Alexandrinskaya Square and theater street. Theatrical buildings - architectural monuments Alexandrinsky Theater Who architect

Alexandrinsky Theater.

August 30, 1756, on the day of memory of St. Prince Alexander Nevsky, Decree of the Senate, signed by the daughter of Peter I Elizabeth Petrovna, was established by one of the oldest theaters of the country - Alexandrinsky Theater. (Its initial name is Russian Theater for the standings of tragedies and comedies). Now the full name of the theater - Russian State Academic Theater. A. S. Pushkin.The first troupe of the theater was headed by Fyodor Volkov, whom they call the "father of the Russian theater", and the director became the playwright A. P. Sumarokov. Since 1759, the theater received the status of the court. "Russian court actors", playing the plays of Sumarokov, Fonvizin, Ya. B. Prinjinina, P. Cornell, J. Rasin, Voltaire, J. B. Molhera, P. Bomaransch, performed quite a long time in various theatrical premises.

The premieres of almost all the dramatic works of Russian classics took place in the Alexandrinsky Theater: from "grief from the mind" A.S. Griboedov to Piez A.N. Ostrovsky and A.P. Chekhov.

In 1832, the theater received a new building on Nevsky Prospect, the architect of which was the famous Karl Rossi. From that time, the theater became known as Alexandrinsky in honor of Nikolai I Alexandra Fedorovna.

K. Winterhalter "Portrait of Empress Alexandra Fedorovna"

Building Alexandrinsky Theater

The territory on which the theater is now is, in the XVIII century belonged to Colonel Anichkovo, the author of the bridge called him named. This territory (garden) was bought by the treasury. In 1801, the Brenna architect rebuilt into the theater a large wooden pavilion, where A. Kazassi organized the operatic troupe, but soon this room became insufficient for the growing city, but to build a new building of the theater was not possible due to the situation in Russia (Russian-Turkish War, Patriotic War of 1812). And only in 1828 construction began, which lasted 4 years. In September 1832, a solemn opening of the new building of the theater took place.

Theatrical (Alexandrinskaya) Area. Lithogr. Ivanova in drawing of Sadovnikov

It was built on the project Karl Rossi in the ampir style. (Ampir - from Fr. empire. - "Empire") is the style of late (high) classicism in art. It arose in France during the reign of the emperor Napoleon I; Developed over the first decades of the XIX century. In the Russian Empire, this style was especially developed under Alexander I (K. Rossi, A. Zakharov, A. Voronikhin, O. Bow, D. Livydadi, V. Stasov, sculptors I. Martos, F. Shchedrin).

The facade of the theater is decorated in deep loggia. The side facades are made in the form of eight-colonous portico. On the other hand, Rossi-designed and component of the ensemble with the Street Theater, the perspective of which closes the rear, richly decorated facade of the theater is leading to the theater.

It turns out the building a sculptural frieze with antique theatrical masks and garlands of laurel branches. In niches at the end facades - the statues of the MUZ, on the attic of the main facade - Quadriga Apollon (Sculptor V. I. Deut-Malinovsky).

Karl Rossi (1775-1849)

B. Mituar "Karl Rossi"

Carlo Di Giovanni (Karl Ivanovich) was born in 1775 in Naples in the family of ballet dancers. From 1787 he lived in Russia, where he was invited by stepfather. He studied in Russia. The architecture studied at Brenna, was his assistant during the construction of Mikhailovsky Castle. The early works of Rossi in St. Petersburg include the reconstruction of Anichkova Palace, pavilions and library in Pavlovsky Palace, Elagin Palace with Orangery and Pavilions. In many ways, thanks to him, Petersburg found a new face and turned into the capital of the empire. His works: the ensemble of the Mikhailovsky Palace with the surrounding garden and square (1819-1825), the Palace Square with the arcuate building of the General Staff and the Triumphal Arch (1819-1829), the Senate Square with the buildings of the Senate and Synod (1829-1834), Alexandrinskaya Square With the buildings of the Alexandrinsky Theater (1827-1832), a new building of the Imperial Public Library and two homogeneous extended corps of theatrical street (now architectural streets). One of his last works is the bell tower of Yuryev Monastery near Veliky Novgorod.

Russia died in 1849 buried on the Volkov Lutheran Cemetery, reburied in Necropolis of Alexander Nevsky Lavra.

