2009 LUL
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RAT -- lost manuscript "Taganka" [ru].
... Should be called "Lubimov"?
... Lul Theatre and Literary (Dramatic) Compositions : genre?
Theatre as Poetry ... rat.vtheatre.net filmplus.org/rat/taganka in Russian-American Theatre Files ... more about TAGANKA principles in stagematrix.com
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2007 ... page in Russian? Lubimov Page ?!
teatr.us/taganka  Acting Directory See RAT directory for more on Taganka, Russian Theatre and Lubimov. ... SummaryНа сегодняшний день Ю. Любимов поставил в Театре на Таганке более 50 спектаклей (подробнo : Театр на Таганкe). С момента рождения Театр на Таганке Юрия Любимова стал «островом свободы в несвободной стране». (Н. Эйдельман). Членами художественного совета театра были выдающиеся ученые П. Капица и Н. Флеров, такие известные писатели и поэты как А. Твардовский, Н. Эрдман, Ю. Трифонов, Б. Можаев, Ф. Абрамов, Ф. Искандер, А. Вознесенский, Е. Евтушенко, Б. Ахмадулина, Б. Окуджава; театральные критики Б. Зингерман, К. Рудницкий и А. Аникст; композиторы А. Шнитке и Э. Денисов, кинорежиссеры С. Параджанов и Э. Климов.QuestionsВ 1980 году умирает Владимир Высоцкий. Юрий Любимов готовит спектакль памяти легендарного артиста и поэта. Этот спектакль власти запрещают. В 1982 году запрещают и следующую постановку Ю. Любимова — «Борис Годунов» А. С. Пушкина. С запретами Любимов встретился не впервые. Раньше, в 1968 году, был запрещен спектакль «Живой» Б. Можаева, в 1970 году спектакль «Берегите ваши лица» А. Вознесенского был запрещен уже после премьеры и прошел только три раза. К 1983 году в театре складывается невыносимая ситуация: запрещены не только подряд два новых спектакля, но и репетиции «Театрального романа» М. Булгакова. По приглашению Ассоциации Великобритания — СССР Юрий Любимов выезжает в Англию для постановки «Преступления и наказания» Ф. Достоевского в лондонском театре «Лирик». После интервью Брайану Эпплъярду, опубликованном в газете “Times” в марте 1984 года, Ю. П. Любимова освобождают от должности художественного руководителя созданного им Театра на Таганке, затем последовал указ (указ высылаю) Президиума Верховного Совета СССР от 11 июля 1984 года за подписью К. Черненко о лишении Юрия Любимова советского гражданства. Само имя его не только снимают со всех афиш и программок Театра на Таганке, но даже упоминание о нем ставят под запрет. taganka.theatre.ruС изменением политической ситуации в стране стало возможным возвращение Ю. П. Любимова в Россию. В мае 1988 года Юрий Любимов приехал в Москву, и приезд его стал одним из важнейших событий общественной жизни — по праву он был воспринят как подлинное торжество справедливости. Любимов восстановил запрещенного прежде «Бориса Годунова», тогда же был восстановлен и спектакль «Владимир Высоцкий». В следующем, 1989 году состоялась премьера «Живого» Б. Можаева — через 21 год после запрета постановки. В том же 1989 году Ю. П. Любимову вернули советский паспорт, а его имя как художественного руководителя и постановщика спектаклей спустя шесть лет вновь появилось на афишах Таганки. NotesПосле возвращения Мастера в страну на Таганке им были поставлены спектакли: «Пир во время чумы» А. С. Пушкина (1989 г.), «Самоубийца» Н. Эрдмана (1990 г.), «Электра» Софокла (1992 г.), «Живаго. (Доктор)» Б. Пастернака (1993 г.), «Медея» Еврипида (1995 г.), «Подросток» Ф. М. Достоевского (1996 г.), в котором уверенно заявили о себе принятые в труппу выпускники набранного Ю. Любимовым в 1990 году нового актерского курса Щукинского училища. С 1997 года Любимов сознательно отказывается от ряда контрактов на Западе, решив целиком посвятить себя только своему театру. Спектакли словно помолодели, а к Таганке пришло второе дыхание. В 1997 году создатель Театра на Таганке отметил свое восьмидесятилетие премьерой спектакля «Братья Карамазовы» Ф. М. Достоевского. 11 декабря 1998 года премьерой «Шарашки» по роману «В круге первом» был отмечен 80-летний юбилей А. И. Солженицына. А месяцем раньше этого же года была показана премьера «Марат и маркиз де Сад» П. Вайса. В 1999 году к 35-летию театра Юрий Любимов поставил с молодыми актерами новую редакцию брехтовского «Доброго человека из Сезуана», ставшего в 1964-м году символом Таганки. ...