The idea is to create a private theater. amateur theaters

Independent, or non-state, or - more precisely - private, theaters appeared in Russia in the late eighties. Since then, their number has been growing. In 2011, even the organization "Commonwealth of non-state theaters of St. Petersburg" was created, uniting about 40 participants. There are about 20 completely private theaters in Moscow, but obviously not all of them are taken into account. There are private theaters in the provinces, but how many there are in total is unknown, statistics are not kept. There is evidence that only 18.8% of cities and urban settlements in Russia have their own theaters, there are 3.2 theaters per 1 million inhabitants, which is significantly less than in European countries. (In Austria, the same figure is 24, in Sweden - 13.6, in France - 9.6, in the UK - 8.9, in Italy - 5.9. The data are taken from the "Concept for the long-term development of theatrical business in Russian Federation for the period up to 2020.") However, if in Europe the majority of theater troupes are private, then in Russia the main form of theatrical business is still state and municipal repertory theaters.

Today private theater practically cannot exist without state support, which is carried out in the form of subsidies or lease incentives. This year, for example, 43 private theaters in St. Petersburg received subsidies worth 35 million rubles, but which theater to support and in what amount is decided by the expert council under the Department of Culture. Say little known theater critics, but having its own premises allocated by the city in 1996, the "Russian Enterprise named after Andrey Mironov" once again receives the most - 9.5 million rubles, while the bulk of the teams are content with the amount from 200 to 500 thousand. It is not always possible to understand what the expert council is guided by when allocating subsidies, although, of course, fame, press reviews, prizes at festivals matter.

Most private theaters do not have their own venue. It is very expensive to maintain a large room with its own stage, so a private theater most often rents a hall for performances. The issue of rent is one of the most painful, it is perhaps the biggest expense item, so private theaters are asking the state to create a system of open areas in places accessible to the public with preferential social payments.

It is believed that in Moscow a social benefit or even a state subsidy for premises is easier to obtain than in St. Petersburg. However, in general, this issue has not been resolved, there are promises, by the grace of officials, some theater can get premises for free, but there is no single, common for all, independent of momentary moods of power, intelligible scheme of relations between private theater and the state. This makes the independence of the theaters very conditional, since, as can be seen from the example of the Theatre. doc”, at any moment the deprivation of such support endangers the existence of the institution itself.

Little known to theater critics, but having its own premises allocated by the city in 1996, the Andrei Mironov Russian Entreprise once again receives the most - 9.5 million rubles.

The situation with the Theater. doc exacerbated a longstanding conflict. The point is that the theatre. doc” was, in fact, an open platform for many independent initiatives. Since 2002, the theater has been renting a basement, first from a housing association, then from the city, relatively recently having achieved a direct lease. Thanks to the presence own stage any playwright, actor, director could bring to the Theater. doc» your project and, if it turned out to be interesting for the management, get the opportunity to play on its stage. The small money received from the audience was divided among the participants, giving a part for the maintenance and service of the premises. There was no question of earning at all, they played for the love of art. Managers often paid rent from their own funds. More recently, Theatre. doc”began to receive grants and subsidies from the Ministry of Culture of the Russian Federation, from the Moscow government. However, in October 2014, the director and one of the founders of the theater, Elena Gremina, received a message about the early termination of the lease. After 12 years of conflict-free existence. Now the theater is looking for a new venue, hoping to do without state aid, which, as it turns out, can always turn out to be an instrument of pressure. Gremina would like to find a new space to rent, “ideally with a reduction factor that is legal for all NGOs.”

Assistance to theaters is provided all over the world. Theatrical art today, as a rule, is economically unprofitable. In European countries, the municipality often provides free space to non-commercial theaters, there are laws for institutions social significance, which allow you to get a benefit on utility bills. And so that there is no direct dependence on the authorities, the principle “ outstretched hand", when money from the treasury is allocated by a special public organizations, and they distribute the funds to the teams. In the US, there is a different system: theaters are supported there through a system of tax incentives. charitable foundations and individual donors.

