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Theatrical life in Russia in the 19th century. Russian theatrical art

Theatrical life in Russia in the 19th century. Russian theatrical art

26.04.2019

Theater of the 19th century. Ostrovsky's folk drama. Artistic innovation of A.P. Chekhov the playwright.

The Russian theater in the nineteenth century was distinguished by a certain duplicity - on the one hand, it continued to react sharply to various social and political changes in the state structure, and on the other hand, it improved under the influence of literary innovations.

At the beginning of the 19th century, in 1803, under Alexander I, the imperial theaters for the first time were divided into a drama and musical troupe, the musical one, in turn, was divided into opera and ballet. The idea of such a division belonged to Katerino Cavos, who himself headed the opera in St. Petersburg. In Moscow, although such a separation officially took place, the musical and dramatic parts were united by a single stage for a long time - until the very opening in 1824 of a new dramatic stage, which eventually became known as the Maly Theater. The Maly and Bolshoy Moscow theaters did not get their names right away, at first they were called that only by comparative characteristics, only with time they gained official status. However, despite the separation of the troupes, both scenes were actually inseparable for a long time due to the general management, administration, general wardrobe and other necessary theatrical attributes.

Gradually, the number of theaters included in the management of the imperial theater office increased. These were St. Petersburg and Moscow state theaters, the troupes of which were located in the Bolshoi and Maly Theater (Moscow), in the Mariinsky, Alexandrinsky, Hermitage Theater, Bolshoi Kamenny (Petersburg). Actors and all other employees of the imperial theaters did not belong to one troupe, but to all theaters, and the officials of the office disposed of them at their discretion, therefore they were easily appointed and reassigned to different stages. It often happened that the actor of the Alexandrinsky Theater was urgently sent to the Moscow Maly Theater, and the St. Petersburg musicians moved to the Bolshoi Theater of Moscow. And, accordingly, vice versa. The officials of the imperial office were not worried about the families or other issues of the artists subordinate to them. Officials were also in charge of the repertory part, it depended on them whether or not to accept a play or a musical performance for staging. This did not give way to freedom of creativity, and therefore an increasing place in the history of the Russian theater was occupied by private troupes.

The entire subsequent history of the Russian theater was the history of the dominance of Western European, mainly French, dramatic art. This state of affairs continued for almost a hundred years. The French school of acting, fully acclimatized on the Russian stage and corresponding to the internal character of the repertoire, gave rise to a considerable number of stage artists. The beauty of external techniques characteristic of her, the finishing of the smallest details of the game, the thoughtfulness of the style and dignity of the declamatory side of the performance, together with a deep respect for art, placed the best Russian actors along with the major artistic forces of the West. There were epochs in the history of the Russian theater that were unparalleled in the number of remarkable talents that were simultaneously on the stage. Such was the time of Shchepkin, Shumsky, Mochalov, Sadovsky, Samarin, P. Stepanova, S. VasilyevaE. N. Vasilyeva, Nikiforov, Medvedeva, Martynov, Sosnitsky, sisters Vera and Nadezhda Samoilov and their brother Vasily Samoilov, as well as before that their parents Vasily Mikhailovich and Sophia Vasilievna Samoilov and other artists who worked on the Moscow and St. Petersburg stages.

The 19th century was a discovery of its talents for Russia. The Russian theater, which turned out to be an excellent student and adopted the foundations of Western European culture, began to look for its own ways of development, in no case moving away from its teachers - figures of Western European culture. A true good student will always be grateful to the teachers. The birth of the Russian intelligentsia took place.

This time is characterized by the rise of Russian musical art - many Russian original musicians, composers, vocalists, dancers and choreographers began to appear, Russian opera achieved particular success. Music has its own Russian direction, in the development of which the composers of the Mighty Handful played an important role, putting at the forefront of musical works not so much the musical beauty that delights the ear, but the theme, the plot of the musical work.

The first Russian theatrical historiographer was Pimen Nikolaevich Arapov, who prepared for publication the encyclopedic Chronicle of the Russian Theater (St. Petersburg, 1861), which included the entire history of the Russian theater from 1673 to November 26, 1825. Theatrical and musical criticism appeared in Russia (one of its brightest representatives is Vladimir Vasilievich Stasov). In St. Petersburg in 1808, the first Russian theater magazine in Russian began to appear - "Dramatic Bulletin", frequency - 2 times a week. The second Russian theater magazine, as it should be according to the tradition of the time, began to be published in Moscow in 1811 - it was called the Dramatic Magazine. And after a few years, the number of various theatrical press, there were several dozen, and they all came out in St. Petersburg and Moscow.

On the theatrical stage, along with the works of classical European drama, domestic works occupied their place. The serious dramas of the outstanding Russian writers Pushkin, Lermontov, Gogol, as well as the works of less significant writers (Khmelnitsky; Potekhin; Lensky; Tarnovsky), did not crowd out the works of European playwrights, but became one with them. Light French vaudeville did not leave the Russian theatrical stage, but willingly coexisted with the vaudeville of Russian authors, who composed their creations in many respects in the style of French classical vaudeville, but using domestic social and everyday foundations and specifically domestic themes.

In the 19th century, the Russian theater gradually became the spokesman for exclusively Russian social and public ideas. New generations of playwrights, directors, actors are already focusing entirely on the history and social phenomena of Russia.

The acting was still artificially pompous and did not correspond much to the current ideas about theatrical culture. However, time required reforms in this area.

A large role in the formation of the realistic Russian theater is assigned to the work of Alexander Nikolayevich Ostrovsky. The innovative theatrical ideas of Ostrovsky were embodied primarily in the imperial Maly (Moscow) and Alexandrinsky (Petersburg) theaters, and from the imperial stages they moved to private enterprises that worked in the provinces.

With the advent of Ostrovsky, his original creations found excellent performers and interpreters among a brilliant galaxy of actors capable of understanding, assimilating and reproducing the most heterogeneous types. Sadovsky and Shumsky, excellent performers of Moliere types, gave unforgettable samples from Ostrovsky's gallery. The sublime creations of Shakespeare, the comedy of Molière's theatre, and the "Russian soul" of Ostrovsky's heroes - everything was within the power of these great talents, sophisticated by the school.

However, all theatrical innovations after Ostrovsky in the Russian Imperial Theater ended. The bureaucratic office, which subordinated the imperial theaters, was afraid of any cataclysms that could interfere and shake the “official chairs”. All innovations in the dramatic imperial theaters were strictly prohibited - the roles passed from one actor to the next generation without any changes. And new performances were staged within the established permitted limits. Soon after the February Revolution, the Directorate of Imperial Theaters was transformed into the Directorate of State Theaters (director Fyodor Batyushkov), which existed until November 1917.

The time of the late XIX - early XX centuries is associated with the formation of new theatrical aesthetics, which at first coincided with revolutionary social transformations.

M. V. Lentovsky saw the theater in the development of the traditions of the areal art, coming from the buffoonery, as gala performances that captivate the audience and turn into mass festivities.

Stanislavsky and Nemirovich-Danchenko at the Moscow Art Theater became the founders of the psychological theater, developing and supplementing each stage image with a backstory invisible to the viewer, stimulating certain actions of the character.

