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 was the 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 based on a biblical story. It was written in German, but the performance was performed 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
Building home theater
Sheremetev
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 governor of the city, Prince N.V. Repnin, prepared an “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 theater
Opera and Ballet Theater
There is no opera and ballet theater in Smolensk, there is a Philharmonic named after M.I. Glinka
Smolensk Regional Philharmonic named after. M.I. Glinka
Concert hall Smolensk Philharmonic
"Music of Ancient Rus'" is a presentation that I am sure will be a useful visual aid for a lesson in world artistic culture or history when studying a topic "Artistic culture of Ancient Rus'" I tried to provide the presentation not only with illustrative material, but also with audio examples for each description. Unfortunately, audio examples can only be heard in PowerPoint.
Music of Ancient Rus'
The presentation tells about the origins of Russian musical art, about various types and genres of music from antiquity to the 17th century, about musical instruments that sounded on weekdays and holidays, in sorrow and joy. Presentation "Music of Ancient Rus'", according to my plan, should become a kind of mini-encyclopedia created specifically for the lesson of world artistic culture.
“Music is a tightly sealed bottle of magical perfume that invariably retains the aroma of its, and only its, time.”
Anton Gopko
The presentation has three main sections. First − will introduce you to the origins of ancient Russian musical art, the roots of which go back to distant times even before the formation of the ancient Russian state, during the formation of the Slavic tribes.
Emergence and development music of Ancient Rus' associated with the beliefs of the Slavs, with rites and rituals dedicated to pagan deities and ancestors. These rituals were accompanied by singing, dancing, and playing musical instruments. Professional musicians There were buffoons in Rus'. Buffoons were real artists: musicians, jugglers, acrobats, trainers. Unfortunately, the Orthodox Church prohibited the activities of buffoons, calling their performances devilish games, subjecting them to persecution and even execution.
Second section will talk about ancient Russian musical instruments: gusli, beeps, horns, pipes and others. A slide with an image of a musical instrument also includes an audio file that will demonstrate the sound of this instrument.
Separate section dedicated to church music, its main types and genres. There is also musical examples. A special icon on the slide is a trigger that “turns on” the sound. But, unfortunately, the trigger will only work when viewing a presentation in PowerPoint.
I would like to believe that my work, into which I have invested my soul, will be beneficial.
A few more presentations that you will find on my website will help you get acquainted with ancient Russian art:
The history of the Russian theater
Introduction
The history of Russian theater is divided into several main stages. The initial, playful stage originates in clan 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 “theater” and “drama” entered the Russian dictionary only in the 18th century. At the end of the 17th century, the term “comedy” was in use, and throughout the century - “fun” (Poteshny Chulan, Amusing Chamber). Among the 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 wonders brought by foreigners in the 16th – 17th centuries, as well as fireworks, were also called amusement. The military activities of the young Tsar Peter I were also called fun. The term “game” is close to the term “game” (“buffoon games”, “feast games”). In this sense, both weddings and mummers were called “game”, “games”. “Play” has a completely different meaning in relation to musical instruments: playing tambourines, sniffles, etc. The terms “game” and “game” as applied to oral drama were preserved among the people until the 19th – 20th centuries.
Folk art
Russian theater originated in ancient times. Its origins go back to folk art– rituals, holidays associated with work. Over time, the rituals lost their magical meaning and turned into performance games. Elements of theater were born in them - dramatic action, acting, dialogue. Subsequently, 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 differentiated, breaking up into related and at the same time varieties increasingly moving away from each other - into dramas, rituals, games. The only thing that brought them together was that they all reflected reality and used similar methods of expressiveness - dialogue, song, dance, music, disguise, acting, acting.
The games instilled a taste for dramatic creativity.
The games were originally a direct reflection of the clan community organization: they had a round dance, choral character. In the round dance games the choral and dramatic creativity. Songs and dialogues abundantly included in the games helped characterize the images of the games. Mass commemorations also had a playful character; they were timed to coincide with spring and were called “Rusalia.” In the 15th century, the content of the concept of “Rusalia” was defined as follows: demons in human form. And the Moscow “Azbukovnik” of 1694 already defines rusalia as “buffoon games.”
The 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 got acquainted with the theater in Constantinople. The frescoes of the Kiev St. Sophia Cathedral of the last third of the 11th century depict hippodrome performances. In 1068, buffoons were first mentioned in the chronicles.