There are very few philanthropists in Russia, there is no tax benefit for them, but often there is an opinion of the authorities, according to which something requires immediate and generous support, and something is not worth supporting at all. There is one private repertory theater in Moscow, "Studio theatrical art"under the leadership of Sergei Zhenovach, it is maintained by businessman Sergei Gordeev, who built a beautiful building and for many years did not interfere in theatrical politics proper. But now he also has financial difficulties, and he wants to increase the income of the theater, which, as a rule, comes at the expense of artistic quality.

The author's, innovative, search theater has no chance of profitability. The public today obviously prefers the classics, traditional art, familiar names. The Russian entreprise is based on this: the producer collects famous artists, takes a commercially successful, preferably funny play, a strong professional director and takes this performance on tour, mainly in the provinces, while tickets are being bought.

Repertory private theaters are mostly children's and puppet theaters. They are relatively cheap, ready to play in schools, kindergartens, scenery and costumes fit in a car, and for a half-hour performance you can get from 20 to 90 thousand rubles, depending on the director’s ability to “negotiate”. For many artists, corporate parties are good earnings. For example, one street theater from St. Petersburg divided its activities in this way: in Russia they organize holidays, and in Europe they go to festivals with their performances. Another way to earn money is for children theater studios, acting courses for adults, trainings and participation in city holidays. Thus, small, mobile, oriented to the mass, inexperienced public theaters and individual private performances survive and earn money on their own.

Theater circles and amateur theaters

Soldier's theaters

Soldiers' theaters existed in large garrisons. Appeared in the XVIII century. In the 18th century, performances were staged for officers, at the direction of their superiors.

In the 19th century, plays were staged "for one's own pleasure and for the amusement of common people". The performances of the soldiers' theaters were attended by the lower military ranks, the townspeople, poor merchants, commoners, and peasants.

The repertoire is traditional, folk. As a rule, three or four plays were staged. The most common comedies are "King Maximilian", "King Herod", "The Boat". The texts of the religious plays "King Maximilian" and "King Herod" "are preserved by tradition." The “Boat” poeticized free robbery life. Other performances: “Kedril the Glutton”, “The Amusing Guyar”, the opera “The Miller is a Sorcerer, a Deceiver and a Matchmaker”, etc.

Cantonists had their own theaters.

Private theaters

Along with the development of imperial theaters in the 19th century, private theaters became widespread. They were usually led professional actors and directors educated in theater schools, included in the system of imperial theaters, but looking for their own way in art, gone from the official direction of the imperial theaters, in which for a long time no innovations were allowed, and the roles were transferred from some actors to coming young ones in exactly the same performance interpretations.

Private provincial enterprises

Provincial theatrical enterprises played a huge role in cultural life Russian province. In the 19th century, they became great amount. These were at first touring troupes. Gradually, some of them acquired stationary premises (especially for the troupe of entrepreneur P. A. Sokolov, in 1843-1845 the first theater building in the Urals was built, in Yekaterinburg - the First City Theater (Yekaterinburg)). Traveling troupes are described in Sholom Aleichem's novel "The Wandering Stars" - the novel is devoted to Jewish troupes, but just as well there were any others in multinational country. Unlike the capital's theaters, they also carried an educational function, and much more than their main purpose. high art. They essentially started there theater culture. But at the same time, they showed the vicious policy of centralization inherent in Russia: the province seemed to be considered a second-class place. The very word "provinciality" in the Russian language acquired a contemptuous connotation, becoming a synonym for semi-educated, low cultural and spiritual level. The lower strata of the Russian provinces in XIX century were often generally illiterate even after the abolition of serfdom.

Worked in provincial enterprises outstanding actors, such as, for example, Nikolai Khrisanfovich Rybakov, to whom Ostrovsky dedicated the role of Neschastlivtsev (the play "Forest"); they served as a springboard for actors and directors, where they could practice before working in the "real" metropolitan theaters (for example, the artist of the Maly Theater S. V. Shumsky in 1847 left for a provincial Odessa theater practice in the performance of leading roles and, having practiced and gained some experience, returned to Moscow); with them began their careers, many who later became famous figures of Russian culture, who later went to the imperial stages - workers in provincial private theaters could not have the benefits that were due to the artists of the imperial theaters, in particular, state actors, leaving the stage in old age, were provided with a life pension. Such a centralized system, divided into capitals and provinces, had a detrimental effect and continues to affect the entire history of the country's development, not only its culture.

