As the Great Soviet director Meyerhold was killed. Master Master game

Vsevolod Emilevich met the October Revolution aged 43 years. By this time, he managed to realize himself and as an actor, and as a director. According to Nemirovich-Danchenko, Meyerhold was a "ready-made actor", equally successfully performing dilapidated roles - from a funny water waters to a stubborn old man. And yet he had a favorite image: Chekhovsky Konstantin Treplev. Greedy creative searchThe desire to "break" with existing artistic forms was characterized by Vsevolod himself.

Meyerhold for the theater Grotesque with its unexpected caricature images, entertainment and traditional art traditions. For several years, he studies the People's Spanish, Italian, Eastern Theater Culture. These searches were organically fit in the "Balabanchik" (1907), because of which all theatrical Petersburg was scandaling. The premiere of the play almost turned into a fight, the audience seemed to be broken from the chain. The perturbed aesthetes rushed to the scene to break the scenery, and the second part of the hall did not stop the enthusiastic applause. Any respectful newspaper published the next day a crushing review. The performance really turned out unusual: the building of a small theater with a separate curtain was installed on the scene. According to Meyerhold, in certain moment The scenery was cooked upstairs. The actors played in the half masses, some details of the costumes were made of cardboard. For the pre-revolutionary theater, just say, unexpectedly. The director spat on the face academic traditions, although the symbolists were delighted. "The scenic appearance of the actor should be an artistic fiction, sometimes, perhaps resting on realistic soil, but ultimately appearing in the image, far from identical to what we see in life," there was a creative Manifesto Meyerhold, quite implemented in " Balabanchik. "

Theatrical Russia has found a lot of reasons for discontent. With Russian classics, Vsevolod Emilevich accounted for quite bold, so that very few remained from the author himself. In Meyerholdovsky "Auditor" of Klestakov, for example, becomes an adventurerist: Meanwhile, Nikolai Vasilyevich himself argued that his hero is a momentant lumbered, and not "craft liar." Some scenes Meyerhold threw out, considering that they "take away" action. The actors in the final replaced the dolls. He looked freely with the "forest" of Alexander Ostrovsky.

The premiere of "Masquerade" took place in the midst of the February Revolution

However, few people knew that the director carefully selected documentaries, she studied the biography and works of the author for years to present the public a creatively rethought play. The play "Masquerade" on Lermontov, for example, was preparing for a short 10 years. Rehearsal, albeit episodically, lasted for 6 years. "I traveled all museums, libraries and private storage facilities. We revised many paintings, engravings, inspections, examined the public library, the Academy of Sciences, the Academy of Arts, the Intensdant Museum, Palaces, "Meyerhold wrote.

Scene from the play "Masquerade"

The premiere took place in Alexandrinsky Theater In the midst of the February Revolution. The streets were heard on the streets, in different parts of the city, elemental rallies were gathered. And "Masquerade" gathered a full hall, although the ticket to the parquet was worth more than 20 rubles. For comparison, the average salary of the worker in Russia was at that time 37 rubles. Decoration and costumes cost a whole condition. By the way, today these costumes can be seen at the Museum of the Russian Drama of the Alexandrinsky Theater.

Sketch of a suit for the play "Masquerade"

In the new, "Red" Russia, Meyerhold becomes one of the main theater figures. He supports the idea of \u200b\u200ba campaign play, which serves as a conductor of official ideology. Mayakovsky's plays poses with whom alone and the same images.

Staging "Genuine Curon"

In the first years after the revolution, the director is developing an acting technique, called Biomechanics. She became a counterweight system of Stanislavsky. Vsevolod Emilevich believed that the experiences, which the actor experiences on stage, sooner or later lead it to emotional burnout. The biomechanics also taught the actor, first of all, the laws of movement on the stage in which the correct intonations, facial expansion and emotions are born. To achieve perfection in the movements, the actors were stood by the machine, fencing, engaged in gymnastics. The performances of Meyerhold 20s are saturated with circus tricks. For example, in the production of "generous cuckold" the actors performed complex acrobatic elements. One of them became the "pyramid", symbolizing collectivism. Music in the producer - an experimenter - one of the main actors. This is a rod that combines action. Vsevolod Emilevich, as a rule, worked with the composer, coordinated with him the idea. So it was with Masquerad. Music to the spectral wrote Alexander Konstantinovich Glazunov. Rhythm, and with him and the movements of the actors, changed from the majestically leisurely to the lively, chaotic mood of the ball. Meyerhold demanded that in some scenes the word combined with sound. Rehearsed to exhaustion. A single composition was born, which fascinated the viewer from the first to the last action.

Due to the production of "Balant" scandalous all theatrical Petersburg

Vsevolod Emilevich moved to the status of the counter-revolutionary not in one day. First, in 1922 the director applied for help from Trotsky to get military equipment for the production of "Earth end". He dedicated his performance to him. Secondly, in the 30s, together with his theater, Meyerhold went on long touring abroad. There were still many little things, for example, Music Shostakovich in performances. But most importantly - as an ideologist, besides, too talented, he did not fit Stalin. In the epoch socialist realism Experiments of the director simply no place. Colleagues are raced on it - everything except Stanislavsky.

Vsevolod Meyerhold buried in the general grave

Vsevolod Emilevich puts the novel Nikolai Ostrovsky "How Steel hardened". The premiere did not take place; The performance of the 20s, the revolutionary rise was clearly felt in the performance, which in the 1930s was replaced by universal stubborn, monotonous labor for socialist happiness. The performance of the "lady with camellias" was also a mansion. Main role In this formulation performed the spouse of Meyerhold Zinaida Reich. The story of the love of Paris Curtains, when soviet people Rock back in five-year plan? The arrest of the director was the matter of time.

In 1938, Meyerhold Theater was closed as alien to Soviet art. Vsevolod Emilevich was taken in June 1939. The ruling about his arrest signed Lavrenty Beria. The director was arrested in Leningrad and hastily transported to Moscow. At first they kept on Lubyanka, then sent to Butyard prison. In July, unknown Zinaida Reich was killed. After interrogations, Meyerhold gave testimony that she collaborated with Trotskyists and was a spy. Later from these testimony refused, stating that they were given under the influence of torture. In February 1940 he was shot. Later, Meyerhold was given a certificate of his death, cardiac activity was indicated as a reason.

Vsevolod Emilevich was rehabilitated in 1955.

