Vaudeville (fr. vaudeville) - a comedy play with couplet songs and dances. The name comes from the French "val de Vire" - the Vir valley. The Vire is a river in Normandy. In the 17th century, songs known as "Chanson de val de Vire" became widespread in France. They are attributed to the folk poets of the 15th century - Olivier Basselin and Le Goux.
But most likely this is just a collective designation of a special genre of a simple, unpretentious, humorous song of a folk character, light in melodic composition, mockingly satirical in content, and by its origin connected with the villages of the Vir Valley. This can explain the further transformation of the name itself - from "val de Vire" to "voix de ville" ("voice of the city").
In the second half of the 17th century, small theatrical pieces also appeared in France, introducing these songs in the course of the action and from them themselves received the name "vaudeville". And in 1792, even a special "Théâtre de Vaudeville" - "Vaudeville Theater" was founded in Paris. Of the French vaudeville artists, Scribe and Labiche are especially famous.
In Russia, the prototype of vaudeville was a small comic opera of the late 17th century, which remained in the repertoire of the Russian theater even by the beginning of the 19th century. These include - Knyazhnin's "Sbitenshchik", Nikolaev - "Guardian-Professor" and "Misfortune from the carriage", Levshin - "Imaginary widowers", Matinsky - "St. Petersburg Gostiny Dvor", Krylov - "Coffee House" and others.
The opera by V. Ablesimov - "Miller-sorcerer, deceiver and matchmaker" (1779) had a particular success. “This play,” says the “Dramatic Dictionary” of 1787, “aroused so much attention from the public that it was played many times in a row ... Not only from national listeners, but also foreigners were quite curious.”
In Pushkin's "Count Nulin" the definition of vaudeville is also associated with the concept of an aria, an opera:
"... Do you want to listen
Lovely vaudeville?" and Earl
The next stage in the development of vaudeville is "a little comedy with music", as Bulgarin defines it. This vovedil has become especially widespread since about the 20s of the last century. Bulgarin considers Shakhovsky's Cossack the Poet and Lomonosov as typical examples of such vaudeville.
“The Cossack poet,” writes F. Vigel in his “Notes”, “is especially notable for the fact that he was the first to appear on stage under the real name of vaudeville. This endless chain of these light works stretched from him.
Among the youth of the nobility and guards at the beginning of the 19th century, it was considered a sign of "good form" to compose a vaudeville for a benefit performance of one or another actor or actress. And for the beneficiary it was beneficial, because it also meant some "propaganda" on the part of the author for the upcoming benefit collection. Later, even Nekrasov “sinned” with several vaudevilles under the pseudonym N. Perepelsky (“You can’t hide an awl in a bag, you can’t keep a girl in a bag”, “Feoklist Onufrievich Bob, or a husband is not at ease”, “This is what it means to fall in love with an actress”, "Actor" and "Grandma's Parrots").
Usually vaudeville was translated from French. The “reworking into Russian manners” of French vaudeville was limited mainly to the replacement of French names with Russian ones. N.V. Gogol in 1835 puts it in his notebook: “But what happened now, when a real Russian, and even a somewhat stern and distinguished by a peculiar national character, with his heavy figure, began to imitate the shuffling of a petimeter, and our obese, but a quick-witted and intelligent merchant with a broad beard, who knows nothing on his leg but a heavy boot, would instead put on a narrow slipper and stockings à jour, and the other, even better, would leave in his boot and become the first pair in a French quadrille . But almost the same is our national vaudeville.
Belinsky’s verdict on Russian vaudeville is just as harsh: “Firstly, they are basically a reworking of French vaudeville, therefore, couplets, witticisms, funny situations, a plot and a denouement - everything is ready, just know how to use it. And what comes out? This lightness, naturalness, liveliness, which involuntarily captivated and entertained our imagination in French vaudeville, this witticism, these cute nonsense, this coquetry of talent, this play of the mind, these grimaces of fantasy, in a word, all this disappears in the Russian copy, and only heaviness remains. , awkwardness, unnaturalness, stiffness, two or three puns, two or three equivocations, and nothing more.
Secular theater-goers cooked vaudeville usually according to a very simple recipe. Griboedov’s Repetilov also spoke about him (“Woe from Wit”):
"... six of us, look - they're blinding the vaudeville,
The other six set to music,
Others clap when they give it ... "
There are indications that Pushkin, meeting the requests of some friends, paid tribute to the custom of the then high society dandies, although the texts of Pushkin's vaudeville couplets have not been established with certainty.
Usually vaudeville verses were such that, with all the leniency, they can only be called rhyming.
