Bolshoi Drama Theater named after. Tovstonogov: repertoire, history

Big Theatre of Drama

The Bolshoi Drama Theater is one of the first theaters created in Petrograd after the 1917 revolution. It was organized by the Department of Theaters and Entertainment represented by M. F. Andreeva with the direct participation of A. M. Gorky and A. V. Lunacharsky to carry out the task set by the party - “to open and make accessible to the working people the treasures classical art" To create the Bolshoi Drama Theater of such a “theater of the classical repertoire”, major artistic forces were attracted - artists Yu. M. Yuryev, N. F. Monakhov, V. V. Maksimov, chief director A. N. Lavrentyev, artists V. A. Shchuko , M. V. Dobuzhinsky and Alexander Benois. A. A. Blok was appointed chairman of the theater management. M.F. Andreeva herself was the chairman of the director’s department of the theater and was an actress in its troupe.

The pre-revolutionary theater was filled with numerous entertaining performances. After the February Revolution of 1917, which lifted all repertoire prohibitions, the line of the repertoire associated with ridiculing everyone and everything became even more frank. Theaters and small theaters were simply filled with “Rasputin issues”, interpreted on a thoughtless and scandalous level. There were plays like “The Tsar’s Kept Woman”, “Grishka Rasputin”, “Rasputin in Hell”, “Rasputin and Vyrubova”, in which the Tsar, Rasputin, and ministers were portrayed as feuilleton characters. Freedom from censorship immediately turned into mockery and the “socialization of beauty” - for example, in one of the theaters they played Anatoly Kamensky’s play “Leda”, while the actress playing Leda appeared in front of the public completely naked. The troupe toured many cities with this performance, and before the performance lectures were given on nudity and freedom. But salon comedies with tired heroes in tailcoats and “paradoxical ladies” in fashionable dresses. There was practically no new repertoire.

The Theater Department of the People's Commissariat for Education (TEO) was called upon to deal with issues of directing and the formation of a new repertoire, pedagogical problems and the creation of new theaters, the education of young personnel and the organization of theater museums. A lot of people have arisen around TEO educational institutions, studios, with grandiose and often idealistic plans. The theater department constantly organized discussions, including on the topic of “consonance with the revolution.” Naturally, in these disputes theory often prevailed over practice. Grouped around TEO were the most different people- some of them, like Vyacheslav Ivanov, “at the discussion of the theater university program were able to conduct a philosophical discussion, a brilliant polemic with Andrei Bely about the study of the philosophy of St. Augustine by future students,” others - like the famous A. A. Bakhrushin, the creator of the theater museum, They were always specific in their plans and deeds. But it was precisely in the very first years after the revolution that in the Theater Department it was really possible to collaborate with people of very different ideological and aesthetic ideas, who were engaged in very specific matters - from the creation of theaters to the compilation of a bibliography on the history of Russian theater.

The theater opened on February 15, 1919 in the Great Hall of the Conservatory, and from 1920 it began to occupy the building former theater Suvorin on Fontanka. According to the initiators, the BDT was to become a theater of heroic repertoire, which would reflect great social passions and revolutionary pathos. Gorky saw the problem again organized theater is to “teach people to love, to respect true humanity, so that they can finally be proud of themselves. Therefore, a hero is needed on the stage of modern theater.” For Gorky, the organization of the Bolshoi Drama Theater was not the first attempt to create a theater of the classical repertoire. He's still with late XIX century actively participated in the construction of the workers' theater. While in exile in Nizhny Novgorod, he organizes the “People's House Theater”.

