PEOPLE'S PUPPET THEATER, ITS TYPES
The Russians knew three types of puppet theater: the puppet theater (in which the puppets were controlled with the help of threads), the Petrushka theater with glove puppets (the puppets were put on the puppeteer's fingers) and the nativity scene (in which the puppets were motionlessly fixed on the rods and moved along the slots in the boxes) . The puppet theater was not widely used. The Petrushka Theater was popular. The nativity scene was distributed mainly in Siberia and southern Russia.
Petrushka Theater - Russian folk puppet comedy. His main character was Petrushka, after whom the theater is named. This hero was also called Petr Ivanovich Uksusov, Petr Petrovich Samovarov, in the south - Vanya, Vanka, Vanka Retatuy, Ratatuy, Rutyutyu (a tradition of the northern regions of Ukraine). The Petrushka Theater arose under the influence of the Italian Pulcinella puppet theater, with which the Italians often performed in St. Petersburg and other cities.
An early sketch of the Petrushka Theater dates back to the 1930s. 17th century This illustration was placed by the German traveler Adam Olearius in the description of his journey to Muscovy. Regarding the drawing, D. A. Rovinsky wrote: "... A man, having tied a woman's skirt with a hoop in the hem to his belt, lifted it up - this skirt covers him above his head, he can freely move in it, move his hands, put dolls on top and present whole comedies.<...>In the picture, on a portable skirt stage, it is not difficult to distinguish the classic comedy that has come down to our time about how a gypsy sold a horse to Petrushka. The scenes, according to Olearius, were always of the most modest content.
Later, a woman's skirt with a hoop in the hem turned up was replaced by a screen - at least in the descriptions of the Petrushka Theater of the 19th century. the skirt is no longer mentioned.
In the 19th century Petrushka Theater was the most popular and widespread type of puppet theater in Russia. It consisted of a light folding screen, a box with several dolls (according to which
the number of characters - usually from 7 to 20), from a hurdy-gurdy and small props (sticks or ratchet clubs, rolling pins, etc.). The theater of Petrushka did not know the scenery.
The puppeteer, accompanied by a musician, usually an organ grinder, went from court to court and gave traditional performances about Petrushka. It could always be seen during festivities, at fairs.
D. A. Rovinsky wrote about the structure of the Petrushka Theater: “The doll has no body, but only a simple skirt is forged, to which an empty cardboard head is sewn on top, and hands, also empty, on the sides. The puppeteer sticks the doll into the head forefinger, and in the hands - the first and third fingers; he usually puts a doll on each hand and thus acts with two dolls at once.
Specific traits appearance Parsley - big hooked nose, laughing mouth, protruding chin, hump or two humps (on the back and on the chest). The clothes consisted of a red shirt, a cap with a tassel, smart boots on his feet; or from a clownish two-tone clown outfit, collar and cap with bells. The puppeteer spoke for Petrushka with the help of a squeaker - a device due to which the voice became sharp, shrill, rattling. (Pishchik was made of two curved bone or silver plates, inside of which a narrow strip of linen ribbon was strengthened). For the rest of the actors in the comedy, the puppeteer spoke in his natural voice, pushing the squeaker behind his cheek.
The presentation of the Petrushka Theater consisted of a set of sketches that had a satirical orientation. M. Gorky spoke of Petrushka as an invincible hero of a puppet comedy who defeats everyone and everything: the police, priests, even the devil and death, while he himself remains immortal.
The image of Petrushka is the personification of festive freedom, emancipation, a joyful feeling of life. The actions and words of Petrushka were opposed to the accepted norms of behavior and morality. The improvisations of the parsley were topical: they contained sharp attacks against local merchants, landowners, and authorities. The performance was accompanied by musical inserts, sometimes parodic: for example, the image
funeral under "Kamarinskaya" (see in the Reader "Petrushka, aka Vanka Ratatouy").
Municipal state-financed organization Culture City Palace of Culture of the settlement Belye Berega
Folk puppet show Parsley".
Compiled by:
Choirmaster Borisova A.N.
2. Plays for the folk puppet theater "Petrushka";
Folk puppet theater Petrushka.
PARSLEY,“the nickname of a farce doll, a Russian jester, a joker, a wit in a red caftan and in a red cap; name is Petrushka, also the whole clownish one, puppet den"(V.Dal). Parsley has been known since the 17th century. Russian puppeteers used marionettes (puppet theater on strings) and parsleys (glove puppets). Until the 19th century preference was given to Petrushka, by the end of the century - puppets, because. the parsley-makers teamed up with the organ-grinders. The parsley screen consisted of three frames fastened with staples and covered with chintz. She was placed directly on the ground and hid the puppeteer. The hurdy-gurdy gathered the audience, and behind the screen the actor began to communicate with the audience through a squeaker (whistle). Later, with laughter and a reprise, he ran out himself, in a red cap and with long nose. The organ-grinder sometimes became Petrushka's partner: because of the squeaker, speech was not always intelligible, and he repeated Petrushka's phrases, carried on a dialogue. The comedy with Petrushka was played out at fairs and in booths. From some memoirs and diaries of the 1840s, it follows that Petrushka had full name- he was called Peter Ivanovich Uksusov or Vanka Ratatuy. There were main plots: the treatment of Petrushka, training in the soldier's service, the scene with the bride, buying a horse and testing it. The stories were passed from actor to actor, by word of mouth. Not a single character in the Russian theater had the popularity equal to Petrushka.