I. Theater Studio

In 1905, the so-called "Theater Studio" should be opened in Moscow. For almost six months - in the spring - in the "mock-up workshop" of the artistic theater, in the summer - in the park Dupei on Mammontovka in the Yaroslavl Road, in the autumn - in the theater at the Arianbat gate - actors, directors, artists and musicians, collected by K. S. Stanislavsky, with An extraordinary energy was prepared for the opening of a new young theater; But the theater this was not Suszhґdenovo to show his work not only to the general public, but even a close circle of interested in this new theater company. Despite, however, that the Studio Theater has not opened its doors to the public, he played a very significant role in the history of the Russian theater. All the fact that then the advanced our theaters in the nervous excitement and with extraordinary hurry began to visit in their scenes, with confidence it can be said, they scratched them from one source. And all the motives that lay the basis of new stage interpretations were native, meaningful for those who lived in the creative work of the studio. But the historian is deprived of the opportunity to celebrate this phenomenon, because theater's ralotea passed with closed doors, and only a little had sexed to get acquainted with the face of the arresting theater. Shaft. Brucers wrote about the general rehearsal of the "death of the tentupile" as follows: "I was among the few, who was lucky to see in the studio the general rehearsal of the" Death of the tentupile "Meterlinka. In general, there was one of the most interesting performances, which I saw in life." While inside the theater studio, work was boiling, from newspapers and magazines it was possible to learn: 1) "This spring (1905), a three-year existence of a new drama partnership was fulfilled (1902-1905), and this third year became the last. The new drama partnership no longer exists. Enereprenener Meyerhold returns to Moscow again, to the Art Theater, to Stanislavsky. Stanislavsky organizes a new troupe, at the head of which will stand Meyerhold. The repertoire "modern". 10-15 pieces. Post by the provincial ride. In addition, the organization of the evening With the participation of the troupe of this new theater. Evening will be fell by foreign and Russian poets (Baudelaire, E. By, Verjnun, V. Bryusov, Balmont, Vyach. Ivanov, A. Whom, etc.). " 2) "The Branch Office of the Art Theater (Theater Studio), arranged under the head of the Stanislavsky and the direct control of Meyerhold, will be in the Girsh Theater, at the Arbat Gate. The purpose of this enterprise is to put in the province of seriously directed and well-set troupes and theaters." 3) "Communication with the artistic theater will appear, the main way, in principle, in the sense of the same foundations of the" thin "production of works, but with some distinction in the repertoire." 4) "I wonder if this theater will be the carrier and continue the convictions of the artistic theater, or will the new aspirations and the search for dramatic and theatrical art? "The last question remained the same outdoor. It remains unclear and the face of the theater, who accepted in his repertoire Meterlink next to Gorky, Psibushevsky near Ibsen, Verjars near the field (" Russian heroishness "). Nobody knew whether the theater really did not know -studiya - the branch expulsion of the artistic theater, that is, whether these two theaters are located - the artistic and studio - in ideological terms in the same connection, such as, for example, Moscow small and new theaters. Theater Studio was founded by K. S. Stanislavsky. True and the fact that I entered this business director with the core best power From the community of a new drama, but the Studio Theater was actually not the Fianal Branch of the Art Theater, although K. S. Staniґslavsky and wanted him to become such. This reference is needed in order to know that the theater-studio burned his life freely, and, as it seems to me, that is why it is soon and easily freed from the art theater, so soon and easily refused to make ready-made forms and strive and bravely new worldTo start your construction from the bottom. The first meeting of the staff of the Studios took place on May 5, and already at this meeting such notes were sounded: modern forms dramatic art have long experienced themselves. The modern viewer requires other techniques. The art theater achieved virtuosity in the sense of vital naturalness and natural simplicity execution. But there were dramas that require new techniques in setting and execution. The Studio Theater should strive to update dramatic art with new shapes and receptions of the stage performance. Judging by the fact that the actors read the passage from Antoine, it was apparently about the movement of the young theater forward in the sense of only evolutionforms found by the Art Theater. And finding new visions in the dramatic literature the corresponding new forms of incarnation on the stage still did not mean to tear with the past so boldly, as did it later in his work theater-Studio. "Lightly theater with his naturalness of the game is not, of course, the last word and does not think to stop at the point of freezing;" Young Theater "along with his sonor (artistic theater) must continue to go further." So, theater studio, as it seemed, was to have evolve And, perhaps, it is not otherwise to evolve as the path of the wonderful theater. But in June, at the opening of the rehearsal barn in Mammontovka, one of the guests wished that the studio would not imitate the art theater. To find for the literary forms of a new drama, the corresponding technique of staging and updating the stage artworks of new technical techniques, artists and directors (troupe left until June) deepened for a whole month in the MAKE workshop, which the artistic theater kindly provided them. May Month of the Studio Theater was significant. In the fate of further experiences of the leaders of the Studio-Studio Spring played a fatal role. The plans of the plains of the play in the maquette workshop "Pishing," Snow "psybyshevsky," Soldier Sun "Rashild," Colleaga Campton "and" Holiday Reconciliation "Hauptman," Sphinx "Tetmayer," Seven Princesses "Meterlinka and" Woman In the window "Hoffmanstal. Artists worked together with the directors: Denisov, Ulyanov, KN. Gugunava and golst. But working on the layout, as a way of looking for lines, corners and mood of scenery, - craft, unacceptable for the artist. If the director and the artist is one sense of a picturesque school, the director gives a drawing (plan), the artist for this figure gives the harmony of the paints, the location of colorful spots. Such a joint work of the director and the artist gave a number of sketches. The directing sketch of the coal or pencil of the pattern of schematic movement of lines - or (if the latter does not own the paint) sketch of the scenery in the paint, made by the artist, is quite enough to go to the scene besides layout. Therefore, when there were a lot of layouts depicting Interieur "BI and EXTERIEUR" BI, how they are in life, the layout of the workshop suddenly dimmed, was already angry and nervous and waited for a chance when someone first shifts that it's time for all ma buttons to burn and Melt. However, in the path passed did not have to repent. It was this craft that served the service theater. Everyone understood: once the glue of layouts is so complicated, it means that the entire theater machine is complex. Belight in the hands of the layout, we are spinners in hands. Modern theater. We wanted to burn and trample layouts; We were already approaching to trample and burn outdated techniques of the naturalistic theater. The first impetus to the final rupture with the layout was given by the artists of Sapunov and Sudiykin. It was the first impetus for the search for new, simple expressive drugs on the scene. They were entrusted to "resolve" the "death of the tentaxile" Meterlinka. For the work of this, they took up with trepidation, since both attracted to decorative painting And both loved melligan, but also the other promised to submit sketches, and some of the glukets were refused flat. Only then, when the sketches were ready, they agreed to solder and cut the layouts, and only only the actors would move to move, otherwise, in order to be moving, in other words, in order to be visible, where the scene will be located on the stage The canvas where the floor of the scene, where the platforms, etc., were learned about the works of Sapunov and Sudaiykin, about the fact that they were "allowed the" Plane's Death "plan" on the planes, according to the conditional method, the work of other artists I completely fell out of the hands. And this is the period of negative attitude towards layouts and the reception of impressionistic plans was originated, it was plans that the artists who agreed on the compromise and the removed craft - adhesive in the layout of architectural details (the task of the Natuґralistic Theater), - Of course, did not want to sacrifice their manner Letters. And no matter how the interieur "BI and EXTERIEUR" batted in the Interieur "BI and EXTERIEUR" BI was approaching, yet each of the artists tried to soften this coarse naturalistic technique (building an apartment, gardens, streets on stage). The fineness of the ideal color colors and focus of the location of light effect ). Former layouts abandoned. I boiled a new job. Denisov in the first act of "CRAMPTON" (artist's workshop) instead of comiannata in its entirety, with all the details only gives the saphny bright, large spots characteristic of the workshop. The configuration of the workshop when the curtain opens, is expressed only by one enormous web, which occupies half the scene, expanding the attention of the viewer from all sorts of details; But so that such a big picture does not scatter the viewer with his story, it is recorded alone alone, yet the rest in the picture is slightly made by coal outlines. The edge of the large top window, through the cooler visits of the sky. The staircase for the Scriptures of a large canvas, a large table, a ottoman, required by the play, and a mess from sketched on the table of etudes. The principle of stylization was put forward. Home work In this direction belongs to the artist Ulyanov: The play of Hauptman "Slobe and Yahu" (Somieceser Vl. E. Remonim). The production of this play was intended to withstand in the style of "century powder." In the first edition all these were very complex structures. Joke to say, build rooms and halls of the Louis and their gardens in photographic pictures from nature or on rґsunks sculled from the valuables of this magnificent era. But when the stylization principle was finally strengthened, there was a permitted and easily, and quickly. Instead of a large number of parts - one or two large smears. The first act: the goal of the castle, whose hunters find a drunken slobe and yau. On the stage shows only the gate with a round-knitted door, decorated at the top of the bronze statue of the Amur. Gate at the advantage itself. They are striking their grandeur, so they are huge and so lush. Through the gate is not visible the castle, but the viewer immediately perceives the style of the era, and the wealth of those who live behind these gates. And the figures of the slut and yau next to the lush gate immediately create a contrast for the play and introduce the viewer into the tragicomedy plane, satire. The mood of the royal bedroom is synthesized with a ridiculous mix of exaggerated sizes, with incredible ballads. All the scales are exaggerated to the impression of royal pomp and comic-prim wealth. Satire sounds immediately, as in the drawings. Heine. In the third picture, the conventionality of reception is brought to the highest limit. The mood of idleness and intricateness is expressed by a number of chickening arbors like baskets that stretch across the Avantsen. Rear curtain (background) - Blue sky in bachers. Horizon lines - Punch roses for the entire length of the scene. Crynolines, white wigs, costumes of acting persons are combined into the colors of the scenery and, together with it, express one picturesque task: pearl symphony, charm of paintings by K. A. Somov. Before raising the curtain - a duet in the style of the XVIII century. Lift the curtain. In each gazebo-basket sit: in the middle zipselil, on the sides of the court ladies. All embroider the same wide ribbon needles from ivory. And all in the beat, as alone, but a duet of the accompaniment of Clausius and harp. Music and rhythmic: movements, lines, gestures, words, paints of scenery, paints of costumes. All that had to be hidden from the public, all these so-called spans were hidden by conditional canvas, without worrying about the fact that the audience forgot that he was in the theater. To the question of the then periodic press: "Interesting, will this theater (the theater studio) beaded by the carrier and the successor of the belief of the artistic theater, or will the new striving and the search for dramatic and theatrical art? "It could only be given an answer. It happened that the Studio Theater did not want to be a carrier and the successor of the convictions of the Art Theater, but rushed into the construction of a new building from the ground. At the studio's theater, a literary bureau is created, and to participate in his work are attracted Our outstanding poets of new literature groups: "Weighs" and "Questions of Life". This authority is the LEUTURE Bureau - must deliver the theater interesting works of the newest dramatic literature all countries. The culmination of the literary bureau is charged with the shaft. Bryusov, which then takes the most participation in the theater affairs. From the further chapters of my work it will be clear why Bruces was brought to the nearest participation in the theater. Theater Studio became a quest theater. But it was not so easy to get rid of the Natuґralistic Path of the Maingen School. When something fatal happened, and the theater "plowed, did not have time to flourish," in the "scales" shaft. Bryusus wrote: "In the studio theater, in many ways there were attempts to break with the realism of the modern scene and boldly take the assurance as the principle of theatrical art. There were more plastics in the movements, which imitates reality, other groups seemed pompsey frescoes played in a living picture. Decorations Not at all were considered with the terms of the reality, the rooms were without a ceiling, the castle columns are delivered by some Lianans, etc. The dialogue sounded all the time against the background of the music involving the soul of students to the world of metrylinkovsky drama. But, on the other hand, the powerfully gave himself to know The habit of the traditions of the scene, the long-term learning of the artistic theater. Artists who have studied the conditional gestures of which were dreaming preyphalite, - in intonation, they still sought to deal with the real right of conversation, they tried to pass the passion and excitement to the voice, as they express in life. The decorative situation was conditional , but in detail is sharply realistic. Where director's scratch ended Inhabited ordinary actor playAnd immediately it was clear that they play bad actors, without a true shko and without any temperament. The Studio Theater showed for everyone familiarized with him that the theater was impossible to re-create the theater. Or it is necessary to continue the building of Antoine Stanislavsky Theater, or start from the ground. "Implementation of the intentions in the entire fullness prevented the main thing about the fact that the troupe of the studio-studio was gained to be before May (the month of sharp turn towards the gap with Maingenism) and its main part consisted From students of scenic centers of the artistic theater. For new requests of the theater studio after the May period, that is, just when the director has started rehearsals, it became clear that he was needed by a different matter, more flexible and less sophisticated in the delights of the define theater. At the theater - There were no troupes. Two or three actors from the school of the art theater, two or three actors from the comradist of the new drama were perceived new method. But the majority were of the scenic courses of the Art Theater, and the director of the Studios appeared the task - not to work with actors over the embodiment of the repertoire, and only to prepare them for this razhnote, a number of experiences, prepare them only to the perception of the fragrance of the new method. And then I got a thought that the School in the theater was poison for the actors, in it studying that the school should stand independently, it should not learn how to play now. The school should be delivered so that the theater was born of, and therefore, the disciples from this school one - or to a new theater, only by them created, or anywhere. And the school at the theater, if it does not serve only onegoals - fill the thinning frame histheater, - such a school during overproduction replenishes other theaters, harmful only by this last: such actors everywhere strangers, no matter how good they are in terms of his Schools. Theater Studio was the theater of the search for new stage forms. This circumstance would make theatrical criticism with particularly careful care for his work: she would celebrate the path passing the theater and thereby helped the right movement forward. But all the work of the theater proceeded invisible. And all the fact that this theater broke, and everything that he mined and remained not suspended. The theater did not open their doors to the public, and the story is deprived of the opportunity to weigh the value of the experience gained. As far as, however, there was a great effect of the theater studio for the further fate of the Russian theater, one can judge by the fact that after his death, whenever the outstanding performance was put in Moscow or St. Petersburg, the same theater studio was remembered. When he took place in the Art Theater "Drama of Life", in one of the Moscow newspapers it was printed that the play was delivered according to the ideas of the Studio Theater. In the "Theater and Art" it was noted that all this idea (the attempt "stylization") has a source of the artistic theater, as well as everything conducted by me in the Dramatic Theater V. F. Commissioner, was also, according to theatrical criticism of Cugel, I me in laboratories in the artistic theater. And here it is noted that the source of all new quest and directions is the same theater Studio. Help the future historian of the theater is correct to evaluate the meaning of the studio, to help those figures scenes that painfully want to find new expressive funds, to help the viewer to articulate themselves, which is spiritual to the theater of a new drama than he lives, what is his search - here is my goal. To this end, I am trying to tell you more about the work that the theater-Studio committed is possible, it is possible to fully reveal the experiments, they are mined. It is possible to fully reveal the process of the incontinance of the principles of a new stage, which formed the basis of the conditional theater, and trace the development of that flow, which was washed away the principles of the naturalistic theater, which replaced by their principles of the conditional theater. It would be possible to note here first of all those services that had theater studio provincial partnership of the new drama, the first criticism of naturalistic techniques, the benefit of participation in the case of A. M. Remizov, who, headed the literary bureau of the partnership, the most energetically pushed the work of young wrestlers in new areas; But it would be too increased my work. It is enough to say about what I did in the revolution of the modern scene (not evolution, as expected) theater studio, and how he, looking for new paths, influenced the work of the theaters and those that arose after his death. Working on one play ("Comedy of Love") led to the critical of the Type theater and opened the insight into the area of \u200b\u200bthe Synthetic Theater, and the work on another play ("Death of Tentup") gave the method of location on the stage of shapes on bas-reliefs and frescoes, gave a way to identify Internal dialogue with the help of the music of the Plastic Movement, made it possible on the experience to test the power of artistic stress instead of the former "logical" and much more, what I will say on; Work on the third play ("Cleat and Yau") taught only the main thing, the "quintessence of life", as Chekhov said, discovered the difference between reproduction on stage scene and styling stage positions.And in all the works than more cheerful they boiled, more and more were the mistakes that our older brother was manifested - an artistic theater. Describe - to me, the head of the partnership of the new drama and theater studio, passed the path in the search for new stage forms - it means to give criticism of those forms that seemed to me not only outdated, but also harmful. The main enemies were the principles of Meiningen, and since the art theater in one part of their activities was followed by the Mainingen method, then in the struggle of mine for the new stage-old forms, the Art Theater had to declare his enemy. To come to present the principles of the conditional theater, I can not tell me how in the search for new ways, I gradually got away with my disadvantages of Maingen reception, and that in the experiments of the main leader of the artistic theater I seemed necessary to overcome. Highly appreciated the huge merits of the artistic theater before the story of not only the Russian, but also the European modern theater, yet I would have sacred in front of myself and before those who give this work if I had not touched the mistakes that I had to come to a new staging method. A number of thoughts regarding the artistic theater I give, the form, as they arose then, at the time of work in the Association of the New Drama and in the Studio Theater.

