History and aesthetics theater

European Theater of the XIX century (until 1871)

Introduction

Theatrical art has always acutely reacted to the state of society - the political and social processes occurring in it. Therefore, the periodization of the theater development was associated with revolutionary situations arising in certain countries and affecting global socio-political development. So, historical frontier Theater new The time was the Great french revolution 1789-1793 BUT newest The epoch in the development of theatrical art is determined by the Great October Revolution of 1917 in Russia.

At the end of the XVIII century, as you know, within the dominant artistic direction - classicism - new style trends are harvested: sentimentalism, romanticism, educational realism, Rococo . And by the beginning of the XIX century, romanticism turns out to be an already formed an artistic direction that influence the development of all art.

Of course, it is impossible to consider the development of theatrical art and artistic directions in the separation from socio-political events in society.

Contradictions B. social Life The XIX century determined the character of theatrical culture of this period. The economic and political dependence on the hosts of the bourgeois world created unfavorable conditions for the development of the theater. But at the same time, the ideology of democratic circles fruitfully influenced all spheres of the spiritual life of society, including the theater.

Two main artistic directions in the art of the XIX century. - romanticism and realism- were various forms of critical perception of the world. The development of literature and theater in this era has passed two stages, the borders between which was 1848. At the first stage, romanticism was dominant; In the 30-40s, a critical realism is approved; After 1848 - 1871. Entertainment predominates, low in ideological attitude dramaturgy. Second theater halves XIX. in. He has a crisis.

The romantic direction in the literature and in all kinds of art has expressed public sentiment born by the results of bourgeois revolutions and the social shifts they caused.

The main feature The worldview of romantics was an idea of \u200b\u200bthe tragic break between the ideal and real life. Hence the denial of reality, the desire to get away from it into the world, the transformed will and fantasy of the artist. Forms of romantic denial of everyday life in creativity were and care of the history, and the creation of images of exclusive heroes, symbolic and fantastic characters. Romance did not set themselves the tasks of the objective knowledge of life and its patterns; They argued the complete freedom of artist's creativity, creating their special poetic world, not like an existing one.

The enlightenment cult of the mind of romance opposed pathos approval of passions and feelings. They called for the abandonment of the normative aesthetics of classicism, from its rules and canons.

In romanticism, two tendencies were clearly shown, identifying two directions of romantic flow - progressive Romanticism I. conservative romanticism.

Progressive romanticism Expressed the mood of democratic sectors of society: disappointment in the results of the revolution of 1789 and rejection political regime Combined with a protest against social vices of the new, bourgeois world.

Conservative romanticism expressed mood of the noble aristocracy who felt his historical doomed; Hence, the desire to escape from reality as a reaction to the revolution and the manifestation of the rejection of bourgeois relations.

Most significant and fruitful in literary and theatrical life Western Europe The first half of the XIX century. Was progressive romanticismassociated with revolutionary ideas and sentiments and national liberation movement. This romanticism is represented by Bairon's names, Shelly and Kina in England; Hugo, Boka and Dorval in France; Heine, Gutkova, Buchner, Devrite in Germany; Mitskevich and Slovak in Poland; Decembrist writers, young Pushkin, Lermontov and Mochal in Russia. This romanticism wore an active life-affirming character. His hero was a rebellion, avenger, a fighter for human dignity, the observer of social evil.

Types of romantic heroes were diverse. For them, it was not necessary to have a high position in society, they were not the embodiment of good. Flammable plebeians, executioners and jesters, lackers and robbers, they were often marked by the seal of gloomy disappointment, but each in his own way carried Bunta.

Antiburus tendencies were permeated and some works conservative romanticism For example, Drama de Vinyi "Chatterton", some of the national-patriotic drama of the brastic, teak, for whom interest in the past of their people, to folk creativity.

Romanticism was a regular stage in the development of the European Theater. But at the same time, the originality of the historical path of each country, the nature of the relationship of class forces, the predominance of progressive or reactionary began in the spiritual life of society - all this determined the features of the romantic theater of various countries.

In France Social contradictions differed by the well-known sharpness and were permitted by revolutionary explosions, and romanticism was associated with a turbulent social and political life. Literary-theatrical "battles" between romantics and classicists were one of the forms of political struggle, because classicism was perceived by them as a court-aristocratic style. And this Bunte reflected the growing revolutionary sentiment.

Englishromanticism due to the relative stabilization of the country's social forces was deprived of open political sound. But England further left the path of development of capitalist relations, and therefore social contradictions were born in the democratic layers of society, in the worldview of artists, the feeling of tragic disadvantage and protest against the injustice of life. In the most significant works of English romantics - in the dramas of Byron and Shelly - the struggle against the bourgeois practicalism, the deceit and hypocrisy of the Church-Puritan morality was expressed in the formulation of philosophical and moral problems Good and evil, in the approval of the images of heroes, revise against this falsehood and hypocrisy.

Special character had romanticism in Germany . In the backward economically and politically, the numerous relics of the Middle Ages, the oppression of progressive and conservative trends manifested itself much weaker than in the romanticism of other countries. Feature german romanticismThe prevailing wars in the years could be expressed as follows: he has a combination of the Spirit of Renaissance with the Spirit of Reactionality (K. Marx).