The Bolshoi Drama Theater opened with Schiller's Don Carlos and was greeted with sympathy by the party press. In the Petrograd Pravda, Lunacharsky persistently invited workers' organizations to attend an "outstanding performance." Alexander Blok, who accepted the “music of the revolution” and its elemental power, but soon learned through his personal fate the tragedy of this element (“the revolutionary masses” burned his estate), became an active participant in the construction of the new theater. Back in 1918, he spoke of the need to resolutely demand “Shakespeare and Goethe, Sophocles and Moliere - great tears and great laughter - not in homeopathic doses, but in real ones,” “it is shameful to deprive the viewer of a city equal in number and diversity population big cities Europe, the opportunity to listen every year ten times to Richard’s explanations with Lady Anne and Hamlet’s monologues.” But Blok’s perception of reality was, of course, different from Gorky’s. Blok sees and feels that his “music” and “hop” of the revolution are disappearing from reality more and more clearly every year. It is no coincidence that at the first anniversary of the Bolshoi Drama Theater in early 1920, he said: “In every movement there is a minute of slowdown, as if a minute of reflection, fatigue, abandonment by the spirit of the time. In a revolution where superhuman forces are at work, this is a special moment. The destruction is not yet complete, but it is already subsiding. Construction has not yet begun. The old music is no longer there, the new is not yet there. Boring". The meaning and justification for the emergence of the BDT for Blok is precisely and, above all, that it became a theater of the classical repertoire. The classical repertoire was like a salvation from real world revolution, which “music abandoned.” That’s why Blok called the theater to “breathe, breathe, as long as you can, the mountain air of tragedy.” And the leading actor of the theater, V. Maksimov, believes that the theater gives the opportunity to “go into the world of the beautiful and noble, makes us believe in nobility human soul, to believe in “love to the grave”, “loyalty of a friend”, lordship and happiness of all people.” This was idealism, and those theater managers and actors who did not perceive the revolution at all in a purely social sense tried to preserve it.

The production of Don Carlos raised some concerns, which was reflected in the press in the following words: “How is it next to tragic actor Yuriev, next to the artist of the Shchepkin House, Maximov, will the operetta simpleton Monakhov play the responsible role of King Philip?” But all doubts were dispelled at the premiere - the public and critics accepted the performance. N. F. Monakhov, however, gave some reduction to the image of the king, using realistic and naturalistic means: he scratched his beard, he smiled, squinting one eye. He created the image not of a “despot in general,” but of a terrible, cruel, low and at the same time unhappy person. In another performance - “The Servant of Two Masters” by Goldoni - the same artist used the technique of Russian booth actors, as well as the “garden coupletist” to create a cheerful image of a servant, superior to his masters in intelligence and intelligence. In Julius Caesar Monakhov, playing main role, shows his hero as a great politician, but suppressed by old age and fear.

The artists of the Bolshoi Drama Theater were associated with the pre-revolutionary art group“World of Art”, which was reflected in the design of the performances, which were distinguished by spectacular pomp and decorative solemnity.

In the first years of its existence, the theater carried out a fairly intense program of classical repertoire, staging Macbeth, Much Ado About Nothing, The Robbers, Othello, King Lear, The Merchant of Venice, Julius Caesar, " Shakespeare's Twelfth Night, as well as others classical productions. The performances were supported by the press and the public, and were widely attended by workers and Red Army soldiers (trips to the theater, as a rule, were organized, so the concept of an “organized spectator” arose). The theater's consistent repertoire line (classical) was fairly consistent in artistically, but the “political line” of the theater was not always accepted so unambiguously. Speaking with introductory remarks in front of the Red Army soldiers at the play “Much Ado About Nothing.” Blok interpreted Shakespeare’s comedy this way: “There were, however, times and countries where people could not make peace for a long time and exterminated each other. Then things ended worse than they began. Countries where there was no end in sight to the fratricidal war, where people destroyed and plundered everything, instead of starting to build and protect, these countries lost their strength. They became weak and poor, then they with bare hands neighbors who were stronger took it. Then the people who began the struggle for freedom became more unhappy slaves than before.” Of course, these words reflected Blok’s personal, very personal experience of revolutionary destruction, and he, as an honest artist, tried to convey this to a democratic viewer. He also spoke to the Red Army soldiers, explaining to them the play “Don Carlos”. And then Blok also said that the play contained a protest against state power associated with violence, lies, betrayal, and the Inquisition. And these speeches by Blok (during the performance, the “old audience” literally staged demonstrations, supporting the monologue of the Marquis Pose for freedom of conscience) were perceived by the revolutionary intelligentsia as a “reactionary protest against civil war and terror.”

