Moscow State Exhibition Hall ‘New Manege’
Moscow State Exhibition Hall ‘New Manege’
4.5
12:00–21:00
Tirsdag
12:00 - 21:00
Onsdag
12:00 - 21:00
Torsdag
12:00 - 21:00
Fredag
12:00 - 21:00
Lørdag
12:00 - 21:00
Søndag
12:00 - 21:00
Full visning
Inntekter påvirker opplevelsene som er omtalt på denne siden. Finn ut mer.
Området
Adresse
Nabolag: Garden Ring
Slik kommer du deg dit
- Teatralnaya • 4 min gange
- Okhotny Ryad • 4 min gange
Ta kontakt direkte
Best i nærheten
Restauranter
7 504 innen 5 km
Attraksjoner
4 126 innen 10 km
Vi utfører kontroller på anmeldelser.
Tripadvisors tilnærming til anmeldelser
Hver Tripadvisor-anmeldelse går gjennom et automatisert sporingssystem før den legges ut. Dette systemet samler inn informasjon som svarer på følgende spørsmål: Hvordan, hva, hvor og når. Hvis systemet oppdager noe som muligens strider imot retningslinjene våre for fellesskapet, blir anmeldelsen ikke publisert.
Når systemet oppdager et problem, kan en anmeldelse automatisk avvises, sendes til anmelderen for bekreftelse eller gjennomgås manuelt av teamet vårt av innholdsspesialister. Disse spesialistene jobber døgnet rundt for å opprettholde kvaliteten av anmeldelsene på nettstedet vårt.
Teamet vårt sjekker hver anmeldelse som er lagt ut på nettstedet og bestrides av fellesskapet vårt for ikke å møte retningslinjene våre for fellesskapet.
Finn ut mer om moderering av anmeldelser.
4.5
42 anmeldelser
Ypperlig
29
Svært bra
9
Gjennomsnittlig
3
Dårlig
1
Forferdelig
0
Disse anmeldelsene har blitt oversatt automatisk fra originalspråket.
Denne tjenesten kan inneholde oversettelser levert av Google. Google fraskriver seg alle garantier, uttrykte eller underforståtte, knyttet til oversettelser, inkludert alle garantier for nøyaktighet, pålitelighet og eventuelle implisitte garantier for salgbarhet, egnethet for et bestemt formål og beskyttelse mot forfalskninger.
М Г
795 bidrag
apr. 2024 • Venner
In April, the premiere of the play “Praise to Cats, or an Offering to the Most Respectable Public” of the Vakhtangov Workshop theater directed by Asya Knyazeva took place in the New Manege.
If the theater could speak, it would probably express gratitude to its fans, and, on the contrary, would be deeply outraged by the behavior of ill-mannered spectators and unceremonious know-it-alls. In her play “Praise to Cats, or an Offering to the Honorable Public” at the Vakhtangov Workshop theater, director Asya Knyazeva clearly demonstrated to the audience the problems that exist in three planes at once: behind the scenes, on stage and in the auditorium. Don’t be surprised if you recognize yourself or someone you know in the characters, because the prototypes of the characters are real people - spectators and actors. And don’t be alarmed if you get a little confused, this is how it should be in this theatrical nesting doll, where a theater is shown in the theater, the audience partially moves to the stage, and the denouement of the performance suddenly falls apart right before your eyes. Just don’t expect it to be a light, cheerful fairy tale - everything here is adult, there’s a lot of pain hidden behind the masks and jokes. It took me more than a week to collect my thoughts and present them coherently.
The performance is based on two works: Ludwig Tieck's play "Puss in Boots" and Ernst Theodor Amadeus Hoffmann's story "The Incredible Sufferings of a Theater Director." I would like to draw your attention so that you do not confuse “Puss in Boots” by Ludwig Tieck and Charles Perrault, these are completely different works, where the second is a fairy tale, and the first is a work on the theme of a theatrical production about the revolution through the use of a fairy tale as the main material. In Hoffmann's story "The Incredible Sufferings of a Theater Director," the main characters raise in their conversation the main problems of the theater using the example of two works by Tieck: the play "Inside Out Theater" and the same "Puss in Boots." Thus, the production of “Praise to Cats, or an Offering to the Most Respectable Public” turns into mirrors placed opposite each other, reflecting each other, and going further and deeper into each other’s reflection. Both the audience and the actors see themselves in this reflection - the festive wrapper is mercilessly torn off, making the unsightly sides of the theatrical world obvious. You need to mentally prepare for this.
“Good evening! You have taken my place!” is a familiar situation in the last fifteen minutes before the start of any performance, isn’t it? By the way, this time the placement of the audience was not without it, which added irony to a similar scene in the production. And this is just the beginning, and then lively comments from viewers who consider themselves great critics, and that there is only their expert opinion and the wrong one. "Who are the judges?" When such people touch creativity, deep cracks appear in works of art... But this is only one side of the coin, and there is also another - behind the scenes - where the actors are. They immerse themselves in their roles, fall out of them under the influence of external circumstances, communicate directly with each other and through the production with the audience. And there are also participants in this theatrical triangle - the creators of theatrical productions, torn between their own vision and the expectations of the spoiled public. And when a living cat does not save the situation, unexpectedly a romantic dialogue between lovers can save it...
“Praise to Cats, or an Offering to the Most Respectable Public,” like all other performances by Asya Knyazeva that I have seen, is staged in the genre of buffoonery. The deliberate exaggeration of each action, overblown characters, comic scenes, masks on the faces of the actors - they look frivolous and even a little scary, but in fact they put emphasis on the necessary episodes, thoughts, characters of the characters in the best possible way, and do not look frivolous at all. And in such a multi-layered and multifaceted performance, it is especially important to quickly navigate so as not to completely get confused in the plot lines. The image of each character is a work of art, in each scene there is a humorous find with a play of images. The director’s work can be read here in every detail; close interaction with makeup artist Victoria Slashina and costume designer Ekaterina Miroshnichenko is visible. Such a complex picture needs to be properly designed with music and lighting accompaniment, which was accomplished flawlessly by composer Ivan Avdeev and lighting designer Mikhail Gleikin. Bravo to every member of the creation team!
