Archduke Maximilian, future Emperor Maximilian I, and Mary of Burgundy.

An excerpt from Anna Nekrylova's article "Tsar Maximilian" in the People's Theater "published in the book" People's Theater ":

<...>“Alexey Remizov, whose work is permeated with images and themes of Russian folklore, based on the set of texts“ Tsar Maximilian ”published at the beginning of the 20th century, created an author's work - a drama, where, along with traditional heroes, characters invented by him from modern era, where the ringleaders turned out to be the beloved Remizov's devils.

Meanwhile, "Tsar Maximilian" did not leave folk scene and in the XX century. The organizer of the folk theater in his estate Polenovo, Tula province, was the family of the artist V.D. Polenov. The artist's daughter, E.V. Sakharova, left curious, very vividly and slightly ironically written memoirs about one of the performances of "Tsar Maximilian" that took place in 1918. In the 1920s – 1930s, folk theater plays were staged on club stages in Zaonezhie and Kargopol, in the Tver and Yaroslavl regions, and in some places in Siberia. In 1967, philology students of Moscow University in a crowded auditorium showed their "Tsar Maximilian", reconstructed as a result of expeditions to the river. Onegu. In the early 1980s, Tsar Maximilian was revived by the famous team of Dmitry Pokrovsky. Based on the fragments found in the archives and recorded during expeditions by the forces of the Novgorod folklore ensemble The local version of this drama was restored, which has become part of the Kudes repertoire and is successfully played out under the walls of the Novgorod Kremlin. "

Fragment of Anna Kasumova's article "Christmas Presents" in the Petersburg Theater Magazine (2002):

<...>“The play by Galibin, shown at the Christmas Festival, like The Players, has its predecessor in St. Petersburg: Galibin addressed the theme of Russian history in The Legend of Tsar Peter. In Novosibirsk, he continued this theme, turning to the origins - the folk drama "Tsar Maximilian" (designed by Eduard Kochergin), however, in the interpretation of the playwright E. Gremina, decorated with a poem by Alexei Tolstoy. “Our land is rich, there is just no order in it” - the leitmotif sounds throughout the entire performance. Tsar Maximilian, who is chosen from among the people, acquires an entourage. The first round of the game begins, continuing until the death of the ruler. Then - all over again: they choose the king, the retinue, and each time the king remains the same, only he is called differently, depending on the move Russian history... Alexander Galibin adds his own names to those of Alexei Tolstoy: Maximilian now appears to us in the form of Stalin, then suddenly, like Khrushchev, he begins to hit the pulpit with his shoe. Here they parody Yeltsin, Gorbachev and Lenin, and it all reminds final game The club is cheerful and resourceful. The elements of the musical only enhance the impression. Взяв микрофоны, народ вдруг запоет совсем не плач русский, а самую что ни на есть популярную «Убили негра, убили»… И следом – «Боже, царя храни»… А может быть, прав Галибин, может быть, именно такова она, recent history Russia, - endless variations on the theme of the play by E. Gremina "Tsar Maximilian"? "<...>

Drama "Tsar Maximilian" (sometimes Maksimyan, Maksemyan) became widespread throughout Russia (Petersburg, Moscow, Tver, Yaroslavl, Kostroma provinces, Russian North, Don, Terek, Ural, Siberia), Belarus (Minsk, Mogilev, Vitebsk provinces), Ukraine (Kiev, Chernigov, Podolsk , Kharkov, Kherson provinces), Moldova. She was played in a soldier's, sailor's, urban, workers', peasant's environment 3.

Several opinions have been expressed about the origin of this drama. Probably, the researchers are right who believed that the reason for its creation was the political situation. early XVIII V .: the conflict between Peter I and his son Alexei and the execution of the latter. The people remembered the murder of their son by Ivan the Terrible. Sonicide could not but affect the attitude of the people to the sovereigns. This helped to spread the drama. It should also be taken into account that the people knew the spiritual verse "Kirik and Ulita", in which, like in the drama, the cruel Tsar Maximilian demands that the infant Kirik renounce his faith in Christian God. Kirik, like the hero of the drama Adolf, remains faithful to God.