However, Alexander Blok was not the only one who thought this way—the Bolshoi Drama Theater shared his views. In general, the theme of violence will be heard more than once in theater performances. In April 1919, the premiere of the play by the Finnish writer Iernefeld “The Destroyer of Jerusalem” took place. The content of the play was as follows: the Roman emperor Titus destroyed Jerusalem, stained his hands with blood, and committed violence. But, having gained power through bloodshed, he understands that such violence is unfair, that “mercy is higher than force.” Titus becomes merciful, and the people honor the emperor, enlightened by the Christian faith. Titus Flavius abdicates the throne. The theater contrasts the world of violence with the world of love. The play was staged and played during the first campaign white general Yudenich to Petrograd and was part of the same left intelligentsia was perceived as a “protest against the armed defense of the proletarian dictatorship.” Soon the theater again staged a play by a modern author - this time Maria Levberg “Danton”. Danton is shown in it as a patriotic hero. Blok believed that “the lives of people like Danton help us interpret our time.” Danton dies at the hands of Robespierre, who “was more greedy for human blood.” In Danton, as in Titus, the theater emphasized mercy. And this during the civil war! Just as politically “ambiguous” (as required by the political line new government) D. Merezhkovsky’s play “Tsarevich Alexey”, staged in 1920, was also heard, called “another protest of the humanitarian intelligentsia against the crushing human personality harsh class practice."

But Civil War was completed, and the NEP flourished magnificently in the yard. The theater staged Shakespeare and Goldoni, in which the magnificent design by Alexandre Benois seemed like an aesthetic gourmand. The theater also stages entertainment plays. Critics say that the theater in the new conditions is trying to “acquire box office capital and maintain artistic innocence, to feed the hungry NEP wolf with a vegetarian salad from Shaw and Maupassant.” This position of the theater forces it to stage “jacket trifles”, lightweight plays. On the other hand, at the Bolshoi Drama Theater they are carried away by expressionism and stage “Earth” by Bryusov, “Gas” by G. Kaiser with motifs of the death of civilization, disasters and pessimism, completely far from the revolutionary cheerful mood. And in 1925, the chronicle play “The Conspiracy of the Empress” by A.N. Tolstoy and Shchegolev appeared on the stage of the Bolshoi Drama Theater, in which the “revolutionary theme” was transformed into a series of sensational, revealing and adventurous alcove anecdotes. This artistic eclecticism inherent in the theater in the 20s was probably largely inevitable. And because the theater declared its passion “for good manners", both because no one has yet written serious modern plays, and because there were several directors in the theater.

A new period in the life of the theater begins with the production of Lavrenev’s “Mutiny,” when the Bolshoi Drama Theater becomes one of the propagandists of the young Soviet drama. Blok had already died, new directors had already appeared, and the theater’s repertoire line had already become more “correct.” Plays by Bill-Belotserkovsky, Faiko, Shchegolev, Kirshon, Mayakovsky, Kataev and other modern playwrights are staged. In the 30s, the theater again turned to the classics: “Yegor Bulychev and Others”, “Dostigaev and Others” by Gorky became significant theatrical events, as did the subsequent production of Gorky’s “Dachniki” (1939) directed by B. Babochkin.

In the first years of the Great Patriotic War the theater was located in Kirov, and in 1943 it returned to besieged Leningrad and worked under blockade conditions. IN post-war years dramas of Russian classics and plays are again shown in the theater modern authors. In 1956, the theater was headed by G. A. Tovstonogov, and since then this theater is often called “Tovstonogovsky”, because his fame and prosperity are associated with the name of this director. Tovstonogov staged many performances that went down in history Soviet theater. He spoke of himself as a successor to the traditions of Stanislavsky, working in the style of the psychological acting school. Tovstonogov, indeed, trained brilliant actors in his theater. He stages the famous “The Idiot” based on the novel by Dostoevsky (1957) with I. Smoktunovsky in the role of Prince Myshkin, “Barbarians” by Gorky, “The Irkutsk Story” by Arbuzov, “Five Evenings” by Volodin and many, many other plays. The theater troupe consists of actors: V. P. Polizeimako, E. M. Granovskaya, E. Z. Kopelyan, E. A. Lebedev. L. I. Makarova, B. S. Ryzhukhin, V. I. Strzhelchik, Z. M. Sharko.

Bolshoi Drama Theater named after. G. A. Tovstonogova (St. Petersburg, Russia) - repertoire, ticket prices, address, phone numbers, official website.