Contradiction between the political patrimony of the third class and high levels The country's spiritual culture German romance was built into the degree of eternal and absolute truth. Critically belonging to modern German life, they saw only manifestation in her god eternal conflict between high aspirations Human spirit and real reality. This conflict has received its illusory permit to care about the world of history and fabulous fantasy or in the romantic irony of the image of the vulgar philaxecution and the wretched practicalism of German Meshchansky morals.

The nature of German romanticism was manifested in the tendency to develop the philosophical and aesthetic foundations of this flow. The problem of nation, criticism of French classicism created by german romantics Shakespeare's cult - all this had a great impact on the development romantic Drama and the romantic theater in other countries.

Before revolutionary events 1848-1849. in european romanticism A more and more realistic trends begin to manifest. The romantic theme of dreams of dreams and reality is replaced by a more acute topic. plight People, chunk of bourgeois morals.

At this time, the ideas of utopian socialism (Saint-Simon, Fourier, who ended up with a sharp criticism of a modern bourgeois society, begin to influence the development of romantic drama and melodramas. A bright pattern of melodrama drawing social contrasts was a play of a French democratic public figure and playwright F. Pia "Paris Ragchik".

Along with romanticism is formed realistic directionwho was destined to play a decisive role in the development of dramaturgy and stage art of the second half of the XIX century.

Realism The new time, who put the task of knowing the objective laws of reality and the historical pattern of its development, was penetrated by a critical attitude to modernity. This was manifested by the similarity of realism and romanticism. But, unlike the interest of romantics to exceptional, realism suggests, "In addition to the veracity of the details, the truthfulness of reproduction typical characters In typical circumstances "(F. Engels).

The method of image life in its typical manifestations, its contradictions, historical and social conditionality of human characters and fate created the Great realistic literature West (Balzac, Standal, Flaubert, Dickens, Merim). Critical attitude to reality - important distinctive trait of this literature.

Critical realism Created his drama - plays Balzac, Merim, Buchner, etc. However, this dramaturgy, imbued with a critical spirit, could not become the basis of the repertoire. The dominant bourgeois ideology needed works that approve the "rationality" of the bourgeois world order, his ideas, moral principles, Lifestyle. Between the theater and large literature there was a gap that generates a well-known ideological damage to theatrical art, especially tangible compared with the mighty flowering of critical realism in the literature.

This was expressed by the overall pattern of development of scenic art. With the greatest fullness it was expressed in life french Theater.. Finally developed the type of bourgeois theater XIX. in. After 1848, the bourgeoisie came to power created his art. The Bunctric Spirit of Romanticism is now replaced by the sermon bourgeois "common sense". This realism, being deprived of a critical attitude towards life, did not give a deep disclosure of the essence of life phenomena and replaced the true truth to superficial believing. Such the theater was affected by the viewer not so much the truth of the characters and passions, how many highly developed techniques of drama and acting skills (Duma-Son Drama, Sarda, etc.). The entertainment role of the theater is enhanced, the dominant genres become waterville and operetta. Among the many funny, but empty and thin comedy-water devices are distinguished by smart and thin, not devoid of satirical acute and virtuoso technique on the technique of Ezhen Labish.

With greater independence, the acting art developed during this period, which has passed a long and difficult path from romanticism to realism. The search for new expressive means to achieve the social, psychological and emotionally rich truth of the image is most fully embodied in the work of great romantic actors - Lemeter, Bokaj, Dorval, Kina, Devrite. The desire for the authenticity of the stage existence, to the truthful transmission of the complex, contradictory, heroes overwhelmed by the stormy passions of the spiritual world led to the breakdown and the destruction of old classical techniques of the game and the approval of the new type of actor, perfectly by the art of reincarnation, which has received its further development in subsequent years.

This is the most "Theatrical" era In the history of Russian culture. Theater played in her, perhaps leading role, spreading its influence on other types of art.

Theater during these years - the public stand, where the most acute questions Modernity, and at the same time creative laboratory, widely opened the door to the experiment and creative searches. Large artists, who sought to synthesize different types of creativity, appealed to the theater.

For the Russian theater, this is the era of ups and falls, innovative creative searches and experiments. In this sense, the theater has not lagged behind literature and art.

In the forefront of theatrical art, MHAT stood headed by Stanislavsky and Nemirovich-Danchenko, with a wonderful troupe of young actors, which included O. Knipper-Chekhov, M. Lilina, Sun. Meyerhold, V. Kachalov, I. M. Moskvin, A. Vishnevsky, etc.

We remember that the splash of theatrical art was connected with the cooperation of the theater with A. P. Chekhov After the triumphal premiere of "Seagulls" in December 1898. In 1900, the event in the theatrical life was the layout of the play of Ibsen "Dr. Shtokman". She acquired an acute social sound on stage. Shtokman performed by Stanislavsky became the "hero of alert-time".

Maxim Maxim Gorky

A new page in the history of MCAT and in all theatrical art has become m. Gorky drama, fell in love with the theater troupe and writing Chekhov, which is not writing for such the theater criminal.

The first play of "Meschan" was written by Gorky in 1902, it was allowed to perform with abundant censorship bills (everything was crossed out of the difficult proportion of workers, about their pavas, about the inevitable breaking of existing orders). But at viewing the play in St. Petersburg, where the theater came to tour, in the building of the theater and around him there was a reinforced police outfit. Nemirovich-Danchenko went to the gallery and requested the student youth not to arrange any demonstrations so that the repression was not collapsed on Gorky.

