Literature and music of ancient Rus'. literature a significant role in the development of the Christian culture of ancient Rus' was played by a handwritten book

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LITERATURE Significant role in the development Christian culture Ancient Rus' played handwritten book. Together with Christianity, Ancient Rus' adopted the existing system of church writing genres developed in Byzantium. First of all, these were bible books. Old Testament, which included: "Law", "Prophets", "Scriptures", also hymnography and "words" associated with the interpretation of "Scripture" and church prayers and hymns.

Historical genres relied on folklore, but developed book forms of narration. They didn't allow fiction; most often included in the annals. Chronicle is one of the first original genres of Russian literature. This historical narratives about current events, which are arranged by year. For the chronicler, it is not the duration of the reigns that is important, but the sequence of events. The beginning of the chronicle article is traditional: “In the summer, ..”, then the year from the creation of the world is indicated and the events of this year are described. The genre of history includes different genres, for example, a hagiographic story about Boris and Gleb, a military story. A variety of topics, events, genres helps the chronicler to tell about the history of Rus'. historical genres chronicle, tale, legend, tale

The Tale of Bygone Years, the most significant work of Russian literature, was compiled by the monk of the Kiev-Pechersk monastery Nestor. The chronicler more than once delivers a sermon calling for love, peace harmony. This chronicle defines the place of the Slavs, the place of the Russian people among the peoples of the world, draws the origin Slavic writing, the formation of the Russian state, talks about wars, victories and defeats, about holidays, traditions and rituals, refers to folk tales and legends. The reader will also learn about the business agreements between Rus' and Constantinople.

Religious and didactic genres of teaching, lives, solemn words, walks were often created on the occasion of a specific event and played an important educational role. the genre of sermons served as an important means of propagating the new religious doctrine. For example, "Teachings of Theodosius of the Caves." The "Instruction" of Vladimir Monomakh, written by him shortly before his death (about 1117), was considered by the chroniclers as a testament to children. The central idea of ​​the "Instruction" is to strictly observe the state interests, and not personal ones.

The author of the life (hagiographer) sought to create the image of an ideal church hero. Usually the saint's life began with a brief mention of his parents (the saint will be born "from a faithful parent and pious"); then it was about the childhood of the saint, his behavior. He was distinguished by modesty, obedience, loved books, shunned games with his peers, and was imbued with piety. In the future, his ascetic life begins in a monastery or desert solitude. He has the ability to work miracles, to enter into communication with heavenly forces. His death is peaceful and quiet; his body emits a fragrance after death. In the 19th century in separate lists in Rus', translated lives of Nicholas the Wonderworker, Anthony the Great, John Chrysostom, Alexei, the man of God, and other genres of life were known - stories about the exploits of saints. Lives depended on the types of holiness: martyr, confessor, reverend, stylist, holy fool.

An example of the Old Russian original princely life is the "Legend of Boris and Gleb". The author of the legend (anonymous), while maintaining historical specificity, sets out in detail the facts of the villainous murder of Boris and Gleb. However, the compositional scheme of life changes somewhat; only one episode of the life of the heroes is shown - a villainous murder. Boris and Gleb are portrayed as ideal Christian martyr heroes.

Genre of walking In the XI century. Russian people begin to walk to the Christian East, to holy places. For those who could not make a pilgrimage to Palestine, books describing journeys and walks become some kind of compensation. In the XII century. “The Journey of Abbot Daniel to the Holy Land” appears, where the holy places are described in detail. He is interested in nature, the nature of the buildings of Jerusalem, the Jordan River, etc. There are many legends in circulation that Daniel heard during his journey or learned from books.