The cutest character, as always, remains the cats: “Praise the cats, and let’s raise them to Lara!” But still, I would remove the entire subsequent part, because it is this that completely confuses the cards. Or is it deliberately designed so that at the very end the audience should be completely misled? One way or another, “Praise to Cats, or an Offering to the Honorable Public” of the Vakhtangov Workshop theater is both a wonderful humorous release and a serious emotional shake-up, and at the same time luxurious food for thought, including on your attitude towards the theater and your behavior in the theatre. In this production, the theater came to life, like Puss in Boots, it spoke, finally expressing everything that had been silent for centuries. Once again, Asya Knyazeva made a splash by staging something new and unparalleled. And once again I was convinced that the Vakhtangov Workshop theater is one of the best theaters. It has its own face, its own unique charm, its own talented director, its amazing productions and its own talented troupe of young promising actors who are already loved by many viewers.
If the theater could speak, it would probably express gratitude to its fans, and, on the contrary, would be deeply outraged by the behavior of ill-mannered spectators and unceremonious know-it-alls. In her play “Praise to Cats, or an Offering to the Honorable Public” at the Vakhtangov Workshop theater, director Asya Knyazeva clearly demonstrated to the audience the problems that exist in three planes at once: behind the scenes, on stage and in the auditorium. Don’t be surprised if you recognize yourself or someone you know in the characters, because the prototypes of the characters are real people - spectators and actors. And don’t be alarmed if you get a little confused, this is how it should be in this theatrical nesting doll, where a theater is shown in the theater, the audience partially moves to the stage, and the denouement of the performance suddenly falls apart right before your eyes. Just don’t expect it to be a light, cheerful fairy tale - everything here is adult, there’s a lot of pain hidden behind the masks and jokes. It took me more than a week to collect my thoughts and present them coherently.
The performance is based on two works: Ludwig Tieck's play "Puss in Boots" and Ernst Theodor Amadeus Hoffmann's story "The Incredible Sufferings of a Theater Director." I would like to draw your attention so that you do not confuse “Puss in Boots” by Ludwig Tieck and Charles Perrault, these are completely different works, where the second is a fairy tale, and the first is a work on the theme of a theatrical production about the revolution through the use of a fairy tale as the main material. In Hoffmann's story "The Incredible Sufferings of a Theater Director," the main characters raise in their conversation the main problems of the theater using the example of two works by Tieck: the play "Inside Out Theater" and the same "Puss in Boots." Thus, the production of “Praise to Cats, or an Offering to the Most Respectable Public” turns into mirrors placed opposite each other, reflecting each other, and going further and deeper into each other’s reflection. Both the audience and the actors see themselves in this reflection - the festive wrapper is mercilessly torn off, making the unsightly sides of the theatrical world obvious. You need to mentally prepare for this.
“Good evening! You have taken my place!” is a familiar situation in the last fifteen minutes before the start of any performance, isn’t it? By the way, this time the placement of the audience was not without it, which added irony to a similar scene in the production. And this is just the beginning, and then lively comments from viewers who consider themselves great critics, and that there is only their expert opinion and the wrong one. "Who are the judges?" When such people touch creativity, deep cracks appear in works of art... But this is only one side of the coin, and there is also another - behind the scenes - where the actors are. They immerse themselves in their roles, fall out of them under the influence of external circumstances, communicate directly with each other and through the production with the audience. And there are also participants in this theatrical triangle - the creators of theatrical productions, torn between their own vision and the expectations of the spoiled public. And when a living cat does not save the situation, unexpectedly a romantic dialogue between lovers can save it...
“Praise to Cats, or an Offering to the Most Respectable Public,” like all other performances by Asya Knyazeva that I have seen, is staged in the genre of buffoonery. The deliberate exaggeration of each action, overblown characters, comic scenes, masks on the faces of the actors - they look frivolous and even a little scary, but in fact they put emphasis on the necessary episodes, thoughts, characters of the characters in the best possible way, and do not look frivolous at all. And in such a multi-layered and multifaceted performance, it is especially important to quickly navigate so as not to completely get confused in the plot lines. The image of each character is a work of art, in each scene there is a humorous find with a play of images. The director’s work can be read here in every detail; close interaction with makeup artist Victoria Slashina and costume designer Ekaterina Miroshnichenko is visible. Such a complex picture needs to be properly designed with music and lighting accompaniment, which was accomplished flawlessly by composer Ivan Avdeev and lighting designer Mikhail Gleikin. Bravo to every member of the creation team!
The cutest character, as always, remains the cats: “Praise the cats, and let’s raise them to Lara!” But still, I would remove the entire subsequent part, because it is this that completely confuses the cards. Or is it deliberately designed so that at the very end the audience should be completely misled? One way or another, “Praise to Cats, or an Offering to the Honorable Public” of the Vakhtangov Workshop theater is both a wonderful humorous release and a serious emotional shake-up, and at the same time luxurious food for thought, including on your attitude towards the theater and your behavior in the theatre. In this production, the theater came to life, like Puss in Boots, it spoke, finally expressing everything that had been silent for centuries. Once again, Asya Knyazeva made a splash by staging something new and unparalleled. And once again I was convinced that the Vakhtangov Workshop theater is one of the best theaters. It has its own face, its own unique charm, its own talented director, its amazing productions and its own talented troupe of young promising actors who are already loved by many viewers.
Skrevet 27. april 2024
Denne anmeldelsen er den subjektive meningen til et Tripadvisor-medlem og kommer ikke fra Tripadvisor LLC. Tripadvisor sjekker anmeldelser.
cheryba
Moskva, Russland36 bidrag
apr. 2024 • Alene
On the stage of the Open Theater Space "Art Platform" in the New Manege, "Vakhtangov Workshop" presented its new play "Praise to Cats, or an Offering to the Most Respectable Public." The theater youth were very, very pleased.