New hero Gorky working Approves: "The host one who works ... A person must conquer himself, if he does not want to be crushed ..." for folk theaters The play was forbidden, but still the "breasts" walked in many cities: in Samara, Saratov, Kiev, Yaroslavl, Perm, Vyborg, Pinsk, Yelets, Sarapul, etc.

A year later, Gorky gave the theater "at the bottom". In the first season for 2 months of the play on the billboards, Mkhat appeared 50 times, and on tour in St. Petersburg - 12 times. And invariably - with a crowded audience. Furore after performances went for all the usual framework. At the end of the presentation, there was no end to the author's challenges, directors, performers (Stanislavsky - Satina, Moskvin - Luke, Kachachaov - Barona, Nastya - Bookper, Vaska Spep - Leonidov ...). A person - it sounds proud! - became a password of the people's fight against tsarism.

The play "On the bottom" also passed through most theatrical scenes of Russia, however, with different readings. Sometimes in the provincial theaters, a jargon of a surge, the plot was presented with a comedy. But most of the play treated seriously and thoughtfully.

K. S. Stanislavsky acknowledged that "the main starter and the creator of the socio-political life of the theater was bitter." Russian Theater became more and more open political struggle arena. But not all the theaters occupied progressive positions in this struggle. Many stood aside from this fight, and sometimes allowed the play of a black-eyed play on their scene ("Return" Donne at the Moscow Theater of the Korah), etc.

Theater of Vera Commissionerzhevskaya

Further contribution to the scenic interpretation of Gorky Dramaturgia is related with the theater of faith Fedorovna Commissioner. Which left the imperial scene Alexandrinsky Theater In 1902, and after the guards on the province, she created his theater on the Matching principle.

In November 1904, the premiere of the 3rd play of Gorky "Dachniki" about the Russian intelligentsia, which came out of the democratic layers, but having achieved a well-known social situation, lost contact with the people, forgetting his life to improve his life. Present at the premiere of the writer A. N. Serebrov (Tikhonov) called "Dachnikov" "play-demonstration, performance-fight".

In the fall of 1905, the theater puts the "children of the Sun". After the performance, they demanded the author, although everyone knew that bitter in the link.

Thus, Gorky's plays became leading in the repertoire of the Theater of the Commissioner, Mkat and other theaters. But since 1906, the situation changes dramatically: "Dachnips" and "Children of the Sun" disappeared from the poster, "the" mothers "and" at the bottom "moved to the background. The new plays of bitter "enemies" (1906), "the last" (1908) were not allowed to formulate. And the fact that was set was distorted. So, "barbarians" in 1907 in the St. Petersburg modern theater was set as a comedy. As a template melodrama, "Vass Zheleznov" in the Moscow Theater of the Neminobin in 1910 were also other examples of the revision of Gorky, which was completed on failure, the version was supported about the alleged weakness of new dramatic works of A. M. Gorky. As a result, the plays "Zykov" (1913), "fake coin" (1913), "old man" (1915) before the revolution were not at all.

These were the years of political reaction, and the theater was looking for new forms of existence and self-expression, but for many theater collectives These were the years of stagnation. The theatrical scenes poured a turbid flow of a dubious character ("Girl with the mouse" of S. Aleksina, "Vera Mirtseva" L. Uvantseva, as well as the "Comedy of Death" V. Baryatinsky, etc.). The plays were put, frankly designed for the cheap sensation ("blind love" N. Grushko, where the mother covers the crime of the Son who strangled the girl; "Unregistered" P. Mind with villainations, suicides, with a real manicide on the dead man - this is the years of war) . Common for theaters The separation of the repertoire from modernity partially captured even MCAT for some time. Criticism at that time noted that the play of creative fatigue appears on performances of the theater.

The same picture could be observed in the Moscow Male Theater. The realism of the Ostrovsky's plays was replaced by small life.

Symbolism in the Russian Theater

The magazine "Theater and Art" was wrote in early 1917: "Now in the art like swallowed kutils, we rewrite bills. The currency has long been no longer complied with the obligations." Examination Russian Theater survived the wave symbolism. The symbolist poets were seen in the Tribune theater for their new ideas. Symbols for their plays brought together the modern scene with poetry, found a new theatrical imagery, used new scenography, associative performance of the performance ("Earth" V. Ya. Brysov, "Tantalt" V. I. Ivanova, "King on Square", "Balantchik" , "Stranger", "Rose and Cross" block, etc.).

Symbolism was not uniform. So in the dramas F. K. Sologuba felt the philosophical rejection of life, in which there is no place for high spirituality, for beauty and truth. Folklore plays A. M. Remizov were full of sinister motives.

Symbolism affected some Pieces of L. N. Andreeva, in the early work of Futurist V. Mayakovsky (tragedy "Vladimir Mayakovsky").

The largest theaters turned to the playwright of the symbolists. So in 1904, according to the advice of A. P. Chekhov, K. Stanislavsky put in Moscow, the trilogy of metterlinka "Blind", "unfinished", "inside". In 1905 He opened the theater studio at the cook, where, together with Meyerhold, studied the production capabilities of the new artistic direction. There were a lot of questions: how to coordinate the conventionation of the scene with the household characteristic of the actor's game, how to build the work of the actor to the level of high poetic generalization? etc.

