Workshop of Peter Fomenko cast. Theater “Pyotr Fomenko Workshop”
The official date of birth of the P. Fomenko Workshop theater is considered to be 1993, when the Mayor of Moscow signed a decree establishing a municipal theater under the leadership of Pyotr Naumovich Fomenko. However, the Fomenki themselves trace their biography back to July 1988. Then Pyotr Fomenko recruited the second group of his training workshop at the directing department of the Russian Academy of Theater Arts (GITIS).
The name for the theater arose by itself: just the word “workshop”, which is what each course is called at GITIS, became a name from a nickname. This is how the Moscow Theater “Pyotr Fomenko Workshop” was born, where, in addition to the artistic director himself, the directors Sergei Zhenovach, Evgeniy Kamenkovich, Ivan Popovski, Nikolai Druchek staged and staged performances. The theater is regularly replenished with the master's students. In 1997, by decree of the Moscow Government, the theater was given premises under economic management. After repairs and reconstruction, on January 13, 2000, the grand opening of the new theater building took place.
The Moscow theater "P. Fomenko's Workshop" has been repeatedly awarded with various awards and prizes: the Prize named after. Stanislavsky (2000), national theater award "Golden Mask" (2001, 2002), prize named after. Tovstonogov (2001), the Triumph Prize (2001). He received prizes and awards at various theater festivals: the international festival “Chersonese Games” (1993), the international theater festival “Contact” in Poland (1993, 1996), the Belgrade BITEF festival (1997), the Vologda festival “Voices of History” (2001).
The theater took part in the programs of various Russian and international festivals, including the International Chekhov Festival (1998), the Christmas Festival in Novosibirsk (1997, 2001), the Vologda festival “Voices of History” (2001), the Sevastopol festival “Chersonese Games” (1993) , Polish Festival "Contact" (1993, 1996), Venice Biennale (1995), Avignon Festival (1997), Belgrade BITEF Festival (1997), Bonn Theater Biennale (1997), Autumn Paris (1998, 2002, 2003) and Autumn Madrid (2002, 2003) festivals. He toured extensively and successfully throughout the cities of Russia, Europe, Latin America, the USA and Japan.
The Moscow Theater "P. N. Fomenko's Workshop" was founded in July 1993 by decree of the mayor of Moscow. However, the “Fomenki” themselves (as journalists call theater actors not only in Moscow, but throughout the world) trace their biography back to July 1988. Then he recruited a group of students to his training workshop at the directing department of GITIS (now the Russian University of Theater Arts).
Five years of study showed that people whom fate brought together in the summer of 1988 can and are able to create real theatrical miracles. The performances created during his student years repeatedly became prize-winners at various theater festivals. Thus, the play “” based on N.V. Gogol (directed by Sergei Zhenovach) was awarded the first prize of the Youth Jury at the international festival of theater schools “Podium-91”. The play "" by M. Tsvetaeva (directed by Ivan Popovski) - the "Highlight of the Season" award in 1992. And the play “” based on A. N. Ostrovsky (directed by Pyotr Fomenko) was the Grand Prix at the international theater festival “Contact” (Poland) in 1993.
Graduates of Fomenko's workshop in 1993 formed the backbone of the young theater, which was replenished twice more by the master's students.
A theater emerged that combined the desire for exploration and experimentation with the traditions of Russian repertory theater. With the Workshop troupe, different directors realize their plans, master complex spaces, and work in a variety of styles. Among the performances created over the years of the “official” existence of the “Workshop” there are productions by both Pyotr Naumovich Fomenko himself, and his colleagues and students, first of all, and others.
Another challenge was to continue to develop the actors. Don't become hardened at heart. Don't let yourself get caught up in the everyday routine. Don't stop learning. Don’t be afraid to look back and don’t stop moving forward These are just a few of the postulates by which theater exists today, more than twenty years later.
A logical continuation of the course chosen by the theater was the recruitment of the first intern group at the theater in the spring of 2007. For three years, a group of actors and directors had the opportunity to improve their skills, try and make mistakes, realizing their theatrical ideas within the walls of the “Workshop”. In 2010, most of the trainees were accepted into the theater troupe, and their first works were presented to the public - staged by Pyotr Naumovich Fomenko “Yu. Kim” based on W. Shakespeare (2009), the play “” based on the poems of the Yekaterinburg poet Boris Ryzhy (directed by Yuri Butorin, production director Evgeniy Kamenkovich, 2010), “” based on L. Carroll, directed by Ivan Popovski.
