Folklore theater. Drama "Tsar Maximilian

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 several vivid examples of 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 planned to marry an overseas princess and refuse Orthodox faith, but 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

Wikimedia Foundation. 2010.

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

The card template ((Name)) is not completed for this article. You can help the project by adding it. Maximilian lat. ... Wikipedia

- (October 12, 1558, Wiener Neustadt November 2, 1618, Vienna) Archduke of Austria from the Habsburg dynasty ... Wikipedia

Peter I Alekseevich Portrait of Peter I. Paul Delaroche (1838) ... Wikipedia

Kingdom Russian Kingdom Russian Kingdom ← ... Wikipedia

Request "John IV" redirects here, see John IV (disambiguation). In the annals, the nickname Terrible is also used in relation to Ivan III... Ivan IV the Terrible Ivan IV Vasilievich ... Wikipedia

- (real surname Kirienko Voloshin). (1877 1932), poet, art critic, painter. In poetry, the filial sense of nature as a cosmic whole, the tragic experience of the historical destinies of Russia: the collections "Iverni" (1918), "Demons deaf and dumb" ... encyclopedic Dictionary

Nicholas I Pavlovich ... Wikipedia

This term has other meanings, see Ferdinand I. Ferdinand I Ferdinand I ... Wikipedia

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"), ...

Tsar Maximilian

The long-abandoned state mine, which gradually turned into a run-down village, was a handful of decrepit crooked huts that collectively fell to the bottom of a steep ravine and pushed each other into a crooked and polluted river. Small hills, uninhabited for tens of miles, like a white undulating sea, extended far in all four directions, up to the blue edges of the heavenly umbrella, and induced dull, boring despondency. This despondency was so great that when the carts with hay or straw descended from the neighboring plowed lands along the narrow road damped during the winter to the village, this brought some kind of festive animation to the surroundings, although these carts from a distance seemed to be shaggy, chopped off and quietly sliding down heads of fabulous robbers. A little earlier, on the mountain, near the multi-colored ore dumps, near the mine there were large government buildings: barracks, a hospital, an office and a bailiff's house, but in last years all this somehow quickly disappeared. The infirmary burned down, and burned down somehow strangely: no one lived in it, and it stood alone, littered with various state property, and suddenly into one of dark nights flared up and burned out. And no one saved him, no one spared ... The barracks also burned down, but already in the stoves of the peaceful inhabitants of the village. Only one office remained, plucked from all sides, with a collapsed roof, and slowly rotted, obediently waiting for it to be dragged into the philistine stoves. Yes, under the mountain, near the entrance of the collapsed adit, there were huge scales with iron chains and tightly bound boards, on which in holidays the kids swayed and played naughty. There were not a single street in the village, and the crooked alleys twisted somehow stupidly between the huts and either narrowed into narrow cracks, or then spread out into shapeless areas littered with snowdrifts and heaps of frozen manure. The half-blind windows of the rickety huts were somehow indifferently looking at everything: at the heaps of manure, and at the backs of old barns, and at the fence of yards, and just at the neighboring fences. If it was warm in the huts, then the glass of the windows turned black and wept, if it was cold, then, covered with a thick layer of frost, they seemed like some kind of continuous thorns, and they smelled longing and anger, as well as from the inhabitants themselves. Accustomed to hard labor in mines and parsing, they were reluctant to tackle arable land, because they did not have plows or horses for this and, all expecting from somewhere a "manifesto" about the resumption of mining work, they often sat without bread, without firewood and no fire. They themselves said about their clothes: - Neither lay, nor get dressed! From time to time, when the expectation of the opening of the mine dragged on for too long, they gathered at the headman's and long and fervently interpreted, immediately exaggerating or distorting any rumors, hopes, or simply their own writings about the opening of the mine. Suddenly someone shouted out in a high falsetto: “I drove the cloudy breath to Zmievo ... tovo ... how was it? Under the forest ... and he told me bluntly that he ran himself special official ! .. Well, and as if INTO ... this ... - What special official? .. - interrupted another. - Here, after all, recently Ignakhina's aunt went to the city ... Well, and also, as if INTO ... And what exactly - no one finished talking ... And they knew, perhaps, that the "special official" and " Aunt Ignakhina "only their own imagination, but still they wanted to believe that the mine would open, the work would start to boil, and although they would ruthlessly crush their first ones with their yoke, it would mean" Mother Saturday "with the correct calculation, and angry, but smart bosses with all sorts of funny undertakings and amusing tyranny, and, finally, there will be a tavern of their own, and, therefore, songs and dances ... how much and what kind of workers will receive now, what provisions will be, how many candles will be given to each worker for a report, how much wheat flour will be ... maybe they will again beat and tore with rods, as they beat then, in the distant big ... It didn't seem important. The most important thing seemed to be something that would revive their despondency, throw away the longing and need that had long settled in them, and stir up a frozen thought ... mumbled: - And they beat him, and for that he didn't have to sit without bread ... It used to be, the deceased Nikifor Ivanovich, our supervisor, as he barked at the material: - “I had a lot of horses and people ! .. "Because, he says, a hungry man will not lift a stone, not just INTO ... And the old man, recalling the valor of Nikifor Ivanovich, will even cry. - Once the bailiff ordered to give me forty sticks, and at that time I was ill. - Well, what, - he says, - Fedotych, now you will lie down, or will you be disappointed afterwards? .. - I will lie down, they say, your honor! - "Yes, in fact, I'll hurt you," he says. - Take it, they say, your honor, because from you and the rod is sweet ... - And he was fierce to tear! - continued the old man. - Sometimes, if he sees that they are fighting badly, he will rip out the rod, and he will start ... Duck bites his lips into the blood ... Well, that means I went to bed, and he said: - "Get up!" -- I wake up. - "Go, he says, to the infirmary, otherwise you can't stand it now ... I'm angry today!" - Yes, only then, a month later, and remembered that I was forty. “Get down,” he says. - I went to bed ... He started me ... and began ... He passed twenty, and he asks: - "Will you rest, he says, or all at once? "- Rash, I say, your honor, everything! -" Well, those, he says, an ulcer! I, he says, and I'm tired myself. "- Yes, and forgave me the rest ... He was a good man! .. And the old man, hardened by beatings and work, begins to count his years and counts them especially, in his own way, referring to various events , and in the end it is estimated that he is already living with the fourth generation, with great-grandchildren, and still, it seems, is ready to go into the mine and under the rod, if only they opened the mine, if only their sad life would stir ... And in these In their lively rumors, the peasants were so forgotten that they left the collection and went to the dilapidated office and, waving their arms widely, began to determine where and how the new office, and the infirmary, and the bailiff's house should be built ... And everyone somehow succumbed to this enthusiasm, everyone no longer doubts that this will happen ... Even the children, seeing this revival and gaping their mouths, stop floundering, and the women come out of the gloomy huts - and general conversations take on an even more lively and confident tone. But twilight descends, and conversation little by little it begins to subside, then suddenly will break off, and the peasants, as if ashamed of a sudden surging enthusiasm, fall silent and, without looking at each other, slowly wander into their cold, unfriendly huts, where in the dark, on an empty stomach, an instant flash of cheerful mood is quickly replaced by dull and terrible anger for a long time. .. And again, equally boring days pass one after another in a long line, and the village of a forgotten mine crowded in a steep ravine looks like a bunch of old burial mounds covered with snow ... And the wavy wide expanse of the steppe, and the deep sky, and the bright sun seem so alien and indifferent to the miserable village, as if it is not there at all, as if living hearts are not beating there, as if there is not a single soul in it! ..

