The emergence of a professional theater in Rus' presentation. Literature and music of ancient Rus'
Russian theatrical creativity originated in the era of the primitive communal system and, to a greater extent than painting and architecture, is associated with folk art. The soil on which its original elements appeared was the production activity of the Slavs, who, in folk rites and holidays, turned it into a complex system of dramatic art.
Folk theater in Slavic countries still exists today. Weddings, funerals, agricultural holidays are complex rituals, sometimes lasting several days and widely using such theatrical elements as dramatic action, singing, dance, costume, scenery (dressing the matchmaker, bride, round dances, ritual or entertaining games, etc. ). The ancient Slavs also reflected the holiday of the resurrection of dead nature, characteristic of world paganism.
After the adoption of Christianity, the role of folk games in the life of society decreased significantly (the church persecuted paganism). Theatrical folk art, however, continued to live until the 20th century. At first, its carriers were buffoons. At the folk games, popular "games of mummers", "deceased" performances with a "learned bear" were performed. The People's Theater gave the Petrushka Theater.
Favorite in Rus' were puppet shows- a nativity scene, later a district (Ukraine), in the south and west - batleiki (Belarus). These performances were given with the help of a wooden box divided into upper and lower tiers. On the top floor, a serious part of the performance was played on the theme of the biblical story about the birth of Christ and King Herod. On the lower floor, everyday comic and satirical scenes were shown, in many ways reminiscent of the Petrushka Theater. Gradually, the serious part of the crib performance was reduced, and the second part grew, supplemented by new comic scenes. 
and, the crib from a two-tier box became a single-tier one.
Until the 17th century in Russia, theatricality was an organic component of folk rituals, calendar holidays, played round dances. Elements of it were included in the church service, and it is here, as the secular principle intensifies in Russian society, that a professional theater begins to take shape.
Initially, liturgical performances arose. These are quite complex theatrical performances used to enhance the impact of church services and glorify the unity of state and church authorities. Known are the “stove action” (a staging of the massacre of King Nebuchadnezzar over Christians) and “walking on a donkey” (drawing the plot of the Bible on Palm Sunday).
The court and school theaters of the 17th century contributed to the further development of theatrical business in Russia. Even under Tsar Alexei Mikhailovich, court festivities, receptions, ceremonies began to take shape with a great deal of theatricality - expressively and magnificently. The first Russian professional comedy theater was a court theater and was one of the regulated “fun” of the tsar. It was headed in 1662 by the master of theology, pastor and head of the school at the Lutheran officer's church in the German Quarter of Moscow, I. Gregory. The very same building was opened in 1672 in the village of Preobrazhensky with the play "Artaxerxes Action".
Appearance school theater in Rus' is associated with the development of school education. In Western Europe, it arose in the 12th century in humanistic schools as a kind of pedagogical technique and initially served only teaching and educational purposes. He helped students in the form of a game to master various knowledge: the Latin language and biblical stories, poetics and oratory. In the 16th century, the possibilities of the spiritual influence of the school theater began to be used for religious and political purposes: by Luther in the fight against Catholics, the Jesuits against Lutheranism and Orthodoxy. In Russia, school 
the theater was used by Orthodoxy in the fight against Roman Catholic influence. Its origin was facilitated by a monk, a graduate of the Kiev-Mohyla Academy, an educated person, political figure, educator and poet Simeon Polotsky. In 1664 he came to Moscow and became the tutor of the royal children at court. In the collection of his works "Rhymologion" two plays were published - "The comedy about Novkhudonosor the king, about the body of gold and about the three children who were not burned in the cave" and the comedy "The Parable of the Prodigal Son".
S. Polotsky's plays are designed for the court theater by their nature. In their merits, they stand above the school plays of that time and anticipate the development of the theater of the 18th century. Thus, the functioning of the "comedy temple" and the emergence of the first professional dramatic works S. Polotsky was the beginning of the historically necessary and natural process of mastering the achievements of the world theater culture in Russia.
Simeon Polotsky was not only a talented poet and playwright. In world artistic culture, he played a significant role as the largest Slavic art theorist, considering the problems of artistic creativity - literature, music, painting. As a theologian, he noted that art is the highest spiritual creativity. To him he attributed poetry, music and painting.
The aesthetic and educational views of S. Polotsky on art are interesting. The monk argued that the art of beauty "is spiritual and mental benefit for people". According to his reasoning, there is no poetry, painting, music without harmony, proportion and rhythm. Without art, there is no education, because through its impact on the souls of people, negative emotions are replaced by positive feelings. Through the beauty of music and words, the unsatisfied become patient, the lazy become hard workers, the stupid become smart, the dirty become pure in heart.