Director Asya Knyazeva combined two works at once: Ernst Theodor Amadeus Hoffmann’s story “The Extraordinary Sufferings of a Theater Director” and Ludwig Tieck’s play “Puss in Boots.” Despite the name, we are not talking about a cat. No, of course there will be a cat on stage, and even in two different guises: a cute doll and an equally cute actor Anton Vlasov. But the main character here is His Majesty the theater. On stage, the viewer will unexpectedly see himself, because the actors will appear in the form of exaggerated spectators: Renegade, Sociopath, Braggart, Moralist, Phat, Lover, Suffragette, Intrigue and Coquette. This is an outside view of how we see actors. Also, you know, it’s not always a pretty sight. Finding out who sat in the wrong place, discussions of artists, remarks and applause at the wrong time. Spectators buy tickets and wait for the performance “at the level of their good taste.” Young and daring, in the good sense of the word, recent graduates of Shchuka become both actors and spectators on stage, trying on several roles during the performance. I wonder which side they feel most comfortable on.
I really liked what Asya Knyazeva said at the meeting after watching the play: “The theater is very dependent on the viewer, you can’t do anything about it. We, actors and directors, will always balance between pleasing the viewer and speaking out about what is important to us.” This is precisely the whole point of the performance: the interaction of the Actor and the Spectator, their joint influence on each other and ultimately inseparability. We can't live without each other. It turned out to be fun and energetic to talk about it with well-chosen music. The artists, it seems to me, had a blast on stage. Special thanks to the costume designer for creating the vivid images.
Director Asya Knyazeva combined two works at once: Ernst Theodor Amadeus Hoffmann’s story “The Extraordinary Sufferings of a Theater Director” and Ludwig Tieck’s play “Puss in Boots.” Despite the name, we are not talking about a cat. No, of course there will be a cat on stage, and even in two different guises: a cute doll and an equally cute actor Anton Vlasov. But the main character here is His Majesty the theater. On stage, the viewer will unexpectedly see himself, because the actors will appear in the form of exaggerated spectators: Renegade, Sociopath, Braggart, Moralist, Phat, Lover, Suffragette, Intrigue and Coquette. This is an outside view of how we see actors. Also, you know, it’s not always a pretty sight. Finding out who sat in the wrong place, discussions of artists, remarks and applause at the wrong time. Spectators buy tickets and wait for the performance “at the level of their good taste.” Young and daring, in the good sense of the word, recent graduates of Shchuka become both actors and spectators on stage, trying on several roles during the performance. I wonder which side they feel most comfortable on.
I really liked what Asya Knyazeva said at the meeting after watching the play: “The theater is very dependent on the viewer, you can’t do anything about it. We, actors and directors, will always balance between pleasing the viewer and speaking out about what is important to us.” This is precisely the whole point of the performance: the interaction of the Actor and the Spectator, their joint influence on each other and ultimately inseparability. We can't live without each other. It turned out to be fun and energetic to talk about it with well-chosen music. The artists, it seems to me, had a blast on stage. Special thanks to the costume designer for creating the vivid images.
Skrevet 25. april 2024
Denne anmeldelsen er den subjektive meningen til et Tripadvisor-medlem og kommer ikke fra Tripadvisor LLC. Tripadvisor sjekker anmeldelser.
Наталья Р
468 bidrag
mar. 2024 • Venner
After watching the play “Praise to Cats or an Offering to the Most Respectable Public,” it becomes clear that such a strange and long title contains the secret meaning of the next premiere of the Vakhtangov Workshop Theater. The talented young director Asya Knyazeva, whose creative experiments arouse my constant interest, came up with the idea of combining Ludwig Tieck’s play “Puss in Boots” and Ernst Theodor Amadeus Hoffmann’s story “The Extraordinary Sufferings of a Theater Director” (the title is also not the shortest). The result is a complete stage action in which one work unexpectedly smoothly flows into another.
Young actors are mastering the theatrical space "Art Platform" in the New Manege and, having enlisted the support of the Moscow Department of Culture as part of the "Open Stage" project, they are charging the new hall with a completely inimitable mixture of slapstick, grotesque, youthful enthusiasm, spectacular plasticity and even puppet theater techniques. But behind the external tinsel there is definitely a serious and important conversation about the difficult relationship between the theater and the public.
The performance would have been conceived and staged in the best traditions of “fantastic realism”, thanks to which the Vakhtangov Theater once acquired its historical face. The classic textbook story about Puss in Boots, thanks to Tick's imagination on the theme of Charles Perrault's fairy tale, is turned inside out on stage, we see its heroes not only with our own eyes, but also through the eyes of a certain audience “focus group”, consisting of types responsible for completely diverse theatrical roles, from Suffragette (Polina Utkina) to Moralist (Oleg Parmenov/Vadim Stepanov), from Sociopath (Ivan Avdeev) to Coquette (Sofya Igrushkina/Anna Karabaeva).
Fat (Ruslan Pogodin) or Schemer (Toma Lavrik), Braggart (Gosha Shimonenko) or Lover (Veronica Favorskaya/Maria Lisovaya) - each character only needs a couple of words, an instant remark or precise movement to draw the character of the role with bright strokes. The most respectable audience on stage is much more critical and impudent than the one in the hall, and most of all gets from it to the strange klutz Renegade. But in another, parallel stage reality, he takes on the iconic role of that same Puss in Boots. Anton Vlasov brilliantly manages to convey both the absurdity of a funny little man with the gait of Charlie Chaplin, wishing everyone a “good evening”, and the graceful, well-honed plasticity of a hunter cat.
Using the example of a simple fairy tale and its toy characters, we can evaluate not only the audience’s attitude to what is happening on stage, but also how the actors themselves can perceive the viewer. For example, someone from the “Public” may exclaim “the king always falls out of role,” and the next moment become that same king. Each participant in the action transforms several times and sometimes this happens so instantly that you do not have time to record the moment of changing clothes. It seems that actors can be in two or even three stage roles at the same time.