A persistent search was made for the immediate source of the drama, but one was not found. There was probably no single source. At the same time, the connection of the play with the repertoire of the Russian city theater of the 17th-18th centuries is indisputable, as well as the influence on its text of translated stories (knightly novels) and their performances of the same era, which has been proven by a number of researchers. However, no matter how diverse literary sources"Tsar Maximilian", significantly different - the connection of the play with Russian reality.

The drama is based on the conflict between the tyrant Tsar Maximilian and his son Adolf. Gentile father demands that son quit Christian faith, but he resolutely refuses:

- I am your idol gods

I put it under my feet

I trample in the mud, I don't want to believe.

I believe in our Lord Jesus Christ,

And I kiss him on the mouth,

And I contain His law.

Tsar Maximyan commands to the prison guard.

- Come and take my son Adolf to the dungeon

starve him to death.

Give him a pound of bread and a pound of water 1 .

Adolf is in the dungeon. Tsar Maximilian three times appeals to Adolf with his demand, but he refuses all the time. Then the king calls executioner Brambeus and orders the execution of Adolf.

The drama depicts the cruelty of Tsar Maximilian not only with his son. In one of the variants, he, like King Herod, orders a soldier (here: Anike the warrior) kill babies:

- Warrior, my warrior.

Go to all the countries of Bethlehem,

WITHbeat, chop down fourteen thousand babies.

If you can't kill someone.

You will bring me alive.

Baba (Rachel) appears and asks the king:

- Why should my child

Is it innocent to disappear?

The king is unforgiving:

- How blameless

When I sent a warrior

An armed warrior?

Warrior, my warrior

Kill this baby

ANDchase this woman away!

The warrior kills the child. Rachel is crying 1. ...

Tsar Maximilian is opposed by his son Adolf. He boldly tells his father that down my mother on the Volga I rode And witha free gang, with robbers, I knew 2 , that he was their chieftain 3; orders to release the prisoner from prison (resta), which was planted by order of the father 4. In the drama, Adolf firmly defended his convictions, endured torment, went to death, but did not betray his ideals, which aroused sympathy and sympathy. The executioner, having carried out the order of the king and killed Adolf, stabbed himself with the words:

Per what he loved

For that I cut off my head.

I fix the king's debt

AND I'm dying after myself 5 .

The king's command to kill his son, the image of the execution of Adolf, the executioner's suicide - tragic paintings... But the performance was supposed to amuse the audience, relaxation was needed. A tradition has been established to introduce farcical, satirical and humorous episodes. Such are the conversations of the Grave Diggers, the Tailor, the Doctor, even the funeral service by the Patriarch of the body of Adolf. Sharp satire on priests arose when depicting the wedding of Tsar Maximilian with the Goddess (the priest and deacon in the tavern drank crowned book, and on stupidlybed got drunk) 1.

The researcher of folk dramas N. N. Vinogradov wrote about Tsar Maximilian: “Having appeared in the middle of the 18th century and passed from mouth to mouth, from generation to generation, this play inevitably underwent a wide variety of changes, shortened and lengthened at will. she gradually absorbed a number of separate scenes and small works of the same kind.As a result, in many versions, a long series of separate scenes, a whole collection of diverse faces, a motley kaleidoscope of the most diverse positions are lost; general meaning the play, there is no unity of the plot, only the unity of the name remains. Here, for example, what series of plots is practiced in the majority of not very widespread (in terms of volume) variants: 1) Maksemyan and Adolph (main); 2) Goddess and Mars;

3) Mamai; 4) Anika and Death; 5) Boat. Often they are not connected at all, sometimes the connection is purely mechanical. These plots still need to add a whole series of inserts in the form of separate comic scenes or stable, permanent (doctor, tailor, gypsy, grave digger ...), or random, sporadic (n-th number); sometimes the play begins verte pom 2.

Gradually, the topic of the struggle for religious beliefs became less relevant - this made possible the satirical depiction of clergymen, as well as church funeral and wedding rites. V 1959 t. in the Arkhangelsk region. a version of the drama was recorded in which the religious beliefs of the father and son were not even mentioned 3. At the same time, the problem of tyranny fighting, the fight against violence continued to excite the audience. In the drama "Tsar Maximilian" a replacement was made: the tsar demanded from his son not betrayal of religious beliefs, but marry a bride from the distant kingdom, which I found for him. Adolf refused to marry just as strongly as he refused to change his faith. And he was executed.

