Theater studio for adults. Amateur theater performances

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Amateur theater performance is a form of participation in theatrical art by its participants in their free time from their main profession. During the period of the formation of professional national stages in various countries of the world, domestic troupes were replenished exclusively at the expense of amateurs.

On turn of XIX-XX centuries the experience of the “Society of Art and Literature” in Russia, where the amateur group was headed by K. S. Alekseev (see K. S. Stanislavsky), the “Gali Circle”, and then the “Free Theater” of A. Antoine in France, the “Free Theater” O. Brama in Germany showed that the theatrical amateur movement of that time became innovative and helped national cultures rise to a new level in updating the repertoire and discovering stage forms. Amateurism stood at the origins of the Moscow Art Theater, "Free Theater" in Paris, "German Theater" in Berlin.

The October Revolution caused a genuine explosion of the creative energy of the people in all spheres public life. An amateur propaganda theater (“living newspaper”, agitation court, etc.) was created through the joint efforts of Red Army soldiers, workers, peasants and the young artistic intelligentsia captured by the revolutionary wave. The novels by D. A. Furmanov “Chapaev”, K. A. Fedin “First Joys”, and the story “Bread” by A. N. Tolstoy tell about the enormous impact of amateur performances on the Red Army audience. The manifestation of revolutionary feelings was combined here with a feeling of international solidarity. It was the amateur front-line theater that laid the foundation for the creation of a national theatrical arts among those peoples who previously did not know theater at all.

A. V. Lunacharsky did a lot to support and develop propaganda art. He believed that “it is in the forms of amateur theater new life, the revolution first found artistic expression on the stage. It was in this art that the first sprouts of open, conscious political bias emerged, which would later constitute the most important innovative feature Soviet theater" Theaters of working youth (TRAM) created their own dramaturgy and stage techniques. V.V. Mayakovsky called them theaters of “agitation and influence.”

In amateur theater performances of the 30s. The functions of direct propaganda began to be performed by propaganda teams performing sketches, ditties, vocal and circus acts. Amateur drama groups were created everywhere, which staged multi-act performances modeled on professional theaters.

During the Great Patriotic War amateur theater groups actively performed both in the rear and at the front, in partisan detachments.

In the post-war period, amateur theater performances went through a number of important stages. The first of them is associated with the awarding in 1959 of the title “ folk theater" This tradition continues to live today. The second stage is associated with the holding of the First All-Union Festival of Amateur Art of Working People (1975-1977), dedicated to the 60th anniversary of the October Revolution. The festival contributed to raising the ideological and artistic level of amateur performances, deepening ties and mutual enrichment of the cultures of the peoples of the USSR, and strengthening the community of professional and amateur arts. Such festivals are supposed to be held once every 5 years. The third stage covers the 80s, which are characterized by a wide variety of creative styles, styles, and forms of amateur theater: theater club, indoor theater, poetry theater, pantomime theater, ballet theater, theater for young spectators, agitation theater. Those groups that at the turn of the 50-60s. the first to receive the title of folk theaters were the team of the ZIL House of Culture (Moscow, director S. Stein), “Mannequin” (Chelyabinsk, A. Morozov), Youth theater drama and poetry (Ivanovo, R. Greenberg), the poetry theater of the House of Culture of Oilmen (Omsk, L. Ermolaeva), the theater of the House of Culture named after Yu. A. Gagarin (Ust-Abakan, V. Sokolova) and many others - came in the 80s e years with a variety of creative baggage. The repertoire of folk theaters includes plays by A. N. Arbuzov, A. V. Vampilov, A. I. Gelman, V. S. Rozov, M. F. Shatrov and others. Many works Soviet writers were first staged by folk theaters: “I came to give you freedom” by V. M. Shukshin at the Theater on Krasnaya Presnya (Moscow, director V. Spesivtsev), “Live and Remember” by V. G. Rasputin at the theater in Bratsk (K. Magidin), “The White Steamer” by Ch. Aitmatov at the “Mannequin” theater (Chelyabinsk, A. Morozov), etc.

Along with folk theaters, within the amateur movement there arose new form organization of theatrical creativity - a theater-studio, which, developing the best traditions of amateur theatrical performances, should deepen the ideological and artistic search, reveal as much as possible creativity participants. Moscow theater-studio in the South-West (director V. Belyakovich), theater-studio "Chamber Stage" (M. Shchepenko), theater-studio "At the Nikitsky Gate" (M. Rozovsky), theater-studio "On the Boards" ( S. Kurginyan), theater-studio “Man” (L. Roshkovan), being at the forefront of this movement, acquired the status of professional groups.