Usually the performance began with the following plot: Petrushka decided to buy a horse, the musician calls a gypsy horse-dealer. Petrushka examined the horse for a long time and bargained with the gypsy for a long time. Then Petrushka was fed up with bargaining, and instead of money, he beat the gypsy on the back for a long time, after which he ran away. Petrushka tried to get on a horse, which threw him off to the laughter of the audience. This could go on until the people laughed. Finally the horse ran away, leaving Petrushka lying dead. The doctor came and asked Petrushka about his illnesses. It turned out that he was in pain. There was a fight between the Doctor and Petrushka, at the end of which Petrushka hit the enemy hard on the head with a club. “What kind of doctor are you,” Petrushka shouted, “if you ask where it hurts? Why did you study? He himself must know where it hurts! The quarterly appeared. “Why did you kill the doctor?” He answered: "Because he knows his science poorly." After interrogation, Petrushka beats the quarterly with a club on the head and kills him. A snarling dog came running. Petrushka unsuccessfully asked for help from the audience and the musician, after which he flirted with the dog, promising to feed it with cat meat. The dog grabbed him by the nose and dragged him away, and Petrushka shouted: “Oh, my little head with a cap and a brush is gone!” The music stopped, which meant the end of the show. If the audience liked it, they did not let the actors go, applauded, threw money, demanding continuation. Then they played a little scene Petrushka's wedding. The bride was brought to Petrushka, he examined her as they examine horses. He liked the bride, he did not want to wait for the wedding and began to beg her to "sacrifice herself." From the stage where the bride “sacrifices herself”, the women left and took their children with them. According to some reports, another scene, in which a clergyman was present, enjoyed great success. She did not get into any of the recorded texts; most likely, she was removed by censorship. There were scenes in which Petrushka did not participate. It was dancing and juggling with balls and sticks.
collapse Comedy about Petrushka starts at the beginning of the 20th century. Parsley began to appear at children's parties and New Year trees, the text of the scenes changed, losing its sharpness. Petrushka stopped killing. He brandished his club and dispersed his enemies. He spoke politely, and the "wedding" changed, turning into a dance with the bride. Gone was the rude common language, and with it the individuality of the hooligan joker, to whom both old and young came running.
Until now, the puppet theater uses glove puppets, and behind the screen of the theater, Petrushka has given way to other heroes. “The organ-grinder is in our yard this spring, / He dragged the actors of the troupe on his back: / He unfolded the screen in the middle of the yard; / Janitors, lackeys, laundresses, coachmen / Crowded near the screens to stare, / How Petrushka will represent the comedy.
It seems that the search for the “first plot” of the first parsley is futile. And not only because they repeat the methodological costs of the “borrowing theory” (and more broadly than the comparative method in theater science and folklore), but also because in all folk cultures ah, on all continents they will give paradoxically positive results. Archaeological excavations, textual studies, myths, evidence of ethnographers today allow us to simultaneously consider culture as the source of this comedy ancient rome, and the culture of the countries of the East. A similar doll was found by archaeologists even on Easter Island.
There is probably no point in searching for “first parsley”, because this phenomenon belongs to the universal culture. But the folk puppet comedy at the same time remains a purely national achievement. It is more reasonable to explain the identity of such comedies in many countries of the world by the similarity of dialectically developing in line with a single historical process folk cultures based on identical folk calendar games and socio-historical conditions.
According to travelers, the puppet comedian was always with the leader of the bear, who demonstrated “bear fun”. The content of the comedy was obscene. Here it is necessary to pay attention to the statements of witnesses that the puppeteer, as a rule, also played the role of a goat, a clown, a jester. It is quite natural that these roles were projected onto the puppet character as well. The puppet comedy in the complex of the buffoon performance seen was the last, “shock” number, which testifies to its success with the audience, who were not embarrassed by the buffoon content of the comedy. In the 17th century comedy was accompanied by a guslyar or horn player. He was a kind of link between the puppet and the audience: he called, collected payment, conducted a dialogue with the hero, acted as a raeshnik. The accompaniment of puppet comedy has changed over time. In the first half of the XVIII century. "Petrushka" performed his songs and dances to the sounds of a beep, violin. Later, when the hurdy-gurdy appeared in Russia in the second half of the 18th century, this mechanical wind instrument, which did not require musical ability, supplanted folk instruments. The appearance of the hurdy-gurdy in the system of folk puppet show testified, apparently, to the beginning of the extinction of this type of theater, its transition to the system of commercial farce performance.
