A production of Evgeniy Vakhtangov of 1922. In 1963 R. N. Simonov reopened the performance with the best skills of the news generation of actors — Yu. Borisova, N. Gritsenko, M. Ulyanov, Yu. Yakovlev, L. Maksakova.

The intention of the production of Evgeniy Vakhtangov was clearly defined by P. Markov: “it’s not a fairy tale about the cruel princess Turandot that actors have to play in this performance. It’s not just the content of this fairy tale that they must bring to spectators — but this very contemporary attitude to her, their irony, their smile at the address of the tragic contents of the fairy tale merged with love for her — this is what has to appear as the new contents of the performance. It’s not the fabulous world that has to appear on the stage, but the theatrical world. The representation of the fairy tale has to appear on the stage. Everything in this performance must sound as an improvisation. The stagecraft is the axis on which the performance must turn”.

For years to come this performance has become the standard of the theatre, a touchstone for many young actors, like it was at the times of E. Vakhtangov. Generations change, and the performance is still living on this stage.