Italy Teatro Olimpico (1586) The most important stage in the development of European theater was the Renaissance. The first professional theaters with permanent premises and a troupe appeared. Performances are created on the basis of dramatic or other stage works. The most important stage in the development of European theater was the Renaissance. The first professional theaters with permanent premises and a troupe appeared. Performances are created on the basis of dramatic or other stage works.
England Globe Theater (16th century) The theater is made entirely of wood, only some parts are painted in different colors like marble or brick. The canopy covering the stage depicts a celestial sphere. The theater has no roof, It is round in shape, and above it there is often a cloudy London sky.
Street theaters in Russia Russian clowns have been known since the 11th century. Among them were musicians, singers, dancers, pranksters, trainers of wild animals, especially bears. SkomorokhXI bears They began to build light buildings on city squares for their homes and for receiving visitors, spectators, booths.
The First Winter Palace of Peter I - The Hermitage The First Winter Palace of Peter I - The Hermitage Theater. Under Peter I, the first public, public, state theater was created. But the troupes of these early theaters consisted mostly of foreigners. Under Peter I, the first public, public, state theater was created. But the troupes of these early theaters consisted mostly of foreigners.
Theater for everyone. Saratov theaters. Russian theater. Maly Theater. Theater for children. Theater history. Theater day. "Theater for All" project. Theater building. Literature and theater. My favorite theater. A dramatic image. Moscow Art Theater. Theater "Old House". Visit the theater. Bolshoi Drama Theater. Berenche Theater. At the Dionysus Theater.
Drive to the theater. The history of the creation of theaters. The history of the puppet theater. Theater of the 20th century. La Scala Theater. Do you love theater as I love it? History of the Russian theater. Project "Child and Theater". Theater is great. Small form theater. Athens theater. The theater is already full…. Project: "Theater, Library and Us". Moscow Drama Theater on Malaya Bronnaya.
Chelyabinsk Youth Theater. Which theater can you go to? Theater of the early twentieth century. Theater on an easel. Rules of cultural conduct in the theater. Theaters are different. 10 - the best theaters. The magic word is theater. The Theater History project. The kind genius of the Russian theater. Project on the theme: "Theater with your own hands." Project for the middle group on the theme: "Theater for all".
A miracle called theater. Russian theater of the 17-18 centuries. From the history of the formation of the Russian theater. Foreign theater of the XX century. Theater Week program. The oldest theater in the Urals. Theater as a path to self-knowledge. Health Theater "House of My Dreams". Museums, theaters and libraries of Tver. Moscow theaters in the first half of the 9th century. The dramatic works of Simeon of Polotsk.
Experimental work in the preschool educational institution "Theater of children's hands". Fragments of the lessons of the social theater "Magic Land". Theater is a mirror in which events and people are reflected. Scenes of Simferopol (Excursion to the theaters and cinemas of the city).
Slide 1
From a round dance to a booth Municipal educational institution of secondary school No. 8, Severomorsk - 3, Murmansk regionSlide 2
Slide 3
In the old days in Russia, a round dance was a popular folk game. He reflected a variety of life phenomena. There were love, military, family, labor dances ... We know three types of dances:
Slide 4
In the round dance games, the choral and dramatic elements were organically merged. Such games usually began with “typesetting” songs, and ended with “collapsible” songs, and the songs had a clear rhythm. Subsequently, with a change in the structure of the tribal community, round dance games also changed. Soloists-lead singers (luminaries) and actors (actors) appeared. There were usually no more than three actors. While the choir sang the song, they acted out its content. There is an opinion that it was these actors who became the ancestors of the first buffoons.
Slide 5
Russian dance is an integral part of folk games and festivities. She has always been associated with the song. It was this combination that was one of the main expressive means of folk theater. Since ancient times, Russian folk dance has been based on the courage of the competing partners, on the one hand, and the fusion, smoothness of movements, on the other.
Slide 6
Russian dance was born out of pagan rites. After the XI century, with the appearance of professional actors-buffoons, the character of the dance also changed. The buffoons possessed a well-developed dance technique; varieties of buffoon-dancers arose. There were dance buffoons who not only danced, but also acted out pantomime performances with the help of dance, which were most often impromptu. Dancers appeared, usually the wives of buffoons. Russian dance
Slide 7
Dance has occupied a large place in a variety of forms of theater. He was part of not only merrymaking and festivities, but also of the performances of the puppet show of Petrushka, often filling in the pause between acts of school drama. Many Russian dance traditions have survived to this day.
Slide 8
Guidelines with bears have been mentioned in sources since the 16th century, although it is possible that they appeared much earlier. The respectful attitude towards this beast originated in pagan times. The bear is the progenitor. He is a symbol of health, fertility, well-being, he is stronger than evil spirits.
Slide 9
Among the buffoons, the bear was considered the breadwinner of the family, its full member. Such artists were called by name and patronymic: Mikhailo Potapych or Matryona Ivanovna. In their performances, the guides usually depicted the life of the common people, interludes were on a wide variety of everyday topics. The owner asked, for example: "And how, Misha, do small children go to steal peas?" - or: "And how do women leisurely wander to lordly work?" - and the beast showed it all. At the end of the performance, the bear performed several learned movements, and the owner commented on them.
Slide 10
The "Bear Comedy" in the 19th century consisted of three main parts: first, a dance of a bear with a "goat" (the goat was usually represented by a boy who put a bag on his head; a stick with a goat's head and horns was pierced through the bag from above; a wooden tongue was attached to the head, from the clapping of which there was a terrible noise), then the performance of the beast followed the jokes of the guide, and then his struggle with the "goat" or the owner. The first descriptions of such comedies date back to the 18th century. This craft existed for a long time, until the 30s of the last century.
Slide 11
Since ancient times, in many European countries at Christmas it was customary to install a manger in the middle of the church with figures of the Virgin, a baby, a shepherd, a donkey and a bull. Gradually, this custom grew into a kind of theatrical performance, which told with the help of puppets the famous Gospel legends about the birth of Jesus Christ, the worship of the Magi and about the cruel King Herod. The Christmas performance was well spread in Catholic countries, in particular in Poland, from where it passed to the Ukraine, Belarus, and then, in a slightly modified form, to Vilikorussia.
