In 2001, as an experiment, the school accepted a group of American acting students into its four year curriculum. The classes are taught in English, and the program includes an intensive course of Russian language. Thus far the program is very successful, and the school now plans to admit English speaking students to the school every four years. The next audition will be held in Moscow and the United States in the summer of 2005.
Moscow Art Theatre
Специальность “Режиссура (профессиональный театр и кино)”
Поступающие на специальность “Режиссура” должны пройти отборочные консультации (туры). Сроки проведения консультаций с 17 апреля по 30 июня.
За неделю до консультаций необходимо сдать режиссерскую экспликацию по пьесе одного из известных драматургов (список пьес прилагается).
Отборочные консультации (туры) и сам экзамен по специальности состоят из следующих разделов:
чтение басни, стиха, прозы (в одном потоке с абитуриентами, поступающими на специальность “Мастерство актера”;
классная режиссерская работа по предложенным сценам из четырех-пяти заданных пьес по общему списку;
постановка этюдов на свободную тему с минимумом слов;
собеседование с членами экзаменационной комиссии;
коллоквиум по общей культуре (литература, история, музыка, психология, политика и пр.)
Каждый из разделов оценивается по 10-ти балльной системе.
СПИСОК
Пьес для поступающих на отделение “Режиссура”
Е.Шварц “Голый король”
А.Володин “Пять вечеров”
А. Вампилов “Старший сын”
Л. Петрушевская “Любовь”
А. Галин “Ретро”
М.Рощин “Валентин и Валентина”
Н.Эрдман “Самоубийца”
А.Арбузов “Таня”
М.Булгаков “Дни Турбиных”
С.Мрожек “В открытом море”
А.Н.Островский “Гроза”
А.П.Чехов “Чайка”
А.М.Горький “На дне”
А.С.Грибоедов “Горе от ума”
Н.В.гоголь “Женитьба”
А.В.Сухово-Кобылин “Смерть Тарелкина”
Д.И.Фонвизин “Недоросль”
М.Ю.Лермонтов “Маскарад”
Мольер “Плутни Скопена”
Бомарше “Женитьба Фигаро”
Лопе де Вега “Собака на сене”
Гольдони “Слуга двух господ”
Ибсен “Гедда Габлер”
Осборн “Оглянись во гневе”
Олби “Случай в зоопарке”
Миллер “Смерть коммивояжера”
О’Нил “Долгое путешествие в ночь”
Пинтер “Коллекция”
Беккет “В ожидании Годо”
Уильямс “Стеклянный зверинец”
Пиранделло “Шесть персонажей в поисках автора”
Шоу “Пигмалион”
Шекспир “Гамлет”, “Укрощение строптивой”
Шиллер “Коварство и любовь”
Дюренматт “Ромул великий”
УСЛОВИЯ ПОСТУПЛЕНИЯ ИНОСТРАННЫХ ГРАЖДАН
Необходимым условием поступления является знание основ русского языка.
Для экзамена по специальности предлагается подготовить прозу, стихотворение и басню
(желательно читать на русском языке)
Абитуриенты, сдавшие экзамен по специальности, проходят собеседование по общей культуре и пишут сочинение на свободную тему на родном языке.
Для оформления въездной визы на территорию России необходимо выслать в наш адрес следующие документы: копию национального паспорта, адрес, название места работы или учебы, указать место получения визы.
С 2000 года Школа-студия МХАТ имеет краткосрочные программы театрального образования (от 3-х месяцев до года).
Moscow was very Russian city. Place of my birth. Moscow is Russia for me. That's all my heart knows about Russia. Time -- fifties, sisties, seventies... This Moscow is no more.
I can't return... not in time.
No, not even Moscow, just a few places in Moscow...
...sometimes I think it is one corner in the Old Moscow...