Kievan Rus was known for three types of theaters: court, church, and folk.
Buffoonery
The oldest “theater” was the games of folk actors - buffoons. Buffoonery is a complex phenomenon. The buffoons were considered a kind of sorcerers, but this is erroneous, because the buffoons, participating in the rituals, not only did not enhance their religious-magical character, but, on the contrary, introduced worldly, secular content.
Anyone could make a joke, that is, sing, dance, joke, act out skits, play musical instruments and act, that is, portray some kind of person or creature. But only those whose art stood out above the level of art of the masses for its artistry became and was called a skilled buffoon.
In parallel with the folk theater, professional theatrical art developed, the bearers of which in Ancient Rus' were buffoons. The appearance in Rus' is associated with buffoon games puppet theater. The first chronicle information about buffoons coincides with the appearance of frescoes depicting buffoon performances on the walls of the Kiev St. Sophia Cathedral. 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. Buffoons were associated with the masses, and one of their types of art was “glum,” that is, satire. Skomorokhs are called “mockers,” that is, scoffers. Mockery, mockery, satire will continue to be firmly associated with buffoons.
The worldly art of buffoons was hostile to the church and clerical ideology. The hatred that the clergy had for the art of buffoons is evidenced by the records of chroniclers (“The Tale of Bygone Years”). Church teachings of the 11th-12th centuries declare that the mummers resorted to by buffoons are also a sin. Buffoons were subjected to especially severe persecution during the years of the Tatar yoke, when the church began to intensively preach an ascetic lifestyle. No amount of persecution has eradicated the art of buffoonery among the people. On the contrary, it developed successfully, and its satirical sting became sharper.
In Ancient Rus', crafts related to art were known: icon painters, jewelers, wood and bone carvers, book scribes. Buffoons belonged to their number, being “cunning”, “masters” of singing, music, dancing, poetry, drama. But they were regarded only as entertainers, amuse-benders. Their art was ideologically connected with the masses of the people, with the artisans, who were 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 christian church They placed buffoons next to the magicians and sorcerers. In rituals and games there is still no division into performers and spectators; they lack developed plots and transformation into images. They appear in folk drama, permeated with acute social motives. The emergence of public theaters of oral tradition is associated with folk drama. The actors of these folk theaters (buffoons) ridiculed the powers that be, the clergy, the rich, and sympathetically showed ordinary people. Folk theater performances were based on improvisation and included pantomime, music, singing, dancing, and church numbers; the performers used masks, makeup, costumes, and props.
The nature of the performances of the buffoons initially did not require uniting them into large groups. To perform fairy tales, epics, songs, and play an instrument, only one performer was enough. Skomorokhs leave their native places and roam the Russian soil in search of work, moving from villages to cities, where they serve not only the rural, but also the townspeople, and sometimes even princely courts.
Buffoons were also involved in folk court performances, which multiplied under the influence of acquaintance with Byzantium and its court life. When the Amusing Closet (1571) and the Amusing Chamber (1613) were set up at the Moscow court, the buffoons found themselves in the position of court jesters.
The performances of the buffoons were united different types arts: both dramatic, church and “variety”.
The Christian Church contrasted folk games and the art of buffoons with ritual art, saturated with religious and mystical elements.
The performances of buffoons did not develop into 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. A Charter of the Trinity-Sergius Monastery of the 15th century and a Charter of the early 16th century were sent against the buffoons. The Church persistently placed buffoons on a par with the bearers of the pagan worldview (magi, sorcerers). And yet the buffoon performances continued to live, and the folk theater developed.
At the same time, the church took all measures to assert its influence. This found expression in the development of 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 to Sweep”, “Washing of Feet”).
Despite the use of theatrical and entertainment 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 based on liturgical drama. literary drama, this attempt turned out to be isolated and fruitless.
17th century theaters
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 was not afraid of anything in the world. Theater truly appeared in the 17th century - 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 Act of Artaxerxes” (the story of the biblical Esther) took place on October 17, 1672. At first, the court theater did not have its own premises; scenery and costumes were moved 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 attract and train Russian “youths”. They were paid irregularly, but they did not skimp on decorations and costumes. The performances were distinguished by great pomp, 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 a school theater also developed at the Slavic-Greek-Latin Academy, in theological seminaries and schools of Lvov, Tiflis, and Kyiv. Plays were written by teachers, and historical tragedies were staged by students, allegorical dramas, close to European miracles, interludes are satirical everyday scenes in which there was a protest against the social system. School theater sideshows laid the foundation for the comedy genre in national drama. The origins of the school theater were the famous political figure and playwright Simeon Polotsky.