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Thirty paces long. Twenty deep. Up - to the height of the curtain. The stage space is not that big. This space could accommodate a modern apartment - it would not be so unnaturally spacious. You can place a garden here. Perhaps a corner of the garden, no more. Here you can create a world.

G. A. Tovstonogov

The Bolshoi Drama Theater was founded in 1918 - it is one of the first theaters created after October revolution. It received its current name in 1956 in honor of its eleventh director and artistic director G. A. Tovstonogov.

This is one of the few domestic theaters whose fate and repertoire policy played a role important role in the development of high-quality Russian drama. Thanks to the efforts of current directors and actors, the theater troupe to this day honors the traditions declared as a credo at its very opening.

The theater was organized with the direct participation of the writer Maxim Gorky, the poet Alexander Blok and the commissioner of theaters and entertainment of the Union of Communes of the Northern Region, Maria Andreeva.

The theater is located in a building designed by the Swiss architect Fontana in 1876-1878, and rebuilt after a fire in 1900-1901. The theater's interiors delight you with the richness and elegance of its decoration: the ceilings are decorated with picturesque lampshades, the decorative elements are gilded, the openwork marble staircase is illuminated by lanterns in the Art Nouveau style.

Today Academic theater them. G. A. Tovstonogov - these are two platforms: richly decorated Big hall with 1119 seats and a small cozy stage designed for 209 spectators.

Each venue offers a rich repertoire of performances. On both stages there are staged performances of works of world and Russian classics. Fans of modern drama are advised to pay attention to the repertoire of the small stage, where you can see original productions based on the poetry of Frederico Garcia Lorca or operas by Stravinsky.

Information

Cash desk opening hours: Mon-Sun 11:00-15:00, 16:00-18:00.

In 1956, chief director and artistic director Georgy Tovstonogov was appointed to the theater. Under him, the BDT became an author's director's theater, known throughout the world, and the best dramatic stage in the USSR. In the performances Tovstonogov was played by Tatyana Doronina and Sergei Yursky, Innokenty Smoktunovsky and Zinaida Sharko, Evgeny Lebedev and Valentina Kovel, Oleg Basilashvili and Svetlana Kryuchkova, Vladislav Strzhelchik, Pavel Luspekayev, Oleg Borisov, Nikolai Trofimov, Efim Kopelyan, Kirill Lavrov and many other wonderful actors . In those years the theater toured a lot. In a situation of confrontation between two political systems, the Iron Curtain regime, the BDT was a cultural link between East and West. After Tovstonogov's death in 1989, People's Artist of the USSR Kirill Lavrov took over the artistic direction, followed by director Temur Chkheidze. Since 1992, the theater began to bear the name of Georgy Alexandrovich Tovstonogov.

In 2013, director Andrei Moguchiy, one of the leaders of the theater avant-garde, became the artistic director of the BDT. Under the leadership of Moguchy, the BDT regained recognition from the public and critics and became one of the main theatrical newsmakers in the country. In December 2015, the theater was awarded by experts from the Russian Association of Theater Critics “For building a new artistic strategy for the Bolshoi Drama Theatre.”

The creative credo of the BDT is open dialogue on topics relevant to modern society. Every performance, every project of the new BDT addresses the problems of a person of his time.

The Bolshoi Drama Theater's productions involve artists of all generations of the troupe - from very young trainee actors to leading stage masters, such as People's Artist of the USSR Alisa Freindlikh, People's Artist of Russia and Ukraine Valery Ivchenko, folk artists Russia Svetlana Kryuchkova, Irute Vengalite, Marina Ignatova, Elena Popova, folk artists Russia Gennady Bogachev, Valery Degtyar, Honored Artists of Russia Anatoly Petrov, Vasily Reutov, Andrey Sharkov, Honored Artist of Russia Maria Lavrova and others. Every season, the BDT's performances become laureates of the country's main theater awards, including the national theater award "Golden Mask".

Since 2013, at the BDT named after G.A. Tovstonogov there is a large-scale educational program"The Age of Enlightenment". These are lectures, concerts, exhibitions, round tables dedicated to current creative issues, meetings with people who create modern theater, as well as excursions around the museum and behind the scenes of the theater, original programs dedicated to the history of the BDT. An important direction of the “Era of Enlightenment” is the “BDT Pedagogical Laboratory” - directors, actors, theater critics and teachers train teachers of secondary schools and kindergartens in St. Petersburg to introduce modern theatrical language and stage techniques into the school educational program.

