Where the first theater originated. How the theater appeared

Let's try to imagine world art without theater. A clear understanding of what art is in principle immediately disappears from such a thought. If you remove at least one aspect of creativity, then art will disappear entirely, since it is integral. The theater synthesizes in itself all the creative aspects: music, painting, architecture, expressive means of literature and expressive means of man, generously donated to him by nature.

In addition, being an integral part of culture in a natural way, theater is becoming a leisure activity that modern people cannot do without. People need bread and circuses. And this, in fact, is one of the functional tasks of the theater, which becomes obvious if you understand the origin of the term.
The concept "Theater" comes from the Greek. "theatron" - which literally means a place for spectacles, the spectacle itself. The idea of ​​a theater appeared in ancient Greece, and only then did it gain strength and sprout with powerful roots in the sphere of art in the sense to which we are accustomed. Initially, the birth of the theater is associated with ritual games dedicated to the patron gods of agriculture: Demeter, her daughter Kore, Dionysus. The latter, of the entire pantheon of Gods, the Greeks paid special attention to. Dionysus, was considered the god of the creative forces of nature, winemaking, and later was called the god of poetry and theater. At the holidays dedicated to him, they sang solemn carnival songs, the costumed retinue arranged a festive procession, smeared the face with wine, put on masks and goat skins (thereby showing respect to God, he was depicted as a goat). This is where the theater got its start. From ritual games, genres grew: tragedy and comedy, which are the basis of dramuturgy. An interesting fact is that in the Greek theater only men played all the roles. The actors, who were two on stage, performed in huge masks and on catturns (shoes on a high platform). There were no decorations. Women were admitted to performances on exceptional occasions and, as a rule, were seated separately from men.
If in Ancient Greece the theater was considered a state affair, playwrights and actors were respected citizens and could occupy high public positions, then during the Roman Empire the social status of theatrical art greatly decreased. The performances were staged with an emphasis on entertainment. And soon they began to be replaced altogether with gladiatorial battles, which took place in the Colosseum and other theatrical buildings. There were also more bloody spectacles - mass hunting, single combats with the beast, public torn apart by wild beasts of convicted criminals. By this time, theatrical art had finally lost its connection with the ritual and its sacred character, and the actors: from respected citizens moved to the lowest strata of society.

Medieval theater

Medieval or Western European theater covers a huge period in the development of theatrical art - ten centuries: from the 5th to the 11th century. (early Middle Ages) and from the 12th to the 15th centuries. (period of developed feudalism). Its development is conditioned by the general historical process of the development of civilization, and is inseparable from its tendencies.
The Middle Ages were one of the most difficult and dark periods in history. After the fall of the Roman Empire in the 5th century. the ancient civilization of antiquity was practically wiped out from the face of the earth. The young Christian religion, like any ideology at its early stage, gave birth to fanatics who fought against the ancient pagan culture, including the theater, considering it a relic of paganism. During this period, difficult times fell on art in general and especially for the theater.
The early ideologues of Christianity: John Chrysostom, Cyprian and Tertullian called the actors the children of Satan, and the audience - the lost souls. All previously existing secular theaters were closed, all actors, musicians, jugglers, circus performers, dancers were anathematized. Theatrical art was considered heresy and fell under the Inquisition. It would seem that under such a regime the theater should have disappeared from the face of the earth, but it survived. Largely thanks to itinerant troupes who wandered with improvised scenes in small villages. And due to the fact that theatrical traditions were stubbornly preserved in folk ritual games and rituals associated with the calendar cycle. The state could not keep track of everything, so elements of the theater clearly seeped through the law in the ritual traditions of numerous villages. For example, in the countries of Western and Eastern Europe, theatrical May Games were held, symbolizing the victory of summer over winter, autumn harvest holidays. Over time, traditional ritual performances gradually transformed, they included folklore elements, the artistic side of the ritual acquired more and more importance, approaching the modern concept of theater. People who began to engage in games and activities more professionally began to stand out from the folk environment. From this source, one of the three main lines of medieval theater arose - the folk-plebeian one. Later, this line was developed in street performances and satirical farces.
Another line of the medieval theater is the feudal-church one. It is associated with a change in the attitude of the church towards theatrical art and the replacement of a prohibitive policy with an integration one. By about the 9th century, having lost the war against the remnants of paganism and appreciating the ideological and propagandistic possibilities of spectacles, the church began to include elements of the theater in its arsenal. It is to this time that it is customary to classify the emergence of the liturgical drama. The texts for the drama were taken from the Gospel writings, sounded in Latin, and their performance as an actor was distinguished by formality, severity and dryness, with a pretense of catharsis. But in spite of the formality of the performance, the liturgical drama became the theater's loophole for legalization. By the 12-13th centuries, folklore and everyday elements, comic episodes, and folk vocabulary began to penetrate into the liturgical drama. Already in 1210, Pope Innocent III issued a decree banning the display of liturgical dramas in churches. However, the church did not want to give up such a powerful means of attracting popular love. The liturgical drama was transformed into a semi-liturgical one. This was the first transitional form from religious to secular theater. A transitional form between the popular-plebeian and feudal-ecclesiastical lines of development of the medieval theater can also be considered the vagants - itinerant lyricists, comedians from among the defrocked priests and half-trained seminarians. Their appearance is due to the liturgical drama - the performances of the vagants, as a rule, satirically parodied liturgies, church rites and even prayers, replacing the idea of ​​humility and obedience to God with the glorification of earthly carnal joys. The Vagants were persecuted by the church with particular cruelty. By the 13th century. they have practically disappeared.
The third line of development of the medieval theater is the burgher one. In the Middle Ages, there were isolated, timid attempts to create a secular drama. One of the earliest forms of secular theater was the "puy" poetry circles, which at first had a religious and propaganda direction, and later became secular. A participant in the Arras "puy", a French trouvor (musician, poet and singer) Adam de La Halle, wrote the first medieval secular plays - "The Play in the Gazebo" and "The Game about Robin and Marion". He was actually the only secular playwright of the early Middle Ages, so there is no need to talk about any tendencies.

