Theater and music of ancient Rus'. Russian theatrical art. Russian theater Russian theater (Russian theater) has gone through a different path of formation and development than European, oriental theater. The origins of Russian theater presentation

10th grade student of secondary school No. 15 in Sergiev Posad Zakharova Vsevolod 1) The emergence of professional theater 2) Ancient Russian musical culture 3) Sources of information 1) Reveal the features of occurrence 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 ALEXEY MIKHAILOVICH The foundations of professional Russian theater were laid in the second half of the 17th century. Its origin is usually attributed to 1672, when Tsar Alexei Mikhailovich, a persecutor of folk “fun” and a great lover of magnificent shows and entertainment, was presented with the first performance of the court theater. The initiator of the creation of a theater similar to the European one was the enlightened boyar Artamon Sergeevich Matveev. The German pastor of the Lutheran Church in Moscow, Johann Gottfried Gregory, a widely educated man, literary gifted and possessing the necessary knowledge in the field of German and Dutch theaters, was appointed playwright. The theater was hastily built in the Tsar's residence near Moscow, in the village of Preobrazhenskoye. The auditorium of the “comedy mansion”, located like an amphitheater, was smaller in size than the stage, but was richly decorated: the walls and floor were upholstered in crimson, red and green cloth; the royal seat, located in front of the wooden benches, was upholstered in red cloth, on which, according to the spectators were seated according to their “rank and rank”, some of them stood on the stage. For the queen and princesses, special lodges were arranged - “cages”, according to tradition from auditorium separated by bars. The first performance on the stage of the “comedy mansion” was the play “Esther, or the Action of Artaxerxes.” The plot of the play was based on the biblical story of 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 it all to the end and was very pleased. Ten more plays were staged in the “comedy hall”: “Judith”, “Piteous 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 pomp and wealth of the royal court. The suits were made from expensive fabrics. Music, singing and dancing were widely used in the performances. The organ, trumpets and other instruments were often heard. Each performance had lifting scenery and side scenes. Various effects were applied using stage technology. The first performers of the plays of the court theater were mainly actors from the German settlement and only men. At the end of the 17th century, the “state amusement” was replaced by a school theater (organized at some educational institution), based on the rich experience of theaters in Poland and Ukraine. Its origins were associated with the name of a student of the Kiev-Mohyla Academy, educator, poet and playwright Simeon of Polotsk. He wrote two plays especially for the school theater - “The Comedy of the Parable of prodigal son" and "About King Nechadnezzar, about the golden body and about the three youths who were not burned in the cave." The court and school theaters of the 17th century laid the foundation for the development of theatrical art in Russia and largely predetermined its future. The origins of ancient Russian musical culture go back to pagan traditions Eastern Slavs, which took shape long before the adoption of Christianity. The musical instruments of Ancient Rus' were quite diverse. The harp, sniffles, pipes, and flute were widely used. The gusli, the oldest plucked string instrument, was especially respected in Rus', mentioned back in the 10th century in the Tale of Bygone Years. It has long been believed that the harp is akin to the human soul, and its ringing drives away death and illness. Folk storytellers and heroes played the gusli: the prophetic Boyan in “The Tale of Igor’s Campaign”, the epic heroes Volga and Dobrynya Nikitich in Kyiv, Sadko in Novgorod. As Dobrynya takes those ringing little goslings in her white hands, She pulls them into gilded strings, The Jewish verse begins to play in a sad way, In a sad way and in a touching way. At the feast, everyone became thoughtful, Thoughtful and listened. Dobrynya started playing in a merry way, He started a game from Erusolim, Another game from Tsar-grad, a third from the capital city of Kyiv - He brought everyone to the feast at the fun. During military campaigns, percussion and wind instruments were used: drums, tambourines, trumpets, rattles. They maintained the morale of soldiers during 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 preferences. With the baptism of Byzantium, many artistic principles were transferred to Russian soil, and the canon and 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 were prohibited in the Orthodox Church. Moreover, instrumental music was considered sinful, demonic. This opposition had a spiritual meaning. In those days, it was believed that only angelic singing should sound in an Orthodox church, which is an echo of heavenly music. Such singing embodied the ideal of beauty and gave people a feeling of grace, purification, consolation, and taught them to love God and their neighbors. The only exception was the art of playing bells, which was developed in various forms of simple ringing, chime, trezvon, etc. Several bells with different tones formed a belfry, which made it possible to perform entire musical works. Church singing served as an example of the highest professionalism, embodied in a variety of forms in a practical and theoretical system, which was called the osmoglas system, that is, alternating groups of tunes over periods of eight weeks. Folk music in those days was traditionally passed down from generation to generation orally, “from mouth to 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 hook. In the 17th century, musical culture in Russia, especially choral culture, reached very high level. This was a time when, along with traditional genres of musical art, new forms and genres were born. Before that choral music was monophonic. Now it has been replaced by polyphony. And the hooks were replaced by musical notation, and the style of partes singing arose. That’s what they called singing from the notes of cants and choral concerts back then. These concerts were an important transitional step from church to secular professional music. The musical culture of Ancient Rus' was the 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 Russian 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 artistic culture. From origins to the 17th century. 10 grades Basic level: textbook for educational institutions / G.I. Danilova. – 7th ed., revised. – M.: Bustard, 2009