Slide 12
When the Christmas custom went beyond the Catholic church, it acquired the name Nativity scene (Old Church and Old Russian - cave). It was a puppet theater. Imagine a drawer, divided into two floors inside. The top of the box ended with a roof, its open side was facing the public. There is a bell tower on the roof. A candle was placed on it behind the glass, which burned during the performance, giving the action a magical, mysterious character. Puppets for the nativity scene were made of wood or rags and attached to a rod. The puppeteer held the lower part of the rod, so the dolls moved and even turned. The puppeteer himself was hidden behind a box. Biblical plots were played out on the upper floor of the den, on the lower floor - everyday ones: everyday, comedy, sometimes social. And the set of dolls for the lower floor was common: men, women, devil, gypsies, gendarme, and a simple man always turned out to be smarter and smarter than a gendarme. It was from the nativity scene that the Petrushka theater was born, which is so popular among the people.
Slide 13
Everyone will dance, but not like a buffoon, ”says a Russian proverb. Indeed, many could play games, but not everyone could be a professional buffoon. The favorite among the people among professional buffoons was the puppet theater actor, and the most popular was the comedy about Petrushka. Petrushka is a favorite hero of both the buffoons who gave the show and the audience. This is a daring daredevil and a badass, in any situation, retaining a sense of humor and optimism. He always deceived the rich and the authorities, and as a protest speaker enjoyed the support of the audience.
Slide 14
In such a theatrical performance, two characters acted simultaneously (according to the number of puppeteer hands): Petrushka and the doctor, Petrushka and the policeman. The plots were the most common: Petrushka gets married or buys a horse, etc. He always participated in a conflict situation, while Petrushka's reprisals were quite cruel, but the public never condemned him for this. At the end of the performance, Petrushka was often overtaken by "heavenly punishment". The most popular puppet theater of Petrushka was in the 17th century.
Slide 15
Since the end of the 18th century, at the fair, one could often see a brightly dressed man who carried a decorated box (paradise) and shouted loudly: “Come here with me for a while, honest people, boys and girls, young men and women, merchants and merchants, and clerks and clerks, and clerk rats and idle revelers. I'll show you all sorts of pictures: both gentlemen and men in a sheepskin coat, and you listen to jokes and various jokes with attention, eat apples, gnaw nuts, look at pictures and take care of your pockets. They will obey ”. Rajok
Slide 16
Raek came to us from Europe and goes back to large panoramas. Art historian D. Rovinsky in his book “Russian folk pictures” describes it as follows: “Raek is a small, arshin box in all directions with two magnifying glasses in front. Inside it, a long strip with home-grown images of different cities, great people and events is rewound from one skating rink to another. Spectators, “for a penny from the snout,” look into the glass. Raeshnik moves the pictures and tells the adage to each new number, often very intricate. "
Slide 17
Raek was very popular among the people. In it one could see the panorama of Constantinople and the death of Napoleon, the church of St. Peter in Rome and Adam with a family, heroes, dwarfs and freaks. Moreover, the raeshnik not only showed pictures, but commented on the events depicted on them, often criticizing the authorities and the existing order, in a word, touching on the most burning problems. As a fairground entertainment raki existed until the end of the 19th century.
Slide 18
Not a single fair in the 18th century was complete without a booth. Theatrical booths became the favorite shows of that era. They were built right on the square, and by the way the booth was decorated, one could immediately understand whether its owner was rich or poor. Usually they were built from planks, the roof was made from canvas or linen.
Slide 19
There was a stage and a curtain inside. Ordinary spectators were seated on benches and ate various sweets, crumpets, and even cabbage soup during the performance. Later, a real auditorium appeared in the booths with a parterre, boxes, an orchestra pit. Outside, the booths were decorated with garlands, signs, and when gas lighting appeared, then gas lamps. The troupe usually consisted of professional and itinerant actors. They gave up to five performances a day. In the theatrical booth, one could see the harlequinade, magic tricks, sideshows. Singers, dancers and simply “outlandish” people performed here. Popular was the man who drank the fiery liquid, or the "African man-eater" who eats pigeons. The cannibal was usually an artist smeared with resin, and a dove was a stuffed animal with a sack of cranberries. Naturally, ordinary people have always looked forward to the fair with a theatrical booth.
Slide 20
There were also circus booths, their actors were “jack of all trades”. Y. Dmitriev in his book “Circus in Russia” quotes a message about the arrival of comedians from Holland who “walk on a rope, dance, jump in the air, on the stairs, not holding on to anything, play the violin, and walk the stairs, dance, immensely jumping high and doing other amazing things. ” Over the long years of their existence, the booths have changed, by the end of the 19th century they have practically disappeared from the history of Russian theater.
Slide 21
1672 - the performances of the court troupe of Tsar Alexei Mikhailovich began Artamon Matveyev orders "to make a comedy", "and for that action to arrange a horomina" October 17 in the village of Preobrazhensky the first performance took place
Slide 22
1702 - the first Russian public theater on Red Square Festive processions, fireworks, masquerades, and assemblies become popular
Slide 23
This is how the theater in Yaroslavl looked in 1909. In 1911 he was named after Fyodor Volkov
MCOU "Torbeevskaya basic school named after A.I. Danilov "
Novoduginsky district, Smolensk region
The history of the theater in Russia
Completed by: primary school teacher
Smirnova A.A.
village Torbeevo
Feb 2016
Folk art Russian theater originated in ancient times in folk art. These were ceremonies, holidays. Over time, the ceremonies lost their meaning and turned into games-performances. Elements of the theater were manifested in them - dramatic action, dressing up, dialogue. The oldest theater was the games of folk actors - buffoons.
Buffoons
In 1068, buffoons are first mentioned in the annals. They coincide in time with the appearance on the walls of the Kiev-Sophia Cathedral of frescoes depicting buffoonery performances. The monk-chronicler calls the buffoons servants of the devils, and the artist who painted the walls of the cathedral considered it possible to include their image in church decorations along with icons.
Saint Sophia Cathedral in Kiev
Frescoes on the walls of St. Sophia Cathedral
Who are the buffoons?