The passion for vaudeville was truly enormous. In October 1840, only 25 performances were staged at the Alexandrinsky Theater in St. Petersburg, of which almost every one, in addition to the main play, had one or two vaudevilles, but ten performances were, moreover, composed exclusively of vaudevilles. Herzen, looking forward to M. S. Shchepkin’s arrival in London, recalls (in a letter to M. K. Reichel) not his big roles, but the vaudeville chorus:
"Chuk-chuk, Tetyana,
Chernobrov Kokhan".
Shchepkin himself played vaudeville very willingly. They occupied a very prominent place in his repertoire. Going on tour in St. Petersburg in 1834, he sent Sosnitsky his repertoire, where, along with Woe from Wit, there are a lot of vaudeville.
Approximately from the 1840s. vaudeville begins to noticeably layer, now in the text, now in the form of acting gag and verses, an element of topicality and polemic, and this is a great success with the public. Of course, topicality in Nikolaev times could not go beyond purely literary or theatrical malice (and then carefully), everything else was "strictly prohibited." In Lensky's vaudeville, for example, "In people, an angel is not a wife, at home with her husband - Satan" Smudge sings:
Here, for example, is an analysis of Polevoy's Piece - Both the author and the actor will not understand a word here ...
Lensky's five-act vaudeville "Lev Gurych Sinichkin or a Provincial Debutante", remade from the French play "The Debutante's Father", was especially successful. It remained in the repertoire of theaters until the beginning of the 20th century, although, of course, it was already devoid of any topicality (of which there was a lot in it), but it still did not lose its significance as a picture of theatrical customs of that time. In the 1840s, another special genre of vaudeville "with disguises" appeared. In them, the young actress Asenkova, glorified by Nekrasov, had a resounding success. The most popular authors of vaudeville were: Shakhovskoy, Khmelnitsky (his vaudeville "Castles in the Air" survived until the end of the 19th century), Pisarev, Koni, Fedorov, Grigoriev, Solovyov, Karatygin (the author of "Vitsmundir"), Lensky and others.
The penetration of operetta from France into Russia at the end of the 1860s weakened the enthusiasm for vaudeville, especially since all kinds of political impromptu (of course, within the limits of very vigilant censorship), gag and especially topical (in the same vaudeville type) couplets were widely practiced in the operetta. Without such verses, the operetta was not conceived at that time. Nevertheless, vaudeville has been preserved in the repertoire of the Russian theater for quite a long time. Its noticeable decline begins only in the eighties of the XIX century.
Vaudeville (fr. vaudeville) - a comedy play with couplet songs and dances. The name comes from the French "val de Vire" - the Vir valley. The Vire is a river in Normandy. In the 17th century, songs known as "Chanson de val de Vire" became widespread in France. They are attributed to the folk poets of the 15th century - Olivier Basselin and Le Goux.
But most likely this is just a collective designation of a special genre of a simple, unpretentious, humorous song of a folk character, light in melodic composition, mockingly satirical in content, and by its origin connected with the villages of the Vir Valley. This can explain the further transformation of the name itself - from "val de Vire" to "voix de ville" ("voice of the city").
In the second half of the 17th century, small theatrical pieces also appeared in France, introducing these songs in the course of the action and from them themselves received the name "vaudeville". And in 1792, even a special "Théâtre de Vaudeville" - "Vaudeville Theater" was founded in Paris. Of the French vaudeville artists, Scribe and Labiche are especially famous.
In Russia, the prototype of vaudeville was a small comic opera of the late 17th century, which remained in the repertoire of the Russian theater even by the beginning of the 19th century. These include - Knyazhnin's "Sbitenshchik", Nikolaev - "Guardian-Professor" and "Misfortune from the carriage", Levshin - "Imaginary widowers", Matinsky - "St. Petersburg Gostiny Dvor", Krylov - "Coffee House" and others.
The opera by V. Ablesimov - "Miller-sorcerer, deceiver and matchmaker" (1779) had a particular success. “This play,” says the “Dramatic Dictionary” of 1787, “aroused so much attention from the public that it was played many times in a row ... Not only from national listeners, but also foreigners were quite curious.”
In Pushkin's "Count Nulin" the definition of vaudeville is also associated with the concept of an aria, an opera:
"... Do you want to listen
Lovely vaudeville?" and Earl
The next stage in the development of vaudeville is "a little comedy with music", as Bulgarin defines it. This vovedil has become especially widespread since about the 20s of the last century. Bulgarin considers Shakhovsky's Cossack the Poet and Lomonosov as typical examples of such vaudeville.
“The Cossack poet,” writes F. Vigel in his “Notes”, “is especially notable for the fact that he was the first to appear on stage under the real name of vaudeville. This endless chain of these light works stretched from him.