Sometimes the drama ended with the death of Tsar Maximilian himself, which could be perceived as punishment for cruelty and filicide.

The dialogue between Death and Tsar Maximilian almost literally coincided with the spiritual verse - the dialogue between Anika the warrior and Death.

Death (approaching the throne, turns to Tsar Maximilian):

- Follow me!

Tsar Maximilian:

- Wave my dear Death,

Give me three years to live

For me to cash in And to dispose of his kingdom. Death:

- You have no place to live for one year.

- There will be no time for you even for three hours,

And here is my sharp braid for you.

(Strikes him with a scythe on the neck. The king falls) 1 .

The drama "Tsar Maximilian" is large in volume. Often it was copied in a notebook and rehearsed before the performance. However, in it, stereotyped situations, as well as formulas that contributed to the memorization and reproduction of the drama, were developed. Such, for example, are scenes of fights, formulas-answers of Adolf to his father ( "I am your idol gods TerI bury it under my feet ... " etc.). The challenge of Tsar Maximilian Skorokhod (or another character) and the callee's arrival report.

Tsar Maximilian:

- Skorokhod-Field Marshal,

I AMhang in front of the throne

Yythe pink king Maximilian!

Skorokhod:

- I will return from right to left,

Before the throne of the formidable king Maximilian I will appear:

Oh great lord.

Terrible Tsar Maximilian,

Why are you calling the Field Marshal Skorokhod?

Or do you command deeds, decrees?

Or is my sword dulled?

Or I, Skorokhod-Field Marshal, what is in front of you

guilty? 1

In the cited version of the drama, this formula of the report is repeated 26 times (Skorokhod pronounces it 18 times, Markushka 3 times, Adolf and Anika the warrior 2 times, Executioner 1 time).

To what has been said it should be added that in "Tsar Maximilian" there are the same situations and commonplaces as in the drama "Boat". For example: Adolf - I knew with the cap of the robbers; they say about the burial of the murdered: "Remove this body, so that over the earth there is nosmoldered ... "- etc.

Thus, the drama "Tsar Maximilian" arose and developed under the influence of other folk plays, knightly novels, popular prints, folk song folklore, and spiritual verses 2.

The text was developed by V.V. Bakrylov through a comparative study of nineteen versions published in different time in various editions. Not a word was added from myself.

A lot of work has been done both in compiling the text and staging the play with the sailors near the Baltic Fleet building.

Maximilian - Peter, Alexander I.

Adolf is a people (Tsarevich Alexei, striving for the desert, schism, Pugachevism and revolutionary spirit).

Production plan (square, 2 hours, no intermissions). Scenery.

It is necessary to publish a book with illustrations in paints. It contains all the options, a study about the play, which until now has been approached one-sidedly, from the point of view of its fluid elements (layers, influences, etc.), completely oblivious to its eternal basis.

[The Russian tsar marries the kingdom, sits on the throne and becomes engaged to the goddess Venus. His rebellious son Adolf begins a rebellion against him. At first he doesn't want to change Orthodox faith on the pagan (echoes of the split); then - goes to the robbers (Volga, Pugachevshchina); then - agrees to give up the Christian faith and orders to convene buffoons]

Difficulties and objections.

I have known about this case for a year now, but I did not expect, on the one hand, that it would be so extremely interesting and significant (the play itself), on the other, that such terrible obstacles would be encountered on the way.

19 printed and 10 handwritten texts. The method of operation is described. Map showing where Maximilian is represented. The connection of the drama with Herod (nativity scene and puppet show) and on the other hand with the Boat and with the Band of Robbers, that is, everything created by the people in the field of theater.

2

On September 2, I made a report on Maximilian. Most believe that this can only be included in a separate series of paintings created by the people themselves. Gorky thinks that in such a case it is necessary to add to this a number of paintings created by other peoples (Gumilev offers a summary of morality). It is entirely from my point of view that Zamyatin is the only one.

