Barin. satirical drama

13.03.2019

Ministry of Education and Science, Youth and Sports of Ukraine

Eastern Ukrainian National University named after Vladimir Dahl

Faculty of Mass Communications

Department of Journalism

Test

in the discipline "General Ethnology"

specifics of folk drama. Rogue Drama "The Boat"

Completed by: student Paevskaya Natalia

Head: Professor Fesenko Yu.P.

Lugansk 2011

Plan

1. Formation of folk drama

2. Features of the wedding drama

3. Repertoire of Russian folk drama

4. Robbery drama "Boat"

1. The formation of folk drama

People's drama is primarily understood as dramas created directly by the people. If we approach the description of this phenomenon from the standpoint of its dialogue, aimed at depicting a person in action, then elements of folk drama can be found in various forms of art even at the very first steps. cultural development person. As A. N. Veselovsky demonstrated in his works, the primitive syncretism inherent in the first stages of creativity of all peoples, by virtue of its nature, already contains elements of folk drama.

In Russian folklore, elements of folk drama were widely represented both in the so-called calendar rituals and in family rituals, especially wedding ones. The elements of drama are already in their infancy in the most common village round dances and round dance games, while the round dances are often divided into two talking halves. For example, in the famous ritual song “And we sowed millet”: at the end of the song, one of the girls goes to the young women, and the girls sing:

We have lost in the regiment.

Oh, did-ladu, gone!

And the young people answer:

We have arrived in the regiment.

Oh, did-ladu, it's arrived!

During the ceremony, there is a symbolic transition of newly married girls into a circle married women. The same dialogue is found in other round dance games of a wedding nature. In other round dance games (for example, “The prince-king is walking around the city”, “I’ll come up, I’ll come up under the stone city”, “You, wind, cabbage”, “Hare”, “Sparrow”, etc.) song text is only an accompanying explanation of the highly developed dramatic action. Exclusively big interest from the point of view of literary evolution, they represent those ritual games that reproduce different types household chores: a round dance game that reproduces in action and song the entire process of processing flax (“Under oak flax, flax”), or a song that reproduces in its game and in a verbal explanation the entire process of weaving. The character of a dramatic action is also carried by many rituals associated with family life - with birth, marriage and death. And yet, the most favorable ground for the development of a dramatic game is certainly a complex and solemn wedding ceremony.

2. The origins of drama in wedding ceremony

The peasant wedding ceremony is also an extremely complex, multi-component game (realized by the peasantry itself - it is not for nothing that the term “playing a wedding” is common). This game is divided into distinct separate parts, like acts or actions, with a duration sometimes of several days and with a large number of participants. Unlike round dance games, which have an invariant text, the wedding game consists of a curious contamination of traditional stage maxims and some song texts. The latter have a kind of improvisation that penetrates into the lamentations of the bride, the sentences of the wedding boyfriend, into the conditional conversations of matchmakers with the parents of the bride, etc. The specificity of this improvisation lies in the fact that individual motives and the nature of the roles are determined in advance by centuries-old custom, while the verbal canvas is created every time anew by the performers-authors, in accordance with the role of each of them, but within the limited limits of the stylistic canon inherent in this genre and even this role.

Whereas dance games are almost entirely the creation of communal peasant life, in the wedding ceremony, along with the original peasant elements arising from the very foundations of the peasant economy, layers of the artistic and everyday culture of other social strata also play a significant role, which is reflected both in the texts of songs and sentences, and in material form. Monuments of antiquity, in particular, note the active participation in the wedding amusements of buffoons, masters of verbal and theatrical art, serving different social strata, from the royal court to the rural area. Remains of the buffoons' creativity are found by researchers both in the sayings and in the play of the wedding bridesmaids, as well as in special comic scenes played out at the wedding and already directly related to the folk drama.

One of the elements of wedding entertainment is the so-called dressing up (as a goat, a bear, women - a man, men - a woman), the theatrical nature of which is beyond doubt. The same dressing is found in many agricultural ceremonies (for example, at Christmas, on Shrovetide, on Rusal Week, on Ivan's Day, etc.). Genetically, they go back to the remnants of totemism and primitive magic. A technical improvement in disguise is the use of a mask. The use of the mask, which is widespread among different peoples, is associated with the development of animistic ideas: apparently, its initial purpose is to give the bearer of her qualities of the being that she represents.

3. Repertoire of Russian folk drama

The repertoire of Russian folk drama is small: only a few plays from a plot point of view. Most often they call the plays "Tsar Maximilian", "Boat", "Barin", "Horse", "Mavrukh", "Pakhomushka". However, here the emphasis should be on the improvised nature of the folk drama, which led to the existence a large number variations of the same piece. The most famous Russian folk drama is "Tsar Maximilian", found in two hundred versions, which differ significantly from each other. The origin of "Tsar Maximilian" has not yet been clarified. Some researchers, eg. V. V. Kallash, suggested that this play is a dramatic reworking of the life of the martyr Nikita, the son of the persecutor of Christians Maximilian, who subjected Nikita to torment for confession Christian faith. Others (P. O. Morozov and A. I. Sobolevsky), based on foreign names in the play (Maximilian, Adolf, Brambeul or Brambeus, Venus, Mars), suggest that this drama goes back to some school drama of the first half of the 18th century, which in turn is based on some translated story late XVII - early XVIII century. But from these possible prototypes, stories and school drama, "The Comedy about Tsar Maximilian and his son Adolf" should have retained, in any case, only very little - maybe only the scenes where the pagan king demands worship of "idol gods" from his Christian son. The rest of the content is saturated with scenes borrowed, apparently, from various interludes (including "About Anika the Warrior and His Struggle with Death"), episodes from the nativity scene, the Petrushka Theater, as well as from other folk plays related to "Tsar Maximilian ”: “Boats”, “Master”, etc. In addition, the text of “Tsar Maximilian” is full of excerpts from folk songs and romances, as well as distorted quotations, folk adaptations of poems by Pushkin, Lermontov and other poets.

drama ritual round dance peasant

4. Robbery drama "Boat"

The robber drama "The Boat" is the second most widespread Russian folk drama. The names "Boat", "Gang of robbers", "Ataman" are also known, one of the complicated options is "Mashenka". According to its basic scheme, this play is very close to the traditional beginning of several robber songs, often timed to coincide with the name of Stepan Razin: a boat is described floating down the river (“Mother Volga”) with robbers sitting in it and an ataman standing in the middle of the boat.

According to this play, one can trace the features of composition and style characteristic of folk drama. Firstly, this is a weakly marked plot core: in the “Boat” the key motif is the journey of the robbers, led by the chieftain and passing meetings with the old man, captain, etc. In one of the common options, the journey begins due to the ordinary boredom of the chieftain and ends reprisal against the landowner. Thus, the social orientation of the work becomes clear, as well as the typical division into “us” and “them”, the opposition “people” and “landlords”.

The dramatic effect of the plays did not consist in complex twists and turns and the development of action, but rather was achieved through a quick change of scenes, comic dialogue. The techniques that form the comic of the dialogue were simple. One of the popular tricks was oxymorons, built on the combination in one or several phrases of concepts or images that contradict each other: “All of us, good fellows, were soaked, so that not a single thread was left wet, but all were dry”;

"Esaul. We need you! Are you glad to us, dear guests? Landowner. Glad! Esaul. How glad? Landowner. How the hell!”.