Последовавшие затем одна за другой премьеры Театра на Таганке — спектакли «Хроники» У. Шекспира, «Евгений Онегин» А. С. Пушкина и «Театральный роман» М. Булгакова в 2000 году и новая редакция «Живаго (Доктор)» Б. Пастернака и «Сократ/Оракул» К. Кедрова и Ю. Любимова в 2001 году — стали ярким событием как для традиционных таганских зрителей, сохраняющих верность театру Юрия Любимова на протяжении десятилетий, так и для нового поколения театралов. 2005 -- Спектакли текущего репертуара: Братья Карамазовы (Скотопригоньевск) (режиссер) Владимир Высоцкий (режиссер) До и после (режиссер) Добрый человек из Сезуана (режиссер) Евгений Онегин (режиссер) Живаго (доктор) (режиссер) Идите и остановите прогресс (обэриуты) (режиссер) Марат и маркиз Де Сад (режиссер) Мастер и Маргарита (режиссер) Медея (режиссер) Сократ / Оракул (, авторРежиссер-постановщик) Тартюф (режиссер) Театральный роман (режиссер) Фауст (режиссер) Хроники (режиссер) Шарашка (Сталин, режиссер) Поэзия есть живой организм, тело которого образует непосредственная преемственность поэтического опыта, передаваемого от одного поколения поэтов к другому. Эта передача является великим таинством и осуществляется только через личное прикосновение, «рукоположение» или благословение, которое порою может принимать самые причудливые формы.
Так Державин на лицейском экзамене хотел поцеловать Пушкина, а Пушкин убежал куда-то и спрятался так, что его «искали и не нашли». Так Хармс и Введенский, придя на прием к Малевичу, сняли перед его кабинетом башмаки и вошли к нему босиком, а Малевич стал перед ними на колени и сказал: «Я старый безобразник, а вы молодые. Посмотрим, что получится». Так осуществляется все настоящее. Так передается жизненное дыхание поэзии. И если этого не происходит, то тело поэзии иссыхает и превращается в тело-калеку. Но именно это и произошло с нами. Мы утратили таинственную преемственность поэтов. Мы стали калеками. Да - Ахматова благословила Бродского, а Пастернак — Вознесенского, но и Ахматова и Пастернак были наместниками серебряного века, а ведь после поколения поэтов серебряного века пришло поколение Введенского и Хармса, которое осуществило свой неповторимый шаг в поэтическом пространстве, канувшем в Лету на несколько десятилетий. Это пространство оказалось невостребованным, в результате чего естественное последование поэтической преемственности было разрушено. Все мы лишились какого-то позвонка в наших позвоночниках. Все мы, воспитанные на манной каше «Дяди Степы», оказались калеками, ибо нам не дано было осознать всю важность фундаментального жеста Малевича, подарившего Хармсу свою книгу «Бог не скинут» с надписью «Идите и останавливайте прогресс». Оглушенным ритмами Маяковского, нам не дано было расслышать в этом истинное благословение и поэтическое напутствие. Мы проглядели тот момент, когда это напутствие было претворено в жизнь поэзией Хармса и Введенского, ибо логическим продолжением названия книги «Бог не скинут» являются слова «Мир накаляется Богом», а «Звезда бессмыслицы» есть естественный ответ на призыв «Идите и останавливайте прогресс». Но не расслышав всего этого, мы не смогли расслышать и того напутствия, которое было адресовано нашему поколению из недр поэтического пространства Хармса и Введенского:
Yury Lyubimov at the Taganka Theatre, 1964-1994 by Birgit Beumers; Harwood Academic, 1997 - Part I: Agitation in the 1960s: Society as a Generator of Change - 1: The Development of a Poetic Theatre - 2: 1968 and After: the Crushing of a Repertoire - Part II: The Tragic Dimension of the 1970s: the Individual and Society - 3: The Individual in the Present and in the Past - 4: Individual and Artist in Crisis - Part III: The 1980s in the West - 5: In Exile - 6: Lyubimov at the Opera - Part IV: Musical Visions for the 1990s - 7: The Return of the “master” - 8: Musical Harmony and the Doomed Individual
