I don't believe!

The outgoing century has become a "century of cinema" - according to film critics. The outgoing century has become the "century of theater" - theaters argue with them. Over the past 100 years, all the stilt theatrical canons have been decisively destroyed. The very attitude to plays and their authors, theater, and actors have changed. The twentieth century managed to admire the most truthful system of Stanislavsky and again in it. And the director’s figure came first. In the ballet, the pointer was replaced by unprecedented freedom. In the opera, after Fedor Chaliapin and Maria Callas, it became ashamed to just sing, and theatrical directors poured streamly into the most synthetic form of art. What a movie here!

On the results of the final year of the "century of Theater", forty most influential Moscow critics, whom we asked to name: 1) event of the year, 2) a person of the year speak. The survey is compiled by alphabet. We invite everyone to take part in the choice of the best performance and persons of 2000.

The best performance of 2000

One absolutely happy village
Family happiness
Boris Godunov
Woe from the mind
We play Schiller
Macbeth
Happy prince
The daughter of the pharaoh
Rigoletto
Lady Macbeth Mtsensk district
Another performance

Theater Person

Peter Fomenko
Mikhail Shvydka
Oleg Tabakov
Aimuntas Nyakroshus
Kama Ginkas
Declan Donnellan
Evgeny Grishkovets
Gennady Christmas
Maya Plisetskaya
Dmitry Chernyakov
Dmitry Hvorostovsky
Nikolai Baskov
Another person

Drama Theater

Marina Gaevskaya, independent critic:

1. "Play Schiller", "Contemporary". An interesting synthesis of the metaphorical directing of tuminas and the psychologically accurate, emotional game of actors. Even more unexpected - Elizabeth Marina Neelova: majestic and limp, proud and lost woman -Korolev.

2. Peter Fomenko. The leader of a talented and stable working team. The author of the new stage interpretations of prose - in particular, the poetic and multilayer novel by Boris Vakhtin "One Absolutely Happy Village".

Olga Galakhova, "Actor's House":

1. A year of irreparable losses. Sofya Pilyavskaya, Angelina Stepanova, Oleg Efremov left. In the history of the Moscow Art Theater, a feature is summed up. The opportunity to implement the "handshake of history" with those who accepted the covenants of the founders of the Moscow Art Theater first hand has disappeared.

2. Peter Fomenko. He justifies the existence of the theater as high human art.

Elena Gubaidullina, independent critic:

1. Return of the magazine Theater . From room to number, he is becoming more and more interesting.

2. Each large festival has a program "in" and the "OFF" program. So is the theater year. "In" - Peter Fomenko. “OFF” is Anatoly Ledukhovsky, not noticed by criticism, who put the “soldered” on the opera Leoncavallo in the rati. Work with non -professional actors - future scenographs - provoked the director to unexpected visual and plastic techniques.

Marina Davydova, "News Time":

1-2. The only figure uniting two halves of the year is Peter Fomenko. A very strong play "One Absolutely Happy Village". "Family Happiness" is the only premiere of the beginning of this season, which I gladly wrote a positive review. Fomenko gained a second wind. Of the touring performances in the first place - the "midnight" Joseph Naja.

Gennady Demin, "Actor's House":

1-2. The year is overshadowed by the departure of a number of large workers of the theater: from Sergey Isaev and Alla Balter to Angelina Stepanova and Julia Kagarlitsky. Not to mention Oleg Nikolaevich Efremov. A bright event was the poetic and ugly "happy village", and Persona Pyotr Fomenko, who created a blissful mountain masterpiece. The prizes are at Alexei Levinsky, who went on stage after a long break, and at Anatoly Ledukhovsky, whose grotesquely -oxide “Singens” are groping for the theater language of the new century.

Roman Dolzhansky, Kommersant:

1. "One absolutely happy village" of Peter Fomenko.

2. Evgeny Grishkovets.

Olga Egoshina, independent critic:

1. Dilogy Fomenko - "One Absolutely Happy Village" and "Family Happiness".

2. Theater year is the year of Fomenko.

Marina Zayonts, "Alphabet":

1. "Macbeth" of the nyakroshus at the Golden Mask festival.

