Theater for non-professional actors. Recruitment for an amateur theater studio

Amateur theater performance is a form of participation in theatrical art by its participants in their free time from their main profession. During the period of the formation of professional national stages in various countries of the world, domestic troupes were replenished exclusively at the expense of amateurs.

On turn of XIX-XX centuries experience of the “Society of Art and Literature” in Russia, where amateur group headed by K. S. Alekseev (see K. S. Stanislavsky), the “Galsky Circle”, and then the “Free Theater” of A. Antoine in France, the “Free Theater” of O. Brahm in Germany showed that the movement of theatrical amateurism of that time was innovative and helped national cultures climb up new level in updating the repertoire and opening up stage forms. Amateurism stood at the origins of the Moscow Art Theater, "Free Theater" in Paris, " German Theater" in Berlin.

The October Revolution caused a genuine explosion creative energy people in all spheres public life. An amateur propaganda theater (“living newspaper”, agitation court, etc.) was created through the joint efforts of Red Army soldiers, workers, peasants and the young artistic intelligentsia captured by the revolutionary wave. The novels by D. A. Furmanov “Chapaev”, K. A. Fedin “First Joys”, and the story “Bread” by A. N. Tolstoy tell about the enormous impact of amateur performances on the Red Army audience. The manifestation of revolutionary feelings was combined here with a feeling of international solidarity. It was the amateur front-line theater that laid the foundation for the creation of a national theatrical arts among those peoples who previously did not know theater at all.

A. V. Lunacharsky did a lot to support and develop propaganda art. He believed that “it is in the forms of amateur theater new life, the revolution first found artistic expression on the stage. It was in this art that the first sprouts of open, conscious political bias emerged, which would then constitute the most important innovative feature Soviet theater" Theaters of working youth (TRAM) created their own dramaturgy and stage techniques. V.V. Mayakovsky called them theaters of “agitation and influence.”

In amateur theater performances of the 30s. The functions of direct propaganda began to be performed by propaganda teams performing sketches, ditties, vocal and circus acts. Amateur drama groups were created everywhere, which staged multi-act performances modeled on professional theaters.

During the Great Patriotic War amateur theater groups actively performed both in the rear and at the front, in partisan detachments.

In the post-war period, amateur theater performances went through a series of important stages. The first of them is associated with the awarding in 1959 of the title “ folk theater" This tradition continues to live today. The second stage is associated with the holding of the First All-Union Festival of Amateur Art of Working People (1975-1977), dedicated to the 60th anniversary October revolution. The festival contributed to raising the ideological and artistic level of amateur performances, deepening ties and mutual enrichment of the cultures of the peoples of the USSR, and strengthening the community of professional and amateur arts. Such festivals are supposed to be held once every 5 years. The third stage covers the 80s, which are characterized by a wide variety of creative styles, styles, and forms of amateur theater: theater club, room theater, poetry theater, pantomime theater, ballet theater, theater for young spectators, agitation theater. Those groups that at the turn of the 50-60s. The first to receive the title of people's theaters were the team of the ZIL House of Culture (Moscow, director S. Stein), "Mannequin" (Chelyabinsk, A. Morozov), the Youth Theater of Drama and Poetry (Ivanovo, R. Grinberg), the poetry theater of the Oilmen's House of Culture ( Omsk, L. Ermolaeva), theater of the House of Culture named after Yu. A. Gagarin (Ust-Abakan, V. Sokolov) and many others - came in the 80s. with a variety of creative baggage. The repertoire of folk theaters includes plays by A. N. Arbuzov, A. V. Vampilov, A. I. Gelman, V. S. Rozov, M. F. Shatrov and others. Many works Soviet writers were first staged by folk theaters: “I came to give you freedom” by V. M. Shukshin at the Theater on Krasnaya Presnya (Moscow, director V. Spesivtsev), “Live and Remember” by V. G. Rasputin at the theater in Bratsk (K. Magidin), " White steamer"Ch. Aitmatov at the Mannequin Theater (Chelyabinsk, A. Morozov), etc.

