Photo: RIA Novosti
In 1993, the Union of Theater Workers came up with its own annual bonus city scale, immodestly calling it the “Golden Mask”. The head of the STD was then Mikhail Ulyanov, who insisted: the main criterion should be professionalism, commitment to the school, and training. One way or another, there was no talk about the festival at all, and the first prizes were awarded only in 1995: 7 masks, for which only Moscow figures applied. And the history of the festival itself begins with the appearance of Eduard Boyakov at the helm in 1996, who assembled a production dream team and turned the STD backstage event into a federal-scale festival, and the Golden Mask into the most prestigious award of the Russian theater. Actually, the history of the festival is chronologically divided exactly in half: before Boyakov and after. Today's festival, whose director has been Maria Revyakina for 9 years, essentially continues the implementation of the algorithms laid down by Boyakov. He himself, since leaving the Golden Mask, has refused any comments on this topic.
Director of Public Relations from 1998 to 2005
“Oh, it was a happy time! The first years of the festival were a very special team spirit, everyone did the same thing, they really rooted for it with their souls, without sparing themselves. There were about 10 of us, probably. Edward, of course, set the tone for all this. The structure of the current festival was laid out just when the Moscow award was reborn into a national one.
I joined the team in the year of default, when funding was minimal and sponsorship was almost impossible. I remember how, on the way to work, I went to the “Flowers” kiosk near the metro - we needed flowers for the ceremony - and asked for the management’s phone number. It turned out to be some kind of wholesale flower store, I told them about the award, and so we got free flowers at the presentation. A lot was done according to this principle, my friends printed a booklet, everything was enthusiastic. And when I first saw the play “Cynics” from Minusinsk in Moscow, I realized that we were doing a very big and important thing.
When Edward left, most of the team followed. Why did he leave? He outgrew it. He wanted some other projects, he realized that he no longer had enough time to manage the festival. And Maria Evseevna Revyakina fully corresponded to Boyakov’s ideas about who could head the growing festival instead of him.”
What does the festival consist of?
Konstantin Arkadyevich Raikin Photo: screenshot from the video “How to watch a performance?” From season to season, the festival poster acquires new programs and subprograms, and by this year it is almost impossible not to get confused in all this diversity. For the last three years, the structure has been as follows: all performances (there are more than sixty of them) are divided into competitive and non-competitive programs. Everything is simple with the competition - these are performances of all varieties from all over the country, nominated for an award in one category or another: “Drama” and “Puppets”, “Ballet” and “Opera”, “Dance” and “Musical”, new names and masters , capital theaters on a par with provincial ones.
The non-competition program, in turn, consists of the following major programs: “Mask Plus” (all the most interesting things that were not included in the competition), “New Play” (formerly “New Drama”, within which today the achievements of political, social and documentary theater are shown from all over the world), several foreign performances (from this year under the title “Context”) and “Premieres of the Mariinsky Theater in Moscow”. This year there is also a thematic selection of competitive children's performances under common name"Children's Weekend". The chronological framework gradually included three months - from the beginning of February to the end of April. It all ends with the presentation of awards; people get to this evening by invitation.
head of the press service
“Recently, the festival has only been expanding. The principle was invented by Boyakov, and it has not changed: there is a core - the showing of performances nominated for the Golden Mask - on which a variety of additional programs and projects. There are approximately 30 people in the team. It is clear that during the festival this figure increases significantly. The number of people grew parallel to the growth of the festival - at first there was only a festival and an award, and already in 2001 we announced several new major Golden Mask programs at once. This system allows you to experiment. At different times, projects were carried out that no longer exist: the exchange of Russian theaters "PRO-Theater", a club music program Goldenmask Club literally completed the program this year “ Legendary performances and names." Something new this year was the “Context” program. Current foreign performances"; in the past - the “Institute of Theatre”, from which, of course, we gradually want to turn it into a real educational institution, large and serious.”