Renaissance theater

During the Renaissance period, changes in the field of art are associated with the transformation of the general ideological doctrine: from asceticism and fanaticism of the Middle Ages to harmony, freedom and harmonious development of the personality of the renaissance. Already the term itself (French renaissance - revival) proclaims the basic principle: a return to the classical examples of ancient art. The theater, which had been under a de facto ban for about a thousand years, experienced a particularly striking surge in its development during the Renaissance. Changes took place in all aspects of theatrical life: new genres, forms, and theatrical professions appeared. This is due not only to a change in the social climate, but also to one of its most important consequences - the development of science and technology.
The most important factor that influenced the development of the theater at that time was the newly begun construction of theater buildings. A fundamentally new type of theater building was invented and implemented - a rank or tiered building. This gave the theatrical art new possibilities, including acoustic ones. And as a result, it led to the formation and rapid development of new theatrical forms - classical opera and ballet. The new concept of theatrical construction interpreted the stage and the auditorium as a whole, therefore, new principles of theatrical and decorative art - the creation of scenic scenery with a perspective - received an impetus to the development. The appearance of covered theater buildings in a new way set the technical and artistic tasks of lighting the stage for the theater - it was no longer possible to play only in daylight. New technical trends required their practical implementation. Thanks to this, a number of new theatrical professions have grown: stage machinists, decorators, acoustics, graphic designers, lighting and lighting designers, etc.
Fundamental changes took place in the organization of theatrical performances: during the Renaissance, the theater faced the problem of competition for the audience for the first time in history. When there are several theater buildings in the city at the same time, and at the same time a troupe of itinerant comedians is showing their performances on the square, potential viewers have a real alternative. Thus, the competitive struggle largely determined the development of various genres and types of theatrical art during the Renaissance. For example, in Italy, the greatest success was enjoyed by the young operatic art and the areal improvisation theater of masks (commedia dell'arte). In England, one after another, publicly available drama theaters were opened (Globe, Curtain, Rose, Swan, Fortune, etc.). In Spain, the auto sacramental religious theater continued to enjoy tremendous success. In Germany, the arts of the meistersingers were actively developing - fastnakhtspili (Maslenitsa performances) and farces. In Europe, signs of geographical integration and mutual influence of the theatrical art of different countries were clearly felt: the growing competition for the viewer led to a wide "touring" practice of mobile actors (mainly Italian and English).
In a sense, the theater in the Renaissance reached its peak of development, having mastered almost all possible genres, types and directions. At the same time, two main types of theaters were formed: repertory theater (when a stable acting troupe puts on performances based on the works of different playwrights) and non-repertory theater (when various specialists specially gather for a certain theatrical project). Further, almost until the end of the 19th century. the development of the theater proceeded mainly under the change of aesthetic trends: classicism, enlightenment, romanticism, sentimentalism, symbolism, naturalism, realism, etc.

