Do you want to visit Backstage? I have visited)
I really like to go on excursions to the theater, it is interesting to see where and how what you see on the stage is born.
Many thanks to Dasha for the tour and an interesting story about the theater, about its history and present.
It is a pity that the theater is threatened with closure, and maybe this is the last time I visited it...
And we are going to places where the audience on a normal day is not allowed to enter.
The orchestra pit is very compact, but it can fit up to fifty people (I have no idea how), so every millimeter of personal space is important. Because of this, one could only look there, otherwise they could move something.
The stage is already set for the evening performance. What I like about this theater is that the stage for a certain performance can transform, change its shape, and it even happens that the audience is on the stage, and the actors are in the auditorium (I have never been to such a performance)
Behind the stage, in the "pocket" on the wall, the cheat sheets for the performance are already ready, the props that will be needed in the evening have been prepared
Usually there are two "pockets" in theaters, but here there is only one, and it's very compact. we hardly settled here, how they manage to change clothes and fix their make-up here - I can’t imagine.
And we are going to wander the corridors from the stage.
Costume shop
And a very unusual thing - a luminous dress
Male make-up shop, designed for two artists, here the actors are only made up, although for some performances the actors prefer to do their own make-up
Here the actors rehearse, I have no idea how to do it in that closeness, especially if all the actors gather.
The stripes on the floor are for a reason - they represent the scenery, but don't drag them under the very roof of the building, and not all the scenery will fit here.
And here are the decorations, or rather the workshop where they are collected and stored.
Layouts for the scenery are made in accordance with all proportions, all the details move, just like in those that will later be created on the stage.
One person works here, but he quickly disappeared when he saw our group)
Women's costume shop.
If the performance has two casts, special tags are hung on the hangers so that the actors take exactly their costume.
Women's dressing room, here all sorts of details for female images different performances.
And if the actress wears some details in different performances, then the jewelry is stored in personalized boxes.
This is what I understand - a cosmetic bag, it closes and can be easily moved, because it is on wheels.
Here, one young participant of our excursion had a lot of questions, and the make-up artist answered them in detail, where and what you need to study in order to work in this profession.
Men's costume shop, there are also quite a few costumes.

Chamber Musical Theatre them. Pokrovsky is one of the most the best theaters capital Cities. The schedule and repertoire are rich in numerous events and performances of a wide scale. Theater Chamber Musical Theatre. Pokrovsky, you can buy tickets for the performance today on our website. It is best to pre-purchase tickets to the Chamber Musical Theater. Pokrovsky with free delivery within the Moscow Ring Road. You can find out about the price and cost of the ticket from our managers by calling our number 8 495 921-34-40.

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“Read The Thousand and One Nights, read the fantastic stories of Hoffmann, leaf through the pages of Jules Verne, Mine Reed, Wells - and then, perhaps, you will get some idea of ​​how Chamber theater, or rather, about how, until the last moment, we ourselves did not know whether it really arose or whether it was just a feverish delirium, a "capriccio" of our theatrical imagination "- so wrote Alexander Tairov, inspirer, creator and director of the Chamber Theater. Of course, it was a miracle that Alisa Koonen left the Moscow Art Theater, and the fact that Mardzhanov’s adventure with the creation of the Free Theater, where all theatrical genres would coexist, lasted a season, and the fact that Mardzhanov invited Tairov, who had almost said goodbye to the theater, to stage two performances, and the fact that he agreed, and, of course, the meeting between Alisa Koonen and Alexander Tairov was a miracle!

The most successful performances of the Free Theater were Tairov's "Pierrette's Veil" and "Yellow Jacket" starring Alisa Koonen. Fate did not favor Mardzhanov, and the Free Theater disintegrated, laying the foundation for the Chamber Theater. A group of young people without money, connections and premises was already the Theater, everything else was not slow to follow. A mansion was found on Tverskoy Boulevard, which, according to legend, Alisa Koonen pointed out to Tairov. "We wanted to have a small chamber audience of our spectators, who were just as dissatisfied and searching as we are, we wanted to immediately tell the prolific theatrical inhabitant that we are not looking for his friendship, and we do not want his afternoon visits," Tairov explained the essence of the theater's name .

"Liberated" theater

The creators of the new theater had their own program. It consisted in the renunciation of all directions that existed at that time. The director and his like-minded people suggested creating a kind of "liberated theatre", plastic, effective, emotional, speaking its purely theatrical language. Tairov seemed to brush aside the entire history of the theatre, establishing new relationships with literature, music, space, and painting. And most importantly, he brought up a new actor who masterfully controls his body, voice, emotions, capable of being a dancer, singer, acrobat, dramatic artist, able to feel absolutely free in the two main genres of the Chamber Theater - tragedy and buffoonery.

The theater opened on December 12 (25), 1914 with a drama by the ancient Indian author Kalidasa "Sakuntala". Story tragic love Shakuntala, brilliantly played by Alisa Koonen, was a great success. But new system did not develop immediately. The real victory was on the play "Famira Kifared" after the tragedy of Innokenty Annensky. Separate finds merged, finally, into a single whole. Everything in the performance was harmonious: the staging by A. Tairov, and the fundamentally new constructivist design by A. Exter, and the music by A. Forter ... "Famira Kifared" made the impression of an exploding bomb. Even the opponents of the new theater were forced to acknowledge its victory. The circle of admirers of the Chamber Theater has expanded, the theater has "its own audience".