Who is participating
Every year the festival brings about 5 thousand participants to Moscow. St. Petersburg, Novosibirsk, Perm, Krasnoyarsk, Yekaterinburg - in addition to the usual participating cities of the Mask, special attention is usually attracted by rare guests from Lysva, Minusinsk, Prokopyevsk or Magnitogorsk. Imported theaters are presented in " New play" and in "Context". This year, a total of 61 performances are participating in the program. Absolutely any theater group in the country can participate in the competition by submitting an application properly and on time. All applications are reviewed by experts in most cases live, in exceptional cases - on video. But even the most good performance cannot be nominated against the will of the theater's artistic management. A textbook example: not a single Praktika performance has ever participated in the Golden Mask competition, only due to the lack of applications from the theater.
What are the nominations and why do they change?
Photo: Andrey Tulnov
There are more and more nominations from year to year. The latest categories are “Work of Lighting and Costume Designers” (since 2008) and “Supporting Roles” (since 2013). According to the Golden Mask, dramatic performances are of two types: large and small, while musical performances are divided into opera and ballet, without any connection with the size of the auditorium. And if the number of viewers really dictates special rules, then the difference between the Best Performance and Best Director awards is actually subtle. There is no nomination for “Theater for Children”; that is, this year, for example, “The Snow Queen” of the Krasnoyarsk Youth Theater was nominated in the “Drama/Large Form” nomination along with “ An ideal husband» Bogomolov. Given that there is a separate nomination for the work of a composer, it is surprising that the profession of a playwright is not included in the competition list. Conductor in opera, operetta and ballet are three different nominations. Comic associations are invariably evoked by the formulation “Dolls / Actor’s Work” - implying, of course, not the doll itself, but the person controlling it. Curious transformations are taking place with the most controversial competition, which was formerly called “Novation”, and later - “Experiment”. Before the name change, St. Petersburg artists AXE competed for the prize in this category with Moscow artist Dmitry Krymov, after which performances for the disabled and alcoholics competed with performances by Volkostrelov.
Who determines the winners and by what criteria?
Photo: Andrey Tulnov
Experts select applications and determine the list of nominees; the jury decides the fate of the awards. Experts - exclusively critics - are divided into two groups: musical theater and dramatic theater ("Dolls" and "Experiment", as it happens, belong to drama). Their task is a difficult compromise between presenting an objective cross-section of the theatrical season, and collecting exactly the best. The directorate of the festival does not limit experts in anything, either aesthetically or quantitatively. Therefore, the selection criteria are quite universal: a convincing picture, a worthy professional level, general representativeness. The expert council is updated annually in order to maintain the sobriety of the collective view. The jury, in turn, consists mainly of practitioners of all types of theater, whose works are not included in the competition this year. During the festival, they organize discussions several times, where, for example, ballet dancers listen to the opinions of opera dancers, and academicians listen to the opinions of modern dance choreographers and vice versa. Thus, the jury’s evaluation criteria lie, as Mikhail Ulyanov bequeathed at the very beginning, on a professional level; skill is assessed first of all. In the final, a secret vote takes place, and until the winners are announced, the result is known only to the chairmen of the jury and the person sealing the ceremonial envelope. Lists of experts and jury members are published on the award website.
Chairman of the Expert Council of the Drama and Puppet Theater 2014
“I worked as an expert for the Golden Mask in different years, sometimes you had to choose between shades of gray, sometimes your colleagues said: “Unfortunate fate brought us together.” And the past year, when I was head of the expert council, was exceptional. No matter what theater you come to, there is always a rise in the air. We spent a year in a state close to euphoria. There was a feeling of involvement in the blossoming of the theater. Moreover, the theater also flourished psychological realism, which has long been morally outdated - performances have appeared that justify both the method and the fact that most theaters adhere to it. A new direction has appeared in the theatrical search; a trend called social theater has emerged. In a word, everything alive in the theater experienced a real takeoff.
What is this connected with? Perhaps because theater is a social phenomenon, a performance is an incident between the stage and auditorium. Today it is clearer than five or ten years ago that theater is the art of communication. Two years ago the country was experiencing a social upsurge. Hopes arose for the emergence of a civil society in our country. Bolotnaya, Sakharov, self-organization of people to save victims in Krymsk - the theater experienced a rise simultaneously with the rise of civil society. At that moment it was recognized as a public forum. A place where meaning is created and trust is born. We came to watch the premieres - and found ourselves at the epicenter public life. It was a strong feeling: the theater, which until recently seemed like a decaying outskirts modern culture, suddenly became the main one of the arts.