Modern theater

The transformation of the theater in the 19th century led to the scientific and technological revolution, and in particular, the emergence of cinematography. At first, cinema, and later television, were recognized as competitors of the theater. However, the theater did not give up, it was the late 19th - early 20th centuries. characterized by a special saturation in the search for new means of theatrical expression. At this time, a new theatrical profession appeared, which today has become the main one in the theater - the profession of a director. If the theater of all past centuries can rightfully be called an acting theater, then from the beginning of the 20th century. a new era has come - director's theater. A fundamentally new concept of theatrical art arises: it is not enough just to perform the performance professionally (acting, stage design, noise and light effects, etc.), they must be organically combined, merged into a single whole. As a consequence of this, the theory and practice of the theater includes new basic concepts: the general concept of the performance, the most important task, the cross-cutting action, the ensemble of actors, the director's decision, etc.
The new theater concept proved to be extremely fruitful for all aesthetic trends. This can be seen especially clearly on the example of the theatrical systems of K.S. Stanislavsky, as well as M.A. Chekhov, actively developing in Russia at the beginning of the 20th century. A powerful and defining directing approach makes these systems fundamental to contemporary theater. Moreover, directing brought acting to a new stage, laying down new principles of acting. The new concept of directing theater had a fundamental impact on cinema: very soon the figure of a film director from a simple organizer of the filming process turned into the main author, creator of the film. We can rightfully say that director's theater is the best way to return the sacredness of theatrical performance.

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In the life of the ancient Greeks, theatrical art was given the first place as a way to have fun. The performances were organized at the state level to pay tribute to the god Dionysus during the holidays.

The structure of the performances

Ancient Greek drama performances were different from modern ones. They consisted of several performances by rival poets working in a tragic and comic direction. Each participant presented one funny story to the audience. When staging, a choir of satyrs and three tragedies, united by a storyline, were necessarily used. The performances ended only on the fourth day. They lasted from morning to late evening. The action began with tragic performances, followed by a satire drama. A comedy was staged at the end of the evening.

Musical accompaniment

The choir was provided by the state, since it was impossible to prepare it independently. Over time, the number of speakers changed from 6 to 15 people. And the singers were taught by wealthy citizens. The person preparing the choir for theatrical competitions, who provided it with costumes, was called the choir. Along with actors, singers, horegs were exempted from military service for the time required for preparation and performance.

Scene structure

The ancient Greek theater consisted of several parts, among which are the orchestra (a place for performing singers), theatron (auditorium) and skene (a kind of props needed to achieve greater believability). In order for the audience to better hear the words of the actors, special vessels were used to help enhance the spoken sounds.

Distinctive features

Ancient Greek performing arts were 90% male. In addition to the uncomplicated performance of their roles, the artists demonstrated vocal abilities, ideal diction, flexibility, plasticity. The faces of the people performing on the stage were covered by masks. Their widespread use is associated with the veneration of Dionysus, the absence of female actresses, and the enormous size of the arena. Masks could be tragic or comic, which exactly conveyed the author's idea to the viewer.

Special clothing for the participants in the performances helped to portray diverse characters. Being long, voluminous, it hid the necessary pillows or linings used to change the natural proportions of the body. If the audience was interested in the performance, they expressed positive emotions violently. Disapproval was expressed no less vividly. Often this negative reaction was provoked by people specially hired by competitors.

Ancient roman arena

The origin of the theater in ancient Rome is associated with lavish harvest celebrations, which were initially organized as playful competitions of small choirs. The jokes they exchanged were sometimes caustic, containing ridicule of the vices of society, especially the top.

The origin of theatrical art

The earliest representations of ancient Roman theatrical art include the Atellans, who are called the cities of the south of modern Italy. These were light comedic performances. Many young Romans took part.

Literary drama came to the ancient Roman theater from Greece. Here, similar creations were staged in Latin.

The Greek Livy Andronicus ended up on the territory of Rome as a prisoner of war. The Greek was appointed in charge of staging the first dramatic performance. It was this that gave impetus to the further development of the theatrical art. It could not, like in Greece, indicate problems in the life of society, therefore the storylines became more complicated, the entertainment of the Greek originals increased. Despite this, the Romans found it difficult to perceive traditional dramatic stories.