II. . Natural Theater and Mood Theater

The Moscow Art Theater has two faces: one - theater Naturalistic, Other - theater of the mood. The Nationalism of the Art Theater is Naturalism, borrowed by Meiningen. The basic principle - precision reproducing nature. On stage, if possible, everything should be hereby:points, stucco cornices, fireplaces, wallpapers, furnace doors, outstands, etc. On the stage fled the waterfall and rained from the real water. Remember the chapel, shot down from the real tree, a house, founded by a thin wooden plywood. Double frames, wool between them, and glass, twisted by frost. Clear and detailed all the corners on the scene. Fireplaces, tables, shelves are forced by a large coincidence of small things that are visible only in binoculars and a Curious Curious persistent viewer will have time to see for no one act. Spooky public thunder, on the provistela ride the round moon on the sky. It can be seen in the window, as a fioard is a real ship. Building on stage not only of non-rigid rooms, but also a few floors with real stairs and oak doors. Breaking and rumbling scene. Limelight. Many sofify. The canvas on which is shown heaven by semicircle. In the play, where the village courtyard should be presented, the floor will be resurfaced by dirt from Papier Masha. The layer is seeking what the Yang junction is striving for in their panorama: so that the drawn was poured with the present. Like yana juni, in the naturalistic theater the artist is creating in closecooperation with a joiner, carpenter, butphor and a layer. In the production of historical plays, the naturalistic theater holds the rules - turn the scene to the exhibition of entries of museum objects of the era or at least copied according to the drawings of the era or by photographicsnapshots, deposited in museums. Moreover, the director and the artist are striving to set up, as accurately as possible, year, month, day, when the act is happening. They are not enough for them, for example, that the action hugs by the "century of powder." Fancy boss, fabulous fountains, curly matted tracks, rose alleys, stised chestnuts and myrtle, crinolines, whims of hairstyles - All this does not enthrain the director of naturalists. They need to be accurately installed, which sleeves are worn under Louis XV and what they differ hairstyles Louis XVI. from hairstyles ladies Louis XV. They will not take the reception of K. A. Somov for a sample - to stylize this era, and they will try to reach the magazine of the year, month, the day, when, as directed by the director, an action takes place. So was created in the Naturalistic Admission Theater - copying historical style.With this reception, it is quite natural that the rhythmic architectonics is such, for example, the plays, as "Julius Caesar", in its plastic struggle of two heterogeneous forces - is not at all noticeable and, it means not reproduced. And none of the leaders were aware that the synthesis of "Caesarism" could never be created by a kaleidoscope "life" scenes and bright reproducing typesfrom the crowd of that time. Art makers are always expressed brightly characteristic.These are all living faces, such as we see them in life. Accurate copy. Obviously, the naturalistic theater considers the face of the main expression of the actor's plans, as a result, it overlooks all other means of expression. The naturalistic theater does not know the charms of plastic, does not cause actors to train their body and, creating a school with the theater, does not understand that physical sportmust be the main subject, if you dream about the production of "Antagon" and "Julia Caesar" - plays, on the music of your belonging inomatheater. There are always many virtuoso cleaners in mind, but poses and rhythmic movements - never. When "Antagona", the re-salesser somehow unconsciously expressed the desire to group-actors on frescoes and drawings on the vases, but the fact that he saw the director on excavations was not able to synthesize, stylized,but only photographed. On the stage, we have a number of groups are all reproduced copies, like tops in a number of ramped hills, and between them, like ravines, "life" gestures and television, dramatically disharmoning with the internal rhythm of reproduced copies. The naturalistic theater created actors extremely flexible to reincarnation, but the means to such serve not to the task. plasticsand make-up and the ability to submit a language to different accents, dialects, and voice-making voice. For actors, a task is created - lick shameinstead of developing aestheticism, it would be nasty reproduction of externally coarse, ugly phenomena. The actor creates an inherent photographer-love the ability watch little things everyday life. In Khleshtakov, according to Gogol, "nothing is measured with a sharp", and at the same time the image of the horstykova is very clear. In the interpretations of images, the sharpness of the outlines is not at all necessary for the clarity of the image. "Sketches of great masters are often more stronger than the legislative paintings." "Wax figures, despite the fact that the imitation of nature reaches the highest degree here, still do not produce aesthetic action. They cannot be considered artistic products, because they do nothing. fantasy viewer " . The naturalistic theater teaches the actor to expressing certainly a bright defined;never allow the game with hints, conscious inadmaking. That's why so frequent replay In the naturalistic theater. This theater does not know the Games at all. But in some of the actors even during the period of hobbies with naturalism already gave the moments of such a game on stage: Tarantella Dance V. F. Commissarzhevskaya in "Nore" - expressions of posture and only. Movement of legs is only nervous rhythmic. If you look only on your feet, rather escape than the dance. The artist of the naturalistic theater, having learned from the dancer, in conscientiously all passes, finally finish the whole game, puts the whole temperament in the dance process. What is the impression of such a game on the viewer? The viewer coming to the theater has the ability to add an underestimated imagination. Many attracts this secret to the theater and the desire to solve it. "The works of poetry, sculptures and other arts contain the treasures of the deepest wisdom, as the whole nature of things are in them, and the artist only clarifies and translates it to a simple and understandable language. But it goes without saying that anything that reads and considering what "Along the work of art, must, with its own means, contribute to the detection of this wisdom. Therefore, everyone will understand it only as its abilities and development, it is like a sailor can immerse his lot only on such a depth that corresponds to his length." And the viewer coming to the theater will undoubtedly craves, although unconsciously, this work of fantasy, which sometimes turns into his creative. Without this, could you essential picture exhibitions, for example? The naturalistic theater obviously denies the visibility in the auditor to draw and dream, as when listening to music. Meanwhile, this ability to have a viewer. In the play of Yartseva "at the monastery," in the first act, depicting the interior of the monastery hotel, is heard a blaspielic ringing of the evening. There are no windows on stage, but by the ringing from the monastery bell tower, the viewer paints the courtyard in his imagination, littered with boulders of bluish snow, ate, as in the picture Nesterov, the trotted paths from the cells to the celians, the golden domes of the Church, - one viewer draws such a picture, the other - Other, third third. Mystery owns the audience and entails them into the world of dreams. In the second act, the director already gives the window and shows the viewer the courtyard of the monastery. Not those ate, not those blocks of sleep, not the color of the domes. And the viewer is not only disappointed, but also angry: the mystery and dreams disappeared. And that the theater was consistent and persistent in this exile from the scene of the power of the Secrets, proves the fact that during the first formulation of the "seagull" in the first act not visible, where the actors from the scene were left. Running through the bridge, they disappeared in the black spot of thickets, somewhere(then another artist of the theater worked without layoffs); And when renewing the "seagull", all corners of the scene were naked: a gazebo was built with a real dome and with real columns, and was on the scene of the ravine, and it was clearly visible as people go to this ravine. Under the first formulation of "Seagulls" in the third act, the window was on the side, and the landscape was not visible, and when the actors were included in the front in Kaloshi, shaking hats, blankets, shawls - Dickped autumn, drizzling, on the courtyard of the puddles and squabs on them . With the resumption of the play on a technically advanced window scene, the windows are cut against the viewer. Landscape is visible. Your imagination is silent, and so that the actors speak about the landscape, you do not believe, he can never be as they say: he is drawn, you see it. And departing on horseback with the buboins (in the final of the third act) in terms of the first production only felt behind the scene and brightly painted in the imagination of the viewer, in the plan of the second stage, the viewer demands that these horses are visible with the Bubarens, it is visible to be visible people. "The work of art can only affect the fantasy. Therefore, it must constantly wake it up," but it is to wake, but "not to leave in withaction", trying to show everything. Wake fantasy prerequisite aesthetic action, as well as the basic law of fine arts. It follows that the artwork should not allgive our feelings, but just so much to send a fantasy to the truth path, giving it the last word. "" You can not take a lot, the viewer himself announces, and sometimes it will still be an illusion in it, but to say too much - it's not like that , pushing, scatter a statue made up of pieces or remove a magic lamp lamp. "Somewhere at Voltaire : "LE SECRET D" ETRE ENNUYEUX, C "EST DE TUT DIRE". And when the spectator's fantasy is not sleeping, it will be, turning around, sophisticated, and then art will be sophisticated. Why could the medieval drama be done without any stage device? Thanks to the lively imagination of the viewer. The naturalistic theater denies not only the ability to dream, but also the ability to understand smart conversations on the stage. From here this painstaking analysisall the dialogues of the Ibsenian plays, which turns the works of the Norwegian playwright into something boring, tight, doctrine. It is here, when setting on the stage of Pieces of Ibsen, it is clearly affected by methoddirected by naturalist in its creation. The dramatic work is divided into a series of scenes. And each such a separate part of the work detailed analyzed.This detailed analysis is deepened by the director in the smallest stage of the drama. Then, from these detailed intelligence parts gluits the whole. This gluing parts into a whole refers to the art of the director, but when I concern this analyticalthe work of the director-naturalist, then not about gluing the work of the poet, actor, music club, the artist, the director himself in one whole, not about this art there is a question. The famous critic of the XVIII century pop in his didactic inherent "Experience about criticism" (1711), listing the reasons that prevent criticism to pronounce true judgments, among other reasons, among other things, and to pay attention to the habit in particularthen, as the first task, the critic should be the desire to become the point of view of the author himself, in order to look at his work generally. The same can be said about the director. But the director-naturalist, deepening his analysis in some parts of the work, does not see the paintings wholea, fonding the Filipian work - finishing some scenes, representing the grateful material of creative fantasy, as a pearl "Characterness", - flows into a violation of equilibrium, the harmony of the whole. On stage is very expensive time.If some scene, which, according to the author, should be fleeting, it goes longerWhat should be, it lies with the burden on the next scene, which is very important according to the author's plan. And the viewer, which looked longer what he should soon forget, tired for an important scene. Her director is detained, therefore, in the screaming frame. Such an observation of the harmony of the whole memorial in the interpretation of the director of the art theater of the third act of "Cherry Garden". In the avâteter so: the leitmotif of the act - the premonition of the Ranevskaya challenge thunderstorm (sale of the cherry garden). Everybody lives around somehow stupidly: here are satisfied - they are dancing under the monotonous stripping of the Jewish Orchestra and, as in a nightmarish whirlwind, are circling in boring modern danceIn which there is no hobbies, nor Azarka, nor grace, nor even ... lust - they do not know that the Earth, on which they dance, leaves from under their feet. One Ranevskaya foresees trouble and is waiting for her, and dares, and for a minute, stopping the wheel, this nightmare dance of puppets in their boobanchik. And with a moan dictates people of crimes, only they were not "purelty", because through the crime you can come to holiness, but through the medium - nowhere and never. The following harmony of the act is created: Ranevskaya's moans with its foreboding of the on-shifted misfortune (the fatal beginning in the new mystical drama Chekhov), on the one hand, and the female puppets, on the other hand (No wonder Chekhov makes Charlotte dance among the "man in the streets" in a suit, favorite in the theaters of puppets - Black Frak and Checkered Pantalon). If you translate to the music language, it is one of the parts of the symphony. It contains in yourself: basicthank you melodywith changing moods in Pianissimo and outbreaks in Forte (Estressing Ranevskaya) and background- Dissenising accompaniment - a monochrome biffement of an inholic orchestra and a dance of living corpses (inhabitants). Here music harmony Act. Thus, the scene with focus is only one of the visions of this dissonance tearing melody silly dance. It means that it should be a fusion with the scene of the dance - only for a minute to break through and disappear again, to merge with dancing, which, as the background, however, can sound all the time in the deaf accompaniment, but only as the background. The director of the art theater showed how harmony act can be broken. He is from focus makes a whole scenewith all the details and things. It goes long and difficult. The viewer focuses on her attention for a long time and loses the leitmotif of the act. And when the act is over, the melodies of the background remain in memory, and the leitmotif of the power has disappeared. In Drama Chekhov " The Cherry Orchard", As in METERLINK Drams, there is a hero who is invisible on stage, but it felt whenever the curtain descends. When the curtain of the Moscow Art Theater was lowered at the play of the" Cherry Garden ", the presence of such a hero was not felt. In memory there were types. for Chekhov People "Cherry Garden" means, not essentially. But in the art theater, people became an essence, and the lyric-mystical side of the "Cherry Garden" remained unbearable. If in the plays of Chekhov privatedistracts the director from the picture wholedue to the fact that the Impressionism abandoned on the canvas images of Chekhov constitute a profitable material for drawing them into bright, certain figures (types), then ibsen, according to the director-naturalist, it is necessary explainpublic, as he is not clear enough to her. First of all, the production of Ibsenian plays creates such an experience: to revive "boring" dialogues with something - food, room cleaning, the introduction of styling scenes, wrapping sandwiches, etc. In the "Edde Gableler" in the scene of Tesman and Aunt Julia, they served a paradise. I remembered well how deftly ate the executor of the role of Tesmaґna, but I unwittingly did not hear the exposure of the play. In the Pieces of Ibsen, in addition to a certain drawing of the "types" of Northwhere, the director is sophisticated in the underscore sophisticatedin his opinion, dialogues. And remembers the essence of the drama of the ibsen "Pillars of the Company" from such detailed analytical work completely stunned in the sophistication of the analysis busyscenes. And the viewer who knew the play well in reading, on the performance sees a new play, which he does not understand because he read another. The director highlighted a lot of secondary introductory scenes to the fore and opened their essence in them. But after all, the sum of the entities of the introductory scenes does not constitute the essence of the play.There was a convex of an act of an act of inflaming his fate in the sense of understanding the public, despite the fact that the rest slipped in front of him as in the fog. The desire for anything showall, fear of secrets, shortly turns the theater in illustratingwords of the author. "I hear the dog's dog again," says one of the actors. And certainly reproducedhowl dogs. Check out the viewer will learn not only by removing buberts, but also on the knocking hooves along the wooden bridge across the river. Rain knocking on an iron roof. Birds, frogs, crickets. On this occasion, I bring the conversation A. P. Chekhov with actors. A. P. Chekhov, who came just the second time on the rehearsal of "Seagulls" (September 11, 1898) in the Moscow Art Theater, one of the actors tells that in the "seagull" there will be squall frogs, the crack of the dragonflies, bark dogs. - Why is it? - Anton Pavlovich asks the disgruntled voice. "Really," the actor answers. "Really," A. P. repeats, grinning, and after a little pause says: - Scene - art. Kramsky has one conversation pieceon which the faces are superbly depicted. What if on one of the faces to cut a drawn nose and insert alive? The nose is "real", and the picture is spoiled. Someone from the actors proudly tells that at the end of the third act of "Seagulls" the director wants to introduce all the courtyard on the stage, some kind of woman with a crying child. Anton Pavlovich says: - Do not. It is equivalent to what you play on Pianissimo pianissimo, and at that time the piano lid fell. - In life, it is often that Forte breaks at Pianissimo at all unexpectedly, "someone from the actors group is trying to object. "Yes, but a scene," says A. p., "Requires a certain convention. You have no fourth wall. In addition, the scene is art, the scene reflects the quintessence of life, do not need anything superfluous on the stage. Is it necessary to explain what sentence is prompted by the natural theater itself by A. P. Chekhov in this dialogue. Naturally, the theater was tirelessly looking for the fourth wall, and it led him to a whole row absurds. The theater was in power of the factory. He wanted to be on the stage all "as in life," and turned into some kind of lava museum objects. Believing Stanislavsky that the theater sky will ever be able to seem to the public with the present, painful care of all theatrical directors becomes: raise the roof over the scene as above. And no one notices that instead of alterations of scenes (which is so expensive), it should be broken by the principle that is based on the naturalistic theater. Only he, this principle, led the theater to a number of absurds. You can never believe that this wind shakes the garland in the first picture "Julia Caesar", and not the hand of the worker, because the plates on the actors do not swing. The active persons in the second act of "Cherry Garden" walk on "real" ravines, bridges, near the "real" chapel, and from the sky, two large pieces of painted in the blue color of the canvas with tlevels, not like neither on the sky, nor on the clouds . Let the hills on the battlefield (in Julia Tseґzara) are built so that they seem to be gradually reduced to the horizon, but why the acting persons do not decrease, which are removed from us in the same direction as the hills? "The generally accepted scene plan deploys large depths of landscapes in front of the viewer, however, in accordance with the background of these landscapes, show human figures are expandingly smaller. And meanwhile, such a scene claims the faithfulness of the playback of nature! Actor who has gone from the ramp of ten or even twenty Meters, looks like the same greater and with the same details, as when he was at the most ramp. And meanwhile, according to the laws, the prospects for the decorative life of the actor should be removed as far as possible and, if you need to show it in a true relationship with the surrounding de-reliances , houses, mountains, it should show it strongly reduced, sometimes silhouette, sometimes only a stain. " The present tree next to drawn seems rough and unnatural, for it contributes a disharmony with its three changes next to the painting having only two dimensions. It would be possible to bring the darkness of examples of those absurds to which the naturalistic theater came to what the principle of approximately reproduction was based on. In the subject of rationalistic, photographing, to illustrate decorative painting text of dramatic work, copying historical style - has become the main task of the naturalistic theater. And if naturalism has led the Russian theater to a complicated technician, the theater Chekhov - the second face of the artistic theater, showing power moodon stage, - created thenwithout what the Meininen Theater would have long died. And at the same time, the naturalistic theater failed to benefit from this new tonechekhov Music made in him. The Mood Theater is suggested by the work of A. P. Chekhov. Alexandrian theater, who played by his "Seagull", did not catch this suggestion author of the mood. And the secret was not at all in crickets, not in Laa dogs, not in real doors. When the "seagull" walked in the Hermitage building of the Art Theater, a carwas not yet well improved, and technicsnot yet spread its tentacles to all the corners of the theater. The secret of Chekhov sentiment was hidden in rhythmhis language. And this rhythm was heard by the actors of the art theater in the days of rehearsals of the first Chekhov production. And he was heard through his lover in the author "Seagulls". The artistic theater of the rhythm of Chekhov's works, I don't have to recreate this rhythm on the stage, he would never have acquired this second person who created him a reputation of the mood theater; It was naughtface, not a mask, borrowed by Meiningen. The fact that the artistic theater managed under one roof with a naturalistic theater shelter and the theater of the mood was deeply convinced, A. P. Chekhov himself helped and precisely the fact that he himself attended the rehearsals of his plays and the champion of his personality, as frequent conversations With actors, affected their taste, on their attitude to the tasks of art. This new face of the theater was created by a certain group of actors who received the name "Chekhov actors" in the theater. The key to the execution of Chekhov plays was in the hands of this group, almost invariably fulfilled all the plays of Chekhov. And this group of persons should be considered the creator of Chekhov rhythm on the stage. Always when I remember this active participation of the actors of a thinly theater in the creation of the images and moods of "Seagulls", I begin to comprehend how a strong faith in the actor originated in me as the main scene factor. Neither miseans, nor crickets, nor the knock of horsepone hoofs on the bridge - it did not create it mood,but only the exclusive musicality of performers who caught the rhythm of Chekhov poetry and managed to raise their creations by the lunomy haze. Harmony was not violated in the first two productions ("tea", "Uncle Vanya"), while the creativity of the actors was completely free. Subsequently, the director-naturalist, firstly, makes an ensemble - essence, and secondly, loses the key to the execution of Pieces Chekhov. The creativity of each of the actors becomes passive, once the anґsamble is being made to the essence; director, retaining the role of the conductor, strongly affects the fate of the captured new toneand, instead of deepening, instead of penetrating the essence of lyrics, the director of the naturalistic theater creates a mood of the sophistication of external techniques, as darkness, sounds, accessories, characters. The director, catching the rhythm of speech, will soon lose the key to the conduction (the third act of the "Cherry Garden"), because it does not notice how Czechs from sophisticated realism moved to lyricism, mysticious in-depth. We find the key to the execution of the plays A. P. Chekhov, the theater saw a template in it, which began to put on other authors. He began to perform "in Chekhovsky" Ibsen and Meterlinka. We wrote about Ebsen in this theater. He came to Meterlinka not through the music of Chekhov, but in the same way of rationalization. The actors of the "blind" were divided into characters, and death in the "uninhabited" was in the form of a cloud of Tulle. Everything was very difficult, as in general in the naturalistic theater, and not really conditionallylike, on the contrary, everything is conditionally in the plays of metaillinka. The artistic theater had the opportunity to get out of a dead end: to come to the new theater through the lyrical talent of Music Chekhov, but he managed to subordinate to the music in the future work and different things and by the end of his activities lost the key to the execution of the author - completely just like The Germans lost the key to the execution of Hauptman, who launched a domestic play, began to create plays ("Slobe and Yau" and "and Pippa"), requiring other approach to them.