The reception of the game by homonyms (that is, words that sound the same, but different in meaning) and synonyms (similar in meaning, but different in form) is also widespread. Often the game of homonyms is enhanced and facilitated by the motive of the deafness of one of the actors:

« Esaul. I see: a deck on the water! Ataman(as if he didn't hear it). What the hell is the governor! ”;

« Esaul(declares). Black on the sea. Ataman(as if he didn't hear it). What the hell?"

The composition is also characterized by the use of repetitions borrowed from songs. The action goes in a circle: the ataman with the same saying (“Come to me soon, / Speak to me boldly! / You won’t come up soon, / You won’t say it boldly - I order you to roll a hundred, / Your Esaul service will be lost for nothing!” ) tells him to sing a song to him first, then to inspect the surroundings; the esaul, in turn, repeats "I look, I look and I see." These elements become a kind of narrative nodes, verbal markers of action.

There is an opinion that initially such dramas arose among schoolchildren, and they were most widespread among the soldiers and part of the peasantry, which broke away from the village thanks to seasonal work. The conditions of barracks or artel life implied the accumulation in one place a large number familyless people, which in itself contributed to the creation of peculiar theater groups. The plays learned in the city or at the factory were then carried around the villages, became an integral part of the Christmas pastimes and involuntarily absorbed dramatic elements traditional ritual folklore.

Bibliography

1. Veselovsky A. N. Historical poetics. - M .: " graduate School", 1989. - 408 p.

2. Vsevolodsky-Gerngross V. N. Russian oral folk drama. - M.: Publishing House of the Academy of Sciences of the USSR, 1959. - 136 p.

3. Golovachev V. G., Lashchilin B. S. People's Theater on the Don. - Rostov-on-Don: Rostizdat, 1947. - 184 p.

4. Russian folk drama of the 17th-20th centuries: Texts of plays and descriptions of performances / Ed., Intro. article and comment. P. N. Berkova. - M.: Art, 1953. - 356.p.

Recorded by N.N. Vinogradov

Ataman, formidable, in a red shirt, black undershirt, black hat, with a gun and a saber, with pistols in his belt; the undershirt and hat are richly decorated with gold paper.

E with a l 1, dressed almost the same as the Ataman; silver paper decorations.

The robbers are dressed in red shirts, on their heads are fur hats with badges made of multi-colored paper, various weapons are in their belts.

Unknown (aka Bezobrazov), dressed in a soldier's uniform, with a gun in his hands and a dagger on his belt.

A wealthy landowner, elderly, sometimes gray-haired, in shoes, a jacket or dressing gown, a bowler hat on his head, in his hands a pipe with a long shank.

The action takes place on the wide expanse of Mother Volga, on a slant 2 boat; last scene on the shore, in the house of a rich landowner. No scenery 3 , no scenes 4 , no prompter 5 , nor any stage equipment in general is required.
All those participating in the performance enter a predetermined hut with the singing of a song. Most often the following is performed:
Allow me, master.

Enter the new hill!

Example: Oh, viburnum, oh, raspberry!

Black currant. (twice)

Enter the new hill

Walk along the hill (twice)

Speak the word.

In your house, master,

Is there an extra log?

If an extra log,

Let's cut him out!
At the end of the song, E with a u l comes forward, and, turning to the owner, says: “Would you like to see the performance, owner?”

The owner usually answers: "You are welcome!", "Welcome!" or something like that.

All participants in the performance go to the middle of the hut and form a circle, in the middle of which they stand against each other Ataman and Esaul.
S c e n a 1st
A ta man (stomps his foot and screams menacingly). Esaul!

E s a u l (stomps his foot in the same way and shouts in response). Ataman!

A t a m a n. Come to me quickly

Speak to me boldly!

Won't come soon

Do not speak boldly -

I order you to roll a hundred

E a l. Here I am in front of you

Like a leaf before grass!

What do you order, Ataman?

A t a m a n. Something is boring... Sing me my favorite song

E with a l. Listen, Ataman! (Sings a song, the choir picks up. The beginning of each line is sung by Esaul.)
Oh you mountains, my mountains,

Vorobyovskie mountains!

Nothing, you, oh yes, the mountains.

They didn't argue.

You only spawned, mountains,

White-combustible stone.

Runs from under the stone

A fast river ... etc.

Ataman, while singing a song, walks back and forth in deep thought, with his arms crossed on his chest. At the end of the song, he stops, stamps his foot and screams.
A t a m a n. Esaul!

Come to me quickly

Talk to me boldly!

Won't come soon

Do not speak boldly -

I order you to roll a hundred

Your Esaul service will be lost for nothing!

A t a m a n. We'll hang out here. Let's go down the Mother Volga for a walk. Instantly build me a stagnant boat!

E with a l. Ready, Ataman.

Rowers in places

Paddles on the sides!

Everything is in perfect working order.
At this time, all the robbers sit down on the floor, forming an empty space (boat) between them, in which Ataman and Esaul walk about.
A t a m a n (referring to E s a u l u). Well done! Spent soon! (Turning to the rowers.) Pray guys to God! Back off.
The rowers take off their hats and cross themselves; then they begin to sway back and forth, clapping hand in hand (rowing and splashing of oars are depicted).
A t a m a n. Esaul! Sing my favorite song!
E s a u l, together with all the robbers, sings:
Down the mother along the Volga ...
A t a m a n (interrupting the song). Esaul!

Come to me quickly

Talk to me boldly!

Won't come soon

Do not speak boldly -

I order you to roll a hundred

Your Esaul service will be lost for nothing!
E with a l. What do you order, mighty Ataman?

A t a m a n. Pick up the suspicious phone

Go to the Ataman cabin,

Look in all directions:

Are there no stumps, roots, small places?

ESAUL takes a cardboard tube and looks around.
A t a m a n (shouts). Look back, tell me quickly!

E with a l. I look, I look and I see!

A t a m a n. Tell me what you see

E with a l. I see: a deck on the water!

A t a m a n ( as if I didn't hear it).

What the hell is the governor!

Whether there are a hundred or two hundred -

Let's put them all together!

I know them and I'm not afraid

And if I flare up

I'll get even closer to them.

Esaul-well done!

Take my suspicious phone

Go to the ataman cabin,

Look at all four sides

Are there no stumps, roots,

small places,

Lest our boat run aground!

Look back

Tell me quickly!

Esaul starts looking around again. At this time, the singing of the song is heard from afar:
Among the dense forests

The robbers are coming...

A t a m a n (angrily stomping and screaming).

Who is this walking in my reserved forests

And sings songs so loudly?

Take and bring here immediately!

E s a u l (jumps out of the boat, but immediately returns).

A daring stranger walks in your reserved forests

And sings bold songs

And you can't take it

Threaten to kill with a gun!

A t a m a n. You are not Esaul, but a woman,

Your guts are weak!

How many Cossacks you want take.

And bring a daring stranger!
Esaul takes several people and jumps out of the boat with them.
S c e n a 2nd
Esaul with the robbers return and bring with them the bound Stranger.
A t a m a n (terribly). Who are you?