The aesthetics of Meyerhold was the development of theatrical forms, in particular, stage movement, he is the author of the system of theatrical biomechanics. Sincere and impulsive, he immediately embraced revolutionary innovations, looking for innovative forms and bringing them into theatrical art, completely breaking the academic dramatic framework. Tairov worked on the development of theater as a synthetic genre.

Foregger's aesthetic searches lay in the development of theatrical conventions, theatrical plasticity and rhythm, stage parodies, his developments in biomovement turned out to be close to the aesthetics of the Blue Blouse, in the performances of which he also took part.

The Maly Theater unshakably kept the dramatic classical foundations, continuing the historical traditions in the new social conditions.

At the beginning of the 19th century, romanticism and classicism were replaced by realism in Russian stage art, which brought many fresh ideas to the theater. During this period, many changes take place, a new stage repertoire is being formed, which is popular and in demand in modern drama. The nineteenth century is becoming a good platform for the emergence and development of many talented playwrights who, with their work, make a huge contribution to the development of theatrical art. The brightest person in the dramaturgy of the first half of the century is N.V. Gogol. In fact, he was not a playwright in the classical sense of the word, but, despite this, he managed to create masterpieces that instantly gained worldwide fame and popularity. Such works can be called "The Government Inspector" and "Marriage". In these plays, the full picture of social life in Russia is very clearly depicted. Moreover, Gogol did not sing of it, but on the contrary, sharply criticized it.

At this stage of development and full formation, the Russian theater can no longer remain satisfied with the previous repertoire. Therefore, the old will soon be replaced by the new. Its concept is to depict a modern person with a sharp and clear sense of time. The founder of modern Russian dramaturgy is considered to be A.N. Ostrovsky. In his works, he very truthfully and realistically described the merchant environment and their customs. Such awareness is due to a long period of life in such an environment. Ostrovsky, being a lawyer by education, served in court and saw everything from the inside. With his works, the talented playwright created a psychological theater that sought to look into and reveal the inner state of a person as much as possible.

In addition to A.N. Ostrovsky, other outstanding masters of the pen and the stage made a great contribution to the theatrical art of the 19th century, whose works and skills are the standard and indicator of the pinnacle of mastery. One of these personalities is M. Shchepkin. This talented artist has performed a huge number of roles, mostly comedy. Shchepkin contributed to the exit of the acting game beyond the existing templates at that time. Each of his characters had their own individual character traits and appearance. Each character was a person.

Ostrovsky

Creativity Ostrovsky was new to Russian drama. His works are characterized by the complexity and complexity of conflicts, his element is a socio-psychological drama, a comedy of manners. The features of his style are speaking surnames, specific author's remarks, peculiar titles of plays, among which proverbs are often used, comedies based on folklore motives. The conflict of Ostrovsky's plays is mainly based on the incompatibility of the hero with the environment. His dramas can be called psychological, they contain not only an external conflict, but also an internal drama of a moral principle.

Everything in the plays historically accurately recreates the life of society, from which the playwright takes his plots. The new hero of Ostrovsky's dramas - a simple man - determines the originality of the content, and Ostrovsky creates a "folk drama". He accomplished a huge task - he made the "little man" a tragic hero. Ostrovsky saw his duty as a dramatic writer in making the analysis of what was happening the main content of the drama. “A dramatic writer ... does not compose what was - it gives life, history, legend; his main task is to show on the basis of what psychological data some event took place and why it was so and not otherwise ”- this, according to the author, is the essence of the drama. Ostrovsky treated dramaturgy as a mass art that educates people, and defined the purpose of the theater as a "school of social morals." His very first performances shocked with their truthfulness and simplicity, honest heroes with a "hot heart". The playwright created, "combining the high with the comic", he created forty-eight works and invented more than five hundred heroes.

Ostrovsky's plays are realistic. In the merchant environment, which he observed day after day and believed that the past and present of society were united in it, Ostrovsky reveals those social conflicts that reflect the life of Russia. And if in "The Snow Maiden" he recreates the patriarchal world, through which modern problems are only guessed, then his "Thunderstorm" is an open protest of the individual, a person's desire for happiness and independence. This was perceived by playwrights as an affirmation of the creative principle of love of freedom, which could become the basis of a new drama. Ostrovsky never used the definition of "tragedy", designating his plays as "comedies" and "dramas", sometimes providing explanations in the spirit of "pictures of Moscow life", "scenes from village life", "scenes from backwoods life", pointing out that that we are talking about the life of a whole social environment. Dobrolyubov said that Ostrovsky created a new type of dramatic action: without didactics, the author analyzed the historical origins of modern phenomena in society. The historical approach to family and social relations is the pathos of Ostrovsky's work. Among his heroes are people of different ages, divided into two camps - young and old. For example, as Yu. M. Lotman writes, in The Thunderstorm Kabanikha is the “keeper of antiquity”, and Katerina “carries the creative beginning of development”, which is why she wants to fly like a bird.

The dispute between antiquity and newness, according to the scholar of literature, is an important aspect of the dramatic conflict in Ostrovsky's plays. Traditional forms of everyday life are regarded as eternally renewing, and only in this the playwright sees their viability... The old enters into the new, into modern life, in which it can play the role of either a “fettering” element, oppressing its development, or stabilizing, ensuring the strength of the emerging novelty, depending on the content of the old that preserves the people's life. The author always sympathizes with young heroes, poeticizes their desire for freedom, selflessness. The title of the article by A. N. Dobrolyubov “A ray of light in a dark kingdom” fully reflects the role of these heroes in society. They are psychologically similar to each other, the author often uses already developed characters. The theme of the position of a woman in the world of calculation is also repeated in "The Poor Bride", "Hot Heart", "Dowry". Later, the satirical element intensified in the dramas. Ostrovsky refers to Gogol's principle of "pure comedy", bringing to the fore the characteristics of the social environment. The character of his comedies is a renegade and a hypocrite. Ostrovsky also turns to the historical-heroic theme, tracing the formation of social phenomena, growth from a “little man” to a citizen.