During the period under study, the technique of showing performances of puppet comedy underwent partial changes. AT early XVII For centuries, a witty construction served as a screen, which looked like this: “... in front of a man in a women's skirt with a hoop on the hem, he lifted it up and, closing in this way, can calmly move his hands, lift the dolls up and present whole comedies ...” (18). This extremely mobile screen allowed the puppeteer to instantly start the performance and also finish it with lightning speed, if circumstances so required.
It is known that in the 19th century the arrangement of the screen was already different. “A sheet of krashenina was hung on two sticks, and because of this sheet the puppeteer showed his performance.” There were also more complex designs, when the puppeteer showed a performance from behind a screen forming a four-sided pillar. Inside the screen was placed a box with dolls (19). To install such screens, you need, of course, more time and, consequently, a more tolerant attitude of the authorities to the fact of showing the performance. However, given that in the XVII century. puppet comedy existed in the position of a persecuted folk theater, it is realistic to assume that once the screen-skirt was more practical for performers than the design of screens late XVIII- 19th century She, perhaps, saved the puppeteer from paying tax - the inevitable "every fifth money" in favor of the treasury.
During the performance, dolls that did not participate in this scene were most likely hung on the artist's chest. When the puppeteer lowered the skirt raised above his head and turned into a buffoon, a buffoon jester, the puppets hanging on his clothes served as additional clownish decorations and attributes.
In the texts of the Masquerade “Triumphant Minerva” by F. Volkov, the following passage was not entirely clear until now: “Momus or a mockingbird. It has dolls and bells on it.” Considering that this part of the masquerade was “theaters with puppeteers”, the analogy with the folk puppeteer, who lowered the screen-skirt and appeared before the audience, was the god of tomfoolery, hung with puppets.
It is possible that a new design of the screen appeared among Russian puppeteers along with the advent of the barrel organ.
The performance of "Petrushka" was given by two actors - a puppeteer and a local musician. This principle, apparently, remained unchanged throughout the entire period of comedy's life. Until the beginning of the 19th century, the tradition of performing this comedy with the help of “glove” puppets probably remained unchanged.
Performances with the use of these puppets require a minimum of skill from the performers. The scenography of such a theater is much simpler, more conventional than scenography professional theater puppets. This can be easily seen by comparing the drawing of Olearius with engravings depicting puppet performances. Western Europe that time.
The Petrushka Theater did not know the scenery. He also did not know the numerous props inherent in the performances of professional puppeteers. The only sham detail of the comedy was a baton that dotted the finals. comic scenes, dropping down on the heads of Petrushka's enemies. In the course of the action, the same club was played by the main character like a violin, and like a broom, and like a gun.
Time changed not only the design of the screen, accompanying musical instruments, but also the plot of the performances, character, appearance, even the name of the protagonist.
This hypothesis is the most probable, but not the only one. The hero of the comedy (according to consonance) could adopt his name from the name of one of his predecessors - the ancient Hindu jester Vidushak, who had a hump, a “funny head”, which aroused the fun of the audience with his behavior (21). Both Vidushaka and Petrushka are both arguing, both are stupid with some kind of special, feigned carnival stupidity. The language of both heroes is the language of the crowd, the instruments of their reprisal are the club and laughter.
Other versions are equally possible. In roadside actors-puppeteers of the early 18th century. we meet the name of Petrushka Ivanov, and in the first half of the same century, the puppeteer Pyotr Yakubovskoy gave performances in Moscow. It is likely that the puppet hero could borrow his name from one of the puppeteers, whose performances were the most popular.
The following assumption, although it may seem unlikely, but also, apparently, has the right to exist. Jesters and folk comic heroes often received nicknames for the names of various foods and seasonings. Ganstvurst - Ivan Sausage (in Russia this name was translated as “hare fat”), Jean Farina - Ivan Muchnik, a French variety of Openwork, Pikkelgering - Pickled herring, Jack Snack - snack. Why shouldn't Petrushka get his name the same way? Later (probably in the first third of the 18th century) the surname Samovarov appeared in him in memory of a technical novelty that had taken root in Russia, introduced by Peter I.
In addition, there is every reason to assume that this hero - a loud-mouthed bully in a red cap, with a cock's profile, often depicted riding a rooster, himself - a spitting image of a rooster, could borrow from him along with his character and name. Moreover, in Russia every rooster is “Petya”.
