Bryansk region, Palace of culture of the village. White Shores, choirmaster.

Game script - entertainment program for children of primary school age. "Fair Theater Petrushka" April 3, 2015
With the participation vocal group folk singing Crane

Target:
Study and propaganda of folk ( folklore) creativity.
Tasks:
-To acquaint with the history and features of the fairground puppet show;
-To acquaint with the characters (dolls) and the peculiarities of their manufacture and management;
-Show options for play songs and teach the basics of folk household "playing" songs and dances;
-To teach children to just play dance games, song games, round dance games, and not compete for prizes.

Game material:
"Cabinet" of dolls: Petrushka, Bride, Doctor-healer, Gypsy, Mukhtarka Dog, Horse.
Screen;
Tambourine;
Bag.

Musical material:
Organ records;
"Like at the gate" ( folk song);
"The month is shining" (folk song);
"Chizhik Pyzhik" (folk tunes).

Application:
Methodical material"History of the Petrushka Folk Puppet Theater".

Veda: Good day to all. We are glad to see you here with us again. I hope you all remember how we behave. Sit quietly, listen carefully, and they will offer you not to refuse tea.

Through wide Russia to our mother
The bells ringing overflows.
In cities both large and small
The people are going to the booths.

As people gather at our gates.
All that with spoons and ratchets.
As our neighbor had a merry conversation.
Geese in the harp, ducks in the pipes,
Tap-beads in ratchets, seagulls in balalaikas.
They sing and play, amuse everyone!

What you can't hear enough here, what you can't see here!
Here are toys, here are Parsley,
Tea from a samovar, kvass from a mug!

Hurry people, gather people,
Come on in, people, now the holiday is here!

"Like at our gates" (folk song performed by the folklore association "Zhuraveika")

Ved: Guys, today we invite you to the Fair Balagan. Yes, not just open your mouth to stand, but find my friend. Now look to the right, and now to the left. How can you not see it? No? But let me tell you what it is, then you will immediately find it. Listen.
He has a red cap, a bright shirt, a long and cunning nose, and a stick in his hand. Everyone loves him. In the old days, he performed both in the countryside and in the city in courtyards and squares. He moved from place to place, from city to city. He is cunning and cocky, and he also adores all sorts of pranks.
In a bright red jacket
He is with a club in his hand.
Funny toy
And her name is ... (Petrushka)
(Children answer - "Petrushka")

Ved: Parsley is a cheerful guy who loves the hurdy-gurdy to play, and then he dances. The barrel organ is such a musical instrument. Here she is so beautiful. (Points to the organ) And the sound is very melodic. Hey, musician, play us something funny, and I'll go and call my friend Petrushka. Let him show himself to the guys and dance. (calling, retreating behind the screen) Parsley. Peter Ivanovich. Petrusha where are you?
(the musician begins to twist the handle of the barrel organ. The old melody of the barrel organ sounds)
"Parsley"
A play in five scenes.

Characters
Parsley

Gypsy

Horse

Musician

Praskovya Stepanovna - Bride of Petrushka

Doctor

Mukhtarka dog

Scene one
Musician: (calling) Petrushka. Petrusha, come out. Show yourself to the people.
Petrushka: (from behind the screen) As. Nope.
Musician. Petrusha, come out. See, the people are waiting. Come out.
Parsley. I'm afraid.
Musician. You should not be scared. We'll clap you. Well, people do not spare hands, clap louder so that the fluff flies.
Parsley. Ahhh, here I am. We wish you good health, gentlemen. Be healthy, with that day and holiday that is today. (bows quickly and a lot) Well, stop clapping, otherwise my face is reddened from embarrassment.
Musician. And what happened?
Parsley. (To the Musician.) Musician! You know, brother, I want to get married.
Musician. Not a bad thing, but on whom?
Parsley. Oooh! On Praskovya Stepanovna, on a merchant's daughter.
Musician. Do you take a lot of dowry?
Parsley. Forty-four thousand pancakes, a barrel of water, a wardrobe from the floor of a dress and one boot.
Musician. The dowry is not bad, and the bride is good?
Parsley. Hey, very good!
Musician. Well, show me.

Parsley. I'll call you now. (Calling.) Paraskovia Stepanovna! Sweetheart, my little angel, flower, come here! (Parascovia walks. At this time, Petrushka meets and presses and kisses and asks tightly to her heart.)
Parsley. (To the Musician.) Musician! Is my fiance good?
Musician. Good, good, but a little blind.
Parsley. Not true! What eyelet, what eyebrows, mouth, nose, and what beads.
Musician. So she has a mustache? Why do you need a mustachioed bride.
Parsley. Yes, not antennae, but beads. (while kissing) Eky, you are deaf. And also a musician. Better play us a dance!

Petrushka and the Bride dance and sing:
Penny of the Folklore group "Zhuraveika" - "The month is shining"
Then Petrushka hugs her and escorts her home.

