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Home\u003e Essay\u003e Literature and Russian

COURSE WORK

Performed:

student

Zakirova A.F.

Checked:

teacher

_________________

Ufa - 2005.

Introduction 4.

Theater in the 18th century in Russia 5

Literature 18th century 9

19th century - the dawn of the Russian theater and literature 11

Conclusion 27.

References 28.

Introduction

Speaking of Russian literature and the Russian theater of the second quarter of the 19th century. We must not forget that the majority of the country's population at that time remained illiterate and only for a very limited circle of persons was accessible to reading books and magazines. Russian development musical Theater. went difficult way.

Theater in the 18th century in Russia

Not all the plays that performed in Russia at the turn of the 18th century have come to us, but still the existing material allows you to make certain conclusions. Already at the very beginning of the organization of the Court Theater, there is a need for musicians. The composition of the musicians was repeatedly replenished and renewed both at the expense of foreign, so, apparently, the Russian performers. In the first quarter of the 18th century in Russia is a great distribution

Get small instrumental chapels serving Assembly and court holidays. Along with the play of religious content in the era of Peter the first, "pagic" dramas, glorifying the victory of Russian weapons. New for the Russian Theater was the desire of the author and the director to achieve emotional unity between the experiences of the actors and music. It would be wrong to limit the relationship between the theater and literature of this era only the question of drawing novels and the lead. An adventurous-love "knight" genre is experiencing a well-known impact of the theater, and that is noteworthy - the theater of musical. So the interaction between the literature and the theater arises. The gallant story in theatrical stages is just as rich in musical elements, like the original source.

Speaking about the Opera, he means only Seria or lyrical tragedy: "Opera has a lively image of which important act: the only difference with the comedy, that the comedies are simply talking to the comedy, and they say soump." Explaining the meaning of the term "Theatrical Machine", Kantemir again refers to the opera: "In the operations of the machine, there are those that sudden and emergency changes on the theater will be relent, as a form, cloud convergence with people on them, o'clock." In undoubted communication with the performances of the Italian opera-buffa, and in the subsequent opera-Seria there are writings about the theater appearing in Russian press throughout

30s. In "Notes on Vedomosti" (1733) an anonymous reasoning "On shameful games or comedies and tragedies" was printed. The basis of theatrical art, the author writes, - a visual image of noble heroes and actions, faithful noble nature, "In disgraces, there is always some memorable and with many cases the connected adventure is so natural that the caretakers are completely understood, and the whole state of things can see clearly."

Evaluating the actor game, democratic spectators often showed a good taste, admiring those performers who knew how to truthfully reveal the spiritual world of their heroes. A special mission in subordination of theaters to the ideological objectives of the government was assigned to the cesura. In 1826, a new censorship charter was introduced, which received a member determination of the "cast-iron" in the writers. Censorship categorically prohibited to bring the clergy on stage, to expose any criticism of military, large officials, policemen. Information about the first opera performances in Russia is very scarce, therefore, the data reported by the priest of the Danish embassy in St. Petersburg by Peder Wang Haven, who came to the capital in 1736, are presented to the scientific trafficking. He points out in his notes: "The Empress contains an Italian troupe consisting of about 70 opera singers."

Literature 18th century

19th century - the dawn of the Russian theater and literature

With the advent of Piez A.N. Ostrovsky, I.S. Turgenev, prose F.M. Dostoevsky Poetry Nekrasov in Russian culture came realism. Acting art has changed along with drama, breaking the old ideas about what is true on the stage. November 16, 1859 was the day of the premiere in the small theater of the Piez "Thunderstorm" Ostrovsky. A storm broke out around the performance. The first executor of the role of Katerina was a wonderful actress L.P. Nikulina - Kositskaya. The elements of Russian life, a new, juicy and modern language burst with the plays of Ostrovsky on the scene. In the plays of the island actor small shone throughout the next decades. G.N. Fedotova,

M.N. Yermolov - Wonderful small Tiara actresses. Russian artists of the first half of the XIX century M.S. Shchepkin, P.S. Mochalov, V.A. Kratygin remained in the memory of descendants as a figure of legends. Shchepkin played almost 600 roles in Shakespeare's plays,

Moliere, Gogol, Ostrovsky and Turgenev. He one of the first began to argue realism in the Russian theater, he created the truth in the Russian stage.

Overcast frost morning on March 11, 1853, a fire began in the theater for an unknown reason. The flame instantly embraced the entire building, but with the greatest power of fire raged on stage and in the auditorium. "It was terrible to look at this with a fire of the Giant," the fire described the fire. "When he burned, it seemed to us that the person had died before the eyes of our eyes, showing us with the most beautiful thoughts and feelings ..." 7.

Two days fought Muscovites with a flame, and on the third building of the theater reminded the ruins of the Roman Colosseum. The remains of the tlali building are about a week. On fire, theatrical costumes were irrevocably died, collected from end of XVIII century, excellent decorations of performances, troupe archive, part of the music library, rare musical instruments.

"There are events in Russia that are rapidly and greatness amazed contemporaries and are presented in the form of miracles to remote offspring - wrote" Moscow Vedomosti "on January 17, 1825 - such a thought is naturally born in the soul of Russian with each incident, which is approaching the fatherland by our environment to the European, such The thought occurs in the soul when looking at the Big Petrovsky Theater, like Phoenix from the ruins of the raised walls of his own in the new brilliance and splendor. "

The project of the Theater Building, compiled by Professor A. Mikhailov, was approved by Emperor Alexander I in 1821, and its construction was instructed to architect the Osip bow.

One of the largest theaters of Europe, was built on the spot of a burnt theatrical building, but the facade was facing the theater area ...

A memorable performance in the chronicle of the theater was the first execution on December 16, 1888 folk Drama I.Morusorgsky "Boris Godunov". FIRST OPER N. Rimsky-Korsakov Light Ramps of the Bolshoi Theater saw the "Snow Maiden" (1893), and then - "Night before Christmas" (1898). In the same 1898, the theater first showed the audience by Opera A. Borodina "Prince Igor", and in two years, the lovers of choreographic art were acquainted with A.Lazunov's ballet "Raymond" 8.

The size of the group was one and a half meters above the former and reaches 6.5 meters in height. It is advanced and placed on a pedestal of the roof of the portico.

Four of the horses, located in one row, rushes to drag, fascinating the quadriga - an antique chariot on two wheels. God manages them pon, his head is crowned with a wreath, in the left hand of Lira.

During the reconstruction of the visual hall, Kavos changed the form of the hall, taking it to the scene, deepened the orchestral pit. Behind the chairs of the parquet, where there used to be a gallery, he arranged an amphitheater. The size of the visual hall was: almost equal depth and width - about 30 meters, height is about 20 meters. Spectator began to accommodate over 2000 viewers.

IN Such a video big theater Preserved to this day, with the exception of small internal and external rearrangements.

Kavos himself wrote about the architecture of the visual hall of the Bolshoi Theater: "I tried to decorate the visual hall as magnificently as possible and at the same time, if possible, in the taste of the Renaissance, mixed with the Byzantine style. White color, gripped with gold brightly raspberries On each floor, plaster Arabesques and the main effect of the visual hall - a big chandelier of three rows of lamps and a crystal of Kandelabra - all this deserved universal approval. "

"Karamzin began a new era of Russian literature" - claimed Belinsky. This epoch was primarily characterized by the fact that literature acquired an impact on society, it became for readers a "textbook of life", that is, what the glory of the 19th century Russian literature is based on. The value of Karamzin's activities for Russian literature is great. The word Karamzin echoes the Pushkin and Lermontov. The most influence on the subsequent literature was provided by the story of Karamzin "Poor Lisa" 9.

