From the life of an entreprise. What is an entreprise? New explanatory and derivational dictionary of the Russian language, T

29.06.2019

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entreprise

The word "entreprise" is surprising to many. What is it? What is an entreprise? Let's expand on this concept in more detail!

The well-known Wikipedia site says that entreprise is a special form of organization of theatrical business, in which the organizer (the organizer is called "entrepreneur") invites actors from various theaters to participate in the performance. By the way, the word "entreprise" itself comes from the French entreprise, which is derived from entreprendre - an entrepreneur, and conventionally the word "entreprise" can be interpreted as a spectacular enterprise, which is not so far from the truth.

Historically, many actors wanted to bring their art to a wider audience, and these actors were not always from the same theater. There were many reasons - each theater has its own rules, foundations and orders. And this state of affairs did not always allow the actors to fully realize themselves. As a result, many actors began to unite in groups to stage a particular performance. This is the essence of the entrepreneurial movement - the unification of different actors for the performance.

It is believed that the entreprise has its own characteristics, for example, this type of theater usually does not have a permanent cast of actors.

What is a reprise? Meaning and interpretation of the word repriz, definition of the term

Actually this is not true. After all, the staging of performances largely depends not only on the talent of the actors, but also on the coherence of their actions, their organization, the actions of the director, rehearsals and much more. Therefore, the cast itself is usually more or less constant. The peculiarity of the entreprise is different.

In the entreprise, in contrast to the usual theater, the actors are given complete freedom of action, where they can realize all their wildest plans and desires, reveal their creative potential. There is no ban on improvisation, and therefore each performance turns out to be unique.

Another advantage of the entreprise is the opportunity for young and promising actors to show their creativity, the opportunity to work shoulder to shoulder with eminent masters, the opportunity to learn from experience and not be within the rigid framework of classical theater.

This is how we created our theater - the Theater of Entreprise Afanasyeva. The performances, performed in the so-called entreprise genre, are intended, to a greater extent, to entertain the viewer. Even the everyday problems shown in the performances are presented in such a way that they cause a storm of delight and laughter in the audience. The best praise for an actor is the joy of the viewer. And we are very pleased that at almost every performance, our actors see the auditorium applauding while standing.

Each performance we have is unique and individual. Each production is full of creativity and energy, which we charge our viewers with! We are always glad to see you at our performances!

The word "entreprise" is surprising to many. What is it? What is an entreprise? Let's expand on this concept in more detail!

Historically, many actors wanted to bring their art to a wider audience, and these actors were not always from the same theater.

CHAPTER 5. Reprise as a verbal component of the comic in a stage number

There were many reasons - each theater has its own rules, foundations and orders. And this state of affairs did not always allow the actors to fully realize themselves. As a result, many actors began to unite in groups to stage a particular performance. This is the essence of the entrepreneurial movement - the unification of different actors for the performance.

It is believed that the entreprise has its own characteristics, for example, this type of theater usually does not have a permanent cast of actors. Actually this is not true. After all, the staging of performances largely depends not only on the talent of the actors, but also on the coherence of their actions, their organization, the actions of the director, rehearsals and much more. Therefore, the cast itself is usually more or less constant. The peculiarity of the entreprise is different.

Each performance we have is unique and individual. Each production is full of creativity and energy, which we charge our viewers with! We are always glad to see you at our performances!

Entreprise

The executive director, who counts the hours at the end of the month, does not answer his work phone and letters to the official mail, too, my direct shop manager (to whom I was sent for the calculation by the manager's assistant) has never done this and the calculation is not part of her responsibilities. As a result, the labor is lost, the calculation has not been paid, the employees are completely confident in their impunity! And I'm not the first person who is treated in a very ugly manner in this theater if he refuses to be a slave. Salaries are often charged not by the hour, but thin. The manager crosses out the amount and puts by hand as much as he sees fit. I applied to the labor inspectorate and the rostrud, but so far to no avail. There are audio recordings of conversations and screenshots of correspondence with a person authorized by personnel. There is 18+, solid mat and personal insults.

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Andrei Mironov Russian Entreprise Theater

Address: RussiaSaint Petersburg

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Types of theaters. Theatre of Drama. Comedy theater. Opera and Ballet Theatre. Puppet show.