Among the youth of the nobility and guards at the beginning of the 19th century, it was considered a sign of "good form" to compose a vaudeville for a benefit performance of one or another actor or actress. And for the beneficiary it was beneficial, because it also meant some "propaganda" on the part of the author for the upcoming benefit collection. Later, even Nekrasov “sinned” with several vaudevilles under the pseudonym N. Perepelsky (“You can’t hide an awl in a bag, you can’t keep a girl in a bag”, “Feoklist Onufrievich Bob, or a husband is not at ease”, “This is what it means to fall in love with an actress”, "Actor" and "Grandma's Parrots").
Usually vaudeville was translated from French. The “reworking into Russian manners” of French vaudeville was limited mainly to the replacement of French names with Russian ones. N.V. Gogol in 1835 puts it in his notebook: “But what happened now, when a real Russian, and even a somewhat stern and distinguished by a peculiar national character, with his heavy figure, began to imitate the shuffling of a petimeter, and our obese, but a quick-witted and intelligent merchant with a broad beard, who knows nothing on his leg but a heavy boot, would instead put on a narrow slipper and stockings à jour, and the other, even better, would leave in his boot and become the first pair in a French quadrille . But almost the same is our national vaudeville.
Belinsky’s verdict on Russian vaudeville is just as harsh: “Firstly, they are basically a reworking of French vaudeville, therefore, couplets, witticisms, funny situations, a plot and a denouement - everything is ready, just know how to use it. And what comes out? This lightness, naturalness, liveliness, which involuntarily captivated and entertained our imagination in French vaudeville, this witticism, these cute nonsense, this coquetry of talent, this play of the mind, these grimaces of fantasy, in a word, all this disappears in the Russian copy, and only heaviness remains. , awkwardness, unnaturalness, stiffness, two or three puns, two or three equivocations, and nothing more.
Secular theater-goers cooked vaudeville usually according to a very simple recipe. Griboedov’s Repetilov also spoke about him (“Woe from Wit”):
"... six of us, look - they're blinding the vaudeville,
The other six set to music,
Others clap when they give it ... "
There are indications that Pushkin, meeting the requests of some friends, paid tribute to the custom of the then high society dandies, although the texts of Pushkin's vaudeville couplets have not been established with certainty.
Usually vaudeville verses were such that, with all the leniency, they can only be called rhyming.
The passion for vaudeville was truly enormous. In October 1840, only 25 performances were staged at the Alexandrinsky Theater in St. Petersburg, of which almost every one, in addition to the main play, had one or two vaudevilles, but ten performances were, moreover, composed exclusively of vaudevilles. Herzen, looking forward to M. S. Shchepkin’s arrival in London, recalls (in a letter to M. K. Reichel) not his big roles, but the vaudeville chorus:
"Chuk-chuk, Tetyana,
Chernobrov Kokhan".
Shchepkin himself played vaudeville very willingly. They occupied a very prominent place in his repertoire. Going on tour in St. Petersburg in 1834, he sent Sosnitsky his repertoire, where, along with Woe from Wit, there are a lot of vaudeville.
Approximately from the 1840s. vaudeville begins to noticeably layer, now in the text, now in the form of acting gag and verses, an element of topicality and polemic, and this is a great success with the public. Of course, topicality in Nikolaev times could not go beyond purely literary or theatrical malice (and then carefully), everything else was "strictly prohibited." In Lensky's vaudeville, for example, "In people, an angel is not a wife, at home with her husband - Satan" Smudge sings:
Here, for example, is an analysis of Polevoy's Piece - Both the author and the actor will not understand a word here ...
Lensky's five-act vaudeville "Lev Gurych Sinichkin or a Provincial Debutante", remade from the French play "The Debutante's Father", was especially successful. It remained in the repertoire of theaters until the beginning of the 20th century, although, of course, it was already devoid of any topicality (of which there was a lot in it), but it still did not lose its significance as a picture of theatrical customs of that time. In the 1840s, another special genre of vaudeville "with disguises" appeared. In them, the young actress Asenkova, glorified by Nekrasov, had a resounding success. The most popular authors of vaudeville were: Shakhovskoy, Khmelnitsky (his vaudeville "Castles in the Air" survived until the end of the 19th century), Pisarev, Koni, Fedorov, Grigoriev, Solovyov, Karatygin (the author of "Vitsmundir"), Lensky and others.
