Drama "Tsar Maximilian" (sometimes Maksimyan, Maksimyan) has become widespread throughout Russia (Petersburg, Moscow, Tver, Yaroslavl, Kostroma provinces, Russian North, Don, Terek, Ural, Siberia), Belarus (Minsk, Mogilev, Vitebsk provinces), Ukraine (Kiev, Chernigov, Podolsk , Kharkiv, Kherson provinces.), Moldavia. It was played in the soldier, sailor, urban, working, peasant milieu 3 .
Several opinions have been expressed about the origin of this drama. Probably, the researchers are right, who believed that the reason for its creation was political situation early XVIII century: the conflict between Peter I and his son Alexei and the execution of the latter. In the memory of people was the murder of his son by Ivan the Terrible. Sonicide could not but affect the attitude of the people towards the sovereigns. This contributed to the spread of the drama. It should also be taken into account that the spiritual verse "Kirik and Ulita" was known among the people, in which, as in the drama, the cruel Tsar Maximilian demands that the infant Kirik renounce his faith in the Christian God. Kirik, like the hero of the drama Adolf, remains faithful to God.
A persistent search was made for the direct source of the drama, but it was not found. There probably wasn't a single source. At the same time, the connection of the play with the repertoire of the Russian city theater of the 17th-18th centuries is indisputable, as well as the influence of translated stories (knightly novels) and their dramatizations of the same era on its text, which has been proven by a number of researchers. However, no matter how varied literary sources"Tsar Maximilian" is essentially different - the connection of the play with Russian reality.
The drama is based on the conflict between the tyrant Tsar Maximilian and his son Adolf. Pagan father demands son to quit Christian faith, but he resolutely refuses:
- I am your idol gods
I put myself under my feet
I trample in the dirt, I don’t want to believe.
I believe in our Lord Jesus Christ,
And I kiss him on the lips
And I keep His law.
Tsar Maximyan commands prison guard.
- Go and take my son Adolf to the dungeon
starve him to death.
Give him a pound of bread and a pound of water 1 .
Adolf in the dungeon. Tsar Maximilian three times turns to Adolf with his demand, but he always refuses. Then the king calls executioner Brambeus and orders the execution of Adolf.
The drama depicts the cruelty of Tsar Maximilian not only with his son. In one version, he, like King Herod, orders the warrior (here: Anika-warrior) kill babies:
- Warrior, my warrior.
Descend all the countries of Bethlehem,
WITHbeat, cut down fourteen thousand babies.
If you don't kill anyone.
Bring me alive.
Baba (Rachel) appears and asks the king:
- Why my child
Disappear innocently?
The king is relentless
- How shameful
When I sent a warrior
An armed warrior?
Warrior, my warrior
Kill this baby
ANDget rid of this woman!
A warrior kills a child. Rachel is crying 1 . .
Tsar Maximilian is opposed by his son Adolf. He boldly tells his father that down the mother along the Volga rode And withfree gang, with robbers, knew 2 , that he was their ataman 3 ; orders the release of a prisoner (restanta), who was planted by order of his father 4 . In the drama, Adolf firmly defended his convictions, endured torment, went to his death, but did not betray his ideals, which aroused sympathy and sympathy. The executioner, having fulfilled the order of the king and killed Adolf, stabbed himself to death with the words:
Behind that loved
He cut off his head for it.
I correct the king's debt
AND I'm dying myself 5 .
The order of the king to kill his son, the image of the execution of Adolf, the suicide of the executioner - tragic pictures. But the performance was supposed to amuse the audience, a detente was needed. A tradition has been established to put into action farcical, satirical and humorous episodes. Such are the conversations of the Gravediggers, the Tailor, the Doctor, even the funeral of Adolf's body by the Patriarch. A sharp satire on the clergy arose when depicting the wedding of Tsar Maximilian with the Goddess (the priest and deacon in the tavern drank wedding book, and on zaupokoynuyu hungover) 1.
The researcher of folk dramas N. N. Vinogradov wrote about "Tsar Maximilian": "Appearing in the middle of the 18th century and passing from mouth to mouth, from generation to generation, this play inevitably underwent the most diverse changes, shortened and lengthened at will. Having liked the people, it has gradually drawn into itself a whole series of individual scenes and small works of the same kind.As a result, in many versions a long series of individual scenes is obtained, a whole collection of diverse faces, a motley kaleidoscope of the most diverse positions; the general the meaning of the play, there is no unity of the plot, only the unity of the name remains. Here, for example, what series of plots is practiced in most of the not very common (in terms of volume) options: 1) Maksemyan and Adolf (main); 2) Goddess and Mars;
3) Mamai; 4) Anika and Death; 5) Boat. Often they are not connected at all, sometimes the connection is purely mechanical. To these plots we still need to add a whole series of inserts in the form of individual comic scenes, either stable, permanent (doctor, tailor, gypsy, grave digger ...), or random, sporadic (n-th number); sometimes the play begins with verte pom 2.
Gradually, the theme of the struggle for religious beliefs became less relevant - this made possible the satirical depiction of clergy, as well as church funeral and marriage rites. IN 1959 v. in the Arkhangelsk region a version of the drama was recorded in which the religious beliefs of the father and son were not even mentioned 3 . At the same time, the problem of tyranny, the fight against violence continued to excite the audience. In the drama "Tsar Maximilian" a replacement was made: the king demanded from his son not betrayal of religious beliefs, but marriage to his bride from the distant kingdom, which he found. Adolf refused to marry as resolutely as he refused to change his faith. And he was executed.
Sometimes the drama ended with the death of Tsar Maximilian himself, which could be perceived as a punishment for cruelty and filicide.
The dialogue between Death and Tsar Maximilian coincided almost verbatim with the spiritual verse - the dialogue between Anika the warrior and Death.
Death (going up to the throne, he addresses Tsar Maximilian):
- Follow me!
Tsar Maximilian:
- Wave, my dear Death,
Give me a life span of at least three years,
For me to profit And manage your kingdom. Death:
- There is no life for you even for one year.
- There will be no time for you even for three hours,
And here's my eastern scythe.
(Strikes him on the neck with a scythe. The king falls) 1 .
The drama "Tsar Maximilian" is large in volume. Often it was copied in notebooks and rehearsed before the performance. However, stereotyped situations were also developed in it, as well as formulas that contributed to the memorization and reproduction of the drama. Such, for example, are scenes of fights, formulas-responses of Adolf to his father ( "I am your idol gods TerI'm under my feet..." etc.). Tsar Maximilian Skorokhod (or another actor) and the callee's arrival report.
Tsar Maximilian:
- Skorokhod Field Marshal,
Ihang before the throne
GgPink Tsar Maximilian!
Skorokhod:
- I'll return from right to left
Before the throne of the formidable Tsar Maximilian I will appear:
Oh great master.
Terrible Tsar Maximilian,
Why are you calling Skorokhod-Field Marshal?
Or deeds, do you command decrees?
Or is my sword dull?
Or I, Skorokhod-Field Marshal, what is before you
guilty? 1
In the cited version of the drama, this report formula is repeated 26 times (Skorokhod pronounces it 18 times, Markushka 3 times, Adolf and Anika-warrior 2 times each, Executioner 1 time).