I don't know about me. Feldwebel 6 Ivan Pyatakov!

A t a m a n. How dare you walk in my reserved forests

And sing bold songs.

I don't know about me. I don't know anyone:

Wherever I want, I walk there

And I sing daring songs!

A t a m a n. Tell us, whose tribe are you?

I don't know about me. I don't know my tribe

And I've been walking freely recently.

There were two of us - brother and me,

Nurtured, nurtured someone else's family.

Life was not sweet

And envy took us;

bored bitter share,

I wanted to take a walk.

My brother and I took a sharp knife

And set off on a dangerous trade:

Will the moon rise in the sky

We are from underground dark forest,

We crouch and sit

And we look at the road:

Whoever walks the road

Rich Jew

Or a belly-bellied gentleman, -

We beat everyone

We take everything!

And not at midnight deaf

Let's lay down a triple

We drive up to the tavern

We drink and eat everything for nothing ...

But the good fellows did not walk for a long time,

We were soon caught

And together with the brother, the blacksmiths forged,

And the guards took to prison,

I lived there, but my brother could not:

He soon fell ill

And didn't recognize me

And he recognized everything for some old man.

My brother soon died, I buried him,

And he killed the guard.

He himself ran into the dense forest

Under the cover of heaven;

Wandered through the thickets and slums

And got to you.

If you want, I will serve you

I won't let anyone down!

A t a m a n (referring to E s a u l u). Write it down! This will be our first warrior.

E with a l. Listen, mighty Ataman! (Turning to the Unknown.) What is your name?

I don't know about me. Write - Bezobrazov!

Ataman again orders Esaulul to take a telescope and see if there is any danger.
E s a u l (declares). On the sea black 7,

A t a m a n (as if he didn't hear it).

What the hell?

These are worms in the mountains,

In the water - devils

In the forest - knots,

In the cities - referee hooks

They want to catch us

Yes, sit on the prisons.

But I'm not afraid of them

And I'll get closer to them.

Look back

Tell me soon

Otherwise, I’ll order you to roll a hundred raziki -

Your Esaul service will be lost for nothing!

E s a u l (looking again into the pipe). I look, I look and I see!

A t a m a n. What do you see?

E with a l. I see a big village on the shore!

A t a m n. It would have been like this for a long time, otherwise our belly has let down for a long time. (Turning to the rowers.) Turn around guys.
All the robbers in chorus pick up and merrily sing the song:
Turn it up guys

Along the steep bank ... etc. to end.

The boat comes to shore. Ataman orders Esaul to find out who lives in this village.
E s a u l (Screams to audience.) Hey, half-honors, who lives in this village?
Someone from the audience answers: "Rich landowner!"
Ataman (sends Esaulak to God the landowner to find out).

Is he happy for us?

Dear guests?
S c e n a 3rd

E s a u l (gets out of the boat and, going up to one of the participants in the performance, asks). Is the owner at home? Who lives here?

Landowner. Wealthy landowner.

E with a l. We need you!

Are you happy for us.

Dear guests?

Help!

E with a l. How glad?

Pom esch and k. How the hell!

E s a u l (terribly). Ka-ak? Repeat!

E with a l. Well. That's it! […]

Esaul comes back and reports everything to Ataman.

Ataman tells the robbers to go to visit the rich landowner. The gang gets up and walks around the hut several times, singing a "roaring" song: "Hey, mustache! Here are the mustaches! Ataman mustache!

Having finished the song, the gang approaches the rich landowner.

Ataman and landowner repeat almost literally the dialogue with

e s a u l o m.
A t a m a n. Is there money?

L o m e s h i k. No!

A t a m a n. You're lying, there is!

Pomeshch and k. I tell you - no!

A t a m a n. (turning to the gang, shouting). Hey, well done, burn, fell Rich landowner!

U. At home, you got acquainted with the work of oral folk art, which is called "Boat". And you, of course, have already noticed that this work is somehow special: it starts with a list of characters, then it comes to the scenery, then comes Scene 1. In the scenes, the characters talk and sing different songs, mostly about the life of robbers. You have to find out the features of this work. Where should you start?

D. First you need to find out what kind of work it is. This is a play. Written for stage performance. We have already read the plays of Maeterlinck and Marshak.

U. The plays are intended to be staged theater stage. But this play is special. It is not intended for the theatre. It, judging by the beginning of the text, was played by the peasants in some kind of hut. Let's try to understand the features of this folk genre. What determines the structure of each genre?

D. genre task.

U. And what is the level of the leader that meets the task of the genre in such works as a fairy tale, story, song?

D. Picture of life.

U. Where is it better to start: with the task of the genre or with the picture of life?

D. It is easier to first understand the picture of life, and then think about what problem the author solves by choosing just such a picture of life.

U. Well, let's start with a picture of life. What is she?

D. The robbers are sailing on a boat and talking, then they meet an unknown person, they rob the landowner.

U. The heroes of the "Boat" talk, perform some actions. What is this all for? What task is "hidden" here? Is this task similar to the task of the genres you already know? (You can invite the children to look at the diagrams.)

D. General task epic genres - to tell about the events and the manifestation of the inner world of the characters in them in the assessment of the narrator. And here the characters perform some actions by which we learn about what kind of characters they have. There is their speech, from which we learn what they think, feel. Heroes are tested in clashes, in conflict. Just no narrator. It should not be in the play, because the play is not told, but shown.

U. So, this play cannot be attributed to the epic genres.

What can you say about spiritual qualities characters in the play? How does the author-people evaluate them?

D. The heroes of the play are robbers. They rob the rich landowner. And the people do not feel sorry for the landowner at all: “Hey, well done, burn, the Rich Landowner has fallen!”

U. Do you like robbers?

U. Didn't you find it funny when you read this play?

D. Robbers are funny - they say funny: " suspicious a tube". It's funny when Ataman pretends that he didn't understand Esaul. Or he's actually deaf, and that's funny too.

U. Often in this play it is funny that the characters pronounce "wrong" words like "suspicious pipe" and other words called "colloquial". After all, the people spoke in simple language, did not know literary language, which was written and spoken by educated people.

And I would like to emphasize one more thing: the word "Jew" in those days was not abusive, offensive. It meant the same as the word "Jew".

Outcome of the discussion.

The robbers in this play are not scary and even funny. Relationships with them are complex. Ataman and Yesaul cause laughter, and the Stranger, who talks about his life, sympathizes. Ridiculous and rich landowner, who at first declares that he is glad uninvited guests"like hell." And then, frightened, he says - "as dear guests." He does not want to give away his wealth, which for him dearer than life, and provokes the wrath of the thieves. The show ends with a dump. Which is also funny. On the other hand, the free life of robbers is attractive to the creators of this drama.

In general, folk works often depict " noble"Thieves who stand up for the poor, rob the rich and distribute their wealth to the poor, that is, according to the people, they act justly.

Noble robbers in folklore also became real leaders of popular riots - Stepan Razin, Emelyan Pugachev.

But there are other works of folk art in which cruel murderous robbers are bred. Such robbers rob and kill everyone in a row, and their people condemned.

A. Pushkin "Brothers-robbers".

But were the real robbers really noble? To answer this question, let us turn to the unfinished poem Alexander Sergeevich Pushkin "The Robber Brothers".