The laconicism of the stage space, the only decoration of which is theatrical chandeliers and a scarlet podium, is fully compensated by the catchiness and variety of costumes, wigs, masks from the artist Ekaterina Miroshnichenko, spectacular makeup (Victoria Slashilina) and appropriate video art (Denis Smirnov)
We, as the first spectators, were doubly lucky; on the occasion of the premiere there were members of two casts at once. Of course, there are still some rough edges that need to be smoothed out, but on the whole, “Vakhtangov Workshop” can already be congratulated on yet another creative success.
The performance, for all its apparent entertaining ease, raises the most important question about the existence of theater as such. Theater is an art that is impossible without an audience, but theater is vital for the public as well. Although, according to all-knowing statistics, only 5% of people who regularly visit theaters, the viewer needs the theater as a truthful mirror, with the help of which he can see his shortcomings, or evaluate his own merits.
Young actors are mastering the theatrical space "Art Platform" in the New Manege and, having enlisted the support of the Moscow Department of Culture as part of the "Open Stage" project, they are charging the new hall with a completely inimitable mixture of slapstick, grotesque, youthful enthusiasm, spectacular plasticity and even puppet theater techniques. But behind the external tinsel there is definitely a serious and important conversation about the difficult relationship between the theater and the public.
The performance would have been conceived and staged in the best traditions of “fantastic realism”, thanks to which the Vakhtangov Theater once acquired its historical face. The classic textbook story about Puss in Boots, thanks to Tick's imagination on the theme of Charles Perrault's fairy tale, is turned inside out on stage, we see its heroes not only with our own eyes, but also through the eyes of a certain audience “focus group”, consisting of types responsible for completely diverse theatrical roles, from Suffragette (Polina Utkina) to Moralist (Oleg Parmenov/Vadim Stepanov), from Sociopath (Ivan Avdeev) to Coquette (Sofya Igrushkina/Anna Karabaeva).
Fat (Ruslan Pogodin) or Schemer (Toma Lavrik), Braggart (Gosha Shimonenko) or Lover (Veronica Favorskaya/Maria Lisovaya) - each character only needs a couple of words, an instant remark or precise movement to draw the character of the role with bright strokes. The most respectable audience on stage is much more critical and impudent than the one in the hall, and most of all gets from it to the strange klutz Renegade. But in another, parallel stage reality, he takes on the iconic role of that same Puss in Boots. Anton Vlasov brilliantly manages to convey both the absurdity of a funny little man with the gait of Charlie Chaplin, wishing everyone a “good evening”, and the graceful, well-honed plasticity of a hunter cat.
Using the example of a simple fairy tale and its toy characters, we can evaluate not only the audience’s attitude to what is happening on stage, but also how the actors themselves can perceive the viewer. For example, someone from the “Public” may exclaim “the king always falls out of role,” and the next moment become that same king. Each participant in the action transforms several times and sometimes this happens so instantly that you do not have time to record the moment of changing clothes. It seems that actors can be in two or even three stage roles at the same time.
The laconicism of the stage space, the only decoration of which is theatrical chandeliers and a scarlet podium, is fully compensated by the catchiness and variety of costumes, wigs, masks from the artist Ekaterina Miroshnichenko, spectacular makeup (Victoria Slashilina) and appropriate video art (Denis Smirnov)
We, as the first spectators, were doubly lucky; on the occasion of the premiere there were members of two casts at once. Of course, there are still some rough edges that need to be smoothed out, but on the whole, “Vakhtangov Workshop” can already be congratulated on yet another creative success.
The performance, for all its apparent entertaining ease, raises the most important question about the existence of theater as such. Theater is an art that is impossible without an audience, but theater is vital for the public as well. Although, according to all-knowing statistics, only 5% of people who regularly visit theaters, the viewer needs the theater as a truthful mirror, with the help of which he can see his shortcomings, or evaluate his own merits.
Skrevet 22. april 2024
Denne anmeldelsen er den subjektive meningen til et Tripadvisor-medlem og kommer ikke fra Tripadvisor LLC. Tripadvisor sjekker anmeldelser.
Лара П
29 bidrag
apr. 2024 • Venner
Theater Vakhtangov Workshop.
Premiere of the play “Praise to Cats or an Offering to the Most Respectable Public” on the stage of the Art Platform in the New Manege.
Director - Asya Knyazeva.
Well done guys, graduates of the Shchukin Theater Institute, GITIS and SPbGATI met one summer day on Arbat, realized that they wanted to create their own theater and created it!
The performance is based on the story “The Extraordinary Sufferings of a Theater Director” by Ernst Amadeus Hoffmann and the play “Puss in Boots” by Ludwig Tieck. Although Tieck's work is dedicated to a fairy tale by Charles Perrault, the German playwright did not leave a trace of the naive world of a children's fairy tale.
The production reflects the interaction between actors and spectators, that is, both are present on stage. Unusual!
It all starts with a banal, well-known story: you took my place - please forgive me! And this happens more than once, but each actor plays this story in his own way.
The suffragette (Polina Utukina) says that this play is about the revolution, are we really going to allow this nonsense to be shown? In the end they felt sorry for the author and allowed it).
A story about a very smart cat, wonderfully played by Anton Vlasov. What beautiful plastic he has! He plays the role of a renegade, a shoemaker and a waiter.
I really liked the actor Ruslan Pogodin (Fat), he is one of those whom you see for the first time and remember for a long time, he has such an expressive face and he is so talented.
Georgy Shimonenko - Braggart.
Oleg Parmenov/Vadim Stepanov - Moralist.
Ivan Avdeev - Sociopath.
Veronica Favorskaya/Maria Lisovaya - Lover.
Sofya Igrushkina/Anna Karabaeva - Coquette.
Toma Lavrik - Intriguer.
The performance is very interesting, I will definitely watch other productions of the Vakhtangov Workshop Theater.
