Fortress theaters of the XVIII-XIX centuries. Fortress theater as a phenomenon of Russian culture Which of the Russian nobles contained a fortress theater

How did the actors in the invention lived to the Stanislavsky system and even before the cancellation of serfdom, in those times, when one of the most popular entertainment was theater, and his "stars" were slaves?
The first theater appeared in Russia with Alexei Mikhailovic. The king wanted to have a private theater, having learned about the comedies in Florence. We didn't have any specialists then, but at the invitation to Muscovy, no one would want to go. In 1672 they decided to make a performance on their own, and instructed this mission to German Johann Gregory from German Sloboda. The play was also German. It is said that I liked the idea of \u200b\u200bAlexey Mikhailovich that he watched him for 10 hours in a row. At the same time, Gregory began to teach acting skills, unknown only where he learned himself. The petition king came to us from one of the actors Gregory, containing such lines: "... And your great sovereign is a salary, feeding to us, your hobs are not worked out, and now we got ridicked up and sidewrikes, and there is nothing to drink, and there is nothing to drink And we rushing your hooks, hungry death ... ". What are the millions of rubles from the state, when even the "feed" was not given.
The nobles slowly began to repeat over the king, and each self-respecting landowner had to have a fortress theater. They did not regret money on lush scenery and luxurious costumes - at that time it was one of the most popular ways to demonstrate their wealth. In Moscow, at the beginning of the XVIII century there were 53 serfs. From the fastest theater of Prince Urusov, for example, a small and large theaters once came out.
Often, fortress theaters were real shy, prisons and harem. The power of the landowner over the actors was not limited to anyone, so most of the fortress troupe were reminded the Karabas-Barabas Puppet Theater. The fate of the actor depended only from the owner's will. The actors were sold and bought, like other fortress, but they cost more. The price of a talented actor or actress reached 5,000 rubles, whereas for a simple maid girl gave 80 rubles, and for a man, suitable for recruits, 120.
This is what is known, for example, about the theater of Count S.M. Kamensky in Orel. The graph during the performance, sitting in the bed, recorded all the mistakes that he noticed in the course of the action, then in the intermission he took a wagon and went for the scenes to punish forgetful actors. The audience was heard due to the closed curtain of screaming punishable. Kamensky did not regret money on the scenery, and his artists lived the injignment and walked to bite into the city. Another graph did not descend the eyes with young actresses. He personally stored their rooms every evening and always kept the key with him, forbade them to look into the hall (when they needed to contact the hall, they had to grumble) and brutally punished for the slightest misdeed. Theater eventually ruined Kamensky. In 1835, there were no money left for the funeral of the graph.
At theater V.G. Gladkov in Penza was also bad fame. That is, the actors and performances are high enough, and the owner of the theater was known for his cruelty and drunkenness. The actors often went to the scene with bruises and gluable eyes. Gladkov loved loudly comment from the personal lodge the events of the performance and the game of actors. Without embarrassed by the landowner, he took away from the fortress actors wives, raped like actresses. Complaints wrote to Gladkov, but thanks to a high-ranking relative in St. Petersburg, the Penza slave owner everything went with her hands. In 1829, one of the complaints fell into the hands of N.A. Radishchev (son of the Radishchev writer), and he gave her a move. Gladkov appointed church repentance (!) And took the estate under the custody.
Theater owner in Vyksa I.D. Shepelev for cruelty called "Nonron". The actors of Shepelev suffered from exhaustive rehearsals and impracticable Tiran's requirements. For the slightest guise, he beat them with a reed cane, and he found a special pleasure in bullying ballerinas. The windows of the actresses of the actresses were buried, and for those who guessed themselves in the Dark and Raw Carter. A whole network of pokcachi reported Barina about any random look of the actress on a man. Once, one ballerina sent a love note to the Fastener Kelpelmister. Having learned about this, Shepelev eliminated both - at the Kappelmeister allegedly there was a blow, and the actress disappeared. Shepelev also owned by metallurgical plants, and workers, together with the fortresses, tried to protest against hellish working conditions, but all their rebellious attempts were suppressed by the troops. On the behavior of "Nero" drew attention only when all the economy came in full decline. Shepelev was not put in prison and did not execute, but only sent to Moscow, where he lived his century, gradually losing the remnants of reason.
It is not known how many talents were ruined in theaters of these insane slave owners. How many more sipping and urban (both were also serfs) could decorate the Russian theater scene. But there were quite adequate owners of fortress theaters, for example, Prince N.G. Shakhovsky, N.P. Sheremetev, B.G. Yusupov and many others who helped talented actors and actresses gave them a good education, treated them with respect, appreciated, retained and developed theatrical art in Russia.

On March 7 (February 23, on the old style) of 1803, Paraskovaya Ivanovna Pearlchugova-Kovalev, the famous actress, Sheremetyevsky fortifications, died. Bright dramatic talent, extraordinary voice and beauty quickly made Praskov, the daughter of the serf's blacksmith Kovalev, who was inherited by the wife of Sheremetyeva-senior, recent theater, and later, Sheremetyeva Countess. Empress Empress herself, admired by the game of pearls, awarded her diamond perrsect as a sign of recognition of her talent. We decided to tell about gifted serfs that became more famous than their owners.

Praskovya Pearlugova

Praskovya Pearlchugova. Fortress artist Argunova

The fate of Praskovia Kovaleva could work out otherwise, if it were not for the fashion of the time for theaters and not a rare gift - an extraordinary fascinating voice. 8-year-old Praskovea was taken to the county estate in a pie and began to train stage skills, dancing, music, a game of harp and Clavesis, foreign languages. At the same time, she received a pseudonym Gemchugov: Sheremetyev wanted to change the peasant surnames of his actresses on pseudonyms, formed from the names of precious stones - Pearls, Turizova, Granatov. It is believed that the pseudonym of the pearl actress received for a gentle "pearl" voice.