Chekhov

Chekhov is called "Shakespeare of the 20th century". Indeed, his drama, like Shakespeare's, played a huge turning point in the history of world drama. Born in Russia at the turn of the new century, it has developed into such an innovative artistic system that has determined the future development of dramaturgy and theater throughout the world. Of course, the innovation of Chekhov's dramaturgy was prepared by the searches and discoveries of his great predecessors, the dramatic works of Pushkin and Gogol, Ostrovsky and Turgenev, on the good, strong tradition of which he relied. But it was Chekhov's plays that made a real revolution in the theatrical thinking of their time. His entry into the sphere of drama marked a new starting point in the history of Russian artistic culture. By the end of the 19th century, Russian dramaturgy was in an almost deplorable state. Under the pen of craft writers, the once lofty traditions of drama degenerated into routine clichés, turned into dead canons. The scene is too noticeably removed from life. At that time, when the great works of Tolstoy and Dostoevsky raised Russian prose to unprecedented heights, Russian drama eked out a miserable existence. To overcome this gap between prose and dramaturgy, between literature and theater, it was destined for none other than Chekhov. Through his efforts, the Russian stage was raised to the level of great Russian literature, to the level of Tolstoy and Dostoevsky. What was the discovery of Chekhov the playwright? First of all, he brought the drama back to life itself. Not without reason did it seem to his contemporaries that he simply offered briefly written long novels for the stage. His plays were striking in their unusual narrative, realistic thoroughness of their manner. This manner was not accidental. Chekhov was convinced that drama cannot be the property of only outstanding, exceptional personalities, a springboard only for grandiose events. He wanted to discover the drama of the most ordinary everyday reality. It was in order to give access to the drama of everyday life that Chekhov had to destroy all the outdated, firmly rooted dramatic canons. “Let everything on the stage be as simple and at the same time as complicated as in life: people dine, only dine, and at that time their happiness is added up and their lives are broken,” said Chekhov, deriving the formula of a new drama. And he began to write plays in which the natural course of everyday life was captured, as if completely devoid of bright events, strong characters, sharp conflicts. But under the upper layer of everyday life, in an unprejudiced, as if accidentally scooped up everyday life, where people "just dined", he discovered an unexpected drama that "constitutes their happiness and breaks their lives." The drama of everyday life, deeply hidden in the undercurrent of life, was the first most important discovery of the writer. This discovery required a revision of the previous concept of characters, the relationship between the hero and the environment, a different construction of the plot and conflict, a different function of events, breaking the usual ideas about dramatic action, its plot, climax and denouement, about the purpose of the word and silence, gesture and look. In a word, the entire dramatic structure from top to bottom has undergone a complete re-creation. Chekhov ridiculed the power of everyday life over a person, showed how in a vulgar environment any human feeling becomes smaller, distorted, how a solemn ritual (funeral, wedding, anniversary) turns into absurdity, how everyday life kills holidays. Finding vulgarity in every cell of life, Chekhov combined a cheerful mockery with good humor. He laughed at human absurdity, but did not kill the man himself with laughter. In peaceful everyday life, he saw not only a threat, but also protection, appreciated the comfort of life, the warmth of the hearth, the saving power of gravity. The genre of vaudeville gravitated towards tragic farce and tragicomedy. Perhaps that is why his humorous stories were fraught with the motive of humanity, understanding and sympathy.

Chekhov's "The Cherry Orchard" is a combination of comedy - "in some places even farce," as the author himself wrote, with gentle and subtle intrigue. The combination of these two principles allows Chekhov to ambiguously evaluate what is happening, to give a dual, tragic characterization of the heroes. Ridiculing their weaknesses and vices, the author simultaneously sympathizes with them. Among the heroes of The Cherry Orchard there is not a single purely comic character. So, the aged child Gaev in other moments of his stage life causes pity and compassion. Epikhodov is not only ridiculous with his endless failures, he is really unhappy! Everything is out of place for him, his love is rejected, his pride constantly suffers. Chekhov does not divide the characters in The Cherry Orchard into positive and negative, they are all equally unhappy, equally dissatisfied with their lives. Chekhov sees the drama of his heroes precisely in their everyday life, so he pays the main attention to the depiction of everyday life, and events are relegated to the background. The plot and composition in the play are purely external, organizing. The very event of the sale of the cherry orchard is inevitable. There is no conflict between Ranevskaya, Gaev and Lopakhin. Ranevskaya and Gaev almost voluntarily give up the cherry orchard and even feel some relief after selling it. “Indeed, everything is fine now,” says Gaev. “Before the sale of the cherry orchard, we all worried, suffered, and then, when the issue was finally resolved, irrevocably, everyone calmed down, even cheered up.” The estate, as it were, is floating into the hands of Lopakhin. Petya Trofimov and Anya do not even try to prevent this. They see their "cherry garden" only in dreams. Thus, Chekhov depicts all events in their natural development, these events themselves do not contain conflict. The main conflict develops in the souls of the characters. It does not consist in the struggle for the cherry orchard, but in dissatisfaction with one's life, the inability to combine dream and reality. Therefore, after buying a cherry orchard, Lopakhin does not become happier, he, like the rest of the characters in the play, dreams of "our clumsy, unhappy life somehow changing" as soon as possible. The peculiarities of the conflict led to changes in the portrayal of dramatic characters. The heroes of the play reveal themselves not in actions aimed at achieving the goal, but in experiencing the contradictions of being. Therefore, there is no intense action in the play, it is replaced by lyrical meditation. The heroes of The Cherry Orchard do not realize themselves not only in action, but also in word. Each spoken phrase has a hidden connotation. There is a so-called "undercurrent", unusual for classical drama. An example of this is the following dialogue of heroes: "Lyubov Andreyevna (thoughtfully). Epikhodov is coming... Anya (thoughtfully). Epikhodov is coming... Gaev. The sun has set, gentlemen. Trofimov. Yes." In this case, words mean much less than the feeling of unsettled life, hiding behind scraps of phrases. Thus, it is in the lyrical subtext that the complex, contradictory spiritual life of the characters is reflected. In the play "The Cherry Orchard" Chekhov creates a special lyrical atmosphere. The author does not give a sharp individual speech characteristics to the characters, rather, their speech merges into one melody. With this effect, the author creates a sense of harmony. And, despite the fact that Chekhov destroys the through action, which was the organizing principle in classical drama, his play does not lose its internal unity. It is also important that the overall structure of the play is the mood of each character. Therefore, all the characters are internally very close to each other. The drama responds to this general mood with some tragic sound: "... everyone is sitting, thinking, silence, you can only hear how Firs mutters softly, suddenly a distant sound is heard, as if from the sky, the sound of a broken string, fading and sad." In the finale, another, even more bleak sound is added to this sound: "You can hear how far in the garden they knock on wood with an ax." Chekhov's innovation as a playwright lies in the fact that he departs from the principles of classical drama and reflects not only problems, but also shows the psychological experiences of the characters through dramatic means.

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COURSE WORK

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Zakirova A.F.

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teacher

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Ufa - 2005

Introduction 4

Theater in the 18th century in Russia 5

18th century literature 9

19th century - the dawn of Russian theater and literature 11

Conclusion 27

References 28

Introduction

Speaking about Russian literature and Russian theater of the second quarter of the 19th century. We must not forget that the majority of the country's population at that time was still illiterate, and only a very limited circle of people could read books and magazines. The development of Russian musical theater followed a complex path.

Theater in 18th century Russia

They receive small instrumental chapels serving assemblies and court holidays. Along with plays of religious content, in the era of Peter the Great, "panegyric" dramas were created, glorifying the victories of Russian weapons. New for the Russian theater was the desire of the author and director to achieve an emotional unity between the experiences of the characters and the music. It would be wrong to limit the connection between the theater and the literature of this era only to the issue of dramatization of novels and short stories. The adventurous-love “knightly” genre experiences a certain influence of the theater, and, what is remarkable, the musical theater. So there is an interaction between literature and the theater. The gallant story in theatrical staging is as saturated with musical elements as the original source.

Speaking of opera, he means only seria or lyrical tragedy: “Opera is a living image of some important action: it only differs from comedy in that in comedy the actors simply speak, and in opera they speak singing.” Explaining the meaning of the term “theatrical machine”, Cantemir again refers to the opera: “In operas, machines mean those by which sudden and extraordinary changes are made in the theater, like, for example, the convergence of clouds with people on them, etc.” In undoubted connection with the performances of the Italian opera-buffa, and later the opera-seria, there are works about the theater that appear in the Russian press throughout

30s. In "Notes on Vedomosti" (1733), an anonymous discourse "on disgraceful games or comedies and tragedies" was printed. The basis of theatrical art, the author writes, is a visual representation of noble heroes and deeds, true to a noble nature, “in disgrace, there is always some memorable and with many cases connected adventure so naturally presented by the fact that the caretakers completely understand, and they can clearly see the whole state of things.”