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MHK class 9

"Puppet theater" - In the representation of the peoples living there, such a theater. What is a scene? I will study the literature I will draw up a plan I will use the Internet resources. Lightweight reed doll, controlled by threads attached to a special "rocker". Used in street performances. Neophytes, i.e. those who were converted to faith endowed such dolls with divine properties. Objectives of the work. Riding dolls over the screen. The fate of itinerant puppeteers in the Middle Ages was unenviable. Automatic dolls. GLOVE Controlled by the puppeteer brush. Types of theaters. Version two: The gods wanted to breathe life into the inanimate.

"Architecture XVII" - Realistic tendencies were most clearly manifested in the icons of S. Ushakov. The building is decorated with two belts of azure tiles. The mansions of the palace were covered with different coverings (tent-roofed, cubic). Painting. "Trinity" 1971 p. Ushakova is very different from the eponymous A. Rublev. In the center - the image of Our Lady of Vladimir, the defender of Moscow. However, the resemblance to European Baroque was purely superficial. Purpose of the lesson: For work in the armory, he was elevated to the rank of nobility.

"Baroque architecture" - Baroque architecture in Russia (first half of the 18th century). Get interested in world culture! Typical baroque details are telamon (atlant), caryatid, mascaron. Peter in Rome. Large-scale colonnades, an abundance of sculptures on the facades and in interiors, volutes, a large number of rivets, bow facades with ripping in the middle, rusticated columns and pilasters are often found. Baroque architecture.

"Styles of architecture of the 20th century" - Hotel "Marioto" San Francisco. Constructivism. Aeronautics Museum, Los Angeles. Modern. Yatskov Yuri 9, b ". Artistic culture of the twentieth century. Hotel "Grand Hotel Europe Emerald Postmodern. Post office building in Toronto. Casino" Notre Dame ", Montreal. FL Wright house above the waterfall. Architecture. Church in Ronchon, France Le Corbusier. Ammerman (Kronstadt) st., 44 Zhiloy House Organics Library of the Academy of Sciences Postmodern.

ART REPRISE THEATER CABARET

"Tyumen Puppet and Mask Theater" - Mou school number 36. Completed by: 9th grade student Smolnikova Alyona Vladimirovna. History of the Tyumen State Puppet and Mask Theater. About the theater. The main artist since 1991 is Sergei Mikhailovich Perepelkin. There are 17 actors on the staff of the theater as of January 1, 2004. Tyumen - 2009.

"British Museum" - I. Lenin. This is how the British Library was born. History. British Museum Natalya Kungurtseva, grade 9. Masterpieces. In the years 1814-1815, Parliament bought priceless masterpieces from the Athenian Parthenon from Lord Elgin. The British Museum experienced a particularly rapid growth in the 19th century. The creation of the museum was approved by an act of the British Parliament.

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5klass.net > MHK class 9 > Puppet show > Slide 8

The word "entreprise" is surprising to many. What is it? What is an entreprise? Let's expand on this concept in more detail!

Each performance we have is unique and individual. Each production is full of creativity and energy, which we charge our viewers with! We are always glad to see you at our performances!

In the theatrical environment, there is a legend, and maybe a fact that took place. When Vladimir Lenin decided to nationalize Russian theaters, Stanislavsky, kneeling before the Minister of Culture Lunacharsky, persuaded him to put in a word to Ilyich so that this did not happen. As you know, Lenin did not listen to Lunacharsky. Since then, Stanislavsky practically did not appear at the Moscow Art Theater. And I never went to state theaters ...
In early September, a performance will take place on the stage of the Mayakovsky Theater "The Cherry Orchard" performed by the actors of La "Theater. We met with the theater director and producer of one of the first entreprise in the country Vadim Dubrovitsky and talked about theatrical entrepreneurship, the spirituality of the audience and why the word “entreprise” acquired an abusive meaning.

How do you personally define an entreprise?