Praskovya played his first role at 11 years old, she appeared by the servant in the opera Gretri "Friendship Experience." At the solemn opening of the Sheremetyevy theater, dedicated to the victory in the war with Turkey on June 22, 1795, Praskovya shone in the lead role of Turkish Selmir, who loved the Russian officer, in the music drama I. Kozlovsky on the text P. Potemkin "Zelmir and Blemlon, or the capture of Izmail" . In seventeen, Gemchugova played his best, according to the reviews of contemporaries, the role of Aliana in the "Marriages of Samnithan". It was for this role that the Emperor Paul I complained Praskov, a pearl necklace, and the owner of the theater, by that time they became the son of Count Sheremetyeva, gifted by the rank of Ober-Gof Marshal.

In 1798, Count Nikolai Sheremethev gives free Praskovier and the whole family of Kovalev, and in 1801, having received the permission of the king for an unequal marriage, marked with the actress. At the request of the wife, according to the project of the architect, Jacomo Kurengy, the Count built a stainless house - one of the first institutions in Russia to provide medical care to poor and orphans. He has its own history of ambulance named after Sklifosovsky.

Praskovya Zhemchugova died in 1803 from the age of age at the age of 34, three weeks after the birth of the son of Dmitry. He was buried in St. Petersburg in the family tomb of Sheremetev's graphs in the Alexander Nevsky Lavra.

Praskovya Pearls in the role of Eliana ("Marriages of Samnithan" A. Gretri). Watercolor portrait of Sh. De Shamiisso.

Mikhail Shchepkin

Mikhail Shchepkin. Portrait of artist N.V. Herry.

The founder of the Russian Realistic Theater Mikhail Shpkin was born in Kursk province in the family of Count G. S. Volkenstein, who organized a home theater for fun children, then young Michael and became interested in a hypocrite. In 1805, his debut was held on a professional stage: it was quite by chance it took to replace the actor in the play on the play L.-S. Mercier. From that time with the permission of the Count Volkenstein, the actor began playing at the Barzema Brothers Theater in Kursk.

The prince of V. Meshchersky, whose manner struck Shchepkin was greatly influenced on the young actor. He himself believed that his transformation in the present actor occurred under the influence of the game of Meshchersky. He on stage "did not play, and lived." Since then, Shchepkin has become incarnating a realistic player of the game, using the principle of "internal excuses of roles." Shchepkin promoted the brief in the image of the character's image, so that the audience felt the sincerity of the game. This new scenic manner made Mikhail Shchepkin the first actor of the province. In 1822, the fans of his talent gathered the necessary amount and bought actors from the serfdom. In order to collect the desired amount, a performance was organized, with a subscription board. In 1822, the free Shchepkin was invited to the Taroupe of the Moscow Small Theater, after which the informal name "House Shchepkin" was later entrenched. In the capital, he brilliantly performed the role of Shekespeare in the "Venetian merchant" Shakespeare, Famousov in Griboedovsky "Mount from Wit" and Gogol Gogol's "Revior".

New principles of acting game: deep penetration and understanding of the character who received distribution thanks to Scheppin, later formed the basis of the famous "Stanislavsky system". The name of Shchepkin was called the Higher Theater School at the State Academic Maly Theater in Moscow, the regional dramatic theater in Belgorod and the streets in Moscow, Kursk, Alma-Ata.

Taras Shevchenko

The future National Hero of Ukraine Taras Shevchenko was born in the Kiev province in the family of Engelardt's fortress service, who, noticing the boy's talent for drawing, sent him to study in St. Petersburg to the artist V. Shiryaev, intending to make his fortress painter from Taras. In St. Petersburg, the talented fortress was presented to the Secretary of the Academy of Arts V.I. Grigorovich, artists A. Venetsian and K. Brylovov, Poet V. Zhukovsky, thanks to the efforts of which, Shevchenko was redeemed from the fortress dependence. To do this, the portrait of Zhukovsky, written by Bryrylov, was played in the lottery, and received 2,500 rubles went on the freedom of Shevchenko. As a sign of gratitude, Zhukovsky Shevchenko devoted him one of the largest works - the poem "Katerina".

In 1840, Kobzar came out in St. Petersburg - the first Ukrainian collection of poems Shevchenko. Soon he publishes "Gaidamaki" - its largest poetic work, "Poplar", "Katerina", "Nimichka", "Khustochka", "Caucasus". For his poem "Sleep", containing Satira on the empress, Shevchenko was sent to the link with the ban to write and draw. Released his amnesty after the death of Nicholas I.

Shevchenko, who wrote more than a thousand artistic works, is considered the founder of modern Ukrainian literature and norms of the literary Ukrainian language. In addition, Taras Shevchenko is one of the most famous masters of Ukrainian painting. Its name is National University in Kiev, the embankment in Moscow, Ukrainian theaters and station of the Kiev metro.

Andrey Voronikhin

Portrait of Andrei Voronikhina. Viktor Bobrova engraving from the picturesque original of the beginning of the XIX century.

The Russian architect Andrei Voronikhin was lucky to be born in the family of fortress graph A. S. Stroganov, a famous patron and a benefactor. Stroganov discovered several art schools, in one of which the famous icon painter Yushkov studied painting and Voronikhin. Soon, the Earl himself drew attention to the talent of the young man and sent him to learn from the Moscow School of Architecture, where His mentors were V. I. Bazhenov and M. F. Cossacks. Graf Stroganov gave free veneerhine in 1785, and a year later, a young man went to study architecture, mechanics, mathematics and natural sciences in France and Switzerland along with the son of the graph.

In 1791, the young architect began his first work - finishing the interiors of the Stroganov Palace, built on the project of Rastrelli, a supporter of the Baroque style. Voronikhin also preferred the simplicity of classicism. There is an opinion that it is the European journey, during which Voronikhin met with samples of ancient architecture, predetermined his love for classicism, which applied to the forms of ancient architecture as a standard of harmony, logicness and beauty. In the same style of classicism, he rebuilt the interiors of the Stroganovsky cottage and several other houses.

The most famous work of Voronikhina was the cathedral of the Kazan Icon of the Mother of God, made in the ampir style. After the end of construction, Voronikhin was awarded the Order of St. Anne's second degree, and entered the story as one of the founders of the Russian ampury.