S. Polotsky created the first classification in the Slavic region visual arts, raising painting to the Seven liberal arts. The same applies to music. He substantiated its aesthetic value and proved the necessity for the church of polyphonic singing in a harmonious combination of voices. The modal-tonal variety of music, noted S. Polotsky, is dictated by its educational function.
blog.site, with full or partial copying of the material, a link to the source is required.
slide 1
From a round dance to a booth Municipal educational institution secondary school No. 8, Severomorsk - 3, Murmansk regionslide 2
slide 3
In the old days in Rus', 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 round dance:
slide 4
In round dance games, the choral and dramatic beginnings were organically merged. Such games usually began with "set" songs, and ended with "collapsible", and the songs were distinguished by a clear rhythm. Subsequently, with a change in the structure of the tribal community, round dance games also changed. Soloists-leaders (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 founders of the first buffoons.
slide 5
Russian dance is an integral part of folk games and festivities. She has always been associated with song. This combination was one of the main means of expression folk theatre. Since ancient times, Russian folk dance has been based on the daring of competing partners, on the one hand, and the unity, smoothness of movements, on the other.
slide 6
Russian dance was born from pagan rites. After the 11th century, with the advent of professional buffoon actors, the nature of the dance also changed. Buffoons owned a developed dance technique; varieties of buffoons-dancers arose. There were buffoons-dancers who not only danced, but also played pantomime performances with the help of dance, which were most often improvised. Dancers-dancers appeared, usually they were the wives of buffoons. Russian dance
Slide 7
Dance has occupied a large place in various forms of theatre. He was a part of not only games and festivities, but also the performances of the Petrushka puppet show, often filling the pause between acts of the school drama. Many traditions of Russian dance have survived to this day.
Slide 8
Guide bears have been mentioned in sources since the 16th century, although it is possible that they appeared much earlier. A respectful attitude towards this beast originated in pagan times. The bear is the progenitor. He is a symbol of health, fertility, prosperity, 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 Matrena Ivanovna. In their performances, 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 slowly wander to the master's 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, the dance of the bear with the "goat" (the goat was usually portrayed 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 came the performance of the beast under the jokes of the guide, and then its struggle with the "goat" or the owner. The first descriptions of such comedies date back to XVIII century. This craft existed for a long time, until the 30s of the last century.
slide 11
Since ancient times, in many European countries, it was customary to set up a manger with figurines of the Virgin, a baby, a shepherd, a donkey and a bull in the middle of the church for Christmas. Gradually, this custom grew into a kind of theatrical performance, which told with the help of dolls the famous gospel legends about the birth of Jesus Christ, the worship of the Magi and the cruel King Herod. The Christmas performance was well spread in Catholic countries, in particular in Poland, from where it moved to Ukraine, Belarus, and then, in a slightly modified form, to Vilikorossia.
slide 12
When the Christmas custom went beyond the boundaries of the Catholic church, it acquired the name vertep (Old Slavic and Old Russian - cave). It was a puppet theatre. Imagine a box divided internally into two floors. The top of the box ended with a roof, its open side facing the public. On the roof is a bell tower. A candle was placed on it behind glass, which burned during the performance, giving the action a magical, mysterious character. Puppets for the crib theater were made of wood or rags and attached to a rod. The lower part of the rod was held by the puppeteer, so the puppets moved and even turned. The puppeteer himself was hidden behind a box. On the upper floor of the den, biblical stories were played out, on the lower floor - everyday: everyday, comedic, sometimes social. And the set of dolls for the lower floor was the usual: men, women, the devil, gypsies, a gendarme, and a simple man always turned out to be more cunning and smarter than a gendarme. It was from the Nativity Theater that the Petrushka Theater, so popular among the people, was later born.
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 performance and the audience. This is a daring daredevil and a bully, who in any situation retained a sense of humor and optimism. He always deceived the rich and the authorities, and as a spokesman for the protest, he enjoyed the support of the audience.
slide 14
In such a theatrical performance, two heroes simultaneously acted (according to the number of hands of the puppeteer): 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 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 Petrushka puppet theater was most popular 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 (rayok) and shouted loudly: “Come here with me to chat, honest people, both boys and girls, and well done and well done, and merchants and merchants, and clerks and clerks, and official rats and idle revelers. I'll show you all sorts of pictures: both gentlemen and men in a sheepskin coat, and you are jokes, yes different jokes listen carefully, eat apples, gnaw nuts, look at pictures and take care of your pockets. They'll cheat." Rayok
slide 16
Raek came to us from Europe and goes back to large panoramas. Art historian D. Rovinsky in the book “Russian folk pictures” describes it like this: “Raek is a small box, arshin 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 rink to another. Spectators, "on a penny from the snout," look into the glass. Rayoshnik moves the pictures and tells sayings to each new number, often very intricate.”
slide 17
Raek was very popular among the people. In it one could see both the panorama of Constantinople and the death of Napoleon, the church of St. Peter in Rome and Adam with his family, heroes, dwarfs and freaks. Moreover, the resident did not just show 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, the rayek 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 become 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 boards, the roof was made from canvas or linen.
slide 19
Inside there was a stage and a curtain. Ordinary spectators were seated on benches and during the performance they ate various sweets, donuts, and even cabbage soup. Later, a real auditorium appeared in the booths with stalls, boxes, and an orchestra pit. Outside, booths were decorated with garlands, signboards, and when gas lighting appeared, then with 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, tricks, interludes. Singers, dancers and just "outlandish" people performed here. Popular was the person drinking the fiery liquid, or the "African cannibal" eating pigeons. The cannibal was usually an artist smeared with resin, and the pigeon was a scarecrow with a bag of cranberries. Naturally, a fair with a theatrical booth simple people always looked forward to.