Features of Old Russian literature 1. Handwritten character. 2. Anonymity as a consequence of a religiously Christian attitude towards a person: The concept of copyright did not exist in society. Book scribes often edited the text, added their own episodes, changed ideological orientation rewritten text, the nature of its style. This is how new editions of monuments appeared. 3. Historicism. The heroes of ancient Russian literature are predominantly historical figures. There is practically no fiction in it. Historical events explained from a religious point of view. Heroes are princes, rulers of the State. 4. Topics beauty and grandeur of the Russian land; moral beauty of a Russian person. 5. Artistic method: symbolism, historicism, ritualism, didacticism leading principles artistic method, two sides: strict photographic and ideal image of reality.

MUSIC In the era of Kievan Rus, the development of ritual songs, labor, comic-satirical, lullabies continues, a heroic epic has formed. epic folk art preserved in epics, or antiquities. Bylina is a product of a synthetic verbal and musical genre.

The most important phenomenon in the musical culture of that time was the birth of Znamenny singing as the first form of professional singing recorded in a hook recording. musical art. Znamenny chant, the main type of Russian church chants. The name comes from the Old Slavonic word "banner". Banners, or hooks, were called non-linear signs used to record tunes. hooks

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The art of ancient Russian chanters was close to icon painting. At first, the hymnographer worked. He dismembered the text, matching the melody like (a model, model for chants) with the text of the chant so that the number of fragments of the text corresponded to the number of musical lines of the melody like. Then, like a cliche, he superimposed a musical formula on new texts, subtly varying the details of the melody where necessary. A special musician-signer "marked" a blank sheet of paper for the future musical manuscript, signed in a certain sequence miniatures, hymn texts, initials, musical signs under the text and, finally, cinnabar markings under the banners. The work of a hymnographer in the Middle Ages was highly valued, most of them were even canonized as saints: Roman the Melodist, John Chrysostom, Andrew of Crete, John of Damascus, and others.

Old Russian church music expressed the idea of ​​unanimity and unity, therefore it was predominantly monodic, that is, monophonic unison, monody. The canonical feature of the Russian Orthodox music is also the principle a sarela (without accompaniment), since only the human voice was recognized as the only perfect musical instrument, since only the voice can embody the word in musical sounds, create a meaningful melody. Pillar chant

TO ancient genres hymnography include: -psalms associated with the name of the biblical king David, the psalms are very diverse: some sound like a choral recitation, reminiscent of chanting, others like a wide, chanted lyric song. - troparion (Greek “I turn”, “monument of victory”, “trophy”). A characteristic feature of the troparia texts, in addition to their brevity, is the frequent use of comparisons and allegories. And basically their content is connected with the glorification of the celebrated events. christian church, singing the exploits of martyrs and ascetics. - kontakion (Greek “short”) is a short chant, a multi-stanza work, where all the stanzas were built according to the same pattern and performed to the same tune, which varied from stanza to stanza. - stichera (Greek "polystich"), often distinguished by great length and melodic richness. - canon (Greek "norm", "rule") a large choral composition, consisting of nine sections, each of which included several chants. If kontakion is a poetic sermon, teaching, then the canon is a solemn laudatory hymn. The most important principles of the organization of ancient Russian singing art are cyclicity and ensemble.
It should be noted the special role of Novgorod, which introduced a new church music. It was here that the wonderful tradition of bell ringing developed and strengthened. The transition from the "beat" to the bell of a certain, acoustically advantageous design was a great achievement in the timbre expressiveness of musical art. Following Novgorod, the art of bell ringing developed in Pskov. BELL RINGS

The repertoire of buffoons included humorous songs, dramatic skits, social satire "glums" performed in masks and "buffoon dress" to the accompaniment of domra, bagpipes, tambourine. Speaking on the streets, squares, S. directly communicated with the audience, involved them in their game. Main character representations of a cheerful and broken man in his mind, often using the guise of comic rusticity.

Arising no later than the middle of the 11th century. (depicted on the frescoes of St. Sophia Cathedral in Kyiv, 1037), buffoonery reached its peak in 1517, and in the 18th century. gradually faded away, transferring some of the traditions of their art to the booth. Often they were persecuted by the church and civil authorities. In 1648 and 1657 decrees were issued banning buffoonery.