Scene two.
Parsley. Hey musician!
Musician. What?
Parsley. Thank God I got married.
Musician. This is good, the young wife needs to buy a horse.
Parsley. Who?
Musician. At the gypsy.
Parsley. And what is his name?
Musician. Gavrilo.
Parsley. Go call him.
Musician (refuses). Not a great master, you yourself will call.
Parsley. Where does he live?
Musician. On the coal, in the tavern on the right.
Petrushka (calling Gypsy). Hey, Gavrylo, smeared snout, come here!
Gypsy (goes and sings). Ay, my trickle trickle
Ay I took water for seagulls, romals
Ay nane chavalele.
Parsley. I heard that you have a selling horse. Do you want dear? And is she good?
Gypsy. Good, good. Not sopaty, not hunchback, running - the earth trembles, but falls - lies for three days.
Parsley. How many do you want?
Gypsy. One hundred thousand.
Parsley. It is expensive.
Gypsy. How much will the pan give?
Parsley. Thousand.
Gypsy. Little, sir, give it.
Parsley. Musician!
Musician. What?
Parsley. How much should I give him for a horse?
Musician. Yes, five thousand.
Parsley. Ten thousand, ladies.
Gypsy. Come on, sir, a deposit.
Parsley. Bring the horse.
Gypsy. I won't give the horse back without a deposit. Goodbye, sir.
Parsley. Wait, I'll bring the deposit now. I’ll borrow from my sister.
Gypsy. And who is she.?
Parsley. The girl is young. Skalochka Drakulovna Kolotushkina. Here she will kiss you ...
Parsley takes out a deposit in return good stick and begins to give a deposit.
Parsley. Here's a ruble for you, here's two for you!
Gypsy. Ah ah ah! Where are the doors! Ah ah ah!
Parsley. A little expensive ... Get a curly stick and a humped club on your neck and back.
Gypsy. Add, Parsley, to the kids for bacon ...
Parsley. So this is not enough for you ?.
Petrushka (begins to beat Gypsy). Here's a thousand, here's two! (The gypsy runs away.) Wow! Such a deposit will not be good!
Musician! Give me a horse. Whoa, whoa! Stop, don't kick! Ooh, not a horse, but fire! Stop! You need to count your teeth, how old she is. (Looks into her mouth.) The horse is very young: not a single tooth in its mouth yet!
(Tries to mount the horse) Whoa, whoa, whoa! Turn around, horse, like this. Musician! What a nimble horse! ...
Parsley. Whoa, whoa, whoa, wait, Persian, don't kick! Here is a toy for you, here I bought a devil with my own money. (Falls off the horse.) Oh, little head, oh, my Praskovya Stepanovna is gone! Oh, oh, musician! Call the doctor!

Scene three
While riding, the horse drops and hits Petrushka and then runs away. At this time, Petrushka is screaming.

Musician. And here comes the doctor.
Doctor. I am a medical doctor, a German pharmacist. They bring me to me on my feet, and send me on crutches. What are you screaming, screaming here for? Well, get up.
Parsley. I can’t get on my feet. And he lost his head.
Doctor. Let's add a new one. Get up.
Parsley. Oh oh oh, my death has come.
Doctor. And where was she before.
Parsley. In field.
Doctor. And what was she doing there.
Parsley. I dug potatoes. Oh, oh, oh save me, oh it hurts, oh it hurts.
Doctor. Where's your topping up? Here.
Parsley. Higher!
Doctor. Where is "here?
Parsley. Lower it!
Doctor. Where is "here?
Parsley. Higher!
Doctor. The devil will understand you: now higher, now lower, now higher, now lower! Get up and show!
Parsley. Stand up and show?
Doctor. Yes, show me.
Parsley. But now I’ll show you and explain it. (Petrushka leaves and carries a stick and hits the Doctor, showing him.) Now higher, now lower.
Doctor. Ah ah ah! (runs away
Parsley. A musician, but a musician!
Musician. What?
Parsley. So I showed him and explained it to him. And now I'll sit down and sing a song.
At this time Watchdog runs in, Vanya stops and begins to tease him.

Parsley. Qiu Qiu! , Shavochka- kudlavochka, what a mess you are
Mukhtarka. Woof woof! (Grabs Vanya.)
Parsley (teases for the second time). Qiu-chiu-chiu!
Mukhtarka. Woof woof! (Grabs him.)
Parsley. Mukhtarka grabs Petrushka by the shirt.) Wait, wait, Mukhtarka, you will tear the shirt! Stop, Mukhtarka, it hurts! (The dog rushes at him and grabs him by the nose.) Ay, fathers, intercede! My little head with a cap and a brush will be gone! Ouch! Oh oh!

Ved: Well, guys, did you like my friend Petrushka?
(yes) Guys, did you look closely?
Do you remember what animals Petrushka met today?

You stroke - caresses,
You tease - it bites.
Answer to the riddle: dog
(The student who plays the dog comes out)

I have a big mane
Ears and hooves.
I will pump that playfully
Who is not afraid.
My fur is smooth
Who am I? ...
Answer to the riddle: horse
(the student who plays the horse comes out)

Ved: Come on, guys, let's play with a horse and a dog.
Tell me, how does the horse talk? No way. Right. The horse does not speak, but only laughs and snorts. And now let's imagine that each of you is an artist of such a fair theater and he needs to portray a horse. Let's laugh and now let's snort. Good.

GAME "Jump-firecrackers"
And now, so that our horse gallops, let's pat ourselves on the knees with our palms. Yes louder, louder, and now quieter, quieter. And now, as I raise my hand up, it means that the horse galloped close and you need to click louder. As I give up my hands, it means that the horse has galloped away. Clatter must be quieter. All clear. And as I clap my hands - the horse stopped. Whoever is left to clap after my clap is inattentive and lost.