One way or another, it should not be forgotten that Petrushka acquired his name in the “Petrov Age”, when the reformer of Russia, who did not know sentiments, in the apt expression of V.N. Vsevolodsky-Gerngross “signed his rescripts not with a pen, but with a club” (22) , and during rest hours, under the name of Petrushka Mikhailov, he drank and fooled around at “the most joking cathedrals”.
UNDER THE NAME "PARSLEY"
(People's Theater / Compiled, introductory article, preparation of texts and comments by A. F. Nekrylova, N. I. Savushkina. - M .: Sov. Russia, 1991. - (B-ka of Russian folklore; T. 10), pp. 251-254, comments pp. 506-507).
Exit parsley.
We wish you well, gentlemen. Be healthy, with that day and the holiday that is today. (Referring to
Musician
.)
Musician! You know what brother?
Musician. And what?
Parsley. I, brother, want to get married.
Musician. Not a bad thing, but on whom?
Parsley. Oh-ee-ee! On Praskovya Stepanovna, on the merchant's daughter.
Musician. Do you take a lot of dowry, Vanya?
Parsley. Forty-four thousand and half a quart of vodka, two herrings, caviar and three-pound bottles.
Musician. The dowry is not bad, but the bride is good?
Parsley. Eee, very good!
Musician. Well, show me.
Parsley. I'll call now. (calls.) Paraskovia Stepanovna! Darling, my angel, flower, please come here! (Parascovia walks. At this time, Vanya meets and presses and kisses him tightly to his heart and asks.) How are you, Paraskovia Stepanovna? (Turns to the Musician.) Musician! What about my fiancee?
Musician. Good, good, but a little blind.
Parsley. Not true! What an eye, what an eyebrow, mouth, nose, and what boobs
(and at this time kisses). Musician! Play us Kamarinsky!
Vanya and the Bride dance and sing:
Well, move
When the money started!
Go, hut, go, bake,
The owner has nowhere to lie.
Then Vanya hugs her and escorts her home.
Parsley. Musician! Thank God I got married.
Musician. Now I need to buy a horse for my young wife.
Parsley. That's it, brother, from whom to buy?
Musician. Gypsy Gavril.
Parsley. Where does he live?
Musician. On right side in a big pub.
Parsley (calling Gypsy). Hey, Gavrylo, smeared snout, come here!
Gypsy (walks and sings).
Yes, the fog is furious,
And the frost in the valley
Yes, between the fogs
The gypsies stood.
And bov is healthy, sir. What do you require?
Parsley. I heard that you have a sales horse. Do you want expensive? And is she good?
Gypsy. Good is good. Not a sopat, not a humpback, alive, not undermined, but running - the earth trembles, but falls - lies for three days, and in the mud - burst, even carry it yourself.
Parsley. As much as you want?
Gypsy. Two hundred and fifty rubles.
Parsley. It is expensive.
Gypsy. How much pan will give?
Parsley. One hundred rubles.
Gypsy. Not enough, sir, give.
Parsley. One hundred and twenty.
Gypsy. Come on, sir, a deposit.
Parsley. Bring a horse.
Gypsy. I won't give you a horse without a deposit. Farewell, sir. (Petrushka at this time catches the Gypsy by the forelock and hits the wall.) Having bought without buying, there is no need to fight. Come on, sir, a deposit.
(At this time, Vanya leaves.) Our business is to steal, sell, exchange, get money, eat, drink.
(At this time, Vanya is carrying a stick.)
Parsley. Well, gypsies, get a deposit! (And hits him on the head with a stick.)
Here's a ruble for you!
Gypsy (shouts). A-ya-yay!
Parsley. Here's two, three, four, five.
The gypsy receives a deposit and runs away.
Parsley (leaves on a horse).
And what, musician, is my horse good for a young wife?
Musician. Nice, just chrome.
Parsley. You're lying, she's good! Play me a gallop.
While riding, the horse throws off and beats Vanya and then runs away. At this time, Vanya screams.
Parsley. Oh my god! It hurts around the heart! Who will get my Paraskovya Stepanovna?
Musician. What's happened?
Parsley. Call me a doctor!
Musician. And here comes the doctor.
Doctor. I am a doctor-healer, a German pharmacist. They bring me on their feet, and send them on crutches. Where does it hurt?
Parsley. Higher!
Doctor. Here "- where exactly?
Parsley. Lower!
Doctor. Here "- where exactly?
Parsley. Higher!
Doctor. The devil will sort you out: then higher, then lower, then higher, then lower! Get up, be healthy!
Vania (rises). And how much, doctor, for your work?
Doctor. Five rubles. (Vanya went.)
Come on, money! Our job is to prescribe the medicine, money, tear the skin and send it to the next world.
At this time, Vanya enters and instead of five rubles brings a stick and gives the doctor blows with a stick.
Parsley. Here's a ruble for you, here's two for you! Here's three for you!
The doctor does not receive the rest of the money, but runs away.