He loves his parents' hot, she cannot forget about her father, but hides his sadness and tears, so as not to disturb the mother. She cared her mother gently, she took her medicine, she worked day and night ("Cleave's fabrics, knitted stockings, rolled flowers in the summer, and in the summer he took the berries and sold them in Moscow") The author is confident that such classes fully provide the life of the old woman and her daughter. According to his plan, Lisa is completely unfamiliar with a book, but after meeting with Erast, she dreams of how good it would be if the beloved was born was a simple peasant shepherd ..... "- these words are completely in the spirit of Lisa. In Book Lisa, not only says, but also thinks. Nevertheless, the psychology of Lisa, for the first time, the loved girl is revealed in detail in the natural sequence. The following points are psychologically and interesting: the desire to see Erast is the other day after the acquaintance and "some sadness", when this desire did not exercise, joyful fright and excitement with the unexpected appearance of an erast under the window of her huts, this sense of the author with the help of parts depicts the beginning of the story, surprise, as she could live before not knowing Erast; Anxiety for the thought that the erasta - Barina can not be a simple peasant woman; The fear of losing your loved one and hope for his return, finally, hopeless despair after Erast paid it from the office.

A.S. Pushkin was the following writer in the scope of creative attention of which began to include all the huge Russia, its expanses, life villages; Petersburg and Moscow have opened not only from a luxurious entrance, but through narrow doors of poor houses. The evidence of this was the "Tale of Belkin", in the center of which is provincial Russia. Here and the "Martyr of the fourteenth grade" College registrar, a caretaker of one of thousands of small postal stations, a poor official Samson Vyrin, and a retired hussars officer Silvio, and the rich noblemen, and small, many other 10.

By reading the story of Gogol, we remember more than once, as you stopped before the showcase, an unlucky official in the curriculus of an indefinite form and in the blue pipeline, with an old collar, to look through one-piece windows of shops that shine wonderful lights and magnificent gilding. For a long time with envy, stared at the official of the official, the various items and, who's friend, with a deep longing and stealing hardness continued its path. Gogol opens the reader the world of "little people", the world of officials, official hooks in their "Petersburg Hands" 11.

Conclusion

Romanticism in Russia, developed as a literary direction at the beginning of the 19th century, was associated with the rise of the national identity and the beginning of the revolutionary movement of the Decembrists. In Russian romanticism, two directions were clearly shown.

The revolutionary direction was manifested in the work of the Decembrists - K. F. Ryleyev (1795 - 1826), A. I. Odoyevsky (1802 - 39), V. K. Kyhehelbecker (1797 - 1846) and others, in the early work of A. S. Pushkin (1799 - 1837). The works of poets - Decembrists, like the "southern" poems of Pushkin, are imbued with the spirit of protest against the existing social system, the spirit of the approval of the freedom of personality. The growth of national self-consciousness after the Patriotic War of 1812 and the deepening of the revolutionary movement during the preparation of the uprising of 1825 caused the motive of the struggle for national and political freedom.

Bibliography

Music culture of Russia in the XVIII-XIX centuries .. St. Petersburg., 1996.

Essays about Russian writers A. Gorelov P. O. Publishers "Soviet Writer". 1984.

E. A. Polotsk "Paths of Chekhov's heroes." Moscow "Education" 1992.

1 Zezina M. R. Koshman L. V. Shulgin V. S. History of Russian culture. - M., 1990

2 Zezina M. R. Koshman L. V. Shulgin V. S. History of Russian culture. - M., 1990

3 Milyukov P. N. Essays on the history of Russian culture. - M., 1993

4 Essays about Russian writers A. Gorelov P. O. Publishers "Soviet writer." 1984

5 History of Russian literature 19th century Volume 1 (edited by Petrov.) Education of 1970

7 Musical culture of Russia in the XVIII-XIX centuries .. St. Petersburg, 1996

8 Music culture of Russia in the XVIII-XIX centuries .. St. Petersburg, 1996

9 History of Russian literature 19th century Volume 1 (edited by Petrov.) Education 1970

10 Milyukov P. N. Essays on the history of Russian culture. - M., 1993

11 Milyukov P. N. Essays on the history of Russian culture. - M., 1993

Eastern Institute of Economics of Humanitarian Sciences, Management and Rights

Eastern Institute of Economics of Humanitarian Sciences, Management and Rights

COURSE WORK

By discipline: "The history of socio-cultural activities"

On the topic: "Theater and literature 18-19 centuries."

Performed:

student

Zakirova A.F.

Checked:

teacher

_________________

Ufa - 2005.

Introduction 4.

The secular character of the 18th century theater in Russia 5

Literature 18th century 9

19th century - Russian theater dawn 13

Literature 19th century 19

Conclusion 29.

List of references 30.

Introduction

Theme "Theater and Literature 18-19 BB." Pretty relevant in the context of the history of socio-cultural activity, because We are all carriers of the culture of our people. If we do not know the history of their ancestors, we will cease to exist as a nation.

The purpose of my work is the consideration of the theater and literature of 18-19 centuries. in the field of leisure.

To achieve a goal, it is necessary to solve the following tasks: consider the theater of 18-19 centuries. In the context of socio-cultural activities, as well as the literature of the specified period.

The beginning of this period in the history of the Russian Theater is associated with dramatic events in the public life of the country, who shook it to the ground and the fallen imprint on all areas of the life of the Russian theater, society in the following years.

Speaking of Russian literature and Russian theater 18-19 centuries. We must not forget that the majority of the country's population at that time remained illiterate and only for a very limited circle of persons was accessible to reading books and magazines. The development of the Russian musical theater went difficult.

His background dates back to dramatic ideas (end of the 18th of the 19th century), in which music (arias, songs, choirs, instrumental episodes, dancing) occupied a significant place, to the intermenids of the school theater with poorelectic dramas for the repertoire of the Moscow Slavic Greco-Latin Academy.

If the musical theater in Russia did not relieve on the long-standing national traditions, the flowering of the Russian National Opera in the second half of the 18th century would be impossible.

The secular character of the 18th century theater in Russia

The eighteenth century has become one of the turning point in the history of Russia. Culture that served the spiritual requests of this period began to quickly acquire a secular character, which largely contributed to the convergence of art with science.

One of the lively sources of the Russian theater was folklore. Theatrical elements, i.e. The figurative, effective reproduction of reality is always present in folk creativity, whether it is a dangling song, a dance, a ritual game. A peculiar expression of the needs of the people in the theater is "People's Drama" 1.

There is no doubt that internal communication existed between the People's and Professional Theater. The carriers of the tradition of the People's Theater were crumbs. The echoes of these "plays" can be found, and in the performances of the amateur troupe of the 18th century, in them the role of the scomerous turns to Gheera. Along with the troupes, speaking before the court audience, for the 18th century, especially in his second third, there are associations of amateurs, often democratic participants in the composition and repertoire.

By the middle of the 18th century, the theater has already firmly entered the life of Russian society, and not only its aristocratic or church tip, but also of social bases. It can be argued that the Theater People's and Literary was in a well-known interaction. The comic characters of the InterMedia are not so far from the jesters and "fun people" performances of the public theater of the early 18th century. From the first steps, the Russian Theater uses music. It is almost on equal pairs with the word enters the play of the school theater. In the drams on religious topics, naturally, liturgical chants were used. However, along with church chants, the performance organically includes light musicillustrating the scenes of "everyday" character.

Not all the plays that performed in Russia at the turn of the 18th century have come to us, but still the existing material allows you to make certain conclusions. Already at the very beginning of the organization of the Court Theater, there is a need for musicians. The composition of the musicians was repeatedly replenished and renewed both at the expense of foreign, so, apparently, the Russian performers. In the first quarter of the 18th century, small instrumental chapels serving Assembly and the court holidays receive great distribution in Russia. Along with the play of religious content in the era of Peter the first, "pagic" dramas, glorifying the victory of Russian weapons. New for the Russian Theater was the desire of the author and the director to achieve emotional unity between the experiences of the actors and music.

It would be wrong to limit the relationship between the theater and literature of this era only the question of drawing novels and the lead. An adventurous-love "knight" genre is experiencing a well-known impact of the theater, and that is noteworthy - the theater of musical. So the interaction between the literature and the theater arises. The gallant story in theatrical stages is just as rich in musical elements, like the original source.