Along with folk theaters, within the amateur movement there arose new form organizations theatrical creativity- a theater-studio, which, developing the best traditions of amateur theatrical performances, should deepen the ideological and artistic search, reveal as much as possible creative potential participants. Moscow theater-studio in the South-West (director V. Belyakovich), theater-studio " Chamber stage"(M. Shchepenko), theater-studio "At the Nikitsky Gate" (M. Rozovsky), theater-studio "On the Boards" (S. Kurginyan), theater-studio "Man" (L. Roshkovan), being at the forefront of this movements acquired the status of professional groups.

Within the framework of the II All-Union Festival of Amateur Arts (1985-1987), dedicated to the 70th anniversary of the Great October Revolution, the creative activity all amateur theater groups. The veteran teams summed up the results of their work. Zonal shows and Ramps of Friendship contributed to the exchange of experience between beginning groups. Experimental theaters set new tasks: the theater-club “Subbota” (director Yu. Smirnov-Nesvitsky), the theater-laboratory of the House of Culture of the Lenin Komsomol Automobile Plant (A. Rasinsky), the studio “Theater” (A. Levinsky), etc. The festival ended in Moscow, where in July 1987 the decade “Literature, folk theaters, propaganda theaters” took place.

There are many interesting things in our country amateur groups. Among them are “Poetry and Truth” (Odessa), the people’s theater of the House of Culture named after D. N. Mamin-Sibiryak (Magnitogorsk), the people’s theater “Rampa” pedagogical institute(Abakan), Student People's Theater of Leningrad State University, Student Theater of Vilnius State University, People's Theater-Studio named after the Komsomol (Lvov), People's Theater of the Wood Materials Plant (Klaipeda), etc.

Is there a child who doesn't want to become an artist or singer? Today it is easy to get what you want - admission to a theater studio, as a rule, is carried out without preliminary exams. Classes can make a childhood dream come true, and your child will perform on stage, amaze the audience with his talents. Often when choosing a theater studio, the question comes down to money, but in Moscow there are many inexpensive and good places, where you can get additional acting education.

Studio theaters

Many private theaters open theater studios. Studying there will be interesting because you will get the opportunity to perform on stage in front of an audience with real performances. Training there is relatively inexpensive:

1. "Opening". Here you can attend one-time classes, courses for children and those entering universities, as well as full-fledged courses. In the latter case, the training program will consist of three stages and last 9 months. The cost of classes ranges from 3,000 to 6,000 rubles monthly;
2. "Square". During three months of training at this institution you will learn to overcome fear public speaking speak beautifully and expressively, learn the basics nonverbal communication, development of memory and attention. Group classes cost 4,000 - 5,000 rubles per month;
3. “The amazing studio of Y. Martynychev.” It has opened research groups into which people are accepted for specific roles in the studio’s productions. Training is free, but there is a strict casting process.

Private theater studios

It also happens that a theater studio does not value classes very highly, but the knowledge and skills acquired in it are fundamental. Such creative associations include:

1. "Form". Here they will teach you how to play different roles, believe in yourself, see the magical in the everyday. They will also develop acting skills and your sensory-emotional sphere. Training will cost 5,000 rubles per month for both adults and children, and master classes - 2,500;
2. "Art Premier". In small subgroups you will master public speaking and performing arts, change your image and style, create an acting portfolio. Price - 4000 - 5000 rubles monthly;
3. "Am-theater". Here, in addition to acting, they also teach directing and prepare for entering the drama school. Every two months you will practice performing on stage. Prices - 4000 - 5000 rubles.