Theater troupe

The troupe of the theater, which always included well-known actors of their time: V. Karatygin, V. N. Davydov, K. A. Varlamov, M. G. Savina, P. M. Freedomin, V. V. Strelskaya, V. P. Dalmatov, M. V. Dalsky, P. A. Streptova, then V. F. Commissionerzhevskaya and later E. Korchagin-Alexandrovskaya, N. Simonov, N. Cherkasov, V. Mekuriev, I. Gorbachev, B. Freindlich, E. Tim, N. Urgant.

Pelageya Antipyevna Streptova (1850-1903)

I. Repin "Portrait of an actress Streptova"

The life of Pelagiai Antipyevna Streptova was difficult and bright, like her game on stage, to which she first came out at seven years. And for fifteen she has already become a professional actress. After some time, rumors about her brilliant game spread throughout Russia.

Already the first performances of the provincial actress on the scenes of Moscow and St. Petersburg were stolen the theatrical public, giving rise to both sincere worship of some and sincere dislike of others: Streptova was not just a talented actress, she broke the old ideas about the acting game, filled stage images by living sense and vital truth.

This is how M. Nesterov's artist wrote about the game Streptova: "Streptova, like the great urine, like a number of outstanding Russian actors, who founded their game on the immediate" feeling ", was uneven in the game. Today, she shocked by the audience deep, unforgettable experiences of a rolling female soul - her grave share, and tomorrow in the same role was ordinary, colorless. And so all his life, on stage and in life, she alternated her success with failures, with despair.

In the repertoire, it had several roles in which she had no rivals. In the "thunderstorm" she was amazing Katerina.

A lot and other roles with a pronounced tragic character and mostly from the People's Russian Life Streptova played as a true great artist ... the sound of her voice, simplicity, naturalness - that great realism, which happens so rarely, and even the great artists knew not so often - Here this realism was at Streptova in the moments of its highest inspiration. "

The Great Directors of Sun worked in the Alexandrinsky Theater. Meyerhold, L. Vivien, Kozintsev, Tovstonogov, N. Akimov.

Director Leonid Sergeevich Vivien (1887-1966)

Director LS Vivien

Since 1911, he consisted in the troupe of the Alexandrinsky Theater, and in 1937 he became the main director. The performances set by L. Vivien were distinguished by the depth of disclosure of the author's plan and the careful psychological development of characters. Theater repertoire was diverse: Russian and foreign classics and performances of modern authors. Actively engaged in pedagogical activities. Among his students are famous actors People's Artists of the USSR Nikolai Simonov, Vasily Mercuryev, Ruben Agamirzyan, Yuri Tollajev, etc.

The Great Artists N. Altman, A. Benua, A. Golovin, K. Korovin, as well as outstanding composers A. Glazunov, D. Shostakovich, R. Shchedrin, collaborated with the theater.

Artist Alexander Nikolaevich Benua (1870-1960)

A. Benua. Sketch of scenery to ballet I. Stravinsky "Parsley"

By the birth and raising of Benouua belonged to the St. Petersburg artistic intelligentsia.

Artistic tastes and views of the young artist were formed in accordance with the time in opposition to his family, which adhered to conservative "academic" views. The artist decided in childhood, but after staying at the Academy of Arts was disappointed and chose to receive legal education at the University of St. Petersburg, and I received an art education in my own program.

A. Benua showed himself in many genres: in literature, painting, art history, criticism, director, he wrote beautiful landscapes, illustrated the works of many writers, but more known as theatrical artist and theorist of theatrical and ornamental art. His scenery and costumes open the exceptional ability to recreate a variety of eras, national features and moods.

Currently, the artistic director of the theater is Valery Fokin.

Theatrical masks

For the needs of Anthreprenorera Kazussia. The institution was named the Cossussy Theater. After the fire in the Bolshoi Theater in 1811, the architect Tom de Ton offered to rebuild this theater, expanding his scene and hall. But this was prevented by the war of 1812.

The conversations about the restructuring of the theater again continued after the war, when Emperor Alexander I returned to St. Petersburg. For the new owner Anichkova Palace of the Grand Duke Nikolai Pavlovich, the space of the manor was put in order, but there was not enough money for the restructuring of the institution. At this time, the funds went to the construction of the building of the General Staff. Despite the refusal of the construction of the theater, the project of Square with a new building in the 1810s amounted to Karl Rossi, who was alteration of the interior of Anichkova Palace.

