Echoes of Theatre O Stantkino

Deus conservat omnia (God preserves all) Sheremetev family Coat of Arms motto inner space is in no way aligned with Introduction the surrounding area. Yet, regardless A quick glance at any map of of their architectural “merits,” these the city of Moscow is enough to grasp buildings quite quickly became the striking similarity of its layout “rooted” in Moscow’s landscape and with a wheel; not a lightweight spin- their spiky silhouettes have become ning wheel, but a heavy, archaic, the landmarks of the city skyline and a coarse wooden wheel, heavily – something which has never hap- rolling over and grinding everything pened in Warsaw, where a similar that comes its way. That impression is “Stalin skyscraper” did not manage quite justified. Almost all new build- to integrate into the city landscape, ings in Moscow that would initially and to this day looks like something puzzle and amuse its residents never alien and out of place. seemed to fit the city landscape. With It is quite interesting that many the passage of time, however, some- well -known Moscow architectural times it was a short and sometimes monuments, including the Church a very long period, they would be of the Assumption in Kolomenskoye absorbed by the city, and grinded and St. Basil’s Cathedral in the Red by this ever -spinning wheel, would Square, do look like pieces of sculp- become an organic attribute of the ture, as their external design is much Moscow’s landscape. more interesting, expressive and significant, than their interior space. These buildings were meant to be the Building of Moscow landmarks from the very beginning: since 1940 years the church in Kolomna was built to commemorate the birth of Ivan IV, The seven buildings that were and St. Basil’s Cathedral – the seizure built in Moscow in late 1940’s -early of Kazan. 1950’s and dubbed “Stalin skyscrap- The history of Moscow’s devel- ers,” were initially conceived as the opment is extremely dramatic, and symbols of the political system and over the previous century, passions not as architectural highlights. It’s were only getting hotter. Destruction hard to view them as the objects of of Moscow’s architectural monu- architectural art, because genuine ments and the history of standoff architecture always implies a blend between scholars, art historians, Echoes of Theatre of Echoes Theatre Ostantkino Kabkova Elena P. of structure and space, and these architects, journalists and municipal buildings rather look like a combina- authorities deserves a separate study. tion of space and volume, which is Many buildings of historic and artistic Echa Teatru more typical of sculpture art. By their value have been deleted from the list interior layout, the skyscrapers look of architectural monuments under Ostantkino like huge “termite mounds” and their state protection. The process contin- 54 1/2011 Fig. 1. Podkluchnilov N.I., The view of Ostankino village (1833) ues to this day, due to the efforts of a serviceman.” A little bit later, the It would be true to say that the poorly educated, selfish bureaucrats village was “passed over in posses- golden age for Ostankino began and unscrupulous developers. sion of a certain “oprichnik (guards- when it became owned by Nikolai Yet, Moscow would not be man of Ivan IV), Orn an alien,” and Sheremetev, the man with amaz- Moscow – a mystical city built on an since 1585, it was owned by Vassily ing destiny, the keeper of many empty space beneath it (literally, Shchelkalov, the Duma deacon. He unresolved mysteries of his time, because the city stands in the area built a small wooden church and a Mason, a close friend of Emperor where karst processes have long been a pond, and planted pine and oak Paul I, a collector of works of art, underway, causing voids and cavities groves around it, and some of these philanthropist, musician, and the in the earth’s crust), and continuing trees have survived to this day“1. creator and enthusiast of theater art. to live and develop under its own The estate went through a pe- Sheremetev’s very existence may be laws, often in spite of the obvious and riod of neglect and abandonment described as a miraculous and un- in defiance of the laws of physics – if during the Polish intervention, until earthly phenomenon, if we consider it didn’t constantly see the events, that in 1620, it was acquired by Ivan his tremendous artistic and creative would always look the exceptions, Cherkassky, a prominent, wealthy potential. rather than rules. and energetic nobleman, who in In 1788, after he inherited the The heavy wheel of Moscow 1677 married a daughter of Prince vast estate from his father, there was not only knocks together everything Y.N. Odoyevsky. The bride received no reason for Nikolai Sheremetev that comes within the scope of its a