Theater clubs at the Palace of Culture

Creative houses often open good theater clubs, prices for which are much lower than in private studios. Please pay attention to the following DCs:

1. The central house of the actor. Within its walls classes are held at the “Artist” theater school using the methods of famous theater figures. Uninhibited communication, beautiful speech, the ability to play on stage and in life - you will learn this for 6,000 rubles a month;
2. "Theater of Young Muscovites". Exists in the institution art education MGDD (Yu)Ta for over 70 years. The children develop the ability to express themselves and perform on stage. They participate in performances, competitions, and festivals. Admission is based on the results of an audition and an essay;
3. "Globe". The theater studio operates within the walls of the Zagorye cultural center. Here children will be taught acting, stage speech, body contouring and dancing. They will participate in theatrical productions, competitions, will develop creatively and socially. Training is free.

theatre studio - great place for general development your child. Don't be afraid of high prices for training there - you can easily choose an option that is commensurate with your budget.

Amateur theaters are not a new phenomenon. In Russia, this direction began to actively develop in the period from the 17th to the 19th centuries, when noble estates performances were staged with the participation of non-professional artists from the so-called “home” theaters.

Today, among amateur actors you can find representatives of a wide variety of professions. We decided to find out whether an ordinary accountant can get used to the role of Othello, who directs amateur productions, and how not to professional theater becomes a government agency.

How does it work

Unfortunately, in Moscow, and in Russia as a whole, no records are kept of the number of amateur theaters.

“In the Soviet years, I knew how many there were in Russia, Lithuania, Georgia. Now there are no such statistical data. New theaters are constantly emerging - school, student, various drama schools", - comments Head of the office of amateur theaters of the Union of Theater Workers of the Russian Federation Alla Zorina.

Life is not easy for amateur theaters. Many groups travel around Moscow and the Moscow region in search of venues for rehearsals and performances. Simple decorations and posters are made with your own hands.

“We don’t ask for help, because these are two different processes - to be creative and to raise money for a production. It’s easier for me to find this money myself than to upholster the offices of various authorities. We are not allocated funds for productions. At one time we had a good philanthropist who "I bought lighting and a screen for decorations. But now we understand that we need to develop and serve ourselves," notes artistic director of the Odintsovo Amateur Theater Svetlana Lapshina.

The Odintsovo Theater arose in 2007 on the initiative of Svetlana herself and her husband, a professional director. Lapshina is sure that if an amateur theater wants to reach a high artistic level, then it must be led by a person with an education. Svetlana herself is a fifth-year student at the Moscow State University of Culture and Arts, graduating from directing amateur theater.

The Odintsovo Theater, whose artists initially rehearsed within the walls of an apartment, now has its own permanent venue on the basis of the Nemchinovsky cultural and leisure center.

"If the theater is promising, you have good performance, you can contact the recreation center, and they will gladly take you there. Especially on a voluntary basis,” Lapshin shares her experience. – We started working as professionals, regularly maintaining the repertoire. There are five performances in it, we play them twice a month."

Whether an amateur theater will become professional depends on the goals and desires of the artistic director.

"Working with amateur actors is one specific thing that involves more freedom, creative search, laboratory work. Or the theater becomes a professional theater that earns money. Then he lives by certain rules that constrain creativity,” explains Svetlana.

Curtain, fellow students!

Director of the MOST Theater (Moscow Open Student Theater) Irina Bolshakova believes that her institution, transformed from amateur to state, has not lost the spirit of freedom.

“There were never any restrictions in terms of creativity on the part of the Department of Culture, which is our immediate superior. Creativity was limited in those years when the theater was a university theater, when there was a party committee and an artistic council. Mark Zakharov, who came to our student theater after Roland Bykov, the play "Dragon" was filmed for its external analogy with Khrushchev. These were times of strict censorship, which also extended to amateur theaters. And Viktyuk did not leave the student theater of his own free will. The censorship did not let his play "Music Lessons" pass, - said Irina Bolshakova.

By the way, MOST was formed from the Moscow State University Student Theater. However, the troupe included not only guys from Moscow University, but also other universities. During the period of perestroika, the theater became quite popular in Moscow. In particular, the bold play “The Black Man or Me, Poor Soso Dzhugashvili” brought success.

"Nobody remembered that we were an amateur theater, since we had a powerful artistic part. Some performances were performed by children who graduated from the Moscow Art Theater School. Rolan Bykov was our boss back then. He dreamed of creating a launching pad for creative self-expression of talented youth,” our interlocutor continues.