Entreprise is the free expression of the will of artists. Unfortunately, in our country it is customary to swear at the word of an entreprise. How many times have I heard on the radio: "Oh yes, it was a performance, not some kind of entertainer."... At the same time, most theater critics diligently ignore the fact that entreprise performances in Moscow were staged by Peter Stein,.
In general, the entreprise in Russia has a rich history. Suffice it to recall that the creative birth of the same Chekhov as a playwright took place precisely thanks to the entreprise: the entrepreneur Fyodor Adamovich Korsh was the first who ordered Chekhov to write a play, and before that Anton Pavlovich had not even thought about drama. The play "Ivanov" was the beginning of his theatrical path. Our greatest actresses -, - took part in entreprise. In those days, there were only a few state imperial theaters, which we now call academic. And all the rest were entreprise.

What place, in your opinion, does the entreprise occupy in today's theatrical space?

Bitter to say, but this is an outcast place. The fact is that for theatrical functionaries representing the interests of state theaters, the entreprise poses a real threat. This is not only about entrepreneurs taking spectators away from state theaters. They are worried about something else - sooner or later, representatives of the authorities will certainly have a question, “why does the state theater year after year stand with outstretched hand, demanding new and new subsidies, and the enterprise, in addition to existing at its own expense, pays taxes and very substantial fees to everyone to the participants of the creative process ”. So that this question does not arise, the myth has been launched that the entreprise is just a slipshod theatrical performance. In turn, for the audience, when they watch a high-quality performance, it does not matter whether it was staged by a state theater or an entertaining theater.

photo: La'Theatre

There is an opinion that an entreprise is a purely commercial event?

A theater, whether it be a state or an entreprise, is always a commercial enterprise, but how could it be otherwise, tickets are sold for money, and salaries are paid in money. And he is always actively fighting for his finances.
I personally do not have much experience in the state theater, but the one that I acquired shows only one thing: the state theater is an incredibly amorphous structure built on a slow-witted bureaucratic system. But the entreprise is very mobile, everything is solved here quickly, and this, in turn, gives a huge saving in material and funds.

Can an entreprise be called a small business in a theatrical environment?

You could say that. And how can you not remember the anecdote: “What needs to be done to start a small business? Open big and wait "... In our country, the entrepreneurial business is gradually disappearing, since all conditions have been created and continue to be created so that it would not exist. I would say this: war has been declared in our country for the enterprise.

What do you think is the reason for this?

There are several reasons. And they intertwine so bizarrely that it's hard to say which one is the main one. We live in a country where myths are created. Here is one of them: the state theater is our national conquest. Moreover, there is a substitution of concepts. The theater is called not a state theater, but a repertoire theater. And substituting one name for another is not entirely correct, since one cannot compare the form of ownership and the form of creativity. And the war against the entreprise is nothing more than the struggle of state theaters for their sometimes unjustified subsidies. Although the entreprise can already erect a monument because in the 90s it saved hundreds of Russian actors from starvation.
Many years ago, the great theater critic Lev Gitelman happened to be in St. Petersburg at an entreprise performance that I staged. That same evening, on the train, on the way to Moscow, he confessed to me: “I am glad that I got to your performance. I used to be sure that entreprise is terrible. But it turned out not. What if we open a special category for an entertaining performance as part of the Golden Mask Award? " I was surprised: “Why do we need to be put in a separate category? Are we going off stage? Or do we have other actors? Or are we disabled in the theater environment? " It must be admitted that in our time, entreprise as such is cut out of public life.

What difficulties does an entreprise theater face?

With huge ones. During rehearsals, we rent rehearsal areas, for example, recreation centers, which are more or less close to the conditions of the theater. Then we rent a theater stage from the state theater.
Unfortunately, none of the theaters give us time so that we can prepare for the performance in a normal rhythm. As a rule, we are only allowed on stage in the morning of the show. We have to hastily arrange the scenery and hastily make a run, as they say, on the viewer. It is surprising that in Moscow, a modern city of the 21st century, there is not a single free site on which an entreprise theater could exist. I'm not even talking about the fact that the state theater does not pay rent for the hall, it is provided by the state. And we are spreading 300 thousand rubles each. By the way, in July we played Chekhov's The Cherry Orchard at the Mayakovsky Theater. The next performance will take place on September 7 on the same stage. Imagine what a temporary gap separates the two performances.

It turns out that every time you put on an entertaining performance, you perform a certain feat?