Assessing the acting game, democratic audiences often showed good taste, admiring those performers who were able to truthfully reveal the spiritual world of their characters. A special mission in subordinating theaters to the ideological tasks of the government was entrusted to the caesura. In 1826, a new censorship charter was introduced, which received from writers the apt definition of "cast iron". The censorship categorically forbade bringing the clergy on stage, subjecting the military, high-ranking officials, and policemen to any kind of criticism. Information about the first opera performances in Russia is very scarce, so the data that was not included in the scientific bypass, reported by the priest of the Danish embassy in St. Petersburg, Peder Van Haven, who arrived in the capital in 1736, are of some value. He points out in his notes: "The Empress maintains an Italian troupe, consisting of about 70 opera singers."

18th century literature

19th century - the dawn of Russian theater and literature

M.N. Yermolova are wonderful actresses of the small tiara. Russian artists of the first half of the 19th century M.S. Shchepkin, P.S. Mochalov, V.A. Karatygin remained in the memory of posterity as figures from the legend. Shchepkin played almost 600 roles in Shakespeare's plays,

Moliere, Gogol, Ostrovsky and Turgenev. He was one of the first to establish realism in the Russian theater, he created the truth on the Russian stage.

On a cloudy frosty morning on March 11, 1853, for some unknown reason, a fire started in the theater. The flame instantly engulfed the entire building, but with the greatest force the fire raged on the stage and in the auditorium. “It was terrible to look at this giant on fire,” an eyewitness described the fire. “When it burned, it seemed to us that a person dear to us was dying before our eyes, endowing us with the most beautiful thoughts and feelings ...” 7.

Muscovites fought the flames for two days, and on the third day the theater building resembled the ruins of the Roman Colosseum. The remains of the building smoldered for about a week. Theatrical costumes collected since the end of the 18th century, excellent stage sets, the archive of the troupe, part of the musical library, and rare musical instruments perished irrevocably in the fire.

"There are events in Russia that amaze contemporaries with their speed and grandeur and are presented as miracles to distant posterity - Moskovskie Vedomosti wrote on January 17, 1825 - Such a thought naturally arises in the soul of a Russian with every incident that brings our fatherland closer to the environment of European powers, such a thought arises in the soul when looking at the Bolshoi Petrovsky Theater, like a phoenix from the ruins, exalting its walls in new splendor and splendor.

The project of the theater building, drawn up by Professor A. Mikhailov, was approved by Emperor Alexander I in 1821, and its construction was entrusted to the architect Osip Bove.

One of the largest theaters in Europe, was built on the site of a burned-out theatrical building, but the facade was facing the Theater Square...

A memorable performance in the annals of the theater was the first performance on December 16, 1888 of I. Mussorgsky's folk drama "Boris Godunov". The first of N. Rimsky-Korsakov's operas was The Snow Maiden (1893), followed by The Night Before Christmas (1898). In the same 1898, the theater for the first time showed the audience A. Borodin's opera "Prince Igor", and two years later, lovers of choreographic art got acquainted with A. Glazunov's ballet "Raymonda" 8 .

The size of the group has become one and a half meters higher than before and reaches 6.5 meters in height. It is pushed forward and placed on a pedestal along the ridge of the roof of the portico.

Four horses, located in one row, rushes at a gallop, dragging along a quadriga - an ancient chariot on two wheels. God rules them Pollon, his head is crowned with a wreath, in his left hand is a lyre.

During the reconstruction of the auditorium, Kavos changed the shape of the hall, narrowing it to the stage, deepening the orchestra pit. Behind the seats of the parterre, where there used to be a gallery, he arranged an amphitheater. The dimensions of the auditorium became: almost equal depth and width - about 30 meters, height - about 20 meters. The auditorium began to accommodate over 2000 spectators.

AT This form of the Bolshoi Theater has survived to this day, with the exception of small internal and external reconstructions.

Kavos himself wrote about the architecture of the auditorium of the Bolshoi Theatre: “I tried to decorate the auditorium as splendidly and at the same time as lightly as possible, in the taste of the Renaissance, mixed with the Byzantine style. stucco arabesques on each floor and the main effect of the auditorium - a large chandelier of three rows of lamps and candelabra decorated with crystal - all this deserved universal approval.

“A new era of Russian literature began with Karamzin,” Belinsky argued. This era was primarily characterized by the fact that literature gained influence on society, it became for readers a “textbook of life”, that is, that on which the glory of Russian literature of the 19th century is based. The significance of Karamzin's activity for Russian literature is great. Karamzin's word echoes Pushkin and Lermontov. Karamzin's story "Poor Lisa" 9 had the greatest influence on subsequent literature.

Warmly loving her parents, she cannot forget about her father, but hides her sadness and tears so as not to disturb her mother. She tenderly took care of her mother, got her medicine, worked day and night (“weaving canvases, knitting stockings, picking flowers in the spring, and picking berries in the summer and selling them in Moscow”) The author is sure that such activities fully ensure the life of the old woman and her daughters. According to his plan, Lisa is completely unfamiliar with the book, but after meeting with Erast, she dreams of how good it would be if her lover “was born a simple peasant shepherd ...” - these words are completely in the spirit of Lisa. Lisa not only speaks like a book, but also thinks. Nevertheless, the psychology of Lisa, who fell in love with a girl for the first time, is revealed in detail and in a natural sequence. The following moments are psychological and interesting: the desire to see Erast the next day after they met and “some kind of sadness” when this desire did not come true, joyful fright and excitement at the unexpected appearance of Erast under the window of her hut, the author depicts the same feeling with the help of details in at the beginning of the story, wonder how she could have lived before without knowing Erast; anxiety at the thought that Erast, the master, cannot be the husband of a simple peasant woman; fear of losing a loved one and hope for his return, finally, hopeless despair after Erast escorted her out of the office.

A.S. Pushkin was the next writer whose sphere of creative attention began to include the whole of vast Russia, its expanses, the life of the villages; Petersburg and Moscow opened not only from a luxurious entrance, but also through the narrow doors of poor people's houses. Evidence of this was his “Belkin's Tale”, in the center of which is provincial Russia. Here are the “martyr of the fourteenth class”, the collegiate registrar, the caretaker of one of the thousands of small postal stations, the poor official Samson Vyrin, and the retired hussar officer Silvio, and rich nobles, and many others 10 .

Reading Gogol's stories, we still remember more than once how an unlucky official in a cap of indefinite shape and in a blue fleece overcoat, with an old collar, stopped in front of the window to look through the whole windows of shops, shining with wonderful lights and magnificent gilding. For a long time, with envy, the official intently examined various objects and, having come to his senses, continued on his way with deep anguish and steadfast firmness. Gogol opens the reader to the world of "little people", the world of officials, bureaucratic chicanery in his "Petersburg Tales" 11 .