It should be added to what has been said that in "Tsar Maximilian" there are the same situations and common places, as in the drama "Boat". For example: Adolf - with a hat of robbers was known; about the burial of the murdered they say: "Remove this body so that it does notsmoldering... "- etc.
Thus, the drama "Tsar Maximilian" arose and developed under the influence of others. folk plays, chivalric novels, popular prints, folk song folklore, spiritual poems 2 .
Tsar Maximilian
The long-abandoned state-owned mine, which little by little turned into a run-down village, was a handful of decrepit, crooked huts that collectively fell to the bottom of a steep ravine and pushed each other into a crooked and polluted rivulet. Small hills uninhabited for tens of miles of space, like a white surging sea, went far in all four directions up to the blue edges of the heavenly umbrella and inspired a dull, tedious despondency. This despondency was so great that when a wagon with hay or straw was descended from neighboring arable lands along a narrow road, manured during the winter, it brought some kind of festive animation to the surroundings, although these wagons from a distance seemed shaggy cut off and quietly sliding down. heads of fairy-tale robbers. A little earlier, on the mountain, near the multi-colored ore dumps, near the mine, there were large government buildings: barracks, an infirmary, an office and a bailiff’s house, but in last years all of this somehow quickly disappeared. The infirmary burned down, and burned down in a strange way: no one lived in it, and it stood apart, littered with various government property, and suddenly in one of dark nights flared up and burned out. And no one saved him, no one took pity ... The barracks also burned down, but already in the stoves of civilians in the village. Only one office remained, plucked from all sides, with a collapsed roof, and was slowly rotting away, dutifully waiting to be dragged into the narrow-minded stoves. Yes, under the mountain, near the entrance of the collapsed adit, there were huge scales with iron chains and tightly bound boards, on which holidays the children were swinging and naughty. There were not a single street in the village, and the crooked lanes somehow stupidly meandered between the huts and then narrowed into narrow cracks, then blurred into shapeless areas littered with snowdrifts and heaps of frozen manure. The blinded windows of the rickety huts somehow looked indifferently at everything: at the heaps of manure, and at the backs of old barns, and at the fences of the yards, and simply at the neighboring fences. If it was warm in the huts, then the glass of the windows turned black and wept; if it was cold, then, covered with a thick layer of hoarfrost, they seemed to be some kind of solid walleye, and they blew longing and anger, just like the inhabitants themselves. Accustomed to hard labor in the mines and in the analysis, they were reluctant to take up arable land, because they had neither plows nor horses for this, and, still waiting from somewhere for a "manifesto" about the resumption of mining, they often sat without bread, without wood and no fire. About their clothes, they themselves said this: - Neither lay, nor dress! From time to time, when the waiting for the opening of the mine dragged on too long, they gathered at the headman's and talked long and hotly, immediately exaggerating or distorting any rumors, hopes, or simply own compositions about the opening of the mine. Suddenly someone shouted out in a high falsetto: “In the autumn I took the smoke to Zmiyevo… that’s it… how’s it?” Podlesnichago ... Duck, he told me directly that he himself came running special official .. Well, as if INTO ... this ... - What special official? .. - interrupted another. - Well, after all, recently Ignakhina's aunt went to the city ... Well, also, as if ... But what exactly - no one was telling ... And they knew, perhaps, that both the "special official" and " aunt Ignakhina" was only their own fantasy, but still they wanted to believe that the mine would open, work would begin to boil, and although they would be mercilessly crushed by their own yoke, but for that there would be "mother Saturday" with the right calculation, and angry, but elegant bosses with various merry undertakings and amusing tyranny, and, finally, there will be their own tavern, and, therefore, songs and dances ... And the excitement reached such an extent that, forgetting everything real, the townsfolk began to count on the fingers how much and which workers will now receive, what provisions will be, how many candles will be given to each worker, how much wheat flour will be ... They did not think at all about how many hours and how they would work, they did not even think that maybe they will again beat and tear with rods in the same way as they beat then, in the distant past ... It seemed unimportant. The most important thing seemed to be something that would revive their despondency, cast aside the melancholy and need that had long settled in them, and stir up a frozen thought ... Some of the old people who still remember how they were flogged and escorted through the line they muttered: - And they beat the khosh, but for that it was impossible to sit without bread ... !.." Therefore, he says, a hungry man will not even lift a stone, not only that ... And the old man, remembering the valor of Nikifor Ivanovich, even sheds a tear. “One of the bailiffs ordered to give me forty sticks, and at that time I was ill. “Well, why,” he says, “Fedotovich, will you lie down now, or will you read it later? .. - I’ll lie down, they say, your honor!” - "Yes, after all, I'll bully," he says. - Take it, they say, your honor, because from you the rod is sweet ... - And he was fierce to fight! continued the old man. “It used to happen if he saw that they were fighting badly, he would tear out the rod, and he would start it himself ... Duck and bite his lips into the blood ... Well, that means I lay down, and he said: - “Get up!” -- I wake up. “Go, he says, to the infirmary, otherwise you won’t be able to bear it now ... I’m angry today!” - Yes, then, a month later, I remembered that I had forty something. “Lie down,” he says. - I lay down ... He started me ... and started ... He walked twenty, and asked: - "Will you rest, he says, or all at once? - Rash, I say, your honor, everything! - "Well, those, he says, an ulcer! I, he says, was tired myself. "- Yes, and he forgave me the rest ... He was a good man! .. And the old man, hardened by beatings and work, begins to count his years and counts them especially, in his own way, referring to various events , and in the end it is calculated that he is already living with the fourth generation, with great-grandchildren, and still, it seems, he is ready to go into the mine and under the rod, if only they would open the mine, if only their dull life would stir ... And in these In lively conversations, the peasants forgot themselves so much that they left the assembly and headed for the dilapidated office and, waving their arms widely, began to determine where and how the new office, and the infirmary, and the bailiff's house should line up ... And everyone somehow succumbs to this enthusiasm, everyone no longer doubts that this will happen ... Even the children, seeing this animation and with their mouths open, stop floundering, and the women come out of the gloomy huts - and general conversations take on an even livelier and more confident tone. little by little it begins to subside, then it suddenly breaks off, and the peasants, as if ashamed of the sudden surge of enthusiasm, fall silent and, without looking at each other, slowly wander into their cold, unfriendly huts, where in the dark, on an empty stomach, an instant glimpse of a cheerful mood quickly replaced by dull and terrible malice for a long time ... And again, equally boring days go one after another in a long line, and the village of the forgotten mine, crowded in a steep ravine, seems like a bunch of