Ivan Vyodichiyev

Fortress Princess Shakhovskaya Architect Ivan Svityev was educated in the Imperial Academy of Arts. On the exam in 1817, for his project "Postal Dvor", he received a silver medal of 2 degrees, but after a year of Svyodueva was expelled from the Academy due to the status of serf. Vyodityev was released on the will in 1821, after which the title of artist-architect of the Academy of Arts was immediately received.

Ten years old architect worked in Perm, where the school for children of the stationary ministers, the House of the Civil Governor, the spiritual seminary was built on his projects. Speedow belongs to the final project of the bell tower of the Transfiguration Cathedral, where the Perm Art Gallery is now located. In 1832, Svyology moved to St. Petersburg, there he worked as an architect and a teacher at the Mountain Institute, where he published the first architecture in Russia, adopted for teaching at the Mountain Institute and other educational institutions. For this work, Viciizayev was awarded the title of member of the Academy of Sciences, which gave an honorary review of his work, and the architect himself began to invite to various educational institutions to lecture on architecture. In addition to this work, Viciizayev also published a "architectural textbook", "Foreign Arts" and a number of articles printed in the "Mountain Journal", "Journal of the Ministry of State. Property, "" magazine of fair-made arts "and" works of the imperial free economic society. "

Our contemporaries, fan suites in performers in blockbusters and television series, it is difficult to imagine that once the profession of artists was hard, subane and unpaid labor. About the age of the same burden, felt on the shoulders of the most dependent profession, in the "home" theaters of fortress Russia and will go further.

When did the "fortress theaters" existed?

"Fortiece", often called "home", the theater existed almost one and a half hundred years. The roots of the phenomenon go to Petrovsky times when new forms of entertainment were actively involved. So, one of the Russian research researchers Tatiana Dynnik calls the date of birth of the phenomenon - the wedding day of the Queen of Catherine II, when the actor became an "audise soul." And the proof shows an excerpt from the memories of the contemporary, describing the day on November 15, 1722, with reference to the orders of the Duchess of the Mecklenburg one of those who guessed actors to punish two hundreds of batalog strikes used in relation to serfs. The completion of the era is evidenced by the document of 1844 on the meeting of the Committee on the device "estates of the yard people", in which Nicholas I expressed the opinion that fortress "theatrical troupes, orchestras, etc., now everywhere almost brought out or output. In St. Petersburg, as I know, it is already only in Yusupova and Sheremetyev; In the latter, however, not to taste, but because he does not know where to go with these people. "

Fortress Theater in Kuskovo

What is this phenomenon?

The theater of serfs for eminent families was driven property, which they managed to have ownership for entertainment and commerce purposes. The poster was filled with opera writing, ballets, comedies and drama. And the idea herself turned out to be part of the city, not a manor life. By the beginning of the XIX century, in Russia, 155 teams were located in the estates, and 103 in the city mansions: in Moscow - 53, St. Petersburg - 27, and in other cities - 23. The hosts put considerable efforts so that their "home joys" seemed to " Metropolitan. "

It is worth noting separately that the subsidy of such teams was considered a luxury and implied significant spending, in view of which only owners of very large states could allow such a balobiness.

Sheremetev's fortress theater in a fountain house

The most famous fortress theaters

* Prince G.A.Potemkin in the Tauride Palace (Harder Str., House 47, St. Petersburg),
* in the Yusupov Palace on washing, house 94 (St. Petersburg),
* in the Palace of Naryshkina-Shuvalov on Fontanka, House 21 (St. Petersburg),
* Heir to the throne of Pavel Petrovich (manor in the village of Pavlovskoye),
* Count B.P. Sheremeteva in the fountain house - 34 (St. Petersburg),
* Prince N. B. Yusupova (near Moscow village Arkhangelskoe),
* General S. S. Apraksina (Olgovo),
* Countess D. P. Saltykova (Marfino),
* "Napoleonic Theater" P. A. Poznyakova in the house in Nikitskaya (Moscow), etc.

Sunzago fortress theater in the village of Arkhangelsk

Who were taken to artists?

The acting turned out to be difficult for a pile, wandered, was often temporary. The staff of the performers were recruited from the serfs by the main criterion - the applicant must be "prominently", in the sense, beautifully folded, to have a state figure. According to the decree of Sheremetyeva, the performer of home theatrical performances were taken from the girls-orphans 15-16 years old, "the face and corps are not corrupted and seeking and seeking." However, only the first requirement was often respected, why most artists were poorly educated. So, in the Sheremetyev letter, one of the teachers of the declamation in the House of Count, the famous actor Ivan Dmitrevsky noted the student in the incredibly low level of Russian language, without which the "actor is good to be very difficult."

How was the rehearsal?

Given the fact that competent serfs did not everyone could afford, the selected performers were tormented by the learning of the roles "from the vote" and meaningless rehearsal rehearsals held even at night.

Savior Theater N. A. Durasova in Lublin

What did you study yet?

The skill of the actor, declamation, singing, musice, spelling, history of literature, foreign languages, the general course of natural sciences. To do this, young people who are capable of learning are gained in Troupe.

Where did the actors live?

The restless people of the artists lived insulated, in separate wrappers, somewhere on the backyards, "away from the eye", but under the closer approach of strict control and army discipline.

« Nothing to do, - Says one owner of the serf theater in A. I. Herzen - order in our business - half of success; Weaken how many entrances - trouble: artists - restless people. You know, it may be that the French say: the easier army is to manage the whole army, rather than the troupe of actors».

South Sheremetev Country Theater in Ostankino

How much did the fortress artists get?

Considering that the "host" side took on "complete subsidy", i.e. The costs of accommodation, accommodation and food, the artist did not get anything. Only well-faithful nobles have encouraged and gifts, but it was considered a big rarity.

A special case is the home theater of Count Sheremetyeva, where the actors were made a salary from 10 to 60 rubles a year. So much could receive an experienced valet cartooner or helper. The graph for all Chelyadi has established three levels of salary: "low", i.e. Dotation corresponded to the lowest rate, then "cottage against Lakeev", i.e. equal to the lacquers, and the "Supreme Cottage", which determined the privileged status of involved in the theater.

Unknown serf artist. Palace in Maryina. 1816.