Disputes in the expert council began only in the finale, when we had to refuse certain performances in order to competitive program did not swell and was feasible for the jury. Nevertheless, many worthy performances made it to Moscow - we recommended them to the Mask Plus program. Now critics watch these performances - “Vassa Zheleznova” from Minusinsk, “Anna Karenina” from Khabarovsk, “Quiet Don” by Grigory Kozlov from St. Petersburg - and wonder why they are not in the competition. But on the whole we were unanimous. In addition, our group was made up of exceptionally pleasant and competent people. We spent a year traveling around the country and discussing amazing plays. In general, we could only be envied.”
Who is funding and why is it important?
The festival budget consists approximately equally of government and sponsorship money - this is the result of agreements won over time. The visit of Russian theaters, for example, is covered by the Ministry of Culture, while the generous participation, relatively speaking, of Sberbank allows a number of foreign masterpieces to be brought to Russia and a booklet to be printed, and for the Moscow government to hold an award ceremony and notify the city population. The Directorate uses common barter schemes with all kinds of partners from the field of logistics, hotel services, etc.; and, of course, the most gratifying thing is the constant support of selfless patrons. None of these sources of funding can guarantee its own permanence, while refusal to participate in any of them threatens the festival with cessation of existence.
What is the reward
Photo: courtesy of Golden Mask
The laureates do not receive any cash prizes, only a mask; This is the original attitude, based not on economy, but on ethical considerations. The design was invented by the famous set designer, co-author of the best works of Mark Zakharov, Oleg Sheintsis. The awarded item has not undergone any rebranding in the history of the award: it is a souvenir item on a mirror surface in a frame. The sculpture represents a face in a masquerade mask (not everyone notices the double-headed eagle here), judging by the shape of the lips, female and, perhaps, Japanese. The management chose to keep the composition of the porcelain-looking mask a secret, hinting only at the serious cost of its production.
Who receives “Masks” most often?
Photo: RIA Novosti
The myth that the festival honors the achievements of the two capitals, paying attention to uncompetitive regions (the second myth) only out of burdensome necessity, collapses at once about the statistics. For 20 years, “Golden Masks” have decorated the walls of theaters in almost 30 cities across the country. Moscow and St. Petersburg, like Russia and Norway at the Winter Olympics, naturally and invariably share the bulk of the awards, periodically rightfully losing to the masterpieces from Yekaterinburg or Novosibirsk. There are also sudden revelations, like the Omsk Drama Theater’s play “Woman in the Sands,” which won three categories in 1997. There are fewer unexpected things in the music theater - the Mariinsky Theater is consistently in the lead, followed by the Moscow Theater. Stanislavsky and Nemirovich-Danchenko with the Bolshoi Theater. The regions have their own undisputed champions - Yekaterinburg, Novosibirsk and the growing Perm. And the figures of the musical theater, in general, compete from year to year with the same ones - Chernyakov (7 masks) with Titel (3), Currentzis (3) with Gergiev (4). In contemporary dance, Kostroma residents from Dialogue Dance, “Provincial Dances” from Yekaterinburg and the Chelyabinsk “Theater of Contemporary Dance” are running the show, while St. Petersburg’s “Cannon Dance” and the capital’s “Ballet Moscow” are in the role of catching up. Obvious favorites in drama theater practically none. Nominally most often the awards for best performance and best director went to the Pyotr Fomenko Workshop and MDT; Pyotr Fomenko and Lev Dodin, respectively. Not a single actress has received more than one mask yet; among actors there is more consistency in this sense - the works of Evgeny Mironov and Konstantin Raikin were recognized as the best three times. In ballet, only one person can boast of such an achievement - prima ballerina Diana Vishneva. Over the four years of existence of the “Lighting Designer” nomination, Damir Ismagilov, in constant competition with Gleb Filshtinsky, was the winner four times; despite the fact that this year for the first time none of them is participating in the competition - new names have finally appeared in decent numbers. The puppet theater has its own interesting statistics: if the Ulger theater from Ulan-Ude is nominated, then it will definitely take the award, even if it is presented next to new job St. Petersburg master Ruslan Kudashov or Moscow hooligan Arseny Epelbaum.
