The culture of the Russian Empire organically absorbed the traditions and rites of small nations. This feature persisted in the Soviet period. Actor and director Ruben Simonov became one of the founders of a new direction in theatrical art.
Choice of profession
For some time now, Moscow was called the third Rome. The capital of our homeland was originally formed and developed as a multinational conglomeration. From all over the vast territory, people speaking different languages came to this point, came and sailed. Some were looking for work here, others were looking for protection, while others were offering recreational activities. Here they settled in, built up and left offspring. Ruben Nikolaevich Simonov was born on April 2, 1899 in a wealthy Armenian family. Parents lived in the city center on Rozhdestvenka Street.
His father moved to Moscow, where his elder brother invited him, and began working as a manager in a company that was engaged in the sale of fabrics and carpets. At the same time he opened his own liquor store on the Kuznetsk bridge. Home-made wine was supplied to him by relatives from Vladikavkaz. Actors of the Bolshoi and Maly theaters regularly visited the store. They drank, had fun, sang songs, boasted. Ruben had the opportunity to watch such "performances." After a short period of time, the outlet had to be closed due to systematic losses.
The boy’s mother, a graduate of the Vladikavkaz gymnasium, played the piano well and was familiar with some theater actresses. It is interesting to note that the Simonov and Vakhtangov families were well acquainted and maintained friendly relations. When the age approached, Ruben was sent to the gymnasium at the Institute of Oriental Languages. Here, the Armenian language was taught without fail. The boy had serious difficulties with this item. At home, everyone spoke in Russian. After much hesitation, Simonov was transferred to a regular gymnasium, where he received his secondary education.
In 1918, Simonov entered Moscow University at the legal department. Already in the first semester, he realized that jurisprudence for him was worse than a bitter radish. It was during this period that he accidentally met with Evgeny Vakhtangov, who led the Student Drama Studio. Ruben left the university and moved to the studio as an actor. At first, he was involved in supporting roles. And after three months, Simonov began to trust the main roles. In 1921, the Student Theater was transformed into the 3rd studio of the Moscow Art Theater.
Administrative activities
After a short illness, in the fall of 1922, the director of the Third Moscow Art Theater Studio, Evgeny Vakhtangov, died. At the request of the labor collective, the studio was renamed the Vakhtangov Moscow Drama Theater. For almost three years, the theater was under collective management. After that, the actors and technical workers decided to elect Ruben Simonov as director. There were good reasons for this decision. The actor not only played leading roles in the performances of “The Miracle of St. Anthony”, “Princess Turandot”, “Wedding”, but also helped to solve organizational issues.
The formation of the famous theater was not without difficulties. The main director had to not only form a repertoire, but also strictly adhere to the ideological orientation. For some time Simonov collaborated with the famous director Vsevolod Meyerhold. In the mid-thirties, a recognized leader among theatrical figures was repressed and shot. Ruben Nikolaevich, as they say, fate spared. But the outbreak of the war brought new problems and concerns. The theater troupe had to be evacuated to the Siberian city of Omsk.
Director's projects
It is important to note that the creative process did not stop during the evacuation. In the middle of the war, residents of Omsk saw the performance "Front" on the stage of a local theater. Actors not employed in the performances regularly performed in schools, hospitals, and in front of fighters who went to the army. After the victory, the troupe returned to its original place. The building of the theater was repaired. And all the actors with great enthusiasm joined the usual rhythm of hard work. Ruben Nikolaevich managed to engage in directing and solve other equally important issues.
Critics, evaluating Simonov’s directorial techniques, noted that he was able to find a romantic component in everyday affairs. And vice versa, to the most sublime and pathos aspirations, to give life pragmatism. Confident in his own abilities, Ruben Nikolaevich undertook the production of classical works. Full houses were posted at the box office when “Talents and fans”, “Dowry”, and “Children of the Sun” were played on the stage. At the same time, Simonov trusted the directors of the new generation and almost did not interfere in their projects.
