The series "Poor Nastya", "Don't Be Born Beautiful", the films "Surprise Me", "Flight of Fantasy", performances " The Cherry Orchard”,“ The Master and Margarita ”,“ Red and Black ”- just a small list of the works of the actor Peter Krasilov. Thanks to B. Golubovsky, he immediately got into the second year of the legendary "Sliver" under the guidance of N. Afonin. Then - the Theater of the Soviet Army, "Sphere", extras in, and then - the academic youth theater, where he played the leading role in the production of "Erast Fandorin" for thirteen years. More than thirty roles in films, serials, theatrical performances and on television, participation in the projects "Dancing on Ice" and " ice Age", as well as in the entreprise and film performances. Krasilov is a laureate of the prestigious "Seagull" award.
A bright appearance, a creative family, an avalanche of seething energy - everything contributed to the fact that the boy became an actor. Especially the fact that his legendary father is Semyon Farada, and his famous mother is Maria Politseymako. Mikhail made his film debut at the age of eight, and this is not surprising - his parents constantly took him to shoot or to current performances in which they played. All his childhood passed behind the scenes. After school, he entered GITIS, and after graduating from it, he began to serve in the RAMT. In addition, he participated in entreprises (for example,). Now he has more than two dozen theatrical works and hundreds of characters on his account. wide screen, as well as dubbing several paintings. In addition, he also acts as a TV presenter, among his projects are "Morning on NTV", "Culinary College", "About the most important" and others.
He entered MIREA, but after a couple of years he left him, realizing that he was in love with the theater and wanted to be an actor. Kutsenko became a student of the Moscow Art Theater, surprising the head admission committee Oleg Tabakov. Because of the burr, Yuri became Gosha - he got rid of the pathology, but left a pseudonym. While studying at the university, he began acting in films, but then, when he graduated from the theater, he decided to change his vocation: there was no work, and small roles did not suit him. The choice was made towards television, but this did not suit him either. This was followed by a break from filming and acting - Kutsenko was a teacher at VGIK. Then popularity fell on him and roles in the films "Antikiller", " Turkish gambit”, “Love-carrot”, the series “Experts are investigating”, “The Last Cop - 2” and, of course, “Night Watch”. Now the actor is an Honored Artist of Russia, the owner of the Order of Merit for the Fatherland, about one and a half hundred works in theater and cinema. Kutsenko has served in more than ten years, also participated in an enterprise, productions. In addition, he is a musician and singer - he has two studio albums to his credit.
1934-1940, arch. K. Alabyan and V. Simbirtsev
There is a wonderful picture in the magazine "Technique of Youth" (1940. No. 2) - the Central Theater of the Red Army from the inside:
I especially liked the tank entrance.
The text comment explains:
"In the theater, works will sound in full voice the greatest masters world dramaturgy and plays by Soviet playwrights.
The height of the stage box, counting from the floor of the stage to the grate, from which the scenery suspended on cables descends, is 34 meters. In such a box, a large, eight-story building would fit freely.
There are spacious side rooms on both sides of the stage. The area of each of them is 350 square meters. These are called pockets. They serve to prepare voluminous scenery. Here you can prepare "battleship", "armored train", etc. for going on stage. The back stage can also be used for the same purpose. Thus, it is possible to prepare the design for three different actions at once. And in the corner rooms, located between the pockets and the back stage, you can store decorations for 3-4 performances of the current repertoire."
Theatre Soviet army- one of the characteristic monuments of Stalinist architecture.
Some art critics and historians consider this building a landmark, seeing it as a departure from the "style of the 1930s." and the beginning of the Stalinist empire. In any case, the idea was grandiose, and, moreover, not the last architects in the hierarchy of that time (deputy of the Supreme Soviet of the USSR, Academician of Architecture K.S. Alabyan, who was assisted by V.N. Simbnrtsev). Traditionally, as happens with iconic buildings, the construction of the theater reflected several aspects at once, characteristic of an essentially imperial Stalinist state.
1. "The army is the eternal love of the empire, it is an instrument of conquest, it is also a model for society" (this is a phrase from an article by Evgeny Anisimov).
Empires were built on overwhelming militarization.