Gladiatorial spectacles

The performances took place during public holidays. They were accompanied by circus, gladiatorial performances that drew attention to themselves, being popular with the people.

Initially, there was no place for staging plays, there was only a pitiful platform with a staircase. The actors became more professional, played without masks. The spectacles were arranged by agreement of the manager of the ancient Roman theater. In other words, simply troupes of actors, with the ruling circles. The costumes of the characters were no different from the Greek ones. Only a few accents, such as the height of the platform in the shoe, the size of the wigs that create a majestic impression.

The first permanent Roman theater was built by Pompey. The spectators huddled on semicircular benches arranged in several rows. There were separate seats for senators. Roof, intricately decorated facades and curtain.

The origins of the theatrical art of ancient India

Ancient Indian theatrical art was divided into two directions - folk and literary. There are several versions of the origin, the most popular of which attributes this fact to Emperor Bharat. Through him, the fifth Veda was transmitted to people, which united the Word, Action, Lad. The version of the merger of merry performances with the traditional mystery that existed during major holidays remains more likely.

On this occasion, accompanying competitions of strongmen, programs of magicians, musicians, dancers were organized. The production began with dance numbers. Dancers adorned the performance with pantomimic introductions, Vedic recitation. Gradually, the dance was replaced by the performance of artists.

Social system

The complex social system of ancient India placed actors at the lowest level.

They were considered people of a disrespectful caste, as they ridiculed the gods in their speeches. Despite this circumstance, most of them were the most educated and respectable people.

The performances were staged as dance performances. Sign language, rooted in the special rituals of the clergy, was freely used. Indian dance theater borrowed key features from the ancient mysteries. Therefore, the artists required special plasticity and the ability to use an abundant arsenal of pantomime.

Growth in popularity

By the end of the second half of the first millennium BC. NS. Indian theatrical art has gained the highest popularity. Despite the coincidence of the time of performance of the plays with the main religious holidays, their entertainment essence was highlighted, displacing the ritual component.

The acting teams are becoming more professional. Each participant takes on a creative role. The gender composition of the troupes varied - it is known about the existence of same-sex and heterosexual groups. Most of them wandered. When they met, spectacular competitions were organized on the joint territory. In addition to monetary awards, the winners received a number of honors.

The arena of Indian dance was sometimes located in a certain building - a small but relatively high one, capable of accommodating 300 people. The length of the performances varied from two to three hours to a couple of days.

Shadow theaters

Indian shadow theater more often depicted scenes from the legendary and revered myths of the Ramayana and Mahabharata. The audience knew the stories of the characters, so they could independently conjecture the missing elements. The action took place behind a large transparent screen, where actors and puppets were placed. For greater realism, the dolls were cut into pieces, and then even complex movements could be easily imitated. They were made of cardboard, leather or papier-mâché.

In Indian beliefs, God Shiva was assigned the role of the patron saint of dolls, so plays were staged not far from his temple. According to legend, the Indian shadow theater emerged as a result of the fact that Shiva himself with his wife Parvati once looked into the shop of a master puppeteer who carved figurines from wood.

She was so impressed by the skill of the artisan that soon, at her request, Shiva allowed the toys to be revived so that they could dance on their own. Soon after the departure of the divine couple, this magic ceased to work, however, the master restored a wonderful gift by controlling the characters with the help of threads. This gave rise to the Indian shadow theater, the interest in which is currently dying out due to the development of modern technologies.

The beginning of the theatrical life of ancient China

Chinese theater was born at the beginning of the 12th century. Initially, these were spectacles in the squares, timed to coincide with religious festivals. The performances were based on circus elements, unusual dances with animal figures, acrobatic performances, and fencing.

Gradually, peculiar roles appear, which were used in each play, acquiring new character traits, details of life. Tsan-jun and tsangu were the most popular. The performers of Chinese theaters are no longer self-taught, but trained at special schools operating at the court of the emperor. Bright costumes decorated with traditional paintings and numerous props are freely used.

First poster

Plays are staged in booths - areas under a canopy, equipped with seats for spectators. Or on protruding platforms adjacent to the central temples. This is where the concept of a poster comes from - a special leaflet listing the actors involved and the characters they perform. The genres of Chinese theater are expanding and becoming more complex. They describe the details of important events in the life of the state and individuals, giving viewers examples to follow.

