the Sitcom “the Marriage of Figaro”, staged in 1969, was perhaps the most famous of the Soviet show of its time. Success contributed to: Andrei Mironov in the title role, costumes by Vyacheslav Zaitsev, the music of Mozart and the fact that for the French Comedy took the popular artistic Director of Theater of satire.

the Evening of April 4 1969. Auditorium theatre of satire is full: here gathered, it seems that half the town. The performances in the Zenith of his fame, from becoming popular: the public is still reeling from the previous premiere — Ostrovsky staged by Mark Zakharov gathered a lot of enthusiastic responses. From “marriage of Figaro” Pluchek was waiting for the same.

In the Comedy busy real stars — the play was also a great opportunity to see your favorite artists. The title role went, favorite Pluchek. By the time he had already starred in the films “Three plus two”, “Beware of the car”. Less than a month after the premiere of “the marriage of Figaro” in rolling out “the diamond arm”, which has added to the popularity and the actor and the play. Two new roles Mironov — smuggler Nightjars and roguish Figaro, fighting for justice in the Earl’s manor showed the breadth of his comic talent.

candidates for the role of the jealous and fickle count Almaviva from the outset there were problems: Pluchek just couldn’t find one who could also clearly play with Mironov, not yielding to him. In the end the choice fell on (now artistic Director), who at first do not impress the demanding Director, but soon coped with this task. Almaviva from Shirvindt came a bored aristocrat, and the duet between Figaro and Almaviva was a new sound: if it had been a sparkling match, full of rivalry, but now it was a game, started to count as if it had nothing to do.

the Role of the Countess Rosina, tortured by the infidelity of her husband, executed. Initially, the role has invited Catherine Gradov, but the actress refused, preferring the Theater named after VL. Mayakovsky.

the role of the maid Susanna, the merry bride of Figaro and the count’s victim of love, claimed three Actresses: famous Tatiana Egorova and Valentine Sharykina and Nina Kornienko, who had just graduated from the School-Studio of MKHAT. In the end, the role was entrusted to the newcomer beside her, in the opinion of the Director, Figaro-Mironov looked most organically. Marcelino, who wanted to marry the main character, played by Tatiana Peltzer, and loving the pageboy Cherubino in turn captivated by the Countess,

seven years after the premiere was done the TV version of the performances. Took her Director Victor Temple.

Working on the scenography, the artist Valery Leventhal relied on paintings He recreated on stage the decoration of roomt aristocrats in Rococo style that is relevant to the times of Beaumarchais. On the stage stood a huge, but elegant bouquet of roses — this invention, the artist was proud of the most.

the costumes were made popular by the fashion designer Slava Zaitsev. At this time he was the best in the country, he was known abroad, was even called Red Dior, while acknowledging his talent and credibility. The capital’s fashionistas tried to get their ticket for “Figaro” also in order to see what the wizard came up with for setting. Disappointed they were not. For Andrei Mironov, for example, was created three suits — black, red and white. Each sheathed small mirrors, with which he was allowed into the hall sunbeams. It looked spectacular — it perfectly underscores easy mischievous side of his character.

Typical of the era wigs, which were chosen specifically for each artist, doing an artist of the theater Silva Kosyreva. By the way, Figaro in this performance was the only one without a wig if he is not a man from the distant past, and closer to our time.

of Course, one of the most famous plays in the history of the country has taken a special place in the career of Valentin Pluchek. A student of Vsevolod Meyerhold, he first appeared in the Theater of satire in the late 1940s. His first performance here was the(1949) on the play by Vladimir Polyakov. Then he took part in work on productions “Bath” and “the Bedbug” by Vladimir Mayakovsky. The latter was even shown at the theatre festival in Paris.

in 1957, he became the main Director of Theatre of satire. The first performance, which he put in his new position, was “was there an Ivan Ivanovich?” on the play by Nazim Hikmet with Anatoly Papanova in the title role. Approaches to the theater had to guard the mounted police — so many were willing to get on the show. With the same success and but it by order of the Minister of culture Catherine Furtseva was removed from the repertoire.

At the head of the Theater of satire Valentin Nikolaevich was Almost half that time — 18 years — was “the Marriage of Figaro”. The long history of the play ended on the road in Riga in 1987: during the monologue Andrei Mironov lost consciousness. He was immediately taken to the hospital. Doctors two days fought for his life, but to no avail. To enter a new Figaro Pluchek did not — the second Mironov was not. So the play has ceased to exist.

95 years with a smile. How did the lives of today Theater of satire

the Play “Crazy day or the Marriage of Figaro” was published in 1784. The playwright Pierre Augustin Caron de Beaumarchais was very proud of his Comedy and enjoyed reading it in salons. Listeners the story about the adventures of a resourceful witty rascal too much, besides they were already familiar with it on the previous play “the Barber of Seville”. In continuation migrated and the Countess Rosina, and count Almaviva, lost its geniality and became the tyrant, and Dr. Bartolo, who find themselves suddenly father Figaro.

King Louis XVI, seeing the play is opposed to the statement. Creativity Beaumarchais he loved, but after reading “the Marriage of Figaro”, I decided that the author started to play with fire. And anyone wanting to smooth over the sharp corners, moved the action to Spain, but it didn’t help: French reality still was guessed, and the king banned the play.

However, the victory was for Beaumarchais: the subjects of Louis expressed dissatisfaction with the ban, and the monarch had to give way to them. A little later on the play got to know Wolfgang Amadeus Mozart, who decided to put on her Opera.