It is no coincidence, writes a Soviet magazine, that "the Red Army and its glorious commander, Marshal of the Soviet Union K.E. Voroshilov, were the inspirer of the entire construction. attention of the People's Commissar. Throughout the entire period of construction, he tirelessly made sure that the theater was beautiful, comfortable, simple, that the theater was worthy Soviet people and his great Red Army."
"You involuntarily raise your eyes up to see aviation. Above the heads of the audience, in the expanses of clear, blue sky, proud Stalin's falcons are flying. This magnificent art painting ceiling gives a feeling of freedom, expanse. The most important works of art - the painting of the ceiling of the large auditorium and the foyer - were made by professors of painting L. A. Bruni and V. L. Favorsky."
2. Art is a propaganda tool.
The theater of unprecedented size was supposed to show "pictures of the glorious military past of the Russian people. The mass heroic performances will reflect the bright pages of the history, life and life of the Red Army, which won unfading glory in the battles for the motherland, for socialism."
"The revolution put art at the service of the people," is a typical mantra of the Soviet press when it comes to culture.
3. Theatricality - in general feature that time.
Let's recall the construction of the main highways with decoration houses (a magnificent front facade and unfinished others), sports and military parades, etc.
Therefore, the new empire could not but create its own Grand Theatre. And having created it, she made sure that he was the very best. From this follows another principle.
4. Gigantomania.
It is no coincidence that the sources of Stalin's time constantly mention the competitive nature of Soviet construction: more than in the rest of the world, more beautiful than before the revolution.
"The stage of the theater is adapted for a wide variety of performances and productions. Its width reaches almost 40 meters, and its depth, counting from the portal, is 30 meters. But this is only the main stage area. Behind it is an extensive rear stage (rear stage), which can also be used for theatrical action.If we add to this the front part of the stage (proscenum), which extends beyond the boundaries of the portal, then the total depth of the entire stage will be 62 meters. auditorium. On it you can deploy a mass action with the participation of more than a thousand people. Here you can show on a grand scale the capture Winter Palace, assault on Perekop. An infantry battalion, cavalry, tanks can "act" on such a stage. The theater has a special tank entrance through which these formidable combat vehicles will enter the stage."
“In the theaters that the bourgeoisie built, concern for the audience did not rise above the stalls and boxes. It was concern for the wealthy visitor. Comfortable, soft chairs, chic and luxury of the so-called “expensive places” were intended for him. the galleries were not very disturbed.There were common wooden benches, almost nothing could be seen from here, the voice of the actor was barely audible.
In the new Soviet theatre, in the Central Theater of the Red Army, all seats are equally comfortable and good. Here, for each spectator, there is twice as much space and air as in other theaters. The auditorium is designed for almost 2 thousand seats. It's for drama theater is a record number. Despite such a large capacity, the farthest seats on the balcony are only 28 meters from the stage."
5. The city is a sacred place with its own symbols.
In the very center - the mausoleum of the leader, the central squares - places for ceremonies in honor of great events.
The Place du Commune, on which the theater is located, was also assigned important role. A whole memorial of the military glory of the Red Army was to be formed here.
"In the near future, the Commune Square will be transformed, compositional center which serves new theater. Now to the left of it is the vast building of the Central House of the Red Army. M. V. Frunze. On the other side of the square, to the right of the theater, an equally vast building will rise Central Museum Red Army. Tram traffic will go to neighboring streets and lanes. Surrounded by a forest, this area will be an amazing but beautiful corner of Moscow, personifying formidable power and greatest culture The Red Army, its unfading glory, which will live for centuries and will reach our distant descendants."
6. The architecture of the Stalin era, of course, had its own language of symbols, where, without a doubt, the Theater of the Red Army also fit in.
In fact, it has become a true hymn to the Soviet five-pointed star, perhaps the most important symbol.
Probably, everyone knows the legend that the commander Voroshilov circled his marshal's ashtray with a pencil and suggested that Alabyan build a theater in a similar form.
Whether this is true or not, I personally don't know. However, in addition to the fact that several tiers of the building in the plan turned out to be five-pointed stars, the columns framing them also have a section in the form of a star.
Inside, the stars decorate stairs, ceilings, balconies, lamps.
What else can be added?
"The best, qualified forces of the country took part in the construction of the theater. The project of the theater was developed by architects, deputy of the Supreme Soviet of the USSR, Academician of Architecture K.S. Alabyan and V.N. Simbnrtsev.