The day before, Evlan was so tired that he didn't even want to quarrel with the woman, although he came home hungry. Arrived late. One of the haystacks was so wrapped in snow, and the snow was so stale that, digging it up, I had to take off my fur coat and work in one shirt. The shirt on his back was covered with a kurzhak with sweat and, when he was resting, froze and adhered to his skin. Shrugged his shoulders and again raked the flattened odon. Then he put hay for a long time, beat Karka, who kept climbing to the haystack. Karka fearfully rushed to the side, dumped an unattended cart from the wood-bed, and Evlan, standing on an odonka, waved his hand with hurtful despair and swore for a long time and melodiously, composing swear words stronger and more sophisticated ... And then, when both carts were imposed, he toiled for a long time, taking them out of the odonk onto the torny road. The snow fell through, the horses fell in shafts and lay for a long time in the snow, shuddering under the whistling whip. Finally, Yevlan unharnessed both horses and, riding on the Karka, rode them back and forth until the torn road until a deep loosened furrow was obtained. I harnessed the horses - the carts began to get stuck in the furrow. Lazy, toiled, unharnessed the horses, dumped the wagons, pulled the sled out onto the hard snow and carried all the hay on him in parts to the road. When he harnessed his horses again and drove off, it got dark. Is it a big winter day? After exhausting work it was nice to sit on the cart, but the hole-covered sheepskin coat did not protect the shirt soaked with sweat, and it began to numb. I had to go all the way on foot beside the wagon. At home, they had to immediately sweep the hay for the story - otherwise the other people's cows would have eaten everything in the night: the floodplains of the yard are bad, grown in snowdrifts - every calf would slip through. Sweeping away the hay, he puffed under the heavy rolls and, out of anger at the unsuccessful woman who was standing with a rake in the poveta, tried to serve them in such a way that they would overwhelm her and press down on the omet. But the woman dodged and, not daring to anger her husband with complaints, every now and then spat from the dust that got into her mouth. In a word, he got so worried that, having somehow had supper, he fell, without taking off his shoes, on the stove and slept on one side until the sun. Waking up and dangling his legs from the stove, for a long time he could not remember where his pouch with makhorka and seryanka was. A frying pan crackled on a pole in the kuti, and it smelled pleasantly of burnt oil. I remembered that Maslenitsa, and that the woman had saved up from one cow for flat cakes. Mitka, a five-year-old son, was spinning at the woman's hem, and on the bed, with bare feet and playing on an empty horn over a quail, lay a diaper Fenka. He found a pouch and rolled a cigarette. At this time, Yakov Ganyushkin entered the hut, smiling with his entire ruddy bearded face. He stepped into the middle of the hut and, waving his hand at his chest, muttered merrily: "Why the hell are you sitting on the stove? .. You have to take a walk!" Instead of answering, Evlan spat under the threshold and, grimacing, began to light a cigarette, holding a lit match in a handful. Yakov sat down on a bench and turned to Mitka: - What was your mother crying tonight? from the stove and, kneading the swollen side, swore hard and softly. - Simply, yesterday I snuck away like a dog! .. Yakov again smiled broadly and timidly asked, as if in jest: - Well, why, now let's go to butcher Maximilian? Yevlan glared at him with a stern look and again cursed, adding gloomily and reluctantly: “You have nothing to do — you’re making it up! .. Yakov, emboldened, laughed loudly and shouted out without a joke:“ Here, duck! .. A holiday! .. At least a little, let's make some noise again! .. We'll fool the people! A? Yevlan again did not answer and, staring with evil eyes at the woman, shouted: - Look, those children are wet! .. - Well, duck, after all, you see - my hands are dough! .. Yevlan came up to Fenka, clumsily took her in his arms and smiled wryly. - Eh you, wet-tailed! .. Yakov took advantage of the moment and, on behalf of Fenka, let it poisonously: asked: - Are you all right? .. - What about Maximilian? - Well? .. - Well, I’ll call my tongue in vain! .. I agreed with the guys already ... It's up to you, but you want to spoil the whole wedding for us ... Without you Where are we, without the main thing? .. Evlan turned to the woman: - Are these different bushes intact here? she, not yet old, but faded, suddenly sparkled with living lights. - Get INTO if-cha? .. And Yakov added temptation: - We already sold the "city" to Seryoga Avdeev ... He gives five rubles and half a bucket for the vodka artel ... - He will give more! .. - Evlan drops confidently. - How, hey, he won’t give, if everything, as it follows, imagine! .. Evlan put Fenka on the bed, put a nipple in her mouth, and, hastily spitting, shouted to his wife cheerfully: - Come on, bring some kostyums ! .. To podnavlyat, hey, it will happen again ... to buy golden gumag ... Baba went to the podzbit, and Yakov took up his hat. - Well, I'll go and call the guys. It is necessary to give a good advice about everything, but to start building a "city". Tomorrow we have, after all, Thursday ... So you can see it? .. - Yes, you can see it! .. - Yevlan confirmed, and they parted with a silly smile at each other.

