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People's Theater. - Theater, created directly by the people himself, extensive in wide masses in forms organically related to oral folk art. In the process of historical. Development of art. The culture of the people of the primancy, giving the beginning of the entire subsequent history of prof. theatre. The officer is a nar. theatre. creation.

The folk theater is the traditional dramatic creativity of the people. Types of folk spectacular and gaming culture are diverse: rites, dance, rude, clownade, etc. In the history of the folklore theater, it is customary to consider the teat-rally and the greatest stages of folk dramatic creativity. Detaratral forms include theatrical elements in calendar and family rites. In calendar rites - symbolic figures of carnival, mermaids, japalas, Yarils, Kostroma, etc., playing with them scenes, ripping. Agricultural magic, magical actions and songs designed to promote the well-being of the family played a prominent role. For example, for the winter shints, the village was pulled by a plow, "sown" in the grain of grain, etc., with loss of magical value, the rite turned into fun. Wedding ritual also represented; Theatrical game: the order of "roles", the sequence of "scenes", reincarnation of songs of songs and existing on the actual face of the rite (the bride, her mother). A complex psychological game was a change in the inner state of the bride, which in the house of parents was supposed to cry and draw, and in the house of her husband denote happiness and contentment. However, the wedding chin was not perceived by the people as theatrical action. In calendar and family rites, participants in many scenes were muddled. Used into the old man, an old woman, a man changed into women's clothing, and a woman in men, dressed in animals, especially in the bear and goat. The costume of the rich, their masks, makeup, as well as the scene played by them were transmitted from generation to generation. On the shields, Maslenitsa, Easter, moody performed humorous and satirical scenes. Some of them later joined the folk dramas.

Balagan - Temporary wooden building for theatrical and circus ideas, which is distributed in fairs and folk festivities. Often also temporary lightweight for trade in fairs, to accommodate workers in the summer. In a figurative sense, actions, phenomena similar to a female presentation (jester, coarse). Balagans are known since the XVIII century.

Vertpets - Folk puppet theater, which is a two-storey wooden box, resembling a stage platform. The River Theater is penetrated to Russia in the late XVII - early XVIII centuries from Poland through Ukraine and Belarus. The name is associated with the original image of the scenes about the life of Jesus Christ in the cave, where Her Star was covered by King.

Ukrainians, Belarusians and Russian views were divided into two parts: religious and domestic. Over time, the religious part has declined and acquired a local flavor, and the repertoire expanded and the Vertips turned into a popular theater.

Unlike the "Parsley Theater", the doll management occurs from below

The River Theater was a large box, within which the scene was located, usually bunk. On the upper scene showed the worship of the newborn baby Jesus, in the lower episodes with Herod, after which the domestic part of the presentation was followed. Wooden dolls from the bottom were attached to the wire, with the help of which the gave them moved them along the slits in the floor. Home scene on stage - Nursery with baby. The rear walls were the figures of the righteous Joseph with a long beard and the Saint Virgin Mary. The centers with the birth of Christ traditionally played in the upper tier. The owner of the Vertap usually pronounced text with different voices and drove dolls. Horist boys sank christmas songs. And if a musician was present, he accompanied singing and dance music. Patterns and their accompanying musicians and choir went from home to the house, or satisfied the views in public fee sites - on shopping areas.

In fact, the bunk box 1x1.5m, dolls were moving on the tiers.

Persushkin Theater. - The shirma of the parsley consisted of three frames bonded by brackets and tightened by the Citz. She was put straight to the ground and hid a puppeteer. Charmanka collected spectators, and behind the screening actor through the peeper (whistle) began to communicate with the public. Later, with a laugh and reprise, he ran out himself, in a red cap and with a long nose. The floresman sometimes became a partner of parsley: because of the meal was not always intelligible, and he repeated the phrase parsley, led the dialogue. The comedy with parsley was played at fairs and in Balagans.

In Russia, "drove" parsley only men. To make a voice more loud and squeaky (it was necessary for hearing in fairness, as well as for the particular characterity of the character), they used a special peeper inserted into the larynx. Peterushki should have been "piercing" and very fast.

