Shalom Theater
Shalom Theater
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บริการนี้อาจมีการแปลที่ได้รับการสนับสนุนจาก Google Google ปฏิเสธการรับประกันทั้งหมด ไม่ว่าโดยชัดแจ้งหรือโดยนัยใดๆ ที่เกี่ยวข้องกับการแปล รวมถึงการรับประกันความถูกต้อง ความน่าเชื่อถือใดๆ และการรับประกันโดยนัยใดๆ ในการใช้ประโยชน์เชิงพาณิชย์ ความเหมาะสมสำหรับวัตถุประสงค์อย่างใดอย่างหนึ่งเป็นการเฉพาะ และการเป็นอิสระจากการปลอมแปลง
Marka0105
มอสโก, รัสเซีย23 ผลงาน
มิ.ย. ค.ศ. 2024 • เดินทางคนเดียว
The performance at the Shalom Theater "Monya Tsatskes - Standard Bearer", excellent acting, subtle and kind humor, the performance is a breeze. I'm very glad I visited, thank you!
เขียนเมื่อ 14 มิถุนายน ค.ศ. 2024
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Anastasia K
มอสโก, รัสเซีย44 ผลงาน
พ.ค. ค.ศ. 2024 • ครอบครัว
Our favorite!
The best theater in Moscow!
Wonderful, heart touching performances!
Gorgeous actors!
Lights, decorations, music!!!
Everything about this theater is extraordinary!
The best theater in Moscow!
Wonderful, heart touching performances!
Gorgeous actors!
Lights, decorations, music!!!
Everything about this theater is extraordinary!
เขียนเมื่อ 26 พฤษภาคม ค.ศ. 2024
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Анна Д
1 ผลงาน
ธ.ค. ค.ศ. 2023 • ธุรกิจ
12/13/2023 in the city of Ulyanovsk we attended the one-man show Fat Lyuba,
O. Lipovetsky, Moscow Jewish Theater "Shalom", XVIII International Theater Festival "History of the Russian State. Fatherland and Destiny." I have never seen or felt anything like this at any performance! You believe, accept, share, experience, being in the same space! We managed to reach every soul in the hall! Such a strong impression! I recommend it for those who live not only in the material world!
O. Lipovetsky, Moscow Jewish Theater "Shalom", XVIII International Theater Festival "History of the Russian State. Fatherland and Destiny." I have never seen or felt anything like this at any performance! You believe, accept, share, experience, being in the same space! We managed to reach every soul in the hall! Such a strong impression! I recommend it for those who live not only in the material world!
เขียนเมื่อ 13 ธันวาคม ค.ศ. 2023
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Светлана Ф
เยคาเตรินเบิร์ก, รัสเซีย117 ผลงาน
ต.ค. ค.ศ. 2023 • เดินทางคนเดียว
The Shalom Theater came to us in Yekaterinburg. I have never seen his performances. I went just to while away the evening. Awesome performance "Monya Tsatskes the Standard Bearer". The play takes place during the Great Patriotic War. There are no decorations on the stage. Four actors on stage. BUT !! The whole performance goes on in one breath. Actors are always on the move. Sparkling humor and at the same time such a deep meaning of what is happening! Cool! I laughed. And at the end she cried. The audience gave a standing ovation. The actors are tired of encores! I walked home. I think there will be a reflection on the performance tomorrow. When I'm in Moscow, I'll definitely go to the Shalom Theater.
เขียนเมื่อ 24 ตุลาคม ค.ศ. 2023
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М Г
215 ผลงาน
ก.ย. ค.ศ. 2023 • เดินทางคนเดียว
There are not enough days for anything, catastrophically not enough. Meetings with theaters that I have never been to before are becoming more and more desirable and joyful. I just want to paraphrase Vysotsky: “The only theaters that can be better than theaters are theaters that you have never been to!”
One of the reasons I love theater is the opportunity to travel through many different lives in one. And if the lives are not fictional, then this is even more valuable. The main thing is that the documentary should be artistically designed and devoid of everyday insipidity and dryness. I made another such trip to the Shalom Theater, where I came to the premiere performance-concert “Shalom 48-23” and where, unexpectedly for myself, I made a discovery: theater is a living organism that develops, gets sick, adapts, blossoms... But first things first!