Allegorical and mythological images most clearly expressed the main topic of the performance. Even before foreign opera troupes began to systematically give their performances at the courtyard, references to the "Forest invention" appeared in Russian literature. In 1726 A. Kantemir made a translation of a "a certain Italian letter, which contains the considerable critical description of Paris and the French, written from a certain Socylian to a friend," in which lines are found about Parisian theaters, including the Italian comic opera.

"There are many anemers here, which are always the essence of the holes in enjoying those who loving such a spectacle; Opera departs in one, and in another comedy, tragedy ... "Kantemir also owns an attempt to interfere with theatrical terminology in notes to the translation of" talking about the many worlds phongrounde "2.

Speaking about the Opera, he means only Seria or lyrical tragedy: "Opera has a lively image of which important act: the only difference with the comedy, that the comedies are simply talking to the comedy, and they say soump." Explaining the meaning of the term "Theatrical Machine", Kantemir again refers to the opera: "In the operations of the machine, there are those that sudden and emergency changes on the theater will be relent, as a form, cloud convergence with people on them, o'clock." In undoubted communication with the performances of the Italian opera-buffa, and in the subsequent opera-Seria there are writings about the theater appearing in Russian press for 30s. In "Notes on Vedomosti" (1733) an anonymous reasoning "On shameful games or comedies and tragedies" was printed.

The foundation theatrical art, the author writes, - a visual image of noble heroes and deeds, faithful noble nature, "In disgraces, there is always some memorable and with many cases the connected adventure is so natural that the caretakers are completely understood, and things can see everything.

Evaluating the actor game, democratic spectators often showed a good taste, admiring those performers who knew how to truthfully reveal the spiritual world of their heroes. A special mission in subordination of theaters to the ideological objectives of the government was assigned to the cesura. In 1826, a new censorship charter was introduced, which received a member determination of the "cast-iron" in the writers.

Censorship categorically prohibited to bring the clergy on stage, to expose any criticism of military, large officials, policemen. Information about the first opera performances in Russia is very scarce, therefore, the data reported by the priest of the Danish embassy in St. Petersburg by Peder Wang Haven, who came to the capital in 1736, are presented to the scientific trafficking. He points out in his notes: "The Empress contains an Italian troupe consisting of about 70 opera singers."

The Russian Theater, who became the first public and affordable for a wide range of viewers, did not cease to exist in the subsequent era. Russian amateur performances are arranged not only at the courtyard and in houses of wine, but also in the medium of the middle, mesh "3.

The repertoire of amateurs was enough Pystro - from intermented to secular plays on the themes of gallant rates and drams on religious plots inherited from previous pore. The participation of singers in the court amateur performances becomes a tradition gaining a continuation of 50-60x., When singing acting together with Italian artists in the opera repertoire. No less significant role is the role of cadets of the Slyhamny Corps as the main performers of ballets and participants of dramatic and opera performances.

Dance classes in the building, and later in the Moscow academic gymnasium, were the first theater school that was preparing artists for the future Russian professional theater. The need for Russian dancers and singers has discovered from the beginning of the 40s, when the activity of the courtier resumed opera House. Instrenne singers and dancers could not provide greater and complex works, not to mention that the need for Russian performances for the prestige of the monarchy was created at the courtyard. Despite the fact that by the mid-18th century, Russian performances firmly entered the life, the main form of the court theater continues to be an Italian opera. 40-50E years - a new stage of her celebration. Never before the court did not have so many performances: Operas-Seria and Buffo Operas.

Along with the Italians performed the French, the Germans, the British. At the same time, 50-60s - not only the time of the Zasili of foreigners, but also a period of intense struggle for the creation of the Russian National Theater, nominating talented Russian composers, playwrights, actors, singers. Russian composers not only successfully compete with foreign tourists, but they themselves speak abroad - like, for example, the famous Russian dancer Timofey Bubliks.

The operating operational operating operating in Russia in the early 40s of the operating service was significantly different from the previous ones, transformed according to the requirements of the Russian autocracy and its increased strength. The speech of singers in the choir gave the spectral solemnity and festivity and opened the way to the operatic scene by Russian artists. The rise of Russian science and culture, national literature entered into a sharp contradiction with the dominance of foreigners in all areas of life. The mid-50s of the 18th century - a period of changing the styles of the musical theater in Russia. The period of the predominance of the Opera - Seria, who exalted Russian autocracy, the art of a purely courtie, ended. In these words, the essence of the French comic opera of the 50s of the 18th century is true: an appeal to common themes, freedom from personality and autocratic virtuosity, simplicity, the use of people's songs. The theater was becoming a factor in nationwide culture. Russian performers and composers mastered the experience of world opera art, approved their own, vividly original national art.

Literature 18th century

The literature of the 18th century was prepared by the entire previous history of Russian literature, the progress of the development of society and Russian culture. It is connected with the best traditions of the Old Russian literature (idea of an important role literature in society, her patriotic orientation). Reformed activities of Peter I, renewal and Europeanization of Russia, widespread state construction, the transformation of the country into a strong world power in the cruelty of the serf system - all this is reflected in the literature of the time. The leading literary course of the 18th century was classicism.

Classicism is a pan-European phenomenon. BUT B. different countries He had his own characteristics and a certain degree of development. Classicism reached its heyday in France in the second half of the 17th century. In the works of classicist writers, they reflected the ideas of a strong independent state with the absolute power of the monarch. Therefore, the main conflict in the works of classicism is a conflict between the debt and feeling. In the center of these works - a person subordinating personal social. For him above all the debt of a citizen, serving the interests of the Motherland, the state. Such a citizen must be primarily a monarch. Classicists considered the highest criterion of true and excellent mind.

In Russian literature, classicism appeared later than in Western European, but was caused by similar historical terms - the formation of a strong autocratic state. It was closely connected with the ideas of European enlightenment, such as: the establishment of solid and fair laws, education and education of the nation, the desire to penetrate the secrets of the universe, the approval of the natural equality of people of all classes.

From the 60s The 18th century in Russian literature is a new literary direction - sentimentalism. Like classicists, Sentimentalist writers relied on the idea of \u200b\u200benlightenment that the value of a person does not depend on his belonging to the highest classes, but from his personal advantages.

Classicists all subordinate to the mind, sentimentalists - feelings, experiences and all sorts of shades of sentiment.

Samples of the works of sentimentalism in the West: "Clarissa" S. Richardson, the "suffering of a young verteter" I.V. Goethe. The head of Russian sentimentalism is considered to be N.M. Karamzin. In the story of "poor Lisa" Karamzin for the first time opened the world of man's feelings, the depth and strength of love of a simple peasant. Revealing the world of feelings, the literature of sentimentalism brought up in a person the dignity and respect for their forces, abilities, experiences regardless of the situation in society.

Lomonosov - the first of the leaders of Russian culture who won world fame, one of the outstanding enlighteners and the most enlightened man of his time, one of the largest 19th century scientists, a wonderful poet. "Oda for a day ....." written by a "high calm" and glorifies the daughter of Peter 1. By giving tribute to the virtues of the empress, her "meek glory", "good and beautiful face", the desire to "expand science", the poet is talking about her The father, who calls "a man, what unheated from the century". Peter 1 is the ideal of an enlightened monarch, the cat. All the forces gives its people and the state. In Oda Lomonosov, the image of Russia with its immense expanses, huge wealth is given. So the topic of the Motherland and serving is arising to her - leading in the work of Lomonosov. With this theme, the topic of science, knowledge of nature is closely connected. It ends with a hymn science, a call to the young men to hold into the glory of the Russian land. Thus, in the "Oda 1747" found an expression of the educational ideals of the poet.

Fonvizin. The comedy "inexpensive" is rightly considered the top of the creativity of phonvizin and all the domestic drama of the 17th century. Saving communication with the worldview of classicism, the comedy became a deep innovative reception. What is the comedy "inexpensive" corresponded to the provisions of Russian classicism? First of all, the author retains all the signs of "low" genre 4.