Slide 1

From round dance to booth Municipal educational institution Secondary School No. 8, Severomorsk village - 3, Murmansk region

Slide 2

Slide 3

In the old days, round dance was a popular folk game in Rus'. It reflected a variety of life phenomena. There were round dances for love, military, family, work... We know three types of round dance:

Slide 4

In the round dance games the choral and dramatic principles were organically merged. Such games usually began with “composite” songs and ended with “collapsible” songs, and the songs were distinguished by a clear rhythm. Subsequently, with a change in structure tribal community, round dance games also changed. Lead singers (luminaries) and performers (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 celebrations. She was always connected to 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 daring of competing partners, on the one hand, and unity and smoothness of movements, on the other.

Slide 6

Russian dance was born from pagan rituals. After the 11th century, with the advent of professional buffoon actors, the nature of the dance also changed. The buffoons owned advanced technology dance; Varieties of buffoon-dancers arose. There were buffoon dancers who not only danced, but also performed pantomime performances with the help of dance, which were most often improvised in nature. Dancers appeared, usually they were the wives of buffoons. Russian dance

Slide 7

Dance occupied a large place in the most different forms theater He was part of not only games and celebrations, but also performances of the puppet show Petrushka, and often filled the pause between acts of the school drama. Many traditions of Russian dance have survived to this day.

Slide 8

Guides 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, 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 their first name and patronymic: Mikhailo Potapych or Matryona Ivanovna. In their performances, guides usually depicted life common people, the interludes were of a wide variety household topics. The owner asked, for example: “And how, Misha, do small children go to steal peas?” - or: “How do women slowly wander to their master’s work?” - and the beast showed it all. At the end of the performance, the bear performed several memorized 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 a bear with a “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, the clapping of which produced a terrible noise), then came the performance of the animal to the jokes of the guide, and then its fight with the “goat” or owner. The first descriptions of such comedies date back to the 18th century. This fishery 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 figurines of the Virgin Mary, a baby, a shepherd, a donkey and a bull. Gradually, this custom grew into a kind of theatrical performance, which, with the help of dolls, told 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 spread to Ukraine, Belarus, and then, in a slightly modified form, to Villikorossiya.

Slide 12

When the Christmas custom went beyond catholic church, it acquired the name nativity scene (Old Russian and Old Russian - cave). It was a puppet theater. Imagine a box divided inside into two floors. The box ended at the top with a roof, its open side 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. Dolls for the nativity play were made of wood or rags and attached to a rod. The lower part of the rod was held by the puppeteer, so the dolls moved and even turned. The puppeteer himself was hidden behind the box. On top floor Biblical scenes were played out in the nativity scene, and everyday scenes were played out in the lower one: everyday, comedic, and sometimes social. And the set of dolls for the lower floor was the usual: men, women, devils, gypsies, gendarmes, and the simple man always turned out to be more cunning and smarter than the gendarme. It was from the nativity scene that the Petrushka Theater, so popular among the people, was born.

Slide 13

Everyone will dance, but not like a buffoon,” says the Russian proverb. Indeed, many people could play games, but not everyone could be a professional buffoon. The popular actor among professional buffoons was puppet theater, and the most popular is the comedy about Petrushka. Parsley is a favorite hero of both the buffoons who gave the performance and the audience. He is a daring daredevil and a bully who maintained a sense of humor and optimism in any situation. He always deceived the rich and government officials and, as a protester, enjoyed the support of the audience.