Listen to the beginning of this poem (reads an excerpt from the poem - see task No. 12 in the literature notebook).
Not a flock of ravens flew

On piles of smoldering bones

Beyond the Volga, at night, around the lights

The remote gang was going.

What a mix of clothes and faces

Tribes, dialects, states!.

From huts, from cells, from dungeons

They flocked 8 for constrictions 9!

Here the goal is the same for all hearts -

They live without power, without law.

Between them is seen and the fugitive

From the banks of the warlike Don,

And in black curls a Jew,

And the wild sons of the steppes,

Kalmyk, ugly Bashkir,

And a red-haired Finn, and with idle laziness

Everywhere wandering gypsies!

Danger, blood, debauchery, deception -

The essence of the bonds of a terrible family;

The one with a stone soul

Passed all degrees of villainy;

Who cuts with a cold hand

A widow with a poor orphan,

To whom the moaning of children is funny,

Who does not forgive, does not spare,

Who delights in killing?

Like a young man of love, a date.
Everything is quiet, now the moon

Its pale light directs them,

And a glass of foamy wine

From hands to others passes.

Stretched out on damp ground,

Others fall asleep lightly, -

And ominous dreams fly

Over their criminal head.

To others the stories are cut

Gloomy night is an idle hour;

Alien's new story,

And all around him listens:

“There were two of us: my brother and me.

We grew up together; our youth

Raised by an alien family:

We, children, life was not a joy;

We already knew the needs of the voice,

They endured bitter contempt,

And early worried us

Cruel envy torment.

Didn't stay with the orphans

No poor hut, no field;

We lived in grief, among worries,

We are tired of this share,

And agreed among themselves

We have a lot to test a different one:

We took as comrades

Damascus knife and dark night;

Forgotten shyness and sadness

And the conscience was driven away ... "

U. Does the alien monologue remind you of anything?

D. Very similar to the monologue of the Stranger.

U. Right. And this happens because Pushkin's poem is connected with a folk robber song about two robber brothers. AND " Boat", And poem Pushkin based on the same story. Folklore researchers believe that an excerpt from Pushkin's poem is included in the folk play in a modified form. Indeed, in the text of the folk play there is no explanation why the sick brother mistook the Stranger for "some old man." Who is this old man? And in Pushkin's poem, the stranger talks about the old man and explains why his brother remembered him:
Then again flared up in it

Boring conscience torment:

Ghosts crowded before him,

Threatening with a finger from afar.

Most often the image of an old man,

long slaughtered by us,

It came to his mind;

Sick, closing his eyes with his hands,

He prayed for the old man like this:

"Brother! Have pity on his tears!

Do not cut it for old age ...

His decrepit cry is terrible to me ...

Let him go - he is not dangerous;

There is no warm blood in it ...

Do not laugh, brother, over gray hair,

Do not torment him ... maybe with pleas

He will soften God's wrath for us! .. "
And now open in notebooks on literature task number 12. First, write yourself: which text do you like best and why.

Children in writing answer the question of the task, and then compare their answers orally.

U. Do the Stranger in the folk play and the stranger in Pushkin's poem evaluate their actions equally?

D. In the folk play, the Stranger says nothing about conscience. So his conscience does not bother him. But the hero of Pushkin says that they "driven the conscience away."

U. How does the narrator in Pushkin's poem evaluate the robbers? Let's find in the text words-evaluations and underline them.

Children under the guidance of the teacher complete the task.

Outcome of the discussion. Pushkin has a completely different assessment of the robbers. Yes, Pushkin feels sorry for the brothers when they were little orphans, he sympathizes with their grief, but, unlike the creators of The Boat, he does not sympathize with robbery, as a result of which people die. Pushkin is bitter, for him a robber is, first of all, a villain who is waiting for "God's wrath."

In a folk work, everything is different: there the robbers are cheerful, free people, although they are funny in some of their manifestations. For no reason, they attack the Rich Landowner, who did them nothing wrong. And the scene of their collision is also presented not scary, but funny.

U. Let's return to our task. You have to understand the features of this play as a type of folk art. Think about whether there are similarities between The Boat and any particular type of fairy tale?

D. Eat. It looks like a household fairy tale. The task of a household fairy tale is to ridicule the evil features of a person, to express admiration for his intelligence and resourcefulness. The picture of life is everyday, there are heroes - ordinary people, they perform such actions in which their spiritual qualities are tested.

U. What is the leading emotional tone in a household fairy tale?

D. (vying with each other). Smile. Laugh at people's bad traits. Joyful surprise ingenuity.

U. Is there anything funny in Pushkin's poem about robbers?

D. No. It's all very sad, seriously. And even scary.

U. And in the "Boat" - is everything funny, or is there sadness here?

D. It's a pity for the Stranger - in childhood, he and his brother had a "bitter fate." It's sad when the Stranger says that his brother died.

U. Plays are funny - they are comedies. There are sad, mournful - these are tragedies. There are laughter and tears in plays; such plays are called dramas"(from the Greek. "action"). So, you have found similar features of the play! Boat "with a household fairy tale. Is there a difference? If there is, then what is it primarily expressed in?

D. (vying with each other). There is no narrator. "Boat" does not affect. Her actors play. This is a play.

U. And at the beginning of the lesson, you correctly noted that there is a similarity folk play "Boat" with original plays Maurice Maeterlinck "The Blue Bird" And Samuil Marshak« Twelve months". But before talking about the similarities between folk plays and author's plays, remember what features of author's plays you "discovered" for yourself last year.
Note. For further "memories", the teacher should reread the relevant lessons in the previous manual. It is desirable to restore in the memory of children the texts of the plays of Maeterlinck and Marshak.
As a result of the discussion children "discover" the concept of " drama as a kind of literature. In the course of the lesson, the teacher is on the blackboard, and the children in their notebooks fill out the “Drama” column in diagram No. 14. (After the lesson, the table is entered in the class book.)

	TYPES OF LITERATURE
	Lyrics	epic	Drama
Task	Express internal events and their manifestations in the external world	Tell about external events and the manifestation of the inner world of heroes in them in the assessment of R	Show external events and the manifestation of the inner world of heroes in them
Peculiarities	Development of thought-feeling LG (lyrical plot)	The development of the action: the conflict (clash) in which the characters participate, and its resolution (epic plot)	Development of the action: the conflict in which the characters participate and its resolution (dramatic plot)
Main genres	Small works various subjects(usually in verse form)	Story, fairy tale, epic, fable, …………	Play …………

Conclusion.

The task of the drama is to show on the theatrical stage the actions of the characters, their behavior in conflict, revealing their inner qualities. The characters in front of the audience perform some actions, talk to each other. This is how the heroes of the play are "tested". The plays do not have a narrator.

The main feature of the play is that it is intended not to be read, but to be staged. A lot of people are working on the production: the director, the set designer and costume designer, the musical designer of the performance, lighting and, of course, the actors who play the roles of the characters. And the characters are called "actors". And they are called so because operate: moving around the stage, talking. And everything that the actors should not say, but all the directors of the performance should know, the author writes down for them in a special font - in remarks(from the French "author's explanation", "author's instructions"). Before the start of the play, a list of actors (heroes) is reported, then he writes about what scenery should be on the stage, and everything that the actor needs to do is written along the text of the play, usually in brackets.