The play is ridiculed vices (rudeness, cruelty, stupidity, uneducation, greed), which, according to the author, require immediate correction. The problem of education is central in the ideas of enlightenment, is the main and comedy Fonvizin, which is emphasized by its name. (Lady - a young nobleman, a teenager who received home education.) The specificity of the reality of the reality is respectively the language of the work (one of the rules of classicism). For example, the speech is related: Rough in appeal to servants ("fraudster", "cattle", "thieves kharya" - tailor trishka; "Bestiya", "Canal" - Nyanka Eremeevna), caring and affectionate in conversation with his son Mitrofanushka ("Century Live, learning a century, my heart "," doubt "). "Right", the book language is the basis of the speech of positive characters: it is said to the Stokers, Pravdin, Milon and Sophia. Thus, the speech of heroes seems to share characters on negative and positive (one of the rules of classicism).

A.N. Radishchev - still in his youth of Radishchev determined the main goal of his life for the benefit of the Fatherland. In the epighera to "Traveling from St. Petersburg to Moscow" - "mounds, Oblo, naughty, huge, chasing and lean" - Radishchev determines the chief enemy, the main trouble of Russia and the Russian people - autocracy and the associated serfdom. Most of the chapters of this work is devoted to the exposure of the essence of this "mounds", its cruelty and inhumanity, corrupting the souls of people ruining the country. The writer draws patterns of lawlessness and incredible exploitation, cat. Pass the peasants. The "true face" autocracy of Radishchev reveals in a satirical "dream" (the head of the "Spasskaya layer"), showing the illegality and the anti-earth any monarchy.

N.M. Karamzin. The word Karamzin echoes the Pushkin and Lermontov. The most influence on the subsequent literature was provided by the story of Karamzin "Poor Lisa. "The author marked the beginning of a huge cycle of works.

It was he who opened the road to such writers of the future as Gogol, Dostoevsky and others. A.S. Pushkin was the following writer, whose creative attention began to include all huge Russia, its expanses, life villages, St. Petersburg and Moscow were already opening out not only from a luxurious entrance, but also through narrow doors of poor houses.

19th century - Dawn of the Russian Theater

In 1828, a "partnership for the establishment of a publicly available theater" appeared in Moscow. Among his founders were the manufacturer S. T. Morozov, theatrical figures K. S. Stanislavsky and V. I. Nemirovich-Danchenko. The Hermitage Theater was taken for rent in the Karetnyh row - the dilapidated and cold hall. On October 14, 1829, the first performance of the Moscow Art Public Outdoor Theater took place.

The creators of the Moscow Art Theater set themselves three main goals. First, attract the viewer from the simple people in the hall, who did not afford the tickets to the imperial theaters. Secondly, refresh the repertoire, driven from it a boulevard melodrama and an empty comedy. Thirdly, reform the theater business.

At first, the new theater was not easy. Revenues from performances did not cover costs. Sava Morozov came to the rescue, in five years in half a million rubles in the theater. Thanks to its energy, a new building was built in the chamber stitch. The first performance in Him took place in October 1831 for several years, the most difficult in the history of the theater, the post of Chairman of the Board held S. T. Morozov. V. I. Nemirovich-Danchenko solved the questions of the repertoire. The main director was K. S. Stanislavsky.

In a short time in the art theater there was an ensemble of wonderful actors (V. I. Kachalov, I. M. Moskvin, A. R. Artem, O. L. Knipper-Chekhov, etc.). Konstantin Sergeevich defined the task and place in the play, subordinating the efforts of all the actors employed in it with a single director's intent. It was a new phenomenon in the Russian theater, where before the director's role was small. The Art Theater became the first truly directorial theater.

This allowed the young theater to brilliantly cope with such a complex play as Chekhov's "Chaika", who did not have success in the Alexandrinsky Theater. And from the Small Theater of Chekhov took her "Uncle Vanya" and handed over to artistic.

The Theater of Stanislavsky, Nemirovich-Danchenko and Morozova was a multilateral talented. The plays of A. P. Chekhov, built as the dramas of everyday life, got along with his repertoire with the plays of A. M. Gorky, who differed romantic and frankly by the Bunlet Paphos. And the audience with the same ecstasy applauded themselves and others, realizing that this is the same truth in life, in different ways seen.

At the beginning of the XIX century, a network of Russian imperial theaters were developed, which were managed by the "Ministry of the courtyard of his imperial Majesty". In the submission of the courtyard there were 3 Theater in St. Petersburg - Alexandria, Mariinsky and Mikhailovsky - and 2 in Moscow - Big and Small.

With the advent of Piez A.N. Ostrovsky, I.S. Turgenev, prose F.M. Dostoevsky Poetry Nekrasov in Russian culture came realism. Acting art has changed along with drama, breaking the old ideas about what is true on the stage. November 16, 1859 was the day of the premiere in the small theater of the Piez "Thunderstorm" Ostrovsky. A storm broke out around the performance. The first executor of the role of Katerina was a wonderful actress L.P. Nikulina - Kositskaya. The elements of Russian life, a new, juicy and modern language burst with the plays of Ostrovsky on the scene. In the plays of the island actor small shone throughout the next decades. G.N. Fedotova, M.N. Yermolov - Wonderful small Tiara actresses. Russian artists of the first half of the XIX century M.S. Shchepkin, P.S. Mochalov, V.A. Kratygin remained in the memory of descendants as a figure of legends. Shchepkin played nearly 600 roles in Pieces of Shakespeare, Moliere, Gogol, Ostrovsky and Turgenev. He one of the first began to argue realism in the Russian theater, he created the truth in the Russian stage.

Mochalov is a direct opposite of shcheckin. He played the main roles in the plays of Russian and Western drama - Gamlet Shakespeare, Charles Moore in Drama Schiller "Robbers", Chatsky in "Mount from Wit". In the production of plays, Russian actors created images included in the history of theatrical art. The audience admired Catherine Semenov, Alexei Yakovlev. These actors completely reincarnated to the person represented. Gradually, the Small Theater began to specialize in dramatic productions, and large on the opera and ballet 5.

The opening of the Big Petrovsky Theater on January 6, 1825 was furnished very solemnly. Spectators who visited the new theater that evening were shocked by the nobility of the architectural design and its embodiment, the unprecedented scale of the building, the beauty of the decoration of his auditorium.

The writer Sergey Aksakov recalled: "The Big Petrovsky Theater, arising from the old, burnt ruins ... I am overwhelming and admired me ... A great huge building, exclusively dedicated to my beloved art, already one of his appearance led me to joyful excitement ..." 6

Before the start of the performance, the public aroused on the stage of the builder of the Osip Bow theater and awarded it with applause.

On the opening day of the theater, A. Alyabieva and A. Verst, who was allegorically depicted as the genius of Russia, was shown, allegorically portrayed, as the genius of Russia, with the help of Muses from the ruins of the burned down theater, created a new wonderful temple of art - the Big Petrovsky Theater. The best actors troupe were busy in the prologue: Russian Geniya performed the famous tragian Pavel Mochalov, the God of Arts Apollo - Singer Nikolai Lavrov, Muse Pratsechora is the leading dancer of Felitsa Virginia Gullen-Sor.

After the intermission was shown the ballet Ferdinand Sora "Sandrillon". "The glitter of the costumes, the beauty of the scenery, the word, all the theatrical splendor here, as well as in the prologue," wrote a musical critic V. Odoyevsky. To deliver "equal pleasure to all residents of Moscow," the Directorate of the theater decided to repeat this performance the next day.

On August 20, 1856, a large theater restored by A. Kavosoma was opened in the presence of the royal family and representatives of all states Opera V. Bellini "Puritan" performed by the Italian troupe. The Moscow ballet of this period is obliged by their luck to the talent of the Frenchman Marius Petipa, settled in St. Petersburg. The choreographer has repeatedly arrived in Moscow for performing performances. Don Quixote, L. Minkus, became the most significant of its Moscow works, first shown in 1869. The Moscow edition of this ballet Petipa suffered subsequently on the St. Petersburg scene.

