The results of the theatrical season summed up in “Cuba”

In the year of the 150th anniversary of the Union of Theatre Workers, the famous exhibition of domestic theater artists is hosted by the art space KUB. Fans of art, who know that there are several galleries on display in these walls, should not worry: there was enough space for everyone.

The exhibition “Results of the Season” this year gathered bright authors and impressive productions of the last theatrical year in the country, so the exposition turned out to be rich and quite curious even for those who are far from the world of theater. So, few people passed by without making a photo for memory with the "Chudiki" of noise noise, old chairs and couches (and school calls at the place where the chest should be), which was invented by Evdokiya Kurochkina for staging on Shukshin at the Volkhovsky Chelyabinsk Puppet Theater.

“The Cabal of Svyatosh” is not for many thousands, you can also watch here – yes, without the actor-debutant Maxim Nikolaev and without Konstantin Khabensky, but we are here not for the sake of artists, but for the sake of artists. And the sketches of Nikolai Simonov, the main artist of the Chekhov Moscow Art Museum, to the performance-hit last year are real works of art. Given that the master rarely communicates with the public, to talk with him through the prism of his work, to look into the “behind the scenes” of his work is a great honor and joy for the audience.

Invariably the most “sticky” exhibits at the exhibitions of theater artists are models. So, many masters accidentally or deliberately make small windows in the boxes, through which you can see the microcosm of the production from different sides, and even as if through a microscope.

Without leaving the exhibition space, we then plunge into the atmosphere of Lencom's "Hamlet" and "Crimes and Punishment" in the Gogol Theatre, created by Alexei Kondratiev, consider the ladders and lanterns in the model of Eduard Gizatullin to the play "Clinch" by Magnitogorsk drama theater named after A.S. Pushkin and look for hidden symbols in numbers, for the same reasons we try to measure the angles of the tilation of the beams that Vladimir Arefyev came up for "Ledi Makovich M.M.M.M.M.M.A.M.M.M.M.M.M.M.A.A.L.M.A.M.A.A.L.A.D.A.A.M.A.A.K.A.L.A.L.A.A.L.A.A.L.A.L.A.A.L.A.L.A.A.L.A.L.A.A.A.A.

It is funny, but at some point it seemed that all of us, the first visitors to the exhibition, and the little men themselves, whom the set designers placed in the layout, because the exhibition space is likened to the scenery, which painstakingly, piece by piece collects the artist. The fact that a lot of attention is paid to small things (and this, perhaps, is one of the secrets of the success of any performance), can also be seen in small details and nuances – in many pieces of various fabrics attached to the sketches of the heroes’ outfits and in litters on the margins of the artists’ drawings on costumes, in tiny piano keys (after we bothered, we counted how many of them – 88, as it should be!), in tiny crowns on a luxurious, albeit miniature, tachte..

The rich and multifaceted exhibition confirms that the magic of the theater begins not only in the rehearsal, when the actors and the director pick up the text and conduct the first reading, but also when a pencil is sharpened in the studio of a theater artist, which is about to make the first sketches.