The penetration of operetta from France into Russia at the end of the 1860s weakened the enthusiasm for vaudeville, especially since all kinds of political impromptu (of course, within the limits of very vigilant censorship), gag and especially topical (in the same vaudeville type) couplets were widely practiced in the operetta. Without such verses, the operetta was not conceived at that time. Nevertheless, vaudeville has been preserved in the repertoire of the Russian theater for quite a long time. Its noticeable decline begins only in the eighties of the XIX century.
Bibliography
For the preparation of this work, materials from the site http://ru.wikipedia.org were used.
The word vaudeville (Vaudeville) comes from the French "val de Vire" - the Vir valley. The Vire is a river in Normandy.
In the 17th century, songs known as "Chanson de val de Vire" became widespread in France. Their authors are considered to be the folk poets of the 15th century - Olivier Basselin and Le Goux. Perhaps this is just a collective designation of a special genre of a simple, unpretentious, playful song of a folk character, light in melodic composition, mockingly satirical in content, and by its origin connected with the villages of the Vir Valley. This can explain the further transformation of the name itself - from "val de Vire" to "voix de ville" ("village voice").
In the second half of the 17th century, small theatrical pieces appeared in France, introducing these songs in the course of action and from them, which themselves received the name "vaudeville". And in 1792, even a special "Theatre de Vaudeville" - "Vaudeville Theater" was founded in Paris. Of the French vaudeville artists, E. Scribe and E. Labiche are especially famous.
In Russia, the prototype of vaudeville was a small comic opera of the late 17th century, which remained in the repertoire of the Russian theater by the beginning of the 19th century. These are Knyazhnin's "Sbitenshchik", Nikolaev - "Guardian-Professor" and "Misfortune from the Carriage", Levshin - "Imaginary Widowers", Matinsky - "St. Petersburg Gostiny Dvor", Krylov - "Coffee House" and others. Ablesimov's vaudeville "Melnik-sorcerer, deceiver and matchmaker" 1779.
The next stage in the development of vaudeville is the "little comedy with music." This vaudeville has been especially popular since about the 20s of the 19th century. Typical examples of such vaudeville are "The Cossack Poet" and "Lomonosov" by Shakhovsky.
At the beginning of the 19th century, it was considered a sign of "good form" to compose a vaudeville for the benefit of an actor or actress. For example, the vaudeville "Own Family, or the Married Bride" in 1817 was created by A.S. Griboyedov in collaboration with A.A. Shakhovsky and N.I. Khmelnitsky for M.I. Valberkhova. D.T.'s five-act vaudeville was particularly successful. Lensky's "Lev Gurych Sinichkin or a Provincial Debutante", remade from the French play "The Father of the Debutante" (staged in 1839), it has been preserved in the repertoire of theaters to this day and is a reliable picture of the theatrical mores of that time.
Later, N.A. Nekrasov created several vaudevilles under the pseudonym N. Perepelsky (“You can’t hide an awl in a bag, you can’t keep a girl in a bag”, “Feoklist Onufrievich Bob, or a husband out of his element”, “This is what it means to fall in love with an actress” , "Actor" and "Grandma's parrots").
Usually vaudeville was translated from French. "The alteration to Russian manners" of French vaudeville was usually limited to the replacement of French names by Russians. Vaudevilles were created according to a very simple recipe. Repetilov also spoke about him in A.S. Griboedov's comedy "Woe from Wit":
"... six of us, look - vaudeville
blind,
The other six set to music,
Others clap when they give it..."
The passion for vaudeville was truly enormous. In October 1840, only 25 performances were staged at the Alexandrinsky Theater in St. Petersburg, of which almost each, in addition to the main play, had one or two more vaudevilles, but ten performances were, moreover, composed exclusively of vaudevilles.
From about the 40s, elements of topicality and polemic appear in vaudeville, and this is a great success with the public. It should be noted that topicality in Nikolaev times could not go beyond purely literary or theatrical topics (and then carefully), everything else was "strictly prohibited." In the vaudeville of D.T. Lensky, for example, "In people, an angel is not a wife, at home with her husband - Satan" Smudge sings:
"Here, for example, analysis
Polevoy's Pieces -
Both author and actor
They don't understand a word...
The most popular vaudeville authors were A.A. Shakhovskoy, N.I. Khmelnitsky (his vaudeville "Castles in the Air" survived until the end of the 19th century), A.I. Pisarev, F.A. Koni, P.S. Fedorov, P. I.Grigoriev, P.A.Karatygin (author of "Vitsmundir"), D.T.Lensky and others.
On February 23, 1888, A.P. Chekhov admitted in one of his letters: “When I write my own vaudeville, I will write vaudeville and live by it. It seems to me that I could write hundreds of them a year. Vaudeville plots come out of me like oil from Baku bowels". By that time, he had written "On the dangers of tobacco", "Bear", "Proposal".
