Theatrical competition golden mask. Russian National Theater Award and Golden Mask Festival. Who funds and why it matters

We have already noticed that Kirill Serebrennikov, Alexei Malobrodsky, Sofia Apfelbaum and Yuri Itin received the main Golden Masks this year. About those arrested in the case of the "Seventh Studio" spoke from the stage Bolshoi Theater almost everyone, starting with the general director of the Maria Revyakina Prize and ending with Lev Dodin, who received the final "Mask" for the best dramatic performance of a large form. And every time the hall met it with unanimous approval.

The plot of the ceremony with texts by Valery Pecheikin and music by Alexei Nadzharov, dancing robots and flying airships, which was ingeniously staged by Nina Chusova, was dedicated to a future in which all people are engaged in art and no prizes are important anymore. But in fact, the 24th presentation of the national theater award "Golden Mask" lined up in an integral plot - you can call it civil, political or the plot of the unity of the theater community.

Drama

An emotional speech about the fact that the theater should not serve the request for entertainment was made by Alla Demidova, who was awarded for the best female role in the play “Akhmatova. A poem without a hero, where two directors appear - she and Kirill Serebrennikov.

Mikhail Patlasov, receiving an award for the best performance of a small form - "Chuk and Gek" Alexandrinsky Theater, - proposed silence to honor all the victims of political repression. The play itself is devoted to this theme, in which the fairy tale of Arkady Gaidar is mounted with documentary evidence about the Gulag.

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The jury awarded the Gogol Center team for their “bold search for the language of theatrical modernity” and wished the defendants the cause of freedom. I would like to note that in the conditions of the atmosphere of unity and support that was felt in the auditorium, one should not wish freedom to colleagues - one must continue to fight for it. One can only guess how the Kultura TV channel will deal with the civil statements of the laureates. To cut them out is to cut out half of the ceremony.

But the choice of winners in the two most high-profile dramatic categories sent the ceremony not into the future, but into the past. Out of 14 nominee performances in the Big Form category, the jury chose Lev Dodin's Fear, Love, Despair at MDT. Of the more than 20 contenders for the title of best director - Yuri Butusov ("Uncle Vanya" at the Lensoviet Theatre). It seems that young directors and the new theater were not considered at all. Neither the play "Gogol Center" "Kuzmin. Trout breaks the ice” directed by Vladislav Nastavshev. Nor Rosencrantz and Guildenstern by conceptualist Dmitry Volkostrelov. Even the nomination "Experiment" passed by the project "Away. Europe” by the German group Rimini Protokoll, perhaps the main newsmakers of the world theater of the new century. Both compositions of the jury - drama and musical theater - named the performance of the Uppsala Circus "I am Basho" with the participation of special children and disadvantaged teenagers as the best "Experiment". This is a recognition of the importance of social theater, but still more of an emotional choice - and in innovative theatrical works one would like to see the victory of thought.

On the other hand, the new theater makes its way not necessarily through directing. One of the main triumphs of the ceremony was the artist Ksenia Peretrukhina, who took the stage several times, including as best artist in the drama theater ("Breathing" in the Theater of Nations).

Ballet and dance

In the ballet nominations, the jury, as always, was torn between famous performances, brought to the Russian stage for the first time, and new author's choreography. The result of the dispute is a compromise.

Best Performance named "Suite in White", staged at the Moscow Musical Theater. Stanislavsky and Nemirovich-Danchenko (MAMT), and composed to music by Edouard Lalo by Sergei Lifar in 1943 for the Paris Opera. This fantastically beautiful snow-white ballet, a hymn to classical dance, was a manifesto of pure art - let the Nazis walk the streets, we are above this and do not deal with such disgusting things as politics. After the liberation of France, Lifar received in full for this position - but this ballet of unthinkable beauty, a little overdone with pathos, remained in history (well, when you defend an unrighteous idea, the style involuntarily grows). Suite in White appeared in the MAMT repertoire after the Paris Opera star Laurent Hilaire came to the post of artistic director of the ballet, and the meticulous Frenchman achieved exemplary quality in the reproduction of this text.