Within the framework of the II All-Union Festival of Amateur Arts (1985-1987), dedicated to the 70th anniversary of the Great October Revolution, the creative activity all amateur theater groups. The veteran teams summed up the results of their work. Zonal shows and Ramps of Friendship contributed to the exchange of experience between beginning groups. Experimental theaters set new tasks: the theater-club “Subbota” (director Yu. Smirnov-Nesvitsky), the theater-laboratory of the House of Culture of the Lenin Komsomol Automobile Plant (A. Rasinsky), the studio “Theater” (A. Levinsky), etc. The festival ended in Moscow, where in July 1987 the decade “Literature, folk theaters, propaganda theaters” took place.

There are many interesting amateur groups in our country. Among them are “Poetry and Truth” (Odessa), the folk theater of the House of Culture named after D. N. Mamin-Sibiryak (Magnitogorsk), the folk theater “Rampa” of the Pedagogical Institute (Abakan), the student folk theater of Leningrad state university, Student Theater of Vilnius State University, People's Theater-Studio named after the Komsomol (Lvov), People's Theater of the Wood Materials Plant (Klaipeda), etc.

The performances in themselves were not yet theater: according to art critics, theater begins where the viewer appears - it involves not only common efforts in the process of creating a work, but also collective perception, and the theater achieves its aesthetic goal only if the stage action resonates with the audience.

In the early stages of the development of theater - in folk festivals - singing, dancing, music and dramatic action existed in indissoluble unity; in the process of further development and professionalization, the theater lost its original synthetism, three main types were formed: drama theatre, opera and ballet, as well as some intermediate forms.

Ancient theater

The ancient Greek theater was born from mysteries dedicated to the patron gods of agriculture, primarily Dionysus: during the festivities dedicated to him, a choir of “satyrs” dressed in goat skins sang songs (praises), the content of which was the myths of the Dionysian circle. The word “tragedy” (literally “song of goats”) comes from the chorus of satyrs. The year of birth of the world theater is considered to be 534 BC. e., when the Athenian poet Thespis, during the Great Dionysia, along with the choir, used one actor-reciter. Reciter, who in the 6th century BC. e. called “hypocritus” (“responder” or “commentator”), could enter into dialogue with the choir, portray various mythical characters during the narrative, and thus elements of acting were mixed into the dialogue. Later, Aeschylus added a second actor-reciter to the chorus, and Sophocles a third, in the 5th century BC. e. The “hypocrites” could already communicate not only with the chorus, but also with each other, which made possible dramatic action independent of the chorus, and as a result, the transformation of the chorus of satyrs into drama.

IN Ancient Rome atellans, short farcical performances in the spirit of slapstick comedy, were popular.

Along with the official one, there was also an ancient folk theater in which wandering comedians - fliacs and mimes - performed. They performed primitive plays of everyday, entertaining, satirical, and often obscene content on the streets and squares; the actors were without masks; women could participate in the performance.

European theater

Middle Ages

English medieval theater, 19th century engraving

In contrast to the pagan ones, christian church developed her own rituals, which gave her teaching an effective illustrative quality. Already in the 9th century in Western Europe, on Christmas Day, priests portrayed evangelical shepherds going to Nazareth, a brief dialogue took place between them and the priest who served the liturgy - the dialogization of the service in its development opened up opportunities for dramatic action. In the 11th century, real performances were already performed on Easter and Christmas.

Gradually, the liturgical drama became more effective, more meaningful, filled with psychological experiences; the tendency towards a realistic interpretation of gospel plots and images, reflected both in the design of performances and in props, contradicted the goals of the church service, and in 1210 liturgical drama was expelled from the church - later performances were given on the porch, which made it possible to participate in them not only clergy, but also townspeople.

In the second half of the 13th century, performances dedicated to the lives of saints - miracles, which differed from the actual gospel stories in a more “everyday” design, became widespread. At the same time, secular plays also appeared, in to a greater extent, than miracles associated with folk folklore - known, in particular, is “The Game of the Arbor” and “The Game of Robin and Marion” by Adam de la Al.

At the same time, in cities, regardless of the church, the genre of mystery plays was emerging - mass, public, amateur art. Mysteries were part of city celebrations, which were held on fair days, and abstract church themes found in them national color.