Guests at the entrance, in the locker room, in the buffet, and in the hall were greeted with the word “shalom,” which translates from Hebrew as “peace.” A table was set in the buffet, where there were plates with various cookies, apples with honey, pomegranates and tea/coffee, so that the audience could, together with the Theater, celebrate not only the premiere, but also another holiday - Rosh Hashanah - the beginning of the year in the Jewish calendar . Apples with honey is one of the traditions on this day - Jews dip pieces of apples in honey and say a wish for the coming year to be good and sweet! I also joined the tradition, and I want to wish the Shalom Theater that the next year for the whole team will be much sweeter than the previous one, which was difficult for everyone!
"Shalom 48-23" is an autobiographical performance that tells the history of the Theater from 1948, when artistic director Solomon Mikhoels died in a car accident, to the modern "Shalom" under the direction of Oleg Lipovetsky. When creating the performance, documentary materials provided by the State Central Theater Museum were used. A. A. Bakhrushin, Russian State Archive of Socio-Political History, Russian State Archive of Film and Photo Documents. But at the same time, the production was so beautifully artistically composed that it was perceived as a magnificent, deep artistic drama. Combining many elements, it was captivating, exciting and left a lasting impression. I would really like to note the costumes - black, strict, as if unfinished, stitched with thick white threads, in some places reminiscent of tzitzit.
The fate of the Theater is directly connected not only with the history of Russia with all its troubles, but also with the difficult history of the Jewish people, and this makes it especially bitter. The production regularly featured the names of people we all know from childhood: Stalin, Gagarin, Furtseva and many others. There were beautiful songs, but I knew only a few. Documentary footage and photographs were shown on the screen behind the stage. The only pity is that the wall from the lower outer seats is practically invisible. Through the power of cinematic means, musical accompaniment, and the magnificent voices of the artists, a complete picture appeared before the audience, a three-dimensional picture, going back to the distant past, to the GOSET (State Jewish Theater). The actors' stories alternated, captivating the guests, making them witnesses to the events of such live stories, which gradually turned into a frank conversation in the present. Each answered the audience, and maybe themselves, the main question: “Why?” Despite the more than three-hour duration, it was easy to watch and the time flew by instantly.
This is my first time at the Shalom Theater, and I don’t yet know their corporate style or the specifics of their productions. But their musical performance turned out to be incredibly beautiful, touching and lively. The history of the theater is especially exciting because it continued to exist thanks to just a few people who did not want to give up and continued to stubbornly hope and do what they do best - play! Play, even as part of an ensemble at the Mosconcert, play even in front of a half-empty hall, play because performances are the heartbeat of the Theater! Just like then, now the actors play with full dedication and faith only in the best! In just one production I managed to feel the acting of probably half of the troupe: Gennady Abramov, Olga Grinshtein, Veronica Patmalniks, Karina Pestova, Elizaveta Potapova, Yanina Khachaturova, Anton Ksenev and Dmitry Urosov.
It was a very unusual evening in every way. In addition to getting to know a theater that was new to me and watching a wonderful performance, that evening I remembered how I once had very close contact with the motel Mordechai Zvi Solomon Ilyich from Basel. He often came to Moscow, told me a lot about Jewish holidays, traditions, culture, and even took me to the synagogue. I also paid attention to the Jewish Museum and Tolerance Center, so getting to know the Jewish theater became especially interesting for me. And knowing the history of the theater, it is much more interesting to get acquainted with the performances in its repertoire. So I look forward to new meetings with the Shalom Theater and its wonderful artists!
One of the reasons I love theater is the opportunity to travel through many different lives in one. And if the lives are not fictional, then this is even more valuable. The main thing is that the documentary should be artistically designed and devoid of everyday insipidity and dryness. I made another such trip to the Shalom Theater, where I came to the premiere performance-concert “Shalom 48-23” and where, unexpectedly for myself, I made a discovery: theater is a living organism that develops, gets sick, adapts, blossoms... But first things first!