The best work of the choreographer was recognized as the work of the chief choreographer of the Perm Opera Alexei Miroshnichenko. Prokofiev's Cinderella (Teodor Currentzis was also awarded for it as the best conductor in ballet) is an example not of learning an old ballet, but of composing an original one: Miroshnichenko turned the fairy tale into the story of a young Bolshoi ballerina who met her French prince in 1957 in Moscow. Miroshnichenko clearly reproduced Prokofiev's lyrics and Prokofiev's sarcasm (in the scene of foreign tours, when the Bolshoi troupe rushes for shopping, the audience always groans with laughter) - and turned out to be the winner in a clear confrontation with Vyacheslav Samodurov, who directs the Yekaterinburg ballet. Well, it seems fun and inventive " snow queen”The jury left without awards only because the Yekaterinburg ballet has received awards for several years in a row and will obviously receive them in a year - the premiere of Paquita this season has become a sensation.

Last performance

The award for the best work of a playwright was presented to Dmitry Danilov for the play "The Man from Podolsk", which was staged at the Theater.doc. This performance was the last directorial work of Mikhail Ugarov, who died on April 2 this year. The auditorium honored the memory of the playwright, director and artistic director Theater.doc with a standing ovation - as well as the memory of the artistic director of the Moscow Art Theater Oleg Tabakov, who died shortly before him.

The Bolshoi ballerina Anastasia Stashkevich received the award for the best female role (for the excellent role of New Girl in Jerome Robbins' bloodthirsty ballet "The Cage" - the dancer, becoming an insect, almost liquidated the opposite sex with a rumbling).

Nurbek Batulla was awarded for the best male role - the Kazan artist was the main and only dancer in the play "The Call of the Beginning", a choreographic anthem of the ancient Tatar literature.

Out of many modern dance performances, the jury chose Tatyana Baganova's "Imago Trap" (Yekaterinburg's "Provincial Dances"). Apparently, the story about the dragonfly and the ant seemed to the venerable jury the most understandable - not like some plotless avant-garde experiments.

Opera and musical

There was no doubt that the music jury would award Benjamin Britten's opera Billy Budd with extraordinary depth and humanity. The only question was how many nominations this co-production of the Bolshoi Theater and the English National Opera would win. The jury showed a sense of proportion: "Billy Budd" was named the best performance in the opera, and the recognition of Paul Steinberg as the best artist strengthened the award. Although the other participants in this performance also confidently contested the awards, the jury did not forget about other successes in the opera genre. The Yekaterinburg performance "Passenger" was awarded in the person of conductor Oliver von Dokhnanyi and actress Nadezhda Babintseva, "Faust" from the "New Opera" - in the person of bass Yevgeny Stavinsky, and "Chaadsky" from "Helikon Opera" - of course, in the person of director Kirill Serebrennikov. The composing competition this year did not have an unconditional favorite. Alexey Syumak's Perm Cantos was chosen, duplicating the composer's victory with a special prize for the entire performance team. The soul of this team was the stage designer Ksenia Peretrukhina, she also took the Golden Mask as the best artist in drama. Receiving both "Masks", Peretrukhina spoke so penetratingly about art and again about freedom that the ceremony found a true heroine. The Russian theater made signs of high recognition to one of its young leaders.

In the nomination "Operetta / musical" this year did not compete theater companies leading in the entertainment business. The Taganka Theater's performance "Sweeney Todd, the maniac barber of Fleet Street" became the winner. The performance itself was recognized as the best in the genre, the artist Petr Markin and director Alexei Frandetti received personal awards.

