An unidentified individual damaged the statue of Princess Turandot in front of the Vakhtangov Theater, located in central Moscow. The incident was reported by the Telegram channel plinth, which stated that a person on the Arbat climbed the sculpture and broke it.
Vandals striking the Turandot monument is not a new phenomenon. In 2001, still-unidentified assailants severed the statue’s right arm. The bronze figure, drawn from Carlo Gozzi’s storied theatrical tale, was subsequently repaired and restored, reflecting the tensions between public art, cultural memory, and urban life.
Designed as a fountain and monument, the Turandot sculpture was erected near the theater building in 1997 to commemorate the 75th anniversary of the first stage production of the same name. Over the decades, it has become an evocative symbol of Moscow’s cultural landscape, inviting both admiration and debate about how monuments fit into an evolving cityscape.
The Vakhtangov State Academic Theater, known for its historic ties to Evgeny Vakhtangov, observed its Centennial in November 2021. Its origins trace back to autumn 1921, when the premiere of The Miracle of St. Anthony marked the ensemble’s early triumphs. A year later, Princess Turandot joined the company’s repertoire, a production that would later help define the theater’s character and public identity.
Commentary from theatre veterans and scholars often centers on the ensemble’s provocative use of movement and expression. Maxim Averin, once a performer with the Theater of Satire, has reflected on Turandot’s silent intervals and the actor’s capacity to convey meaning through body language, turning even restrained gestures into powerful storytelling. In this broader context, the Turandot statue stands as a visual link between stage history and the city’s daily life, prompting conversations about performance, memory, and the responsibilities of public art to withstand time and mischief.