Guests at the entrance, in the locker room, in the buffet, and in the hall were greeted with the word “shalom,” which translates from Hebrew as “peace.” A table was set in the buffet, where there were plates with various cookies, apples with honey, pomegranates and tea/coffee, so that the audience could, together with the Theater, celebrate not only the premiere, but also another holiday - Rosh Hashanah - the beginning of the year in the Jewish calendar . Apples with honey is one of the traditions on this day - Jews dip pieces of apples in honey and say a wish for the coming year to be good and sweet! I also joined the tradition, and I want to wish the Shalom Theater that the next year for the whole team will be much sweeter than the previous one, which was difficult for everyone!
"Shalom 48-23" is an autobiographical performance that tells the history of the Theater from 1948, when artistic director Solomon Mikhoels died in a car accident, to the modern "Shalom" under the direction of Oleg Lipovetsky. When creating the performance, documentary materials provided by the State Central Theater Museum were used. A. A. Bakhrushin, Russian State Archive of Socio-Political History, Russian State Archive of Film and Photo Documents. But at the same time, the production was so beautifully artistically composed that it was perceived as a magnificent, deep artistic drama. Combining many elements, it was captivating, exciting and left a lasting impression. I would really like to note the costumes - black, strict, as if unfinished, stitched with thick white threads, in some places reminiscent of tzitzit.
The fate of the Theater is directly connected not only with the history of Russia with all its troubles, but also with the difficult history of the Jewish people, and this makes it especially bitter. The production regularly featured the names of people we all know from childhood: Stalin, Gagarin, Furtseva and many others. There were beautiful songs, but I knew only a few. Documentary footage and photographs were shown on the screen behind the stage. The only pity is that the wall from the lower outer seats is practically invisible. Through the power of cinematic means, musical accompaniment, and the magnificent voices of the artists, a complete picture appeared before the audience, a three-dimensional picture, going back to the distant past, to the GOSET (State Jewish Theater). The actors' stories alternated, captivating the guests, making them witnesses to the events of such live stories, which gradually turned into a frank conversation in the present. Each answered the audience, and maybe themselves, the main question: “Why?” Despite the more than three-hour duration, it was easy to watch and the time flew by instantly.
This is my first time at the Shalom Theater, and I don’t yet know their corporate style or the specifics of their productions. But their musical performance turned out to be incredibly beautiful, touching and lively. The history of the theater is especially exciting because it continued to exist thanks to just a few people who did not want to give up and continued to stubbornly hope and do what they do best - play! Play, even as part of an ensemble at the Mosconcert, play even in front of a half-empty hall, play because performances are the heartbeat of the Theater! Just like then, now the actors play with full dedication and faith only in the best! In just one production I managed to feel the acting of probably half of the troupe: Gennady Abramov, Olga Grinshtein, Veronica Patmalniks, Karina Pestova, Elizaveta Potapova, Yanina Khachaturova, Anton Ksenev and Dmitry Urosov.
It was a very unusual evening in every way. In addition to getting to know a theater that was new to me and watching a wonderful performance, that evening I remembered how I once had very close contact with the motel Mordechai Zvi Solomon Ilyich from Basel. He often came to Moscow, told me a lot about Jewish holidays, traditions, culture, and even took me to the synagogue. I also paid attention to the Jewish Museum and Tolerance Center, so getting to know the Jewish theater became especially interesting for me. And knowing the history of the theater, it is much more interesting to get acquainted with the performances in its repertoire. So I look forward to new meetings with the Shalom Theater and its wonderful artists!
เขียนเมื่อ 1 ตุลาคม ค.ศ. 2023
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Наталья Р
131 ผลงาน
ก.ย. ค.ศ. 2023 • เดินทางคนเดียว
The history of the Shalom Theater resembles the history of the entire long-suffering Jewish people. The theater has steadfastly withstood repression, persecution, wanderings to different venues, times of ups and downs in audience interest, and the dramatic departure of artistic directors. Today's "Shalom", under the leadership of Oleg Lipovetsky, confidently looks into its theatrical future, completes renovations in the building on Varshavka and greets every viewer with the constant greeting "shalom", which literally means "peace".