Vaudeville
Vaudeville
Vaudeville. - The word comes from the French "val de Vire" - the Vir valley. The Vire is a river in Normandy. In the 17th century, songs known as "Chanson de val de Vire" became widespread in France. They are attributed to the folk poets of the 15th century - Olivier Basselin and Le Goux. But most likely this is just a collective designation of a special genre of a simple, unpretentious, humorous song of a folk character, light in melodic composition, mockingly satirical in content, and by its origin connected with the villages of the Vir Valley. This can explain the further transformation of the name itself - from "val de Vire" to "voix de ville" ("village voice"). In the second half of the 17th century, small theatrical pieces appeared in France, introducing these songs in the course of the action and from them, which themselves received the name "vaudeville". And in 1792, even a special "Theatre de Vaudeville" - "The Theater of V." - was founded in Paris. Of the French vaudeville artists, Scribe and Labiche are especially famous.
Our prototype for V. was a small comic opera of the late 17th century, which remained in the repertoire of the Russian theater and by the beginning of the 19th century. These include - "Sbitenshchik" Knyazhnin, Nikolaev - "Guardian-Professor" and "Misfortune from the carriage", Levshin - "Imaginary widowers", Matinsky - "St. Petersburg Gostiny Dvor", Krylov - "Coffee House", etc. Particular success had an opera-V. Ablesimov - "Melnik-sorcerer, deceiver and matchmaker" (1779). “This play,” says the Dramatic Dictionary of 1787, “aroused so much attention from the public that it was played many times in a row ... Not only from national listeners, but also foreigners were quite curious.” In Pushkin's "Count Nulin" the definition of V. is still associated with the concept of an aria, an opera:
"... Do you want to listen
Pretty vaudeville? and Count
Sings...
The next stage in V.'s development is "a little comedy with music," as Bulgarin defines it. This V. has received special distribution since about the 20s of the last century. V. Bulgarin considers “Cossack the Poet” and “Lomonosov” by Shakhovsky as typical examples of such. “The Cossack poet,” writes F. Vigel in his Notes, “is especially notable for the fact that he was the first to appear on stage under the real name of V. This endless chain of these light works stretched from him.”
Among the noble-guards youth of the early XIX century. it was considered a sign of "good form" to compose V. for a benefit performance of an actor or actress. And for the beneficiary it was beneficial, because it also meant some "propaganda" on the part of the author for the upcoming benefit collection. Later, even Nekrasov “sinned” with several vaudevilles under the pseudonym N. Perepelsky (“You can’t hide an awl in a bag, you can’t keep a girl in a bag”, “Feoklist Onufrievich Bob, or a husband is not at ease”, “This is what it means to fall in love with an actress”, "Actor" and "Grandma's Parrots").
Usually V. were translated from French. The "transformation into Russian manners" of French vaudeville was limited for the most part to the replacement of French names by Russians. Gogol in 1835 puts it in his notebook: “But what happened now, when a real Russian, and even a somewhat stern and distinguished by a peculiar national character, with his heavy figure, began to imitate the shuffling of a petimeter, and our obese, but quick-witted and intelligent a merchant with a broad beard, who knows nothing on his foot but a heavy boot, would instead put on a narrow slipper and stockings a jour, and the other, even better, would leave in his boot and become the first pair in a French quadrille. But almost the same is our national vaudeville. Belinsky’s verdict on Russian vaudeville is just as harsh: “Firstly, they are for the most part a reworking of French vaudeville, therefore, couplets, witticisms, funny situations, a plot and a denouement - everything is ready, just know how to use it. And what comes out? This lightness, naturalness, liveliness, which involuntarily captivated and entertained our imagination in French vaudeville, this witticism, these cute nonsense, this coquetry of talent, this play of the mind, these grimaces of fantasy, in a word, all this disappears in the Russian copy, and only heaviness remains. , awkwardness, unnaturalness, stiffness, two or three puns, two or three equivocations, and nothing more.
Secular theater-goers cooked V. usually according to a very simple recipe. Griboedovsky Repetilov also spoke about him (“Woe from Wit”):
“... six of us, looking - vaudeville
blind,
The other six set to music,
Others clap when they give it ... "
There are indications that Pushkin, meeting the requests of some friends, paid tribute to the custom of the then high society dandies, although the texts of Pushkin's vaudeville couplets have not been established with certainty.
Usually vaudeville verses are such that, with all the leniency, they can only be called rhyming.