On the day of the forgiveness, the wretched, wretched village suddenly revived and buzzed. The people in the snow-covered and narrow alleys turned sour, like a swarm in bird cherry. Riding on horses, mischievous teenagers and a dumpy bachelor, on the legs and in koshevnya girls and haughty young men, on bad logs or on foot, in sermyagi and rags, the poor, puffing in loose snow, but sneaky and inquisitive children - all stretched and twisted with a smile of curiosity and delight on their faces, they try to make their way into the center of a large crowd moving along the street ... From there rush some shouts, wild roar and laughter of the crowd, an accordion chirps, a violin meows, a bandura balabonit ... There is Tsar Maximilian with a retinue and he walks out of a well-to-do hut on the porch himself, in a dressing gown and with a respectable beard, laughing good-naturedly and cheerfully and making an invitation with his hand: - Come on, show yourself closer, Yevlakha! .. - and looks sideways at Seryoga, a young son. The crowd parted and, accompanied by generals and princes, Tsar Maximilian approached the hut in a non-commissioned officer's uniform adorned with tin regalia with shiny epaulettes, in white calico pants with a release over pims, in an intricate cocked hat made of blue sugar paper with stars and with a rooster's crest at the top. .. Over his shoulder he has a red red brown ribbon, over the other - a blue one ... In his hands, a silvered ruffle. The chest and abdomen are protruding forward - the pillow is placed. He speaks proudly and majestically, his eyes shine, a small red beard sticks out forward, fluttering on departure, and a loud voice shouts passionately: - Yes, yes, yes, yes, yes! ..
I am Maximilian, king of the overseas
Prince of Germany, King of Turkey ...
One word of my order
You must perform three times:
Execute non-Russian basurmans,
Asians French ...
Who stole, stole
My faithful steal! AND head prince dressed more modestly than the tsar, but with the same crest, quickly steps forward and, raising his flutter up, turns to his subjects and picks up: - Yes, yes, yes, yes, yes! ..
Hey loyal eunuch servant
I wish you service
Deliver here to me immediately
Field marshals, all the advertisers! .. A number of field marshals and officers, of various types of weapons, are nominated, and each one fulfills his assignment in his own way, while Tsar Maximilian begins to yearn for the kidnapped wife and demands to make fun of him. Two fools appear in twisted fur coats. One of them, who has a bigger beard, is dressed as a peasant woman, in a shawl and a skirt. In his hand he has a rag child, in the other - a bath broom, he whips the child with a broom and himself shouts for him: - Wow! Wow! .. Wow ... Another jester comes up and consoles. A funny scene with kisses and funny explanations takes place between them. The Tsar likes it, he begins to smile graciously, and the music starts dancing. And everyone, led by Maximilian, embarks on a stormy dance. The crowd laughs, giggles, dances and shouts out: - That's the tsar Maksya-Amelyan! .. - Aw, well! .. - Rash, rage! .. - Ha, ha ha ha! .. Maximilian reads something again, pokes a ruffle in the air and walks around, the jesters laugh and shout, tumbling in the snow, the music mixes with the enthusiastic shouts of the crowd, and the owner of the house takes vodka and food out of the hut ... And the noisy crowd moves on carried away by a merry procession. People push, trample each other, drown in snowdrifts, and with eagerly laughing and mature eyes gaze at the stately and well-dressed Tsar Maximilian ... Evlanova Baba rides behind the crowd on the Karka, harnessed in simple sleds. Fenka is in her bosom, and next to her, on an armful of hay, with an open mouth and wide, surprised eyes, is Mitka. He vigilantly peers at the "king" and eagerly catches incomprehensible cries: "I am the prince of the German ... Turkish ...
Basurmanov ... French ... "He does not understand their meaning, but he senses that all this must be very scary and beautiful, how can you laugh at this?!. And everyone laughs, you fools! ..