A wonderful stage device, the only one in the world, was developed by engineer P. E. Maltsin. In his work, a careful study of the richest experience of the work of the stage of the Moscow Artistic academic theater USSR them. A. M. Gorky. "[Which was built by the damned capitalists, led by the sponsor of the Bolsheviks, industrialist S. T. Morozov]
"It goes without saying that the complex and varied Technical equipment theatre, as well as the lighting of the auditorium, stage, foyer and other premises require an enormous amount of electricity. The total installed capacity throughout the theater exceeds 4,000 kilowatts. This means that if all the mechanisms of the scene and all the lighting devices are turned on at the same time, then just such a grandiose power will be required, which would be enough to illuminate a large city with a population of several tens of thousands of inhabitants. The theater is equipped with its own electrical substation with a capacity of 2400 kilowatts. More than 10,000 light points have been arranged throughout the building and about 50 kilometers of multi-core cable have been laid. If all these veins, all electrical and telephone wires were pulled into one line, then it would stretch from Moscow to Kyiv, for a distance of 800 kilometers.
"Over the big auditorium located concert hall with nearly 500 seats. The Red Banner Red Army Song and Dance Ensemble and the best artistic forces of the capital will perform here. Ordinary people can go here theatrical performances. In addition, this hall will serve as a rehearsal room for the theater. In this respect, it is of great convenience, because here is the same wide stage as below.
Above concert hall There is a spacious art studio. Great picturesque scenery is being prepared here."
In addition, the theater was not fully realized as planned - the war probably prevented:
"The architectural design of the theater has not yet been fully completed. A giant figure of a Red Army soldier has yet to be erected on the upper tower of the building. The grandiose sculpture "October" must also be placed above the central pediment of the theater. Five upper corners of the building will be decorated with sculptures that depict various branches of the Red Army, in powerful fountains will be arranged in the lower corners."
"Moscow has been adorned with a new remarkable building: the Central Theater of the Red Army has been built. The grandiose, monumental building of the theater rises on Commune Square, one of the most spacious squares in the capital. It pleases the eye with its wonderful architectural appearance, harmonious harmony of forms, unusual volumes, height. In addition to its main purpose - to be the center of the theatrical culture of the Red Army, the theater should also serve the great architectural monument heroic army of the country of socialism, a monument that will exist for many, many centuries. Therefore, the theater building is given in terms of the shape of a five-pointed Red Army star. This emblem is the main, leading motif in the entire architecture of the building." - magazine "Technology of Youth", 1940
We could not pass by the building, which, according to some historians, is a landmark in Soviet architecture (the beginning of the Stalinist Empire style). And one summer night They tried to sneak in. Knowing that the theater belongs to the Ministry of Defense and hosts military service on call, we assumed that a few hours after lights out everyone would be in the arms of Morpheus.
Our guess turned out to be correct.
01. The theater of the Red Army begins its history in 1929. This year, at the initiative of the Political Directorate of the Workers 'and Peasants' Red Army (PU RKKA), a theater was formed from several propaganda teams to serve the Red Army troops and their commanders. On February 6, 1930, the first review performance "K.V.Zh.D." (director - V. Fedorov, script S. Alimov) dedicated to Armed conflict between China and the Soviet Union in 1929 over the southern branch of the Trans-Siberian Railway. Initially, this section of the road was built by agreement with China, even under Russian Empire, but after October revolution(1917), it was nationalized by the Harbin Soviet of Workers' and Soldiers' Deputies. Two weeks later, the Chinese troops explained that it was not necessary to do so and dispersed the Harbin Soviet. In 1924, the government of the USSR agreed with China and the road was taken over by the Soviet side. But in 1929, China seized the CER. Now the Red Army has to clearly explain to the Chinese that it is not necessary to do this, and in two and a half months it arranges a complete defeat of the Chinese troops and restores control over the road. In 1932, Japanese troops captured Harbin and annexed it to the puppet state of Manchukuo formed in the same year. In the light of these events, the Soviet government, after many months of negotiations, sells the CER to the government of Manchukuo. After 13 years, the Red Army erased the puppet state of Manchukuo from history and took the road back, and in 1952, as a sign of goodwill, the USSR gives it to China free of charge. This date is considered the birthday of the theatre. Before the advent of a separate building, the theater played its performances in the Red Banner Hall of the House of the Red Army (Now - Cultural Center Armed Forces Russian Federation) and often toured the Red Army units and garrisons.