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24th National Theater Award "Golden Mask"

Photo: RIA Novosti

In 1993, the Union of Theater Workers came up with its own annual city-wide award, immodestly calling it the Golden Mask. The head of the STD was then Mikhail Ulyanov, who insisted that professionalism, commitment to school, and proficiency should be the main criterion. One way or another, there was no talk about the festival at all, and for the first time the prizes were awarded, moreover, only in 1995: 7 masks, which were claimed only by Moscow figures. And the history of the festival itself begins with the appearance at the helm in 1996 of Eduard Boyakov, who brought together a production dream team and turned the STD behind-the-scenes event into a federal-scale festival, and the Golden Mask into the most prestigious award of the Russian theater. Actually, the history of the festival is chronologically divided exactly in half: before Boyakov and after. Today's festival, whose director has been Maria Revyakina for 9 years, in fact continues the implementation of the algorithms laid down by Boyakov. He himself, since he left the Golden Mask, refuses any comments on this topic.

public relations director from 1998 to 2005

“Oh, it was a happy time! The first years of the festival are a very special team spirit, everyone did one thing, rooted for it with their souls for real, not sparing themselves. There were probably 10 of us. Edward set the tone for all this, of course. The structure of the current festival was laid just at the time when it was reborn from a Moscow award into a national one.

I joined the team in the year of default, when funding was minimal, sponsorship was almost impossible. I remember how, on my way to work, I went to the Flowers kiosk near the metro - we needed flowers for the ceremony - and asked for the phone number of the management. It turned out to be some kind of wholesale flower shop, I told them about the award, so we got free flowers at the presentation. A lot was done according to this principle, my friends printed a booklet, everything was enthusiastic. And when I first saw the play "Cynics" from Minusinsk in Moscow, I realized that we were doing a very big and important work.
When Edward left, most of the team followed. Why did he leave? He outgrew it. He wanted some other projects, he understood that he no longer had enough time to manage the festival. And Maria Evseevna Revyakina fully corresponded to Boyakov's ideas about who could lead the growing festival instead.

What is the festival

Konstantin Arkadyevich Raikin Photo: Screenshot from the video "How to watch the performance?" From season to season, the poster of the festival is overgrown with new programs and subprograms, and it is almost impossible not to get lost in all this diversity by this year. For the last three years, the structure is as follows: all performances (there are more than sixty of them) are divided into competitive and out-of-competition programs. Everything is simple with the competition - these are performances of all varieties from all over the country, nominated for an award in one category or another: "Drama" and "Dolls", "Ballet" and "Opera", "Dance" and "Musical", new names and masters , metropolitan theaters on a par with provincial ones.

The out-of-competition program, in turn, consists of the following major programs: “Mask Plus” (all the most interesting of those not included in the competition), “New Play” (formerly “New Drama”, within which today they show the achievements of political, social and documentary theater from all over the world), several foreign performances (from this year under the title "Context") and "Premieres of the Mariinsky Theater in Moscow". There are more this year thematic selection competitive children's performances under the general name "Children's Weekend". The chronological framework gradually included three months - from the beginning of February to the end of April. It all ends with the presentation of awards, get to this evening by invitation.

head of the press service

“Recently, the festival has only expanded. The principle was invented by Boyakov, and it has not changed: there is a core - a show of performances nominated for the Golden Mask - on which various additional programs and projects can be strung. There are approximately 30 people on the team. It is clear that during the festival this figure grows many times. The number of people grew in parallel with the growth of the festival - at first there was only a festival and an award, and already in 2001 we announced several new major Golden Mask programs at once. This system allows you to experiment. At different times, projects were carried out that are no longer there: the stock exchange Russian theaters"PRO-Theater", the club's musical program Goldenmask Club, literally this year completed the program "Legendary Performances and Names". Of the new this year, they came up with the program “Context. Actual foreign performances”; in the past - the "Institute of the Theater", from which, of course, one gradually wants to turn into a real educational institution, large and serious.

Who is involved

The festival brings about 5,000 participants to Moscow every year. Petersburg, Novosibirsk, Perm, Krasnoyarsk, Yekaterinburg - in addition to the usual cities participating in the Mask, usually rare guests from Lysva, Minusinsk, Prokopyevsk or Magnitogorsk attract special attention. Imported theaters are featured in " new play” and in the “Context”. This year, a record number of performances - 61 - participate in the program in total. Any theater group in the country can participate in the competition by sending an application properly and on time. All applications are considered by experts in most cases live, in exceptional cases - on video. But even the best performance cannot be nominated against the will of the theatre's artistic management. A textbook example: not a single performance of "Practice" has ever participated in the "Golden Mask" competition - only because of the lack of applications from the theater.

