ТЕАТР
октябрь 2017, № 31
издается с 1930 года
в 1990—2000-е выходил с перерывами
возобновлен в октябре 2010 года
Учредитель издания
— Союз театральных деятелей
Российской Федерации
Издание журнала
Главный редактор
— Марина Давыдова
осуществлено при поддержке
Фонда Михаила Прохорова
и Министерства культуры
Российской Федерации
Заместитель главного редактора
— Олег Зинцов
Выпускающий редактор
— Ада Шмерлинг
Редактор
— Алла Шендерова
Редактор
— Валерий Золотухин
Cпециальный
Благодарим за поддержку
«Интеллектуальный клуб 418»
Журнал зарегистрирован
в Федеральном агентстве по печати
и массовым коммуникациям
ПИ N77-1621 от 28.01.2000
ISSN 0131-6885
зарубежный корреспондент
— Камила Мамадназарбекова
Дизайнер
Адрес редакции для почты:
107031, Москва,
— Наталья Агапова
Руководитель фотослужбы
— Мария Захарова
Исполнительный директор
— Дмитрий Мозговой
Помощник директора
— Дарья Шмелькина
Директор по распространению
— Дмитрий Лисин
Куратор номера
— Ника Пархомовская
в журнале использован шрифт Graphik
из коллекции type.today
Страстной бульвар, 10, комн. 38
тел.: (495) 650 28 27, 650 95 22
e-mail: info@oteatre.info
teatr.moscow@gmail.com
www.oteatre.info
Индекс журнала
в объединенном каталоге
«Пресса России» — 13150
Журнал «Театр» распространяется
во всех отделениях СТД РФ.
В Москве журнал можно
приобрести и оформить подписку
с получением вышедших номеров
в редакции.
Стр.3
002
Summary
Discussion
044 Dmitry Renansky
Gerard Mortier.
The art to burn down gunpowder
006
in the roundtable discussion, which was
held at the initiative of the editorial board
of the journal THEATRE., participated
professor of the institute of Economics
Alexander Rubinstein, the manager
of RAMT sofia Apfelbaum, the manager
of the Pyotr Fomenko Workshop
Andrei Vorobyov, the former manager
of the novosibirsk opera and ballet
theatre Boris Mezdrich and the manager
of the Gogol center Aleksey Kabeshev.
Moderator– the chief editor of THEATRE.
Marina Davydova.
is it dangerous
to be a theater manager?
nAMEs
Gerard Mortier opened the doors
of European opera into the twenty-first
century. it brought on world stage
Dmitry Tcherniakov, Theodor currents
and many others of today's newsmakers.
Mortier does remain a role model for new
generations of theatre managers
052 Kamila Mamadnazarbekova
Theatre of ideas of Vincent Bodrie
The legendary Vincent Bodrie, head
of the Avignon festival from 2003
to 2013, who has headed the theatre Vidy
in Lausanne since 2013, managed to make
of the respectable swiss theatre with
a huge budget an outpost of avant-garde
in three years. THEATRE. offers a brief
overview of the activities of a prominent
theatre manager, and explains what we
all owe former manager of the Festival
d'Avignon.
018
THEATRE. decided to find out why
the Russian repertory theatres have
so much in common with the tsarist
regime imperial ones.
sergey Konaev
From Alexander sumarokov
to Vladimir Telyakovsky
028 Maria sloyeva
Diaghilev as an exemplary producer
Diaghilev square near Grand opera /
Diaghilev’s bust at the theatre
«chatelet» / Diaghilev festival in Perm /
Festival «Diaghilev P. s.» in st. Petersburg
/ the school named after sergei Diaghilev
in Perm / the lyceum of arts named after
sergei Diaghilev in Yekaterinburg /
the school of arts named after
sergei Diaghilev in Zelenograd /
the ship «sergei Diaghilev» / his stature
in the museum «House of Diagilevs»
in Perm / the night club «Dyagilev»
in Moscow. THEATRE. tries to understand
how the man became a myth.
036 Alexander Popov
nemirovich-Danchenko:
the art of compromise
060 Leila Guchmazova
Vladimir urin, Anton Getman:
the castling with two knowns
How the former manager of Moscow
Academic Music Theatre Vladimir urin
got accustomed to the Bolshoi,
and the Bolshoi’s former deputy
director Anton Getman did it in Moscow
Academic Music Theatre. And what will
come out of it.
064 nikolai Kolyada
Do not wear out pants
at the knees
nikolai Kolyada is well known as
the famous playwright and charismatic
director, but nikolai Kolyada
is also a person with a unique
experience of theatrical management.
THEATRE. decided that no one could
tell about this experience better
than he himself.
070 nika Parkhomovskaya
stefan Kaegi: most of all in theatre
i hate rehearsals
The outstanding director and co-founder
of the Moscow Art Theatre had a gift
of a producer. THEATRE. analyses how
it helped him before the revolution of 1917
and how it had to be adjusted after it.
Театр.№31
one of the founders of the group
Rimini Protokoll has long been closely
cooperating with Russia, bringing here
its performances. They are made
in such ways that make many viewers
wonder, is it a social experiment,
a psychological game or something
else? THEATRE. interviewed stefan Kaegi
about the management of these
awesome projects.
Стр.4
003
Summary
PRoBLEMs
that to teach theatre management
is very difficult, but to learn to be
a manager is still possible.
078 Marina Davydova
Volksbuehne incident
130 Alexey Kiselev, Anton Khitrov,
Elena Gordienko, Elena smorodinova
What determines independence
What happened to the legendary Berlin
theatre? And could anything similar
happen in our country?