slide 20
There were also circus booths, their actors were "jack of all trades". Yu. Dmitriev in the book “Circus in Russia” quotes a message about the arrival of comedians from Holland, who “walking on a rope, dancing, jumping in the air, on the stairs, holding on to nothing, playing the violin, and walking up the stairs, dancing, immensely jump high and do other amazing things.” For for long years booths changed their existence, to late XIX centuries, they almost forever disappeared from the history of the Russian theater.
slide 21
1672 - the performances of the court troupe of Tsar Alexei Mikhailovich began
slide 22
1702 - the first Russian public theater on Red Square Festive processions, fireworks, masquerades, assemblies become popular
slide 23
This is what the theater in Yaroslavl looked like in 1909. In 1911 he was named after Fyodor Volkov
"Music of Ancient Rus'"- this is a presentation that I am sure will be a useful visual aid for a lesson in world art culture or history when studying the topic « Art culture Ancient Rus'" I tried to provide the presentation not only with illustrative material, but also with audio examples for each description. Unfortunately, audio examples can only be heard in PowerPoint.
Music of Ancient Rus'
The presentation tells about the origins of Russian musical art, about various types and genres of music from antiquity to the 17th century, about musical instruments that sounded on weekdays and holidays, in sorrow and joy. Presentation "Music of Ancient Rus'", according to my plan, should become a kind of mini-encyclopedia, created specifically for the lesson of world art culture.
“Music is a tightly sealed bottle of magical perfume, invariably retaining the aroma of its own, and only its own, time.”
Anton Gopko
The presentation has three main sections. First - will introduce the origins of ancient Russian musical art, whose roots go back to ancient times even before the formation of the Old Russian state, during the formation of the Slavic tribes.
Origin and development music of ancient Rus' associated with the beliefs of the Slavs, with rites and rituals dedicated to pagan deities and ancestors. These rituals were accompanied by singing, dancing, playing musical instruments. Professional musicians in Rus' were buffoons. Buffoons were real artists: musicians, jugglers, acrobats, animal trainers. Unfortunately, the Orthodox Church forbade the activities of buffoons, calling their performances diabolical games, subjecting them to persecution and even executions.
Second section will talk about ancient Russian musical instruments: psaltery, beeps, horns, pipes and others. The slide with the image of a musical instrument includes an audio file that will demonstrate the sound of this instrument.
Separate section dedicated church music, its main types and genres. There is also musical examples. A special icon on the slide is a trigger that "turns on" the sound. But, unfortunately, the trigger will only work when viewing the presentation in PowerPoint.
I would like to believe that my work, in which I put my soul, will be useful.
WITH ancient Russian art a few more presentations that you will find on my website will help you get acquainted:
RUSSIA) went through a different path of formation and development than the European, Eastern or American theater. The stages of this path are connected with the originality of the history of Russia - its economy, changes in social formations, religion, the special mentality of Russians, etc.
The theater in its ritual and ceremonial forms, as in every ancient community, was also widespread in Rus', it existed in mystery forms. IN this case I mean mystery not as a genre of medieval European theater, but as a group action associated with everyday and sacred goals, most often - to get the help of a deity in situations important for the functioning of the human community
The origin and formation of the Russian theater
These were the stages of the agricultural cycle - sowing, harvesting, natural disasters - drought, epidemics and epizootics, tribal and family events - marriage, childbirth, death, etc. These were prateatre performances based on ancient tribal and agricultural magic, so the theater of this period is mainly studied by folklorists and ethnographers, and not theater historians. But this stage is extremely important - like any beginning that sets the vector of development.
The origin and formation of the Russian theater
From such ritual actions, a line was born for the development of the Russian theater as a folklore, folk theater, presented in many forms - puppet theater (Petrushka, nativity scene, etc.), a booth (raek, bear fun, etc.), wandering actors (gusliers, singers, storytellers , acrobats, etc.), etc. Until the 17th century the theater in Russia developed only as a folklore one, there were no other theatrical forms, unlike in Europe. Until the 10th–11th centuries Russian theater developed along the path characteristic of the traditional theater of the East or Africa - ritual, folklore, sacred, built on original mythology
The origin and formation of the Russian theater
From about the 11th century the situation is changing, at first - gradually, then - more strongly, which led to a fundamental change in the development of the Russian theater and its further formation under the influence of European culture.
Professional theater
The first representatives of the professional theater were buffoons, working in almost all genres of street performances. The first evidence of buffoons dates back to the 11th century, which makes it possible to make sure that buffoon art was a phenomenon that had long been formed and entered into the life of all layers of the then society. The formation of Russian original buffoon art, coming from rites and rituals, was also affected by the "tour" of wandering European and Byzantine comedians - histrions, troubadours, vagantes
Theater and Church
By the 16th century in Russia, the church forms the state ideology (in particular, the clergy were given the duty to create educational institutions). And, of course, she could not pass by the theater, which is a powerful means of influence.
