It began in ancient times. Suppose that in those days slavery reigned and there was no education. But people knew what theater was. Growing out of the depths of a long human history, it is rooted in the mysteries of the most ancient folk mass rituals, games and festivities. The traditional primary acts of a comic and tragic nature (such as saturnalia, mysteries) that arose on this basis contained elements of a dramatic (in mythological design) plot, included dances, dialogue, choral songs, disguise, masks. Gradually, there was a separation of action and ritual and cult foundations, the selection of a choir of heroes from the crowd, the transformation of a mass significant festival into an organized spectacle. All this created the prerequisites for the emergence of a literary drama so beloved by all. The forced division into spectators and actors revealed the important social functions of this
This process was clearly expressed in the theater of ancient Greece, which had a huge impact on the active development of European art. In the city-states, he became an important head of public life. What is theater in ancient Greece? Representations then were a great nation-wide festival. In the huge, gigantic open-air amphitheaters, as many as tens of thousands of bewitched spectators gathered. In addition to the available professional actors, the performance could also be played by the citizens themselves - directly by the participants in the choir. Dance and music remained essential, the main elements of the action.
What is theater in ancient Rome? Here the staging side of most performances developed more actively, even the type of stage changed, professional theatrical equipment increased, various types of performances arose (musical and dance performances on mythological subjects - pantomimes, which, having reached their heyday in the era of the Empire, remained until the 5th century. popular theatrical genre).
The European theater of the Middle Ages practically ceased to exist. William Shakespeare and several other playwrights in the 15th century. revived it. Then, without exception, the roles in the performances were played by boys and men. Actresses first appeared in the popular troupes of Italian itinerant actors who acted out comedies "cel arte" (small comic plays with the obligatory participation of masked characters).
The humanistic culture of the Renaissance period revived the traditions of ancient theatrical art, combining them with the rich traditions of the people's national heritage. In the plays of famous playwrights of this era, history was revealed in the most acute political and social conflicts.
The rise of the theater is associated with the active spread of classicism, the social basis of which is the strengthening of certain absolutist regimes in some European countries. The task of the actors was to create a complex image of a hero who, in the course of internal struggle and severe trials, overcomes his own split between the requirements of society and private interest. Modern problems in this period acquired both abstract and generally significant character. That's what the theater of classicism is.
In the second half of the 18th century, he became the main spokesman for the ideas of the stormy bourgeois Enlightenment. In the art of the actors of that time, high civic consciousness was perfectly combined with an active desire to create new integral characters, showing an interest in historical truth.
Romanticism became the expression of the aspirations of the democratic masses and humanistic ideals. Under the banner of this era, a serious struggle unfolded in the drama with such epigone classicism - for nationality, historicism, national identity.
Realism, which was prepared by the theater and then by romanticism, acquired worthy independent forms in the 30s and 40s. 19th century and reached its highest dominant position by the middle of the century.
In the modern theater, a synthesis of many types of art, social problems and emotions is produced - psychological analysis, high moral problems, immediacy of the emotional state, authenticity and grotesque, experience and detachment, lyrics and satire. All this comes in the most daring and unexpected combinations. What is contemporary theater? This is a pronounced tendency to strive for increased activity of images, for saving important artistic means, as well as for their content. Today this kind of art is unthinkable without a director. Also significant now is the scenography.
The theater has its roots in ancient Greece over two millennia ago. The most ancient art originated as a spectacular entertainment for the public, festive scenes of costumed actors. The performances were originally timed to coincide with the Great Dionysius, a great religious holiday.
Now the theater is undoubtedly something more than a procession of singing men in goatskins through the city. It has become a high art, a way of relaxation for high society, a place of cultural enlightenment. The history of the theater is a fascinating process of development that continues to this day. We will tell the reader in our article. You will also find many interesting facts in the presented material. So, let's begin.
Start
Athens in the 5th century BC. e. theatrical performances were an integral part of religious holidays. Processions with the statue of Dionysus were accompanied by cheerful chants and dramatic games. We can say that the history of the Athenian theater began as an amateur performance for a small number of onlookers. Initially, only tragedies were staged, comedies began to be shown later. It is noteworthy that the plays, as a rule, were shown only once. This stimulated the authors to create relevant, interesting works. The playwright not only wrote the play, he was a full-fledged participant in the performance, playing the roles of director, composer, choreographer and even actor. Naturally, these were exceptionally talented people.
But to become a choreg (leader of the choir), great talent was not required. All they needed was money and connections with government officials. The choreg's main duty was to pay the bills, provide full financial support and support the theatre. It was in those days a place of competition, the choreg, the poet and the protagonist won it. The winners were crowned with ivy and awarded prizes. The victory was given to them by the decision of the jury.
An interesting fact is that the ancient Romans were real fans of realism. The production was considered ideal in which the actor got used to the role by 100% - if necessary, he had to be ready even to die.
At the time when Pushkin was alive, theaters in Russia were not completely seated. The back rows were occupied by people standing on their feet throughout the performance.
A landmark play in the history of Russian theatrical art is "Undergrowth" by D. I. Fonvizin, which became the first attempt to ridicule officials, nobles, typical characters of the 18th century. Starodum (a positive character) was the first to play just the above-mentioned Dmitrevsky.
In 1803 the imperial theaters were divided. Drama and musical troupes appeared, as well as opera and ballet troupes as parts of the musical one. The dominance of the French school of playing on the Russian stage lasted until the 19th century. It was then that the Russian theater finally got on its feet and went its own way. The adopted experience became a good base, and the discovery of new talented Russian composers, actors, dancers raised the theater to a high level.
P. N. Arapov was the first to describe the entire history of the Russian theater in one encyclopedia - “Chronicles of the Russian Theater”. Theater magazines and professional critics appear. Thus, the development of the theater gave impetus, among other things, to Russian literature.
The most famous theater in Moscow
The history of the Bolshoi Theater begins on March 28, 1776. It was on this day in Moscow that Empress Catherine II signed a “privilege” for Prince Peter Urusov, allowing him to maintain the theater for ten years. It was called at first the Petrovsky Theater (in honor of the street on which the entrance went). In 1805, the building burned down completely, and a new project was created by the architect Osip Bove. In 1820, construction began, lasting 5 years.