But the triumph of MOST gave way to a period of turmoil. Problems arose with the university administration, the theater lost its permanent stage. I had to rent the premises of Moscow theaters, and this is not a cheap pleasure.

“We turned to the cultural department of the Central District of Moscow for help. We were offered to create an all-Moscow student theater on the basis of the Moscow State University theater. The city provided premises in the center. I believe that the opinion “We don’t need anyone, we will create a theater ourselves and work” is wrong. The support and interest of the state is necessary,” says Bolshakova.

And here artistic director and director of the theater "Without a Sign" Maria Drozdova She admits that when she received an offer to receive the category of a professional cultural institution, she refused.

“I knew that if they agreed, I would condemn my actors to a meager salary with a full workload of the day. In my theater, people who received a good education. There is a president large company who plays on stage and obeys general rules. The troupe consists of 35 people who have been collaborating with the theater almost since its inception. We are already in our 36th season; amateur performances don’t last that long. In a good situation, their term is up to 10 years. It was our stable team that ensured our success."

Every two weeks, the artists of “Without a Sign” put up posters and sometimes advertise in free print media.

Now the Maria Drozdova Theater actively cooperates with the municipality, which has made it possible to obtain a fairly spacious hall for performances.

"Besides the fact that we put on performances, we help organize all district events for the population of the Northern Administrative Okrug. Our help lies in technical support festive events. This is beneficial to the area. War veterans and large families receive tickets for all performances. Golovino, Voikovsky, Timiryazevsky districts - spectators also come to our performances from there. At the same time, many do not divide performances into professional and amateur. People care about decent work by actors and a good repertoire,” adds Drozdova.

An important stage in the development of amateur theaters are festivals, director's laboratories and seminars. This is a way to show yourself and look at your colleagues.

“Recently, the Moscow theater “Blot” returned from the “Theatrical Crossroads” festival, which was held in Yekaterinburg. international festival“Your Exit”, in which a theater from Krasnoznamensk near Moscow took part. In the spring, a festival of amateur theaters was held in Bulgaria. We recommended the children's musical theater from Reutov for it. In the summer, they organized an all-Russian school for children and teenagers, “Theater Vacations in Vyatka,” where, along with other cities, children and directors from Moscow and the Moscow region studied. From October 31 to November 7, the “Stage” Cultural Center in Konkovo ​​will host the “Young to Young” festival of amateur theaters. There will be theaters from Moscow and the Moscow region,” noted the STD office of amateur theaters.

To take part in the festival, an amateur theater group can independently submit an application to the appropriate office at the STD. Department specialists also attend performances, the best of which are recommended for participation in festivals and seminars.

Who's playing?

According to artistic director of the acting school "Obraz" Sergei Bazarov, non-professional actors who want to try themselves on stage can be divided into several categories.

Firstly, these are people who want to transform their behavior with the help of acting: master oratory skills, improve physical and vocal expressiveness. IN game form making it not only easier, but also more interesting.

Secondly, those who lack sensations in life conquer the stage.

"Various situations are simulated on stage, most of which a person will never find himself in in his life. And this is a safe imitation. That is, everything always ends well: we say goodbye and go home. The game is a powerful source of missing modern life sensations. Filled with sensations, a person transforms, becomes more positive and sociable at home and at work,” says Sergei Bazarov.

The third group of newly minted actors consists of those who want to understand how interesting they are in theatrical activity from the point of view of professional occupation.

“Every year, about 30 of our students go to theaters and cinema,” continues our interlocutor. “People from 15 years old come to the studio school. This year, the oldest student is 75. Managers of any field, lawyers, accountants, financiers come. Many people working with dry numbers."

Speaking about the benefits of theater for everyday life, Sergei Bazarov notes: “In primary school American schools acting is an official subject taught by teachers who are far from the theater. I think this is also inevitable in Russia."