School-church theater
"Stoglavy" Russian Cathedral Orthodox Church 1551 played a decisive role in establishing the idea of religious-state unity and placed on the clergy the duty to create spiritual educational institutions. During this period, school drama and school-church performances appeared, which were staged in theaters during these educational institutions(colleges, academies). Figures personifying the state, the church, the ancient Olympus, wisdom, faith, hope, love, etc., appeared on the stage, transferred from the pages of books.
School-church theater
Having arisen in Kyiv, the school church theater began to appear in other cities: Moscow, Smolensk, Yaroslavl, Tobolsk, Polotsk, Tver, Rostov, Chernigov, etc. Having grown up within the walls of a theological school, he completed the theatricalization of church rites: liturgy, Holy Week services, Christmas, Easter and other rites. Arose in the conditions of the emerging bourgeois life, the school theater for the first time on our soil separated the actor and the stage from the viewer and the auditorium, for the first time led to a certain stage image both playwright and actor.
court theater
The formation of the court theater in Russia is associated with the name of Tsar Alexei Mikhailovich. The time of his reign is associated with the formation of a new ideology focused on expanding diplomatic ties with Europe. Orientation to the European way of life led to many changes in the life of the Russian court.
court theater
Aleksey Mikhailovich’s attempt to organize the first court theater also dates back to 1660: in the “list” of orders and purchases for the tsar, the English merchant Gebdon, Alexei Mikhailovich’s hand, inscribed the task “To summon masters of comedy from the German lands to the Muscovite state”. However, this attempt was unsuccessful; the first performance of the Russian court theater took place only in 1672. On May 15, 1672, the tsar issued a decree in which Colonel Nikolai von Staden (a friend of the boyar Matveev) was instructed to find people abroad who could "play comedies."
court theater
Performances have become one of the most favorite entertainments at the Moscow court. There were 26 Russian actors. The boys played the female roles. Esther's role in Artaxerxes action played by Blumentrost's son. Both foreigners and Russian actors were trained in a special school, which was opened on September 21, 1672 in the courtyard of Gregory's house in the German settlement. It turned out to be difficult to teach Russian and foreign students, and in the second half of 1675 two theater schools: at the Polish court - for foreigners, in the Meshchanskaya settlement - for Russians
court theater
The appearance of the first court theater coincided with the birth of Peter I (1672), who saw the last performances of this theater as a child. Having ascended the throne and started a huge work on the Europeanization of Russia, Peter I could not help but turn to the theater as a means of promoting his innovative political and social ideas.
Petrovsky Theater
From the end of the 17th century in Europe, masquerades, which young Peter I liked, came into fashion. In 1698, dressed in the costume of a Friesian peasant, he participated in the Viennese masquerade. Peter decided to popularize his reforms and innovations through the art of the theater. He planned to build a theater in Moscow, but not for the elite, but open to everyone. In 1698-1699, a puppet theater troupe worked in Moscow, headed by Jan Splavsky, and in 1701 Peter instructed to invite comedians from abroad. In 1702, the troupe of Johann Kunst arrives in Russia
The emergence of public (public) theater
After Elizabeth Petrovna ascended the throne in 1741, the introduction of the European theater continued. Foreign troupes toured at the court - Italian, German, French, among them - drama, opera and ballet, commedia dell'arte. In the same period, the foundations of the national Russian professional theater were laid, it was during the reign of Elizabeth that the future “father of the Russian theater” Fyodor Volkov studied in Moscow, taking part in Christmas performances and absorbing the experience of touring European troupes.
Theaters in educational institutions
In the middle of the 18th century theaters are organized in educational institutions (1749 - St. Petersburg Gentry Corps, 1756 - Moscow University), Russian theatrical performances are arranged in St. Petersburg (organizer I. Lukin), in Moscow (organizers K. Baikulov, clerks led by Khalkov and Glushkov, master "Ivanov and others), in Yaroslavl (organizers N. Serov, F. Volkov). In 1747 another thing happens an important event: the first poetic tragedy was written - Khorev A. Sumarokova.
National Public Theater
All this creates the prerequisites for the emergence of a national public theater. To do this, in 1752 Volkov's troupe was called from Yaroslavl to St. Petersburg. Talented amateur actors are determined to study in the gentry corps - A. Popov, I. Dmitrevsky, F. and G. Volkov, G. Emelyanov, P. Ivanov and others. Among them are four women: A. Musina-Pushkina, A. Mikhailova, sisters M. and O. Ananiev.
FEDOR GRIGORIEVICH VOLKOV
Petrovsky Theater
Under Peter I, performances in Siberia were initiated by the Metropolitan of Tobolsk, Philotheus Leshchinsky. In a handwritten chronicle under 1727 it is said: “Filothey was a hunter for theatrical performances, he made glorious and rich comedies, when he was supposed to be a spectator of a gatherer at a comedy, then he lord produced cathedral bells to collect blaze, and the theaters were between the Cathedral and St. Sergius churches and vzvozu, where the people were going. The innovation of Metropolitan Philotheus was continued by his successors, some of whom were pupils of the Kyiv Academy.
Theater under Anna Ioannovna
Anna Ioannovna spent huge sums on various festivities, balls, masquerades, solemn receptions of ambassadors, fireworks, illuminations and theatrical processions. At her court, the clownish culture revived, continuing the traditions of the "sedentary" buffoons - she had giants and dwarfs, jesters and crackers. The most famous theatrical holiday was the "curious" wedding of the jester Prince Golitsyn with the Kalmyk joker Buzheninova in the Ice House on February 6, 1740.