I came to the theater on the special day of Rosh Hashanah, the Jewish New Year, and unexpectedly received not only an interesting spectacle on stage, but also a delicious treat before the performance. Traditional apples with honey should be eaten with the indispensable wish that the new year will be good and sweet. What a wonderful and delicious tradition!
I can’t tell you about the performance itself, the premiere of which I was so lucky to attend. It is called "Shalom 48-23" and is designated in the program as a performance-concert. But for such a global and very personal statement, the definition is too primitive. What happens on stage is much larger, more voluminous, and, oddly enough, more intimate. The performance is based on an alternation of episodes related both to the history of the theater and to the personal memories of its actors. The beginning of the action is the tragic death in 1948 of the artistic director of the theater Solomon Mikhoels, who died in a car accident organized by the KGB and disguised as an accident. Veniamin Zuskin, who replaced Mikhoels as artistic director of the theater, then called GOSET, was arrested on a falsified case and shot (a repetition of the tragic fate of Nikolai Gumilyov and many, many more victims of Stalin’s repressions). The closure of the theater in 1949 was the beginning of endless ordeals and trips to the authorities, and only under Furtseva in 1962, the next director of the theater, Benjamin Schwarzer, and several actors were allowed to create a Jewish dramatic ensemble at the Mosconcert, which then turned into a theater studio, and in 1988 it became a full-fledged theater and was called "Shalom".
From the stage, all stages of the theater’s long and complex journey are shown as separate mini-performances, accompanied by nostalgic musical themes, and the actors complement the narrative with their own memories. For example, one of the oldest theater actors, Gennady Abramov, still remembers his childhood anxious perception of Stalin’s death (the theme of the beautiful melody “Suliko” sounding from the stage, people who went through Stalin’s camps could not listen to without shuddering). But I also remember youthful joy, consonant with the jubilation of the entire country during Gagarin’s flight into space. The stories of actors of several generations (Olga Grinshtein, Alina Iskhakova, Anton Ksenev, Karina Pestova, Dmitry Urusov and others) are associated with such special events as the 1980 Olympics or the 1991 putsch. But in the memory of every person of any generation there always remain, first of all, perhaps not such global, but very personal memories, for example, about a multinational friendly court, about one’s childhood secrets and desires, about parents, about first love, student years and, of course, if talk about the actors, memories of how each of them came to the theater and reflections on what this theater means to them now. And the music of different years in the play helps to color these memories more vividly, and the visualization of nostalgic pictures from the history of the country, children's and youth photographs, replacing each other on the screen at the back of the stage, turns the performance into an intimate conversation with the viewer, just like what happens in a family when long-awaited guests arrive and the hosts leaf through family albums with them. At first I thought that the performance could be shortened a little; it runs for quite a long time, 2 hours 45 minutes with an intermission, but then I realized that for Oleg Lipovetsky, who conceived such an interpretation, it was impossible to prevent people from expressing what really concerns them. After all, the greatest value for a person is his memory. And I thank the creators of the play for the rare opportunity for actors to talk about themselves, about their lives, and not the life of some abstract character. For me, such human interaction on stage is an unexpected and valuable experience. And finally, my wish to the theater on the Jewish New Year - may this year and its entire future life be successful and creative!
I came to the theater on the special day of Rosh Hashanah, the Jewish New Year, and unexpectedly received not only an interesting spectacle on stage, but also a delicious treat before the performance. Traditional apples with honey should be eaten with the indispensable wish that the new year will be good and sweet. What a wonderful and delicious tradition!
I can’t tell you about the performance itself, the premiere of which I was so lucky to attend. It is called "Shalom 48-23" and is designated in the program as a performance-concert. But for such a global and very personal statement, the definition is too primitive. What happens on stage is much larger, more voluminous, and, oddly enough, more intimate. The performance is based on an alternation of episodes related both to the history of the theater and to the personal memories of its actors. The beginning of the action is the tragic death in 1948 of the artistic director of the theater Solomon Mikhoels, who died in a car accident organized by the KGB and disguised as an accident. Veniamin Zuskin, who replaced Mikhoels as artistic director of the theater, then called GOSET, was arrested on a falsified case and shot (a repetition of the tragic fate of Nikolai Gumilyov and many, many more victims of Stalin’s repressions). The closure of the theater in 1949 was the beginning of endless ordeals and trips to the authorities, and only under Furtseva in 1962, the next director of the theater, Benjamin Schwarzer, and several actors were allowed to create a Jewish dramatic ensemble at the Mosconcert, which then turned into a theater studio, and in 1988 it became a full-fledged theater and was called "Shalom".