In 2016, a new independent theater "Misanthrope" appeared in Kyiv. The team has already been noted for high-profile multi-genre productions of "Three Sisters" and "Invitation to the Execution". Platfor.ma spoke with one of the project's ideologists, composer Dmitry Saratsky, to prepare step by step instructions to create an independent theater in Ukraine.

Understand that you need theater.

Creating your own theater begins, first of all, with the thought of the impossibility of working differently. When you understand that there is no other way and, in order to realize your creative ideas, none of the existing sites suits you - you start to think, maybe you should create something of your own? To be independent of market conditions, directors, producers, government and other "uncreative" factors. Well, then - it's a matter of will and the presence of like-minded people - because this path is very difficult and completely unpredictable.

Make sure the law is not against your theatre.

Today, registration is not such an important aspect of existence. theater group. You can work as an emergency or TOV, you can join already existing theater and be a kind of “division”, or you can do nothing at all and just play performances. The only thing that needs some legal justification is the sale of tickets. But here, too, everything is quite simple: it is enough to conclude an agreement with one of the many ticket operators and sell tickets through them.

If you work as a FOP or TOV, then you do not have to prove that you are a theater, and not something else - the viewer himself will evaluate your work, but if you want to somehow join the state or municipal budgets, then here you will have to face the bureaucratic machine in all its glory.

Although, to be honest, this does not make any sense, since only selected groups can become “national”, that is, only selected groups can submit to the Ministry of Culture, there are very few of them - and the title of “municipal” or “regional” theater gives practically nothing to financial terms. Rather, on the contrary, this is unnecessary attention from the authorities, which means: control over the repertoire, tender purchases of literally everything (even batteries for microphones) and, God forbid, some custom performances for the holidays. In general, some cons. If you don't have one, no one will provide you with a room, since theaters have not been built here for 80 years. So, whatever one may say, freedom and independence are better today.

Find people.

For an independent theater, people are the main success factor, because without a roof over your head, without long-term plans and financial support, the only thing that can make colleagues follow you is their love for art and their willingness to sacrifice for it . Sacrificing time, earnings, sleep, health - yes, almost everything that they have. And if you find such people, then there is a chance for the future, but if you are looking for people according to some other criteria - in the field of independent theater - you are doomed to failure.

Spend a lot of time looking for money.



In our case, the activity that takes the most time is the search for investments. We ourselves do not have sufficient funds to implement the planned productions, so we simply borrow money, and then pay it back during the rental process. But this is our way, and it is possible that not everyone needs to follow this example.

Of course, working on a performance, especially in the format in which we work, namely a multi-genre theater, in which there are stage, musical, choreographic, and lighting components, is a very laborious process. Among other things, since the investment and budget are not rubber, you have to do a lot yourself: from costumes to moving scenery and editing sound or light. After all, the more specialists you attract, the less money remains for fabrics, materials, microphones, and the like. You have to save a lot. So, if you have, for example, a friend or relative who is ready to invest in you, do not under any circumstances neglect this help. The main thing - do not let these people influence the creative process, otherwise everything will go to dust.

Decide what you want to post.



In our case, it was a little unusual: at first we decided to make the play "Three Sisters", and only after its success we decided to present the theater and declare ourselves as a new team. But in general, you need to do only what you like, otherwise there is no point in creating your own theater. If you are going to adapt to someone, try to catch the trend or the mood of the public, there is no point in creating something new. The main thesis should be: "creativity in its purest form."

Get into rehearsals.



Our rehearsals last for 12 hours and few people can stand it! All because, in view of the very busy schedules, we cannot afford to rehearse the performance for six months. When the team has just started its life, it a priori cannot immediately bring money, which is why each of us (both creators and artists) is engaged in many other projects that allow us to stay afloat. Well, if we consider perfect option- then the rehearsals should last exactly as long as necessary, and it is impossible to predict this. It all depends on the genre of the performance, on the underlying play, on the inspiration of the director in the end - and here everything is unpredictable.

