Театр №2 2018 (108,00 руб.)

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ТЕАТР март 2018, № 33 издается с 1930 года в 1990—2000-е выходил с перерывами возобновлен в октябре 2010 года Учредитель издания — Союз театральных деятелей Российской Федерации Главный редактор — Марина Давыдова Заместитель главного редактора — Олег Зинцов Выпускающий редактор — Ада Шмерлинг Редактор — Алла Шендерова Обозреватель — Ника Пархомовская Cпециальный зарубежный корреспондент — Камила Мамадназарбекова Дизайнер — Наталья Агапова Руководитель фотослужбы — Мария Захарова Исполнительный директор — Дмитрий Мозговой Помощник директора — Евгения Баландина Директор по распространению — Дмитрий Лисин Издание журнала осуществлено при поддержке Фонда Михаила Прохорова и Министерства культуры Российской Федерации 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 Адрес редакции для почты: 107031, Москва, 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.

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002 Summary Marina Davydova Alternative history of theater: possibly, Atlantis is around PEOPLE For Igor Terentyev — an artist, critic, transreasonal poet, theorist of new art — it was the theater that became the most adequate representation of the whole variety of his experiments. One of the features of his theatrical language is extremely rigorous work with voice and speech. THEATER. sees into how the emphasis on sound makes obvious the closeness of Terentyev’s ideas not only to Futurism, but also to European Dadaism Vera Pylgun „Grandiosar“ Igor Terentyev To learn something about Grigory Zalkind, who was the first in the Soviet Union to stage theater of the absurd pieces forbidden here, it is not enough to go to the library or the Internet. His performances were not reviewed in the press. He did not have any students. His archive has not been preserved and it is not even known whether this archive existed. And yet THEATER. tried to restore his creative biography at least partially Alyona Solntseva Grigory Zalkind: the secret people Yevgeny Kharitonov had many faces and it is not so easy to put all of them together. THEATER. decided to make sure that the poet, writer, actor, pantomime director with the PhD in art criticism and a teacher who cured stuttering is the same person Alla Shenderova Yevgeny Kharitonov: „I came to myself, we embraced“ Театр. №33 THEATR. has already written about the charismatic Yevgeny Schiffers, whom many theater people esteemed as their guru. Now we decided that the legacy of the theatrical God-seeker and visionary should be given for analysis to a well-known religious scholar Boris Falikov Myth of Schiffers Theater „Around the House of Stanislavsky“ would not have become what it is now without the stage designer Yuri Kononenko, faithful ally of the director Yuri Pogrebnichko. THEATER. traces his artistic career in the province and in Moscow Lisa Keshisheva Yuri Kononenko: Seeking a man THEATER. remembers Moisey Iofiev, perhaps the best of the post-war generation of theater critics, trying to understand why a talented, genuinely thinking critic did not fit in either under Stalin or during the Khrushchev „thaw“ Inna Sklyarevskaya Moisey Iofyev: a man in the wrong times THEATER. tries to understand what role this extraordinary actress played in creating not only a director’s theater but also a new type of „femininity“ Variety stars of the past, famous circus actors, cabaret dancers — their names have long ago disappeared from our memory. THEATER. decided to recall some of them Nika Parkhomovskaya Dan Lino and Anita Berber: Forgotten variety show tunes DEVELOPMENTS Natalia Yakubova Gertrud Eysoldt: „demonic woman“ at the cradle of director’s theater Marie-Christine Otan-Mathieu Jacques: „The Overcoat“ and the beginning Restoring the forgotten names of our history, THEATER. remembered Vadim Zhakevich (or simply Jacques), the author of the most mysterious Russian „The Overcoat“ after Nikolay Gogol. The text of the French theater expert Marie-Christine Otan-Mathieu was written at the beginning of the 2000th and has never been published in Russian. of Russian conceptual theater

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003 Summary THEATER. publishes an abbreviated version of the chapter from the book of the famous Polish theater critic Grzegorz Niziolek „The Polish Theater of the Holocaust“ about Grotovsky’s „Etude of Hamlet“, which has been ousted from the history of the Polish theater and the biography of the great director for decades Grzegorz Niziolek „Etude about Hamlet“ by Jerzy Grotowski: „What can not be even thought about in Poland“ In the mid-1990s, in St. Petersburg, Anatoly Praudin was considered almost the most interesting director of his generation. THEATER. remembers how the theatrical work of this talented person was ruined Lilia Shitenburg Anatoly Praudin: the death of the squadron After more than twenty years „Don Giovanni“ by Victor Shamirov in the Army Theater seems to be an event that opened up opportunities. But at the time of the premiere, no one (or almost no one) saw them. THEATER. tried to remember this performance and how stunning it was Oleg Zintsov Portal TRENDS Yulia Liderman The group „Collective Actions“: metonymy of theater in the 1st volume of „Travels out of the city“ The place of theater in unofficial Soviet culture was not limited to semiunderground performances. Theater reminds of itself by the names of performances of the group „Collective Actions“ and is reflected in the archive of their „Journeys out of the city“. Its unobtrusive presence makes one think about how the borders of theatrical / performative were drawn in those years in Russia THEATER. sees into how the Russian artistic avant-garde of the 1950’s and 1970’s anticipated modern ideas of performativity Vera Senkina Boris Ponizovsky and Vyacheslav Koleichuk: the history of one utopia Modern interest in social theater makes one turn to history. And we are surprised to find our compatriot among European social theater forerunners Zinaida Starodubtseva Alexey Khvostenko — from theater of the absurd to inclusive theater in Parisian squats Театр. № 33

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004 Содержание 006 Колонка главного редактора Марина Давыдова Кругом возможно Атлантида ЛЮДИ 010 Вера Пильгун Игорь Терентьев: «грандиозарь» 018 Алена Солнцева Григорий Залкинд: потаенные люди 030 Алла Шендерова Евгений Харитонов: «Я подошел ко мне, мы обнялись» 044 Борис Фаликов Миф Шифферса 058 Лиза Кешишева Юрий Кононенко: окольными тропами 102 Инна Скляревская Моисей Иофьев: человек не на те времена 108 Наталья Якубова Гертруда Айзольдт: «демоническая женщина» у колыбели режиссерского театра 116 Ника Пархомовская Дэн Лино и Анита Бербер: забытые мелодии эстрады 122 Мила Бредихина Гия Ригвава: рабочая эротика Театр. №33

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005 Содержание СОБЫТИЯ ТЕНДЕНЦИИ 130 Мари-Кристина Отан-Матье «Шинель» и начало русского концептуального театра 168 Анна Смирина Трансфуристы: подповерхностное противотечение 142 Гжегож Низёлок «Этюд о Гамлете» Ежи Гротовского: «О чем в Польше нельзя и подумать» 152 Лилия Шитенбург Анатолий Праудин: гибель эскадры 162 Олег Зинцов «Дон Жуан» Виктора Шамирова: портал 184 Вера Сенькина Борис Понизовский и Вячеслав Колейчук: история одной утопии 194 Зинаида Стародубцева Алексей Хвостенко — от театра абсурда к инклюзивному театру в парижских сквотах 206 Валерий Золотухин, Юлия Лидерман, Варвара Склез Театр как место памяти 216 Юлия Лидерман Группа «Коллективные действия»: метонимия театра в 1-м томе «Поездок за город» 224 Женя Беркович Мимолетности: что остается от эскиза СПЕЦПРОЕКТ 076—101 232—248 Сценография и живопись Юрия Кононенко — в архивных фотографиях Театр. № 33

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