Besides the festival
The Moscow festival and award presentation are only half of the Golden Mask. The second half is the annual tour of the best Russian performances throughout the country and for several years in the Baltic countries. In Riga, Tallinn and Vilnius, in the eight years since their first visit, they have become accustomed to the festival as if it were their own. From time to time, “The Golden Mask” appears in other European countries such as Poland and Israel, thus forming in the local perception an image of modern Russian theater that is close to reality. A direct path to exporting domestic theater to the world - specially designed for foreign experts Russian Case program. Fifty critics, curators, and art directors of festivals from all over the world come to Moscow for a month to watch the best of Russia. Thus, for example, Voronezh’s “14 Red Huts” may next year be included in the program of the Serbian Bitef festival or the Vienna festival.
Ceremony
It’s a rare moment when in one place you can meet the whole world of Russian theater - from Tsiskaridze and Tabakov to Ugarov and Volkostrelov. In addition to the only incident that went beyond the theatrical community - cut from the air speeches by Kirill Serebrennikov in 2013 - out of the ordinary events do not happen here. Often in an intriguing envelope there is a message from the jury that it was decided not to present awards in this category - as, for example, three puppeteer directors were left with nothing due to their small number. There are also oddities - in 2011, only one participant was presented in the category “Operetta Conductor”, Boris Nodelman from the Yekaterinburg Musical Comedy, and to everyone’s jubilation, the jury did not find a reason not to present the award.
We have already noticed that the main “Golden Masks” this year went to Kirill Serebrennikov, Alexey Malobrodsky, Sofya Apfelbaum and Yuri Itin. Those arrested in the Seventh Studio case were discussed on stage Bolshoi Theater almost everyone, starting with the general director of the award, Maria Revyakina, and ending with Lev Dodin, who received the final “Mask” for the best dramatic performance of a large form. And each time the audience met this with unanimous approval.
The plot of the ceremony with texts by Valery Pecheykin and music by Alexei Nadzharov, dancing robots and flying airships, which was inventively staged by Nina Chusova, was dedicated to the future in which all people are engaged in art and no prizes are anymore important. But in essence, the 24th presentation of the national theater award “Golden Mask” was built into a coherent plot - you can call it civil, political, or the plot of the unity of the theater community.
Drama
Alla Demidova, awarded for the best female role in the Gogol Center play “Akhmatova. A Poem Without a Hero”, where two directors appear - herself and Kirill Serebrennikov.
Mikhail Patlasov, receiving the award for the best small-scale performance - “Chuk and Gek” Alexandrinsky Theater, - proposed to honor all victims of political repression in silence. The play itself is dedicated to this topic, in which Arkady Gaidar’s fairy tale is combined with documentary evidence about the Gulag.
Photo gallery
The jury awarded a special prize to the Gogol Center team for their “bold search for the language of theatrical modernity” and wished those involved in the cause freedom. I would like to note that in the conditions of the atmosphere of unity and support that was felt in the auditorium, colleagues should not wish for freedom - they should continue to fight for it. One can only guess how the Kultura TV channel will deal with the civil statements of the laureates. To cut them out is to cut out half the ceremony.
But the choice of laureates in the two most high-profile dramatic categories sent the ceremony not into the future, but into the past. Of the 14 performances nominated in the “Large Form” category, the jury chose “Fear, Love, Despair” by Lev Dodin at the MDT. Out of more than 20 applicants for the title best director– Yuri Butusov (“Uncle Vanya” at the Lensoveta Theater). It seems that young directors and new theater were not considered at all. Neither the Gogol Center’s play “Kuzmin. Trout breaks the ice" directed by Vladislav Nastavshev. Neither “Rosencrantz and Guildenstern” by conceptualist Dmitry Volkostrelov. Even the nomination “Experiment” passed by the project “Away. Europe" by the German collective Rimini Protokoll - perhaps the main newsmakers of the world theater of the new century. Both jury compositions - drama and musical theater - named the Uppsala Circus performance "I am Basho" with the participation of special children and disadvantaged teenagers as the best "Experiment". This is a recognition of the importance of social theater, but still more of an emotional choice - and in innovative theatrical works I want to see the victory of thought.