old grave mounds covered with snow ... Only the hut of the merchant Avdeev seemed to be inhabited, yes and she was lost among the dead village. And the wavy wide expanse of the steppe, and the deep sky, and the bright sun seem so alien and indifferent to the miserable village, as if it does not exist at all, as if living hearts do not beat there, as if there is not a single soul in it! .. The day before, Evlan was so tired that he didn’t even want to quarrel with the woman, although he came home hungry. Arrived late. The haystack was so covered with snow, and the snow became so hardened that, when digging it out, I had to throw off my fur coat and work in one shirt. The shirt on the back was covered with a jacket from sweat and, when he rested, it froze and stuck to his skin. He shrugged his shoulders and again raked the flattened loneliness. Then he laid hay for a long time, beat Karka, who kept climbing to the haystack. Karka shyly rushed to the side, dumped an unpasted cart with firewood, and Yevlan, standing on the odonka, waved his hand with offensive despair and swore long and melodiously, composing curse words stronger and more intricate ... And then, when both wagons were laid, he toiled for a long time, taking them out of the odonok onto the beaten road. The snow fell, the horses fell in their shafts and lay for a long time in a snowdrift, shuddering under the whistling whip. Finally Yevlan unharnessed both horses and, riding Karka, rode them back and forth to the beaten track until a loosened deep furrow was formed. Harnessed the horses - the carts began to get stuck in the furrow. He toiled, toiled, unharnessed the horses, dumped the cart, dragged the sledge onto the hard snow and carried all the hay piece by piece to the road. When I hitched up the horses again and rode off, it was dark. Is a winter day great? After exhausting work, it was nice to sit on the cart, but the holey sheepskin coat did not protect the sweat-soaked shirt, and it began to stiffen. I had to walk all the way next to the cart. At home, hay had to be immediately swept away - otherwise other people's cows would have eaten everything overnight: the fences of the yard are bad, grown into snowdrifts - every calf will slip through. Sweeping away the hay, he puffed under heavy napkins and, out of anger at the unfortunate woman who stood with a rake on a lead, tried to serve them so that they overwhelmed her and crushed her to the omet. But the woman dodged and, not daring to anger her husband with complaints, kept spitting out the dust that got into her mouth. In a word, he was so exhausted that, having had some supper, he fell, without taking off his shoes, on the stove and slept on one side until the sun. Waking up and dangling his legs from the stove, for a long time he could not remember where he had a pouch with shag and seryanka. In the kuti, a frying pan crackled on the hearth, and there was a pleasant smell of burnt oil. I remembered that Maslenitsa, and that the woman had saved up from one cow for cakes. At the hem of the woman, Mitka, a five-year-old son, was spinning, and on the bed, kicking with his bare legs and playing on an empty horn like a quail, lay diaper Fenka. He found a pouch and rolled a cigarette. At this time, Yakov Ganyushkin entered the hut, smiling with all his ruddy bearded face. He stepped into the middle of the hut and, waving his hand to his chest, muttered merrily: "What the hell are you sitting on the stove for?.. You have to go for a walk!" Yevlan, instead of answering, spat under the threshold and, grimacing, began to light a cigarette, holding a lit match in a handful. Yakov sat down on a bench and turned to Mitka: "Why did your mother cry last night?" from the stove and, kneading his swollen side, swore loudly and loudly. “It’s just that yesterday I was sneaking around like a dog!” Yakov smiled broadly again and asked timidly, as if in jest: “Well, why, shall we go butcher Maximilian today?” Yevlan glared at him with a stern look and cursed again, adding gloomily and reluctantly: "There's nothing for you to do - you're just making it up!" Yakov, growing bolder, laughed out loud and shouted out without a joke: .. A holiday! .. At least we’ll make a little joke again! A? Yevlan again did not answer and, staring with angry eyes at the woman, shouted: “Look, they have a child in the wet!” to Fenka, clumsily took her in his arms and smiled wryly. - Oh, you, wet-tailed! .. Yakov took advantage of the moment and, on behalf of Fenka, venomously admitted: - I'll see, they say, I, they will have a tail on a forgiven day! .. Evlan turned to Yakov and, shaking Fenka in his hand, asked: - Are you sick or something? .. - What about Maximilian? - Well? .. - Well, I’m going to call my tongue in vain! .. I’ve already agreed with the guys ... It’s only up to you, and you want to spoil the whole wedding for us ... Without you Where are we going, without the main thing? .. Evlan turned to the woman: - Do we have these different costumes? she, not yet old, but faded, suddenly sparkled with living lights. - Get something? .. And Yakov added more temptation: - We already sold the "city" to Seryoga Avdeev ... He gives five rubles and half a bucket for the artel of vodka ... - He will give more! .. - confidently drops Evlan. - How, go, he won’t give it, if we imagine everything, as it should be! .. Evlan put Fenka on the bed, put a nipple in her mouth, and, hastily spitting, shouted cheerfully to his wife: .. To push, I guess, I’ll still have a chance ... To buy gold gumags ... Baba went to the bottom, and Yakov took up his hat. - Well, I'll go and call the guys. It is necessary to give good advice about everything, and start building the "city". Tomorrow we have, after all, Thursday already... You can see that?.. - Yes, you can see that!.. - Yevlan confirmed, and, smiling silly at each other, they parted. The miserable, wretched village on the forgiven day suddenly came to life and buzzed. The people swarmed in the snowy and narrow lanes, like a swarm in the bird cherry. Mischievous teenagers and a stocky bachelor riding horses, dressed girls and arrogant young men on horsebacks and in saddle bags, on bad wood or on foot, in sackcloths and rags, the poor, fluttering in loose snow, but sly and inquisitive children - all with stretched and twisted with a smile of curiosity and delight on their faces, they are trying to break into the center of a large crowd moving along the street ... From there, some cries, rampant roar and laughter of the crowd rush, there an accordion chirps, a violin meows, a bandurka babbles ... There is Tsar Maximilian with his retinue and He walks around like jesters!.. Here Avdeev himself comes out of a prosperous hut on the porch, in a dressing gown and with a respectable beard, laughs good-naturedly and cheerfully and makes an invitation sign with his hand: - Come on, show yourself closer, Yevlakh! squints at Seryoga, the young son. The crowd parted and, accompanied by the generals and princes, Tsar Maximilian approached the hut in a non-commissioned officer's uniform decorated with tin regalia with shiny epaulettes, white calico trousers with a release over pims, in an intricate cocked hat with stars made of blue sugar paper and with a rooster's comb on top. .. He has a red calico ribbon over his shoulder, a blue ribbon over the other ... A silver-plated ruffle is in his hands. The chest and stomach are protruded forward - the pillow is planted. He steps forward proudly and majestically, his eyes sparkle, a small red beard sticks out forward, ruffled away, and a loud voice shouts passionately: - Yes, yes, yes, yes, yes! ..I am Maximilian, king of the overseas
Prince of Germany, King of Turkey...
One word of command
You must perform three times:
Execute non-Russian basurmans,
French Asians...
Who stole, stole
My faithful steal! And the chief prince, dressed more modestly than the king, but with the same crest, quickly steps forward and, raising his ruffled up, turns to his subjects and picks up: - Yes, yes, yes, yes, yes! ..