Unlike Vertep, Shirma is not a box, but a window with "curtains". And the person who ruled the doll in the parsley theater could be shown the public himself and talking to his own doll.

Rajak - People's Theater, consisting of a small box with two magnifying windows ahead. Inside it, pictures are rearranged or rewinds from one rink to another paper strip with homegrown images of different cities, great people and events. The ramist moves the pictures and tells the promsories and boom to each new plot.

The highest manifestation of the people's theater is folk drama. The first folk dramas were created in the XVI-XVII centuries. Their formation occurred from simple forms to more complex. The most famous and widespread folk dramas were the "boat" and "Tsar Maximilian". People's household satirical dramas ("Barin", "Mnimy Barin", "Mavruh", "Pakhomushka", etc. were also played out ("Barin", "Pakhomushka", etc.). They are based on dramatic scenes that were played with rich.

Some of the folk drams were historical. One of them is "as a Frenchman took Moscow."

The folk theater is the traditional dramatic creativity of the people. Types of folk spectacular and gaming culture are diverse: rites, dance, rude, clownade, etc.

In the history of the folklore theater, it is customary to consider the desiral and theatrical stages of folk dramatic creativity.

Detaratral forms include theatrical elements in calendar and family rites.

In calendar rites - symbolic figures of carnival, mermaids, japalas, Yarils, Kostroma, etc., playing with them scenes, ripping. Agricultural magic, magical actions and songs designed to promote the well-being of the family played a prominent role. For example, on the winter shirts around the village pulled Plow, "cropped" in the grain of grain, etc. with the loss of the magic value of the rite turned into fun.

The wedding rite was also a theatrical game: the distribution of "roles", the sequence "scenes", reincarnation of songs and intensive rite (bride, her mother). A difficult psychological game was a change in the inner state of the bride, which in the house of parents was supposed to cry and draw, and in the house of her husband, to portray happiness and contentment. However, the wedding rite was not perceived by the people as theatrical action.

In calendar and family rites, participants in many scenes were muddled. Used into the old man, old woman, a man changed into women's clothing, and a woman in men, dressed in animals, especially often in the bear and goat. The costume of the rich, their masks, makeup, as well as the scene played by them were transmitted from generation to generation. On the shields, Maslenitsa, Easter, moody performed humorous and satirical scenes. Some of them later joined the folk dramas.

In addition to rites, theatrical elements accompanied the execution of many folk genres: fairy tales, dance and comic songs, etc. Mimic, gesture played important role here, movement - close to theatrical gesture and movement. For example, the storyteller did not just tell a fairy tale, and in one way or another he played it: he changed his voice, he rescued, changed the expression of the face, showed how the hero of the fairy tale walked, carried a bucket or bag, etc. In fact, it was a game of one actor.

Actually theatrical forms of popular dramatic creativity - a stadially later period, the beginning of which researchers belong to the XVII century.

However, long before that time there were comedians, musicians, singers, dancers, trainers. These are scroorals. They combined in the stray groups until the middle of the XVII century. Take part in folk rituals and holidays. Proverbs are folded about the art of crochets (he dresses, but not as a buckle), songs and epics ("Bavilo and Skomorochi", "Guest Terentiusche"). Their creativity was reflected in fairy tales, epic, in different forms of the people's theater. In the XVII century Scromorosa was prohibited by special decrees. Some time, the crochets were hidden on the outskirts of Russia.

Specific features of the folk theater are the lack of a scene, the separation of performers and the audience, the action as a form of display of reality, reincarnation of the artist in a different objective image, the aesthetic orientation of the presentation. Pieces often spread in writing, pre-rehearsed, which did not exclude improvisation.

In the emergence, functioning and distribution of all forms and species of the folk theater, the city played an important role. In the cities of the favorite time and the place of folk spectacular representations were fairs for which many people were gathered, including the villagers. They not only traded, but also entertained.

Zueva T.V., Kiddan B.P. Russian Folklore - M., 2002

Introduction

I chose this topic, as I wanted to learn more about Russian folklore, about his festive features and customs. This topic makes it possible to reveal the expressive means of most folk ideas, holidays and folk theater as a whole.

