The repertoire of Russian folk drama is small: only a few plays from a plot point of view. Most often they call the plays "Tsar Maximilian", "Boat", "Barin", "Horse", "Mavrukh", "Pakhomushka". However, here the emphasis should be on the improvised nature of the folk drama, which led to the existence a large number variations of the same piece. The most famous Russian folk drama is "Tsar Maximilian", found in two hundred versions, which differ significantly from each other. The origin of "Tsar Maximilian" has not yet been clarified. Some researchers, eg. V. V. Kallash, suggested that this play is a dramatic reworking of the life of the martyr Nikita, the son of the persecutor of Christians Maximilian, who subjected Nikita to torment for confession Christian faith. Others (P. O. Morozov and A. I. Sobolevsky), based on foreign names in the play (Maximilian, Adolf, Brambeul or Brambeus, Venus, Mars), suggest that this drama goes back to some school drama of the first half of XVIII century, in turn based on some translated story late XVII - early XVIII century. But from these possible prototypes, stories and school drama, "The Comedy about Tsar Maximilian and his son Adolf" should have retained, in any case, only very little - maybe only the scenes where the pagan king demands worship of "idol gods" from his Christian son. The rest of the content is saturated with scenes, borrowed, apparently, from various interludes (including "About Anika the Warrior and His Struggle with Death"), episodes from the nativity scene, the Petrushka Theater, and also from others. folk plays related to "Tsar Maximilian": "Boats", "Barin", etc. In addition, the text of "Tsar Maximilian" is full of excerpts from folk songs and romances, as well as distorted quotations, folk adaptations of poems by Pushkin, Lermontov and other poets.
drama ritual round dance peasant
Rogue Drama"Boat"
The robber drama "The Boat" is the second most widespread Russian folk drama. The names "Boat", "Gang of robbers", "Ataman" are also known, one of the complicated options is "Mashenka". According to its basic scheme, this play is very close to the traditional beginning of several robber songs, often timed to coincide with the name of Stepan Razin: a boat is described floating down the river (“Mother Volga”) with robbers sitting in it and an ataman standing in the middle of the boat.
According to this play, one can trace the features of composition and style characteristic of folk drama. Firstly, this is a weakly marked plot core: in the “Boat” the key motif is the journey of the robbers, led by the chieftain and passing meetings with the old man, captain, etc. In one of the common options, the journey begins due to the ordinary boredom of the chieftain and ends reprisal against the landowner. Thus, the social orientation of the work becomes clear, as well as the typical division into “us” and “them”, the opposition “people” and “landlords”.
The dramatic effect of the plays did not consist in complex twists and turns and the development of action, but rather was achieved through a quick change of scenes, comic dialogue. The techniques that form the comic of the dialogue were simple. One of the popular tricks was oxymorons, built on the combination in one or several phrases of concepts or images that contradict each other: “All of us, good fellows, soaked, so that it did not leave a single thread wet, but all dry ”;
"Esaul. We need you! Are you glad to us, dear guests? Landowner. Glad! Esaul. How glad? Landowner. How the hell!”.
The reception of the game by homonyms (that is, words that sound the same, but different in meaning) and synonyms (similar in meaning, but different in form) is also widespread. Often the game of homonyms is enhanced and facilitated by the motive of the deafness of one of the actors:
« Esaul. I see: a deck on the water! Ataman(as if he didn't hear it). What the hell is the governor! ”;
« Esaul(declares). Black on the sea. Ataman(as if he didn't hear it). What the hell?"
The composition is also characterized by the use of repetitions borrowed from songs. The action goes in a circle: the ataman with the same saying (“Come to me soon, / Speak to me boldly! / You won’t come up soon, / You won’t say it boldly - I order you to roll a hundred, / Your Esaul service will be lost for nothing!” ) tells him to sing a song to him first, then to inspect the surroundings; the esaul, in turn, repeats "I look, I look and I see." These elements become a kind of narrative nodes, verbal markers of action.
There is an opinion that initially such dramas arose among schoolchildren, and they were most widespread among the soldiers and part of the peasantry, which broke away from the village thanks to seasonal work. The conditions of barracks or artel life implied the accumulation in one place a large number familyless people, which in itself contributed to the creation of peculiar theater groups. The plays learned in the city or at the factory were then carried around the villages, became an integral part of the Christmas pastimes and involuntarily absorbed dramatic elements traditional ritual folklore.
Folk heroic-romantic dramas, in contrast to everyday satirical ones, arose and were formed not only on the basis of folklore. They actively used songs literary origin, as well as splint and folk book(popular novels and pictures about robbers, chivalric novels). Some heroic-romantic dramas are known in a single version (for example, the patriotic play about the war of 1812 "How a Frenchman Took Moscow"). The most popular were "Boat" and "Tsar Maximilian".
The drama "The Boat" was widely distributed. V. Yu. Krupyanskaya, who studied this drama, wrote that the oldest centers of its existence were St. Petersburg with its district, as well as central regions Russia (original centers textile industry: Moscow, Yaroslavl, Tver, Vladimir provinces.), From where the play migrated to the North, the Urals, to the Astrakhan province, to the Don villages. "Boat" existed in the peasant and Cossack environment, among soldiers, workers, artisans.