Renaissance era

Drama theater

In parallel, another trend developed: in the 70s of the 15th century, Pomponio Leto in Rome revived the ancient Roman theater - with his students he staged works by Seneca, Plautus and Terence in the original language. Leto's experience quickly spread throughout Italy, and since Latin was not understood by everyone, translations of ancient Roman authors into Italian. Two forms of Italian theater - ancient comedies in Italian translations (and original plays, for a long time which were openly imitative in nature) and mysteries based on mythological subjects - gradually came closer, borrowed elements of dramatic technique from one another and stage embodiment.

The spread of mystery plays in Italy was associated with the emergence of the first theater groups at the turn of the 15th-16th centuries, initially in the form of amateur societies, which over time turned into semi-professional ones: artisans and representatives of the intelligentsia assembled a troupe when there was a demand for performances, showing them for a fee in rich homes and returned to their previous activities when there was no demand for performances. An important role in the development of Italian professional theater was played by the Padua troupe of actor and playwright Angelo Beolco, whose members, performing in different plays under the same names, in the same costumes, created unchanging types (tipi fissi), - in this regard, the troupe Beolko anticipated the commedia dell'arte, which appeared in the mid-16th century, shortly after his death. However, in exact translation from Italian, commedia dell’arte at that time meant “professional theater” - the concept of “comedy of masks” appeared later.

For a long time, performances were performed in palaces. Only in the 20s of the 16th century did special theater buildings begin to appear, and the principles of construction were borrowed from Vitruvius: as in Ancient Rome, the auditorium was built in the form of an amphitheater.

New Italian theater was born as a courtier, but very soon gained popularity among the widest strata of Italian society, to whose interests and tastes he began to adapt at the turn of the 15th-16th centuries: mythological subjects gradually gave way to subjects from modern life, which, in turn, dictated new principles for the design of performances and a different style of acting.

Opera and ballet

In 1637, the first opera house was opened in Venice.

The first opera composers were Jacopo Peri, Claudio Monteverdi and others.

The first ballets were staged at court for the entertainment of the court nobility. The choreography was based on court dances.

In the 15th century, one of the first dance masters was Domenico da Piacenza (English)Russian. He danced with his students Antonio Cornazano (English)Russian and Guglielmo Ebreo, and also taught this art to the Italian nobility. Da Piacenza wrote a work entitled "De arte saltandi et choreus ducendi"("About the art of dancing and leading dances").

In the 16th century, grandiose performances - spectaculi - appeared in northern Italy. They included not only dancing, but also horse shows and battles. Catherine de' Medici brought interest in dance to France. She was also the first sponsor of the ballets, and organized grandiose spectaculi. One of the notable ones was the Polish Ballet (Le Ballet des Polonais), which was staged for the visit of Polish ambassadors in 1573.

The first ballets included not only dancing, but also conversations and elements of drama. Gradually, dance replaced the elements of drama from ballet. In France, ballet emerged as a separate genre. Ballet performances were now given not only at court, but also in theaters. Nobles, including Louis XIV, performed roles of varying importance in the ballet.

In 1585, the Teatro Olimpico, with a proscenium, opened in Verona.

Subsequent history

Theater of the East

In the theater of the East, ancient archaic traditions of dramatic, puppet, and musical theaters have been preserved. This is equally true for the theater of India, the theater of Japan, China, Vietnam, and the theater of Indonesia.

Theater in Russia

In Russia, theater was born late - only in the second half of the 17th century. However, in the Orthodox Church, staging of individual services was accepted - the Cave Action and the Procession on the Donkey. These rituals were performed no later than from the beginning XVI century. Buffoonery, which originated in the 11th century, was harshly condemned by the Church and was officially banned in 1648 by decree of Alexei Mikhailovich; cities did not have sufficient independence to organize performances similar to Western European mysteries on their own - theater was imported to Russia from Western Europe. The first court theater was created in 1672, but it lasted only a few years. The emergence of the so-called “school theater” - a theater for spiritual educational institutions; The first mention dates back to 1672, when the mystery play “About Alexei the Man of God” was staged at the Kiev-Mohyla Academy. In 1687, the Slavic-Greek-Latin Academy was founded in the Zaikonospassky Monastery in Moscow, under which a theater was also created.

