Russian culture of the 19th century theater. The troupe of the small theater at the end of the XIX in
For the theater of the 19th century, loud, complete passions of monologues were characterized, spectacular positions prepare theatrical care, that is, having effectively completing his scene, the actor emphasized theatrically removed by causing the name of the hall. Difficult life experiences and meditation disappeared behind theatrical feelings. Instead of complex realistic characters, screening scenic structures were accumulated. Officials, managing "imperial" theaters, stubbornly sought to turn them into places of easy entertainment.
Two great events in theatrical life marked the end of the 19th century - the birth of the playwright Anton Pavlovich Chekhov and the creation of an artistic theater. In the first play, Chekhov "Ivanov" showed new features: the lack of fission of characters on heroes and villains, unhurried rhythm of action under enormous internal tensions. In 1895, Chekhov was written by a large play "Seagull". However, the performance, delivered through this play by the Alexandria theater failed. Dramaturgia required new stage principles: Chekhov could not sound on stage without directing. The innovative work was rated by the playwright, theatrical teacher Nemirovich-Danchenko. Which together with the actor director Stanislavsky created a new artistic theater. The true birth of the artistic theater was held in October 1898 in the implementation of the production of Chekhovsky "Tsar Fyodor John". On the stage they saw not actors playing in the "public," and genuine living people speaking among themselves the most ordinary, not raised tone, as if at home. People freely moving and even turning back to the viewer (which seemed especially impudent). Independence and simplicity of the game, the naturalness of halftone and the pauses touched all truthfulness. Moreover, even those who played the weekend and wordless roles were not mannequins, but created their small artistic image. Members of the team, which created the performance directed by the director's will, were imbued with a single task. And it created unprecedented until the ensemble, striking with general consistency. In December, the premiere of "Seagulls" took place, which since then is the emblem of the theater. The performance was all built on the mood, on barely noticeable in external expression spiritual movements, unusual images that could not have been shown, to portray, it was necessary to merge with them, they had to live. The formulation of "Seagulls" contributed to the birth of a famous formula: "Do not play, but to live on stage." Stanislavsky came up with Misanscenes, who had never been in the theater. So together with Chekhov, a diversity was created, which largely determined the future ways to develop the theater. This required new technique acting. After all, living on stage is many times harder than to represent. And Stanislavsky creates its system of psychological realism aimed at reproducing "life human spirit" And Nemirovich-Danchenko is developing the doctrine of the "second plan" when a lot of unspoken guess is guessed.
In 1902, the building of the artistic theater in Moscow was built on the funds of the largest Russian patronage of S. T. Morozov. Stanislavsky acknowledged that "the main starter and creator of the Public political life"Theater was Maxim Gorky. In the performances of his plays "Troy", "Messenger", "at the bottom" was shown a severe share of workers and the "bottoms of society", their rights, calling for a revolutionary restructuring. The performances were held with crowded halls.
A further contribution to the stage formulation of Gorky Dramaturgia is associated with the name of the close revolutionary circles of Faith Fedorovna Commissioner. Sweeping from the Caseschina, which stifled the imperial stage, she left her and created her theater in St. Petersburg. In 1904, the premiere of "Dachniks" took place here. Gorky's plays became leading in the repertoire of the Commissar Theater.
At the beginning of the 20th century, a new theater genre appeared. In 1908, in St. Petersburg, V. A. Kazansky opened the first in Russia theater of a single-acting plays. The theater on the foundry was the third theater of the entrepreneur (after the Nevsky farce and Modern). The Athens of the Theater Pepped by terrible names: "Death in the arms", "on the gravestone" and so on. Critics wrote that in the theater they were engaged in anti-death, irritable business. Valley viewers shaft. The foundry Theater had a predecessor - the Paris Theater "Strong Feelings", at the head of which was the creator and the author of Pieces Andre de Lord. The Russian theater implanted him from the repertoire to specific means of influencing the public. But the spirit of Russian life did not resemble the atmosphere of Parisian man in the streets. The attraction to the terrible, repulsive captured various layers of the Russian audience. In two months, interest in the theater faded. main reason The fact that the horror theater could not compete with the horrors of Russian modernity. The theater programs changed greatly, after three years the theater was entrenched the genre designation "Theater Miniature". The number of theaters of the miniature after 1910 increased markedly. The actors for the sake of benefits are moving from the drama to the theaters of miniatures, many dramatic theaters have coated ends meet, and the theaters of miniatures grew like mushrooms after the rain. Despite the different names and genre designations of newly emerged theaters, the nature of their ideas was the same. The programs were built from the same comedy, operas, operetta, ballet.
In the late 19th and early 20th century, a passion for luxurious productions, well-deprived of artistic ideas is characteristic of the style of pre-revolutionary and Mariinsky theaters. First-class teams of a number of teams opera theaters Only in the complex and intense struggle dismantled their creative achievements. One of the creators of the unification "World of Art" S. P. Dyagilev organized Russian seasons in Paris - performances of Russian ballet artists in 1909-1911. The composition of the troupe included M. M. Fokin, A. P. Pavlova, V. F. Nezensky and others. Fokin was a balletmaster and Artistic director. Decorated the performances of famous artists A. Benua, N. Roerich. The performances of "Sylphides" (Music Chopin) were shown, Polovtsy dances from the opera "Prince Igor" Borodin, "Firebird" and "Parsley" (Music Stravinsky) and so on. The speeches were the triumph of Russian choreographic art. Artists proved that classic ballet May be modern, worry the viewer. The best productions of Fokina were "Petrushka", "Fire-Bird", "Schacherzad", "Dying Swan", in which music painting and choreography were one.
So what is the theater? First of all, this is a place for spectacle. This is a genus of art, its specific means of expression is a stage effect that occurs during the actor game in front of the public.
The theater originated in ancient times. The first steps of the theater in Slavs, like other peoples, are related to folk rites, Dancing, playing. So, before the hunt, the ancestors of Slavs performed special dances. One or more participants depicted animals, the rest of the hunters. In other rites, it was depicted, as they grown and sow millet, as removed and treated with flax. Ancient Slavs, like all the peoples of antiquity, could not explain the phenomena of nature and believed that rites, dances, dances will help them during the real hunt, will provide a good harvest in the field.
In all these rites, games, holidays, people who have been singing will be allocated to sing, dance, tell the fairy tales, tale, to play musical instruments attracted everyone's attention. These were the first artists. Ancient Russia - Scoop. They dressed in special clothes, put on masks, transformed in other beings.
Nowadays all over the world there are a lot of species of the theater. It is a doll, children, dramatic, artistic, musical, television, illusion, pop theater, opera and ballet, operetta, fashion, shadows, miniatures, parodies, dance, songs, mass spectacles, one actor, clownades, animals.
The historians of theatrical art believe that in the 19 Theater. Do not find a single phenomenon anyway not associated with the previous century.
In general, 19V. It began in Russia anxious and violently - from the palace coup and murder of King Paul. It is equally disturbing, he ended up - the foreboding of unheard of turbines.
In the 19th century, the culture of Russia glorified poets and prosaices only sometimes wrote for the scene. Theatrical art has evolved independently of drama. The creativity of Ostrovsky became a remarkable exception, which created the plays - for a long time determined by the face of Russian drama. It is from the Ostrovsky in the Russian theater a period of psychological realism began.
Questions of theatrical ethics developed Pushkin. He defended in the Russian theater principles of genuine nation. The ingenious innovative work of that time was the comedy Griboyedov "Mount from Wit" and the tragedy of Pushkin "Boris Godunov".
The repertoire of the theater influenced a lot of events.
At the beginning of 19V. "The years of the heroic struggle of the Russian people with the armies of Napoleon, on the Russian stage with great success they are playing, which are visiting the struggle for the fatherland, glorifying the feats of heroes in the name of the Motherland. Vladimir Alexandrovich Lake tragedies were most popular.
On days Patriotic War The Russian Theater is experiencing a huge patriotic rise. As the enemy troops approaches, it is increasingly and more often included in the repertoire of the Patriotic character, which meet the political moods of the experienced moment. Theatrical performances are accompanied by patriotic manifestos.
In the second half of the reign of Alexander the first government policy in the field of the theater begins to clearly detect. Opposition moods of the nobility that are completely and penetrated to scenic frames in the period Napoleonic Wars, Attract now the wary of the autocracy.