Hey, faithful eunuch servants,
I want services from you
Deliver here to me immediately
Field marshulov, all affisers! .. A number of field marshals and officers, of the most diverse types of weapons, are advanced, and each in his own way fulfills his appointment, while Tsar Maximilian begins to yearn for his abducted wife and demands to amuse him. Two jesters appear in turned-out fur coats. One of them, who has a larger beard, is dressed as a woman, in a shawl and a skirt. In his hand he has a rag child, in the other - Banya broom, he whips the child with a broom and himself shouts for him: - Wow! Wah!.. Wow... Another jester comes up and consoles. There is a funny scene between them with kisses and funny explanations. The king likes it, he begins to smile graciously, and the music starts dancing. And all, led by Maximilian, start a wild dance. The crowd laughs, hoots, dances itself and shouts out: - Here is Tsar Maksia-Amelyan! .. Maximilian reads something again, pokes in the air with a rattle and walks like a gogol, the jesters laugh and shout, tumbling in the snow, the music mixes with the enthusiastic cries of the crowd, and the owner of the house takes vodka and treats out of the hut ... And the noisy crowd moves on carried away by a merry procession. People push and trample each other, drown in snowdrifts, and with greedily laughing and drowsy eyes peer at the majestic and elegant Tsar Maximilian ... Behind the crowd on Karka, harnessed to simple sledges, a baba Evlanova rides. In her bosom she has Fenka, and next to her, on a bunch of hay, with her mouth open and wide, surprised eyes, Mitka. He vigilantly peers at the "king" and greedily catches incomprehensible cries: "I am the prince of the German ... Turkish ...
Basurmanov ... French ... "He does not understand their meaning, but he senses that all this must be very scary and beautiful, how can you laugh at this ?!. And everyone laughs, fools! .. The sun is already leaning towards evening, and the crowd has passed the whole village. Tsar Maximilian and the whole retinue got drunk in order, but the performance was not over yet. The crowd pours like a wave beyond the outskirts, to the old state-owned scales, where a white "city" flaunts on a flat square ... chopping block, and on the chopping block are various idols made of snow ... Along the edges of the ditch, too, all white idols, in which instead of eyes balls of sheep droppings, noses made of hay, pipes made of sticks in their mouths ... These are all "basurmans are not Russian, but Asians are French "... Tsar Maximilian is the owner of this city. He conquered it and now he is waiting for such a "brave knight" who could take him by force and youth ... The crowd that has gathered around the "city" is rapidly surrounding ... Tsar Maximilian climbs onto the chopping block, stands over the gates of the "city" and waits for the daredevils .. His retinue and subjects stand in rows on the walls of the city, ready to selflessly defend the gates of the "city" from the enemy ... The heroes - hunters ride out on good horses and, dispersing the horse at full speed, gallop along the pothole to the gate. But Maximilian's army brings down chunks of snow on the brave hunter, beats with rods, pulls him off his horse and rakes him into the snow ... This is how they deal with dozens of horsemen ... The crowd is tense. She moved towards the gate. She surrounded the whole "city" with sleighs and horses. And he doesn’t listen to what Tsar Maximilian is shouting at the gate, he doesn’t laugh at foolish jesters in fur coats turned upside down. She is looking through the eyes of a real hero who will nevertheless take the "city" with his courage ... And now he rides out on a zealous horse, in a saddle under silver, the son of a merchant Seryoga Avdeev, a guy of small stature, young for years ... - Will he really dare? .. “They will trample him down, bury him in the snow like a kitten! .. But he boldly rushes along the “street” of the “city”, and Maximilian’s army attacks him just for show ... He breaks through the chain and, sprinkled with snow, with a deafening the cry of the crowd and the troops slips through the gates ... - He took the city! under the arms in front of the winner's face... And the winner gives him seven and a half in cash and puts out three-quarters of vodka for the whole artel... Yevlan's woman drives up to the captive tsar and, to Mitka's surprise, shouts to him: - a ruble ... After all, it's all the same - you'll drink it! .. Tsar Maximilian approaches the sledge and, staggering, shouts to Mitka: “Well, son, are you cold? .. The village is enveloped in blue twilight, the crowd dumps into the alleys and melts in them ... Tsar Maximilian, in an embrace with princes and generals , leaves with a loud song to drink vodka ... Mitka looks after them, and he does not want Tsar Maximilian to be his father-in-law, who tomorrow will go for hay, will smoke stinking tobacco and beat and scold his mother ... It's a shame for Mitka, and it becomes even more offensive when, driving through a wretched village, he sees lit bonfires of straw in front of each hut: this is Maslenitsa burning with cakes, milk and everything that is modest ... And his sponges are folded into a frying pan ... Original
History of creation
The play was based on the description of the folk drama "Tsar Maximilian" in Bakrylov's collection, in which the author collected extensive folklore material. The author has compiled several striking samples folk drama in Russian culture and created his own version of the play "Tsar Maximilian". Having become acquainted with this work by Bakrylov, Alexei Remizov expressed the opinion that the play was written in a crude and vulgar manner, and its parts were connected to each other mechanically. After a meeting of the editorial commission, at which Bakrylov's code was discussed, Remizov decided to create his own version of the play.
Remizov worked on the drama not only as a writer, but also as a scientist, largely relying on historical and philological works:
“... I, laying my, perhaps, the only stone to create the future great work which will give the whole kingdom folk myth, I consider it my duty, not holding on to the tradition of our literature, to enter notes and tell in them the progress of my work.
In his work, Remizov tried to embody his ideas about the ideal folk theater- "the theater of squares and oak forests" and a mystical action as opposed to the "theatre of walls". In practice, this desire was expressed in the fact that Remizov simplified the staging of the play as much as possible and, in comparison with Bakrylov's play, significantly reduced the number of characters. By reducing descriptive remarks, he took "a step away from the naturalistic theater".
Plot
In many ways, the plot of the folk drama is based on the story of Peter I and Tsarevich Alexei. Tsar Maximilian is a tsar who decides to marry a foreign tsarina and renounce the Orthodox faith. The king's son, Adolf, opposes his father's marriage. Trying to reverse the decision of his son, Tsar Maximilian takes Adolf into custody, and in the end he executes him.
Heroes
- Tsar Maximilian (Maximian, Maximian) - "a formidable and strong king", who planned to marry an overseas princess and refuse Orthodox faith, but to worship "idol gods". Walks in a crown and with orders, brandishes a scepter or a sword.
- Adolf is the son of Tsar Maximilian, who refuses to pray to the "idol gods", for which Tsar Maximilian executes him. Walks in military uniform, but simpler than that of the king. After imprisonment- weak and without insignia.
- Knight Brambeus - urges the king to change his mind, and not to execute the innocent Adolf, but Tsar Maximilian does not listen to him. Huge and grey.
- Skorokhod - informs everyone about the will of Tsar Maximilian.
- An old grave digger prepares a grave for Adolf (A.M. Remizov himself compared him with gravediggers in Shakespeare's tragedy Hamlet).
- The old woman-death - comes for the king Makismilian.
Notes
Links
- The play "Tsar Maximilian" in the processing of A.F. Nekrylova and N.I. Savushkina
Wikimedia Foundation. 2010 .