U. Today you got your first impressions of the drama as kind literature. In the future, you will deepen these concepts, get acquainted with dramatic genres learn to apply them in your reading practice.

Please note that the term "drama" refers to both a kind of literature and one of its genres. The third meaning in which this word is used in ordinary speech is “a difficult event, an experience that causes moral suffering.

Now we can talk about similarity author's plays and folk plays. What are the similarities between these works?

D. They are composed for staging, for the performance of performers. They, of course, have a similar task - to show the inner qualities of the characters through their actions and statements, to express author's assessment what is happening.

U. Is there a difference in what the author expects from directors? Well, for example, compare how the scene is described by Marshak and how it is described in "The Boat"?

D. Marshak is counting on a real theater, with scenery and lighting. And in a folk play, the action takes place in a hut, there is no scenery, I even “make” a boat out of robbers.

U. Yes. This folk play – « folk drama. Are you ready to complete the scheme of building "folk drama" as a genre?

D. ...

U. Usually, before drawing conclusions about the structure of a genre, do we analyze one work or several? Why?

D. Some. It is impossible to judge a genre by one text, because a genre is common features various works of this kind.

U. True, the scheme includes the most common features of many works. And it was all the more easy for you because with the works of all previous genres (with different fairy tales and with fables) you were familiar in advance. Here are just the drawling songs you didn’t know well, but they are small in volume, and you could quickly get acquainted with several of them. And “folk dramas” are big texts. In addition, there are generally few of them (it was not the most common genre of folk art). How can we be with the scheme?

D. ...

U. In order not to make a mistake (suddenly some features, most likely, not the main ones, but still come across in other dramas or, conversely, they will not be in other dramas), let's make the scheme more specific, not to folk drama in general, but to a certain folk drama "Boat".

The teacher is on the blackboard, and the children are in their notebooks begin recording scheme No. 12 (the final form of the scheme, see below).

The task of the play- to cause laughter of the audience in relation to the characters, to arouse sympathy for some of them. Leading levelpicture of life- the actions of the characters, their speech. Heroes are ordinary people. Actions and conversations that reveal inner world heroes.

U. Which next level should you reveal?

D. Building a picture of life.

U. What determines the construction of a picture of life in epic works similar in task to folk drama?

D. Plot.

U. Yes, the development of action, the development of the conflict in which the characters participate. What moments did you highlight in the plot of fairy tales?

D. Preaction, initiation of action, climax of action, denouement and aftereffect.

U. Is all this in the drama "Boat"?

The teacher, under the "dictation" of the children, draws a diagram of the plot on the board (options are possible).

Suggestion: "Sing my favorite song."

Z1 - "Build me a boat."

B1 - rowers sit on the floor.

R1 - "Back off!"

Z2 - "Who is this ... walking ... bring here immediately!"

B2 - "How dare you...?" - "Wherever I want, I walk there ..."

R2 - “Write it down! This will be our first warrior."

Z3 - "Is he glad to us, dear guests?"

B3 - "Do you have money?" - "No".

R3 - "Burn, fall of the Rich Landowner!"

U. Just like epic texts, drama has a plot. How do you find out about the plot in a drama?

D. Actors act and speak.

U. And from their actions, from their words, we learn about the events. Where, for example, do you learn about the Unknown?

D. A song is heard behind the stage, and then Ataman orders to find the one who sings.

U. And how do you know how this meeting ended?

D. From the words of Ataman: "This will be our first warrior."

U. This means that we learn about the development of actions, about the actions, characters of the heroes when see the actions of actors playing the roles of heroes, and hear their conversation is a dialogue. But in this conversation - heroes dialogue- breaks in long story Unknown about his fate. Is this statement the same as all the others, or does it have some peculiarities?

D. ...

Outcome of the discussion. This is a special statement - it seems to be independent of other replicas. Such a statement introduces the viewer to circumstances that have not been staged: how else could we learn about the hero's past?

U. There are also special statements in the text of this drama. For example:
E s.a at l. I see: a deck on the water!

A t a m a n ( as if not hearing).

What the hell is the governor!

Whether there are a hundred or two hundred -

Let's put them all together!

I know them and I'm not afraid

And if I flare up

I'll get even closer to them.

E with a l. On the sea black.

A t a m a n (as if he didn't hear it).

What the hell?

It's worms in the mountains

In the water - devils

In the forest - knots,

In the cities - referee hooks

They want to catch us

Yes, sit on the prisons.

But I'm not afraid of them

And I'll get closer to them.
At. You have already said that it turns out very funny when Ataman answers out of place, “as if he didn’t hear it.” Is this for laughs? Or is there another purpose? Are these words necessary for the development of action? Is the ataman really “getting close” to the governor, to the “judicial hooks”?

D. No, it is not selected. Action because of these words does not develop.

U. Then why?

D. …

Outcome of the discussion. Ataman here expresses some of his thoughts. The creator of the drama, as it were, gives the Ataman the opportunity to reveal his inner world to the viewer, to show his attitude to life through a statement that is not directly related to the development of the action. Such statements, which do not depend on the interlocutor's remark, reveal mental life hero, his character, and are called monologue(from the Greek "one" and "word", "speech"), in contrast to dialogue- a conversation between two people. You came across this kind of monologue in a fable:
- undress me, undress me,

Lay me, cover me

turn me over

And there, go, I'll fall asleep myself.

Next, the teacher leads the children to write in the diagram: Building a picture of life- preaction, plot, peak, denouement, dialogue, monologue, remarks, songs.

Then, with the help of a teacher, the children identify the features of the remaining levels of the form, noting a special non-literary level - the acting ( write down "discoveries" in scheme No. 12).

FOLK DRAMA "BOAT"

The task of the play. To cause laughter of the audience in relation to the characters, to evoke sympathy for some of them.

Leading level

Picture of life. The actions of the characters, their speech. Actions and conversations of heroes performed by "actors".

HEROES are ordinary people.

ACTIONS AND TALKS revealing the inner world of the characters.

Construction of QOL. Preaction, tie, peak, denouement.

Dialogue, monologue, remarks, songs.

Offer. Replicas.

Word. vernacular.

Sound drawing. Enhances the expressiveness of QOL.

Rhythmic pattern. The rhythm of the verse prevails.

Rhyme. End and inner.

Acting
(After the lesson, transfer the diagram to the class book.)
U. Now that you have remembered what you knew about author's plays, learned something about folk drama and even got the first ideas about drama as kind literature, one can raise the question of how a play is created. How did, for example, Marshak act? And how did the author who created the play "The Boat" act?

D. Marshak took an already existing fairy tale and made a play out of it. And about the "Boat" we have already said that a folk robber song about two robber brothers was known. And Pushkin wrote his poem on the plot of this song. And in the folk drama, a monologue of an alien from Pushkin's poem is used.

U. Exist two ways creating plays. Can be "translated" into a play epic work. So Marshak shifted fairy tale - epic genre- into a play, and the result was a "dramatic fairy tale." And you can come up with a play immediately as a play. And these are different works of art. Here we always say: "Author, author." But depending on what the author composes, he is called differently. What is the name of the author who writes poetry?