Using the techniques of symbolism in working on the performance of the "Life Drama" K. Gamsun and the "Man's Life" of Andreeva, Stanislavsky was convinced of the need to raise a new actor who could deeply disclose the "Life of the Human Spirit", began his experiments on creating a "system", which we Let's say just below. In 1908, he put the philosophical play-tale metierlinka " Blue bird"(Decoration of the artist V. E. Egorova) - Perhaps best work From the symbolic repertoire. The fairy tale lasted on the Mchat scene over 60 years.

New searches were conducted in St. Petersburg at the Theater of Faith Fedorovna Commissioner. She invited the main director of Meyerhold, who carried out a number of productions in 1906-1908. Good luck was the "Balanta" block, "Beatrice's sister" M. Meterlinka, etc. After a surge of symbolism, some theaters continued to staring in place, roll to the tastes of the Meshchang, which we have already spoken, others continued to boldly experiment in the direction of avant-garde. To such bold experimenters can be attributed V. E. Meyerhold. Already in the Studio on the Cook "he proclaimed the idea of \u200b\u200bthe" conditional theater. " It was not what Stanislavsky, new techniques and principles were hoping were made by Meyerhold in other theaters.

In 1906, Meyerhold becomes the main director of the theater V. F. Commissioner, and it is possible to fully implement his artistic program. Meyerhold in his productions at the head of the corner put the creative ideological and artistic concept of the performance, put forward by the director. One-sided emphasis on the creative activity of the legislative art was often led to a peculiar dictatorship of the director as in relation to the actor and in relation to the author of the play. The actor often turned into a "pawn" in the director's hands. The emphasis was postponed from the psychological expressiveness of the actor game to the picturesque, plastic expressiveness of the picture created by him.

In the implementation of the directorial concept, Meyerhold was to help the artist. The artist had to destroy the illusion of reliability, and create a conditional design in the theater expressing the director's idea. To this end, Meyerhold tried to destroy the three-dimensional stage space and turn into a two-dimensional. The scenery was replaced by a picturesque panel, the stage spot was decreased and was an appendage to him (often ended on the promsion). Actor Director interpreted as a colorful stain, for it was interested in the stage not so much the expression of real characters, how much disclose the essence of the symbolic play through the director's idea. The illusion of believing, he sought to replace with convention. This was done in contrast to MCAT, in which the plan of the playwright was always revealed and the central significance of the actor's creativity was tirelessly emphasized.

Meyerhold found the artists who became His allies (N. N. Sapunov, S. Yu. S. Denisov, N. P. Ulyanov, V. S. Denisov, etc.) in the theater of the Commissioner Razda, Meyerhold were uneven. So the social and domestic, psychological play "Gedda Gabler" Ibsen (artists of Sudieticin, Sapunov, V. D. Milioti) put in a conventional symbolic vein.

The whole performance was characterized by deliberately demonstrative non-compliance with the author's remarks. In Milioti costumes, each character was performed by a special color: Gedda - Golden, her husband - lead-gray and so on.

In the formulation of the "Balaganchik" A. Bloka principles of the "Conditional Theater" were necessary for the embodiment of a symbolic play (Sapunov artist).

In the lyric-symbolic drama A. Blok reveals the idea of \u200b\u200bdual life. Visible, surrounding man The world is vulgar and false. But all its phenomena is full of different, allegorical meaning. Therefore, everything is deceptive and opposite to visibility: ordinary people - these are mechanical puppets, and puppet characters (Piero, Harlequin) are endowed with genn human feelings; The poetic distance turns out to be drawn on paper, and the ideal beloved turns around death. The collapse of illusions generates irony, and in the rays of irony reality acquires the features of Grotesque.

In 1906-1907 Meyerhold puts a number of performances at the Commissioner Theater, in each of which is looking for new techniques for design. So, the "human life" L. Andreeva goes in gray clumps, without scenery, personifying the replica of one of the heroes - "Everything, as in a dream." The "awakening of the spring" of Kuekinda is built on the local light, that is, in episodic highlighting of the scenes in different angles of the scene. The "bringing" ibsen is played out as a performance without a curtain, which is mainly coming on the seeing. In the "sister Beatrice" Meterlinka and the "eternal fairy tale", the play of actors on the stairs, which occupy a significant part of the scene becomes a big role. In the "Beatrice Sister", in addition, the reception of the "coming bas-relief" was applied, which emanated from the sculptural interpretation by the director of the actor figure. The director sought to achieve almost full statuarity in the game of the actor, motivating it by the "mystery" of the production (for example, "Beatrice sisters"), then the idea of \u200b\u200brevival antique theater. It led to the substitution of a living man with a puppet. And therefore, against Meyerhold, a part of the troupe led by the Commissar Razvazzhevskaya was very soon rebelled. And she broke up with Meyerhold, as Stanislavsky broke up with him. On symbolist drama, he tried to create the principles of a new "conditional theater."