Of great importance for the development of the executive culture was the work of P. Tchaikovsky. The debuts of the composer in opera music - "Voevoda" (1869) and ballet - "Swan Lake" (1877) took place on the stage of the Bolshoi Theater. Here I received my real birth of the Opera "Eugene Onegin" (1881), the first sample on a large stage after the conservative statement of 1879; For the first time I saw the light of the Opera "Mazepa" (1884), one of the top of the composer's opera creativity; The final edition of the Opera "Blacksmith Vakula", which received the new name "Cherevichki" in the performance of 1887. By the way, the premiere of Cherevichki in the Bolshoi Theater began on January 19, 1887 and the debut of Tchaikovsky per console rate of the opera conductor.

A commemorative performance in the chronicle of the theater was the first execution on December 16, 1888 of the People's Drama of the I.Morsorgian "Boris Godunov". FIRST OPER N. Rimsky-Korsakov Light Ramps of the Bolshoi Theater saw the "Snow Maiden" (1893), and then - "Night before Christmas" (1898). In the same 1898, the theater first showed the audience by Opera A. Borodina "Prince Igor", and in two years, the choreographic art lovers became acquainted with A.Lazunov's ballet "Raymond" 7.

With the expansion of the Russian repertoire, the best works of foreign composers were carried out simultaneously. Rigoletto, Aida, Fauviato and Romeo and Juliet, "Faust" and "Romeo and Juliet" S. Buno, "Carmen" J. Bise, Tangayer, Walkiriya, Lojanrin "R.Vagner and others.

Opera troupe theater end XIX. - The beginning of the XX century has many outstanding singers. Among the glorious names of the past years - Evlalia Kadmin, Anton Bartzal, Pavel Khokhlov, Nadezhda Salina, Ivan Rodzunov, Margarita Gunova, Vasily Petrov, and others. On the stage of the theater, singers appear on the stage, the names of which are soon known not only in Russia, but And abroad - Leonid Sobinov, Fyodor Shalyapin, Antonina Nezozhanova.

The fruitful activity was in the theater of Sergei Rakhmaninov, who announced himself and for the conductor with a brilliant musician. Rachmaninov raised the sound quality of the Russian opera classics in the theater. By the way, with the name Rakhmaninov, the transfer of the conductor's remote control is connected to the place where he is now, before the conductor was standing behind the orchestra, face to the scene.

In 1899, "Sleeping Beauty" first went to the Bolshoi Theater. The formulation of this ballet, approved by the Commonwealth of Music and Dance in the Russian Ballet Theater, was the beginning of a long and happy work in Moscow of the choreographer, librettist and teacher Alexander Gorsky. A large group of talented artists worked with him - Ekaterina Gelzer, Vera Karalli, Sophia Fedorova, Alexander Balashova, Vasily Tikhomirov, Mikhail Murdkin, conductor and composer Andrei Rental and other Artists Konstantin Korovina and Alexander Golovina, the future great masters of theatrical painting. Apogee of Creativity Gorsky became ballet "Salambo" A.Arends (1910). Here the choreographer has reached a harmonious merger of music dance, decoration and literary basis performance.

The successful development of the Moscow ballet becomes so obvious that many of the St. Petersburg masters of dance seek the opportunity to participate in the performance of the Bolshoi Theater. Matilda Kshesinskaya, Anna Pavlova, Mahail Fokin, and others often came on touring Moscow, and in 1911, the Moscow troupe was invited to London to form a performance in honor of the coronation of Georg V.

In the competition, the plan represented by Albert Kavos won on the project to restore the theater building.

Kavos, retaining the planning and volume of the bovy building, increased the height, changed the proportions and reworked the architectural decor. In particular, slim cast iron galleries with lamps were constructed on the sides of the building. Contemporaries noted the appearance of this colonnade, especially in the evenings, when you look at it, and a number of burning lamps seems to be a diamond thread going along the theater.

Alebastra group Apollo, adorned by the Bow Theater, died in a fire. To create a new Kavos invited the famous Russian sculptor Peter Klodt (1805-1867), the author of the famous four-horse groups on Anichkovo Bridge across the Fontanka River in St. Petersburg.
Klodt created a sculptural group with Apollo now known to the whole world. It was cast in the plants of the duke of Lichtenbergsky made of metal alloy covered with galvanic by red copper.
The size of the group was one and a half meters above the former and reaches 6.5 meters in height. It is advanced and placed on a pedestal of the roof of the portico. Four of the horses, located in one row, rushes to drag, fascinating the quadriga - an antique chariot on two wheels. The God of Apollo drives them, his head is crowned with a wreath, in the left hand of Lira. In this form, the Bolshoi Theater was preserved to the present day, with the exception of small internal and external rearrangements.

Literature of the 19th century

"Karamzin began a new era of Russian literature" - claimed Belinsky. This epoch was primarily characterized by the fact that literature acquired an impact on society, it became for readers a "textbook of life", that is, what the glory of the 19th century Russian literature is based on. The value of Karamzin's activities for Russian literature is great. The word Karamzin echoes the Pushkin and Lermontov. The most influence on the subsequent literature was provided by the story of Karamzine "Poor Lisa" 8.

"Poor Lisa" (1729) is the most popular and best story of this writer. The plot of it, the presented reader as "sad", is extremely simple, but full of dramatic tension.

Talking about the love of the poor peasant girl Lisa to the aristocrat of Erast, who led her to suicide, the author does not emphasize the class opposite of the hero and heroine. He clearly sees this opposite, but does not want to admit that it is her who was caused by the death of "poor Lisa" the entire story of the life of heroes is depicted through the secular and cover of sentimental idealization. Images tales are embellished. The deceased Father Lisa, an exemplary family man, because he likes the work, smelling well the land and was quite prosperous, everyone loved him.

Lisa's mother, "sensitive, kind old woman," weakens from the underverttased tears on her husband either and the peasant people can feel. She touching her daughter touching and religiously admires by nature. Neither the mother of Lisa nor the heroine itself on the genuine peasants is not similar. Bole of all idealized the heroine of the story - "Beautiful body and soul of the settlement", "Gentle and sensitive Lisa".

He loves his parents' hot, she cannot forget about her father, but hides his sadness and tears, so as not to disturb the mother. She cared her mother gently, she took her medicine, she worked day and night ("Cleave's fabrics, knitted stockings, rolled flowers in the summer, and in the summer he took the berries and sold them in Moscow") The author is confident that such classes fully provide the life of the old woman and her daughter. According to his plan, Lisa is completely unfamiliar with a book, but after meeting with Erast, she dreams of how good it would be if the beloved was born was a simple peasant shepherd ..... "- these words are completely in the spirit of Lisa. In Book Lisa, not only says, but also thinks.

Nevertheless, the psychology of Lisa, for the first time, the loved girl is revealed in detail in the natural sequence. The following points are psychologically and interesting: the desire to see Erast is the other day after the acquaintance and "some sadness", when this desire did not exercise, joyful fright and excitement with the unexpected appearance of an erast under the window of her huts, this sense of the author with the help of parts depicts the beginning of the story, surprise, as she could live before not knowing Erast; Anxiety for the thought that the erasta - Barina can not be a simple peasant woman; The fear of losing your loved one and hope for his return, finally, hopeless despair after Erast paid it from the office.

Before rushing to the pond, Lisa remembered her mother, she took care of the old woman, as she could, left her money, but this time the thought about her was no longer able to keep Lisa from a decisive step. As a result, the character of the heroine is idealized, but internally solid.

Erast, his character is much different from the nature of Lisa. Erast is described in more compliance with its cultivated social environment than Lisa. This is a "rather rich nobleman," who led a scattered life, thought only about his pleasure, looking for him in secular funBut often did not find, I missed and complained about the fate of my "endowed with" a fairie mind and good heart, kind of nature, but weak and windy, "he read the novels. In the image of Eraste, the type of disappointed Russian aristocrat is scheduled.