Ved: Guys, every character in the theater has his own voice. For example, a cat purrs, a frog croaks. And how oh the voice of the dog. Guys, tell me if we have a good dog or an evil one. And how an angry dog ​​barks. Guys and how a kind little dog barks. Enough, or now all the dogs will come running. Let's give our animals a round of applause.

Ved: Guys, look closely at Petrushka. What animal does he look like? But the riddle will help you.

The master walks around the yard, finds fault with everything,
Double beard, side cap.
Who screams the most
Yes, he does the least of all.
What kind of bird is not afraid of people,
Does not fly high, but sings: "Ko-ko-ko-ko"
It is not for nothing that His name is Petrushka and his voice is as clear as that of a cockerel.
Ved: Guys, do you know that Petrushka has a surname. (no) So here it is full name Pyotr Ivanovich Vksusov, and sometimes he is called Petrushka Samovarov, and when he misbehaves his name is Vanka Rototuy or Vanka Rutyuyu.

Ved: Guys, let's remember what kind of people Petrushka met today. (Bride, Doctor, Gypsy). Let's call them here with applause. These artists are very fond of dancing and playing different games... Let's play with them. I ask everyone to dance.

Game-dance "Like Grandpa Makar"
Children stand in a circle, join hands. In the center is the presenter.The players walk in a circle and chant the words:
Like Uncle Makar
There were ten sons
They drank, they ate
They did this at once.
This way, this way, this way, this way !!!
That's it, that's it!
At last words everyone starts to repeat his gestures. The one who repeated the movements best of all becomes the leader.

Game-dance "There lived a grandmother near the river"
The presenter invites the children to memorize the words of the songs.
Once upon a time there was a grandmother near the river itself. Grandma wanted
swim in the river. I bought soap. I bought a washcloth. Uh, and a song
good, start over!
Then it is proposed to memorize the movements that
in the future, replace the words in the song:
"Grandmother" - depict with hands,
like a grandmother ties a scarf under her chin,
"River" - waves,
"To swim" - we represent a swimmer,
"Bought" - clap your hands,
"soap" - right hand up,
"Doused" - left hand up,)
"Start over" - spinner with hands in front of the chest
With each repetition of the song, the tempo of the song is faster.

Game-dance. "I have one aunt"
Aunt - let's go forward arms to the sides
We repeat the movements behind the leader. After a verse in a lose, mix 2 squares to two, the movements of the verse with a turn to the right and then to the left.
Pens
Legs
Shoulders
Boca
Jumping

The history of this doll goes back to the beginning of the 17th century. Although she has many prototypes in the folk theaters of Italy, France, Germany, Turkey. The Petrushka Theater was very popular, at first among ordinary people, and then among the more affluent segments of the population.

Theater history

The Petrushka National Theater is one of the oldest in Russia. It is precisely established that he existed in the very early XVII centuries in Russia. Confirmation of this fact can be found in the Cathedral of Hagia Sophia in Kiev, where the fresco depicts a puppeteer who raises a curtain.

This is also evidenced by the entries in the travel diary of the scientist, diplomat and traveler Adam Olearius (Elschläger), which was reprinted several times. He was in Russia twice: in 1633-1634 - as secretary of the German embassy, ​​in 1635-1639 - as a scientific researcher.

Olearius described Petrushka's puppet theater in detail, supplementing his story with an illustration, which was later made by an engraver at the author's request. The nature and type of puppet shows that Adam Olearius portrayed suggests that these performances were the prototype of the 19th century Petrushka theater.

Description of the theater

The Petrushka Theater was a screen, which consisted of frames, fastened with special brackets, tightened with fabric, most often chintz. This structure was attached around the puppeteer's body. After being lifted above her head, a kind of stage was formed on which the performances took place.

In the 17th century performance of the Petrushka Puppet Theater, a guslar or a buzzman took part, who maintained dialogues with the puppet and with the audience. The musician invited the audience to the performance and collected fees at the end.

Only a man could be a puppeteer of Petrushka in Russia. When he "drove" the doll and voiced it, the actor inserted a whistle (squeak) into his larynx. This made the character's voice clear and loud, which was necessary at fair performances, where a large number of of people. At the same time, because of the squeak, the speech was not always legible, in such cases the accompanist came to the rescue, who explained everything to the viewer.

Doll history

Parsley is a glove doll that the puppeteer puts on his hand and controls it with his fingers. This character wears a red shirt, canvas pants, and a pointed cap with a tassel at the end. In the dictionary of V.I.Dal, Petrushka is positioned as a farce doll, a funny man, a Russian jester, a wit in a red caftan and a cap.

His appearance is not at all Slavic, although he was the main character of the Russian folk theater of Petrushka. The doll has greatly enlarged arms and head, which were carved from wood, treated with a special compound to darken it.

Parsley has hypertrophied facial features, huge almond-shaped eyes with eyeballs white and a black iris. A large, long, crooked nose and a wide-open mouth, which some may mistake for a smile, but is actually a vicious grin. Petrushka got his appearance from the Puppet Pulcinella, an Italian comedy character.