III . Literary foregoing about the new theater

I read somewhere that the scene creates literature.This is not true. If there is an impact on the literature on the scene, then only one thing: it doesn't at all delay her development, creating the Pleiad of writers "under the dominant direction" (Chekhov and those that "under Chekhov"). New Theater.grows from literature.In the breakdown of dramatic forms, the literature always took the initiative. Chekhov also had a "seagull" before the art theater appeared, who had fallen her. Van Lerberg and Mellink - before their theaters. Ibsen, "Zori" Verkoren, "Land" Brysov, "Tantalt" Vyach. Ivaґnova - and where are theaters that could put them? Literature suggests the theater. Not only the playwrights, which give samples new formrequiring other techniques, but also criticism, which rejects old forms. If you collect all the reviews about our theaters, written from the day of the opening of the Moscow Art Theater before the 1905 season, when the first attempts were made to create conditional theaters, and read all this literature with a volley, then one of the leitmotifs will be firmly in memory of reading it in memory - projective proceedings of naturalism. The most tireless fighter against naturalism on the scene has established a theatrical reviewer Kugel (Homo Novus). Its articles always discovered in it a large connoisseur of stage technical, knowledge of historical shifts of theater traditions, excluding love for the theater - and in this respect were of great value, and, if in a historical plan, to judge their role, it was the Kugel reviews that the future bonds helped The new theater and the new viewer are aware of all the fellow consequences of passionate by Russian maneing. But in the articles of the Kougel, very valuable where he tried with all the fervor with all temporary and superfluous from the theater, all that was invented for the theater of the Kronek (director of Meiningen), it was impossible, however, guess what the same theater dreams about the Cugel. Or would he like to oppose the complicated technique of the naturalistic theater? Having believed in the actor the basis of the theater, the Cugel dreams of the Warm "Nutra", but always seemed to understand "Nutro" as something self-sufficient. And in this sense, his theater seems to be something chaotic, close to the nightmare of provincial scenes, and extremely tasteless. The persecution of theatrical reviewers against naturalism will prepare comfortable soil for fermentation in the theatrical environment, but their own sections of the new ways are obliged by the proven theaters, on the one hand, that promotion of the ideas of a new drama, which new poets on the pages of single art journals, on the other - Maurice's plays Meterlinka. During the decade, Maurice Meterlink gives a number of plays that cause only bewilderment, especially when they appear on the scene. Meterllink itself often expresses that the plays of it is too complicated. Extreme simplicity of his dram, naive language, short, often changing scenes, really three for their drawing of some other technique. Van Bever, describing the performance of the tragedy "Peleas and Melisanda", delivered under the direct leadership of the author himself, says: "The accessories were simplified to the extreme, and the tower of Melisanda, for example, portrayed a wooden frame, upholstered with gray paper." Meterllink wants drama to be made with extreme simplicity, so as not to interfere with the imagination of the audience to draw inaccurate. Moreover, Meterllink is afraid that the actors who are accustomed to playing in the heavy situation of our scenes excessively won everything internally, due to which the unbearable most co-solitary, thin, the inner part of all its tragedies can remain. All this pursues him to the idea that the tragedy requires extreme uncomfortable, almost puppet (TREDIE Pour Theater Marionnette). For many years, Metherlinka tragedy does not have success. And for those who were expensive to the work of the Belgian playwright, a new theater was broken with other technique, a so-called conditional theater is broken. To create a plan of such a conditional theater to master new technician Such theater, it was necessary to proceed from the hints made on this occasion by Metherlink himself. The tragedy, in his opinion, is not detected not to the greatest development of the drama-point act, not in the soul of tearing shouts, but, on the contrary, in the Naiba, a calm, fixed form and in the Word, quietly said. Need a fixed theater. And he is not something new, never experienced. Such the theater was already. The best of the old tragedies: "Evmenda", "Antigona", "Electra", "Oedipal in Koloґne", "Prometheus", "Hoefors" - tragedy fixed. They do not even have a psychological action, not only the material, what is called the "plot". Here are samples of the drama of the stationary theater. And in them rock and the position of a person in the Universe is the axis of the tragedy. If there is no movement in the development of the plot, if the whole tragedy is on the relationship between rock and man, you need a fixed theater and in the sense of its fixed equipment, the one that raises the movement, like plastic music, like an external drawing of the internal experience (motion - illustrator), and therefore She, this technique of the stationary theater, prefers stiffness gesture and saving movements gesture gesture. The technique of this theater that is afraid of unnecessary movements, that they do not distract the viewer's attention from complex internal nesting, which can only be heightened in the rustle, in a pause, in a trembling voice, in a tear that drove the actor's eyes. And then: in every dramatic work two dialoga - one "externally necessary" - these are words accompanying and explaining the action, another "internal" is the dialogue that the viewer must elapse not in words, but in pauses, not in shouts, and In silence, not in monologues, but in the music of plastic movements. The "externally necessary" dialogue is built by meterlink so that the intensive persons are given the minimum number of words with the extreme voltage of action. And in order to reveal the "inner" dialogue to the audience, Meterlinka dialogue to help him take this dialogue, "the scene artist has to find new expressive areas. I seem to not be mistaken if I say that in Russia Valery Bruces in Russia spoke about the unnecessariness of that "truth", they tried to reproduce on our scenes by all over the years; He also first pointed out other paths of dramatically incarnation. He calls for an unnecessary truth of modern scenes to conscious conventions. In the same article shaft. Bryusov puts forward on the fore actas the most important element on the stage, but also in this it comes to the question not as Kougel did, who put forward "Nutґro", as something self-sufficient, and hypocrisy, not bound by blood threads with a common idea of \u200b\u200bthe creation of the director and excessively extending from the necessary discipline. Although the question raised by Bryusov, about conscious conventionin general, closer to the main subject of my article, however, in order to approach the question of the conditional theater and its new technique, I need to stay on that role actorin theater, some sees her shaft. Bruce. According to Bryusov: Fabul, the idea of \u200b\u200bthe work is his the form.Material artistic works - Images, paints, sounds. For art, it is valuable only the work, where the artist looked up his soul. Contentartwork - the soul of the artist.Prose, poems, paints, clay, Fabul - all this for the artist tool to express your soul. Bruceov does not share artists to artists-creators (forces, sculptors, painters, composers) and on artists artists (playing on instruments, actors, singers, decorations). True, one, in his opinion, leave the art of the staying (Permanent), others should recreate their works again and again every time they want to make them accessible to others. But in that and in another case, the artist is creator. "The artist on the stage is the same as the sculptor before blocking clay: it must embody in the touch of the same content as the sculptor, - gust your soul, her feelings.Material Pianist serves the sounds of the tool, on which he is igurates, singer - his voice, the actor - his own body, his speech, Mimic, gestures. Then the work that performs the artist serves the form for its own creation. " "The freedom of artist's creativity does not prevent that the form of its creationdenmark He gets ready from the author's play ...Artists are creating free, depicting the great moments of gospel history, although here the form is given from the outside. "" The task of the theater is to deliver all the data so that the work of the Akґter manifested itself most freely and was the most fully waived by the audience. Help the actor reveal his soul in front of the audience- here is the only purpose of the theater. " Throwing words - "Here is the only appointment of the theater" - and expanding his thought, I will say this: by all means you need to help the actor reveal your soul, sneaking with the soul of the playwright, through the director's soul.And as the freedom of artist's creativity does not prevent that the form of its creation, he gets ready from the author's play, can also prevent the freedom of his creativity what the director gives him. All theater facilities should be an actor. He dunk was fully owned by the public, since scenic art A hyseride occupies one of the first places. The entire European Theater, according to Bruce, for insignless exceptions, stands on false path. I will not concern all the absurds of naturalistic theaters in their desire to the most truthful reproduction of life, which shaft emphasizes. Brucery, since at a different point of view, they are covered here, in the first part, quite fully. Bruces stands for saving on stage conventionality- not a scene, wishing to talk, as in life, actors, without knowing how to do this, artificially emphasize words, ridiculously waving their hands, somehow especially sigh, etc., or decorator, wanting to show the room on stage As in life, the three-time pavilion puts - Bryusov is not for the preservation of such a screen, meaningless, anti-death conventional, and for creating on stage intentional conventionas an artistic method, a peculiar charm of reception. "It is conditionally that marble and bronze statues are painless. Conditional of the engraving, on which the leaves are black, and the sky in stripes, but you can experience clean, aesthetic pleasure and from engraving. Everywhere, where artism, there is a convention." No, of course, there is no need to destroy the occupation at all and return by the time when the names of the scenery were written on the pillars, but "the types of environments should be developed, understandable to everyone as clearly as the adopted language is understood as white statues, flat pictures, black engraving." Then, shaft. Bryusov suggests the active role of the viewer in the theater. "The theater is time to stop fake valid. The cloud depicted in the picture is flat, does not move, does not change its shape and lightness, but it has something that gives us a feeling as a real cloud in the sky. The scene must allow everything to help the viewer to restore the situation in the imagination required by the fabuli play. " About Vyach. Ivanovo will speak in connection with the repertoire of the conditional theater.