02. In the 1930s, the uncontrolled demolition of architectural monuments began in the USSR, which, according to the party, were symbolized with tsarist power. Instead of the old symbols, new ones were required - demonstrating the values of a young and ambitious state. For the architects of that time, the search for a new, special "proletarian" style was characteristic. The emphasis was on continuity from classicism of clarity and simplicity of forms, but without abstract abstraction, from baroque - an organic sense of the materiality of the world, but without exaltation and hypertrophy. In 1932, new style receives the approval of the party and for the first time the term is voiced - socialist realism.
03. Under the influence of a new trend in architecture, deputy of the Supreme Soviet of the USSR, academician of architecture Alabyan Karo Semenovich (1897 - 1959). Soviet architect. Chief Architect of Moscow. In 1929 he was among the founders of the All-Russian Society of Proletarian Architects (VOPRA), which considered its goal to promote the "new proletarian architecture". In addition to the theater of the Red Army, K.S. Alabyan is also known for other works: the pavilion of the Armenian SSR at the All-Russian Exhibition Center, the ground lobby of the Krasnopresnenskaya metro station, the Sochi sea station, the building of the railway station in Voronezh, the planning of the Khimki-Khovrino residential area, participated in the development of the Master Plan for the reconstruction of Moscow. He was a laureate of the State Prize of the USSR (1941), a laureate of the Lenin Prize (1951), was awarded two orders (the Order of the Badge of Honor, the Order of the Red Banner of Labor), received the Grand Prix for International Exhibition arts and technology in Paris. January 5, 1959 Karo Semenovich dies of lung cancer. A street in Moscow (Alabyan st.) and a street in Yerevan (Alabyan st.) are named after him and architect Vasily Nikolaevich Simbirtsev (1901-1982). Soviet architect. Chief architect of Stalingrad (now - Volgograd). One of the organizers of the All-Russian Society of Proletarian Architects (VOPRA). In addition to his work on the Central Theater of the Red Army, he is also famous for other projects: the pavilion of the Byelorussian SSR, residential buildings on Krasnoselskaya Street and Leningradskoye Highway, Prombank on Tverskaya Street. He was engaged in the restoration of Stalingrad after the war. Was awarded the order Labor Red Banner and the Stalin Prize of the 2nd degree. October 19, 1982 Vasily Nikolayevich dies in Moscow. A street in Volgograd (Simbirtsev Street) is named after him. developed a project for the Central Theater of the Red Army.
04. The architects were given the task of creating a building-monument embodying the power of the Red Army. Considering that the specific theater buildings with a deep stage already had a spatial composition developed over the centuries, unfolding along the longitudinal axis of symmetry (entrance, lobby, foyer with couloirs, auditorium, stage box). It was very difficult to create a new volume-spatial form that the viewer would associate with the Red Army.
05. Since socialist realism required simplicity and clarity of forms and no abstract perception, the figure of a five-pointed star was chosen as the basis, so that even the birds understood that this was not just some kind of theater, but the theater of the Red Army. There are a huge number of stars in the theater, even the columns have a section in the form of a star. 
06. It was impossible to solve the assigned tasks without losses. In the Central Theater of the Red Army, the acoustics are worse, the foyer and halls are oversized, a number of rooms not provided for by the program, and several extra stairs. All this led to a significant increase in the cubic capacity of the building.
07. The whole country was engaged in the construction of the theater, without exaggeration "About 40 different factories of the Soviet Union fulfilled orders for this grandiose structure. The Kramatorsk Stalin Factory manufactured heavy truss structures of the stage; the Leningrad Electrosila factory gave motors to the theater; the Kharkov Electromechanical Factory - complex electrical equipment; the Moscow Metro factory made external fittings, metal hangers, marble works; Malo-Vishera glass factory made colored glass and all artistic glass fixtures."- magazine "Technique of Youth".