Origin of the name

How this doll got the name Petrushka is not known for certain. There is a version that the famous comedic character is named after his namesake, Pietro Mirro (Pedrillo or Petruja-Farnos). It was the court jester of the Russian Tsarina Anna Ioannovna. In support of this version, texts and popular prints (amusing sheets) are identical to the plots of the Petrushka theater.

There is also a hypothesis that Petrushka got his name from famous puppeteer actors who lived in early XVIII century, this is Peter Ivanov and Peter Yakubovsky. It is possible that the doll was named after one of these amusements, whose performances were most popular at the time.

It is believed that Petrushka was named because of the similarity of his profile and sonorous, loud voice with a rooster. This version is supported by the fact that in Russia roosters are called Petya, Petrusha.

Own name puppet character received in the "Peter's Age", when Emperor Peter I, in one of the expressions, not with a pen, but with a club, signed his rescripts, and in free time drunk and fooling around under the name of Petrushka Mikhailov in "the most drunken cathedrals."

Performance scripts

There were several scenarios at the Petrushka Theater. The main plots are buying a horse and riding it, teaching a soldier's business, preparing a wedding, a scene with a gendarme or a quarter, with a dog or death. In almost every scene, Petrushka's fight with another character was shown, in which he invariably won.

Usually the performance began with the fact that Petrushka wanted to buy a horse, and the accompanist called the gypsy seller. The main character he examines the horse for a long time, and then begins a long bargaining with the gypsy, as a result of which he beats the latter on the back with a stick for attempting to deceive.

After that, Petrushka mounts the horse, but she throws him off and runs away. He remains on the ground, waiting for the doctor, who appears later. There is also a conflict with the doctor, and everything ends in a fight with the use of a club. Later, there is a skirmish with the gendarme or the quarter, in which Petrushka also defeats them with a stick. And it all ended with his meeting with a dog or with death, after which he died.

The popularity of the heroes of the Petrushka theater

All the heroes who participated in the performance changed periodically. Only Petrushka was unchanged, who was also called Peter Petrovich Samovarov, Vanka Ratatouille or Peter Ivanovich Ukusov. The comedy with his participation was very popular and widespread in Russia. Love common people to the main character of the performances was explained in different ways. Some argued that the reason was the topicality of satire, while others spoke of the accessibility, simplicity and clarity of speeches.

In the monthly magazine "Diary of a Writer" in 1876, FM Dostoevsky wrote a story on the theme of the puppet theater of Petrushka. In it, he describes a performance that took place in the St. Petersburg House of Artists. The fathers and their children stood in a crowd and watched the invariably folk comedy, and in fact this performance was the most cheerful of the whole celebration. The author asks the questions: why do you find it so funny because of Parsley, so much fun when you look at him? Why is it that everyone is happy - both old people and children?

Relatives of Parsley

Some historians believe that Petrushka has so-called relatives in the theatrical puppet world of other countries. This is, for example, Pulcinella - a character considered to be the progenitor of Parsley, since he appeared in the 16th century. In France, this is Punchinelle - a hero of a folk theater, a hunchback, a cheerful bully and a mocker. In England, this is Punch, who is described as a hunchback with a pointed hooked nose and a cap. He is a rogue, a brawler, a merry fellow and a reveler.

In Turkey, the prototype of the Petrushka theater was the shadow theater, the protagonist of which was a doll named Karagez (in Turkish - black-eyed). He also had a cheerful, cocky personality. Often in the scenes of performances, the people's dissatisfaction with the existing government was expressed.

In Germany, Petrushka's brother was the Kasperle (Kasper) doll, who also took part in comic performances at fairs and festivities. Casper by his temperament was a simple, cheerful joker who joked on topical topics.

Petrushka Theater in the 19th century

After a while, this character ceased to exist only as a street artist. Puppeteers and accompanists are increasingly being invited to the homes of gentlemen, where the scenes in which Petrushka participates lose their poignancy and topicality. He stops killing and pounding his partners on the stage, but only scolds and chases them away.

At the end of XVIII - early XIX centuries in the theater there are changes. The violin and barrel organ are replacing such musical instruments as the gusli and the horn. The latter is especially widespread. In fact, she was the first mechanical musical instrument and the audience liked it. It did not require special playing skills and therefore gradually replaced the psaltery, violin and horn.

Also in the 19th century, the structure of the screen itself changed, now it represents two poles on which a coarse fabric is stretched, most often, dye, which has blue color... Because of this design, the puppeteer showed his performance.

From wit - to the hero of children's holidays

Petrushka's speech changes from the common people to a more acceptable one for the manor houses, and the “parsleyman” is no longer a street actor, but a salon actor. The stage itself is decorated with beautiful lush draperies, and the participants in the performance dress in satin clothes with shiny tinsel, which makes the performance ceremonial and solemn.

Parsley from an evil wit with scabrous jokes turns into a kindly cheerful character of children's parties and matinees. Moreover, after a while, he is reborn from a glove doll into a puppet, like his foreign relatives Pulcinella, Punchinelle, Punch and Karagez. More and more often you can see the performance of Petrushka the puppet, and not the glove puppet.

