For the needs of the entrepreneur Kazassi. The institution was named the Kazassi Theatre. After the fire at the Bolshoi Theater in 1811, the architect Thomas de Thomon proposed to rebuild this theater by expanding its stage and hall. But this was interrupted by the War of 1812.
Talk about rebuilding the theater continued after the war, when Emperor Alexander I returned to St. Petersburg. For the new owner of the Anichkov Palace, Grand Duke Nikolai Pavlovich, the space of the estate was put in order, but there was not enough money to rebuild the Kazassi establishment. At this time, the funds went to the construction of the General Staff building. Despite the refusal to build a theater, the design of the square with a new building in the 1810s was made by Karl Rossi, who was engaged in altering the interiors of the Anichkov Palace.
Rossi's project began to be implemented with the coming to power of Nicholas I. The emperor wished to rebuild the square in front of the Grand Duke's palace, which was entrusted to the architect. On April 5, 1828, the project was approved, and the next day a Commission was created "for the construction of a stone theater and two buildings behind it." N. Selyavin, vice-president of the Cabinet, headed the commission. Rossi's assistants at the construction site were the architects N. Tkachev and I. Galberg.
By the spring of 1828, 950,000 rubles were paid from the treasury to the owners of the plots necessary for the construction. Those who were in no hurry to make room were forcibly evicted in one week.
For the foundation of the theater, about 5,000 piles were driven into the ground. The walls of the building were erected in the same year. In 1829, they began to install ceilings, which the architect planned to make from metal. This decision was opposed by General Engineer P. Bazin, who headed the Committee for Buildings and Hydraulic Works. He expressed his doubts about the reliability of metal ceilings in a report to the emperor. Nicholas I created a commission in order to examine the project "for the installation of metal rafters and the roof of the newly built theater on Nevsky Prospekt, whether the walls and rafters will withstand the weight of the machines and whether this device will be dangerous." Work at the Alexandrovsky iron foundry of M. Clark, which manufactured these structures, was suspended. Carl Rossi and M. Clark were asked to provide a model and explanations. In connection with these events, the architect Rossi wrote the following letter to the emperor:
"Excellent prince, gracious sovereign!
I had the honor to receive an order from Your Excellency, dated September 2, with the announcement that the Sovereign Emperor, having considered the opinion of General Bazin and other papers ... regarding the installation of metal roofs on the newly built theater ... deigned to stop all work on this device until the command.
On this occasion, I take the liberty of informing Your Excellency that when His Imperial Majesty deigned to approve my project for new theater and chose me to build it, then through this I was clothed with fullness and perfect power of attorney, which I had the happiness to justify by experience with other buildings that I had already produced, which were not among the ordinary ones, such as: the device of a metal archive in the General Staff and the conical vault of a large arch , connecting the house of the General Staff building with the new building from Malaya Millionnaya. Now, to the greatest regret, I see that I am completely deprived of this power of attorney, and envy and intrigues triumph.
As a result of this, and in order not to darken my reputation, I most humbly ask ... to apply for permission to complete the work begun on the installation of a metal roof, personally for me, together with Mr. Clark, according to our system. Both I and Mr. Clark answer with honor and head that not the slightest misfortune will occur from the mentioned roof and that the whole device will have the proper strength ...
In conclusion, I will inform Your Excellency that in the event that any misfortune should occur in the mentioned building from the installation of a metal roof, then as an example for others, let them immediately hang me on one of the rafters ... "[Quoted from: 2, 528]
After inspecting the finished metal structures on September 19, 1829 at the Clark factory, Nicholas I announced the decision: "... continue the stone construction of walls for a metal roof and immediately put several iron rafters for the roof for testing, and also put cast-iron rafters and above the stage after making over them experience in advance at the factory ... "The test consisted in checking the strength of the rafters by hanging a load weighing 40 tons on each of them. Thus, Rossi's project was nevertheless accepted for execution.
The project for the decoration of the hall was not fully implemented. The architect conceived it more elegant than it was executed. Bronze and copper were replaced by woodcarving and artistic painting. This decision was made due to the lack of funds that at that time went to the needs of the army. The design of the auditorium based on Rossi's sketches was created by Okhta carvers, stucco masters N. Sipyagin and M. Sokolov, artists the Dodonov brothers.
Nicholas I wanted to see the upholstery of the auditorium with red fabric. Rossi announced to the emperor that this was not available, and if you wait for its purchase, then it will not be possible to open the theater on time. Thus, Rossi achieved the realization of his plan - to decorate the auditorium with upholstery blue color.