The Rossi project began to be implemented with the coming to power Nikolai I. The emperor wished to rebuild the square in front of the Grand-Palace, which was entrusted to the architect. On April 5, 1828, the project was approved, and the next day a commission was created "to build a stone theater and behind the two buildings." At the head of the commission, N. Seluquin, Vice-President of the Cabinet. Architects N. Tkachev and I. Galberg became assistants at the construction site.

By the spring of 1828, 950,000 rubles were paid to the owners of the regulations from the treasury. Those who were in no hurry to free the place were evicied for one week.

For the foundation of the theater in the ground, about 5,000 piles were scored. The walls of the building built in the same year. In 1829 - began to install overlaps that the architect had conceived from the metal. Against such a decision was the engineer General of P. Basin, who headed the Committee for structures and hydraulic works. He expressed her doubts about the reliability of metal overlaps in the report of the emperor. Nikolai I was created by the Commission in order to examine the project "Devices of metal rafters and roofs of the newly under construction of the theater on Nevsky Prospect, whether the walls and rafters will solve the severity of cars and whether the device will not be dangerous." Works on the Aleksandrovsky cast-iron mill M. Clark, manufactured by these structures, were suspended. From Karl Rossi and M. Clark demanded to provide a model and explanation. In connection with these events, the emperor architect Rossi said the following letter:

"Locking prince, gracious sovereign!
I had the honor to get the prescription of your creation, of September 2, with the announcement that the sovereign is the emperor, considering the opinion of General Basin and other papers ... Regarding the metal roofing device on a new building theater ... deigned all the work on the device to stop the device.
In seaside, I take the courage to convey to your presence that when his imperial majesty deigned to approve my project to a new theater and elected me to build it, I was worn out through this with a fit and breathing with a power of attorney, which I had happy to justify the experienced by me Buildings not related to the number of ordinary, as something: a metal archive device in the main headquarters and a conical arch of a large arch connecting the main headquarter home with a new building from a small millionth. Now, to the greatest regret, I see that I am deprived of this power of attorney, and the envy and intrigue triumph.
As a result of this and in order not to overshadow my reputation, I am allrophetically apart ... Occurs the permit to finish the work on the device of a metal roof, personally, together with Clark, according to our system. Like me, and Clark is responsible for honor and head that it will not happen from the mentioned roof or the slightest misfortune and that all the device will have an adeceless strength ...
In conclusion, there is any misfortune in the mentioned building from a metal roof device, then in the example for others, let them immediately hang on one of the rafted ... "[quot. By: 2, p. 528]

After inspecting on September 19, 1829, ready-made metal structures at Clark Nicholas I announced a solution: "... the stone device of the walls for the metal roof continue and immediately put several iron rafters for the roof for the test, it is equal to cast-iron rafters and above the scene on the making above them Experience in advance at the factory ... "The test was in checking the strength of rafted by hanging on each of them cargo weighing 40 tons. Thus, the project Rossi was still adopted.

The design of the hall was not fully embodied. The architect conceived him more elegant than it was fulfilled. Bronze and copper were replaced by carving on wood and art painting. This decision was made due to lack of funds, which at this time went to the needs of the army. The registration of the visual hall on the basis of the sketches of Rossi was created by Okhtinsky cutters, masters of Master N. Sipyagin and M. Sokolov, artists of the Dodon Brothers.

Nicholas I wanted to see the upholstery of the auditorium with a red cloth. Rossi declared the emperor that there is no such thing in the presence, and if you wait for its purchases, then open the theater will not be able to open. Thus, Rossi achieved the implementation of his plan - decorate the auditorium of the upholstery of blue.

The solemn opening of the theater was held on August 31, 1832. The next day, the newspaper wrote:

"This is a huge, elegant, the majestic building is built by the architect Rossi. The hall holds five tiers of lies, except Benoars. Chairs number 242, located in nine tiers. Behind the chairs are towering the amphitheater, to the lies of the first tier, the so-called seats behind the armchairs (number 182 ), numbered benches, for viewers and listeners are very comfortable ... The performance opened by the tragedy "" Pozharsky, or the liberation of Moscow "and the Spanish divertiment, that is, by different Spanish dances" [Cyt. By: 2, p. 530].

The theater was named after the wife of Emperor Nikolai I Alexandra Fedorovna. Since then, he has been called "Alexandrinka." The building entered the unified architectural ensemble of Ostrovsky Square. Over the colonnoy the theater facade is decorated with a quadrig controlled by the God of Arts Apollo. The author of the sculpture - S. S. Pimenov. Quadriga Apollo made masters of the Alexandrovsky plant. For this work, Master Peter Katerinin and Peter Odintsov, as well as Rogozin's subsecession received silver medals on the Anninsk ribbons, and Master Andrei Malikov received a gold medal.

