Tsar Maximilian. People's drama "Tsar Maximilian"
F Raging Article Anna Nekrovna "Tsar Maximilian" in the People's Theater "published in the" People's Theater "book:
<...> "Alexey Remizov, whose creativity is permeated by the images and themes of the Russian folklore, on the basis of the text of the text" Tsar Maximilian "published at the beginning of the twentieth century, created the author's work - drama, where, along with traditional heroes, the characters invented modern erawhere your favorite Remisovsky devils were the starts.
Meanwhile, "Tsar Maximilian" did not go with folk scene And in the XX century. The organizer of the People's Theater in his estate Polenovo Tula province was the family of artist V.D. Polenova. Daughter of the artist, E.V. Sakharov, left curious, very lively and a little ironically written memories of one of the ideas of "Tsar Maximiliana", which took place in 1918. In the 1920s and 1930s, the Poles of the People's Theater were put on club scenes in Zaucopier and Kargopol, in Tverskaya, Yaroslavl regions, in some places in Siberia. In 1967, students-philologists of Moscow University in a crowded audience showed their "king Maximilian", reconstructed as a result of expeditions on the river. Hega. In the early 1980s, King Maximilian revived the famous team of Dmitry Pokrovsky. On found in archives and fixed in expeditions fragments by the forces of Novgorod folklore ensemble "Kudesa" was restored by the local version of this drama, firmly included in the repertoire "Kudes" and successfully playing under the walls of the Novgorod Kremlin. "
Fragment of Anna Kasumova "Christmas Gifts" in the St. Petersburg Theater Journal (2002):
<...> "The performance of Galina, shown at the Christmas festival, as well as" players, "has its predecessor in St. Petersburg: Galibine turned to the topic of the Russian history of Galibin in the" Talk of Tsar Peter ". In Novosibirsk, he continued this topic, contacting the origins - the People's Drama "Tsar Maximilian" (Registration of Edward Kochergin), however, in the interpretation of the playwright E. Gremina, decorated by the poem Alexei Tolstoy. "Our land is rich, there is only no order in it," the leitmotif sounds through the entire performance. Tsar Maximilian, whom they choose from the people, will acquire a retinue. The first round of the game begins, continuing to the death of the ruler. Then - all at first: Choose the king, a retinue, and every time the king remains the same, only calling otherwise, depending on the course russian history. Alexander Galibin adds his own: Maximilian, it appears to us in the form of Stalin, then suddenly, like Khrushchev, begins to beat the shoe through the department. Here are paroding Yeltsin, Gorbachev and Lenin, and all this reminds final game Club fun and resourceful. Music elements only strengthen the impression. Taking the microphones, the people suddenly falls at all crying Russian, and the most popular "killed a negra, killed" ... and next - "God, King King" ... And maybe Galibin, maybe it is exactly what she is the newest story Russia, - endless variations on the topic of the play by E. Gremina "Tsar Maximilian"? "<...>
Drama "Tsar Maximilian" (sometimes Maximyan, McSemyan) was widely distributed throughout Russia (Petersburg, Moscow, Tverskaya, Yaroslavl, Kostroma lips., Russian North, Don, Terek, Ural, Siberia), Belarus (Minsk, Mogilev, Vitebsk Lips.), Ukraine (Kiev, Chernihiv, Podolskaya, Kharkov, Kherson lips.), Moldova. She was played in the soldiers', sailor, urban, working, peasant environment.
Several opinions were expressed about the emergence of this drama. Probably, researchers who believed that the reason for its creation was the political situation early XVIII C.: The conflict between Peter I and his son Alexei and the execution of the latter. In the memory of people was the murder of Son Ivan Grozny. Sonomeubiology could not not affect the attitude of the people to the sovereigns. This contributed to the spread of the drama. It should be considered that the people were known for the spiritual verse "Kirik and Ulita", in which, as in Drama, the cruel king Maximilian demands that the baby Kirik will renounce faith in the Christian God. Kirik, as well as the hero of Drama Adolf, remains faithful to God.
The persistent search was made by the direct source of the drama, but he was not found. Probably the only source and did not exist. At the same time, the connection of the play with the repertoire of the Russian City Theater of the XVII-XVIII centuries is indisputable. knight's novels) And their staging of the same era, which is proven by a number of researchers. However, whatever varied literary sources "Tsar Maximiliana" is essential - the connection of the play with Russian reality.