The built theater became larger, which is why it got its name. This beautiful, harmonious, rich building pleased the inhabitants of Moscow until 1853, when the second fire broke out. This time, the reconstruction was entrusted to the architect Albert Kavos. The theater was restored already in 1856. The Imperial Bolshoi Theater became famous not only in Russia, but also in the world: it had excellent acoustics. In 1917, after the Revolution, the name was changed to the State Bolshoi Theatre. The decoration was supplemented with Soviet symbols.
He was seriously injured during the Great Patriotic War, taking on a bomb. The building was reconstructed again. Until 1987, the building underwent only minor cosmetic repairs. Now the Bolshoi Theater is a building with a new stage where modern effects can be used. At the same time, it has retained the spirit of classical architecture, its "signature" acoustics, which gives it the right to be considered one of the best theaters in the world. This is the history of the Bolshoi Theatre.
And finally, one more, no less interesting fact. Movies set wholly or partly in a theatre: Birdman, The Disaster Artist, La La Land, The Phantom of the Opera, Burlesque of a Tale, Knockout, Bumping Broadway, Black swan", "The Puppeteer", "A Terribly Big Adventure", "Shakespeare in Love", "Murder in a Small Town", "Orfevre Quay".
The history of the theater (drama and other genres of this art) will continue to develop, as interest in it has remained unchanged for more than two thousand years.
The word "theater" is translated from Greek as "spectacle" and as "a place for spectacles."
"Spectacle", "spectator", "vision" are related words, the same root.
That is, the theater is:
- what the viewer is watching: performances, concerts, performances (required on stage so that you can see the performance from anywhere in the auditorium);
- where the viewer looks: a special place, a building in which a theatrical performance takes place.
Therefore, you can say: "We were in the theater." And you can and "We watched the theater."
The emergence of theater
Theater originated in ancient times. In ancient Greece, it was customary to celebrate significant events: the onset of spring, the harvest. The Greeks especially loved the holiday of the god Dionysus, who personified the forces of nature, falling asleep in winter and reborn again with the first rays of the sun.
(Commentary for adults: This essence of Dionysus is also associated with his second hypostasis of the god of grapes and winemaking. The whole process of processing grapes, fermenting them and turning them into an exciting spiritwine can be considered a metaphor for death and rebirth Dionisa.)
This festival joy and freedom, when prisoners were released on bail, debtors were left alone and no one was arrested, so that everyone could take part in the fun,so it was called "Great Dionysius" and triumphed over the complete victory of spring over winter.
People sang songs, changed clothes, put on masks, made stuffed animals. At first, the holiday was held in city squares, and then special architectural structures were built for performances.
The theater building was built on a hillside. At the foot was a round platform - an orchestra, where singers, reciters, actors performed. Behind the orchestra there was a skena - a tent for changing clothes of actors and props.
Some theaters were truly huge and quite comparable in capacity to modern stadiums.
Ancient Greek theater located in the city of Larisa on the south side of Mount Furourio
Actors in the ancient Greek theater could only be men: they played both male and female roles. It was a very respected profession. And very complex. The actors had to perform in special masks (more details here), the audience could not see their facial expressions, so it was necessary to convey all emotions with gestures and voice.
And yet, the actors of the tragedies went on stage in special sandals on a high platform - they were called koturny. These high sandals made the gait slower, stately, proud, as befits a character in a tragedy.
(Interestingly, in ancient Rome, cothurni boots were worn onlyactors portraying gods and emperors to distinguish themselves from actors portraying ordinary people.
And at this link you can read a study that proves a different origin of the cothurni: "When the Greek tragedian received the role of a god, he had to solve a dilemma:<...>how to move around the stage? To lower the gods from their pedestals to the ground of an orchestra, to put them on the ancient stage "on the same level" with a man? Greek of the 6th-5th centuries BC. e. did not consider it possible to do this with the images of the gods. He was too closely bound to them by the bonds of religion. The actor has only one way left: to move along the stage along with the pedestal without leaving it. To do this, the pedestal was cut into two halves and each of them was tied to the leg. This is how the cothurni were invented.")
As we can see, the theater has reached our days, retaining the basic concepts. A visit to the theater is now holiday, A actor and now plays on a special site stage- before spectators trying to show the whole gamut emotions his character.
The Odeon of Herodes Atticus and the Acoustic Hall at the Mariinsky Theater (Mariinsky-2 )
Ancient Greek actors and actors of the play "Cipollino" ("Taganka Theatre")
Theater is a great miracle.As one of the heroines Tove Jansson said, "the theater is the most important thing in the world, because it shows what everyone should be and what they dream of being - however, many do not have the courage to do this - and what they are in life."
The history of the theater is the world of mankind
Theater of ancient Greece
Origins of ancient Greek drama and theatre.
The appearance of drama in Greece was preceded by a long period, during which the epic, and then the lyric, occupied the dominant place first. We all know the rich heroic epic poems of the Iliad and the Odyssey, the didactic (instructive) epic poems of Hesiod (7th century BC); These are the works of lyric poets of the 6th century. BC.
The birth of Greek drama and theater is associated with ritual games that were dedicated to the patron gods of agriculture: Demeter, her daughter Kore and Dionysus. Three genres of ancient Greek drama grew out of ritual games and songs in honor of Dionysus: tragedy, comedy and satyr comedy (named after the choir, which consisted of satyrs).
- Tragedy reflected the serious side of the Dionysian cult.
- Comedy - carnival-satirical.
- Satir drama was presented as an average genre. A cheerful playful character and a happy ending determined its place at the holidays in honor of Dionysus: the satyr drama was staged as a conclusion to the presentation of tragedies.
The role of tragic ideas in the socio-political and ethical education was enormous. Already in the second half of the VI century BC. the tragedy has reached a significant development. Ancient history reports that the first Athenian tragic poet was Thespis (VI century BC). The first production of his tragedy (its name is unknown) took place in the spring of 534 BC. at the Feast of the Great Dionysius. This year is considered to be the year of birth of the world theater.
In comedy, much more than in tragedy, worldly motives were mixed with mythological motifs, which gradually became predominant or even the only one, although in general comedy was still considered dedicated to Dionysus. Improvised scenes were an elementary form of folk farce theater and were called mimes (in translation it means "imitation", "reproduction"; the performers of these scenes were also called mimes). The heroes of mimes were the traditional masks of the folk theater: a would-be warrior, a market thief, a charlatan scientist, a simpleton who fools everyone, etc.
Theater of Athens.
Ancient Greek theatrical art reached its peak in the work of the three great tragedians of the 5th century BC - Aeschylus, Sophocles, Euripides and the comedian Aristophanes, whose activities capture the beginning of the 4th century BC. BC. Other playwrights wrote at the same time, but only small fragments of their works have come down to us, and sometimes only names and meager information.