Slide 14

In such a theatrical performance, two heroes acted simultaneously (according to the number of hands of the puppeteer): Parsley and the doctor, Parsley and the policeman. The plots were the most common: Petrushka gets married or buys a horse, etc. He always took part in conflict situation, while Petrushka’s reprisals were quite brutal, but the public never condemned him for it. At the end of the performance, Petrushka was often overtaken by “heavenly punishment.” The most popular puppet theater of Parsley was in the 17th century.

Slide 15

WITH late XVIII centuries at the fair, one could often see a brightly dressed man who was carrying a decorated box (rayok) and shouting loudly: “Come here with me to scribble, honest people, both boys and girls, and young men and women, and merchants and merchant women, and clerks and sextons, and clerk rats and idle revelers. I’ll show you all sorts of pictures: both gentlemen and men in sheepskin, and you listen to jokes and various jokes with attention, eat apples, gnaw nuts, look at pictures and take care of your pockets. They’ll trick you.” Rayok

Slide 16

Rajek 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: “The rack is a small, arshin-high box in all directions with two magnifying glasses in front. Inside, a long strip with homegrown images of different cities, great people and events is rewound from one skating rink to another. The spectators, “a penny apiece,” look into the glass. Rayoshnik moves the pictures and tells tales for each new number, often very intricate ones.”

Slide 17

Raek was very popular among the people. In it one could see a 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 raeshnik did not just show pictures, but commented on the events depicted in them, often criticizing the authorities and the existing order, in a word, touching on the most pressing problems. Rayek existed as a fair entertainment 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 spectacles 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 of canvas or linen.

Slide 19

There was a stage and curtain inside. Ordinary spectators sat on benches and during the performance ate various sweets, crumpets, and even cabbage soup. Later, a real auditorium with stalls, boxes, orchestra pit. The outside of the booths was decorated with garlands, signs, and when gas lighting appeared, then with gas lamps. The troupe usually consisted of professional and traveling actors. They gave up to five performances a day. In the theatrical booth one could see a harlequinade, magic tricks, and sideshows. Singers, dancers and simply “outlandish” people performed here. Popular was the man drinking fiery liquid, or the “African cannibal” eating pigeons. The cannibal was usually an artist smeared with tar, and the dove was a stuffed animal with a bag of cranberries. Naturally, a fair with a theatrical booth ordinary people always looked forward to it.

Slide 20

There were also circus shows, their actors were “jacks of all trades.” Yu. Dmitriev in the book “Circus in Russia” quotes a message about the arrival from Holland of comedians who “walking on a rope, dancing, jumping in the air, on the stairs, without holding on to anything, they play the violin, and while walking on the stairs, they dance, immensely.” they jump high and do other amazing things.” Throughout many years During their existence, booths changed; by the end of the 19th century they almost disappeared from the history of Russian theater forever.

Slide 21

1672 - performances of the court troupe of Tsar Alexei Mikhailovich began Artamon Matveev orders “to perform a comedy”, “and for that action to arrange a khoromina” On October 17, the first performance took place in the village of Preobrazhenskoye

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 looked like in Yaroslavl in 1909. In 1911 he was named after Fyodor Volkov

Russian theater RUSSIAN THEATER (THEATRE OF RUSSIA) has gone through a different path of formation and development than European, Eastern or American theater. The stages of this path are connected with the uniqueness of the history of Russia - its economy, changes in social formations, religion, the special mentality of Russians, etc. THEATER

The origin and formation of Russian theater Theater in its ritual and ceremonial forms, as in every ancient community, was widespread in Rus'; it existed in mystery forms. In this case, we mean mystery not as a genre of medieval European theater, but as a group action associated with everyday and sacred purposes, most often - to receive 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, events of birth and family character– wedding, birth of a child, death, etc. These were pratheater performances based on ancient tribal and agricultural magic, therefore the theater of this period is mainly studied by folklorists and ethnographers, and not by 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 arose the line of development of the Russian theater as a folk theater, folk theater, presented in many forms - puppet theater (Petrushka, nativity scene, etc.), booth (raek, bear fun, etc.), traveling actors ( psaltery players, singers, storytellers, acrobats, etc.), etc. Until the 17th century theater in Russia developed only as a folklore theater, other theatrical forms, unlike Europe, did not exist here. 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 Russian theater Around the 11th century. the situation is changing, at first gradually, then more strongly, which led to a fundamental change in the development of Russian theater and its further formation under the influence of European culture.