In 2010, a second group of trainees was recruited, which after three seasons almost completely became part of the theater troupe. While still on the internship, the guys created the play “” (director of the production Evgeniy Kamenkovich, 2011), which immediately entered the repertoire.
Today the Pyotr Fomenko Workshop troupe has 50 artists, 2 directors and 6 trainees.
At the beginning of its life, the theater led a “homeless” existence for several years. Until in 1997, by decree of the Moscow City Government, the theater was transferred to the economic management of the premises that previously belonged to the Kiev cinema at the address: Kutuzovsky Prospekt, 30/32. After repairs and reconstruction, on January 13, 2000, on Old New Year, the grand opening of the reconstructed building took place. However, the two small, cramped halls in which the Workshop troupe worked could not fully correspond to the tasks that the theater directors sought to realize on stage. By decree of the Moscow City Government, it was decided to build a new building for the theater that meets all modern technical requirements.
As a result of many months of joint work between the architectural workshop of S. V. Gnedovsky “PNKB architecture and cultural policy” and the “Workshop of P. N. Fomenko”, a unique project for a new theater building was created in 2004. In 2005, the project was awarded the highest architectural prize “Golden Section” in the category “best building project”. Several years of construction, and the theater celebrated its fifteenth anniversary in 2008, located on the Taras Shevchenko embankment, exactly opposite the entrance to the old building.
Today there are 40 performances on the theater's poster. First of all, these are productions by Pyotr Naumovich Fomenko: “” by A. N. Ostrovsky (1992), “” by B. B. Vakhtin (2000), dramatizations of L. N. Tolstoy’s prose “” (2000) and “” (2001) , " " based on "Notes of a Madman" by N. V. Gogol (2004), " " by A. P. Chekhov (2004), " " by A. N. Ostrovsky (2008), " " by Yu. Kim (2009), " " based on the works of A. S. Pushkin (2009), “” by M. Bulgakov (co-authored with K. Pirogov, 2012), “The Madwoman of Chaillot” by J. Girodoux (2003, restored by K. Pirogov in 2013). As well as works by other directors: “” by B. Shaw (2005), “” based on the novel by M. Shishkin “Venus’s Hair” (2006), “” based on the novel by J. Joyce (2009), “” by A. P. Chekhov and B. Friloux (2010), “” by V. Nabokov (2012), “” by L. Pirandello (2014, together with P. Agureeva) and “” by M. Saltykov-Shchedrin (2015) - directed by Evgeny Kamenkovich; “” by N. Gumilev (2002), “” by E. Ionesco (2006) and “” by L. Carroll (2010) and “” by W. Shakespeare (2015) - directed by Ivan Popovski; "" by F. M. Dostoevsky (2003) - director Nikolai Druchek; “” by A. Volodin (2011), director Viktor Ryzhakov; “” (2012) - director Oleg Glushkov; "" based on the novel by M. Shalev (2012) - director Yuri Butorin, "" by I. Vyrypaeva (2013) - director Sigrid Ström Reibo; "" by A. Sokolova (2014) - director Vera Kamyshnikova; "" by O. Mukhina (2014) - director Evgeny Tsyganov; "" based on the stories of A. Vampilov (2016) directed by Yuri Butorin and Vladimir Toptsov.
In 2013, the “Petr Fomenko Workshop” opened an experimental direction of its activities to viewers. For more than 10 years, the theater has been holding “trial and error” evenings, at which artists and theater directors show the troupe their independent work on certain literary works. Some of them grew into performances and entered the repertoire of “Workshop”. Now the theater has decided to share the most interesting and experimental works with its audience. Thus, since May 2013, within the framework of the “Trial and Error” project, six performances have already been born - “” by O. Mandelstam (director Dmitry Rudkov, director of the production Evgeniy Kamenkovich, 2013), “” based on the stories of I. Bunin (director Yuri Titov, director productions by Evgeny Kamenkovich, 2013), "" (2014) by A. Pushkin and "" (2015) by J.-B. Moliere - director Mikhail Krylov; "" (2015) based on the story by F. Dostoevsky - director Fyodor Malyshev; "" (2016) by B. Brecht - directed by Kirill Vytoptov.
In total, over the years of the theater’s existence, 56 performances were created.