Bell Tower (Cathedral of Ivan the Great), Jahann Philipp Eduard
MAXT: Russian theater specializing in naturalism, founded in 1898 by K. Stanislavsky (as artistic director) and Vladimir Nemirovich-Danchenko (administrative director) with the goal of replacing old-fashioned histrionic acting and heavy-handed staging with a simpler and truer style. It opened with A. Tolstoy's Tsar Fyodor Ioannovich and won its first major success with A. Chekhov's The Seagull. Along with other plays by Chekhov, the theater mounted new works by writers such as M. Gorky and M. Maeterlinck. Its company received acclaim on European and U.S. tours in 1922 and influenced later theatrical development worldwide. Since 1939 it has been known as the Moscow Academic Art Theatre. (Summer 2002) Golden Mask Fest.
School of MXAT:
Следует сказать о работе Школы-студии в соединенных Штатах Америки. В 1992 году в Бостоне была открыта Летняя школа им. К.С.Станиславского, где каждое лето студенты занимаются по специально разработанной программе. На сегодня программу Летней школы окончили уже более 200 молодых актеров и режиссеров из США, Канады, Франции, Великобритании, Швейцарии и Японии. В 1994 году была создана совместная аспирантура для актеров Школы-студии МХАТ и Carnegie Mellon University в Питтсбурге (США).
С 1998 года аспирантура работает совместно с Институтом высшего театрального образования при Гарвардском университете.
Обучение в двухлетней аспирантской программе ведется по единому учебному плану, включающим занятия мастерством, сценической речью, сценическим движением, танцем, ритмом, историей театра и русским языком.
Обязателен выпуск двух спектаклей в постановке американского и российского режиссеров. Спектакли идут на английском языке на сцене Учебного театра Школы-студии.
Pre-publication version of a review to be published in the Moscow Times Dec.
30, 2003. Any and all quotations of, or references to, this article must
cite John Freedman. (c) 2003 John Freedman. The final version will be
available with accompanying photo on Tues. Dec. 30 in the Metropolis section
at www.themoscowtimes.com or www.tmtmetropolis.ru
-------------------------------
By John Freedman
You have to love Vladimir Mirzoyev for his independence. Here is a director
who, over the last half-decade, rose beyond the status of cult figure to
bona fide popularity with a series of often obscure, though strangely
evocative productions based on the classics. His oversized, epic
interpretations of Moliere's "Amphitryon", Rostand's "Cyrano de Bergerac"
and, recently, Shakespeare's "King Lear" at the Vakhtangov Theater have been
big hits for that playhouse while seldom straying far from controversy.
What a surprise, then, to see the show that he chose to kick off his tenure
as the new artistic director at the Stanislavsky Drama Theater. Not that
this production of Lyudmila Ulitskaya's "Seven Saints from the Village of
Bryukho" won't cause its share of talk. It presumably will. That is what
Mirzoyev's shows do. Fire burns, water cools and Mirzoyev instigates debate.
No, what intrigues here is the way the director rejected the large canvas
style that has brought him such success of late and, in part, at least,
returned to a more intimate and mystical atmosphere. As a staff director at
the Stanislavsky in the '90s, Mirzoyev created a handful of shows that were
so difficult to define, critics and spectators alike gave them a wide berth.
These short-lived pieces included Alexei Kazantsev's "That, This Other
World," a vague though often beautiful show representing a man's thoughts on
the verge of death; and "In Search of the Beautiful," a show combining
modern dance, physical theater and music and based on the esoteric teachings
of Georgy Gurdjieff.
The first half, especially, of "Seven Saints" seems to have grown directly
out of these older shows. Whether today's audiences will be any more
receptive to it than they were to similar shows in the past remains to be
seen. But it is just like Mirzoyev to go about his business without wasting
time asking himself such questions.
Ulitskaya, best known as the author of the story "Sonechka" and such novels
as "Medea and Her Children" and "Kukotsky's Case," would appear to have
written a fairly traditional play about some unusual people in a small
Russian village shortly after the Revolution. The first half focuses
primarily on the odd, rather imperious Dusya (Olga Lapshina), a
wheelchair-bound woman with mysterious powers who has attracted a large
following of women and men who turn to her in times of need. The second half
focuses on Rogov (Alexander Samoilenko), a local thug who has seized control
of the village and is determined to bring everyone in it under his power.