The grand opening of the theater took place on August 31, 1832. The next day the papers wrote:
"This huge, elegant, majestic building was built by the architect Rossi. The hall contains five tiers of boxes, except for the benoirs. There are 242 chairs located in nine tiers. ), numbered benches, very comfortable for spectators and listeners... The performance opened with the tragedy "Pozharsky, or the Liberation of Moscow" and a Spanish divertissement, that is, various Spanish dances" [Cit. according to: 2, p. 530].
The theater was named after the wife of Emperor Nicholas I Alexandra Feodorovna. Since then, it has been called "Alexandrinka". The building was included in a single architectural ensemble of Ostrovsky Square. Above the colonnade, the facade of the theater is decorated with a quadriga, ruled by the god of arts Apollo. The author of the sculpture is S. S. Pimenov. The Apollo Quadriga was made by the masters of the Alexander Plant. For this work, craftsmen Pyotr Katerinin and Pyotr Odintsov, as well as apprentice Rogozin, received silver medals on Anninsky ribbons, and master Andrey Malikov received a gold medal.
The Alexandrinsky Theater was originally under the jurisdiction of the Ministry of the Imperial Court. Its Rossi walls were painted light grey.
In the year of the opening of the Alexandrinsky Theater, on the basis of an imperial decree, the directorate provided Karl Rossi with a free and perpetual use of a ticket to box No. 14 of the second tier. On January 14, 1837, the director of the imperial theaters Gideons reported to the Minister of the Court:
".... Mr. Rossi suggested to the directorate if she would like to take away this box from him, and pay him money for it.
Due to the uncertainty whether Mr. Rossi still has the right to make such transfers of lodges without special permission ... I did not dare to accept his proposals.
But this box is occupied at almost all performances by various persons from the public, and as an entrance to it ... it is always done according to a special ticket issued to it by Mr. Rossi, it was discovered that a person was sent to the theater with this ticket, who sells in the corridor I tell this box in places about a loner of various kinds to people ... This sent one was not only confirmed many times not to do this again, but even ... he was detained in the theater for that with an announcement that if he continued such actions in the future, then .. will be escorted to the police.
Despite this, however, it turned out that during the performance of the former January 10, they were let into the box in the same way ... seven people of various kinds, of which a quarrel and a fight occurred between the two, during the investigation of which it turned out that the police found that among those who were sitting in this box there were nobles or officials, as well as serfs..." [Quoted from: 2, 548]
After this incident, Rossi was announced that the next such incident would end for him with a deprivation of a ticket.
Once upon a time, on the days of theatrical premieres and benefit performances, a long queue of carriages and carriages lined up at the entrance to Alexandrinka. Among the "golden youth" of that time, it was indecent to go to the theater on foot, so enterprising cabbies specially put their carriages near the theater, on Nevsky Prospekt. From there, young people drove to their destination.
On the eve of 1849, Nicholas I wanted to update the decoration of the auditorium of the Alexandrinsky Theatre. He ordered the four boxes near the stage to be enlarged and the upholstery of the hall to be replaced with red, which was entrusted to Carl Rossi, who created two projects for alterations. This work was the last for the 72-year-old architect.
In Soviet times, the theater received the name "Academic Drama Theater named after A. S. Pushkin." With the acquisition of this name, he also began to be called "Pushkin".
Until 1801, there was a wooden pavilion on the site of the Alexandrinsky Theatre. Then, according to the project of the architect V. Brenna, it was rebuilt into a theater, which was called the Maly Theater. In 1828, construction began on this site of a new theater building under the direction of K.I. Russia. The son of an Italian ballerina, Rossi was born in St. Petersburg, and became a pupil of the architect Vincenzo Brenna.
First independent work Rossi in St. Petersburg became the Yelagin Island Ensemble. Rossi believed that the dignity of architecture "is not in the abundance of decorations, but in the grandeur of forms, in the nobility of proportions." The construction of the theater was completed in 1832. The grand opening of the Alexandrinsky Theater, the author of which was Rossi, took place on August 31, 1832. The main facade of the building, rectangular in plan, faces the square and Nevsky Prospekt. The rusticated walls of the first floor of the theater serve as the basis for the Corinthian order colonnades that adorn the facades of the building.
The main facade is decorated with semicircular niches with statues of two muses: Terpsichore (muse of dance) and Melpomene (muses of tragedy). On the opposite facade are statues of Clio (muse of history) and Thalia (muse of comedy). Above the colonnade of the main facade there is a relief image of two Glories, which crown the lyre with laurel wreaths. Completes main facade theater quadriga of Apollo by the sculptor S.S. Pimenov. Apollo, son of Zeus and patron of the arts, dressed in loose clothing, stands to his full height in an elegant chariot drawn by four horses. In his right hand- laurel wreath, in the left - cithara (plucked musical instrument with four strings). The model of the quadriga is made of red copper and covered with bronze. The whole composition looks very dynamic and light.
