The origins of theatrical art in Rus'. Russian theatrical art. Russian theater Russian theater (Russian theater) has gone through a different path of formation and development than European, oriental theater. Tsar Mikhail Fedorovich Romanov

Russian theatrical creativity arose in the era of the primitive communal system and in to a greater extent than painting and architecture, it is connected with folk art. The soil on which its original elements appeared was production activity Slavs who folk rituals and holidays turned it into a complex system of dramatic art.

Folklore theater still exists in Slavic countries. Weddings, funerals, agricultural holidays are complex rituals, sometimes lasting several days and widely using such theatrical elements as dramatic action, singing, dancing, costume, decorations (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). Theater folk art nevertheless, it 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. The People's Theater gave the Petrushka Theater.

Were loved ones in Rus' puppet shows- nativity scene, later raika (Ukraine), in the south and west - batleyki (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 folk rituals, calendar holidays, staged round dances. Its elements were included in the church service, and it was here that, as the secular principle intensified in Russian society, a professional theater began to form.

Initially, liturgical actions arose. These are quite complex theatrical performances used to enhance the impact of the church service and glorify the unity of state and church power. 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: the Latin language 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 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 precede the development theater XVIII century. Thus, the functioning of the “comedy temple” and the emergence of the first professional dramatic works 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 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 replaced by positive feelings. Through the beauty of music and words, the dissatisfied become patient, the lazy become hard workers, the stupid become smart, the dirty become pure in heart.

S. Polotsky created the first classification in the Slavic region fine arts, raising painting to the Seven Liberal Arts. The same goes for music. He substantiated its 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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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 safecracker, a clown, a jester.”

Parsley

In the 17th century, the first oral dramas developed, simple in plot, reflecting popular sentiments. The puppet comedy about Petrushka (his name was Vanka-Ratatouille at first) told about the adventures of a clever, merry fellow who is not afraid of anything in the world .

Court Theater

Plans to create a court theater first appeared with Tsar Mikhail Fedorovich in 1643. The Moscow government tried to find artists who would agree to enter the royal service. In 1644, a troupe of comedians from Strasbourg arrived in Pskov. They lived in Pskov for about a month, after which, for an unknown reason, they were expelled from Russia.

Tsar Mikhail Fedorovich Romanov

Tsarsky Theater The first royal theater in Russia belonged to Tsar Alexei Mikhailovich and existed from 1672 to 1676. Its beginning is connected with the name of the boyar Artamon Matveev. Artamon Sergeevich ordered the pastor of the German settlement, Johann Gottfried Gregory, who lived in Moscow, to start recruiting an acting troupe.

Tsar Alexei Mikhailovich

Artamon Matveev

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

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 dramaturgy. The origins of the school theater were the famous political figure and playwright Simeon Polotsky.

Simeon of Polotsk

Fortress theaters

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

Count Sheremetev

Praskovya Zhemchugova-Kovalyova

Fortress Theater of Count Sheremetev

Home theater building

Sheremetevs

Actors' costumes

Theater premises

When did the theater appear in the city of Smolensk?

1) in 1708

2) in 1780

3) in 1870

4) in 1807

In 1780 to arrive Catherine II accompanied by Emperor Joseph II , the 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

Smolenskaya regional philharmonic society them. M.I. Glinka

Concert hall Smolensk Philharmonic

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 century were also called amusement. XVII centuries, and fireworks. 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.”

Theater arts 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 masses”, and on the other hand, by the feudal nobility, the buffoons were differentiated accordingly.

In 957 Grand Duchess Olga gets 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.

To make a fool of yourself, i.e. to sing, dance, make jokes, act out skits, play the musical instruments and anyone could 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. WITH folk drama associated with the emergence of area theaters of oral tradition. 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 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. The Letter of Complaint to the Trinity-Sergius Monastery of the 15th century and the 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 buffoonish performances continued to live, 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 “ 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 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.

Theater early XVIII century

By order of Peter I, the Public Theater was created in 1702, designed for a mass audience. A building was built especially for him on Red Square in Moscow - the “Comedial Temple”. The German troupe of I. 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 from the end of the 18th century staged vaudevilles, comic operas, 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.

