Student of the 10th grade 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 the emergence of 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 students’ spiritual culture, 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, in accordance with the spectators were seated according to their “rank and rank”, 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 the Act 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”, “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 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. IN late XVII 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. Psaltery, sniffles, pipes, and flutes 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, A 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 began to play 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 fun at the feast. 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 in Orthodox Church were prohibited. 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. It was a time when, along with traditional genres musical art new forms and genres were born. Before 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. This is what singing from the notes of cants and choral concerts was called 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
LITERATURE Significant role in the development Christian culture Ancient Rus' played handwritten book. Together with Christianity, Ancient Rus' adopted the existing system of genres of church writing developed in Byzantium. First of all, these were the biblical books of the Old Testament, which included: “Law”, “Prophets”, “Scriptures”, also hymnography and “words” associated with interpretations of “Scripture” and church prayers and chants.
Historical genres were based on folklore, but developed book forms of storytelling. They didn't allow fiction; most often included in chronicles. Chronicle is one of the first original genres of Russian literature. This historical narratives about modern events, which are arranged by year. For the chronicler, it is not the duration of the reign 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 outlined. The chronicle genre includes different genres, for example, the hagiographic narrative of Boris and Gleb, war story. A variety of topics, events, and genres helps the chronicler tell about the history of Rus'. historical genres chronicle, story, legend, legend
"The Tale of Bygone Years" significant work Russian literature, compiled by the monk of the Kiev-Pechersk Monastery Nestor. The chronicler more than once preaches a sermon calling for love and peace and harmony. This chronicle defines the place of the Slavs, the place of the Russian people among the peoples of the world, depicts the origin Slavic writing, the formation of the Russian state, talks about wars, victories and defeats, holidays, traditions and rituals, addresses folk tales and legends. The reader will also learn about business contracts Rus' with Constantinople.
Religious and didactic genres of teaching, life, solemn words, walks were often created in connection with a specific event and played an important educational role. the genre of teachings served as an important means of promoting the new religious doctrine. For example, “Teachings of Theodosius of Pechersk.” The “Teaching” of Vladimir Monomakh, written by him shortly before his death (around 1117), was considered by the chroniclers as a testament to his children. The central idea of the “Instructions” is to strictly observe state interests, and not personal ones.
The author of the life (hagiographer) sought to create the image of an ideal church hero. Usually the life of a saint began with a brief mention of his parents (the saint will be born “to a faithful and pious parent”); then they talked about the saint’s childhood and his behavior. He was distinguished by modesty, obedience, loved books, shunned games with peers, and was imbued with piety. Later, his ascetic life begins in a monastery or desert solitude. He has the ability to work miracles and communicate with heavenly powers. His death is peaceful and quiet; his body emits a fragrance after death. In the 19th centuries. in separate lists in Rus' there were known translated lives of Nicholas the Wonderworker, Anthony the Great, John Chrysostom, Alexei, the man of God, and other genres of life - stories about the exploits of saints. Lives depended on the types of holiness: martyr, confessor, monk, stylite, holy fool.
An example of an ancient Russian original princely life is “The Tale of Boris and Gleb.” The author of the story (anonymous), while maintaining historical specificity, sets out in detail the facts of the villainous murder of Boris and Gleb. However, the compositional scheme of the 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 martyred heroes.
Genre of walking In the 11th century. Russian people begin to travel to the Christian East, to holy places. For those who could not make the pilgrimage to Palestine, books describing their travels become a kind of compensation. In the 12th century. “Hegumen Daniel’s Walk to the Holy Land” appears, where the holy places are described in detail. He is interested in nature, the character of the buildings of Jerusalem, the Jordan River, etc. There are many legends in circulation that Daniel heard during his travels or learned from books.