See what "Tsar Maximilian" is in other dictionaries:
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Peter I Alekseevich Portrait of Peter I. Paul Delaroche (1838) ... Wikipedia
Tsardom Russian Tsardom Russian Tsardom ← ... Wikipedia
"John IV" redirects here, see John IV (disambiguation). In the annals, the nickname Terrible is also used in relation to Ivan III. Ivan IV the Terrible Ivan IV Vasilyevich ... Wikipedia
- (real name Kiriyenko Voloshin). (1877 1932), poet, art critic, artist. In poetry, the filial feeling of nature as a cosmic whole, the tragic experience of the historical destinies of Russia: the collections Iverny (1918), Deaf and Dumb Demons ... encyclopedic Dictionary
Nicholas I Pavlovich ... Wikipedia
This term has other meanings, see Ferdinand I. Ferdinand I Ferdinand I ... Wikipedia
Books
- A. M. Remizov. Collected works. Volume 12. Rusaliya, A. M. Remizov. The book "Rusalia" (The twelfth volume of the Collected Works of A. M. Remizov) includes dramatic works: "Demonic action", "The tragedy of Judas Prince Iscariot", "Action about George ...
- Unpublished materials of the expedition of B. M. and Yu. M. Sokolov. 1926-1928. In the footsteps of Rybnikov and Hilferding. In 2 volumes. Volume 2. Folk drama. Wedding poetry. Random lyric. Chastushki. Fairy tales and non-fairy prose. Creativity of the peasants, . The volume consists of unique folklore texts collected in the 1920s. XX century in the reserved cultural zone of the Russian North. It includes texts of folk drama ("Tsar Maximilian" and "The Boat"),…
Source: National Theatre: Collection. M., 1896. Note: the spelling and punctuation of the source are preserved.
Source: National Theatre: Collection. M., 1896.Note: The spelling and punctuation of the source is preserved.
Published from a manuscript delivered to the department of the Literacy Committee at the All-Russian Agricultural Exhibition, which was in Moscow in 1895, by D. A. Travin.
King Maximilian.
(Christmas comedy.)
(A variant recorded in the Petersburg province.)
Characters:
2. Skorokhod.
3. Adolf, son of the king.
4. Two pages of boys.
5. Branbuil, knight.
6. Blacksmith.
7. Old man, grave digger.
9. Cossack. 10. Hussar.
11. Tailor and two boys.
12. Goddess.
13. Brother of the goddess, Star.
15. Anika the warrior.
16. Death of Anika.
17. Messenger.
(They all stand in a circle, the runner comes out into the middle.)
SKOROGOD. Calm down, gentlemen! Now his office will come here. (Anika exits.)
ANIKA. Calm down, gentlemen! Now his office will come here. (King exits.)
TSAR. Fu, my God, what I see in front of me. What a company is here and everyone is in different attire. Hello guys!
ALL. We wish you good health, your in-stvo!
(p. 49)
TSAR. Did you recognize me?
ALL. Learned!
TSAR. Did they find out, but for whom did they recognize? For the Russian Tsar, for the French Napoleon, for the King of Sweden, or for the Sultan of Turkey?
ALL. For the Russian Tsar.
TSAR. I am not the Russian Tsar, not the French Napoleon, not the King of Sweden, not the Sultan of Turkey. I'm from distant countries, formidable Tsar Maximilian. (A song is sung here, one sings):
All our power triumphs,
Maximilian's throne gleams.
Our Maximilian sat on the throne,
He held a sharp sword in his hand.
Something lyuli, bravo yes lyuli,
He held a sharp sword in his hand.
On his head, a crown shone in the distance.
Something lyuli, bravo yes lyuli,
Shone in the distance.
TSAR. Faithful field marshal, appear before me, the formidable Tsar Maximilian!
SKOROGOD. Oh, great ruler, conqueror of the whole world, formidable Tsar Maximilian, why do you soon call and what do you command to do?
TSAR. Go and bring two faithful pages!
Pages. Have appeared, your office, pages, we will do everything, no matter what you order.
TSAR. Oh, faithful pages, go to my white-stone chambers, bring the scepter and orb and all Roman honor and glory. (The pages leave, come back and carry the scepter and orb.)
Pages (singing):
We are going to the king
We bear the crown of gold. (And everyone picks up:)
We will put it on the head,
And we will raise him to the throne.
(The pages stand on both sides of the king.)
TSAR. Here is the scepter and orb and all Roman honor and
glory, the crown shines, orders the king to command. And now I will sit on this throne, everyone should tremble at my gaze. And so I will spare the right, and judge the guilty. First, I will judge my disobedient son Adolf. Faithful field marshal, appear before the throne of the formidable Tsar Maximilian!
SKOROCH[OD]. Oh, great lord, why do you call quickly or what do you command to do?
TSAR. I have heard that my son Adolf has arrived in my domain.
SKOROCH[OD]. That's right, arrived.
TSAR. Go, go find him and bring him here. (The speed walker will walk and return to the king.)
SKOROCH[OD]. Find found, but you can not take.
TSAR. Take a regiment, take two, but bring him here.
SKOROCH[OD]. Your two shelves won't reach the ceiling. (Points with a saber to the ceiling.)
KING (shouting). Take five, take six, so that my son is here!
SKOROCH[OD]. I'm listening, sir. (Exits and returns with Adolf.)
ADOLPH (gets down on his knees). Hello, dearest parent, conqueror of the whole world, why are you calling your son so soon or what are you commanding to do?
KING (strictly). Speak, impudent, where have you been wandering around until now?
ADOLF. I rode on the Volga River and confessed to a robber.
TSAR. Oh! Daring, I'll take the punishment from my own hands. Is it possible for a tsar's son to ride along the Volga river and get to know the robbers? And what, son, was your gang big?
ADOLF. Not small and not great: five hundred and fifty people.
TSAR. How big was your boat?
ADOLF. Not small and not great: one end in Kazan, and the other in Astrakhan.
KING (angrily). Speak, impudent, do not be afraid to ruin many souls?
ADOLF. Not a lot and not a little, and you would have been caught, so our hands did not break.
KING (loudly). Oh cheeky! I'll take your head off with my own hands! (He takes hold of his sword in excitement and shouts.) Faithful field marshal, fast walker, appear before the throne of the formidable king!
TSAR. Take my bold son and lead him into the dark dungeon; give him a mug of water and a piece of bread! (The runner takes his son and leaves.)
KING (shouting). Faithful field marshal, appear before the throne of the formidable Tsar Maximilian!
SKOROCH[OD]. What do you order, your office?
TSAR. Go and bring me a Ural Cossack.
COSSACK. Oh, great ruler, conqueror of the whole world, why do you call the Cossack so soon or what do you command to do? I appeared as a Cossack in body and soul, trembling that you command me to serve everything.
TSAR. I want to know where have you been so far?
COSSACK. Beyond the Urals.
TSAR. What were you doing there?
COSSACK. Protected your kingdom.
TSAR. Didn't you bring something new, Cossack?
COSSACK. New song and new news.
TSAR. Come on, Cossack, drink up.
(Cossack sings:)
Beyond the Urals, beyond the river, the gang gathered,
(Everyone picks up:)
She, -she, -she, - walked, the gang was going.
This gang, a gang, is not simple - free Cossacks.
She, she, she, - walked, free Cossacks.
Cossacks are not cuffs - free guys.
They are free, free, restless and live richly.
She, -she, -she, - walked, and live richly.