2. Peter Fomenko released two wonderful performances. After everyone thought that his strength was already leaving, he showed that it was still unknown to whom they were leaving.

Grigory Zaslavsky, "Independent Gazeta":

1. The end of the era Efremov. Inextricably linked with this, the beginning of a new era for the Moscow Art Theater - the Tabakov era. The appointment of Oleg Tabakov can be considered in the context of the new state policy in the field of culture, which is rightly associated with the names of the new president and the new minister of culture.

2. Oleg Efremov.

Natalia Zvenigorodskaya, independent critic:

1. "One absolutely happy village."

2. Peter Fomenko.

Natalia Kaminskaya, "Culture":

1. "One absolutely happy village", the performance of Alexander Kalyagin, the role of Sheilok and the "smuggling" Konstantin Raikin.

2. The most active character of the year is Oleg Tabakov. He played two noticeable roles - in the performances "at the bottom" and "love letters", headed by the Moscow Art Theater. For sharp shifts of the leadership of the title of person, the Minister of Culture Mikhail Shvydka is worthy.

Alena Karas, independent critic:

1. Tours of the French troupe Joseph Naja.

2. Peter Fomenko.

Elena Kovalskaya, "Poster":

1. One of the most successful seasons. All great masters - Fomenko, Lyubimov, Ginkas, Zakharov - released good performances. Entreprise declared herself as a serious phenomenon. Four worthy performances appeared - "Boris Godunov", "Old Soviet Love", "Winter", "Collection".

2. Evgeny Grishkovets. Over the year, the Grishkovets showed a dizzying evolution. He appeared before us with a monologue, and at the beginning of next year a book with his new play “City” for five actors and a different sense of time will be released. It seems that only Anatoly Vasiliev will be able to adequately put this play (he recalls his "adult daughter of a young man"). The play is very human, requiring a new acting. Although Vasiliev released the performance of a completely antagonistic theater of Grishkovts. Through years, Vasiliev will recall about Mozart and Salieri in the same way as they now recall the "adult daughter" and "Sergo". This is not elitist, but pure, reference art.

Vera Maksimova, "century":

1. Not an event, but anti -being - the "masquerade" of Shamirov and Kaplevich in the theater named after K.S. Stanislavsky. And the point is not only about the screenshots on the stage, but the fact that charlatanism and unprofessionalism on our stage are very strong.

2. Peter Fomenko. But he is not a person, but simply - a wonderful director, apparently the best today. Preserved not only the level of the great Russian theater, but also its high spiritual meaning.

Victoria Nikiforova, "Today":

1. "Woe from mind" in the Maly Theater. The most loud trend is a sharp strengthening of authoritarianism in the management of culture. In the "satire" they removed Phtuke. And what was happening in the Bolshoi Theater! Now Golutovy, the former chairman of Goskino, want to appoint the director of Mariinsky.

2. Sergey Zhenovach.

Pavel Rudnev, independent critic:

1. Return to the professional scene of Sergei Zhenovach with the play "Woe from Wit" in the Maly Theater. Another triumph of the school of Petra Fomenko: “One Absolutely Happy Village” and “Family Happiness” (director Peter Fomenko, Theater “Workshop of Peter Fomenko), the above the performance of Sergey Zhenovach,“ 100 Ien for the service ”of Elena Nevazhina in the theater of P/P Oleg Tabakov.

2. Sergey Yashin, who managed to align the Gogol Theater to the plank, which is held by the leading theaters of Moscow.

Maria Sedykh, "General newspaper":

1. "Happy Prince" in Mtuz, "One Absolutely Happy Village", "Family Happiness" in the "Workshop of P. Fomenko".

2. Kama Ginkas and Pyotr Fomenko.

Gleb Sitkovsky, "Evening Club":

1. The death of Oleg Nikolayevich Efremov is an event that placed a sad point at the end of the whole era of the Russian theater.

2. Could call Peter Naumovich Fomenko, who released two wonderful performances about happiness. He could have called the Declan Donnellan, who put Boris Godunov, and Anatoly Vasiliev, who put Mozart and Salieri. But from the masters, high -level performances were already expected. And there were no discoveries of new persons this year.