Parsley in the twentieth century

V Soviet time appears new character- Comrade Petrushka, while he leaves the stage and turns into a hero of stories and literary plays... Now that old Petrushka theater does not exist in which much was permissible. In the twentieth century, frivolity is lost storyline, the events unfolding in the plays and stories are aimed at campaigning for hygiene, literacy and the collection of secondary raw materials.

All that remains of the original Petrushka is his penchant for accusation. He points out, reveals and condemns drunkards and idlers, explains to the readers the elementary norms of decency and decent behavior in society.

The doll's appearance is also undergoing a transformation. So, the red shirt, in which Petrushka was previously dressed, turns into a tunic or blouse, and instead of a pointed cap, a cap, a budenovka or a cap appears on his head. Even his long, crooked nose is shortened and becomes initially snub-nosed, and later completely ordinary.

Parsley in modern times

The history of the Petrushka theater is now being studied by scientists and theater experts. And today this character has not outlived its usefulness. So, for example, Petrushka became the hero of the ballet of the same name, which is often identified with a kind of emblem of the Russians ballet seasons.

He was a real key figure for the work of the composer I.F. Stravinsky, who wrote excellent music for ballet, for the founder of the classical Russian ballet school M.M. Fokin, who created this production, as well as for the dancer V. Nijinsky, who performed the main parts in this ballet.

Parsley remained in the image of an implacable fighter against injustice and negative characteristics person. Making fun of all this, he tries to change it for the better.

folklore of Russia

Particularly popular at fairs and festivities enjoyed parsley performances and were a form of urban entertainment folklore.

Petrushka is one of the characters in Russian folk puppet shows. Depicted in a red shirt, canvas pants and a pointed cap with a tassel; Traditionally, Parsley is a glove doll. PETRUSHKA, "the nickname of a booth doll, a Russian jester, a funny man, a wit in a red caftan and a red cap; Petrushka is also called the whole clown, a puppet nativity scene" (V. Dal).

The origin of this doll, which appeared in Russia in the second half of the 19th century, is not reliably clarified. Although in Russia (Encyclopedia Around the World) Petrushkas have been known since the 17th century. Russian puppeteers used marionettes (string puppet theater) and parsley (glove puppets). Until the 19th century, preference was given to Petrushka, by the end of the century - to puppets, as the parsley producers united with organ grinders. The parsley screen consisted of three frames, fastened with staples and tightened with chintz. It was placed directly on the ground and hid the puppeteer. The hurdy-gurdy gathered the audience, and behind the screen, the actor through a squeak (whistle) began to communicate with the public. Later, with laughter and a reprise, he ran out himself, in a red cap and with a long nose. The organ-grinder sometimes became Petrushka's partner: because of the squeak, the speech was not always intelligible, and he repeated Petrushka's phrases, conducted a dialogue. The comedy with Petrushka was played out at fairs and booths. From some memoirs and diaries of the 1840s, it follows that Petrushka had a full name - he was called Peter Ivanovich Uksusov. The famous Russian puppeteer Sergei Obraztsov called Petrushka Pyotr Petrovich Uksusov (the story "Four Brothers") or Vanka Ratatouy. There were main plots: Petrushka's treatment, training in soldier's service, a scene with a bride, buying a horse and testing it. The plots were passed from actor to actor, word of mouth. Not a single character in the Russian theater has had a popularity equal to Petrushka.

The first puppet shows with the main actor- Parsley appeared in the first half 19th century... On the pages of everyday essays and popular books, his name has been mentioned since the 1840s.

In Russia of the last century, the comedy about Petrushka was unmatched among other types of puppet theater in terms of popularity among the common population in terms of breadth of distribution (from St. Petersburg to Sakhalin and from Arkhangelsk to the North Caucasus), in topicality, acuteness and deadly power of laughter. Petrushka was perceived as the main and almost the only hero of the Russian puppet theater.

The comedy of Petrushka was constantly in the process of development, was replenished with new characters, became more and more relevant and socially saturated.

The Petrushka Theater was created not only under the influence of Russian, Slavic, Western European puppet traditions. He was a kind of folk theater culture, part of the highly developed in Russia (spectacular folklore). Therefore, a lot unites it with folk drama, with performances of far-fetched grandfathers, he called out, with sentences of friends at a wedding, with funny popular prints, with jokes from raeshniks, etc.

The special atmosphere of the city's festive square explains, for example, Petrushka's familiarity, his unbridled gaiety and illegibility in the object of ridicule and shame. After all, Petrushka beats not only class enemies, but everyone in a row - from his own bride to the quarterly, often beats for nothing (arap, a beggar old woman, a German clown, etc.), in the end it hits him too: the dog is merciless pats his nose. The puppeteer, like other participants in the fairground, marketplace fun, is attracted by the very opportunity to ridicule, parody, smother, and the more, louder, more unexpected, sharper, the better. Elements of social protest, satire were very successfully and naturally superimposed on this ancient laughter basis.

Like all folklore amusements, "Petrushka" is stuffed with obscenities and curses. Primordial meaning These elements have been studied quite fully, and how deeply they penetrated into the folk culture of laughter and what place was occupied in it by swearing, verbal obscenity and derogatory, cynical gestures, is fully shown by M.M. Bakhtin.

The performances were shown several times a day in different conditions(at fairs, in front of the entrance to the booth, on the streets of the city, in the suburbs). "Walking" Parsley was the most common use of the doll.