At the heart of the drama - the conflict of Tirana Tsar Maximilian with his son Adolf. The parenthet's father demands that the Son threw christian faithBut he resolutely refuses:
"I am your idol gods at your feet, I don't want to believe in the dirt." I believe in the Lord of our Isus Christ, and I kiss him in the mouth, and contain his law. Tsar Maximiyan commands a trembling watchman.
- Look and reply to my son Adolf in the dungeon
mori his hungry death. Give him a pound of bread and pound of water
Adolf in dungeon. Tsar Maximilian turns three times to Adolf with his requirement, but he refuses all the time. Then the king raises the executioner of the Brambus and orders the execution of Adolf. In the drama depicts the cruelty of the king Maximilian not only with her son. In one of the options, he, like King Irod, orders the Warrior (here: Anica-Warrior) to kill babies:
- Warrior, my warrior. Go all countries Bethlehem, Father, Fourteen thousand babies. Who is not killing anyone. I will give a living. Is Baba (Rachel) and asks the king: - For what my child is innocently disappear? King inexorable: - How is Nizavinno, when I sent a warrior, warrior armed? Warrior, my warrior, kill this baby and drive this woman! Warrior kills the child. Rachel Crist
Tsar Maximilian is opposed by his son Adolf. He boldly says to his father that she rode along the mother on the Volga and with a free gang, with robber, it knew that he was their Ataman; Orders to release a prison of the arrestant (restant), which was planted on the orders of the Father. In Drama, Adolf firmly defended his beliefs, underwent torment, went to death, but did not change his ideals than caused sympathy and sympathy. Palace, after following the order of the king and killing Adolf, challenged himself with the words:
- For what he loved, he quit his head. The king I correct the debt, and I remember after
The command of the king to kill the son, the image of the execution of Adolf, the suicide of the executioner - tragic paintings. But the view should have fun at the audience, it was necessary to discharge. The tradition was established to put into action farce, satirical and humorous episodes. Such are the conversations of the heads, tailor, doctors, even the funeral of the Patriarch of the body of Adolf. The sharp satire on the clergymen arose as the wedding image of the king Maximilian with the goddess (the priest and the deacon in the Kabaska drank the wedded book, and oxidially wondered).
Researcher of the People's Drum N. N. Vinogradov wrote about "Tsar Maximilian": "Appearing in half XVIII century And moving from the mouth to the mouth, from generation to the generation, this play inevitably underwent a variety of changes, decreased and lengthened on arbitrariness. Having liked the people, she had little to get into themselves a number of separate scenes and small works of the same kind. As a result, in many embodiments, a long series of individual scenes is obtained, a whole collection of diversified persons, a motley kaleidoscope of a wide variety of positions; Loses total meaning Plays, there is no scene unity, only the unity of the name remains.
The drama "Tsar Maximilian" is large in volume. Often I was rewritten in the notebook and rehearsed before the presentation. However, it developed stereotypical situations, as well as formulas that contributed to memorizing and reproducing drama. Such, for example, are the scenes of fights, the ADOLF AVTUAL FAMILY FAITHU ("I am your mushroom gods tormented under your feet ..." etc.). Acquired a steady challenge of the king Maximilian Spear (or other acting person) and the report of the arrival of arrival.
Tsar Maximilian: - Skoro-Feldmarshal, appear before the throne of the Terrible Tsar Maximigalian! Skorokhod: - Right left to left, before the throne of the Grozny Tsar Maximilian, we will fall asleep: Oh, the Great Lord. Grozny Tsar Maximilian, how are you talking about Feldmarshal? Or do you manage the decrees? Or my sword stumbled? Or I, Skoro-Feldmarshal, what did you guilty before you?
In a quoted version of the drama, this formula of the report is repeated 26 times (the height of it pronounces 18 times, Markushka 3 times, Adolf and Anika-Warrior 2 times, executioner 1 time).
To this, it should be added that in the "king Maximilian" there are the same situations and general places as in the Drama "Boat". For example: Adolf - with the robbers cap knew; About the burial of the murdered say: "Remove this body so that there is no trelle about the ground ...", etc. Thus, the drama "Tsar Maximilian" originated and developed under the influence of other folk plays, knightly novels, popular publications, folk song folklore, spiritual poems.
NO Ratings YET)
Folk drama "Tsar Maximilian"
Other essays on the topic:
- Y king ya is advised to Sun's dignitaries, Tzu-ieu and more about how to return the magic sword, ...
- Tsar Oedip Abstract to the tragedy of Sofokla "Tsar Edip" Sofokl - Great Greek playwright, who gave us one of the most delightful works ...