At the end there was a press conference with the actors and director Asya Knyazeva. “In the play we are cruel to ourselves and to the audience,” Asya said, “this is a frank conversation, a parade of strange people. The main character is the audience, we didn’t make fun of them, we just took archetypes. The play is an ironic space where there was a lot of freedom! ". I think the Vakhtangov Workshop has a great future!
Premiere of the play “Praise to Cats or an Offering to the Most Respectable Public” on the stage of the Art Platform in the New Manege.
Director - Asya Knyazeva.
Well done guys, graduates of the Shchukin Theater Institute, GITIS and SPbGATI met one summer day on Arbat, realized that they wanted to create their own theater and created it!
The performance is based on the story “The Extraordinary Sufferings of a Theater Director” by Ernst Amadeus Hoffmann and the play “Puss in Boots” by Ludwig Tieck. Although Tieck's work is dedicated to a fairy tale by Charles Perrault, the German playwright did not leave a trace of the naive world of a children's fairy tale.
The production reflects the interaction between actors and spectators, that is, both are present on stage. Unusual!
It all starts with a banal, well-known story: you took my place - please forgive me! And this happens more than once, but each actor plays this story in his own way.
The suffragette (Polina Utukina) says that this play is about the revolution, are we really going to allow this nonsense to be shown? In the end they felt sorry for the author and allowed it).
A story about a very smart cat, wonderfully played by Anton Vlasov. What beautiful plastic he has! He plays the role of a renegade, a shoemaker and a waiter.
I really liked the actor Ruslan Pogodin (Fat), he is one of those whom you see for the first time and remember for a long time, he has such an expressive face and he is so talented.
Georgy Shimonenko - Braggart.
Oleg Parmenov/Vadim Stepanov - Moralist.
Ivan Avdeev - Sociopath.
Veronica Favorskaya/Maria Lisovaya - Lover.
Sofya Igrushkina/Anna Karabaeva - Coquette.
Toma Lavrik - Intriguer.
The performance is very interesting, I will definitely watch other productions of the Vakhtangov Workshop Theater.
At the end there was a press conference with the actors and director Asya Knyazeva. “In the play we are cruel to ourselves and to the audience,” Asya said, “this is a frank conversation, a parade of strange people. The main character is the audience, we didn’t make fun of them, we just took archetypes. The play is an ironic space where there was a lot of freedom! ". I think the Vakhtangov Workshop has a great future!
Skrevet 22. april 2024
Denne anmeldelsen er den subjektive meningen til et Tripadvisor-medlem og kommer ikke fra Tripadvisor LLC. Tripadvisor sjekker anmeldelser.
Elizaveta E
Moskva, Russland66 bidrag
apr. 2024 • Venner
Truly, people essentially do not change. It is not for nothing that ancient Greek tragedies are still staged in modern theaters. Compared to the ancient Greeks, the German romantics are practically our contemporaries. Ludwik Tieck wrote the mockery play “Puss in Boots” in 1797 - a mockery of the usual understanding of art, and in 2024 recent graduates of theater universities showed the play “Praise to Cats or an Offering to the Most Honorable Public,” staged by Asya Knyazeva based on this play. And we clearly see that nothing has changed in the theater world. Truly everything in life moves in a spiral. The curtain in Tieck's play rises above the stalls, and the audience sits in the stalls, and as soon as they sit, they also argue: they praise someone, blame someone. And first, we, the audience who came to the performance, begin to get to know ourselves, the audience who came to watch the play. And there’s no point in blaming the mirror. The struggle for places unjustly occupied by nimble freeloaders, thoughtful remarks about acting - for two hundred years, noteworthy theatergoers have not changed a bit. But on the other side of the stage there are actors, and actors have roles from which they leave every now and then, under the pressure of personal circumstances. And between the audience and the actors there are directors and other creators, and Peake’s text is supplemented by the dialogue of theater functionaries from Hoffmann’s “The Extraordinary Sufferings of a Theater Director.” However, who wasn’t worried about the theme of theatricality? And the performance of the Vakhtangov workshop" turned out to be theatrical, lively, cheerful and hooligan. Vakhtangov's Turandot can be discerned in it, but "Praise to Cats" turned out to be more modern, bolder, funnier and in many moments deeper. There are many roles for twelve actors, and the roles are named by role - the character of the image, the character of the mask is important here. Here the same actress appears in the roles of the Princess and the Rabbit, the same actor appears in the masks of the Cat and the Waiter, and all this disgrace goes to the funny music of Ivan Avdeev. Here are the masks and costumes of Catherine. Miroshnichenko are undoubted participants in the performance, as is Victoria Slashilina’s makeup.
On the stage of the New Manege we were shown a performance about the essence of the theater, its purpose, and the fine line between art and its imitation. And most importantly, they choreographed and played so naturally and artistically that we get the feeling that this cheerful skit was just born before our eyes.
On the stage of the New Manege we were shown a performance about the essence of the theater, its purpose, and the fine line between art and its imitation. And most importantly, they choreographed and played so naturally and artistically that we get the feeling that this cheerful skit was just born before our eyes.
Skrevet 21. april 2024
Denne anmeldelsen er den subjektive meningen til et Tripadvisor-medlem og kommer ikke fra Tripadvisor LLC. Tripadvisor sjekker anmeldelser.
Татьяна Я
Moskva, Russland18 bidrag
apr. 2024 • Venner
Creative association Theater Vakhtangov Workshop
PREMIERE of the play “Praise to Cats, or an Offering to the Most Respectable Public” (based on Ernest Amadeus Hoffmann’s story “The Incredible Sufferings of a Theater Director” and Ludwig Tieck’s play “Puss in Boots”) on the stage of the Art Platform in the New Manege. Director - Asya Knyazeva.
After watching the wonderful and talented play “Praise to Cats,” I remembered an old joke: “Our people are so highly cultured, so drawn to art, that they even hit each other’s faces to get into BT.” I can add from myself that art also has an unknown healing power: blind spectators (before the start of the free event) begin to see the light by the time the crowd enters the hall with free seating! I personally witnessed a miracle of healing at the House of Cinema.