08. Probably the most spectacular place in the theater is the large hall, designed for 1520 seats. This is the largest theater hall in the world. When it was designed Special attention care was taken to ensure that all seats were equally comfortable, emphasizing equality between classes. “In the theaters that the bourgeoisie built, concern for the audience did not rise above the stalls and boxes. It was concern for the wealthy visitor. Comfortable, soft chairs, chic and luxury of the so-called “expensive places” were intended for him. the galleries were not very worried. There were common wooden benches here, almost nothing could be seen from here, the voice of the actor was barely audible. The revolution put art at the service of the people. And in the new Soviet theater of the Red Army, all seats are equally comfortable and good. " Even the problem of slamming seats was solved by fixing them with hinges so that they turn silently.
09. Scene great hall is also not small, it is considered the largest not only in the Russian Federation, but also in Europe. Size is not the only thing the theater can be proud of. Technical devices and its mechanisms designed by engineer I.E. Maltsin, could change the smooth floor of the stage, making it possible to create any relief on it. The stage consists of three main parts: a large rotating drum with a diameter of 26 meters, inside it there is a half-sized snare drum and a stationary part. Both drums can rotate around their axis independently of each other. In addition to rotating discs, the stage is equipped with so-called tables that can rise to a height of 2.5 meters and descend to a depth of two meters. There are 19 tables in total, 10 on the large disk, 3 on the small disk, and 3 on each side in the fixed part. With these tables, it was possible to create a giant amphitheater for large conventions. For such cases, special shields were provided to close the orchestra pit, thereby uniting the auditorium with the stage, which increased the capacity of the room to almost 4 thousand people.
10. In the diagram above, behind the scene, it is striking that an unusual point for theaters is a tank entrance. As conceived by the architects, it was planned that in theatrical productions it would be possible to use a real military equipment. I don’t know if this is true or fiction, but I was told that once a tank drove into the theater. The floor of the stage could not stand him, and he failed. By the way, the tank had a place to fall, there were three technical floors under the stage.
The photo shows a small rotating drum with a diameter of 13 meters.
11. Going down under the stage, you can see the design of a large rotating drum. Its height is 9.5 meters. The bottom of the drum consists of two powerful, mutually intersecting beams, on which running wheels are mounted. With these wheels, it rests in a circle on a circular rail track, along which the drum rotates.
Metal snare drum truss under the stage.
12. In order for the device to work at the lowest level, there is an engine room with electric motors. Energy is supplied to the electric motors from the outside, which caused certain difficulties during construction. It was impossible to simply put wires and cables to the drums, because during rotation, they would simply break. The solution to the problem was to use ring pantographs. But the factories, to which the engineers turned, did not dare to take on such a complex and urgent order - only two months remained before the opening. The Komsomol of the Dzerzhinsky district came to the rescue, on the territory of which the theater was built. Having contacted the Komsomol members of the Kirov Dynamo Moscow plant (now this plant is in an abandoned state), they asked them to fulfill the order. Together with the chief engineer of the plant, within a month, drawings were prepared and two pantographs were made, for the bass and snare drums. The enthusiasm and professionalism of Soviet engineers is admirable, because before that, no one had made such pantographs and they were completely unique in terms of design. The necessary products were manufactured before the contract between the plant and the construction organization was concluded.
One of the snare drum motors.
13. Electric motors, lighting (over 10,000 light points were located throughout the theater in the 40s) and various equipment needed a large amount of electricity. Therefore, the theater has its own electrical substation. About 50 kilometers of multi-core cable were stretched through the entire theater at the time of the opening. "If all these veins, all electrical and telephone wires were pulled into one line, then it would stretch from Moscow to Kyiv, for a distance of 800 kilometers." In the 21st century, the theater underwent a large-scale reconstruction to upgrade electrical equipment. For 6 months of work, more than 300 kilometers of cable were laid to connect stage lighting, electro-acoustics and video projection equipment.
14. Not the last role in the creation of the theater was played by Marshal of the Soviet Union K. E. Voroshilov. With his direct participation, the main issues arising in the construction were resolved. He also reviewed and amended the sketches of artistic painting, followed the choice of furniture and interior items. There is a legend that appearance theater, the marshal was related. At a meeting with the architect K.S. With Alabyan, he circled his star-shaped ashtray with a pencil and suggested building it that way.