- Once upon a time, when our grandparents were not in the world, the king of the alphabet lived in the huge kingdom of the tongue. It...
- In his ballad "Forest Tsar" the great German poet Johann Wolfgang Guete tells us about the attitude of a person to nature. In that...
- Elections of nama Pumpilia king. After the first king of Rome, Romulus, ascended to heaven and became Qurin, the patron saint of the city, Romans ...
- The era of the troubled time (the end of XVI - start XVII explosive) attracted the attention of Russian playwrights as extremely dramatic, turn-free stage domestic history....
- At the heart of the plot of the tragedy "Tsar Boris" - Boris's fruitless struggle with the ghost of the murdered, struggle, leading to the death of a new type of self-container ....
- He was born in 1877 in the south of Russia, traveling a lot on Central Asia And on the Mediterranean coast and many years ...
- Alkina - Character "Odyssey", Tsar Feaakov, Spouse Arute and Father Svikai. Takes in his house a stranger Odyssey, setting up a feast, context ...
- This is a tragedy about Rock and Freedom: not the freedom of a person to do what he wants, but in that ...
- The second half of the XIX century in history scenic art Just as in drama, marked cardinal changes. New stage in...
The text was developed by V. V. Bakrylov by comparative study of nineteen options printed in different time In various publications. Not a word from ourselves.
There was a lot of work in both the preparation of text and the layout of the play with sailors near the Baltflot building.
Maximilian - Peter, Alexander I.
Adolf - people (Alexey Tsarevich, the desire to the desert, split, Pugachevschina and the revolutionary spirit).
Plan of production (area, 2 hours, without intermission). Scenery.
We must publish a book with illustrations in paints. All options are placed in it, a study of the play, to which one has so far approached one-sided, from the point of view of its flowing elements (layers, influences, etc.), without noticing her eternal base.
[Russian king is wary of the kingdom, sits on the throne and is engaged with the goddess Venus. His dismissed son Adolf begins a riot against him. At first he does not want to change orthodox faith on the palanche (echo split); Then - goes to the robber (Volga, Pugachevschina); Then - agree to throw the Christian faith and tells the convening of the bumps]
Difficulties and objections.
I have already known about this business, but I did not expect, on the one hand, that it will be so extremely interesting and significantly (the play itself), on the other - that such terrible obstacles will meet on the way.
19 printed and 10 handwritten texts. The work method is described. The map indicating where Maximilian represents. Communication of drama with Herod (Vertim and puppet show) And on the other hand, with a boat and a hammer of robbers, that is, everything created by the people in the field of theater.
2
September 2 I made a report on Maximilian. The majority believes that this can only enter into a separate series of paintings created by the people themselves. Gorky thinks that in this case it is necessary to attach a number of paintings created by other peoples to this (Gumilev offers a summary of morality). Quite at my point of view one jamine.
As for the publication, Gorky said that if the book is supplied with a worthy article, the publisher will now be found now (Grezebin).
Maria Fedorovna believes that it is possible to put on Kronverk or in the Connogvardee Manege (you can use the same sailors) ... I said about Parity, but no one even answered; Apparently, the impossibility of this case is obvious for everyone.
Drawings to anyone, in essence, did not like. Remizov told me that the concerns of Bakrylov are completely in vain, since he does not change the text and does not add anything from himself; He makes a summary from which the whole play wins in wholeness (elimination of long, repetitions, etc.).
The play (romanticism and personality) of the play satisfied with our two basic conditions. 1) Romantic element big. 2) Adolf - on the one hand - carrier of mass consciousness; On the other hand, in it, personal features (Tsarevich Alexey, Son Peter; Personality Riot - Robble, Robber, Revolutionary).
Finally, in the play, reflect the spirit of Russian history over the past two centuries.
Drawings of costumes, scenery and individual items ...
Mention of this wedding can be found in many modern booksDedicated wedding Traditions- Allegedly for the first time in the history, the diamond ring on the engagement was visited by Maximilian his Maria. In fact, everything is a little more difficult, and the place in the history of their wedding deserves far from only therefore.
It was, of course, the Dynastic Union. But the bride was not only fabulously rich, but very smart and beautiful, and the bridegroom was not just a future emperor, but one of the most attractive princes of Europe. They met for the first time only at the wedding, but they immediately fell in love with each other, and this day became the beginning of truly happy family life. This fairy tale, the famous love story, could last for many years, but quickly cut off early death Mary, who Maximilian never forgot. And how did it all start? ...