The works born within the walls of the “Workshop” have repeatedly become laureates of various theater awards: the. Stanislavsky for the play “One Absolutely Happy Village” (2000); National Theater Award "Golden Mask" for the plays "One Absolutely Happy Village" (2001), "War and Peace" (2002), "Three Sisters" (2006), "The Most Important" (2007) and "Triptych" (2011) and A Midsummer Night's Dream (2016); independent theater award "Crystal Turandot" for the performances "Three Sisters" (2005), "The Most Important" (2008). In addition, the theater's performances have repeatedly become laureates of the "Chaika" theater award, the "Highlight of the Season" award, and received prizes and awards at various international theater festivals.
Over the years, the theater's performances took part in various Russian and international theater festivals: Golden Mask (2000, 2002, 2003, 2004, 2006, 2008, 2009, 2010), International Chekhov Festival (1998, 2007, 2009, 2010, 2011), Christmas festival in Novosibirsk (1997, 2001), Vologda festival “Voices of History” (2001, 2005), Sevastopol festival “Chersonese Games” (1993), Polish festival “Contact” (1993, 1996), Venice Biennale (1995), festival in Avignon (1997), Belgrade BITEF festival (1997, 2004), Bonn Theater Biennale (1997), Paris Autumn (1998, 2002, 2003) and Madrid Autumn (2002, 2003, 2006) festivals, Lincoln Center Festival in New York (2004), international theater festival in Zagreb (2004, 2007), theater festival in Rome Russkij Festival (2004), Festival of Russian culture in Belgium "Europalia" (Europalia.Russia (2005)), festival "European Days" culture in Karlsruhe" (Germany, 2006), Iberoamerican Festival in Bogota (Colombia, 2006), International Arts Festival in Greece (2007). In addition, the theater has toured extensively and successfully throughout the cities of Russia, Ukraine, Latvia, Estonia, Europe, Latin America, the USA, China, Israel and Japan.
The theater continues to develop, opening new areas of activity. So, in the spring of 2016, lectures on theater for children – “”, began at the “Workshop”, given by theater expert and literary department employee Anastasia Sergeeva.
In the 2016-2017 season, the program will include a film club, poetry evenings and a lecture hall.
“Pyotr Fomenko Workshop” loves excellent music and often invites various musicians to perform on its stage. Luca Debargue, Boris Berezovsky, Nikita Borisoglebsky, Elena Kamburova, Evgeny Margulis, Irina Bogushevskaya, Yuliy Kim, Sergei and Tatyana Nikitin and many others performed their concerts in the theater. Every season new names are revealed to the theater audience.
In addition, the theater artists themselves often perform musical programs. Thus, evenings of Italian and French music performed by Monica Santoro became regular. On March 8, 2016, a concert by Vyacheslav and Igor Voinarovsky took place at the Workshop. A few years ago, the rock band LosiKenguru (Ivan Vakulenko, Fyodor Malyshev, Alexander Michkov, Stepan Vladimirov and Pavel Levanov) was born inside the theater.
Exhibitions of painting, photography, sculpture, theatrical costume and much more in the foyer of the New Stage of the Pyotr Fomenko Workshop have become an integral part of the creative process. Over the years, such outstanding artists as Boris Zaborov, Tatyana Selvinskaya, Yuri Cooper, Victor Sentsov, Mikhail Guterman, Ekaterina Golitsyna, Mikhail Dronov, Andrey Volkov, Elena Grabovska, Francisco Infante and Nonna Goryunova and others have exhibited their works at the theater.
“A MIDSUMMER NIGHT’S DREAM”, or “Don’t love, citizens! And you will live longer."
On January 6, 2017, when frosts of 20 degrees raged in Moscow, we went to the Fomenko Theater on Kutuzovsky with anticipation of a miracle. It must be said that our appearance at the performance was hampered not only by the weather, but also by the imperfections of the capital’s transport system. So, for example, the route that the gadget gave us turned out to be incorrect, and we were unable to leave the third ring and end up on the Shevchenko embankment. Long wanderings around Kutuzovsky back and forth in an attempt to turn around led to being late to the theater, but not completely.
During the first act we sat on the balcony, and this turned out to be happiness, because when in the 2nd act we moved to the stalls, the spell was completely dispelled. The spell, in general, dissipated in the first act, when we witnessed weak acting.
The heroes of Shakespeare's comedy, namely, two young couples whose love suffering constitutes the main romantic plot of the play, turned out to be completely indistinguishable from a distance. If not for the different names, it would be difficult to recognize Helen from Hermia, and Lysander from Demetrius. If it were not for the active movement of the actors around the stage, it would be downright boring to watch them. However, perhaps this was the director’s idea - to make the lovers almost identical, so that their “love” acquired the conditional character of a person’s contagious mental illness: he “loved” one, then switched to another, the same one - exchanged the awl for soap and did not understand why .