The Aleksandrinsky Theater was initially under the jurisdiction of the Ministry of Imperial Court. His walls of Rossi were painted in light gray.

In the opening of the Alexandrinsky Theater, on the basis of the Imperial Communication, the Directorate provided Karl Rossi to free and eternal use of a ticket No. 14 of the second tier. On January 14, 1837, the director of the Imperial theaters of Gideonov reported to the Minister of the Court:

".... Mr. Rossi offered the Directorate, whether she wishes to take away this false from him, and he pay for her money.
According to the unknown, in Russia's right to do without a special allowance of this kind of transmission of the lodges ... I did not decide to accept his suggestions.
But Lodzh Yiya is engaged in almost all the ideas in various persons from the public and as an inlet of it ... It is always done on a special number to her. Rossi Rossi, then it was revealed that with the sim ticket sent to the theater of a person who sells in the corridor This false places about the loneliness of various kinds of people ... Some of the sent was not only many times confirmed by doing anymore, but even ... He was detained at the theater with the announcement that if he continues to continue to be like a certain action, then .. . will be transmitted to the police.
Despite this, it turned out that during the performance of the former on January 10, it was loving the same way in a lie ... Seven people had a different kind of people, from which there was a quarrel and a fight between the two two, when he was proceeding, the polyciete turned out to be among those who were sitting in this bed There were nobles or officials, as well as fortress people ... "[quot. by: 2, 548]

After this incident, Ross was announced that the next such incident would end for him deprivation of a ticket.

Once in the days of the theater prime minister and the benethrophs at the entrance to Alexandrin, a long queue from the carriage and crews was built. Among the "Golden Youth" of that time was indecent to go to the theater on foot, so enterprising drives specifically put their boats near the theater, on Nevsky Prospect. From there, young people and approached the destination.

On the eve of 1849, Nicholas I wanted to update the decoration of the visual hall of the Alexandrinsky Theater. He ordered to increase the four lodges near the scene and replace the upholstery of the hall on the Red, which was charged by Karl Rossi, who created two projects of alterations. This work has become the last for a 72-year architect.

In Soviet times, the theater was named "Academic Drama Theater. A. S. Pushkin". With the acquisition of this name, he began to be called "Pushkinsky".

One of the most famous theaters of St. Petersburg, the legendary Alexandria theater was based on the decree of the Empress Elizabeth. In honor of the spouse of Emperor Nikolai First Alexandra Fedorovna Theater was named Alexandrovsky. On February 9, 1937, when Russia celebrated the century from the day of the death of Pushkin, the theater was assigned the name of the poet, and now it is called Alexandrinsky, or Pushkin theater.

The magnificent building in which the theater is posted since 1832, built by architect Carl Rossi. The facade facing the Nevsky Prospect, the exquisite architectural ensemble is one of the best samples of Russian classicism. The sculptural composition of the "Chariot Apollo", located on the attic of the building, became not only a symbol of the theater, but also one of the emblems of the Northern Capital.

Theater repertoire traditionally constitutes dramatic performances of Russian and foreign classics. On the stage of the Alexandrinsky Theater, almost all global premieres of the works of Russian classical dramaturgy took place. On the legendary productions, Pushkin and Belinsky, Turgenev, Ostrovsky and Block were often found. Here Chekhov experienced the joy at the representation of his "Ivanov" and disappointing after the first failed statement of "Seagulls". Today in the poster of the theater, along with dramatic works, you can find out ballet stages with the participation of stars of Russian choreography.
The acting team of the Alexandrinsky Theater, known as the "Theater of Masters", is one of the strongest in St. Petersburg. The walls of the theater are keeping the memory of the outstanding actors V. Karatygin, A. Martynov, I. Gorbachev, B. Freindlich, actress V. Commissioner, E. Korchagina-Alexandrovskaya and many others.

Russian State Academic Drama Theater. A.S. Pushkin - the legendary Alexandrinsky Theater - is the oldest National Theater of Russia. He was established by the Senate Decree, signed by the daughter of Peter the Great Empress Elizabeth on August 30, 1756 on the day of St. Alexander Nevsky. It is this theater that is the progenitor of all Russian theaters, and the date of its foundation is the birthday of the Russian professional theater. The Theater's institution served as the beginning of the state policy of the Russian state in the field of theatrical art.