An advanced revolutionary democracy, led by V. G. Belinsky, who was considered that the theater was given to the art of the scene, who was: "Exceptionally self-liberal lord of our senses, ready to excite them in every time and under all the circumstances."
In the theatrical art of Russia of the first half of the 19th. The main figures of the anterprinar and actors were the figures. The director in this row is not yet. Theatrical performances - therefore suffer negligence, they do not have the depths that the director attaches. At this time, techniques of the game were noticeable in the works of the actors, characteristic of classicism theater: attention is emphasized to the declamation, static poses. In the plays of the authors, a tendency to sensitive episodes was clearly felt, even in a comedy, where recalcitrant daughters, and the sons often shed sincere tears, repenting that they were upset by their parents. Most often various styles And the ideas were peacefully adjacent to the drama and on stage. Tragedy Vladimir Alexandrovich Lakes - an example of a combination of the features of classicism with elements of romanticism.
The power of the effect of the theater understood the royal government, therefore in 1804. Installed strict censorship supervision. Especially he was seriously burning censorship during the reign of Nicholas first, after the defeat of the Decembrist uprising in 1925. In the same year, the "highest command" was compiled to provide the Directorate of Kaznaya Theaters Monopoly Right to the printing of posters. By 1809 The publication of the state of theatrical Directorate with the Regulations on the management of the Kazan Scene, about its inner schedule, about theatrical school and the artists' first attempt to adjust legislative procedure inner life Imperial theaters.
Thus, by the time of the Patriotic War, 1812. The contours of the bureaucratic leadership are scheduled theater businessAlthough the special administrative pressure is not yet manifested. On the contrary, the current theater life is widely discussed by the public in literary journals and almanacs of the beginning of 19V. And on the eve of the Patriotic War, even two special editions appear dedicated to theater: "Dramatic Bulletin" 1808g. and "Magazine dramatic" 1811
In 19V. There are two types of theaters: imperial and serf.
At the beginning of the century there was a network of Russian imperial theaters, which were managed by the Ministry of the courtyard of his imperial majesty. In submission of the courtyard there were three theaters in St. Petersburg - Alexandria, Mariinsky, Mikhailovsky and two in Moscow - large and small. The repertoire of these theaters almost coincided, which is explained not to a very rich choice of plays and a single leadership.
After the Patriotic War, 1812. In Moscow and St. Petersburg, performances were given in time premises, while in 1824. The building of the Small Theater was not built, and in a year big.
B1832g. The building of the Alexandria Theater and Mikhailovsky opens in St. Petersburg.
Small and Alexandrian theaters were essentially the basis of Russian theater culture. The theater gradually becomes the focus of the public life of Russia.
Hot spores for a century were conducted around the monopoly of the imperial theaters. In the capitals were allowed to play only actors of these theaters. The monopoly was canceled in 1882. And immediately, in Moscow, private theaters, dramatic and opera, opened in St. Petersburg. Such theaters were called the names of their owners. In the second half of 19V. New theaters appeared in other cities of Russia, and by the end of the century there was no longer a single provincial city that did not have the theater.
At the turn of the 18th - 19th centuries. Reaches its limit development and a fortress theater. The thought on the use of free labor of serfs for theatrical clauses arises almost immediately with the beginning of the creation professional Theater in Russia. Since the 1770s, the network of fortress theaters begins to grow literally every day.
What caused such widespread and rapid development of the serf scene? The main reason was in the most economic system of feudal - at the most relevant Russia, which allowed the end of 18V. Focus in the hands of the nobility of unpretentious land wealth and finally rolling the peasantry. The noble aristocracy was forced to move away from participation in the political life of the country, and in connection with this, her desire to raise the meaning of the genital "Votchin" in connection with this, to oppose their imperial yard. Traclacial equiation to the imperial courtyard, as well as the possibility of a new way to exploit the serfs, at the same time finding a new application to their incomes, which was the economic base for the development of the fastener theater.
It is obvious that all this completely determined the activities of the serfdom, both in art and in everyday life. Now the theater becomes an integral part of the serfdom, organically enters the daily lifestyle of the landowner. Urban and manor fortress theaters are created by virtue of his desire to be able to "treat" performances and neighbors for the estate, and "secular society" in the city.
Similarly, things and other major cities - St. Petersburg, Kazan, Orel, Penza and the rest are in other major cities. At the same time, in a number of provincial cities, fortress theaters remained as the only theatrical undertakings for many years, serving gradually an increasingly more and wide range of city inhabitants.
As for the manorous fortress theaters, they arise in almost all major landlords. Most of the manor theaters functioned mainly in the summer, when economic affairs forced landowners to sit in their estates. Then, bypassing each other to visit, taking his urban friends, the landowners flashed as their fortress performances. But autumn came, it became boring in the village. With the whole family, a landowner moved to the nearby provincial city, and after him, his fortress troupe with scenery, costumes and other theatrical equipment stretched into the city.
In the cities, serfs were most often given in the landlords themselves - large dance halls, where the scenic layouts with the curtain were satisfied for the time of the performance and places for viewers were installed, so that at the end of the performance it was possible to release a place for dancing. But in some cases, special theatrical buildings served this goal.
What was played in these theaters? In an effort to keep up with fashion, and sometimes in their personal tastes, the owners of serfdom theaters have widely cultivated opera-ballet performances, but a dramatic repertoire also occupied no less place. However, the motives encouraged to expand the repertoire, sometimes did not have any attitude to art.
Competing with each other in the brilliance and splendor of their fortress theaters, large landlords paid great attention to the preparation of acting personnel. Enlightened landowners themselves managed troupes, giving actors the necessary instructions.
In some cases, strong frames of professional actors who switched to the private and state scene were created in some cases.
In the memoirs of the fortress theater, it is rarely described how the action of a serf performance was suspended because for some "the provinitority" performers immediately punished with rods, bruised bruises from the on the eve of the day before.
Another tragic was the fate of serf actresses. It happened that fortress actresses were a harem of landlords and, except for the performance on stage, were obliged to serve their love uteuham.
The disintegration of the feudal landfill under the influence of the growth of capitalist relations, intensively occurring during the first half of the 19th. accompanied by fast degradation of the serf theater. One after another, the manor theaters are organically related to the patriarchal forms of farm. The most enterprising landowners, however, seek to use the possibility of exploiting the work of serfs even in the field of art. The landowners are included in the transaction with provincial anterpreners. The exchange system is widely used, which allowed the actors of the fortress troupe to leave the provincial theaters on earnings. So gradually the rebirth of the manorous fortress theaters in theaters of provincial, entrepreneurial.
At the same time, the extensive network of urban fortress theaters is reduced. But in the cities, this process was complicated by the fact that some theaters gradually losing the features of the "Barskaya Vaina" are frankly transferred to entrepreneurial principles. The patriarchal owner of the fortress theater replaces an anterpriner-landowner.
The peasant reform destroyed the economic database of the fortress theater - free work of the serf actor. But long before it the fortress theater entered the lane of decomposition. No wonder the government circles began to be unfairly related to theatrical landowners, believing that they discredit the "noble estate". Otzvuki serf theater, however, continued to exist for a long time, and before the beginning of 20. In the provincial theater, the type of anterpriner landlord is preserved.
Interesting and architecture of the theater. Theaters were usually built as solemn and front buildings in the city center, decorated with colonnades, portica, monumental-decorative sculpture; Often, the interiors in the spirit of the architectural style dominated in art were often decorated during the construction of architectural style. In Russia at the end of 18 - 19VV. Theaters are built as an Italian type ( big theater in Moscow) and french type. Some of them became outstanding architecture monuments and the most important part of the urban planning of ensembles.
With the differentiation of theatrical genres on dramatic and music themes, and the need for a more democratic structure of the theater building is connected with the emergence of a new type of theater in the last quarter of 19V. Such theaters were a sectoral hall - truncated on both sides by a rounded step amphitheater without a parquet and tiers. This type received widespread, later, in 19V.
Thus, in the Russian dramatic theater changed a lot. The settings were mainly on patriotic topics, themes called on the struggle. The choice of theatrical performances was small, since the poets rarely wrote for the scene. Motives that prompted landowners to have a fortress theater, sometimes were far from art absolutely. In 19V. The fortress theater is gradually reborn from the manorous fortress in provincial entrepreneurial theaters. Sometimes the life of the fortress actors was terrible. The abolition of serfdom has destroyed the free work of serfs, although long before that the fastener theaters entered the lane of decomposition.