Several dozen variants of the "Boat" are known. In popular use, this play had different names: "Boat", "Gang of Robbers", "Black Raven", "Stepan Razin", "Ermak", etc.
Sometimes the people saw in the robbers fighters against serfdom. One of the editions of the drama had an antibar orientation (see, for example, in the version published in the Reader, the ataman's appeal to the gang: "Hey, well done, burn, the rich landowner has fallen!"). But not all options ended in this way. N. I. Savushkina, who studied the drama, wrote that the call to burn and burn a rich landowner is found in only a few versions, and mainly in late Don recordings. Most of the options ended with a treat for the robbers, singing, dancing. Such a game ending is more organic for the drama.
The origin of "robber dramas" had its own history. Krupyanskaya wrote that the presence in all known texts of the play "The Boat" of the song "Down the mother along the Volga ...", combined with a certain dramatic performance, makes us consider the texts of "robber dramas" that have come down in the records of the 19th-20th centuries as close variants to each other, genetically ascending to the staging of the song "Down the mother along the Volga ...".
The origin of this song is attributed to the second half of the 18th century. Her creative rethinking took place under the influence of the plots and images of traditional robber songs, in particular songwriting about Stepan Razin. As a type of performance "Boat" in its primary basis is a song dramatization, where the mimic reproduction of the general content (imitation of rowing) and the dramaturgy of the plot (personification of characters, elements of dialogue) are close to traditional folk ideas type of games.
In the process of performance, various songs about robbers, literary lyrical works, satirical scenes: "The Imaginary Master", "The Master and Afonka", "Doctor" - in the "Gang of Robbers"; "Master and Afonka", "Master and Warden", "Doctor" - in "Ermak", etc.
An organic part of the drama was an excerpt from A. S. Pushkin's poem "The Brothers-Robbers".
The stranger, who called himself sergeant major Ivan Pyatakov, tells why and how he and his brother became robbers, how they were caught, taken to jail, etc. At the same time, he speaks in the words of Pushkin's poem - not literally, with changes ("There were two of us - brother and me...).
It can be assumed that the drama was also influenced by historical traditions razin cycle.
In one version of The Boat, Ataman talks about the death of his brother and his release from prison:
- But me, good fellow,
They couldn't keep them behind the stone walls.
Behind the iron locks.
I wrote a boat on the wall and ran away from there.
In this version, the Jaeger, telling how he and his brother escaped from prison, says:
- In prison, on the wall they wrote a boat
And they ran away from there.
In folk legends, Stepan Razin escaped from prison in a similar way.
With the Razin cycle folklore works this drama is also brought together by the fact that one of its characters is Stenka Razin himself - however, here he is not an ataman.
In the development of drama big role played literary sources, mainly popular literature about robbers. This affected the plot (complication of its romantic situation - love scenes), in the development of the characters of the characters (the introduction of typical characters: Knight, Larisa, etc.), in general style drama.
Zueva T.V., Kirdan B.P. Russian folklore - M., 2002
Ministry of Education and Science, Youth and Sports of Ukraine
Eastern Ukrainian National University named after Vladimir Dahl
Faculty of Mass Communications
Department of Journalism
Test
in the discipline "General Ethnology"
specifics of folk drama. Rogue Drama "The Boat"
Completed by: student Paevskaya Natalia
Head: Professor Fesenko Yu.P.
Lugansk 2011
Plan
1. Formation of folk drama
2. Features of the wedding drama
3. Repertoire of Russian folk drama
4. Robbery drama "Boat"
1. The formation of folk drama
People's drama is primarily understood as dramas created directly by the people. If the description of this phenomenon is approached from the standpoint of its dialogue, aimed at depicting a person in action, then elements of folk drama can be found in various forms art is still in the early stages cultural development person. As A. N. Veselovsky demonstrated in his works, the primitive syncretism inherent in the first stages of creativity of all peoples, by virtue of its nature, already contains elements of folk drama.
In Russian folklore, elements of folk drama were widely represented both in the so-called calendar rituals and in family rituals, especially wedding ones. The elements of drama are already in their infancy in the most common village round dances and round dance games, while the round dances are often divided into two talking halves. For example, in the famous ritual song “And we sowed millet”: at the end of the song, one of the girls goes to the young women, and the girls sing:
We have lost in the regiment.
Oh, did-ladu, gone!
And the young people answer:
We have arrived in the regiment.
Oh, did-ladu, it's arrived!
During the ceremony, there is a symbolic transition of newly married girls into a circle married women. The same dialogue is found in other round dance games of a wedding nature. In other round dance games (for example, “The prince-king is walking around the city”, “I’ll come up, I’ll come up under the stone city”, “You, wind, cabbage”, “Hare”, “Sparrow”, etc.) song text is only an accompanying explanation of the highly developed dramatic action. Exclusively big interest from the point of view of literary evolution, they represent those ritual games that reproduce different types household chores: a round dance game that reproduces in action and song the entire process of processing flax (“Under oak flax, flax”), or a song that reproduces in its game and in a verbal explanation the entire process of weaving. The character of a dramatic action is also carried by many rituals associated with family life- with birth, marriage and death. And yet, the most favorable ground for the development of a dramatic game is certainly a complex and solemn wedding ceremony.