Vera Komissarzhevskaya, believing that new Theater. it is possible only with a new actor, decides to open studio young actor . But its plans were not destined to come true. During the tour, in Tashkent, she died from black smallpox in 1910

In 1907, Meyerhold wrote an article "To the history and technique of the theater", in which he expressed the principles of the "conditional theater", opposed their MCAT and accused the last in Naturialism. In an effort to the art of large generalizations, he argued the principle of stylization as one of the methods of a decision of the performance. With the concept of stylization, according to Meyerhold, the idea of \u200b\u200bconvention, generalization, symbol "is inextricably linked.

Meyerhold and the artists who separated his beliefs were actively looking for, actively protested against copying historical styles, against the substitution of creative design "Summit" things and costumes on the stage. It was the beginning of the way, so fails. But be that as it may, we recognize the desire for the art of large generalizations, the approval of the active creative role of the director in the interpretation of the work, the fight against surface salon art, the development of scene technology and enrichment of registration techniques.

"Traditional Theater"

In 1908, V. A. Telyakovsky (V. A. Velyakovsky - Director of the Office of Imperial Theaters (1901-1917; He sought to update the work, attract the best strength, enrich the theaters of experience modern art) Attracted Meyerhold in imperial theaters After his departure from the Commissioner's Theater. At this time, Meyerhold actively cooperates with the artist A. Ya. Golovny. Now Meyerhold put forward the principles of the "traditional theater" - a new variety of "conditional theater". He criticized the ancient theater N. N. Jerinov, but at the same time she sought to enrich the modern theater forgotten techniques and forms theatrical representations gone centuries, opposing their theatrical naturalism of our time.

"Traditional Theater" The director takes as the theater "Clean theatricality"where the viewer does not try to inspire the illusion of truth. The viewer should remember all the time that he is in the theater. Such a viewer from the side actively assesses what is happening from modern positions. At the same time, such a "outsider", but the estimating viewer Meyerhold sought to bring close to the scene as much as possible. To do this, the "exposure of the reception" was used - change decorations and dressing of actors in front of the audience, interference with the "scene servants", as well as the destruction of the ramp, the absence of a curtain, light in the hall, sometimes playing the hall, extending the actions to the actions and t. d.

In their directorial plans, Meyerhold took a great place registration of theater. An example of a successful collaboration of the director Meyerhold and the artist Golovin can be the play "Don Juan" Moliere "in the Alexandrinsky Theater (1910). The production was conceived as a home performance in the palace Louis Xiv.. The play was played without a curtain and without a ramp. The hall during the action was illuminated with electric light, and the candle was burned on stage. Change decorations occurred in front of the audience. Arapchart was intervened - the scenes servants who brought and carried away the furniture, filed things to actrators, etc. The "Masquerade" Lermontova lasted them in 1917. Lermontova lasted on the stage of the Alexandrinsky Theater until 1939. This performance was a link between pre-revolutionary and Soviet theater. The principles of registration Meyerhold and Golovin tried unsuccessfully transferred to the musical theater (Opera "Orpheus" glitch, 1911, ballet "Aragon hunting" Glinka, 1916, Opera "Stone Guest" Dargomyzhsky, 1917 in the Mariinsky Theater, etc.). Meyerhold was the fact that the principles of "conditional" ("traditional theater") he tried to make universal.

The idea of \u200b\u200bthe Balagan

At this time, in addition to the principles of the "traditional" theater, he put forward the idea of \u200b\u200btheater Balagan, masks, puppets, based on grotesque as the main method of displaying life. Grotesque theater-Balagan He contrasted with naturalistic and "analytical" (psychological) theater.

Grotesque stylization Must be generalized to express significant contrasts and contradictions of life. These experiments under the pseudonym "Dr. Dupertutto" he put in 1910-1911. In a small chamber wilderness "House Intermedia". In the formulation of one-acting plays Meterlinka, Schnitzer, Kuzmina. He was helped by the artists of Sapunov, Sudieticin, etc. ("Colombina" A. Schnitzer, etc.). In the productions where people were likened to the dolls, the shaped metaphor "Life - Theater" acquired ultimately mystical meaning. Despite the desire of the theater to get away from the reflection of life, soothedral faces flashed in production.

Using Meyerhold Obvious square theaters, Comedy del Arte, Balagan, Circus, his search for new forms of acting art in the studio at Borodino (1913), where the actors studied the stage movement, the pantomime, considered here as the basis of theatrical art, - all this will find their continuation in the constructivism theater after October Socialist revolution. In 1913, there is a Futurist theater - rebellion against bourgeois reality. There was a tragedy "Vladimir Mayakovsky", decorated by P. N. Filonov and I. S. Schedule. The prologue walked against the background of a black square with random colorful spots, and the rest of the paintings - against the background of the scenery depicting the city in an expressionist-cubistic style, with a chaotic pinch of falling buildings on each other.

In 1914 in Moscow under the leadership of A. Ya. Tairova begins to work Chamber Theater. , whose team boldly experimented and was also fond of the game in the theater.

In this theater, such major artists developed as N. S. Goncharov, A. V. Lentulov, P. V. Kuznetsov, A. A. Exter.

Interesting were the experiments A. Exter, brought up in France on the works of postimipressionists, which issued the theater and its performances in the style of cubaceurism and constructivism. So, when setting "Salome" O. Wilde (1916), the scene was divided by an exter diagonally diagonally with two supports, between which a staircase staircase was located. In all directions, monochrome panels moved and moved. The costumes were performed in the constructivist spirit and reminded the uniforms.

