TWO THEATRES
Russian project for the XVIII International Architectural
exhibition at Venezia
(la Biennale di Venezia) |
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TWO THEATRES
Concept of russian exposition
Russia presents two projects: the project for the
reconstruction of the Mariinski Theatre in St. Petersburg, and the
project for the reconstruction of the Bolshoy Theatre in Moscow. The
Federal Government of Russia for the first time in post-Soviet
history has firmly decided to finance large-scale construction
projects focused on culture.
A group led by Moscow architect Mikhail Khazanov
created the project for the Bolshoy Theatre. This project has been
approved and will definitely be realized. The project for the
Mariinski Theatre was created by California architect Eric Owen
Moss. The sole fact that this project has been proposed for St.
Petersburg has introduced set a new dimension in the whole problem
of modern architecture in Russia, and has provoked a stormy and — at
it's highest level — fruitful debate.
The Bolshoy and the Mariinski are the Imperial
Theatres of Russia. The Soviets suspended in time their Imperial
status; they served as symbols of the heyday of culture in the
totalitarian State. The Bolshoy and the Mariinski today are still
the most precious part of our national heritage, but their central
position should be interpreted in the new light of democracy.
The reconstruction of the Bolshoy is driven by
the ideology of conservation, and the organic continuation of
historic tradition. The outcome will be the same Bolshoy Theatre,
but larger, better, and more powerful. The masterly job done by
Mikhail Khazanov (in cooperation with Mikhail Belov and Nikita
Shangin) is hidden; the theatre is thoroughly revised, but on the
surface one does not notice much. This central cultural symbol has
to remain equal to itself — including the fact that it has to keep
operating during this major reconstruction, which presents a unique
task for the architects.
The reconstruction of the Mariinski is driven by
the ideology of explosion. Moss formulates a new construction that
collides in every sense with the old theatre. Its image, in essence,
differs from the the traditional image the Mariinski, St.
Petersburg, and all Russian architecture in general. It is a
deliberate breakthrough to another space — that of contemp arch,
courageous and unigue.
Projects of the magnitude of the Bolshoy and the
Mariinski reflect not only their place, but their moment in History.
Comparing these two projects is actually contrasting Moscow and St.
Petersburg, not simply as two capitals, but as two strategies of
Russian culture. It is a history of Russia over the last three
centuries, and the constant oscillation between them.
One strategy is adherence to the examples of
history, salvaging one's own identity, and being self-reliant. This
is Moscow, where the reconstruction of the Bolshoy is taking place.
The other strategy is openness to the West, identifying with
European civilization in general, and living in the present. This is
St. Petersburg, were the Mariinski is being dramatically expanded
into the future. Today the first strategy appears more successful
because when it comes to national identity it is much easier to
arrive at a public consensus. But tomorrow the grounds for agreement
could produce quite a surprise. DAVID SARKISIAN, director of the Schusev State
Museum of Architecture, curator of the exposition in the pavilion of Russia
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