In 2015, the BDT became the first Russian repertory drama theater to permanently include the inclusive play “The Language of Birds” in its playbill, created in collaboration with the Center for Creativity, Education and Social Habilitation for adults with autism “Anton Is Near”. Along with professional actors, people with autism spectrum disorder play in this performance.

At the Bolshoi Drama Theater named after G.A. Tovstonogov three scenes. The Main Stage (750 seats) and Small Stage (120 seats) are located in historical building on the Fontanka embankment, 65, erected in 1878 by the architect Ludwig Fontana by order of Count Anton Apraksin. The second stage of the Bolshoi Drama Theater (300 seats) is located on the Old Theater Square, 13, in the building of the Kamennoostrovsky Theater, the oldest surviving wooden theater Russia, built by the architect Smaragd Shustov by order of Emperor Nicholas I in 1827. Every season, these three venues host at least 5 premieres and more than 350 performances.

The Tovstonogov Drama Theater opened in February 1919. His repertoire today mainly includes classical works. Most of them are productions with a unique interpretation.

Story

The theater's first performance was F. Schiller's tragedy "Don Carlos".

Initially, the BDT was located in the building of the conservatory. In 1920 it received a new building, where it is still located. A photo of the BDT Tovstonogov is presented in this article.

The first name of the theater is “Special Drama Troupe”. Was involved in the formation of the troupe famous actor N.F. Monakhov. The first artistic director of the BDT was A.A. Block. The ideological inspirer was M. Gorky. The repertoire of that time included works by V. Hugo, F. Schiller, W. Shakespeare, etc.

The twenties of the 20th century were difficult for the theater. The era was changing. M. Gorky left the country. A.A. died Block. They left the theater main director A.N. Lavrentyev and the artist New people came to take their place, but did not stay long.

A great contribution to the development of the BDT was made by director K.K., who came in 1929. Tverskoy - student of V.E. Meyerhold. He served in the theater until 1934. Thanks to him, the BDT’s repertoire included performances based on plays by contemporary playwrights at that time.

Georgy Aleksandrovich Tovstonogov came to the theater in 1956. He was already the eleventh leader in a row. With his arrival it began new era. It was he who created the theater, which has been among the leaders for many decades. Georgy Alexandrovich assembled a unique troupe, which became the best in the country. It included such actors as T.V. Doronina, O.V. Basilashvili, S.Yu. Yursky, L.I. Malevannaya, A.B. Freundlikh, I.M. Smoktunovsky, V.I. Strzhelchik, L.I. Makarova, O.I. Borisov, E.Z. Kopelyan, P.B. Luspekayev, N.N. Usatova and others. Many of these artists still serve in the Tovstonogov Bolshoi Drama Theater.

In 1964 the theater received the title of Academic.

In 1989, Georgy Alexandrovich Tovstonogov died. This tragic event came as a shock. Almost immediately after the death of the genius, his place was taken by People's Artist of the USSR Kirill Lavrov. He was chosen by team vote. Kirill Yuryevich put all his will, soul, authority and energy into preserving what was laid down by G.A. Tovstonogov. He invited talented directors to collaborate. The first production created after the death of Georgy Alexandrovich was the play “Cunning and Love” by F. Schiller.

In 1992, the BDT was named after G.A. Tovstonogov.

In 2007, T.N. was chosen for the position of artistic director. Chkheidze.

Since 2013, the artistic director has been A.A. Mighty.

Performances

BDT Tovstonogov offers its viewers the following repertoire:

“Man” (notes of a psychologist who survived a concentration camp);
"Tolstoy's War and Peace";
"Gronholm Method";
"Uncle's Dream";
"Baptized with Crosses";
“Theatre from the Inside” (interactive production);
"Measure for measure";
"Mary Stuart";
“The Soldier and the Devil” (musical drama);
"What to do?";
“Three texts about the war”;
"The Cripple of Inishmaan";
"Quartet";
“From the life of puppets”;
"Languor";
"When I'm Little Again";
"One Year's Summer";
"The Innkeeper";
"Player";
"Women's Time";
“Zholdak dreams: thieves of feelings”;
"The House of Bernarda Alba";
"Vassa Zheleznova";
"Lady with a dog";
"Alice";
"The Visible Side of Life";
"Erendira";
"Drunk."