2. The origins of drama in wedding ceremony
The peasant wedding ceremony is also an extremely complex, multi-component game (realized by the peasantry itself - it is not for nothing that the term “playing a wedding” is common). This game is divided into distinct separate parts, like acts or actions, sometimes lasting several days and with a large number of participants. Unlike round dance games, which have an invariant text, the wedding game consists of a curious contamination of traditional stage maxims and some song texts. The latter have a kind of improvisation that penetrates into the lamentations of the bride, the sentences of the wedding boyfriend, into the conditional conversations of matchmakers with the parents of the bride, etc. The specificity of this improvisation lies in the fact that individual motives and the nature of the roles are determined in advance by centuries-old custom, while the verbal canvas is created every time anew by the performers-authors, in accordance with the role of each of them, but within the limited limits of the stylistic canon inherent in this genre and even this role.
Whereas dance games are almost entirely the creation of communal peasant life, in the wedding ceremony, along with the original peasant elements arising from the very foundations of the peasant economy, layers of the artistic and everyday culture of other social strata also play a significant role, which is reflected both in the texts of songs and sentences, and in material form. Monuments of antiquity, in particular, note the active participation in the wedding amusements of buffoons, masters of verbal and theatrical art, serving different social strata, from the royal court to the rural area. Remains of the buffoons' creativity are found by researchers both in the sayings and in the play of the wedding bridesmaids, as well as in special comic scenes played out at the wedding and already directly related to the folk drama.
One of the elements of wedding entertainment is the so-called dressing up (as a goat, a bear, women - a man, men - a woman), the theatrical nature of which is beyond doubt. The same dressing is found in many agricultural rituals (for example, at Christmas, at Shrovetide, at Rusal Week, at Ivanov's Day, etc.). Genetically, they go back to the remnants of totemism and primitive magic. A technical improvement in disguise is the use of a mask. The use of the mask, which is widespread among different peoples, is associated with the development of animistic ideas: apparently, its initial purpose is to give the bearer of her qualities of the being that she represents.
3. Repertoire of Russian folk drama
The repertoire of Russian folk drama is small: only a few plays from a plot point of view. Most often they call the plays "Tsar Maximilian", "Boat", "Barin", "Horse", "Mavrukh", "Pakhomushka". However, here the emphasis should be on the improvised nature of the folk drama, which led to the existence of a large number of variations of the same play. The most famous Russian folk drama is "Tsar Maximilian", found in two hundred versions, which differ significantly from each other. The origin of "Tsar Maximilian" has not yet been clarified. Some researchers, eg. V. V. Kallash suggested that this play is a dramatic alteration of the life of the martyr Nikita, the son of the persecutor of Christians Maximilian, who subjected Nikita to torment for confessing the Christian faith. Others (P. O. Morozov and A. I. Sobolevsky), based on foreign names in the play (Maximilian, Adolf, Brambeul or Brambeus, Venus, Mars), suggest that this drama goes back to some school drama of the first half of the 18th century. century, in turn based on some translated story of the late 17th - early 18th centuries. But from these possible prototypes, the story and the school drama, “The Comedy about Tsar Maximilian and his son Adolf” should have retained, in any case, only very little - there may only be scenes where the pagan king demands from the Christian son to worship “idol gods ". The rest of the content is saturated with scenes, borrowed, apparently, from various interludes (including "About Anika the Warrior and His Struggle with Death"), episodes from the nativity scene, the Petrushka Theater, as well as from other folk plays related to "Tsar Maximilian ”: “Boats”, “Master”, etc. In addition, the text of “Tsar Maximilian” is full of excerpts from folk songs and romances, as well as distorted quotations, folk alterations of poems by Pushkin, Lermontov and other poets.
drama ritual round dance peasant
4. Robbery drama "Boat"
The robber drama "The Boat" is the second most widespread Russian folk drama. The names "Boat", "Gang of robbers", "Ataman" are also known, one of the complicated options is "Mashenka". According to its basic scheme, this play is very close to the traditional beginning of several robber songs, often timed to coincide with the name of Stepan Razin: a boat is described floating down the river (“Mother Volga”) with robbers sitting in it and an ataman standing in the middle of the boat.
According to this play, one can trace the features of composition and style characteristic of folk drama. Firstly, this is a weakly marked plot core: in the “Boat” the key motif is the journey of the robbers, led by the chieftain and passing meetings with the old man, captain, etc. In one of the common options, the journey begins due to the ordinary boredom of the chieftain and ends reprisal against the landowner. Thus, the social orientation of the work becomes clear, as well as the typical division into “us” and “them”, the opposition “people” and “landlords”.