D. Poet.

D. Storyteller.

D. Playwright.

U. Yes, playwright creates the play himself. And what is the name of the work of the author, who takes the finished epic work and creates a play based on it?

What does a dramatist need to do in order to “translate” an epic work into a dramatic one? Compare the tasks of the epic and drama (diagram No. 14). What is the similarity? What is the difference?

Children express their opinions.
Homework . Read the articles "Drama" and "Staging" in the textbook. Make a dramatization of the fairy tale "The Golden Sickle" - the first "wave" of the plot: Z1 - the request of the fox, B1 - the fox does not give the sickle, P1 - the hare is crying. You can work together and then play prepared dramatizations.
Lesson 79
Collective creative work
U. At home, you should have tried to translate a part of the fairy tale "The Golden Sickle" for staging on stage. What is this type of work called?

Natasha. Staged.

Dima. Yes, sure. I thought up an introduction about a hare.

U. So, who's ready to try first?

Three come out: Artem , Rafik , Dima .

Artem. Mother rye goes to the ear (this is for the artist). And in brackets: "The Fox and the Hare came to the market." The third is the seller.

Artem: Sell the sickle.

R a f i k. With you 10 sous.

Dima. Sell.

Artem. Then in brackets: "The hare pressed a lot."
U. Such a remark in brackets can be given in the text of the play, but how can this be shown on stage?

Children do gestures as if they are reaping.

Dima. The fox approached the hare: "Let the sickle work for a day."

ARTEM: Please. (Pause.) Give me back my sickle.

Dima. Get out of here, wicked one.
U. Let's evaluate the work. What worked and what didn't work in the staging?

Pavlik. It is necessary not to say "in brackets", but to show. It's not for reading.

U. Yes. And the actors had to tell. And they pressed a lot or a little - it's not visible. What is the fox like?

D. Cunning.

U. Immediately cunning or not immediately?

Misha. Here she is a simpleton - she bought herself a bast sickle.

U. Why was she stupid?

Mitya. There is no money ... And I hoped.

U. You are already thinking about it. Was it in the text of the fairy tale?

Lena. She is smart but stupid.

U. And the fox must be greedy. Have you seen it? Bast sickle is cheaper. Did she ask the price of the sickle?

D. No.

U. And more about the price. In a Russian fairy tale, can there be "su"?

Nastya. No, we had money.

U. Or polushki, but certainly not “su”.

Misha. And if she is greedy, then she would buy a lot: everything for herself and herself.

U. But for this you need to spend a lot of money. You, Misha, invent your own fox, and you only have to stage it. You need to portray such a fox as it is in a fairy tale. And in the fairy tale it says "stored." Is it necessary to go to the market for this?

D. (vying with each other). Maybe she already had a sickle. She did it herself. Money was a pity. Too lazy to go. It's hot, far away.

U. Let's go back to the beginning of the tale: “It was in the summer - from spring to autumn. Mother rye began to rush to the ear, to pour at the right time. This is our authors "translated" into the scenery. And “it’s time to reap”, can this be “translated” into a decoration?

D. (in order). Words must be done. A hare can run and say: "It's time to reap." Add heroes, villagers.

U. Needed here extra heroes? Won't such a "translation" spoil the tale?

Olya. The hare went to the market, and the Fox fumbled around the house. The hare says to the Fox: "It's time to reap."

U. Is that what he's going to say? Or is it better in some other way?

Dima."Fox, little fox, it's time to reap"

U. Already better, we must not forget about the language of the fairy tale. And how does Lisa respond?

Seryozha."Fox, Fox, it's time to sharpen the sickles." Lisa: "Let's do it again."

Misha. A hare passes by: "I'm going to buy a sickle and I can buy you."

U. Okay, but will the hare address the Fox in this way? How does he feel about her?

BOAT

(People's Theater / Compiled, introductory article, preparation of texts and comments by A. F. Nekrylova, N. I. Savushkina. - M .: Sov. Russia, 1991. - (B-ka of Russian folklore; T. 10. - pp. 65-72, comments p. 502)

Characters:

Ataman, formidable, in a red shirt, black undershirt, black hat, with a gun and a saber, with pistols in his belt; the undershirt and hat are richly decorated with gold paper.
Esaul, dressed almost the same as Ataman; silver paper decorations.
R6breakers, dressed in red shirts, on their heads are fur hats with badges made of multi-colored paper, various weapons are behind their belts.
Unknown(aka Bezobrazov), dressed in a soldier's uniform, with a gun in his hands and a dagger in his belt.
Wealthy landowner, elderly, sometimes gray-haired, in shoes, a jacket or dressing gown, a bowler hat on his head, a pipe with a long chibouk in his hands.

The action takes place on the wide expanse of Mother Volga, on a slant boat; the last scene on the shore, in the house of a rich landowner. No scenery, no backstage, no prompter, or any stage equipment in general is required.

All those participating in the performance enter a predetermined hut with the singing of a song. Most often the following is performed:

Allow me, allow me, master,
Into the new hill, enter!

Chorus:
Oh viburnum! Oh raspberry!
Blackcurrant (twice).

Enter the new hill.
Walk along the mountain, (twice).
Speak the word.
In your house, master,
Is there an extra log?
If an extra log,
Let's cut him out!

At the end of the song comes forward Esaul and, turning to the host, says: "Would you like to see the show, master?"
Master usually answers: "You are welcome!", "Welcome!" or something like that.
All participants in the performance go to the middle of the hut and form a circle, in the middle of which they stand against each other Ataman And Esaul.

SCENE 1

Ataman (stomps his foot and screams menacingly). Esaul!
Esaul (stomps his foot in the same way and shouts back). Ataman!
Ataman. Come to me quickly
Talk to me boldly!
Won't come soon
Do not speak boldly -
I order you to roll a hundred

Esaul. Here I am in front of you
Like a leaf before grass!
What do you order, Ataman?
Ataman. Something boring... Sing me my favorite song.
Esaul. I'm listening. Ataman! (Sings a song, ko picks up. Esaul sings the beginning of each line.)
Oh, you, my mountains, mountains, Vorobyovskie mountains!
You, oh yes, the mountains, didn’t spoil anything.
You only spawned, mountains, a white combustible stone.
A fast river runs from under the pebble...

Ataman While singing a song, he walks back and forth in deep thought with his arms crossed on his chest. At the end of the song, he stops, stamps his foot and screams.

Ataman. Esaul!
Come to me quickly
Talk to me boldly!
Won't come soon
Do not speak boldly -
I order you to roll a hundred
Your Esaul service will be lost for nothing!
Esaul.
Ataman. We will hang out here
Let's go down the mother Volga to roam.
Instantly build me a stagnant boat!
Esaul. Ready, Ataman:
Rowers in places
Paddles on the sides!
Everything is in perfect working order.

At this time everything robbers they sit on the floor, forming between them an empty space (boat), in which Ataman and Esaul walk around.

Ataman (referring to Esaul) Well done! Spent soon! (Turning to the rowers.) Pray guys to God! Back off.

rowers take off their hats and cross themselves; then they begin to sway back and forth, clapping hand in hand (rowing and splashing of oars are depicted).

Ataman. Esaul! Sing my favorite song!