Professional theater The first representatives of 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 verify that buffoon art was a phenomenon that had long been formed and entered into the everyday life of all layers of the then society. The formation of the Russian original buffoonery art, coming from rites and rituals, was also influenced by the “tours” of traveling European and Byzantine comedians - histrions, troubadours, vagants

The school-church theater "Stoglavy" Cathedral of the Russian Orthodox Church in 1551 played a decisive role in establishing the idea of religious-state unity and entrusted the clergy with the responsibility to create religious educational institutions. During this period, school drama and school-church performances appeared, which were staged in theaters at these educational institutions (colleges, academies). Figures personifying the state, church, ancient Olympus, wisdom, faith, hope, love, etc. appeared on the stage, transferred from the pages of books.

School-church theater Having originated in Kyiv, school church theater began to appear in other cities: Moscow, Smolensk, Yaroslavl, Tobolsk, Polotsk, Tver, Rostov, Chernigov, etc. Growing up within the walls of a theological school, he completed the theatricalization of church rites: liturgy, Holy Week services, Christmas, Easter and other rituals. Having arisen 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 spectator and the auditorium, and for the first time led to a certain stage image for both the playwright and the 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 towards the European way of life led to many changes in the life of the Russian court. I. Rozanov. Portrait of the founder of the first court theater Artamon Sergeevich Matveev

Court theater. Alexei Mikhailovich’s attempt to organize the first court theater dates back to 1660: in the “list” of orders and purchases for the tsar, the English merchant Hebdon was written by Alexei Mikhailovich with the task “To call to the Moscow state from the German lands masters to make comedy.” However, this attempt remained unsuccessful; The first performance of the Russian court theater took place only in May 1672. The tsar issued a decree in which Colonel Nikolai von Staden (a friend of boyar Matveev) was instructed to find people abroad who could “play comedies.”

Court Theater Performances became one of the most favorite entertainments at the Moscow court. There were 26 Russian actors. The boys played female roles. The role of Esther in the Artaxerxes performance was 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 train Russian and foreign students, and in the second half of 1675 two theater schools began to operate: at the Polish court - for foreigners, in Meshchanskaya Sloboda - for Russians

Court Theater The appearance of the first court theater coincided with the birth of Peter I (1672), who as a child saw the last performances of this theater. Having ascended the throne and begun the enormous work of Europeanizing Russia, Peter I could not help but turn to the theater as a means of promoting his innovative political and social ideas.

Petrovsky Theater Petrovsky Theater Since the end of the 17th century. In Europe, masquerades became fashionable, which appealed to the young Peter I. In 1698, dressed in the costume of a Friesland peasant, he participated in the Viennese masquerade. Peter decided to popularize his reforms and innovations through the art of theater. He planned to build a theater in Moscow, but not for a select few, but open to everyone. In 1698–1699, a puppet theater troupe worked in Moscow, headed by Jan Splavsky, and to whom Peter in 1701 instructed to invite comedians from abroad. In 1702, Johann Kunst's troupe came to Russia.

The emergence of a public (public) theater After Elizabeth Petrovna ascended the throne in 1741, the introduction of European theater continued. Foreign troupes toured at the court - Italian, German, French, among them - drama, opera and ballet, commedia dell'arte. During 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 Christmastide performances and absorbing the experience of touring European troupes.

Theaters in educational institutions In the mid-18th century. theaters were organized in educational institutions (1749 - St. Petersburg Gentry Corps, 1756 - Moscow University), Russian theatrical performances were organized in St. Petersburg (organizer I. Lukin), in Moscow (organizers K. Baykulov, clerical workers led by Khalkov and Glushkov, "ink affairs master" Ivanov and others), in Yaroslavl (organizers N. Serov, F. Volkov). Another thing happens in 1747 important event: the first poetic tragedy was written - Khorev A. Sumarokova.