Parsley (Musician). And what, did the doctor get money well?
Musician. Okay.
Parsley. Oh, now I'll sit down and sit and sing a song.
Chizhik-pyzhik, where have you been?
I drank vodka at the market.
Drank a glass, drank two -
Spinning around in my head!
Policeman (hitting Vanya). Are you here, scoundrel, making noise, screaming, not letting anyone sleep? I will send Barbosa to you, he will bite off your long nose!
At this time runs watchdog , Vanya stops and starts teasing him.
Parsley. Qiu-qiu!
Barbos. Bow-wow! (Seizes Vanya.)
Parsley(secondary teasing). Qiu-qiu!
Barbos. Bow-wow! (Seizes him.)
Parsley (says goodbye to the audience and shouts). Barbos, Barbos, my long nose is gone!
The end of the orator Vanya.
Petrushka is a glove puppet, one of the characters of the Russian folk theater. Depicted in a red shirt, canvas pants and a pointed cap with a tassel. In the dictionary of V. Dahl it is:
the nickname of a farce doll, a Russian jester, a joker, a wit in a red caftan and in a red cap; the name of Petrushka is also the whole clownish, puppet den.
The origin of this doll, which appeared in Russia in the second half of the 19th century, has not been reliably clarified. Although in Russia Petrushki have been known since the 17th century. Russian puppeteers used marionettes (puppet theater on strings) and parsleys (glove puppets). Until the 19th century, preference was given to Petrushka, by the end of the century - puppets, as parsley-makers teamed up with organ-grinders.
Petrushka's appearance is by no means Russian: he has an exaggerated big hands and the head, facial features are hypertrophied, it itself (carved from wood) is treated with a special vegetable liquid, which makes it look darker; large almond-shaped eyes and a huge hooked nose, completely white eyeballs and a dark iris, due to which Petrushka's eyes appear black. He inherited Petrushka's appearance from the Italian Pulcinella. Many mistakenly believe that Petrushka's wide-open mouth is a smile, but this is not so; being negative character, Parsley constantly stretches his lips in a grin. He has four fingers on his hands (a possible symbol that Petrushka is not a person, but some character from another world).
A typical misconception - to venerate Petrushka as an extremely ancient and primordially Russian hero, is based on his archetypal character traits, which originated in the depths of human ideas about oneself. Parsley is the younger relative of the older ones: the Neapolitan Pulcinella, the French Polichinelle, the English Punch, the Turkish Karagöz, the German Hanswurst and Kasperle, the Spanish Don Cristobal and others, despite the fact that they are all theatrical puppets and are controlled with the help of threads. The only analogue of Petrushka in terms of driving technique is the Guignol glove doll, which appeared in Lyon in early XIX century.
The parsley screen consisted of three frames fastened with staples and covered with chintz. She was placed directly on the ground and hid the puppeteer. The hurdy-gurdy gathered the audience, and behind the screen the actor began to communicate with the audience through a beep (whistle). Later, with laughter and a reprise, he ran out himself, in a red cap and with a long nose. The organ grinder sometimes became Petrushka's partner: because of the squeaker, speech was not always intelligible, and he repeated Petrushka's phrases, carried on a dialogue. The comedy with Petrushka was played out at fairs and in booths.
In Russia, only men "led" Petrushka. To make the voice louder and squeaky (this was necessary both for audibility at fair performances and for the special character of the character), they used a special beep inserted into the larynx. Petrushka's speech was supposed to be "piercing" and very fast.
There were main plots: the treatment of Petrushka, training in the soldier's service, the scene with the bride, buying a horse and testing it. The stories were passed from actor to actor, by word of mouth. No character in the Russian theater has had the popularity of Petrushka.
According to a widespread but unproven version, plays with the participation of Petrushka were still part of the repertoire of buffoons and consisted of humorous scenes and dialogues. Each scene depicted Petrushka's fight with one or another character (the fights were carried out with the help of fists, sticks, etc.).
Usually the performance began with the following plot: Petrushka decides to buy a horse, the musician calls a gypsy horse-dealer. Parsley examines the horse for a long time and bargains with the gypsy for a long time. Then Petrushka gets tired of bargaining, and instead of money, he beats the gypsy on the back for a long time, after which he ran away. Petrushka tries to get on a horse, which throws him off to the laughter of the audience. This could go on until the people laughed. Finally the horse runs away, leaving Petrushka lying dead. The doctor comes and asks Petrushka about his illnesses. It turns out that he is in pain. There is a fight between the Doctor and Petrushka, at the end of which Petrushka hits the enemy hard on the head with a club. “What kind of doctor are you,” Petrushka shouted, “if you ask where it hurts? Why did you study? He himself must know where it hurts! The quarter appears. "Why did you kill the doctor?" He replies: “Because he doesn’t know his science well.” After the interrogation, Petrushka beats the quarterly with a club on the head and kills him. A growling dog comes running. Parsley unsuccessfully asks for help from the audience and the musician, after which he flirted with the dog, promising to feed it with cat meat. The dog grabs him by the nose and drags him away, and Petrushka shouts: “Oh, my little head with a cap and a brush is gone!” The music stops, which means the end of the show.