Here is the definition given by the compiler of the explanatory dictionary V.I. Dahl:
"A buffoon, a buffoon, a musician, a piper, a magician, a bagpiper, a guslar who dances with songs, jokes and tricks, an actor, comedian, a funny man, a bear, a lomaka, a buffoon"
Parsley
In the 17th century, the first oral dramas were formed, simple in plot, reflecting popular moods. The puppet comedy about Petrushka (his name was initially Vanka-Ratatouille) told about the adventures of a clever merry fellow who is not afraid of anything in the world .
Court theater
Tsar Mikhail Fedorovich first came up with plans to create a court theater in 1643. The Moscow government tried to find artists who would agree to enter the tsarist service. In 1644, a troupe of comedians from Strasbourg arrived in Pskov. They lived in Pskov for about a month, after which, for some unknown reason, they were expelled from Russia.
Tsar Mikhail Fedorovich Romanov
Tsar theater The first tsarist theater in Russia belonged to Tsar Alexei Mikhailovich and existed from 1672 to 1676. Its beginning is associated with the name of the boyar Artamon Matveev. Artamon Sergeevich ordered Johann Gottfried Gregory, pastor of the German Suburb, who lived in Moscow, to recruit an acting troupe.
Tsar Alexey Mikhailovich
Artamon Matveev
The pastor recruited 64 young men and teenage boys and began to teach them acting skills. He composed a play based on a biblical subject. It was written in German, but the play was given in Russian. On October 17, 1672, the opening of the long-awaited theater took place in the Tsar's residence near Moscow and the first theatrical performance.
Amusing chamber
The Tsar's theater, as a building, was called the Amusement Chamber.
School theater
In the 17th century, a school theater appeared in Russia at the Slavic-Greek-Latin Academy. Plays were written by teachers, and students staged historical tragedies, dramas, satirical everyday scenes. The satirical scenes of the school theater laid the foundation for the comedy genre in national drama. A well-known political figure, playwright Simeon Polotsky stood at the origins of the school theater.
Simeon Polotsky
Serf theaters
And at the end of the 17th century, the first serf theaters appeared. Serf theaters contributed to the appearance of women on the stage. The outstanding Russian serf actresses include the Sheremetevs who shone in the theater Praskovya Zhemchugova-Kovaleva. The repertoire of serf theaters consisted of works by European authors, primarily French and Italian.
Count Sheremetev
Praskovya Zhemchugova-Kovaleva
Serf Theater of Count Sheremetev
Home theater building
Sheremetevs
Costumes for actors
Theater premises
When did the theater appear in the city of Smolensk?
1) in 1708
2) in 1780
3) in 1870
4) in 1807
In 1780 for the arrival Catherine II accompanied by emperor Joseph II , the governor of the city, Prince N. V. Repnin, prepared an "opera house", where the "noble of both sexes Russian comedy with a choir" was presented.
N. V. Repnin
Catherine II
Emperor Joseph II
Whose name is the Smolensk Drama Theater?
1) A.S. Pushkin?
2) F.M. Dostoevsky?
3) L.N. Tolstoy?
4) A.S. Griboyedov?
What theater is not in Smolensk?
Chamber theater
Puppet Theatre
Opera and Ballet Theatre
There is no opera and ballet theater in Smolensk; there is a philharmonic society named after M.I. Glinka
Smolensk Regional Philharmonic named after M.I. Glinka
Concert hall Smolensk Philharmonic
HISTORY RUSSIAN
THEATER INTRODUCTION
The history of Russian theater is divided into several main stages. Elementary,
the playful stage arises in the tribal society and ends by the 17th century,
when a new, more mature stage in the development of theater begins, completed
the establishment of a permanent state professional theater in
1756 year.
The terms "theater" and "drama" entered the Russian dictionary only in the 18th century. In the end
XVII century, the term "comedy" was used, and throughout the century - "fun"
(Amusing closet, Amusing chamber). In the popular masses, the term "theater"
preceded by the term "disgrace", the term "drama" - "merrymaking", "game". IN
In the Russian Middle Ages, synomical definitions of "demonic" or "satanic" playful games were widespread. They called fun and
all kinds of curiosities brought by foreigners in the 16th - 17th centuries, and
fireworks. The military pursuits of the young Tsar Peter I were also called fun.
The term "merrymaking" is close to the term "game" ("playful games",
"feasting games"). In this sense, the wedding was also called a "game",
and dressing. "Play" has a completely different meaning in relation to
musical instruments: playing tambourines, sniffing, etc. The terms "fun"
and "play" as applied to oral drama survived among the people up to the 19th and 20th centuries. Russian theater was born in ancient times. Its origins go back to the folk
creativity - ceremonies, holidays associated with work. Co
time, the ceremonies lost their magical meaning and turned into
games-performances. Elements of the theater were born in them - dramatic
action, dressing, dialogue. In the future, the simplest games
turned into folk dramas; they were created in the process
collective creativity and were kept in the people's memory, passing from
generation after generation. Bull game. The boy dressed up as a bull
holds in his hands, under the veil, large
earthenware pot attached to it
real bull horns. Interest in the game
to butt girls As usual, girls
screaming and screeching, after which the bull
kill: one of the guys hits the
the pot, the pot scatters, the bull falls, and
they carry him away.
Horse Game - Players split into two
"troops". Each "army" is divided into
"Riders" and "horses". Riders
usually girls perform. Players challenge
- unbalance another pair.
The winner is the one who survives the longest
legs.
Christians having seen enough from behind the bushes
for such games, they then composed
scary tales of "galloping witches",
driving people to death. Capture of the snowy city V. Surikov The games originally had a round dance, choric character. In round dance
merrymaking was organically merged choral and dramatic creativity. Abundantly
songs and dialogues included in the merrymaking helped characterize the
images. The mass commemoration was also playful; they were
timed to spring and were called "mermaids" .. The center of the holiday was a ceremony
funeral or mermaid wires. Its members chose the most beautiful girl,
decorated with numerous wreaths and "garlands" of greenery. Then the procession
walked through the village, in the evening the participants took the "mermaid" outside the village,
most often on the riverbank. Singing special songs, the wreaths were removed from the mermaid and
garlands, threw them into the water or into a fire (if there was no river nearby).