Hellenistic theater.
In the era of Hellenism (VI-I centuries BC), the Greek theater of the classical period underwent significant changes regarding both dramaturgy and acting, and the architecture of the theater building. These changes are connected with new historical conditions. In the theater of the Hellenistic era, comedies and tragedies are still staged. But from the tragedies of the IV century. BC. only small fragments have survived, and, apparently, the artistic merit of the Hellenistic tragedy was not great. Much more data is available for judging comedy, since only one play and several excerpts from other plays by the greatest comedian of that time, Menander, have come down to us.
The comedy of the Hellenistic era is called the new Attic (or neo-Attic) comedy. The motif of love plays a big role in the new comedy. The authors of the new Attic comedy widely used the psychological theory of Aristotle's student Theophrastus, according to which all character traits are manifested in a person's appearance and in his actions. Physiognomic descriptions of Theophrastus undoubtedly influenced the design of the masks, which helped the audience to recognize this or that character. In the new comedy, the influence of Euripides is noticeable. The proximity of many of his heroes to life, the disclosure of their emotional experiences - this is what the new comedy took from Euripides.
The architecture of the ancient Greek theater.
Initially, the place for performances was arranged very simply: the choir with its chants and dances performed on a round rammed platform-orchestra (from the verb orheomai - “I dance”), around which the audience gathered. But as the theatrical art grew in importance in the social and cultural life of Greece, and as the drama became more complex, improvements arose. The hilly landscape of Greece prompted the most rational arrangement of the stage and spectator seats: the orchestra began to be located at the foot of the hill, and the audience was located on the slope.
All ancient Greek theaters were open and accommodated a huge number of spectators. The Athens theater of Dionysus, for example, could accommodate up to 17,000 people, the theater in Epidaurus - up to 10,000. In the 5th century BC. in Greece, a stable type of theatrical structure developed, characteristic of the entire era of antiquity. The theater had three main parts: an orchestra, a theatron (places for spectators, from the verb teaomai - "I look") and skene (skene - "tent", later a wooden or stone structure).
The size of the theater was determined by the diameter of the orchestra (from 11 to 30 m). The skene was located tangentially to the circumference of the orchestra. The front wall of the skene-proskenia, which usually had the appearance of a colonnade, depicted the facade of a temple or palace. The skene was adjoined by two lateral structures, which were called paraskenias. Paraskenii served as a place to store scenery and other theatrical property. Between the skene and the seats for spectators, which occupied a little more than half of the circle, there were aisles-parody, through which the spectators entered the theater before the start of the performance, and then the choir and actors entered the orchestra. In the theater of the classical era, the attention of the audience was focused on the development of the action, on the fate of the characters, and not on external effects. The layout of the Greek theater provided good audibility. In addition, in some theaters, resonating vessels were placed among the audience seats to amplify the sound. There was no curtain in the ancient Greek theater, although it is possible that in some plays some parts of the proscenium were temporarily closed from the audience.
Roman theater
The origins of the Roman theatre.
The origins of Roman theater and drama go back, as in Greece, to ritual games rich in carnival elements. Such, for example, is the feast of Saturnalia, in honor of the Italian deity Saturn. The peculiarity of this holiday was the “reversal” of the usual social relations: the masters became “slaves” for a while, and the slaves became “masters”.
One of the origins of Roman theater and drama was rural harvest festivals. Even in remote times, when Rome was a small community of Latium, holidays were celebrated in the villages in connection with the end of the harvest. At these holidays, merry rude songs-fescennins were sung. As in Greece, two half-choirs usually performed, exchanging jokes, sometimes of a caustic content.
Having originated during the tribal system, the fescennins also existed in subsequent centuries, and, according to Horace, the social struggle between the plebeians and patricians was reflected in them. This is how saturas arose (in translation it means "mixture"). Saturas were dramatic scenes of a domestic and comic nature, which included dialogue, singing, music and dancing.
Another type of dramatic performance of a comic nature was the Atellani, which were borrowed from other tribes that inhabited the Apennine Peninsula, with whom Rome waged continuous wars. The youth became interested in these games and began to arrange them on holidays. There were four recurring comic characters in the atellan: Mack, Bukkon, Papp, and Dossen. The Atellani did not have a solid text, so when they were performed, a wide scope for improvisation opened up. Mime also goes back to folk drama. As in Greece, the mime reproduced scenes from folk life, and sometimes parodied myths, deducing gods and heroes in a clownish form. Thus, in Rome there were approximately the same ritual games as in ancient Greece. But the development of the folk theater did not go beyond the weak beginnings of drama. This is due to the conservative way of Roman life and the strong resistance of the priests. Therefore, an independent mythology did not develop in Rome, which in Greece served as the “soil and arsenal” of art, including drama.
Roman theater of the Republican era.
The Romans took the literary drama in finished form from the Greeks and translated it into Latin, adapting it to their own concepts and tastes. After the victorious end of the first Punic War, at the festive games of 240 BC, it was decided to arrange a dramatic performance. The production was entrusted to the Greek Livius Andronicus, who was in slavery to the Roman senator, who gave him the Latin name Livius. After his release, he remained in Rome and began to teach Greek and Latin to the sons of the Roman nobility. This teacher also staged tragedy and, probably, also comedy, which he reworked from the Greek model, or, perhaps, simply translated from Greek into Latin. This production gave the first impetus to the development of the Roman theater.
From 235 BC the playwright Gnaeus Neviy begins to stage his plays. A younger contemporary of Nevius, Titus Maccius Plavt. His work refers to the period when Rome from an agricultural community turns into the strongest state - first of the Apennine Peninsula, and then of the entire Mediterranean basin. Publius Terentius Afr, who, like Plautus, worked in the genre of palliata, belonged to the next generation of playwrights. Terence can be called the forerunner of the new European drama. The European theater has repeatedly turned to his work. The influence of his comedies "Formion" and "Brothers" is felt in the work of Moliere.
Roman theater of the imperial era.
In the 1st century BC, the republic in Rome fell. After the assassination of Caesar and the victory over Antony in 31 BC. Octavian became emperor in Rome, who later received the honorary nickname Augustus ("Holy"). Augustus was well aware of the social significance of the theater and contributed in every possible way to its development. First of all, Augustus wanted to revive the tragedy of the Greek type on the Roman stage, seeing it as a means of improving and educating the morals of his citizens. These aspirations of Augustus were supported by one of the outstanding Roman poets, Horace, and reflected in his Science of Poetry. However, all the efforts of Augustus to revive a serious genre on the Roman stage were unsuccessful.