The dramatic effect of the plays did not consist in complex twists and turns and the development of action, but rather was achieved through a quick change of scenes, comic dialogue. The techniques that form the comic of the dialogue were simple. One of the popular tricks was oxymorons, built on the combination in one or several phrases of concepts or images that contradict each other: “All of us, good fellows, were soaked, so that not a single thread was left wet, but all were dry”;
"Esaul. We need you! Are you glad to us, dear guests? Landowner. Glad! Esaul. How glad? Landowner. How the hell!”.
The reception of the game by homonyms (that is, words that sound the same, but different in meaning) and synonyms (similar in meaning, but different in form) is also widespread. Often the game of homonyms is enhanced and facilitated by the motive of the deafness of one of the characters:
« Esaul. I see: a deck on the water! Ataman(as if he didn't hear it). What the hell is the governor! ”;
« Esaul(declares). Black on the sea. Ataman(as if he didn't hear it). What the hell?"
The composition is also characterized by the use of repetitions borrowed from songs. The action goes in a circle: the ataman with the same saying (“Come to me soon, / Speak to me boldly! / You won’t come up soon, / You won’t say it boldly - I order you to roll a hundred, / Your Esaul service will be lost for nothing!” ) tells him to sing a song to him first, then to inspect the surroundings; the esaul, in turn, repeats "I look, I look and I see." These elements become a kind of narrative nodes, verbal markers of action.
There is an opinion that initially such dramas arose among schoolchildren, and they were most widespread among the soldiers and part of the peasantry, which broke away from the village thanks to seasonal work. The conditions of barracks or artel life implied the accumulation in one place of a large number of familyless people, which in itself contributed to the creation of original theater groups. The plays learned in the city or at the factory were then carried around the villages, became an integral part of Christmastime fun and involuntarily absorbed the dramatic elements of traditional ritual folklore.
Bibliography
1. Veselovsky A. N. Historical poetics. - M .: " high school", 1989. - 408 p.
2. Vsevolodsky-Gerngross V. N. Russian oral folk drama. - M.: Publishing House of the Academy of Sciences of the USSR, 1959. - 136 p.
3. Golovachev V. G., Lashchilin B. S. People's Theater on the Don. - Rostov-on-Don: Rostizdat, 1947. - 184 p.
4. Russian folk drama of the 17th-20th centuries: Texts of plays and descriptions of performances / Ed., Intro. article and comment. P. N. Berkova. - M.: Art, 1953. - 356.p.
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Folk drama:“The Imaginary Master”, “Mavruh”, “Parash” - from the collection of N. Onuchkov “Northern Folk Dramas”; 1911, "Kedril the Glutton" - from "Notes from dead house» F. Dostoevsky; "Boat" - from the reader V. Sipovsky, 1908.
Petrushka Theatre:"Parsley". Folk puppet comedy - from the book by A. Alferov, A. Gruzinsky "Pre-Petrine literature and folk poetry", 1911.
Nativity scenes:"King Herod" - from an article by V. Dobrovolsky in the book "Izvestiya ORYAS", 1908; "The lady and the doctor" - from the book by E. Romanov "Belarusian texts of nativity scenes", 1898.
Raek: texts are given from the book by D. Rovinsky "Russian folk pictures”, 1881, and articles by A. Gatsiski in the book “Nizhny Novgorod. Guide and pointer to Nizhny Novgorod and the Nizhny Novgorod Fair, 1875.
Bear fun: texts from the books of D. Rovinsky, S. Maksimov, as well as lubok pictures 1866, printed in lithography by A. Avramov.
Jokes of fair barkers: contains texts written in late XIX century.
Imaginary master
Characters:
Barin, in military uniform, with shoulder straps; a white straw hat, with a mustache, with a cane, with an umbrella.
The mistress, a disguised man from young guys: in a dress, in a cap. Tries to speak in a thin voice.
An innkeeper, in a loose shirt, in a vest, a green apron on his chest, a cap on his head.
A footman, in a tailcoat or frock coat, a cap on his head, gloves on his hands.
The headman, an old man in a sermyag, a black hat with a cauldron on his head, a bag behind his shoulders, bast shoes on his feet.
Barin. Maria Ivanovna, let's go for a walk. (They enter the tavern, turn to the Innkeeper.) Innkeeper!
Innkeeper. Anything, barin naked?
Innkeeper. No, good sir, I praised you!
Barin. Do you have rooms for Marya Ivanovna and I to settle down, to drink tea and coffee?
Innkeeper. There is, even upholstered with tapestries, sir.
Barin. And will you be able to eat?
Innkeeper. How, sir, you can, sir.
Barin. What exactly will be cooked?
Innkeeper. Roast-s.
Barin. Exactly what?
Innkeeper. A mosquito with a fly, a cockroach with a flea cut into twelve pieces, sir, cooked for twelve people, sir.
Barin. Maria Ivanovna! What a wonderful hot! (To the Innkeeper.) How much will it cost, sir?
Innkeeper. No, we are not blockheads, but we live with people on deceptions; they didn’t see such people, they let them go home without an overcoat; and if you are decently treated, you can let go without a uniform; you have a louse on a lasso in one pocket, a flea on a chain in the other!
Barin. Ah, Maria Ivanovna! He must have climbed into our pocket! I don't want to walk, I move on.