Conclusion:
Studying the theater "Theaters of Russia 19V. "I used mainly literature, (which is listed below) which allowed me to visually present the theater life in 19V. The objectives set in front of me, I performed. He learned what the theater was, met with the history of the theater, found out what were in 19V. And what are theaters now, read about events in 19V. And I thought, as they influenced the repertoire, saw the difference between serfs and imperial theaters, read about the laws regarding the theater and considered its architecture.
Federal State Budgetary Educational Institution
higher professional education
"Nizhny Novgorod State Architectural and Construction University"
Faculty of architecture and urban planning
Department of Patriotic History and Culture
Topic: "Theatrical life of Russia in the XIX century"
Performed: Kolosova E.V., 1 course,
Checked: Associate Professor Grebenyuk A.V.
Nizhny Novgorod
Introduction
Chapter 1. First half of the XIX century in theatrical art
1The emergence of public and private theaters. Device and management
2 repertoire
Chapter 3. Great playwrights and actors
Conclusion
Introduction
In the XIX century significant phenomenon cultural life Russia became theater. And the popularity of theatrical art grew. It became not only part of the secular life and the center of the secular communication of the metropolitan and provincial public, but also an important factor in public life and a peculiar form of expression of public consciousness. Nowadays, interest in theatrical art did not disappear, so the topic chosen by me remains relevant now. The XIX century in the life of the Russian theater is the "Golden Age", during which the greatest works of classical drama, the Russian acting school were created. This is a very important period in the history of the development of the Russian theater, Russian artistic culture as a whole.
The purpose of my abstract enrich your knowledge in this area, give an assessment XIX century As a significant period in the history of the Russian theater.
To do this, it is necessary for me to study a large amount of material on the history of the development of Russian theatrical art, find out how the currents changed in the theater, learn about the greatest playwrights and actors.
My job consists of 2 chapters in which I will try to fully reveal my topic.
Chapter I. The first half of the XIX century in theatrical art
1 The emergence of public and private theaters. Device and management
At the beginning of the XIX century, the provincial fortress theaters continued to function. Although the largest number of similar theaters were in Moscow and St. Petersburg: out of 103 urban fortress theaters 53 acted in Moscow, 27 - in St. Petersburg and 23 - in the rest of European Russia. At the same time, there was a significant distribution of theatrical institutions on the periphery: in the Moscow province there were 63 theater, in St. Petersburg - 30, in Penza, Kursk, Oryolovskaya, Nizhny Novgorod - 5-7, Vladimir, Voronezh, Smolensk, Poltava - 2-4 and, Finally, in the Vologda, Volyn, Pskov, Simbirskaya - 1 Theater on the province.
The further existence of private public theaters was determined by the needs of the audience. Theaters could only exist in those cities where the necessary contingent of theatrical public was. Therefore, for example, the Theater of the ESIPOV landlord in Kazan - a large trading, administrative and cultural Center Middle and Lower Volga region and the theater of Prince Shakhovsky in Nizhny Novgorod. Proximity to the last Makarev Fair contributed to his prosperity. The Novgorod Theater, founded at the end of the 18th century, was rebuilt and expanded in 1811; It had 27 lies, 100 seats in the parter, 50 - in chairs and 200 places on the gallery. The theater season was distinguished by a large duration: the performances were three times a week from September to mid-June.
Kamensky Theater in Orel, later described by Herzen in the story of "Soroko-Worch" used great fame. Kamensky was distinguished by cruelty, nominity and numerous quirks. However, sincere passion for theater helped him to create an excellent troupe in which the comic of Kozlov and talented actress Kozlin. In 1818, Kamensky tried to buy the already famous fortress actor M. S. Schepkin, but he was ahead of Prince Repnin.
However, the revitalization of fortress theaters in the first decades of the XIX century was short-lived. By the beginning of the 40s, they practically cease their existence, giving way to private troupes consisting of voltentene actors, and state theatrical collectives.
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 last was spent especially big products.
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 printing theater 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.
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.
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 a theatrical policy strictly carried out the Directorate of Imperial Theaters. Clear officials made a lot of effort to strengthen government control over the theater. Creative questions were solved exclusively by the administration. Especially carefully followed the repertoire, seeking to fill it with works of loyal or purely entertainment.
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 " higher Light"The artist of the imperial theaters differed little from the actor of the fortress, being the same" guide "," comedian ", a public renegone.
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. And the actors were often subjected to such punishments for any disciplinary disorders, and for creative independence.
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, is small and for the most part it was not enough for the content of the family, the acquisition of costumes and other acting domestic 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, counting on the public, often joined the spectrums, in which their children read fables or danced.
v. So, we generally describe everything above, we allocate the main thing that the Russian theater has already had rich traditions by the beginning of the XIX century. The first decades of the XIX century are marked by the growing development of the Russian theater: the popularity of theatrical art is growing, "free theater" comes to change the fortress theater - state and private. Theatrical news, reasoning about theater appears in almost all periodic editions of the beginning of the XIX century. At the beginning of the XIX century, the system of controlling the management of metropolitan official theaters and the establishment of theatrical monopoly occurs. The position of the actors was especially difficult - they, essentially depended on the arbitrariness of the Directorate, officials, police authorities.
1.2Transition from classicism and romanticism to realism
Already by the second decade of the XIX century, the traditions of classicism in the Russian theater began to tear down to decline. The convention of the classic tragedy with the obligatory unity of time and place of action, with the opposition of the "mind" of the "Passions" of a person, finally, the exaggeration itself in the image of the positive and negative qualities of a human nature did not cause sympathy in the auditorium.
In the first decade of the XIX century, sentimentalism with its preferential attention to the inner world of man, with his democratic aspirations is naturally acquired by popularity and in the literature, and in the theater.
This is due to the fact that the influence of the Epoch, the growing crisis of the feudal-serf building for Russia and the growth of national self-consciousness, so brightly manifested in the events of the Patriotic War of 1812, it was expressed not only in the intensification of public thought and social movement, but also in new requirements imposed on Art and the theater in particular. IN theatrical action The viewer of the beginning of the XIX century, along with merry entertainment, was looking for "similarity of life", and modern life with her modern problems and conflicts, at the heroes - the similarity of ordinary human feelings and experiences.
A large influence on the formation of scenic sentimentalism was provided by N.M. Karamzin, a lot speaking on the pages of the Moscow Journal, and then the "European Bulletin", like the theoretical of art and theatrical critic. In his articles, he sharply affected the tradition of classicism. In addition, despite the moderation of social and political views, Karamzin, who acutely felt the vices of the serfdom and the dominant despotism of the central government, proclaims the idea of \u200b\u200bmoral equality of people, attracts the attention of writers and playwrights to the folk theme. These principles were perceived by such playwrights as N.I. Ilyin and V.M. Fedorov.
Sentimentalist drama in Russian drama received a dual development. Progressive trends Sentimentalism contributed to strengthening in the art of the ideas of nation, social humanism, interest in the inner world of man. In this regard, Sentimentalism has prepared the formation of a revolutionary and romantic aesthetics of the Decembrists.
On the other hand, the works like Drum Fedorov laid the beginning of the pseudo-free monarchist drama.
In the construction of dramatic works, Sentimentalist writers abandoned the aesthetic canons of classicism. The action of the play, not limited to convention (unity of time, place and action), developed freely in accordance with the leading conflict of the plot. But, like the classic tragedy, the sentimental drama retained the moral, moralizing character. In the final act of the play of Plok, as a rule, he was punished, virtue triumphant.
In acting art, sentimentalism was expressed in enhanced sensitivity, however, while maintaining many former rules of scenic behavior. For example, as well as in the classic tragedy, in a sentimental drama (and later in the romantic drama) make-up, intonation, the Mimica Hero has a positive sharply differed from the negative hero. "A large curly head is the belonging of the hero, a redhead, a disheveled wig, low-headed head, wildly wring eyes, the fantastic sparks of improber, is an image of a villain. Singing tone at the first, hoarse - in the second. Wildwill, both with the same and on the other hand, served as an internal lift indication, "recalled one of the actors of the first half of the XIX century. The main thing for the actor in the sentimental drama was to express sympathy, pity, aspiration towards positive, virtuous characters. The scenes of repentance, farewell, etc. were particularly touched.