But as for Oberon/Theseus, and Titania/Hippolyta, the problem with them is the same - the actors simply change clothes and walk around the stage. The only ones who manage to be interesting are Pyramus (Kazakov) and Thisbe (Pirogov). This comic duet “explodes” the auditorium, justifying not only the genre of theatrical performance, but also the audience’s hopes. The remaining characters are simply Muscovites of the early 21st century in disguise.
The theater of experience requires acting costs (emotionally and intellectually), the Theater of Performance requires filigree precise plasticity and gesture, characterization or type. This performance, as much as I am sorry, does not fully belong to any of the methods of theatrical performance. Hence, the weakness and inarticulateness of an actor’s existence on stage is not saved by either youthful enthusiasm or the experience of famous people.
The only thing, besides Pyramus and Thisbe, that causes admiration is the staged stunts. They “live” perfectly on stage: the thinnest huge canopy, curtains, music and light. The musicians upstairs, wearing bells, act simply magically. It's amazing and mesmerizing.
If we talk about the meaning of the production, then it openly mocks lovers and love, presenting this feeling as the influence of some invisible manipulators on people.
And this is true: Lysander and Demetrius easily change the objects of their passionate feelings, even Titania is ready to give herself to a donkey, and Pyramus and Thisbe, in general, victims of mad love, are ready to destroy themselves because of vague evidence of the false death of one of the lovers (Thisbe’s blood-stained scarf encourages Pyramus to commit suicide).
And this whole series of absurdities is the result of a strange feeling that people are capable of experiencing. In the finale, when after the action presented by the artisans with a series of suicides because of love, the viewer is already dying of laughter, it does not matter at all what happens to Theseus, Hippolyta, Demetrius and others. So the meaning of the performance is obvious - stupid because of an incomprehensible illness ( love) risk status, well-being and other benefits of Life.
Speaking seriously, Anikst’s article on Shakespeare’s comedy is now perceived as an anachronism. What kind of “romantic feeling” that “conquers all obstacles” can we be talking about here? Especially in our time, the power of the Golden Calf?!
After all, Oberon manipulates Titania; Demetrius, like Lysander, easily changes lovers, becoming a victim of Robin's tricks. And the tragic story of lovers Pyramus and Thisbe was ridiculed quite cruelly in Shakespeare’s play. No. Love in the comedy “A Midsummer Night’s Dream” is a strange and unpredictable game of chance, which is fraught with delusions and even madness; it is the manipulation of unknown forces over weak human nature.
So, if we added to the wonderful stage effects of this performance more energy-intensive and meaningful acting, or at least more individualized and practiced plasticity and gesture, then it would be much more interesting to watch this action. There would be contrasts in the stories of the Athenian lovers, the king of the elves and the practical joke of the artisans. And so everything merges into some kind of sluggish mockery of all the lovers of planet Earth.
Separately, we must praise the audience who came to the theater! What wonderful spectators we have - they pay themselves and are ready to laugh at the slightest gesture. It seems that you just show them your finger, and they will already imagine everything else in the best possible way.
It was a real boom: in the first half of the 90s, the whole of Moscow flocked to the student performances of Pyotr Naumovich Fomenko’s course at GITIS. They were so good that they soon created a theater based on the course. Recent graduates have traveled all over the world with their graduation productions. Almost a quarter of a century has passed since then, but tickets for the performances of the legendary “Fomenki” are still not available.
Stars
Back in the 90s, young actors from that same course began to actively act in films - and soon not only theatergoers in Moscow and St. Petersburg, but the whole country learned about them. Sisters Polina and Ksenia Kutepova, Galina Tyunina, Karen Badalov, Kirill Pirogov, Madeleine Dzhabrailova are still the stars of this troupe. Then the films of Alexei Uchitel and Sergei Ursulyak appeared, the TV series “Liquidation” and “Thaw” - and Polina Agureeva and Evgeniy Tsyganov, who starred in them, gained enormous popularity. And Irina Gorbacheva became a star thanks to her video sketches on Instagram, where she has 1.8 million subscribers.