Lisa is the child of nature, its soul and nature are close to the people. Erast is disgraveing \u200b\u200bin love with Lisa, violating the rule that she is not his circle. Lisa is naive and it is not clear to her that at the time that she lives, she is considered a small person and do not give her the right to love, having learned that Erast loves her, Lisa is given to his love selflessly not thinking about anything. At first, Erast acts the same way, but then the turning point comes, the hero does not stand the test of love, they defeat the feelings are low. Wednesday does not give rise to the soul of the hero and forces him to lie to Lisa. Only circumstances allow the heroine to open a hoax. In a minute, Lisa is twisted, Rock acts as a punishment for sin. Lisa punished for his love. Erast punished, something that did not restrain the oath.

The author's position in the story is the position of Humanist. We are in front of us Karamzin - artist and Karamzin - philosopher. He melted the beauty of love, described love as a feeling capable of transforming a person, the writer teaches - the moment of love - beautiful, but long life and durability gives only a mind.

Karamzin laid the beginning of a huge cycle of literature on "small people", took the first step in this unknown to this topic. It was he who opened the way to such classics of the future as Gogol, Dostoevsky and others.

A.S. Pushkin was the following writer in the scope of creative attention of which began to include all the huge Russia, its expanses, life villages; Petersburg and Moscow have opened not only from a luxurious entrance, but through narrow doors of poor houses. The evidence of this was the "Tale of Belkin", in the center of which is provincial Russia. Here and the "Martyr of the fourteenth grade" College registrar, a caretaker of one of the thousands of small postal stations, a poor official Samson Vyrin, and the retired hussar officer Silvio, and the rich noblemen, and small, many others 9.

The disclosure of the social and artistic significance of the "stationander" laid the beginning of Dostoevsky in the story "Poor People" by the mouth of Makara Girl Dostoevsky expressed judgments about the realism of the story of Pushkin, about her cognitive meaning. He pointed to the typicity of the image of a poor official score, on the simplicity and clarity of the story, noted the depth of the image in her human grief. After Dostoevsky, the tragic fate of the "Martyr of the fourteenth grade", after Dostoevsky, did not attracted the attention of critics that noted the humanism and democracy of Pushkin and estimated the "stationander", as one of the first, starting from the 18th century, the realistic stake on the poor official.

The choice of Pushkin Hero - the station caretaker was not random. In the 20s of the 19th century In Russian literature, as is well known, a lot of moralizing essays, stories, whose heroes are "lower class" people appear. In addition, the journey genre is reborn .. In the mid-20s, poems, poems, essays, in which are not only the descriptions of the edge, but also meetings, conversations with station cavities are becoming increasingly beginning to appear in magazines.

In a story, three arrival of the narrator, separated from one of the other in several years, organize the course of the narration, and in all three parts, as in the introduction, the story is conducted by a narrator. But in the second, central, part of the story, we hear and Vyrney himself. In the words of the narrator: "Inten, all this is pretty, and instead of indignation, our heart turns with sincere sympathy" is given a generalization, it is said about the cautious life and position of the station caretaker not one or a path, and everyone, at any time of the year, day and night. Excited lines with rhetorical issues ("Who did not curse ...", "Who per minute of anger?", Etc.), interrupting the requirement to be fair, to enter the position of the "Fourteenth Class Martyr" position give us to understand what Pushkin Signally talks about the serious work of these people.

The first meeting in 1816 is described by a teller with an explicit sympathy to his father, to his daughter, beautiful Duna, and their established life. Irin - the image of a "fresh, good man about fifty years old, in a long green surtuk with three medals on the polynyaya ribbons", the old soldier who, who is 30 years 30 walked during the military campaigns, he signed his wife in 1812, and only a few years had to him live with your beloved daughter, and a new misfortune collapsed on him. SAMSON VININA STATIONAL COOKER lived poorly, his desires are elementary - labor, fulfilled insults and humiliation, it mines the means of existence, it does not complain about anything and satisfied with the fate. The trouble that breaks into this private world later - young hussar who secretly takes His daughter of the Dunya to Petersburg. Mount shocked him, but not yet broke. Story about fruitless attempts sculpt. Fighting with Minsk, after he raised his vacation and went to St. Petersburg on foot, he was also a scoop, as well as the story about Mount Vyrney, but in other means. Four small, but complete vital truth pictures of the arrival of the arrival are drawn in conditions of social and class inequality a typical situation - the situation of the powerful, weak and "right" strong, power of the property. The first picture: the old soldier in the role of the petitioner in front of indifferent, important.

Pushkin to the limit aggravates the situation, pushing face to face Worina with his abuser "Heart of the Old Man." It seemed a decisive moment in the life of a person, when all accumulated past resentments will raise him to the riot in the name of Holy Fair. But "... Tears felt on the eyes, and he delivered a trembling voice only:" Your highlands! ... Make such a divine mercy! " Instead of protest, a plea broke out, a pathetic request.

Third picture: (two days later). Again, before an important lacker, which pushed him out of the front and slammed the door to him under his breath.

Fourth Picture: Again before Minsk: "Wound! "" And, having a strong hand grabbing the old man per gate, pushed him into the stairs.

And finally, another two days return from St. Petersburg to his station, obviously on foot. And Samson Vyrin was accepting.

The second arrival of the narrator - he sees that "the grief turned the good man in the thieved old man." And the view of the room (dilapidation and negligence), and the changed appearance of the eye (gray, deep wrinkles of the unshaven facial, a snaggy back), and surprised exclamation, "it was a certain Samson screened, but how he was a samba! "" All this indicates that the narrator sympathizes the old caulier. In the narrative of the narrator itself, we hear the echoes of the feelings and thoughts of WINN - a praying father ("shook his hand;" I saw the poor man ") and WIND - a gullible, helpful and powerless person (" It was a pity to part with a kind of her guest "," " I understood how blinding found on him, "" I decided to appear to him, "" he reported his gradually, "that" the old soldier ";" I thought ... Rounded, but it was no longer "," the caretaker did not chase him "," I thought, waved my hand and decided to retreat ").

For the first time, Russian literature is so shrill and clearly showed the identity distortion to her hostility. In the first one, it turned out to be possible not only to dramatically portray the contradictory behavior of a person, but also to condemn the evil and inhuman forces of society. Samson Vyrin judged this society. The artistic attitude of Pushkin was directed into the future - it pierced the road to another unknown.

In the story written on the topic popular in the 20s about the stannaya caretaker, it is perfectly shifted who is the college registrar, and the compassion for it is a decisive element of the author's relationship to his hero. The story expressed a wide generalization of reality, disclosed in the individual case of the tragic history of an ordinary person, "Martyr of the fourteenth grade" Samson Vyrina.

The fate of the station caretaker is the typical fate of a simple person whose well-being at any time can be destroyed by the gross intervention of the "strengths of this world", the ruling class, Pushkin defended Hogol, Dostoevsky, Chekhov and their heroes, saying his word about people of his time.

Even deeper than Pushkin, Lermontov revealed this topic. In his works, we see how little Maxima Maxima needs to make it happy: to divide a modest dinner with him and tell a little about yourself. Maxim Maximich is almost completely devoid of personal self-consciousness, a critical attitude to reality, he accepts her as it is. Maxim Maximych - a person is closer to the people and, as Belinsky said, "understands all the human." Lermontov in the form of a charming space of an officer did not see a loyal, and a person from the people, a person who is capable of granny awakening. Spirit and clean, undemanding soul of his honest, Russian soldier Maxim Maximych is close to Russia.

The topic of social inequality, the theme of poverty, the topic of offended human dignity, the burning and noble the theme of Russian literature with irresistible force appeared in the unfinished Roman Lermontov "Princess Ligovskaya". Here are opposed to the image of the refinery of Krasinsky and the image of Pechorin. Pechorin's passive perception of the world Lermontov sought to oppose the hero, an alien idle of a secular society, a man of an angry soul, the Bunlet denial. But his beggar official dreams of that very happiness; From which Pechorin runs. Roman "Princess Ligovskaya" begins by contacting the reader with a request to see the day and hour - December 21 days 4 hours in the afternoon, when something that caused a chain of various events occurred. The junction of the head of the Guards officer knocked down from the legs of the poor official. Only and managed to flash the White Sultan and the developing collar of Sineli, leaving an official in his soul for life, hatred for healing trots and white sultans.