Romanticism as an artistic flow in Russian theater art is distributed mainly from the second decade of the XIX century.
In social and art plane, theatrical romanticism had some community with sentimentalism. Like a sentimental, romantic drama, in opposition to the rationalism of the classical tragedy, revealed the package of experiences of the individuals depicted. However, arguing the significance of the human person with its individual inner world, Romanticism at the same time gave preference to the image of exceptional characters in exceptional circumstances. Romantic dramas, like novels, stories, was inherent in the fantasticity of the plot or the introduction of a number of mysterious circumstances: the appearance of ghosts, ghosts, all kinds of omen, etc. At the same time, the romantic drama was condensed more dynamically than the classical tragedy and sentimentalist drama In which the plot unfolded mainly descriptively in the monologues of the actors. In the romantic drama, it was the actions of the heroes predetermined the junction of Fabul, while their interaction with the public environment, with the people, took place.
The romantic drama is as well as sentimentalism, began to develop from the 20-40s in two directions, reflecting the conservative and advanced public line. The dramaturgical works expressing the loyal ideology, opposed the creation of the Decembrist drama, drama and tragedies, performed by social rebellion.
A new understanding of theatrical art dictated and special requirements for dramaturgical works. "I involuntarily give the advantage that hesitated the soul that he elevates her, which touches the heart," said A. Bestuzhev Pushkin in March 1825, touching the content of the plays. In addition to touching, the sublime plot in the drama, as A. Bestuzhev considered, should be clearly delimited by the good and evil, which should be constantly exposed and beat the satir. That is why the "Polar Star" so enthusiastically welcomed the appearance of a comedy A. S. Griboyedov "Grief from the mind." The talented playwright of the Decembrist direction was P. A. Katrenin, a participant in secret societies, playwright, translator, a subtle connoisseur and an amateur of the theater, a tutor of a number of outstanding Russian actors. Being a versatile and manual man, he translated the plays french drama Racina and Cornell, enthusiastically engaged in the theory of drama, defending the ideal of the nationality and identity of the scenic art, his political freight. He wrote Katrenin and its own dramatic works. His tragedies "Ariadna" and especially "Andromaha" were performed by the winsted and civilian spirit. The bold performances of Katrenina caused the displeasure of the authorities, and in 1822, unreliable theater was expelled from St. Petersburg.
The opposite pole of romantic drama was represented by works by the writers of the conservative direction. Such works belonged to the plays of Shakhovsky, N. Polevoy, puppeteer and the most like playwrights. The plots of the authors of such works were often taken from domestic history. For example, the plays of Shakhovsky "Roslavlev" (written on the novel of Zagoskin "Roslavlev, or Russians in 1812") and "peasants, or the meeting of the uninvited" were created on the topics of the recent war of 1812. The will of the author on the stage was created by a patriotic spectacle with shooting, battalines, military choirs, dances. The plot permeates the loyal tendency.
Thus, a romantic drama, changing the classic tragedy on stage and partly a sentimental drama, perceived and saved some of their features. Along with greater enormality and dynamism of the plot, increased emotionality and other ideological basis In the romantic drama, morality and resonance preserved inherent in preceding drama forms, long monologues, explaining the inner experiences of the hero or its attitude to others acting persons, Primitiveness psychologists character characteristics of characters. Nevertheless, the genre of a romantic drama, mainly due to the image of its elevated feelings and beautiful gusts and the existence of the plot, turned out to be quite durable and preserved with some changes in the second half of the XIX century.
On the stage of the Moscow Drama Theater, P. S. Mochalov reigned - one of the outstanding actors of the first half of the XIX century, he began his stage activity as an actor of a classic tragedy. However, due to the enthusiasm to the melodrama and romantic drama, the talent is improved in this area, and he acquired popularity as a romantic actor. During the years of political reaction that followed the defeat of the Decembrist uprising, the work of Mochalov reflected advanced public sentiment.
The founder of the same Russian scenic realism became M. S. Shchepkin. Son of serfs, with youth years Speaking on the scenes of fortress theaters, he, being already a mature man and a famous actor, was bought from the fortress capture. Without receiving any serious education in childhood, Schepkin acquired knowledge on his own, reading a lot, communicating with the best practices of his time.
Becoming one of the best actors of the Russian scene, Shchepkin made a lot to transform it. He laid his creativity the foundations of realism in the Russian scene. The content of its method, numerous meditation about acting craftsmanship Shchepkin was going to set out in the second volume of autobiographical "notes", but did not have time to do this. However, the statements of him about the theater, the art of the actor preserved in the memory of his students and loved ones, in letters to friends and comrades on the scene. These statements make it possible to present Shchepkin's views as a single slender system of realistic scenic art.
v. We conclude that, in the first decades of the XIX century, the Drama Theater caused the living interest of Russian society, who estimated him as one of the most important spiritual centers of the country. During this period, the Russian dramaturgy passes the path from classicism to sentimentalism and romanticism, and then to the realism, the school of acting skills, built on new principles of reflection of reality, presented to the world of such scenes masters, like M. Shchepkin, P. Mochalov, etc.
Chapter 2. Second half of the XIX century
1 Organization of theatrical case. Artists and viewers
By the end of the 50s - the beginning of the 60s, the Drama Theater caused the living interest of Russian society, who estimated him as one of the most important spiritual centers of the country. In the spirit of common winsnochemical sentiments, the theater seeked as a kind of "tribune in protecting a person." It was assumed that dramatic art would not only depict, but also explain modern reality: all "damned questions" will highlight. In addition, the theater was called up to spread artistic aesthetic concepts and advanced ideas. This educational function of the theater in relation to the middle and lower layers of the Russian people is particularly significant, among which is more small and unite illiterate people.
Wide public interest found an expression in promoting information about the theater. Newspapers and magazines of various directions printed articles, reviews, reviews, highlighting various sides of theatrical activity - administrative management, repertoire, art of actors. Special theater magazines "Musical and theater Bulletin" appeared (1856-1860), "Russian scene" (1864-1865), "Music and theater" (1867-1868) and others.
They wrote a lot about the theater and newspapers: Petersburg - "Northern Bee", "Petersburg Listok", "Voice", Moscow - "Moscow Vedomosti", "Russian Vedomosti", "Day", a specially theatrical newspaper "Anmiss". Not left aside from theatrical interests and provincial press ("Kyivlyanin", "Odessa Bulletin", "Caucasus", etc.).
A number of newspapers and magazines appeared permanent headings of theatrical reviews and special reviewers, among whom - prominent writers and playwrights: in St. Petersburg Vedomosti - V. Krylov, V. P. Burenin, A.S. Suvorin, in "Voice" - MA Zagulaev, D.V. Averkiev, in the "modern chronicle" - N.S. Nazarov and N.S. Leskov. In the "contemporary" theatrical materials Printali I.I. Panayev and M.E. Saltykov-Shchedrin, in the "Reading Library" - P.D. Boborakin.
Significantly increased the number of theaters. Special theatrical buildings were built anew or instead of obsolete in Nizhny Novgorod, Arkhangelsk, Kiev, Nikolaev, Tambov, Uralsk, Ufa, Ryazan, Orel, Kostroma, Rostov-on-Don, Smolensk, Saratov, Sumy, Kaluga, Taganrog and Novocherkassk.
More than 50 provincial and regional centers constantly visited professional theatrical troupes.
In many provincial cities There were permanent theaters with a strong acting staff (in Kharkov, Kazan, Kiev, Odessa, Voronezh, Nizhny Novgorod, Astrakhan, Saratov, Novocherkassk, Vilna and Tiflis).
The theater was part of life not only metropolitan, but also provincial cities.
IN mid XIX. Century According to theatrical monopoly in the metropolitan cities, there was only a state scene, in Moscow - large and small theaters, in St. Petersburg - large (later burnt - N. Ya.), Alexandrian, Mikhailovsky and from 1860 Mariinsky. The structure of the management of the imperial theaters, established in 1842, continued to exist in the second half of the XIX century. The supreme body of the theater administration was the Directorate of Imperial Theaters, which was carried out both dramatic and musical theaters, theatrical colleges and libraries. The executive bodies of the Directorate were St. Petersburg and Moscow office. The Directorate of Imperial Theaters belonged to the Ministry of the Court. Last through the Directorate of Imperial Theaters ruled theater life Capitals. The directorate defined the theaters repertoire, the composition of the troupe, the distribution of roles. At the same time, the most favorable conditions were created for popular in the aristocratic circles of ballet, Italian opera, the French theater, which subsidized the treasury.