15. Being in a large hall, it is impossible not to pay attention to the ceiling painting. It was made by professors of painting L. A. Bruni and V. L. Favorsky. Here is how they wrote about it in the Technique of Youth magazine of 1940: “You involuntarily raise your eyes up to see aviation. Above the heads of the audience, in the expanses of a clear, blue sky, proud Stalinist falcons soar. This magnificent artistic painting of the ceiling gives a feeling of freedom, expanse. "
16. A few words about the theater repertoire.
17. During its history, the Central Academic Theater Russian Army(the last name, the theater was renamed several times) created more than 300 performances.
18. The performances were not only of a military-patriotic orientation ("Front" by A.E. Korneichuk, "Stalingraders" by Y.P. Chepurin, "The Dawns Here Are Quiet" by B.L. Vasiliev, etc.). Classic performances by William Shakespeare were also shown ("Dream in midsummer night", "The Taming of the Shrew", "Macbeth", "Much Ado About Nothing", "Hamlet", "Othello") and performances by Russian classics ("Petty Bourgeois", "At the Bottom" - M. Gorky, "The Government Inspector" - N. Gogol, "Heart is not a stone" - A. Ostrovsky, "Uncle Vanya", "The Seagull" - A. Chekhov and others). major league KVN.
19. Among the productions there are also long-lived performances: "The Dance Teacher" by Lope de Vega, staged in 1946, was held more than 1900 times, the premiere of 1942 "A long time ago" by Alexander Gladkov - about 1200 times. They can be seen in TSATRA even now.
20. In addition to performances, all festive events of the Armed Forces of the Russian Federation, the anniversaries of the types and branches of the RF Armed Forces, the Main and Central Directorates of the Ministry of Defense of the Russian Federation are celebrated. The good tradition of military-patriotic education of youth has not been forgotten either.
21. Since the founding of the theater, in Soviet time, the troupe constantly toured military units and garrisons. Now the artists of TsATRA also do not sit in their building, but annually (more than 20 trips) they give concerts and perform performances in various military districts.
22. "The staff of CATRA consists of more than three hundred people, including more than 130 people creative staff, among which: People's Artists of the USSR V.M. Zeldin, L.A. Chursina, 13 People's Artists Russian Federation, 22 Honored Artists of the Russian Federation and 6 Honored Workers of Culture of the Russian Federation. A number of artists were awarded State Prizes, orders and medals of our state. The theater employs about 30 veterans of the Great Patriotic War.- from the official website of CATRA.
23. For creative youth of draft age, there is an opportunity to serve in the theater.
24. For a short summer night, we did not manage to get around the entire theater. But we managed to visit, in addition to the large hall, also an art workshop, which is located above the large and small halls.
25. Large picturesque scenery is being prepared in it. Special markings were applied on the floor to facilitate work with canvases, and walkways were installed under the ceiling so that you could watch the process of preparing the scenery from above and make changes. When the decoration is ready, it is rolled up and passed through the hatch under the grate flooring, where it is lowered down with the help of blocks.
26. There is one more purpose of the premises: construction and drill training for the serving "theatrical troops" take place here.
27. Despite the fact that the building seems to be completed, a number of architectural elements was not built for the opening of the theater in 1940.
28. The figure of a giant Red Army soldier was not erected on the upper tower of the building - which cannot but rejoice. Not installed sculptural composition"October", above the central pediment of the theatre. And at five upper corners buildings lack sculptures depicting different kinds troops.
29. But the biggest loss, in my opinion, is the unfulfilled idea of \u200b\u200busing the roof. According to the plan, it was supposed to have a garden with flower beds and lawns, as well as a restaurant, a dance floor and a cinema. In winter, there was an opportunity to arrange a skating rink. For visitors to the theater, on the roof, an excellent panorama would open, because in 1940, it was the tallest building in Moscow.
Machines for lifting and lowering scenery. They have been standing since the founding of the theater.
31. By the way, the idea of using rooftops for leisure is not new. In autumn, I had a chance to visit the roof of the first skyscraper in Moscow, where a restaurant was opened in 1916, and after the revolution, a square, playground and much more, but more on that another time.
32. In conclusion, a few words about the small hall, which we did not manage to get into due to lack of time. It is located above the large hall and is designed for 450 seats. The Red Banner Red Army Song and Dance Ensemble and other artists of the capital performed there. Rehearsals are also held in the small hall. I will also get here soon, but already as a spectator.
That's all. Curtain.
The following materials were used to write this post.