The activity of the Stone Theater has enriched the design principles of the scenic space.

For two seasons (1907/08 and 1911/12), the ancient theater N. N. Jewinova and N. V. Drisena gave his ideas in St. Petersburg. This theater was aimed at creating medieval Miracle, pastoral and liturgical dramas on stage. In the design of his performances, artists of the "World of Art" Benua, Roerich, Dobuzhinsky, Bilibin, Lancer, Sudaiykin, and others took part. The medieval repertoire was presented to the viewer as he was set at one time. The character of the scene and the auditorium was recreated. Disguided actors portrayed medieval spectators looking at the performance. For example, Pastoral "Robin and Marion" (Hood. Dobuzhinsky) was given as a representation during a feather in a knightly castle, surrounded by the gathered guests; liturgic drama "Worship of the Magi" (Hood. Roerich) was depicted as a representation on the poverty of the cathedral surrounded by the crowd of praying; The "sheep source" Lope de Vega (Hood. Roerich) was put as a performance of the stray troupe surrounded by common spectators, etc. Museum in his spirit, an old theater could not find a response in a wide audience and therefore was short-lived.

Folk theaters

At this time continue to act folk theaters. This is a mobile theater P. P. Gaydeburova. Until 1917, he promotes realistic dramaturgy among the widest layers of the population. In 1910, the "Promotion of Rustic and Factory Theaters in the Moscow Society of People's Universities" is organized in the Russian Theater Society. With this section, its popular theater is created. And the Chairman of the Section and at the same time the director and the artist of this theater becomes V. D. Polenov.

After the ruin of S. I. Mamontov, Polenov moved away from his former opera and now led the working and peasant amateur theaters. Throughout 1911-1917. The master designed in the folk theater many performances, relying on the movement principles. Polenov created simple and inexpensive sample scenery for folk theaters. His sketches was distinguished by the sincere Polenovsky picture, who distinguished the author of the Moscow Pubrick. Let's go back to Mkat.

MHAT, referring to the fashionable playwright of symbolists, did not forget about the classics:

• "Month in the village" I. S. Turgenev (Hood. Dobuzhinsky),
• "On all sages of pretty simplicity" A. N. Ostrovsky (Hood. Kustodiev),
• "Imaginary patient" J. B. Moliere,
• "Hostess of the hotel" K. Goldoni (Stanislavsky and Benua agreed on criticism of the "conditional theater"),
• "Brothers Karamazov" F. M. Dostoevsky (Hood. Dobuzhinsky), etc.

For the design of these performances, Stanislavsky invited Dobuzhinsky, Roerich, Benoit, Kustodiev. He hoped to raise the picturesque culture of MCATE performances and achieve a bright image form. Artists "World Art" really created a number outstanding works His creativity, but sometimes they encountered with the principles of Stanislavsky. There were disagreements and disputes, sometimes the rupture ending. MCATI's activities in the pre-revolutionary decade is characterized by known contradictions, but the democratic and realistic line remained defining and leading. It is enough to say that it was at that time that the Stanislavsky system was formed, on which the realistic theater is based on.

Stanislavsky system

For practical work on a new methodology, which will be called later stanislavsky's systemIn 1913, 1st opens, and in 1916 - the 2nd Studio Mkat.

Let's say a few words about the world famous System Stanislavsky.

Stanislavsky system It is a scientifically based theory of scenic art, acting techniques. The Stanislavsky system opened the way to creating a performance as a single artistic integer, to the upbringing of a genuine artist - actor and director. Western this was the philosophy of the theater, defining its high goals and tasks in the years of stagnation (70s - 1st floor. 80s). Creating a system, Stanislavsky relied on the experience of the Russian theater and its own practice of the actor and director. They were summarized by the experience of great Russian actors such as

• M. S. Shpkin,
• G. N. Fedotova,
• M. N. Yermolova, etc.

Thoughts and statements about the theater A. S. Pushkin, N. V. Gogol, A. N. Ostrovsky, V. G. Belinsky, L. N. Tolstoy, A. P. Chekhov, A. M. Gorky.

The first section of the system is devoted to the problem of the actor's work on themselves. This is a daily stubborn training, a dancer training, singer, violinist. This artist improves equipment and artistic skills.

In the second section there is a conversation about the principles of the actor's work over the role based on the art of experience. This is a complex psychological process in the soul of the artist. The actor must not represent the image, and "drawn", his experiences, feelings, thoughts to make his own, live the life of a character, like his own. To achieve this goal, the actor and director must work much and hard, deeply penetrate the essence of the play, determine and explore the smallest details Roles, features of the character and behavior of the character. Playing the performance, the artist does not mechanically repeats the ones found by him in the process of work on the performance, and as if re-in front of the viewer's eyes recreates alive, creative process The birth of the image.

Special place in the Stanislavsky system occupies partition by ethics actor-artist. After all, the comprehension of the role depends on the identity of the actor, its width of the horizon, life principles, civilian position and beliefs. Therefore, the tasks of the comprehension of art are not separable from the high moral ethical problems of the formation of the personality of the artist.

According to Stanislavsky, the director should help the artist to reincarnate into the image. The actor and director when creating a performance should be guided by the idea of \u200b\u200bplaywright, the idea of \u200b\u200bthe play, so all the work on the performance was called "through action". The through action should be extremely accurately, deeply and convincingly to embody the ideological content of the work - this is an overlap of the performance, all the efforts of the director and actors on the stage are subordinated to it.

