© Ilya Ivanov

伊利亚·伊万诺夫

架构师提供的文本描述。莫斯科商业街特弗斯卡亚的斯坦尼斯拉夫斯基(Stanislavsky)命名的莫斯科戏剧剧院，最近以新的名称、概念和外观重新开门。它现在是斯坦尼斯拉夫斯基电剧院-一个重要的新场所，有着成为全球舞台指导中心的雄心。

Text description provided by the architects. Moscow Drama Theatre named after Stanislavsky on Tverskaya, the Moscow high street, has recently reopened its doors with a new name, concept and look. It is now Stanislavsky Electrotheatre –an important new venue with the ambition to become a global stage direction centre.

 © Ilya Ivanov

伊利亚·伊万诺夫

这个新名字可以追溯到1915年，当时最初的新艺术建筑被构思出来。那时，它开办了一家电影院，当时这是一种新的娱乐形式，电影院被称为电剧院。这一建筑的起源后来成为进一步用作戏剧剧院的障碍，因为在技术上，戏剧剧院需要比电影院复杂得多的规划。建筑师们的目标是将前电影院的狭长建筑改造成一个当代的戏剧平台，其中的任何部分-无论是大厅、门厅、楼梯还是后院-都可以用于各种现代戏剧表演。

The new name harks back to 1915, when the original art-nouveau building was conceived. By then it held a cinema which by then was a new form of entertainment, and cinemas were called electrotheatres. This provenance of the building later became an obstacle for its further use as a drama theatre, as technologically a drama theatre requires a much more complex planning than a cinema. The architects’objective was totransform the elongated building of the former cinema into a contemporary theatrical platform in which any part –be it the hall, foyer, staircase or the backyard –can be used for all sorts of modern theatrical performances.

 © Ilya Ivanov

伊利亚·伊万诺夫

沃霍厄斯提出了电剧院概念的主要原则，即空间的可转换性和内部过程的开放性。移动障碍将技术和公共区域划分开来，这些区域的功能可以互换。

Wowhaus has come up with the main principle of the Electrotheatre concept being the transformability of spaces and the openness of internal processes. Mobile barriers divide the technical and public zones, and the functions of these zones can be interchangeable.

 © Ilya Ivanov

伊利亚·伊万诺夫

由于主剧院建筑被列为具有联邦意义的建筑纪念碑，因此必须遵守非常严格的规定，以恢复有价值的历史要素。沃霍乌斯的主要修复原则是揭示自1915年以来建筑中仍保留的美丽的内部元素，将它们从多余的油漆层中清理出来，并以它们的纯形式展示它们，并将新建造的元素并列起来，而不是试图模仿原始风格，而是试图保留原作的氛围和设计哲学。

Since the main theatre building is listed as the Architectural Monument of Federal Significance, very strict regulations to the restoration of valuable historical elements had to be adhered to. The main restoration principle of Wowhaus has been to reveal the beautiful interior elements that remained in the building since 1915, clean them from layers of unwanted paint and show them in their pure form, and juxtapose the newly-built elements not trying to imitate the original style, but rather trying to retain the atmosphere and design philosophy of the original.

 Master Plan

其结果是一座建筑对其历史给予应有的尊重，同时在其感觉和使用上基本上是现代的。在重建之后，剧院进行了重大扩建：最近翻修的三具尸体现在拥有一个大厅、一个窗帘区、衣柜部和现场商店-还有一个巨大的新大堂区，里面有展览空间和通往内部庭院的出口，从本质上说，这是一个新的城镇广场。另一项将於本年稍后时间推出的措施，是把室内表演的第二阶段安置在另一幢将完全重建的建筑物内。因此，这一文化机构在城市中同时成为一个重要的社会和文化里程碑。

The result is a building paying due respect to its history and at the same time being essentially modern in its feel and use. Following the reconstruction, the theatre has undergone significant enlargement: the three recently renovated corpuses now hold a hall, a drapery section, wardrobe department and scene shop –and a vast new lobby area has been created with exhibition space and an exit into the internal courtyard which, in essence, forms a new town square. Another addition to come later this year is the Secondary stage for chamber performances to be placed in a separate building that will be totally rebuilt. This cultural institution thus becomes simultaneously an important social and cultural milestone in the city.

 © Ilya Ivanov

伊利亚·伊万诺夫

其任务是将一个非常老式和技术过时的剧院改造成一个一流的、多功能的现代表演场所，同时保持宝贵的历史元素完好无损。伍霍厄斯保留和恢复阳台作为场馆的关键视觉元素，其余的大厅成为一个充分发挥功能的表演空间与先进的戏剧技术。天花板和墙壁允许放置所有必要的戏剧设备，无论是灯光或布景，在大厅的任何部分。这样，整个大厅的尸体就会完全运转起来。

The task was to transform a very old-fashioned and technologically outdated theatrical venue into a top-notch versatile space for modern performances, at the same time keeping the valuable historical elements intact. Wowhaus kept and restored the balcony as the key visual element of the venue, and the rest of the hall became a fully functional performance space with state-of-the-art theatrical technology. The ceiling and the walls permit placing of all needed theatrical equipment, be it lights or scenery set, in any part of the hall. The entire carcass of the hall thus becomes fully functional.