Esaul sing along with all the robbers.

Down the mother along the Volga ...
Ataman(interrupting the song). Esaul!
Come to me quickly
Talk to me boldly!
Won't come soon
Do not speak boldly -
I order you to roll a hundred
Your Esaul service will be lost for nothing!
Esaul. What do you order, mighty Ataman?
Ataman. Pick up the suspicious phone
Go to the ataman cabin,
Look in all directions:
Are there any stumps, roots, small places?

Esaul takes a cardboard tube and looks around.

Ataman(shouts). Look back, tell me quickly!
Esaul. I look, I look and I see!
Ataman. Tell me what you see
Esaul. I see: a deck on the water!
Ataman (as if he didn't hear it).
What the hell is the governor!
Whether there are a hundred or two hundred -
Let's put them all together!
I know them and I'm not afraid
And if I flare up
I'll get even closer to them.
Esaul-well done!
Take my suspicious phone
Go to the ataman cabin,
Look at all four sides
Are there any stumps, roots, small places,
Lest our boat run aground!
Look back
Tell me quickly!

Esaul starts looking around again. At this time, the singing of a song can be heard from afar.

Among the dense forests
The robbers are coming...
Ataman (angrily stomping and screaming).
Who is this walking in my reserved forests
And sings songs so loudly?
Take and bring here immediately!
Esaul (jumps out of the boat, but immediately returns).
A daring stranger walks in your reserved forests
And sings bold songs
And you can't take it
Threaten to kill with a gun!
Ataman. You are not Esaul, but a woman,
Your guts are weak!
How many Cossacks you want take
And bring a daring stranger!

Esaul takes several people and jumps out of the boat with them.

SCENE 2

Esaul return with the robbers and bring with them a bound stranger.

Ataman (terribly). Who are you?
Stranger. Feldwebel Ivan Pyatakov!
Ataman. How dare you walk in my reserved forests
And sing daring songs?
Stranger. I don't know anyone;
Wherever I want, I walk there
And I sing daring songs!
Ataman. Tell us, whose tribe are you?
Stranger. I don't know my tribe
And recently I'm walking freely ...
There were two of us - brother and me,
Nurtured, nurtured someone else's family.
Life was not sweet
And envy took us;
Bored bitter fate
I wanted to take a walk.
My brother and I took a sharp knife
And set off on a dangerous trade,
Will the moon rise in the sky
We are from the underground - into the dark forest,
We crouch and sit
And we all look at the road:
Whoever walks along the road -
Rich Jew
Or a belly-bellied gentleman, -
We beat everyone
We take everything!
And not at midnight deaf
Let's lay down a triple
We drive up to the tavern
We all drink and eat for free ...
But the good fellows did not walk for a long time,
We were soon caught
And together with the brother, the blacksmiths forged,
And the guards took to prison,
I lived there, but my brother could not:
He soon fell ill
And didn't recognize me
And he recognized everything for some old man.
My brother soon died, I buried him.
And he killed the guard.
He himself ran into the dense forest
Under the cover of heaven;
Wandered through the thickets and slums
And got to you.
If you want, I will serve you
I won't let anyone down!
Ataman (referring to Esaul). Write it down! This will be our first warrior.
Esaul. Listen, mighty Ataman! (To the Stranger) What is your name?
Stranger. Write - Bezobrazov!

The ataman again orders Esaul to take a telescope and see if there is any danger.

Esaul(declares). Black on the sea.
Ataman(as if he didn't hear it).
What the hell?
It's worms in the mountains
In the water - devils
In the forest - knots,
In cities - judicial hooks -
They want to catch us
Yes, sit on the prisons.
But I'm not afraid of them.
And I'll get closer to them.
Look back
Tell me soon
Otherwise, I order you to roll a hundred raziki -
All your Esaul service will be lost for nothing!
Esaul (looking again into the pipe). I look, I look and I see!
Ataman. What do you see?
Esaul. I see a big village on the shore!
Ataman. It would have been like this for a long time, otherwise our belly has let down for a long time. (Turning to the rowers.) Turn guys!

All the robbers in unison pick up and cheerfully whine the song:

Turn around guys
To a cool shore ...

The boat comes to shore. Ataman orders Esaul to find out who lives in this village.

Esaul (shouts to audience). Hey, half-honors, who lives in this village?

Someone from the audience answers: "Rich landowner!"

Ataman (sends Esaul to the rich landowner to find out).
Is he happy for us?
Dear guests?

SCENE 3

Esaul (gets out of the boat and, going up to one of the participants in the performance, asks). Is the owner at home? Who lives here?
Landowner. Wealthy landowner.
Esaul. We need you!
Are you happy for us
Dear guests?
Landowner. Glad!
Esaul. How glad?
Landowner. How the hell!
Esaul (terribly). What? Repeat!
landowner (in a trembling voice). Like dear friends.
Esaul. Well, that's it!

Esaul comes back and reports everything to Ataman. The ataman orders the robbers to visit the rich landowner. The gang rises and circles around the hut several times, singing a "roaring" song: "Hey, mustache! Here is a mustache! Ataman's mustache! .." Having finished the song, the gang approaches the Rich Landowner. The Ataman and the Landowner repeat almost literally the dialogue with Esaul.

Ataman. Is there money?
Landowner. No!
Ataman. You're lying, there is!
Landowner. I tell you - no!
Ataman (turning to the gang, shouting). Hey, well done, burn, fell Rich landowner!

There is a scuffle and the show ends.

Folk heroic-romantic dramas, in contrast to everyday satirical ones, arose and were formed not only on folklore basis. They actively used songs of literary origin, as well as lubok and folk book(popular novels and pictures about robbers, chivalric novels). Some heroic-romantic dramas are known in a single version (for example, the patriotic play about the war of 1812 "How a Frenchman Took Moscow"). The most popular were "Boat" and "Tsar Maximilian".

The drama "The Boat" was widely distributed. V. Yu. Krupyanskaya, who studied this drama, wrote that the oldest centers of its existence were St. Petersburg with its district, as well as central regions Russia (original centers textile industry: Moscow, Yaroslavl, Tver, Vladimir provinces.), From where the play migrated to the North, the Urals, to the Astrakhan province, to the Don villages. "Boat" existed in the peasant and Cossack environment, among soldiers, workers, artisans.

Several dozen variants of the "Boat" are known. In popular use, this play had different names: "Boat", "Gang of Robbers", "Black Raven", "Stepan Razin", "Ermak", etc.

Sometimes the people saw in the robbers fighters against serfdom. One of the editions of the drama had an antibar orientation (see, for example, in the version published in the Reader, the ataman's appeal to the gang: "Hey, well done, burn, the rich landowner has fallen!"). But not all options ended in this way. N. I. Savushkina, who studied the drama, wrote that the call to burn and burn a rich landowner is found in only a few versions, and mainly in late Don recordings. Most of the options ended with a treat for the robbers, singing, dancing. Such a game ending is more organic for the drama.

The origin of "robber dramas" had its own history. Krupyanskaya wrote that the presence in all known texts of the play "The Boat" of the song "Down the mother along the Volga ...", combined with a certain dramatic performance, makes us consider the texts of "robber dramas" that have come down in the records of the 19th-20th centuries as close variants to each other, genetically ascending to the staging of the song "Down the mother along the Volga ...".