Is his lackey.
Footman. What, barin naked?
Barin. Oh, how you have shamed me!
Footman. No, good sir, I praised you.
Barin. Little Afonka, have you watered my horse?
Footman How, master, drink!
Barin. Why does the horse upper lip dry?
Footman. Couldn't get it.
Barin. And you would have screwed up.
Footman. I chopped off my knees!
Barin. Fool, you would cut the trough!
Footman. I already cut off all four legs!
The headman enters, bows to the Barin and speaks.
Warden. Hello, master father, gray stallion, Mikhailo Petrovich! I was at the Nizhny Novgorod fair, I saw pigs of your breed, but I sold your master's skin, at your mercy the collar was very strong; I also brought you a present: a goose and a turkey.
Barin. What are you, a fool, is there a gentleman's breed of pork?
Warden. your factory.
Barin. Oh yes, my factory! Do bars wear collars?
Warden. Very durable, boyar-father!
Barin. Well, tell me, elder, where are you from?
Warden. From your new village.
Barin. Well, how are the peasants in the village?
Here I am in front of you
Like a leaf before grass!
What do you order, Ataman?
Something boring ... Sing me my favorite song.
Listen, Ataman!
Sings a song, the choir picks up.
The beginning of each line is sung by Yesaul.
Oh, you, my mountains, mountains.
Vorobyovskie mountains!
Nothing you, oh yes mountains,
Didn't argue
You only spawned, mountains,
White combustible stone!
Runs from under the stone
A fast river ... etc.
The chieftain, while singing a song, walks back and forth in deep thought with his arms crossed on his chest. At the end of the song, he stops, stomps his feet and screams.
Come to me quickly
Talk to me boldly!
Won't come soon
Do not speak boldly -
I order you to roll a hundred
Your Esaul service will be lost for nothing!
What do you order, mighty Ataman?
Let's go down the mother along the Volga to roam
Go to the ataman cabin,
Look in all directions:
Yesaul takes a cardboard tube and looks around.
Look back, tell me quickly!
I look, I look and I see!
Tell me what you see
I see: a deck on the water!
(As if I didn't hear it.)
What the hell is the voevoda!
Whether there are a hundred or two hundred -
I know them and I'm not afraid
And if I flare up
I'll get even closer to them!
Esaul-well done!
Take my suspicious phone
Go to the ataman cabin,
Look at all four sides
Are there any stumps, roots, small places?
Lest our boat run aground!
Look back, tell me quickly!
Yesaul starts looking around again. At this time, the singing of the song is heard from afar:
Among the dense forests
The robbers are coming...
(Stomps angrily and screams.)
Who is this walking in my reserved forests
And sings songs so loudly?
Take and bring here immediately!
(Jumps out of the boat, but immediately returns.)
A daring stranger walks in your protected forests
And sings bold songs
But you can't take it:
Threaten to kill with a gun!
You are not an esaul, but a woman,
Your guts are weak!
Take as many Cossacks as you want
And bring a daring stranger!
Yesaul takes several people and jumps out of the boat with them.
Scene 2
Yesaul with the robbers return and bring with them the bound Stranger.
Who are you?
Stranger
Feldwebel Ivan Pyatakov!
How dare you walk in my reserved forests
And sing daring songs?
Stranger
I don't know anyone
Wherever I want, I walk there
And I sing daring songs!
Tell us, whose tribe are you?
Stranger
I don't know my tribe
And recently I walk freely ...
There were two of us - my brother and me.
Raised, nurtured someone else's family;
Life was not sweet
And envy took us;
Bored bitter fate
I wanted to take a walk at will;
My brother and I took a sharp knife
And set off on a dangerous trade:
Will the moon rise in the sky
We are from the underground - into the dark forest,
We crouch and sit
And we all look at the road:
Whoever walks along the road -
We beat everyone.
We take everything!
And not at midnight deaf
Let's lay down a triple
We drive up to the tavern
We drink and eat everything for free ...
But the good fellows did not walk for long,
We were soon caught
And together with his brother, the blacksmiths forged,
And the guards took to prison,
I lived there, but my brother could not:
He soon fell ill
And didn't recognize me
And he recognized everything for some old man;
My brother soon died, I buried him,
And he killed the sentry
He himself ran into the dense forest,
Under the cover of heaven;
Wandered through the thickets and slums
And I got to you;
If you want, I will serve you
I won't let anyone down!
(Turning to Esaul.)
Write it down! This will be our first warrior.
Listen, mighty Ataman!
(To the Stranger.)
What is your name?
Stranger
Write - Bezobrazov!
Ataman again orders Esaul to take a telescope and see if there is any danger.
(Declares.)
(As if I didn't hear it.)
What the hell
These are worms in the mountains,
In the water - devils
In the forest - knots,
In the cities - judicial hooks,
They want to catch us
Yes, sit on the prisons,
But I'm not afraid of them
And I'll get closer to them!
Look back
Tell me soon
Otherwise, I will order you to roll a hundred raziki -
Your Esaul service will be lost for nothing!
(Looking through the pipe again.)