So today we came to see a non-children's fairy tale about Puss in Boots. Everything is decorous, noble: the costumes of fairy-tale heroes are made according to the order (costume designer - Ekaterina Miroshnichenko): the king is in an ermine robe and a long wig with a crown, the princess is in a blue dress with petticoats, the visiting prince-groom is also in a robe, although it is a long way for him to travel from his kingdom, the cook is wearing a white starched cap. The fairy-tale cat, as expected, speaks human language, and has black high boots on his feet. The jester jokes, the sage wisely, the historiographer documents events in the kingdom, the rabbit is caught in a bag.
But all the time there are some interruptions in the plot: either the audience will not find their place according to the ticket, or the ladies applaud wildly and demand that the monologue be repeated for an encore. And they all sit closer and closer to the stage, interrupting the progress of the action with shouts, even ready to act out the dialogue they liked about the trills of the nightingale. So we won’t get to the final, but I want to attend the wedding of the princess and the Marquis de Carabas.
And the production is wonderful: the energy of youth is overflowing, the actors manage to play several roles in the play, and if they had not sometimes changed costumes right on stage, the audience would never have guessed about their transformation. The Cat performed by Anton Vlasov was especially good: savvy, moderately adventurous, an esthete! And made up to perfection by Anastasia Bogdanova! His toy double did not know peace for a second on stage: he washed his paws with a pink tongue, combed his fur, meowed in his cat language.
The stage decorations include bulky almost crystal chandeliers and chairs with hanger backs. The royal chair had a back in the shape of a crown - a very beautiful sight.
From the fragments of two plays by representatives of German romanticism, a new reality and creative freedom are created, but who? Spectator or actor?
Direct speech. Asya Knyazeva:
“The theater here is the main character, and the dialogue between actors and spectators is brought to the fore. The masks of the commedia dell’arte, Meyerhold’s “Role of an Actor” - all this is reflected in the performance, where various forms of acting existence are studied in a practical way.”
The performance is full of irony - a light and witty mockery of the theater and reality,
The production announces a game of wit. Will the audience and the stage be able to establish mutual understanding?
In fact, we have moved from the category of spectators to an object for creative contemplation and reflection. Only the ramp lights did not illuminate us. So, if suddenly there are several tickets for one place for this performance, know that this is part of the plot (a hidden camera is watching you).
The performance turned out to be bright, funny, comical - it was a real pleasure to watch the on-stage and off-stage action taking place. I would like to praise all the actors for their gambling and vivid images! The play features two casts, and we were lucky to see all the artists at the press screening. First of all, artists in the role of... spectators. Because the King, the princess and their subjects were definitely real - I have no doubt!
Special thanks to the director of the young theater Asya Knyazeva for turning to the works of the classics of German romanticism
PREMIERE of the play “Praise to Cats, or an Offering to the Most Respectable Public” (based on Ernest Amadeus Hoffmann’s story “The Incredible Sufferings of a Theater Director” and Ludwig Tieck’s play “Puss in Boots”) on the stage of the Art Platform in the New Manege. Director - Asya Knyazeva.
After watching the wonderful and talented play “Praise to Cats,” I remembered an old joke: “Our people are so highly cultured, so drawn to art, that they even hit each other’s faces to get into BT.” I can add from myself that art also has an unknown healing power: blind spectators (before the start of the free event) begin to see the light by the time the crowd enters the hall with free seating! I personally witnessed a miracle of healing at the House of Cinema.
So today we came to see a non-children's fairy tale about Puss in Boots. Everything is decorous, noble: the costumes of fairy-tale heroes are made according to the order (costume designer - Ekaterina Miroshnichenko): the king is in an ermine robe and a long wig with a crown, the princess is in a blue dress with petticoats, the visiting prince-groom is also in a robe, although it is a long way for him to travel from his kingdom, the cook is wearing a white starched cap. The fairy-tale cat, as expected, speaks human language, and has black high boots on his feet. The jester jokes, the sage wisely, the historiographer documents events in the kingdom, the rabbit is caught in a bag.
But all the time there are some interruptions in the plot: either the audience will not find their place according to the ticket, or the ladies applaud wildly and demand that the monologue be repeated for an encore. And they all sit closer and closer to the stage, interrupting the progress of the action with shouts, even ready to act out the dialogue they liked about the trills of the nightingale. So we won’t get to the final, but I want to attend the wedding of the princess and the Marquis de Carabas.
And the production is wonderful: the energy of youth is overflowing, the actors manage to play several roles in the play, and if they had not sometimes changed costumes right on stage, the audience would never have guessed about their transformation. The Cat performed by Anton Vlasov was especially good: savvy, moderately adventurous, an esthete! And made up to perfection by Anastasia Bogdanova! His toy double did not know peace for a second on stage: he washed his paws with a pink tongue, combed his fur, meowed in his cat language.
The stage decorations include bulky almost crystal chandeliers and chairs with hanger backs. The royal chair had a back in the shape of a crown - a very beautiful sight.
From the fragments of two plays by representatives of German romanticism, a new reality and creative freedom are created, but who? Spectator or actor?
Direct speech. Asya Knyazeva:
“The theater here is the main character, and the dialogue between actors and spectators is brought to the fore. The masks of the commedia dell’arte, Meyerhold’s “Role of an Actor” - all this is reflected in the performance, where various forms of acting existence are studied in a practical way.”
The performance is full of irony - a light and witty mockery of the theater and reality,
The production announces a game of wit. Will the audience and the stage be able to establish mutual understanding?
In fact, we have moved from the category of spectators to an object for creative contemplation and reflection. Only the ramp lights did not illuminate us. So, if suddenly there are several tickets for one place for this performance, know that this is part of the plot (a hidden camera is watching you).