What punishes were applied?

Supported the tough rules of the discipline of severe punishments for any violations and bindings. Nikolay Leskov in Novella "Stupid artist" described several realistic examples of the county tyranny of the host theater in the Oryol province, Count Sergei Kamensky, who was incredibly cruel with serfs. Count personally worked as a cashier and sold tickets. In addition to entertainment, guests received treats in the form of frauds of Marshmallow, uroin apples and honey. All comments on the game, the count recorded and right during the intermission went for the scenes, where specially cooked wipes conducted settlements with non-painful performers so hard that their cries came to the sophisticated hearing of honored guests.

However, punishments in the form of bodily defects were often applied only to men. Women pursued a different fate. So, for example, the Count Sheremetev was habit the habit of forgetting the handkerchief during the crawl was completed with the actress, which suddenly recalled at night, unexpectedly visiting the girl's bedrooms, which would rather come back in a large number of extramarital offspring.

At the same time, he himself brutally punished for any violations of "decent rules". So, for example, a student of his home theater Belyaev set off somehow for training at the Sandunova's actor's house in one Briton with a student of the Travin. The graph collapsed his passionate anger on the head of both, indignant by the fact that "the girl went with idle", after which they were severely punished.

Fortress landlord N.N.Demidova, Great Russian Actor Stepan Mochalov (1775-1823)

What did the actors be afraid most?

Numerous legends about terrifying incidents, which were accompanied by punishment of artists for their provinces. So, for example, during the same scene on the playing imaginary monster, the actor attacked a dog that broke the artist to pieces. The owner of the house forbade everyone to interfere, giving "committing the case", after which she ordered to hang a punch and send an artist away.

As I.Ansenyev describes, the strange habit was at Count N. B. Yusupova, having entertained his Moscow guests after the end of the presentation by the fact that he himself went out in a light blue dress with a frightened wig with a pigtail, and the Keesradalet was in "natural form". Another example of how often the "home theater" implemented the idea of \u200b\u200bthe owner of the entertainment, which was lacking.

Fragment of the Icons "Scary Court"

What was the real talent encouraged?

In addition to valuable gifts and cash premiums, the change of surname was considered a special grace. For example, after passing the lessons of the declamation of the famous actor Ivan Dmitrevsky, young girls changed the names: Kuchevinov became Emerald, Kovaleva - Pearlovaya, Buyanova - Pomegranaya, Chechevicin - Yakhontovaya. And rudely called men received the names of Kamenev, Markovnov, Carolics, etc.

Prima Sheremetyevsky Theater Praskovya Pearlchugova (Kovaleva) After the concert in front of Paul I in February 1797, he struck as the beauty and tenderness of the timbre of the lyrical soprano, which received the "Imperial Dar" as a gift - a thousand rubles. And in 1801, the actress became the wife of the Count Sheremetev. However, the secret marriage became known only in 1803, after the birth of the firstborn Dmitry, who got outless wealth and one and a half hundreds of thousands of fortress shower. But after twenty days, the Great Actress died suddenly from CHAKHETOP.

What additional benefits did the owner receive?

Ekaterina II after the play of the famous serf theater in Sheremetyevsky estate at the village of Kuskovo expressed an incredible surprise from the magnificent spectacle, " nicely distinguished from all that was satisfied for her" What allowed Count Nikolay Sheremetev last decade of the 18th century a whole year spent in St. Petersburg, in his fountain house, where artists, orchestrants, artists and ballet dancers came with him.

How did the "serfs" become "employees"?

In the 1820s, the teams of fortress theaters were gradually disbanded. The ruin of many noble surnames allowed the Directorate of Imperial Theaters to acquire several fortress performers, musicians, and shvent. But the position when moving the serfs from the landowner into a professional team has not changed. Introduced on December 17, 1817 the law on "exclusion of artists and other theatrical ministers from the pillow", thanks to which talents received freedom from the "Audial" dependence, the provisions of the dependent talents did not change. New managers from the Directorate also treated them as things.

How much "serf" talent?

In 1828, the Directorate acquired a team of musicians for 54 thousand rubles from Prince Chernyshev. Two thousand per soul. But it turned out that the executors of the orchestra or "not played", or "played okay", which some of the part were given to reappear, part of the "Turkish music", and the rest - in the notes. They defined a salary from 250 to 500 rubles a year (despite the fact that the free 1000 was paid), they were stationed in an extension to Anichkov Palace, plus the half of the rubles added married to children. This deplorable state forced the serfs even write a letter to the Minister of Yard Volkonsky with a request to "take under the cover of the unfortunate", but the forces did not have and changed the change.

What did the "serf" in the imperial theaters?

The routine of the day of the employee of the Imperial Theater is traditionally traditional for today: morning rehearsals, day studies on "improving themselves in art" and evening access to the public. At the same time, an incredibly short rehearsal period with a large repertoire and no "Haltur" or additional earnings.

Why many employees suffered from drunkenness. Indicatively, the case of December 1833 with the ukobyist Chernikov, who returned after a three-day absence naked. In the explanatory guilty she said that she was silent in the depraved and enormous life, which turned out to be a debtor in different places, because of what he left the restaurants from the owners of the "Cloak at the Mojer Masters - Karl Ivanovich, a vest, a manica and a tie in Tsaritsyn Testaire, Pants - in Ekateringof restaurant, and the state theatrical oboe - in the restaurant "Hotel du Nor" ... the tool is laid at Marquera Ivan for 30 rubles, and it is not more than 14 r., the rest of all interest. "

Another musician for drunkenness was put in a prison cell at the Bolshoi Theater and gave punishment with a warning that, with a re-similar case, would be dismissed and sent to soldiers.

How did the tradition fade?