National public theater All this creates the preconditions for the emergence of a national public theater. For this purpose, in 1752 Volkov’s troupe was called from Yaroslavl to St. Petersburg. Talented amateur actors are selected to study in the Gentry Corps - A. Popov, I. Dmitrevsky, F. and G. Volkov, G. Emelyanov, P. Ivanov, etc. Among them are four women: A. Musina-Pushkina, A. Mikhailova, sisters M. and O. Ananyev.

Petrovsky Theater Petrovsky Theater Under Peter I, the beginning of performances in Siberia was laid by Metropolitan of Tobolsk Filofei Leshchinsky. In a handwritten chronicle from 1727 it is said: “Philotheus was a lover of theatrical performances, he made glorious and rich comedies, when he should be a spectator at a comedy for a collector, then he, Vladyka, made cathedral bells for the collection of reverence, and the theaters were between the Cathedral and St. Sergius churches and transported, where the people were going." The innovation of Metropolitan Philotheus was continued by his successors, some of them were students of the Kyiv Academy.

Theater under Anna Ioannovna Anna Ioannovna spent enormous sums on various celebrations, balls, masquerades, receptions for ambassadors, fireworks, illuminations and theatrical processions. At her court, the clownish culture revived, continuing the traditions of the “sedentary” buffoons - she had giants and dwarves, jesters and firecrackers. The most famous theatrical celebration was the “curious” wedding of the jester Prince Golitsyn with the Kalmyk firecracker 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, including the comic actor Ya. Shumsky, were added to the actors who were trained in the Gentry Corps. 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 occupied this place until his death in 1763 (this theater in 1832 would receive the name 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 leadership of their director, the poet M. Kheraskov, formed a theater troupe within the walls of the university. Representatives of Moscow's highest society were invited to the performances. In 1776, based on the former university troupe, it was created drama theater, called Petrovsky (also known as the Medox Theater). The Bolshoi (opera and ballet) and Maly (drama) theaters of Russia trace their pedigrees to this 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 famous Decree of Empress Elizabeth Petrovna, which marked the birth of professional theater in our country: We have now ordered the establishment of a Russian theater for the presentation of comedies and tragedies... The house of the merchant Vargin, where the Maly Theater opened in 1824

History of the Maly Theater In 1824, Bove rebuilt the mansion of the merchant Vargin for the theater, and the dramatic part of the Moscow troupe of the Imperial Theater received its own building on Petrovskaya (now Teatralnaya) Square and proper name- Maly Theater. In 1824, Bove rebuilt the mansion of the merchant Vargin for the theater, 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 Theater. The building of the Moscow Maly Theater, photograph from the 90s of the 19th century

Theater of the era of sentimentalism The period of classicism in Russia did not last long - the formation of sentimentalism began in the mid-1760s. “Tearful comedies” by V. Lukinsky, M. Verevkin, M. Kheraskov appear, comic opera, bourgeois drama. The strengthening of democratic tendencies in theater and drama was facilitated by the aggravation of social contradictions during the period of the peasant war of 1773–1775 and the traditions of folk theater. Thus, according to contemporaries, Shumsky used playing techniques close to those of buffoons. A satirical comedy is being developed - Minor by D. Fonvizin

Fortress theaters By the end of the 18th century. serf theaters are becoming widespread. Theater specialists - actors, choreographers, composers - were invited here to train with actors. Some of the serf theaters (Sheremetev in Kuskovo and Ostankino, Yusupov in Arkhangelsk) surpassed the state-owned theaters in the richness of their productions. At the beginning of the 19th century. the owners of some serf theaters begin to turn them into commercial enterprises (Shakhovskoy and others). Many famous Russian actors came from serf theaters, who were often released on rent to play in “free” theaters - incl. on the imperial stage (M. Shchepkin, L. Nikulina-Kositskaya, etc.). Dancer of the fortress theater

Theater at the turn of the century In general, the process of formation of professional theater in Russia in the 18th century. ended. The next, 19th century, became a period of rapid development of all directions of Russian theater. Hermitage Theater, built by order of Catherine the Great in

Russian theater in the 19th century Russian theater in the 19th century Questions 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, Science and the Arts. Radishchev's follower I. Pnin, in his book Experience on Enlightenment in relation to Russia (1804), argued that theater should contribute to the development of society. Secondly, the relevance of the patriotic tragedies staged during this period, full of allusions to the modern situation (Oedipus in Athens and Dmitry Donskoy by V. Ozerov, plays by F. Schiller and W. Shakespeare), contributed to the formation of romanticism. This means that new principles of acting were established, the desire to individualize stage characters, reveal their feelings and psychology.