The building of the Alexandrinsky Theater, created by K. I. Rossi, is one of the most characteristic and prominent monuments of the architecture of Russian classicism. In the ensemble of Ostrovsky Square it plays a dominant role. As a result of redevelopment of the estate of the Anichkovsky Palace in 1816-1818, an extensive urban area arose between the building of the Public Library and the Garden of Anichkovsky Palace. For more than ten years, from 1816 to 1827, Rossi developed a number of projects for reconstruction and development of this area, providing for the construction of the city theater on it. The final version of the project was approved on April 5, 1828. The construction of the theater began in the same year. On August 31, 1832 his grand opening took place.

The theater building is located in the depths of Ostrovsky Square and addressed its main facade towards Nevsky Prospect. Rust-treated walls of the lower floor serve as if the basement of the solemn colonnade, adorning the facades of the theater. The colonnade of the main facade of six Corinth columns is clearly charged against the wall of the wall, moved to the depth. The traditional motive of the classic portica rendered forward here is replaced by a rare loggia motive in St. Petersburg. The surface of the walls on the sides of the loggia is cut by shallow semi-curvous niches with the statues of Muses - Terraticra and Melpomen and is completed with a wide sculptural frieze, hailing a building. The attack of the main facade, decorated with sculptural figures of glory, was crowned with Quadriga Apollo, symbolizing the successes of domestic art.

Solemn and spectacular lateral facades of the theater and the southern facade, closing the perspective of the Street of the Arch Republic. In the work on the project of the Theater Rossi focused on the volume and spatial solution, the monumentality and expressiveness of the appearance. Inside the building is the greatest interest in the auditorium. Its proportions are well found. Here, fragments of the initial architectural design are preserved, in particular, decorative gilded threads of scenes at the scene and the central large ("royal") lodges. Barriers of tiers are decorated with an extreme ornaments made in the second half of the XIX century.

In the design of the facades, the sculpture plays an important role. Its performers were S. S. Pimenov, V. I. Deut-Malinovsky and A. Tryskorn. The chariot of Apollo is wound out of the sheet of copper on the Alexander Foreign Casting Plant according to the model S. S. Pimenova. By the century of the anniversary of the theater in 1932, under the leadership of I. V. Krestovsky, the incredible statues of Terraticor, Melpomena, Klio and the Waist installed in the niches on the facades were renovated.
The theater has unique collections of scenery, costumes, furniture, theater butaforia, weapons, richest museum foundations that can be exhibited both in Russia and abroad in the most prestigious exhibition spaces.
During the season 2005-2006. The Aleksandrinsky Theater carried out general reconstruction, as a result of which the historical appearance of the interior of the building was recreated. At the same time, Alexandrinka became one of the most advanced modern scenic sites in engineering plan. The solemn opening of the reconstructed Alexandrinsky Theater took place on August 30, 2006 on the days of the celebration of the 250th anniversary of the oldest State Drama Theater of Russia.

Repertoire Alexandrin theater.

The first director of the Alexandrin theater was A.P. Sumarokov, and then - F.G. Wolves. The theater troupe was formed under the guidance of the famous actor, director and teacher I.A. Dmitrevsky. The repertoire of the theater of the second half of the XVIII century was the dramatic works of A.P. Sumarokova, Ya.B. Princess, comedy V.V. Capnica, I.A. Krylova, D.I. Fonvizin, domestic drama V. I. Lukina, P.A. Meltelikova, as well as Western European playwrights - P. Cornel, J. Rasin, Voltaire, Moliere, Boualersche.