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В 1964 году в Московский театр драмы и комедии, расположившийся на Таганке, пришел новый главный режиссер — артист театра им. Евг. Вахтангова, педагог театрального училища им. Б. В. Щукина, Юрий Петрович Любимов. Пришел со своими учениками и с их дипломным спектаклем «Добрый человек из Сезуана» Брехта, ставшим символом молодого театра и сохранившимся в нем по сей день. Вскоре театр сменит название и будет называться по месту жительства своего — Театр на Таганке, в обиходе — просто Таганка. [ taganka.theatre.ru ]
This is a dedication page of sorts. There is another webpage on Taganka, the theatre in Moscow which introduced me to Theatre. And it was Brechtian and physical. Director Ury Lubimov never made much of references to Meyerhold, but this new theatre born in 1964 was full of the Meyerhold's ideas. No backdrops, no representational sets, no "Forth Wall"!* Yury Lyubimov: Thirty Years at the Taganka Theatre, 1964-1994 (Routledge Harwood Contemporary Theatre Studies, Vol. 21) 3718658755 $159.95If not for Taganka, I would be doing my thermodynamics to this day...
Maybe the book should be dedicated to Meyerhold himself... to this day there is no Meyerhold Theatre in Moscow. It was closed in 1937 and the new building, which Meyerhold designed for his Revolutionary Theatre was named as "Theatre of Satire"! You can see it on the Mayakovsky Square, the poet and friend of Meyerhold was recognized by Stalin. Mayakovsky shot himself before the Pergues began. Meyerhold didn't...
Mayakovsky is not facing the theatre, it's on the side, behind. Meyerhold is not there.
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Yury Lyubimov:
"'The most interesting thing in art is the unconscious process. Analysis starts later...'."
Tracing Lyubimov's work play by play, we discover an indivudual doomed to be at odds with the prevailing political and social climate of his literary contemporaries. From this unique book there emerges a clear picture of Lyubimov's mischievous, provocative, fearless, and tireless imagination.
In this fascinating study of Yury Lyubimov's tempestuous career and his liberating style of theatre, Birgit Beumers thoroughly explores the making of a major figure in twentieth-century theatre. She traces the development of Lyubimov's ideas, from his arrival at the Taganka theatre in 1964, through his expulsion in 1984 and his period of exile in the West, until his return in 1989 to a much-changed Russia. [ The history of the Taganka Theatre of Drama and Comedy is intrinsically linked to the political history of the Soviet Union... ]
... 23 апреля 2004 г. Театру на Таганке исполняется 40 лет.
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... Russian Theatre Album
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Pre-publication version of a feature to be published in the Moscow Times Sept. 27, 2002. Any and all quotations of, or references to, this article must cite John Freedman. (c) 2002 John Freedman. The final version will be available with accompanying photo on Friday in the Metropolis section at www.themoscowtimes.com or www.tmtmetropolis.ru
For those interested, I will also have a short piece on Yury Lybimov's 85th birthday running in the New York Times on Sun., Sept. 29. By John Freedman
Imagine a theater director who, during his career, has staged 101 shows in 30 cities in 15 countries. Keep in mind that, before this director founded one of the most famous theaters of the 20th century at the ripe age of 47 in 1964, he had been a popular film and theater actor and had won a coveted Stalin Prize for his work on stage.
Toss in the fact that this same director became an international celebrity in 1984 when the Politburo stripped him of his Soviet citizenship and that he became a national icon when he returned to Russia from exile in 1989. Moreover, when the euphoria of his return wore off, he weathered a nasty civil war at his theater which broke into two warring factions and left him in control of only one of the two large stages he used to have at his disposal. Having put that behind him, he settled down to the task of making his theater one of the most lively and popular in Moscow again.
Now, the question is this: If you were this director, what would you do for your 85th birthday?