The theater was divided 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 drama troupe worked together with the opera and ballet, and the same actors often performed in performances of different genres). In 1824 former theater Medoxa 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 of the Alexandrinsky Theater in 1836, it still worked together with the opera and ballet troupe at the Mariinsky Theater.)

Alexandrinsky Theater For the Alexandrinsky Theater, the second half of the 19th century. turned out to be a more difficult period. Despite individual productions of plays by Ostrovsky, I. Turgenev, A. Sukhovo-Kobylin, A. Pisemsky, by the will of the Directorate of the Imperial Theaters, the main basis of the repertoire at that time was vaudeville and pseudo-folk drama. The troupe included many talented artists whose names are inscribed in the history of Russian theater: A. Martynov, P. Vasiliev, V. Asenkova, E. Guseva, Yu. Linskaya, V. Samoilov, and later, by the end of the 19th century. – P. Strepetova, V. Komissarzhevskaya, M. Dalsky, K. Varlamov, M. Savina, V. Strelskaya, V. Dalmatov, V. Davydov, etc. However, each of these brilliant actors appeared as if on their 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 directors of the troupe were constantly changing, there was no strong direction, the number of premieres increased, and rehearsal time was reduced.

Largest theater opera and ballet of Russia, one of the oldest musical theaters our country. It originates from the Stone (Bolshoi) Theater, opened in 1783. IN modern building(rebuilt after a fire at the Circus Theatre) has existed since 1860, at which time it received a new name - the Mariinsky Theater.

Theater at the turn of the century The period of rapid rise and rapid flourishing of the Russian theater was the turn of the 19th–20th centuries. This time was a turning point for the entire world theater: a new theatrical profession- director, and in connection with this was fundamentally formed new aesthetics director's theater. In Russia, these trends have manifested themselves especially clearly. This was a period of unprecedented growth in all Russian art, which later became known as the Silver Age. And dramatic theater - along with poetry, painting, scenography, ballet - appeared in a huge variety of aesthetic directions, focusing the attention of the world theater community.

Russian theater at the turn of the 19th–20th centuries Russian theater at the turn of the 19th–20th centuries In order to consider Russia at the turn of the 19th–20th centuries. the center of world theatrical achievements, it would be enough for K. Stanislavsky alone with his stunning innovative ideas and the Moskovsky created by him together with V. Nemirovich-Danchenko Art Theater(1898). Despite the fact that the Moscow Art Theater opened with the play Tsar Fyodor Ioannovich by A.K. Tolstoy, the banner of the new theater was the dramaturgy of A. Chekhov, mysterious, not fully revealed to this day. No wonder there is a seagull on the curtain of the Moscow Art Theater, referring to the name of one of the best plays Chekhov and became a symbol of the theater. But one of Stanislavsky’s main services to the world theater is the education of talented students who have absorbed the experience of his theatrical system and developed it further in the most unexpected and paradoxical directions (striking examples are V. Meyerhold, M. Chekhov, E. Vakhtangov).

VERA FEDOROVNA KOmissarzhevskaya In St. Petersburg, the “key figure” of this time was V. Komissarzhevskaya. Having made her debut on the stage of the Alexandrinsky Theater in 1896 (before that she had played in amateur performances by Stanislavsky), the actress almost immediately won the ardent love of the audience. Her own theater, which she created in 1904, played a huge role in the formation of a brilliant galaxy of Russian directing. At the Komissarzhevskaya Theater in 1906–1907, for the first time on the capital’s stage, Meyerhold established the principles of conventional theater (later he continued his experiments in the imperial theaters - Alexandrinsky and Mariinsky, as well as in Tenishevsky School and in theater studio on Borodinskaya street)

Moscow Art Theater Moscow Art Theater Center theatrical life was the Moscow Art Theater. There gathered a brilliant constellation of actors 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, etc. Many trends were formed here modern directing: in addition to Stanislavsky and Nemirovich-Danchenko, these were the works of L. Sulerzhitsky, K. Marjanov, Vakhtangov; The world famous G. Craig 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 working on its performances. The Moscow Art Theater at that time actually determined the entire artistic life Moscow, incl. – and the development of small theatrical forms; the most popular Moscow cabaret theater“The Bat” is created on the basis of the Moscow Art Theater skits.