Dramatic works have passed a common censorship in the General Print Affairs Directorate, and then considered the theatrical and literary committee for scenic suitability. Such an order, which made it difficult and slowed down the staging, was especially heavy for provincial theaters, which for several months had to wait for permission from St. Petersburg to the already scheduled to the repertoire of the play.
Censorship, protecting the prestige of the clergy, officials and officers, did not miss the play, where the representatives of these classes appeared in the "inappropriate form." External and domestic political events were to be covered in a government spirit. The king's person was allowed to appear on stage only in cases where Russian statehood was glorified.
Of course, a number of plays, such as the "Case" of Sukhovo-Koblin (until 1882), "Death of Tarelkin" (up to 1900) and "Shadows" Saltykov-Shchedrin (until 1914), etc.
The desire of the theater community to bypass censored harassment and the monopoly of government theaters since the 60s began to manifest itself in organizing ideas with various kinds of public meetings. So, from the late 60s in Moscow, with an artistic circle, which arose at the initiative of A. N. Ostrovsky and P. G. Rubinstein, the theater was created, which operated until the 1980s, the abolition of theatrical monopoly, which followed in March 1882 provided The right to entrepreneurs to open private theaters in Moscow and St. Petersburg.
The first private theaters after the abolition of theatrical monopoly have little differed in their nature from the club entrepreneurs of the 1860-1880s, large private theaters began to form in the second half of the 90s of the XIX century. One of the first and most durable private theaters in the capitals was theater F. A. Korsha in Moscow (1882-1917). In St. Petersburg in 1882-1883, the theater of the actors' partnership opened on Fontanka, the Private Theater "Fantasy" on washing and a publicly available private theater in Mikhailovsky Manege.
State theaters after the abolition of theatrical monopoly remained under the jurisdiction of the Ministry of the Imperial Yard and were managed by the Directorate. But the situation was complicated by the emergence of competitors in the form of private theaters, where he sometimes left good actorswhere plays put on the statement on the state scene. In this regard, the new managing theatrical Directorate I. A. Vsevolozhsky, European educated person, a good drawer, an art lover, especially ballet, sought to reform the state scene by making it a kind of model for private theaters. The leadership of the imperial theaters in the leadership of imperial theaters began to be introduced and theatrical figures. Thus, A. A. Potekin became the controlling troupe of the Alexandrian theater from 1882 to 1893, then V. A. Krylov.
The basis of the repertoire of these theaters was classic dramaturgy. However, partial improvements did not eliminate the main deficiencies in the management of government theaters.
The financial position of artists is a salary, the number of benefits - also depended on the "permissions" of large and small charges of the Directorate, which generated a plea, all kind of intrigue in theatrical environment. The main role in the performance was given to actors. The activity of the director coincided with the instructions of Misaneszen. The produced part did not meet any significant requirements. In such a first-class theater as Alexandria, a system of standard scenery was used - such as a medieval castle, a regular room, a winter landscape, etc. They were nomaded from putting into production, often a little corresponding to the era or other indicators of the stage action. Suvorin noticed on this matter what "on the Alexandria scene ... do not know how to put the furniture, nor think that the rich seizes its life richly, and the poor is poor." Suits also rarely corresponded to the depicted time. So, in the Small Moscow Theater, the characters "grief from the mind" performed in costumes in fashion 60-70s of the XIX century.
In general, the produced part was considered a secondary factor.
As the theatrical case develops, the number of scene workers increased: actors, costumes, butt faults, utility workers, etc. The acting workshop was replenished at the expense of former actors of serfdom theaters, entrepreneurs, as well as theatrical tailors, hairdressers. The young men of burghers or merchant sons, throwing the counter and the parental house, walked the injury to wander with any provincial troupe.
The social composition of the acting environment was gradually changing - along with immigrants from the Meshchansky estate, a significant number of nobles appear, for which the theater has become a viability. Artists became gymnasists, students, officials who left the public service who retired officers. In this regard, the social position of artists in the second half of the XIX century has changed significantly compared with the previous period. First of all, the humiliating name "comedian" disappeared from the bore - artists were recognized as equal members of society. Coriferations of metropolitan theaters, who enjoyed deserved recognition and received significant salary, occupied a prominent place in the cultural and public life of the country. Noticeably increased I. cultural level Artists, no longer at the scene, people with higher education became, especially among artistic youth of the 80-90s. Along with Varlamov, who received a slight home education, Savina, a couple of years, who studied in the gymnasium, on the scene of the Small Moscow Theater, the partner of the famous Yermolova was A. I. Skybatov-Yazzhin - Artist and playwright, who ended in Youth St. Petersburg University, one of the educational leaders of the theater was M. I. Pisarev; People with higher education met among the provincial actors - the largest provincial actor V.N. Andreev-Burlak was the fulfillment of the Kazan University. Dramaturgome and theatrical critic N. A. Pethein A number of years acted in the province as an actor and director.
At the same time, many actors remained low-cultural, deprived of intellectual interests by people. According to Ostrovsky, the St. Petersburg premieres of the 70s - people are "undeveloped, uneducated, and very smart, are not familiar with any literature, not excluding their domestic."
To even greater these negative qualities There were inherent in provincial actors, which depended not only from the discretion of the authorities, but from tastes and claims of the local nobility and merchants, from the low level of requests for urban burghers, and most importantly - from the entreprenerer. The financial situation of the provincial actors was worse than their fellow who speakers in the capital scenes. In addition, permanent extended, sometimes everyday productions of new plays (with the limitedness of the provincial spectators, they were needed to ensure fees), household unpleasurities, frequent moving.
Nevertheless, in the medium of provincial actors there were a lot of talented enthusiasts who have given all the forces of this scene and even preferred to its government theaters. The most popular provincial artists were a wonderful tragic N. X. Rybakov, with a great success who performed the role of Hamlet, Othello, King Lira, and V.N. Andreev-Burlak - "Comedian with a strong bias to tragism", which paid a large place in his work " little man. "
By the 80-90s, due to the emergence in the capitals of private theaters, the state of Russian actors has changed significantly. The salaries of the leaders have increased so increased, which not only provided them with a conceit existence, but turned them into wealthy people (which caused the indignation of the artistic "bottoms"). The features of the acting house shown in the plays of Ostrovsky, went to the past. There was a rapprochement of actors not only with representatives of the artistic intelligentsia (writers, journalists, artists), but also with doctors, engineers, educators.
Equally heterogeneous and gradually changing, as the acting environment, was the audience.
In the second half of the XIX century, the main and most active part of the theaters was mainly the discharge intelligentsia, which was made by professors and students of higher educational institutions, lawyers, doctors, journalists, writers, students of senior classes, serving state institutions.
Dramatic theaters in the capitals visited primarily "strict, true art lovers" - theatrical critics, writers, journalists, then professors and studentism, which was numerically significant part of the audience, secondary officials. Gradually, merchants acquired to the theater. First - only the younger generation.
Since the end of the 70s, the popularity of the dramatic theater in view of a number of circumstances has decreased. Wave revolutionary movementwho caused a strong resonance in society, the Russian-Turkish warrior 1877-1878, subsequent industrial and agricultural crises - all this distracted the attention of contemporaries from the dramatic scene. Life difficulties have gave rise to one striving for easy, entertainment spectacles - operetta, circus, various pop speeches, others - passion for symphonic music, opera, ballet. But at the same time, as N. V. Amphitheators noted, "in the deaf twentieth anniversary of the 80s and 90s, youth ... Valila" live and dying in theaters " Indeed, intelligent youth - students, high school gymnasists, Juncker remained with dusting adherents of the dramatic scene. Highly artistic performances of the metropolitan theaters were constantly walked with anchelas.
2 repertoire
theater art realism
By the beginning of the second half of the XIX century, the same genres of theatrical ideas prevailed on the stage of Russian dramatic theaters, which dominated there during the first half of the century - drama, comedy, hydroevil. Special popularity was especially popular, wearing lightweight, entertainment. Thus, Waterville P. A. Karatygin "Vitzmundyr" did not go from the scene until 1875.