Alexander Sokolyansky, independent critic:

1. Almost unable to precedent, the departure of Valentin Nikolayevich Phomk from the post of artistic director of the Satire Theater for an honorary position. Almost - because on July 7, 1937 (according to some sources), exactly the same, half -drunk, Stanislavsky handed over the art theater to someone else's care.

2. In connection with this person of the year, it would be most logical to name the Minister of Culture Mikhail Shvydky; However, the soul of criticism requires something artistic. And therefore, you will have to recall the name of Evgeny Grishkovts, which have obsessed with their teeth, there is no other nearby. As for Peter Fomenko, he is not a figure, but for decades.

Alexey Filippov, Izvestia:

1. "One absolutely happy village."

2. The persons of the year, in my opinion, are not.

Olga Fuchs, "Evening Moscow":

1. "One absolutely happy village."

2. Konstantin Raikin in the "double bass". Peter Fomenko, who is now a creative take -off. Kama Ginkas, author of the play "Happy Prince".

Larisa Yusipova, "Vedomosti":

1. The project of the theater partnership "814" is a performance based on the play by Maxim Kurochkin "Kitchen" in the production of Oleg Menshikov.

2. Maxim Kurochkin and Oleg Menshikov.

Elena Yampolskaya, "New Izvestia":

1. "Boris Godunov" Declana Donnellan.

2. Oleg Tabakov, who headed the Moscow Art Theater.

Musical Theater

Maria Babalova, "New Izvestia":

1. Change of leadership at the Bolshoi Theater. Of the performances - "Rigoletto" with Dmitry Hvorostovsky in "New Opera".

2. Gennady Rozhdestvensky had every chance, but missed this opportunity.

Ekaterina Biryukova, "News Time":

1. Change in the Bolshoi Theater.

2. Johann Sebastian Bach.

Marina Baghdasaryan, "Echo of Moscow":

1. "Boris Godunov" of the International Confederation of Theater Unions. Actors Irina Grinev and Evgeny Mironov revealed in a new way. Tours of the troupe of Zhosev Naja. The play "Midnights" denied my belief that Kafka's prose does not fall on plastic. "Macbeth" shown on the "golden mask".

2. Peter Fomenko, who made two performances in one year, one is better than the other. A nimble "village" and lyrical "family happiness". In the musical theater - Dmitry Bertman, who put Lady Macbeth of Mtsensk district in Helicon. The director found a balance between chaste and unreasonable.

Anna Gordeeva, "General newspaper":

1. "The daughter of the pharaoh" in the big and the whole story with its cancellation and return. The performance gradually gains strength and changes for the better.

2. No one cannot be called a person of the year.

Leila Guchmazov, "Ballet":

1. "The daughter of the pharaoh" at the Bolshoi Theater and the presentation of "Golden Mask" Tatyana Baganova. The awarding of the Yekaterinburg choreographer is the first complete fact of recognition of modern dance.

Larisa Dolgacheva, "Culture":

1. Changes in the Bolshoi Theater, it is not yet clear to what the presenters are.

2. Mikhail Shvydka, who gave the go -ahead for all these changes. Opera director Dmitry Chernyakov, who has the masses and originality of thinking.

Vadim Zhuravlev, "Russian Journal", "Vedomosti":

1. I really want rumors that have excited all year about the merger of the Bolshoi and Mariinsky to come true. Since I don’t want to be poured on the Gennady of Christmas. Any of his work ended with a noisy scandal and the departure of the maestro. Gergiev’s energy is easily enough for two theater.

2. Young opera director-scena Dmitry Chernyakov. Thanks to such people, the Russian opera will finally shake the load of the school of Boris Pokrovsky. Antiperson is Dmitry Hvorostovsky, who used the Moscow public to prepare the Rigoletto party. Moreover, not too successful.

Natalia Zimyanina, "Evening Club":

1. The revival of Shostakovich’s opera “Lady Macbeth of Mtsensky Uyezd“ on the stage of Helikon-Opera ”and a change of leadership in the Bolshoi Theater, which is still unpleasantly disturbing.

