Created on April 23, 1964 on the basis of the troupe of the Moscow Drama and Comedy Theater (organized in 1946).
In 1964, a new chief director came to the Moscow Drama and Comedy Theater, located on Taganka, - an artist of the Theater. Evg. Vakhtangov, teacher of the theater school. B. V. Schukina, Yuri Petrovich Lyubimov. He came with his students and with their diploma performance Brecht's The Good Man from Sezuan, which became a symbol of the young theater and has survived in it to this day. Soon the theater will change its name and will be called according to its place of residence - the Taganka Theater, in everyday life - simply Taganka.

The charm of the studio, gambling and clever play, light and expressive conventionality immediately captivated Muscovites. The following performances consolidated the success. In "Ten Days That Shook the World" according to D. Reid - "a folk performance in 2 parts with pantomime, circus, buffoonery, shooting" - the audience fell into the heated and festive world of the revolution. Everything here became a holiday of the theater. The free element of the game, the courage of the square spectacles, the revived traditions of Vakhtangov and Meyerhold, the lively breath of the day - all this made Taganka not only popular, but vital. They spoke to the public directly and without hiding their faces. Inner freedom, dignity, an imprint of one's own personality distinguished the actors of Taganka from its first time - Vladimir Vysotsky and Valery Zolotukhin, Zinaida Slavina and Alla Demidova - and have become a tradition that is still mandatory.

Another tradition is the possession of the entire palette of arts. Word and action - the basis of drama - were as important as music, movement, singing. From the play "Antimira" based on the poems of Voznesensky, the theater of poetry began on Taganka; from the play "Alive" based on the story of Mozhaev - prose theater. The theater gave its audience lessons in literature, having walked with them for 40 years the path of world classics from ancient times to Chekhov and Brecht. Pushkin and Mayakovsky, the poets of the Silver Age and the military era, reigned here; based on the works of Dostoevsky, Bulgakov and Pasternak, "village", "urban" and military prose, a stage epic was created.

Taganka also gave lessons in history and civic fearless thinking; gave the maximum of what the theater was capable of in conditions of lack of freedom, serving as a pulpit and tribune, the realm of the arts - and a meeting place for people. Therefore, such a powerful and dense layer of friends surrounded her - from among those that are commonly called the color of the nation: scientists, public figures, artists.

The fate of Taganka has never been easy. The constant conflict with the authorities was resolved tragically and abruptly: Lyubimov's departure abroad, his excommunication from the country, from the theater, separation. A strip of alienation of five years (1984-1989) cut the history of Taganka into two unequal parts. Returning at the beginning of perestroika, Lyubimov began to revive his theater; achieved the publication of banned performances: "Alive", "Vladimir Vysotsky", "Boris Godunov". I also had to go through a split in the theater, which was not uncommon in those years, from which a group separated, calling itself the “Commonwealth of Taganka Actors”. But no one has yet managed to break the will of the creator of Taganka, to extinguish the creative fuse of the team, and this is hardly possible. The indefatigable Lyubimov, the patriarch of Russian stage direction, who has already crossed the line of his 80th birthday, stages Faust and the poetry of the Oberiuts, surrounds himself with youth and catches the rhythms of a new day.

In 1993, after a conflict with director Yuri Lyubimov, part of the actors of the Taganka Theater under the direction of Nikolai Gubenko organized a new theater called the Commonwealth of Taganka Actors. 18 years after the split, the current leaders of the two theaters - Valery Zolotukhin and Nikolai Gubenko met, shook hands, which was the beginning of the renewal of creative relations.

The Moscow Drama and Comedy Theater on Taganka was created on April 23, 1964 on the basis of the Moscow Drama and Comedy Theater (organized in 1946). The troupe included graduates of the Theater School. Shchukin with the graduation performance "The Good Man from Cesuan" by Bertolt Brecht. The director of the play, Yuri Lyubimov, became the chief director of the renovated theatre.

The theater was at the forefront of the theatrical process, developing a new stage language, finding 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 the chief director of the theater. After the death of Efros, the main director was Nikolai Gubenko (1987-1989).