If the audience liked it, they did not let the actors go, applauded, threw money, demanding continuation. Then they played a small scene "Petrushka's wedding." The bride is brought to Petrushka, he examined her the way they examine horses. He likes the bride, he does not want to wait for the wedding and begins to beg her to "sacrifice herself." From the stage where the bride “sacrifices herself”, the women left and took their children with them. According to some reports, another scene in which a clergyman was present was a great success. She did not get into any of the recorded texts, most likely, censorship removed her. There were scenes in which Petrushka did not participate. It was dancing and juggling with balls and sticks.
Petrushka defeated all opponents, except for one - Death. In the last, final scene, Death took Petrushka with her. However, since Petrushka was used in the farce theater, it is natural that the performance was shown repeatedly and in different places. Thus, Petrushka, "dead" for one circle of spectators, "resurrected" for another. This gives rise to researchers to draw parallels between the image of Petrushka and many different pagan gods endlessly dying and resurrecting.
At the beginning of the 20th century, the "Comedy about Petrushka" begins to collapse. Parsley began to appear at children's parties and Christmas trees, the text of the scenes changed, losing its sharpness. Petrushka stopped killing. He brandished his club and dispersed his enemies. He spoke politely, and the "wedding" changed, turning into a dance with the bride. The rude common language has disappeared, and with it the individuality of the hooligan-joker, to whom both old and young ran.
Separate elements of the traditional "Comedy about Petrushka" (in particular, the free "raeshny" verse) were used by S. Ya. Marshak in the play for children's theater"Petrushka the Foreigner" (1927).
35. Raek. Device. Raeshny verse (definition, subject matter) artistic techniques.
Folk theater, consisting of a small box with two magnifying glasses in front. Inside it, pictures are rearranged or a paper strip with home-grown images of different cities, great people and events is rewound from one rink to another. Rayoshnik moves pictures and tells sayings and jokes for each new story. These pictures were often made in a popular style, initially had a religious content - hence the name "rayok", and then began to reflect a wide variety of topics, including political ones. The fairground was widely practiced.
Rayoshnik or rayoshnik - a storyteller, a performer of a rayok, as well as a person who visits a rayok. In addition, the term raeshnik (or raeshny verse) denotes rhymed prose, which was spoken by the narrator and his characters.
RAYOSHNY VERSE, RAYOK - oldest form Russian folk dysmetric verse (vers libre) with adjacent rhymes, determined by intonation-phrasal and pause articulation. In short, it's a rhyming phrase. Subjects and genres R. with. the most diverse: from topical satire to funny jokes. Most folk theatrical plays and the texts of performances for the folk puppet theater (nativity scene, parsley, farce) were compiled in the form of a district, unusually mobile in its structure and most suitable for improvisational performances on stage.
R.'s example with. (from the book "People's Poetic Satire", L., 1960):
And here, gentlemen, the lottery is being played.
An ox tail and two fillets! ..
Another clock is played about twelve stones
Yes, three bricks.
They were brought from German on firewood!
Another teapot is being played without a lid, without a bottom -
Only one handle!
Real Chinese porcelain!
Was thrown out into the yard
And I picked it up, so I understand
What can porcelain play in the lottery!
Well, guys, fly in -
Buy my tickets!
Tickets for cigarettes will suit you,
And my purse will stir the ruble! ..
In Russian literature, R. s. long time was neglected, despite the fact that the most prominent Russian poets turned to this capacious folk form verse, for example, A. Pushkin in "The Tale of the Priest and his Worker Balda", designed in the spirit people's district:
Once upon a time there was a pop
Toloko forehead,
Went pop through the bazaar
View some product.
Towards him Balda
He goes without knowing where.
“What, dad, got up so early,
What did you ask for?..”
AT folk art was also known puppet theater: marionette theater(in it, the dolls were controlled with the help of threads), Petrushka theater with glove puppets (the puppets were put on the puppeteer's fingers) and nativity scene(in it, the dolls were motionlessly fixed on the rods and moved along the slots in the boxes).
The Petrushka Theater was especially beloved by the people. In the 19th century, the Petrushka Theater was the most popular and widespread type of puppet theater in Russia. It consisted of a light folding screen, a box with several dolls (the number of characters is usually from 7 to 20), a hurdy-gurdy and small props (sticks or ratchet clubs, rolling pins, etc.). The theater of Petrushka did not know the scenery. The puppeteer, accompanied by a musician, usually an organ grinder, went from court to court and gave traditional performances about Petrushka. It could always be seen during festivities, at fairs. The main character was Petrushka, after whom the theater is named. This hero was also called Pyotr Ivanovich Uksusov, Pyotr Petrovich Samovarov, etc. It arose under the influence of the Italian puppet theater Pulcinello, with which the Italians often performed in St. Petersburg and other cities.