The performance turned out to be bright, funny, comical - it was a real pleasure to watch the on-stage and off-stage action taking place. I would like to praise all the actors for their gambling and vivid images! The play features two casts, and we were lucky to see all the artists at the press screening. First of all, artists in the role of... spectators. Because the King, the princess and their subjects were definitely real - I have no doubt!
Special thanks to the director of the young theater Asya Knyazeva for turning to the works of the classics of German romanticism
Skrevet 20. april 2024
Denne anmeldelsen er den subjektive meningen til et Tripadvisor-medlem og kommer ikke fra Tripadvisor LLC. Tripadvisor sjekker anmeldelser.
Liz E
Moskva, Russland178 bidrag
feb. 2024 • Venner
On the stage of the New Manege there are two actors and three musicians, the poetry of Joseph Brodsky and jazz variations. At first glance, a paradoxical mixture of genres turns out to be intuitively justified.
In the era of Brodsky's youth, jazz, with its free Western spirit, was a symbol of freedom. The ideologists of communist morality felt his danger, for which jazz fans were persecuted: “Today he plays jazz, and tomorrow he will sell his homeland.”
Jazz terms, names of musicians, titles of works are often found in Brodsky's texts. Jazz is disgusted by the correctness and limitations of the means of the classical canon. In the poet's early poems, the pulsating, irregular rhythm repeats the torn musical fabric of jazz. For Brodsky and his generation, the passion for “music of the well-fed” was opposition to the absurdity of everyday life, its passive denial.
On the stage of the New Manege, the St. Petersburg theater VERTUMN shows Muscovites the play "Pilgrim. Joseph Brodsky." A little biography, a lot of music and poetry. The video sequence on the backdrop does not illustrate what is happening on stage; the video sequence creates additional volume, adds another dimension to the performance.
Elena Bedrak and Mikhail Kargapoltsev read Brodsky. Read in turns and in duets. The overtone of Brodsky's poetics naturally merges with jazz syncopations. Yuri Bedrak, Anton Netesov and Dmitry Saburov not only accompany the readers, the music frames Brodsky’s poetry. Jazz becomes identical to poetry - eternal, real, never standing still for a moment. Don't leave the room. Living word and living music - The poet, and after him the actors and musicians swing, constantly slightly shifting the emphasis, discovering unexpected turns in the theme.
During the performance, I suddenly felt an elusive touch of St. Petersburg in its aura, presentation and manner. This cannot be repeated, copied, you have to feel it and live in it.
In the era of Brodsky's youth, jazz, with its free Western spirit, was a symbol of freedom. The ideologists of communist morality felt his danger, for which jazz fans were persecuted: “Today he plays jazz, and tomorrow he will sell his homeland.”
Jazz terms, names of musicians, titles of works are often found in Brodsky's texts. Jazz is disgusted by the correctness and limitations of the means of the classical canon. In the poet's early poems, the pulsating, irregular rhythm repeats the torn musical fabric of jazz. For Brodsky and his generation, the passion for “music of the well-fed” was opposition to the absurdity of everyday life, its passive denial.
On the stage of the New Manege, the St. Petersburg theater VERTUMN shows Muscovites the play "Pilgrim. Joseph Brodsky." A little biography, a lot of music and poetry. The video sequence on the backdrop does not illustrate what is happening on stage; the video sequence creates additional volume, adds another dimension to the performance.
Elena Bedrak and Mikhail Kargapoltsev read Brodsky. Read in turns and in duets. The overtone of Brodsky's poetics naturally merges with jazz syncopations. Yuri Bedrak, Anton Netesov and Dmitry Saburov not only accompany the readers, the music frames Brodsky’s poetry. Jazz becomes identical to poetry - eternal, real, never standing still for a moment. Don't leave the room. Living word and living music - The poet, and after him the actors and musicians swing, constantly slightly shifting the emphasis, discovering unexpected turns in the theme.
During the performance, I suddenly felt an elusive touch of St. Petersburg in its aura, presentation and manner. This cannot be repeated, copied, you have to feel it and live in it.
Skrevet 25. februar 2024
Denne anmeldelsen er den subjektive meningen til et Tripadvisor-medlem og kommer ikke fra Tripadvisor LLC. Tripadvisor sjekker anmeldelser.
Liz E
Moskva, Russland178 bidrag
jan. 2023
Хорошо, что в Москве появилась Арт-платфома "Открытое театральное пространство" в Новом Манеже, где независимые театры могут показывать свои спектакли широкой публике. Вот как раз здесь в Георгиевском переулке я и познакомилась с СО-ТЕАТРом, о котором раньше ничего не слышала. Но я люблю эксперименты, новые течения и неожиданные воплощения классических произведений, а потому смело пошла смотреть спектакль "Молчок", поставленный по повести Достоевского "Кроткая". Казалось бы, а чего в этом экспериментального? Так вот: эксперимент в данном случае прячется в форме. Новое слово "Мимиодрама" заворожило и разбудило любопытство. Из описания поняла, что это будет спектакль без слов, а это очень подходит к "Кроткой", ведь героиня повести лишена слова, лишена речи, у Достоевского говорит лишь Закладчик, а Кроткая кротко молчит.
Честно говоря, спектакль по началу воспринимался мною тяжеловато. Все было поперек: и сценография, и актеры, и пластика. Но волшебная сила искусства быстро разрушила выстроенную моим сознанием стену, и я чудесным образом прониклась духом спектакля, начала воспринимать его эстетику и пластику актеров.
До сих пор стоит перед глазами момент, когда Кроткая (Татьяна Жукас) пришла закладывать икону. Это было закладывание себя, передача себя Закладчику (Евгений Бартанов), безоглядно и навсегда. А в финале, уходя из этой жизни она уносит с собой и икону, как символ своей бессмертной души, которую Закладчик так и не смог почувствовать и понять.
