Studio Theater under the direction of R.N. Simonov

In 1926, the 27-year-old actor and director of the Theater named after Eug. Vakhtangov Ruben Nikolaevich Simonov ^[4] came to the decision to create a theater studio. A pupil of Shalyapinsky and Vakhtangov studios, by this time he was already known in Moscow theater circles for playing the roles of Truffaldino and Pantalone ( Princess Turandot , 1922 and 1924), Vice-King (Comedy Merimee, 1924), Zhevakina ( Marriage ) N. Gogol , 1924), Ametistova (“ Zoykin's apartment ” by M. Bulgakov ) in 1926. In 1923, I visited the 3rd Studio of the Moscow Art Theater on tours in Latvia, Estonia, Sweden, Germany. He put a vaudeville " Lev Gurych Sinichkin " by D. Lensky (played the role of Sinichkin) in the studio to them. Vakhtangov in 1924, "Marion Delorm" V. Hugo in the Theater named after Eug. Vakhtangov (1926), "Around the World on Himself" by V. Shkvarkin in the Comedy (formerly Korsch) Theater (1926). In 1924 he began teaching at the drama school at the Theater named after Eug. Vakhtangov.

The first organizational meeting of the future theater-studio was held in the autumn of 1926 . The team was made up of a group of young actors of the Chaliapin studio, the Bluebird studios and graduate students from the Central Technical School of Theatrical Art . From the very beginning, A. M. Lobanov , I. M. Rapoport, A. M. Gabovich and V. A. Schwemberger (directors), artist B. A. Matrunina, N. And. Sizova and M. N. Teriana (composers and music directors), D. N. Anastasyev (literary director). Later, P. V. Williams , I. S. Fedotov, N. V. Kuzmin, G. B. Yakulov, S. M. Aladzhalov were invited to work on the performances; the composers M. N. German, V. N. Kochetov, Yu. S. Milyutin , L. A. Schwartz ; choreographers I. A. Moiseev , M. M. Gabovich , N. A. Glan, orchestra artists D. A. Lepilov (conductor) and E. S. Pajitnova (pianist-accompanist). Studio actor and teacher B. V. Bibikov taught singing.

The troupe included artists V. N. Blagovidova, E. B. Bulatova, V. I. Gordon, N. A. Delectorskaya, A. I. Zavyalov, V. K. Ivanov, A. M. Inozemtsev, A. M. Koltypin, N.V. Lazareva, V.V. Maruta, I.V. Murzaeva , N.V. Pajitnov, N.S. Poluboyarinov, S.S. Polyakov, I.D. Prokofiev, V.M. Protser, E. Ya. Senkevich, K. I. Tarasova , I. S. Tolkachev, E. S. Tryapkin, G. I. Uspensky, T. S. Khlystov, G. I. Chernovolenko, V. A. Schultz.

In the period from 1928 to 1937 (before the merger with the Moscow Theater of Working Youth), the troupe included artists A. R. Barsky, V. M. Berhman, M. S. Volkova, A. G. Guliyev, M. P. Dagman, E. K. Zabiyakin , F. O. Zaslavsky, V. I. Zakharova, M. V. Zernov , I. K. Zinoviev, M. V. Khrenov, P. E. Klyukvin, N. K. Kechekezyan, B. P. Lebedev, G. A. Molenhauer, A. A. Mokhov, L. D. Nedovich, A. B. Nemirovsky, A. T. Pavlikhina, V. I. Pavlova, N. N. Parkalab, E. Ya. Petker, S. M. Puscheva, V. A. Robinson, Yu. K. Sabinin, G. E. Sergeeva , G. D. Sinelnikov, S. A. Solonitsky, M. A. Strelkova, T. A. Tamarina, I. N. Teplyh, E. M. Tobias , I. S. T Ulskaya, S.M. Khmara, P.S. Shcherbak, M.N. Evolinskaya, V.S. Erlikh.