As for the publication, Gorky said that if the book is supplied with a worthy article, then the publisher will be found immediately (Grzhebin).

Maria Feodorovna believes that it is possible to put it on the Kronverksky or Horse Guards arena (you can use the same sailors) ... I said about the porch, but no one even answered; apparently, the impossibility of this matter is obvious to everyone.

In fact, nobody liked the drawings. Remizov told me that Bakrylov's fears 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 benefits in integrity (elimination of lengths, repetitions, etc.).

The play satisfies the two basic conditions we have set (romanticism and personality). 1) The romantic element is great. 2) Adolf - on the one hand - the bearer of mass consciousness; on the other, there are personal traits in him (Tsarevich Alexei, son of Peter; personality revolt - schismatic, robber, revolutionary).

Finally, the play reflects the spirit of Russian history over two centuries.

Drawings of costumes, decorations and individual items ...

Drama "Tsar Maximilian" (sometimes Maksimyan, Maksemyan) became widespread throughout Russia (Petersburg, Moscow, Tver, Yaroslavl, Kostroma provinces, Russian North, Don, Terek, Ural, Siberia), Belarus (Minsk, Mogilev, Vitebsk provinces), Ukraine (Kiev, Chernigov, Podolsk , Kharkov, Kherson provinces), Moldova. She was played in a soldier's, sailor's, urban, workers', peasant's environment 3.

Several opinions have been expressed about the origin of this drama. Probably, the researchers are right who believed that the reason for its creation was the political situation at the beginning of the 18th century: the conflict between Peter I and his son Alexei and the execution of the latter. The people remembered the murder of their son by Ivan the Terrible. Sonicide could not but affect the attitude of the people to the sovereigns. This helped to spread the drama. It should also be taken into account that the people knew the spiritual verse "Kirik and Ulita", in which, as in the drama, the cruel Tsar Maximilian demands that the infant Kirik renounce his faith in Christian God. Kirik, like the hero of the drama Adolf, remains faithful to God.

A persistent search was made for the immediate source of the drama, but one was not found. There was probably no single source. At the same time, the connection of the play with the repertoire of the Russian city theater of the 17th-18th centuries is indisputable, as well as the influence on its text of translated stories (knightly novels) and their performances of the same era, which has been proven by a number of researchers. However, no matter how varied the literary sources of "Tsar Maximilian" are, something else is fundamentally different - the connection between the play and Russian reality.

The drama is based on the conflict between the tyrant Tsar Maximilian and his son Adolf. A pagan father demands that his son give up the Christian faith, but he resolutely refuses:

- I am your idol gods

I put it under my feet

I trample in the mud, I don't want to believe.

I believe in our Lord Jesus Christ,

And I kiss him on the mouth,

And I contain His law.

Tsar Maximyan commands to the prison guard.

- Come and take my son Adolf to the dungeon

starve him to death.

Give him a pound of bread and a pound of water 1 .

Adolf is in the dungeon. Tsar Maximilian three times appeals to Adolf with his demand, but he refuses all the time. Then the king calls executioner Brambeus and orders the execution of Adolf.

The drama depicts the cruelty of Tsar Maximilian not only with his son. In one of the variants, he, like King Herod, orders a soldier (here: Anike the warrior) kill babies:

- Warrior, my warrior.

Go to all the countries of Bethlehem,

WITHbeat, chop down fourteen thousand babies.

If you can't kill someone.

You will bring me alive.

Baba (Rachel) appears and asks the king:

- Why should my child

Is it innocent to disappear?

The king is unforgiving:

- How blameless

When I sent a warrior

An armed warrior?

Warrior, my warrior

Kill this baby

ANDchase this woman away!

The warrior kills the child. Rachel is crying 1. ...

Tsar Maximilian is opposed by his son Adolf. He boldly tells his father that down my mother on the Volga I rode And witha free gang, with robbers, I knew 2 , that he was their chieftain 3; orders to release the prisoner from prison (resta), which was planted by order of the father 4. In the drama, Adolf firmly defended his convictions, endured torment, went to death, but did not betray his ideals, which aroused sympathy and sympathy. The executioner, having carried out the order of the king and killed Adolf, stabbed himself with the words:

Per what he loved

For that I cut off my head.