The history of the emergence of the Russian theater

Introduction

The history of the Russian theater is divided into several main stages. The initial, playful stage originates in a tribal society and ends by the 17th century, when, along with a new period of Russian history, a new, more mature stage in the development of the theater, culminating in the establishment of a permanent state professional theater in 1756.

The terms “theatre”, “drama” entered the Russian dictionary only in the 18th century. At the end of the 17th century, the term "comedy" was used, and throughout the century - "fun" (Amusing closet, Amusement chamber). In the popular masses, the term “theater” was preceded by the term “disgrace”, the term “drama” - “game”, “game”. In the Russian Middle Ages, definitions synonymous with them were common - “demonic”, or “satanic”, buffoon games. All sorts of curiosities brought by foreigners in the 16th-17th centuries, and fireworks were also called fun. The military occupations of the young Tsar Peter I were also called fun. In this sense, both the wedding and dressing up were called “play”, “game”. “Play” has a completely different meaning in relation to musical instruments: playing tambourines, sniffles, etc. The terms “game” and “play” in relation to oral drama were preserved among the people until the 19th-20th centuries.

Folk art

Russian theater originated in ancient times. Its origins go to folk art - rituals, holidays associated with labor activity. Over time, the rites lost their magical meaning and turned into performance games. Elements of the theater were born in them - dramatic action, disguise, dialogue. In the future, the simplest games turned into folk dramas; they were created in the process of collective creativity and stored in people's memory passing from generation to generation.

In the process of their development, the games were differentiated, disintegrated into related and at the same time more and more distant varieties - into dramas, rituals, games. They were brought together only by the fact that they all reflected reality and used similar methods of expressiveness - dialogue, song, dance, music, disguise, disguise, acting.

Games instilled a taste for dramatic creativity.

Games were originally a direct reflection of the tribal community organization: they had a round dance, choric character. In round dance games, choral and dramatic creativity was organically merged. Songs and dialogues, abundantly included in the games, helped to characterize the playful images. Mass commemorations also had a playful character; they were timed to coincide with the spring and were called “mermaids”. In the XV century, the content of the concept of "Rusalia" was defined as follows: demons in human form. And the Moscow “Azbukovnik” of 1694 already defines mermaids as “buffoon games”.

Theatrical art of the peoples of our Motherland originates in rituals and games, ritual actions. Under feudalism, theatrical art was cultivated, on the one hand, by the "popular masses", and on the other, by the feudal nobility, and buffoons were differentiated accordingly.

In 957 grand duchess Olga gets acquainted with the theater in Constantinople. Hippodrome performances are depicted on the frescoes of the Kiev Sophia Cathedral of the last third of the 11th century. In 1068, buffoons were first mentioned in the annals.

Three types of theaters were known to Kievan Rus: court, church, folk.

buffoonery

The oldest "theater" was the games of folk actors - buffoons. Shyness is a complex phenomenon. Buffoons were considered a kind of magicians, but this is erroneous, because buffoons, participating in rituals, not only did not enhance their religious and magical character, but, on the contrary, introduced worldly, secular content.

Buffoon, i.e. sing, dance, joke, act out skits, play on musical instruments and to act, that is, to portray some kind of person or creature, anyone could. But only the one whose art stood out above the level of the art of the masses by its artistry became and was called a buffoon-craftsman.

In parallel with the folk theater, professional theatrical art developed, the carriers of which in Ancient Rus' were buffoons. The appearance of a puppet theater in Rus' is connected with buffoon games. The first chronicle information about buffoons coincides 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. Buffoons were associated with the masses, and one of the types of their art was "gum", that is, satire. Skomorokhovs are called "fools", that is, scoffers. Glum, mockery, satire will continue to be firmly associated with buffoons.