In 1933, A. P. Adelheim, T. P. Altseva, E. N. Baikova, L. E. Garfeld, G. A. Georgiou , V. V. Gertsy were accepted into the school at the Studio Theater and joined the troupe. , M. M. Gnuni, L. I. Dancheva, F. V. Devolsky, V. A. Dykhovichny , A. G. Kepinov, G. A. Kondratieva, M. V. Malinina, N. A. Mitskevich, And P. Nielsen, T. N. Pylaeva, V. T. Romanova, Z. A. Sokolova, O. S. Solovyova, E. L. Utyosova , E. G. Foster, I. A. Kharitonov, Z. A Shterenberg.

In 1934, the troupe was enriched with artists of the Bauman Theater of Workers' Guys (renamed Moscow Theater for Children in 1936) by T. A. Ardasenova, S. Kh. Gushansky, I. M. Doronin, N. I. Petrov, Z. A. Sazhin .

1928-1932

The Studio Theater was opened on November 6, 1928 with a performance-re-enactment of S. Zayitsky's parody novel, The Beauty from Lulu Island. They did not have their own premises, rehearsed where they would have to, and the performances were held in the clubs of Moscow and the Moscow Region, in the House of Culture of Soviet Armenia and in the meeting room of the Academy of Arts, in which R. Simonov organized an experimental theater workshop. At the suggestion of the Academy leadership, directed by V. Schwemberg, an “agitation” performance was staged by S. Gorodetsky and A. Kondratiev “The Enchanted Treasure” on a topical theme - “about subscribing for loans” (premiered in September 1929). At the same time, work began on A. N. Ostrovsky 's “ Talents and Fans ”.

In April 1930, the studio received the official status of a mobile (that is, not having its own stage) Studio Theater under the direction of R. N. Simonov under the Administration of Moscow entertainment enterprises. The older part of the troupe began to receive a small salary. And yet, recalling the first three years of the studio’s life, R. Simonov described them as “incredibly difficult” ^[5] .

At the beginning of the 30s several studio plays were staged by the theater studio on contemporary themes: “We must want” by V. Derzhavin (post. A. Lobanov with R. Simonov, 1930), a play by the same author “In the Line of Fire (Post. R. Simonov and I. M. Rapoport, 1931) and others. The performances of the plays of V. Derzhavin were well received by the audience, especially “In the Line of Fire” with the subtitle “Glow” - about the role of the Komsomol in the life of the country using the example of the electric plant team. The protagonists of the play are typical of works of those years — an advanced worker — a Komsomol, an old worker — a grumbler and a lover of drinks, a secretary of the Komsomol cell, hiding his egotistical essence behind the outside business, activist workers, and “irresponsible snatches”. The well-known critic V. Ehmans noted the dynamic, emotional nature of the production, the expressive play of the actors, and called for the continued fighting spirit of the young team ^[5] . A similar theme was raised in the play “Enthusiasts” by E. Tarvid and N. Serebriakova (1932). A. Lobanov in 1931 staged “Talents and Fans” based on the play by A. N. Ostrovsky and in 1932 “Vaudevilles of the era of the French Revolution”. In December 1932 and in August of the following year, the band successfully performed their first long tours in Leningrad . The spacious halls of the Leningrad House of Culture were filled "to failure."

The performances which became especially noticeable:

“The Beauty from the Island of Lyulyu” after the novel by S. Zayitsky (post. R. Simonov, artists G. Yakulov and S. Aladzhalov, music by N. Sizov, dances staged by I. Moiseyev, 1928) . Parody novel by S. Zayitsky with the characteristic subtitle “A novel for road reading” tells a simple story about how seeing a beautiful woman named Luliu on the screen and believing in the real existence on a distant island, she goes on a search for her. Having experienced a shipwreck, a meeting with savage man-eaters and a host of other adventures on the way, they all return to Paris, where they learn that the maid-porter was cast as a rescued beauty. The cheerful musical performance with dances and pantomime was popular with the audience and received good reviews from critics. The creators of the performance, like the whole studio, did not receive payment, moreover, they collected money for the production of scenery and costumes among the members of the studio.

“Talents and Fans” by A. N. Ostrovsky (post. A. Lobanova, artist B. Matrunin, 1931) .