Permanent public theater
The first Russian permanent public theater was opened in 1756 in St. Petersburg, in the Golovkin House. A number of actors from the Yaroslavl troupe of F. Volkov were added to the actors trained in the gentry corps, including the comic actor Y. Shumsky. The theater was headed by Sumarokov, whose classicist tragedies formed the basis of the repertoire. The first place in the troupe was occupied by Volkov, who replaced Sumarokov as director, and held this position until his death in 1763 (this theater in 1832 will be called Alexandrinsky - in honor of the wife of Nicholas I.)
Creation of a drama theater
The first public performances in Moscow date back to 1756, when students of the university gymnasium, under the guidance of their director, the poet M. Kheraskov, formed a theater troupe within the walls of the university. Representatives of the highest Moscow society were invited to the performances. In 1776, on the basis of the former university troupe, a Theatre of Drama, which received the name of Petrovsky (it is also the Medox Theater). The Bolshoi (opera and ballet) and Maly (dramatic) theaters of Russia lead their genealogies from this theater.
SMALL THEATER
History of the Maly Theater
The Maly Theater is the oldest theater in Russia. His troupe was created at Moscow University in 1756, immediately after the well-known Decree of Empress Elizaveta Petrovna, which marked the birth of a professional theater in our country: “We ordered now to establish a Russian theater for the presentation of comedies and tragedies ...”
History of the Maly Theater
In 1824, Beauvais rebuilt the mansion of the merchant Vargin for the theatre, and the dramatic part of the Moscow troupe of the Imperial Theater received its own building on Petrovskaya (now Teatralnaya) Square and its own name - the Maly Theatre.
BOLSHOY THEATER OF RUSSIA in Moscow
Bolshoi theater in the evening
Near the theater
Theater of the era of sentimentalism
The period of classicism in Russia did not last long - already from the mid-1760s, the formation of sentimentalism began. Appear " tearful comedies» V.Lukinsky, M.Verevkin, M.Kheraskov, comic opera, petty-bourgeois drama. The strengthening of democratic tendencies in the theater and dramaturgy was facilitated by the exacerbation of social contradictions during the period of the peasant war of 1773–1775 and the traditions of the folk theater. So, according to contemporaries, Shumsky used playing techniques close to buffoons. The satirical comedy is developing - undergrowth D. Fonvizina
Fortress theaters
By the end of the 18th century fortress theaters are spreading. Theatrical specialists - actors, choreographers, composers - were invited here for classes with actors. Some of the fortress theaters (Sheremetev in Kuskovo and Ostankino, Yusupov in Arkhangelsk) surpassed state theaters in the richness of their productions. At the beginning of the 19th century the owners of some serf theaters are beginning to turn them into commercial enterprises (Shakhovskaya and others). Many famous Russian actors came out of the serf theaters, who were often released for quitrent to play in "free" theaters - incl. on the imperial stage (M. Shchepkin, L. Nikulina-Kositskaya and others).
Theater at the turn of the 18th-19th centuries
Russian theater in the 19th century
Issues related to the development of the theater at the very beginning of the 19th century. were discussed at meetings of the Free Society of Lovers of Literature, Sciences and Arts. A follower of Radishchev I. Pnin in his book Experience about enlightenment in relation to Russia(1804) argued that the theater should contribute to the development of society. Secondly, the relevance of the patriotic tragedies staged during this period, full of allusions to the current situation ( Oedipus in Athens And Dmitry Donskoy V. Ozerov, plays by F. Schiller and W. Shakespeare), contributed to the formation of romanticism. This means that new principles of acting, the desire for the individualization of stage characters, the disclosure of their feelings and psychology, were affirmed.
The division of the theater into two troupes
In the first quarter of the 19th century the first official separation of the Russian drama theater into a separate direction took place (previously, the drama troupe worked together with the opera and ballet, and the same actors often performed in performances of different genres). In 1824, the former theater of Medox was divided into two troupes - drama (Maly Theater) and opera and ballet (Bolshoi Theater). The Maly Theater gets a separate building. (In St. Petersburg, the drama troupe was separated from the musical troupe in 1803, but before moving to a separate building in 1836 Alexandrinsky Theater she also worked with the opera and ballet troupe at the Mariinsky Theatre.)
Alexandrinsky Theater
For the Alexandrinsky Theater in the second half of the 19th century. turned out to be a more difficult period. Despite separate productions of plays by Ostrovsky, I. Turgenev, A. Sukhovo-Kobylin, A. Pisemsky, at the behest of the Directorate of the Imperial Theaters, vaudeville and pseudo-folk dramaturgy formed the main basis of the repertoire at that time. The troupe included many talented artists whose names are inscribed in the history of the Russian theater: A. Martynov, P. Vasiliev, V. Asenkova, E. Guseva, Yu. Linskaya, V. Samoilov, later, by the end of the 19th century. - P. Strepetova, V. Komissarzhevskaya, M. Dalsky, K. Varlamov, M. Savina, V. Strelskaya, V. Dalmatov, V. Davydov and others. However, each of these brilliant actors appeared as if on his own, acting stars did not form a stage ensemble. In general, the state of the Alexandrinsky Theater at that time was not very enviable: the leaders of the troupe were constantly changing, there was no strong direction, the number of premieres increased, and the rehearsal time was reduced.