What are the nominations and why do they change

Photo: Andrey Tulnov

There are more and more nominations every year. The latest categories are Lighting and Costume Design (since 2008) and Supporting Roles (since 2013). According to The Golden Mask, dramatic performances are of two types: large and small, while musical performances are divided into opera and ballet, without any connection with the size of the auditorium. And if the number of viewers really dictates special rules, then the difference between the awards for the best performance and the best director is really elusive. There is no nomination "Theatre for Children"; that is, this year, for example, the "Snow Queen" of the Krasnoyarsk Youth Theater was nominated in the nomination "Drama / Great Form" along with Bogomolov's "Ideal Husband". With a separate nomination for the work of a composer, it is surprising that the profession of a playwright is not included in the competition list. Conductor in opera, in operetta and ballet at the same time - these are three different nominations. Comic associations are invariably evoked by the wording "Dolls / Actor's Work" - implying, of course, not the doll itself, but the person controlling it. Curious transformations are taking place with the most controversial competition, which was formerly called "Innovation", and later - "Experiment". Before the name change, the St. Petersburg artists of AKHE competed for the award in this category with the Moscow artist Dmitry Krymov, after - performances for the disabled and alcoholics with performances by Volkostrelov.

Who determines the winners and by what criteria

Photo: Andrey Tulnov

Experts select applications and determine the list of nominees, the jury decides the fate of the awards. Experts - exclusively critics - are divided into two groups: musical theater and drama ("Dolls" and "Experiment", as it happens, refer to drama). Their task is in a difficult compromise between presenting an objective cut of the theatrical season, and collecting the very best. The management of the festival does not limit experts in anything, either aesthetically or quantitatively. Therefore, the selection criteria are quite universal: a convincing picture, a decent professional level, and overall representativeness. Every year, the expert council is updated in order to maintain the sobriety of the collective view. The jury, in turn, consists mainly of practitioners of all types of theater, whose works this year do not participate in the competition. During the festival, they arrange discussions several times, where, for example, ballet dancers listen to the opinion of opera, and academics - to contemporary dance choreographers and vice versa. Thus, the evaluation criteria of the jury lie, as Mikhail Ulyanov bequeathed at the very beginning, in a professional plane, first of all, skill is evaluated. In the final, a secret ballot takes place, and until the announcement of the winners, the result is known only to the chairmen of the jury and the person sealing the ceremonial envelope. Lists of experts and jury members are published on the award website.

Chairman of the Expert Council of the Drama and Puppet Theater in 2014

“I worked as an expert for the Golden Mask in different years, sometimes I had to choose between shades of gray, sometimes my colleagues said:“ An unfortunate fate brought us together. And the past year, when I was the head of the expert council, was exceptional. Whatever theater you come to, there is an upsurge everywhere. We spent a year in a state close to euphoria. There was a sense of belonging to the heyday of the theater. Moreover, the theater of psychological realism also flourished, which had long been morally obsolete - performances appeared that justified both the method and the fact that most theaters adhere to it. A new direction has appeared in the theatrical search; a trend such as social theater has taken shape. In a word, everything living in the theater experienced a real take-off.

What is it connected with? Maybe because the theater is a social phenomenon, the performance is an incident between the stage and the auditorium. Today it is clearer than five, ten years ago that theater is the art of communication. Two years ago, the country experienced a social upsurge. Hopes arose for the emergence of a civil society in our country. Bolotnaya, Sakharova, self-organization of people to save the victims in Krymsk - the theater experienced an upsurge simultaneously with the upsurge of civil society. At that moment it was perceived as a public forum. A place where meanings are created and trust is born. We came to watch the premieres - and found ourselves in the epicenter of public life. It was a strong feeling: the theater, which until recently seemed to be a decayed outskirts modern culture suddenly became the chief of the arts.