The public viewing of the performance took place on May 23, 1931 in the club of the Goznak factory on Plyushchikha, the premiere - a month later in the Hermitage Garden Theater. The first major directorial work of Andrei Lobanov brought the first great success - the performance and many years later was recognized as the best production of the theater-studio ^{[3] [5]} . The director refused to become already familiar to the generally accepted interpretation of the classic play of A. N. Ostrovsky as a household comedy, turning it into a social drama. The new sound of the play was achieved by changing the nature of the relationship between the characters, the exact appearance of each of them, the dynamic presentation, the carefully selected musical accompaniment.

In the center of the performance, Lobanov placed the complicated relationship of the young actress Negina with the “waiting teacher's place” by the former student Meluzov and the “very rich landowner” Velikatov. “They underlined Negina’s warped fate and her grief in the finale, Meluzov’s civil protest, the wolf grip of the two-faced, outwardly imposing Velikatov, the malignancy or worthlessness of other reproachable figures” ^[6] , which contributed to the play a great social acuity. The dynamics of the performance were given by a quick change of the episodes into which the director divided the four-act play, the installation of scenery on three rotating circles. Between the episodes sounded old waltzes and polkas, creating the atmosphere of the provincial theater of the last century. The artist B. Matrunin found exact external stage images of the characters of the play ^[5] : Negina’s modest dresses (K. Tarasova), contrasting with the brilliant dresses of Smelskaya (E. Bulatova), dressed in the popular “cozy old” Domna Pantelevna (V. Blagovidova ), characteristic of raznochintsy of the 19th century, Meluzov’s appearance (E. Zabiyakin), the tragedian Gromilov (K. Ivanov) in a raincoat and wide-brimmed hat, reminiscent of a “theater robber”, the young prince Doulebov (I. Poluboyarinov) in a bright color frock coat and a top hat. The acting ensemble was supplemented by “the ever sleepy servants of the Neginovs Matryona (I. Murzaeva) and the Oberconductor at the station (M. Zernov) - a proclaimed figure proclaiming for many years the old voice about the train departure.” Admiring the performance, the press noted in its irony, freshness, dynamics a certain similarity with Vakhtangov's "Princess Turandot", and in the critical, revolutionary development of the classics found the "invisible shadow of the recent leader of Theatrical October " ^[7] .

By the end of the season of 1934–1935, “Talents and Fans” passed with a permanent notice about 600 times, and only more than 1000 times before the closure of the theater ^[7] . The talents and admirers of the Moscow Art Academic Theater (staged by K. S. Stanislavsky , N. N. Litovtseva and V. A. Orlova, 1933) did not prevent the spectator's success.

"Enthusiasts" E. Tarvid and N. Serebryakova (post. R. Simonova, artist B. Matrunin, 1932) . The performance narrated about the life of Soviet working youth - work, rest, personal relationships. Performing an urgent task, the Komsomol workers work, regardless of time. For a not-too-winning theme, it was necessary to find a convincing and entertaining theatrical form, and the director defined it as “music and drama”. The musical accompaniment contributed to the organization of the action, helped to “revive” the performance, set the desired pace for the actors' stage movement.

"Vaudevili era of the French Revolution" (post. A. Lobanov, 1932) .

The performance-vaudeville demanded from the performers - dramatic actors of the "conversational genre" - the ability to sing and dance, as is typical of the "light genre." The director, in turn, needed to make such changes to the scenes of vaudevilles, written a century and a half ago, so that they could be interesting for the modern viewer. Intermediate interlude numbers, a satirical depiction of representatives of the “reactionary clergy” helped to give the Vaudevil political clarity and connect events in revolutionary France of the late 18th century with the life of Soviet society at the beginning of the 20th. Simonov wrote in his memoirs: “In our performance, for the first time, the actor had to deal with voodivnye couplets, with vodevilny rhythms, he first began to talk about big problems in the light language of the vodevilny character, and if he was not always able to do it, he sometimes didn’t master it - this could not give rise to pessimism, but, on the contrary, should have been an incentive for a new work on a similar genre, unfortunately, so little common on the Soviet scene. " ^[5] .