Folklore is the work of any people, which is transmitted from generation to generation. The main feature is the absence of a well-known author.

Theater (from Greek. - I see, see) - the genus of art; a place where the action takes place; self-presentation, stage or scene; A combination of dramatic works.

Artistic peculiarity of the folklore theater

The Russian Theater originated in the deepest antiquity. The soil for the appearance of its initial elements was the production activity of our distant ancestors of Slavs. Numerous rites, ritual actions and folk holidays played a big role in the elements of the theater in the complex system of popular dramatic art.

After passing the centuries-old path of self-development, the Russian People's Theater had a huge impact on the theater professional. It can be said that without taking into account the experience of the folk theater, without supporting him as a robust foundation, a professional Russian theater could not in the short historical period of its existence to rise to world heights. This one forces it to treat the Russian folk theater with great attention, makes it necessary to study.

Elements of artistic understanding appeared in the era of the primitive-commodity system. The art in that distant era was "directly woven into material activities and in the material communication of people."

The main place in the art of primitive man was occupied by the beast - the object of the hunt, from which the whole life was largely depended. In rituals before the start of hunting or after successful completion, there were also dramatic elements that reproduce elements of hunting. Perhaps, even then, one or several participants died into the skins and depicted animals, others were "hunters."

With the development of agriculture, similar actions appear, reproducing landing, cleaning and processing of beneficial plants. Such actions existed for many centuries. Some of them in the form of dangling or children's games have been survived to this day.

Each people have their own art; It is a legend, epics, songs, dance, art lace, knitters, wood cutters, metal chasters, and the art of weaving products from Berestov, from Pruhus, and the art of gonchars, and weaving.

Many types of folk arts have already given the beginning of folk crafts in ancient times. Russia has many places where art crafts have been born and still live. Who does not know the famous painting on the dishes Gzheli, Zhostovy trays, Vyatka toy, Falca and x aboutluya, Wooden buckets of Khokhloma, Gorodetskaya painting on the boards?! And Rostov fingent? And Vladimir Embroidery? And Vologda lace? And although not all folk crafts have been preserved in time, nevertheless, the centers of many folk arts are still alive and there are brilliant masters in Russia, thanks to the art of which the ancient tradition of folk arts and crafts remain.

However, not all folk art should be called folklore. Studies of the last decades led to an understanding of the folklore as an oral folk creativity expressed in verbal-musical-choreographic and dramatic forms. This means that the folklore includes epics, folk tales, folk songs (game, rituals, etc.), the art of crumplers, folk farcia scenes. Rites, rituals, folk playing and fun, folk festivals - all this is also folklore. But folk crafts and fishery to folklore do not belong, although there are folk creativity, really existing in folk life.

Folklore is characterized by bifunctionality and syncretosis. These properties relate to him with primitive art. Folklore, like primitive art, Sinnoticious: There was no division into art of art in its origin and existence. The epics have affected the oblasts under the accompaniment of hussley; Songs were often accompanied by danutants, contained dramatic game elements; And in the art of the squigches, the hypocrisy, singing, dance, juggling, acrobatics were often combined.

The bifunctionality of the folklore means that it is both art and not art, i.e. Part of the life. This was especially pronounced in the ritual folklore, distinguished by entertainment.

Bifunctionality characterizes such a feature of the folklore, as the lack of division on the performers and the public (which is an important feature of the established art); Here - all participants and viewers at the same time.

But besides these important properties of Folklore, it also has special signs. The signs of folklore include the following: a perception, collectivity, anonymity, traditional, variability, artisticity of creativity.

These signs in different epochs had a different meaning, but their complex was always important; This means that it is impossible for any one or two-three signs to determine the folklore in front of us or not.

The perisherness of creativity means that folk works are orally, that is, in the transfer "from mouth to mouth." The grade of creativity is not connected with the lack of literacy of the population and not so much with the process of creating, as previously thought, as with the psychological need for communication.