The sun is already leaning towards evening, and the crowd has passed the whole village. Tsar Maximilian and all his retinue were pretty drunk, but the show was not over yet. The crowd rolls over the outskirts, to the old government scales, where a white "city" flaunts on a flat square ... A wide ditch has been dug in deep snow along the square: this is a street of the "city", and in the middle there are snow pillars, along the edges of them there is a wide a block, and on the block there are various idols made of snow ... Along the edges of the ditch there are also all white idols, which instead of eyes have balls of sheep droppings, noses made of hay, pipes made of sticks in their mouths ... These are all "Basurmans are not Russian, but Asians are French "... Tsar Maximilian is the owner of this city. He conquered him and now he is waiting for such a "brave knight" who could take him by strength and youth ... The crowd who has rolled over violently surrounds the "city" ... Tsar Maximilian climbs the block, stands over the gates of the "city" and waits for the daredevils .. His retinue and his subjects stand in rows on the walls of the city, ready to selflessly defend the gates of the "city" from the enemy ... Bogatyrs - hunters ride out on good horses and, having dispersed their horse at full speed, gallop along the pothole street to the gate. But Maximilian's army brings down blocks of snow on the brave hunter, hits it with rods, pulls it off the horse and shoves it into the snow ... This is how it deals with dozens of horsemen ... The crowd is tense. She moved to the gate. She surrounded the whole "city" with sledges and horses. And he doesn’t listen attentively to what the Tsar Maximilian is shouting at the gate, doesn’t laugh at the silly jesters in oversized fur coats. She looks with the eyes of a real hero, who will take the "city" with his courage ... And then rides out on a zealous horse, in a saddle under silver, the merchant's son Seryoga Avdeev, a small guy, young for years ... - Really dare? .. - They will trample him, bury him in the snow like a kitten! .. But he boldly rushes along the “street” of the “city”, and the Maximilian army just for the sake of sight attacks him ... He breaks through the chain and, covered with snow, with a deafening shouting from the crowd and the troops rushing through the gates ... - He took the city! under the arms in front of the face of the winner ... And the winner gives him seven and a half cash and puts out three quarters of vodka for the whole artel ... Baba Evlanova drives up to the captive tsar and, to Mitka's surprise, shouts to him: - Yes, you give me at least two a ruble ... After all, all the same - you will spend on drink! .. Tsar Maximilian approaches the sleds and, staggering, shouts to Mitka: - Well, son, is it cold? .. The village is enveloped in blue twilight, the crowd dumps into the alleys and melts in them ... Tsar Maximilian, embracing princes and generals , leaves with a loud song to drink vodka ... Mitka looks after them, and he does not want Tsar Maximilian to be his father, who tomorrow will go for hay, smoke stinking tobacco and beat and scold his mother ... It's a shame Mitka, and it becomes even more offensive when, driving through a wretched village, he sees straw fires lit in front of each hut: this is Shrovetide burning with cakes, milk and everything that is mild ... And his lips are folded into a frying pan ... Original