Russian theater after 1917 The new government understood the importance of theatrical art: on November 9, 1917, a Council decree was issued 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 state matter (in Ancient Greece Such state policy was carried out back in the 5th century. BC). Leading theaters are 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); MGSPS Theater (1922, today – Mossovet Theater); Moscow Theater for Children (1921, since 1936 - Central Children's Theater). In Petrograd - Bolshoi Drama Theater (1919); GOSET (1919, from 1920 moves to Moscow); Theater for Young Spectators (1922).

Theater named after Evgeniy Vakhtangov History of the Theater named after Evgeniy Vakhtangov. Vakhtangov began long before his birth. At the end of 1913, a group of very young eighteen to twenty Moscow students organized the Student Drama Studio, deciding to study theatrical art according to the Stanislavsky system.

Theater in the 30s New period Russian theater began in 1932 with the 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 socialist realism. The time of artistic experimentation is over, although this does not mean that 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- usually realistic. And an additional evaluation criterion appeared: ideological and 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 in the Vakhtangov Theater, in the role of Lenin - B. Shchukin; Pravda in the Theater of the Revolution, in the role of Lenin - M. Strauch, etc.). Any performances based on the plays of the “founder of socialist realism” M. Gorky were practically doomed to success. This does not mean that every ideologically consistent performance was bad, just artistic criteria(and sometimes even audience success) have ceased to be decisive in the state assessment of performances.

Theater in the 1930s For many Russian theater workers, the 1930s (and the second half of the 1940s, when ideological politics continued) became tragic. However, Russian theater continued to develop. New directorial names appeared: A. Popov, Y. 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 works of many directors in other cities of the Soviet Union also become famous: N. Sobolshchikov-Samarin (Gorky), N. Sinelnikov (Kharkov), I. Rostovtsev (Yaroslavl), A. Kanin (Ryazan), V. Bityutsky (Sverdlovsk), N. Pokrovsky (Smolensk, Gorky, Volgograd), etc.
Theater during the Great Patriotic War During the Great Patriotic War, Russian theaters mainly turned to patriotic themes. Plays written during this period (L. Leonov's Invasion, A. Korneichuk's Front, A Guy from Our City and K. Simonov's Russian People), and plays with historical and patriotic themes (Peter I by A.N. Tolstoy, Field Marshal Kutuzov) were staged on stages
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 artistic level provincial theaters. The evacuation of theaters in Moscow and Leningrad and their work on the periphery inspired new life into local theaters, contributed to the integration performing arts and exchange of creative experiences.

Russian theater in 1950–1980 Russian theater in 1950–1980 Many Leningrad actors made a great contribution to the formation of Russian theatrical art: I. Gorbachev, N. Simonov, Yu. Tolubeev, N. Cherkasov, B. Freundlich, O. Lebzak, L. Shtykan, N. Burov and others (Pushkin Theatre); D. Barkov, L. Dyachkov, G. Zhzhenov, A. Petrenko, A. Ravikovich, A. Freundlich, 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, Y. 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 (Theater Young viewers); 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). 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 Red Army Theater, then it was renamed the Theater Soviet Army(later - the Central Academic Theater of the Soviet Army). Since 1991 – Central Academic Theater of the Russian Army. THE RUSSIAN ARMY THEATER is the first professional drama theater in the system of the Ministry of Defense. Until 1946 it was called the Red Army Theater, then it was renamed the Soviet Army Theater (later the Central Academic Theater of the Soviet Army). Since 1991 – Central Academic Theater of the Russian Army.

Russian Army Theater In 1930–1931, the Red Army Theater was headed by Yu.A. Zavadsky. Here he staged one of the most notable performances in Moscow at that time, Mstislav the Daring I. Prut. There was a studio at the theater, its graduates joined the troupe. In 1935, the theater was headed by A.D. Popov, whose name is associated with the rise of the Red Army Theater. Architect K.S. Alabyan created a very special project theater building– in uniform five-pointed star, with two auditoriums ( Great Hall for 1800 seats), with a spacious stage, characterized by an unprecedented depth until then, with many rooms adapted for workshops, theater services, and rehearsal rooms. By 1940 the building was built, until then the theater performed its performances in the Red Banner Hall of the Red Army House and went on long tours.