In the auditorium of the Alexandrinsky Theatre, gilded carvings of boxes near the stage and the central "royal" box have been preserved. The interior and exterior decoration of the theater in allegorical form glorifies the achievements and greatness of Russian culture and art. Later, a square was laid out in front of the building of the Alexandrinsky Theater. And in 1873, during the reign of Alexander II, a monument to Catherine II was erected in the center of this square. Today academic theater drama named after A.S. Pushkin (Alexandrinsky Theatre) is one of the most popular and visited theaters in St. Petersburg.
One of the most famous theaters in St. Petersburg, the legendary Alexandrinsky Theater was founded by decree of Empress Elizabeth. In honor of the wife of Emperor Nicholas I, Alexandra Feodorovna, the theater was named Alexandrovsky. On February 9, 1937, when Russia celebrated the centenary of the death of Pushkin, the theater was named after the poet, and now it is called the Alexandrinsky, or Pushkin Theatre.
The magnificent building, which has housed the theater since 1832, was built by the architect Carl Rossi. Facing Nevsky Prospekt, the exquisite architectural ensemble is one of the best examples of Russian classicism. The sculptural composition "Chariot of Apollo", located on the attic of the building, has become not only a symbol of the theater, but also one of the emblems of the Northern capital.
The theater's repertoire traditionally consists of dramatic performances by Russian and foreign classics. Almost all world premieres of works of Russian classical drama took place on the stage of the Alexandrinsky Theater. Pushkin and Belinsky, Turgenev, Ostrovsky and Blok often visited the legendary productions. Here Chekhov experienced joy at the presentation of his "Ivanov" and disappointment after the first failed production of "The Seagull". Today, in the playbill of the theater, along with dramatic works, you can increasingly see ballet performances with the participation of stars of Russian choreography.
The ensemble of actors of the Alexandrinsky Theatre, known as the "theater of masters", is one of the strongest in St. Petersburg. The walls of the theater keep the memory of the outstanding actors V. Karatygin, A. Martynov, I. Gorbachev, B. Freindlich, actresses V. Komissarzhevskaya, E. Korchagina-Aleksandrovskaya and many others.
Russian State Academic Drama Theatre. A.S. Pushkin - the legendary Alexandrinsky Theater - is the oldest national theater in Russia. It was established by the Senate Decree, signed by the daughter of Peter the Great Empress Elizabeth on August 30, 1756 on the day of St. Alexander Nevsky. It is this theater that is the progenitor of all Russian theaters, and the date of its foundation - the birthday of the Russian professional theater. The establishment of the theater was the beginning of state policy Russian state in the field of theatrical art.
The building of the Alexandrinsky Theater, created by C. I. Rossi, is one of the most characteristic and outstanding monuments architecture of Russian classicism. It plays a dominant role in the ensemble of Ostrovsky Square. As a result of the redevelopment of the estate of the Anichkov Palace in 1816-1818, a vast city square arose between the building of the Public Library and the garden of the Anichkov Palace. For more than ten years, from 1816 to 1827, Rossi developed a number of projects for the reconstruction and development of this square, which included the construction of a city theater on it. The final version of the project was approved on April 5, 1828. The construction of the theater began in the same year. On August 31, 1832, its grand opening took place.
The theater building is located in the depths of Ostrovsky Square and faces Nevsky Prospekt with its main facade. The rusticated walls of the lower floor serve as a plinth for the solemn colonnades that adorn the facades of the theatre. The colonnade of the main façade of six Corinthian columns stands out clearly against the backdrop of a wall pushed back into the depths. The traditional motif of a classical portico brought forward is here replaced by a spectacular loggia motif, rare in St. Petersburg. The surface of the walls on the sides of the loggia is cut with shallow semicircular niches with statues of the Muses - Terpsichore and Melpomene and completed with a wide sculptural frieze encircling the building. The attic of the main façade, decorated with sculptural figures of Glory, is crowned with the quadriga of Apollo, symbolizing the successes of Russian art.
Solemn and spectacular are the side facades of the theater and the southern facade, which closes the perspective of Zodchego Rossi Street. In his work on the project of the theater, Rossi focused his attention on its three-dimensional solution, monumentality and expressiveness of the external appearance. Inside the building, the most interesting is the auditorium. Its proportions are well found. Here, fragments of the original architectural design have been preserved, in particular, decorative gilded carvings of the boxes near the stage and the central large (“royal”) box. The barriers of the tiers are decorated with gilded ornaments made in the second half of the 19th century.