The passion for vaudeville was truly enormous. In October 1840, only 25 performances were staged at the Alexandrinsky Theater in St. Petersburg, of which almost every one, in addition to the main play, had one or two V., but ten performances were, moreover, composed exclusively of vaudeville. Herzen, looking forward to M. S. Shchepkin’s arrival in London, recalls (in a letter to M. K. Reichel) not his big roles, but the vaudeville chorus:
"Chuk-chuk, Tetyana,
Chernobrov Kokhan.
Shchepkin himself played V. very willingly. They occupied a very prominent place in his repertoire. Going on tour in St. Petersburg in 1834, he sent Sosnitsky his repertoire, where, along with Woe from Wit, there are a lot of V.
Approximately from the 40s. V. begins to noticeably layer, now in the text, now in the form of acting gag and verses, an element of topicality and polemic, and this has great success with the public. Of course, topicality in Nikolaev times could not go beyond purely literary or theatrical malice (and then carefully), everything else was "strictly prohibited." In Lensky's vaudeville, for example, "In people, an angel is not a wife, at home with her husband - Satan" Smudge sings:
“Here, for example, is an analysis
Pieces of the Field -
Both author and actor
They don't understand a word...
V. Lensky's five-act "Lev Gurych Sinichkin or a Provincial Debutante", remade from the French play "The Debutante's Father", was especially successful. It has been preserved in the repertoire of theaters to this day, now, of course, it is already devoid of any topicality (of which there was a lot in it), but it has not yet lost its significance as a picture of theatrical customs of that time. In the 1940's, another special genre of V. "with dressing up" appeared. In them, the young actress Asenkova, glorified by Nekrasov, had a resounding success. The most popular authors of V. were: Shakhovskoy, Khmelnitsky (his V. "Castles in the Air" survived until the end of the 19th century), Pisarev, Koni, Fedorov, Grigoriev, Solovyov, Karatygin (the author of "Vitsmundir"), Lensky, and others.
The penetration of operetta from France at the end of the 60s (see) weakened V.'s enthusiasm, especially since all sorts of political impromptu (of course, within the limits of very vigilant censorship), gag and especially topical (in the same vaudeville type) couplets. Without such verses, the operetta was not conceived at that time. Nevertheless, V. has remained in the repertoire of the Russian theater for quite a long time. Its noticeable decline begins only in the eighties of the last century. Bibliography:
Gorbunov I. F., L. T. Lensky, "Russian Antiquity", No. 10, 1880; Tikhonravov N. S., prof., M. S. Shchepkin and N. V. Gogol, zhurn. "Artist", book. V, 1890; Izmailov A., Fedor Koni and the old vaudeville., “Yearbook of the Emperor. theatres, No. 3, 1909; Varneke B. V., History of the Russian theater, part II, Kazan, 1910; Notes, letters and stories of M. S. Shchepkin, St. Petersburg., 1914; Ignatov I. N., Theater and spectators, part I, M., 1916; Beskin E., Nekrasov-playwright, journalist. "Worker of Education", No. 12, 1921; Grossman L., Pushkin in theater chairs, L., 1926; Vigel F. F., Notes, vol. I, M., 1928, Beskin E. M., History of the Russian theater, M., 1928; Vsevolodsky-Gerngross, History of the Russian Theatre, M., 1929 (2 vols.).
Literary encyclopedia. - In 11 tons; M .: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friche, A. V. Lunacharsky. 1929-1939 .
Vaudeville
(French vaudeville from vau de vire - the valley of the Vir River in France, where folk songs - vaudevirs were widespread in the 15th century), a light piece with couplets. Initially - comic songs, from the 18th century. obligatory in comedies, then vaudeville becomes an independent genre. Found widespread in French dramaturgy of the 18th and 19th centuries. (E. Scribe and E. Labish were recognized as the best authors). In Russia, vaudeville became popular at the turn of the 1820s and 30s; it was a genre of moral and everyday life. The best works of this genre belong to A. I. Pisarev (1803-28), D. T. Lensky (1805-60), F. A. Koni (1809-79), N. A. also wrote vaudeville. Nekrasov.
Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Under the editorship of prof. Gorkina A.P. 2006 .
Vaudeville
VAUDEVILLE. Vaudeville is called a dramatic clash in a comedic way (see comedy). If in comedy dramatic combat is not supposed to be violent, then this applies even more so to vaudeville. Here, usually, a comedic violation of some very insignificant social norm is depicted, for example, the norm of hospitality, good neighborly relations, etc. Due to the insignificance of the violated norm, vaudeville is usually reduced to a sharp short collision - sometimes to one scene.
