июнь 2020, №42
издается с 1930 года
в 1990—2000-е выходил с перерывами
возобновлен в октябре 2010 года
ТЕАТР
Учредитель издания
— Союз театральных деятелей
Российской Федерации
(ИНН 7707035201)
Адрес: 107031, Страстной бульвар, 10
Главный редактор
— Марина Юрьевна Давыдова
Заместитель главного редактора
— Олег Зинцов
Выпускающий редактор
и редактор блога
— Алла Шендерова
Редакторы
— Валерий Золотухин
— Ника Пархомовская
Обозреватель
— Лиза Кешишева
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
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
Цена свободная
Стр.3
SERGEY KHODNEV
FROM CHOREGOS TO DEMIURGE
TEATR. finds out which fundamental principles
of an old opera performance have retained their
relevance in the modern theater, which ones have
acquired it, and which, on the contrary, have lost.
PETER VOROTYNTSEV
THE BATTLES IN MARRIED LIFE
In 1975, exactly forty-five years ago, Ingmar
Bergman directed The Magic Flute and transformed
the opera film genre forever. TEATR. analyses how
the film relates to the trends in world opera directing
of Bergman’s time and our own.
ANNA SMIRINA
KONSTANTIN SERGEEVICH CHANGES
HIS OCCUPATION
TEATR. is trying to understand how Stanislavsky
adapted his «system» to an musical genre, taught
opera directors and opera singers to listen with their
eyes and see with their ears, fought with Nemirovich
for The Queen of Spades and used movie techniques
in his opera productions.
OLGA MANULKINA
WHY STUDY OPERA
What is hidden behind the phrase «opera
studies»? What new in the field of studying opera
recently appeared in Russian and foreign languages?
What is the difference between European and
American approaches? TEATR. asked to answer
these questions leading experts in the field of opera
studies — musicologists, employees of musical
theaters and critics.
KONSTANTIN CHERKASOV
MASTERS, ASSOCIATE PROFESSORS,
DOCTORS, LAWYERS
TEATR. tells how Vladimir Nemirovich-Danchenko
and Vera Inber remade Traviata by Giuseppe
Verdi.
MARIA NEKLYUDOVA
BAROQUE OPERA
AS A CYBERNETIC MACHINE
Why do modern productions of baroque operas
KONSTANTIN UCHITEL
MEYERHOLD AND OPERA.
FROM UNFULFILLED
Starting to recall the opera work of the Master,
TEATR. came to the conclusion that in those of them
that have come to life, he appears as a professional
musician and subtle stylist. And in those that
the audience never saw he does as a reformer and
seer.
often cause fatigue, and their concert performances,
on the contrary, are met with more enthusiasm?
Do instruments like supertitles help us better
understand musical theater or upset the balance
between verbal, musical and other components of
the opera? Looking for answers to these questions
TEATR. addresses semiotics, which made a revolution
in the description of performing arts half
a century ago.
VLADISLAV TARNOPOLSKY
SOUND-ACOUSTIC PLOT
TEATR. is trying to trace how a contemporary
DMITRY ABAULIN
THE SPIRAL OF PATRICE CHEREAU
In 1976, a revolution occurred in Bayreuth —
composer invades the space of theater directing,
without becoming a director.
the old Wagnerian stereotypes were destroyed.
The French director with only two opera productions
in his portfolio dared to encroach on it. TEATR.
decided to recall what came out of it.
02
EKATERINA BELYAEVA
FROM THE FEST TO THE FESTSPIELE
Modest music festivals existed in Europe already
in the 18th century. For example, regular concerts
of choral groups in England. In the next century,
the festival movement has already swept all over
Europe. TEATR. tries to outline its brief history.
www.oteatre.info
English Summary
Стр.4
EKATERINA BABURINA
IT IS NOT A TEMPLE HERE
Now that the opera is inaccessible to the audience
in places specially designated for it like musical
theaters, it’s time to recall how the opera has been
actively mastering places that are completely not
intended for it in the last decades.
ELENA CHEREMNYKH
COMPOSER BECOMES A DIRECTOR
TEATR. decided to understand where Russian
composers and directors Vladimir Rannev and
Alexander Manotskov came from and what they are.