The musical accompaniment of theatrical performances was transformed from folk melodies. The performances were damn colorful, contained elements of dances, circus acts. The interpretation of some actions was given by the artists themselves or by the playwrights. Most of the roles were played by women, including men. The acting troupe included members of the same family, outsiders were rare.

Puppet shows

The traditional Chinese stage developed in parallel with the equally popular puppet theater. He lived in a host of varieties. To date, information about them has been lost, so the study presents some difficulties.

The popularity of this art form is associated with the customs of placing special figurines in the grave, designed to help the deceased in the afterlife. Scenes with the participation of such characters were played out during the funeral, gradually turning into an attribute of everyday life. Preserved information about a wonderful multi-tiered model of a puppet theater, the characters of which moved with the help of water.

Chinese puppet theater has developed in many directions. It is worth highlighting the performances with flat paper figures, in which the actors and the characters controlled by them participated. Gunpowder, floating scenes and others, about which only fragmentary information has survived.

The word "theater" is known to everyone, even the smallest children. Who among us did not like to go to the puppet theater, where faceless toys suddenly came to life in the skillful hands of the puppeteer and turned into magical living creatures…. Having matured, when choosing between theater and cinema, we often prefer the latter. But only in the theater can one feel the living force emanating from the actors, only the theater can capture the viewer with its splendor.

How did it come about?
The first theater appeared in Athens, in 497 BC. Its appearance was associated with competitions of singers, poets and actors in honor of the feast of the god Dionysus. There were no special facilities for the spectators, but they were not embarrassed, and they sat on the hill to watch the competitions. A wooden stage was made for the actors, which, however, was later replaced by a more comfortable arena.

Competitors showed their performances on a stage surrounded by a low wall, thanks to which it was possible to hide unnecessary props and decorations. A tent was also provided for the performers, where they could change their clothes. Since the holiday was dedicated to Dionysus, it is not surprising that in the center of the site there was an altar to God, and all the action took place around it.

A little later, the ancient Greek theater changed. The spectators were finally able to take "real" seats - they were equipped with marble (for the guests of honor) and stone (easier for the audience) seats. Among the seats of the audience there were resonating vessels that amplified the sound.

In Rome, the first stone theater appeared only in 55 BC. Prior to that, actors and spectators were content with only temporary wooden buildings.

The performances of the past few years resembled what we mean by the performance today. There could be only one actor on the stage, changing masks and playing several roles at once. The need for masks was due to the large size of the theaters, which could accommodate ten or even seventeen thousand people. It was almost impossible to see the actor's facial features from a long distance, and masks easily solved this problem. The actors of Ancient Greece were respected people, only a free man could become an actor, unlike the Roman "colleagues". Roman actors came from among slaves or freedmen.

In ancient Greek theaters, performances were based on myths, interpreted in their own way by actors and authors of plays. The Roman theater almost completely adopted plots from Greek drama, processing them for the Roman audience.

Ancient Greek drama flourished in the fifth century BC. These were the times of Aeschylus, Sophocles and Euripides. A great contribution to the development of the Roman theater was made by the Greek Livy Andronicus, who taught the Greek and Latin languages ​​to the sons of the Roman nobility. Also known is Gnei Nevius, who achieved fame thanks to his comedies. Representatives of the next generations of Roman playwrights were Titus Maccius Plautus, Publius Terentius, and then Horace and Seneca.

The rudiments of theatrical art existed in primitive society, before the appearance of early civilizations. Theatrical art as such originated in the East, and in Ancient Greece and Rome, and then continued to develop in medieval and Renaissance Western Europe and Russia.

Turning to the historical past of the theater, I would like to note that various shows and performances have existed since ancient times. This is due to various circumstances. Firstly, this is the need for rest, secondly, the cognition and discovery of oneself, the world, the human soul, and thirdly, the manipulation of public consciousness. Artistic reflection of reality was accomplished with the help of dramatic action. The interaction of characters, the disclosure of psychological or social conflicts, an attempt to attract the viewer to participate in the implementation of the plan - this is what lies at the heart of the theatrical action.

The historical prerequisites for the formation of theatrical performance appear in the primitive period. As a rule, these rituals were accompanied by spells, singing, dancing, playing ancient musical instruments. The rituals also included various performances directly related to the life of the tribes. An important role was played by the attributes and attire of a sorcerer or shaman, which also created sound effects, enhancing the impact on the audience and participants in the action. Holidays with elements of theatricalization were held in honor of the gods, who were identified with the forces of nature, natural phenomena and elements. This is how the first theatrical performances appeared.