Alla Panasenko

The performances in themselves were not yet theater: according to art critics, theater begins where the viewer appears - it involves not only common efforts in the process of creating a work, but also collective perception, and the theater achieves its aesthetic goal only if the stage action resonates with the audience.

In the early stages of the development of the theater - in popular festivals - singing, dancing, music and dramatic action existed in an indissoluble unity; in progress further development and professionalization, the theater lost its original synthetism, three main types were formed: drama theatre, opera and ballet, as well as some intermediate forms.

Ancient theater

The ancient Greek theater was born from mysteries dedicated to the patron gods of agriculture, primarily Dionysus: during the festivities dedicated to him, a choir of “satyrs” dressed in goat skins sang songs (praises), the content of which was the myths of the Dionysian circle. The word “tragedy” (literally “song of goats”) comes from the chorus of satyrs. The year of birth of the world theater is considered to be 534 BC. e., when the Athenian poet Thespis, during the Great Dionysia, along with the choir, used one actor-reciter. Reciter, who in the 6th century BC. e. called “hypocritus” (“responder” or “commentator”), could enter into dialogue with the choir, portray various mythical characters during the narrative, and thus elements of acting were mixed into the dialogue. Later, Aeschylus added a second actor-reciter to the chorus, and Sophocles a third, in the 5th century BC. e. The “hypocrites” could already communicate not only with the chorus, but also with each other, which made possible dramatic action independent of the chorus, and as a result, the transformation of the chorus of satyrs into drama.

Atellana, short farcical performances in the style of slapstick, were popular in ancient Rome.

Along with the official one, there was also an ancient folk theater in which wandering comedians - fliacs and mimes - performed. They performed primitive plays of everyday, entertaining, satirical, and often obscene content on the streets and squares; the actors were without masks; women could participate in the performance.

European theater

Middle Ages

English medieval theater, 19th century engraving

In contrast to the pagan ones, the Christian church developed its own rituals, which gave its teachings effective illustrativeness. Already in the 9th century in Western Europe, on Christmas Day, priests portrayed evangelical shepherds going to Nazareth, a short dialogue took place between them and the priest who served the liturgy - the dialogization of the service in its development opened up opportunities for dramatic action. In the 11th century, real performances were already performed on Easter and Christmas.

Gradually, the liturgical drama became more effective, more meaningful, filled with psychological experiences; the tendency towards a realistic interpretation of gospel plots and images, reflected both in the design of performances and in props, contradicted the goals church service, and in 1210, liturgical drama was expelled from the church - later performances were given on the porch, which allowed not only clergy, but also townspeople to participate in them.

In the second half of the 13th century, performances dedicated to the lives of saints - miracles, which differed from the actual gospel stories in a more “everyday” design, became widespread. At the same time, secular plays also appeared, in to a greater extent, than miracles associated with folk folklore - known, in particular, is “The Game of the Arbor” and “The Game of Robin and Marion” by Adam de la Al.

At the same time, in cities, regardless of the church, the genre of mystery plays was emerging - mass, public, amateur art. Mysteries were part of city celebrations that were held on fair days; abstract church subjects acquired a national flavor in them.

Renaissance era

Drama Theater

In parallel, another trend developed: in the 70s of the 15th century, Pomponio Leto in Rome revived the ancient Roman theater - with his students he staged the works of Seneca, Plautus and Terence in the original language. Leto's experience quickly spread throughout Italy, and since Latin was not understood by everyone, translations of ancient Roman authors into Italian language. Two forms of Italian theater - antique comedies in Italian translations (and original plays, for a long time were openly imitative in nature) and mysteries based on mythological stories- gradually became closer, borrowing elements of dramaturgical technique and stage execution from one another.