The emergence of court school theaters expanded the sphere of spiritual life of Russian society.
Theater early XVIII century
By order of Peter I, the Public Theater was created in 1702, designed for the mass public. A building was built especially for him on Red Square in Moscow - the “Comedial Temple”. The German troupe of J. H. 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 subsidies from 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 since late XVIII centuries, vaudevilles, comic operas, and ballets were staged. On the basis of serf theaters, private enterprises arose in a number of cities. Beneficial influence Russian theatrical art influenced the formation of the professional theater of the peoples of our Motherland. The troupes of the first professional theaters included talented amateurs - representatives of the democratic intelligentsia.
Theater in Russia in the 18th century gained enormous popularity, became the property of the broad masses, another publicly accessible sphere of people’s spiritual activity.
RUSSIA) went 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 in its ritual and ceremonial forms, as in every ancient community, was widespread in Rus'; it existed in mystery forms. IN in this case I mean mystery not as a medieval genre 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 a tribal and family nature - 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 was born the line of development of 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 (harp 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 the Russian theater
From about the 11th century. the situation is changing, at first gradually, then more strongly, which led to a fundamental change in the development of 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
Theater and church
By the 16th century in Russia, the church shapes the state ideology (in particular, the clergy was entrusted with the responsibility to create educational institutions). And, of course, she could not pass by the theater, which is a powerful means of influence.
School-church theater
"Hundred-Glavy" Russian Cathedral Orthodox Church 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, the 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 auditorium, 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.
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 1672. On May 15, 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. Esther's role in Artaxerxes action played by Blumentrost's son. Both foreigners and Russian actors were trained in a special school, which was opened on September 21, 1672 in the courtyard of Gregory’s house in the German settlement. It turned out to be difficult to 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
From 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 whom Peter ordered in 1701 to invite comedians from abroad. In 1702, Johann Kunst's troupe came to Russia.
The emergence of 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 middle of the 18th century. theaters were organized in educational institutions (1749 - St. Petersburg Noble Corps, 1756 - Moscow University), Russian theatrical performances in St. Petersburg (organizer I. Lukin), in Moscow (organizers K. Baykulov, clerical workers headed by Khalkov and Glushkov, “ink master” Ivanov, etc.), 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.
FEDOR GRIGORIEVICH VOLKOV
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 were added to the actors who were trained in the Noble Corps, including the comic actor Ya. Shumsky. The theater was headed by Sumarokov, whose classicist tragedies formed the basis of the repertoire. The first place in the troupe was occupied by Volkov, who replaced Sumarokov as director, and 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, on the basis of the former university troupe, a drama theater was created, which received the name Petrovsky (also known as the Medox Theater). The Bolshoi (opera and ballet) and Maly (drama) theaters of Russia trace their pedigrees to this theater.
MALY 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...”
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 its own name - the Maly Theater.
BOLSHOI THEATER OF RUSSIA in Moscow
Bolshoi Theater in the evening
Near the theater
Theater of the era of sentimentalism
The period of classicism in Russia did not last long - 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. Developing satirical comedy – Minor D. Fonvizina
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.).
Theater at the turn of the 18th-19th centuries.
Russian theater in the 19th century
Issues related to the development of 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 about 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 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.
Division of the theater into two troupes
In the first quarter of the 19th century. the first official separation of the Russian drama theater into a separate direction took place (previously 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.
Alexandrinsky Theater
Mariinsky Theater
Mariinsky Theater
The largest opera and ballet theater in Russia, one of the oldest musical theaters in our country. It originates from the Stone (Bolshoi) Theater, opened in 1783. It has existed in a modern building (rebuilt after a fire at the Circus Theatre) since 1860, at which time it received a new name - the Mariinsky Theater.
Theater at the turn of the 19th-20th centuries.