084 nika Parkhomovskaya
new management of new theatre
Times have changed, and theatre has
changed with them. immersive theatre,
documentary theatre, site specific
theatre or verbatim, require new forms
of management. THEATRE. looks what
they could and should be.
090 Alexandra Dunayeva, Maria sloyeva
A few words about how theatres
are managed in Germany
What allows the Germans, who save
often criticized repertory model and
permanent companies, to surprise
the theatrical community every
year with new artistic discoveries?
THEATRE. analyses this paradox.
098 oleg Loevsky
The way of enthusiasts
THEATRE. notes the places of power
in provincial Russia, resulting from
the new theater management.
102 Zhenya Berkovich
Working off for absenteeism
The activist of social theatre explains
why it is important sometimes
for a director to be a producer.
106 Marina Andreikina
Electrotheatre stanislavsky.
case study
The producer of «Kamchatka»
Daria shadrina, the head of the «Theatre
of work» Elena Lazko, the creator
of Transformator.doc Vsevolod Lisovsky,
the director of Post theatre Dmitry
Volkostrelov and its manager Kseniya
Volkova, the creator of Pop-up theatre
semyon Alexandrovsky, the head
of the company «impresario»
Fedor Elyutin and the producers
of the immersive show «Black Russian»
Daria Zolotukhina and Elena novikova
on how to do theatrical projects without
state participation.
152 Anna ildatova
Dina Khuseyn: «it may be different»
The space of Performative Practices
has lasted only three months, but
it managed to become one of the most
important sites in Moscow. THEATRE.
met with its curator, choreographer
Dina Khuseyn, after the closure
of the project and asked how it all
began, how such spaces exist in France
and what is a performance.
YELLoW PAGEs
The transformation of the theatre named
after stanislavsky, which had long been
on the margins of theatrical life,
into a fashionable «Electrotheatre
stanislavsky», was often considered
to be a miracle. The THEATRE. thinks it's
time to see this miracle not only through
the eyes of the artistic director or critics,
but through the eyes of a theatre
manager as well.
124 Evgeniya shermeneva
Festival nET: how i was learning
to swim
Театр.№31
157 What does a producer do?
selection «What does a producer do?»,
which we publish here with a kind
permission of the author, Ken Davenport,
was born as a response to a letter
from a high school student. Ken asked
his colleagues, members of the League
of Broadway producers, to answer
the question of a schoolgirl in one
sentence and promised them complete
anonymity
164
nika Parkhomovskaya
The vocabulary of theatre manager
167 Karina Kondrashova
How to read and write contracts
Evgeniya shermeneva tells THEATRE.
as she worked as an assistant director,
prompter, manager, and director of the
festival, and comes to the conclusion
173 Alyona Yankelevich
Producer’s book — shelf
178 Alexey Malobrodsky
notes from prison
Стр.5
004
Содержание
Дискуссия
иМенА
006 Опасно ли быть
театральным менеджером
участники: Александр
Рубинштейн, софья Апфельбаум,
Андрей Воробьев, Борис Мездрич,
Алексей кабешев. Модератор
дискуссии — Марина Давыдова
018
сергей конаев
Дирекция императорских театров:
от Александра сумарокова
до Владимира Теляковского
028 Мария слоева
Дягилев как эталонный продюсер
036 Александр Попов
немирович-Данченко:
искусство компромисса
044 Дмитрий Ренанский
Жерар Мортье:
искусство жечь порох
052
камила Мамадназарбекова
Театр идей Венсана Бодрийе
060 Лейла Гучмазова
Владимир урин и Антон Гетьман:
рокировка с двумя известными
064 николай коляда
коляда о коляде:
«не протирай штаны на коленках»
070 ника Пархомовская
Штефан кэги: «Больше всего
в театре я ненавижу репетиции»
Театр.№31
Стр.6
005
Содержание
ПРОБЛеМы
148
катя Дзвоник
«АРТиШОк»: из подвала
на большую сцену
078 Марина Давыдова
казус Volksbühne
084 ника Пархомовская
новый менеджмент нового театра
090 Александра Дунаева,
Мария слоева
несколько слов об устройстве
театрального дела в Германии
098 Олег Лоевский
Провинциальная Россия:
путь энтузиастов
102 Женя Беркович
Отработка за прогул:
почему режиссеру иногда
важно быть продюсером
106 Марина Андрейкина
Электротеатр «станиславский».
case study
114 Анна ильдатова
Дмитрий Мозговой и Филипп Вулах:
молодые начинают и выигрывают
124
129
евгения Шерменева
Фестиваль nET:
как я училась плавать
соня Апфельбаум
как я работала в Минкульте
130 Алексей киселев,
Антон Хитров, елена Гордиенко,
елена смородинова
«камчатка», «Театр труда»,
Трансформатор.doc,
театр post, Pop-up театр,
компания «импресарио»,
иммерсивное шоу «Черный
русский»: как делать театр
без участия государства
152 Анна ильдатова
Дина Хусейн: «Может быть
и по-другому»
ЖеЛТые сТРАницы
157
кен Дэвенпорт
What does a Producer do?
Перевод и подготовка материала:
Александр Попов
164
167
ника Пархомовская
Лексикон директора театра
карина кондрашова
как правильно читать
и писать договоры
170 Марина Андрейкина
Авторское право: как защитить
свои и не нарушить чужие права
при постановке спектакля
173 Алена янкелевич
книжная полка продюсера
175 Алена янкелевич
Директор. Продюсер.
Администратор:
круг обязанностей,
сфера ответственности
178 Алексей Малобродский
Заметки из сизо
Театр.№31
Стр.7