The spread of mystery plays in Italy was associated with the emergence of the first theater groups at the turn of the 15th-16th centuries, initially in the form of amateur societies, which over time turned into semi-professional ones: artisans and representatives of the intelligentsia assembled a troupe when there was a demand for performances, showing them for a fee in rich homes and returned to their previous activities when there was no demand for performances. Important role The Paduan troupe of actor and playwright Angelo Beolco played a role in the development of Italian professional theater, whose members, performing in different plays under the same names, in the same costumes, created unchanging types (tipi fissi), - in this respect Beolco's troupe anticipated commedia dell'arte, which appeared in the mid-16th century, shortly after his death. However, in exact translation from Italian, commedia dell’arte at that time meant “professional theater” - the concept of “comedy of masks” appeared later.

For a long time, performances were performed in palaces. Only in the 20s of the 16th century did special theater buildings begin to appear, while the principles of construction were borrowed from Vitruvius: as in Ancient Rome, auditorium was built in the form of an amphitheater.

The new Italian theater was born as a court theater, but very soon gained popularity among the widest strata of Italian society, to whose interests and tastes it began to adapt at the turn of the 15th-16th centuries: mythological plots gradually gave way to plots from modern life, which, in turn, dictated new principles for the design of performances and a different style of acting.

Opera and ballet

In 1637, the first opera house was opened in Venice.

First opera composers there were Jacopo Peri, Claudio Monteverdi and others.

The first ballets were staged at court for the entertainment of the court nobility. The choreography was based on court dances.

In the 15th century, one of the first dance masters was Domenico da Piacenza (English)Russian. He danced with his students Antonio Cornazano (English)Russian and Guglielmo Ebreo, and also taught this art to the Italian nobility. Da Piacenza wrote a work entitled "De arte saltandi et choreus ducendi"("About the art of dancing and leading dances").

In the 16th century, grandiose performances - spectaculi - appeared in northern Italy. They included not only dancing, but also horse shows and battles. Catherine de' Medici brought interest in dance to France. She was also the first sponsor of the ballets, and organized grandiose spectaculi. One of the notable ones was the Polish Ballet (Le Ballet des Polonais), which was staged for the visit of Polish ambassadors in 1573.

The first ballets included not only dancing, but also conversations and elements of drama. Gradually, dance replaced the elements of drama from ballet. In France, ballet emerged as a separate genre. Ballet performances were now given not only at court, but also in theaters. Nobles, including Louis XIV, performed roles of varying importance in the ballet.

In 1585, the Teatro Olimpico, with a proscenium, opened in Verona.

Subsequent history

Theater of the East

In the theater of the East, ancient archaic traditions of dramatic, puppet, and musical theaters have been preserved. This is equally true for the theater of India, the theater of Japan, China, Vietnam, and the theater of Indonesia.

Theater in Russia

In Russia, theater was born late - only in the second half of the 17th century. However, in the Orthodox Church, staging of individual services was accepted - the Cave Action and the Procession on the Donkey. These rituals were performed no later than early XVI centuries. Buffoonery, which originated in the 11th century, was harshly condemned by the Church and was officially banned in 1648 by decree of Alexei Mikhailovich; cities did not have sufficient independence to organize performances similar to Western European mysteries on their own - theater was imported to Russia from Western Europe. The first court theater was created in 1672, but it lasted only a few years. The emergence of the so-called “school theater” - a theater for spiritual educational institutions; The first mention dates back to 1672, when the mystery play “About Alexei the Man of God” was staged at the Kiev-Mohyla Academy. In 1687, the Slavic-Greek-Latin Academy was founded in the Zaikonospassky Monastery in Moscow, under which a theater was also created.

Theater in the USA

Types of theater

Drama Theater

Unlike other types of performing arts, a performance in a drama theater is based on literary work- drama or script, involving improvisation or pre-prepared production. For a dramatic theater artist, the main means of expression, along with physical actions, is speech, stage costume, makeup; At the same time, dramatic theater is a synthetic art: it can include vocals, dance, and pantomime as full elements. An important role in a drama theater is played by the director, who, based on his own interpretation of a literary work, directs the work of the entire team and also edits the script.

Opera

Opera is a stage form of theatrical art in which dramatic action is closely combined with vocals and orchestral music; opera often includes dance. It originated in Italy at the turn of the 16th-17th centuries.