Find viewers.



There is an opinion that it is very difficult for a new team to attract an audience, since the audience does not even go to eminent theaters. In fact, everything is very simple: you need to make people believe that theater is not boring. That it's cooler than a movie, because everything happens here and now. That the theater is a place where people, your contemporaries, will speak to you in your language about the problems that concern you. Do not teach, do not demonstrate something, but communicate! And if your theater is really alive and really relevant, then the word of mouth effect will attract more and more audiences. If you are not like that, no advertising will help.

Hi all!

Instead of an intro.

Ever since the distant Soviet times, our society has developed the concept of the eternally poor, low-paid work of a creative worker. And this myth successfully keeps pace with the 21st century. I repeat - with the 21st century! And nothing changes, and cannot change, because of the convenience of coexistence of the creative worker with the theatrical system.

Even from the student's bench, the actor is being prepared for the fact that life in the theater is not sugar: salaries are below average, constant intrigues, acting and directing wars ... You can only earn money in films, on television and, of course, loitering around all sorts of "hacks". But these warnings not only fail to stop young people on their way to great art, but also spur them on with incredible strength! Huge competitions for theater faculty at the Academy, passions, tears, successes, disappointments.

And now the four years of the “theatre” are over, and ahead is the theater, cinema, TV, filming, concerts, performances, tours, festivals and ... distribution. Not everyone stays in the capital, many leave to work in regional theaters, and immediately encounter a world so different from the usual student world that they blink their burning eyes in the new space around them.

A year later, the provincial actors begin to understand the situation, the hostages of which they were. As a rule, in the Belarusian hinterland there is a standard of two theaters: an adult - drama and a children's - puppet theater. This is the first ambush for the actor! If you have not taken root in one theater, it is not possible to move to another one due to the lack of one. This position is perfectly used by employers of provincial theaters for total control and influence on your personality.

Further, in the theater, as in any structure, there is contract system, by signing which, you shoulder a pile of obligations, the failure to fulfill which leads to the fact that the employer simply does not renew it upon expiration of the contract. And that's it! Go wherever you want, dear comrade! You can go to the capital, but remember that there the provincial actor, which you are now, is not very welcome.

And it’s easier to terminate the contract ahead of schedule at the will of the employer, if suddenly you didn’t suit him as a professional or didn’t like him as a person, it’s easier " steamed turnip". You just need to carefully read your labor obligations, and you will understand that it is much easier to part with you at will than to hire you.

They don’t shoot movies here, and if they come to “shoot” a couple of scenes, then leading role won't take. Extras or at best an episode awaits you. local television take part-time for a penny, radio - the same. There is an opportunity to lead a drama club at some school, or teach at a college. And, of course, the good old “hacks” for weddings, anniversaries and corporate parties. That's the whole range of your services. They did it thirty years ago, and they still do it today. Very soon, earnings will become your main type of creativity, and the theater will fade into the background. This is the inevitability of the actors of any theater. With one difference: in the capital they earn extra money by profession, in the provinces - as they have to. All these ordeals lead only to the end of creative growth, and often to leaving the profession.

IN Lately I began to notice an amazing pattern - very few actors of the "inpatient" come to work in regional theaters. More often, guys from the street come who work and study at this theater, and receive education in the process in absentia. Hence the incomplete comprehension of the profession, and the "parochial" level of culture.

And not every repertory theater can boast of tours in Europe and the countries of the former CIS. Lack of funds, the problem of leaving, and simply the leadership's unwillingness to tear their fifth point from their familiar chair. But the maintenance plan villager performed to the fullest! There is no other way - a plan is a plan. Not always in the repertory theater, with its specific concept, one can express and develop oneself creatively. Many are quite satisfied with this situation, but there are people for whom it is not enough, and the potential has not yet dried up.

Here I am, passing copper pipes provincial creative reality, decided on the most ridiculous adventure in his life - he created a private theater, which he called beautiful word"Province".

Why do I need it?