What does feat mean? I just don't see any other way of self-realization for myself. By the way, there is another myth that an allegedly entertaining performance is played without decorations, two chairs are brought out onto the stage, around which the action is played out. But there are also state theaters, where instead of decorations there are two chairs on the stage. And it’s not bad if it serves to solve the performance. On the other hand, there are performances in LA'Theatre that use large and heavy sets, and when we inform the management of the theaters that have allocated a stage to us about this, even the professionals cannot hide their surprise: "Does the entreprise have decorations?"
Yes, we have everything. Artists, set directors, make-up artists, and costume designers (people come to us to earn money from state theaters), and the head of the production department. Our state is less than that of the state, about ten times, and the scenery we do not fall, the costumes do not burst at the seams, the light and sound do not fail. And we fit into the budget, we have enough. All are dressed, shod, and at the same time the entrepreneur does not take money from the state. Maybe state theaters need to be a little more modest. After all, there is a crisis in the country. As the great one said: "Not a single entrepreneur will allow himself to keep at least one superfluous person on the staff.".
Again, when an entreprise theater advertises around the city, about where and when the performance will be played, it costs it several times more than the state theater. I would love to have a look at what law this inequality is fixed in. I must admit that conditions have been artificially created in our country in which it is extremely difficult for an entreprise theater to exist. But even so, we are able to compete with state theaters, collect full auditoriums and save budgets. Personally, in the place of the state, I would offer entrepreneurs to head state theaters (laughs). Why? Because we manage to live without state subsidies and at the same time not die of hunger. And they, sitting on everything ready, constantly go, speaking exaggeratedly, to the president and complain that they have little money.

photo: La'Theatre

In all your productions, be it Chekhov's The Cherry Orchard or the contemporary play Rumors, a star-studded cast of actors plays. What, in your opinion, attracts their entreprise?

First of all, a respectful attitude. In a state theater, the director rarely personally notifies the actors that they have been assigned a role. As a rule, artists find out about this by seeing their names on the information board. At the same time, no one is interested in what relations the actors are with each other, sympathize with or hate fiercely. Sometimes the artist has to play in love scenes with a partner with whom he does not even want to shake the hand. Some find the courage to refuse to play in "hard-hitting" duets, others agree. And no one thinks that the audience cannot be deceived, because they feel in their gut what kind of atmosphere - love or hate - reigns on the stage.
Entreprise is a freer, freer form of creativity. It was created so that people would gather by mutual desire, by love of creativity, by love for each other. An actor can come to an entrepreneur and admit that he dreams of playing a certain role. For example, I really wanted to play the role of Genaro in Eduardo de Filippo's play “The Man and the Gentleman”, and I put this performance “on him”. Or somehow she came to me and shared her dream: “ I'm dying, as I want to play the role of Cauchy in Friedberg's comedy "Fool, this is love!" And she played, and great.
Out of respect for my colleagues, I must point out another ridiculous myth - "all the artists employed in the entreprise are either drunkards or make money". Funny, and nothing more. The same Vladimir Steklov, who dreamed of playing the role of Gaev in The Cherry Orchard, to my words: "Volodya, I won't be able to pay you much", - without hesitating for a second, answered: “I'm not interested in money, but in a role. Pay as much as you can ".

What are the names of the artists you have worked with.

In the performances "The Cherry Orchard", "Free Love", "Rumors" at different times played, Olga Volkova, Vladimir Steklov,,,,,,, and many other talented actors. Now the role of Firs in "The Cherry Orchard" plays, Charlotte - Olga Volkova, Gaeva - Vladimir Steklov.

Of course not. Only in our LA'Theatre for several years was the "Theater of the City of Foolov", staged after "The History of a City" by Saltykov-Shchedrin, and "I Don't Remember Nothing" based on the play by Miller. Now on the stage of the Mayakovsky Theater we are showing Chekhov's "The Cherry Orchard". It is another matter that the entreprise, in comparison with state theaters, is set in deliberately losing conditions (expensive rent of halls, overstated advertising rates, etc.). For fear of being in a financial disadvantage, many entrepreneurs hesitate to stage classical works, since most viewers prefer entertaining performances.

photo: La'Theatre

How could it happen that the "most reading" nation in the world, brought up on the best works of the classics, began to give preference to "entertaining performances"?