Disputes in the expert council began only in the final, when we had to refuse certain performances so that the competition program would not swell and be feasible for the jury. Nevertheless, many worthy performances reached Moscow - we recommended them to the Mask Plus program. Now critics watch these performances - "Vassa Zheleznova" from Minusinsk, "Anna Karenina" from Khabarovsk, "Quiet Don" by Grigory Kozlov from St. Petersburg - and wonder why they are not in the competition. But on the whole we were unanimous. In addition, our group was selected from exceptionally pleasant and competent people. We spent a year traveling around the country and discussing amazing performances. In general, we could only envy.

Who funds and why it matters

The budget of the festival approximately equally consists of state and sponsorship money - this is the result of agreements won by time. The arrival of Russian theaters, for example, is covered by the Ministry of Culture, while the generous participation, relatively speaking, of Sberbank makes it possible to bring a number of foreign masterpieces to Russia and print a booklet, and the Moscow government to hold an awards ceremony and notify the population of the city. The Directorate uses common barter schemes with various partners from the sphere of logistics, hotel service, etc.; and, of course, the most gratifying is the constant support of disinterested patrons. None of these sources of funding can guarantee their own permanence, while the refusal to participate in any of them threatens the festival with the cessation of existence.

What is the reward

Photo: courtesy of the Golden Mask

Laureates do not receive any cash prizes, only a mask; this is the original attitude, not out of economy, but out of ethical considerations. The design was invented by the famous stage designer, co-author the best works Mark Zakharov Oleg Sheintsis. The presented item has not undergone any rebranding in the history of the award: it is a souvenir item on a mirror surface in a frame. The statue is a face in a masquerade mask (not everyone notices a double-headed eagle here), judging by the shape of the lips, female and, perhaps, Japanese. The management chose to keep the composition of the porcelain-looking mask secret, hinting only at the serious cost of its manufacture.

Who gets the "Masks" most often

Photo: RIA Novosti

The myth that the festival honors the achievements of the two capitals by focusing on non-competitive regions (the second myth) only out of burdensome necessity, collapses once again on statistics. For 20 years, the Golden Masks have adorned the walls of theaters in nearly 30 cities across the country. Moscow and St. Petersburg, like Russia and Norway at the Winter Olympics, naturally and invariably share the main number of awards among themselves, periodically giving way to masterpieces from Yekaterinburg or Novosibirsk. There are also sudden revelations, like the Omsk Drama Theater's play Woman in the Sands, which won in 1997 in three categories. There are fewer unexpected things in the museum theater - the Mariinsky Theater is steadily leading, followed by the Moscow Theater. Stanislavsky and Nemirovich-Danchenko with the Bolshoi Theatre. The regions have their own undisputed champions - Yekaterinburg, Novosibirsk and Perm, which is gaining momentum. And the figures of the musical theater, in general, compete from year to year the same - Chernyakov (7 masks) with Titel (3), Currentzis (3) with Gergiev (4). In contemporary dance, Kostroma from Dialogue Dance, Provincial Dances from Yekaterinburg and the Chelyabinsk Modern Dance Theater rule the ball, while Cannon Dance from St. Petersburg and the Moscow Ballet Moscow play the role of catching up. There are practically no obvious favorites in the drama theater. Nominally, most awards for the best performance and best director were sent to the Pyotr Fomenko Workshop and MDT; Petr Fomenko and Lev Dodin, respectively. Not a single actress has yet received more than one mask, among the actors of constancy in this sense there are more - the works of Yevgeny Mironov and Konstantin Raikin were recognized as the best three times. In ballet, only one person can boast of such an achievement - prima ballerina Diana Vishneva. Over the four years of the existence of the nomination "Lighting Designer" Damir Ismagilov, in constant competition with Gleb Filshtinsky, has been the winner four times; despite the fact that this year, for the first time, none of them participate in the competition - finally, new names appeared in a decent amount. The puppet theater has its own curious statistics: if the Ulger theater from Ulan-Ude is nominated, then it will definitely take the award, even if new job St. Petersburg master Ruslan Kudashov or Moscow hooligan Arseny Epelbaum.