There are such genres as grand opera, comic opera ( opera buffa in Italy, opera-comique in France, Singspiel in Germany, Tonadilla in Spain, ballad opera in England), romantic opera, opera-ballet, etc. Genre comic opera influenced in the twentieth century the formation of such genres as operetta, musical, musical comedy.

Opera productions are usually performed in specially equipped opera houses.

Opera work is a type of musical and dramatic work based on the synthesis of words, stage action and music. Unlike dramatic theater, where music performs auxiliary functions, in opera it is the main carrier of action. Literary basis An opera's libretto is either original or based on a literary work. The opera is an ensemble of solo episodes - arias, duets, trios, quartets, ariosos, recitatives, as well as ensembles, choirs, ballet scenes and is divided into acts and scenes, scenes and numbers; at the beginning of the opera there is a prologue before the acts, and at the end there is an epilogue.

The orchestra plays a large role in the opera.

Ballet

In the 20th century, pantomime was carried out by the Carnot group, in which Charlie Chaplin, Max Reinhardt, Jean-Louis Barrault, Marcel Marceau and others performed for the first time.

Pantomime can be dance, classical, acrobatic, eccentric; at the beginning of the twentieth century, dramatic pantomime appeared.

The pantomime genre is developed in classical Indian musical theater and in Japanese Noh theater.

Musical

Operetta

Operetta- view musical theater, translated from Italian means "small opera". The operetta school originated in Vienna (Austria) in the 60s of the 19th century.

Theater festivals

• Dance Open - international ballet festival
• Altan Serge - international festival of national theaters
• All-Russian Theater Festival named after Oleg Yankovsky
• All-Russian festival "Real Theater"
• "Voices of History" - international theater festival Vologda region
• Diaghilev Festival - international multi-genre festival
• Golden Mask - Russian national theater award and festival
• Golden Harlequin - Saratov Regional Theater Festival and theater award of the same name
• International Theater Festival named after. A. P. Chekhova
• Novo-Siberian transit - interregional festival-competition drama theaters Siberia, Urals and Far East
• Festival "Bravo!" - Sverdlovsky regional competition for the best theater work year and festival
• Festival of Classical Ballet named after Rudolf Nureyev

see also

Notes

1. Theater / Motherland M. T. // Great Soviet Encyclopedia: [in 30 volumes] / ch. ed. A. M. Prokhorov. - 3rd ed. - M.: Soviet encyclopedia, 1969-1978.
2. Theater // Theater encyclopedia (edited by A. P. Markov). - M.: Soviet Encyclopedia, 1961-1965. - T. 5.
3. Bushueva S.K. Introduction // Relationships: Theater in the context of culture: Collection scientific works. - L., 1991. - P. 4-6.
4. Barboy Yu. M.. - L., 1988. - P. 26-27. - 201 p.
5. Barboy Yu. M. Action structure and modern performance. - L., 1988. - P. 30. - 201 p.
6. Arto A. Theater and its double: Manifestos. Dramaturgy. Lectures. Philosophy of theater / Comp. and rise Art. V. I. Maksimova, Comm. V. I. Maksimova and A. Yu. Zubkova. - St. Petersburg, M.: Symposium, 2000. - P. 99-103. - 443 p.
7. Rudnitsky K. L. Performance // Theater Encyclopedia (edited by P. A. Markov). - M.: Soviet Encyclopedia, 1961-1965. - T. 4.
8. Tragedy // Dictionary of Antiquity. Compiled by Johannes Irmscher (translated from German). - M.: Alice Luck, Progress, 1994. - P. 583. - ISBN 5-7195-0033-2.
9. Encyclopedia around the world. antique theater (undefined) . Retrieved May 2, 2013. Archived May 10, 2013.
10. Dzhivelegov A., Boyadzhiev G.. - M.: Art, 1941.
11. Averintsev S. S., Boyadzhiev G. N. Histrion // Theatrical Encyclopedia (edited by S. S. Mokulsky). - M.: Soviet Encyclopedia, 1961-1965. - T. 1.
12. Dzhivelegov A., Boyadzhiev G. Histrions // History of Western European Theater. From origin to 1789. - M.: Art, 1941.
13. Dzhivelegov A., Boyadzhiev G. Farce // History of Western European theater. From origin to 1789. - M.: Art, 1941.
14. Dzhivelegov A., Boyadzhiev G. Liturgical drama// History of Western European theater. From origin to 1789. - M.: Art, 1941.
15. Dzhivelegov A., Boyadzhiev G. Miracle // History of Western European theater. From origin to 1789. - M.: Art, 1941.
16. Dzhivelegov A., Boyadzhiev G. Mystery // History of Western European theater. From origin to 1789. - M.: Art, 1941.
17. Dzhivelegov A., Boyadzhiev G. Renaissance Theater //