Since the beginning of the 1770s, the leading place in the repertoire of the theater is occupied by a comic opera - a kind of theatrical genre, who combined a dramatic effect with musical numbers, singing and dancing. Founded on the plots from the life of "ordinary people", she quickly became popular. The famous Fonvizin's play was the famous for the first time on the stage of the St. Petersburg theater in 1782 with the participation of Dmitrevsky (Starods), Plavily Cycovikov (Pravdin), Mikhailovaya (Prostakova), Sokolov (Catignin) and Shuman (Eremeevna).
Of course, the performing art of the theater until the beginning of the XIX century was associated with theatrical classicism - Dmitrevsky taught it. But with a change in drama, with the expansion of genre laws, emotional and psychological trends in acting art increased. On the scene of the theater shining S.N. Sandunov, A.M. Krutitsky, P.A. Madeliers, A.D. Karatygin, Ya.E. Shusherin. Sentimental drama and melodrama, which occupied a significant place in the repertoire, demanded that actors of greater naturalness and simplicity.
The public loved these genres, because they reproduced "ordinary life." Of course, the ideas about the "simplicity", "naturalness" and "ordinary life" reflected in the dramaturgy in different periods of the history of the theater were quite noticeable. And today we are performances-melodramas, or "tear dramas", like "Lisa, or a celebration of gratitude" Ilina, "Lisa, or a consequence of pride and seduction" Fedorov, hardly seemed to be life.
But this was the spirit of time - on the theater appreciated all sorts of sensitivity. During the Patriotic War of 1812, the production of tragedy VA was essential for society. Ozersov is "Oedip in Athens" and "Dmitry Donskaya". The significance of their problematics, their patriotism was supported by a magnificent game of tragic actors -E. Semenova and A.S. Yakovlev.
In the 20s of the XIX century, the comedy and Waterville A. Shakhovsky, M. Zagoskin, N. Khmelnitsky were becoming more and more in the repertoire of the theater. The best comedic performers were recognized by M.I. Walberhova and I.I. Sosnitsky. At this time, early comedies A.S. were delivered at the St. Petersburg scene Griboedov - "Young spouses" and "feigned infidelity." In the late 1920s, the theater turned to the romantic repertoire: the stages of poems A.S. Pushkin, V.A. Zhukovsky, Romanov V. Scott. The acting art also develops the principles of romantic, emotional and effective stage behavior.

At the turn of the XIX-XX centuries, the work of the Alexandrin theater was quite eclectic. On the oldest stage, the director also appeared, in which household realism prevailed, bordering naturalism (director E.P. Karpov). In 1908-1917, in the theater, there are several performances by V.E. Meyerhold, fascinated by symbolic and styling ideas. He argued on the scene festive theatrical, brightness, luxurious decoration of performances. "Don Juan" Moliere (1910), "Thunderstorm" (1916), "Masquerade" (1917) were consistently deployed before the public the idea of \u200b\u200bthe play-masquerade, mystico-religious, and in the Thread of Rock "Masquerade", set on the eve of revolutions, saw " The death of the empire.

After the revolution of 1917, the theater was subjected to the most severe attacks on the part of the revolutionary theatrical figures of prostrolet, futurists and others. They demanded a dissolution of the troupe and the elimination of the Imperial Theater representing the "old world" "bourgeois art." Of course, it was the time of crisis. In 1919, the Alexandrinsky Theater entered the association of academic theaters, and in 1920 he was renamed Petrogradsky State Academic Drama Theater.
For the first time posturevolutionary years, the theater poses mainly Russian and European classics. At his scene, Gorky drama ("Messenger", "at the bottom") appeared. In the mid-20s, the plays of historical and revolutionary content appear on his scene: "Ivan Kalyaev", "Pugachevshchyna", and director N.V. Petrov puts the "End of Krivorylsk" Romashova, "Cherle" Bill-Belotserkovsky, "Armpender 14-69" BS. Ivanova.
The revolutionary line of the repertoire will now remain in the theater for a long time. And, although, in the 30s, historical characters and Russian autocrats (play "Peter I" A.H. Tolstoy, "Petr I" of Suvorov "Bekhtereva) will appear," Common Film Suvorov "), the Russian history is interpreted in the spirit of the" class approach ".
In 1937, the theater was assigned the name A.S. Pushkin. During the Great Patriotic War, he worked in Novosibirsk, and on his stage the best plays about the war of Soviet playwrights were "Front", "Russian people", "invasion". From the fall of 1944, he resumed work in Leningrad.
To the greatest event was the production on its scene in 1955 the play "Optimistic tragedy" in the director G.A. Tovstonogov. The theater's troupe worked the largest artists: V.V. Mercuryev, N.K. Simonov, Yu.V. Tolubeev, N.K. Cherkasov, V.I. Chesnokov, E.V. Alexandrovskaya, B.A. Freindlich and Great Theater Directors Sun. Meyerhold, L. Vivien, Kozintsev, Tovstonogov, N. Akimov and many others.