Beyond the festival

The Moscow festival and the presentation of awards is only half of the Golden Mask. The second half - the annual tour of the best Russian performances throughout the country and for several years in the Baltic countries. In Riga, Tallinn and Vilnius, for eight years from the first visit, they managed to get used to the festival as if they were their own. From time to time, the "Golden Mask" appears to other European countries like Poland and Israel, thus forming in the local perception an image of modern Russian theater close to reality. The direct way to the export of domestic theater to the world is the Russian Case program specially designed for foreign experts. Fifty critics, curators, art directors of festivals from all over the world come to Moscow for a month to watch the best of Russia. Thus, for example, the Voronezh "14 Red Cabins" may be included in the program of the Serbian festival Bitef or the Vienna festival next year.

Ceremony

A rare moment when in one place you can meet the whole world of the national theater - from Tsiskaridze and Tabakov to Ugarov and Volkostrelov. In addition to the only incident that went beyond the theater community - cut from the air speeches by Kirill Serebrennikov in 2013 - out of the ordinary events do not happen here. Often, in an intriguing envelope, a message is found from the jury that it was decided not to award awards in this nomination - as, for example, three puppet directors were left with a nose due to their small number. There are also curiosities - in 2011, only one participant, Boris Nodelman from the Yekaterinburg Musical Comedy, was presented in the nomination "Operetta Conductor", and to the general rejoicing, the jury did not find a reason not to present the award.

About 50 awards were presented at the Golden Mask theater award ceremony, which took place on Wednesday at the Stanislavsky and Nemirovich-Danchenko Musical Theater in Moscow.

Conductor Teodor Currentzis, actor Danila Kozlovsky and director Andrei Moguchy did not leave without awards - the best director for the second year in a row.

The Golden Mask 2017 festival featured 74 performances from 25 Russian cities. The number of nominees for the national theater award was a record - 213 directors, actors, artists, composers, playwrights.

Among those who received the largest number of nominations are the Moscow Bolshoi Theatre, the Opera and Ballet Theater of Yekaterinburg, the Maly Drama and Bolshoi Drama Theaters of St. Petersburg, the Moscow City Council Theater and the Red Torch (Novosibirsk).

The ceremony was attended by director of the Bolshoi Theater Vladimir Urin, famous theater director Robert Sturua, chief director of RAMT Alexei Borodin, Marina and Dmitry Brusnikin, head of the Union of Theater Workers Alexander Kalyagin, actress of the Moscow City Council Theater People's Artist of Russia Nina Drobysheva.

Before the start of the awards ceremony, the director of the Golden Mask, Maria Revyakina, asked the audience to remember Georgy Taratorkin, who headed the award for more than 20 years and died in 2017, with a minute of silence.

Drama

The main prize for the best dramatic performance of a large form was given to the "Russian Romance" of the Mayakovsky Theater. And for the second year in a row, the jury recognizes Andrey Moguchy as the best director, who staged the play “Thunderstorm” at the Tovstonogov Bolshoi Drama Theater. The award jury also awarded “Magadan/Cabaret” of the theater “Near the Stanislavsky House” as the best dramatic performance of a small form.

“I would like to take the opportunity to thank my dear people. First of all, this is my teacher, director of the Maly Drama Theater Lev Dodin, who has some kind of power, strength, inner drama not to put “Hamlet” in a comfortable form, but to ask questions in it that cannot be left unanswered today…

I want to say thanks to the family, parents and mother, who often asked me where her mask was, and now she has it, ”

Kozlovsky said at the award ceremony.

The best dramatic actress was Evgenia Simonova, who played Sophia Tolstaya in the play “Russian Romance” by the Mayakovsky Theater. The award for the best supporting actress in a drama went to Elena Nemzer from the Alexandrinsky Theater for the role of Pantaloon in the production of The Raven, and the male award went to Holgen Münzenmaier, who played the role of the Deacon in the play Once Upon a Time by the Sharypovo Drama Theater.

Opera

“I am a happy person, because I am a musician, and I strive to be the best both as a musician and as a person… The purpose of creativity is to bring happiness to people”,

Said Currentzis at the award ceremony.

According to the jury, the best director in the opera was Richard Jones, who staged the opera Rodelinda at the Bolshoi Theatre. Rodelinda was also recognized as the best performance in the opera.