After the completion of the ceremony, everyone scattered, and the former mermaid tried to catch up and
catch one of the escorts. If she caught someone, it was considered
a bad omen, foreshadowing future illness or death. The holiday of Rusalia begins with honoring the ancestors who are invited
stay in the house, scattering fresh birch branches in the corners of the house.
It is also a day of memory and communication with water, meadow and forest navies -
mermaid spirits of a kind. According to legend, they become mermaids and rusals
those who died prematurely, not becoming an adult, or passed away voluntarily.
Women conduct secret rituals, leaving the household to the men sometimes for the entire
week. And those who have children are left for mermaid children in the field or on the branches by
sources of old clothes for their children, towels, linens. We must appease the mermaids
spirits so as not to pester children and other relatives, crops ..
According to legend, during the Rusal Week, mermaids could be seen near rivers, on
flowering fields, groves and, of course, at crossroads and cemeteries.
It was said that during the dances, mermaids perform a ritual associated with protection
crops. They could also punish those who tried to work on the holiday: trample
sprouted ears, send crop failure, downpours, storms or drought.
Meeting with a mermaid promised untold riches or turned into misfortune.
Mermaids were to be feared by girls, as well as children. It was believed that mermaids could
take the child into his round dance, tickle or dance to death.
Therefore, during the Rusal Week, children and girls were strictly prohibited
go out into the field or meadow. If during the Rusal week died or died
children, they said that mermaids took them to them.
To protect yourself from the mermaid love spell, you had to carry sharp-smelling
plants: wormwood, horseradish and garlic. Theaters of three kinds were known in Kievan Rus:
courtier, church, folk.
In 957, the Grand Duchess Olga meets the theater
in Constantinople. On the frescoes of the Kiev-Sophia
cathedral of the last third of the 11th century are depicted
hippodrome performances. In 1068, for the first time
are mentioned in the annals of buffoons. Buffoonery
The oldest "theater" was the games of folk actors - buffoons.
Buffoonery is a complex phenomenon. The buffoons were considered a kind of magicians,
but this is wrong, because the buffoons, participating in the rituals, not only did not strengthen them
religious and magical character, but on the contrary brought worldly, secular
content.
To cheat, that is, sing, dance, joke around, act out scenes, play on
musical instruments and acting, that is, to portray some kind of person
or creatures, anyone could. But he became a skomorokh-craftsman and was called
only one whose art stood out for its artistry. buffoon - “musician, piper,
snuffler, drone, piper, guslar;
who hunts in this, and in dancing, in songs,
jokes, tricks; funny man, lomaka,
gayer, jester; bear bug; comedian, actor and
etc." Buffoons arose no later than the middle of the 11th century, we can judge about this
on the frescoes of St. Sophia Cathedral in Kiev, 1037. Leather masks
buffoons of the XII-XIV centuries are known for archaeological finds from
Novgorod and Vladimir The heyday of buffoonery fell on the XV-XVII
century. In the 18th century, buffoons began to gradually disappear under pressure.
the king and the church, leaving as a legacy to the booths and raikas some
traditions of their art.
The buffoons performed on the streets and squares, constantly communicated with
spectators, involved them in their performance. "Baba Yaga is going with the Crocodile to fight the pig
with a pestle and under the bush they have a bottle of wine "
Buffoons were carriers of synthetic forms of folk
arts that combined singing, playing musical instruments,
dances, bear fun, puppet shows, performances
in masks, magic tricks. Buffoons were regular contributors
folk festivals, games, festivities, various rituals:
wedding, maternity and baptismal, funeral, etc. In the XVI-XVII centuries, buffoons began
unite in "mobs". Church and
the state accused them of committing
robberies: "buffoons," copulating mobs
many up to 60, up to 70 and up to 100 people ", by
peasants' villages “eat and drink heavily and
bellies are robbed from the cages and on the roads
people are smashed "" At the same time, verbally
poetic creativity of the Russian people
there is no image of a robber buffoon,
robbing the common people.
In the work of Adam Olearius, secretary
Holstein Embassy, \u200b\u200bthree times in the 30s
years of the XVII century who visited Muscovy, we
we find evidence of a wave of rampant
searches in the houses of Muscovites for
revealing "demonic buzzing vessels" -
musical instruments of buffoons - and
their destruction. In homes, especially during their feasts,
Russians love music. But since it became
abuse by singing to music in
taverns, taverns and everywhere on the streets
kind of shameful songs, then the current patriarch
two years ago, at first strictly
forbade the existence of such tavern
musicians and their instruments, what
get caught on the streets, ordered right there
break and destroy, and then in general
banned all kinds of Russians
instrumental music by ordering in homes
select musical instruments everywhere,
which were taken out ... on five wagons for
Moscow river and burned there.
- Detailed description of the trip
Holstein Embassy to Muscovy ... - M.,
1870 - c. 344. In 1648 and 1657, Archbishop Nikon
achieved royal decrees on a complete ban
buffoons that talked about
beating buffoons and their listeners with batogs,
destruction of buffoonery inventory. After
this "professional" buffoonery
disappeared, turning over time
in bugbears, schoolchildren, fair
entertainers and booths. BALAGAN -
temporary wooden building for theater and circus performances,
spread at fairs and festivals. Often also
temporary light building for trade at fairs, for placement
workers in the summer. In a figurative sense - actions, phenomena,
similar to a farce performance (buffoonish, rude). Petrushka is the nickname of a booth doll, a Russian jester,
a funny man, a wit in a red caftan and in a red
cap. Parsley has been known since the 17th century. Russian puppeteers
used marionettes (string puppet theater) and
parsley (glove puppets). Until the 19th century. preference
was given to Petrushka, by the end of the century - to puppets, because
parsley producers have united with organ grinders. Screen
parsley consisted of three frames, fastened with staples
and covered with chintz. She was placed directly on the ground and
hid the puppeteer. The hurdy-gurdy gathered spectators, and for
with a screen, the actor through a peep (whistle) began to communicate with
by the public. Later, with laughter and a reprise, he ran out himself,
in a red cap and with a long nose. Organ grinder
sometimes became a partner of Petrushka: because of the food
speech was not always intelligible, and he repeated phrases
Petrushka, conducted a dialogue. Comedy with Parsley
played out at fairs and booths. Of some
memoirs and diaries of the 1840s it follows that
Parsley was his full name - he was called Peter
Ivanovich Uksusov or Vanka Ratatouy.