The collectivity and anonymity of creativity mean that folklore works have no authors that they were created with dozens of years, and maybe the centuries are collectively, transmitted from the mouth to the mouth, was complemented, but the established century traditions were not disturbed.

Traditionality of creativity means certain canons of content, forms and techniques of creativity. For centuries, certain "rules", which cannot be violated. So, for example, there are always staines in fairy tales. This is a tradition, canon. In the content - the hero passes through three tests - this is also canon. In the final evil defeated, good tries, - this is also canon. Talking tales also relied in a certain way, and wonderful teachers and a narrower knew how to do it. Unfortunately, today this tradition of fairy tale is not preserved. Details included in many rites and rituals are lost, other parts are preserved, but their symbolic meaning is lost, meaning.

Create creativity. This sign is associated with the anonymous character of creativity and means that the same product of the folklore is in dozens of options, depending on the area of \u200b\u200bexistence. But it should be distinguished by the variability of the folklore product from a distorted author, in the process of existence of which the text (or melody) has changed. For example, some authors have a lot of works, "people who went into the people": "What you are greedy to look at the road", "Corobeinikov" N.A. Nekrasov, some verses S.A. Yesenin, who became songs, etc. If in different localities we will find a different text m of different melody, then this is not a manifestation of variability, but there is a distortion of the author's text and the melody composed by the composer.

The artisticity of creativity is a very important sign of Folklore. In pre-revolutionary science, it was believed that all the art that was not recognized by the Company, since it does not correspond to the aesthetic criteria that dominated in society at a given time should be attributed to folklore. However, it is deeply erroneous statement, because each type of art and the folklore "own" imagery, "its own" system of expressive means, its aesthetics. Therefore, it is necessary to talk about aesthetics of folklore, different from the aesthetics of the usual "scientist" of art.

Folklore's flourishing fell on the XVII century. The beginning of Peter's reforms 1, the development of foundry, manufactory, etc. The gradual destruction of that patriarchal lifestyle, in which the folklore successfully developed and lived. His social base was the peasant community, which was inflicted by the impact of economic reforms of Peter. Consequently, the folklore began to collapse. This process was unevenly in different regions: in some regions, economic processes were actively destroyed, destroying the natural economy and, accordingly, the folklore base. In others, these processes were slow (in Russian "depthines", in the northern, western, southern, Siberian provinces), and many types of folklore were preserved there.

Currently, the song-dance forms of folklore in the villages remote from industrial centers. Personal teachers went into the past; In many rites, rituals are lost the importance of their individual details, the traditions of many festivities are lost, folk playing, because it has long been all of the people's life. The loss of folklore is an objective historical process. Attempts to preserve some of his forms are commendable, but, unfortunately, they are not in the name of the folklore itself; Most often, commercial interest contributes to this. Therefore, so much today pseudo folklore.

Among the many forms of Folklore was such a folklore theater.

The folk theater is a peculiar phenomenon in Russian folk artistic culture, a phenomenon in which the concepts of "folklore" and "theater" were united. Until now, experts disagree in determining the concept of "folk theater". Some believe that the folk theater is all that in folklore, which has entertainment, rites, rituals, playing, massive, festivities, etc. Others refer to the folk theater of performances based on oral folk drama. Who is right? To answer this question, recall the specific signs of theatrical art. Among them will be entertainment, efficiency, and the game, and the collectivity of creativity, and artistic, (and a number of others), i.e. Signs, characteristic and for theater, and for ritual folklore. But the content of these signs will be different.

The entertainment is ritual - the desired element of the rite itself and exists primarily for its participants.

Such entertainment is traditional, canonic, cannot contain an individual start. The entertainment of the theater performance exists for the public. It is inextricably linked with the artistic expressiveness of the performance. She is conceived and embodied in a dramatic action. The entertainment of each performance is individual.

Effectiveness can be seen in a number of rites, rituals, festivals, etc. But, unlike the effectiveness of the theater performance, there is no drama in ritual effectiveness, there is no dramatic struggle, no conflict. The theater is not thought without conflict, without a dramatic struggle. Consequently, effectiveness in theatrical art involves drama and dramatic conflict.