From the tragedy of the imperial era, nothing has come down to us, except for the tragedies of the philosopher Seneca. Lucius Annei Seneca was the tutor of Emperor Nero, at one time he held the highest positions in the state under him, but then he was accused of conspiring against the emperor and, on Nero's orders, committed suicide by opening his veins. Seneca began to write tragedies in the last years of his life, when Nero's attitude towards him changed and he was forced to more carefully express his views on the existing order.
Organization of theatrical performances.
Performances were held in Rome during various public holidays. Plays were played at the feast of the patricians, the Roman Games, held in September in honor of Jupiter, Juno and Minerva; at the Apollo Games in July. There was no permanent theater building in Rome until the middle of the 1st century. BC.; its construction was opposed by the conservative Senate. For the performance, a wooden platform, half the height of a man, was usually erected at the forum. A narrow ladder of 4-5 steps led to the stage platform, along which the actors climbed onto the stage.
In the tragedy, the action took place in front of the palace. In comedies, the scenery almost always depicted a city street with the facades of two or three houses overlooking it, and the action took place in front of the house. The audience sat on benches in front of the stage. But sometimes the Senate forbade the establishment of seats in these temporary theaters: sitting at the performances, according to the Senate, was a sign of effeminacy. All the structure built for theatrical games broke down immediately after their completion.
An event for Rome was the appearance of the first permanent theater built of stone. This theater was built in 55 BC. Gneem Pompey the Great and accommodated up to 40 thousand people. At the end of the 1st century BC. in Rome, two more stone theaters were built: the theater of Balba and the theater of Marcellus. From the latter, the remains of the outer wall, divided into three floors, have survived to this day, which corresponds to three inner tiers.
Theater of the Middle Ages
Liturgical and semi-liturgical drama.
Church drama became one of the forms of theatrical art of the early Middle Ages. Fighting against the remnants of the ancient theater, against rural games, the church sought to use the effectiveness of theatrical propaganda for its own purposes.
Already in the 9th century, the mass was theatricalized, a ritual of reading episodes from the legends about the life of Christ, about his burial and resurrection was developed. From these dialogues the early liturgical drama is born. There were two cycles of such a drama - the Christmas one, which tells about the birth of Christ, and the Easter one, which tells the story of his resurrection. In the Christmas liturgical drama, a cross was placed in the middle of the temple, then it was wrapped in black cloth, which meant the burial of the body of the Lord.
Over time, the liturgical drama becomes more complex, the costumes of the “actors” are diversified, and “director’s instructions” are created with an exact indication of the test and movements. All this was done by the priests themselves. The organizers of the liturgical performances accumulated stage experience and began to skillfully show the people the ascension of Christ and other gospel miracles. Approaching life and using staged effects, the liturgical drama no longer attracted, but distracted the parishioners from the service. The development of the genre was fraught with its self-destruction. Not wanting to refuse the services of the theater and not being able to cope with it, the church authorities take the liturgical drama out from under the vaults of the temples onto the porch. A semi-liturgical drama is born. And then the church theater, formally being in the power of the clergy, fell under the influence of the city crowd. Now she is already dictating her tastes to him, forcing him to give performances on the days of fairs, and not church holidays, to completely switch to his native language, understandable to the crowd. Concerned about success, churchmen began to select more everyday subjects, and biblical subjects subject to everyday interpretation become material for the semi-liturgical drama. Biblical legends are subjected to poetic processing over time. Technical innovations are also introduced: the principle of simultaneous scenery is finally established, when several scenes of action are shown simultaneously; the number of tricks increases. However, despite all this, the church drama continued to maintain a close relationship with the church. The drama was staged on the porch, at church funds, its repertoire was compiled by clergy (although participants in the performances, along with priests and laity). So, whimsically combining mutually exclusive elements, church drama existed for a long time.
secular dramaturgy.
The beginning of the realistic direction
The first sprouts of a new realistic trend are associated with the name of the trouveur (troubadour) Adam de La Halle (circa 1238-1287) from the French city of Arras. De La Alle was passionate about poetry, music and theatre. He lived in Paris and in Italy (at the court of Charles of Anjou) and became quite widely known as a poet, musician, and playwright.
In the 13th century, the comedic stream was already drowned out by the miracle theater, which also had life events as its theme, but turned to religion.
Miracle.
The name Miracle itself comes from the Latin word for "miracle". And indeed, all conflicts, sometimes very sharply reflecting life's contradictions, were resolved in this genre thanks to the intervention of divine forces - St. Nicholas, the Virgin Mary, etc. Time itself - the 14th century, full of wars, popular unrest and inhuman massacres - explains the development of such a controversial genre as miracle. It is no coincidence that the miracle, which usually began with a denunciatory depiction of reality, always ended with a compromise, an act of repentance and forgiveness, which practically meant reconciliation with the atrocities just shown, for it assumed in each villain a possible righteous man. This suited both the burgher consciousness and the church.
Mystery.
The heyday of the mystery theater is the 15th-16th centuries, the time of the rapid flourishing of cities and the exacerbation of social contradictions. The city has largely overcome feudal dependence, but has not yet fallen under the rule of an absolute monarch. Mystery was the expression of the flourishing of the medieval city and its culture. It grew out of the so-called "mimic mysteries" - urban processions in honor of religious holidays, in honor of the solemn departures of kings. From these festivities, a mystery play was gradually formed, using the early experience of the medieval theater. The performances of the mysteries were organized not by the church, but by city workshops and municipalities. The authors were figures of a new type - scientists, theologians, lawyers, doctors. Despite the fact that the productions were directed by the upper bourgeoisie of the city, the mysteries were a massive amateur art on the streets. Hundreds of people took part in the performances.
The mysteries showed the creation of the world, the rebellion of Lucifer against God, biblical miracles. Mystery expanded the thematic range of the medieval theater, accumulated a huge stage experience, which was used by subsequent genres of the Middle Ages. The executor of the mystery was the urban people. Separate episodes of a huge theatrical performance were performed by representatives of various city workshops. At the same time, the mystery made it possible for each profession to express itself as fully as possible. The Mysteries developed the theatrical technique, confirmed among the people a taste for the theater, and prepared some of the features of the Renaissance drama. But by 1548 mystery societies, especially widespread in France, were banned from showing mysteries: the critical comedy line of the mystery theater had become too tangible. The reason for the death is also that she did not receive support from the new, progressive forces of society.
reform movement
Anti-feudal character
The Reformation unfolded in Europe in the 16th century. It had an anti-feudal character and took the form of a struggle against the ideological pillar of feudalism, the Catholic Church.