Well, if you were Yury Lyubimov, who will celebrate his 85th at his Taganka Theater on Monday, you would stage the 102nd production of your career. In this case, the production is a brief, brisk interpretation of both parts of Goethe's "Faust," a show that has been playing in previews since April but which will have its official opener go down in the books as September 30, 2002, the day Lyubimov commemorates number 85. But as important as I know "Faust" is to Lyubimov, it is not really his new production we will be thinking about on Monday, but rather the man who created it, and what he means to theater, to Moscow, to Russia and the world.
It is enough to pronounce the name "Yury Lyubimov" and you instantly realize that you have bitten off more than you can chew.
Which Lyubimov are we talking about? The innovator who injected a whole new aesthetic into Soviet theater in the 1960s and 1970s? The political dissident who openly waged wars with the communist authorities? The extraordinarily shrewd backroom wheeler-dealer who used his connections and popularity with people in the KGB and the Communist Party to play both ends off the center and keep his theater afloat? The cantankerous, opinionated and demanding director whose quarrels with actors and theaters are legendary? The gentle, courteous man who, nearly 20 years ago while in the middle of a scandal causing the cancellation of a production at the American Repertory Theater in Cambridge, Massachusetts, spent nearly three hours patiently answering every silly question I had to ask him? And that is barely a start.
Lyubimov is an era unto himself. Here is a man who was born just weeks before the Russian revolution in 1917. He met the legendary director Vsevolod Meyerhold in the 1930s while still an acting student and, during World War II, he worked in one of the most bizarre cultural organizations ever contrived -- the Song and Dance Ensemble of the NKVD, which is what the Soviet secret police then was called. This is probably where he met some of those future KGB agents who helped him keep the Taganka afloat 20 and 30 years hence and who saw to it he was kicked out of his theater and homeland in the 1980s. The Song and Dance Ensemble is also where Lyubimov met and worked with such people as the great composer Dmitry Shostakovich and the influential playwright Nikolai Erdman who helped form him as an artist.
Lyubimov is the man who gave the actor and bard Vladimir Vysotsky a platform from which to become a national legend. Vysotsky was Lyubimov's top actor until he died at age 42 in 1980. Lyubimov is also the man who helped bring the set designer David Borovsky to international prominence. Borovsky was unquestionably one of the most innovative theater designers of the second half of the 20th century. Lyubimov routinely worked with such world-class composers as Alfred Schnittke, Edison Denisov and now Vladimir Martynov.
Many of Lyubimov's productions at the Taganka -- "Faust" is his 51st there -- have been instrumental in shaping the style of Russian theater over the last 40 years. Such shows as Brecht's "The Good Person of Setzuan" (1964), John Reed's "Ten Days that Shook the World" (1965), "Hamlet" (1971), Yury Trifonov's "The Exchange" (1976), Mikhail Bulgakov's "The Master and Margarita" (1977) and Dostoevsky's "Crime and Punishment" (1979) form an anthology of top theatrical achievements for those years.
Since returning from exile and resuming control of the Taganka, Lyubimov has added several more key productions, including Euripides' "Medea" (1995), Dostoevsky's "The Brothers Karamazov" (1997), Peter Weiss' "Marat and Marquis de Sade" (1998) and Pushkin's "Eugene Onegin" (2000).
Over the years I have observed Lyubimov in nearly every possible state of being: embattlement, fury, triumph, leisure and labor. I have talked to actors, directors, critics and backstage hands -- some of whom cannot forgive his authoritarian manner, some of whom continue to have tremendous respect for this man whose accomplishments are so great in number and scope. Few who have ever come into contact with Lyubimov are neutral in their feelings about him.
As the noted American theater scholar Alma Law has put it, "Lyubimov's creative juices have always thrived on crisis." For most of his life, Lyubimov has loved a good fight and has been able to put it at the service of his art.
Even as he nears 85, he has hardly slowed down. Suffice it to say that between the ages of 80 and 85, Lyubimov has staged 11 shows. It is true that during rehearsals he no longer jumps up on the stage to show his actors what he wants. Now an assistant does that for him as he sits at a table in the middle of the auditorium. And Lyubimov doesn't seem to bait and badger journalists with the same relish he used to -- now he seems more inclined to regret the precious energy that must be wasted on anything but his work.
