The organizers of the evening abandoned the concept of “protocol officialdom” and offered the guests an interesting informal program. It was no coincidence that it was called “Gala Improvisation” - already in the foyer the audience was met by artists and theater staff, gathered in small groups and conducted tours of the restored Theater building.
In all the halls of the theater - on four stages - something was happening: in the cafe you could enjoy a jazz program performed by Ekaterina Direktorenko and Daniella Selitska, in the White Hall you could hear songs performed by Yuri Chernov and Vladimir Kochan, in the foyer - playing the Victor Friedman's piano, and on the stairs in the atrium - see the performance of ballerinas of the Russian Ballet Theater.
This polyphonic program was unexpectedly interrupted by the sound of a bugle, and Joseph Raikhelgauz appeared in front of the guests in a pioneer costume, greeting the guests in several languages. Then the artistic director of the theater invited the guests to the table. The banquet part began at 20.00 simultaneously in the Hermitage and Winter Garden halls. That evening the atmosphere of the legendary Winter Hermitage restaurant was recreated there, the tables were set and, of course, the main dish on them was the Olivier salad. The hosts of the evening were Tatyana Tsirenina, Alexander Galibin, Tatyana Vedeneeva and Vadim Kolganov.
Almost half of Moscow gathered to congratulate the theater on its return to the historical building. Among the guests of the evening were politicians, public figures, businessmen and, of course, numerous cultural masters. The following people came to the theater for the housewarming party: Chairman of the Accounts Chamber of the Russian Federation Alexey Kudrin, Head of the Moscow Department of Culture Alexander Kibovsky, CEO Bolshoi Theater Vladimir Urin, artistic director and director of the Moscow Art Theater. Chekhov Sergei Zhenovach, artistic director of the Vakhtangov Theater Rimas Tuminas together with theater director Kirill Krok, artistic director of the Theater on Malaya Bronnaya Sergei Golomazov, artistic director of Helikon-Opera Dmitry Bertman, artistic director of the Hermitage Theater Mikhail Levitin, head of Rusnano Anatoly Chubais and a lot others.
Congratulations were delivered in the Winter Garden hall by: Russian poet and publicist, teacher, public figure– Evgeniy Bunimovich, Chief Editor magazine "Teatral" Valery Yakov, former vice-mayor of Moscow Leonid Pechatnikov, as well as Ada Kolganova - director of the Russian State Library of Arts, whose active readers are the employees of the "School modern play"(producer Dmitry Bogachev and actor Vladimir Steklov). And Leonid Pechatnikov even read out a short poem dedicated to the theater of Joseph Raikhelgauz, which he wrote himself.
Dmitry Khoronko, Nina Shatskaya, Sergei Zhilin, Grigory Oster, Lyudmila Petrushevskaya, Elena Kamburova and Sergei Nikitin, who sang a duet with himself, performed before the guests of the evening artistic director theater
During a short break, the guests heard the performance of Maxim Dunaevsky, who was unexpectedly joined by the musical star Valeria Lanskaya. And it was a complete improvisation and complete surprise both for the audience and for the performers themselves.
Evening program at Winter Garden"continued the theatrical skits, which were prepared by artists of Helikon-Opera, Theatrium on Serpukhovka, GITIS, Puppet Theater named after. S.V. Obraztsov, the Alexey Rybnikov Theater and the “School of Modern Play” itself. Mikhail Fedorov, Chairman of the Russian Presidential Council for the Development of Civil Society and Human Rights, also sang for the guests of the evening.
And in the Hermitage hall, Leonid Yakubovich held an auction at which the shoes of actress Lyubov Polishchuk from the play “A Man Came to a Woman” and Albert Filozov’s fez from the production “Whose Are You in a Tailcoat?” were sold. " Golden mask"without engraving was presented to Anatoly Chubais.
