The history of the Theatre of young Muscovites (SCI)it began in 1936 in the house of pioneers on Stopani. The Studio was managed from its first days by the teacher and Director N. S. Sukhotskaya.

During the great Patriotic war, front-line brigades were formed from “kruzhkovtsy” who went with children to military units. The first departure took place in August 1942… Young artists performed before the soldiers of the North-Western front. In total, during the war, the Studio troupe gave 40 concerts, and in 1945 more than 20 children were awarded the medal”for the defense of Moscow”.

In 1962, the Studio moved to a new modern Palace on the Lenin mountains, where a theater stage and rehearsal rooms equipped with all the necessary equipment were built.

In 1966, the Studio, having United its theater groups, became known as The theater of young Muscovites. Among the famous graduates of the Studio and theater are actors, Directors and screenwriters, such as: L. Nechaev, V. Andreev, R. Bykov, I. Kvasha, V. Ivanov, N. Gundareva, S. Nikonenko, V. Belyakovich and other excellent masters. Currently, the young Muscovites Theater offers acting courses, a puppet theater, a vocal Studio, and several other sections.

The last years of theater direction at the Moscow Palace of pioneers headed by renowned Director, teacher, member of the theatre Union of Russia, who comes from a famous theatrical family Sergey Viktorovich Rozov, a well-known theatrical world the plays in Russia, Germany, Latvia and other countries, as well as the good teaching work in Universities in the capital.

We were able to talk with Sergey Viktorovich and find out where this unique project came from and how the Theater of Young Muscovites lives today.

Sergey Viktorovich Rozov

Sergey Viktorovich, can we say that the Theater of Young Muscovites is not a serious theater?

No, of course not. We have a Studio school, and if it is a more serious language, it is taught in the framework of additional education programs. As part of this additional training, we put on our own performances and look at children, how they learn the material and how they have the skills of acting. However, we are happy that some of our productions are still considered Studio productions. The audience knows them and comes to them as to a big serious theater. It’s very nice.

— How long have You been doing this and how long has the children’s Studio been working?

The young Muscovites theater is one of the divisions of the theater and the creative laboratory that is located here. It is almost the same age as the Palace– that is, it is more than 80 years old. As for the people who are currently engaged in our project, there are different ways. Someone has been working here for more than 30 years, I am about 15, so I am not a veteran compared to others. The youngest teachers only work for a year or two. So in this regard, we have a very diverse and diverse team, which is very interesting.

—If you compare a drama theater with a puppet theater – what is more difficult? Directing, technique, etc.?

I can’t tell if it’s harder or easier. Everything has its own specifics. First, the performers of the puppet theater are still younger than in the drama theater. Secondly, the art of the puppet theater actor is built a little differently. A dramatic actor passes all emotions through himself, and a puppet theater actor tells the story more like a presenter, that is, he speaks on behalf of some characters. Depending on what the child is inclined to, we advise him the direction.

Сергей Викторович Розов

— Tell me, Do you have a more creative club, or do children come here consciously, already with the understanding that they want to become actors in the future?

Differently. Some work on the club system, and some are engaged here completely-from 6 to 18 years. Moreover, we find opportunities, when circumstances allow, so that our graduates do not leave us, and if there is interest – they come as consultants or continue to play performances in which they were involved before, or just as friends. There is no strict gradation here.

The interview was taken specifically for the publication “IZKULIS.RU

Interview author: Nikita Ushakov
The editor of the article: Catherine Svergun

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