Conclusion

Romanticism in Russia, which developed as a literary trend in the early 19th century, was associated with the rise of national self-consciousness and the beginning of the revolutionary movement of the Decembrists. In Russian Romanticism, two trends clearly manifested themselves.

The revolutionary direction manifested itself in the work of the Decembrists - K. F. Ryleev (1795 - 1826), A. I. Odoevsky (1802 - 39), V. K. Kuchelbeker (1797 - 1846) and others, in the early work of A. S. Pushkin (1799 - 1837). The works of the Decembrist poets, like the “southern” poems of Pushkin, are imbued with the spirit of protest against the existing social system, the spirit of affirming the freedom of the individual. The growth of national self-consciousness after the Patriotic War of 1812 and the deepening of the revolutionary movement during the years of preparation for the uprising of 1825 brought to life the motives of the struggle for national and political freedom.

Bibliography

Musical culture of Russia in the XVIII-XIX centuries. St. Petersburg, 1996.

Essays on Russian writers A. Gorelov P. O. Publishing house “Soviet writer”. 1984.

E. A. Polotskaya “Ways of Chekhov's heroes”. Moscow "Enlightenment" 1992.

1 Zezina M. R. Koshman L. V. Shulgin V. S. History of Russian culture. - M., 1990

2 Zezina M. R. Koshman L. V. Shulgin V. S. History of Russian culture. - M., 1990

3 Milyukov P. N. Essays on the history of Russian culture. - M., 1993

4 Essays on Russian writers A. Gorelov PO Publishing house "Soviet writer." 1984

5 History of Russian literature of the 19th century, volume 1 (edited by Petrov.) Enlightenment 1970

7 Musical culture of Russia in the XVIII-XIX centuries. St. Petersburg, 1996

8 Musical culture of Russia in the XVIII-XIX centuries. St. Petersburg, 1996

9 History of Russian literature of the 19th century, volume 1 (edited by Petrov.) Enlightenment 1970

10 Milyukov P. N. Essays on the history of Russian culture. - M., 1993

11 Milyukov P. N. Essays on the history of Russian culture. - M., 1993

EASTERN INSTITUTE OF ECONOMICS OF THE HUMANITIES, MANAGEMENT AND LAW

EASTERN INSTITUTE OF ECONOMICS OF THE HUMANITIES, MANAGEMENT AND LAW

COURSE WORK

By discipline: "history of socio-cultural activity"

On the topic: "Theater and literature of the 18th-19th centuries."

Performed:

student

Zakirova A.F.

Checked:

teacher

_________________

Ufa - 2005

Introduction 4

Secular character of the theater of the 18th century in Russia 5

18th century literature 9

19th century - the dawn of the Russian theater 13

19th century literature 19

Conclusion 29

References 30

Introduction

Theme "Theater and Literature of the 18th-19th Centuries" quite relevant in the context of the history of socio-cultural activities, because we are all bearers of the culture of our people. If we do not know the history of our ancestors, then we will cease to exist as a nation.

The purpose of my work is to consider the theater and literature of the 18th-19th centuries. in the field of leisure.

To achieve the goal, it is necessary to solve the following tasks: consider the theater of the 18-19 centuries. in the context of socio-cultural activities, as well as the literature of this period.

The beginning of this period in the history of the Russian theater is associated with dramatic events in the public life of the country, which shook it to its foundations and left an imprint on all spheres of the life of the Russian theater and society in subsequent years.

Speaking about Russian literature and Russian theater of the 18th-19th centuries. we must not forget that the majority of the population of the country at that time was still illiterate, and only a very limited circle of people could read books and magazines. The development of Russian musical theater followed a complex path.

Its prehistory goes back to dramatic performances (late 18th - early 19th centuries), in which music (arias, songs, choirs, instrumental episodes, dances) occupied a significant place, to interludes of the school theater panegyric dramas for the repertoire of the Moscow Slavic-Greek-Latin Academy.

If the musical theater in Russia did not rely on long-standing national traditions, the flowering of Russian national opera in the second half of the 18th century would not have been possible.

Secular character of the theater of the 18th century in Russia

The eighteenth century was one of the turning points in the history of Russia. The culture that served the spiritual needs of this period began to quickly acquire a secular character, which was greatly facilitated by the convergence of art and science.

One of the life-giving sources of the Russian theater was folklore. Elements of theatricality, i.e. figurative, effective reproduction of reality, are always present in folk art, whether it be a round dance, dance, ritual game. A peculiar expression of the needs of the people in the theater is the "folk drama" 1 .

Undoubtedly, there was an internal connection between the folk and professional theater. Buffoons were the bearers of folk theater traditions. Echoes of these "plays" can be found, and in the performances of amateur troupes of the 18th century, in them the role of the buffoon passes to the Gaer. Along with the troupes that performed before the court audience, throughout the 18th century, especially in the second third of it, amateur associations arose, often democratic in composition of participants and repertoire.

By the middle of the 18th century, the theater had already firmly entered the life of Russian society, and not only of its aristocratic or church elite, but also of the social lower classes. It can be argued that the folk and literary theater were in a certain interaction. The comic characters of the interludes are not so far from the jesters and "jolly persons" of the performances of the public theater of the early 18th century. From the first steps the Russian theater uses music. She is almost on equal footing with the word enters the performances of the school theater. In dramas on religious themes, of course, liturgical chants were used. However, along with church hymns, secular music also organically enters into the composition of the performance, illustrating scenes of a “worldly” nature.

Far from all the plays that were performed in Russia at the turn of the 18th century have come down to us, but nevertheless the available material allows us to draw certain conclusions. Already at the very beginning of the organization of the court theater, there was a need for musicians. The composition of the musicians was repeatedly replenished and updated both at the expense of foreign and, apparently, Russian performers. In the first quarter of the 18th century, small instrumental chapels serving assemblies and court holidays became widespread in Russia. Along with plays of religious content, in the era of Peter the Great, "panegyric" dramas were created, glorifying the victories of Russian weapons. New for the Russian theater was the desire of the author and director to achieve an emotional unity between the experiences of the characters and the music.

It would be wrong to limit the connection between the theater and the literature of this era only to the issue of dramatization of novels and short stories. The adventurous-love “knightly” genre experiences a certain influence of the theater, and, what is remarkable, the musical theater. So there is an interaction between literature and the theater. The gallant story in theatrical staging is as saturated with musical elements as the original source.

Allegorical and mythological images most clearly expressed the main theme of the play. Even before foreign opera troupes began to systematically give their performances at court, references to this “overseas invention” appeared in Russian literature. In 1726, A. Cantemir translated “A certain Italian letter containing a consoling critical description of Paris and the French, written from a certain Socilian to a friend”, in which there are lines about Parisian theaters, including Italian comic opera.

“There are many featres here, who are always open for the amusement of those who love such a spectacle; operas are sent in one, and comedies, tragedies in the other ... ”Kantemir, on the other hand, belongs to an attempt to interpret theatrical terminology in the notes to the translation of Fontenelle’s Conversations about the Many Worlds” 2 .