1. Types of folk drama and theatrical games.

2. Genres of folklore theater. Features of being and performance.

2.1. Christmas dress.

2.2. Sentences of booth (carousel, swagger) grandfathers.

2.3. Nativity performances.

2.5. Theater of Petrushka.

3. Folk drama as a genre of folklore.

4. Analysis of the dramas "Boat" and "Tsar Maximilian".

4.1. History of existence.

4.2. Plot.

4.3. Dramatic conflict.

4.4. Ideological pathos... Parody function (imaginary deafness, "tongue-tied", "stupid").

4.5. Character types. The value of the costumes and attributes of the actors.

4.6. Techniques for the implementation of metaphors, oxymorons, generalizations.

4.7. Language and style of speech self-characteristics of characters. The role of weekend monologues (songs).

Texts and literature

Berkov P. N. One of oldest records"Tsar Maximilian" and "Bands of robbers" // Russian folklore. M .; L., 1959. 4.

Vlasova Z. I. Skomorokhi and folklore. SPb., 2001.

Vsevolodsky-Gerngross V. N. Russian oral folk drama. M .; L., 1959.

Gusev V.E. Russian folk theater of the 17th - early 20th centuries. L., 1980.

People's Theater / Comp., Entry. Art., prepared. texts and comments. A. F. Nekrylova and N. I. Savushkina. M., 1991. Series "Library of Russian folklore".

Nekrylova A.F. Russian folk city holidays, entertainment and entertainment. L., 1988.

Savushkina N.I. Russian oral folk drama. M., 1978. Issue. I; 1979. Issue. II.

Savushkina N.I.Russian folk theater. M., 1976.

Folklore theater/ Comp., Entry. Art., foreword. to the texts and comments. A. F. Nekrylova and N. I. Savushkina. M., 1988.

Children's folklore

1. The history of the collection and publication of children's folklore.

2. Problems of studying children's folklore. Modern approaches to genre-specific division and classification.

3. Folklore early childhood... The main poetic genres.

4. Children's mythology and game folklore children. Images, plot, language originality.

5. Features of being different forms children's folklore in modern world... Interaction popular culture and author's creativity.

As you work on this question, remember your own experience from different periods own life.

Texts and literature

Child poetic folklore: Anthology / Comp. A. N. Martynova. SPb., 1997.

Loiter S. M. Russian children's folklore and Childhood Mythology: Studies and Texts. Petrozavodsk, 2001.

Lurie M.L. Children's modern joke // http://www.ruthenia.ru/folklore/luriem1.htm.

Melnikov M. N. Russian children's folklore. M., 1987.

The wisdom of the people. Human life in Russian folklore. Issue 1: Infancy, childhood. M., 1991.

Russian school folklore. From "evocations" The Queen of Spades to family stories / Comp. A.F.Belousov. M., 1998.

Tver children's folklore / Comp. L. V. Bradis, V. G. Shomina. Tver, 2001.

Folklore of the Tver province. Collection of Yu. M. Sokolov and MI Rozhnova. 1919-1926 / Ed. prep. I. E. Ivanova and M. V. Stroganov. SPb., 2003.

Cenchi-bachenchi: Children's play folklore of the Verkhnekamye / Comp. S. V. Khorobrykh. Perm, 2001.

Cherednikova M.P. Modern Russian children's mythology in the context of facts traditional culture and child psychology. Ulyanovsk, 1995.

Ditty

1. Definition of the genre.

2. Poetic form of ditties.

2.1. Chastushka and buffoonery. Alogy of images and composition.

2.2. The role of repetition in a ditty.

3. Song form of ditties.

3.1. Ditties on the motive apple:

Bolshevik, Bolshevik,

Where are you stomping?

You will get to the Haidamaks -

You will eat the bullet;

3.2. Ditties on the motive barrels:

I'm sitting on a barrel

And on the barrel is a bird;

Cut, beat the Bolsheviks -

Here is our habit

3.3. Ditties on the motive Semyonovna:

The accordion player sits

Smiles,

Play Semyonovna

He likes.

3.4. Ditties on the motive gypsy:

You are an accordion player, an accordion player,

Come out into the clearing

You play and I will dance

Merry gypsy.

3.5. Ditties on the motive Saratochka:

You play it, you curly guy

I am amusing the song will burst out.

You play Saratochka,

Cheer up the soldier.

4. Existence of a ditty.

4.1. Chastushka chants and "verbal duels".

4.2. Expansion of ditties into modern ritual folklore.

5. Thematic classification of ditties.

5.1. Love ditties.

5.2. "Hot" (political) ditties.