For mobile folklore theater a light screen, dolls, miniature wings and a curtain were specially made. Petrushka ran across the stage, his gestures and movements created the appearance of a living person.

The comic effect of the episodes was achieved with techniques characteristic of folk laughter culture: fights, beatings, obscenities, imaginary deafness of a partner, funny movements and gestures, mimics, funny funerals, etc.

There are conflicting judgments about the reasons for the extraordinary popularity of the theater: topicality, satirical and social orientation, comic character, a simple and understandable game for all segments of the population, the charm of the main character, acting improvisation, freedom of choice of material, sharp language of the doll.

The Petrushka Theater is a kind of folk theater that not only looked, but listened to, so most of the scenes included both movement and conversation in different proportions. In the episodes of bargaining (the scene of buying a horse), treatment, ridicule of the soldier's drill, word and gesture, as a rule, are equivalent, they complement each other, combining visual and auditory perception.

Songs and dances were an integral part of most of the performances of the Petrushka Theater. The heroes of the comedy performed lyric songs, dance songs, couplets of a ditty warehouse, cruel romances, songs of literary origin. They danced Russian, Komarinskaya, trepak, "lady", polka, waltz, etc. Big role in comedy, it was devoted to musical exhibitions. Dances and songs, hurdy-gurdy melodies were not just musical arrangement performance, they are designed to tune the audience to a cheerful, festive mood, create an additional comic effect through a contrasting ratio of melody and action, serve as a characteristic of the characters, diversify those, in other words, together with other poetic and stage techniques, make the performance a lively and vivid spectacle.

Structure theatrical performance determines the relationship between the audience and the actors. Audience orientation has existed and exists in all forms theatrical art, in varying degrees, of course, and in different capacities.

For the Russian "Petrushka", as well as for the folk theater in general, communication with the audience was an indispensable condition and extremely important point performance.

Parsley is a folk festive fun.

Parsley is a manifestation of popular optimism, the mockery of the poor over the power of the haves and the rich.

The Petrushka Theater remained a part of festive entertainment for a long time. As a mass phenomenon of folk fair culture, it ceased to exist at the beginning of the 20th century.

Theater of Petrushka

Theater of Petrushka

Introduction

No one in the world has established, and will not establish the exact year of birth of the theater. No one in the whole world has said, and will not say on which sheet of the calendar its original date should be indicated.

The lifetime of the theater is measured by an unprecedented historical measure - the lifetime of the human race itself.

The day the theater was founded is hidden behind a mountain range of centuries and millennia long gone, in the depths of the most ancient epoch in the history of mankind. That era, when a man, who for the first time took into his hands the tools of primitive labor, became a man.

The introduction to work brought him poetic insight, man began to acquire a poet in himself, the aesthetic ability of poetic perception of the world.

In those distant centuries, the newly emerging poetry did not have powerful wings, it was not yet touched by the powerful breath of free flight. Until a certain period, until a certain time, its purpose was reduced only to the subordinate accompaniment of ceremonies and rituals that were established in the life of the primitive community. And when the time had come for its maturity, the independence of poetic existence, poetry broke free, breaking the bonds of its former inseparability with everyday life. And then the time came for the fate of poetry to converge with the fate of the theater.

In the golden age of the childhood of mankind, the first poets of the earth, the great Greek tragedians Aeschylus, Sophocles, Euripides, as good geniuses poetry bent over the cradle of the theater. They called him to life, turned him to the service of people, the glorification of the spiritual power of man, his indomitable strength, the moral energy of heroism. Over the millennia that have passed since that time, the name of one of the first heroes of the theater has not yet faded. It was Prometheus Aeschylus - a rebellious theomachist, condemned by Zeus to eternal torment for serving people, for obtaining fire for them, teaching them crafts and sciences. Forever chained to a rock, he proudly praised the freedom and dignity of man:

Know well that I would not change

Your sorrows for slave service,

I'd rather be chained to a rock

Than to be faithful - a servant of Zeus.

Marx called the hero of Aeschylus' tragedy "Chained Prometheus" the noblest saint and martyr in the philosophical calendar ... Together with Aeschylus, his younger contemporary Sophocles also passionately glorified the man: stronger than man no. "After them, their mighty predecessors, Euripides rose - the most tragic poet the ancient world... And, perhaps, the most fearless. Renouncing the predestination of mythological plots, he forged the real characters of people living with heated passions, feelings, thoughts, experiences.

Aeschylus, Sophocles and Euripides laid, according to the witness of history, a great beginning to a great cause. To the eternal cause! Century after century - at all times, in all epochs lived by innumerable human generations, the theater has invariably, inseparably accompanied the movement of the history of mankind.

What changes did not occur on earth - the era followed the era, one

the socio-economic formation replaced another, states, countries, empires, monarchies arose and disappeared, Atlantis disappeared in the depths of the ocean, an angry Vesuvius flooded unfortunate Pompeia with hot lava, for many centuries the sands were brought to the Hisarlik hill, sung by Homer, Troy, but nothing ever interrupted the eternal existence of the theater.