(p. 52)
They sleep little nights and nights, they drive around in the field.
And they guard the prey, they whistle and do not yawn.
She, -she, -she, - walked, whistled, did not yawn.
TSAR. Faithful field marshal, appear before the throne of the formidable Tsar Maximilian.
SKOROCH[OD]. What do you order, your office?
TSAR. Go and bring here from the dungeon the disobedient son Adolf. (The speedy brings Adolf.) Here, son, after your departure, your mother, the queen, died of anguish, and I married a Catholic and adopted the Catholic faith. Believe, son, my gods.
ADOLF. No, I do not believe; I torment your gods under your feet, as I want, and trample.
TSAR. Oh, impudent one, I'll take my head off my hands! (Screams.) Oh, faithful field marshal, appear before the throne of the formidable Tsar Maximilian.
TSAR. Call the blacksmith here.
BLACKSMITH. Hello, your office, why do you call the blacksmith or what do you command?
TSAR. That's your business, chain my rebellious son's hands and feet and take him to prison. (The blacksmith takes out a chain from the bag and knocks with a hammer, ties his hands with a chain, and takes Adolf the Skorokhod. Adolf sings a song :)
Chained, chained, I'm a boy
From head to toe.
With grief, my legs do not go,
Eyes do not look at the light.
SKOROCH[OD]. What would you like, your in-stvo?
TSAR. Go, call the hussar here.
HUSSAR. Oh, great ruler, conqueror of the whole world, formidable Tsar Maximilian, why are you calling for a hussar so soon and what do you command to do?
TSAR. I want to know where the hussar was.
HUSSAR. In battle.
TSAR. Show, hussar, your courage.
HUSSAR. The king speaks well, he orders me to boast. And so I will draw my saber (pulls the saber out of its scabbard) and I will tell the whole hussar truth. I am a jury hussar, more than once I had a brave battle with the French. Bullets and cannonballs flew past me and buzzed like bees. For this, the tsar favored me with medals and crosses and frequent small stars; two stripes on the shoulder and a sharp sword in the right hand, a sharp sword in the right hand and a golden ring on the hand. (At this time he points to his chest, shoulders and ring.) But listen, gentlemen, my second story. How not to love a hussar, a hussar has two mustaches, not a log of firewood, for that it is knee-deep in blood. But listen, gentlemen, the third story is mine. As on the sea, on the ocean, on the island on Buyan, we stood in winter quarters; I got a hostess good and kind and with a face, a rogue, beautiful, but isn’t she a witch? One day I am lying on the stove, squinting my eyes, there is such a strong storm in the yard. Suddenly my hostess got down from the stove, lit three tallow candles, went from corner to corner and found the jar, took a sip, and waved it into the chimney. And I was not a timid fellow; got down from the stove, lit three tallow candles, went from corner to corner and I found a vial, sprinkled cups and spoons and stumps and marched everything through the window, and I took a sip and waved it into the chimney. I fly, I shout: the moon to the right, the stars to the left, I will pass everyone. I'm going there, who knows where. I arrive - a mountain, a hole in a mountain, there the devil is crowned with a witch, my mistress is amused. The hostess saw me, shouted: “You, the shooter, why did you come here in time?” - "To a feast." - “What a feast, get out for the time being whole!” - "I would be glad to leave, but the raven of the horse cannot be found." And now my mistress is leading a black horse: a mane and a golden tail curled into rings. And now I have finished a long journey, let the hussar rest.
TSAR. Faithful field marshal, appear before the throne of the formidable Tsar Maximilian!
TSAR. Go to the dungeon and bring the rebellious son Adolf.
SKOROCH[OD]. I'm listening, sir. (He leaves and brings the chained Adolf.)
TSAR. Well, my son, have you changed your mind?
ADOLF. Changed my mind.
TSAR. Did you remember?
ADOLF. I came to my senses.
TSAR. But as?
ADOLF. The old way.
TSAR. Oh, my son, my years are advanced, I will give you the scepter and orb and all Roman honor and glory, believe my gods.
ADOLF. Then I will believe when you call for a violin and a guitar and a pair of dancers.
TSAR. Skorokhod! Call the dancers and songwriters. (Here two boys come and dance, and everyone sings a song :)
I will sow a quinoa on the shore, my large seed bed;
The quinoa burned out without water, my large nursery.
I'll send a Cossack on the water, don't mess with my Cossack girl,
If I had a young crow horse, I would be a free Cossack,
Jumped, danced, b through the meadows, through the green oak forests,
With the Don, with the young Cossack,
With a daring, kind young man.
(Here they sing the name and patronymic of the owner, for example: Ivan, yes Ivanovich.)
ADOLPH (turning to everyone). I made a mockery of my father, pulled out all the baldness for him. (Turns to his father.) I don't believe it.
TSAR. Oh, impudent one, I'll take my head off my hands! (Screams.) Faithful field marshal, appear before the throne of the formidable Tsar Maximilian!
SKOROCH[OD]. Anything, your in-stvo?
TSAR. Call here the executioner, the knight Branbuil.
KNIGHT. Oh, great ruler, conqueror of the whole world, formidable Tsar Maximilian, why do you call a knight or what do you command to do?
KING (points to his son). Lead the daring one into the open field and cut off his head with right hand obliquely.
KNIGHT (addressing Adolf). But Adolf! When you were dear to the king, and then I loved you, when you became disgusted with the king, and I did not love you anymore. Now I do not love you and I will cut off your head from your right hand obliquely.
ADOLPH (kneels before him and speaks). Let me say goodbye to the people.
KNIGHT. Say goodbye.
ADOLF. Goodbye east, goodbye west, goodbye north, goodbye south. Farewell to my mother, queen, farewell to the fair maiden! Farewell to all the people - the monastery, forgive you, too, the robber father! Before my father, I do not reproach, I part with the world forever! Farewell! (The knight swings and draws a saber across his neck, takes his hat from his head and puts it on the end of the saber. Adolf falls.)
KNIGHT. Here I, the knight Branbuil, cut off the head of the king's son; I hold my head on a saber, I will show all the people and you, king, I no longer serve!
TSAR. Dog honor and death! Faithful field marshal, appear before the throne of the formidable Tsar Maximilian!
SKOROCH[OD]. Anything, your in-stvo?
TSAR. Call the grave digger!
OLD MAN. Great, father tsar, why are you calling the old man or what are you commanding to do?
TSAR. Here's the thing for you old man, put it away dead body so that the worms do not sharpen and that the devils do not drag away.
OLD MAN. And what, father tsar, will be for me to work?
TSAR. I will, old man. (The old man rummages through Adolf's pockets and takes a saber. The Cossack comes up and beats him with a whip).
COSSACK. Old man, you are ordered to clean up, and you start to rob. Bury in the ground! (The old man takes Adolf. Adolf gets up.)
OLD MAN. Buried, father king, now for the labors.
TSAR. Do you have any money, old man?
OLD MAN. No, father tsar, you don’t need money, they’ll still kill you, but now it’s cold, so you can’t wear a fur coat.
TSAR. Call a tailor.
TAILOR. What is your in-stvo?
TSAR. I order you to sew a fur coat for the old man.