IV . First attempts to create a conditional theater

The first attempts to create a conditional theater according to plan, prompted by M. Meterlink and the shaft. Bryusov, took on the theater-studio. And since the production of the tragedy Meterlinka "Death of the Tentup" This first search theater, in my opinion, approached the ideal conditional theater very closely, it seems not to be superfluous, the work of the work on the named player, actors, artists, state the extracted experiences. The theater always discovers the disharmony of the creators, collectively protruding before the public. Author, director, actor, decorator, musician, butfoot never perfectly merge in a collective work. And it does not seem to me therefore possible Vag-Nervsky synthesis of arts. And the painter and the musician should be dissociated, the first - in a special decorative theater, wherever he can show the canvas, requiring the scene, not the picture exhibition, evening, not daylight lighting, several plans, etc.; The musician should love only the symphony, the model of which is the IX symphony of Beethoven, and there is nothing to do in a dramatic theater, where the music is given only a service role. These thoughts came to me later, when the first attempts ("Death of Tentup") switched to the second stage ("Peleas and Melisanda"). But even then, when to work on the "death of the tentup", they just started, I was tormented by the question of the disharmony of creatures; And if it was impossible to merge neither with the decorator, nor with a musician, - each of them, naturally pulled in his direction, everyone tried to instinctively dissolve, "I wanted to at least merge the author, director and actor. And here it turned out that these three, which make up the basis of the theater, can mergebut with an indispensable condition, if they begin to work, as it was in the studio theater, at the rehearsals of the "Death of Tentazile". Passing the usual path "conversations" about the play (they preceded, of course, work on acquaintance of the director with everything that was written about the work), director and actor in the rehearsal workshop try to read poems Meterlink, excerpts from those drives that have scenes, close to the mood to the scenes from the tragedy "Death of Tentup" (the latter leave not to turn into an etude, in Exercise, the work to which you can

Arkadina - ABOUT. L.. Bookper, Treplev - IN. E.. Meyerhold.

"Gull" BUT. P. Chekhov. Moscow

Art theatre. 1898.

Sirin - IN. IN. Luzhsky, Treplev - IN. E.. Meyerhold, Nina - M.. L.. Roxanova

Creon - IN. IN. Luzhsky, Tires - IN. E.. Meyerhold, boy - AND. AND. Gudkov.

"Antigone" Sofokla. Moscow Art Theater.. 1899 G..

"Death John Grozny " BUT. TO. Tolstoy. Moscow Art theatre. 1899 G..

Troupe Partnership New Drama. Tiflis. 1906. Left right: M.. FROM. Dosage, FROM. ABOUT. Brailovsky, BUT. P. Zones, YU. L.. Rakitin, IN. E.. Meyerhold. Gontskevich, R. BUT. Ungern, E.. IN. Safonova., M.. BUT. Beetsky (Cobetsky), BUT. P. Nelidov, B.. TO. Pronin, N.. BUT. Budkevich, ABOUT. P. Narbekova, K.. TO. Kostin., IN. BUT. Podorian, ABOUT. AND. Preobrazhenskaya, E.. M.. Munch, IN. P. Verigiga, B.. M.. Snegrev, BUT. N.. Chechnev

IN. E.. Meyerhold in role Landovsky. "Acrobats" F.. background Sheenthan. Troupe governed by BUT. FROM. Kosheverov and IN. E.. Majerhhold. Kherson. 1903.

IN. E.. Meyerhold in role Barenda.

"Merities "Hope" G.. Heiermans. Troupe under Office

BUT. FROM. Ko- Scheverova and IN. E.. Meyerhold. Kherson. 1902.

IN. E.. Meyerhold in role Landovsky. "Acrobats" F.. background Sheenthan. Troupe governed by BUT. FROM. Kosheverov and IN. E.. Meyerhold. Kherson. 1903.

"Boat and Yau " G.. Hauptman. Sketch Scenery. Artist - N.. P. Ulyanov. Theatre-Studio. Moscow. 1905.

"Balant" BUT. BUT. Blok.. Sketch Scenery. Artist - N.. N.. Salunov. Theatre of Drama IN. F.. Commissioner. Petersburg. 1906.

Going only when you already know how to take it). Poems and passages are read by each actor in turn. This work for them is the same as the Etude for the artist, Execisis for the musician. The technique is grouhed at the etude, and, only sophobalizing the technique, the artist starts the picture. Reading poems, passages, the actor is looking for new expressive funds. The audience (all, not only only the director) makes no comments and directs working on the etume to a new path. And all the work is directed to finding such paints, in whatever the author "sounded." When the author is visited in this joint work, when at least one of his passages or verses in someone's work "sounds", then the audience comes to the analysis of the expressive means, which the style of the author is transmitted. Before proceeding to transfer the intuition of mined new technical techniques, while still fresh in memory, the picture of the joint work of the actor and the director over the etudes, I will point out two methods of directorial creativityvariously establishing the relationship between actor and director: one method is lying creative freedom not only the actor, but also the viewer, the other frees not only the actor, but also the viewer, forcing the latter not to contemplate, but to create (at first, actively only in the sphere of the audience's fantasy). Two methods will reveal if four basicsTheater (author, director, actor and viewer) introduce yourself to a graphic figure as follows: 1) a triangle, where the top point is the director, the two lower points: the author and actor. The viewer perceives the creativity of two through the work of director(In the graphic figure, to exercise the "viewer" above the upper point of the triangle). This is one theater ("Theater Triangle").

2) Direct (horizontal), where four basics of the theater are noted by four points from left to right: author, director, actor, viewer - other theater ("Direct theater"). The actor revealed his soul to the spectator freely, taking the work of the director, as this latter accepted the art's work.