Indeed, for a long time in the Soviet Union they shouted that we are the most reading nation. And how could it be otherwise, if there were only three channels on television, there were no VCRs or video games. But as soon as technical progress gained momentum in our country, it turned out that our people were not interested in books. And our compatriots read exclusively to Marinina. In a bookstore I once asked: "Do you have any books?" - "No" - "And Sukhova-Kobylina?" - "No. Nobody is interested in them "... Film education is no better. Young actors do not know who he is, have not watched the film, do not know either himself or his work. I think it's high time to say out loud: “Guys, trouble. We have a serious national problem. We do not know our culture ".

Working in a repertoire theater allows young actors to adopt creative traditions and, thus, preserves the heritage of this theater school. Will the dominance of the entreprise in the theatrical space not affect the rupture of the living connection between generations of actors and, as a consequence, the disappearance of theatrical schools?

Drink honey with your lips. What kind of continuity can we talk about when theatrical troupes of state theaters are growing at an unrealistic rate. Most theaters have up to 200 people. People do not even have time to really get to know each other, let alone eat a pood of salt together. Continuity is born in small teams. Several young artists play with Stanislav Lyubshin in The Cherry Orchard. They look at him like a god, learn from him, every rehearsal, every performance becomes an event for them. This is what the continuity of generations is.
In addition, it is very important what kind of atmosphere prevails in the theater. Only with a benevolent attitude, in which love and respect flourish, creative continuity develops. How can 200 people competing for roles in performances love each other? A theater with such a troupe is more like a factory, a factory, or, as they used to say, a “terrarium of like-minded people”.

photo: La'Theatre

Why are performances of LA'Theatre staged on theatrical stages, and not on such popular venues for entreprise as the Central House of Artists, the House of Cinema Actors, etc.?

The theater begins with a coat rack. These are not empty words. Both the audience and the actors are interested in the general atmosphere in which the sacrament of creativity is performed. Houses of culture, of course, could become excellent venues for art performances, you just need to take them out of the hands of the leaders of the railways, the automobile industry, and so on, who have little knowledge of art. The spirit of bureaucracy must be removed from these premises, facelessness must be exterminated and Melpomene must be settled in them.

What do you think the Ministry of Culture should do to accelerate the process of spiritual revival of our people?

I can give an example of how the issues of cultural education in America are being resolved. There is no ministry of culture, but there is a loving educational attitude towards culture. Several years ago, I was walking through a Chicago city park and heard the sounds of "live" classical music. I could not believe my eyes: on the lawn, the symphony orchestra under the direction of the maestro Krzysztof Penderecki himself played Brahms. About a thousand people gathered around the musicians. I approached and asked: "How much does the ticket cost?" - "Is free. The concert is organized by the city municipality "... Here is your answer.

photo: La'Theatre

It is known that the perception of art requires significant spiritual work, and the result is spiritual enrichment. In connection with this, the question arises, why after watching some performances you feel a surge of strength, and after others you go out empty?

I will reveal the secret of Opening. When a director wants to draw attention to his performance, he resorts to a proven technique - to shock the viewer at any cost. The same thing happens as during an accident on the highway: if there is a disaster on the road, and the whole traffic slows down, every driver is interested to see what exactly happened. So in the theater, as soon as the director pulls the intercourse onto the stage, and the public's attention is guaranteed. This is a very easy way and, unfortunately, many directors use it today. As a result, the audience leaves after the performance completely "de-energized", devoid of energy. The circus used to have terminology: "white" and "red" clowns. One gives the audience energy, the other takes it, now, I must admit, this also applies to the theater.
Unfortunately, in our country, with the external sensation of a theatrical boom, a colossal theatrical crisis is taking place. In my opinion, one should not take Chekhov's productions for a breath of fresh air, when panties are removed from Nina Zarechnaya in The Cherry Orchard, and the play Ivanov begins with the final author's scene. If such a theater is the prerogative of the state, I vote only for an entreprise where Chekhov is played with a reverent attitude to the author's idea. Do not forget that Anton Pavlovich was undoubtedly a smart, intelligent person who left many things out of brackets. In the way the director interprets Chekhov's "omissions", his talent, professionalism and intelligence are manifested.

What would you like to wish a theater audience?