The most ancient creation of man, to this day retains an invariable attractive force, indestructible vitality, that miraculous

the elixir of youth, the secret of which was never discovered by the alchemists of the Middle Ages. In all previous epochs, no matter how many of them you can count, always, there was an eternal need in a person for the theater. The need that once arose at the ancient Dionysian festivals of the rai grapes in honor of the mythical deity of earthly fertility

Man has always needed theater!

Tens of thousands of spectators - almost the entire population of cities, traveled to theatrical performances in Ancient Greece... And to this day, the majestic amphitheaters, built in times infinitely distant from us, serve as a reminder of that.

As soon as the fate of the theater did not develop in the past! He experienced, survived everything, until he found his permanent home - the theater building. His performances were given everywhere - in squares and fairs, on church porches, in the castle of a noble feudal lord, in a monastery cloister, in a gilded palace hall, in an inn, on the estate of a noble serf owner, in a church school, at a village festival.

Anything happened in his fate .. He was cursed, hated, forbidden, subjected to persecution and abuse, punishment and persecution, excommunicated, threatened with whips and gallows, all heavenly and earthly punishments.

No trials, no troubles and hardships broke the eternal vitality of the theater.

The school of life is the oldest, the most amazing and emotional, the most festive, inspiring, and unlike anything great school - that is what theater is.

"Theater is a school of life," - so they said about it from century to century. They spoke everywhere in Russia, in France, Italy, England, Germany, Spain ...

The Gogol Theater called the Department of Goodness.

Herzen recognized him as the supreme authority for solving life questions.

Belinsky saw the whole world, the whole universe with all their diversity and splendor in the theater. He saw in him an autocratic master of feelings, capable of shaking all the strings of the soul, awakening a strong movement in the minds and hearts, refreshing the soul with powerful impressions. He saw in the theater some kind of invincible, fantastic charm for society.

According to Voltaire, nothing ties the bonds of friendship closer than the theater.

The great German playwright Friedrich Schiller argued that "the theater has the most beaten path to the mind and heart of man."

The immortal creator of Don Quixote Cervantes called the theater “a mirror of human life, an example of morals, a model of truth”.

A person turns to the theater as a reflection of his conscience, his soul. He recognizes himself in the theater, his time and his life. The theater opens up amazing possibilities for spiritual and moral self-knowledge for him.

And let the theater, by its aesthetic nature, is a conditional art, like other arts, on the stage it is not real reality itself that appears on the stage, but only its artistic reflection. But in the reflection of that there is so much truth that it is perceived in all its unconditionality, as the most authentic, true life... The viewer recognizes the supreme reality of the stage heroes' existence. The great Goethe exclaimed: "What could be a greater nature than the people of Shakespeare!"

Is it not in this that the miraculous spiritual, emotional energy of the theater is hidden,

the unique originality of its impact on our souls.

And in the theater, in a lively community of people gathered for a stage performance, perhaps everything: laughter and tears, grief and joy, undisguised indignation and violent delight, sadness and happiness, irony and distrust, contempt and sympathy, alert silence and loud approval, in a word, all the wealth of emotional manifestations and shocks of the human soul.

A good performance is preserved for a long time in the theatrical repertoire, but every time, at each new meeting with the audience, it reappears, is reborn.

And no matter how long after that time has passed between the scene and auditorium the wonderful fire of the relationship of soul and thought will again be kindled. And the intensity of this emotional, spiritual interchange will certainly affect both the actor's performance and the entire atmosphere of the auditorium.

Petrushka theater parsley theater sergey obrazov theater puppet theaters

PETRUSHKA, “the nickname of a booth doll, a Russian jester, a funny man, a wit in a red caftan and a red cap; the name of Petrushka is also the whole buffoonery, a puppet nativity scene ”(V. Dal).

When, in what country did the Petrushka Theater appear? Whose hands created the world's first doll? Nobody knows this and cannot know, because all the peoples of the world had dolls a thousand and ten thousand years ago.

Dolls were made from clay, wood, straw or rags. And the children played in them: they put them to bed, treated them, hunted clay or wooden deer, elephants, hippos. And this is also a theater. Puppet. Because the actors in it are dolls.

Adults in ancient times made figurines depicting gods. Gods different nations there were many. God of the sun, god of water, god of war, god of the hunt, even the god of cock song. These gods were made of wood, molded from clay, or flat figures carved from leather and displayed on a stretched canvas by the light of an oil lamp. And so far in many countries, especially in South America, Africa, Southeast Asia, there are such representations. It is half worship, half puppet theater.

Gradually, fairy tales, fables, various funny and sometimes witty satirical scenes began to be played more and more often with the dolls. There are four main types of doll driving: on fingers, on strings, on canes, and shadow figures.

The protagonist of the sketches in Russia was Petrushka. Parsley was a doll on his fingers. Such puppets are now played in many theaters around the world. An actor with a doll on his fingers stands behind the screen, raising his hand. The doll is visible above the screen.

The first mention of the puppet theater in Russia dates back to 1609. One of the first dolls was Petrushka. His full name is Peter Petrovich Vksusov. For the first time, Petrushka was seen in Russia by the German writer, traveler and diplomat Adam Olearius. That was almost 400 years ago!

The funny thing about this hero was that when he entered the "stage", he immediately began to beat everyone with a stick, and at the end of the performance death came out and took Petrushka off the stage by his long nose. Petrushka had brothers all over the world. So, in Hungary there was Vityaz Laszlo. He was distinguished by the fact that he beat everyone not with a stick, like Petrushka, but with a frying pan.