1) in the "Triangle Theater" director, discontinuing the whole plan in all details, specifying images what he sees them, by chanting all the pauses, rehearses until all of his intention is accurately reproduced in all the details, until until he hears and see the play as he heard and saw her when she worked on her alone. Such a "theater triangle" likes himself a symphonic orchestra, where the director is a conductor. However, the theater itself, in the architecture of his who does not give the director of the conductor console, already indicates the difference between the receptions of the conductor and the director. Yes, but there are cases, they will repente me when the symphony orґkestra plays without a conductor. Imagine that Nikisha has its own constant symphony orchestra with whom he plays dozens of years, almost without changing its composition. there is musical compositionwhich the orchestra is executed by this year a year several times within ten years. Could Nikish once become for the conductor console, so that the orchestra does this musical work without him, in his interpretation? Yes, I could, and this musical occasion of the listener will perceive in Nikishev interpretation. Drugoy question - whether this work will be fulfilled entirely as if Nikish conducted. Of course, it will be worse, but still we will hear Nikishev interpretation. I will say that I will say: the symphony orchestra without a conductor, right, it is possible, but to hold a parallel between such a symphony orchestra without a conductor and the theater, where the actors overlook the scene without a director, it is still impossible. The symphony orchestra without a conductor is possible, but he, no matter how perfectly fastened, the public will not lit, he will still be to acquaint the listener with the interpretation of a conductor, and it can only merge together, because he recreates someone else's intent. The work of the same actor is that it has a task more significant than to acquaint the viewer with the director's idea. The actor then only infect the viewer, if he finances in himself and the author, and the director, and will tell himself from the scene. And then: The main advantage of the artist of the symphony orchestra is to own the virtuoso equipment and accurately perform the instructions of the conductor, insulating itself. Modifting itself to the Symphony Orchestra, the "Theater-Triangle" must take an actor with virtuoso technology, but certainly to a large extent inspotion, which would be able to accurately fulfill the appointed director. 2) In the "Theater Straight" director, pretending the author in himself, does not have his own creativity in himself (the author and director merged here). Akґter, accepted by the author's creativity through the director, becomes a lease to face in front of the viewer (and the author and director behind the act of the act), reveals his soul to him freeand thus aggravates the interaction of the two main foundations of the theater - a guide and the audience. So that the direct has not turned into a wave-like, the director must be onein making a tone and style work, and yet the work of the actor in the "Theater Straight" remains free. Its own planthe director opens in conversationabout the play. All Production Director Collects ownlook at the play. Having fascinating the actors with his love in the work, the director pours the author's soul into them and his interpretation. But after talkingall artists are provided with complete independence. Then the director collects everyone again to create harmony of individual parts; but how? Only balancing all parts, freely created by the other artists of this collective creativity. And installing that harmony, without which the performance is unthinkable, does not achieve accurate reproduction of his plan,one only for the harmonic of the performance so that collective creativity is not timeless, - and waits for the moment when he could hide behind the scenes, providing actors or "burn the ship" if the actors in the disintegration and the director and with the author (this is when they are not " New school "), or reveal your soul almost improvisory additions, of course, not text, but what the director only hinted, forcing the viewer through the prism of acting creativity to accept the author and director. Theatre- this is a hypocrite.Turning to all the works of Meterlinka - to his verses and dramas, addressing his preface to the last edition, referring to his book "Le Tresor Des Humbles", where he guards about the stationary theater, imbued with a common flavor, the common mood of his works - we are clear We see that the author himself does not want to produce horror on the stage, does not want to worry and cause a hysterical cry from the viewer, does not want to force the Publy to run in fear of terrible, and just the opposite: pour the spectator to the spectator, but the wise contemplation is inevitable Make the viewer to cry, suffer, but at the same time dying and come to calm and wrestleness. The challenge that the author puts himself, the main task is to "quench our sadness, in the midst of them, then swelling, then again flashes the reliable." Human life will flow again with all her passions when the viewer will leave the theater, but passionno longer seem in vain,life will flow with her joys and sadness, with her obligation, but all this will get meaning, for we have gained the opportunity to get out of the darkness or carry it without bitterness.Art metrolynka is great and lively. He encourages people to wisely the co-member of the greatness of rock, and its theater gets the value of the temple. Nazuar Pastore praises his mysticism as the last shelter religious fugitives, who do not want to be inclined before temporarythe power of the church, but not thinking to refuse free faith in the unearthly world. The resolution of religious issues can be done in such a theater. And whatever a gloomy flavor, the work is painted, once it mystery,it hides in itself a tireless call for life. It seems to us that Metherlink's Drama of our predecessors, which were trying to scare the viewer, and not reconcile him with the fatal inevitability "in the foundation of my drama," Millink writes. - The idea of \u200b\u200bthe Christian God, together with the idea of \u200b\u200bthe ancient Fatum ". The author of hears the words and tears of people, as a deaf noise, because they are these words and tears - fall into deep abyss. He sees people from the height of the highest ladies, and they seem to him weakly flickering sparks. And he wants only to notice, to overhear a few words of meekness, hope, compassion, fear in their souls and show us how powerful that rock, which manages our destiny. We are trying to ensure that our performance of meter-Link makes the spectators on the soul of the spectators such a reconciling impression, which the author himself wanted. Speak Meterlinka - mystery:or barely audible harmony of votes, the choir of quiet tears, surrendered sobs and the thrill of hopes (as in the "Death of the Tentaper"), or - Ecstasy calling to the National Religious Affairs, to the dance under the sounds of pipes and the organ, to the Vakhanlia of the Great Celebration of the Miracle second act "<Сестры> Beatrix "). Drama Meterlinka -" Most of all the manifestation and cleansing of the shower "." His drama is a souls who sing in low voiceabout suffering, love, beauty and death. " Simplicity,carrying away from the ground into the world of dreams. Garґmonium, hearing peace. Or ecstatic joy. With what perception of the soul of theater Meterlinka, we came to the rehearsal studio to work on Etudes. Like a Mother about Perugino, one of the most charming artists of Quatrochetto, we would like to say about metrylinka: "Contemplative, lyrical nature of his plots, quiet knowledge and archaic solemnity of his paintings" can "only such a composition, the harmony of which is not disturbed by a single impaired movement , no sharp opposites. " Relying on these general considerations about Materlin's work, working on the etudes in the rehearsal workshop, the actors and directors intuitively mined the following: I. In the area of \u200b\u200bdickening: 1) cold chasing wordscompletely freed from vibrating (Tremolo) and crying acting votes. Complete absence of tension and gloomy tone. 2) sound should always have support,and the words should fall like drops into a deep well: a distinct drop of drops without trembling sound in space. There are no vague in the sound, there is no in the word of the upcoming ends, like the reading "decadent" poems. 3) Mystical thrill is stronger than temperament of the old theater. The latter is always different, externally rude (these swinging hands, blows in the chest and hips). The inner trembling of mystical trembling is reflected in the eyes, on the lips, in sound, in the manner of the speech, this is the outer peace at volcanic overlooking. And everything without tension, easy. 4) The experience of mental emotions, all their tragedy is inseparably connected with the experience of the form, which is inherent from the consideration, as it is inherent in metrylinka, which has given such, and not other forms that is so simple and long since known. 5) Never tongue Twisters,which is thought only in the dramas of the neurasthenic tone, in those where the dots are so lovingly. Epic calm does not exclude tragic peak. Tragic experiences are always magnificent. 6) Tragedy with a smile on his face. This requires an intuition requirement I understood and accepted the whole soul only then when I had to read the words of Sauvonarols: "Do not think that Maria at the death of his son Crypiered, walking through the streets, rolled her hair and led herself like a mad. She walked behind her son with meekness and great humility. She probably shed tears, but by appearance It was not sad, but at the same time sad and joyful.And at the foot of the cross she stood sad and joyfulimmersed in the secret of God's great goodness. "Actor of the old school to produce a strong impression on the public, shouted, cried, Walled, beat himself with his fists in the chest. Let the new actor express higher point tragedy as a trapgism sounded in sad and joyful Mary: externally spoy, almost cold,without screaming and crying, without tremory notes, but deeply. II. In the field of plastic: 1) Richard Wagner reveals an internal dialogue with the help of Orґkestra. The musical phrase, Sveta Singer, seems not strong enough to express the inner experience of the heroes. Wagner calls the orchestra to help, believing that only the orchestra is able to say inaccurate, reveal to the audience a mystery. As in the musical drama, Sveta's singer phrase, so in the drama word- Not a strong enough tool to identify the internal dialogue. And it's not true if wordit was the only tool that the essence of the tragedy, might play everything on the scene. To make words, even well to pronounce them, does not mean - say. There was a need to look for new means to express inacked, reveal the hidden. How Wagner about spiritual experiences gives the orchestra, so I let them talk about them plastic movements. But after all, in the former theater of plastic was necessary expressive tool. Salvini in Othello or Gamlet always hit us with his plasticity. Plastic was really, but not about this kind of plastic I say. That plastic is strictly agreed with words, pronounced. I'm talking about "plastic, not appropriate words." What does "plastic not corresponding to the words" mean? Two people are talking about the weather, about art, about the pits. The third, watching them from the side, if he is finished, more or less sensitive, dressed - on the conversation of those two about the items that do not relate to their relationship can accurately determine who these two people: friends, enemies, lovers. And it can determine this by the fact that two consension people are delated with their hands such movements, become such poses, so they omit the eyes that it makes it possible to determine their mutual relations. This is because, speaking of weather, art, etc., these two people make movements that do not apply. And in these movements, not appropriate words, observing and determines who speakers: friends, enemies, lovers ... The director throws the bridge from the viewer to the actor. Withdrawing, by the will of the author, on the stage of friends, enemies, lovers, the director shoulder movements and poses to give such a drawing to help the viewer not only to listen to their words, but also penetrate into the inner, hidden dialogue. And if the director, deepening in the author, heard the music of the internal dialogue, he suggests the actor those plastic movements, which, in his opinion, are able to force the viewer to perceive this inner dialogue as he is heard by the director and actors. Gestures, postures, views, silence determine truthmutual people. Words are not yet talking. So - need figure motionon the stage to overtake the viewer in the position of a dressed observer in order to give him the same material as he gave two talking to the third observer - the material by which the viewer could solve the impression of the experiences of the actors. Words for hearing, eye plastic. Thus, the spectator fantasy works under the pressure of two impressions: visual and auditory. And the difference between the old and new theater is the fact that in the last plastic and the words are subordinated - each of its rhythm, sometimes being in inconsistencies. However, it should not be thought that it is always necessary only not corresponding to the words of plastic. It is possible a phrase to give plastic, very relevant words, but it is as much as natural as a coincidence of logical stress with poetic verse. 2) Materilline paintings archaised. These names are like icons. Arquel, as in the picture of Ambrogo Borgongon. Gothic arches. Wooden statues, deposited and shiny, like a paґlisandrous tree. And I want to symmetrical distribution of actors, as I wanted to be perugal, for it mostly the divineness of the universe. "Women, female young men and meek tired elders can best be the expression of dreamy, soft feelings", whose transfer of Perugino sought. Is me mellink? Hence the icon painting task. Non-sufficient journey in the scenes of naturalistic theaters was replaced in the new theater by the requirement to make reference plans, strictly subordinate to the rhythmic movement of lines and musical consonance of colorful spots. The iconographic task had to be made also in the decoration area, since we have not come to complete abolition of them. And since the plastic movement is granted the value of a large expressive agent, aspiring to identify an emergency important internal dialogue, then such decorations were drawn, which would not have given the opportunity to break through with these movements. It was necessary to concentrate all the attention of the viewer on the movements. Hence only one decorative background in the "Death of the Tentaxile". This tragedy rehearsed against the backdrop of a simple canvas and produced a very strong impression, because rґsunok gestures clearly outlined. When the actors were transferred to the scenery, where there was space and air, the play played. From here - decorative panel. But when a number of experiments were made with a decorative panel ("Beatrice", "Edda Gabler", "Eternal Fairy Tale"), it seemed that if there were noger decorations, where plastic movements are broken, where they do not energly, are not fixed, Also decorative panels. Jotto does not violate the lines of smoothness in his pictures of smoothness, because all his creativity is not dependent on naturalistic, but from a decorative point of view. But if there is no return to naturalism, then there is also no "decorative" point of view (if it is not taken, as they understood it in the Japanese theater). The decorative panel, like symphonic music, has its own special task, and if he, like a picture, is needed by FIUGURES, then only written on it, or, if it is the theater, then cardboard puppets, and not wax, not a tree, not body. This is because a decorative panel having two dimensions requires the figures of two dimensions. The body is human and those accessories that around it - tables, chairs, beds, cabinets - all three dimensions, so in the theater, where the main basis is the actor, it is necessary to rely on the found in plastic art, and not in painting. For the actor should be the basis plastic statuarity. Here is the result of the first cycle of quest in the field of the new theater. The historically necessary circle has been completed, which gave a number of experiments of the conditional stage, which led to the thoughts of some new campaigning of decorative painting in a dramatic theater. Actor of the Old School, having learned that the theater wants to break with a decorative point of view, will be delighted by this circumstance, he says that it is nothing but a refund to the old theater. After all, in the old theater, he will say, and it was the space of three measuring. So, a contingent theater! From the moment of separating decorative painting in the scene of the Decorative Theater, and the musician in the Symphony Hall, the Conditional Theater, I will answer, not only will not die, but, on the contrary, it will go on an even more courageous steps. Rejecting decorative panels, the new theater does not refuse the conditional techniques of performances, does not refuse the ticking of metterlink in the receptions of icon painting. But the acceptance of the expression should be the archic in contrast to the same scenic. All conditional plans and the "Death of Tentazile", and "Beatrix Sisters", and " Eternal fairy tales", and" EDDDA Gabler "are preserved in complete immunity, but with the transfer of them to the liberated conditional theater, and the painter puts himself in that plane, where neither actor nor objects, as the requirements of the actor and not theatrical painter are different.