"Guests listen to Gypsy choir" (Gravur L. Serebryakova in drawing V. Schreidera, 1871)

By the time of the cancellation of serfdom in 1861, the fortress theater was maintained only in a music version of festive chants, when those who were able to sing of lackers and girls. Their creativity has become the source for walking the "folk song", as well as incredibly popular sentimental romances. In the ceremony of walking or walking on boats or outside the city, the choir was considered compulsory attribute, as well as a group of singers in home churches for nobility. In the case of a special extreme of wealth, Lacey has started "Lacey", capable of controlling "with a violin" during the ridges on the river or forest. Here is one typical announcement from the Vedomosti: "A man is sold for 25 years, a bigger growth, able to write and play on the screenshot and an affluent position. See him and about the price of the Gallery Dvor, in the English Tractor from Fav. " But this tradition was put by the end of the decree of Nicholas I 1841 on the ban on the sale of serfs one.

What is a "fortress theater of Gulag"?

The term "fortress theater" was used in the twentieth century, and indicated the example of the black humor of Soviet dissident in relation to the phenomenon common in the Soviet repressive system. The unexpected return of the tradition of "serf artists" was formed in a series of mass arrests of the totalitarian regime from the professional actors who came to the conclusion of professional actors, directories, musicians, dancers and other figures of theatrical professions. From the fruits of their labor, the administration of the zone came up with an incentive system, when the "Stakhanovsky" achievements in the camp work enclosed received additional benefits in the form of a club ticket with good places to view performances and literary evenings. "The fortress troupe of the Gulaga" was also considered elements not only entertainment, but also prestige.

Fortiece Theaters - Basic or Love for Art? July 22nd, 2016

Fortress theaters are an original Russian invention. Nowhere else in the world there was no such cultural miracles. However, a special question is whether it is worth being proud of it.

Let's start with the fact that the keyword here: "serfs". This means that the whole theater, including actors, was the property of the landowner. The fortress theater arose along the whims of the landowner. The landowner was a full-awake owner, both on stage and behind the scenes, and in the auditorium too. The owner chose a repertoire for his theater, distributed roles and even directed performances, although in those days the work of the director was not at all glorious and not honorable.

Thus, the fortress theater was a private noble theater. This determined its purpose. It was not so much in order to earn money, how much to entertain himself, friends and neighbors. Entertainment here should be understood in a very broad sense, which will be mentioned below.

The uniqueness of the phenomenon of the fastener theater was determined by the word "serf". In the middle of the 18th century, when such theaters began to arise, from all European countries a fortress condition (that is, speaking without obscene, slavery) was only in the Russian Empire. Naturally, nowhere, except for Russia, the fortress theaters were impossible due to the absence of serfs. Moreover, in some parts of the Russian Empire, where the serfdom was abolished "in working order" (Baltic States and Finland), or where it never existed (Pomorie, Siberia, Cossack region), like, with the permission to say, "Culture foci" It was also impossible to start. But in other areas of serfs there was sufficient quantities so that fortress theaters could appear.

You can select 3 types of fortress theaters. The theaters of the first type were played by the noblemen, as well as their children. The serfs were occupied on the technical work: raise and lower the curtain, change the scenery. The orchestra in which serfs played, could accompany performances. In principle, it was not a serf, but an amateur noble theater. In the theaters of the second type, along with fasteners on the stage, they produced fortress actors who played minor roles. Finally, the third type theaters could be called serfs without any discount. All roles, and main, and minor, performed fortress actors.

Usually in winter, fortress theaters played in urban boric homes. In the summer, along with the owners the theater moved to country estates.

Have a lot of fortress theaters? Clear quantity. At the end of the 18th - early 19th century, theaters S.S.Apraksin, G.I. Bibikova, N. A. Gagarin, P. B. and N . P. Sheremetev, N. B. Yusupova in Moscow and many others.

Perhaps the most famous of the fortress theaters - the theater of the counts of Sheremetev. He began its activities in 1765 in St. Petersburg. At that time it was a noble amateur theater. By the end of the 1770s, the theater settled in the Moscow House of Sheremetev at the Big Nikolskaya Street. In the very center of Moscow, quite close to the Kremlin, later there was a famous restaurant "Slavic Bazaar", which in 1993 burned down. For the summer, the theater moved to the near Moscow estate Sheremetevy Kuskovo, and then moved to the building specially built for him in another estate, in Ostankino.

Sheremetevi serfs numbered tens of thousands. Therefore, it was out of whom to choose actors, scene workers and attendants. For performing performances invited the famous masters. The repertoire of the Sheremetev theater was more than a hundred plays. These were mainly comic operas, water and ballets. In the middle of the 1780s, with N.P. Sheremetyev, the theater reached his heyday. First of all, it was due to the fact that Nikolai Petrovich Sheremetev (1751-1809)it turned out to be an invalid, a talented musician and a big fan of theatrical art. About the other side of the activities of N.P. Sheremetyev, charity, told in the article "How did a strange house on the Big Sukharevskaya Square appeared in Moscow?" from 30.06.2016.

Another famous Theater in the early 19th century was in the estate of N. B. Yusupova "Arkhanglskoe". Here are a lush opera and ballet ideas. There were fortress theaters in the province: in Nizhny Novgorod, in Kazan, in Orel and even in the city of Shklov, Mogilev province.

Did it be happy to be a fortress actor? The answer here most depended on the nature of the landowner and ... from the floor of the actor. The fact that many owners of fortress theaters have entertained not only by spectacles but also with adorable fortress actresses are not evil fiction, but bitter truth. "Notes and Letters" M. S. Shchepkin (who himself was a fortress actor), the stories "Tuppean artist" N. S. Leskova and "Soroka-thief" A. I. Herzen. The fate of the fastener actress Praskovia Pearls, who became his wife N.P. Sheremetyev - the rarest exception.

If the serf actor / actress did not like Barina, the list of punishments for them was as wide as for other serfs. At best, the removal to some long-range imbey, in the worst case - corporal punishment and sale to another owner.

The story of N.Leskova "Tuppean artist", although not written off from reality, has a completely real basis. In Orel was the fortress theater of Count Kamensky. Kamensky was distinguished by cruelty. Actors who allowed some emboss, personally punished with a leaf. So the cries of the actors punished in an intermission came to the viewer. All fortress actresses have formed a kind of harem in the graph. But art is above all. The new favorite was always led to Kamensky in the costume of the Holy Cecilia. In general, not honey was the life of a fortress actor, not at all honey!