The game in life is a means of meeting the need for the game itself of its participants.

The game in the theater is a way to create an actor artistic image, the character of a particular character. This is a way to express conflict. Such a game is a means of meeting the aesthetic requests of the public.

The collectivity of creativity in folklore means impersonality, anonymity, lack of authorship. In theatrical art, this is a huge team of actors, artist, composer, costumes, makeupers, illuminators, sounds, work scenes, etc. Organized and directed by the director to a single goal - creating a performance. At the same time, the work of each participant is deeply individually. And the authorship is manifested in the work of each participant of the performance.

Image is a characteristic feature of art. In the folklore theater, this is a mask, i.e. Traditional, canonical image of a folklore character, denoted by certain parts of suit, makeup, props. The creation of such an image does not need to individualize the features of its character, on the contrary, the traditional performance should be observed here. This is an essential feature of folk artism. (For example, as a suit of some folklore heroes expresses: a lady - a cape, an umbrella and a fan; Gypsy - red shirt, boots; pop - a beard of a packley, a wooden cross in hand; goat - the performer is covered with Tulup, turned inside out, etc. .).

For the art of the theater, it is characterized by an individual start in creating a character's image, the created image itself is endowed with many individual traits. Traditional, the canonism of execution is inappropriate here. It would be regrettable to see on the scenes of the theaters of the world of the same gamlettes and other heroes of Shakespeare's plays, recognizable in the costume, details of the props, makeup. For several hundred years on theatrical scenes of the world, great creations were created by various actors; The history of the world theater includes the famous creators of the image of Hamlet: Englishman David Garrik, Italian Eleanor Duza, German Devrite, many others, as well as the actors of the Russian Merochal Theater, Kratygin, and in our time - the famous Lawrence Olivier, Innokenty Smoktunovsky and a number of other great actors. Each of them is "their" hamlet.

The folklore theater, of course, has lost such properties of folklore as syncreticity and bifunctionality: it already has a clear division into "artists" and "public" (although the "artists" were single-sieves "viewers"); And he himself clearly on the art of the theater (i.e., rustles with folk syncreticity). For many decades of his existence, he also had his own dramaturgy, which, by the way, did not lose their connection with the traditional tradition. Therefore, we can say that the folk theater is the theater of the oral folk drama. Large drams, mostly, three - "Tsar Maximilian", "Boat", "Robbing Shaka", as well as less large - "Black Raven", "Ermak", "as a Frenchman took Moscow", "Parasha". Known and their options. There are satirical dramas: "Barin", "Mnimy Barin", "Mavruh", "Pakhomushka". Gathers of Russian folklore recorded them. "Tsar Maximilian" was first recorded in 1818, other dramas were recorded later. So, at the beginning of the nineteenth century there was still a folk theater. But, apparently, his flourishing took place earlier. It was in the villages. Representations were preparing in advance and usually walked on the saggers or on an oil week. Participated in the ideas of stray actors (from former boggles) and the most "troubled" guys in the village, those who differed by the resourcefulness, a sense of humor and were considered recognized artists who know the traditions of execution of certain roles.

If we read the text of any of the oral folk drams, then we will not get any idea about the performance, because the plot, for example, "boats" or "harsh of the robbers" is quite primitive, inspired by the "exposure" of Ataman walls of Razin. In it - borrowings and from folk songs, from folk legends, and from literary sources. By itself, the plot is very schematic. The content of the upcoming performance was knew all the audience. But all the advantage of theatrical presentation was not in the acquaintance of the public with the plot, and in what improvisational intermenids between the "tragic" scenes will arise today. These farcic intermediates were not connected with the main plot of oral drama, and the audience could contact "artists" directly from the "hall", and they were usually cleverly parried all the visits of the audience. This is the great pleasure of such a spectacle game. But it is precisely this ability to improvisation and turned out to be lost in the first place.