Theater in the USA

Types of theater

Drama theater

Unlike other types of performing arts, a performance in a drama theater is based on literary work- drama or script, involving improvisation or pre-prepared production. For an artist of a dramatic theater, the main means of expression, along with physical actions, are speech, stage costume, and makeup; At the same time, dramatic theater is a synthetic art: it can include vocals, dance, and pantomime as full elements. An important role in a drama theater is played by the director, who, based on his own interpretation of a literary work, directs the work of the entire team and also edits the script.

Opera

Opera is a stage form of theatrical art in which dramatic action is closely combined with vocals and orchestral music; opera often includes dance. It originated in Italy at the turn of the 16th-17th centuries.

There are such genres as grand opera, comic opera ( opera buffa in Italy, opera-comique in France, Singspiel in Germany, Tonadilla in Spain, ballad opera in England), romantic opera, opera-ballet, etc. Genre comic opera influenced in the twentieth century the formation of such genres as operetta, musical, musical comedy.

Opera productions are usually performed in specially equipped opera houses.

An operatic work is a type of musical and dramatic work based on the synthesis of words, stage action and music. Unlike dramatic theater, where music performs auxiliary functions, in opera it is the main carrier of action. Literary basis An opera's libretto is either original or based on a literary work. The opera is an ensemble of solo episodes - arias, duets, trios, quartets, ariosos, recitatives, as well as ensembles, choirs, ballet scenes and is divided into acts and scenes, scenes and numbers; at the beginning of the opera there is a prologue before the acts, and at the end there is an epilogue.

The orchestra plays a large role in the opera.

Ballet

In the 20th century, pantomime was carried out by the Carnot group, in which Charlie Chaplin, Max Reinhardt, Jean-Louis Barrault, Marcel Marceau and others performed for the first time.

Pantomime can be dance, classical, acrobatic, eccentric; at the beginning of the twentieth century, dramatic pantomime appeared.

The pantomime genre is developed in classical Indian musical theater and in Japanese Noh theater.

Musical

Operetta

Operetta- view musical theater, translated from Italian means "small opera". The operetta school originated in Vienna (Austria) in the 60s of the 19th century.

Theater festivals

Dance Open - international festival ballet
Altan Serge - international festival of national theaters
All-Russian Theater Festival named after Oleg Yankovsky
All-Russian festival "Real Theater"
“Voices of History” - international theater festival of the Vologda region
Diaghilev Festival - international multi-genre festival
Golden Mask - Russian national theater award and festival
Golden Harlequin - Saratov Regional Theater Festival and theater award of the same name
International Theater Festival named after. A. P. Chekhova
Novo-Siberian transit - interregional festival-competition drama theaters Siberia, Urals and Far East
Festival "Bravo!" - Sverdlovsky regional competition for the best theater work year and festival
Festival of Classical Ballet named after Rudolf Nureyev

Notes

Theater / Motherland M. T. // Great Soviet Encyclopedia: [in 30 volumes] / ch. ed. A. M. Prokhorov. - 3rd ed. - M.: Soviet encyclopedia, 1969-1978.
Theater // Theater encyclopedia (edited by A. P. Markov). - M.: Soviet Encyclopedia, 1961-1965. - T. 5.
Bushueva S.K. Introduction // Relationships: Theater in the context of culture: Collection scientific works. - L., 1991. - P. 4-6.
Barboy Yu. M.. - L., 1988. - P. 26-27. - 201 p.
Barboy Yu. M. Action structure and modern performance. - L., 1988. - P. 30. - 201 p.
Arto A. Theater and its double: Manifestos. Dramaturgy. Lectures. Philosophy of theater / Comp. and rise Art. V. I. Maksimova, Comm. V. I. Maksimova and A. Yu. Zubkova. - St. Petersburg, M.: Symposium, 2000. - P. 99-103. - 443 p.
Rudnitsky K. L. Performance // Theater Encyclopedia (edited by P. A. Markov). - M.: Soviet Encyclopedia, 1961-1965. - T. 4.
Tragedy // Dictionary of Antiquity. Compiled by Johannes Irmscher (translated from German). - M.: Alice Luck, Progress, 1994. - P. 583. - ISBN 5-7195-0033-2.
Encyclopedia around the world. antique theater (undefined) . Retrieved May 2, 2013. Archived May 10, 2013.
Dzhivelegov A., Boyadzhiev G.. - M.: Art, 1941.
Averintsev S. S., Boyadzhiev G. N. Histrion // Theatrical Encyclopedia (edited by S. S. Mokulsky). - M.: Soviet Encyclopedia, 1961-1965. - T. 1.
Dzhivelegov A., Boyadzhiev G. Histrions // History of Western European Theater. From origin to 1789. - M.: Art, 1941.
Dzhivelegov A., Boyadzhiev G. Farce // History of Western European theater. From origin to 1789. - M.: Art, 1941.
Dzhivelegov A., Boyadzhiev G. Liturgical drama// History of Western European theater. From origin to 1789. - M.: Art, 1941.
Dzhivelegov A., Boyadzhiev G. Miracle // History of Western European theater. From origin to 1789. - M.: Art, 1941.
Dzhivelegov A., Boyadzhiev G. Mystery // History of Western European theater. From origin to 1789. - M.: Art, 1941.
Dzhivelegov A., Boyadzhiev G. Renaissance Theater //