The reform movement affirms the principle of "personal communion with God", the principle of personal virtue. In the hands of the wealthy burghers, morality becomes a weapon of struggle both against the feudal lords and against the poor urban masses. The desire to give holiness to the bourgeois worldview gives rise to the theater of morality.
Morality.
Morality freed moralization from both religious plots and everyday distractions and, having isolated itself, acquired stylistic unity and a greater didactic orientation.
Farce.
The square farce has become an independent theatrical genre since the second half of the 15th century. However, he had come a long way in hidden development before that. The name itself comes from the Latin farta ("filling"). Indeed, the organizers of the mysteries often wrote: "Insert farce here." Cheerful carnival performances and folk performances give rise to "stupid corporations" - an association of petty judicial officials, various city bohemians, schoolchildren, seminarians. In the 15th century, clownish societies spread throughout Europe. There were four large organizations in Paris, and parades of their farcical performances were regularly held. In these parades, speeches of bishops, word disputes of judges, and entries of kings into the city were ridiculed. In response to this, the secular and spiritual authorities persecuted the farsers, expelled them from the city, threw them into prisons. The farce is turned with all its content and artistic structure towards reality. He ridicules marauding soldiers, pardoner monks, swaggering nobles, stingy merchants. Sharply noticed and outlined character traits carry satirically pointed life material. The main principles of acting art for farcers were characterization, brought to a parody caricature, and dynamism, expressing the activity and cheerfulness of the performers themselves. The monarchical and ecclesiastical authorities increasingly attacked urban freethinking and one of its forms - the farcical theater.
The farce had a great influence on the further development of the theater in Western Europe. In Italy, commedia dell'arte was born from farce; in Spain - the work of the "father of the Spanish theater" Lope de Rueda; and in England, according to the type of farce, John Heywood wrote his interludes, in Germany, Hans Sachs; in France, farcical traditions nourished the art of the genius Molière and the great Shakespeare.
It was the farce that became the link between the old and the new theatre.
New theater
Theater (from Greek theatron - places for spectacle, spectacle). The generic concept of the theater is divided into types of theatrical art: drama theater, opera, ballet, pantomime theater, etc. The origin of the term is connected with the ancient Greek theatre, where the places in the auditorium were called that way. However, today the meaning of this term is extremely diverse.
The Enlightenment marked the end of the transition to modern culture. A new way of life and thinking was taking shape, which means that the artistic self-awareness of a new type of culture was also changing. The name "Enlightenment" well characterizes the general spirit of this current in the field of cultural and spiritual life, which aims to replace views based on religious or political authorities with those that follow from the requirements of the human mind.
18th century gave world culture such remarkable artists and theater art theorists as Sheridan in England, Voltaire, Diderot, Beaumarchais in France, Lessing, Goethe, Schiller in Germany, Goldoni in Italy. The dominance of reason led to the fact that the art of the Enlightenment suffered from rationality, a rational analysis of life required ordered forms.
However, the enlighteners, who saw the ideal of a person in a harmonious personality, could not neglect the requirements of feeling when it came to art. The theater of the Enlightenment remarkably expressed both in content and method a new view of the world that was adequate to the era.
Theater in the Age of Enlightenment in England.
The audience of theaters of the 18th century became much more democratic. In the parterre, simple benches for the townspeople were installed. Raek was filled with servants, students and small artisans. During the performances, the audience was very active, reacting animatedly to what was shown on the stage.
Thus, in England, the theater of the Enlightenment criticized the vices of the emerging bourgeois system. There is a new ideological doctrine of the theater: public and moral education of the audience. This doctrine fit perfectly into the Puritan traditions of England - in the future, the Puritans softened their position in relation to theatrical art, and no longer fought against the theater as such, but for its reformation: the eradication of immorality and the transformation of the theater into a socially useful institution.
The treatise of the Puritan theologian Jeremy Collier against the aristocratic theater, A Brief Review of the Immorality and Impiety of the English Stage (1698), became the programmatic document of the reformation of the theater. This treatise determined the emphasized moralizing and didacticism of the English theater throughout almost the entire 18th century. In this vein, the work of such playwrights as Joseph Addison (Cato, the Drummer), Richard Steele (The Liar Lover, or Woman's Friendship; Carefree Husband), Samuel Johnson (Irene), Colley Cibber (Carefree Husband; Last Rate of the Wife; Annoyed Husband) developed in this vein. ).
In 1731, in the preface to his play The Merchant of London, or The History of George Barnwell, the playwright George Lillo published a manifesto for a new aesthetic program, the realistic theory of bourgeois drama. He opposes the class restrictions of the tragedy, which brought only high-ranking personalities into its heroes. Without concealing his dislike of the aristocracy, he demands that tragedy become the conductor of the moral ideas of the bourgeoisie. Ten years earlier, in 1721, an anonymous play, Fatal Madness, appeared in England, written on one of the favorite themes of petty-bourgeois drama—the disastrous consequences of gambling. Then the play remained practically unnoticed - the time for a new genre had not yet come. But now bourgeois problems have become in great demand among the audience.
Satirical tendencies in dramaturgy were successfully developed by Henry Fielding ("Don Quixote in England"; "Grubstreet's Opera, or At the Wife's Shoe"; "Historical Calendar for 1736"). The sharpness of the satirical denunciation led in 1737 to the publication of a government law on theatrical censorship, which put an end to political satire. The attention of playwrights-educators focused on the comedy of manners, which made it possible at least for social satire. The most interesting works of the comedy of manners of this period belong to the pen of Oliver Goldsmith (Good Equal; Night of Errors) and Richard Sheridan (Rivals; School of Scandal).
The best representative of English artistic art was the famous David Garrick (1717-1779), a humanist and educator on the stage. He successfully promoted the dramaturgy of Shakespeare, playing the roles of Hamlet, Lear and others.
End of the 18th century marked in England by the emergence of a new genre - the tragedy of "nightmares and horrors", which was the forerunner of a new aesthetic trend - romanticism. The creator of this genre was Horace Walpole. Although he owns only one play - "The Mysterious Mother" (1768), which depicts the story of incestuous passion, the writer had a great influence on pre-romantic and romantic dramaturgy.