2. Maurice Bezhar, Maya Plisetskaya in the issue "Ave Maya" on the anniversary evening of the ballerina; Nikolai Baskov in the restored "Evgenia Onegin" - theater in the theater. Maria Alexandrova in the party of Ramzei ("daughter of the pharaoh").

Natalya Kolesova, Independent Critic:

1. Show in Moscow Snow Show Vyacheslav Polunin.

2. Vyacheslav Polunin.

Maya Krylova, "Independent Gazeta":

1. "The afternoon rest of the faun" Jerome Robbins at the Bolshoi Theater. This twelve -minute masterpiece costs many large ballets. A stunning school for the artists of a large one, accustomed to one repertoire. Carmen Matz Eka on the anniversary evening of Plisetskaya. "Midnights" Joseph Naja.

2. Maya Plisetskaya. Over her attempts to extend artistic longevity laughed a lot. But she outplayed everyone, and her myth flourishes as before.

Tatyana Kuznetsova, "Kommersant":

1. Tour performance of the Naja troupe. "The daughter of the pharaoh" is a ballet and is useful for the troupe of a large one, and acceptable as a spectacle, and is successful as a marketing move. The performance revives the balletomanian traditions of the last century, when people went to the performer, to variation, to the act.

2. Antiperson of the year - Gennady Rozhdestvensky as a destroyer of Moscow stability. For two and a half years, the Bolshoi Ballet came to a satisfactory state and there were prospects. And now there are not only real plans, but also any intelligible projects. Rozhdestvensky, with his international career, is not a leader. And now, when the closure of the main building is nearing, this may have catastrophic consequences.

Peter Pospelov, Izvestia, Expert:

2. Mikhail Shvydka is a man from a government who speaks in a general language with art lovers, which is already a lot.

Yaroslav Sedov, "Results":

1-2. The events in the field of culture are not artistic discoveries, but administrative shares or successful commercial projects are a characteristic feature of recent times. Among the most loud ones are the re -referration of the Bolshoi Theater, the appointment of Tabakov to the post of Khat Khatov, a change in the rector of the Moscow Conservatory and the resignation of Phtock. The same thing - with the figure of the year. It is necessary to name Nikolai Baskov, despite the fact that there is no artistic event in his appearance in public, and popularity is not provided with talent, but by a successfully worked out mechanism of promotion. The failure of the year is the "daughter of the pharaoh" in the Bolshoi Theater.

Marina Timasheva, "Freedom":

1. "One absolutely happy village", "Family happiness" in the "Workshop of P. Fomenko", "Rigoletto" in the "New Opera".

2. Peter Fomenko, Evgeny Kolobov.

Alexander Firer, "Evening Club":

1. "The daughter of the pharaoh" in Bolshoi.

2. Plisetskaya in the issue "Ave Maya" on her anniversary evening.

Andrey Khripin, "Independent Gazeta":

1. The musical level in the "New Opera" is pleasant (the play "Hamlet" and the conductor work of Dmitry Volninikov). But the year was calm and unaccessed for revelations. Permanent disappointment is the progressive degradation of the Bolshoi Theater as an artistic organism. There is no way to clean these "Avgia stables." With the sign of the minus - the mutilated "abduction from Seral" Mozart to "Helicon" (director - Alexei Parin).

2. Dmitry Chernyakov - Nadezhda Opera Direct. Anna Kazakova in the party of Katerina Izmailova ("Helicon") and the promising Elena Manistina - Duenya (Musical Theater named after K.S. Stanislavsky and V.I.Nemirovich -Danchenko). The musical work of Dmitry Hvorostovsky in Rigoletto (New Opera) is good.

Elena Cheremnykh, "Kommersant":

1. "Rigoletto" with Dmitry Hvorostovsky in the title role. An unexpected change in the role of Dmitry Hvorostovsky from heroes-lover (such as Mozartov Don Juan) to the dramatic image of Rigoletto.

Natalya Shadrina, "Culture":

1. The change of power in the Bolshoi Theater is an event that made all a very strong impression on us. But it is still not clear - with the sign "plus" or with the sign "minus". Of the dramatic performances, I liked the "Play Schiller" in "Contemporary".

Prepared by Alena Zubova