In 1989, Yuri Lyubimov, invited by the acting team, 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 a new team and asked for assistance from the President of the Russian Federation Boris Yeltsin. Yeltsin's resolution of September 23, 1992 said that the issue of division should be decided at a general meeting of the theater by secret ballot, and if the decision to divide the theater is made, the president will agree with this.

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

Voting went on for three days. On October 30, 1992, at 17:00, the counting commission opened the ballot box and announced the results of voting: 185 ballots were issued, 182 were found, and none were invalid. 146 voted for the division of the theater, 27 against and 9 abstained. Thus, the majority of the troupe voted for the division of the theatre.

In April 1993, by decision of the Moscow City Council of People's Deputies, the theater "Commonwealth of Taganka Actors" was created under the direction of Nikolai Gubenko. The basis of the troupe of the new theater was 36 actors and part of the staff of the Taganka Theater. Together with Gubenko, such actors as Zinaida Slavina, Leonid Filatov, Inna Ulyanova, Nina Shatskaya, Tatyana Zhukova, Natalya Sayko, 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 of the theater turned out to be loud and dramatic. After the decision of the Moscow City Council on the creation of the "Commonwealth of Taganka Actors", dozens of trials took place, including twice - in the Supreme Arbitration Court of the Russian Federation, mainly - on the division of stage venues. As a result, the collective of the "Commonwealth of Taganka Actors" occupied a new theater building; The Taganka Theater operates in the old one.

"The Youth Theater on Taganka, created by Yuri Lyubimov, continues the traditions of the 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 into an unusual fusion ", heated by the enthusiasm of young artists. It is very young, this theater. It is only taking its first steps. But these steps are decisive. 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, Alexander Plotnikov became the chief director, and the troupe consisted of students from Moscow theater studios and actors from peripheral theaters. The first premiere of the new team was the play "The People is Immortal" based on the novel by Vasily Grossman. The theater was given the premises of the former electric theater (cinema) "Volcano" built in 1911 (architect G.A. Gelrikh). Actually, the cinema existed there only before the revolution, and in the 1920-1930s this hall became a theater platform.

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 post of chief director was entrusted to Yuri Lyubimov, at that time better known as an actor of the Vakhtangov Theater and a teacher at the Schukin.

Lyubimov came to the theater with his students from the Shchukin school and their graduation performance - “The Good Man from Sezuan” based on the play by B. Brecht. The performance was the debut on the professional stage for Zinaida Slavina, Alla Demidova, Boris Khmelnitsky, Anatoly Vasiliev. 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 direction of Lyubimov, the Taganka Drama and Comedy Theater immediately gained a reputation as the most avant-garde theater in the country. Like the early Sovremennik, the theater dispensed with a curtain and almost did not use scenery, replacing them with various stage structures. The performances actively used pantomime, shadow theater, music was used in Brechtian style. The very name of the theater became shorter over time: the Taganka Theater.

It was almost impossible to buy a ticket for some performances, they say that theatre-goers queued at the box office in the evening. In the theater's repertoire in the early years there were poetic performances "Comrade, believe ..." (according to A. Pushkin), "Listen!" (according to V. Mayakovsky), "Antimirs" (according to A. Voznesensky), "The Fallen and the Living" (about poets who died in the war), "Under the Skin of the Statue of Liberty" (based on the poem by E. Yevtushenko), dramatic performances "Ten Days who shook the world" (J. Reed), "Mother" M. Gorky, "What to do?" N. Chernyshevsky, "... And the dawns here are quiet" B. Vasiliev, "House on the embankment" Y. Trifonov.

1966-1970:

1967-1970:

The people were bursting into Taganka performances, but the idyllic relationship between the artist and the official quickly faded away. The chief director Yuri Lyubimov was not going to bend, and the authorities used force: new performances were not allowed, tours were canceled. 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 of very dubious content with a guitar. Although Vysotsky himself modestly answered in an interview that "without the Taganka Theater there would be no Vysotsky," he was the cornerstone in the Lyubov building, the performer of the main roles in the best performances: "Hamlet", "The Cherry Orchard", "The Life of Galileo", " Pugachev" and others. Despite all the difficulties, the 1960s and 1970s became the golden age of the Taganka.