Love art! Go to the theater.

photo: La'Theatre

Play "The Cherry Orchard" performed by the actors of La "Theater will take place September 7th the stage of the Mayakovsky Theater.

ANTREPRISE ANTREPRISE (French entreprise, from entreprendre - entrepreneur), an entertainment company created and headed by a private entrepreneur - entrepreneur (manager, impresario, producer). Entreprise existed from the moment of the emergence of professional troupes (theater, circus, etc.). Many European theatrical collectives were entreprise, headed by both entrepreneurs and famous actors - Molière, D. Garrick, E. Rossi, E. Duse, etc. In Russia, among the famous enterprises - N.N. Solovtsova, N.N. Sinelnikova, S.P. Diaghilev, F.A. Korsha.

Modern encyclopedia. 2000 .

Synonyms:

See what "ANTREPRISE" is in other dictionaries:

Enterprise and activities of an entrepreneur. Dictionary of foreign words included in the Russian language. Chudinov AN, 1910. ANTREPRISE enterprise of an entrepreneur. A complete dictionary of foreign words that have come into use in the Russian language. Popov M., 1907 ... Dictionary of foreign words of the Russian language

entreprise- s w. entreprise f. 1. Enterprise, action (military or political). Sl. 18. Have troops from Finland and allow the Swedes to make a landing .. This entreprise of the Swedish side very much to their avantage can be produced. AK 1 344. However ... ... Historical Dictionary of Russian Gallicisms

A. Risky business, enterprise. B. Private concert hall, theater, circus, etc. Dictionary of business terms. Academic.ru. 2001 ... Business glossary

ANTREPRISE, entreprise, women (French entreprise) (theater). Operation of a private theatrical entertainment enterprise. Keep the entreprise. Ushakov's explanatory dictionary. D.N. Ushakov. 1935 1940 ... Ushakov's Explanatory Dictionary

Ex., Number of synonyms: 1 enterprise (52) ASIS synonym dictionary. V.N. Trishin. 2013 ... Synonym dictionary

Entreprise- (French entreprise, from entreprendre entrepreneur), an entertainment company created and headed by a private entrepreneur entrepreneur (manager, impresario, producer). Entreprise has existed since its inception ... ... Illustrated Encyclopedic Dictionary

G. A private entertainment enterprise (theater, circus, etc.), a small (of 3-5 actors) troupe, usually created for some time and performing with a minimum of scenery. Efremova's Explanatory Dictionary. T.F. Efremova. 2000 ... Modern explanatory dictionary of the Russian language by Efremova

Entreprise, entreprise, entreprise, entreprise, entreprise, entreprise, entreprise, entreprise, entreprise, entreprise, entreprise, entreprise, entreprise (Source: "Full accentuated paradigm according to A. A. Zaliznyak") ... Forms of words

- (fr. entreprise enterprise) a form of organization of theatrical business, in which a private entrepreneur (entrepreneur) gathers actors to participate in a performance (in contrast to the form of a repertoire theater with a permanent troupe). An example of a modern ... ... Wikipedia

entreprise- entrepreneur iza, s ... Russian spelling dictionary

Books

"Restless!" , Rudolf Furmanov. The heroes of the novel are the great theatrical personalities of Russia in the second half of the 20th century. The book uses photographs, as well as materials from the author's family archive and the archive of the St. Petersburg Theater ...
Paris. An invitation to travel, Smirnova Natalia Vyacheslavovna. Paris is often called the best city in Europe, the pearl in the crown of France. All tourists in the world strive to this city. Some people come to Paris for its many attractions, ...

entreprise - enterprise ) - a form of organization of theatrical business, in which the organizer (entrepreneur) invites actors from various theaters to participate in the performance (as opposed to the form of a repertory theater with a permanent troupe).

An example of a modern theater company operating on an entrepreneurial basis is Art-Partner XXI and Teatralnoe obshestvo 814. In the modern theatrical world, many European and world theatrical collectives are switching to a system of entreprise self-organization, which is not necessarily a sign of the commercial dominance of their activities. The growth of independent entrepreneurial collectives in the world was facilitated by the reform in the financing of cultural institutions and the possibility of obtaining grants and subsidies from the state both for individual directors, producers, actors or performers, and for organizations involved in the creation and distribution of entrepreneurial performances.