Speaking of opera, he means only seria or lyrical tragedy: “Opera is a living image of some important action: it only differs from comedy in that in comedy the actors simply speak, and in opera they speak singing.” Explaining the meaning of the term “theatrical machine”, Cantemir again refers to the opera: “In operas, machines mean those by which sudden and extraordinary changes are made in the theater, like, for example, the convergence of clouds with people on them, etc.” In an undoubted connection with the performances of the Italian opera buffa, and later the opera seria, there are works about the theater that appeared in the Russian press throughout the 30s. In "Notes on Vedomosti" (1733), an anonymous discourse "on disgraceful games or comedies and tragedies" was printed.

The basis of theatrical art, the author writes, is a visual representation of noble heroes and deeds, true to a noble nature, “in disgrace, there is always some memorable and with many cases connected adventure so naturally presented by the fact that the caretakers completely understand, and they can clearly see the whole state of things.”

The censorship categorically forbade bringing the clergy on stage, subjecting the military, high-ranking officials, and policemen to any kind of criticism. Information about the first opera performances in Russia is very scarce, so the data that was not included in the scientific bypass, reported by the priest of the Danish embassy in St. Petersburg, Peder Van Haven, who arrived in the capital in 1736, are of some value. He points out in his notes: "The Empress maintains an Italian troupe, consisting of about 70 opera singers."

The Russian theater, which became public under Peter the Great and accessible to a wide range of spectators, did not cease to exist in the subsequent era. Russian amateur performances are staged not only at the court and in the homes of nobles, but also among the raznochinny, petty-bourgeois” 3 .

The repertoire of amateurs was quite diverse - from interludes to secular plays on the themes of gallant stories and dramas on religious subjects inherited from the previous time. The participation of singers in amateur court performances becomes a tradition, which continues in the 50s and 60s, when singers perform together with Italian artists in the operatic repertoire. No less significant is the role of the cadets of the gentry corps as the main performers of ballets and participants in dramatic and operatic performances.

Dance classes in the building, and later in the Moscow Academic Gymnasium, were the first theater school that trained artists for the future Russian professional theater. The need for Russian dancers and singers was revealed from the beginning of the 40s, when the activities of the court opera theater resumed. Foreign singers and dancers could not ensure the staging of large and complex works, not to mention the fact that the need for Russian performances for the prestige of the monarchy was also created at court. Despite the fact that by the middle of the 18th century Russian performances had firmly entered life, the Italian opera continued to be the main form of the court theater. 40-50s - a new stage of its triumph. Never before had so many performances been given at court: opera seria and opera buffo.

Along with the Italians were the French, later the Germans, the British. At the same time, the 1950s and 1960s were not only the time of the dominance of foreigners, but also a period of intense struggle for the creation of the Russian national theater, the promotion of talented Russian composers, playwrights, actors, and singers. Russian composers not only successfully compete with foreign guest performers, but they themselves perform abroad - such as, for example, the famous Russian dancer Timofey Bublikov.

The opera seria, which reappeared in Russia in the early 1940s, was significantly different in content from the previous one, and was transformed in accordance with the requirements of the Russian autocracy and its increased strength. The performance of the singers in the choir gave the performance the necessary solemnity and festivity and opened the way to the opera stage for Russian artists. The rise of Russian science and culture, national literature came into sharp conflict with the dominance of foreigners in all areas of life. The middle of the 50s of the 18th century was a period of changing styles of musical theater in Russia. The period of domination of the opera-seria, which exalted the Russian autocracy, the art of a purely courtly art, ended. These words truly capture the essence of the French comic opera of the 50s of the 18th century: appeal to the folk themes, freedom from pretentiousness and autocratic virtuosity, simplicity, the use of folk song intonations. The theater became a factor of national culture. Russian performers and composers have mastered the experience of world opera art, have established their own, brightly original national art.

18th century literature

The literature of the 18th century was prepared by the entire previous history of Russian literature, the course of development of society and Russian culture. It is associated with the best traditions of ancient Russian literature (the idea of the important role of literature in the life of society, its patriotic orientation). The reforming activities of Peter I, the renewal and Europeanization of Russia, extensive state building, the transformation of the country into a strong world power with the cruelty of the serf system - all this was reflected in the literature of that time. Classicism became the leading literary movement of the 18th century.

Classicism is a pan-European phenomenon. But in different countries it had its own characteristics and a certain degree of development. Classicism reached its heyday in France in the second half of the 17th century. The works of classicist writers reflected the ideas of a strong independent state with the absolute power of the monarch. Therefore, the main conflict in the works of classicism is the conflict between duty and feeling. In the center of these works is a man who subordinated the personal to the public. For him, above all, the duty of a citizen, serving the interests of the motherland, the state. Such a citizen should be, first of all, the monarch. The classicists considered the mind to be the highest criterion of the true and beautiful.

In Russian literature, classicism appeared later than in Western European literature, but was caused by similar historical conditions - the formation of a strong autocratic state. He was closely associated with the ideas of the European Enlightenment, such as: the establishment of firm and fair laws, the enlightenment and education of the nation, the desire to penetrate the secrets of the universe, the assertion of the natural equality of people of all classes.

From the 60s. In the 18th century, a new literary trend emerged in Russian literature - sentimentalism. Like the classicists, sentimentalist writers relied on the ideas of the Enlightenment that a person's value does not depend on his belonging to the upper classes, but on his personal merit.

The classicists subordinated everything to reason, the sentimentalists - to feelings, experiences and all sorts of shades of mood.

Samples of works of sentimentalism in the West: "Clarissa" by S. Richardson, "The Suffering of Young Werther" by I.V. Goethe. The head of Russian sentimentalism is considered to be N.M. Karamzin. In the story "Poor Liza" Karamzin for the first time discovered the world of human feelings, the depth and strength of the love of a simple peasant woman. Revealing the world of feelings, the literature of sentimentalism brought up dignity and respect for one's strengths, abilities, experiences, regardless of one's position in society.

Lomonosov is the first of the Russian cultural figures who won world fame, one of the outstanding educators and the most enlightened person of his time, one of the greatest scientists of the 18th century, a wonderful poet. "Ode for a day ....." written in a "high calm" and glorifies the daughter of Peter 1. Paying tribute to the virtues of the Empress, her "meek voice", "kind and beautiful face", the desire to "expand science", the poet starts talking about her father, who calls "a man, what was unheard of from time immemorial." Peter 1 - the ideal of an enlightened monarch, a cat. He gives all his strength to his people and state. In the ode of Lomonosov, the image of Russia is given with its vast expanses, enormous wealth. This is how the theme of the Motherland and service to it arises - the leading one in the work of Lomonosov. The theme of science, the knowledge of nature, is closely related to this topic. It ends with a hymn to science, an appeal to young men to dare for the glory of the Russian land. Thus, the educational ideals of the poet found expression in the "Ode of 1747".

Fonvizin. The comedy "Undergrowth" is rightly considered the pinnacle of Fonvizin's work and the entire domestic dramaturgy of the 17th century. While keeping in touch with the worldview of classicism, comedy has become a deeply innovative technique. How did the comedy "Undergrowth" correspond to the provisions of Russian classicism? First of all, the author retains all the features of the "low" genre 4 .