French theater of the 18th century.
The process of democratization of society in the Age of Enlightenment gave rise to a new dramatic genre - petty-bourgeois drama, whose creators in France were D. Diderot, M. J. Seden, L. S. Mercier.
The shortcomings of petty-bourgeois drama and “tearful comedy” were overcome in the comedies of P. O. Beaumarchais “The Barber of Seville” (1775) and “The Marriage of Figaro” (1784), in which the traditions of Moliere came to life with renewed vigor and the best features of enlightenment aesthetics were embodied.
The heroic and civic aspirations of educational dramaturgy were revealed with the greatest force during the period of the French bourgeois revolution at the end of the 18th century. The tragedies of M. J. Chenier, imbued with anti-feudal pathos (“Charles IX”, 1789, “Henry VIII”, 1791, “Jean Calas”, 1791, “Kai Gracchus”, 1792), were examples of the dramaturgy of revolutionary classicism.
In France, the philosopher-educator Voltaire, addressing in his dramaturgy to burning social issues and denouncing despotism, continued to develop the genre of tragedy.
At the same time, the comedic-satirical tradition was maintained on the French stage. So, Lesage (1668-1747) in the comedy "Turcare" criticized not only the decaying nobility, but also the usurious bourgeoisie. He aspired to create comedies for the mass folk theatre.
Another educator and playwright, Denis Diderot (1713-1784), defended truth and naturalness on stage. In addition to a number of plays ("Bad Son", "Father of the Family", etc.), Diderot wrote a treatise "The Paradox of the Actor", where he developed the theory of acting.
In the staging of Voltaire's enlightening tragedies, actors of a new type came to the fore, capable of expressing the civic pathos of heroic and accusatory themes.
A large place in the development of the theater of the Enlightenment in France was occupied by fairground and boulevard theaters. The genre of the fair theater was pantomime, farces, morality, fastachtspiels, the performances of which were based on the art of improvisation. These were often satirical performances, with elements of the grotesque and buffoonery, filled with rude humor. Rope dancers, jugglers, and trained animals, the prototypes of circus actors, also performed at the fairs. They made extensive use of parody and satire. The democratic nature of this art provoked attacks on it by privileged theaters.
Formation of the German theater.
The most prominent German writer-educator Gotthold-Ephraim Lessing (1729-1781) was the true creator of the German national theater. He created the first German national comedy "Minna von Barnholm", the anti-feudal tragedy "Emilia Galotti" and a number of other dramatic works. In the educational tragedy Nathan the Wise, the author spoke out against religious fanaticism.
In the famous book "Hamburg Dramaturgy" Lessing outlined his opinions on the aesthetics and theory of drama. G. E. Lessing is the creator of social drama, national comedy and educational tragedy, theater theorist, founder of the realistic trend in the German theater of the 18th century.
Enlightenment ideas had a great influence on German acting, bringing it closer to realism. The most prominent actor in Germany during these years was Friedrich Ludwig Schroeder (1744-1816), associated with the ideas of "storm and stress". In the 70s. 18th century in German art, a new trend arose under the name "storms and onslaughts".
It reflected the movement of the most advanced, revolutionary-minded circles of the bourgeoisie, who fought against feudalism and absolutism. The greatest German poets and playwrights Goethe and Schiller participated in this current. In 1777, the Mannheim National Theater was opened, which became one of the largest German theaters of the 80s and 90s. In the 18th century, the activity of the actor, director and playwright A. V. Iffland unfolded in it. He planted bourgeois-philistine drama on the Mannheim stage (his own plays, as well as plays by A. Kotzebue), which determined the creative face of the theater.
At the end of the XVIII century. the development of the German theater is associated with the activities of the great German playwrights J. W. Goethe and F. Schiller in the Weimar theater. Here, for the first time in Germany, the largest works of world classical drama (Goethe, Schiller, Lessing, Voltaire and others) were staged, the foundations of directing art were laid, the principle of an ensemble of actors subordinated to a single artistic concept was implemented.
Goethe, in his theoretical program and artistic practice, affirmed the principles of creating a monumental theater that met the strict norms of ancient art. The "Weimar school" of acting was the opposite of the Mannheim school and approached the classicist one.
Italian theatre.
Despite the economic and political backwardness, Italy was distinguished by the richness and diversity of theatrical life. By the 18th century Italy possessed the best musical theater in the world, in which two types were distinguished - serious opera and comic opera (opera buff). There was a puppet theater, performances of commedia dell'arte were given everywhere.
However, the reform of the drama theater has been brewing for a long time. In the Age of Enlightenment, impromptu comedy no longer met the requirements of the time. A new, serious, literary theater was needed. The comedy of masks could not exist in its former form, but its achievements had to be preserved and carefully transferred to the new theater.
The penetration of the ideas of the Enlightenment into the Italian theater was accompanied by a long struggle against formalism and lack of ideas on the theatrical stage. An innovator in Italy was the remarkable playwright Carlo Goldoni (1707-1793). He created a new comedy of characters. Instead of improvisation, the performance was based on a literary text.
The second half of the 18th century entered the history of Italy as a time of theatrical wars. He was opposed by the abbe Chiari, a mediocre playwright and therefore not dangerous, but his main opponent, equal to him in talent, was Carlo Gozzi. Gozzi came to the defense of the theater of masks, setting the task of reviving the tradition of impromptu comedy. And at some stage it seemed that he succeeded. And although Goldoni left room for improvisation in his comedies, and Gozzi himself eventually recorded almost all of his dramatic works, their dispute was cruel and uncompromising. Since the main nerve of the confrontation between the two great Venetians is in the incompatibility of their social positions, in different views of the world and man.
Carlo Gozzi (1720-1806) was a talented playwright. In an effort to oppose Goldoni's comedies with his own repertoire, Gozzi developed the genre of theatrical fairy tale. These are his plays "The Love for Three Oranges", "The Deer King", the famous "Princess Turandot", "The Snake Woman" and others. Thanks to rich irony and juicy humor, Gozzi's talented tales for the stage are still a success today.
The greatest author of tragedies was Vittorio Alfieri. The birth of the Italian repertory tragedy is connected with his name. He created a tragedy of civilian content almost single-handedly. A passionate patriot who dreamed of the liberation of his homeland, Alfieri opposed tyranny. All his tragedies are imbued with the heroic pathos of the struggle for freedom.