1933-1937

By the end of 1933, the long-awaited renovation of the building intended for the studio on Bolshaya Dmitrovka with an auditorium with 400 seats was completed. The grand opening of the now stationary theater studio took place on November 20, 1933 . In less than five years, from the end of 1933 to 1937, nine performances were released, not counting the rehearsals that were finished in 1937, but not completed by Alexander N. Ostrovsky's The No-Drops. During the same time, the theater visited tours in many cities: Gorky , Murmansk , Kharkov , Leningrad (twice), cities of the Caucasian Mineral Waters . Performances released:

"Ellen Jones" ("Auto") S. Treadwell (post. R. Simonov and A. Gabovich, artists A. Olenev, V. Libson and L. Kulaga, 1933) .

In the center of the play, the American writer Sophia Treadwell is the tragic fate of a simple worker, Ellen, dying in an attempt to resist a soulless "machine" - the capitalist state embodies in the play. Ellen is alone in her struggle, surrounded by unworthy people, betrayed by the man she fell in love with. In the play there is no real car, except for the electric chair in which Ellen is executed for killing her husband. And in this performance a large place was occupied by musical accompaniment - folk American songs sounded. This play was performed simultaneously at the Chamber Theater, and both productions with Alice Koonen and Xenia Tarasova in the title role enjoyed equally great success.

“The Cherry Orchard ” by A.P. Chekhov (post. A. Lobanov, 1934) . Unlike most of the other productions of Lobanov, The Cherry Orchard was greeted with a chorus of critical reviews, in which individual benevolent voices were almost inaudible. “Lobanov was accused of distorting Chekhov, oblivion of the traditions of interpretation of his plays in the Art Theater, of nihilism in relation to the cultural heritage, of vulgar sociologism, which had just been shatterously criticized. The court was ruled in the pages of newspapers and in public opinion " ^[7] . Even after 20 years, the official view of the performance has not changed. It was most sharply expressed in the capital Essays on the History of the Russian Soviet Drama Theater: “In this performance, polemically directed against the staging of the Art Theater, the most blatant distortion of characters, genre, composition and the very ideological essence of the play was allowed.” ^[3] .

So the director’s attempt was made to read the play precisely as a comedy, to give the heroes satirical or negative traits, to deprive them of the ostentatious external nobility. R. Simonov wrote about Lobanov: ^[7] “In art, he always knew how to find a new, some unexpected solution. His decisions sometimes even seemed paradoxical, almost scandalous, but they were always interesting and talented. For example, his play "Cherry Orchard". There everything was contrary to tradition. Usually, Charlotte is played by comic old women, and in the studio they gave this role to a young, pretty and elegant studio player G. Sergeeva. Ranevskaya he lost any haze of poetry. It was a gorgeous lady who “lived through life” in Paris. Lackey Yasha suddenly found himself strangely associated with her, and instead of the traditionally “blue” Ani, there was a girl in the play who sharply condemned her mother and quite evilly gossiped about her ... ” The sober-minded merchant Lopakhin in the performance was contrasted with the “eternal student” and the “shabby gentleman” Trofimov, who uttered the famous sublime monologue about labor and a man in a drunken state before the restaurant sex. Gaev is represented as empty, worthless, unable and unwilling to do anything. “Gone to the Shadow” is a poetic image of a blooming cherry orchard - a symbol of the play of the past that is dear to the heroes.

Ksenia Tarasova, the performer of the role of Ani, wrote: “I remember our argument. The three of us argued - Lobanov, Khmelyov and me. Argued immediately after the performance:

- The viewer should laugh at the Ranevsky, Guys, and I am glad that the audience is laughing. This breed of people is eliminated, - he spoke with cheerful excitement, with firm determination to convince us.

“Andrei, you mischievous,” Khmelyov boiled.

- It's time to review the errors. I am for Chekhov against the Moscow Art Theater, Lobanov said confidently. And he reconsidered cheerfully, talentedly, mischievously " ^[7] .