Premieres of the 2015-2016 season.

BDT Tovstonogov in the current theater season prepared several premieres. These are Tolstoy's War and Peace, Baptized with Crosses and The Gambler. All three productions are unique and original in their interpretation.

"Tolstoy's War and Peace" is not an ordinary stage version of the work. The play is a guide to the novel. This is a kind of excursion through some of the chapters. The performance gives the audience the opportunity to look at the novel in a new way and get away from the perception that has developed in school years. The director and actors will try to break stereotypes. The role of the guide is played by Alisa Freindlich.

The play “The Player” is a free interpretation of the novel by F.M. Dostoevsky. This is the director's fantasy. Several roles are played in this performance. The production is full of choreographic and musical numbers. Svetlana Kryuchkova’s artistic temperament is very close in spirit to the novel, which is why it was decided to entrust her with several roles at once.

“Baptized with crosses” - this is how the prisoners of cross prisons called themselves. These were completely different people. Thieves in law, political prisoners and their children who were in children's prisons or in reception centers. The performance is based on the book by Eduard Kochergin, an artist at the Bolshoi Drama Theater. This autobiographical work. Eduard Stepanovich talks about his childhood. He was the son of “enemies of the people” and spent several years in the NKVD children’s detention center.

Troupe

The actors of the Bolshoi Drama Theater are famous for their eccentricity, originality, talent and professionalism. Tovstonogov. List of artists:

N. Usatova;
G. Bogachev;
D. Vorobyov;
A. Freundlich;
E. Yarema;
O. Basilashvili;
G. Shtil;
S. Kryuchkova;
N. Alexandrova;
T. Bedova;
V. Reutov;
I. Botvin;
M. Ignatova;
Z. Sharko;
M. Sandler;
A. Petrovskaya;
E. Shvareva;
V. Degtyar;
M. Adashevskaya;
R. Barabanov;
M. Starykh;
I. Patrakova;
S. Stukalov;
A. Schwartz;
L. Sapozhnikova;
S. Mendelson;
K. Razumovskaya;
I. Vengalite and many others.

Nina Usatova

Many actors of the Bolshoi Drama Theater named after. Tovstonogov is known to a wide audience for his numerous roles in films. One of these actresses is the magnificent Nina Nikolaevna Usatova. She graduated from the legendary Shchukinskoe drama school. She came to work at the BDT in 1989. Nina Nikolaevna is a laureate of various theater awards, she was awarded medals, including “For Services to the Fatherland,” and was awarded the title of People’s Artist of Russia.

N. Usatova starred in the following films and TV series:

"Feat of Odessa";
"Window to Paris";
"Fire Shooter";
"Muslim";
Next;
"The Ballad of the Bomber";
“The cold summer of '53...”;
“See Paris and Die”;
“The Case of Dead Souls”;
“Quadrille (dance with exchange of partners)”;
Next 2;
"Poor Nastya";
"Master and Margarita";
Next 3;
“Features of national policy”;
"Mothers and Daughters";
"The Widow's Ship"
"Legend No. 17";
“Furtseva. The Legend of Catherine".

And many other films were released with her participation.

Artistic director

Tovstonogov took the position of artistic director of the BDT in 2013. He was born in Leningrad on November 23, 1961. In 1984, he graduated from the Faculty of Radio Engineering of the Leningrad Institute of Aviation Instrumentation. Another 5 years later there was a department of acting and directing at the Institute of Culture. In 1990, Andrei founded his own independent troupe, called Formal Theatre, which won Grand Prix at festivals in Edinburgh and Belgrade. From 2003 to 2014 A. Moguchiy was a production director

Where is it and how to get there

In the center of the historical part of St. Petersburg is the main building of the Tovstonogov Drama Theater. Its address is the embankment of the Fontanka River, No. 65. The most convenient way to get to the theater is by metro. The nearest stations to it are Sadovaya and Spasskaya.