Mirzoyev plays theatrical games with almost everyone and everything in the
story. At first glance it is difficult to determine where the action takes
place. The plain white walls lining Vladimir Kovalchuk's set would
satisfactorily imitate those of a monastery, an insane asylum or a typical
Soviet community hall space. By the same token, the behavior of Dusya and
the women surrounding her might indicate equally that they are nuns or
crazies. This ambiguity is characteristic of Mirzoyev and expands the scope
of the production by giving it numerous possible interpretations.
Dusya sits in a huge chair that is as much a baby's high chair as it is a
wheelchair. She leads, castigates and protects a gaggle of vastly different
women, including the pious Antonina (Natalya Orlova) and the temperamental
upstart Marya (Natalya Pavlenkova). One of them, Manya, is a man
masquerading as a female. This is one mystery that Mirzoyev tips off up
front - by casting the actor Lera Gorin in the role of the bizarre,
Buddah-like woman.
As played by Lapshina, Dusya is both entirely focused and eccentric at the
same time. Jilted by her fiance in her youth and unable to walk, she tends
to a brood of "children" represented by dolls that she repeatedly pulls out
to play with. She is always ready to offer valuable advice to people in
distress - such as Timosha (Anton Eldarov), the youth who goes AWOL from
serving under Rogov, or Father Vasily (Valery Simonov), a priest who fears
being accused of stealing icons.
But it is not the story itself or even the characterizations that define the
first half of this show. Using the rich layers of folk music performed by
the entire cast plus the vocalists Anastasia Begunova and Lada Maris, and
setting the musical segments in unusual dance patterns choreographed by
Artur Oshchepkov, Mirzoyev creates a ritualistic, otherworldly atmosphere,
seductive in the self-evident beauty of its mystery. These people, blessed
in some way that may not meet the average eye, live in a semi-dream state
where child's play and the grace of God are indistinguishable. Moving slowly
and gently about the stage, the characters appear to caress each other's
unseen souls with large, rhythmic gestures of the hands concentrated around
the head. In springy, hopping steps, they move about the stage as if
percolating.
The world of Dusya and her women is not ideal by any stretch of the
imagination. It is fraught with problems, tragic and petty. This is not a
place of divine perfection, but one where the clumsiness of life exists on a
single plane with divinity. That all comes to an end when Rogov intrudes.
The second half of "Seven Saints" undergoes an abrupt change in genre and
style. The hazy, suggestive ambiance of the first half is now replaced by
what is almost conventional theatrical satire. Rogov - a Joseph Stalin
look-alike who nonchalantly asks a make-up woman to glue his moustache back
on each time it falls off - has not only come to ferret out the errant
Timosha, but to enlist others in his effort to conquer the town. It takes
him no time at all to bring the unthinking, unprincipled Nadya (Lyudmila
Kozakova) and the town drunkard Golovanov (Mark Geikhman) over to his side
as he ploys them with a poisonous mix of facetious courtesy and cruelty.
After appointing them his helpers, he tricks them into signing death
warrants in blood and coerces the terrified Timosha into becoming his
executioner, the quivering man who will make saints of Dusya and six others.
When the weird and wonderful music and dances of the first half are reprised
now, the effect is vastly different. Rogov's search of Dusya's abode is a
mocking, desecrated echo of the joy and innocence that similar scenes had
evoked earlier.
"Seven Saints from the Village of Bryukho" appears to be Mirzoyev's attempt
to get back in touch with a technique that he experimented with and then
abandoned several years ago. Frankly, the results are uneven. Though often
mesmerizingly beautiful, the obscurity of the first half can be daunting.
Meanwhile, the traditional tragicomedy of the second half, though clear as a
bell, can lack the richness of Mirzoyev's best work. But on the whole, this
show works because its sincerity is tangible.
Mirzoyev, stepping into place as the Stanislavsky's new leader, has sent a
message that he plans to do more than merely duplicate past successes.
Liberty is always unfinished business. --anonymous