Maria Burgundse. Artist M. Poher.
The son of the Emperor of the Sacred Roman Empire of Friedrich III Gabs-Bourg, the only heir of his father, strong, strong and beautiful, Maximilian was from childhood enviable fiance. When he was not and five years old, the famous Karl brave, Duke of Burgundy, began to read him in the event. He growned the only daughter who had to inherit all the lands of the Father, and as a bride Maria Burgundskaya was even more attractive than Maximilian as a groom. Applicants on her hand replaced one of the other, but to whom it is to the delights of the young heiress, when on the horse of the wealth of Burgundy! Dukes, markers, princes ... The Spanish king walked her for his son, French Louis XI first for his younger brotherAnd then, when his son was born on the slope of his years, - for him. But if Maria had married the French Prince, then later all the lands of Burgundy would move away by the French crown, and all the efforts that Mary's Father grew to preserve their duchy independence and not to give a neighbor of France to absorb him, they would not go. So Maximilian, who had to inherit the Father's crown, was presented by Karl to the bold appropriate candidate.
Young bride and groom exchanged miniature portraits. Artists did not have to embellish their appearance, as often was done in such situations. Maximilian has the famous family habsburg nose and chin not yet caused a face, as his degenerate descendants, but, on the contrary, decorated. Eagle profile, slightly curly blonde hair ... admired by the portrait of the groom, the young Duchess often examined him. Maria later, afterwards Maximilian described in one letter as follows: "She has snow-white skin, she is brown, and the eyes are gray, beautiful and shining ... The mouth is quite high, but it is clean and the yaps." In short, it was a charming couple!
However, everything suddenly complicated the death of Father Mary, Karl bold. The twenty-year-old girl herself had to fight for the right to marry her prince - and with those who wanted to make her his wife himself, and with their subjects. She needed a spouse, on the strong hand of whom the young government could lean, and she wanted it to be Maximilian ... When Maria signed the "great privilege" (a document restoring local privileges and the powers of the Netherlands, once abolished by Burgundy Dukes), it turned out to be In such a dependence on his environment, that she had to secretly write a letter to Maximilian, in which she begged him to come as soon as possible.
Finally, Friedrich III officially approved this Union (which did not do during the life of the father of Mary), and the Messengers of the emperor went to the Burgundy yard. Happy Maria received a confirmation that the union she wanted to speak, with all my heart, Reaen. Ambassadors, ring, letter ...
On April 21, 1477, a wedding was held by proxy. The groom represented the Duke of Ludwig Bavarian - a representative man, closed in silver plane. Maria and Ludwig rose to the marriage bed, and between them put a sword - a symbol of the protection that Maximilian will provide Mary. This ceremony was repeated once again, in Ghent - the local townspeople, having learned about the holiday in Brugge, also wanted to look at such a celebration.
And the groom in the meantime was going to the way. Of course, he could go immediately, but his father believed that the son of the emperor should go to the bride accordingly - in all shine. Alas, it was in this that there was a problem - there were no money from the Habsburgs, so I had to resort to another loan.
May 21, 1477, as well later, a month after the wedding by proxy, Ertzgercog finally moved to the road. Not very modest, let's say frankly, the young hero ordered to record all the details of his journey, boldly exaggerating the slightest difficulties - it turned out a whole book in which the "multiplastic" knight overcomed many obstacles to his beloved. In fact, obstacles (in particular, in the form of natural disasters) was not so much - it was the end of spring and the beginning of the summer, and in the cities that Maximilian drove with his retinue, they happily welcomed and arranged holidays.
True, soon Maximilian faced a real problem - the money he took on the road came to the end, and he simply stuck in Cologne, without being able to pay for the celebrations spent them, nor move on. His stepmother Mary, Margarita Yorkskaya, with which Mary from the very arrival of Margarita from England in Burgundy was very warm relations. She sent the bridegroom large amount Money, and he was able to continue the way.
When Maximilian stepped on the land of Burgundy, his retinue increased - Burgundysh joined it now. In Maastricht, Brussels, Brabant and other cities of the future spouse of their duchess, the townspeople met with huge fervor, but no holiday could compare with the one who expected him on arrival in Ghent - it was there Maria had to meet him.
In mid-August, Maximilian, an eighteen-year-old handsome prince in gilded armor, drove into the incomplete to his arrival Ghent. Triumphal arches, solemn processions with representatives of the church, aristocrats, city authorities and craft guilds ... But all this, it is necessary to assume, eclipsed the long-awaited meeting with the most duchess.