Peculiarities ancient 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, introduced their own episodes, changed ideological orientation the text being copied, the nature of its style. This is how new editions of monuments appeared. 3. Historicism. The heroes of ancient Russian literature are mainly 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.Themes: the beauty and greatness of the Russian land; moral beauty of the Russian person. 5. Artistic method: symbolism, historicism, ritualism, didacticism leading principles artistic method, two sides: strict photographicity and perfect image reality.
MUSIC IN THE ERA Kievan Rus The development of ritual songs, labor songs, comic-satirical songs, lullabies continues, and a heroic epic. Epic folk art preserved in epics, or antiquities. The epic is a work of synthetic verbal and musical genre.
The most important phenomenon in musical culture This time was the birth of Znamenny singing as the first form of professional musical art recorded in writing. Znamenny chant, the main type of Russian church chant. The name comes from the Old Slavonic word for “banner”. Banners, or hooks, were non-linear signs used to record chants. hooks
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The creativity of ancient Russian singers was close to icon painting. At first the hymnographer worked. He dissected the text, matching the chanting podobna (sample, 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 chanting podobna. Then, like a cliché, he applied the musical formula to new texts, subtly varying the details of the melody where necessary. A special musician-flag-bearer “signified” Blank sheet papers of the future musical manuscript, signed miniatures, texts of chants, initials in a certain sequence, musical signs banners under the text and, finally, cinnabar marks under the banners. The work of the hymnographer in the Middle Ages was highly valued, most of them were even canonized: Roman the Sweet Singer, John Chrysostom, Andrei Kritsky, John of Damascus, etc.
Old Russian church music expressed the idea of like-mindedness and unity, and therefore was predominantly monodic, that is, monophonic unison, monody. A canonical feature of Russian Orthodox music is also the principle of a sarela (without accompaniment), since only the human voice was recognized as the only perfect musical instrument, since only the voice can translate the word into musical sounds, create a meaningful melody. Pillar chant
TO ancient genres hymnographies include: -psalms associated with the name of the biblical king David, the psalms are very diverse: some sound like choral recitation, reminiscent of chanting, others like a broad, chanting lyrical song. - troparion (Greek “I turn”, “victory monument”, “trophy”). Feature The texts of the troparia, in addition to their brevity, often use comparisons and allegories. And their content is mainly related to the glorification of celebrated events christian church, chanting the exploits of martyrs and ascetics. - kontakion (Greek “short”) a short chant, a multi-stanza work, where all stanzas were built according to the same pattern and sung to the same tune, varying from stanza to stanza. -stichera (Greek “many verses”), were often distinguished by their great length and melodic richness. - canon (Greek “norm”, “rule”) a large choral composition consisting of nine sections, each of which included several chants. If the kontakion is a poetic sermon, a teaching, then the canon is a solemn hymn of praise. The most important principles of the organization of ancient Russian singing art are cyclicality and ensemble.
It should be noted the special role of Novgorod, which introduced something new into 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 specific, 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 comic songs, dramatic scenes, social satire “gloomy”, performed in masks and “buffoon dress” to the accompaniment of domra, bagpipes, and tambourine. Performing on the streets and squares, S. directly communicated with the audience and involved them in his performance. Main character representation of a cheerful and broken man with his own mind, often using the guise of comic simplicity.
Having emerged no later than the mid-11th century. (image on the frescoes of St. Sophia Cathedral in Kyiv, 1037), buffoonery reached its peak in 1517 centuries, and in the 18th century. gradually faded away, transferring some traditions of its art to the booth. They were often persecuted by the church and civil authorities. In 1648 and 1657, decrees were issued banning buffoonery.
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 IN AND. 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 safecracker, 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 based on a 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
political figure
, 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 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
Whose name is the Smolensk Drama Theater named after?
1) A.S. Pushkin?
2) F.M. Dostoevsky?
3) L.N. Tolstoy?
4) A.S. Griboedova?
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
Smolenskaya regional philharmonic society them. M.I. Glinka
Concert hall Smolensk Philharmonic
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 folk rituals and holidays turned it into a complex system of dramatic art.