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, a fundamentally new aesthetics of director's theater was formed. 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
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 a performance Tsar Fedor Ioannovich A.K. Tolstoy, the banner of the new theater was the dramaturgy of A. Chekhov, mysterious, not fully revealed today. 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 develop it further in the most unexpected and paradoxical directions (striking examples are V. Meyerhold, M. Chekhov, E. Vakhtangov).
KONSTANTIN SERGEEVICH STANISLAVSKY
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, he established the principles conventional theater Meyerhold (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)
VERA FYODOROVNA KOMISARGEVSKAYA
Moscow Art Theater
In Moscow the center theatrical life was the Moscow Art Theater. A brilliant constellation of actors gathered there who played in performances that attracted a huge number of spectators: O. Knipper, I. Moskvin, M. Lilina, M. Andreeva, A. Artem, V. Kachalov, M. Chekhov, etc. Many trends were formed here modern directing: in addition to Stanislavsky and Nemirovich-Danchenko, these were the works of L. Sulerzhitsky, K. Mardzhanov, 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 " Bat"is created on the basis of the Moscow Art Theater skits.
MOSCOW ART THEATER.
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 Evgeny Vakhtangov
History of the Theater named after Evg. Vakhtangov began long before his birth. At the end of 1913, a group of very young - eighteen to twenty years old - Moscow students organized the Student Drama Studio, deciding to engage in theatrical art according to the Stanislavsky system.
Theater in the 30s
New period Russian theater began in 1932 with 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 movements were approved – as a rule, realistic ones. 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 at the Vakhtangov Theater, in the role of Lenin - B. Shchukin; Is it true at 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, it’s just that artistic criteria (and sometimes audience success) in the state evaluation of performances ceased to be decisive.
Theater in the 30s and 40s
For many figures in the Russian theater, the 1930s (and the second half of the 1940s, when ideological politics continued) became tragic. However, Russian theater continued to develop. New director 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 are also becoming famous. Soviet Union: N. Sobolshchikov-Samarin (Gorky), N. Sinelnikov (Kharkov), I. Rostovtsev (Yaroslavl), A. Kanin (Ryazan), V. Bityutsky (Sverdlovsk), N. Pokrovsky (Smolensk, Gorky, Volgograd), etc. .
YURI ALEKSANDROVICH ZAVADSKY
RUBEN NIKOLAEVICH SIMONOV
MARIA IVANOVNA BABANOVA
IGOR ILYINSKY
During the Great Patriotic War, Russian theaters mainly turned to patriotic themes. Plays written during this period were staged ( Invasion L. Leonova, Front A. Korneychuk, A guy from our city And Russian people K. Simonov), and plays with historical and patriotic themes ( Peter I A.N. Tolstoy, Field Marshal Kutuzov
FRONT BRIGADE
Theater during the Great Patriotic War
The period 1941–1945 had another consequence for the theatrical life of Russia and the Soviet Union: a significant increase in the artistic level of provincial theaters. The evacuation of theaters in Moscow and Leningrad and their work on the periphery breathed new life into local theaters, contributed to the integration of performing arts and the exchange of creative experience.
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 (Theater named after. Pushkin); 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).
AT THE DOOR of the Moscow Taganka Drama Theater, 1977
Russian Army Theater
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 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.
THEATER OF THE RUSSIAN ARMY
Russian Army Theater
NIKOLAY NIKOLAEVICH GUBENKO
VLADIMIR VYSOTSKY as Hamlet
Vladimir Vysotsky dedicated his life to this theater
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 groups were organized in large numbers - studio theatres, enterprises, etc. 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 for survival.
Theater today
The present day Russian theater in terms of the number and variety of aesthetic trends is associated with the 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 changed dramatically; they 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.
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 initial elements appeared was the production activity of the Slavs, who, in 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 widely using such theatrical elements as dramatic action, singing, dance, costume, scenery (dressing the matchmaker, the 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 raika (Ukraine), and in the south and west - batleykas (Belarus). These performances were given using a wooden box divided into upper and lower tiers. On the top floor a serious part of the performance was played on the theme 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 of folk rituals, calendar holidays, and staged round dances. Its elements were included in the church service, and it was here that, as the secular principle intensified in Russian society, a professional theater began to form.
Initially, liturgical actions arose. These are 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 story 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 their merits, they stand above the school plays of that time and anticipate the development of the theater of the 18th century. Thus, the functioning of the “comedy temple” and the 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 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 of fine arts in the Slavic region, raising painting to 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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