I fix the king's debt

AND I'm dying after myself 5 .

The tsar's command to kill his son, the image of the execution of Adolf, the executioner's suicide are tragic pictures. But the performance was supposed to amuse the audience, relaxation was needed. A tradition has been established to introduce farcical, satirical and humorous episodes. Such are the conversations of the Grave Diggers, the Tailor, the Doctor, even the funeral service by the Patriarch of the body of Adolf. Sharp satire on priests arose when depicting the wedding of Tsar Maximilian with the Goddess (the priest and deacon in the tavern drank crowned book, and on stupidlybed got drunk) 1.

The researcher of folk dramas N. N. Vinogradov wrote about Tsar Maximilian: “Having appeared in the middle of the 18th century and passed from mouth to mouth, from generation to generation, this play inevitably underwent a wide variety of changes, shortened and lengthened at will. she gradually absorbed a number of separate scenes and small works of the same kind.As a result, in many versions, a long series of separate scenes, a whole collection of diverse faces, a motley kaleidoscope of the most diverse positions are lost; the meaning of the play, there is no unity of the plot, only the unity of the name remains. Here, for example, what series of plots is practiced in the majority of not very widespread (in terms of volume) variants: 1) Maksemyan and Adolph (main); 2) Goddess and Mars;

3) Mamai; 4) Anika and Death; 5) Boat. Often they are not connected at all, sometimes the connection is purely mechanical. These plots still need to add a whole series of inserts in the form of separate comic scenes or stable, permanent (doctor, tailor, gypsy, grave digger ...), or random, sporadic (n-th number); sometimes the play begins verte pom 2.

Gradually, the topic of the struggle for religious beliefs became less relevant - this made possible the satirical depiction of clergymen, as well as church funeral and wedding rites. V 1959 t. in the Arkhangelsk region. a version of the drama was recorded in which the religious beliefs of the father and son were not even mentioned 3. At the same time, the problem of tyranny fighting, the fight against violence continued to excite the audience. In the drama "Tsar Maximilian" a replacement was made: the tsar demanded from his son not betrayal of religious beliefs, but marry a bride from the distant kingdom, which I found for him. Adolf refused to marry just as strongly as he refused to change his faith. And he was executed.

Sometimes the drama ended with the death of Tsar Maximilian himself, which could be perceived as punishment for cruelty and filicide.

The dialogue between Death and Tsar Maximilian almost literally coincided with the spiritual verse - the dialogue between Anika the warrior and Death.

Death (approaching the throne, turns to Tsar Maximilian):

- Follow me!

Tsar Maximilian:

- Wave my dear Death,

Give me three years to live

For me to cash in And to dispose of his kingdom. Death:

- You have no place to live for one year.

- There will be no time for you even for three hours,

And here is my sharp braid for you.

(Strikes him with a scythe on the neck. The king falls) 1 .

The drama "Tsar Maximilian" is large in volume. Often it was copied in a notebook and rehearsed before the performance. However, in it, stereotyped situations, as well as formulas that contributed to the memorization and reproduction of the drama, were developed. Such, for example, are scenes of fights, formulas-answers of Adolf to his father ( "I am your idol gods TerI bury it under my feet ... " etc.). The challenge by Tsar Maximilian of Skorokhod (or another character) and the report of the summoned about the arrival took on a stable form.

Tsar Maximilian:

- Skorokhod-Field Marshal,

I AMhang in front of the throne

Yythe pink king Maximilian!

Skorokhod:

- I will return from right to left,

Before the throne of the formidable king Maximilian I will appear:

Oh great lord.

Terrible Tsar Maximilian,

Why are you calling the Field Marshal Skorokhod?

Or do you command deeds, decrees?

Or is my sword dulled?

Or I, Skorokhod-Field Marshal, what is in front of you

guilty? 1

In the cited version of the drama, this formula of the report is repeated 26 times (Skorokhod pronounces it 18 times, Markushka 3 times, Adolf and Anika the warrior 2 times, Executioner 1 time).