Nadezhda Pavlova, who played Violetta Valery in La Traviata at the Tchaikovsky Opera and Ballet Theater in Perm, received the Best Actress award in opera, and Liparit Avetisyan won the Best Actor award for Chevalier de Grieux in the operetta Manon. musical theater named after Stanislavsky and Nemirovich-Danchenko.

Operetta and musical

The winner of the award in the nomination “Best Performance in Operetta/Musical” was “The Binduzhnik and the King” of the Theater for Young Spectators in Krasnoyarsk. In the nomination “Best Actress in a Musical Operetta”, the winner was Maria Biork for her role as Sonya in the play “Crime and Punishment” by the Musical Theatre, directed by Andrei Konchalovsky. Also, the composer Eduard Artemyev was awarded a prize for his work in this performance.

"Golden Mask" for the best male role in this category was Viktor Krivonos for his role in the play "White. Petersburg” of the Musical Comedy Theater in St. Petersburg.

The award for Best Supporting Actor in an Operetta/Musical went to Vladimir Galchenko from the Gorky Drama Theater in Samara. The best director in operetta/musical was Roman Feodori from the Theater for Young Spectators in Krasnoyarsk, and the conductor was Andrey Alekseev from the Theater of Musical Comedy in St. Petersburg.

Ballet

The prize for the best female role in ballet and modern dance was given to Victoria Tereshkina for her role in the play “Violin Concerto #2” Mariinsky Theater, and for the best male role in ballet - Igor Bulitsyn, who played Mercutio in "Romeo and Juliet" at the Opera and Ballet Theater in Yekaterinburg.

Pavel Klinichev became the best conductor in ballet for the Bolshoi Theater's Ondine, which, however, was not an intrigue, since he was the only contender for the award in this nomination for three different performances.

The jury recognized the play “Violin Concerto #2” by Anton Pimonov at the Mariinsky Theater as the best work of a choreographer/choreographer in ballet and modern dance.

The best performance in modern dance was the performance “All Ways Lead to the North” by the Ballet Moscow Theater. At the same time, the prize for the best ballet performance was awarded to the Opera and Ballet Theater in Yekaterinburg for Romeo and Juliet.

Special prizes

Award for Outstanding Contribution to the Development theatrical art” were awarded the artistic director of the Dagestan Kumyk Music and Drama Theater Aigum Aigumov, the soloist of the Mariinsky Theater Irina Bogacheva, National artist Russia and Yakutia Andrey Borisov, Georgian director, screenwriter, playwright, artist, artistic director of the Tbilisi Marionette Theater Rezo Gabriadze, actor and director of the Omsk Musical Theater Georgy Kotov, actor of the Alexandrinsky Theater Nikolai Marton, artistic director of the Moscow Art Theater. Chekhov and "Snuffboxes" Oleg Tabakov and actor of the Vakhtangov Theater Vladimir Etush.

The Honorary Prize in "For Supporting the Theatrical Art of Russia" was awarded to the "Art, Science and Sport" charity foundation, founded in 2006 by Russian businessman and philanthropist Alisher Usmanov.

The Golden Mask Russian National Theater Award Ceremony was held on the New Stage of the Bolshoi Theatre. The winners were selected from 832 performances staged in more than 100 Russian cities. The decision was made by a two-member jury: the Drama and Puppet Theater chaired by theater expert and critic Alexei Bartoshevich and the Musical Theater led by conductor Pavel Bubelnikov.

In the nomination "Operetta - musical" the winner was "Sweeney Todd, the Maniac Barber of Fleet Street" by Moscow's Taganka Theatre. He received two more awards: the best male role - the actor Peter Markin, the director's work - Alexei Frandetti. Anastasia Ermolaeva was named the best performer of the female role, who played in the production of "Mikado, or the City of Titipu" by the Musical Comedy Theater from Yekaterinburg. The Musical Theater from Novosibirsk took two awards - for the work of the conductor (Alexander Novikov) and the best supporting role (Evgeny Ogneva) in the musical "Nameless Star".