I look, I look and I see!
What do you see?
I see a big village on the shore!
That would have been so long ago, otherwise our belly has let down for a long time!
(Turning to the rowers.)
Turn on guys!
All robbers
(They pick up the chorus and sing the song cheerfully.)
Turn it up guys
To the steep bank, etc. to the end.
The boat comes to shore. Ataman orders Esaul to find out who lives in this village.
(Screams to audience.)
Hey, half-respectables, who lives in this village?
Someone from the audience answers: "Rich landowner!"
(Sends Esaul to the rich landowner to find out.)
Is he happy for us?
Dear guests?
Scene 3
(He gets out of the boat and, going up to one of the participants in the performance, asks.)
Is the owner at home? Who lives here?
Wealthy landowner.
We need you!
Are you happy for us
Dear guests!
How glad?
How the hell!
Like dear friends.
Well, that's it!
Yesaul comes back and reports everything to Ataman. The ataman orders the robbers to visit the rich landowner. The gang gets up and walks around the hut several times, singing a “roaring” song: “Hey mustache! Here are the mustaches! Ataman mustache! Having finished the song, the gang approaches the rich landowner. The Ataman and the Landowner almost literally repeat the dialogue with Yesaul.
Is there money?
You're lying, is there?
I tell you no!
(Turning to the gang, shouting.)
Hey, well done, burn, fell Rich landowner!
There is a scuffle and the show ends.
Mavruh
Characters:
Mavrukh, in a white shirt and underpants, on his head is a white cockle, like a shroud, his face is closed, on his feet are shoe covers. Mavrukh lies on a bench carried by four officers.
Officers, four, in black jackets, straw epaulettes on their shoulders, saber belts on the side, caps or hats with ribbons and figures on their heads.
Panya, a guy dressed in a woman's dress, with a scarf on his head.
Pan, in a long black coat, in a black hat.
Pop, in a chasuble from a curtain canopy, a hat on his head, in his hands a wooden cross made of sticks, a book “for privilege” and a censer - a pot on a rope, and in it chicken droppings.
The clerk, in a caftan and hat, in the hands of a book.
The officers bring Mavrukh on a bench into the hut and place it in the middle, with his head along the hut.
POP (begins to walk around the dead man, censes and speaks in a drawling voice in a singsong voice, imitating the service of a priest).
Freak dead,
Died on Tuesday
Came to bury
He looks out the window.
All (participants in the comedy sing).
Mavrukh went on a campaign.
Miroton-ton-ton, Myroten.
Mavrukh died on the campaign.
Miroton-ton-ton, Myroten.
From there he rides in a black dress pan.
Miroton-ton-ton-Miroten.
- Pan you, pan, dear,
What news are you bringing?
- Madame, you will cry,
Hear my message:
Mavrukh died on the campaign,
He died from the earth.
Four officers carry the deceased
And sing, sing, sing:
Eternal memory to him!
Pop. My sovereign father, Sidor Karpovich,
How old are you?
Mavrukh. Seventy.
Pop (sings in a church way)
Seventy, grandma, seventy.
Seventy, Pakhomovna, seventy.
(Ask Mavruh.)
Sovereign my father,
How many children do you have left?
Mavrukh. Seven, grandmother, seven,
Seven, Pakhomovna, seven.
Pop. What will you feed them?
Mavrukh. Around the world, grandmother, around the world,
Peace, Pakhomovna, peace.
Pop and all (repeat the same phrase by singing further).
Around the world, grandmother, around the world,
Peace, Pakhomovna, peace.
Pop (h reads drawn out, in a church way).
On the sea on the ocean,
On an island in Buyan,
Near a chiseled pillar,
Spindles gilded
Well ... crushed garlic.
Our children have learned
They walked to this bull,
This garlic was dipped
The dish was praised:
- Oh, what a meal,
Khvatsko, burlatsko,
Just Lobodytsko!
There is good
Yes, walk with. … far:
For twenty-five miles,
You won't get any closer.
Dyak (sings).
... Terekha, peritoneum t.s.
Pop (reads from a book, in a church way).
Husband gets up in the morning
I washed my eyes,
My wife asked for
And the wife answers her husband:
- Eka naughty cattle!
Don't rush to work
Only fighting about food.-
The wife's husband replies:
- A good wife gets up in the morning,
Blessing, the stove floods,
And the thin wife gets up,
With abuse, the stove floods,
He pours pots with abuse.
A good broom will plow
And a thin broom will swing around.
Dyak (sings).
... Terekha, peritoneum t.s.
Pop (h italy).
Cloud, lightning above us
With rain.
The uterus was broken
Steering wheel broke
There is no corsage.
The captain is in the cabin
Pilots are sitting on the bar
Crying, sobbing,
Death awaits:
- went together
We will die suddenly.
Parasha
Characters:
Stephen, driver.
Vasily, driver.
Semyon Ivanovich, headman, with a badge.
Parasha, his daughter.
Ivan Petrovich, caretaker of the postal station, in a long dressing gown.
A passing merchant dressed in a Siberian coat.
Enter Stepan and Vasily, cabbies, and sing a song.