From the stage, all stages of the theater’s long and complex journey are shown as separate mini-performances, accompanied by nostalgic musical themes, and the actors complement the narrative with their own memories. For example, one of the oldest theater actors, Gennady Abramov, still remembers his childhood anxious perception of Stalin’s death (the theme of the beautiful melody “Suliko” sounding from the stage, people who went through Stalin’s camps could not listen to without shuddering). But I also remember youthful joy, consonant with the jubilation of the entire country during Gagarin’s flight into space. The stories of actors of several generations (Olga Grinshtein, Alina Iskhakova, Anton Ksenev, Karina Pestova, Dmitry Urusov and others) are associated with such special events as the 1980 Olympics or the 1991 putsch. But in the memory of every person of any generation there always remain, first of all, perhaps not such global, but very personal memories, for example, about a multinational friendly court, about one’s childhood secrets and desires, about parents, about first love, student years and, of course, if talk about the actors, memories of how each of them came to the theater and reflections on what this theater means to them now. And the music of different years in the play helps to color these memories more vividly, and the visualization of nostalgic pictures from the history of the country, children's and youth photographs, replacing each other on the screen at the back of the stage, turns the performance into an intimate conversation with the viewer, just like what happens in a family when long-awaited guests arrive and the hosts leaf through family albums with them. At first I thought that the performance could be shortened a little; it runs for quite a long time, 2 hours 45 minutes with an intermission, but then I realized that for Oleg Lipovetsky, who conceived such an interpretation, it was impossible to prevent people from expressing what really concerns them. After all, the greatest value for a person is his memory. And I thank the creators of the play for the rare opportunity for actors to talk about themselves, about their lives, and not the life of some abstract character. For me, such human interaction on stage is an unexpected and valuable experience. And finally, my wish to the theater on the Jewish New Year - may this year and its entire future life be successful and creative!
เขียนเมื่อ 26 กันยายน ค.ศ. 2023
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Виталий Фролов
Moscow Oblast, รัสเซีย8 ผลงาน
ม.ค. ค.ศ. 2023 • ครอบครัว
Игра не о чем. Крик шум. Грязные намеки полуцензурная лексика. Имитация соития на сцене постановка по уровню школьная агит бригада
เขียนเมื่อ 31 มกราคม ค.ศ. 2023
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nsinyakova
มอสโก, รัสเซีย135 ผลงาน
ม.ค. ค.ศ. 2019 • ครอบครัว
Мы посмотрели новогодний приключенческий спектакль «Пираты против Нового года». А против они потому что никогда о празднике не слышали. Пираты (Капитанша Мамаша Рында, её дочка Мартиша, а так же Джон Палитра и говорящая Пиранья) на зиму превратили свой корабль в трактир и вот зашёл к ним в гости Морской Бродяга, который поведал о Дедушке Морозе, Снегурочке, подарках. Теперь Мартиша мечтает встретиться с зимним волшебником, а остальные пираты задумали забрать себе все подарки.
Но кто бы знал, что о встрече с пиратами мечтает и Снегурочка, она отправляется к ним под видом начинающего пирата Снегу-го Ужасного и попадает в плен. Дедушка Мороз со своим доблестным помощником Эскимоськой спешат на помощь, но тоже попадают в плен. Что было дальше посмотрите сами, но скажу, что конец у сказки счастливый.
Спектакль музыкальный и с юмором, герои иногда общаются со зрительным залом, сюжет не затянутый, декораций не много. Очень понравилась игра актёра Валерия Парсаева (Эскимоська) и актрисы Вероники Патмалникс (Пиранья) — браво!