Category "Ballet" the best was "Suite in White" of the Musical Theater named after Stanislavsky and Nemirovich-Danchenko. The best performance in Modern dance called "Imago-trap" of the Yekaterinburg theater "Provincial Dances". Production of the Perm Opera and Ballet Theater named after. P.I. Tchaikovsky's "Cinderella" was noted in the nominations "The work of the conductor" (Teodor Currentzis) and "The work of the choreographer-choreographer" (Aleksey Miroshnichenko). The Golden Mask for male and female roles was given to Nurbek Batulla (The Call of the Beginning, Kazan) and Anastasia Stashkevich (The Cage, Bolshoi Theatre).

A scene from Sweeney Todd, the Maniac Barber of Fleet Street. Moscow Taganka Theater. Photo: tagankateatr.ru

A scene from the operetta The Mikado, or the City of Titipu. Sverdlovsk State Academic Theater of Musical Comedy, Yekaterinburg. Photo: rewizor.ru

A scene from the play "Imago Trap". Theater "Provincial Dances", Yekaterinburg. Photo: kudago.com

Best Opera- "Billy Budd" Bolshoi Theatre. The work of the director in the opera is Kirill Serebrennikov for the production of Chaadsky at the Helikon-Opera. The work of the conductor - Oliver von Dohany in the opera "The Passenger" of the Opera and Ballet Theater of Yekaterinburg, and the actress of this theater Nadezhda Babintseva received the prize for the best female role. Yevgeny Stavinsky was noted in the male role - he performed Mephistopheles in Faust at the Novaya Opera Theater. E.V. Kolobova.

the best dramatic performance big shape was the production of "Fear Love Despair" of the Maly Drama Theater - Theater of Europe (director Lev Dodin), and small form- "Chuk and Gek" of the Alexandrinsky Theater (director Mikhail Patlasov). For the female role, Alla Demidova was noted (“Akhmatova. Poem without a Hero”, “Gogol Center”), for the male role - Vyacheslav Kovalev (“Exile”, Theater named after V. Mayakovsky). Best playwright - Dmitry Danilov ("The Man from Podolsk") of the Moscow "Theater.doc", director - Yuri Butusov ("Uncle Vanya") of the Theater. Lensoviet.

A scene from the opera The Passenger. Yekaterinburg Opera and Ballet Theatre. Photo: belcanto.ru

A scene from the play "Fear, Love, Despair." Academic Small Drama Theater - Theater of Europe, St. Petersburg. Photo: mdt-dodin.ru

A scene from the opera Billy Budd. State Academic Bolshoi Theatre, Moscow. Photo: bolshoi.ru

In the nomination "Dolls" won the performance "And the day lasts longer than a century" creative association"Taratumb" and the Museum of the History of the Gulag. They also noted the work of artists Emil Kapelyush and Yulia Mikheeva (The Snow Maiden, Kostroma), director Vladimir Biryukov (Parrot and Brooms, Penza), actors of the Tomsk Puppet Theater and actor Buffoon named after. R. Vinderman.

Special awards from the jury of the Drama Theater and the Puppet Theater were awarded to the Khabarovsk Theater for Young Spectators and the Moscow Gogol Center. Special Jury Prizes of the Musical Theater - the play "Cantos" of the Perm Opera and Ballet Theater named after. P.I. Tchaikovsky and the creative duet of the play "Manon Lescaut" at the Bolshoi Theater - Anna Netrebko and Yusif Eyvazov. In the "Experiment" competition, the performance "I BASYO" by the St. Petersburg "Upsala Circus" was named the best.

This year, for the first time in the history of the award, two award ceremonies were held. The first took place on March 27, at. In the White Foyer of the Historical Stage of the Bolshoi Theater, 12 laureates were awarded in the honorary nomination "For outstanding contribution to the development of theatrical art in Russia." The Golden Masks were awarded to Valentin Gaft, Alexander Shirvindt, Ivan Krasko, Vladimir Recepter, Nikolai Boyarchikov, Alla Pokrovskaya, Galina Anisimova, Vera Kuzmina, Alla Zhuravleva, Anatoly Gladnev and Yuri Bure-Nebelsen.