There were main plots: the treatment of Parsley,
training in soldier service, scene with the bride, purchase
horses and testing it. The plots were transmitted from the actor to
actor, word of mouth. Not a single Russian character
the theater was not as popular as Petrushka. Usually the show started with
next plot: Parsley decided to buy
a horse, a musician calls a gypsy dealer.
Parsley examined the horse for a long time and
bargained with a gypsy. Then to Petrushka
got tired of bargaining, and instead of money he beat
a gypsy on the back, after which he ran away.
Parsley tried to mount a horse that
dropped it to the laughter of the audience. It could
continue until the people
will laugh away. Finally the horse ran away, leaving
Lying dead parsley. Came
doctor and asked Petrushka about his
diseases. It turned out that he was in pain.
Between the Doctor and Petrushka there was
a fight at the end of which Petrushka hit hard
the enemy with a club on the head. "What are you
doctor, - shouted Petrushka, - if
where does it hurt? Why did you study?
You yourself should know where it hurts! " Appeared
quarterly. - "Why did you kill the doctor?" is he
answered: "Because he knows his science poorly."
After interrogation, Petrushka beats with a club
the quarterly on the head and kills him. A snarling dog came running. Parsley
unsuccessfully asked for help from the audience and
musician, after which he flirted with the dog,
promising to feed her cat meat. Dog
grabbed him by the nose and dragged him away, and Petrushka
shouted: - "Oh, my little head disappeared with
cap and brush! " The music fell silent
which meant the end of the show. If
the audience liked it, then they did not let go
actors, applauding, throwing money,
demanding continuation. Then played
a small scene of Petrushkin's wedding.
The bride was brought to Petrushka, he examined
her the way a horse's articles are examined.
He liked the bride, he did not wait for the wedding
wanted and began to beg her
"Sacrifice yourself." From the stage where the bride is
"Sacrifices himself", the women left and
took their children with them. For some
reportedly enjoyed great success
another scene in which there was
clergyman. None of the recorded
texts she did not get, most likely, her
removed censorship. BALAGAN
No fair in XVIII
century has not done without
booth. Theatrical
booths become
favorite shows
of that era Inside were
stage and curtain,
ordinary spectators
hosted on
benches. Later in
booth appeared
real visual
hall with parterre,
lodges, orchestral
I my. Such a fair
always waited with
impatiently. Nativity scene - a folk Christmas performance, played out in a special box at
help of core puppets, accompanied by singing and dialogue. In a broad sense
any Christmastide action about beating can be called a nativity scene
babies or Christmas, performed by both dolls and people. Nativity scene
must necessarily be accompanied by the singing of various religious cants, which distinguishes it
from the secular folk drama of live actors, which could also be shown at Christmas. IN
broadly understood, the nativity scene is part of the Christmas carol complex and almost
is always associated with different forms of caroling: walking mummers with a "star" (in the form
a multi-colored lantern on a pole) or a manger with a Baby; reading by schoolchildren
Christmas poems, singing spiritual poetry for reward, and
dr.
The nativity scene got its name from the nativity scene - a puppet theater shaped like
a two-story wooden box, architecture reminiscent of a stage for
representations of medieval mysteries. The nativity scene is very interesting. In a box-house, picturesquely decorated
from the inside, there are special slots for driving dolls. Move from one
floor on another dolls are not allowed. In the upper tier, scenes were played out
associated with the Holy Family, and the lower one depicted the palace of King Herod. IN
the same part in later times showed satirical scenes and
comedy. However, the nativity scene is not just a magic box, it is a small
model of the universe: the upper world (upper floor), lower world (lower floor), and hell
- the hole where Herod falls.
In winter, the nativity scene was taken on a sleigh, transferred from the hut to the hut, showed
performances at inns. Benches were set up around the den,
candles were lit and the tale began.
The classic "troupe" of the den - the Mother of God, Joseph, Angel, Shepherd, three Kings-Witch, Herod, Rachel, Soldier, Devil, Death and Sexton, in duty
who was supposed to light candles at the nativity scene before the show. Each
the doll was attached to a pin, which from below, like a handle, can be taken
puppeteer and move it along special slots in the floor of the stage. christmas drama was shown not only in secular houses, but also in
houses of priests. And by the end of the 18th century, a dynasty was formed in St. Petersburg
nativity scene - the Kolosov family, for almost a century
who kept the traditions of performing performances.
The heyday of nativity scenes came in the 19th century, when they became popular not
only in central Russia, but also in Siberia. Until the end of the century
the nativity scene wandered through the cities and villages, at the same time experiencing
"Secularization" and turning from a puppet drama with a biblical
plot in a secular folk performance. The nativity scene began to consist of two
parts: a Christmas mystery and a funny musical comedy with
local flavor. But by the end of the century, farce scenes played
on the lower floor were more significant than the events of the “upper tier”.
The criminals began to carry a wonderful box at fairs, not only at
Christmastide, but went with him until Maslenitsa. It is known that some
the artists went with nativity scenes even to the Nizhny Novgorod fair, which
opened ... July 15!
October Revolution of 1917 and the one that followed
anti-religious campaign decided the fate of Christmas
representations. They, like the traditional Christmas tree, were under strict
ban. Rajok is a folk theater consisting of
small box with two
magnifying glasses in front. Inside
pictures are rearranged or
rewinds from one roller to another
paper strip with homegrown
images of different cities, great
people and events.
Rajok is a kind of performance
distributed mainly in
Russia in the XVIII-XIX centuries. Its name it
got from the content of pictures on
biblical and gospel themes (Adam and
Eve in paradise, etc.).
pictures and tells sayings and
jokes for each new plot
These pictures were often made in
popular prints, originally had
religious content - hence
the name "paradise", and then began to reflect
a wide variety of topics including
political [.