What Vanka, daring head,
How daring is your little head,
How far away from me
On whom do you repent, friend, me.
Parasha enters.
Parasha. Hello!
Stepan leaves, Vasily Petrovich remains alone, goes up to Parasha, hugs her and says.
Basil. Praskovya Semyonovna! Do you love me? If you don't love me, I'll go say goodbye to the white light. Indeed, this is my fate! (Exits.)
Parasha. Vasily, don't go, Vasily, come back!
Vasily Petrovich. Praskovya Semyonovna, do you love me? If you love me, come and give me your right hand.
Parasha comes up and offers his hand, and at this time the headman Semyon comes out, drunk, and sings.
Warden.
A snowstorm sweeps along the street,
My little one is walking through the snowstorm.
Ah, you are here!
Parasha and Vasily jump to the sides.
And what an old man! I am the headman Semyon Ivanovich. Everyone knows Semyon Ivanovich the warden. Although I am a bastard, I am still a bureaucratic person, at least a headman. I'll go, I'll go to Ivan Petrovich, he'll treat me. (He beats at Ivan Petrovich's house.) Is Ivan Petrovich at home?
Ivan Petrovich. Home, home, Semyon Ivanovich, home!
Warden. Ivan Petrovich! I'm visiting you. Will you treat me?
Ivan Petrovich. Go, go, Semyon Ivanovich, I'll drink, I'll drink.
Warden. Ivan Petrovich! Do you know my daughter Boy?
Ivan Petrovich. I know, I know, Semyon Ivanovich, a good girl.
Warden. Yes, good girl, Ivan Petrovich! I will marry her to you
Ivan Petrovich. What are you, Semyon Ivanovich, I heard that she is marrying Vasily the cabman.
Warden. What do you! My Paranka yes for Vasily? Yes, I will give him to the soldiers.
Leaving the caretaker.
Vasily Petrovich alone enters the stage, walks, mournful; Stepan enters.
Stepan. Why are you upset, Vasily Petrovich? Like a mouse sat on a croup.
Vasily Petrovich. Oh, Stepan, how can I not grieve! One horse was spent - where will I be driving on one? How will I buy another horse?
Stepan. Yes, you should have gone to Uncle Semyon Ivanovich and asked for money. Besides, I heard that you want to marry Paranka?
Vasily Petrovich. Eh, Stepan, don't laugh, she's no match for me.
Stepan. Well, go and see Ivan Petrovich. He will probably give you money for a horse.
Vasily Petrovich. And the truth, Stepan, go to Ivan Petrovich. (Comes and beats at Ivan Petrovich's apartment.) Is Ivan Petrovich at home?
Ivan Petrovich. Houses. What do you need?
Vasily Petrovich. Ivan Petrovich, I am to your mercy. I've run out of horses, I need to buy another one. Are you giving me money?
Ivan Petrovich. Okay, Vasily! Just bring me a horse as a pledge, and take off your boots as a pledge. I will give money.
Vasily Petrovich began to cry and went away. Meets Stepan.
Stepan. Well, Vasily, did the caretaker give you money?
Vasily Petrovich. Hey Stepan! Yes, he demands a horse as a pledge, and he orders to take off his boots from his feet.
Stepan. Oh, he's a vile bastard! On, Vasily, a hundred rubles, get along with God!
At this time, the headman Semyon runs in.
Warden. Hey guys! Stepan, Vasily! Who will go to carry the merchant?
Stepan. Basil! Go, by the way, you will take a horse there.
Vasily leaves, and a bell rattles behind the wall.
Comes back and meets Stepan.
Stepan. What, Vasily, took the horse?
Vasily Petrovich. No, I did not take it, it did not fit.
At this time, the headman screams.
Warden. Hey guys, Stepan, Vasily! Which merchant was carrying?
Vasily Petrovich. Uncle Semyon, I drove.
Warden. The merchant lost money, five thousand rubles. Didn't you take it?
Vasily Petrovich. No, uncle, I didn't.
Warden. But you still need to search.
The merchant enters. They search Vasily - they find one hundred rubles.
Stepan. This money is mine: I gave him a horse.
Merchant. No, these are not mine. I had five thousand, and here only a hundred rubles.
The headman Vasily will arrest.
Stepan. Vasily traveled in something, whether there was any money left in the carriage.
Vasily Petrovich. Go, Stepan, look there in the cart.
Stepan leaves to watch and returns with the money.
Stepan. Uncle Semyon, the money is here, found.
Merchant. Here is my money.
Warden. Oh, so you riveted Vasily in vain?
The merchant gives Vasily five hundred rubles.
Elder (shouting). Vasily is a good fellow, Vasily is good, I will give my daughter Paranka for Vasily.
The Overseer intervenes.
Overseer. That you, Semyon Ivanovich, wanted to give Paranka for me, and hand over Vasily to the soldiers.
Warden. Oh, you vile bastard! Yes, here's a pig's ear, not Paranka.
Shows the floor angle.
The caretaker runs away and everyone disperses.
Black.
Must have been baked.
The area of dramatic folk art of the Slavs is extensive.