Показывают спектакль на сцене театра «На высоте», находится он в торговом центре и представляет собой огороженную территорию. Чтобы не отвлекаться на происходящее вокруг театра, для просмотра выдают наушники, в них звук и музыка без лиших шумов, так как у актёров петличные микрофоны. Если в наушниках не удобно, то их можно снять, всё равно слышно хорошо диалоги и музыку. Длительность 1 час, рекомендованный возраст 6+.
Перед началом спектакля 30 минутное «Ледяное шоу Деда Мороза» — это синтез химического шоу и новогоднего волшебства. Дети со Снегурочкой в игры поиграют, а Дедушка Мороз нахимичит много всего удивительного.
У театра «Шалом» ещё много детских спектаклей, мы в августе например собирались посмотреть «Операция "Трали-Вали" или Заговор Шапокляк», но так и не получилось, поэтому очень рады, что попали на новогоднее представление!
Но кто бы знал, что о встрече с пиратами мечтает и Снегурочка, она отправляется к ним под видом начинающего пирата Снегу-го Ужасного и попадает в плен. Дедушка Мороз со своим доблестным помощником Эскимоськой спешат на помощь, но тоже попадают в плен. Что было дальше посмотрите сами, но скажу, что конец у сказки счастливый.
Спектакль музыкальный и с юмором, герои иногда общаются со зрительным залом, сюжет не затянутый, декораций не много. Очень понравилась игра актёра Валерия Парсаева (Эскимоська) и актрисы Вероники Патмалникс (Пиранья) — браво!
Показывают спектакль на сцене театра «На высоте», находится он в торговом центре и представляет собой огороженную территорию. Чтобы не отвлекаться на происходящее вокруг театра, для просмотра выдают наушники, в них звук и музыка без лиших шумов, так как у актёров петличные микрофоны. Если в наушниках не удобно, то их можно снять, всё равно слышно хорошо диалоги и музыку. Длительность 1 час, рекомендованный возраст 6+.
Перед началом спектакля 30 минутное «Ледяное шоу Деда Мороза» — это синтез химического шоу и новогоднего волшебства. Дети со Снегурочкой в игры поиграют, а Дедушка Мороз нахимичит много всего удивительного.
У театра «Шалом» ещё много детских спектаклей, мы в августе например собирались посмотреть «Операция "Трали-Вали" или Заговор Шапокляк», но так и не получилось, поэтому очень рады, что попали на новогоднее представление!
เขียนเมื่อ 14 มกราคม ค.ศ. 2019
รีวิวนี้เป็นความเห็นหรือทัศนะของสมาชิก Tripadvisor และไม่ใช่ของ Tripadvisor LLC Tripadvisor ทำการตรวจสอบรีวิว
Viktoriya31
Moscow Oblast, รัสเซีย89 ผลงาน
เม.ย. ค.ศ. 2016 • ครอบครัว
Ходила на детский спектакль Кот Леопольд с двумя детьми 2 года и 11 лет. Раньше были в этом же здании в театре Аквамарин на мюзикле "Остров Сокровищ", поэтому решили сходить и на этот спектакль. Меня не впечатлило))) после "Острова Сокровищ" хотелось чего-то такого же фееричного)) но детям понравилось. Было весело. В целом неплохо.
เขียนเมื่อ 18 มิถุนายน ค.ศ. 2016
รีวิวนี้เป็นความเห็นหรือทัศนะของสมาชิก Tripadvisor และไม่ใช่ของ Tripadvisor LLC Tripadvisor ทำการตรวจสอบรีวิว
Anny333
มอสโก, รัสเซีย921 ผลงาน
มี.ค. ค.ศ. 2016 • คู่รัก
Здание на Варшавском шоссе все ещё на ремонте, играли на сцене театра «Айвенго» (бывш. театр «Аквамарин», м.Кунцевская, ул.Ивана Франко, д.14). Спектакли на русском языке, но кое-какие реплики на идише. Смотрела мюзикл Блуждающие звезды на музыку Журбина по роману Шолома Алейхема. Наверное, я просто не фанат мюзиклов, или может спектакль слишком долго в репертуаре, но я не в восторге. А многим очень понравилось.
เขียนเมื่อ 12 มิถุนายน ค.ศ. 2016
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