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However, in the first weeks of the revolution, the repertoire of theaters did not hurt much. This is understandable, since it was required to stage a new revolutionary play. certain time. True, some projects have already been planned for the next season. So, the Mariinsky Theater intended to arrange a special “Chaliapin cycle”, consisting of operas: “Boris Godunov”, “Faust”, “Prince Igor”, “Judith”, “Khovanshchi- 495 Ibid., P.41. 496 Stanislavsky K.S. My life in art. M., 1926, p. 645. 497 Ibid. 498 Stanislavsky K.S. My civil service of Russia. M., 1990, p.399. 166 on Mermaid ”and“ Rogneda ”.499
The only thing that the actors allowed themselves to do was to pronounce the replicas that were once forbidden by the censorship. True, it should be noted that in the first of theweek of the revolution the actors who demanded the widest autonomy of the theater occupied not the creative problems associated with updating the repertoire, but political issues500. The struggle between the theater troupe and the directorate began. In the imperial theaters anger artists was directed against V.Telyakovsky, and among private special struggle broke out in the depths of the Maly Theater of Suvorin, in which its director, Mrs. A.A.Suvorina set too hard mode 501.
Often the actors before the start of the performance or right at the time of this the spectators complained about the direction. Similar splash on the viewer of internal theater problems, firstly, reduced the authority of the theater as temple culture, art, secondly, blurred the boundaries between the actor and the audience, which, in turn, led to a decline in the culture of the public and, thirdly, had a negative effect on the mood of the audience who came to the theater to rest and not listen to the regular demands of the committee of the union of artists.
Because of the markedly excessive political activity, the repertoire in the first months of the revolution remained virtually the same502. May Night at the Mariinsky It received a revolutionary content, since it was the first on which the strike of the choir was played out. In March, fees in almost all theaters fell. 503 Apparently, this was due to the fact that the usual forms of leisure for some time moved to shadow in comparison with the events taking place in the country. And the old repertoire seemed irrelevant to many. In addition, unprecedented size took contraception. Everyone who tried to identify himself in the revolution, got himself some kind of certificate by which he went to the theater.