The origins of Russian theater presentation. History of Russian theater introduction history of Russian theater. Model of the theater stage "Notre Dame Cathedral"

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, smoothness of movements, on the other. 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, smoothness of movements, on the other.

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 had a developed dance technique; 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 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 had a developed dance technique; 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.

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. 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.

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 the life of ordinary people; interludes were on a wide variety of everyday topics. The owner asked, for example: “And how, Misha, do small children go to steal peas?” - or: “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. 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 the life of ordinary people; interludes were on a wide variety of everyday topics. The owner asked, for example: “And how, Misha, do small children go to steal peas?” - or: “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.

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 flapping 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. 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 flapping 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.

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. 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.

When the Christmas custom went beyond the Catholic church, it acquired the name nativity scene (Old Slavonic 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 the upper floor of the den, biblical scenes were played out, on the lower floor - everyday ones: everyday, comedic, 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. When the Christmas custom went beyond the Catholic church, it acquired the name nativity scene (Old Slavonic 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 the upper floor of the den, biblical scenes were played out, on the lower floor - everyday ones: everyday, comedic, 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.

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 people's favorite professional buffoon was the puppet theater actor, and the most popular was the comedy about Petrushka. 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 people's favorite professional buffoon was the puppet theater actor, and the most popular was 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.

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 participated in a conflict situation, and Petrushka’s reprisals were quite brutal, but the public never condemned him for this. 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. 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 participated in a conflict situation, and Petrushka’s reprisals were quite brutal, but the public never condemned him for this. 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.

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.” 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.”

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. 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.

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. 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.

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, and an orchestra pit appeared in the booths. 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, ordinary people always looked forward to the fair with its theatrical farce. 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, and an orchestra pit appeared in the booths. 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, ordinary people always looked forward to the fair with its theatrical farce.

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 of comedians from Holland 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.” 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 of comedians from Holland 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.” Over the long years of their existence, booths changed, and by the end of the 19th century they almost disappeared forever from the history of Russian theater.

1672 - performances of the court troupe of Tsar Alexei Mikhailovich began 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

At that time theater came into fashion. Many self-respecting nobles of that time created home theaters in which their serfs played - in order to entertain the guests who gathered at their place for the evenings. A similar serf theater is also being created in Kuskovo. At that time theater came into fashion. Many self-respecting nobles of that time created home theaters in which their serfs played - in order to entertain the guests who gathered at their place for the evenings. A similar serf theater is also being created in Kuskovo. The heyday and decline of the Kuskovsky Theater occurred during the time of Nikolai Petrovich Sheremetyev, known as a patron of the arts.

N.P. Sheremetev organized performing arts courses for serfs. The troupe of his theater almost reached 100 people. Many people visited the Moscow Kuskovo theater with great pleasure, giving it preference over the Moscow theaters of N.P. Sheremetev organized performing arts courses for serfs. The troupe of his theater almost reached 100 people. Many people visited the Moscow Kuskovo theater with great pleasure, giving it preference over the Moscow theaters of N.P. Sheremetev was in love with one of the actresses of his theater, who had the pseudonym Zhemchugova. Then, instead of their simple surnames, many serf actresses were given names based on the names of precious stones.

Sheremetev gave Zhemchugova an excellent education, but at that time the nobleman’s love for a serf was not approved by society. There were cases that Zhemchugova was subjected to ridicule. Sheremetev gave Zhemchugova an excellent education, but at that time the nobleman’s love for a serf was not approved by society. There were cases that Zhemchugova was subjected to ridicule. They say that it is precisely because of ridicule of Zhemchugova that Sheremetev moves to his other estate - Ostankino and transports the actress there.

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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 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 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 ( guslars, singers, storytellers, acrobats, etc.), etc. Until the 17th century theater in Russia developed only as a folk theater; other theatrical forms, unlike in 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. 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 whom Peter ordered in 1701 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, and 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). In 1747, another important event took place: the first poetic tragedy was written - Khorev by 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 dated 1727 it is said: “Philofey 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, 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.

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 its own name - 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. 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, comic opera, and bourgeois drama appeared. 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. The 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 occurred (previously, the drama troupe worked together with the opera and ballet troupe, and the same actors often performed in performances of different genres). In 1824, the former Medox Theater was divided into two troupes - a drama troupe (Maly Theater) and an opera and ballet troupe (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 leaders of the troupe were constantly changing, there was no strong direction, the number of premieres increased, and rehearsal time was reduced.

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 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 appeared - the 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 Russian theater at the turn of the 19th–20th centuries In order to consider Russia at the turn of the 19th–20th centuries. the focus of world theatrical achievements, it would be enough for K. Stanislavsky alone with his stunning innovative ideas and the Moscow Art Theater created by him together with V. Nemirovich-Danchenko (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, which refers to the title of one of Chekhov’s best plays and has become 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 at the imperial theaters - Alexandrinsky and Mariinsky, as well as at the Tenishevsky School and in the theater studio on Borodinskaya Street)

Moscow Art Theater Moscow Art Theater In Moscow, the center of 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 of 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 decree was issued by the Council of People's Commissars on the transfer of all Russian theaters to the jurisdiction of the arts department of the State Education Commission. 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 a 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 The new period of Russian theater began in 1932 with the decree of the Central Committee of the All-Union Communist Party of Bolsheviks “On the restructuring of literary and artistic organizations.” The main method in art was recognized as the method of 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 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, it’s just that artistic criteria (and sometimes audience success) in the state assessment of performances ceased to be decisive.

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 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 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. Korneychuk'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 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 Russian theater in 1950–1980 Many Leningrad actors made a great contribution to the formation of Russian theatrical art: I. Gorbachev, N. Simonov, Y. 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 of Young Spectators); 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 Soviet Army Theater (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 project for a very special theater building - in the shape of a five-pointed star, with two auditoriums (Great Hall for 1800 seats), with a spacious stage, characterized by unprecedented depth until then, with many rooms adapted for workshops, theaters services, 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 for survival.

Theater today The present day of 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, K. Ginkas, G. Yanovskaya, G. Trostyanetsky are successfully working, 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 and others.

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.

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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 begins, 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 were 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 round dance games, choral and dramatic creativity were organically merged. 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 of puppet theater in Rus' is associated with buffoon games. 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 of the Christian Church placed buffoons next to wise men 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 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 combined different types of arts: dramatic, church, and pop.

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, 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 literary drama on the basis of liturgical 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 at first was Vanka-Ratatouille) 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 in Lvov, Tiflis, and Kyiv. Plays were written by teachers, and students staged historical tragedies, allegorical dramas close to European miracles, sideshows - 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.

Early 18th century theater

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 the history of the performing arts of the peoples of our Motherland was opened by serf and amateur theaters. The serf troupes that existed since the end of the 18th century staged vaudeville, comic operas, and ballets. On the basis of serf theaters, private enterprises arose in a number of cities. Russian theatrical art had a beneficial influence on 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.