Alexandrinsky Theater
Mariinskii Opera House
Mariinskii Opera House
The largest opera and ballet theater in Russia, one of the oldest musical theaters in our country. It originates from the Stone (Bolshoi) Theater opened in 1783. It has existed in a modern building (rebuilt after a fire in the Circus Theatre) since 1860, at the same time it received a new name - the Mariinsky Theater.
Theater at the turn of the 19th-20th centuries
The turn of the 19th and 20th centuries became the period of rapid rise and rapid flourishing of the Russian theater. This time was a turning point for the entire world theater: a new theatrical profession appeared - the director, and in connection with this, a fundamentally new aesthetic director's theatre. In Russia, these tendencies are especially pronounced. It was a period of unprecedented rise of all Russian art, which later received the name of the Silver Age. And the drama theater - along with poetry, painting, scenography, ballet - appeared in a huge variety of aesthetic directions, focusing the attention of the world theatrical community.
Russian theater at the turn of the 19th–20th centuries
In order to consider Russia at the turn of the 19th–20th centuries. the focus of world theatrical achievements, it would be enough to have only K. Stanislavsky with his stunning innovative ideas and the Moscow Theater he created together with V. Nemirovich-Danchenko Art Theater(1898). Despite the fact that the Moscow Art Theater opened with a performance Tsar Fedor Ioannovich A.K. Tolstoy, the banner of the new theater was the dramaturgy of A. Chekhov, mysterious, not fully disclosed even today. No wonder there is a seagull on the curtain of the Moscow Art Theater, which refers to the title of one of Chekhov's best plays and has become a symbol of the theatre. But one of the main merits of Stanislavsky to the world theater is the education of talented students who have absorbed the experience of his theater system and developing it further in the most unexpected and paradoxical directions (bright examples are V. Meyerhold, M. Chekhov, E. Vakhtangov).
KONSTANTIN SERGEEVICH STANISLAVSKY
In St. Petersburg, the "key figure" of this time was V. Komissarzhevskaya. Debuting on the stage of the Alexandrinsky Theater in 1896 (before that, she played in amateur performances by Stanislavsky), the actress almost immediately won the ardent love of the audience. Her own theater, founded in 1904, played a huge role in the formation of a brilliant constellation of Russian stage directors. In the Komissarzhevskaya Theater in 1906–1907, for the first time on the capital's stage, he asserted the principles conditional theater Meyerhold (later he continued his experiments in the imperial theaters - Alexandrinsky and Mariinsky, as well as in the Tenishevsky School and in theater studio on Borodino street)
VERA FYODOROVNA KOMISSARZHEVSKAYA
Moscow Art Theater
In Moscow, the Moscow Art Theater was the center of theatrical life. A brilliant constellation of actors gathered there who played in performances that attracted a huge number of spectators: O. Knipper, I. Moskvin, M. Lilina, M. Andreeva, A. Artem, V. Kachalov, M. Chekhov and others. modern direction: in addition to Stanislavsky and Nemirovich-Danchenko, these were the works of L. Sulerzhitsky, K. Mardzhanov, Vakhtangov; the world-famous G. Krag also came to the production. The Moscow Art Theater laid the foundations for modern scenography: M. Dobuzhinsky, N. Roerich, A. Benois, B. Kustodiev and others were involved in the work on its performances. At that time, the Moscow Art Theater actually determined the entire artistic life Moscow, incl. - and the development of small theatrical forms; the most popular Moscow cabaret theater Bat"is created on the basis of the skits of the Moscow Art Theater.
MOSCOW ART THEATER.
Russian theater after 1917
The new government understood the importance theatrical art: On November 9, 1917, a decree was issued by the Council of People's Commissars on the transfer of all Russian theaters to the jurisdiction of the arts department State Commission on education. And on August 26, 1919, a decree on the nationalization of theaters appeared, for the first time in the history of Russia, the theater completely became a matter of state (in Ancient Greece such a state policy was carried out as early as the 5th century. BC.). The leading theaters were awarded academic titles: in 1919 - the Maly Theater, in 1920 - the Moscow Art Theater and the Alexandrinsky Theater (renamed the Petrograd State Academic Drama Theater). New theaters are opening. In Moscow - the 3rd Studio of the Moscow Art Theater (1920, later the Vakhtangov Theater); Theater of the Revolution (1922, later - the Mayakovsky Theater); theater named after MGSPS (1922, today - theater named after Mossovet); Moscow Theater for Children (1921, since 1936 - Central Children's Theater). In Petrograd - the Bolshoi Drama Theater (1919); GOSET (1919, moved to Moscow in 1920); Theater for Young Spectators (1922).
Theater named after Evgeny Vakhtangov
History of the Theater named after Evg. Vakhtangov began long before his birth. At the end of 1913, a group of very young - eighteen or twenty years old - Moscow students organized the Student Drama Studio, deciding to engage in theatrical art according to the Stanislavsky system.