Это страшное одиночество вдвоем, когда пресекаются робкие порывы юной жены к сближению, когда мертворожденный строгий канон воспитания, разработанный Закладчиком, рушится у нас на глазах. Рушится безмолвно, но пластика актеров СО-ТЕАТРа столь выразительна, что кажется Закладчик кричит от боли, поняв и приняв свою вину.
Рассказ в спектакле ведется от лица служанки Лукерьи (Василиса Галсанова), которая как богиня судьбы единственная не лишена слова. И две мойры прислуживают ей, выстилая белым полотном Закладчику путь в ад.
Поставил спектакль "Молчок" Доржи Галсанов за творчеством которого я теперь буду внимательно следить и ждать его новых, неожиданных и интересных работ.
Честно говоря, спектакль по началу воспринимался мною тяжеловато. Все было поперек: и сценография, и актеры, и пластика. Но волшебная сила искусства быстро разрушила выстроенную моим сознанием стену, и я чудесным образом прониклась духом спектакля, начала воспринимать его эстетику и пластику актеров.
До сих пор стоит перед глазами момент, когда Кроткая (Татьяна Жукас) пришла закладывать икону. Это было закладывание себя, передача себя Закладчику (Евгений Бартанов), безоглядно и навсегда. А в финале, уходя из этой жизни она уносит с собой и икону, как символ своей бессмертной души, которую Закладчик так и не смог почувствовать и понять.
Это страшное одиночество вдвоем, когда пресекаются робкие порывы юной жены к сближению, когда мертворожденный строгий канон воспитания, разработанный Закладчиком, рушится у нас на глазах. Рушится безмолвно, но пластика актеров СО-ТЕАТРа столь выразительна, что кажется Закладчик кричит от боли, поняв и приняв свою вину.
Рассказ в спектакле ведется от лица служанки Лукерьи (Василиса Галсанова), которая как богиня судьбы единственная не лишена слова. И две мойры прислуживают ей, выстилая белым полотном Закладчику путь в ад.
Поставил спектакль "Молчок" Доржи Галсанов за творчеством которого я теперь буду внимательно следить и ждать его новых, неожиданных и интересных работ.
Skrevet 17. januar 2023
Denne anmeldelsen er den subjektive meningen til et Tripadvisor-medlem og kommer ikke fra Tripadvisor LLC. Tripadvisor sjekker anmeldelser.
Elena Z
173 bidrag
okt. 2022
Вчера с дочерью посмотрели спектакль о норвежской девочке с большим сердцем «Тоня Глиммердал» в замечательном открытом театральном пространстве Театральный проект 27 «Арт-платформа» в историческом здании Нового Манежа.
* Спектакль для детей и подростков о любви к людям, о дружбе, о взаимоотношениях с близким человеком и его прощении.
* Как удивительно четко удалось актрисе театра им. Евг. Вахтангова Евгении Ивашовой передать настоящий, сильный и решительный характер главной героини. Девочка очень привязана к своему крестному Гунвальду. Она ему доверяет все свои радости и огорчения. Основная идея театра -говорить с подростками на важные темы через театральную сцену. Одна из таких тем и затронута в спектакле, проблема взаимоотношений между родителями и детьми: - «если ты папа, то ты навсегда папа, и не можешь перестать быть папой, даже если случится что-то дурацкое». Дети не виноваты в ошибках взрослых.
* Роль Тони Глиммердал очень сложная, актриса очень мастерски переключалась с одного действия на другое, играла и говорила сразу за несколько персонажей. Особый восторг у детей, да и у взрослых вызвала сцена как бесстрашная Тоня без тормозов едет на снегокате.
* Декорации и костюмы в норвежско-сказочном зимнем стиле помогли воссоздать обстановку холодного февральского Глиммердала.
* Спасибо огромное всей творческой группе за такой замечательный спектакль для детей и родителей!
* Спектакль для детей и подростков о любви к людям, о дружбе, о взаимоотношениях с близким человеком и его прощении.
* Как удивительно четко удалось актрисе театра им. Евг. Вахтангова Евгении Ивашовой передать настоящий, сильный и решительный характер главной героини. Девочка очень привязана к своему крестному Гунвальду. Она ему доверяет все свои радости и огорчения. Основная идея театра -говорить с подростками на важные темы через театральную сцену. Одна из таких тем и затронута в спектакле, проблема взаимоотношений между родителями и детьми: - «если ты папа, то ты навсегда папа, и не можешь перестать быть папой, даже если случится что-то дурацкое». Дети не виноваты в ошибках взрослых.
* Роль Тони Глиммердал очень сложная, актриса очень мастерски переключалась с одного действия на другое, играла и говорила сразу за несколько персонажей. Особый восторг у детей, да и у взрослых вызвала сцена как бесстрашная Тоня без тормозов едет на снегокате.
* Декорации и костюмы в норвежско-сказочном зимнем стиле помогли воссоздать обстановку холодного февральского Глиммердала.
* Спасибо огромное всей творческой группе за такой замечательный спектакль для детей и родителей!
Skrevet 23. november 2022
Denne anmeldelsen er den subjektive meningen til et Tripadvisor-medlem og kommer ikke fra Tripadvisor LLC. Tripadvisor sjekker anmeldelser.
𝓝𝓪𝓽𝔂 ® 👑
Moskva, Russland153 596 bidrag
mar. 2021 • Par
Что-то есть такое манящее в старинных зданиях их красного кирпича. Здание построено в конце 19 века как первая Московская электрическая станция. С 1990-х здесь выставочное пространство.
Skrevet 3. april 2021
Denne anmeldelsen er den subjektive meningen til et Tripadvisor-medlem og kommer ikke fra Tripadvisor LLC. Tripadvisor sjekker anmeldelser.
Ingen spørsmål har blitt satt frem om denne opplevelsen
Inntekter påvirker opplevelsene som er omtalt på denne siden. Finn ut mer.
Er dette Tripadvisor-oppføringen din?
Eier eller administrerer du dette stedet? Gjør krav på oppføringen din gratis for å svare på anmeldelser, oppdatere profilen din og mye mer.
Gjør krav på oppføringen din