Stanislavsky system contains acute criticism Handicraft, dilettanism, stamps, routines, all that prevented the development of scenic art.

Stanislavsky's system provided great impact on modern theatrical life , on the development of the world theater. His theoretical works are translated into many languages \u200b\u200bof the world.

Theaters-cabaret

Modernists in their search for the new theater appealed to folk art.

Many Balagans and Balaganchikov were at the fairs of St. Petersburg, Moscow, Nizhny Novgorod, Chisinau, etc. It was played by a variety of actions from popular drama to circus tricks with participation in the actions of the audience. It was studied and used modernists in professional theaters in major cities, creating many experimental theaters that financed large industrialists such as Savva Mammoths (Music Theater in Abramtsevo), Princess Maria Tenisheva (Music Theater in Talashkin), etc. In these theaters, they often played Talented peasants who were trained with theatrical skill at theaters.

An interesting phenomenon of theatrical life of the capitals were theaters-cabaretwho were close to the People's Balagan.

So, in February 1908 Actor Mkhat Nikita Baliev Together with some employees opened a tiny theater "Bat". The idea of \u200b\u200bsuch the theater originated from famous cabins in the art theater. " Bat"I became a night refuge of Mkatov actors and was the center of Moscow nightlife before closing in 1919.

Baliev invited large writers and directors to work:

• Leonid Andreeva,
• Andrei White,
• Valeria Bolsova,
• Sergey Gorodetsky,
• Vasily Luzhsky,
• Vsevolod Meyerhold,
• Alexey Tolstoy,
• Moskvina
• Tatyana Puchenkin-Cupernik,
• Boris Sadovsky.

In the early years, Shalyapin, Sobinov, Stanislavsky performed in it. Dramatic repertoire accounted for short sketches, parodies on famous works (for example, on the "auditor"), the cheating scenes. Lubok - simplified alterations of fairy tales, epic anecdical character. Baliev loved hyperbola, sharp transitions from comic to the tragic and constant verbal shootout with an audience. Once he asked everyone to sing: "Ah, Ah, Em, them!" To reproduce the sound of sneezing.

In 1920, Baliev revived the "bat" in Paris, with which he toured around the world. The "bat" caused a lot of imitators at home and abroad, but most of them were distinguished by ephemerality and existed for a short time. Among them, we can remember the "Blue Bird". It was founded by actor Yasha South in Moscow in front of the revolution itself, and in 1920 moved to Berlin.

"Bat mouse", "Blue Bird" retained a high professional level, but they were not radical theaters on their repertoire, nor upon registration. Basically, despite the talent of the troupe, they collected on their performances of the bourgeois viewer without high intelligent requests. In the St. Petersburg cabaret attracted eminent representatives of the intelligentsia, there were more attention to lectures and reading poems, rather than musical numbers and "live paintings". Thus, the "stray dog", headed by Boris Prone, for his short life (1911-1915) held many important events and promoted the discussion of a wide range of issues, including those as theosophy, Alexandria Christianity, the revival of French magic, Russian Orthodoxy, Neo-Platonism, Monks of Afona and others.

In the design of ideas, one of the most avant-garde artists Malevich and Tatlin took part, which did not prevent the "stray dog" to be at the head of Russian intellectual life. Her members were Yevgeny Lance, Alexey Adakov and many others. "Stray dog" covered wide circle Literary and artistic interests, inviting, for example, Gorodetsky talk about "symbolism and akmeism", Marinetti read their poems, young musicians to speak with their works, etc. Chief artist Cabaret referee to such meetings created panels, programs and even masquerade costumes. Poet-futurist Benedict Livshitz left the following description of the atmosphere and programs of the "Stray Dog": "In the so-called, unusual Saturdays and environments were offered to wear paper caps on the heads, which they were handed to the verge of basement, and famous lawyers or the well-known Russian members of the State Duma , clouded by surprise, was badly submitted to this requirement ...

The program was the most diverse, starting with the lectures "On the new worldview" or "On the theater of the word and the theater of the movement" and ending with "musical Mondays", dancing Karsavina or a banquet in honor of the Moscow Art Theater. "

The life of such theaters-cabaret was short, but they contributed a special mood to the theater life of that time.

conclusions

Theater life "Silver Century" It was unusually saturated and diverse. At this time, many artistic conquests were carried out, which allowed the Russian theater to take advanced positions in the world. For this period, active cooperation with the theater of the largest artists of various groups and trends, ranging from the "world of art" to the avant-gardeists Mikhail Larionov and Natalia Goncharova, Alexandra Exter and Kazimir Malevich, and others, who collaborated both with musical theaters and dramatic . So the theater wanted to strengthen my expressive means, and artists express themselves.

The Russian Theater in the nineteenth century differed by some two-income - on the one hand he continued to achieve the various social and political changes in the state, and on the other - to be improved under the influence of literary innovations.