The history of the theater is also the history of the human soul, its falls and climbing. The history of the theater is the history of the human creative gift that we manage far from always in dignity. And yet it is impossible to love the theater. And we love this magnificent, beautiful and fascinating world of theatrical art, which amazes with their diversity and their vitality. After all, at the beginning of the new century, we still see the ideas of parschers on the streets and fairs, are still alive by the traditions of the Chinese and Japanese theater, still experiencing trepidation when hearing about the "Russian classical ballet" or "Italian Belkanto".
Alexandrinsky Theater is one of the famous theaters of St. Petersburg.
Many generic features are in St. Petersburg's life; But Alexandrinsky Theater is hardly not one of the most characteristic will take it, it is hardly the most important "nestors" of a huge and beautiful capital. Just look at the Alexandrinsky Theater, which, with his charming square, ahead, a garden and an arsenal of Anichkina Palace on one side and the imperial public liberty on the other, is one of the wonderful decorations of the Nevsky Prospect. But who wants to know the inner Petersburg, not one at home, but also those who live in them, to get acquainted with his life, he must certainly have long and constantly visit the Alexandrinsky Theater mainly in front of all other theaters of St. Petersburg.
The name of the Alexandrinsky Theater is inextricably linked with the global history of scenic art. The unique complex of buildings, with a pyhylain auditorium, a huge scene, palace front fauy, a majestic facade, which became one of the emblems of the Northern Capital, was among the pearls of world architecture that are registered by UNESCO. Among the great oldest national theaters of Europe - the Parisian "Comedy Frances", the Vienna "Burgteatera", London "Dryuri Lane", the Berlin "Doycener" - Alexandrinsky Theater occupies an honorable place, being a symbol of the Russian National Theater.

Until 1801, a wooden pavilion was located on the site of the Alexandrinsky Theater. Then, according to the project of architect V. Brenn, he was rebuilt into the theater, which was called the Small Theater. In 1828, construction began on this site the new building of the theater under the direction of K.I. Rossi. The son of the Italian ballerina, Rossi was born in St. Petersburg, and became a pupil of architect Vincenzo Brenna.

The first independent work of Russia in St. Petersburg was the ensemble Elagina Islands. Rossi believed that the advantage of architecture was "not in the abundance of jewelry, but the magnesses of forms, in the nobility of proportions." The construction of the theater was completed in 1832. The solemn discovery of the Alexandrinsky Theater, the author of which was Russia, took place on August 31, 1832. The main facade of the building, rectangular in the plan, facing Square and Nevsky Prospect. The woven walls of the first floor of the theater serve as the basis for the colonnade of the Corinthian order, adorning the facades of the building.

The main facade is decorated with semi-curvous niches with the statues of two muses: Terraticors (Music Dance) and Melpomen (Music Tragedy). On the opposite facade - the statues of Klio (Muse of History) and the waist (muse comedy). Over the colonnade of the main facade, a relief image of two glory is placed, which are crowned with Laurel wreaths. Completes the main facade of the Theater of Quadrig Apollo, the work of the sculptor S.S. Pimenova. Apollo, the son of Zeus and the patron saint of arts, closed in loose clothes, stands in full growth in an elegant chariot, shaped four horses. In his right hand - a laurel wreath, in the left - kifara (plumbing musical instrument with four strings). The model of the quadriga is made of red copper and covered with bronze. The whole composition looks very dynamic and easy.

In the auditorium of the Alexandrin theater, the gilded carving of lies from the scene and the central "royal" lodge remained. The internal and exterior decoration of the theater in an allegorical form glorifies the achievements and greatness of Russian culture and art. Later in front of the building of the Alexandrin theater, Square was broken. And in 1873, a monument to Catherine II was established at the board of Alexander II to the center of this square. Today, the Academic Theater of the Drama named after A.S. Pushkin (Alexandrinsky Theater) is one of the most popular and visited theaters in St. Petersburg.

Name: Russian State Academic Drama Theater. A. S. Pushkin (Aleksandrinsky) (RU), Alexandrinsky Theater / Russian State Pushkin Academy Drama Theater

Other names: Alexandrinsky Theater / Theater. Pushkin in St. Petersburg / Alexandrinka

Location: Saint-Petersburg, Russia)

Creature: 1827 - 1832.

Style: Classicism

Architect (s): Karl Rossi.

Architecture of the Alexandria Theater.