Although Prince Peter Andreevich Vyazemsky, a person educated and smart, friend and favorite interlocutor A.S. Pushkin found positive parties even in serfs. In his opinion, such theaters were instilled by the serfdom of education, literacy and acquaintance with the arts. In addition, thanks to the theater, yard people became widely known, which, ultimately, contributed to the ransom to the will. The famous Russian actors M.S. Schepkin and PSMochalov, that is, born to serfs, later became free.

According to P.A. Negazky, theatrical and musical ideas provided a beneficial effect on landowners, distracting them from the fun of rude: Popoch, cards and a hunting.

Useful links:

1. Fortiece Theater in Wikipedia


2. KRIPATSKY THEATER IN VIKIPEDII


3. Presentation

Fortress theaters of the XVIII-XIX centuries.

Introduction

Interest in the topic Theaters of 18-19 centuries. It is due to the fact that the culture of that time is unique, the period of the existence of serf theaters in the Russian Empire of the entire age, but even this short period of time left a bright imprint in the history of Russian culture, and especially in the theatrical art of Russia.

The purpose of this abstract is the systematization, accumulation and consolidation of knowledge about the fortress theater in Russia.

To implement this purpose, it is necessary to solve the following tasks: 1) Consider the history of serfdom 2) to characterize theatrical figures (owners of theaters and actors) 3) to conclude on the topic considered

In the process of writing the abstract, I studied textbooks on world artistic culture, essays of the history of Russian culture of 18-19 centuries. Articles about theatrical figures, as well as articles found on the Internet.

The fortress theater existed in Russia for about a century (from the middle of the 18th century until the middle of the 19th century), as well as at the same time on the territory of Belarus in the Nesvizhsky estate of the princes of Radzivilov, and in Ukraine in the village of Kibinica in Poltava region in the estate . Trochinsky, as well as the Theater of the landowner D. Shihiya from the village of Spiridonov Buda in Chernihiv region.

The fortress theater was mostly two types:

· URBAN

· Estate

The first was arranged premises with a large repertoire, a large troupe of artists, from childhood prepared for theater activities, orchestra, ballet, choir and soloists. This type includes the so-called "Balagan theaters", showing their performances at large fairs in county cities, in Posadakh during monasteries.

The second type includes the manor theaters that were closed - for fun, the Lords themselves and invited guests themselves. Only at first glance such serf scenes were closed: their livelihood with the public and cultural life of Russia is obvious. The birth of the National Professional Theater is associated with the name F.G. Volkov. (1729-1763) and the city of Yaroslavl, where he first put the drama of his great countryman D. Rostovsky, and then the first tragedies of A.P. Sumaro. Since 1756, the Public Theater opens its curtain in St. Petersburg. The creator of the repertoire and director of the theater was the playwright of Sumarokov. And Fedor Grigorievich Volkov was a brilliant actor and director. The famous actor I.A. began in Volkova troupe Dmitrievsky (1736-1821), which from 1779 led the private theater at the Tsaritsyn meadow.

In Moscow, there was a university theater with the Italian troupe D. Locatelli. And in 1780, the Petrovsky Theater opened, in the repertoire of which were both dramatic and opera performances. A peculiar phenomenon of the cultural life of the second half of the 18th century. There was a fortress theater. At the end of the 18th century The role of the theater in public life has grown significantly and became the subject of public discussions. All of the above requires further detailed consideration and study.

.The history of the emergence of the fortress theater in Russia

At first at the first pores of a fun yard, the theater was then received distribution and among the dwarf's courtyard. Already with Alexei Mikhailovich, Boyar Matveyev arranged in his house the theater like royal. His example was followed by Boyharin Miloslavsky, which received a nickname "fun", kN. Jac. Odoevsky and favorite princes Sophia KN. V.V. Golitsyn. Even one of the approximate boyars of the princes of Sophia, T.I. Arsenyev, arranged in her house theatrical spectacles, on which the actors were its Baric people and Barsh Barsni.

In St. Petersburg, in the times of Elizabeth, there were theaters in the house of Count Yaguzhinsky and Count Peter Sheremetyev. This custom of rich venel should make constant home theaters have retained for a very long time.

The initial years, by the emergence of the very idea of \u200b\u200busing the artistic forces of serfs, on theatrical stage, represent, of course, only timid steps in the field of scenic art. However, these years are significant not only for the very fact of testing this idea, but also, for example, such an event, as one of the first public speeches of the Russian woman as an actress. This kind of performance took place already in 1744, when in the court of the Arrest of Peter Fedorovich, in the court of the heir to the throne of Peter Fedorovich, with the Anhalt Church Princess, the future of Catherine, was performed "ballet of flowers" as N.V. Drisen, in his essay "Stopping of the imperial theaters" ("Historical Bulletin" for 1900), all these "Rosa" - Aksinha, "Renenkul" - Elizabeth, "Anemone" - Agraphen, Daisy and Jacins were fortress girls, maybe I studied at the Lande school, a famous balletmaster in the reign of Anna John, who studied the dances and Empress Elizaven, to the reign of which was destined to "be" Russian, theater (1756). Our noblemen, always fond of trendy at the court, wanted to cultivate the institution at home, in which, in addition to the use of enlightenment, have seen even elegant fun and luxury, which was pleased to boast. There and Sym, in rich houses, begin with the middle of the XVIII century, to arrange amateur performances. But be the actors themselves, to teach roles, smear the face, worry about the knowledge of "places", all this seemed to many too burdensome; And the passion for the theater has grown and grew. If earlier this passion was considered to be someone, then the reign of Catherine II with her reconciled and gibry-fearing, especially when in the "Decree of the Directorate Directorate" (June 12, 1783), was allowed to be allowed to "start plenty for the public to advocations and regulations in the Charter of the Police. " And for the lazy and shy theatrons of that time, the only one, in its ease, the path of satisfaction of the new passion: to draw the most capable of their fortress-in hypocrites.