At the same time, the maintenance of water devices under the influence of public sentiments a certain change - although the plot was based on an anecdical case, but the number of characters expanded significantly. In the play now it began to appear many people of various social status and professions. The journalist and the writer F. A. Koni in Waterville "Petersburg apartments" demonstrated a whole series of city inhabitants, who attended the hero official in search of a new apartment. Such a desire to bring to the scene of Russian inhabitants, show their lives wears an obvious imprint of the influence of "Natural School", which introduced new heroes into Russian literature - small officials, St. Petersburg janitors, inhabitants of urban slums. This tendency to show on the stage of Russian life, the types of Russian people under the influence of time and the new viewer preposses in the drama of the 60-70s and will determine one of its main directions. "Melodrama and waterville are gradually inferior to the household comedy. Elegant graphs, marquises with impeccable manners, the noble robbers of the French meloders are forced to give the place of heroes in uniform uniforms of officials, business cards, frishes, and sometimes in zipuns and lubricant boots. "
In the 60s, it became popular, especially on the stage of the Alexandria theater, Operetta. So, in 1864, the Opeltics of Zupe "Ten Brides and a single Bride and Offenbach" Orpheus in hell "were delivered there. Lungs, entertainment performances used the sympathies of the audience. In addition, the operetta was sometimes said hints that was not subject to open discussion. However, many art lovers considered such productions on the scene of the largest drama theater by profanation.
A significant place in the repertoire of Russian theaters in the 60-70s was occupied by melodrama. In the 60s, A. Spanish nobleman, A. Dennery and F. Dumanian, Maternal Blessing, A. Dennery and G. Lemuca, "Love and Prejudice" Melville, especially attracted the public. In the 70s, "Parisian beggars", "Theft of Children", "Murder on the Street", etc. were popular.
Along with the melodrama, the genre of a small comedy, represented by various kinds of "scenes", "paintings from ...", for example: "in the village", "on the river", "on the sands", etc. These scenes and paintings were depicted for the most part Life of the lower estates - common, small officials, merchants of the average hand and were mostly humorous.
But neither melodrama nor operetta could satisfy a more discerning public. Despite the fact that classical dramatics of Russian dramatic theaters were presented in the repertoires - Comedy Griboedov, Gogol, Piesen Shakespeare, Schiller, Hugo, periodic printing, expressing the interests of the advanced public, demanded to appeal to modernity, to everyday life, to painful social problems that time. Spectators in the capital and provinces wanted to see Russian reality on stage. Ostrovsky noticed: "The non-resident public who travels now to Moscow to see the Kremlin and historical sights, first of all wishes to see Russian life and Russian history on stage."
The relevance of the subject and ideological orientation is made a characteristic feature of new drama. The repertoire began to reflect the lives of all segments of the population of Russia and a number of socially significant issues - on stage appear: the problem of fathers and children, the female question (public and marital status women), the impact of bribery and treasures of officials and the approval of honest intelligent workers, the question of personal freedom of man and his rights, etc., etc. Like new novels of the play in the 60s - early 70s were created in accordance with Democratic spectators. A peculiar standard of building such dramatic works was developed: a carrier of evil - a secular or very rich man, the victim - clean good girl, poor and low title. He opposes the surrounding evil and courageously stands for an innocent victim a young teacher (student or doctor). At the same time, the image of the poor, noble intellectual - the difference began to appear in almost every play. Since the number of similar plays was great, along with artwork Among them were a lot of weak, plays-one-day.
The most complete and artistic implementation national theme Received in the work of Alexander Nikolayevich Ostrovsky. Born in 1823 in the family of a small Moscow official, he began to get involved in a small theater, where such beautiful actors were performed at this time, as P. S. Mochalov, M. S. Shpkin, P. M. Sadovsky, L. P. Nikulina -Kositskaya. Youthacious passion soon passed into life vocation. The whole life of Ostrovsky was devoted to the theater.
The initial period of creativity of the playwright developed under the direct influence of the "Natural School" - he sought not only to the most truthful reproduction of Russian life (in the face of predominantly merchants), but also to the show of the dark sides, lower passions, ignorance, ignorance. These features of the creativity of Ostrovsky appeared already in his first plays - "His people - to think" (1850), "Do not sit down in our sleeves" (1853), "Poverty is not a vice" (1854), "Not so live, as you want" (1854). The playwright showed how dark, full of prejudice and ridiculous superstitions The life of the middle layers of the Russian population. The hero of the drama "hard days" is involved in such a medium: "People are firmly confident that the land is on three fish and that according to the last news, it seems, one starts to move: it means a bad thing; where they get ill from evil eyes, but are treated with sympathy; where there are astronomers who are watching comets and consider two people on the moon; Where their own policy is also the deposits, but only more of the White Arapia and countries, to her adjacent. " But even more terrible ignorance - the dark passions of people: greed, chase for profit by all means, the compassion, the counting person and the fate of people. In this regard, the plot of the comedy "his people - to tear up", which is based on the history of the false bankruptcy of the rich merchant Sampson, the True. In order not to pay for bills and loans, it decides to decide ourselves allegedly insolvent, having transferred all the documents to their property with a conclusion in his daughter. But the latter, having received the opportunity to dispose of the state of Most, refuses to return it to the owner. It is quite solidar with her husband and the daughter of Bologov - Lipochka, despite the fact that her father threatens her a long prison.
Over time, the theme of the scopeidomination, the accumulation of the Condo Zamoskvoretsky merchant was replaced by the image of one of the fundamental phenomena of the Russian reality of the second half of the XIX century - the development of bourgeois relations. And to replace the wild merchant merchandum like Titovich Bozkov ("In someone else's hangover"), the nobbled delints of the capitalist world appear, such as the Parats in the "Naddannian", who frankly spoke of themselves: "I have a miosa parmenevich, nothing cherished; I will find benefits, so everything will sell anything. " The cruelty of this world of charenisors failed the sharpness of social conflicts. The mouth of the talented self-taught mechanic of Kuligina in the "thunderstorm" is Ostrovsky stated: " Brutal morals, Sir, in our city, cruel! In the mesh, sir, you are nothing but rude and poverty from the naked, you will not see. And never we, sir, do not get out of this bark. Because honest hard time we never earn more than the bread. And who has money, sir, he tries to ribbed the poor, so that his gift is still more money look And among themselves, sir, how they live! Trade from each other is undermined, and not so much of the coarse, how much of the envy. Enjoy each other ... "
Under the influence of the public situation of the early 60s, the circle of topics and characters in the works of Ostrovsky expands. The playwright appeals to the world of officialhood. Here, too, pursuit of profit, the means for acquiring weakness is a bribe. Remembering former times, an official of Yusov ("profitable place") regretfully recognizes: "Officiality falls ... And what life was ... bathed, just bathed ...". And now, he says: "Take that the petitioner is not offended, and that you were pleased." The world of primary bribery, as well as merchant chambers, cripples honest people. Educated, honest young people, originally filled with high ideas and aspirations, cums in a play by requesting an "profitable place." Thematic close "income place" were the "death of Pazukhin" Saltykov-Shchedrin and the trilogy of the Sukhovo-Koblin "Wedding of Krechinsky", "Case" and "Death of Tarelkin", containing acute satire to the bureaucratic apparatus. According to the power of crushing, they were a direct continuation of the tradition of the Gogol "Auditor".
A characteristic feature of Russian dramaturgy, as well as modern literature, was a combination of a critical trend with a sense of deep humanism. Continuing the genre of the social and psychological drama, the Ostrovsky has dedicated the fate of the fate of its works. positive heroes"- honest, spiritually beautiful people, among which female images are noted by special lyricism.
"Women's question", that is, the question of the family and civil status of women, was in the 60s of one of the most acute and debaped problems, by which neither the theater nor dramaturgy passes. In many plays of the Ostrovsky of the 70s and 1980s, women are women - Lyudmila Margreezov, Natalia Sizakova, Julia Tagina, Larisa Ogudalova, Elena Krucinina, etc. This is very different in nature, according to the life circumstances, but everyone unites the feeling human dignity, love, nobility. And all of them are unhappy. Already in "thunderstorm" (1859), familiar to us from school, natural human feelings, Cleanliness and integrity of Katerina come into a collision with cosnosis, asian, hypocrisy and despotism of Kabani and Wild. Events family drama Grow to the value of the folk tragedy. "Winning", written in 1879, also ends with the death of the heroine.