The secular art of buffoons was hostile to the church and clerical ideology. The hatred that the churchmen had for the art of buffoons is evidenced by the records of the chroniclers (“The Tale of Bygone Years”). Church teachings of the 11th-12th centuries declare that disguise, which buffoons resort to, is also a sin. Buffoons were subjected to especially strong persecution during the years of the Tatar yoke, when the church began to intensively preach an ascetic way of life. No persecution has eradicated the buffoon art among the people. On the contrary, it successfully developed, and its satirical sting became more and more acute.

Art-related crafts were known in Ancient Rus': icon painters, jewelers, wood and bone carvers, and book scribes. Buffoons belonged to their number, being "cunning", "masters" of singing, music, dance, poetry, drama. But they were regarded only as amusing, funny people. Their art was ideologically connected with the masses of the people, with the artisan people, usually opposed to the ruling masses. This made their skill not only useless, but, from the point of view of the feudal lords and clergy, ideologically harmful and dangerous. Representatives of the Christian church placed buffoons next to the wise men and fortune tellers. In rituals and games there is still no division into performers and spectators; they lack developed plots, reincarnation into an image. They appear in a folk drama permeated with sharp social motifs. The appearance of the square theaters of the oral tradition is connected with the folk drama. The actors of these folk theaters (buffoons) ridiculed those in power, the clergy, the rich, sympathetically showed ordinary people. Performances of the folk theater were built on improvisation, included pantomime, music, singing, dancing, church numbers; performers used masks, make-up, costumes, props.

The nature of the performance of the buffoons initially did not require them to be combined into large groups. For the performance of fairy tales, epics, songs, playing the instrument, only one performer was enough. Buffoons leave their homes and roam the Russian land in search of work, move from villages to cities, where they serve not only the rural, but also the townspeople, and sometimes princely courts.

Buffoons were also attracted to folk court performances, which multiplied under the influence of acquaintance with Byzantium and its court life. When the Amusing Closet (1571) and the Amusement Chamber (1613) were arranged at the Moscow Court, buffoons found themselves in the position of court jesters there.

Representations of buffoons united different types arts: and actually dramatic, and church and "variety".

The Christian Church opposed folk games and the art of buffoons with ritual art, saturated with religious and mystical elements.

Performances of buffoons did not develop into a professional theater. There were no conditions for the birth of theater troupes - after all, the authorities persecuted buffoons. The church also persecuted buffoons, turning to secular authorities for assistance. Against the buffoons were sent a charter of the Trinity-Sergius Monastery of the XV century, the Statutory charter of the beginning of the XVI century. The Church persistently put buffoons on a par with the bearers of the pagan worldview (magicians, sorcerers). And yet the buffoons continued to live, folk theater developed.

At the same time, the church took all measures to assert its influence. This found expression in the development of the liturgical drama. Some liturgical dramas came to us along with Christianity, others in the 15th century, along with the newly adopted solemn charter of the “great church” (“Procession on the Ground”, “Washing of the Feet”).

Despite the use of theatrical and spectacular forms, the Russian church did not create its own theater.

In the 17th century, Simeon of Polotsk (1629-1680) tried to create an artistic drama on the basis of liturgical drama. literary drama This attempt proved isolated and fruitless.

Theaters of the 17th century

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. The theater really appeared in the 17th century - the court and school theater.

court theater

The emergence of the court theater was caused by the interest of the court nobility in Western culture. This theater appeared in Moscow under Tsar Alexei Mikhailovich. The first performance of the play "The Action of Artaxerxes" (the story of the biblical Esther) took place on October 17, 1672. Initially, the court theater did not have its own premises, scenery and costumes were transferred from place to place. The first performances were staged by pastor Gregory from the German settlement, the actors were also foreigners. Later, they began to forcefully recruit and train Russian “youths”. Their salaries were paid irregularly, but they did not skimp on scenery and costumes. The performances were distinguished by great splendor, sometimes accompanied by playing musical instruments and dancing. After the death of Tsar Alexei Mikhailovich, the court theater was closed, and performances resumed only under Peter I.

school theater

In addition to the court theater, in Russia in the 17th century there was also a school theater at the Slavic-Greek-Latin Academy, in theological seminaries and schools in Lvov, Tiflis, and Kyiv. The plays were written by teachers, and students staged historical tragedies, allegorical dramas close to European miracles, interludes - satirical everyday scenes in which protest against the social system sounded. Interludes 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.