Sculpture plays an important role in the design of facades. Its performers were S. S. Pimenov, V. I. Demut-Malinovsky and A. Triskorn. The chariot of Apollo was minted from sheet copper at the Alexander iron foundry according to the model of S. S. Pimenov. By the centenary of the theater in 1932, under the direction of I. V. Krestovsky, the unpreserved statues of Terpsichore, Melpomene, Clio and Thalia, installed in niches on the facades, were re-made.
The theater has unique collections of scenery, costumes, furniture, theatrical props, weapons, the richest museum funds, which can be exhibited both in Russia and abroad in the most prestigious exhibition spaces.
During the 2005-2006 season. The Alexandrinsky Theater carried out a general reconstruction, as a result of which the historical appearance of the building's interiors was recreated. At the same time, Aleksandrinka has become one of the most advanced stage venues in terms of engineering. The grand opening of the reconstructed Alexandrinsky Theater took place on August 30, 2006 during the celebration of the 250th anniversary of the oldest state drama theater in Russia.
Repertoire of the Alexandrinsky Theatre.
The first director of the Alexandrinsky Theater was A.P. Sumarokov, and then - F.G. Volkov. The theater troupe was formed under the guidance of the famous actor, director and teacher I.A. Dmitrevsky. The theater repertoire of the second half of the 18th century included dramatic works A.P. Sumarokova, Ya.B. Knyazhnina, comedies by V.V. Kapnista, I.A. Krylova, D.I. Fonvizin, everyday dramas by V.I. Lukin, P.A. Plavilshchikov, as well as Western European playwrights - P. Corneille, J. Racine, Voltaire, Moliere, Beaumarchais.
Since the beginning of the 1770s, the comic opera, a kind of theatrical genre that combined dramatic action with musical numbers, singing and dancing. Based on life stories ordinary people", it quickly became popular. Famous at the time was the play "Undergrowth" by Fonvizin, first staged on the stage of the St. Petersburg theater in 1782 with the participation of Dmitrevsky (Starodum), Plavilytsikov (Pravdin), Mikhailova (Prostakov), Sokolov (Skotinin) and Shumsky (Eremeevna).
Of course, the performing arts of the theater until the beginning of the 19th century were associated with theatrical classicism - this was taught by Dmitrevsky. But with the change in dramaturgy, with the expansion of genre laws, emotional and psychological tendencies in acting art intensified. S.N. shone on the stage of the theater. Sandunov, A.M. Krutitsky, P.A. Melters, A.D. Karatygina, Ya.E. Shusherin. Sentimental drama and melodrama, which occupied significant place in the repertoire, demanded more naturalness and simplicity from the actors.
The public loved these genres because they reproduced "ordinary life". Of course, ideas about "simplicity", "naturalness" and " ordinary life", reflected in the drama in different periods of the history of the theater, were quite noticeably dissimilar. And today we have performances-melodramas, or "tearful dramas", like "Liza, or the Triumph of Gratitude" by Ilyin, "Lisa, or the Consequence of Pride and Seduction" by Fedorov, hardly seem to be alive.
But such was the spirit of the time - all kinds of sensitivity were valued at the theater. During Patriotic War 1812, the staging of tragedies by V.A. Ozerov - "Oedipus in Athens" and "Dmitry Donskoy". The significance of their problems, their patriotism were supported by the magnificent play of tragic actors - E.S. Semenova and A.S. Yakovlev.
In the 20s of the 19th century, the comedy and vaudeville of A. Shakhovsky, M. Zagoskin, N. Khmelnitsky began to take more and more place in the theater's repertoire. The best comedy performers were recognized by M.I. Valberkhov and I.I. Sosnitsky. At this time, on the St. Petersburg stage were staged early comedies A.S. Griboyedov - "Young spouses" and "Feigned infidelity". In the late 1920s, the theater turned to the romantic repertoire: dramatizations of A.S. Pushkin, V.A. Zhukovsky, novels by V. Scott. Acting art also develops the principles of romantic, emotionally effective stage behavior.