The themed range of Pieces of Ostrovsky is wide, they reflected various sides of the life of the Foreign Russia, presented many characteristic social types - from the pre-reform patriarchal merchants, officials of all ranks to the sophisticated bourgeois predator-predator, ruining landowners and representatives of the dispenser intelligentsia.
In his works, he embodied humane ideas, faith in the celebration of good over evil. The basis of its creation has always been attended by the National Beginning. The national idea is also imbued with its historical dramas and chronicles "Kuzma Zakharovich Minin-Sukhuk", "Voevoda" ("Sleep on the Volga"), "Dmitry Samorovan and Vasily Shuisky", "Tushino", "Vasilisa Melentievna". All this gives the right to consider A. N. Ostrovsky Creator of Russian National, Democratic Dramaturgia. So its meaning was assessed by contemporaries. I. A. Goncharov wrote to him: "You alone completed the building, in the foundation of which the cornerstones of Fononovin, Griboedov, Gogol put. But only after you, the Russians, we can proudly say: "We have our own Russian, national Theater.. He should be called "Ostrovsky Theater".
The appeal of the playwright to the daily, leisurely of the current life, to the complex relations of people in everyday life, was of great importance in approving the principles of the realistic "plays of women". Ostrovsky believed that the psychology of a person is fully revealed in "home life", while he managed to reveal the family-household relations of people as a relationship of socio-psychological and socially significant.
Ostrovsky has developed new methods for building a realistic drama - the plots of its works are based on deep moral and social conflicts, which as well as psychological characteristics Characters, disclosed in the course of action. An extraordinary wealth and genuine erupter is the language of Pieces Ostrovsky. The meaning of his work for the development of the Russian dramatic scene is huge and increditable - Ostrovsky's plays, withsting the test of time, and to this day they are successful in Russian theaters.
One of the most popular topics for social thought and literature and dramaturgy of the second half of the XIX century was peasant question: The position of the pre-and clamor village, the nature of the Russian peasant, the national traits that manifested in it, the relationship between the former slaves and the Lord, the penetration of new bourgeois influences in the Russian village - all these questions attracted the attention of playwrights and were reflected in their work.
At the beginning of the 60s, one of the most significant dramas devoted to the pre-reform village was played by A. F. Pyshimsky "bitter judine". The author, for several years, who worked in the provincial Kostroma rule, the official of special instructions, hosted the plot from local judicial practice. "Romanticizing" reality, the writer organized everyday material according to the laws of the scene. The main character of the drama - Ananya Yakovlev - "Petrikhr", that is, the peasant, released on the "fattelligel" in St. Petersburg - a strong, intelligent, honest man. During his abdomen, the wife of Lizaveta admitted a child from his Barina Cheglov-Socan. Returning anania, having learned about it, forgives his wife, but demands that she left with him. Lovely Barina Elizabeth under various pretexts seeks to prevent departure. Cheglov also wants to delay Anania. Announced for a living old-age and submissive "peace", the anany kills the "Lord's Great" and runs out of the village, but after a while, broken by the consciousness of guilt, is given to the hands of justice. The plot will imbued with a democratic feeling.
However, the audience met the layout of the Pistemsky quite indifferent, partly and unfriendly, which was explained primarily by the fact that from the drama that appeared on the stage almost immediately after the peasant reform of 1861, they expected a more sharp condemnation of serfdom. The playwright also outlined the image of Barina Cheglov as a person of a weak, but soft, sincerely loved by the peasant Lizaven and inevitable in the terrible crime of her husband. Only later, in the 70s, when the role of Lizaveta was playing P. A. Streptova, the drama of a simple Russian woman was naked.
A special place in the repertoire of Russian dramatic theaters took a historical drama in the second half of the XIX century. Interest in the past of his country, which manifested Russian society during this period, was expressed in the great popularity of historical plays. For two decades of the 60s and 1970s, more than 40 new historical plays were delivered in the Moscow theaters, among which were such as Boris Godunov Pushkin.
The historical repertoire was extremely heterogeneous. At the beginning of the 60s, the drama like "Gof-Juncker" of the puppeteer, "Okrichnina" and the drama of the "Ice Home" Lazhchchnikov was still held in it. However, soon the plays in which historical events They were only a background of melodramatic intrigue, give way to a new dramatic understanding of reliable facts of the past. The first of the playwrights of this direction was L. Mei, who in its most popular drama " Tsarist Bride", Despite the melodramatic character, attached to content, the historical data laid into the foundation.
With all the diversity of the dramatic repertoire, two trends were clearly designated in it. On the one hand, commercial, oriented on cash fees and presented mainly by entertainment plays. Another trend, more significant, has found an expression in realistic drama, in the people's realism that is characteristic of this period, which is advantageous in its attitude to good and evil, truth and justice.
v. Thus, domestic dramaturgy put forward a number of social and moral problems that had to translate the Russian dramatic theater. New dramaturgy demanded new methods of incarnation. The acute charactercy of the creativity of Ostrovsky, intelligence and subtle psychologist Turgenev needed new methods of scenic art.
Conclusion
In the history of the millennial culture of "five Russian" - from Kievan Rus To the Imperial Russia of the XIX century occupies a special place. This is the spirit of the Spirit, that spiritual rise, which can rightly be considered a great Russian Renaissance. Forty writers gave spiritual food to two centuries of all mankind! The XIX century is unique primarily by its philosophical and moral search for freedom, justice, human fraternity and globacy. XIX century is the rapid completion of the development of Russian culture of nine centuries, and very important Rubezh In the complex conflicting interactions of traditions and innovation on the threshold of the XX century. Finally, this is the time of the unprecedented development of such a system as artistic culture, which becomes classic in the 19th century.
List of used literature and sources
1. The history of Russian culture IX - XIX centuries. LECTURE COURSE. - M.: Edition of the Liberal Democratic Party of Russia. 2004 - 488 p.
The history of the culture of Russia. Course of lectures for non-humanitarian specialties. - MS.: About "Knowledge" Russian Federation, 1993.
Georgiev TS Russian Culture: History and Modernity: Tutorial. - M.: Yurait, 1998. - 576 p.
Yakovkin N.N. History of Russian culture: XIX century. 2nd ed., Ched. - St. Petersburg: Publisher "Lan", 2002. - 576 p. - (The world of culture, history and philosophy).
Essays of Russian culture of the XIX century. T. 6. Artistic culture. - M.: Publishing House of Moscow University, 2002. - 496 p. Yu Koshman [I.A. Fedos]
History of the Russian Theater Ed. V.V. Collapse and N.E. Efrosa at the nearest participation of A.A. Bakhrushina and N.A. Popova; K.A. Korovin. Tom I. Moscow - 1914 - Bookbook "Association". - 364 p.
Chronicle of the Russian Theater. Arapov. St. Petersburg: Tribile Typography and Comp. You. Sharp -1861 - 404 p.
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The schomoroids have fun people with songs and dances, and also played funny scenes. The fairs were called the people of the Polanders. And on the squares, stray artists sang, danced and recharged, entertaining the audience.
Two art branches
Theater in Russia in the 18th century developed in two directions. Folk art continued the traditions of scrooches. Presentations were arranged in an open-air or in a special room - Balagan.
The performances of the court theater were first documented during the reign of Mikhail Romanov - the Rhodonarchistant of this dynasty on the Russian throne. The initiator of the new entertainment was boyar Artamon Matveyev. This man did a lot for Russian statehood. He was the head of the Embassy Order of the Ministry of Foreign Affairs of the time. Artamon Matveyev often traveled abroad. He was deeply passionate about the culture of many countries and tried to instill in Russia some European traditions. Artamon Matveyev is considered the first Western.
The founder of dramaturgy and directory
The theater in Russia in the 18th century would not take place without this multifaceted person. His behavior was organized by a professional troupe. And the first play, shown in Russia, was the biblical story about Artaxerks. For royal entertainment, a separate room was built. The sovereign liked the idea, and its author generously awarded. So who was the first Russian playwright and director? History has kept his name. The German Johann Gregory lived in Moscow.
New entertainment has taken place very quickly. In many rich houses of that time they worked both free people and serfs.
Great epoch
The theater in Russia in the 18th century is associated with the name of Peter the first. During his reign, art bloomed. Peter often invited foreign tour troupe to Russia. They not only showed new performances, but also carried progressive ideas, inspiring russian authors. Peter built the theater on Red Square. Later he was destroyed.