Alfieri argued that the people should receive freedom from the hands of the aristocracy, asserted the freedom of the human person, the will of which is subject only to reason and a sense of duty. In the treatise "On the Sovereign and Literature" (1778-86), Alfieri defined the task of dramatic poetry as the awakening of feelings of virtue and love for freedom. Alfieri's tragedies "Saul", "Philip", "Virginia", "Brutus I" and "Brutus II" contributed to the development of the Italian theater.
Danish theater of the Enlightenment.
The professional theater in Denmark arose in the 18th century, its creation was caused by the economic and cultural development of the country. On September 23, 1722, the theater "Danish Stage" opened in Copenhagen with the play "The Miser", soon the premiere of L. Holberg's first comedy "The Tin Man-Politician" took place.
In 1728, representatives of court circles achieved the closure of the Danish Stage. The theater resumed work only in 1748 (in a room on the Royal Square). In 1770, he received the title of Royal and came under the jurisdiction of the Ministry of the Court. In the second half of the XVIII century. the theater staged singspiel, comedies by J. Ewald, tragedies by Voltaire and his Danish epigones, but Holberg's dramaturgy continued to be the basis of the theater's repertoire.
A prominent role in promoting the ideas of the Enlightenment in Denmark was played by the work of J. X. Wessel, the author of the parody tragedy Love Without Stockings (1772), who continued the traditions of Holberg.
The theater of the Enlightenment is one of the most striking and significant phenomena in the history of the entire world culture; it is a powerful source of European theatrical art - for all time. The new theater was born from the need to pour young energy into action. And if you ask yourself the question, in what sphere of art this action should have poured out, this is a sea of fun, then the answer is clear: of course, in the sphere of the theater.
During the 18th century the European theater lived a long and complex life. Aesthetic norms, which were considered absolutes, have lost their former significance during this time. Opinions and tastes have been in relentless confrontation for a century, auditoriums have more than once turned into an arena of social clashes. The authors acted as political opponents, who for the first time learned that a fierce struggle can also exist in their art.
The theater as an art form is not preserved in such material monuments as painting and sculpture, as works of literature and music. But the history of the theater tells about the great actors of the past, how they played, what aspirations of their contemporaries they embodied in their performance, what demands of the time they responded to.
Theatrical life of Russia in the 19th century.
At the beginning of the 19th century, a network of Russian Imperial theaters developed, which were managed by
"Ministry of the Court of His Imperial Majesty". The court had three theaters in St. Petersburg - Alexandrinsky, Mariinsky and Mikhailovsky - and two in Moscow - the Bolshoi and Maly theaters.
With the advent of plays by A.N. Ostrovsky, I.S. Turgenev, prose by F.M. Dostoevsky's poetry of Nekrasov realism came to Russian culture.
Acting has changed along with dramaturgy, breaking old ideas about what truth is on stage. November 16, 1859 was the day of the premiere at the Maly Theater of the play "Thunderstorm" by Ostrovsky. A storm broke out around the performance. The first performer of the role of Katerina was the beautiful actress L.P. Nikulina - Kositskaya. With the plays of Ostrovsky, the element of Russian life burst onto the stage, a new, juicy and modern language. In the plays of Ostrovsky, the actors of Maly shone throughout all subsequent decades. G.N. Fedotova, M.N. Yermolova are wonderful actresses of the Maly Theater.
Russian artists of the first half of the 19th century M.S. Shchepkin, P.S. Mochalov, V.A. Karatygin remained in the memory of posterity as figures from the legend. Shchepkin played almost 600 roles in the plays of Shakespeare, Moliere, Gogol, Ostrovsky and Turgenev. He was one of the first to establish realism in the Russian theater, he created the truth on the Russian stage.
Mochalov is the exact opposite of Shchepkin. He played the main roles in the plays of Russian and Western drama - Shakespeare's Hamlet, Karl Moor in Schiller's drama The Robbers, Chatsky in Woe from Wit.
In the productions of plays, Russian actors created images that went down in the history of theatrical art. The audience admired Ekaterina Semyonova, Alexei Yakovlev. These actors completely reincarnated in the represented person. Gradually, the Maly Theater began to specialize in dramatic productions, and the Bolshoi in opera and ballet.
Bolshoi Petrovsky Theater 1825-1853
The opening of the Bolshoi Petrovsky Theater on January 6, 1825 was very solemnly arranged. Spectators who visited the new theater that evening were shocked by the nobility of the architectural design and its embodiment, the unprecedented scale of the building, and the beauty of the decoration of its auditorium.
Writer Sergei Aksakov recalled: “The Bolshoi Petrovsky Theater, which arose from old, burnt ruins ... amazed and delighted me ... A magnificent huge building, exclusively dedicated to my favorite art, already with its appearance alone led me into joyful excitement ... "
Before the start of the performance, the audience called the theater builder Osip Bove onto the stage and rewarded him with applause.
On a cloudy frosty morning on March 11, 1853, for some unknown reason, a fire started in the theater. The flame instantly engulfed the entire building, but with the greatest force the fire raged on the stage and in the auditorium. “It was terrible to look at this giant on fire,” an eyewitness described the fire. “When it burned, it seemed to us that before our eyes a person dear to us was dying, endowing us with the most beautiful thoughts and feelings ...”
Muscovites fought the flames for two days, and on the third day the theater building resembled the ruins of the Roman Colosseum. The remains of the building smoldered for about a week. Theatrical costumes collected since the end of the 18th century, excellent stage sets, the archive of the troupe, part of the musical library, and rare musical instruments perished irrevocably in the fire.
The project of a new theater building, drawn up by Professor A. Mikhailov, was approved by Emperor Alexander I in 1821, and its construction was entrusted to the architect Osip Bove.
One of the largest theaters in Europe, was built on the site of a burned-out theatrical building, but the facade was facing the Theater Square...
Bolshoi Theater (1856-1917)
On August 20, 1856, the restored Bolshoi Theater was opened in the presence of the royal family and representatives of all states with V. Bellini's opera "Puritani" performed by an Italian troupe. The Moscow ballet of this period owes its success to the talent of the Frenchman Marius Petipa, who settled in St. Petersburg. The choreographer repeatedly came to Moscow to stage performances. The most significant of his Moscow works was "Don Quixote" by L. Minkus, first shown in 1869. Subsequently, Petipa transferred the Moscow edition of this ballet to the St. Petersburg stage.