10th grade student of secondary school No. 15 in Sergiev Posad Zakharova Vsevolod 1) The emergence of professional theater 2) Ancient Russian musical culture 3) Sources of information 1) Reveal the features of the emergence of professional theater in Russia, 2) Reveal the features of the formation of musical culture from ancient Rus' to Russia, 3) Contribute to the formation of the spiritual culture of students, interest and respect for the culture of our country. TSAR ALEXEY MIKHAILOVICH The foundations of professional Russian theater were laid in the second half of the 17th century. Its origin is usually attributed to 1672, when Tsar Alexei Mikhailovich, a persecutor of folk “fun” and a great lover of magnificent shows and entertainment, was presented with the first performance of the court theater. The initiator of the creation of a theater similar to the European one was the enlightened boyar Artamon Sergeevich Matveev. The German pastor of the Lutheran Church in Moscow, Johann Gottfried Gregory, a widely educated man, literary gifted and possessing the necessary knowledge in the field of German and Dutch theaters, was appointed playwright. The theater was hastily built in the Tsar's residence near Moscow, in the village of Preobrazhenskoye. The auditorium of the “comedy mansion”, located like an amphitheater, was smaller in size than the stage, but was richly decorated: the walls and floor were upholstered in crimson, red and green cloth; the royal seat, located in front of the wooden benches, was upholstered in red cloth, on which, according to the spectators were seated according to their “rank and rank”, some of them stood on the stage. For the queen and princesses, special boxes were arranged - “cages”, according to tradition, separated from the auditorium by a lattice. The first performance on the stage of the “comedy mansion” was the play “Esther, or the Action of Artaxerxes.” The plot of the play was based on the biblical story of Esther, a humble beauty who attracted the attention of the Persian king Artaxerxes and saved her people from death by becoming his wife. The performance lasted ten hours, but the king watched it all to the end and was very pleased. Ten more plays were staged in the “comedy hall”: “Judith”, “Pitiful Comedy about Adam and Eve”, “Joseph” and others, on religious and historical subjects. Court performances were staged on a large scale and luxury, as they were supposed to reflect the pomp and wealth of the royal court. The suits were made from expensive fabrics. Music, singing and dancing were widely used in the performances. The organ, trumpets and other instruments were often heard. Each performance had lifting scenery and side scenes. Various effects were applied using stage technology. The first performers of the plays of the court theater were mainly actors from the German settlement and only men. At the end of the 17th century, the “state amusement” was replaced by a school theater (organized at some educational institution), based on the rich experience of theaters in Poland and Ukraine. Its origins were associated with the name of a student of the Kiev-Mohyla Academy, educator, poet and playwright Simeon of Polotsk. He wrote two plays especially for the school theater - “The Comedy of the Parable of the Prodigal Son” and “About King Nechadnezzar, about the Golden Body and about the Three Youths Who Were Not Burned in the Cave.” The court and school theaters of the 17th century laid the foundation for the development of theatrical art in Russia and largely predetermined its future. The origins of ancient Russian musical culture go back to pagan traditions Eastern Slavs, which took shape long before the adoption of Christianity. The musical instruments of Ancient Rus' were quite diverse. Psaltery, sniffles, pipes, and flutes were widely used. The gusli, the oldest plucked string instrument, was especially respected in Rus', mentioned back in the 10th century in the Tale of Bygone Years. It has long been believed that the harp is akin to the human soul, and its ringing drives away death and illness. Folk storytellers and heroes played the gusli: the prophetic Boyan in “The Tale of Igor’s Campaign”, the epic heroes Volga and Dobrynya Nikitich in Kyiv, Sadko in Novgorod. As Dobrynya takes those ringing little goslings in her white hands, She pulls them into gilded strings, The Jewish verse begins to play in a sad way, In a sad way and in a touching way. At the feast, everyone became thoughtful, Thoughtful and listened. Dobrynya started playing in a merry way, He started a game from Erusolim, Another game from Tsar-grad, a third from the capital city of Kyiv - He brought everyone to the feast at the fun. During military campaigns, percussion and wind instruments were used: drums, tambourines, trumpets, rattles. They maintained the morale of soldiers during battles, relieved emotional stress, and instilled confidence in victory. The adoption of Christianity could not completely change the traditional way of life of the people and their musical preferences. With the baptism of Byzantium, many artistic principles were transferred to Russian soil, and the canon and system of genres were borrowed. Here they were creatively rethought and reworked, which subsequently made it possible to form original national traditions. Church music in Ancient Rus' existed in the form of choral singing without instrumental accompaniment. Musical instruments in Orthodox Church were prohibited. Moreover, instrumental music was considered sinful, demonic. This opposition had a spiritual meaning. In those days, it was believed that only angelic singing should sound in an Orthodox church, which is an echo of heavenly music. Such singing embodied the ideal of beauty and gave people a feeling of grace, purification, consolation, and taught them to love God and their neighbors. The only exception was the art of playing bells, which was developed in various forms of simple ringing, chime, trezvon, etc. Several bells with different tones formed a belfry, which made it possible to perform entire musical works. Church singing served as a model of the highest professionalism, embodied in the most various forms in a practical and theoretical system, which was called the osmoglas system, that is, the alternation of groups of tunes over periods of eight weeks. Folk music in those days was traditionally passed down from generation to generation orally, “from mouth to mouth.” Cult music in this era was recorded with special signs called banners, of which the most common were hooks. Therefore, ancient musical manuscripts were called znamenny, or hook. In the 17th century, musical culture in Russia, especially choral culture, reached a very high level. It was a time when, along with traditional genres musical art new forms and genres were born. Before this, choral music was monophonic. Now it has been replaced by polyphony. And the hooks were replaced by musical notation, and the style of partes singing arose. That’s what they called singing from the notes of cants and choral concerts back then. These concerts were an important transitional step from church to secular professional music. The musical culture of Ancient Rus' was the solid foundation on which a beautiful building subsequently grew, which laid the foundation for the development of professional creativity. The best examples of ancient Russian music have rightfully become the most valuable asset of Russian musical culture. http://images.yandex.ru/, http://www.google.ru/imghp?hl=ru&tab=wi, http://vkontakte.ru/id47570217#/search?c%5Bsection%5D=audio, http://www.youtube.com/, World artistic culture. From origins to the 17th century. 10 grades Basic level: textbook for educational institutions / G.I. Danilova. – 7th ed., revised. – M.: Bustard, 2009