If the meaning of the theater was only in an entertaining spectacle, perhaps it would not be worth putting so much work into it. But theater is the art of reflecting life. Stanislavsky.
Stage art dates back to ancient times. Each era posed certain tasks for the theater: to educate, correct vices, entertain, preach, propagandize. It was both a weapon and a tribune. The power of the theater’s influence on the feelings, thoughts and moods of people was understood by emperors, ministers, kings and princes. Therefore, they tried to take art under their control.
Many times the theater was predicted to die, but it was able to withstand competition. Cinema, television and computer technology did not supplant living art.
At present, there are two main forms of theatrical organization that fight among themselves for the audience. This is a theater of repertory and repertoire.
There is heated debate, which species is preferable.
The article will examine in more detail the theater of enterprises. And to begin with a couple of words about the opposite.
Repertory theater
It is subsidized by the state. The repertoire theater is characterized by the presence of a permanent troupe of actors, its own building with an auditorium, stage and workrooms. Make-up artists, illuminators, dressers, sets - all these are undoubted advantages of the state theater.
We can say that the repertoire theater is a school of both acting and directorial skills, supporting and continuing theatrical traditions. This is a kind of home, family. It is from such theaters that graduates of specialized universities begin their careers. But at the same time, the actors in the subsidized theaters are dependent, and their work is not always highly paid.
The concept of enterprises
In contrast to the state theater, there is a private theater created and led by a manager or entrepreneur. Hence the name. Now more and more often such a person is called a producer. The manager selects the play, the director, forms the cast from different theaters.
Entreprise is a theater without its own stage and permanent repertoire. The scene is rented for the duration of the performance. The same production today can go on one platform, and tomorrow on another. The cast often changes and works on a contract basis.
To some extent, the enterprise is a theater enterprise, a business project, one of the tasks of which is to make a profit. Therefore, they try to invite stars to the main roles in order to attract the public and make the box office.
Nevertheless, for actors, playing in the entreprise is an invaluable experience working with different directors, meeting with colleagues from other theaters. And, of course, the opportunity to earn.
Historical excursion
Entreprise is far from a new concept. It has been known since the 16th century. In the history of European theaters, there were troupes headed by famous actors, who are also impresario. For example, J.B. Moliere, Rossi, E. Piskator and others.
How was it with us
Theatrical entrepreneurship and enterprise in Russia appeared a bit later, already in the 19th century. It all started with the province. Wealthy landowners began to let their serf peasant actors to work.
Imperial theaters flourished in Moscow and St. Petersburg for a long time. But soon the government actors also had the opportunity to speak in the entreprise.
Subsequently, some of these theaters became full-fledged professional groups. For example, the project of the director Konstantin Stanislavsky was originally called the Public Art. Now it is the famous Moscow Art Theater.
After 1917, the situation changes: all theaters acquire the status of state, and the Russian entreprise leaves for a while. She is reborn again only in the seventies.
And in the 90s, with the beginning of perestroika and the flourishing of entrepreneurship in Russia, art became commercial. Famous theatrical communities that arose at that time include the "Theater of the Moon" by Sergei Prokhanov, the "School of Contemporary Play".
Theater-Entreprise Mironova
This is a successful combination of classics and modern trends.
In 1988, in St. Petersburg, a famous amateur of stage art and entrepreneur Rudolf Furmanov decided to create his own theater. It was originally called the Concert Studio of the Theater of Actors. The first performances were attended by many beloved Russian stage masters: Innokenty Smoktunovsky, Valery Zolotukhin, Andrey Mironov, Arkady Raikin, Nikolai Karachentsov and others. All of them were actors of other theaters, and with an entrepreneurial tour, they unofficially toured the country.
Three years later, it was decided to change the sign. Now this theater is known as the “Russian Entreprise” by Mironov. The bright, multifaceted talent of this legendary actor, his fame not only among us, but also abroad, as well as a whole "bouquet" of no less outstanding personalities who took part in the performances, made the theater incredibly popular among the public.
The Mironov Entrepreneur Theater is the first theater in Russia with a permanent repertoire, but without its own troupe. Although there is a certain skeleton of the actors involved in many performances. All of them work on a contract basis.
The theater is characterized by genre diversity: comedies, musicals, dramas, parables come with great success.
Conclusion
Theatrical enterprise is a controversial, ambiguous phenomenon. Not all critics, amateurs and connoisseurs of stage art take it positively. But among a sufficient number of fakes and frankly weak performances, there are often excellent examples with interesting acting and production. Thus, the entreprise, along with the classical state theater, also has a right to exist.