Firstly, there is still "gunpowder in the flasks", I was not disappointed, I was not tired. Secondly, I do not want to leave the profession, not to stop, but to develop. And thirdly, I want to leave behind at least something, albeit not so great in significance, but great in spirit. Some twist their fingers at the temple, others simply do not believe, others laugh and do not see the point in it. There are fearful and lazy, stupid and envious, and sometimes there are even aggressive personalities.

I often get asked the same question: how? This is impossible! You can not do it this way! Belarus has a tough attitude towards private business, and in creative environment attitude towards those who want, maybe even worse. I will try to answer all these questions in my article.

Where to begin?

First you need to decide on your task. Why do you want to organize a theater? What functions will it carry in the future? And most importantly, how much time will you take for the life of your offspring.

Eat great option for earnings - entreprise. Well-known artists quickly make a performance and travel with it to all regional centers. But in the provinces, this option will not work, especially in Belarus. Firstly, there are no well-known artists here for the audience to come to them, and secondly, it is pointless to go with an enterprise from region to region, it is stupid to go to the capital.

Therefore, the only way for a provincial to earn money is to travel to schools and kindergartens with children's performances. But here you can easily run into trouble from the state repertory theaters, since these theaters earn the same money. And the invasion of someone else's territory can lead to undesirable consequences. Do not forget, they will have more power. Eventually this will lead to inevitable conflicts and constant persecution of your private project. His life will not be long.

I will not focus on this type of creative income, but will move on to the idea of ​​​​creating my own theater, a rather complex and lengthy idea.

A striking example of a successful, in my opinion, private project in Belarus is the Minsk Modern Art Theater (SHT) directed by Vladimir Ushakov. You can read about him and his leader both in the media and on the Internet. But the capital is not a province. In our case, the conditions are much more complicated. Needed here unique project, claiming to be a long-liver.

Step one. Choice of the type, genre and direction of the project.

So, you've made up your mind. Well, let's try to create a unique theater, your theater, the way you want and dreamed about all your life.

The first thing to do is to decide on the type or genre of your work. Of course, you can say: I decided a long time ago whether I like this or that and so on, but think about whether your project will be interesting to the viewer? If so, which one? Will he be able to participate in festivals, compete with other projects, occupy his real niche and earn money? You need to clearly define a perspective for yourself, to see your offspring in the future. Who will it become, how long will it take to develop, etc.

Personally, I have spent a lot of effort to choose the right kind of my theater. I rushed from child to adult, from drama to choreography, from stage to STEM, but only missed precious time until fate brought me to an amazing and sought-after production director. Together we made right choice: puppet theater for children and adults. A genre in which you can develop endlessly.

Favorable conditions for our choice are:

1. mobility.

Limited number of actors (up to 4 people),

Small in size and easily transportable decorations,

The ability to perform on any venues (stages, foyers, restaurants and even outdoors),

2. viewing time.

Minimum – 35 min

Maximum - 1:15 min

3. demand.

A genre that will have its audience always and everywhere.

Step two. Perspective.

You have thought well what you are going to do, have decided and already see your victory, a huge number of viewers and an incredibly high rating of your project. Do not hurry. You need to be realistic about the future.

And the most important thing in further development- earn a name for yourself. This process can take three to five years. I'll explain why. It’s quite difficult to get into the festival: no one knows you, the word “private” initially acts skeptically on the organizers. Your application will not even be considered, and without participating in festivals you will not declare yourself.

What to do? Look for funds! Borrowing, borrowing, seeking help, living modestly is impossible. Ask why? I will answer: to pay the fee to the director, artist, composer. This is inevitable if you really want to develop your project. Your application is more likely to be accepted if they see your name in it famous person. And the audience will first of all come not to you, but to the name of a sought-after director who, for some reason, took up your project, or an artist who designed your performance.

It is necessary to dwell on this phenomenon in more detail, since private undertakings in St. Petersburg and Moscow differed and had a number of problems that colleagues in the provinces did not have.

Petersburg, the creation of private drama theaters in Russian capital turned out to be extremely difficult. Long years despite enough a large number of attempts in this area, a private drama theater, capable of a long successful existence in competition with the Imperial stage, remained an unrealizable dream for St. Petersburg.

