. Khmelnitsky, A. Trofimov, A. Grabbe, I. Bortnik and others.

Since 1997, Yu. Lyubimov refused foreign contracts, deciding to once again devote himself entirely to the Taganka Theater. After his return, he staged a number of classic performances: Feast in Time of Plague A.S. Pushkin, Suicide N. Erdman, Electra Sophocles, Zhivago (Doctor) B. Pasternak, Medea Euripides, Teenager F.M.Dostoevsky, Chronicles W. Shakespeare, Eugene Onegin A.S. Pushkin, Theatrical novel M. Bulgakova, Faust I.V. Goethe. The repertoire also includes contemporary works: Marat and the Marquis de Sade P. Weiss, Sharashka according to A. Solzhenitsyn and others. The Taganka Theater is popular among spectators, however, this is undoubtedly a completely different theater.

In December 2010 Lyubimov resigned. The reason for his departure was a conflict with the troupe.

In July 2011, Valery Zolotukhin became the director of the theater and artistic director. In March 2013, Zolotukhin left his post due to health reasons.

Taganka Theater. Old scene. Moscow. Taganka Theater (street, 76), Theatre of Drama. Created in 1964 on the basis of the Moscow Drama and Comedy Theater (organized in 1946), the troupe of which included graduates with their graduation performance “Good... ... Moscow (encyclopedia)

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Created in 1964 on the basis of the troupe of the Moscow Drama and Comedy Theater (organized in 1946), which included graduates of the Theater School. Shchukin. Main directors: Yu. P. Lyubimov (1964 84), A. V. Efros (1984 87), N. N. Gubenko (1987 89), ... ... encyclopedic Dictionary

Moscow Taganka Theater- MOSCOW TAGANKA THEATER, dramatic, formed in 1964 on the basis of the Moscow Drama and Comedy Theater (created in 1946) and a group of graduates of the B.V. Theater School. Shchukin. Artistic directors: Yu.P. Lyubimov (1964 84 and since 1989), A ... Illustrated Encyclopedic Dictionary

Created in 1964 on the basis of the troupe of the Moscow Drama and Comedy Theater (organized in 1946), which included graduates of the Theater School. Shchukin. Main directors: Yu. P. Lyubimov (1964 84), A. V. Efros (1984 87), N. N. Gubenko (1987 89), Lyubimov ... Big Encyclopedic Dictionary

First theater games in Moscow are associated with the performances of buffoons. In the XVI-XVII centuries. Theatrical performances based on gospel stories were staged in ("Cave Act", "Washing of Feet"), on ("Procession on a Donkey"). The growth of secular culture, communications... ... Moscow (encyclopedia)

theater- a, m. 1) only units. A type of art, the artistic reflection of life through dramatic action performed by actors in front of an audience. Ancient theater. School theater. Puppet Theatre. Shadow play. Passion for theater. [Treplev:] She knows... ... Popular dictionary of the Russian language

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• Taganka Theater with and without Vysotsky. People, events, opinions, Victoria Viktorovna Chicherina. The book publishes historical essays dedicated to the Moscow Taganka Drama and Comedy Theater, interviews with its leading artists of the early 1990s, as well as materials about cultural life...

Actress Irina Apeksimova became director of the Moscow Taganka Theater. The head of the Moscow Department of Culture, Sergei Kapkov, announced a new appointment at the theater. Soon he himself will introduce Ms. Apeksimov to the Taganka Theater team.

“Apeksimova was appointed by my order as director of the Taganka Theater,” Sergei Kapkov, head of the Moscow Department of Culture, told Interfax.

Problems with the theater management began back in 2011, when, as a result of a conflict with the actors, Yuri Lyubimov, the founder of the Moscow Taganka Drama and Comedy Theater, left the troupe with a high-profile scandal. Vacant post filled National artist Russia and one of the leading actors of the theater Valery Zolotukhin, who was neither the initiator nor a direct participant in the conflict. In 2013, he left the theater for health reasons and soon died after a serious illness. Mr. Lyubimov himself was actually in the status of an exile; his performances gradually disappeared from the repertoire of his native theater.

Soon, the Department of Culture appointed Vladimir Fleischer, who had worked for many years as director of the Moscow Meyerhold Center, to a leadership position. Experts noted that this decision was more technical than creative: Mr. Fleischer was unable to develop a clear repertoire policy. As a result, the Moscow Department of Culture made a strong-willed decision on a new personnel appointment. Instead of Mr. Fleischer, the post of director of the theater will be taken by actress and producer Irina Apeksimova.

The key question on this moment is who will determine the artistic tasks of the theater, which is in a difficult situation today. If Ms. Apeksimova is transferred by the culture department to the Taganka Theater as a successful manager to solve administrative problems, then she needs an artistic director as a partner. However, if she is appointed to single-handedly determine the repertoire, then this decision seems rather extravagant, since the actress has no experience of independent management. artistic activity, she was not noticed in major artistic events.

Irina Apeksimova, who successfully worked for ten years at the Chekhov Moscow Art Theater and played more than 60 roles in theater and cinema, is currently heading the Roman Viktyuk Theater. In a statement to TASS, the artist noted that she “plans to combine these two positions.” Roman Viktyuk invited the famous actress to an essentially administrative position in 2012. Then she was given the task, together with the artistic director, to prepare the theater troupe to work under the conditions of regular shows in its own building. The building of the House of Culture named after Rusakov, in which the Roman Viktyuk Theater was based for a long time was expecting reconstruction, which is why the artists had to perform at various other Moscow venues. Thus, the actress Apeksimova repeatedly played in the plays of Roman Viktyuk, such as “Our Decameron” and “Carmen”. As you know, during the period of cooperation in the reconstruction field, the relationship between the artist and the director completely ceased to develop. One way or another, the Viktyuk Theater will remain under repair until the end of March.