On the other hand, the new theater makes its way not necessarily through directing. One of the main triumphs of the ceremony was the artist Ksenia Peretrukhina, who appeared on stage several times, including as best artist in the drama theater (“Breath” at the Theater of Nations).
Ballet and dance
In ballet nominations, the jury, as always, was torn between famous performances that were first transferred to Russian scene, and new author's choreography. The result of disputes is a compromise.
The best performance was named “Suite in White”, staged at the Moscow musical theater them. Stanislavsky and Nemirovich-Danchenko (MAMT), and composed to the music of Edouard Lalo by Sergei Lifar in 1943 for the Paris Opera. This fantastically beautiful snow-white ballet, anthem classical dance, was a manifesto pure art– let fascists walk the streets, we are above this and do not deal with such disgusting things as politics. After the liberation of France, Lifar received the full amount for this position - but this ballet of unimaginable beauty, slightly overdoing it with pathos, remained in history (well, when you defend an unjust idea, the style involuntarily grows). “Suite in White” appeared in MAMT’s repertoire after Paris Opera star Laurent Hilaire took over as artistic director of the ballet – and the meticulous Frenchman achieved exemplary quality in the reproduction of this text.
The work of the chief choreographer of the Perm Opera, Alexei Miroshnichenko, was recognized as the best work of the choreographer. “Cinderella” by Prokofiev (Teodor Currentzis was also awarded for it as best conductor in ballet) – an example of not unlearning ancient ballet, and original compositions: Miroshnichenko turned the fairy tale into the story of a young ballerina of the Bolshoi Theater, who met her French prince in Moscow in 1957. Miroshnichenko clearly reproduced Prokofiev's lyrics and Prokofiev's sarcasm (in the scene of the foreign tour, when the Bolshoi troupe rushes out for shopping, the audience always groans with laughter) - and turned out to be the winner in a clear confrontation with Vyacheslav Samodurov, who directs the Yekaterinburg ballet. Well, it seems cheerful and inventive" Snow Queen“The jury left without awards only because the Yekaterinburg ballet has already received awards for several years in a row and will obviously receive them in a year - the premiere of “Paquita” this season became a sensation.
Last performance
The award for the best work of a playwright was presented to Dmitry Danilov for the play “The Man from Podolsk”, which was staged at Theater.doc. This performance was the last directorial work of Mikhail Ugarov, who died on April 2 of this year. Auditorium paid tribute to the memory of the playwright, director and artistic director Theatre.doc received a standing ovation - just like the memory of the artistic director of the Moscow Art Theater, Oleg Tabakov, who passed away shortly before him.
The award for best actress was given to Bolshoi ballerina Anastasia Stashkevich (for her excellent role as New Girl in Jerome Robbins’s bloodthirsty ballet “The Cage” - the dancer, having become an insect, almost rumblingly eliminated individuals of the opposite sex).
For the best male role Nurbek Batulla was awarded - the Kazan artist was the main and only dancer in the play “Call of the Beginning,” a choreographic hymn to ancient Tatar writing.
From a variety of contemporary dance performances, the jury chose Tatyana Baganova’s “Imago Trap” (Ekaterinburg “Provincial Dances”). Apparently, the story about the dragonfly and the ant seemed the most understandable to the venerable jury - not like some plotless avant-garde experiments.