Delicate actors taught professional artists, composers, ballersters. Often, the fortress artists were brought up in state-owned theatrical and ballet schools, and free artists played next to them on the fortress scene. It happened that the serfs, rented by their owners, appeared on the imperial scene (in such cases, in the posters and fortress programs were not called "Mr." or "Mrs.", but simply wrote surnames). There are cases when serf artists got out of the treasury for enrollment on the imperial scene, - Stolypinsky serfs along with the yard actors of the landowners P.M. Volkonsky and N.I. Demidov entered the troupe formed in 1806 the state theater, which is now known as the Small Theater. M.S. came from fortress artists. Shchepkin, S. Mochalov, E. Semenova (according to A.S. Pushkin, "The United Queen of the Tragic Scene", and many others.

In general, it can be said that the history of the serfdom is rooted in ancient Russia, but, acquiring over the years more and more bright colors, in the 18-19 century a fortress theater has achieved the highest level of its development.

.Theatrical figures

Theater of Count Sheremethevsky

One of the first and most outstanding the theater of the counts of Sheremetev. He began his activities in St. Petersburg at 1765 as a noble amateur and finally took for an end to the end of the 1770s in Moscow (on the Big Nikolskaya Street). From hundreds of thousands of their fortress Sheremetev, carefully chose and trained a variety of masters who took part in the creation of theater (architects F.S. Argunov, A. Mironov, Diushin; Artists I.P. and N.I. Argunov, K. Attuses, Mukhin, S. Kalinin; Machinist F. Pryakhin; Musicians P. Kalmykov, S. Degtyarev, G. Lomakin, etc.). They worked under the guidance and next to the famous European and Russian masters.

In the Sheremetevsky estate near Moscow, theaters were built: "air" (outdoors), small and large. The troupe included fortress actors, musicians, dancers, decorators, etc. (more than two hundred people), among them - an outstanding actress and singer Pearchugova (P.I. Kovaleva). Artists had a salary with money and products. Supervised the troupe and supervised for her training a serf "librarian of his beggar" B.G. Wroblevsky, who was educated in the Slavic-Greek-Latin Academy and visited with N.P. Sheremetev in the early 1770s abroad. Wroblevsky translated the plays, at the same time reworking them. The theater repertoire was more than a hundred plays, mainly comic operas, as well as comedies, operas and ballets.

The theater has achieved a special heyday in the mid-1780s, when N.P. became its owner. Sheremetev-Son is an enlightened venel, a talented musician and a self-challenging lover of theatrical art, rebuilt in the early 1790s, a magnificent theater-palace in the village of Ostankino.

Prince Yusupov's fortress theater

By the beginning of the 19th century (about 1818) relates the flourishing of the activities of the Kney N. BB Yusupova. In 1819, theatrical building was rebuilt in Moscow, which had a partner, a semi-curvory amphitheater, a boretry and two galleries. In the summer, the theater operated in the village of Sele Arkhangelsk, where the magnificent theater building was still preserved, built in 1818. The Decorations for the theater wrote Pietro Gonzago. In the theater yusupov, operas and lush ballet performances were given.

"Theatrical Phenomenon"

Around 1811 in Moscow, the "Theatrical phenomenon worthy of special attention" appeared - the fortress theater P.A. Poznyakova, who was at the Big Nikitskaya Street in Leontiev Lane. The theater was mainly fascinated by comic operas, the scenery for which the Italian painter Scotty wrote. The fortress actors of this theater who "played incomparably better than many free artists", taught S.N. Sandunov and E.S. Sandunova.

Provincial fortress theaters

By the end of the 18th century. Fortress theaters and in provincial cities and estates began to appear, sometimes very remote from the center, including in the Urals and Siberia. Their level was very different: from primitive home-grown representations on the rigorous sloped stage with a disretened sheet instead of the curtain to well-organized performances in specially built theaters with a well-equipped stage. Example of the first - theater of Prince G.A. Georgian in the village of Lyskovo; Second - theater of Prince N.G. Shakhovsky in the village of Yusupovo, and then in Nizhny Novgorod; Theater I.I. Esipova in Kazan; CM. Kamensky in Orel; S.G. Zorich in Shklov.

Fortress theater Zorich

In the 1780s, Favorit Catherine II, S.G. Zorich, in his estate Shklov of the Mogilev province, a theater was arranged, which, according to the testimony of contemporaries, was "pre-production". The repertoire included dramas, comedies, comic operas and ballets. In dramatic performances, except for fortresses, the Cadets of the Shklovsky Cadet Corps (head of the zorich) and noble-lovers, among whom Knyaz P.V. was famous for Meshchersky - his game highly appreciated M.S. Shchepkin. In the ballet, which "were very good," only the fortress dancers danced. After the death of Zorich, his ballet troupe in 1800 was bought by a treasury for the St. Petersburg imperial scene.

Fortist Theater Vorontsova

Among the provincial theaters also highlighted the steering theater of Count A.R. Vorontsova, who was in the village of Alabuhi Tambov province, then - in the village of Andreyevsky Vladimir province. Vorontsov, one of the most educated people of his time, was a tary opponent of Galkania, spread among Russian nobility at 18th. Therefore, in the repertoire of its serf theater, first of all, the plays of Russian playwrights were included: A.P. Sumarokova, D.I. Fonvizina, P.A. Madeller, M.I. Verevkin, Ya.B. Knyazhnina, O.A. Ablessovova et al. Pieces of Moliere were put on such plays, P.O. Boualersche, Voltaire and other European playwrights.

The total composition of the troupe ranged from 50 to 60 people, including musicians, painters, machinists, tailors, hairdressers, etc. Artists were divided into "first-histnicals" (13-15 people) and "intervostic" (6-8 people) and depending From this received annual remuneration for money and things. In the theater Vorontsov, there was no ballet troupe and when dance scenes were required, "women, koi dance" were invited.

Public fortress theater

Public Constant Theater Graph S.M. Kamensky was opened in 1815 in Orel. It was one of the largest provincial theaters. It existed almost to 1835. Only in the first year of his activity was delivered about a hundred new performances: comedy, drama, tragedy, water waters, operas and ballets. The graph, which contemporaries called the "rock samot" (primarily for the attitude towards the fortress actors), scooped for his troupe of talented actors from many landlords, and also invited to the first roles of the famous "free" artists, for example MS Schepkin (his oral story lay down the story of the story A. Herzen "Soroka-Worch"; the atmosphere of this theater describes and the story of N. Leskova "Stillchy artist").