 © Ilya Ivanov

伊利亚·伊万诺夫

新的移动座椅可以排在一起，也可以单独放置在不同的组合中。70%的墙板反射声音，30%吸收声音。这是可能的，因为他们的不同的纹理和形式：为了传播声音在整个大厅，面板已经建造了一个曲折的形式。因此，一个功能齐全的“舞台”可以放置在空间的任何地方，没有任何空间限制在设置位置、声音、光线、视频或座位方面阻碍创造性的想法。大厅可以完全改变它的外观。如果沿着大厅四周放置的黑色卷帘沿着白色的墙壁被拉下来，它就会变成完全的黑色。

New mobile seating can be placed in rows as well as be placed separately in different combinations. 70% of the wall panels reflect sound, and 30% absorb it. This is possible thanks to their different texture and form: in order to spread sound across the hall, the panels have been constructed with a zigzag form. Thus, a fully functional ‘stage’can be placed anywhere in the space and no spatial restrictions hinder creative ideas in terms of set placement, sound, light, video or seating. The Hall can change its appearance completely. If black roller blinds that are placed along all the perimeter of the hall, are pulled down along the white walls, it becomes completely black.

 © Ilya Ivanov

伊利亚·伊万诺夫

戏院大堂

The Theatre Foyer

在大厅里也可以看到类似的空间结构(尽管形式很简单)：在这里举行活动时，展板可以固定在展板上，也可以是风景元素。门厅中的塔架、移动屏障和假沉箱同时充当展览元素夹具的格子。

Similar spatial structures can be seen in the Foyer as in the Hall (albeit in a simplified form): display panels may be fixed onto them, or elements of scenery, when events are held here. Pylons, mobile barriers and false caissons in the Foyer act simultaneously as latticework for the fixture of exhibition elements.

 © Ilya Ivanov

伊利亚·伊万诺夫

整座建筑都经过了精心的修复，清除了20世纪50年代至90年代的积垢，那时新油漆和新地板被简单地涂上或直接安装在旧地板上。革命前的灰泥又一次被揭露了，现在看上去和1915年一样。

The whole building has been meticulously restored and cleared of the accretions dating to the period from the 1950s to 1990s, when new paint and new flooring were simply applied or fitted directly on top of the old. The pre-Revolution plasterwork has been revealed once more in its totality, looking now just as it did in 1915.

 © Ilya Ivanov

伊利亚·伊万诺夫

场与中学阶段

The Yard and Secondary Stage

该项目的这一部分将于2015年底建成，斯坦尼斯拉夫斯基电剧院将成为欢迎各种表演艺术的独特公共空间。后院被用来装载和收集垃圾，三栋破旧的建筑物被用作技术剧院车间。其中两幢建筑物已完全重建，以举办一个先进的窗帘作坊和风景作坊，而第三座大楼现正改建为可供多达120名观众参观的表演场地。

This part of the project is to be built by the end of 2015, and with its completion Stanislavsky Electrotheatre will become a unique public space where all sorts of performance arts will be welcome. The backyard was used for purposes of loading and collecting garbage, and three dilapidated buildings were used as technical theatrical workshops. Two of the buildings have been totally reconstructed to hold a state-of-the-art drapery workshop and scenery workshop, and the third building is now being turned into a performance venue for up to 120 visitors.

 © Ilya Ivanov

伊利亚·伊万诺夫

整个后院地区将变成一个开放平台的场所，白天将作为一个开放的空间，供讲座，大师课程，或只是享受一个夏季咖啡馆的乐趣。当天晚些时候，它将变成一个性能空间。观众，以及灯光和音响设备，将放置在金属画廊周围的空间，提醒莎士比亚的环球剧院的原则。移动式舞台将放置在院子的中央。第二阶段的墙壁面向院子可以折叠和打开，内部阶段的建筑变得可见的观众在院子里。因此，第二阶段和场构成了一个完整的表演综合体。

The whole backyard area will be turned into an open-platform venue that will work during the day as an open-access space for lectures, master classes or just having a good time in a summer café. Later in the day it will be turned into a performance space. Audience, as well as the light and sound equipment , is to be placed at metallic galleries surrounding the space, reminding of the principle of Shakespeare’s Globe theatre. Mobile stage is to be placed in the centre of the yard. The Secondary Stage’s wall facing the yard can be folded and opened, and the interior stage of the building becomes visible to the viewers in the yard. Thus, the Secondary Stage and the Yard form an integral performance complex.

 © Ilya Ivanov

伊利亚·伊万诺夫

Architects Wowhaus

Location Tverskaya ulitsa, 23, Moskva, Russia, 123001

Category Renovation

Workshop Heads Dmitry Likin, Oleg Shapiro

Chief Project Architect Edward Rusenko

Senior Architect Mikhail Kozlov

Architects Maria Gulida, Viktoria Kudryavtseva, Olga Lebedeva, Anastasia Maslova, Darya Melnik, Maria Panova, Anna Proshkuratova, Olga Rokal, Alexandra Chertkova, Anna Rodionova, Darya Mozhaeva

Project Year 2014

Photographs Natalya Kuprianova, Ilya Ivanov