In the autumn of 1918, the Bolshoi Drama Theater was founded in Petrograd on the initiative of the writer Maxim Gorky, the poet Alexander Blok and the Moscow Art Theater actress Maria Andreeva. The repertoire policy of the theater was determined by its first artistic director, Alexander Blok:“The Bolshoi Drama Theater is, by design, a theater of high drama: high tragedy and high comedy.”The special aesthetics and style of the BDT were formed under the influence of the architect Vladimir Shchuko and artists from the World of Art association: Alexander Benois, Mstislav Dobuzhinsky, Boris Kustodiev - the first set designers of the theater.

On February 15, 1919, the premiere took place: the tragedy of F. Schiller “Don Carlos” was staged by director Andrei Lavrentyev. Among the directors of the BDT next years: Meyerhold's student Konstantin Tverskoy, Nemirovich-Danchenko's student Nikolai Petrov, World of Art artist Alexander Benois, the famous Chapaev from the film of the same name - actor Boris Babochkin. From 1932 to 1992, the BDT bore the name of its founder, Maxim Gorky.

In 1956, Georgy Tovstonogov was appointed chief director and artistic director of the theater. Under him, the BDT became an author's director's theater, known throughout the world, and the best dramatic stage in the USSR. In the performances Tovstonogov was played by Tatyana Doronina and Sergei Yursky, Innokenty Smoktunovsky and Zinaida Sharko, Evgeny Lebedev and Valentina Kovel, Oleg Basilashvili and Svetlana Kryuchkova, Vladislav Strzhelchik, Pavel Luspekayev, Oleg Borisov, Nikolai Trofimov, Efim Kopelyan, Kirill Lavrov and many other wonderful actors . In those years the theater toured a lot. In a situation of confrontation between two political systems, the “Iron Curtain” regime, the BDT was a cultural link between East and West. After Tovstonogov's death in 1989, People's Artist of the USSR Kirill Lavrov took over the artistic direction, followed by director Temur Chkheidze. Since 1992, the theater began to bear the name of Georgy Alexandrovich Tovstonogov.

The creative credo of the BDT is an open dialogue on topics relevant to modern society. Every performance, every project of the new BDT addresses the problems of a person of his time.

The productions of the Bolshoi Drama Theater involve artists of all generations of the troupe - from very young actors of the trainee group to leading stage masters, such as People's Artist of the USSR Alisa Freindlikh, People's Artist of Russia and Ukraine Valery Ivchenko, People's Artists of Russia Svetlana Kryuchkova, Irute Vengalite, Marina Ignatova, Elena Popova, People's Artists of Russia Gennady Bogachev, Valery Degtyar, Honored Artists of Russia Anatoly Petrov, Vasily Reutov, Andrey Sharkov, Honored Artist of Russia Maria Lavrova and others.Every season, the BDT's performances become laureates of the country's main theater awards, including the national theater award "Golden Mask".

Since 2013, the Bolshoi Drama Theater named after G. A. Tovstonogov has had a large-scale educational program “The Age of Enlightenment.” These include lectures, concerts, exhibitions, round tables devoted to current creative issues, meetings with people who create modern theater, as well as excursions around the museum and behind the scenes of the theater, original programs dedicated to the history of the BDT. An important direction of the “Era of Enlightenment” is the “BDT Pedagogical Laboratory” - directors, actors, theater critics and teachers train teachers of secondary schools and kindergartens in St. Petersburg to introduce modern theatrical language and stage techniques into the school educational program. In 2015, the BDT became the first Russian repertory drama theater to permanently include the inclusive play “The Language of Birds” in its playbill, created in collaboration with the Center for Creativity, Education and Social Habilitation for adults with autism “Anton Is Near”. Along with professional actors, people with autism spectrum disorder play in this performance.

The Bolshoi Drama Theater named after G. A. Tovstonogov has three stages. The Main Stage (750 seats) and the Small Stage (120 seats) are located in a historical building at 65 Fontanka Embankment, erected in 1878 by the architect Ludwig Fontana commissioned by Count Anton Apraksin. The second stage of the Bolshoi Drama Theater (300 seats) is located on the Old Theater Square, 13, in the building of the Kamennoostrovsky Theater, the oldest surviving wooden theater in Russia, built by the architect Smaragd Shustov by order of Emperor Nicholas I in 1827. Each season, these three venues host at least five premieres and more than 350 performances.