TAILOR. What kind of coat do you want, old man?
OLD MAN. Warmer, warmer, father tailor, but you sew someone else's cut during the day, and send horses at night. What to sew, what to tailor, and you do not regret hiding the remnants.
TAILOR. What kind of fur coat, fox or something?
OLD MAN. No need.
TAILOR. Wolf or what?
OLD MAN. No, he will eat.
TAILOR. A mouse or something?
OLD MAN. In, in, in, in! Such!
TAILOR. I'll hide it, but my boys grind. Hey! Boys, start sewing, but don't let the old man scream. (The boys come up and beat the old man with sticks.)
OLD MAN. Oh! Oh! Killed! (Turns to the tsar.) Father tsar, they have killed!
TSAR. What the hell bought you, you don't even need it for nothing. Give you the devil, and he will not thank you.
OLD MAN (shouting). Father, they killed me!
TSAR. Ah, killed? Skorokhod-Field Marshal, call the doctor here!
DOCTOR. Hello, your in-stvo! Why are you calling me, the chief medical doctor, or what are you commanding me to do?
TSAR. Heal this old man.
DOCTOR. I am an artificial doctor, a pharmacist from under the Slavic bridge. This is how I fly, I swing the sword from corner to corner, I heal the sores, I cut out the boils, I insert new ones. Carob measles sword and you, old bastard, I want to cure. Tell me, old man, what hurts?
OLD MAN. Corns!
DOCTOR. Come on, show your tongue.
OLD MAN. Please. (Pulls out tongue.)
DOCTOR. Yes, you, old man, pip.
OLD MAN. Yes Yes! That's right, calluses.
DOCTOR. Here, here is a powder for you, from the stomach and intestines, the first powder. Take it, raise your legs, two and three. Take it to the ceiling, old bastard, bully it, everything will pass. What else hurts?
OLD MAN. I do not remember.
DOCTOR. Cossack, remember.
OLD MAN. Head!!!
DOCTOR. Speak after me. (The old man says.) My head is my head, shave my head, scald it with boiling water, steam it with a broom, hit it twenty-five times with a log, and your head will be healthy forever. Tell me what else hurts?
OLD MAN. Forgot.
DOCTOR. Cossack, remind!
COSSACK (beats the old man with a whip and says). Remember old man!
OLD MAN. All weakened!
DOCTOR. Here you go. Go at twelve o'clock at night along the boundary and lick this stick. (Shows the old man a cane and says goodbye.)
2nd ACTION.
GODDESS. Oh, dissolve, city gates, and let me, the goddess, come here. I am a formidable goddess, I walked across the open field; I conquered all the lands. Only one recalcitrant field of Mars. I will ascend, I will ascend, from the earth to the sky, and I will descend on the Field of Mars. If Mars does not submit to me, does not bow to my knees, then I will go and burn all the cities and villages, and take Mars himself prisoner.
MARS. Fu, fu! My God! What I see before me. Although I can't see, one female voice hear. (Turns to the goddess.) And why did you come here, flew in, or did you want an evil death? Speak quickly, death or belly?
GODDESS. Wait, Mars, fight - cut, not sharp
swords converge. I have a younger brother, maybe he will intercede.
BROTHER OF THE GODDESS, THE STAR. Fu, fu! My God! (Quietly.) What do I see before me? Once, I was walking in the garden with a girl, with my own sister. Suddenly a formidable cloud rose, a terrible thunderstorm came, and suddenly ... my sister was gone. My sister is no more, what a pity for her. And what's that? Who is the girl in front of? (Turns to the goddess.)
GODDESS (answers). Before Mars.
STAR. Ah, cheeky Mars! Why did you attack your sister like a wolf attacking a fox and torment you like a rag?
MARS. What are you, brother, or matchmaker or new relatives?
STAR. I'm not a brother and not a matchmaker and not a new relative. I am the protector of this girl. Go out into the open field to fight, cut, converge on sharp swords.
MARS. Say what you, death, or belly?
STAR AND GODDESS. Belly!!! (Goddess and Star kneel.)
MARS. Well, be you my brother and you be my little sister. (The Goddess and the Star leave.) I went from east to north, I conquered Warsaw under my power and I did not find an opponent for myself. I only have one opponent - Anika the warrior. Although he firmly won a victory over everyone, he did not open the battle with me, Mars. (Anika enters the middle of the circle.)
ANIKA THE WARRIOR. Oh, dissolve, city gates, and let me, a knight, through here. I am a glorious and brave knight, Anika the warrior; I breathe fire, I burn with heat, I challenge the hero to battle.
MARS. And you, impudent opponent, go out into the open field to fight, cut, converge on sharp swords. (At this time they converge, strike with swords and again disperse.)
ANIKA. And you, Mars, cringe; Don't fight with Anika! (1st blow with a saber on a saber.)
MARS. I won’t whistle and won’t let go, but I don’t want to reproach Anika the strong man for a century!
ANIKA. Surrender, insolent, or I'll kill you!! (They hit with sabers and Mars falls.)
TSAR. O faithful field marshal, appear before the throne of the formidable Tsar Maximilian!
SKOROCH[OD]. Anything, your in-stvo?
TSAR. Call the grave digger.
OLD MAN. What do you want, father king?
TSAR. Here, old man, business; remove this dead body so that it does not smolder above the ground, so that the worms do not sharpen and the devils do not drag it away.
OLD MAN. Okay, Father King. (Starts rummaging.)
COSSACK. You are ordered to clean up, you old bastard, and you start to rob; bury in the ground! (The old man pulls Mars away, he gets up. Anika enters the circle.)
TSAR. Oh, brave warrior Anika, I give you a sword from my son. (Gives him a saber.)
ANIKA. Oh king! How many years have I served you faithfully, and you gave me one sim (shows a saber) with a sword. I don’t want to serve you anymore, I can go against you with my strength and courage. I will strike all your guards at once with this sword, and I will not rise in price for you, king. I myself want to honor myself with honor and glory, and I myself want to command your power. I will take the scepter, put a crown on my head and overthrow you, King Maximilian, from the throne!
TSAR. Anika, change your mind.
ANIKA. I, the tsar, never thought about it, and I don’t want to think again.
TSAR. Oh, brave knight, I will reward you with honor and glory, think again.
ANIKA. Cory, tsar, put to death! (Brings sword.)
TSAR. Oh Gods! At least his death was my protection!
ANIKA. I won't spare my death!
DEATH. Oh brave! You wanted me, you began to threaten me, you wanted to hit me with a sword, but I have knives and forks. I will cut your heroic veins. (Goes up to Anika.)
ANIKA. Oh, my death, champion, let me at least say goodbye to the people!
DEATH. I won't give you an hour.
ANIKA. Give me at least an hour!
DEATH. I won't give you a minute.
ANIKA. Give me just a minute!
DEATH. I won't give you a second!
ANIKA. Farewell, all the people, my death is at the gates!!! (Death swings at him and Anika falls. The king calls the old man, the old man and the king say the same thing as before. The Cossack comes out and also beats the old man. The old man drags Anika away.)