The evening ended with a performance by the large Glass Orchestra of the School of Modern Play and the final choir of theater artists, in which Joseph Raikhelgauz was the soloist. To the tune of the song “By the Black Sea,” the theater’s anthem, “On Trubnaya Square,” was sung. It was already around midnight when the guests began to leave the House on Trubnaya, taking with them a mass positive emotions and bright memories.
The InvestStroyProekt group of companies offers theater design and construction work performed on the basis of the latest developments, using modern equipment and engineering technologies. We are ready to cooperate with private and budget customers, cultural and entertainment organizations, from small theaters to spacious concert halls.
Theater design using BIM technology
Thanks to BIM (Building Information Modeling) information modeling technology, we include the collection of all consistent data about the project into the model under construction. The object is clearly visualized, allowing one to imagine the future performance of the building.
We design the theater using three-dimensional 3D models. Additionally, we use a 4D management system, which includes video monitoring of work and network diagrams, as well as adjustment of the necessary data. In the 5D model we accurately calculate the technical and economic indicators of the theater project:
- consumption of building materials,
- detailed estimate.
In general, I like the series of books “architects for dummies”; I learn a lot of interesting things there).
I read about a certain Claude-Nicolas Ledoux, that he was forgotten for two hundred years, and I was slightly surprised. I know about artists who have been forgotten for five hundred years, but this is the first time I’ve seen about architects.
I had to ask.
Well, on the one hand, not two hundred, but one hundred and thirty, on the other hand, everything is quite vague there in general.
“I remembered” about Claude-Nicolas a certain Emil Kaufman, about whom both the wiki and the book about Ledoux say that he published the work “From Ledoux to Corbusier” in 1933 in America, having emigrated there after Adolf G came to power .
Initially, only part of the project was implemented. All the wikis present the history of the industrial use of the structures in a somewhat unclear way, the book says that “in 1779 Monclar began operation”, then the saltworks was transferred to someone else, it brought in little income, after the revolution it was rented out to private owners, “in 1843 the Chevalier de Grimaldi bought it with funds from the treasury of the Queen of Spain" (wiki reports that with the purchase of Grimaldi, not everything is so simple, someone rejected something, although maybe it was the purchase and merger of three saltworks), it was not possible to modernize, sea salt And railways made production unprofitable, and it was closed in 1895. In 1918 there was a fire, in 1926 the owner blew up the portico of the main building and in the same year the building was recognized as historical value. Very timely, yes).
That's it, finished the exercise)))
I don’t include any pictures here; there are plenty of them on the Internet for anyone interested.
And I just liked the one about the pyramids the most))
Theater begins with a hanger. Everyone has heard this expression, but it is not entirely correct, because a theater, like any other building, begins with the preparation of a project. Proper design of theaters is a guarantee that their operation will bring pleasure to actors, screenwriters, costume designers, designers and, of course, spectators.
Theater design: the need to study each room
The theater consists of two groups of premises - demonstration and spectator. The purpose of the auditorium is to receive and serve theater guests, and a concert or theatrical performance is held on the territory of the demonstration complex.
The demonstration part occupies 60–70% of the building area. In addition to the stage, it is necessary to design premises for theater management and staff, rehearsal rooms, a lobby, a buffet, bathrooms, costume rooms, technical rooms for lighting, sound, and security. Spectator area - hall, ticket office, cloakroom, buffet, foyer, smoking areas, toilets.
Design of a theater stage and auditorium
In our work, we use building information modeling, which allows us to develop a stage design that will suit your theater. Stages can be open or deep portal, circular or arena-shaped. The advantage of a portal stage is the ability to quickly and easily change scenery using lifting devices during a theatrical performance. The size of the stage depends on the dimensions of the playing area. Most often, its width is 8–14 m, and its depth is 5–10 m.
The auditorium can be tiered or amphitheater. Last option suitable for small-capacity theaters - up to 600 seats. Requirements for auditoriums:
- equipping the premises with an artificial lighting system and ventilation equipment;
- the presence of special rooms for controlling actions on stage (located on the back wall behind the audience seats);
- square auditorium calculated based on the norm of 0.7–0.8 sq. m per viewer.