2.2Famous fortress actors and actresses

Mikhail Semenovich Shpkin

In the history of Russian culture, the name M.S. Shchepkin (6 (18) November 1788 - 11 (23) August 1863)the right one owns the glory of theatrical art. "The actor of powerful opportunities, it exhaustively fulfilled the tasks, which were nominated by the general course of Russian theater history, and the immutability of his discoveries expressed regularities that identify the main lines of the further development of the Russian theater" - so described the significance of the personality of M.S. Shchepkin researcher His creativity OM Feldman. Rod. In the family of serf, managing a graphic estate. Father was able to give Shchepkin to the institution in the county of the judge. Here the students were delivered by a comedy A.P. Sumaro "Foreignman". Teamed role in this performance in Fevr. 1800 influenced his whole life ("I was so good, so it's so fun, which cannot be said"). In 1801 - 1803 he studied in the Kursk provincial institution and played in the Count home theater. From 1805 combined the responsibilities of the secretary of the graph with professional artistic activities. In 1818, together with a group of actors, he founded in Poltava "Free theater". Having played many roles on the provincial scene, he was redeemed from the fortress capture after the subscription "in the actor's talent award." Shchepkin was able to go to Moscow, where in 1823 he was enrolled in the corpse of Mosk. (Small) theater. According to contemporaries, Schepkin represented a living encyclopedia of Russian life, in the skill of the transmission of K-Roy did not have equal. The acting reformer, who achieved reincarnation into the stage image, which had a huge impact on the formation and development of realistic theatrical art, Shchepkin was friendly with A.S. Pushkin, N.V. Gogol, V.G. Belinsky, A.I. Herzen LD. At the insistence of A.S. Pushkin, who wrote the title and the first phrase, the sophisticated memories were created. Man of his time, he did not accept the plays of A.N. Ostrovsky "Thunderstorm" and dissuaded A.I. Herzen to engage in politics; did not create complete work on the problems of scenic art, but after his death A.I. Herzen wrote :. "... He was a great artist, an artist on calling and in labor. He created the truth in the Russian stage, he was not the first to theater on the theater."

Semenova Ekaterina Semenovna (1786-1849). Daughter serf peasant. Leading tragic actress of the St. Petersburg scene. Debuted in 1803 and left the scene in 1826. According to the testimony of the contemporary, "the most dusty imagination of the painter could not come up with the most beautiful ideal of female beauty for tragic roles."

A.S. himself Pushkin was a hot seed fan. Her game he devoted enthusiastic lines in the article "My Remarks about the Russian Theater" (1820): "Talking about the Russian tragedy, you talk about Semenova and, maybe only about it. Gifted by talent, beauty, feeling alive and faithful, she formed themselves ... The game is always free, always clear ... "and in the first chapter" Eugene Onegin ".

Success and fans spoiled Semenov: she was sometimes lazy, sometimes he capriped, and what she got faced with the fact that she got close to Senator, Prince I.A. Gagarin, man is very rich and used by the high position, both in the service and in literary circles. The emergence of a new kind of dramatic works, the romantic direction, often written by prose, was significantly damaged by the last years of the scenic career Semynev. In an effort to stay first, she was taken for the role in these plays, and even for comic roles, but unsuccessfully. In 1826, Semenova finally said goodbye to the public in the tragedy of Kryukovsky "Pozharsky". Moving to Moscow, Semenova agreed to get married with his patron. The house of Gagarines visited many former fans Semenov: Pushkin, Aksakov, Nadezhdin, Pusodin. In 1832, Prince Gagarin died; The last years of the life of Semenov was overshadowed with family troubles.

Ekaterina Semenova died 1 (13) March 1849 in St. Petersburg. Buried in the Mitrofanievsky cemetery. In connection with the complete destruction of Mitrofanievsky cemetery E.S. Semenova was reburied in 1936 at the necropolis of art masters of the Alexander Nevsky Lavra in St. Petersburg.

Pearls Praskovya Ivanovna

Kovaleva (Pearls) Praskovaya Ivanovna (1768-1803), actress of the serfdom of Sheremetyevsky counts. The daughter of the Blacksmith from the village of Slad Kuskovo, belonging to Sheremetev. At seven years was taken to the Barsky House and was brought up there among other children defined for the theater. Possessing a rare vote (lyrical soprano), dramatic talent, magnificent stage data and skill, Kovaleva (on the scene of Pearls) with n. 1780s became the first actress of the Sheremetevsky theater. With great success spoke in Opere Gretri Marriages Samnityan . The tragedy, heroic repertoire, the struggle of strong feelings and great ideas was reflected in the image created by it a courageous self-art girl who felt for their right to happiness. The personal destiny of the serf actress is not easy. Until 1798 she was fortified. Her marriage with Ober-Gofamarshal N.P. Sheremetev (1752 - 1809) was officially decorated only two years before her death. Stressful work in the theater, heavy personal experiences undermined the health of the actress. She died in 1803, shortly after the birth of the Son. In memory of it N.P. Sheremetev built a strange house (now in this building - the Institute of Ambulance. N.V. Sklifosovsky).

Briefly told the fate of the most famous fortress actors, I also want to say that the fates of many other people participating in theatrical life were broken because of the cruelty of landowners and the hidden side of the life of serf actors and actresses so terrible, probably, therefore, not many have achieved all-Russian success.

Conclusion

russian fortress theater

The sunset of the epoch of theater theaters falls on the second quarter of the XIX century. In the early 20s, several sufficiently large fortress theaters, including the theater of Prince Yusupov, were still hearing, but later the picture began to change. The political and cultural situation in the country changed, and, finally, the abolition of serfdom in 1861 put the final point on the phenomenon of the serfs in Russia.

Pushkin wrote in 1833: "Horny music does not rattle in the groves of Swirl and Ostankina; The plates and colored lights do not illuminate the English tracks, now overgrown with grass, and happened to the mirrous and orange "trees. Dusty skewers of the home theater are smoldering in the hall. "