History of vaudeville. The etymology of this word (vaux-de-Vire, Vir Valley) indicates the initial origin of this type of dramatic creativity (the city of Vire is located in Normandy); later this word was interpreted through distortion as voix de ville - a village voice. Vaudeville began to be understood as such works in which the phenomena of life are defined from the point of view of naive village views. The light nature of the content is a hallmark of vaudeville. The creator of vaudeville, characterizing these works in terms of its content, was the 15th-century French poet Le Goux, who was later mixed with another poet Olivier Basselin. Le Goux published a collection of poems Vaux de vire nouveaux. These light humorous songs in the spirit of Le Goux and Basselin became the property of the broad urban masses in Paris, thanks to the fact that they were sung by wandering singers on the Pont Neuf. In the 18th century, Lesage, Fuselier, and Dorneval, in imitation of these vaudeville songs, began to compose plays of a similar content. The text of the vaudevilles has been accompanied by music since the beginning of the second half of the 18th century. The musical performance of the vaudevilles was facilitated by the fact that the entire text was written in verse (Ablesimov's Melnik). But soon, during the very performance of vaudeville, the artists began to make changes in the text in a prosaic form - improvisations on the current topics of the day. This made it possible for the authors themselves to alternate between verse and prose. Since that time, vaudeville began branching into two types: vaudeville proper and operetta. In vaudeville, spoken language prevails, while in operetta, singing prevails. However, the operetta began to differ in its content from the vaudeville. It parodies various phenomena of life. Such is Khmelnitsky's operetta (beginning of the 19th century): "Greek nonsense or Iphigenia in Taurida" and later: "Orpheus in Hell", "Beautiful Elena", "Daughter of the Market", "Songbirds", "Geisha", etc. After this differentiation of vaudeville, what remains behind it is at first a playful depiction of the life of the urban class in general, and then of the middle and petty bureaucracy.
The ease of content of vaudeville was also facilitated by the fact that it was compiled for the benefit of an artist or actress, and it was usually staged after a serious drama or tragedy. This determined the insignificance of its volume, although not only three-act vaudevilles, but even five-act vaudevilles are known (Lensky's vaudeville from 5 acts - "Lev Gurych Sinichkin or the Provincial Debutante"). The insignificance of the volume of vaudeville required a special thickening of the comic element in comparison with comedy. Therefore, the hyperbolic nature of the comic led to a rapid development of the action.
At first, vaudeville was written in verse, then the verses began to alternate with prose dialogues - with the indispensable repetition of the same verses with an appeal to the public; often the verses themselves were called vaudevilles. In later times, verses and music became optional.
Our most remarkable vaudeville players were Khmelnitsky, Shakhovskoy, Pisarev, Polevoy, Karatygin II, and others. In the era of reforms, vaudeville lost its significance, giving way to operetta. In most cases, the vaudevilles were translated plays, more often from French, but foreign names were often remade in a Russian way. In the form of vaudeville, Chekhov wrote his jokes: "The Bear" and "The Proposal".
V. Volkenstein., Iv. Lyskov. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925
Synonyms:
See what "Vaudeville" is in other dictionaries:
vaudeville- i, m. vaudeville f. 1. The kind of folk songs common in France. Sl. 18. obsolete. A playful vaudeville song, playful verses. BAS 2. Sang .. walking the streets some songs composed by Poems, like French Vaudevilles. ... ... Historical Dictionary of Gallicisms of the Russian Language
- (French vaudeville). A kind of theatrical play of cheerful, amusing content with singing; got its name from the name of the mountains. Vau, or Val de vire, where Olivier Basselin, at the end of the 14th century, composed cheerful drinking songs. Dictionary of foreign words, ... ... Dictionary of foreign words of the Russian language
Vaudeville- VAUDEVILLE. Vaudeville is called a dramatic clash in a comedic way (see comedy). If in comedy dramatic combat is not supposed to be violent, then this applies even more so to vaudeville. Here, usually, a comedy is depicted ... ... Dictionary of literary terms
See joke... Dictionary of Russian synonyms and similar expressions. under. ed. N. Abramova, M .: Russian dictionaries, 1999. vaudeville spectacle, opera (etc) a, joke, farce, vaudeville Dictionary of Russian synonyms ... Synonym dictionary
Modern Encyclopedia
Husband, French a dramatic spectacle with songs, singing, and the opera and operetta are all set to music. Vaudeville Vaudeville male. composing vaudeville. Yes, vaudeville is a thing, but everything else is gil. Griboyedov. Dahl's explanatory dictionary ... Dahl's Explanatory Dictionary
vaudeville- vaudeville. Pronounced [vaudeville] and permissible [vaudeville] ... Dictionary of pronunciation and stress difficulties in modern Russian
Vaudeville- (French vaudeville, from vau de vire, literally the valley of the Vir River in Normandy, where vaudeville folk songs were widespread in the 15th century), a kind of light comedy performance built on an entertaining intrigue, with couplet songs, ... ... Illustrated Encyclopedic Dictionary
What is "Vaudeville"? What is the correct spelling of this word. Concept and interpretation.