Irina Gorbacheva and Yuri Butorin in Shakespeare's A Midsummer Night's Dream directed by Ivan Popovski. The performance can be seen on April 20, 23, 26, 27
Young team
For the last ten years, the theater has been recruiting trainees, and there is also an experimental direction, in which each member of the troupe can show their work at a “trial and error evening.” All this helped the “Workshop” find a new lease of life. From the trainee work, for example, the play “Red” grew, which is based on the poems of the Yekaterinburg poet Boris Ryzhiy, who tragically died at the age of 26. The premieres of this season are performances in the spirit of stories of a cloak and a sword, where the youth and temperament of the trainees are favorably shaded by a romantic plot. In December, “The Spaniards in Denmark” by Merimee, directed by Kirill Pirogov, was released, and in May, the artistic director of the theater Evgeny Kamenkovich will release “Captain Fracasse” by Gautier.
The performance "Red" is a musical journey from Yekaterinburg to Sverdlovsk based on the poems of Boris Ryzhiy; director: Yuri Butorin. The performance can be seen on May 23
Sincerity
There is a special way of playing here. It comes from the direction of Pyotr Fomenko, whose performances organically combine lightness and sadness, an understanding of the captivating nature of life and its deep drama. The master's look at his students was full of tenderness - and the actors charmed with their charm and liveliness of performance. Even today there is no psychological “fourth wall” between the stage and the hall: it seems that on the stage are the same young people who walk the streets of the city and sit in cafes - smart, free, intelligent. In a good way, ours.
Bright presentation
Fomenki have a taste for visual effects. Director Ivan Popovski is considered the main specialist in theatrical magic: his “Alice Through the Looking Glass,” where elephants float across the sky and the surface of a lake suddenly appears on the stage, is still not easy to get into today. It’s even more difficult for “A Midsummer Night’s Dream”: tickets sell out on the very first day of sales. A new spectacular production was recently released at the Workshop: French director Christophe Roque staged Molière's Amphitryon. A huge mirror suspended above the stage reflects many burning candles and the red hair of the Kutepov sisters in the roles of the main character’s wife Alkmena and her maid. Looks beautiful!
Alexander Michkov and Polina Airapetova (pictured in the play "Spaniards in Denmark") are one of the brightest young artists of the "Workshop". The performance can be seen on April 13, 14, 19, 24
Repertoire
Here comes something you won't see almost anywhere. It’s not that this principle was specially put at the forefront - it just happened that way, too many people realize their ideas within these walls. Evgeniy Kamenkovich is distinguished by his intellectual choice - he staged the play “The Most Important” based on Mikhail Shishkin’s complex novel “The Hair of Venus,” he took aim at Joyce’s “Ulysses” and Friedrich Gorenstein’s play “Volemir,” which had never been performed before. And the recent “Spaniards in Denmark” are an exceptional rarity on our stage. So here you can not only see a good performance, but also broaden your horizons.
Evgeny Tsyganov and Polina Agureeva in Pyotr Fomenko's play "One Absolutely Happy Village". The performance can be seen on April 30 Text: Alexandra Mashukova
"Workshop of Pyotr Fomenko"– a place that was born from a creative impulse, from a love of art and a desire to serve it. Serve with dignity, brightness and ease. The key word in this list of epithets is the word “easy”. “Light breathing” is what permeates the entire space of the theater, every performance, every gesture performed in it, every word spoken in it. There's a lot of air here. And only in the air can an artistic thought arise and fully spread, without losing its transformative power.
Photo: Moscow Theater “P. Fomenko Workshop”
Officially the theater was founded in 1993, but theater is people. The people who created him, who became him, were united in 1988 by the artist’s gesture, Pyotr Naumovich Fomenko: they entered the first year of the directing department of GITIS, which he was recruiting. The “light breathing” of the young “Fomenki”, their versatility, mastery of transformation, ability to work in different styles, with different materials (and do it brilliantly!) did not go unnoticed by the jury members of leading theater festivals already during their student years. Their work does not go unnoticed and deserved admiration even now, when several generations of actors and directors can be seen in the “Pyotr Fomenko Workshop”. The “workshop” does not allow the air inside itself to dry up, does not allow the souls of its inhabitants to “harden”. Therefore, continuously, changing, but without losing its uniqueness and originality, it moves forward, along only one vector - towards the genius. From time to time, the theater takes trainees under its wing. One condition: their nature must be related to the nature of real “Fomenki”. Its basis should be air. There is no talent in an oxygen-free environment.