Economic reforms in Russia, begun by Peter, marked the beginning of the destruction of that lifestyle (i.e. the peasant community), who fell folklore and contributed to his flourishing. The further development of commodity-money relations was increasingly reflected in the state of the village community and in the state of the folklore. By the twentieth century, many types of folklore were lost. Modern artistic amateur is a qualitatively new phenomenon. Some scientists are trying to present it as folklore of our days. But such a statement, from a scientific point of view, is not true. No one of the signs of folklore modern artistic amateurness does not match; This is a qualitatively new folk art.

There were attempts to offer modern theatrical amateuries to become the path of folklore creativity: to revive the oral folk drama. But very soon it turned out that the folk theater is not viable and the revival of him in the amateur theater is unpromising, it cannot lead to creative luck. Sometimes some directors braidedly stated that they turned to the folklore theater and reached success. However, in fact, there were performances in which only some elements of folklore expressiveness were used, which is quite appropriate. Here it would be possible to give one brilliant example of the folklore performance: it was the presentation of the theater "Skomorok" in the 70s. The last century, delivered by Gennady Yudenich. It was the story of our country presented in folk aesthetics and expressiveness. But this creative luck is unfortunately, the only example.

Russian folk drama and folk theatrical art as a whole are the most interesting and significant phenomenon of national culture. Dramatic games and ideas at the beginning of the 20th century were the organic part of the festive folk life, be it rustic sites, spiritual colleges, soldiers and factory barracks or fair bolands.

Folk drama is the natural port of folk tradition. It crossed the creative experience accumulated by tens of generations of the widest layers of the people. In the later pores, this experience has been enriched with borrowings from professional and chest literature and democratic theater.

Folk actors for the most part were not professionals, it was a special kind of lovers, experts from the Folk Tradition, which was inherited from the Father to the Son, from grandfather to her grandchildren, from generation to the generation of rustic youth of pre-age. It came from the service or from the crafts of the man and brought to his native village a lovely play, learned to the nazubok or written off in a notedra. Let him be in her first just a statistian - a warrior or a robber, but he knew all by heart. And now a group of young people is already going and in a secluded place takes the "leaving", teaches roles. And on the saggers - "Premiere".

The geography of the spread of the folk drama is extensive. People's peculiar theatrical "foci" of the gatherers of our days were discovered in the Yaroslavl and Gorky regions, Russian villages of Tataria, on Vyatka and Kame, in Siberia and in the Urals.

The formation of the most famous folk play occurred in the era of social and cultural transformations in Russia of the late XVIII century. From this time, the chest and pictures that were for the people and topical "newspaper" information (reports of military events, their characters) appear and widely spread (reports of military events, their characters), and the source of knowledge on history, geography, and entertainment "theater" with comic characters - Petrukhoy Farnes, a broken pancake, Carnival.

Many of the chest of cheating pictures was issued on religious topics - about the flour of sinners and the exploits of the saints, about Anike-Warrior and death. Later, fabulous stories borrowed from translational novels and narratives about robber - Black Voronene, Fadew, Dyatle, Churkin, were extremely popular in the chests and books. Huge circles were published cheap songwrites, which included the works of Pushkin, Lermontov, Zhukovsky, Batyushkova, Tsyganov, Koltsov.

On urban, and later, rural fairs were arranged Carousels and Balagans, on the stage of which played performances on fabulous and national historical topics, gradually the wounded translation plates. Decades did not go with the mass scene of performances, rising to the drama of the early XIX century, "Ermak, the conqueror of Siberia" P. A. Madelikov, "Natalia, Boyarskaya Daughter" S. N. Glinka, Dmitry Donskoy A. A. Ozerov, "Motor" A. A. Shakhovsky, later - the plays about Stepan Rasin S. Lyutichsky and A. Navrotsky.

First of all, the traditional was the confession of people's ideas. Everywhere they arranged for a shield and carnival. These two short theatrical "seasons" have accommodate a very rich program. Ancient rituals, at the end of the XIX - early 20th century, already perceived as entertainment and moreover - mischiefs were made by rich. Artistic Presentation Actor

The ancient meaning of the rude is a magical impact on the word and behavior to preserve, restore and an increase in the life fruitful forces of people and animals, nature. This is connected with the appearance of naked or semi-wall people, "roaring" crane girls, shovels, shovel, laptoms or a stick with the "selling" of kvass, cloth, width, etc.