So for the first time, the fates of Pechorin and the Krasinsky official were encountered. In the theater restaurant, by chance he heard the story of Pechorin on how his ruin frightening a passing official, Krasinsky turns to his offender with an inductive monologue: "-Millace sir! ... you barely not crushed me today, yes, me - which is in front of you ... And then they brag it, you have fun! " The democratic sympathies of the poet breaks through the frankness. Lermontov, who colling the Pechorin close to him, with a democratic hero, endowed the latter not only moral attractiveness, but also not as an example of Pechorina with an excellent appearance.

And the portrait of the St. Petersburg official, and a remarkable description of the yard and stairs of a huge house at Obukhov Bridge, Lermontov pounced already in the manner of the emerging " genuine school". In the same city, at the same time, and a Gogolian low man was wandered under the gogoly sky with Lycin on his forehead, in the chinel of a reddish-muddy color with their penetrating words: "I am your brother."

And already as bringing the following example, a former rapid official in the form of drilling flashes finally in the form of a cast flashes finally with the same Obukhov of the bridge, and hiding in the night silence and darkness. Lermontov pushed two heroes and showed that no "little person" could not survive in the opposite environment. How many naive squeezing in the appeal of the princess of Ligovskaya to Krasin, she accidentally hit her living room "Tell me: You think, terribly tortured by business."

And what a meaningful answer of a person who is familiar with the need: "Your lot of fun, luxury - and our work and care; It follows, if we were not, who would work. " The sympathies of the young Lermontov were on the side of the democratic hero. He gave a poor official not only by beauty, but also the energy of perturbations, a sense of self-esteem, gave him the goal noble, the ability to exalted a person.

But in a minting room, the hero lies just a ridiculous guide, how to become rich and happy. Having lost in the crowd with what envy looks Krasinsky on the carriages driving to proudly lighted entrance Baroneles: "What am I worse than them? - He thought - these faces ... oh I will be rich ... ". Seeing Prince Ligovsky with Princess, Krasinsky hurried to lean out of the crowd of Zewak and bow.

He was not noticed, but the poor official attributed this pride and deliberate carelessness: "Well, he thought he was removing - there will be a holiday on our street." The image of Krasinsky in the "Princess of Ligovsky" is one of the early attempts to go beyond the fruitless peopling revenue of the world, the search for a protest in the environment of socially circumferential. But the theme of the refinement to the money to the very environment that oppresses Pechorin, Lermontov and Lermontov heroes, and there is a source of insurmountable contradiction, that closed circle, which restored Lermontov in its work. Heroes of Lermontov His "Little People" differ from all previous ones.

By reading the story of Gogol, we remember more than once, as you stopped before the showcase, an unlucky official in the curriculus of an indefinite form and in the blue pipeline, with an old collar, to look through one-piece windows of shops that shine wonderful lights and magnificent gilding. For a long time with envy, stared at the official of the official, the various items and, who's friend, with a deep longing and stealing hardness continued its path. Gogol opens the world of "little people", the world of officials, official hooks in their "Petersburg Hands" 10.

Central in this cycle Tale "Shinel", "Petersburg Tale". Differ in character from previous works of Gogol. We are in front of us the official Petersburg, Petersburg - the capital - the main and greatness, a huge city - business, commercial and labor, and "Universal Communication" of St. Petersburg - the brilliant Nevsky Prospect, on the sidewalk of which everything that lives in St. Petersburg leaves his traces: "Delightes It is powerfulness or power of weakness. " And before the reader flashes, as in Kaleidoscope, a mixture of clothes and individuals, in his imagination arises a terrible picture of the restless, tense life of the capital. The bureaic apparatus of that time helped this accurate portrait of the capital.

Conclusion

Based on the work done, it can be concluded that the socialization of the theater and literature of 18-19 centuries. He had a serious continuation in the form of rethinking the life of the life of ordinary Russian people.

Romanticism in Russia, developing as a cultural direction at the beginning of the 19th century, was associated with the rise of the national identity and the beginning of the revolutionary movement of the Decembrists. In Russian romanticism, two directions were clearly shown.

In the work of V. A. Zhukovsky (1783 - 1852) was discovered by the skill inner world man, his immediate feelings, poetication of national antiquity and folklore; He is inherent in the music of the verse. However, the conservative nature of Romantic Zhukovsky affected the one-sidedness of his poetry, a limited world of personal experiences, in the idealization of the past, in contemplative, religious and melancholic moods.

The revolutionary direction was manifested in the work of the Decembrists - K. F. Ryleyev (1795 - 1826), A. I. Odoyevsky (1802 - 39), V. K. Kyhehelbecker (1797 - 1846) and others, in the early work of A. S. Pushkin (1799 - 1837). The works of poets - Decembrists, like the "southern" poems of Pushkin, are imbued with the spirit of protest against the existing social system, the spirit of the approval of the freedom of personality.

Representative of revolutionary and romantic poetry in the 30s. M. Yu. Lermontov (1814 - 41), whom the embodiment of a romantic topic was associated with the statement of the freedom-loving rebellious personality opposing society. In aesthetics of progressive romanticism, in the work of the Decembrists, Pushkin and Lermontov gradually moved to the realism.

Bibliography

Wozina M. R. Koshman L. V. Shulgin V. S. History of Russian culture. - M., 1990.

Iona I.N. Russian civilization, IX - the beginning of the twentieth century: learning. M., 1995.

The history of Russian literature of the 19th century Volume 1 (edited by Petrov.) Education 1970.

The history of Russian literature. (1800 - 1830 G.G.) M. Education 1989

Kornilov A.A. Music I. art Russia XIX. century. M., 1993.

Culture of Russia 1861-1938 / Ed. O.A. Vaskovsky, A.T. True. Yekaterinburg, 1995.

Milyukov P. N. Essays on the history of Russian culture. - M., 1993.

And drama ... two more stone Essay \u003e\u003e History

Theatre Ballet on Brighton (English ... York. For many years of tradition Theatre Ballet on Brighton meets the season ... all the creative possibilities of students, management Theater Ballet on Brighton and schools ... 02.07 Russian ballet school and THEATRE Brighton ballet. Weekdays and holidays. ...

1. Theatre as a synthetic type of art

   Abstract \u003e\u003e Culture and Art

   Type of art. Theatre Contains the manifold of many forms ...

The history of Russian culture. XIX century Yakovkin Natalia Ivanovna

§ 2. State theaters

§ 2. State theaters

First decades XIX. The century is marked by the growing development of the Russian theater: the popularity of theatrical art is growing, the "free theater" comes fastened theater to the theater - state and private.

State, or as they were then called, the state theaters appeared in the metropolitan cities of Russia in the XVIII century. At the beginning of the XIX century, there were several of them in St. Petersburg: it was a Palace Theater in the Hermitage, a large theater - a huge quad-tier building, placed between the sink and the Catherine Canal, and the Small Theater, built in 1801 by the architect of Brenna from Anichkova Bridge. Along with Russian opera, ballet, dramatic troupes there are foreign - French, Italian. The maintenance of the latter was spent particularly large funds. If 40,500 rubles were allocated to Russian troupe in 1803, then on French opera and dramatic - 114 400 rubles, Italian - 46,000 rubles.

Gradually it happened so that dramatic performances Granted mainly in the Small Theater. Ballet or opera performances were more often set. In 1827, a Circus was opened near the Simeonovsky bridge, where in addition to circus performances, dramatic performances were also given.

In 1832 on the project famous architect K. I. Rossi was built a beautiful dramatic theater, equipped with the latest theatrical technology and the named after the wife of Nicholas I - Alexandra Fedorovna - Alexandria. In 1833, the construction of another theater built on the project of architect A. P. Bryullov (now the Opera and Ballet Theater is Musorgsky). In honor of Brother Nicholas I, the Grand Duke Mikhail Pavlovich, he was called Mikhailovsky. It predominantly performed French and Italian troupes.

New theaters decorated Moscow. Here in 1806 the Small Theater was opened, which became the advantage of dramatic. And in 1825, the construction of the Bolshoi Theater was completed.

