Prokopyevsky Drama Theater is official. Prok theater
The Prokopyevsky Drama Theater was created on the initiative of D. G. Leonov and V. V. Gardenin in the mid-40s of the last century. This cultural institution is the regional theater named after the Lenin Komsomol and the only one in the city of Prokopyevsk.
Today the creative team tours throughout Russia and takes part in festivals and competitions. Performances are created according to modern dramaturgy, but at the same time, the repertoire always includes productions based on works of world classics.
Prokopyevsky Drama Theater on Google maps panoramas
The theater is located on Shakhterov Avenue on Theater Square of the city. The building was designed by the architect N.P. Kurenny in the neoclassical style. In 2010, this building received the status of an architectural monument.
Poster of the Prokopyevsky Drama Theater
The poster shows a schedule for 2 months - the current one and the next one after it. Children's shows take place during the daytime. Performances for the youngest spectators usually last about 1 hour. Performances for adults are performed in the evening. Their average duration is about 2 hours.
Repertoire of the Prokopyevsky Drama Theater
The theater's repertoire includes diverse dramaturgy. The stage hosts ballet performances, musical performances, dramatic and comedy plays, and fairy tales for the youngest spectators. In the new season of 2019, the creative team presented the audience with premiere performances: “Mad Money”, “Gooseberry”, “My Sister is a Little Mermaid”, “That Same Day”.
The main website of the theater lists the performances included in the main repertoire. Performances are divided into morning and evening performances. Morning - fairy tales and plays for young theater fans, evening - for older audiences.
Hall of the Prokopyevsky Theater
In the early 60s, the troupe moved to a new building, specially designed for the regional theater. Lenin Komsomol. Large and small halls were built in the building for performances. The total capacity of both rooms is 800 seats. A diagram of the large and small halls can be viewed on the theater website.
Tickets
Ticket prices start from 200 rubles. You can purchase them at the box office or online on the theater’s official website. The cash desk is open from 10:00 to 20:00 all days of the week except Monday. The lunch break lasts from 13:00 to 13:30.
There is a ticket booking service for performances. You can also purchase a subscription to theater performances. For children, the subscription is designed for 5, 10, 15 performances. For adults this is 3, 5, 10 performances.
Story
The Prokopyevsky Theater was founded in 1945 in the city of Anzhero-Suzhdenskoye. Then the creation of a new cultural institution was headed by D. G. Leonov and V. V. Gardenin. The first troupe consisted of 41 artists.
The creative team worked in the Palace of Culture of the Anzhero-Sudzhdensky city for 6 years. In 1951, the troupe had to change their place of work. The city of Prokopyevsk became the new home of the regional cultural institution. Here the theater did not have its own building. The troupe performed mainly at the Palace of Culture. Artem. For 9 years, the creative team gave performances at various venues and toured other cities of Russia.
In 1960, the theater moved to its own building on Teatralnaya Square. The building project was developed back in 1950 by the Giprotheatr Institute.
During the entire existence of the Prokopyevsky Theater, honored figures of culture and art of Russia worked there: V. V. Gardenin, Y. T. Sutorshin, N. S. Rulev, V. Nezluchenko, Y. M. Yavorskaya, Yu. V. Kokorin, L. Sokolova, V. I. Smirnov and many other famous personalities.
In 1999, the theater was headed by L.I. Kuptsova, who manages this cultural institution to this day. In 2009, an acting department was opened at the Prokopyevsk College of Arts. Students of this course today successfully play in the regional drama theater.
Since 2004, the creative team has been taking part in festivals and competitions held outside the region. The theater became a laureate of the X International Festival “Camerata”. The troupe has repeatedly participated in the festival of theaters in small towns in Russia. The performances were nominated for the country's prestigious Golden Mask award.
Today, in addition to creative activities, the theater attracts city residents to participate in its new projects: apartment building, art cafe, “Baby Theater”, “Clown Weekend”, “Family Theater” and other programs. The full list can be found on the main website.
How to get to the Prokopyevsky Theater
Opposite the theater building there is a stop "Victory Square". The following public transport routes pass here:
- buses No. 3, 6, 24, 30, 100, 103, 110, 113, 120, 130, 155;
- minibus No. 3, 24, 30, 32, 50, 56, 100, 120;
- trams No. 1, 6.
From the city's railway station you can get there in 5 minutes via Vokzalnaya Street and Shakhterov Avenue. The railway station is located approximately 3 kilometers from the theater building.
Scheme of the automobile route from the railway station to the Prokopyevsky Drama Theater
There are taxi services in Prokopyevsk that can be ordered through mobile applications. This is Yandex. Taxi and Maxim. Among the local taxi services, popular carriers are VESItaxi, Our Town, Kent.
Video about Prokopyevsky Drama Theater
Address: Faleevsky lane, 1 (premises of the "Factory of Cardinal Art")
Internet:
Telephone: 291-8444
Vladimir Epifantsev graduated from the acting department of the Shchukin Theater School (course of V.V. Ivanov) in 1994, then studied at the directing department of GITIS in the workshop of P.N. Fomenko. At the same time, he created a theatrical project called “Proc Theater”.
Among his works:
1994 - “Jesus cried” (based on paintings by Adrian Brouwer); “The Plague Ball” (based on some texts by A.S. Pushkin, including the play “A Feast during the Plague”);
1995 - “The Shortening of the Shrew” (based on W. Shakespeare’s play “The Taming of the Shrew”);
1996 - “Strike at a textile factory”; (based on the novel "To Have and Have Not" by Ernst Hemingway)
1997 - “A Stream of Blood” (play by Antonin Artaud; music by Robert Ostrolutsky);
1999 - “Romeo and Juliet” (based on the play of the same name by W. Shakespeare).