In the early 1970s, a decision was made to reconstruct the theatre. Architect Alexander Anisimov did a great job on the sketches, taking into account the wishes of Yuri Lyubimov. Although construction began in 1972, the new theater hall only opened in April 1980. The reason for the long-term construction was the lack of funding, and the lack of building materials, and the adjustment of plans by Lyubimov. As a result, the old theater was saved and a red brick building with a new stage was added to it. Lyubimov seemed to have a presentiment that scandals would begin in the theater later and the troupe would be divided in two. In the meantime, Vysotsky sang about the bricks, which "remind everyone of a government house."

1987:

After the death of Vysotsky, the theater experienced troubled times, as if it was being pursued by evil fate. One of the artists called the Taganka of the 1980s "a terrarium of like-minded people." Yuri Lyubimov was in conflict 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 to replace Lyubimov. In 1987-1989, the theater was directed by Nikolai Gubenko, who contributed to the return of Yuri Lyubimov to his homeland. But even here there were some conflicts, in 1992 the theater was divided into Lyubov's "Taganka Theater" (old stage) and Gubenkov's "Commonwealth of Taganka Actors" (new stage).

The Vysotsky Museum was opened in the Nizhny Tagansky Dead End in the 1990s, and later the Vysotsky Club.

THEATER ON TAGANKA, The Moscow Taganka Theater was 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. Schukin. 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 the time of the reformation of the Soviet theater. A new aesthetics was affirmed, the names of young directors O. Efremov, A. Efros, in Leningrad - G. Tovstonogov thundered. Theater, along with poetry, became the main art of the Khrushchev thaw period, a herald of new ideas, a stronghold of the liberal intelligentsia.

In 1963, the third year of the Shchukin School under the direction of Y. Lyubimov showed the play Good man from Sezuan B. Brecht. The aesthetics of the performance were sharply out of the directions that existed at that time; she proclaimed a vivid theatricality, the fundamental absence of a "fourth wall", a plurality, even redundancy of stage techniques, surprisingly fusing the spectacle into a single wholeness. It clearly felt the revival of the theatrical traditions of the dynamic 1920s, directed by V.E. Meyerhold and E. Vakhtangov. Y. Lyubimov was asked to head the Moscow Drama and Comedy Theater, and he reorganized its troupe from the graduates of his course.

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

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

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

The main creative direction of Taganka was the poetic theater, but not chamber, but journalistic poetry. In a certain sense, this direction was “doomed to success”: it was precisely the poets-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 two performances based on the works of A. Voznesensky were included in the repertoire of the theater - Antiworlds And Take care of your faces(the second of them was banned shortly after the premiere, which only added to the performance's popularity). Poetry performances were the mirror of the artistic program of the theater Fallen and alive, Listen, Pugachev etc. However, the spirit of free and socially significant poetry dominated in the productions of prose or dramatic works, a vivid stage metaphor full of modern allusions. So it was with performances Ten Days That Shook the World, And the Dawns Here Are Quiet, Hamlet, Wooden Horses, Exchange, Master and Margarita, House on the Embankment and etc.

The Taganka Theater gave rise to the huge popularity of its actors. Many of them began to act in films a lot (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 practically does not have high-profile roles in the cinema, but, undoubtedly, was a star of the first magnitude in those years. And, of course, V. Vysotsky, whose fame was absolute, and as "scandalous" as the glory of the entire Taganka theater. The acting work of the theater amazed not only with its journalistic temperament and unusual way of stage existence, but also with the unique plastic development of images. So, for example, the famous Khlopushi monologue in the play based on S. Yesenin Pugachev V. Vysotsky performed, it seemed, beyond the physical capabilities of a person.