Opera and musical
The fact is that music jury will reward Benjamin Britten's opera Billy Budd with extraordinary depth and humanity, there was no doubt. The only question was how many nominations would this co-production of the Bolshoi Theater and the English Theater win? national opera. The jury showed a sense of proportion: “Billy Budd” was named best performance in opera, and the award was strengthened by the recognition of Paul Steinberg as best artist. Although the other participants in this performance also confidently competed for awards, the jury did not forget about other successes in the opera genre. The Ekaterinburg performance “The Passenger” was awarded in the person of conductor Oliver von Dokhnanyi and artist Nadezhda Babintseva, “Faust” from “ New Opera” - in the person of bass Evgeniy Stavinsky, and “Chaadsky” from Helikon Opera - of course, in the person of director Kirill Serebrennikov. This year's composition competition did not have an undisputed favorite. They chose the Perm Cantos of Alexey Syumak, duplicating the composer’s victory with a special prize for the entire team of the performance. The soul of this team was set designer Ksenia Peretrukhina, who also took the Golden Mask as the best designer in drama. Receiving both “Masks,” Peretrukhina spoke so heartfeltly about art and again about freedom that the ceremony found a true heroine. Russian theater made signs of high recognition to one of its young leaders.
This year, theater companies leading in the entertainment business did not compete in the Operetta/Musical category. The winner was the Taganka Theater's play "Sweeney Todd, the Maniacal Barber of Fleet Street." The performance itself was recognized as the best in the genre; the artist Pyotr Markin and director Alexey Frandetti received personal awards.
Photo gallery
24th presentation of the national theater award "Golden Mask"
The department called it inappropriate to continue to be among the organizers of Russia’s main theater award, emphasizing that the award should be “as independent as possible.”
Photo: Vladimir Vyatkin / RIA Novosti
The Ministry of Culture of Russia will no longer be listed as the organizer of the country's main theater award; the withdrawal from the list of organizers is stated in a letter signed by the deputy head of the department Pavel Stepanov, sent to the chairman of the Union of Theater Workers (STD) Alexander Kalyagin (available to RBC, copies of the letter were also sent to the president award and festival "Golden Mask" to Igor Kostolevsky and general director ANO “Festival “Golden Mask” by Maria Revyakina).
“Due to the fact that the department does not consider it advisable to continue to act as an organizer of the award<...>, we inform you about the resignation of the relevant powers,” the document says.
The press service of the Ministry of Culture explained to RBC that the inappropriateness of the department’s continued presence among the organizers of the Golden Mask (according to the regulations on the award, the co-organizers are the Ministry of Culture and the STD) is explained by the need for maximum independence of the country’s main theater award. At the same time, the department emphasized that until now its functions have been purely nominal.
“In connection with the formal role of the Russian Ministry of Culture as one of the organizers of the award, the department decided to withdraw from its organizers. We do not consider it advisable to continue to act in this capacity, since we actually do not influence the adoption of any decisions. The presence or absence of the Ministry of Culture as organizers does not affect the functioning of the award, including issues of its financing,” explained the department’s press service.
Igor Kostolevsky and Maria Revyakina confirmed to RBC that they had received a letter from the Ministry of Culture.
“We actually received this letter. We contacted Pavel Stepanov, he explained that government organization doesn't want to get involved public organization regarding expert advice. We were told that help, funding - all this remains,” Kostolevsky said.
“A letter arrived. After receiving the letter, we spoke with Deputy Minister Pavel Vladimirovich Stepanov, who said that, in accordance with the regulations, the predominant role belongs to the founder. And he believes that government agency There is no point in interfering in the formation of expert councils; this should be done by a public professional organization. We work as we worked,” Revyakina noted.
Alexander Kalyagin did not answer RBC's calls.
The withdrawal of the Ministry of Culture from the organizers of the “Golden Mask” occurred shortly after the head of the department of state support of art and folk art Ministry of Culture Andrey Malyshev. “I’m not ready to work with people who are engaged in thimbleing,” he told RBC.
Malyshev also explained that the Ministry of Culture has repeatedly initiated reforms in the theatrical environment, but none of them have been supported by the STD. This, according to him, is primarily about the need to rotate the “age management of theaters,” as well as the abandonment of the practice of combining the functions of artistic director and director, which is now widely practiced in Russian theaters.
Russian national theater award The Golden Mask was established in 1993 and is awarded to performances of all genres theatrical arts: drama, opera, ballet, modern dance, operetta and musical, puppet theater.
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