At the turn of the 19th-20th centuries, the work of the Alexandrinsky Theater was quite eclectic. Directing also appeared on the oldest stage, in which everyday realism, bordering on naturalism, prevailed (director E.P. Karpov). In 1908-1917, several performances were staged at the theater by V.E. Meyerhold, fascinated by symbolic and stylistic ideas. He asserted on the stage the festive theatricality, brightness, and luxurious decoration of performances. "Don Giovanni" by Moliere (1910), "Thunderstorm" (1916), "Masquerade" (1917) consistently deployed to the public the idea of a masquerade performance, mystical and religious, and in the theme of rock "Masquerade", staged on the eve of revolutions, they saw " the death of the empire.
After the revolution of 1917, the theater was subjected to the most severe attacks from the revolutionary theatrical figures of Proletkult, futurists and others. They demanded the dissolution of the troupe and the elimination of the imperial theater, representing the "old world" of "bourgeois art." Of course, it was a time of crisis. In 1919, the Alexandrinsky Theater became part of the association of academic theaters, and in 1920 it was renamed the Petrograd State Academic Drama Theater.
For the first time in the post-revolutionary years, the theater staged predominantly Russian and European classics. Gorky's dramaturgy appeared on his stage ("Petty Bourgeois", "At the Bottom"). In the mid-20s, plays of historical and revolutionary content appeared on its stage: "Ivan Kalyaev", "Pugachevshchina", and the director N.V. Petrov staged "The End of Krivorylsk" by Romashov, "Calm" by Biel-Belotserkovsky, "Armored Train 14-69" Vs. Ivanova.
The revolutionary line of the repertoire will now remain in the theater for a long time. And, although, in the 30s, historical characters and Russian autocrats will appear on the stage of the theater (the play "Peter I" by A.N. Tolstoy, "Commander Suvorov" by Bekhterev), Russian history is interpreted in the spirit of the "class approach".
In 1937 the theater was named after A.S. Pushkin. During the Great Patriotic War, he worked in Novosibirsk, and the best plays about the war by Soviet playwrights - "Front", "Russian People", "Invasion" were performed on its stage. In the autumn of 1944, he resumed work in Leningrad.
The largest event was the staging on its stage in 1955 of the play "Optimistic Tragedy" directed by G.A. Tovstonogov. The largest artists worked in the troupe of the theater: V.V. Merkuriev, N.K. Simonov, Yu.V. Tolubeev, N.K. Cherkasov, V.I. Chestnokov, E.V. Aleksandrovskaya, B.A. Freindlich and great theater directors Vs. Meyerhold, L. Vivienne, G. Kozintsev, G. Tovstonogov, N. Akimov and many others.
The history of the theater is also history human soul, her ups and downs. The history of the theater is the history of a human creative gift, which we do not always dispose of at its true worth. Still, you can't help but love the theatre. And we love this magnificent, beautiful and fascinating world of theatrical art, which amazes with its diversity and vitality. After all, even at the beginning of the new century, we still see parsley performances in the streets and fairs, the traditions of Chinese and Japanese theater are still alive, we still feel awe when we hear about "Russian classical ballet" or "Italian bel canto".
The Alexandrinsky Theater is one of the most famous theaters in St. Petersburg.
There are many generic features in the life of St. Petersburg; but the Alexandrinsky Theater is almost one of its most characteristic features, it is almost the main "burrow" of the huge and beautiful capital. One need only look at the Alexandrinsky Theatre, which, with its lovely square in front, the garden and arsenal of the Anichkin Palace on one side, and the Imperial Public Library on the other, is one of the most remarkable decorations of Nevsky Prospekt. But whoever wants to get to know inner Petersburg, not only its houses, but also those who live in them, to get acquainted with its way of life, he must certainly visit the Alexandrinsky Theater for a long time and constantly, primarily before all other theaters of Petersburg.
The name of the Alexandrinsky Theater is inextricably linked with the world history of performing arts. The unique complex of buildings, with a five-tiered auditorium, a huge stage, palace front foyers, a majestic facade, which has become one of the emblems of the Northern capital, has become one of the pearls of world architecture registered by UNESCO. Among the great oldest national theaters in Europe - the Paris Comedie Francaise, the Vienna Burgtheater, the London Drewry Lane, the Berlin Deutsches Theater - the Alexandrinsky Theater occupies a place of honor, being a symbol of the Russian National Theatre.
In the cultural capital of Russia there is one of the oldest theaters of our country (from among those that have survived to the present), founded in the 50s of the 18th century by the Empress Elizabeth Petrovna, is the Alexandrinsky Theatre, also known as the Pushkin Theatre.
The troupe of this famous drama theater went on tour in all corners of the world, and everywhere its productions enjoyed constant success.