In the first years after the abolition of the monopoly, several private drama theaters appeared in St. Petersburg at once. The Russian theater Korovyakov was the first to open in October 1881. His repertoire consisted mainly of classical foreign plays, modern Russian drama, famous comedies and vaudeville, but did not attract a wide audience.

Yes and financial resources that Korovyakov had at his disposal were very limited, it was necessary to work without loss. The rent was high. All costs had to be covered by taxes. Tickets were therefore expensive, which naturally reduced the influx of potential spectators. I had to play almost daily, put on premieres in two days, of course, this lowered their artistic level. Two months later, Korovyakov had to close the case.

Another unsuccessful attempt to organize a private business in St. Petersburg was accepted by the entrepreneur A.S. Shustov. In fact, the matter came down to touring in several productions by the famous St. Petersburg actor A.A. Nilsky. This short-term undertaking would not even be worth mentioning if it were not for one significant circumstance: a private theater that relies on well-known artists will finally take shape by the mid-80s and subsequently become a very common type of capital theater enterprise. As a rule, their life span was very short.

For example, A.S. Shustov, a number of other private theaters will soon follow, including the dramatic entreprise P.I. Kazantsev - a famous provincial actor and director. By the end of the 1884 season, the theater under the direction of Kazantsev was already quite well known and gained popularity among a certain part of the public. However, this also did not significantly affect financial position enterprises. The funds spent by Kazantsev on creating spectacular performances, renting premises, running costs, and especially on inviting eminent guest performers, turned out to be insufficient to continue the main activity, and the theater closed. Pilyugin A. Reforms in Imperial theaters. 1882. - M.: Gitis, 2003. - S. 101

It should be emphasized that P. Kazantsev's enterprise became the first private theater in St. Petersburg, which lasted a whole season, which is quite a lot compared to other enterprises in the Russian capital.

Another well-known St. Petersburg private theater stands apart - the entreprise G.A. Arbenin and the tour of the troupe of the famous Moscow entrepreneur, "magician and magician" M.V. Lentovsky in the season of 1884-1885, focused mainly on operetta, vaudeville and extravaganza.

Only in 1895, 13 years after the abolition of the monopoly, the foundation was laid for a stable non-state theater enterprise in St. Petersburg: the theater of the Literary and Artistic Circle, the club of literary and art workers, was opened. As you know, this theater was the longest-running private drama theater in the capital (it worked until 1917). Pilyugin A. Reforms in the Imperial Theaters. 1882. - M.: Gitis, 2003. - S. 102

In general, the creation of a network of artistically full-fledged stable private theaters of drama theaters in the Russian capital in the first years after the abolition of the monopoly turned out to be an intractable problem.

More successful in this regard were theaters that invited eminent Russian and foreign artists to participate in productions, and farce theaters, which make up a significant part of the theater network of St. Petersburg, as well as operetta. And, as history has shown, recent decades XIX century, in St. Petersburg, the activities of these two types of private theaters - a theater that relied on famous actors, as well as the theater of the light genre, turned out to be the most viable.

The conservatism of the majority of the audience, of course, was not the only reason why the formation of private drama theaters in St. Petersburg was so difficult. The problems faced by the entrepreneurs of St. Petersburg and Moscow during the last twenty years were largely very similar.

The first Moscow private theater, as is known, was the drama theater of the artist of the Imperial Maly Theater A.A. Brenco. It burned out almost immediately. And the reasons for the short existence of her undertakings should not be reduced solely to lavish spending or inept organization. The essence of the problem lies in a fundamentally different one: its theater was originally oriented towards competition with the Imperial Maly Theatre. This was manifested in the formation of the repertoire, and in an attempt to create an ensemble of actors similar in artistic merit, and thoroughness decoration. It is fundamentally important that Brenko sought to attract the same audience.

This is precisely the core of the problem of most private theaters founded in the capitals after the abolition of the monopoly, fading away as quickly as they emerged. Could these theaters count on a long existence, and not on a one-time success, if their activities were oriented or competed directly with the imperial stage? History has shown that the activity of such undertakings was short-lived. Pilyugin A. Reforms in the Imperial Theaters. 1882. - M.: Gitis, 2003. - S. 111

Other principles of organization creative process the well-known Russian entrepreneur F.A. was guided in the creation and life of his theater. Korsh. Korsh focused mainly not on the audience of the Imperial Maly Theatre, but consciously sought to attract other strata of the potential audience. V.A. Nelidov recalled that Korsh "instilled a taste for the theater in that part of the public that had either not attended the theater at all, or very rarely."