“It seems to me, no, I am convinced that if there would be an opportunity to see Lobanov's“ Cherry Orchard ”now, there would be no bitter accusations for Lobanov and us, there would be no stinging articles. <... > I would define Lobanovsky performance as a high comedy, full of stinging irony and moral meaning. It ridiculed and debunked what was subject to ridicule and debunking ”(N.V. Pajitnov, cited from ^[7] ). R. Simonov expressed a similar assessment: “Of course, the decision of the performance was very brave for that time, but now, when so much time has passed, I, once again recalling this production in my studio, are convinced how true, Lobanov organically revealed this play ... " ^[5] .

" Raised virgin " in the novel by M. Sholokhov (post. R. Simonov and A. Lobanov, artist I. Zinoviev, 1934). All actors of the troupe were busy in the performance, he fully met the requirements of the time. Critic Vl. Maritime, who saw the play on the theater tour in Kharkov, wrote: “Ruben Simonov unfolded a large and vivid picture of the first steps of collectivization on the Don. Yes, on the stage appeared raised virgin, rich, fertile, which plowing plow proletarian power and wisdom. Simonov in the tones of the epic creates a realistic performance, imbued with a great love for the new Cossacks, directed by all its edge against the class enemy. ” (Vl. Sea. "Complete virgin." - "Kharkov worker", 1935, June 1).

"Family Volkov" A. Davurin (post. R. Simonov, artist B. Matrunin, 1935). “A performance with greater or lesser successes of individual performers is played well in an ensemble, in terms of simple natural images, without much emphasis and pressure. In the ability to work with actors, of course, a great achievement of the artistic direction of the theater. Thoughtful work of the director makes this play "actor." From there, from his acting nature - his undoubted emotionality, infectiousness, his activity "(D. Talnikov." The Family of Volkovs "-" Soviet Art ", 1936, January 17).

"Always five" S. Maugham (post. A. Lobanova, 1936)

“The Musician Team” by D. Del (post. A. Lobanov and V. Maruta, 1936)

"Date" by K. Finn (post. R. Simonov, artist B. Matrunin, 1936)

" Children of the Sun " M. Gorky (post. A. Lobanov and V. Maruta, 1937) . The first appeal of A. Lobanov to the most difficult of the works of Gorky’s drama and the first meeting of young actors with a play of a tragicomic genre.

“ Dubrovsky ” based on the novel by A. S. Pushkin (post. R. Simonov, artist N. Kuzmin, 1937) . The performance was being prepared for the 100th anniversary of the poet’s death, which gave a special meaning to the future production. A certain difficulty for the studio students was a new one for them - the romantic genre of the story, which, according to Simonov, was not easy to master.

The studio theater under the direction of R. N. Simonov worked for 11 years - from 1926 to 1937. Formed in 1936, the All-Union Committee on Arts began in the late 30s reorganization of theatrical business in the country. Some theaters and studio groups were closed, including the Moscow Art Theater 2 nd , the Theater of the All-Union Central Council of Trade Unions and the Theater named after the Sun. Meyerhold , Studio Theater under the direction of Alexei Wild . Combined (not always successfully) different in their creative principles groups - Tairov Chamber Theater with the Realistic Theater Okhlopkova , Theater Studio them. MN Yermolova with Khmelev Studio. Numerous theaters of working youth (TRAMs) at that time were closed or reformed. At the end of 1937, the Studio Theater under the direction of R. N. Simonov was merged with the Moscow TRAM. The new team, which in 1938 received the name of the Moscow Theater. Leninsky Komsomol (when choosing the name, the performance of the play based on the novel by N. Ostrovsky "How the Steel Was Hardened" played the role), was headed by actor and director I. N. Bersenev . Of the former staff of the theater studio, only a few remained in it: N. A. Delektorskaya, V. V. Maruta, N. N. Parkablab, G. E. Sergeeva, K. I. Tarasova, and some others. R.N. Simonov in 1939 was appointed chief director (artistic director) of the Eugene Theater. Vakhtangov, in which he served until the end of life.