The play ridicules vices (rudeness, cruelty, stupidity, ignorance, greed), which, according to the author, require immediate correction. The problem of education is central in the ideas of the Enlightenment, it is also the main one in Fonvizin's comedy, which is emphasized by its title. (A minor is a young nobleman, a teenager who received home education.) The specificity of the depicted reality, respectively, and the language of the work (one of the rules of classicism). For example, Prostakova’s speech: rude in addressing servants (“swindler”, “cattle”, “thieves’ mug” - tailor Trishka; “beast”, “scum” - nanny Eremeevna), caring and affectionate in conversation with her son Mitrofanushka (“vek live, learn forever, my dear friend, "darling"). The "correct", bookish language forms the basis of the speech of positive characters: it is spoken by Starodum, Pravdin, Milon and Sophia. Thus, the speech of the heroes, as it were, divides the characters into negative and positive (one of the rules of classicism).

A.N. Radishchev - even in his youth, Radishchev determined the main goal of his life to serve for the good of the Fatherland. In the epigraph to "Journey from St. Petersburg to Moscow" - "The monster is oblo, mischievous, huge, stozevno and barking" - Radishchev defines the main enemy, the main misfortune of Russia and the Russian people - autocracy and serfdom associated with it. Most of the chapters of this work are devoted to exposing the essence of this "monster", its cruelty and inhumanity, corrupting the souls of people ruining the country. The writer paints pictures of lawlessness and incredible exploitation, cat. peasants are exposed. Radishchev reveals the "true face" of the autocracy in a satirical "dream" (chapter "Spasskaya Poles'"), showing the illegality and anti-people nature of any monarchy.

N.M. Karamzin. Karamzin's word echoes Pushkin and Lermontov. The greatest influence on subsequent literature was Karamzin's story “Poor Lisa. ” The author laid the foundation for a huge cycle of works.

It was he who opened the way for such writers of the future as Gogol, Dostoevsky and others. A.S. Pushkin was the next writer, whose sphere of creative attention began to include the whole of vast Russia, its open spaces, the life of villages, Petersburg and Moscow opened not only from a luxurious entrance, but also through the narrow doors of poor people's houses.

19th century - the dawn of the Russian theater

In 1828, an "Association for the Establishment of a Public Theater" arose in Moscow. Among its founders were the manufacturer S. T. Morozov, theatrical figures K. S. Stanislavsky and V. I. Nemirovich-Danchenko. In Karetny Ryad, the Hermitage Theater was rented - a dilapidated and cold hall. On October 14, 1829, the first performance of the Moscow Public Art Theater took place here.

The creators of the Moscow Art Theater set themselves three main goals. Firstly, to attract into the hall a spectator from the common people, who could not afford tickets to the imperial theaters. Secondly, to refresh the repertoire by banishing tabloid melodrama and empty comedy from it. Thirdly, to reform the theatrical business.

At first, the new theater had a hard time. The income from the performances did not cover the expenses. Savva Morozov came to the rescue, having invested half a million rubles in the theater in five years. Thanks to his energy, a new building was built in Kamergersky Lane. The first performance in it took place in October 1831. For several years, the most difficult in the history of the theater, S. T. Morozov held the post of chairman of the board. V. I. Nemirovich-Danchenko solved the issues of the repertoire. The main director was K. S. Stanislavsky.

In a short time, an ensemble of remarkable actors was formed at the Art Theater (V. I. Kachalov, I. M. Moskvin, A. R. Artem, O. L. Knipper-Chekhova, and others). Konstantin Sergeevich determined the task and place in the performance for everyone, subordinating the efforts of all the actors involved in it to a single director's plan. This was a new phenomenon in the Russian theater, where before the role of the director was small. The Art Theater became the first truly director's theater.

This allowed the young theater to brilliantly cope with such a complex play as Chekhov's The Seagull, which was not successful at the Alexandrinsky Theater. And Chekhov took his "Uncle Vanya" from the small theater and handed it over to the Art Theater.

The theater of Stanislavsky, Nemirovich-Danchenko and Morozov was talented in many ways. The plays of A.P. Chekhov, built as dramas of everyday life, coexisted in his repertoire with the plays of A.M. Gorky, which were distinguished by romantic and frankly rebellious pathos. And the audience applauded both with the same rapture, realizing that this is the same truth in life, seen differently.

At the beginning of the 19th century, a network of Russian Imperial theaters developed, which were managed by the "ministry of the court of His Imperial Majesty." The court had 3 theaters in St. Petersburg - Alexandria, Mariinsky and Mikhailovsky - and 2 in Moscow - Bolshoi and Maly.

With the advent of plays by A.N. Ostrovsky, I.S. Turgenev, prose by F.M. Dostoevsky's poetry of Nekrasov realism came to Russian culture. Acting has changed along with dramaturgy, breaking old ideas about what truth is on stage. November 16, 1859 was the day of the premiere at the Maly Theater of the play "Thunderstorm" by Ostrovsky. A storm broke out around the performance. The first performer of the role of Katerina was the beautiful actress L.P. Nikulina - Kositskaya. With the plays of Ostrovsky, the element of Russian life burst onto the stage, a new, juicy and modern language. In the plays of Ostrovsky, the actors of Maly shone throughout all subsequent decades. G.N. Fedotova, M.N. Yermolova are wonderful actresses of the small tiara. Russian artists of the first half of the 19th century M.S. Shchepkin, P.S. Mochalov, V.A. Karatygin remained in the memory of posterity as figures from the legend. Shchepkin played almost 600 roles in the plays of Shakespeare, Moliere, Gogol, Ostrovsky and Turgenev. He was one of the first to establish realism in the Russian theater, he created the truth on the Russian stage.

Mochalov is the exact opposite of Shchepkin. He played the main roles in the plays of Russian and Western drama - Shakespeare's Hamlet, Karl Moor in Schiller's drama The Robbers, Chatsky in Woe from Wit. In the productions of plays, Russian actors created images that went down in the history of theatrical art. The audience admired Ekaterina Semyonova, Alexei Yakovlev. These actors completely reincarnated in the represented person. Gradually, the Maly Theater began to specialize in dramatic productions, and the Bolshoi in opera and ballet 5 .

The opening of the Bolshoi Petrovsky Theater on January 6, 1825 was very solemnly arranged. Spectators who visited the new theater that evening were shocked by the nobility of the architectural design and its embodiment, the unprecedented scale of the building, and the beauty of the decoration of its auditorium.

Writer Sergei Aksakov recalled: “The Bolshoi Petrovsky Theater, which arose from old, burnt ruins ... amazed and delighted me ... A magnificent huge building, exclusively dedicated to my favorite art, already with its appearance alone led me into joyful excitement ...” 6

Before the start of the performance, the audience called the theater builder Osip Bove onto the stage and rewarded him with applause.

On the opening day of the theater, the prologue "The Triumph of the Muses" by A. Alyabyev and A. Verstovsky was shown, allegorically depicting how the Genius of Russia, with the help of muses from the ruins of the burnt theater, created a new beautiful temple of art - the Bolshoi Petrovsky Theater. The best actors of the troupe were engaged in the prologue: the famous tragedian Pavel Mochalov performed the Genius of Russia, the god of the arts Apollo - the singer Nikolai Lavrov, the muses of Terpsichore - the leading dancer Felicity Virginia Güllen-Sor.