In 1997-98, Vladimir Epifantsev created the television program “Drema,” which aired nightly on channel TV-6.
Within the framework of "Unofficial Moscow" the theater presents:
Performance "Romeo and Juliet" (September 4, 21.00)
Director: Vladimir Epifantsev
Actors: Juliet - Yulia Stebunova, Romeo - Vladimir Epifantsev
Music: Andre Guignon, Olga Inber
Musical performance "Mayakovsky - Ray of Darkness in the Omnious Kingdom of the Light" (September 5, 21.00)
Music: Evgeny Voronovsky
Voice: Vladimir Epifantsev
Vocals: Yulia Stebunova
Romeo and his shadow.
Vladimir Epifantsev's production of "Romeo and Juliet" is a fresh look at the sacred dramaturgy of Shakespeare. Worn, battered and battered, the play requires a crushing shake-up. Without this intervention, the classics will traditionally look like a musty booth, in which there is no place for real passions, in which only frail shadows live. A new reading for Epifantsev begins with a meaningful construction of the conflict contained in the very opposition of Romeo and Juliet. The first in this case is almost King Kong, Tarzan, tormented by love as such, and not specifically related to a girl called “Juliet”. This is understandable. The main character of Shakespeare's tragedies is passion. It hypnotizes all characters and leads them to complete physical collapse. They are unable to resist both the passion of the world and their own unbridled feelings, overwhelming them completely. But there is another important aspect of the action unfolded by Epifantsev. Here the energy dormant in the text is released, it is actualized due to some extravagant techniques, for example, the introduction of a phonogram of the text. That is, the actor in this case only imitates the delivery of monologues. And it is actually carried out mechanically. Such liberation allows us to create an additional layer of the play: Shakespeare’s texts are words that have already been spoken millions of times, memorized by a countless army of actors, discredited by the romance of the 19th century. There is and cannot be a place for it on the modern stage. In Shakespeare's plays, and Epifantsev emphasizes this, it is not drool, but blood that flows. It accumulates both action and conflict. She's everywhere. And even a seemingly harmless phrase can turn into a bloody massacre, a guignol without concessions, what we call a tragedy.
Olga Kuznetsova
V.V. Mayakovsky, the great and terrible
"Prok-theater" entered the professional stage
VLADIMIR Epifantsev is one of those characters for whom the word “cult” is assigned over time: he rarely appears in public, but aptly. That is, on time and effectively. He once studied on the course of Pyotr Fomenko, and the master clutched his heart at the sight of his productions. From his youth, Epifantsev was fond of Antonin Artaud and the “theater of cruelty” and was the only one of Fomenko’s students who did not copy the style of his “Workshop”. Then Epifantsev was called to “TV-6”, and he made the “Drema” program, the beginning of which gave housewives the command “Don’t forget to turn off the TV!” The monsters raped the beauties, the screen was filled with beetroot blood (the theatrical blood recipe from Epifantsev is based on beetroot juice).
When the channel's management listened to the letters from viewers, Volodya had to look for a place for his own theater. For several years, an abandoned factory in Zamoskvorechye became such. Once a week at the "Factory of Cardinal Art" there was a performance of the "Proc Theater" "Romeo and Juliet" - Epifantsev's remake of the play in the leather-metal style of sado-maso. The second number of the program at the Factory was concerts by Alexei Tegin, a musician who regularly tours in places like an extinct volcano in Tibet. Tegin plays trumpets made from human bones, reproducing his idea of prehistoric music. Recently, artists from the factory were asked, and they joined forces and staged the play “Vladimir Mayakovsky: A Ray of Darkness in the Kingdom of Light” on the stage of the Vladimir Vysotsky Center.
Epifantsev knows exactly what he wants. For a play about the destructive power of passion, there is no playwright more appropriate than Shakespeare. Loneliness is Mayakov's theme. "Romeo and Juliet" was a detailed demonstration of how love violates the natural solitude of people and gradually - from scene to scene - mixes them with dirt, ending with a stream of blood from the sky (a hole in the ceiling). In "Mayakovsky" the main "trick" is the external resemblance of the actor (Epifantsev) to his hero, who turns himself inside out "so that there are only continuous lips." Vladimir Epifantsev plays Vladimir Mayakovsky, doing practically nothing: making slow shamanic gestures over a pile of bones (Tegin casts a spell nearby, extracting music from them) and pronouncing textbook lines in a drawling chest wheeze. There are blatantly beautiful black and red scenery all around, which undoubtedly includes two actresses in evening dresses, writhing in their chairs as if chained.
Despite the fact that there is practically no plot, you never get tired of looking at it: the director accurately calculated all the gestures necessary to achieve the desired effect. "Mayakovsky" is a consistent demonstration of how the environment - women, music, one's own body - is inert, conditional and limited for the hero. Through the slowness of action, Epifantsev shows the inhuman speed of inner life that corrodes a person. A Portrait of Loneliness should look exactly like this, and the viewer waits with bated breath for the finishing touch.
While the performance is taking place in the Vysotsky Center, there are not enough seats in the hall for those who want to attend it. It must be said that a professional stage suits the Proc Theater: it was difficult to create the puppet beauty of the scenery necessary to contrast unbridled passions at the factory. According to Epifantsev, theater, like life itself, is violence and subordination, power and resistance to it. And his “Mayakovsky” is the best illustration of this.