Appearance of a courtier school theater expanded the scope of the spiritual life of Russian society.

Theater of the early 18th century

By order of Peter I in 1702 was created public theater intended for the general public. Especially for him, not on Red Square in Moscow, a building was built - “Comedy Temple”. The German troupe of I. Kh. Kunst gave performances there. The repertoire included foreign plays that were not successful with the public, and the theater ceased to exist in 1706, as the subsidies of Peter I ceased.

Conclusion

A new page in history performing arts The peoples of our Motherland opened serf and amateur theaters. In the serf troupes that existed from the end of the 18th century, vaudevilles were staged, comic operas, ballets. On the basis of serf theaters, private enterprises arose in a number of cities. The Russian theatrical art had a beneficial effect on the formation of the professional theater of the peoples of our Motherland. In the troupe of the first professional theaters included talented amateurs - representatives of the democratic intelligentsia.

Theater in Russia in the 18th century gained immense popularity, became the property of the broad masses, another public sphere of people's spiritual activity.

Pupil of the 10th grade of secondary school No. 15 in Sergiev Posad Zakharova Vsevolod 1) The emergence of a professional theater 2) Old Russian musical culture 3) Sources of information 1) Reveal the features of the emergence of a professional theater in Russia, 2) Reveal the features of the formation of musical culture from ancient Rus' to Russia, 3) Contribute to the formation of the spiritual culture of students, interest and respect for the culture of our country. Tsar Alexei Mikhailovich The foundations of the professional Russian theater were laid in the second half of the 17th century. Its origin is usually attributed to 1672, when the first performance of the court theater was presented to Tsar Alexei Mikhailovich - the persecutor of the people's "fun" and a great lover of magnificent spectacles and entertainment. The enlightened boyar Artamon Sergeevich Matveev became the initiator of the creation of a theater like a European one. The German pastor of the Lutheran Church in Moscow, Johann Gottfried Gregory, was appointed playwright - a well-educated man, literary gifted and with the necessary knowledge in the field of German and Dutch theater. The theater was hastily built in the Tsar's residence near Moscow, in the village of Preobrazhensky. The auditorium of the “comedy mansion”, located in an amphitheater, was inferior in size to the stage, but was richly decorated: the walls and floor were upholstered with crimson, red and green cloth; with their "rank and rank", the audience was placed, some of them stood on the stage. For the queen and princesses, special boxes were arranged - "cages", according to tradition, separated from the auditorium by a lattice. The first performance on the stage of the “comedy mansion” was the play “Esther, or Artaxerxes Action”. The plot of the play was based on the biblical story about Esther - a humble beauty who attracted the attention of the Persian king Artaxerxes and saved her people from death by becoming his wife. The performance lasted ten hours, but the king watched everything to the end and was very pleased. Ten more plays were staged in the "comedy mansion": "Judith", "The Pitiful Comedy about Adam and Eve", "Joseph" and others, on religious and historical subjects. Court performances were staged on a large scale and luxury, as they were supposed to reflect the splendor and wealth of the royal court. The costumes were made from expensive fabrics. Music, singing and dancing were widely used in performances. Organ, pipes and other instruments often sounded. Each performance had lifting scenery and side wings. With the help of stage equipment, various effects were applied. The first performers of the plays of the court theater were mostly actors from the German Quarter and only men. At the end of the 17th century, the “state entertainment” was replaced by the school theater (organized at some educational institution), based on the richest experience of theaters in Poland and Ukraine. Its origin was associated with the name of a graduate of the Kiev-Mohyla Academy, educator, poet and playwright Simeon Polotsky. Especially for the school theater, he wrote two plays - "The Comedy of the Parable of prodigal son” and “O king Nevchadnezzar, about