A source:
G. B. Barkhin "Theaters"
Publishing House Academy of Architecture of the USSR
Moscow, 1947

In 1827-1832. In St. Petersburg, was built on the project of Russia one of the most remarkable for its time on the architecture of the theaters of Europe - Alexandrennsky - now the Pushkin Theater. In the place of the current Square of the Alexandria theater in 1801, there was a built-in Brenna, a small wooden theater facing the facade to Nevsky Prospect. In 1811, Toma de Tomon proceeded at this location theater of significantly large sizes. The project of this theater has been preserved. The building of the rectangular shape with a decade-column portion of the main facade and with a huge decorated sculpture of the fronton. The area on which Tomon's theater is designed. It has the same disclosure from the Nevsky Prospect, as in Russia. But the building of the theater was delivered by Tomon with a much smaller than those of Rossi aless from Nevsky. There is no background of Tomon's theater on Tomon's project. In addition, Tomon's Theater Square significantly loses due to the presence on it on the right side of the deep rounded pocket. Project Toma de Tomon was not implemented. An attempt to proceed at this place theater does in 1817 and the mody architect. Finally in 1818 followed the approval of the project of the theater compiled by Rossi. The exceptional significance of this structure for St. Petersburg is not limited to the excellent architecture of the building itself, but it lies in that amazing architectural environment, which Russia managed to form here in connection with the construction of his theater.

The main value of the Rossi Theater in the history of theatrical architecture is mainly in the excellent external architecture of the building. As for the overall planning of the Alexandrian theater and the solution of the auditorium, then in this regard, Russia did not give anything particularly new in comparison with the best European theaters of his time.

In terms of the Alexandrian theater, there is no significant place for public premises; All amenities and the whole luxury finishes are concentrated exclusively on the front rooms. A small lobby with shifted with the axis with two stairs, concluded in the deaf cells and resolved without a particular parade. The marches of these stairs were designed with a width of 2.13 m only to the height of one floor, at the level of the tsarist lodge, after which the marches are narrowed to 1.4 m. Above the lobby in front of the tsarist, the parade foyer, 6.4 m height; The lobby serving the rest of the tiers, with the same area, have a height of only 4 m. The lobby for the public is close, buffets and restrooms are uncomfortable for use. The auditorium of this theater deserves attention.

The hall accommodates 1,800 spectators, in terms of horseshoe, along the outline of the curve is close to French: half of the circle, connected to a wide portal with rectilinear segments. Just like in French theaters, parter was resolved, located ahead, and a semicircular amphitheater in the rear of the hall. In addition to Benoire, 5 tiers of lies. Lodge, in order to better visibility, tilted towards the scene. At one time, this technique recommended Segetsi, but it led only to the inconvenience of the use of legs because of the tilt of the floor and to the extremely disadvantageous to the visual perception of the fall of barriers. Pretty flat overlap of the hall, as well as the architecture of the portal little interesting. Separate drawings of the barriers and the processing of the central lodge are very well performed.

The main interest and value of the theater in its external architecture. Alexandria Theater is one of the most advanced works of Rossi and in its architecture the best theater in Europe is undoubtedly. In the center of the front facade of the loggia and an eight-column portico. The rear facade is also resolved, but instead of columns, it was removed by pilasters. Side facades with protruding eight-colonous frontal porticoes, the building is richly decorated with sculpture. The front and rear facades are completed with the attics characteristic of Rossi. The front attack is crowned with quadriga with a four horses. The auditorium and the scene are over the total volume of the theater in the form of a parallelepiped. The sculptural groups are installed on the protruding frameds of the loggia. The lower part of the building is processed in the form of a base-rolled floor with very simply resolved inlet doors. Side porticists form two indoor entrances. Under the antablement, overlapping the entire building, a wide sculptural frieze of garlands and masks passes.

In general, the architecture of the theater, with its exceptional unity and integrity, is very rich and diverse in detail.

Sources:

• History of Arts. Tom Fifth. Art 19th Century: Art of Peoples of Russia, France, England, Spain, USA, Germany, Italy, Sweden, Norway, Denmark, Finland, Belgium, Holland, Austria, Czech Republic, Poland, Romania, Hungary, Bulgaria, Serbia and Croatia, Latin America , India, China and other countries. "Art", Moscow
• Ikonnikov A.V., Stepanov G.P. Basics of architectural composition Art, M. 1971
• "History of Russian architecture" edited by S.V. Vysonova State Publishing Literature on Construction and Architecture 1951
• G. B. Barkhin "Theaters" Publishing House of the Academy of Architecture of the USSR Moscow, 1947
• E.B. Novikov "Interior of public buildings (artistic problems)." - M.: Stroyzdat, 1984. - 272 p., Il.