The birth of great masters

At the beginning of the XIX century, a realism comes to romanticism and classicism to replace romanticism and classicism, which brings many fresh ideas to the theater. During this period there are many changes, a new stage repertoire is formed, which is distinguished by popularity and in demand in modern drama. The nineteenth century becomes a good platform for the emergence and development of many talented playwrights that their creativity make a huge contribution to the development of theatrical art. The brightest person of drama of the first half of the century is N.V. Gogol. In fact, he was not a playwright in the classical sense of the word, but, despite this, managed to create masterpieces that instantly found world glory and popularity. Such works can be called "auditor" and "marriage". In these plays, a full picture is very clearly depicted. public Life in Russia. Moreover, Gogol did not challenge it, but on the contrary, criticized sharply.

"Auditor" N.V. Gogol.

At this stage of development and complete formation, the Russian theater can no longer be satisfied with the former repertoire. Therefore, a new one comes to shift. His concept lies in the image of modern, with a sharp and clear sense of time, man. The founder of modern Russian dramaturgy is considered by A.N. Ostrovsky. In his creations, he is very truthfully and realistically described the merchant environment and their morals. Such awareness is due to a long period of life in a similar environment. Ostrovsky, being a lawyer for education, served in court and saw everything from the inside. With his works, talented playwright created a psychological theater, which sought to look and reveal the internal state of the person.

"Thunderstorm" A.N. Ostrovsky

In addition to A.N Ostrovsky, in theatrical art The XIX century made a great contribution and other outstanding faith masters and scenes, the works and skills of which are the benchmark and the vertex of the skill. One of these personalities is M. Shchepkin. This talented artist performed a huge number of roles, mostly comedy. Shchepkin contributed to the exit of the acting beyond the templates existing at that time. Each of his characters possessed his own individual traits of character and appearance. Every hero was a person.

The history of Russian culture. XIX century Yakovkin Natalia Ivanovna

Chapter Fifth Russian Drama Theater in the second half of the XIX century

Chapter Fifth

Russian Drama Theater in the second half of the XIX century

By the end of the 50s - the beginning of the 60s 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 enlightenment function of the theater in relation to the middle and lower layers of the Russian people, among which large quantity Milnographed and at all illiterate people.

Wide public interest found an expression in promoting information about the theater. Newspapers and magazines different areas Printed articles, reviews, reviews, highlighting various sides 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.).

In a number of newspapers and magazines, constant headings of theatrical reviews and special reviewers appeared, among whom - prominent writers and playwrights: in the St. Petersburg Vedomosti - V. Krylov, V. P. Burenin, A. S. Suvorin, in "Voice" - M. A. Zagulaev, D. V. V. Aerkiev, in the "Modern Chronicle" - N. S. Nazarov and N. S. Leskov. In the "contemporary", theatrical materials were printed by I. I. Panayev and M. E. Saltykov-Shchedrin, in the "Library for reading" - P. D. Boborakin.

Significantly increased the number of theaters. Special theatrical buildings were 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 constant theaters with a strong acting team (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.

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Culture of Russia 19th century

test

2.3 Russian Theater

Significant phenomenon cultural life Russia of the first half of the XIX century. became theater. The popularity of theatrical art grew. The fortress theater was replaced by "free" - public and private.

With great success, such a scene dramatic works As "grief from the mind" by A.S.Griboyedov, "Auditor" N.V. Gogol, and others. In the early 50s of the XIX century. The first plays of A.N. Ostrovsky appeared. In the 20-40s, an outstanding Russian actor M.S. Schepkin, friend A.I. Herzen and N.V. Gogol demonstrated its multifaceted talent.

Other wonderful artists, V.A. Kratygin - Premier of the Metropolitan Scene, P.Mochalov, who reigned on the stage of the Moscow Dramatic Theater, and others, used the public.

Significant success in the first half of the XIX century. The ballet theater achieved, whose story in that period was largely related to the names of the famous French producers Didlo and Perro. In 1815 on stage Big Theater St. Petersburg debuted the wonderful Russian dancer A.I.I.Tomin.

"By the end of the 50s - the beginning of the 1960s, 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 saw as a kind of "tribune in human defense". " Yakovkin N. I. History of Russian Culture: XIX century. - St. Petersburg, 2002. - P. 527.

A large role in the formation of the realistic Russian theater was assigned to the work of A. N. Ostrovsky. The innovative theatrical ideas of the Ostrovsky found their incarnation primarily in the imperial small (Moscow) and Alexandrinsky (Petersburg) theaters, and with the imperial scenes we went to private entrepreneurs worked in the province.

The Russian Theater gradually becomes an expressive of exclusively Russian socio-public ideas. New generations of playwrights, directors, actors are already fully focused on history and social phenomena Russia.

The end of the XIX - early XX centuries is associated with the formation of new theater aesthetics, which at first coincided with revolutionary social transformations.

M. V. Lenta saw the theater in the development of traditional art traditions, which comes from a sterility, like gala representations, exciting spectators and turning into mass festivals.

K. S. Stanislavsky and V. I. Nemirovich-Danchenko in the Moscow Art Theater became the founders of the Psychological Theater, developing and complementing each stage image of an invisible viewer with a prehistory, stimulating certain actions of the character.

Aesthetics V. E. Meyerhold became the development theater forms, in particular, the stage movement, it is the author of the system of theatrical biomechanics.

Dramatic classic bases The small theater was unshakable, continuing historical traditions in new social conditions.

Ballet as a kind of art

Ballet as a phenomenon of Russian culture XVII - early XX century

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