Theater in the 30s
new period Russian theater began in 1932 with a resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the restructuring of literary and artistic organizations”. The main method in art was recognized as the method socialist realism. The time for artistic experiments is over, although this does not mean that the subsequent years did not bring new achievements and successes in the development of theatrical art. It’s just that the “territory” of permitted art narrowed, performances of certain artistic directions are usually realistic. And an additional evaluation criterion appeared: ideological-thematic. So, for example, the unconditional achievement of the Russian theater since the mid-1930s has been the performances of the so-called. "Leninians", in which the image of V. Lenin was brought to the stage ( Man with a gun at the Vakhtangov Theatre, in the role of Lenin - B. Shchukin; Is it true in the Theater of Revolution, in the role of Lenin - M. Strauch, etc.). Practically doomed to success were any performances based on the plays of the "founder of socialist realism" M. Gorky. This does not mean that every ideologically sustained performance was bad, just artistic criteria (and sometimes audience success) in the state evaluation of performances ceased to be decisive.
Theater in the 30s and 40s
For many figures in the Russian theater, the 1930s (and the second half of the 1940s, when the ideological politics continued) became tragic. However, the Russian theater continued to develop. New director names appeared: A.Popov, Yu.Zavadsky, R.Simonov, B.Zakhava, A.Dikiy, N.Okhlopkov, L.Vivien, N.Akimov, N.Gerchakov, M.Kedrov, M.Knebel, V .Sakhnovsky, B.Sushkevich, I.Bersenev, A.Bryantsev, E.Radlov and others. These names were mainly associated with Moscow and Leningrad and the directing school of the country's leading theaters. However, the work of many directors in other cities is also gaining fame. Soviet Union: N. Sobolshchikov-Samarin (Gorky), N. Sinelnikov (Kharkov), I. Rostovtsev (Yaroslavl), A. Kanin (Ryazan), V. Bityutsky (Sverdlovsk), N. Pokrovsky (Smolensk, Gorky, Volgograd) and others .
YURI ALEXANDROVICH ZAVADSKY
RUBEN NIKOLAEVICH SIMONOV
MARIA IVANOVNA BABANOVA
IGOR ILYINSKY
During the Great Patriotic War, Russian theaters mainly turned to the patriotic theme. Plays written during this period were staged on the stages ( Invasion L.Leonova, Front A. Korneichuk, Guy from our city And Russian people K. Simonov), and plays of historical and patriotic themes ( Peter I A.N. Tolstoy, Field Marshal Kutuzov
FRONT BRIGADE
Theater during the Great Patriotic War
The period 1941-1945 had another consequence for the theatrical life of Russia and the Soviet Union: a significant increase in the artistic level of provincial theaters. The evacuation of theaters in Moscow and Leningrad and their work on the periphery breathed new life into local theaters, contributed to the integration of stage art and the exchange of creative experience.
Russian theater in 1950–1980
A great contribution to the formation of Russian theatrical art was made by many actors of Leningrad: I. Gorbachev, N. Simonov, Yu. Pushkin); D. Barkov, L. Dyachkov, G. Zhzhenov, A. Petrenko, A. Ravikovich, A. Freindlich, M. Boyarsky, S. Migitsko, I. Mazurkevich and others (Lensovet Theatre); V. Yakovlev, R. Gromadsky, E. Ziganshina, V. Tykke and others (Lenin Komsomol Theatre); T. Abrosimova, N. Boyarsky, I. Krasko, S. Landgraf, Yu. Ovsyanko, V. Osobik and others (Komissarzhevskaya Theatre); E. Junger, S. Filippov, M. Svetin and others (Comedy Theatre); L. Makariev, R. Lebedev, L. Sokolova, N. Lavrov, N. Ivanov, A. Khochinsky, A. Shuranova, O. Volkova and others (Young Spectators Theatre); N. Akimova, N. Lavrov, T. Shestakova, S. Bekhterev, I. Ivanov, V. Osipchuk, P. Semak, I. Sklyar and others (MDT, also known as the Theater of Europe).
AT THE DOORS of the Moscow Drama Theater on Taganka, 1977
Theater of the Russian Army
THE THEATER OF THE RUSSIAN ARMY is the first professional drama theater in the system of the Ministry of Defense. Until 1946 it was called the Theater of the Red Army, then it was renamed the Theater of the Soviet Army (later - the Central Academic Theater of the Soviet Army). Since 1991 - the Central Academic Theater of the Russian Army.
Theater of the Russian Army
In 1930-1931 the Theater of the Red Army was headed by Yu.A. Zavadsky. Here he staged one of the notable performances in Moscow at that time. Mstislav daring I. Prut. A studio worked at the theater, its graduates replenished the troupe. In 1935, the theater was headed by A.D. Popov, whose name is associated with the heyday of the Red Army Theater. Architect K.S. Alabyan created a project of a very special theater building - in the form five pointed star, with two auditoriums ( Big hall for 1800 seats), with a spacious stage, characterized by an unprecedented depth until then, with many rooms adapted for workshops, theater services, rehearsal rooms. By 1940 the building was built, until that time the theater played its performances in the Red Banner Hall of the House of the Red Army, went on long tours.