5.3. Nicknamed ditties, ditties-teasers, abusive and ditties-sayings.

Texts and literature

Russian ditties / Prev. and selection of texts by N. I. Rozhdestvenskaya and S. S. Zhislina. M., 1956.

Chastushki in the records of the Soviet era / Ed. prep. Z. I. Vlasova, A. A. Gorelov. M .; L., 1965.

Chastushki / Ed. L.A. Astafieva. M., 1987.

Chastushki / Comp., Will enter. article, prepared. text and comments by F. M. Selivanov. M., 1990.

Russian ditty: Folk collection / Comp. and the author of the introductory article A. V. Kulagin. M., 1992.

Russian ditties / Comp. P.F. Lebedev. Saratov, 1998.

Stepanov V. I. Village gatherings and modern folk songs-chastushki // Ethnographic Review. 1903. No. 4.

Florensky P.A. Kostroma, 1909.

Simakov V.I. Collection of village ditties of the Arkhangelsk, Vologda, Vyatka, Olonets, Perm, Kostroma, Yaroslavl, Tver, Pskov, Novgorod, Petersburg provinces. Yaroslavl, 1913.

Collection of Great Russian ditties / Ed. E. N. Eleonskoy M., 1914.

Knyazev V.V. Chastushki-korotushki. SPb., 1913.

Knyazev V.V.Modern ditties of 1917-1922 M., 1924.

Folklore of the Tver province. Collection of Yu. M. Sokolov and MI Rozhnova. 1919-1926 / Publishing preparations. I. E. Ivanova and M. V. Stroganov. SPb., 2003.

V.I.Simakov and folk art: Materials and research: Issue 3. Tver: "Marina", 2006.

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 several vivid examples of 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, laying mine, perhaps the only one stone for the creation of a future large work, which will give a whole kingdom of folk myth, I consider it my duty, not keeping 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 - the "theater of squares and oak groves" and the mystery action as opposed to the "theater of the 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. He walks in military uniform, but simpler than that of the tsar. 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

Wikimedia Foundation. 2010.

• Tsar Constantine (ship of the line, 1779)
• King Solomon: The Wisest of the Wise

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

Maximilian- For this article, the card template ((Name)) is not filled. You can help the project by adding it. Maximilian lat. ... Wikipedia

Maximilian III of Austria- (October 12, 1558, Wiener Neustadt November 2, 1618, Vienna) Archduke of Austria from the Habsburg dynasty ... Wikipedia

Tsar Ivan the Terrible

Tsar Peter I- Peter I Alekseevich Portrait of Peter I. Paul Delaroche (1838) ... Wikipedia

Tsar and Grand Duke of Moscow- Kingdom Russian Kingdom Russian Kingdom ← ... Wikipedia

Ivan the Terrible (Tsar)- Request "John IV" is redirected here, see John IV (disambiguation). In the annals, the nickname Terrible is also used in relation to Ivan III. Ivan IV the Terrible Ivan IV Vasilievich ... Wikipedia

Voloshin Maximilian Alexandrovich- (real name Kirienko Voloshin). (1877 1932), poet, art critic, artist. In poetry, the filial sense of nature as a cosmic whole, the tragic experience of the historical destinies of Russia: the collections "Iverni" (1918), "Demons deaf and dumb" ... encyclopedic Dictionary

Nicholas the First (tsar)- Nicholas I Pavlovich ... Wikipedia

Ferdinand I (Tsar of Bulgaria)- This term has other meanings, see Ferdinand I. Ferdinand I Ferdinand I ... Wikipedia

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 of Judas Prince Iscariot", "Action about George ... Buy for 2421 rubles
• 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"), ...

"A boat". The play "The Boat" was very popular among peasants and soldiers, and among factory people. This was due to the fact that it touched on important for the broad masses. questions. Its most common name is "Boat". But it is called otherwise: "Boat", "Ataman", "Robbers", "Gang", "A gang of robbers", "Ermak", "Stenka Razin".

The plot of the play is simple. A gang of robbers, led by the ataman and the captain, are sailing along the Volga. Esaul looks around the area through a telescope and reports to the chieftain what he sees. When

a large village comes across on the shore, robbers disembark and attack a manor house. One of the versions of the play ends with an exclamation: “Hey, good fellows! burn, fell a rich landowner! " ... In some variants, the motive of the chieftain's love for the daughter of a landowner or for a Persian woman is introduced. But at the same time, the complex basis-the threat-of robbers to the authorities and the landowners- .. is preserved. This suggests that the ideological essence of the play lies in the expression of the people's protest against the oppressive nori. Koi This kind of feature of the play allowed some scholars to attribute the emergence of the "Boat" to the end of the 18th century. and to associate it with peasant uprisings (V. Yu. Krupyanskaya), to others - to consider that it arose earlier in connection with the uprising of Razin: in it, Stepan Razin often acts as the main character!] But / the first information about the play comes from 1814- 1815 It is characteristic that a number of Russian writers noted in their memoirs the performance of The Boat.