When they met, at first, silently looked at each other, and finally, the owner of the country Maria Burgundskaya moved to the fiance towards the greeting and kissed him. And Maximilian answered a kiss - the fairy tale began!
Language barrier, alas, until it gave them the opportunity to communicate full, but is it important when the bride and the bride were waiting for the meetings for so long, and now they can explain to smiles, glances, gestures, and finally kisses?
In the evening, everyone expected a luxurious banquet, which organized for his favorite stepdaughter and her groom Margarita York. At this holiday, Maria and Maximilian exchanged gifts - from his father Ertzgercog brought magnificent decorations with diamonds, among which there was a notorious wedding diamond ring, but the gift of Mary was even more precious than these stones. Somewhere on the body she hid the flower and offered to find it ...
Archbishop Trier quietly suggested Maximilian, where to look, and he unzipped the corsage in the bride - there, on the chest of Duchess, a pink carnation was hidden, a symbol of married love ... After the tribe, the young people slipped away - as they told, to the priest, so that he blessed their union and could be Do not postpone the wedding night until tomorrow, to official ceremonies. Well, they waited so long for each other!
The wedding itself was relatively modest - because for six months before the bride lost his father, but the Genta citizens still gathered to rejoice at their government and congratulate her. By different sources, the ceremony took place or 16, or on August 18, and or then in the morning, or after noon. The bride was in a dress from Golden Parcers, in the mountainous mantle and with the crown of the Duchy of Burgundy on the head, the bridegroom changed the armor and was this time in silver. Sun and moon!
The service in the main cathedral was held by the papal legate Julian Otseysky, and I served him Bishop Turna. Young exchanged rings and gave each other vows in eternal loyalty. Time will show that they kept them ... After that, Maximilian handed over Mary thirteen gold coins - a symbol of what he will provide her (although in reality, of course, this is the rich Duchess Burgundse will bathe in the luxury of his German Prince).
After the wedding, a feast began, and although he was far from those celebrations that for nine years before the father of Mary, the great Duke of Burgundy, asked in honor of his marriage with the English princess Margarita, the mutual gentleness of the bride and groom (if only love can be measured) the wedding Mary and Maximilian exceeded the other and many other weddings of European rulers. True love It is found if we are talking about dynastic marriages, so rarely ...
After the feather, the newlyweds were held in their quarters, and how the chronicler from Saxony was delicately expressed, one of the members of Maximilian's suite, closed the doors, and what happened next to him.
And excellent. For the happiness of this pair, only five years was allocated - we will not interfere ...
1. Types of folk dramatic acts and theatrical players.
2. Genres of the folk theater. Features of existence and execution.
2.1. Saty ripping.
2.2. Sentences of the boalan (carousel, rolling) grandfathers.
2.3. Relief performances.
2.5. Parsley Theater.
3. Folk drama as a genre of folklore.
4. Analysis of the drama "Boat" and "Tsar Maximilian".
4.1. History of existence.
4.2. Plot.
4.3. Dramatic conflict.
4.4. Idean Paphos. The function of the parody (imaginary deafness, "obliqueness", "nonsense").
4.5. Types of characters. The value of costumes and attributes of actors.
4.6. Techniques for the implementation of metaphors, oxymorons, generalizations.
4.7. Language and style of speech self-character characters. The role of the output monologues (songs).
Texts and literature
Berekov P. N. One of the oldest records "Tsar Maximilian" and "Shayov Robbers" // Russian Folklore. M.; L., 1959. Vol. four.
Vlasova Z. I. Skomorokhi and Folklore. St. Petersburg., 2001.
Vsevolodsky-Gerzross V.N. Russian oral folk drama. M.; L., 1959.
Gusev V. E. Russian Folk Theater XVII - the beginning of the twentieth centuries. L., 1980.
People's Theater / Sost., Intr. Art., Podgom. Texts and comments. A. F. Nekrylova and N. I. Savushkina. M., 1991. Series "Library of Russian Folklore".
Nekrylova A. F. Russian Folk City Holidays, Miscension and Spectacle. L., 1988.
Savushkina N. I. Russian oral folk drama. M., 1978. Vol. I; 1979. Vol. II.
Savushkina N. I. Russian People's Theater. M., 1976.
Folklore Theater. / Sost., Intr. Art., preface. to the texts and comments. A. F. Nekrylova and N. I. Savushkina. M., 1988.