Of great importance for the development of performing culture was the work of P. Tchaikovsky. The composer's debuts in operatic music - "Voevoda" (1869) and ballet - "Swan Lake" (1877) took place on the stage of the Bolshoi Theater. Here the opera Eugene Onegin (1881) received its real birth, the first test on the big stage after the Conservatory production in 1879; the opera Mazepa (1884), one of the pinnacles of the composer's opera, saw the light of day for the first time; the final version of the opera The Blacksmith Vakula, which in the performance of 1887 received the new name Cherevichki.
A memorable performance in the annals of the theater was the first performance on December 16, 1888 of I. Mussorgsky's folk drama "Boris Godunov". The first of N. Rimsky-Korsakov's operas was The Snow Maiden (1893), followed by The Night Before Christmas (1898). In the same 1898, the theater for the first time showed the audience the opera "Prince Igor" by A. Borodin, and two years later, lovers of choreographic art got acquainted with the ballet "Raymonda" by A. Glazunov.
The opera troupe of the theater of the late 19th - early 20th century includes many outstanding singers. Among the glorious names of past years are Evlalia Kadmina, Anton Bartsal, Pavel Khokhlov, Nadezhda Salina, Ivan Gryzunov, Margarita Gunova, Vasily Petrov and others. Singers appeared on the theater stage in these years, whose names soon become widely known not only in Russia, but and abroad - Leonid Sobinov, Fedor Chaliapin, Antonina Nezhdanova.
The activity in the theater of Sergei Rachmaninov was fruitful, he declared himself a brilliant musician behind the conductor's stand. Rachmaninoff improved the sound quality of Russian opera classics in the theatre. By the way, the name of Rachmaninov is associated with the transfer of the conductor's console to the place where it is now, before the conductor stood behind the orchestra, facing the stage.
In 1899, The Sleeping Beauty premiered at the Bolshoi Theatre. The staging of this ballet, which established the commonwealth of music and dance in the Russian ballet theater, was the beginning of a long and happy work in Moscow for the choreographer, librettist and teacher Alexander Gorsky. A large group of talented artists worked with him - Ekaterina Geltser, Vera Karalli, Sofya Fedorova, Alexandra Balashova, Vasily Tikhomirov, Mikhail Mordkin, conductor and composer Andrei Arende, and others. For the design of a new production of the ballet Don Quixote (1900), Gorsky first invited young artists Konstantin Korovin and Alexander Golovin, future great masters of theatrical painting.
1911 In the competition for the restoration project of the theater building, the plan submitted by Albert Kavos won.
Kavos, retaining the layout and volume of the Beauvais building, increased the height, changed the proportions and redesigned the architectural decor. In particular, slender cast-iron galleries with lamps were built on the sides of the building. Contemporaries noted the appearance of this colonnade, especially beautiful in the evenings, when you look at it from afar, and a row of burning lamps seems to be a diamond thread running along the theater.
The alabaster group of Apollo, which adorned the Beauvais Theatre, perished in a fire. To create a new Cavos, he invited the famous Russian sculptor Pyotr Klodt (1805-1867), the author of the famous four equestrian groups on the Anichkov Bridge across the Fontanka River in St. Petersburg.
Klodt created the now world-famous sculptural group with Apollo. It was cast at the factories of the Duke of Lichtenberg from a metal alloy, electroplated with red copper.
During the reconstruction of the auditorium, Kavos changed the shape of the hall, narrowing it to the stage, deepening the orchestra pit. Behind the seats of the parterre, where there used to be a gallery, he arranged an amphitheater. The dimensions of the auditorium became: almost equal depth and width - about 30 meters, height - about 20 meters. The auditorium began to accommodate over 2000 spectators.
In this form, the Bolshoi Theater has survived to this day, with the exception of small internal and external reconstructions.
Theater is a miracle of the human world.
For any modern person, theaters have become an integral part of the planned cultural leisure. And many are interested in the history of the emergence of the theater, because there was a period when there were no theaters? It is difficult to remember when it was, because the very first theaters appeared in primitive communities.
In those distant times, people still did not understand why it was raining, why it suddenly got colder and how they were guilty before the Almighty that he sent snow or heavy rain. So that nothing threatened them, they tried to hold a theatrical ceremony before each important event. Information about such events gave us the opportunity to understand how the theater appeared and why so much attention was paid to it.
From primitive to modern
The primitive theater, of course, was not like modern productions. There was no question of professionalism or talent here - people tried to theatricalize events the way they felt, putting their soul and all their experiences into each event. They sincerely believed that the more emotionally they could present their devotion, the better the harvest would be, for example. All this was accompanied by improvised music and songs.
Later, somewhere in the third millennium BC. in Egypt, more organized theatrical skits were already held about the patrons of artisans and farmers. Greece became the birthplace of carnival performances, which were organized mainly in the open air. Folk theaters were popular here. Actors almost always had to wear masks.
The Renaissance - during this period, mainly comedy performances were staged. They were staged in city squares, and many people gathered to watch the spectacle.
Somewhere at the end of the 16th century. - at the beginning of the 17th century, the world recognized opera, and only later, by the middle of the 18th century, ballet appeared, the first operettas appeared only in the middle of the 19th century.
Productions of past years today
Speaking about the theater of the 18th and 19th centuries, we are already talking about performances and productions in which talented actors took part. They were staged and the theaters themselves were radically different from the primitive ones and the Renaissance. So, since the end of the 19th century, a magnificent production of the ballet The Nutcracker came to us. And in those days, and now were not available to everyone. This is due, of course, to the great and constantly growing popularity of the production. If earlier only the elite, noble ladies and gentlemen could afford such a luxury as the theater, today they are available to everyone. Despite the hype around tickets, people continue to find alternative ways to purchase tickets. So, for example, you can order them on our website. This will save you from queues and unforeseen unpleasant situations.
Today the theater has taken on a different look. It has become a symbol and pride in every country. Architectural ensembles, decorative design and spacious halls, portraits of famous poets, directors and theater creators, as a rule, always adorn the hall. On the modern stage, we often see performances that were first staged under the Tsar. Yes, they have undergone some adjustments, perhaps more real events were introduced into some, and somewhere the artistic directors decided to add musical accompaniment, combining opera with ballet. But, nevertheless, this still confirms that the theater has always existed in the past, and in the future it will attract the attention of the audience, even if a performance of the last century is presented on stage - this is our history and for many it is an important component of the formation of culture and traditions.