A. Ye. Izmailov mentions the staging of the play by students of the Theological Academy around 1814-1819; A. Griboyedov saw its performance by young guys in the vicinity of St. Petersburg in 1818, I. A. Goncharov in the 1920s watched as the "Boat" was played by the servants of his grandmother, and the chieftain / was called Stenka Razin.

The play is anti-serfdom. A gang of robbers, an esaul, and sometimes a robber Calicatura operate in it. [q, in the center is the image of a noble robber-ataman, who sometimes has no name, in other cases he is called Ermak or Stepan Razin. According to the meaning of the play, the figure of Razin is more suitable for its plot. It is difficult to decide what the chieftain was in the original text. There is an opinion that it is composed like a play about Razin.

Stepan Razin is the main character of the play, even if the chieftain does not bear his name. The details of the ataman's description show Razin's features. The most important thing is that it is Razin's image that most fully expresses the main ideological meaning plays: social discontent of the masses, their protest ^

The sources of The Boat are complex. These are songs about robbers, including about Razin, and popular prints, and popular novels about robbers, and literary songs. This affected the complex composition of the play: it contains monologues # and dialogues, the conversation of the chieftain with the esaul and with the "gang" (when it comes on the admission of a newcomer to its membership), folk songs ("Down the Mother Volga") and literary songs (the song of A. F. Veltman "What is fogged up, the dawn is clear" and the song of F.B. Miller "The Burial of the Robber" with the words: "Among the dense forests, the silent go ..."), quotes from literary works, for example, from the poem by Alexander Pushkin l "Brothers-robbers". The main plot is connected with the song "Down the j Mother on the Volga". The performers usually remembered only the main one (the plot scheme, they acted and spoke in the order of improvisation, using familiar material.

The boat survived complicated history: it included new songs, sideshows, for example, the scene with the undertaker and the scene with the doctor, but the plot remained the same. Some scenes were permanent, some were replaced. The play also changed: at the forefront were the scenes of robbery, now of love; the plot was sometimes weakened by the introduction a large number songs.

The "robber" drama "Boat", especially in the form in which it existed in the 19th-20th centuries, by all indications should be attributed to romantic works... We would add to this that she became more stable in her motives during the period of Russian romanticism, when she absorbed materials from the works of romantic writers. But by its very essence, it is romantic: the predatory plot, the Volga expanse, the chieftain's love for the captive, the rebellious nature of the song's plot - everything speaks precisely of its romantic coloring.

VN Vsevolodsky-Gerngross highly appreciates the "Boat". He writes: "The boat" is a unique phenomenon not only in Russian, but, apparently, in world folklore as well. It is unique in content, in artistic techniques, in composition, in its true nationality, it clearly reflects the era and environment in which it was created and lived, full of a rebellious spirit, daring, courage. "

Highly appreciating The Boat, folklorists sometimes see in it, as in the play Tsar Maximilian, the pinnacle of the development of Russian folk drama. (D. M. Balashov in the article “Drama” and ritual performance (to the problem of the dramatic kind in folklore). ”They consider these plays not the pinnacle of the development of folk drama and theaters, but the beginning of professional art.

"Tsar Maximilian". The drama "Tsar Maximilians", as researchers suggest, was composed at the end of the 18th century. This is justified by a number of circumstances: it contains allusions to political events of that time, its execution by sailors and soldiers around 1818, the introduction into the play of poems by writers of the 18th century. and the peculiarities of the language. The play probably took shape in a soldier's environment: military characters (warriors and a runner-marshal) are displayed in it, the military order is reflected, in speech actors military phraseology is used:

Adolf. Great guys!

Everything. We wish you good health!

There are also military songs, including marching songs. Finally, several texts of the play were written from former soldiers. The earliest execution of it was in the military environment (1818); performance in a soldier's environment was observed by Ya.P. Polonsky and I.S.Aksakov in 1855.

The sources of the play were various kinds of literary works: the lives of saints - martyrs for the faith, school dramas of the 17th-18th centuries, where there are images of kings - persecutors of Christians, interludes of the 18th century, in which a doctor, an undertaker, a tailor, comic characters who entered and in some versions of the play "Tsar Maximilian". The most probable and main source of this play is the drama "The Glorious Crown to the Martyr Dmitry", written in 1704 by the students of Dmitry Rostovsky on the day of his name day (indicated by P. N. Berkov). There are many coincidences with “Tsar Maximilian” in it: the name of the Tsar, the persecution of Christians, their imprisonment, execution, the Tsar's punishment. In all this, they saw a conflict between Peter I and his son Alexei. But V.N. Vsevolodsky-Gerngross believes that the main literary source should be considered chivalric romances... The name of the capital city Anton, knightly duels, court setting and ceremonial originate from the story of Bove the King.