To what has been said it should be added that in "Tsar Maximilian" there are the same situations and commonplaces as in the drama "Boat". For example: Adolf - I knew with the cap of the robbers; they say about the burial of the murdered: "Remove this body, so that over the earth there is nosmoldered ... "- etc.

Thus, the drama "Tsar Maximilian" arose and developed under the influence of other folk plays, knightly novels, popular prints, folk song folklore, and spiritual verses 2.

History of creation

The play was based on the description of the folk drama "Tsar Maximilian" in Bakrylov's collection, in which the author collected extensive folklore material. The author has compiled some striking samples folk drama in Russian culture and created his own version of the play "Tsar Maximilian". Having familiarized himself with this work by Bakrylov, Aleksey Remizov expressed the opinion that the play was written in a crude and vulgar way, and its parts are mechanically connected to each other. After a meeting of the editorial committee, at which Bakrylov's code was discussed, Remizov decided to create his own version of the play.

Remizov worked on the drama not only as a writer, but also as a scientist, largely relying on historical and philological works:

“... I, putting mine, maybe one single stone to create the future great work which will give the whole kingdom folk myth, I consider it my duty, not adhering to the tradition of our literature, to introduce notes and tell them the course of my work. "

In his work, Remizov tried to embody his ideas about the ideal folk theater- “theater of squares and oak groves” and mystery performances as opposed to “theater of walls”. In practice, this desire was expressed in the fact that Remizov simplified the staging of the play as much as possible and, in comparison with Bakrylov's play, significantly reduced the number of characters. By reducing descriptive remarks, he took "a step away from naturalistic theater."

Plot

In many ways, the plot of the folk drama is based on the story of Peter I and Tsarevich Alexei. Tsar Maximilian is a tsar who decided to marry a foreign queen and renounce the Orthodox faith. The king's son, Adolf, opposes the marriage of his father. Trying to reverse the decision of his son, Tsar Maximilian imprisons Adolf, and ultimately executes him.

Heroes

• Tsar Maximilian (Maksimian, Maksimian) - "a formidable and strong tsar", who decided to marry an overseas princess, and abandon the Orthodox faith, and worship "idol gods." He wears a crown and carries orders, brandishes a scepter or a sword.
• Adolf is the son of Tsar Maximilian, who refuses to pray to the "idol gods", for which Tsar Maximilian will execute him. Goes to military uniform, but simpler than that of the king. After imprisonment - weak and without insignia.
• Knight Brambeus - calls on the king to change his mind, and not to execute the innocent Adolf, but Tsar Maximilian does not listen to him. Huge and gray-haired.
• Skorokhod - informs everyone about the will of Tsar Maximilian.
• The old grave digger is preparing a grave for Adolf (A. M. Remizov himself compared him with the gravediggers in Shakespeare's tragedy "Hamlet").
• The old woman-death - comes for King Makismilian.

Notes (edit)

Links

• The play "Tsar Maximilian", arranged by A.F. Nekrylova and N.I. Savushkina

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See what "Tsar Maximilian" is in other dictionaries:

"Tsar Maximilian"- TSAR MAXIMILIAN is the most popular folklore play. The action takes place in a conventional land (I am not the Russian emperor, not the French king ...). The basis of the play is the conflict between the tsar and his son Adolf, to ry from our idol (that is, pagan) ... ... Russian humanitarian encyclopedic dictionary

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Books

• A.M. Remizov. Collected Works. Volume 12. Rusalia, A. M. Remizov. The book "Rusalia" (Volume 12 of the Collected Works of A. M. Remizov) includes dramatic works: "Demonic action", "Tragedy about Judas Prince Iscariot", "Action about George ...
• Unpublished materials of the expedition of B. M. and Yu. M. Sokolov. 1926-1928. In the footsteps of Rybnikov and Hilferding. In 2 volumes. Volume 2. Folk drama. Wedding poetry. Non-ritual lyrics. Chastushki. Fairy tales and non-fairy tales. Creativity of peasants,. The volume consists of unique folklore texts collected in the 1920s. XX century in the protected cultural zone of the Russian North. It includes the texts of the folk drama ("Tsar Maximilian" and "The Boat"), ...