The theater building was designed by Carl Rossi. It is built in accordance with the canons of the Empire style. In the 21st century, the second building of the theater was built - the New Stage. It is a unique multifunctional center that has no analogues in the world.
theater building
For quite a long time, the theater troupe did not have its own premises, using the buildings of other theaters. Only seventy-six years after the foundation of the troupe, she finally got her own building.
The theater was built in early 1930s. The territory on which it was erected previously belonged to the Anichkov family and was occupied by a huge garden. To be more precise, the owner of the territory in the 18th century was the same colonel, under whose leadership the famous Anichkov bridge. Later, the land was bought from him by the treasury, and the construction of the theater began.
At first, the building was made of wood and was intended not at all for the "homeless" troupe of Russian actors, but for Italian opera. Later, a small wooden building no longer met the needs of the city, it was decided to build a new building, this time made of stone. The implementation of this plan was delayed by a military conflict with Turkey, then a war broke out with France ... The construction of the theater was postponed indefinitely.
IN early XIX century Carl Rossi several new building projects were created. He worked on these projects for about ten years. In the late 1920s, construction work finally began. Approximately four years later, the new magnificent building of the theater was completed. Currently, it is one of the main architectural sights of the city.
Gives special majesty to the main facade of the building deep loggia with many columns. The main decoration of the side facades is also columns(eight on each side). A street leads to the building, which forms a single ensemble with it. This was the idea of the architect, who designed not only the theater, but also this street, connecting them into a single composition. A fairly short street is closed by the theater building, or rather, its rear facade, which is almost flat, but is distinguished by the richness of the decor.
Separately, a few words must be said about the sculptures that adorn the walls of the theater. They were created Vasily Demut-Malinovsky. This is an ancient chariot, ancient Greek muses, theatrical masks, laurel wreaths... Together with columns, an attic and other elements of the building, these sculptures are, as it were, parts of an architectural symphony created in the 19th century by two authors - a famous architect and a famous sculptor.
Speaking about the theater building, it is necessary to say a few words about the original design of its vault. In the 19th century, this design was an innovation. The architect had to defend this unusual engineering solution, to defend it from the attacks of many contemporaries. He was firmly convinced of the reliability of the design he proposed (and, as time has shown, this confidence was quite justified). The architect even offered to immediately hang it right in the theater - in the event that the engineering solution he proposed would cause any misfortune.
Building interiors
The interiors of the theater are also worthy of a separate description. The hall is five-tiered. It was created according to the most progressive system for the 19th century. The acoustics of the hall is beyond praise. The elegant interiors of the theater are now almost the same as they were in the 19th century.
However, it should be noted that initially blue upholstery was used in the hall, but in the late 40s of the 19th century it was replaced by crimson. The reason for this change was the most banal: at that time, oil lamps were used in the theater, which were heavily smoked, so that the original upholstery was seriously damaged. The soot also spoiled the wall paintings, so they had to be refurbished. The same thing happened with plafond painting. Speaking about the changes that took place at that time in theatrical interiors, one should also mention the stage: for a number of reasons, it was greatly altered.
When visiting the theater, pay attention to luxurious carving, which adorns the boxes: her drawings were made by the author of the building project. The ornament with which the barriers of the tiers are decorated was created later - in the second half of the 19th century.
Theater in the XIX-XX centuries
The theater got its name in honor of Alexandra Feodorovna, wife of Nicholas I. Throughout the 19th century, this theater was one of the main centers of culture not only in the northern Russian capital, but throughout the country. At first, the troupe focused on the traditions of European productions, but gradually, year after year, its original style, its own school, began to take shape.
The most popular genres in the first half of the 19th century were comedy performances, and the audience also willingly bought tickets for vaudeville. Perhaps the reason was that the difficult war with Napoleon was left behind, after the horrors of which people wanted positive emotions, lightness and fun. By the way, it was then that early comedies by Alexander Griboyedov.
Since the audience preferred vaudeville, St. Petersburg actors had to improve their plasticity, be able to combine movement and singing. It was then that critics began to oppose the theater schools of Moscow and St. Petersburg. It was believed that in the northern capital more emphasis is placed on external skill than on genuine acting talent. However, both schools were highly rated.
The theater enjoyed special attention of Russian emperors, especially in the first half of the 19th century.
In that part of the history of the theater that covers the 20th century, several main periods and key events can be distinguished.
Immediately after the 1917 revolution the theater was closed: this was done as a protest against the new government. However, this "sabotage", which lasted about four or five months, did not have any large-scale consequences. After some time, performances in the theater resumed.
In the 20s of the XX century, the theater began to be called the "mecca of directors." By that time Vsevolod Meyerhold already staged several performances on its stage. "Don Giovanni" by Moliere and "Masquerade" based on the drama by Mikhail Lermontov made an indelible impression on the audience.