How to become part of something Big (for example, a theater)?

1. Have desire, purpose and be courageous.
Many actors came to us who wanted to play in our theater. They really wanted to, they eagerly got down to business, but they were enough for one or two rehearsals. Why? Because they didn't really want to. They simply loved watching the actors of our theater play and they dreamed of seeing themselves on stage. It's like a child who dreams of becoming an astronaut. He wants to be in space and the next day shake hands with the General Secretary of the CPSU Central Committee. While dreaming, he does not think about many years of training, exhausting tests, long absences from home and other hardships.

If you dream of playing in a theater (any theater, not just ours), you must understand that you will not achieve anything in two rehearsals. You have to want to rehearse and rehearse and rehearse. You must be able to be content with small roles or short lines. You have to have the courage to play someone you don't like. You have to have the courage to wear women's clothing as a man or swear as a woman. You must be able to paint your lips, apply makeup, cry to order, laugh when you are sad and do much more. Those who don’t like theater call it acting and substituted reality. Those who love theater believe that it is a temple of art, in which every person, whether he is an actor or a spectator, can look beyond the edge of his life and learn the truth.

2. Make time, prioritize.
We are a non-professional theater. This means that we are trying to play high professional level, we remain people of other professions. We all work somewhere and we don't make our living by acting. This is our passion, our hobby, our evening adrenaline. If you want to play in our performances, and are ready for a long career, you need to find time to go to rehearsals. Few times a week. Minimum - twice a week, in the evenings. And you must arrive on time. And don't be late.

We all have business, force majeure, circumstances, families, illnesses, work and traffic jams. And we will be understanding if you are late once or twice. But we don’t like regular lateness and try to make sure that you come to every rehearsal. It's a matter of priorities. If the theater is important to you, we are sure that you will come regularly and on time and nothing will interfere with you. If the theater is for you on a residual basis, then you will come sometimes and we will part with you very quickly. We want to work with responsible and serious people. But our team is cheerful and easy-going. You'll see for yourself.

3. Learn the text!
To get you started, we'll let you learn a short piece for one or two people. You can (if you really want) learn something of your own. After that, read it to our faces. Well, then we'll see. But the main rule of this period is that you must learn the text well. Verbatim, with commas. Not approximately, but word for word. This is the rule of our theater and we are accustomed to handling the author's text with care. The text should fly off your teeth and only after that we will begin rehearsals.

4. Take out your wallet!
The cost for beginners will be from 1 to 10 thousand per month, depending on the load and your financial condition. This money will go to good causes.

5. Prepare for challenges!
We are often asked: is professional experience necessary? The answer is no. No experience needed, just a strong desire! It’s good if you read a few books on acting, watch a few films with the Evstigneevs or De Niro and go to good theaters. We are ready to teach you all the intricacies of acting, but only on the condition that you want to play for real, and not for fun. Attention! We are not an amateur studio or theater Club! You shouldn't come to us to learn how to play "Santa Claus" or a bunny. With us everything is more serious - grandmothers, goblins, painters, huntsmen and meters. Everything is grown-up.

6. Find the theater of your dreams - and go ahead!
(unfortunately, we are not recruiting yet, but as soon as we resume, you will be the first to know about it!)

Good luck!