In the Petrushka Theater, separate satirical scenes were presented. A.M. Gorky noted that "the invincible puppet hero defeated everyone and everything: priests, the police, the devil and death. He himself remained immortal." one
Here is how D.A. Rovinsky's performance of the Petrushka Theater, which he witnessed:
“This comedy is being played in Moscow, near Novinsky. [...] Its content is very simple: at first Petrushka appears, lies all sorts of nonsense in verse, burr and nasal in his nose, - the conversation is conducted by means of a typewriter, attached to the sky, over the tongue, just like The Gypsy appears, offers Petrushka a horse, Petrushka examines it, and receives kicks from the horse now in the nose, now in the belly, the whole comedy is filled with jerks and kicks, they constitute the most essential and most ridiculous part for spectators. Bargaining in progress, - Gypsy speaks without a typewriter, in a bass voice. After a long auction, Petrushka buys a horse; Gypsy leaves. Petrushka sits on his purchase; the purchase hits him front and back, throws Petrushka and runs away, leaving him dead on the stage. A plaintive howl follows Parsley and lamentations on premature death good fellow. The Doctor comes
Where does it hurt?
Here!
And here?
It turns out that Petrushka is in pain. But when the Doctor reaches the tender spot, Petrushka jumps up and taps him on the ear; The Doctor fights back, a fight begins, a stick appears from somewhere, with which Petrushka finally calms the Doctor.
What kind of Doctor are you, - Petrushka shouts to him, - if you ask where it hurts? What did you study for? You must know where it hurts!
A few more minutes - the Quarterly, or, in a puppet style, “fatal fiter” appears. Since on the stage lies dead body, then Petrushka is subjected to a strict interrogation (treble):
Why did you kill the Doctor?
Answer (on the nose):
Then, that he knows his science poorly - he looks at the beaten man, what he does not see, and he also asks him.
Word for word, - apparently, the interrogation of Fatal Petrushka does not like it. He seizes the former stick, and a fight begins, which ends with the destruction and expulsion of the Fatal, to the general delight of the spectators; this puppet protest against the police usually makes a real sensation in the public.
The play, it would seem, ended; but what to do with Petrushka? And then a wooden Poodle Dog, pasted over the tail and legs with shreds of whipped cotton wool, runs into the stage, and starts barking with all his urine (the bark is attached at the bottom of the husky).
Shavochka-darling, - Petrushka caresses her, - let's go live with me, I'll feed you cat meat.
But Shavochka grabs Petrushka by the nose for no reason; Parsley aside, she holds his hand, he takes the other, she again holds his nose; Finally, Petrushka takes a shameful flight. And so the comedy ends. If there are many spectators and Petrushkin's matchmaker, i.e. the chief comedian will be given vodka, then after that a special interlude is presented called Petrushka's wedding. There is no plot in it, but there is a lot of action. Petrushka brings the bride Varushka; he examines her in the manner of a horse. Petrushka liked Varyushka very much, and he could not bear to wait for the wedding, which is why he began to beg her: “Sacrifice yourself, Varyushka!” Then the final scene takes place, in which the fair sex cannot be present. This is the real and “latest end” of the show; then Petrushka goes to the outdoor stage of the booth to lie all sorts of nonsense and invite the audience to a new performance.
In the intervals between the actions of the play, dances of two Arapok are usually presented, sometimes a whole interlude about a Lady who was stung by a snake (Eve?); here, finally, the game of two Pagliacs with balls and a stick is shown. The latter comes out with experienced puppeteers extremely deftly and funny: the doll has no body, but only a simple skirt is faked, to which an empty cardboard head is sewn on top, and hands, also empty, from the sides. The puppeteer sticks the index finger into the doll's head, and the first and third fingers into the hands; he usually puts a puppet on each arm, and in this way acts with two puppets at once. In puppet comedy there is always a hurdy-gurdy, which replaced the old classical bagpipe, harp and whistle; the organ grinder at the same time serves as a “push”, i.e. enters into conversations with Petrushka, asks him questions and urges him to continue his lies without stopping.
PEOPLE'S THEATER- Theater created directly by the people themselves, existing among the broad masses in forms organically related to oral folk art. In the process of historical development of the arts. culture of the people, the fundamental principle, giving rise to the entire subsequent history of prof. theater. lawsuit, is Nar. theater. creation.