And that brings us to the crux of the matter -- Lyubimov is and always has been a worker. Maybe not every show he has created has been successful -- I have seen plenty that I would say have not been. And maybe he has not always been as respectful of his colleagues as it would seem he could be -- aside from Vysotsky, only rarely will you hear him say kind words about the several generations of actors who have helped him make his reputation.
I could not possibly claim to know or understand Lyubimov, whom I have observed at relatively close hand for twenty years. But I do know this: He is an artist who is utterly dedicated to his gift and his art.
Once again, Alma Law has put her finger on Lyubimov's pulse. "Endowed with a seemingly boundless reserve of energy," she writes, "Lyubimov spares neither himself nor his actors. As one of them commented in describing life at the Taganka Theater, 'For us the concept of a working day ceased to exist. There was only a working life.'"
Lyubimov has had one of the most extraordinary working lives in Russian culture of the last eight and a half decades. It's been an honor to be a witness. ***The celebration of Yury Lyubimov's 85th birthday, featuring the premiere of "Faust," takes place Monday at 7 p.m. at the Taganka Theater, located at 76 Zemlyanoi Val. Metro Taganskaya. Tel. 915-1217. Running time of performance: 1 hour, 50 minutes.***
Vladumir Visotsky
(c) 2003 John Freedman. The final version will be available with accompanying photo on Friday in the Metropolis section at www.themoscowtimes.com or www.tmtmetropolis.ru
Yury Lyubimov's "Before and After" at the Taganka Theater is another of the relatively short, fragmentary shows that this renowned director has been doing for several years now. He occasionally talks about contemporary society's inability to focus attention on any one thing for long, and he has evolved a style that responds to that, not only in the overall brevity of a show that is finished within two hours' time, but also in the concise scenes that come and go within the work.
Lyubimov defines the genre of "Before and After" as a ***bricolage.*** Unable to find the word in my four-volume Russian dictionary or any of the ten theater, drama and literary resources at my disposal, I hunted it down it in my French-English dictionary, which defines it as "tinkering about." In Lyubimov's hands, this show, indeed, is more than a mere collage or patchwork of scenes, but is a colorful, probing production that pretends, at least on the surface, to be the result of the director and his actors playing and tinkering with a heterogeneous text.
The program lists 23 writers, excerpts of whose poetry, prose, letters and memoirs have gone into the show. Most come from the so-called Silver Age at the beginning of the 20th century, but not all. There are also contributions from Alexander Pushkin, Andrei Voznesensky and Iosif Brodsky. Lyubimov merrily pokes fun at Maxim Gorky, creating a pun out of Gorky's name, which means "bitter," and one of his most famous phrases that includes the similar-sounding word "gordy," or "proud": "Man," wrote Gorky in his famous play "The Lower Depths," "it has a proud ring." Lyubimov turns that around by repeatedly having his actors call the writer Maxim Gordy, or Maxim the Proud, and quoting him as having written, "Man; it has a bitter ring."
Lyubimov also went back to the early 20th century for the set, based on a famous Kazimir Malevich painting, and the music, drawing on compositions by Igor Stravinsky and Arnold Schoenberg under the supervision of longtime Lyubimov collaborator Vladimir Martynov.
The use of Malevich's "Black Square" as the foundation for the set was a minor stroke of genius. A large facsimile of the painting - depicting a simple black square on a white background - stands innocently at center stage when the performance begins. But soon enough, as though it were a magic cauldron, it begins spewing out characters who emerge from it and take up positions on the stage. At times the black square opens up only partially, allowing actors to stand visibly on one side of the framed area while others hide in the center. It not only brings to life one of the possible interpretations of Malevich's painting - that there is more than meets the eye in a solid mass of black - but it also creates an effective second stage area above the stage proper.
Anyone seeking a coherent story in this production will be frustrated no end. Lyubimov's purpose in bringing together so many writers appears less to have been to create a narrative than to allow a multitude of conflicting personalities, ideas, movements, beliefs and styles to ram up against one another before our eyes. Moreover, the confusion increases because it is not always clear which of the two dozen writers is speaking. At times we are attacked with waves of anonymous verses or dialogues.