This theater was not the same as the state theater, and not the same as the provincial enterprises, and not at all the same as it would be from the day of the first performance of the Moscow Art Theater. And he was by no means typical - he was one of a kind. Orlov Yu.M. Organizational structures Russian drama theatres. Moscow: Gitis. 1979 - S. 68

Korsh's "Russian Drama Theatre" proved to be the longest-lived among the private theaters that emerged after the abolition of the monopoly. This is despite the fact that, according to some sources, the Korsh Theater from the moment of its foundation existed only on income from fees. But the expenses of private theaters were huge: it was necessary to pay taxes to the city authorities, keep the chatter, attendants, the theater building, make decorations, pay royalties to the authors, and in the case of the Korsh theater, they also had to pay the director N.N. .Sinelnikov.

A special place in the formation of a private theater in Moscow is occupied by M.V. Lentovsky - his theater "Skomorokh" became the exception when the enterprise lasted more than one season.

Considering private drama theaters that arose in the capitals after the abolition of the monopoly, it is necessary to turn to the principles of the creation and functioning of another type, another model of theater. This is the PARADISE Theater opened in 1882 by the entrepreneur Georg Paradis, which was able to bring a certain novelty to theater life Moscow, find your place in the theater market of the capital.

This theater worked on the principle of a theater-platform, where famous foreign performers and Russian provincial artists, as well as troupes of eminent European theaters. His entreprise existed for nearly two decades. Pilyugin A. Reforms in the Imperial Theaters. 1882. - M.: Gitis, 2003. - S. 119

In those years, as today, anyone could formally become an entrepreneur, even a person without a secondary education, completely unfamiliar with theatrical business which, in fact, was not uncommon. In the Directorate of the Imperial Theatres, the majority of employees, including the director, as a rule, had a higher military education, which included the study of domestic stage art, painting, music and architecture. Sviridov V.A. Experience in training junior officers in pre-revolutionary Russia// Military thought. 2000. No. 5 - Page. 120

It is also important that only an extremely limited number of metropolitan entrepreneurs had their own building. During the period under review, entrepreneurs built only two theater buildings in Moscow: the Korsh Russian Drama Theater and the International Theater by G. Paradis.

And another significant problem of most private theaters in the first years of its existence is the payment for creative work. As a rule, entrepreneurs could not pay artists in the same way as the Imperial theatres. Those who tried to reduce this difference, or pay no less than in the imperial ones, like A. Brenko, faced inevitable bankruptcy. Pilyugin A. Reforms in the Imperial Theaters. 1882. - M.: Gitis, 2003. - S. 122

However, as history has shown, private drama theaters in the post-reform twenty years actually gave the capital's stages a lot, and most importantly - a colossal experience of self-development, coming primarily from public initiative and private enterprise. The rapidly emerging and just as quickly fading entreprises significantly contributed to the development of mechanisms and the establishment of the principle of self-organization in the art market of the capitals. Dadamyan G.G. The struggle of two principles in the organization of theatrical business in Russia // Sat. Scene life and the contract world. S. 27

However, not all theaters built their activities on the basis of entreprise. Many were looking for new organizational and legal forms for their business, they are usually called partnerships of a new type. These are such theaters as the Moscow Private Opera of S. I. Mamontov, the Moscow Art Theater, the theater named after A. S. Suvorin. The troupe in the latter was organized on a share basis by the main shareholder - the owner of the publishing enterprise Alexei Sergeevich Suvorin, as well as P.P. Gnedich, P.D. Lensky. Shabalina T. THEATER SUVORIN // Online encyclopedia Around the world: [Electronic document].- (http://www.netoskop.ru/theme/2001/06/21/2662.html). And about the organizational and legal form of the Moscow Art Theater should be told in more detail, because it was unique in its kind.