The play "Tsar Maximilian" was long and difficult path clearance. Its structure is distinguished by a great introduction into the text of heterogeneous literary works, most often songs and poems, for example, excerpts from G.R.Derzhavin's ode "On the Taking of Warsaw", songs of the poetess late XVIII v. MV Zubova “I am going away to the desert”, “Songs of a prisoner” (“I can’t hear the noise of the city”) by FN Glinka; the use of "Hussar" by A. Pushkin and "Separation" ("Hussar, leaning on a saber") KN Batyushkov. These were not accidental or mechanical insertions. They served to characterize the characters, create a certain emotional tone and assess the behavior of the characters. Poems and songs were altered, expressed in a different language, verse and rhythms were rebuilt. The composition and role of works introduced into folk plays were thoroughly examined by V.E. Gusev.

“Tsar Maximilians” was often contaminated with the plays “Herod” and “The Boat”. The first of them strengthened the motives of the struggle for right faith and the fight against despotism, the second - the motives of the social struggle (Adolf's departure to robbers). The structure of the play became more complicated, and at the same time weakened tragic line and comic episodes developed. But the main plot scheme and characteristics of the characters remained the same. With all this, the play remained a unique and striking work. VN Vsevolodsky-Gerngross says about her: "... This is a distinctive original Russian play, composed for specific Russian political events, only using the scheme of the drama about Herod."

The action of the play "Tsar Maximilians" in its fullest form develops rather consistently.

As is typical for folk plays, first a face appears, in this case a runner, and addresses the audience:

Hello gentlemen senators,

I didn’t come here to you,

And sent from the royal office.

Get it all out of this place

And here the royal throne will be established.

Goodbye gentlemen

Now the king himself will be here. (Leaves)

The appearing tsar also addresses the public and announces that he is not the Russian emperor and not the French king ("I am your formidable Tsar Maximilian"), that he will judge his rebellious son Adolf. Then the king orders the pages to bring him, and the runner orders them to bring "all the decorum and royal accessories." The courtiers carry the regalia, in which he dresses. Adolf is brought in. The king requires his son to bow to the "idol gods", but Adolf rejects this:

I am Throwing your idol gods under my feet.

Three times there is an explanation of the king with his son, as a result Adolf is shackled and taken to prison. The "Giant Knight" comes to the tsar and demands to release Adolf. This is the Roman ambassador. The king refuses to do this, and the knight leaves with threats. The tsar orders to summon the "ancient and brave warrior Aniku" and orders him to protect the city from the "ignoramus" who wants to burn down the capital, kill the knights, and take the tsar in full. Once again, the king calls his son and asks if he has changed his mind, but Adolf does not recognize the "idol gods." The king is angry:

Oh, you rebellious monster,

You set my heart on fire with anger

I won't spare you anymore.

And now I will command you to betray evil death.

The tsar sends a runner-marshal for the executioner knight Brambeus. The executioner at first refuses to carry out the order to execute Adolf, but the king insists, and the executioner cuts off Adolf's head, but then he pierces his own chest and falls dead. The scene with the undertaker follows. The king praises Aniku the warrior for defeating the Giant Knight. But at this time, Death appears. The king asks the soldiers to protect him from her, but they scatter in fright. He asks Death to give him three years of life, but she refuses; asks for three months, but again receives a refusal; asks for three days, but she does not give even three hours and cuts it down with a scythe. It is clear from this scene that the plot of the play about Anika the Warrior and Death is adapted to the plot of the play "Tsar Maximilians".

The introduction of the play "Anika the Warrior and Death" into the play "Tsar Maximilian" helps to understand the ideological meaning of the latter: it consists in punishing evil, punishing the cruel tyrant Tsar Maximilian. It is difficult to determine which political situation the play is directed against; perhaps it hints at the relationship between Peter I and his son Alexei. V different time the audience had different associations. There were many reasons, including in connection with the events of the end of the 18th century. With the development of the revolutionary liberation struggle, the play served as an expression of the revolutionary sentiments of the masses. This is why she was so popular. The clear political meaning of the play could be strengthened in connection with new socio-historical situations.

The contamination of Tsar Maximilian with the play Herod emphasized the struggle for the throne. But the meaning of "Tsar Maximilian" is broader.

It is not only in denouncing tyranny and despotism, but also in exalting Adolf's bold protest, the correctness of which becomes especially obvious: Brambeus, who killed Adolf by order of the king, cannot bear this injustice and commits suicide. And the fact that Death is not destroying Anika, as would be expected according to the traditional course of the plot, but the king, speaks of the inevitability of the death of despotism.