In the early 1930s, a solemn celebrating the centenary of the theater building. It became important event cultural life not only of the city, but of the whole country. However, this anniversary, as it were, erased from the history of the troupe those seventy-six years when it did not have its own building. This was done for ideological reasons, otherwise one would have to remember that the theater was founded by the Russian Empress, and its troupe was originally a court troupe.
In the late 30s, the theater was awarded name of Alexander Pushkin. By the way, in the first decades of the 20th century, the theater was sometimes called “Ak-drama” (the word “ak” is an abbreviation for the adjective “academic”).
In wartime, the troupe was evacuated along Lake Ladoga (covered with ice). The theater continued to work in Novosibirsk.
In the early 90s, the famous St. Petersburg theater was returned to its historical name.
Present time
One of the brightest moments in the history of the theater in the current century was the proposal of the Ministry of Culture of the Russian Federation to merge the Aleksandrinka with the Yaroslavl Drama Theater (Volkovsky). What was to be the result of the merger was planned to be called The first national theater of Russia. But this initiative was not implemented, as the public assessed the association of theaters negatively. However, the project has not been completely rejected by the Russian authorities; its implementation has only been suspended. By the way, some artists assess the possible merger of the two theaters as the right step that will help the development Russian culture, will give new opportunities to directors and actors.
One of the oldest in Russia, the first state theater Alexandrinka always arouses special interest among the public and close attention of critics. There is a special account for him: he must correspond to the high rank of the imperial theater, and he has been honorably maintaining this mark for more than 250 years.
Origin
The reign of the daughter of Peter the Great, Elizabeth, was marked by a surge in cultural life in Russia. In particular, under it, the spectacle industry demonstrates rapid growth, many private theaters are created, touring troupes of foreign artists gather, playwrights write the first plays in Russian. There is also a need to create state theater following the example of other European capitals. And on August 30, 1756, Empress Elizaveta Petrovna issues a decree establishing the first imperial theater in Russia. So the future Alexandrinka acquires its official status.
At first, the theater is called Russian, it serves to present comedies and tragedies. The basis of the troupe is made up of people from Yaroslavl: who became the director of the troupe, and the actors Dmitrievsky, Volkov and Popov. Alexander Petrovich Sumarokov, who is considered the progenitor of Russian drama, becomes the playwright and director of the theater. The repertoire is based on French plays by Racine, Beaumarchais, Voltaire, Moliere, as well as works by Russian authors: Fonvizin, Sumarokov, Lukin, Knyaznin. The main emphasis was on staging comedies.
building construction
The theater enjoyed incredible popularity in St. Petersburg, but it did not have its own premises, it wandered around different venues, and a special building was vital for it. But only 76 years after its founding, the Alexandrinsky Theater appeared, the address of which is known to any theater-goer today. In that place, a wooden building originally stood, which was occupied by the Italian troupe Casassi. But later the theater collapsed, the premises were bought by the treasury, and after it was badly damaged in a fire in 1811, the war with Napoleon distracted from its problems.
But, despite the lack of funding, in 1810, Karl Rossi created a project for the restructuring of the square. And only in the 30s, under Nicholas I, the question of building a theater seriously arises. Carl Rossi becomes the head of this process, he took the architects Tkachev and Galberg to his team. A lot of money was invested in the construction, and work began to boil: 5,000 piles were driven into the ground for the foundation of the building, but they decided to save money on decorations. Instead of copper and bronze, painting and woodcarving were used.
The building was erected in just 4 years, and on August 31, 1832, the Alexandrinsky Theater, whose address is Ostrovsky Square, 6, acquired a building built by the greatest architect of our time. Karl Rossi supervised not only the construction, but under his leadership the project of the square and the interior decoration of the hall was brought to life. The Alexandrinsky Theatre, a photo of which is today in the album of every tourist who has visited St. Petersburg, is a monument to the great architect.
Architecture and interior
The Alexandrinsky Theater has become part of a large-scale urban development project in Russia. The front facade, facing Nevsky Prospekt, is made in the form of a deep loggia of 10 columns, on the attic of which the famous quadriga of Apollo is located. Along the frieze that borders the building, there are laurel garlands and theatrical masks. The side facades are decorated with porticoes of 8 columns. The building in the Empire style is a real gem of St. Petersburg. The side street leading to the theater, now bearing the name of Rossi, was planned by the architect according to strict ancient laws. Its width is equal to the height of buildings, and its length is increased exactly 10 times. The street is designed in such a way as to emphasize the splendor and grandeur of the architectural image of the building.