Vaudeville VAUDEVILLE. Vaudeville is called a dramatic clash in a comedic way (see comedy). If in comedy dramatic combat is not supposed to be violent, then this applies even more so to vaudeville. Here, usually, a comedic violation of some very insignificant social norm is depicted, for example, the norm of hospitality, good neighborly relations, etc. Due to the insignificance of the violated norm, vaudeville is usually reduced to a sharp short collision - sometimes to one scene. V. Volkenstein. \ History of vaudeville. The etymology of this word (vaux-de-Vire, Vir Valley) indicates the initial origin of this type of dramatic creativity (the city of Vire is located in Normandy); later this word was interpreted through distortion as voix de ville - a village voice. Vaudeville began to be understood as such works in which the phenomena of life are defined from the point of view of naive village views. The light nature of the content is a hallmark of vaudeville. The creator of vaudeville, characterizing these works in terms of its content, was the 15th-century French poet Le Goux, who was later mixed with another poet Olivier Basselin. Le Goux published a collection of poems Vaux de vire nouveaux. These light humorous songs in the spirit of Le Goux and Basselin became the property of the broad urban masses in Paris, thanks to the fact that they were sung by wandering singers on the Pont Neuf. In the 18th century, Lesage, Fuselier, and Dorneval, in imitation of these vaudeville songs, began to compose plays of a similar content. The text of the vaudevilles has been accompanied by music since the beginning of the second half of the 18th century. The musical performance of the vaudevilles was facilitated by the fact that the entire text was written in verse (Ablesimov's Melnik). But soon, during the very performance of vaudeville, the artists began to make changes in the text in a prosaic form - improvisations on the current topics of the day. This made it possible for the authors themselves to alternate between verse and prose. Since that time, vaudeville began branching into two types: vaudeville proper and operetta. In vaudeville, spoken language prevails, while in operetta, singing prevails. However, the operetta began to differ in its content from the vaudeville. It parodies various phenomena of life. Such is Khmelnitsky's operetta (beginning of the 19th century): "Greek nonsense or Iphigenia in Taurida" and later: "Orpheus in Hell", "Beautiful Elena", "Daughter of the Market", "Songbirds", "Geisha", etc. After this differentiation of vaudeville, what remains behind it is at first a playful depiction of the life of the urban class in general, and then of the middle and petty bureaucracy. The ease of content of vaudeville was also facilitated by the fact that it was compiled for the benefit of an artist or actress, and it was usually staged after a serious drama or tragedy. This determined the insignificance of its volume, although not only three-act vaudevilles, but even five-act vaudevilles are known (Lensky's vaudeville from 5 acts - "Lev Gurych Sinichkin or the Provincial Debutante"). The insignificance of the volume of vaudeville required a special thickening of the comic element in comparison with comedy. Therefore, the hyperbolic nature of the comic led to a rapid development of the action. At first, vaudeville was written in verse, then the verses began to alternate with prose dialogues - with the indispensable repetition of the same verses with an appeal to the public; often the verses themselves were called vaudevilles. In later times, verses and music became optional. Our most remarkable vaudeville players were Khmelnitsky, Shakhovskoy, Pisarev, Polevoy, Karatygin II, and others. In the era of reforms, vaudeville lost its significance, giving way to operetta. In most cases, the vaudevilles were translated plays, more often from French, but foreign names were often remade in a Russian way. In the form of vaudeville, Chekhov wrote his jokes: "The Bear" and "The Proposal". Iv. Lyskov.
Vaudeville- VAUDEVILLE m. French. a dramatic spectacle with songs, singing, and the opera and operetta are all set to music ... Dahl's Explanatory Dictionary
Vaudeville- Franz. the word Vaudeville comes from the word vaux-de-Vire, that is, the valley of the city of Vir in Normandy, the place of the river ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron
Vaudeville- (French vaudeville) a light comedy play with couplet songs and dances. Homeland V. - French ... Great Soviet Encyclopedia
Vaudeville- VAUDEVILLE, vaudeville, m. (French vaudeville) (theatre). A comic play of a farcical nature, originally. with ... Ushakov's Explanatory Dictionary
Vaudeville- m. 1. A short dramatic work of a light genre with an entertaining intrigue, couplet songs ... Explanatory Dictionary of Efremova
Vaudeville- VAUDEVILLE (French vaudeville, from vau de vire, literally - the valley of the river Vir in Normandy, where at 15 ...