Russian theater of the post-Soviet period Russian theater of the post-Soviet period The change in political formation in the early 1990s and a long period of economic ruin radically changed the life of the Russian theater. The first period of weakening (and after – and abolition) of ideological control was accompanied by euphoria: now you can stage and show anything to the audience. After the centralization of theaters was abolished, new theater-studio groups, enterprises, etc. were organized in large numbers. However, few of them survived in the new conditions - it turned out that, in addition to the ideological dictate, there is a spectator dictate: the public will watch only what it wants. And if in the conditions of state funding 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 survival.

Theater today The present day of Russian theater in terms of the number and variety of aesthetic trends is associated with Silver Age. Directors of traditional theater styles coexist with experimentalists. Along with recognized masters– P. Fomenko, V. Fokin, O. Tabakov, R. Viktyuk, M. Levitin, L. Dodin, A. Kalyagin, G. Volchek successfully work with K. Ginkas, G. Yanovskaya, G. Trostyanetsky, I. Raikhelgauz, 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. Moguchiy, V .Kramer, Klim et al.

Theater today In the post-Soviet period, the contours of theater reform have changed dramatically; they have moved mainly to the area of financing theater groups, the need for state support for culture in general and theaters in particular, etc. The possible reform is generating a wide variety of opinions and heated debate. The first steps of this reform were the 2005 Russian Government decree 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 systematic development of a theater 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 emergence of theater in Russia

Completed by: primary school teacher

Smirnova A.A.

village 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. They showed elements of theater - dramatic action, mummering, dialogue. The oldest theater there were games of folk actors - buffoons.

Buffoons

In 1068, buffoons were 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 the buffoons servants of devils, and the artist who painted the walls of the cathedral considered it possible to include their image in church decorations along with icons.

St. Sophia Cathedral in Kyiv

Frescoes on the walls of St. Sophia Cathedral

Who are the buffoons?

This is the definition given by the compiler explanatory dictionary V.I. Dahl:

“A buffoon, a buffoon, a musician, a piper, a wonder-player, a bagpiper, a psaltery player who makes his living by dancing with songs, jokes and tricks, an actor, a comedian, a jokester, a bear-cutter, a clown, a jester.”

Parsley

In the 17th century, the first oral dramas developed, simple in plot, reflecting popular sentiments. The puppet comedy about Petrushka (his name was Vanka-Ratatouille at first) told about the adventures of a clever, merry fellow who is 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 an unknown reason, they were expelled from Russia.

Tsar Mikhail Fedorovich Romanov

Tsarsky Theater First royal theater in Russia belonged to Tsar Alexei Mikhailovich and existed from 1672 to 1676. Its beginning is connected 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 start recruiting an acting troupe.

Tsar Alexei Mikhailovich

Artamon Matveev

The pastor recruited 64 young men and teenage boys and began teaching them acting skills. He composed a play on biblical story. It was written in German, but the performance was given in Russian. Opening took place on October 17, 1672 long-awaited theater in the Tsar's residence near Moscow and the first theatrical performance.

Fun 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. The plays were written by teachers, and students staged historical tragedies, dramas, and satirical everyday scenes. Satirical skits from the school theater laid the foundation for the comedy genre in national drama. The origins of the school theater were the famous politician, playwright Simeon Polotsky.

Simeon of Polotsk

Fortress theaters

And at the end of the 17th century the first serf theaters appeared. Serf theaters contributed to the appearance of women on stage. Among the outstanding Russian serf actresses is one who shone in the Sheremetev Counts Theater Praskovya Zhemchugova-Kovalyova. The repertoire of serf theaters consisted of works by European authors, primarily French and Italian.

Count Sheremetev

Praskovya Zhemchugova-Kovalyova

Fortress Theater of Count Sheremetev

Home theater building

Sheremetevs

Actors' costumes

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 to arrive Catherine II accompanied by Emperor Joseph II , the city governor, Prince N.V. Repnin prepared “ opera house", where a Russian comedy with a choir was presented to nobles of both sexes."

N. V. Repnin

Catherine II

Emperor Joseph II