Gradually theatrical performances attract more and more attention of society.

The discussion of new plays and acting games is becoming not only a constant topic of conversations and debates in the literary salons of Moscow and St. Petersburg, but also penetrates printing. Already at the end of the XVIII century on the pages of magazines "Mail of Spirits", "Spectator", "Petersburg Mercury", the "Moscow magazine" appear news of theatrical life.

Theatrical news, reasoning about theater appears in almost all periodic editions of the beginning of the XIX century. In one of the most serious and popular magazines Of that time, the "Bulletin of Europe" is created in 1802 a special theater section, which prints on performances, articles about theater and actors are printed. For some time, this section then also keeps the young poet and writer V. A. Zhukovsky. In 1808, the first theater magazine appears in Russia - "Dramatic Bulletin" Shakhovsky.

At the beginning of the XIX century, the system of controlling the management of metropolitan official theaters and the establishment of theatrical monopoly occurs. In 1803, a disposal was published providing government theaters exclusive right to the device of public masquerads and on the printing of theatrical posters. At the same time, private theaters operated in three cities were closed. So, in 1803, a private theater troupe was eliminated in St. Petersburg, in 1805 - German, and the theater occupied on the Palace Square becomes casual. Since 1805, the monopoly of the imperial theaters in Moscow and St. Petersburg is officially established. The motives of this measure were considerations of a political and economic nature. The growth of the popularity of theatrical ideas, discussing them on the pages of magazines, the desire of the advanced public to turn the theater in the tribune of the winsted ideas opened the fear of the government and the desire to subjugate the theatrical spectacles to their control. At the same time, the establishment of the state monopoly of the metropolitan theaters, accompanied by the prohibition of private theaters in Moscow and St. Petersburg, would contribute to an increase in the cash collections of government spectacular institutions, which was important, since the cost of treated theaters was achieved by large sizes. So, from 1801 to 1811, the theater Directorate received over the usual allocations about 1 million rubles. For payment of debts.

As a result of the reorganization, the management of state-owned theaters was carried out by the Directorate of the Imperial theaters made by the Moscow and St. Petersburg Office. The directorate was controlled by not only the financial party, but also the repertoire of theaters, the composition of the troupe and all the details of theatrical life. Very often, this control turned into a petty, filled with the care. The acting memoirs of this period contains a lot of bitter stories about ignorant and self-government directors of the imperial theaters. This is what the characteristic one of them, a certain prince Tuffyakin, gave an artist P. A. Kratygin in his memoirs: "The director of Tuffyakin reminded his specific princes with their coarse Tatarist. Sostio-loving ignoramus, drunk aristocrat, he did not understand anything in the literature, nor in art; Its Odaliski appeared on stage, and in the backstage world. His despotism was not tamed with any decency. " Kratygin remembers many manifestations of boss. For example, in 1819, actor Bulatov for the refusal to some role Tuffyakin planted for several days to the Arstanta. Another time a small pupil of theatrical school, inadvertently running behind the scene during some ballet, personally beaten by a pylon pipe, which was observed for the performance. "And a lot, there was a lot of similar tricks of this brought up prince, Chamber of the Yard of Emperor Alexander!" - sad makes his story Kratygin.

In the second quarter of the XIX century, theaters were controlled by some changes. The Ministry of the courtyard was established, the imperial theaters were transferred, the theatrical censorship was entrusted to the III branch. This reorganization contributed to the tightening of government control over the activities of theaters and the bureaucratization of theatrical administration.

Officials who did not have any idea of \u200b\u200bart was charged with the duty to direct the work of playwrights and actors.

Such theatrical policy strictly carried out at this time the Directorate of Imperial Theaters M. A. Gideonov. Analyst official, he put a lot of effort to strengthen government control over the theater. Creative questions were solved exclusively by the administration. Especially carefully watched Gideonov per repertoire, seeking to fill it with works of loyal or purely entertainment. In relations with subordinates, including actors, was rude and trial. Karatygin wrote about him: "I spoiled with happiness and easily delivered by the ranks and honors, he became infected with nominations and was trial to vulgarity and capricious to the guys."

Wanting to please the yard, he encouraged in the theater with kindness, slavery, barren discipline. At the same time, the actual art occupied a little hedonov. Glinka characterized him as a man of insignificant for which art did not mean anything. In accordance with the requests of the director, theatrical officials were selected: "... These were people random, the personalities of the dark, nothing to do with the art did not have, but could perform orders and demand from subordinates. Bribery and treasures flourished. "

Naturally, the position of the actors in such conditions was especially difficult. Being formally free people, they essentially dependent on the arbitrariness of the Directorate, officials, police authorities. Upon admission to the state scene, the actors concluded a contract for three years with the Directorate. According to him, they were obliged to reliably play the roles that would be provided by the administration. The actors used by the public were provided with so-called beneficial performances, the collecting from which was largely transferred to the artist. However, the slightest protest against the terms of the contract could lead to its termination and, therefore, leave the actor without work.

The possibility of the pressure of the Directorate on the actors was aggravated by the unequal regulations in which the "miniments of Melpomen" were then. In the eyes of representatives of the "Higher Light", the artist of imperial theaters differed little from the actor of the fortress, being the same "guide", "comedian", a public renegone. According to one of the prominent actors of that time, on the artists, "Velmazby looked from the height of their grandeur, in capturing them as crochets, as people belonging to the caste if not rejected, then at least useless and hardly harmful."

Such attitude towards actors was also inherent in the government. The confirmation of this was the special order of 1827 on officials who wanted to enter the actors who were ordered to determine not otherwise, as with the deprivation of the ranks.

The "low" position of the actors was constantly emphasized by officials of the Directorate of Imperial Theaters, who were constantly exposed to their offensive and arbitrary punishments. Although artists were not injected with corporal punishment - they were only subject to theatrical carpenters, deplets and other lower employees of the scenes - but the arrests "under the office" or "at the theater" were the most common measure of the impact of the Directorate on the actor. Moreover, the actors were often subjected to such punishments not for any disciplinary disorders, but for creative independence. When, for example, the well-known water-woven actor Dur did not fulfill the indication of the theater inspector and, playing the role of a young daughter, did not stick his beard, Prince Gagarin, former director Theater, planted him for three days under arrest. The refusal of the name of Ballerina, which did not correspond to her role, the Governor of St. Petersburg, the Governor of St. Petersburg, who heard a big theater, caused a "silence" and threatened her "strait home." The threat has so strongly affected the novice that on the other day she snapped "nervous hot church" and after a few days it did not become.

The artistic life of that time was very scarce. Even the artists of state theaters who received a certain salary and therefore less dependent on cash receipts than provincial artists have experienced constant material difficulties. The salary of the actors of the imperial theaters was, as a rule, not great and for the most part it was not enough for the content of the family, the acquisition of costumes and other acting needs. Therefore, a significant role in the family budget was played by the benefits, to prepare for whom it was started. At first, the actress or actress was engaged in the choice of the play, the invitation of comrades to participate in the performance, billing up of the posters is possible greater than the tempting names. The adjectives "mysterious", "terrible", "bloody" were inevitable in the same way as mentions of rifle volunteers, Bengali Fire and other pyrotechnic wonders. Family beneficiaries, hoping to touch the public, often joined the spectrums, in which their juvenile children read fables or danced.

Finally, days for 5-6 before the performance began the distribution of tickets among patients. "The beneficiaries discharged in the fluff and dust began visits to seniority: first, to his shiny of Count Mikhail Andreevich Miloradovich, after him to nobles, from there to the famous merchants ...". If the actress or actress in other houses did not quite politely pointed out the door, it did not surprise anyone. But generous patrons paid for a ticket for 25 or more rubles. The beneficial performance was usually collected by the numerous public. At the end of his fans, the wreaths, a basket of flowers were made by the beneficiaries. Their cost depended on the popularity of the artist. It was often happening that in a few months, and sometimes days after the benefits, the long-term portraits, tobacker or jewelry were departed to a deposit to the degree in the family cash register.