Children's folklore
1. The story of collecting and publications of children's folklore.
2. Problems of learning children's folklore. Modern approaches in genre-species division and classification.
3. Folklore early childhood. The main poetic genres.
4. Children's mythology and game folklore Children. Images, plotics, originality of the language.
5. Features of existence different shapes Children's folklore B. modern world. Interaction mass culture and copyright creativity.
When working on this issue, remember your own experience from different periods own life.
Texts and literature
Childish poetic folklore: Anthology / Sost. A. N. Martynova. St. Petersburg., 1997.
Loyter S. M. Russian children's folklore And children's mythology: research and texts. Petrozavodsk, 2001.
Lurie M. L. Children's modern anecdot // http://www.rutthenia.ru/folklore/luriem1.htm.
Melnikov M. N. Russian Children's Folklore. M., 1987.
Wisdom folk. Man's life in Russian folklore. Vol. 1: Infancy, childhood. M., 1991.
Russian school folklore. From "Calusing" Peak Lady Before family stories / Sost. A. F. Belousov. M., 1998.
Tver Children's Folklore / Sost. L. V. Brandis, V. G. Schyros. Tver, 2001.
Folklore Tver province. Collection Yu. M. Sokolova and M. I. Roznova. 1919-1926 / Ed. Podg. I. E. Ivanova and M. V. Stroganov. St. Petersburg., 2003.
Chenchi-Bacchishchi: Children's Game Folklore Verkhnekamya / Sost. S. V. Khorobrych. Perm, 2001.
Chardnikova M.P. Modern Russian children's mythology in the context of facts traditional culture and child psychology. Ulyanovsk, 1995.
Chastushka
1. Determination of the genre.
2. Poetic shape of the chastushk.
2.1. Chastushka and scomeroshin. Alogure of images and compositions.
2.2. The role of the repeat in the Chastowka.
3. The song shape of the chastushka.
3.1. Chastushki on motif apple:
Bolshevik, Bolshevik,
Where to keep?
To the Gaidamaks come -
Bullet plump;
3.2. Chastushki on motif barrels:
I sit on a barrel,
And on the barrel of the bird;
Dir, Bay Bolsheviks -
Here is our habit
3.3. Chastushki on motif semenovna:
Harmonist sits,
Smiles
Play semenovna
He likes.
3.4. Chastushki on motif gypsy:
Harmonist you, harmonist,
Go to the cleaner,
You play, and I wonder
Cheerful gypsy.
3.5. Chastushki on motif saratochka:
You play, the guy is curly,
I am mercy of the song.
You play saramp,
Comedy soldies.
4. The existence of a chastushka.
4.1. Castly sleeping and "verbal fights".
4.2. Expansion of chastushki to modern ritual folklore.
5. Thematic classification of chastushki.
5.1. Love couples.
5.2. "Topical" (political) chastushki.
5.3. Nickname chastushki, chastushki-teasers, crumbling and chastushki-rings.
Texts and literature
Russian chastushki / pre. And the selection of the texts of N. I. Christmas and S. S. Zhislinina. M., 1956.
Chastushki in Soviet Time Records / Ed. Podg. Z. I. Vlasova, A. A. Gorelov. M.; L., 1965.
Chastushki / Ed. L. A. Astafyeva. M., 1987.
Chastushki / Sost., ENTER. Article, prepare. Text and comments F. M. Selivanova. M., 1990.
Russian Chastushka: Folk Collection / Sost. and the author of the introductory article by A. V. Kulagin. M., 1992.
Russian chastushki / Sost. P. F. Lebedev. Saratov, 1998.
Stepanov V. I. Rustic sites and modern folk songs-chastushki // Ethnographic Review. 1903. No. 4.
Florensky P. A. Collection of chastushki Kostroma province of the Nekhort County. Kostroma, 1909.
Simakov V.I. Collection of rustic chastushki Arkhangelsk, Vologda, Vyatka, Olonetskaya, Perm, Kostroma, Yaroslavl, Tverskaya, Pskov, Novgorod, St. Petersburg provinces. Yaroslavl, 1913.
Collection of Velikorvsky Chastushki / Ed. E. N. Eleonskaya M., 1914.
Knyazev V. V. Chastushki-Showing. St. Petersburg., 1913.
Knyazev V. V. Modern chastushki 1917-1922. M., 1924.
Folklore Tver province. Collection Yu. M. Sokolova and M. I. Roznova. 1919-1926 / Edition Premium. I. E. Ivanova and M. V. Stroganov. St. Petersburg., 2003.
V. I. Simakov and folk art: Materials and research: Issue 3. Tver: "Marina", 2006.