The origin of this song is attributed to the second half of the 18th century. Her creative rethinking took place under the influence of the plots and images of traditional robber songs, in particular songwriting about Stepan Razin. As a type of performance "Boat" in its primary basis is a song dramatization, where the mimic reproduction of the general content (imitation of rowing) and the dramaturgy of the plot (personification of characters, elements of dialogue) are close to traditional folk ideas type of games.

In the process of performance, various songs about robbers, literary lyrical works, satirical scenes: "The Imaginary Master", "The Master and Afonka", "Doctor" - in the "Gang of Robbers"; "Master and Afonka", "Master and Warden", "Doctor" - in "Ermak", etc.

An organic part of the drama was an excerpt from A. S. Pushkin's poem "The Brothers-Robbers".

The stranger, who called himself sergeant major Ivan Pyatakov, tells why and how he and his brother became robbers, how they were caught, taken to prison, etc. At the same time, he speaks in the words of Pushkin's poem - not literally, with changes ("There were two of us - brother and me...).

It can be assumed that the drama was also influenced by the historical legends of the Razin cycle.

In one version of The Boat, Ataman talks about the death of his brother and his release from prison:

- But me, good fellow,

They couldn't keep them behind the stone walls.

Behind the iron locks.

I wrote a boat on the wall and ran away from there.

In this version, the Jaeger, telling how he and his brother escaped from prison, says:

- In prison, on the wall they wrote a boat

And they ran away from there.

In folk legends, Stepan Razin escaped from prison in a similar way.

This drama is also close to the Razin cycle of folklore works by the fact that one of its characters is Stenka Razin himself - however, here he is not an ataman.

In the development of drama big role played literary sources, mainly popular literature about robbers. This affected the plot (complication of its romantic situation - love scenes), in the development of the characters of the characters (the introduction of typical characters: Knight, Larisa, etc.), in general style drama.

Zueva T.V., Kirdan B.P. Russian folklore - M., 2002

Characters:

Barin, in a red shirt and jacket; straw epaulettes on the shoulders; on his head is a straw hat with paper figures cut out; in the hands of a cane, decorated with paper figures. The master has a big belly and the jacket is not buttoned up.
From the merchant, on the shoulders of an army coat, in the hands of a pusher, on his head he holds a hat - an ordinary one.
Panya, Kumachnik - a red sundress, a white shirt and a white apron, a two-row belt, silk; on the head there is a "dressing" with ribbons, in the hands of a "koragushka" - a fan and a scarf.
A horse, a man, a straw tail is forged to him.
Amazing people: half a dozen or seven boys of twelve years old; soot-covered faces.
The bull, especially, does not dress, but slips in from the Fofans.
Askers, usually from the audience.

In Tamtsa, players who play "Barin" are usually taken from different "quarters" of the village (the village is divided into four "ends" that have special names), - Barin, for example, from Zarechye, Otkupchik even from the Upper, Panya, let's say, from Serechye, Horse, let's say, from the bottom. This is done so that no end of the village is offended.
The game begins like this: the players come up to the house where, for example, a party takes place. They open the door, and the first horse runs into the hut and whips the audience with a chariot; all those in the hut stand on the benches, some climb on the floor, and thus the hut becomes free for action. Behind the Horse, the whole company enters the hut and goes with songs to the front corner; a lantern is carried in front of them. In the front corner, Barin stands facing the people, next to him on one hand is Panya, on the other is the Farmer. The people and the fofans (mummers) from the street follow the players and stand all over the hut.

Viceroy, Viceroy,
good fellows,
red maidens,
Hello!

In with e (answer). Hello, hello, mister barin, hello!

B a r i n. Owner, hostess
Viceroy, Viceroy,
good fellows,
Red girls,
Do you have any proseb between you?

In with e. Yes, there is.

B a r i n. Come on, come on!

One of the Fofans comes up, pretending to be a petitioner.

P r o s i t e l. Sir, please accept my request.

B a r i n. Who are you?

Beggar (called by a fictitious name, - the name of some guy in the village). Vladimir Voronin.

B a r i n. What are you asking for?

P r o s i t e l. I ask for Paraskovya: Parashka loves me in years, and Vasily loves another guy in winters.

B a r i n. And come here, Paraskovya, here. Why do you love two people at once?

Paraskovya is also the real name of some girl in the village. Instead, one of the Fofans comes up to the call of the Master and begins to argue and swear with the petitioner. They say what they want; who swears stronger and wittier, he has more success with the public. The master and the farmer consult aloud which of the suing men is guilty and whom to punish: a guy or a girl; find guilty, for example, a girl. The master says: "Come on, Paraskovya, lean on your back!" Paraskovya obeys the court's decision and turns his back. The farmer punishes her with a whip. After the first petitioner, another appears and lays out some other request about a neighbor, about a wife, and so on. The requests are usually based on some fact that really exists in the village, which, of course, is exaggerated, brought to the ridiculous, to the point of absurdity, and thus the court is a satire on local life and customs, sometimes very evil, sometimes cruel. When there are no more petitioners and all requests are considered, court decisions are given and sentences are executed, the sale of the horse begins.

B a r i n. Kupchinushka, is there a horse to sell?

About t to y p sch and k. There is, there is.

They bring a horse. The master leads the Horse around the hut, watches him run, looks into his teeth, pokes his sides, makes him jump over a stick and decides to buy.

B a r i n. How much do you want for a horse?

O t to y p sch and k. One hundred rubles in money,
forty magpies
Salty.........
Forty anbars
frozen cockroaches,
Arshin oil,
Three skeins of sour milk,
Mikhalka Tamitsyna nose,
Our Kozharikha's tail.

B a r i n. I'll find a hundred rubles in my pocket,
And forty magpies
Salty.....
Forty anbars
dry cockroaches

Seek whether, laity?

In with e. We will seek, we will seek.

The master gives the money and takes the Horse.

B a r i n. And what, merchant, do you have a bull to sell for meat?

O t to u p s ch and k. As no, there is, there is.

B a r i n. How much do you want for a bull?

O t to y p s ch and k. One hundred rubles in money.
forty magpies
Salty.....
Forty anbars
Dry cockroaches...

As usual, the bargain goes to the end. When the bargaining ends, the Bull - a man in a turned-out fur coat and with a lid on his head, is brought up, and the Master hits him on the head with a log, the lid breaks, the Bull falls; the fofans pounce on him and crumple his sides; release blood.

B a r i n. And what, merchant, don't you have amazing people to sell?

About t to y p sch and k. There is, there is. Hey, amazing people, get out!

Amazing people jump out, make faces, dance, spit in all directions, then leave.

B a r i n. Hey, little one, give me scarlet vodka.

One of the Fofans goes and carries a bottle of water. They sing the song "In the Pit", and Barin, arm in arm with Panya, walk several times through the hut. Leaving the hut for another party, they say goodbye.

B a r i n. Owner, hostess
Viceroy, Viceroy,
good fellows,
red girls,
Farewell!

In with e. Farewell. Farewell!

The whole company goes to another party, which is visited by three or four in the evening.

Barin. satirical drama

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Recorded by N.N. Vinogradov