The fairground paradise was widely practiced. The appearance of the rayoshnik itself was similar to the appearance of the carousel grandfathers, i.e. his clothes
attracted the public: he was wearing a gray caftan trimmed with red or yellow braid with
bunches of colored rags on the shoulders, a bell hat, also decorated with bright
with rags. He has sandals on his feet, a linen beard is tied to his chin.
The raik's box was usually brightly painted, motley decorated. Shout
raeshnik was as colorful as his appearance, addressed to everyone: “
come here with me, honest people, and boys, and girls, and good fellows, and young women, and
merchants, and merchants, and clerks, and clerks, and clerk rats, and idle revelers, I will show
you all sorts of pictures, and gentlemen, and men in a sheepskin, and you are different jokes
listen to jokes with attention, but eat apples, gnaw nuts, pictures
look and take care of your pockets. They'll be fooled! "
The rayon performance included three types of public exposure:
image, word, game. For example, by setting another picture, raeshnik
first he explained, "what this means": "And if you please look at it, consider it,
look and gaze, Leksandrovsky Garden. And while standing at the windows
examined the image of the garden, he amused those around him who were not busy
looking at people, making fun of modern fashion: “There are girls walking in
fur coats, skirts and rags, hats, green linings; the farts are fake, and
bald heads " These pictures were often made in a popular print style. AND
originally had a religious content - hence the name
"Paradise". And only after a while they began to display the most diverse
topics, including political. Most likely, the paradise came to St. Petersburg in 1820 from Moscow, where
city \u200b\u200bentertainments were organized annually. True, a new sight is not immediately
attracted the attention of periodicals. Only in 1834, "Northern Bee" for the first time
mentioned “the paradises where you can see Adam and his family for a penny, the flood
and the burial of the cat. " Lubok (lubok picture, lubochny leaf, amusing leaf, simpler) - type
graphics, an image with a signature, characterized by simplicity and availability of images.
Originally a kind of folk art. Performed using woodcut and engraving technique
on copper, lithograph and complemented by freehand coloring.
Lubok is characterized by simplicity of technique, laconicism of visual means
(rough touch, bright coloring). Often the splint contains expanded
narrative with explanatory captions and additional to the main
(explanatory, complementary) images.
In Russia of the 16th century - the beginning of the 17th century, prints were sold, which were called
"Fryazhskie sheets" or "German funny sheets" [In Russia, drawings were printed on
special sawing boards. The boards were called bast (whence the deck). Drawings, drawings,
plans were written in bast since the 15th century. In the 17th century,
painted bast boxes. Later, paper pictures were called
lubok, lubok picture.
At the end of the 17th century, a fryazhsky camp was installed in the Upper (Court) printing house
for printing fryazhsky sheets. In 1680, the master Athanasius Zverev cut for the tsar on
copper planks "all sorts of fryazhskie rezi".
German funny sheets were sold in the Vegetable Ryad, and later on the Spassky Bridge.
Lubok was revived in the form of comics at the end of the 19th century. The plot of St. Petersburg and Moscow prints began to differ markedly.
The ones made in St. Petersburg resembled the official prints, while the Moscow ones were
mocking, and sometimes not very decent images of adventure
silly heroes (Savoski, Paramoshka, Thomas and Erem), favorite folk
festivities and fun (Bear with a goat, Daring fellows - glorious
wrestlers, Bear hunter pricks, Hare hunting). Such pictures are rather
entertained, than edified or instructed the viewer.
Variety of subjects of Russian popular prints of the 18th century. continued to grow. Added to them
an evangelical theme (for example, the Parable of the Prodigal Son) while the church authorities
tried not to release the publication of such sheets out of their control. In 1744
The Holy Synod issued a directive on the need to carefully check all
religious prints
At the same time, in Moscow, deprived of the title of capital by Peter, steel
anti-government splints also spread. Among them are images
a cheeky cat with a huge mustache, outwardly similar to Tsar Peter, Chukhonskaya
baba-yagi - a hint of a native of Chukhonia (Livonia or Estonia) Catherine I.
The plot Shemyakin court criticized judicial practice and red tape). So folk
satirical splint marked the beginning of Russian political caricature and
pictorial satire. TYPES OF LUBKS:
Spiritual and religious - in the Byzantine style.
Icon-type images. Lives of the saints, parables, morals, songs
etc.
Philosophical.
Legal - Images of lawsuits and court actions.
Often there were plots: "Shemyakin Court" and "The Tale of Ruff Ershovich".
Historical - "Sweet stories" from the chronicles. Picture
historical events, battles, cities. Topographic maps.
Fairy-tale - fairy tales, heroic, "Tale of the daring
people ”, everyday tales.
Holidays are images of saints.
Cavalry - popular prints with horsemen.
Joker - amusing popular prints, satire, cartoons, basques. “… The tribe of mice suffered a lot from the insidious cat. And when it seemed
mice that the cat is dead, they decided to arrange for their enemy magnificent
funeral, and a holiday for yourself. They put the cat's mice on the sled, but his paws just
case tied. Many mice harnessed themselves to the sleigh, while others from all sides began to
push. And they took the cat to bury the mouse. It's in full swing here
the solemn ceremony, the pretender came to life, easily tore the mouse fetters and
lashed out at his enemies. The mouse race suffered many losses then. Bear driving and mummers
A worthy place in folk theatrical art is
everyone's favorite show with bears is "Bear Fun".
For many centuries the guides roamed the roads of Russia,
were frequent guests on modest village holidays and
city \u200b\u200bfairs. The very first guides of the bear were
most likely, "funny people" are buffoons. The appearance of the bear
always accompanied by delight, admiration and respect. By
pagan beliefs, the bear is a relative or even
the progenitor of man. They believed that the sacred animal has
direct connection with fertility, health, procreation,
well-being. The art of the guide was not only about
good animal training, but also the ability to fill
content and a certain meaning of all the movements of the bear.
The funniest moments came from unexpected interpretation.
bearish gestures, bold juxtaposition of people, therefore
it turned out that good humor, and even evil satire. In "Bear
amusement "the bear played the role of a man, and a dressed-up man,
for example, a goat.