Folklore theater still exists in Slavic countries. Weddings, funerals, agricultural holidays are complex rituals, sometimes lasting several days and making extensive use of such theatrical elements as dramatic action, singing, dance, costume, decorations (dressing of the matchmaker, bride, round dances, ritual or entertaining games etc.). The ancient Slavs also reflected the festival 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 nevertheless continued to live until the 20th century. At first, its carriers were buffoons. At folk games, popular “mummer games” and “dead people” performances with the “learned bear” were performed. People's Theater gave by the Petrushka Theater.
Favorite puppet shows in Rus' were nativity scenes, later rayka (Ukraine), and in the south and west - batleykas (Belarus). These performances were given using a wooden box divided into upper and lower tiers. On top floor a serious part of the performance was played on the topic biblical story about the birth of Christ and King Herod. On the lower floor they showed everyday comic and satirical scenes, much like the Petrushka Theater. Gradually, the serious part of the nativity scene was reduced, and the second part grew, supplemented by new comic scenes 
and, the nativity box changed from a two-tier one to a single-tier one.
Until the 17th century in Russia, theatricality was an organic component folk rituals, calendar holidays, staged round dances. Its elements were included in the church service, and it was here that, as the secular principle intensified in Russian society, it began to form professional theater.
Initially, liturgical actions arose. It's quite complex theatrical performances, used to enhance the impact church service and glorification of the unity of state and church authorities. The “cave act” (a re-enactment of King Nebuchadnezzar’s massacre of Christians) and “riding a donkey” (a reenactment of the Bible plot on Palm Sunday) are well known.
The court and school theaters of the 17th century contributed to the further development of theater in Russia. Even under Tsar Alexei Mikhailovich, court celebrations, receptions, and ceremonies began to be decorated with a great deal of theatricality - expressively and magnificently. The first Russian professional theater, the Comedy Temple, was a court theater and was one of the tsar’s regulated “fun shows.” It was headed in 1662 by I. Gregory, master of theology, pastor and head of the school at the Lutheran officers' church in the German settlement of Moscow. The building itself was opened in 1672 in the village of Preobrazhenskoye with the performance “Artaxerxes’ Action”.
The emergence of 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 educational purposes. He helped students master various knowledge in the form of a game: in Latin And biblical stories, poetry and oratory. In the 16th century, the possibilities of the spiritual impact of school theater began to be used for religious and political purposes: 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, educated person, politician, educator and poet Simeon of Polotsk. In 1664 he came to Moscow and became a teacher of the royal children at court. In the collection of his works “Rhythmologion” two plays were published - “The Comedy about King Novhudonosor, about the Golden Body and about the Three Youths who were not burned in the Cave” and the comedy “The Parable of the Prodigal Son”.
S. Polotsky's plays, by their nature, are intended for the court theater. In terms of their merits they are higher school plays of that time and precede the development of the theater of the 18th century. Thus, the functioning of the “comedy temple” and the appearance of the first professional dramatic works of S. Polotsky was the beginning of a historically necessary and natural process of mastering the achievements of world theatrical culture in Russia.
Simeon of Polotsk was not only talented poet and a playwright. In the world artistic culture he played a significant role as the largest Slavic art theorist considering the problems artistic creativity- literature, music, painting. As a theologian, he noted that art represents the highest spiritual creativity. He included poetry, music and painting.
S. Polotsky’s aesthetic and educational views on art are interesting. The monk argued that the art of beauty “has spiritual and spiritual benefits for people.” According to his reasoning, there is no poetry, painting, music without harmony, proportion and rhythm. Without art there is no education, since through its influence on people’s souls negative emotions are repressed positive feelings. Through the beauty of music and words, the dissatisfied 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 goes for music. He justified it aesthetic value and proved the necessity for the church of polyphonic singing in a harmonious combination of voices. The mode-tonal variety of music, noted S. Polotsky, is dictated by its educational function.
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