The theater in Russia has developed in the 18th century not only in Moscow, but also in St. Petersburg. At the court of Anna John, an institution has opened with Russian actors. Plays for him wrote the famous playwright Alexander Sumarokov.
Further development
With Elizabeth, Petrovna appeared so-called imperial theaters. These state institutions existed at the expense of the treasury. The director of the Imperial Island was Sumarokov.
The Theater of the 18th century in Russia continued its development during the reign of Catherine the second. With her courtyard, several professional troupe worked. Italian opera singers occupied a special position. The Russian dramatic troupe also worked. During this period, the theater ceased to be purely palace entertainment. Public entertainment places opened in the city, in which both Russian and foreign artists worked.
Creativity Ivan Dmitrevsky
The 18th century theater in Russia knows the names of the famous entrepreneurs: Titova, Belmoni, Medox. At this time, the existence of landlord troupes in the provinces where serf artists play. An excellent actor was Ivan Dmitrevsky. He made an outstanding career. In the first professional Russian troupe Volkova, the young Dmitrevsky played women's roles. Later he became the chief actor of the Imperial Theater on Vasilyevsky Island. To improve the qualifications of Catherine, the second sent Dmitrevsky abroad. In Paris, he studied the game of the famous tragian Lena, and in London watched performances with the participation of the Great Garrica. Returning to Petersburg, Dmitrevsky opened theatrical school. Later he became the main inspector of the imperial entertainment institutions.
Major Development Trends
The theater in the 18th century in Russia can briefly be described as classicist. This direction was dominated in Europe in the 17th century. In the subsequent period, classicism has changed to the more democratic creativity of the Epoch of Enlightenment. Russian art of the 18th century has grown to rationality, genre hierarchy and strict canons. Theatrical plays strictly shared on tragedy and comedy. Their mixing was not allowed.
The theater and music of the 18th century in Russia were inextricably linked. Opera became perhaps the most popular entertainment. Appeared at the court of Anna John. The first libretto in Russian wrote Alexander Sumarokov. Classic opera, as well as drama, threw to the strict separation of genres. The tragic works were composed in Italian traditions and differed in sublime music. The comedies considered the secondary genre were associated with the Russian traditions of Fairroy Balagan. Distinctive features of such fun operas are conversational dialogues and song music numbers. Works for the theater wrote composers Sokolovsky, Pashkevich, Bortnian. Opera was performed in French and Russian.
New trends
The theater of the 18-19th century in Russia developed in line with 1782 he saw the scene of the comedy Denis Phonvizin "Nepali". Satira on modern Russian society was for the first time so talented by the author. The types of the highest class of that time Fonvizin described with the striking accuracy. Evil Prostakova, her stupid husband and son Mitrofanushka brought the author to the author's lifetime fame. The wise arguments of the senior about honor and dignity and today are worried about the audience. Despite the conventionality of characters, they have sincerity and expressiveness. Read Pushkin, Gogol and other writers. She admires many generations of spectators. "Lady" and today occupies an honorable place in the repertoire of the country's leading theaters. This product gold letters is inscribed in
4.2 History of the theater in Russia in the 19th century
The whole history of the Russian Theater was the history of the domination of the diplocked, mainly French, dramatic art. This state of affairs continued almost a hundred years. The French School of Games, acclimatizing quite in the Russian scene and corresponding to the inner nature of the repertoire, parodilo is not a small number of scenic artists. The beauty of external techniques inherent to her, finishing the smallest details of the game, the style of style and the dignity of the declamination side of the execution, together with deep respect for art, put the best Russian actors on a row with the major artistic forces of the West. There were epochs in the history of the Russian theater, unparalleled in terms of the number of wonderful validations that were simultaneously on stage. This was the time of Shchepkin, Shumsky, Sadovsky, Samarina, Nikiforova, Medvedev, E.N. Vasilyeva, Martynova, Mochalov, Samoilova, Sosnitsky, etc.
With the advent of Ostrovsky, his peculiar creatures found themselves excellent performers and interpreters in a brilliant acting dye, capable of understanding, to learn and reproduce a wide variety of types. Sadovsky and noisky, beautiful performers of Molierelsk types, gave unforgettable samples from the Ostrovsky Gallery. The high creations of Shakespeare, the Moliere Theater Common and the Russian Soul Heroes of the Heroes of Ostrovsky, everything was under the power of these major dating, a sophisticated school.
The next generation of actors fell into the same mistake as the regulators of the island (see Russian drama). In the island, it was not the artist of characters, but a life-fosteer, his nationality accepted for a simpleness, performed on the fore, they began to put forward simplicity; Those artistic techniques that in their aggregate make up the school were accepted excessive. Communication with traditions was torn: the actors of the school gave way to the Russian stage to the actors of nature, that is, detectants, which, by time and experience, acquire famous skills. The style and integrity of the game is all more preserved in the Taroupe of the Moscow Small Theater, the decoration of which is Maria Ermolov, Glycheria Fedotov.
4.3 Imperial theaters
The imperial theaters in the introduction of the Ministry of the courtyard, as well as government theaters in Warsaw occupied a special position among Russian theaters. Start Imperial theatersAs the official existence of the theater in Russia in general, it was founded on August 30, 1756, when Empress Elizaveta Petrovna issued a decree on the establishment of the Russian theater in St. Petersburg, having received the management of the theater of Sumarokov. Subsequently, the in addition to the Russky dramatic troupe, the chamber and ball music, the Italian opera, the French and German troupe, were included in the court theater.
Until 1766, the Theater's management focused on conducting court cantors; Then, Empress Catherine The second established an independent directorate of all courtery theaters, the first director of which was appointed by I.P. Elagin (December 20, 1766/21 May 1779); After Elagina, he held this position V.I. Bibikov (1779-1783).
In 1786, the Committee was abandoned by the director of court theaters, S.F. Strekalov (1786-1789) was appointed; He followed two equal director: Major General P.A.Soylov and A.V. Khrapovitsky (1789-1791).
Since 1791, the court theaters have again moved into one-sided management and directors of them consistently: Prince N. Lyusupov (1791-1799), Count N.P. Sheremethev (1799) and Ober-GoFamarshal A.L.Naryshkin (1799-1819 ), in 1806, the imperial Moscow theaters were established in 1806. On April 27, 1812, on the occasion of the departure of Emperor Alexander the first of St. Petersburg, was established "for solutions theater issues»A special committee who was subordinated by the director's director; The Committee included, by the way, the director of the courtie theaters A.L.Naryshkin and the Minister of Finance D.A. Guriyev.
From January 14, 1816, the Committee's actions were continued for the future, and from February 22, 1824, the Committee was transformed: the Moscow and St. Petersburg Military Governors General, from which the last, Count M.A. Miloradovich was appointed to his senior member . December 19, 1825, for the death of Count Miloradovich, the senior member of the Committee was appointed Shadmayster Prince V.V. Dolgorians. After A.L. Naryshkin directories of theaters consisted of: P.I. Typhyakov and A.A. Mikes.
Conclusion
The first half of the 19th century is the heyday of Russian artistic culture, which has gained world recognition. During this period, the literature (A.S. Pushkin, A.S. Griboedov, I.A. Krylov, I.V. Gogol, M.Yu.lermante, V.A. Zhukovsky) were created during this period. M.I. Glinka), architecture (A.D. Zahahar, A.N. Voronikhin), Painting (O.A. Kiprensky, A.A. Ivanov, P.A. Fedotov).
Such a flourishing of all types of art was largely due to the rise of the patriotic senses of the Russian people in the war with Napoleon, the growth of national identity, the development of progressive, liberation ideas of the Decembrists. The entire "golden age" of Russian culture is marked by civilian passion, faith in the great intention of man.
However, Russian religious writers and the philosophers proclaimed the highest goal of developing the culture of the knowledge of eternal spiritual values, the free expression of religious feeling and morality; At the turn of the centuries, the last large style of Modern, the main content, which was the rejection of the realism of the mobile and eclectics of varnachitectura, the cult of beauty, as the only value and the desire for artistic synthesis of all types of art. Such a variety of intellectual searches was, according to Philosopher N.A. Bardyaev, the consequence of the "liberation of spiritual culture from the oppression of social utilitarianism of the 60-70s.".
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