The games of mummers should be attributed to mummers - a special form
folk culture. And although there is a dialogue in them, they
monologic. And even if the game has a plot, it is not a theater, for
the game does not imply a spectator. It has no dialogue of its own
making the text dramatic. The games of the mummers are a ritual
a game. CHURCH THEATER
The church took all measures to
asserting their influence. It found
expression in the development of liturgical
dramas. Some liturgical dramas came
to us together with Christianity, others - in the XV
century together with the newly adopted
solemn charter of the "great church"
("Procession on a donkey", "Washing the feet").
Despite the use of theatrical forms, the Russian Church did not
created her own theater. "Procession (walking) on \u200b\u200ba donkey" was sent on Palm Sunday (for
week before Easter). After the liturgy, the solemn bell began
chime. In Moscow, they brought a donkey to the Kremlin or a white horse under a white
blanket. At the same time, a wrangling wedged in the liturgical text with
donkey owner.
The clergy went out to the square, metropolitan (in the 17th century - the patriarch)
sat sideways in a special saddle and took the cross in his right hand, and the Gospel in his left. The donkey by the bridle was usually led by the king himself or his close boyar; king
I used to be in a ceremonial dress, in a Monomakh hat.
During the procession on the way of the Metropolitan, they spread clothes and threw
greening willow branches. In the 1620s and 1630s, special people did it.
- "bedside". They took off their red caftans and laid them on the ground
under the feet of the march.
The number of bed-makers reached fifty, and by the end of the 17th century there were already
up to one hundred people. The whole procession as a whole also became more magnificent and
more solemn. The metropolitan was followed by a prince dressed in all regalia,
many boyars followed; the procession was closed by the people. The procession was headed from
Kremlin to the Cathedral of St. Basil the Blessed, where a short service was performed, and then
returned to the Kremlin. The last time "Procession on a donkey" took place at
Tsars Peter and Ioann Alekseevich. On the fourth day after the "Procession", in
Thursday in Holy Week,
"Washing the Feet" was performed. This
liturgical drama was part of
divine services in the 10th century, in it
metropolitan with priests
reproduced the scene of The Last Supper.
The priests, twelve in number, ascending
on specially for these cases constructed
in the middle of the church elevation, sat down
six on each side of the platform.
Then there was a dramatization of the gospel
text: the bishop got up, filmed
dressing up and pouring water into a basin that
carried in front of him, washed, and then
wiped the feet of the priests. Each of
priests in gratitude
kissed his hand. But the most dramatically developed and most
theatrical of all
liturgical dramas were "Cave Action",
which was
staged biblical
legends of three youths: Ananias, Azarin and
Misail. It was sent on December 17 (before
Christmas). In Russia "Cave action"
performed, apparently, in the XI century. But we
only rank XVI is known
century, since in
the oldest action list we have found
longstanding Prince Vasily Ivanovich
(1505-1533).
... Preserved two different from each other
editions of "Peshchny action" - XVI and XVII
centuries. If liturgical dramas are usually
limited themselves to staging the gospel
texts and the dialogues they contain, then in
the 17th century edition had several
dialogical genre scenes performed
not in Church Slavonic, but in Russian
everyday language. They clearly show through
the impact of oral folk drama. Can
to believe these dialogues were buffoons On Saturday, a structure was erected opposite the royal gates, depicting a "cave
fiery ". On the hook from the removed chandelier was hung an image of an angel,
which was raised and lowered with a rope that came from the altar and
thrown over the block. The oven was
divided into two parts by a floor, to which steps led from one side. IN
the upper tier included "babies"; in the lower, directly on the church
the floor, a forge with hot coals was placed.
The action depicted the story of the miraculous salvation of the three youths Ananias, Azaria and
Misail of the Fire Furnace Despite the use of theatrical forms, the Russian Church
did not create its own theater. Liturgical experience
dram passed essentially
without a trace for the history of theater and gave some
results only from
the moment when the masses became
democratize liturgical drama,
saturate images with flesh, surround them with everyday life,
include genre dramas
comic scenes - sideshows. And although in the XVII
century Simeon Polotsk tried
on the basis of the liturgical drama create
artistic literary drama, this
the attempt remained a single one and was
sterile.
Simeon Polotsky. Figure poem
heart-shaped "From the abundance of the heart, the mouth
verb "from the cycle" Greetings "
"In case" - in honor of birth
Tsarevich Fyodor (1661). A truly theater appeared in the 17th century - a courtier
and school theater.
Court theater
The emergence of the court theater was caused by
interest of the court nobility to Western culture. This
the theater appeared in Moscow under Tsar Alexei
Mikhailovich. First performance of the play
"Artaxerxes action" (history of biblical Esther)
took place on October 17, 1672. The author of the play was
Pastor of the Lutheran Church in the German Quarter, Master
Johann-Gottfried Gregory. The play was written in verse
in German, then translators of the Ambassadorial Prikaz
they translated it into Russian, and after that the foreign actors, the students of the Gregory school, learned the roles in Russian. Researchers of the repertoire of the Russian court theater noted
its variety. Processing of biblical subjects prevailed:
"Judith" ("Holoferne's action") - about the biblical heroine, by hand
which killed the pagan Holofernes, the leader of the army,
besieging his hometown of Judith; "A pitiful comedy about
Adam and Eve "," Small cool comedy about Joseph "," Comedy about
David with Goliath "," Comedy about Tobiah the Younger. "Along with them
there were historical ("Temir-Aksakovo action" - about
Tamerlane, who defeated Sultan Bayazet), hagiographic (play
about Yegor the Brave) and even ancient mythological (a play about
Bacchus and Venus and the ballet "Orpheus") performances. At the last
case should be discussed in more detail. "Orpheus" - ballet,
staged at the court theater of Tsar Alexei Mikhailovich in
1673 The performance was based on the German ballet Orpheus and
Eurydice ", performed in 1638 in Dresden to the words of Augustus
Buchner and the music of Heinrich Schütz. Probably in a Russian production
the music was different. The text of the Russian performance has not survived. ABOUT
the production is known from the composition of the Courlandian Jacob Reitenfels,
who stayed in Moscow in 1671-1673. and published in 1680 in
Padua the book "On the Affairs of the Muscovites" ("De rebus Moscoviticus"). IN
a German production of a choir of shepherds and nymphs sang a greeting to the prince
and his wife. In the Moscow ballet he sang greetings to the Tsar himself
Orpheus before you start dancing. Reitenfels leads
German poems that were translated to the king. Staging
musical performance was especially for the Russian theater
a wonderful event, because Tsar Alexei Mikhailovich did not like
secular music and initially opposed its introduction into performances.