Casting has been announced for the amateur theater studio Stanis❤sky.
Classes and rehearsals are led by a theater and film actress, a professional director, and a graduate of the Shchukin Theater Institute.
The theatrical process includes:
1) speech and acting training
2) Theater performances
3) participation in theater festivals and performances on city stages.
The goal of the project is to create a permanent semi-professional working team.
This is a great chance for people who do not have an acting education to start their life in art.
During the year of its existence, the studio carried out several public acting shows and one theatrical production.
We kindly ask that only those who are truly interested and willing to devote time to apply apply.
Rehearsals and classes - 2 times a week (Thursday-Sunday), evening, Maryina Roshcha metro station.
Wanted: girls and young men 20-40 years old of different types.
Submit applications, address, time, and creative task I am sending it in response to your request.

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Casting has ended and applications are closed.

Accountants play Othello

“To be or not to be?” - Hamlet sadly asks from the stage. Who hasn't dreamed of playing the tragic Danish prince in the spotlight? Few people know, but you can recite Shakespeare not only in your kitchen, but also in big stage in front of real spectators. The capital's amateur theaters provide this opportunity to everyone. “MK” found out whether an ordinary accountant can get used to the role of Othello and how a child’s passion for the stage can change his whole life.

A scene from a play at the FEST theater in Mytishchi.

Darkness, open curtain, a man on stage enthusiastically reads a monologue from famous play. An hour after the end of the performance, he will go home, and in the morning he will put on a formal suit and go to the office: to conclude deals, create virtual worlds or build houses.

During my life I have been involved in three amateur theater studios, says Vladislav. - The first was at RUDN, the second was the FEST theater in Mytishchi, and the third was the famous Obraz theater school.

How do such studios arise? Almost like get-togethers.

The theater in Mytishchi appeared like this: guys from one of the faculties of the local university organized an amateur theater, and then decided to do it professionally. We entered either Shchuka or Shchepka for one course. And then they opened the theater professionally.

Theater courses for amateurs, of course, differ from serious ones acting schools and studios. First of all - the program. For example, as Vladislav recalls, at the Obraz school it was truncated (we studied only twice a week) and was divided into modules.

The first module was aimed at developing plasticity, the second - rhythm, then we worked with the voice, and then with the texts. At the end of each module, miniatures were prepared: they invited their friends, students from another course to watch... In other schools, the academic period usually lasts from autumn to spring.

According to Vladislav, there is no shortage of people who want to spend an evening on voice training or learning a role: “The groups always have from 10 to 20 people, but this is the number of people at the beginning of training. At the end of the course, there may be eight people left - people leave.”

Amateur studios refute the established stereotype - “theater for the elite.” Anyone can get there - from a housewife to a builder.

People take courses for various reasons,” explains Vladislav. - Someone like me has been a theater fan since childhood. But age or other reasons no longer allow me to enter a serious theater school. A friend of mine took such courses to study rhetoric and learn how to speak in public. Some people are just bored and they come to hang out and have fun.

Among art lovers there are owners different professions: Vladislav himself is a thermal power engineer. According to him, the most frequent guests of the studio are IT specialists, sales managers and housewives. If we talk about age category, then people aged about 30 voluntarily run after work to rehearse Hamlet: “It’s less common to meet a person over 30. But sometimes students come in preparation for entering theater universities.”

But theater courses will someday end, and the desire to play in the theater, awakened by a touch of beauty, will long for continuation.

Sometimes it happens that, after attending courses, a person decides to radically change his destiny, says Vladislav. - At the Obraz school I had a teacher, a former journalist for a well-known publication. He attended such courses, then he liked this acting work, he sold his car, paid for a second degree and entered VGIK. And then he came to teach our courses.