The whole performance was aimed at involving a large number of people, everyone became participants in what was happening. The massiveness of what was happening depended on the purpose of the action, i.e. these were ceremonies and rituals addressed to the gods - it was assumed that the gods see everything and are included in what is happening. Primitive performances, as a rule, were performed by priests, who were believed to be endowed with magical powers and could ask the gods for mercy: a successful hunt, rain during a drought, etc. Some priests "came into contact" with deities right during the performance of a ceremony or ritual. This created the feeling of being chosen, which was reflected not only in the works of the theater, but also in rock art, which captured everything that was happening. There was an understanding of a kind of "professionalization" of some elements of theatrical performance. It seemed that it was possible to prove your recognition to the gods by improving the dialogue or monologue. Thus, the first "professionals" of archaic theatrical forms were priests and shamans. Later they were replaced by mourners, singers, dancers. They glorified the ancient Egyptian, Greek, Roman, Slavic gods: Osiris, Dionysus, Astarta, Baal, Saturn, Yarila, Kolyada and others.

The priests and shamans, realizing the impact of rituals and rituals on society, polished their skills, won power and authority, and ritual actions with theatricalization began to be used by the priests as the most important means for managing public opinion and maintaining order. The functions of the theater gradually begin to form: social, religious, ideological. This was achieved due to the large number of participants in the ceremony and a high degree of emotional involvement of each member of the team in it. There is a need for other types of art (rock painting, small sculpture - figurines of Mother Earth, totem animals, etc., costumes or attire of those participating in the ritual), which enriched theatrical performances and helped create the effect of mass experience. Therefore, the opinion has long been widespread that theater is a powerful means of manipulating public consciousness, with the help of which political, legal, social and other ideas are suggested.

It is impossible not to mention the entertainment function of the theater, which most often takes a priority place. At the same time, entertainment, as a rule, has a hidden connotation and sometimes distracts from pressing problems in society. Suffice it to recall the slogan of the Roman mob of the era of imperial power: "Bread and circuses" (lat. rapet et circenses). The theater was widely used by the authorities to achieve their goals. In addition, the theater not only entertained, but also brought in income. In Rome, tickets were sold made of bone. The construction of the theater of Marcellus (13 BC) was completed, which was very convenient for the audience. The audience reacted violently to what was happening on the stage, expressing approval or indignation with exclamations and shouts. For poor acting, they could be crippled.

It is important to note that rituals and ceremonies had a close connection with the artistic component of any performance. They acted as the basis of a cult, a holiday, and as a result of all this - theatrical performance. And although the interconnection of the ritual or ceremony with all types of art can be traced, it is the theater, as one of the most ancient types of art, that was able to preserve that form of ritual construction of action, which is characteristic only of it.

The close interaction of theater and ritual can be observed in all theatrical systems of antiquity, but the presence of magic was mandatory in those days. The ritual could be carried out without the help of theatrical performances, the effect of perception was simply enhanced when they coexisted harmoniously. The theatrical performance, depending on the purpose, had national significance, since failure to comply with the obligatory ritual schemes threatened the people with disaster. Based on this, later they began to divide the spectacles into ritual and entertainment.

The appearance of the first tragedies is also based on ritual acts. Human consciousness was closely related to nature and its capabilities. Numerous cults have given cause for reflection in these representations. They demonstrated the cruel fate of a hero who did not obey the laws of nature or went against them. The natural elements were inhabited by spirits and deities, which to one degree or another were present in theatrical performances. The involvement of the viewer in what was happening became, as it were, the forerunner of the development of the presentation of tragedies in Greece. Not a single performance was complete without a ritual or magical ceremony.

The stage action that emerged in different eras had common grounds. Magic and ritual forms were gaining scale even when the first states of the East arose. The earliest attempts to create a professional performance were carried out on religious grounds and grew to liturgical dramas, tragedies, comedies, farces, and mysteries. In antiquity, theaters developed with their own traditions, innovative ideas, and stage technology. Interesting forms of spectacles were formed in the states of the Ancient East, in India, China, and Japan. In Western Europe in the Middle Ages, theatrical creativity was spread by wandering actors, in France they were troubadours and trouvers, in Germany - minnesingers, in England - minstrels, in Russia - buffoons, but it should be said that from the 11th century. their performances were subject to prohibitions by the Orthodox Church.