ANNA GORDEEVA
THOSE WHO DO NOT SING
46 years ago, the new revolution happened in
NATALIA SURNINA
BABY-OPERA, HORROR-OPERA
AND SADNESS-OPERA
Twenty new operas in three years — that is
opera theater — choreographers came to power.
Since then, starting with Pina Bausch, many
theaters have given to people of dance the right to
stage operas. TEATR. tries to understand why opera
theaters need «strangers».
the result of the work of the laboratory of young
composers and playwrights «Cooperation». Most
of the scores have grown to full-fledged one-act
operas, and in a variety of formats: site-specific,
opera-promenade, children’s opera, perfume opera,
multimedia opera, plant-opera, baby-opera.
MARIA ZERCHANINOVA
FROM VERSAILLES TO THE MOON
Dressing artists in historical costumes and
putting musicians with authentic instruments
in the orchestra pit is not enough to resurrect an old
opera. TEATR. tells how director Benjamin Lazar
reconstructs baroque works in France. And not only
baroque ones.
NIKA PARKHOMOVSKAYA
BIG MIGRATION
The names of directors collected in the Bolshoi
Theater opera repertoire can be envied by any drama
theater in the world. What unites all these people?
Why do they stage operas in the country’s the most
important musical theater? TEATR. analyses the
causes and consequences of the migration of drama
directors to the Bolshoi.
ZOYA BOROZDINOVA
IMAGINATION ENGINEER
Heiner Goebbels has a unique position in the
theatrical and musical world. He is a composer and
a director, but above all, an inventor of the theater,
who thinks up the relation of space to movement,
light to text, body to music. TEATR. tried to apply
the Goebbels’s method to the description of his own
works, which escape from clear definitions.
TATA BOEVA
ENCYCLOPEDIA OF OPERA DIRECTING
TEATR. made up a small encyclopedia with
the names of all important directors from the middle
of the twentieth century to the present day.
NATALYA OVCHINNIKOVA
GENIUSES AND PLACE
In the era of Theodor Currentzis, as they now
03
call the period of his artistic leadership at the Perm
Opera and Ballet Theater from 2011 to 2019,
the most important directors of our time worked
there. TEATR. tells how Peter Sellars, Robert
Wilson and Romeo Castelllucci worked in Perm and
what memories of themselves they left there.
www.oteatre.info
English Summary
Стр.5
05
Марина Давыдова
Самая прогрессивная архаика
ИСТОРИЯ
10
Сергей Ходнев
От хорега до демиурга
16
Анна Смирина
Константин Сергеевич меняет профессию
29
Константин Черкасов
Немирович-Данченко:
магистры, доценты, врачи, адвокаты
39
Константин Учитель
Мейерхольд и опера. Несбывшееся
45
Петр Воротынцев
Ингмар Бергман.
Битвы из супружеской жизни
50
Дмитрий Абаулин
Спираль Шеро
ТЕОРИЯ
56
Зачем изучать оперу
и что такое opera studies
67
Мария Неклюдова
Барочная опера
как кибернетическая машина
74
Владислав Тарнопольский
Звуко-акустический сюжет
ПРАКТИКА
102
Екатерина Беляева
От феста до фестшпиле:
обзор оперных фестивалей мира
110
Екатерина Бабурина
Опера вне оперных театров:
здесь вам не храм
117
123
129
Анна Гордеева
Те, которые не поют
Мария Зерчанинова
Бенджамен Лазар: от Версаля до Луны
Зоя Бороздинова
Хайнер Гёббельс: инженер воображения
134
Наталья Овчинникова
Гении и место: Селларс, Уилсон
и Кастеллуччи в Перми
139
Елена Черемных
Композитор себе режиссер
144
Наталия Сурнина
Бэби-опера, опера-хоррор и опера-печаль
150
Ника Пархомовская
Большая миграция
ЭНЦИКЛОПЕДИЯ
ОПЕРНОЙ РЕЖИССУРЫ
158
Тата Боева
04
www.oteatre.info
Содержание
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