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2 SUMMARY2

On Stage010 THE LEGEND

What Is Bolshoi Theatre?<Dmitri Renansky>

National theatre studies abound in inspired writings about the outstanding fi gures and famous stagings at Bolshoi Theatre. THEATRE undertook to look into the nature of Bolshoi as a social/cultural entity and engaged an/author from the “outside” to/write about it. Well-known critic from St. Petersburg comes up with an uncommon and rather ruthless answer to our question.

022 PROTAGONISTLegend of theInvisible House<Ekaterina Biryukova>

Dimitri Chernyakov is not only the brightest but probably the only one of the Russian forty-year-old directors who managed to make a spectacular career internationally. His scandalous stagings in Russia and the way they fi t within the context of/musical theatre abroad provide another sad proof that the dividing line between “them” and “us” remains effective and Chernyakov today seems to be rather “there” than “here”.

046 PERSPECTIVEGrand Style Obsession<Vadim Gayevsky>

A ghost is haunting Russia. The/ghost of the grand style. The eminent theatre scholar and/historian of ballet has no doubts that at Bolshoi Theatre this ghost feels quite at home in the productions by Yuri Grigorovich. He also notes that even the advanced operatic directors seemingly striving to evade this ghost fi nally and quite against

their will fi nd themselves in the captivity thereof. Yet it is still nothing but a ghost.

052 RETROSPECTIVEThe History of Majestic Flops at the Opera(in 10 chapters)<Pyotr Pospelov>

A clamorous, spectacular and scandalous fl op is not uncommon in musical theatre. What is uncommon is an opera that fell through on the fi rst night and decades later became ranked as a masterpiece. THEATRE makes an inventory of such rare occurrences.

060 TIME ZONESEncyclopedia of Pseudo Russian Lifestyle<Olesya Bobrik,Irina Kotkina>

THEATRE briefl y looks into the history of the European public’s early experiences of the Russian operas, specifi cally in comparison to Wagner and Verdi, Gounod and Massenet, the extent to which these operas were representative of the Russian lifestyle and the general impression they produced upon audiences outside Russia in the XX century.

100 SCENE OF ACTIONWhere Do Twenty-Year-Olds Go To in Moscow: Seven chic venues, three cult shows and not just this.<Kamila Mamadnarbekova,Anton Hitrov,Anna Banasyukevich>

To get a brief respite from the/grandeur of the operatic art we decided to fi gure out what theatre means to the twenty-

year-olds, particularly to those who think theatre is basically trash. As a result THEATRE came up with a mini-directory of Moscow theatres: who is/arousing interest of the public that leaves home predominantly to enter “Facebook” or “Vkontakte”, where do they go and especially why do they choose a particular venue.

Off Stage124 CULTURAL HERO

Anatoli Iksanov:“If Scandal Breaks Out/a Raw Nerve Must Have Been Hit”<Ilya Kukharenko>

Like many Russian managing directors who, in contrast to their Western counterparts, very seldom have musical or intellectual backgrounds the director of this country’s number one musical theatre Anatoli Iksanov started precisely as/a/pure administrator. Yet it is precisely Iksanov who has been for many years shaping the company’s artistic policy. THEATRE undertook to fi nd out how one becomes a quartermaster in Russia.

140 TRENDThe Operative Agents<Mikhail Fichtengolz>

Professionals are unlikely to give an unambiguous answer to the centuries-old question of who is in charge in an opera theatre. Yet it seems clear that, as distinct from the golden age of the opera, a rich-voiced star has ceased to be the key fi gure on stage. THEATRE attempted to/fi gure out why it is so and how the present-day operatic singer has changed in general.

3 SUMMARY3

150 OUTLAYING DISTRICTSSmall Duplicatesof Bolshoi Theatre<Larisa Barykina>

Huge as it is, and with all its notorious chain of command and/monstrous centralization, Russia stands out for wide variety of aesthetic requirements in different regions. THEATRE undertook to fi nd out how provincial opera theatres become big-timers and why some end up as losers.

Beyond the Stage178 MOVIE THEATRE

How Opera Took Over Silver Screen<Leonid Alexandrovsky>

Much has been written about the motion pictures as the crowning achievement of Gesamtkunstwerk and the most adequate quintessence of what has been written. THEATRE tried to juxtapose the intensity of aesthetic experience of the fi rst audiences of Dolce Vita, Intolerance or Novecento with the effect produced upon the public by the premiere of Ring of/the Nibelung.

196 SOCIETYWalks in the Auditorium

Quite a few new Russian theatre-goers see the recently reconstructed building of Bolshoi Theatre as a posh club with socking great music and plenty of gilt, which gave THEATRE an incentive to recall what theatre manners were like in different countries and in the days gone by as well as to look at how these manners have changed since then.

208 EXCURSUSMusic Sealed in Stone<Sergei Hodnev>

Opera houses are by and large conceived by modern tourists as/focal urban attractions. But/was it always like this? THEATRE undertook to fi gure out what opera was like as an/architectural structure and as/a genre in the very fi rst days of its existence.

Yellow Pages234 Bolshoi Orchestra

Plays Last Farewell<Sergey Konayev>

Magazine THEATRE came into possession of previously unknown archive materials designated as “Funeral Files” containing notes made by members of the Bolshoi Orchestra on the score of Frédéric Chopin’s Funeral March (orchestration by Alexander Glazunov) in the period between 1934 and 1981. Theatre historian and archivist Sergei Konayev believes these “marginal notes” can add new details to the history of Bolshoi Theatre.

See also:Vladimir Sorokin, Children of/Rosenthal (libretto of Leonid Desyatnikov’s opera)

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9 ̀ 0$. ,*: Es gibt eine Sprache, die universell ist. Sylvère Lotringer in Gesprèch mit Bob Wilson. In: Aisthesis. Leipzig. 1990. S. 372–373. ?'.0 3*,#$='9 6.;C8", ,%"-'$#5-."&09 W0.'*&# 5*'7*-9$ 3 0-"9/, 52'3#)#&&2/ I"&%07*/ E*& K."+'$*/ 5 "6* G''" «N $"#$%" /#%0*&"$*3» (1810) ('/.: I"&-%07 E*& K."+'$. F)C%#&&*". L. 1977. S. 512–518). M. K#%".='30+ &# G$*$ '>"$ ,0:"$: «L#%0*-&"$3#, “/#$"%09” 5 G$*/ '/2'." '$*.= 8" '*5"%-:"&&"" >".*5"3#, '3*.= “&# -%;6*/ 3*&("” '*5"%-:"&&"" >".*5"3# @*6» (!#/ 8". S. 21).

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Театр. №6-7, апрель 2012

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