a golden body and about three children who were not burned in a cave.” The court and school theaters of the 17th century laid the foundation for the development of theatrical art in Russia and largely determined its future. With its origins, ancient Russian musical culture goes back to the pagan traditions of the Eastern Slavs, which developed long before the adoption of Christianity. The musical instruments of Ancient Rus' were quite diverse. The harp, sniffles, flutes, flute were widely used. In Rus', the gusli, the oldest stringed plucked instrument, mentioned back in the 10th century in the Tale of Bygone Years, enjoyed special respect. It has long been believed that the harp is akin to the human soul, and their ringing drives away death and illness. Folk storytellers and bogatyrs played the harp: the prophetic Boyan in The Tale of Igor's Campaign, the epic bogatyrs Volga and Dobrynya Nikitich in Kyiv, Sadko in Novgorod. How Dobrynya takes in her white hands Those sonorous goslings of yaronchaty, They will pull and gilded strings, The Jewish verse will play in a dull way, In a dull and touching way In the feast, everyone became thoughtful, Thoughtful and listened to. Dobrynya began to play in a merry way, He started a game from Yerusolim, Another game from Tsar-grad, The third from the capital city of Kyiv - He brought everyone to the feast for fun. Percussion and wind instruments were used in military campaigns: drums, tambourines, pipes, rattles. They supported the morale of the soldiers during the battles, relieved emotional stress, and instilled confidence in victory. The adoption of Christianity could not completely change the traditional way of life of the people and their musical tastes. With the baptism from Byzantium, many artistic principles were transferred to Russian soil, the canon and the system of genres were borrowed. Here they were creatively rethought and reworked, which subsequently made it possible to form original national traditions. Church music in ancient Rus' existed in the form of choral singing without instrumental accompaniment. Musical instruments in Orthodox Church were banned. Moreover, instrumental music considered sinful, demonic. There was a spiritual meaning in this opposition. In those days, it was believed that only angelic singing, which is an echo of heavenly music, should sound in an Orthodox church. Such singing embodied the ideal of beauty and gave people a feeling of grace, purification, consolation, taught to love God and neighbors. The only exception was the art of playing the bells, which was developed in various forms of simple ringing, chiming, chiming, etc. Several bells with different tones formed a belfry, which made it possible to perform entire musical works. Church singing served as a model of the highest professionalism, embodied in the most various forms in a practical and theoretical system, which was called the system of osmosis, that is, the alternation of groups of tunes over periods of eight weeks. Folk music in those days was traditionally passed down from generation to generation orally, "by word of mouth". Cult music in this era was recorded with special signs, called banners, of which the most common were hooks. Therefore, ancient musical manuscripts were called Znamenny or Kryukovy. In the 17th century, musical culture in Russia, especially choral culture, reached a very high level. It was a time when, along with the traditional genres of musical art, new forms and genres were born. Before choral music was monophonic. Now it has been replaced by polyphony. And the musical notation came to replace the hooks, and the style of partes singing arose. So then they called singing according to the notes of cantes and choral concerts. These concerts were an important transitional step from church to secular professional music. The musical culture of Ancient Rus' was that solid foundation on which a beautiful building subsequently grew, which laid the foundation for the development of professional creativity. The best examples of ancient Russian music have rightfully become the most valuable asset of the national musical culture. http://images.yandex.ru/, http://www.google.ru/imghp?hl=ru&tab=wi, http://vkontakte.ru/id47570217#/search?c%5Bsection%5D=audio, http://www.youtube.com/, World art culture. From the origins to the 17th century. 10 cells Basic level: textbook for educational institutions / G.I. Danilova. - 7th ed., revised. - M .: Bustard, 2009