The theater of the Middle Ages most often covered religious issues. The Italian folk comedy of masks is rightfully considered a striking example of professional theater - a comedy del arte (XVI-XVII centuries). The "learned comedy" that emerged in Italy during the Renaissance gave birth to a scientific and literary approach to the stage work. During the Renaissance, the theater became stationary, in large cultural centers special premises were built for dramatic performances. Since that time, the theater has been rapidly developing in all countries of the world. It becomes a place and means of entertainment, captures the masses in its circle, playwrights and directors, actors and great works appear.

New time required new approaches to the presentation of dramatic action: the poetics of classicism and baroque are closely associated with theater, an important aspect is the constant appeal to the theoretical works of Aristotle and Horace. The ideological aspect is directly reflected in the performances of that time. In the era of the Enlightenment, the theater audience became democratic, a new galaxy of playwrights and theater theorists appeared - Voltaire and Diderot in France and Lessing in Germany. A new ideological doctrine of theater emerges. Until the advent of cinematography, the theater will maintain a stable position.

Close attention to the theater will continue until World War II. But with the advent of cinema, the theater was forced to make room. The theater often becomes interesting to professionals and theater fans, to a lesser extent - to the ordinary spectator. At present, interest in theater has revived, and the reason for the new heyday of theatrical art can be considered the innovative approach of directors and graphic designers to the classical repertoire, as well as the emergence of ultra-modern performances that attract the attention of young people. Numerous theater festivals gather a huge number of not only theater experts and theorists, but also ordinary spectators.

The history of the theater is closely connected with the history of states, therefore the main sources of information about the theater are historical, theoretical works and memoirs, which reflect the milestones in the development of theatrical art. At all times, the theater has been an integral part of cultural, social and political life. Each stage in the history of the theater is associated with the names of famous authors who created masterpieces that are the pride of the theatrical repertoire to this day. But the art of theater is momentary, and descendants can only learn from literary sources about the noisy success of certain productions, about the performance of outstanding actors of the past.

We will trace the development of theater in a specific period of time and its place in world culture.

The first theater appeared in Athens, in 497 BC. In Rome, the first stone theater appeared only in 55 BC. ... Prior to that, actors and spectators were content with only temporary wooden buildings.
The performances of the past few years resembled what we mean by the performance today. There could be only one actor on the stage, changing masks and playing several roles at once. The need for masks was due to the large size of the theaters, which could accommodate ten or even seventeen thousand people. It was almost impossible to see the actor's facial features from a long distance, and masks easily solved this problem.

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Educator - S.A. Dementyeva MDOU d / s "Fairy Tale" preparatory group

William Shakespeare is an outstanding English poet and playwright. Lived: 1564 - 1616. The great playwright William Shakespeare said: "The whole world is a theater, and people are actors in it."

The first theater appeared in Athens, in 497 BC

In Rome, the first stone theater appeared only in 55 BC. ... Prior to that, actors and spectators were content with only temporary wooden buildings. The performances of the past few years resembled what we mean by the performance today. There could be only one actor on the stage, changing masks and playing several roles at once. The need for masks was due to the large size of the theaters, which could accommodate ten or even seventeen thousand people. It was almost impossible to see the actor's facial features from a long distance, and masks easily solved this problem.

Theater is a union of all arts, it includes music, architecture, painting, cinema, photography, etc.

There was no theater in Russia until the 17th century. Over the centuries, this cultural niche has been filled with rituals and folk festivals, including elements of theatrical action, and buffoons, musicians, dancers, puppeteers, bear guides.

Types of theater

The first performance took place on October 17, 1672. Tsar Alexei Mikhailovich was so delighted that for 10 hours in a row he did not get up while the performance was going on. The boyars stood: in the presence of the sovereign, they were not allowed to sit down. The day before, the monarch received the blessing of his confessor, Archpriest Andrei Savinov, who assured that the Byzantine emperors also staged theatrical performances. It took Alexei a long time to convince him to allow the use of music, without which it is impossible to arrange a choir. The king reluctantly agreed. The court theater did not have permanent premises. The authorities did not skimp on the cost of costumes for actors and sets for theatrical performances, but saved on payments for Russian actors.

Tsar Alexei Mikhailovich

Portrait of the founder of the first court theater Artamon Sergeevich Matveev. 1801.