Now in the repertoire of the theater "Pyotr Fomenko's Workshop" along with performances that accurately reproduce a literary work, very subtly and talentedly performed by both Fomenko himself and his students, one can also find extremely original interpretations of texts of world classics, reading new relevant meanings, or productions based on modern texts and plays. By the way, the last 25th season at the theater was devoted to working with modern drama. The new, 26th season is preparing many surprises for the viewer related to the study and transformation of the classics.
At the moment, the theater's poster is filled with forty performances. Among them are productions by the master, Pyotr Naumovich Fomenko (“Wolves and Sheep”, “War and Peace. The Beginning of a Novel”, “One Absolutely Happy Village”, “Dowry”, “What a Pity”...), as well as works of other directors whose names extremely sonorous:
- Evgeny Kamenkovich, a student and follower of Pyotr Fomenko, who became the artistic director of the “Workshop” after the death of its founder: the poignant “Giants of the Mountain” based on the unfinished play by Pirandello; Nabokov’s “Gift” with materialized “creative necessity”; “The House Where Hearts Break,” imbued with the sparkling humor characteristic of the airy nature of “Fomenki”;
- Ivana Popovski: light in the French style “Rhinoceros”; the light-comedy, intoxicating “A Midsummer Night’s Dream”; mystical, warm, fairy-tale “Alice Through the Looking Glass”;
- Nikolai Druchek: “The Madwoman of Chaillot”, restored performance by Pyotr Fomenko; “White Nights”, the atmosphere of vulnerable dreaminess in which is dispersed thanks to each character;
- Viktor Ryzhakov: talking to the audience “Five Evenings”;
- Oleg Glushkov: “Sailors and Whores”, the fruit of physical musical theater, where the main language is body language, the main way of expressing emotions;
- Yuri Butorin: “Red”, which opens an entire era; chamber-home “Come in, come in”;
- Sigrida Ström Reibo: “Summer wasps bite us even in November” based on the play by Vyrypaev;
- Vera Kamyshnikova: impressive “Fantasy of Faryatiev”...
The “Workshop” helps young artists to realize their potential. For example, a graduate of the GITIS directing department in 2015, Polina Airapetova, who became a member of the workshop troupe in 2018. Polina staged a play based on the stories of Yuri Kazakov “The Damned North”. Witty, with characters that are memorable in their brightness, but recognizable in their believability.
As part of the “trial and error” evenings The theater actors themselves create performances (Dmitry Rudkov, Fyodor Malyshev, Polina Agureeva, Mikhail Krylov...) And these works are extremely original and interesting. They seem to expose the laws and mechanisms for organizing the creative process that exist in the theater. They are especially open to the viewer, especially enthusiastic. The brilliant “Spaniards in Denmark” by Kirill Pirogov, the puppet-plastic “Dead Souls” of Fyodor Malyshev and Polina Agureeva, the intimate mask “Egyptian Mark” looking at the viewer with sad eyes by Dmitry Rudkov, crazy and sharp, like the gaze of the director himself, “School of Wives” and “Ruslan and Lyudmila” by Mikhail Krylov and many other productions capture with their magic absolutely all spectators, even if they are extremely different. They connect the auditorium in a single deep and bright experience.
In addition to performances The theater provides the opportunity to listen to lectures by theater experts, meet for a sincere and deep dialogue with artists, or spend the evening watching a film (certainly filled with air!). You can learn about all these events from the section "non-performances" on the official website of the Pyotr Fomenko Workshop. Lectures on theater for young spectators are also held here - "Journey into theatrical history", in which the children are accompanied by theater expert Anastasia Sergeeva.
The off-stage space of the “Workshop” breathes and is filled with art just as much as the stage space. In it, the viewer can begin to immerse himself in the wonderful world that is the theater, and in the theater that is the world. Magnificent set designers and artists exhibit their works at the Fomenki, including Nonna Goryunova, Boris Zaborov. Yuri Cooper, Andrey Volkov and many others.
And the main thing worth noting – music lives in this theater. And the theater itself lives by music. Therefore, it can be heard not only within the performance, but also behind them. The Workshop often invites musicians to its stage. And the artists themselves often fill the walls of the theater with the sounds of their musical programs, for example, now in the “Workshop” the group “Losikenguru” is successfully creating, and always something extremely good, absorbing the paradox of life and at the same time dissolving in an escape beyond the boundaries of what reigns everywhere postmodernism.
Building such a big little world" Workshop of Peter Fomenko» is located at the address: Moscow, Kutuzovsky Prospekt, 30/32.
The theater box office is open weekly, from 12.00 to 21.00, phone: +7 499 249 19 21.