V. Conditional theater.

"From the unnecessary truth of modern scenes I call to the conscious conventions of the ancient theater," the tree wrote so. Bruce. The revival of the ancient theater is waiting and dried. Ivanov. Shaft. Brutes, emphasizing in the ancient theater an interesting sample of conventionality, mentions only casual. Vyach. Ivanov opens a slim plan of Dionysov Action. Accepted one-way to look like the theater according to the Wish. Ivanova takes into his repertoire only an antique tragedy - the original or even then written, but intensely in the style of ancient Greek, as "tantal", for example. To make sure the DRAH project. Ivanova is far from unilateral and accommodates a very extensive repertoire, of course, we must not have a single line, they have written, but, unfortunately, Vyach. Ivanova do not explore us. I want to stay on Vyach plans. Ivanova then, so that, penetrating into his insight, it is also determined to reveal the advantages of conditional techniques and show that only conditional technique will give the theater to take into its LONO a diverse repertoire proposed by Vyach. Ivanov, and the multicolored bouquet of drama, which throws modern dramaturgy on the eagle theater. Drama from the pole of the dynamics went to the pole of statics. The drama was born "from the Spirit of Music, from choral Diffiram, where there was a dynamic energy." "From the sacrificial ecstatic ministry arose a donisical art of choral drama." Then the "separation of initial elements" begins. Diffirb stands out like an independent genus of lyrics. All-consuming attention attracts the hero-protagonist, the tragic fate of which begins to be the center of the drama. The viewer from the former accomplice of the Holy Action becomes a viewer of the festive "spectacle". Choir, separating and from the community, the one that was on the orchestra, and from the hero, becomes an element illustrating the peripetics of heroic fate. So created theatre,as spectacle. Viewer only passivelyi am going through what perceives from the scene. "The enchanted line is held between the actors and the viewer, which today divides the theater in the form of a ramp line for two alien to one other world: only acting and only perceiving, - and there are no veins that would connect these two separate bodies with the general blood circulation of creative energies." Orhestra brought closer to the viewer with the scene. The theater ramp has grown on the place where Orheztra was, and she removed the scene from the viewer. The estimates of such a spectacle theater - "Iconostasis, distant, harsh, not to merge all together in the general festive bed," IsoґNOSTAS instead of the "former low altar parry", to which it was so easy in ecstasy to run to join the serving. Drama, which originated in Dionisis's dyphirable ministries, was gradually moving away from his religious sources, and the mask of the tragic hero, in the fate of which the audience saw his rock, the mask of a separate tragic fate, in which all human was embodied I, - Mask This one over the centuries gradually crushed themselves. Shakespeare reveals characters. Cornel and Razin put their heroes dependent on the morality of this era, making them materialistic formulas. The scene is removed from the beginning of the religious community. The scene is alienated from the viewer by this its objectivity. Scene does not infectscene does not exceed. The new theater is again towards the beginning of the dynamic. Such are theaters - Ibsen, Meterlinka, Verkown, Wagner. The newest searches are found with the covenants of antiquity. As the priestly action of the tragedy was the type of donisical "cleansing", and now we demand from the artist of healing and purification. Action external in the new drama, identifying characters - becomes unnecessary. "We want to penetrate permask I. peraction in the inaccessible character of the face and overlook its "internal mask". Extermination from the external for the sake of the inner in the new drama is not in order for the depths in this opening human soul To give a person to abandonment from the Earth and carry it into the Oblaka (Theater Esoterique), and in order to tear the viewer to Dionisic hop eternal victim. "If the new theater is dynamic again, let it be so far to the end." The theater should finally disclose its dynamic essence; So, he must stop being "theater" in the sense of only the "spectacle". We want to gather to create - "Deat" - Cathedrally, and not contemplate only. Vyach. Ivanov asks: "What should be the subject of the coming drama?" - And replies: "There should be a space in it: tragedies and comedies, mysteries and a lobber fairy tale, myth and society." Symbolic drama,which ceases to be secluded and finds "harmonious consonance with the self-determination of the soul of the soul"; divine and heroic tragedy,similar tragedy antique (likelihood not in the architectural building of the plays, of course; we are talking oh rock and satire, as the foundations of tragedy and co-movement); mystery,more or less similar to medieval; comedyin the style of Aristofan - here is the repertoire offered by Vyach. Ivanov. Is a naturalistic theater can take such a different repertoire? Not. Exemplary Theater of Naturalistic Technology - Moscow Art Theater - Tried to take the theaters in his Lono: Antique ("Antigona"), Shakespeare ("Julius Caesar", "Sheck"), Ibsen ("Edda Gabler", "Ghosts, etc.), Meterlinka ("Blind", etc.) ... And, despite the fact that he had at the head of the director's talented in Russia (Staniґslavsky) and a number of excellent actors (Kindper, Kachalov, Moskvin, Savitskaya), he turned out to be powerless to translate so extensive Repertoire. I approve: he always prevented him in this - the passion for the Mauningen's manner of the stage, he interfered with "naturalistic meto". The Moscow Art Theater, who managed to realize only Chekhov's theater, remained in the end, "Intimate theater". Inhanny theaters - and all those that, Relying on the Mauningen method, then the "mood" of the Chekhov Theater, turned out to be powerless to expand their repertoire and thereby expanding their audience. Antique Theater. With each century, more and more diffelyzed, and intimate theaters are the most extreme fragmentation, the last branching of the ancient theater. Our theater broke up on the tragedy and comedy, and meanwhile the antique theater was one. And, it seems to me that it is this fragmentation of the theater of the same for intimate theaters and prevents the revival of the National Theater, theater, theater and theater festival. The struggle against naturalistic methods, which theaters of the directions and some directors assumed for themselves - it is suggested by historical evolution. The search for new stage forms is not a pattern of fashion, the introduction of a new method of drawing (conditional) is not an idea in the please of the crowd, greedily seeking more and more acute impressions. The Theater of Correction and his directors work to create a conditional theater then to stop the Branch of the theater to intimate, resurrect the theater is one. The Conditional Theater offers such a simplified technique, which will give the opportunity to put meterlink next to Kuencind, Andreeva next to the Sologub, the block next to Psibushevsky, Ibsen next to Remiz. The conditional theater turns out the actor from the scenery, creating it the space of three dimensions and giving him a natural statuational ductility. Thanks to the conditional techniques, a complex theater machine collapses, the settings are brought to such simplicity that the actor can enter the square and there to play his occasions, without making themselves dependent on decorations and accessories specially adapted to theatrical ramp, and from all externally random. In Greece in Sofoklo-Euripid, the competition of tragging actors gave independent creative activity actor.Then, with the development of scenic equipment, the creative cities of the actor fell. From the complication of technology, of course, our amazing of the actor has fallen. Therefore, the rights of Chekhov - "the brilliant daruances are now small, it is true, but the middle actor has become much higher." Freeing the actors from randomly chopped extra accessories, simplifying equipment to a possible minimum, the joint theater, thereby puts forward the work of the actor's creative amateurness. By sending all my work on the revival of the tragedy and comedy (in the first I detect rock, in the WTOґra Satira), the conditional theater avoids the "sentiment" of the Chekhov theater, the identification of which involves the actor into passive transitions, learn to be creatively less intense. After breaking the ramp, the conditional theater will lower the scene to the level of the partner, and by building the diction and movement of actors on the rhythm, bring the possibility of revival danceand the word in such the theater will be easy to move into annealing cry, in singing silence. The director of the Conditional Theater puts its task only to direct the actor, and not to manage it (as opposed to the Mainingen Director). He serves only the bridge with the soul of the author with the soul of the actor. Pressing the work of the relayster, the actor - oneface to face with the audience, and from the friction of two free starts - the work of the actor and the creative fantasy of the viewer - the true flame is ignited. As the actor is free from the director and the director is free from the author. Remarika last for the director only the need caused by the technique of that time when the play was wrote. Underlaunning the inner dialogue, the director freely reveals it in the rhythm of dictation and the rhythm of the actor plastle, believing only with those remarks of the author who are outside the technical necessity. The conditional method will finally believes in the fourth theater creativeafter the author, director and actor; this is - viewer.The conditional theater creates such a staging, in which the viewer will attain his imagination creatively drawingcancer data hints. The conditional theater is such that the viewer "not one minute does not have that in front of him playingand the actor is that the front visual hall, under the legs of the scene, and on the sides - decorations. As in the picture: Looking at her, for a minute you do not forget that these are paints, a canvas, a brush, and at the same time you get a higher and enlightened sense of life. And even often so: the more picture,the stronger feeling life ". Conditional technique fights the illusionary reception. He does not need an illusion as Apollinic Gosza. The conditional theater, fixing the statue plasticity, enshrines individual groups in the viewer's memory, so that the words of the tragedy are firing the words. The conditional theater does not seek a variety in Mise En Scene, as always in the naturalistic theater, where the rich planning places creates a kaleidoscope of rapidly changing poses. The conditional theater seeks to be cleverlyed by the line, the construction of groups and the colors of the costumes, and in its motionlessness gives a thousand times more movement than the naturalistic theater. The movement on the scene is not moving in the literal sense of the word, and the distribution of lines and paints, as well as how easily and skillfully these lines and paints crosses and vibrate. If the conditional theater wants the destruction of the scenery, delivered in one plan with the actor and accessories, does not want ramp, the actor's game is subordinating the rhythm of diction and rhythm of plastic movements, if he is waiting for the revival of dance - and the viewer involves actively participating in action - does not behave such Conditional by the revival of the ancient? Yes. The ancient theater in its architecture is exactly the same theater, in which there is everything you need to our today's theater: there are no scenery, space - three dimensions, here you need statue plasticity. In addition to the architecture of such the theater, there will be insignificant amendments in accordance with the requirements of our days, but it is the antique theater with his simplicity, with his horseshoe-shaped places for the public, with his Orhestra - that single theaterwhich is able to take into its Lono the desired diversion of the repertoire: "Balaganchchik" block, "human life" AnґDerev, tragedy meterlinka, plays of the Cuzmin, Mysteria Al. Reґmizov, "Gift wise bees" F. Sologuba and many more beautiful, plays of new drama, who have not yet found their theater.

Martyrs at all times there were a lot. History shows that Vsevolod Meyerhold is one of them ...

On June 20, 1939, Meyerhold was arrested in Leningrad; At the same time in his apartment in Moscow, a search was made. In the search protocol, the complaint of his wife's 3inaida repayers protested against the methods of one of the NKVD agents was recorded. Soon (July 15) she was killed by unidentified persons.

After three weeks Interrogations, accompanied by torture, Meyerhold signed the necessary investigation of the testimony: he was accused of article 58 of the Criminal Code of the RSFSR. In January 1940, Meyerhold wrote V. M. Molotov:

... I was bilted here - the patient of the sixty-one-year old old man, put on the floor face down, the rubber harness was beaten along the heels and on the back, when it was sitting on a chair, the same rubber beat on the legs [...] the pain was such that it seemed to have sick sensitive places Lily steep boiling water ...

The meeting of the Military Collegium of the Supreme Court of the USSR was held on February 1, 1940. The board sentenced the director to the shooting. On February 2, 1940, the sentence was carried out. About the burial place Meyerhold writes the magazine "Theater": "The granddaughter of the Sun. E. Meyerhold Maria Alekseevna Valentine in 1956, having achieved his political rehabilitation, but not knowing how and when her grandfather died, I installed the Zinaida Rayhki in the grave that Vagankovsky cemetery, General monument - she, actress and beloved wife, and him. The portrait of Meyerhold was engraved on the monument and the inscription: "Vsevolod Emilevich Meyerhold and Zinaide, Nikolaevna Reich."<…>




In 1987, she became aware of the true burial place of Meyerhold - "the total grave number 1. The burial of unclaimed Prakhov since 1930 - 1942 included." In the cemetery of the Moscow Kremattention at the Don Monastery. (By decision of the Politburo of January 17, 1940 No. II 11/208, signed by Personally Stalin, 346 people were shot. Their bodies were cremated, and the dust, which are rolled into the overall grave, is mixed with the dust of other killed.) "

In 1955, the Supreme Court of the USSR posthumously rehabilitated Meyerhold.

In the early 1930s, Meyerhold on tour in Berlin met with a great actor Mikhail Chekhov(nephew A.P. Chekhov) Living in emigration. He advised not to return to Moscow, rightly saying: "You will be destroyed."

But the director considered his return of honor - he not only was frantically devoted to the revolution, but he could not part with adorable Zinaida Reich.

Reference:For the first time Meyerhold married a student in 1896 at a childhood friend Olga Mint. The spouses were born three daughters, the youngest of which - Irina - subsequently married to the famous actor of theater and cinema Vasily Mercuryeva, and their son Peter Mercuryev became an actor and a musical journalist.

The second marriage with actress Zinaida Rayich was launched from 1922 to 1939. The director adopted her children from the first marriage with the poet Sergey Yesenin Tatiana and Konstantin.

Three death references

Children of Vsevolod Meyerhold and Zinaida Reich Orphans became three times - when in 1925 they hanged them real Father Sergey YeseninWhen in 1939, a few days after the arrest of the stepfather, their mother was cruel, and when Meyerhold was killed. They were given two death certificates in the NKVD: in the first it was written that he died on February 2, 1940 as a result of heart failure, in the second there was the date of death on March 17, 1942 and the dock instead of the cause.

The former director's family received the notice that he was given "10 years without the right of correspondence." For several years, the wife and daughters were bored with products with products, until they learned from familiar, that Vsevolod Emilevich was shot in the basement of the Butyrsk prison in February of the 40th year.