Russian folk drama and folk theatrical art in general are the most interesting and significant phenomenon of national culture. Dramatic games and performances at the beginning of the 20th century were an integral part of the festive folk life, whether it was village gatherings, religious schools, soldiers' and factory barracks, or fair booths. Collectors of our days have found peculiar theatrical "centers" in the Yaroslavl and Gorky regions, Russian villages of Tataria, on Vyatka and Kama, in Siberia and the Urals
Folk drama is a natural product of the folklore tradition. It compressed the creative experience accumulated by dozens of generations of the widest sections of the people. In later times, this experience was enriched by borrowings from professional and popular literature and democratic theater.
Folk actors for the most part were not professionals, they were a special kind of amateurs, connoisseurs of the folk tradition, which was inherited from father to son, from grandfather to grandson, from generation to generation of rural youth of pre-conscription age. A peasant would come from the service or from the trades and bring to his native village his favorite play, learned by heart or written off in a notebook. Let him be in it at first just an extra - a warrior or a robber, but he knew everything by heart. And now a group of young people is gathering and in secluded place adopts the "trick", teaches the role. And at Christmas time - "premier".
At urban, and later rural fairs, carousels and booths were arranged, on the stage of which performances were played on fairy-tale and national historical themes, which gradually replaced the early translated plays. Haven't left for decades mass scene performances dating back to the dramaturgy of the early 19th century - "Ermak, the Conqueror of Siberia" by P. A. Plavilshchikov, "Natalia, the Boyar's Daughter" by S. N. Glinka, "Dmitry Donskoy" by A. A. Ozerov, "The Big Woman" by A. A. Shakhovsky, later - plays about Stepan Razin by S. Lyubitsky and A. Navrotsky.
First of all, the timing of folk performances was traditional. Everywhere they arranged for Christmas and Shrovetide. These two short theatrical "seasons" contained a very rich program. Ancient ritual actions, which at the end of the 19th - beginning of the 20th centuries were already perceived as entertainment and, moreover, mischief, were performed by mummers.
to the holidays and Shrovetide games mummers adjoin small satirical plays "Barin", "Imaginary master", "Mavrukh", "Pakhomushka". They became a "bridge" from small dramatic forms to large ones. The popularity of the comic dialogues of the master and the headman, the master and the servant was so great that they were invariably included in many dramas.
A special role is played in the folk drama by the songs performed by the heroes at critical moments for them or by the choir - a commentator on ongoing events. Songs at the beginning and end of the performance were obligatory. The song repertoire of folk dramas consists mainly of author's songs of the 18th-19th centuries popular in all sectors of society. These are the soldiers' songs "The White Russian Tsar Went", "Malbrook went on a campaign", "Praise, praise to you, hero", and the romances "I walked in the meadows in the evening", "I'm leaving for the desert", "What is clouded, the dawn is clear " and many others.
Drama Heroes
Freedom-loving ataman, robber, brave warrior, disobedient royal son Adolf.
The "robber" drama is especially loved by the people for the atmosphere of romantic liberty, in which it was possible to exist outside the social hierarchy of society, take revenge on offenders, and restore justice. However, the drama did not bypass the gloomy collisions: the constant sense of danger, the restlessness of the robbers, their "outcaste" were fraught with cruelty.
The most popular of the "robber" dramas are "Tsar Maximilian" and "The Boat".
"King Maximilian":
The basis of the play is the conflict between the king and his son Adolf, who has abandoned the pagan gods and believes in Jesus Christ. The king orders his son to be imprisoned, then shackled, starved. Adolf remains adamant, and his father orders his execution. The executioner also kills himself ("I cut him and I destroy myself"). In parallel, another line develops: a gigantic knight threatens the king, demands an "opponent", the king summons Anika the warrior, who defeats the knight. At the end of the play, Death appears, she does not give the king a reprieve and hits him on the neck with a scythe. The struggle for faith was interpreted as steadfastness in convictions, the ability to resist a tyrant.
"Boat":
At the heart of the "Boat" is the story of the voyage of robbers, led by the ataman, along the Volga River, their subsequent molestation to the "farm" or an attack on the landowner's estate. In the future, the plot developed: a scene appeared in a robber camp, a scene of the arrival of a stranger who was accepted into a gang, a scene of a girl being captured by robbers, her refusal to marry the ataman, etc. In the characterization of the ataman of the robbers, the hero of the drama "The Boat", the folklore legendary features of invulnerability - "I blow off small bullets with my spirit (i.e., with my breath").
A distinctive feature of folk drama is the output monologues of its characters. They were often repeated and easily remembered by listeners. The hero had to tell who he was, where he came from, why he came, what he was going to (can) do. The performances were performed without a stage, curtain, backstage, props and props - indispensable components of a professional theater. The action unfolded in the hut, among the people; actors not participating in the scene stood in a semicircle, as needed coming forward and introducing themselves to the public. There were no breaks in the performance. The conventionality of time and space is the brightest feature of folk theatrical action. It required the active co-creation of the audience, who had to imagine, guided by the words of the characters, the place of events.