But isn't that the nature of so much of the Russian 20th century? It was a time of chaos, clash and upheaval. It was a time when the natural could seem exotic and the impossible was the rule. There is a hint of this in the first two poets who speak - Anna Akhmatova (Lyubov Selyutina) and Nikolai Gumilyov (Alexei Grabbe). Akhmatova speaks though her famous "Requiem," in which she laconically states "my husband is buried, my son is in prison." Gumilyov, Akhmatova's former husband who was executed by the Bolsheviks in 1921, replies, so to speak, by way of verses he wrote after traveling to Northern Africa. Vastly different topics, it would seem, brought home to a common denominator by personal experience.
I will say it again, however - the words of this production do not tell a conventional story; they evoke images and sensations. A few writers emerge in more detail than others - Alexander Blok (Vladimir Chernyayev), Viktor Rozanov (Felix Antipov), Osip Mandelshtam (Ervin Gaaz) and Brodsky (Valery Zolotukhin) among them - but they almost seem to be interchangeable parts in a cultural and historical machine that is racing forward out of control.
What surfaces in this show is something else. We are almost shocked by the conviction and commitment of the writers. They take themselves, their literature, their fates and the fate of their country so seriously, there is something downright "old-fashioned" about it. For those of us trapped in the modern world of kitsch, sarcasm and hip mockery, these writers' highly developed sense of responsibility and their acute awareness of the tragedy of their time come almost as a shock. It is as though we have forgotten that people can think, write and speak like this anymore. Many of the utterances pronounced in the course of this show sound closer in sensibility to the ancient Greeks than to what we know and hear today. Imagine a phrase like "we live only through poetry: everything else is over now." It is a jolt to the contemporary system and that is just what Lyubimov intended it to be.
Even beyond the clever use of Malevich's painting, the visual aspect is striking. Many of the actors are dressed as commedia dell'arte heroes and heroines - Harlequin, Columbine, Pierrot - and they move acrobatically about the stage. Some are wandering musicians who accompany or take part in the action, such as Larisa Maslova who plays Mandelshtam's wife Nadezhda. The actors are in constant movement, migrating in semi-orderly swarms from side to side and front to back. Lyubimov creates powerful shadow images on the white brick wall in back, while he occasionally uses red spots to flood the white border of "Black Square" with a bloody red. For a few short instances, Lyubimov uses an actor, lighting and shadows to evoke a visual echo of Boris Grigoryev's famous portrait depicting the director Vsevolod Meyerhold with outstretched hands.
"Before and After" has been performing off and on since late last season, although the official premiere took place only in November. It is the second time Lyubimov has run a long series of previews before actually declaring a show open, and it is an understandable idea. This allows the actors more than the customary time to slip into the rhythm of a complex show. This does not make it any more accessible to those who want clear-cut stories in their theater. But it does provide an engaging spectacle for anyone who is willing to throw out expectations and go with the flow of one of the world's most famous directors tinkering around with the riches of Russian literature.
***"Before and After" (Do i Posle) plays Dec. 7, 19 and 30 at 7 p.m. at the Taganka Theater, located at 76 Zemlyanoi Val. Metro Taganskaya. Tel. 915-1217, 915-1015. Running time: 2 hours, 5 minutes.***
Свой день рождения Театр на Таганке отметил премьерой спектакля по мотивам поэзии ОБЭРИУТов «Идите и остановите прогресс», в котором используются неопубликованные материалы произведений Д. Хармса, Н. Заболоцкого, А. Крученых, А. Введенского. Режиссер — Юрий Любимов
18 ноября 2004 г. «Таганка — 40. Только факты»
Выставка с таким названием открылась в рамках 6-й Международной конференции "Театр в книжной и электронной среде", проводимой Российской осударственной библиотекой по искусству (РГБИ). Экспозиция «Таганка — 40. Только факты» впервые объединила фотографии, книги, журналы, костюмы, газетные вырезки, программы, афиши и др. материалы из архивов Московского театра на Таганке и фондов РГБИ.
Eisestein & Theatre [ + Russian American Theatre Files -- filmplus.org/rat/taganka ]
... Lubimov in Theatre Theory directory ?
... [ru] antohins.vtheatre.net/60 & fool.vtheatre.net
... links/biblio/references -- ?
... http://www.highbeam.com/doc/1G1-14376805.html ?
An online course supplement *
2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North * Anatoly Antohin * eCitations *
Acting amazon
Sergei Radlov: Shakespearian Fate of a Soviet Director [ google books ] By D Zolotnitski -- what about Lubimov's fate? ... no book
...