Even after the death of Meyerhold in the country, there were legends, according to which he alleged during the Great Patriotic War was led by the camp theater in Gulag.

"Mad genius"

Karl Casimir Theodore Meyergold Born in Penza in the family of Russified Germans, owners of a wine-vodka plant. The rebellious Nature of the young man manifested itself in the student - he refused to participate in the family business, adopted Orthodoxy, married contrary to the parental will, took a new name and changed the name in accordance with the norms of the Russian language.

So the Vsevolod Meyerhold appeared - the future lawyer who threw Moscow University on the same day when he saw the play "Othello" in the formulation Konstantin Stanislavsky. He entered the theater and music school at the Moscow Philharmonic, where his mentor became theatrical director, playwright and critic Vladimir Nemirovich-Danchenko. In 1898, Meyerhold was among the 14th elected and became the actor of the Taroupes of the Moscow Art Theater, created by his teachers.

Meyerhold became a MHT star, but as a result of creative disagreements, ripped relations with mentors, scored his troupe "Association of the New Drama" and toured with her on the province.

Two years later, he suggested Stanislavsky to organize a radically new theater, but Nemirovich-Danchenko with a scandal demanded not to listen to the "Mad Genius offering some scrambled eggs - a wild mix Nietzsche, Meterlinka and radicalism. "

Meyerhold was distinguished by fantastic performance - in one season put 13 performances in the theater of the famous Russian actress Vera Comissarzhevskaya, and for ten years of work in the Alexandrinsky and Mariinsky theater - 21 drama and 10 musical performances, including the legendary Lermontovsky Masquerade.

Fact:He spent 300 thousand rubles for gold and six years of rehearsals to his chief "Alexandrinsky". Masquerade was in the current repertoire even after Opal and the death of the creator until 1947. Performance "Masquerade. Memories from the future "was restored in 2014 by partitions of Meyerhold Dvorukov Alexandrinka V. Fokin.

"Theatrical Chameleon"

Meyerhold Soviet power met enthusiastically and turned out to be the leader of the new revolutionary art. In 1918, he joined the party and received the post of Chairman of the Theater Division of the People's Commissariat (analogue of the Ministry of Education). The young reformer unfolded the ideological battle with academic theaters. Most got it former teachers - Nemirovich-Danchenko and Stanislavsky.

Reference:As opposed to the famous Stanislavsky system, which is based on the art of experience, Meyerhold has developed his acting system - biomechanic. This is a method that allows the actor to go from the external to the internal, from movement, reflex game and the discharge of "excess acting energy" to the image.

Out of communist ideas, he came up with new theater genres: a play-rally, where the audience was allowed to walk, smoke and talk during the action and performance-political formation. With his light hand and with the support of the poet V. Mayakovsky According to Soviet Russia, a wave of the campaigning theater has gone.

At the dawn of the "New Life" in the Polytechnic Museum and the Theater "Hermitage" regularly walked public fierce disputes of irreconcilable theater giants - Vsevolod Meyerhold and Alexandra Tairova.

The verbal cannonade of the leaders of two theaters has always been sharp, so invariably attracted the public. Tairov called Opponent theatrical chameleon, and Meyerhold contemptively referred to his work of ideological opponent "Theatrical diploma for small-scale."

Search a woman...

After the arrest of Meyerhold in June 1939, rumors went on the capital about Tom, the Chekists raised the director from the English ambassador's aircraft. Doubts of Moscow Bohemia Poet Anna Akhmatova dispelled one phrase: "Whoever believes that he decided to escape from the country without Reich?".

In the open theater named behalf of themselves - the State Theater. Meyerhold (Guests) - main actressThe muse and the second wife became beautiful Zinaida Reich. Meyerhold was obsessed with love took the name of his wife, who was henger than it for 21 years, and became Meyerhold Raih. An insulted Munch cursed former husband in front of icons, begging saints to shout in love. Judging by the fact that the monstrous was their death, her prayers were heard.

Contemporaries considered Reich mediocre actress. After making Meyerhold to give his wife the role of Hamlet himself famous actor Nikolai Okhlopkov In rabies, he wrote an application for the role of Ophelia and was fired. After a quarrel with Reich from the theater, the Great Erast Garin. The director dismissed his wife fired Maria Babanova For the fact that she more applauded the audience.

Fact:The press was enthusiastic with inhuman passions and shouts of Heroin Reich. In life, she behaved the same way as in the theater. Once on the market rolled such a hysteria after the wallet's disappearance, that the thief returned and returned the money.

Rainbow period family life continued for 16 years. Reich became the desired guest at government receptions. But Meyerhold was bothering the state of the health of a young spouse suffering from nervous disruptions. She could roll a public scene, not believing with the place and status of those present. Once at a large government event in the Kremlin attacked all-Union Starost. M.I. Kalinina, famous for his adventures with young ballerinas, with the words: "Everyone knows that you are a womanizer!".

In 1937. Joseph Stalin I looked at the play with Reich and said that it was too bourgeois production, after which the theater was closed, and organized injury began in the press.

Fatal for this family was a letter of actress Stalin - a desperate and bold message, in which she put up for her husband, condemned "Georgian, who does not understand anything in Russian art" and prescribed him a date. During the arrest of Reich, she screamed that the authorities had taken away her first husband and now took up the second, and even wrote a complaint about the behavior of one of the NKVD employees.

Three weeks after the arrest of Meyerhold, his 45-year-old spouse was cruelly killed in his own bed - unknown struck 17 knife wounds and cut their eyes. At her funeral, children were ordered to leave the parent apartment for two days. Large living space was immediately divided between family personal driver Lavrentia Beria And the secretary of a loving dignitary.

Rehabilitated posthumous

After three weeks of torture Meyerhold signed all accusations against himself and famous cultural figures, and before death, they refused them.

To date, there are two documented versions of the director's death. According to one, on February 1, 1940, an indictment in espionage was read in one of the cabinets of the Butyrsk prison and the sentence was declared - the death penalty.

Overnight to the execution of Meyerhold wrote his last letter addressed to the chairman of the government V. Molotova,in which he told about humiliations, systematic beats and torture: in archival documents of the Butyry prison, a record was preserved: "The verdict is carried out on February 2, 1940."

But there is both the second version based on eyewitness testimonies. After many years, they said that before the death of 66-year-old Meyerhold, brutally beaten, broke all their fingers and drowned in a barrel with uncleanness.

The body of the director was burned in the Don Crematorium, and the ash was thrown into a common pit on the outskirts of the Don Cemetery along with the aspirator of the writer Babel Marshal Egorova, Tukhachevsky and other victims. For more than 70 years, there was a cemetery dump in this place and only a memorial stove was installed relatively recently.

In November 1955, Meyerhold was rehabilitated posthumously. In 1991, the theater center of his name was created in Moscow.

75 years ago, on February 2, 1940, Meyerhold was shot like a "spy of English and Japanese intelligence", holding a few months in prisons and scoring unrecognizable.

Vsevolod Emilevich Meyerhold (real name - Karl Kazimir Theodore Meyergold) was born (January 28) on February 9, 1874 in Penza, in the Russified German family, where eight children were brought up with Five brothers and two sisters. Mother introduced children to the theater. Karl and his brothers played in amateur performances.
The gymnasium course ended late, staying three times in the second year. At 21, he accepted Orthodoxy and changed given name to Vsevolod; Refused Prussian citizenship and received a Russian passport with the name "Meyerhold", as Russian grammar recommended. In 1896 he married his childhood friend Olga Mint.
He studied at the Theater and Music School of the Moscow Philharmonic Society in the Nemirovich-Danchenko class. After graduation, he entered the troupe of the Moscow created art Theater.. Meyerhold played a lot of big roles in Shakespeare's plays, Tolstoy, Chekhov.
Since 1902, his independent director's work began. He set great amount performances, collaborated with Stanislavsky and Commissioner.
After the October Revolution, Meyerhold became one of the most active builders of the New Soviet Theater. The first of the theater prominent leaders joined the members of the WCP (b). Led by instructing courses for learning skill stage performances and an acting school. He got close to Vladimir Mayakovsky, putting his Misteria-Buff in Petrograd.
In the fall of 1921, Zinaida Reich came to the Maiverhold workshop. The director fell in love with her at first sight, although she was over twenty years older. Reich became the wife of Meyerhold, and he adopted her children from marriage with Sergey Yesenin.
Meyerhold regularly traveled abroad, where he toured with the theater or was treated. He visited Germany, France, England, Italy, Czechoslovakia. In the fall of 1928, he asks to resolve the theater a year-old tour in Germany and France. Lunacharsky had a suspicion that Meyerhold was going to leave the Soviet Union. Meyerhold trample began. For some time, Stanislavsky supported him, but after his death Meyerhold lost this support.
June 20, 1939 was arrested in Leningrad; At the same time in his apartment in the Bryusov Lane of Moscow, a search was made. In the search protocol, the complaint of his wife's 3inaida repayers protested against the methods of one of the NKVD agents was recorded. Twenty-four days later, on the night of July 14-15, she was brutally killed by unknown, penetrating at night in her Moscow apartment. The attackers struck her seventeen knife wounds and disappeared. The actress died on the road to the hospital. The mystery of her death to this day remains undecid.
Meyerhold said that he believes in his star, and I now do not understand anything "(from the letter of the daughter Zinaida Reich, Tatiana, to M. Shaginyan from 07/20/1939).
After three weeks of interrogations, accompanied by torture, signed the necessary investigation of the testimony: accused of article 58 of the Criminal Code of the RSFSR.
In January 1940, Meyerhold wrote V. M. Molotov
"... I was bilted here - a sick sixtieth old old old man, put on the floor face down, the rubber harness was beaten along the heels and on the back, when it was sitting on a chair, the same rubber beat their feet [...] pain was such that it seemed to have sick sensitive places Legs lily cool boiling water ... "
Meyerhold's archive was able to save only thanks to the courage of his admissible daughter Tatyana Yesenina (the daughter of the famous Russian poet Sergey Yesenin) and the student of theater workshops Meyerhold, and at the time of the already famous director Sergei Eisenstein.
The meeting of the Military Collegium of the Supreme Court of the USSR was held on February 1, 1940; The sentence is execution. On February 2, 1940, the sentence was carried out. Meyerhold was buried at the Don Cemetery in Moscow in one of the three common graves of victims of repression.
In 1955, the Supreme Court of the USSR posthumously rehabilitated Meyerhold.

P.S.
There are testimony of witnesses present during interrogation of Meyerhold. The great director was lying on the floor with a broken thigh, with a broken bleeding face, and the investigator urinated him ... He was attributed to participation in the Trotskyist organization and espionage in favor of four countries at once: Japan, England, France and Lithuania. In the transcripts of interrogs, Meyerhold appear the names of Pasternak, Shostakovich, Oleshi and Ehrenburg - acting persons of the outbalanced performance.
Yes, the owner did not think to stop and after herself. Having finished the defeat of the party, the army and the Soviet top, he logically conceived to put the last blow - by culture. But mass exterminations were more impossible - the country was exhausted, and the leader, regulating the sacred fire, replaced the amount of quality. The process was to touch the names that the whole country knew - to once and forever all understood that it allows himself to a whisper to fron creative intelligentsiaTo solidify she, in the eyelids, the eternal lesson, already learned and the party, and the army ...
But apparently, observing the investigation, he doubted the possibility of the participation of Babel, Meyerhold and others in the conceived process. He could not rely on these strange people. For example, everything already recognized Babel on October 10, 1939 refuses his testimony ... And the owner understood: these nervous great artists are dangerous, for the excitations and unpredictable, they can not rely on them!
He was disappointed in the actors, and the performance did not take place. Both Babel, and Meyerhold, and Koltsov simply shot, having received the necessary testimony from them, and continued to search for new decent performers in the triller finals ... But he prevented the war.
On the days of the investigation, Meyerhold, Actress Zinaida Reich, wrote to Stalin, walked in Moscow, talking about injustice. It was a riot - and the reaction followed ... The killers penetrated her apartment through a balcony door. Killed the sadist, poles for a long time - 17 knife wounds. She shouted insanely, but no one helped her, people were afraid in those years of night shouts ...
In the liberated apartment of Meyerhold settled the chauffeur Beria and the 16-year-old beloved Lavrentia Pavlovich. Satanic finals - in the spirit of Voland.