Y. Lyubimov's performances have always been, undoubtedly, the author's, and are distinguished by an extremely interesting work with the text. The author of many compositions was the then wife of Lyubimov, an 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 was becoming world famous. At the International Theater Festival "BITEF" in Yugoslavia (1976), the play "Hamlet" staged by Y. Lyubimov with V. Vysotsky in the title role was awarded the Grand Prix. Y. Lyubimov also received the first prize at the II International Theater Festival "Warsaw Theater Meetings" (1980). Many aesthetic techniques of the Taganka Theater have become truly innovative and have become classics of the modern theater (light curtain, etc.). D.Borovsky, one of the best set designers of our time, a permanent artist of the theater, made a huge contribution to the development of the visual image of the performances.

However, along with the artistic, 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 frank. Contradictory and ambiguous relations have developed between the theater and the official authorities. On the one hand, Y. Lyubimov took the position of an "official dissident": almost every performance of his made its way to the audience with difficulty, under serious pressure and being under the threat of a ban. At the same time, by 1980, the authorities built a new building for the Taganka Theater with modern technical equipment. Democratic, anti-petty-bourgeois and very complex aesthetic performances of the theater counted among their fans not only the liberal intelligentsia, but also the managerial, bureaucratic elite. In the 1970s, a ticket to the Taganka Theater became a sign of prestige among the so-called. "bourgeois" layer - along with a sheepskin coat, branded jeans, a car, a cooperative apartment.

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

In the early 1980s the performance Vladimir Vysotsky, dedicated to the memory of the poet and artist Lyubimov, was strictly forbidden to be shown. The next performance was also closed, Boris Godunov as well as rehearsals Theatrical novel. And in 1984, while Y. Lyubimov was in England staging a play Crime and Punishment, he was dismissed from the post of artistic director of the Taganka Theater and deprived of Soviet citizenship.

The staff of the Taganka Theater 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 the main director. The creative individuality of A. Efros was very different, if not contradictory, to that of Y. Lyubimov. True, back in 1975, Lyubimov invited A. Efros to the Taganka Theater to stage cherry orchard. Then it was undoubtedly a step of solidarity with the disgraced director; and a one-time work of actors with a representative of a different aesthetic trend was regarded as enriching the creative palette of the team. But in 1984, a change in artistic direction would 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” was violated - unity.

Lyubimov himself regarded the arrival of A. Efros at Taganka as a strike-breaking 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. Most of the "Lubimov" artists actually announced a boycott to Efros. There were no right and wrong in this conflict: everyone was right; and they all lost too. A. Efros restored in the Taganka Theater The Cherry Orchard, set At the bottom, Misanthrope, Perfect Sunday for a picnic. And in 1987 A. Efros died.

N. Gubenko became the artistic director of the Taganka Theater at the request of the collective. He also led the two-year struggle for returning to his homeland and to the theater of Y. Lyubimov. In 1989, Yu. Lyubimov became the first known emigrant to whom citizenship was returned. His name was officially returned to the context of the artistic life of Russia; previously banned performances have been restored. However, the "return to normal" did not work. Y. 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 then social upheavals associated with hyperinflation and a change in the political formation. The theater was once again divided. This time the conflict was growing with Y. Lyubimov.

In 1993, a significant part of the Taganka team (including 36 actors) separated into a separate theater under the direction of N. Gubenko. "Commonwealth of Taganka Actors" is working on the new theater stage. Y. 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 has refused foreign contracts, having decided to devote himself entirely to the Taganka Theater again. After his return, he staged a number of classical performances: Feast in Time of Plague A.S. Pushkin, Suicide N. Erdman, Elektra Sophocles Zhivago (Doctor) B. Pasternak, Medea Euripides, Teenager F.M. Dostoevsky, Chronicles W. Shakespeare, Eugene Onegin A.S. Pushkin, theatrical romance M. Bulgakov, 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 with the audience, 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 theater director and artistic director. In March 2013, Zolotukhin left the post due to health reasons.

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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. Schukin. 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, drama, founded in 1964 on the basis of the Moscow Drama and Comedy Theater (established in 1946) and a group of graduates of the B.V. Schukin. 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. Schukin. The main directors are Yu. P. Lyubimov (1964 84), A. V. Efros (1984 87), N. N. Gubenko (1987 89), Lyubimov ... Big Encyclopedic Dictionary

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Books

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