Folklore theater is the traditional dramatic art of the people. The types of folk entertainment and play culture are diverse: rituals, round dances, dressing up, clowning, etc. In history folklore theater It is customary to consider the pre-theatrical and majestic stages of folk dramatic creativity. Pre-theatrical forms include theatrical elements in calendar and family rituals. AT calendar rites - symbolic figures Shrovetide, Mermaids, Kupala, Yarila, Kostroma, etc., playing scenes with them, dressing up. A prominent role was played by agricultural magic, magical actions and songs designed to promote the well-being of the family. For example, for winter Christmas time, a plow was pulled through the village, "sowed" in the hut with grain, etc. With the loss magical meaning the ceremony turned into a fun. wedding ceremony also represented; theatrical game: the order of "roles", the sequence of "scenes", the reincarnation of the performers of songs and lamentations in actor ceremony (bride, her mother). complex psychological game there was a change internal state the bride, who in the house of her parents had to cry and lament, and in the house of her husband meant happiness and contentment. However, the wedding ceremony was not perceived by the people as theatrical performance. In calendar and family rituals, mummers were the participants in many scenes. They dressed up as an old man, an old woman, a man dressed in women's clothing, and a woman - in a man's, dressed up in animals, especially often in a bear and a goat. The costume of the mummers, their masks, make-up, as well as the scenes they played were passed down from generation to generation. At Christmas time, Shrovetide, Easter, mummers performed humorous and satirical skits. Some of them later merged into folk dramas.
booth- a temporary wooden building for theater and circus performances popular at fairs and festivities. Often also a temporary light building for trade at fairs, to accommodate workers in the summer. AT figuratively- actions, phenomena similar to a farce performance (clownish, rude). Booths have been known since the 18th century.
nativity scene- folk puppet theater, which is a two-story wooden box, reminiscent of a stage. In Russia, the crib theater penetrated into late XVII - early XVIII centuries from Poland through Ukraine and Belarus. The name is associated with the original depiction of scenes about the life of Jesus Christ in a cave, where he was hidden from King Herod.
For Ukrainians, Belarusians and Russians, the idea was divided into two parts: religious and domestic. Over time, the religious part was reduced and acquired a local color, and the repertoire expanded and the nativity scene turned into a folk theater.
Unlike the "Petrushka theatre", the puppets are controlled from below
Nativity theater It was a large box, inside of which there was a stage, usually two-tiered. On the upper stage, the worship of the newborn baby Jesus was shown, on the lower stage - episodes with Herod, after whose death the everyday part of the performance followed. Wooden puppets were attached from below to a wire, with the help of which the crib-maker moved them along the slots in the floor. The main scenery on the stage is a nursery with a baby. At the back wall were the figures of the righteous Joseph with long beard and the Holy Virgin Mary. Scenes with the birth of Christ were traditionally played out in the upper tier. The owner of the den usually spoke the text himself different voices and drove puppets. The chorus boys sang Christmas carols. And if a musician was present, he accompanied the singing and dancing with music. The puppeteers and accompanying musicians and the choir went from house to house, or staged performances in places of public gathering - in the marketplaces.
In fact, a two-tiered box 1x1.5m, dolls moved on the tiers.
Petrushka Theater- The parsley screen consisted of three frames fastened with staples and covered with chintz. She was placed directly on the ground and hid the puppeteer. The hurdy-gurdy gathered the audience, and behind the screen the actor began to communicate with the audience through a beep (whistle). Later, with laughter and a reprise, he ran out himself, in a red cap and with a long nose. The organ-grinder sometimes became Petrushka's partner: because of the squeaker, speech was not always intelligible, and he repeated Petrushka's phrases, carried on a dialogue. The comedy with Petrushka was played out at fairs and in booths.
In Russia, only men "led" Petrushka. To make the voice louder and squeaky (this was necessary both for audibility at fair performances and for the special character of the character), they used a special beep inserted into the larynx. Petrushka's speech was supposed to be "piercing" and very fast.
Unlike Nativity scene, the screen is not a box, but a window with “curtains”. And the person who controlled the puppet in the Petrushka Theater could show himself to the public and talk with his own puppet.
Rayok- folk theater, consisting of a small box with two magnifying glasses in front. Inside it, pictures are rearranged or a paper strip with home-grown images of different cities, great people and events is rewound from one rink to another. Rayoshnik moves pictures and tells sayings and jokes for each new story.
The highest manifestation of folk theater is folk drama. The first folk dramas were created in the 16th-17th centuries. Their formation came from simple forms to more complex ones. The most famous and widespread folk dramas were "The Boat" and "Tsar Maximilian". Folk household games were also played satirical dramas("Barin", "Imaginary master", "Mavruh", "Pakhomushka", etc.), adjacent to the Christmas and Shrovetide games. They are based on dramatic scenes that were played out by mummers.
Some of folk dramas wore historical character. One of them is "How a Frenchman took Moscow."