However, in the end he had to admit the need for music in
theatrical business. At first, the court theater did not have its own premises, scenery and costumes
transferred from place to place. The first performances were staged by Paster Gregory from
The German settlement, the actors were also foreigners. Later they became
to forcibly attract and train Russian "youths". Their salary
paid irregularly, but did not skimp on sets and costumes. Performances
were distinguished by great pomp, sometimes accompanied by playing musical
instruments and dances. After the death of Tsar Alexei Mikhailovich, the courtier
the theater was closed, and performances resumed only under Peter The beginning of the Russian school theater is associated with the name of Simeon Polotsky -
the creator of two school dramas ("The Comedy of King Nebuchadnezzar" and "The Comedy
parables of the prodigal son "). The most famous is the last, which is
stage interpretation of the famous Gospel parable and is dedicated
the problem of a young person (i.e., a new generation) choosing their path in
life. This topic was extremely popular, one might even say that it
dominated the literature of the second half of the century.
The content of the drama is quite traditional and is a retelling
events of the gospel parable, supplemented by specific everyday
details. The task of the play - like the task of Simeon's poetry collections -
a combination of teaching and entertainment, which is directly stated in the Prologue before starting
actions:
If you please, show the mercy of si,
Eyes and hearing to act:
So bo sweetness will be found
Not only hearts, but souls saved. School theater
In addition to the courtier, in Russia in the 17th century there was
and school theater at the Slavic-Greek-Latin
academies, theological seminaries and schools
Lvov, Tiflis, Kiev. Plays were written
teachers, and the efforts of students were
historical tragedies, allegorical dramas,
satirical everyday scenes close to European miracles, sideshows.
The emergence of the school theater in Russia is associated with
development of school education.
In Russia, the school theater was used
Orthodoxy in the fight against Roman Catholic influence. His birth
contributed by a monk, a pupil of the Kiev-Mohyla Academy, an educated person,
politician, educator and poet Simeon
Polotsk. In 1664 he came to Moscow and
becomes the educator of the royal children at court.
In the collection of his works "Rithmologion" were
published two plays - "The comedy about
Novkhudonosor the king, about the body of gold and about the triekh
child, in the cave not burnt "and comedy
"The Parable of the Prodigal Son." Theater of the early 18th century
At the behest of Peter I in 1702, the Public Theater was created, designed
to the general public. Especially for him not Red Square in Moscow
a building was built - "Comedy Temple". She gave performances there
German troupe I. Kh. Kunst. The repertoire included foreign plays,
which did not have success with the public, and the theater ceased to exist
in 1706, since the subsidies of Peter I. "Comedy Temple" - theatrical
building built in Moscow in 1702
on Red Square against the Nikolsky
gates of the Kremlin. Theater room
built by order of Tsar Peter I for
public state theater. New
theater was significantly different from
existed during the time of Tsar Alexei
Mikhailovich. It was public, then
is calculated not for a courtier, but for
urban spectator. Peter I gave this
theater is of great importance. The idea of \u200b\u200bPeter I,
of course, met resistance in
among the champions of the old lifestyle - they
I didn't like the fact that the theater was located in
the very center of the ancient Russian capital. (By
the original concept of the theater should
was located inside the Kremlin.) By the end
1702 "Comedy Temple" was
ready. The "Comedian Temple" troupe consisted of German actors, and was headed by
entrepreneur Kunst. The performances were in German. But not long before
the opening of the Kunst theater, ten people "Russian guys" were sent to study.
Their Kunst was supposed to teach the basics of acting, which allowed
to perform performances in Russian in the future.
"Comedy Temple" could accommodate up to 400 spectators. Performances were given
twice a week: on Mondays and Thursdays. Ticket prices were 10, 6,
5 and 3 kopecks. For the convenience of the audience and an increase in the theater's fees,
a decree that exempted theater visitors from paying fees that
rose at the "city gates" from persons who walked around the city at night.
But despite all sorts of events, the audience was not very willing to go to
theater. Sometimes the performances were attended by no more than twenty-five people.
The reason for such a low popularity of the new show was, of course, its
foreign troupe and foreign drama, the play of many performances on
German. The theater was cut off from Russian life. In 1706 the Moscow
the theater "Comedy Khramina" was closed, the actors were disbanded, costumes and
decorations in 1709 were transported to the palace of Peter the Great's sister Natalia
Alekseevna, who had a court theater. In 1707, the building of the "Comedy
temples "began to be dismantled, and in 1735 it was completely demolished. It is curious that the birthplace of the Russian
theater is neither Moscow nor St. Petersburg.
The Russian theater appeared not in the capital, but in
the ancient Russian city of Yaroslavl.
It was here in 1750 that the Russian actor
Fedor Grigorievich Volkov founded the first
in Russia professional theater
troupe. In Moscow, where the boy was sent to
training, Volkov strong and forever
became interested in theater. It literally caught fire
his new hobby and during
studied art for several years and
stage business. Returning in 1748
year in Yaroslavl, where the family lived,
Volkov organized a theater troupe and
started giving performances in the stone
barn. The first performance took place on 29
June 1750, it was the drama "Esther".
Two years later Volkov and his comrades
by order of Empress Elizabeth
Petrovna were summoned to Petersburg. And in
1756 the main event happened
theatrical life of Russia in the 18th century -
institution "Russian for presentation
tragedies and comedies of the theater ", the first
state acting
professional theater. Fyodor Volkov was immediately appointed "the first Russian actor", and the director
theater was staged by Alexander Sumarokov, only after his death, in 1761
year, Volkov became the director of "his" theater. For this Fyodor Grigorievich
resigned from the post of cabinet minister. In total, Fyodor Volkov wrote about
15 plays, none of which have survived to our time, he was also
the author of many solemn odes and songs.
Today Volkovsky Theater is one of the most famous and largest "non-capital"
Russian theaters.