Small satirical playings "Barin", "imaginary Barin", "Mavruh", "Pakhomushka" are adjacent to the codty and passenger games. They became a "bridge" from small dramatic forms to a large. The popularity of the comic dialogues of Barin and Olders, Barin and servants were so great that they invariably included in many dramas.

The style of the folk drama is characterized by the presence of different layers or stylists in it, each of which corresponds to the plot and the character system in its own way.

Thus, the main characters are expressing a solemn ceremonial speech, presented, give orders and orders. In minutes of spiritual shocks, drama characters utter penetrated lyrical monologues (they sometimes replace the performance of the song). In dialogues and mass scenes, a household event speech sounds, in which relationships are clarified and conflicts are determined. Comic characters are inherent joking, parody speech. The actors who performed the role of an old man, servants, Doctors-Lekary, were often resorted to improvisation based on traditional deafness, synonyms and homonyms traditional in folklore.

A special role is played in the People's Drama of the songs that performed by the heroes in critical moments for them or choir are a commentator of the events. We had mandatory songs at the beginning and end of the presentation. The song repertoire of people's drams consists mainly of copyright in all layers of society songs of the XVIII-XIX centuries. This and the soldiers' songs "drove the White Russian Tsar", "Malbruck went to the hike", "Praise, praise you, the hero," and the romance "I walked around in the meadows", "I'm in the desert I am reminding", "that I was bold " and many others.

The folk theater is a combination of theatrical phenomena in folklore, playing folk drama by people's performers, puppet and rahery performances, sentences of bolagated grandfathers.

Types and genres:

It includes the representations of the squigches, Puppet Theater Parsley, Balagans, Raek, Vertim, and Finally, the People's Drama.

The first actors in Russia are crishers. They were often called fun, as they entertained the people with their jokes and cheerful satirical scenes. The first mentions of the scomerids are found in the Tale of Bygone Years.

The crumbs expressed the thoughts and feelings of the people, ridiculed the boyars and Popov, glorified the power and delete of the warriors, the defenders of the Russian land.

The authorities belonged to them as rover workers, in 1648 the royal decree was issued on the prohibition of a scenery.
Puppet theaters. The first to. The performances arranged chomori-docks. The main character is a mischievous and cheerful parsley. In the comedies about P. operated 2 hero in the number of hands of a doll; Nr P. and leakar, city, etc .. P. always repairs the court and massacre over hostile forces.

The vertically was distributed especially in the southern regions of Russia. B. - This is a special, the first wooden box in which made from wood or other dolls made from wood or other matters.

2 floors. On the top floor, biblical plots were usually played, on the bottom - everydays, most often comedy. With the help of dolls depicting various biblical characters, the scenes of the Christmas of Jesus Christ, which, according to the Gospel, happened in the cave in the lane. Verp. Popular performance Tsar Herod.

Rajak is a small box with two magnifying glasses ahead, inside which the strip depicting from various cities, great people and events is reworked from one rink to another.

Associated with the development of trade in Russia, the growth of cities and the popularity of Russian fairs. The ramist not just showed pictures, but also commented on them, telling about the events depicted there, sometimes criticizing power and the established order, the word, touched the burning problems.

Balagan. They were built right on the square from the boards and the canvas. Inside the scene, curtain and benches for viewers.

Balagan troupe, as a rule, consisted of stray actors. They gave a few ideas a day. Mostly it was focuses, clowns. Singers, dancers and just amazing people appeared here.
Folk dramas put on holidays in villages and cities. These were peculiar performances on historical, domestic, religious topics and plots. They were usually played in the hollow, in spacious sheds or in the open sky. Boat, Tsar Maximilian.

Along with the Russian folk theater, they had close to him in the form of submission, arranged in the days of church holidays in Orthodox churches. They were called liturgical acts. Walking on the dawn or action of the flowermith was performed in spring in Palm Sunday.