THE MESSENGER (goes to the middle, addresses the king). I was sent from King Aron to overthrow you, King Maximilian, from the throne! (The king gets up.)
TSAR. I myself do not want to sit on this throne and own this kingdom, I want to go to the Volga and ride in a light boat!
_____________________
Actors' costumes.
TSAR: in a black frock coat with epaulettes. Sheathed in gold, with visilbant and gilded paper crosses and stars.
ANIKA: in a red shirt, in black lacquered armor.
MARS: in golden armor, a red shirt and a golden helmet with paper feathers. (Same with Anika.)
GODDESS: in a muslin veil, in a white dress.
STAR: in a black shirt, in a silver helmet with feathers.
KNIGHT: like Mars.
MESSENGER: with crosses and medals, with a blue ribbon over the shoulder. (The same for the king.)
ADOLF: in a red shirt, girded with a green sash, with pistols and a dagger tucked into the sash.
HUSSAR: in a red striped blouse, with white
buttonholes, like those of the hussars, and a white lamb hat with a red top, in crosses, 2 medals, 2 stars, a hat with a standing feather and epaulettes on the shoulders, with stripes and a ring on the hand.
COSSACK: in a high Cossack hat and blue shirt, with a pistol and a whip.
OLD MAN: in a gray coat, with a hump and a big beard.
DOCTOR: in a frock coat, in a shirtfront, with glasses and a cane.
SMITH: in a long coat, with a leather bag and the same coat, with a hammer, with a chain and tongs.
DEATH: in a white sheet, with a small scythe (iron).
PAGES: in high caps, one has a power, the other has a scepter.
SKOROGOD: in a high hat, red shirt.
TAILORS: in ordinary jackets.
Note:
At all times, the actions stand in two rows in front of each other; the king comes out, goes to the other side, points to a chair and says: “For whom is this throne built?” Everyone answers: "For you!" The king calls the runner and the pages, the pages stand on both sides of the chair, the king sits all the time. All actors are girded with belts and with sabers, cleavers and checkers.
History of creation
The play was based on the description of the folk drama "Tsar Maximilian" in Bakrylov's collection, in which the author collected extensive folklore material. The author compiled several vivid examples of folk drama in Russian culture and created his own version of the play "Tsar Maximilian". Having become acquainted with this work by Bakrylov, Alexei Remizov expressed the opinion that the play was written in a crude and vulgar manner, and its parts were connected to each other mechanically. After a meeting of the editorial commission, at which Bakrylov's code was discussed, Remizov decided to create his own version of the play.
Remizov worked on the drama not only as a writer, but also as a scientist, largely relying on historical and philological works:
“... I, laying my, perhaps, the only stone to create a future great work that will give a whole kingdom of folk myth, consider it my duty, not holding on to the tradition of our literature, to enter notes and tell them the progress of my work.”
In his work, Remizov tried to embody his ideas about the ideal folk theater - the "theater of squares and oak forests" and the mystery performance as opposed to the "theater of the walls". In practice, this desire was expressed in the fact that Remizov simplified the staging of the play as much as possible and, in comparison with Bakrylov's play, significantly reduced the number of characters. By reducing descriptive remarks, he took "a step away from the naturalistic theater".
Plot
In many ways, the plot of the folk drama is based on the story of Peter I and Tsarevich Alexei. Tsar Maximilian is a tsar who decides to marry a foreign tsarina and renounce the Orthodox faith. The king's son, Adolf, opposes his father's marriage. Trying to reverse the decision of his son, Tsar Maximilian takes Adolf into custody, and in the end he executes him.
Heroes
- Tsar Maximilian (Maximian, Maximian) - "a formidable and strong king", who decided to marry an overseas princess, and abandon the Orthodox faith, and worship "idol gods." Walks in a crown and with orders, brandishes a scepter or a sword.
- Adolf is the son of Tsar Maximilian, who refuses to pray to the "idol gods", for which Tsar Maximilian executes him. He walks in military uniform, but simpler than that of the king. After imprisonment - weak and without insignia.
- Knight Brambeus - urges the king to change his mind, and not to execute the innocent Adolf, but Tsar Maximilian does not listen to him. Huge and grey.
- Skorokhod - informs everyone about the will of Tsar Maximilian.
- An old grave digger prepares a grave for Adolf (A.M. Remizov himself compared him with gravediggers in Shakespeare's tragedy Hamlet).
- The old woman-death - comes for the king Makismilian.
Notes
Links
- The play "Tsar Maximilian" in the processing of A.F. Nekrylova and N.I. Savushkina
Wikimedia Foundation. 2010 .
- Tsar Konstantin (ship of the line, 1779)
- King Solomon: The Wisest of the Wise
See what "Tsar Maximilian" is in other dictionaries:
"King Maximilian"- KING MAXIMILIAN is the most popular folklore play. The action takes place in a conditional land (I am not a Russian emperor, not a French king ...). The basis of the play is the conflict of the king with his son Adolf, who is from our idol (i.e. pagan) ... ... Russian humanitarian encyclopedic dictionary
Maximilian- For this article, the template card ((Name)) is not filled out. You can help the project by adding it. Maximilian lat. ... Wikipedia
Maximilian III of Austria- (October 12, 1558, Wiener Neustadt November 2, 1618, Vienna) Archduke of Austria from the Habsburg dynasty ... Wikipedia
Tsar Ivan the Terrible
Tsar Peter I- Peter I Alekseevich Portrait of Peter I. Paul Delaroche (1838) ... Wikipedia
Tsar and Grand Duke of Moscow- Kingdom of the Russian Kingdom Russian Kingdom ← ... Wikipedia
Ivan the Terrible (tsar)- "John IV" redirects here, see John IV (disambiguation). In the annals, the nickname Terrible is also used in relation to Ivan III. Ivan IV the Terrible Ivan IV Vasilyevich ... Wikipedia
Voloshin Maximilian Alexandrovich- (real name Kiriyenko Voloshin). (1877 1932), poet, art critic, artist. In poetry, the filial feeling of nature as a cosmic whole, the tragic experience of the historical destinies of Russia: the collections Iverny (1918), Deaf and Dumb Demons ... encyclopedic Dictionary
Nicholas I (tsar)- Nicholas I Pavlovich ... Wikipedia
Ferdinand I (king of Bulgaria)- This term has other meanings, see Ferdinand I. Ferdinand I Ferdinand I ... Wikipedia
Books
- A. M. Remizov. Collected works. Volume 12. Rusaliya, A. M. Remizov. The book "Rusalia" (The twelfth volume of the Collected Works of A. M. Remizov) includes dramatic works: "Demonic Action", "The Tragedy of Judas Prince Iscariot", "The Action of George ... Buy for 2421 rubles
- Unpublished materials of the expedition of B. M. and Yu. M. Sokolov. 1926-1928. In the footsteps of Rybnikov and Hilferding. In 2 volumes. Volume 2. Folk drama. Wedding poetry. Random lyric. Chastushki. Fairy tales and non-fairy prose. Creativity of the peasants, . The volume consists of unique folklore texts collected in the 1920s. XX century in the reserved cultural zone of the Russian North. It includes texts of folk drama ("Tsar Maximilian" and "The Boat"),…