THEATER OF THE RUSSIAN ARMY
Theater of the Russian Army
NIKOLAI NIKOLAEVICH GUBENKO
VLADIMIR VYSOTSKY as Hamlet
Vladimir Vysotsky devoted his life to this theater
The change of political formation in the early 1990s and a long period of economic devastation radically changed the life of the Russian theater. The first period of weakening (and after - and the abolition) of ideological control was accompanied by euphoria: now you can put on and show the audience anything. After the abolition of the centralization of theaters, many new groups were organized - studio theaters, entreprises, etc. However, few of them survived in the new conditions - it turned out that, in addition to the ideological dictate, there is a viewer's dictate: the public will watch only what it wants. And if in the conditions of state financing of the theater, filling the auditorium is not very important, then with self-sufficiency, a full house in the hall is the most important condition for survival.
Theater today
The current day of the Russian theater is associated with the Silver Age in terms of the number and variety of aesthetic trends. The directors of traditional theatrical trends are side by side with experimenters. Along with recognized masters - P. Fomenko, V. Fokin, O. Tabakov, R. Viktyuk, M. Levitin, L. Dodin, A. Kalyagin, G. Volchek, K. Ginkas, G. Yanovskaya, G. Trostyanetsky, I. Reichelgauz, K. Raikin, S. Artsibashev, S. Prokhanov, S. Vragova, A. Galibin, V. Pazi, G. Kozlov, as well as even younger and radical avant-garde artists: B. Yukhananov, A. Praudin, A .Mighty, V.Kramer, Klim and others.
Theater today
In the post-Soviet period, the contours of theatrical reform changed dramatically, they moved mainly into the area of financing theater groups, the need for state support for culture in general and theaters in particular, and so on. Possible reform raises many diverse opinions and heated debate. The first steps of this reform were the Decree of the Government of Russia in 2005 on additional funding for a number of theaters and educational theater institutions in Moscow and St. Petersburg. However, there is still a long way to go before the systemic development of the theatrical reform scheme. What it will be is still unclear.
MKOU "Torbeevskaya Basic School named after A.I. Danilov"
Novoduginsky district, Smolensk region
The history of the theater in Russia
Done: Primary school teacher
Smirnova A.A.
d.Torbeevo
2016
Folk art Russian theater originated in ancient times in folk art. These were rituals, holidays. Over time, rituals lost their meaning and turned into performance games. Elements of the theater were manifested in them - dramatic action, disguise, dialogue. The oldest theater was the games of folk actors - buffoons.
buffoons
In 1068 buffoons are first mentioned in chronicles. They coincide in time with the appearance on the walls of the Kiev Sophia Cathedral of frescoes depicting buffoon performances. The chronicler monk calls buffoons servants of the devils, and the artist who painted the walls of the cathedral found it possible to include their image in church decorations along with icons.
Sophia Cathedral in Kyiv
Frescoes on the walls of St. Sophia Cathedral
Who are buffoons?
Here is the author's definition explanatory dictionary IN AND. Dal:
"A buffoon, a buffoon, a musician, a piper, a miracle worker, a bagpiper, a harper, a hunter with dances with songs, jokes and tricks, an actor, a comedian, a joker, a bugbear, a lomaka, a jester"
Parsley
In the 17th century, the first oral dramas developed, simple in plot, reflecting popular moods. The puppet comedy about Petrushka (his first name was Vanka-Ratatouille) told about the adventures of a clever merry fellow who was not afraid of anything in the world. .
court theater
Plans to create a court theater first appeared with Tsar Mikhail Fedorovich in 1643. The Moscow government tried to find artists who would agree to enter the royal 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
Royal Theater First royal 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 the pastor of the German settlement Johann Gottfried Gregory, who lived in Moscow, to recruit an acting troupe.
Tsar Alexei Mikhailovich
Artamon Matveev
The pastor recruited 64 young men and teenage boys and began to teach them acting skills. He wrote a play for biblical story. She was written in German, but the performance was given in Russian. On October 17, 1672, the long-awaited theater was opened in the Tsar's residence near Moscow and the first theatrical performance took place.
funny ward
The Royal 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. The plays were written by the teachers, and the students staged historical tragedies, dramas, satirical everyday scenes. The satirical scenes of the school theater laid the foundation for the comedy genre in the national dramaturgy. At the origins of the school theater was a famous political figure, playwright Simeon Polotsky.
Simeon Polotsky
Fortress theaters
And in late XVII century, the first serf theaters appeared. Fortress theaters contributed to the appearance of women on the stage. Among the outstanding Russian serf actresses is the one who shone in the theater of Counts Sheremetevs Praskovya Zhemchugova-Kovalev. The repertoire of the fortress theaters consisted of works by European authors, primarily French and Italian.
Count Sheremetev
Praskovya Zhemchugova-Kovaleva
Fortress Theater of Count Sheremetev
home theater building
Sheremetevs
Actors costumes
theater room
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 “Russian comedy with a choir” was presented by “nobles of both sexes”.
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 named after M.I. Glinka
Smolensk regional philharmonic society them. M.I. Glinka
Concert hall Smolensk Philharmonic