But let's return all the same to Russia. In 1730, the newspaper "St. Petersburg Vedomosti" published an article about the puppet theater for the first time, the author of which gave the best definition to the puppet theater, capable of "showing the nature of things."

Many descriptions of these street performances have survived. V late XIX For centuries, parsley plants were usually paired with organ grinders. From morning to late evening puppeteers walked from place to place, repeating the history of Petrushka's adventures many times a day - it was small, and the whole performance lasted 20-30 minutes. The actor dragged on his shoulder a folding screen and a bundle or a chest with dolls, and the musician - a heavy, up to thirty kilograms, organ.

The set and order of scenes varied slightly, but the core of the comedy remained unchanged. Petrushka greeted the audience, introduced himself and started a conversation with the musician. The organ-grinder from time to time became Petrushka's partner: when he entered into a conversation with him, he either admonished him, then warned him about the danger, then suggested what to do. These dialogues were also conditioned by a very important technical reason: because of the squeak, Petrushka's speech was not always intelligible enough, and the organ-grinder, conducting the dialogue, repeated Petrushka's phrases, thus helping the audience to understand the meaning of his words.

SV Obraztsov in his book "On the Steps of Memory" recalls how as a child he saw the performance of Petrushka: "Above the screen appeared the very thing that squeaked. Petrushka. I see him for the first time in my life. Funny. Incomprehensible. Big crocheted nose. , big surprised eyes, a stretched mouth. A red cap, on the back some kind of deliberate hump not a hump and wooden hands, flat as shoulder blades. Very funny. He appeared and sang in the same inhuman squeaky voice. "

With the onset of the 20th century, The Comedy of Petrushka began to rapidly deteriorate. There were more than enough reasons for this. First of all, this was facilitated by the extremely tight control of the authorities, reaching the point of direct persecution and prohibitions. The guardians of order and morality were irritated by the seditious content of some scenes, the rudeness and cynicism of expressions, the immorality of the hero's behavior. Parsley's position deteriorated even more when the first World War... Hunger and devastation gripped Russia; the people had no time for entertainment, and Petrushka was losing his audience catastrophically quickly.

And in order to earn a piece of bread, puppeteers increasingly begin to play their comedy in front of a "well-bred" children's audience. They are invited to children's parties, Christmas trees; in the summer they go to their dachas. Naturally, under such conditions, the text and action of many scenes inevitably changed. Parsley became almost a good boy.

Petrushka could not stand such violence. Having lost the main traits of his character, having lost his main partners, having lost the acuteness of situations, he decayed and soon became of no use to anyone. They tried to revive him in the propaganda performances of the first post-revolutionary years, then in educational performances for children. But his "data" did not correspond to the spirit and character of these performances, and he had to be replaced by other heroes. The story of Petrushka ended there.

In pre-revolutionary Russia there was a home theater, which can be compared to a bridge connecting folk traditional performances with the new modern theater. The history of Russian home puppet shows begins, apparently, at the end of the 18th - beginning of the 19th centuries. In the 19th century, animated dolls did not lose their general affection, but they were increasingly attributed to children's entertainment. In educated circles, it was customary to invite a puppeteer to children's parties, and sometimes to give puppet shows on their own.

In pre-revolutionary home puppet theater, three types of performances can be distinguished. They appeared, apparently, not at the same time, but they all lived to see the October Revolution.

The first type is a children's puppet show, performed almost without the participation of adults. The attitude of adults is encouraging, but passive, their main role is the role of spectators. This is a play-play, a play in which the child is given complete freedom. You can read about such performances from KS Stanislavsky.

The second type is a puppet show for children, staged by adults. The role of adults is becoming more active. The initiative passes into their hands. The home puppet scene is used for upbringing and education; the performance receives a pedagogical focus. Children and adults change places: children are increasingly becoming spectators, adults are performers and authors of plays.

The third type is the adult-to-adult presentation. In home theater, they embody and develop aesthetic concepts, stage the best examples of literature and drama, and begin to touch upon political and social themes. Home theater attracts the attention of the artistic intelligentsia and becomes the center of theatrical experiment. His work takes on a semi-professional, studio character.

European puppeteers are in a hurry to take advantage of the new hobby of Russians and open "puppet theaters for children" in Russia. The puppet theater is an integral part of home education. Brochures with "children's" versions of "Petrushka" are printed, "Guides on how to build a small theater and everything related to the action of figures" are published, dramatized fairy tales are published with explanations of how to put them on the puppet stage. Russian manufacturers are setting up the production of domestic dolls for home theater use, tabletop cardboard theaters with sets of figures and decorations for various plays.

At the beginning of the 20th century, home puppet theater "matures" even more. His repertoire more and more often goes beyond the scope of children's educational tasks, more and more often it touches on topics of concern to adults.

The ongoing "maturation" of the public and performers of the home puppet theater can be explained not only by the need to respond to political and social events, to express their attitude towards them, but also by a whole range of other reasons.

Among them, one of the main places is occupied by the inflamed interest in folklore, in particular in the folk puppet theater. The intelligentsia goes to watch the performance of the folk puppeteer in the booth. His art is increasingly surprising and admirable.