The emperor saw the interior only in red, but there was not enough fabric, and her order could greatly delay the opening. The architect managed to convince the ruler - so the theater got its now famous blue upholstery. The hall accommodated about 1770 people, had 107 boxes, stalls, galleries and a balcony, ingenious design gives it amazing acoustics.
Imperial period
In honor of the wife of Nicholas I, the theater was named Alexandrinsky. It becomes the center of stage life in Russia. Russian was born here theatrical tradition, which will later be the glory of the country. After the opening, the Alexandrinsky Theater maintained its usual repertoire policy: mainly comedies and musical plays were staged here. But later the repertoire becomes more serious, it is here that the premieres of Griboedov's comedy "Woe from Wit", "The Inspector General" by N.V. Gogol, "Thunderstorms" by Ostrovsky take place. Davydov, Savina, Komissarzhevskaya, Svobodin, Strepetova and many others worked in the theater during this period.
By the end of the 19th century, the Alexandrinsky Theater was on the same level with the best drama theaters in Europe in terms of the power of its troupe and performances.
The beginning of the 20th century was marked by a crisis that could not bypass the Alexandrinsky Theatre. In 1908, V. Meyerhold headed the group, who strived to create a new repertoire, but at the same time carefully preserved the existing traditions. He puts on unique performances: Don Juan, Masquerade, Thunderstorm, which become masterpieces of the new theater school.
After the October Revolution in 1917, the theater is accused of glorifying the imperial power, and difficult times come. In 1920, it was renamed the Petrograd Academic Drama Theater, and it began to actively stage new dramaturgy: “At the Bottom” and “Petty Bourgeois” by M. Gorky, plays by Merezhkovsky, Oscar Wilde, Bernard Shaw, Alexei Tolstoy and even Lunacharsky (People's Commissar of Education).
In the troupe, thanks to the efforts of the chief director Yuri Yuryev, a galaxy of old masters has been preserved, to which the actors join new school: Yakov Malyutin, Leonid Vivien, Elena Karyakina. During the Second World War, the theater was evacuated to Novosibirsk, where the actors continued to play performances. In 1944 the troupe returned to Leningrad.
The post-war and subsequent years were not easy for culture in general, and for Alexandrinka as well. But well-known performances still appear here, such as “Life in Bloom” based on the play by Dovzhenko, “Winners” based on B. Chirskov.
In the Soviet period, outstanding actors work: V. Merkuriev, A. Freindlikh, N. Marton, N. Cherkasov, I. Gorbachev and brilliant directors: L. Vivienne, G. Kozintsev, N. Akimov, G. Tovstonogov. The theater does not lose its significance, despite the ideological difficulties.
Back to the roots
In 1990, the original name returns, and the Alexandrinsky Theater reappears in the world. The years of perestroika are not easy for him, but the theater manages not only to survive, but also to keep the troupe and unique collections of scenery and props. Thanks to the efforts of Academician D.S. Likhachev, the Alexandrinsky Theater became a recognized national treasure. St. Petersburg is impossible to imagine without this cultural institution. It is a symbol of the Russian theater, along with the Bolshoi and the Mariinsky.
Present day
The Alexandrinsky Theatre, reviews of which are almost always written in enthusiastic tones, is trying to maintain its reputation even today. Since 2003, the theater festival of the same name has been held in Aleksandrinka through His efforts. Under the leadership of Fokin, a grandiose reconstruction of the theater took place. He ensured that the theater had a second stage, on which experimental performances are staged. The best actors and directors work here. The theater sees its mission in preserving the traditions of the Russian theater school, in supporting new trends and helping talents.
Famous theater productions
The Alexandrinka's repertoire always included the best plays, all the classics were staged here: Chekhov, Gorky, Ostrovsky, Griboyedov. Today, the performances of the Alexandrinsky Theater are created according to the best works playwrights: “Nora” by G. Ibsen, “The Living Corpse” by L. Tolstoy, “Marriage” by N. Gogol, “Double” by F. Dostoevsky. Each performance becomes a global event. V. Fokin is very sensitive to repertoire policy, he says that there can be no random productions here. The theater's mission is to promote the classics, and the latter occupies a leading place in the playbill of the Alexandrinsky Theater.
Troupe of the Alexandrinsky Theater
The Alexandrinsky Theater (St. Petersburg) is known all over the world. Today, such veterans of the stage as N. Urgant, N. Marton, V. Smirnov, E. Ziganshina, as well as talented youth work in the troupe: S. Balakshin, D. Belov, A. Bolshakova,