large dowry, including serfs, and to further indulge in public service, power, but also with unexpected care one of them was a talented architect, which he found terribly boring, to the preserves some of the objects that Pavel Sidorovich Potekhin, who extent that it would cause his frequent by all indications stood no chance designed and in 1678 started the fits of “hypochondriac anxiety”2 and to survive the hard times and dra- construction of a stone church of the that fact deserves a more careful matic events in the history of the city. Holy Trinity in Ostankino. study and further clarification (fig. 3). Princes Cherkassky owned Os- tankino for 123 years, until Varvara, Ostankino one of the daughter of Chancellor Alexei Moscow suburban Cherkassky, married Count Peter B. Sheremetev, with the estate becoming One of such object is the Os- part of her huge dowry. tankino Estate – an architectural land- When Ostankino was owned th th mark of the 17 and 18 centuries by Princes Cherkassky, it served as that was originally located outside a Court venue for ceremonial events. the city limits, but with the passage In 1742, the park acquired a special of time, became part of the growing dancing and masquerade pavilion, city and is now firmly established in which quickly turned into a very its metaphysical essence (fig. 1). popular place among the aristocracy; th One of the earliest 16 cen- the pavilion’s construction had been tury sources mention the area as timed for the visit of Empress Eliza- the “village of Ostashkovo on a dry beth (fig. 2). meadow,” owned by “Alexei Satin, Fig. 2. Unknown artist, Portrait of Countess P.I. Sheremetev (1800 -th) 55 Fig. 4. Ostankino palace, Art gallery posers, including A.E. Gretry, P.-A. Ostankino place – Monsigny, K.V. Gluck, A.N. Salieri, theatre N. Piccinni and others. Construction of Ostankino pal- According to all known sources, ace theatre began in 1790, and con- theatre turned into Nikolai Sher- tinued for more than six years. Over emetev’s life passion, and, as the that time, many prominent architects contemporary cliché goes, theater participated in the project: Vassily turned into the area of application of Bazhenov, Franz Kazie, Francesco his professional interests. It is known Camporezi, Giacomo Quarenghi, that the Count took great interest in Pavel Argunov, Ivan Starov, and Vin- music and was an excellent cellist, cenzo Brenna. The habit of inviting could read opera scores, direct an several architects... was especially orchestra and stage performances, popular in Moscow. It is also impor- i.e., he was an excellent producer of tant to note that the capital, where opera and ballet shows. During his art (fig. 4, 5). The theatre “state -of -the every nobleman wanted to satisfy his trip to Europe, Nikolai Sheremetev at- art” mechanisms and equipment ambitious fantasy and exceed the lux- tended lectures in Leiden University, could produce various effects: thun- ury of not only his neighbors, but was attended the local Opera House, and der and lightning, rain and wind. out to reach the level of royal palaces was always among the first to learn During a performance, the audience – was dominated by competitive spirit about the latest theatre trends and saw the awesome episodes where that inspired continued improvement pieces by the most popular com- actors would suddenly take off and of their private residences. The lat- move in the air from one end of the ter were built as showcase objects scene to another. The equipment meant to “surprise and overwhelm”. room located beneath the stage and At the same time, the construction built to French blueprints by the serf of palaces would satisfy the yearn- craftsman, Fyodor Pryakhin, could ing of educated customers for their 3 quickly transform the theater hall into personal artistic advancement . The a ballroom. goal was not just building a palace, In the beginning of the 20 th cen- but a “temple of art” with a theatre tury Jury Shamurin has paid attention stage in the middle and luxuriously that the nature of Ostankino with its designed rooms surrounding it, serv- faded Central Russian modesty does ing as the preamble to the show. The same concept was later brilliantly implemented by C. Garnier, who built the Paris Opera. In Ostankino theatre, before entering the theater hall, the audience walked through a gallery in rooms displaying sculptures, paint- ings, prints and works of decorative Fig. 3. Ostankino Park, The Hill Panas Fig. 5. Ostankino palace, the northern facade, the modern view 56 1/2011 Fig. 6. Ostankino, Egyptian pavilion, the northern facade not assume occurrence here an Art received the name of “the solitude It is known that plants for park were temple, but as a result of the strange House” (fig.

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