In the 1916-1917 season, the theater had to leave the building on Tverskoy Boulevard. It was rented to another theater on more favorable terms. But the Chamber Theater did not fall apart, the following program performance was born on the tiny stage of the acting exchange - "Salome". A. Efros wrote about this: “An experience of great courage. The theater has never gone so far.”. The role of Salome opened the gallery of tragic images of Alisa Koonen. The brilliant works of I. Arkadin (Irod) and N. Tsereteli (Iokanaan) testified that Tairov's dream of a "superactor" was beginning to come true.

The premiere took place three days before the revolution. The bright spectacle, romantic elation and beauty of Alexander Tairov's performances turned out to be in tune with new era. Lunacharsky resolved the issue of returning the building to the Theater at 23 Tverskoy Boulevard and allocating money to rebuild the auditorium for 800 seats. While construction was going on, the troupe went on tour to Smolensk, where they were born in field conditions. "Adrienne Lecouvrere"- the legendary performance of the Chamber Theater, which lasted in the repertoire of 30 years, the performance with which the Chamber Theater forever said goodbye to the audience in 1949 ...

Almost as noisy was the success and "Princesses of Brambilla", capriccio of the Chamber Theater based on the tale of Hoffmann, which began the line of harlequinade in the work of Tairov.

The following season, Tairov released "Phaedra". Especially for this performance, Valery Bryusov made new translation the tragedy of Jean Racine. "Phaedra" became one of the most famous performances of the Chamber Theater and one of the best tragic roles of Alisa Koonen. Everything that Tairov taught his troupe crystallized in this production. "Phaedra" confirmed the position of the theater in tragedy, and the performance released in the fall of 1922 "Zhirofle-Zhiroflya" Charles Lecocca was a true triumph of buffoonery. Alisa Koonen easily turned from Phaedra into Zhirofle-Zhirofly, and Nikolai Tsereteli from Ippolit to Maraskin. And this was another evidence of the fidelity of the Tairov method of educating a synthetic actor.

The Chamber Theater became one of the most beloved in Moscow, and foreign tours in 1923, 1925 and 1930 brought him worldwide fame! His own theatrical language was found, a troupe was brought up, which, by all accounts, had no equal in Europe. But the theater faced the difficult task of choosing a repertoire that would correspond to its aesthetic principles- "neorealism", romantic elation, commitment to tragedy and buffoonery, isolation from everyday details. After a not-too-successful experience with Ostrovsky's play The Thunderstorm, Tairov staged three plays by Eugene O'Neill: "Shaggy Monkey", "Love Under the Elms" and "Black person". All three performances were a great success with the public, especially "Love under the Elms" shocked the hearts of the audience.

The continuation of this direction in the work of Tairov was performances based on the play by Bertolt Brecht "Opera of the Beggars" and a play by Sophie Treadwell "Machinal". Tairov proved that he can talk about contemporary issues modern language, without deviating from its system. "Kukirol", "Day and night", "The Man Who Was Thursday"- continued the line of buffoonery, grotesque and bright entertainment. But gradually the theater faced a serious problem in the choice of repertoire. The theater could not stage only foreign authors, and the Soviet dramaturgy could not satisfy Tairov. Several of his experiments in this direction ended in failure. And only "Optimistic Tragedy" was an undeniable success. In the future, modern Soviet themes took an important place in the performances of the Chamber Theater. "Sky of Moscow" G. Mdivani, "Front" S. Korneichuk, "Until the Heart Stops" K. Paustovsky, "The sea spread wide" Sun. Vishnevsky, A. Kron and V. Azarov...

And yet the success of the Chamber Theater in these years is more associated with the production of Russian and foreign classics. The play premiered in 1940. "Madame Bovary" Gustave Flaubert, staged by A. Koonen, music by D. Kabalevsky. "Madame Bovary" is one of the pinnacles of Alexander Tairov's directing skills. (In 1940, the French government awarded the theater a medal as a sign of deepest gratitude for this performance). It seemed that Tairov and Koonen were able to penetrate the very essence of human soul. The subtle psychologism that distinguishes the performance is also characteristic of the director's later productions, such as the performance-concert "Gull" based on the play by A.P. Chekhov "Guilty Without Guilt" A.N. Ostrovsky, "Old man" A.M. Gorky.

Forever closed

A systematic struggle against the "formalist theater" had been going on intermittently since 1936. The theater released a funny parody fairy tale "Heroes". The performance was supposed to continue the tradition of musical performances on the stage of the Chamber. The premiere was a success. But the storm broke suddenly. A month after the premiere, Pravda published an article explaining the anti-people essence of the play. The real persecution began in the press. In 1937, a resolution was issued to merge the Tairov Chamber Theater and the Okhlopkov Realistic Theater into one collective. Theaters more opposite in their aesthetic principles could not be imagined! The theater was saved from death by a reshuffle in the Committee for Culture. Instead of P.M. Kerzhentsev was appointed M.B. Khrapchenko, who canceled the decision.

The theater survived the war, playing performances in evacuation on the tiny stage of a club in the city of Balkhash. In 1945, the 30th anniversary of the Chamber was widely celebrated, Tairov was awarded the Order of Lenin. But on August 20, 1946, a resolution of the Central Committee of the All-Union Communist Party of Bolsheviks was issued, practically banning foreign dramaturgy and orienting theaters towards Soviet “conflict-free” plays about the struggle between the good and the best. Such a repertoire was unnatural to the Tairov method. And the struggle began again, which led to the closure of the theater in 1949. Going to the last meeting in the Committee for Arts, Tairov was not going to give up. He read the report, trying to analyze the real state of affairs in the theater. But the report did not achieve its goal. Anticipating the committee's decision, he himself announced his resignation from his theater. The last performance of the Chamber was "Adrienne Lecouvrere", after which his curtain closed forever.