After the intermission, Ferdinand Sor's ballet "Sandrillon" was shown. “The brilliance of the costumes, the beauty of the scenery, in a word, all the theatrical splendor is combined here, as well as in the prologue,” wrote the music critic V. Odoevsky. In order to give “equal pleasure to all residents of Moscow,” the theater management decided to repeat this performance the next day.

On August 20, 1856, the Bolshoi Theater restored by A. Cavos was opened in the presence of the royal family and representatives of all states with V. Bellini's opera "Puritani" performed by an Italian troupe. The Moscow ballet of this period owes its success to the talent of the Frenchman Marius Petipa, who settled in St. Petersburg. The choreographer repeatedly came to Moscow to stage performances. The most significant of his Moscow works was "Don Quixote" by L. Minkus, first shown in 1869. Subsequently, Petipa transferred the Moscow edition of this ballet to the St. Petersburg stage.

Of great importance for the development of performing culture was the work of P. Tchaikovsky. The composer's debuts in operatic music - "Voevoda" (1869) and ballet - "Swan Lake" (1877) took place on the stage of the Bolshoi Theater. Here the opera "Eugene Onegin" (1881) received its real birth, the first test on the big stage after the Conservatory production in 1879; the opera "Mazepa" (1884), one of the pinnacles of the composer's opera, saw the light of day for the first time; the final version of the opera "Blacksmith Vakula", which received a new name "Cherevichki" in the performance of 1887. Incidentally, the premiere of "Cherevichek" at the Bolshoi Theater on January 19, 1887 was also Tchaikovsky's debut at the opera conductor's stand.

With the expansion of the Russian repertoire, performances of the best works of foreign composers were carried out simultaneously. To previously staged operas were added "Rigoletto", "Aida", "La Traviata" by G. Verdi, "Faust" and "Romeo and Juliet" by C. Gounod, "Carmen" by J. Bizet, "Tannhäuser", "Valkyrie", "Lohengrin" " R. Wagner and others.

The opera troupe of the theater of the late 19th - early 20th century includes many outstanding singers. Among the glorious names of past years are Evlalia Kadmina, Anton Bartsal, Pavel Khokhlov, Nadezhda Salina, Ivan Gryzunov, Margarita Gunova, Vasily Petrov and others. Singers appeared on the theater stage in these years, whose names soon become widely known not only in Russia, but and abroad - Leonid Sobinov, Fedor Chaliapin, Antonina Nezhdanova.

The activity in the theater of Sergei Rachmaninov was fruitful, he declared himself a brilliant musician behind the conductor's stand. Rachmaninoff improved the sound quality of Russian opera classics in the theatre. By the way, the name of Rachmaninov is associated with the transfer of the conductor's console to the place where it is now, before the conductor stood behind the orchestra, facing the stage.

In 1899, The Sleeping Beauty premiered at the Bolshoi Theatre. The staging of this ballet, which established the commonwealth of music and dance in the Russian ballet theater, was the beginning of a long and happy work in Moscow for the choreographer, librettist and teacher Alexander Gorsky. A large group of talented artists worked with him - Ekaterina Geltser, Vera Karalli, Sofia Fedorova, Alexandra Balashova, Vasily Tikhomirov, Mikhail Mordkin, conductor and composer Andrei Arende, and others. For the design of a new production of the ballet Don Quixote (1900), Gorsky first invited young artists Konstantin Korovin and Alexander Golovin, future great masters of theatrical painting. The apogee of Gorsky's creativity was the ballet "Salambo" by A. Arends (1910). Here the choreographer achieved a harmonious fusion of dance music, design and literary basis of the performance.

The successful development of the Moscow ballet is becoming so obvious that many St. Petersburg dance masters are seeking the opportunity to participate in performances of the Bolshoi Theater. Matilda Kshesinskaya, Anna Pavlova, Mikhail Fokin and others often came to Moscow on tour, and in 1911 the Moscow troupe was invited to London to stage a performance in honor of the Coronation of George V.

In the competition for the restoration project of the theater building, the plan submitted by Albert Kavos won.

Kavos, retaining the layout and volume of the Beauvais building, increased the height, changed the proportions and redesigned the architectural decor. In particular, slender cast-iron galleries with lamps were built on the sides of the building. Contemporaries noted the appearance of this colonnade, especially beautiful in the evenings, when you look at it from afar, and a row of burning lamps seems to be a diamond thread running along the theater.

The alabaster group of Apollo, which adorned the Beauvais Theatre, perished in a fire. To create a new Cavos, he invited the famous Russian sculptor Pyotr Klodt (1805-1867), the author of the famous four equestrian groups on the Anichkov Bridge across the Fontanka River in St. Petersburg.
Klodt created the now world-famous sculptural group with Apollo. It was cast at the factories of the Duke of Lichtenberg from a metal alloy, electroplated with red copper.
The size of the group has become one and a half meters higher than before and reaches 6.5 meters in height. It is pushed forward and placed on a pedestal along the ridge of the roof of the portico. Four horses, located in one row, rushes at a gallop, dragging along a quadriga - an ancient chariot on two wheels. The god Apollo controls them, his head is crowned with a wreath, in his left hand is a lyre. In this form, the Bolshoi Theater has survived to this day, with the exception of small internal and external reconstructions.

19th century literature

“A new era of Russian literature began with Karamzin,” Belinsky argued. This era was primarily characterized by the fact that literature gained influence on society, it became for readers a “textbook of life”, that is, that on which the glory of Russian literature of the 19th century is based. The significance of Karamzin's activity for Russian literature is great. Karamzin's word echoes Pushkin and Lermontov. Karamzin's story "Poor Lisa" 8 had the greatest influence on subsequent literature.

“Poor Liza” (1729) is the most popular and best story of this writer. Its plot, presented to the reader as a “sad story”, is extremely simple, but full of dramatic tension.

Talking about the love of a poor peasant girl Lisa for the aristocrat Erast, who tricked her into committing suicide, the author does not emphasize the class opposition of the hero and heroine. He clearly sees this opposition, but does not want to admit that it was precisely this that caused the death of “poor Lisa.” The entire story depicts the life of the characters through secular and sentimental idealization. The characters in the story are embellished. The deceased father of Liza, an exemplary family man, because he loves work, plowed the land well and was quite prosperous, everyone loved him.

Lisa's mother, "a sensitive, kind old woman," is weakening from incessant tears for her husband, or even peasant women know how to feel. She touchingly loves her daughter and admires nature with religious tenderness. Neither Lisa's mother nor the heroine herself resembles genuine peasant women. The heroine of the story is most idealized - “beautiful in body and soul of a settler”, “tender and sensitive Liza”.

Nevertheless, the psychology of Lisa, who fell in love with a girl for the first time, is revealed in detail and in a natural sequence. The following moments are psychological and interesting: the desire to see Erast the next day after they met and “some kind of sadness” when this desire did not come true, joyful fright and excitement at the unexpected appearance of Erast under the window of her hut, the author depicts the same feeling with the help of details in at the beginning of the story, wonder how she could have lived before without knowing Erast; anxiety at the thought that Erast, the master, cannot be the husband of a simple peasant woman; fear of losing a loved one and hope for his return, finally, hopeless despair after Erast escorted her out of the office.

Before throwing herself into the pond, Liza remembered her mother, she took care of the old woman as best she could, left her money, but this time the thought of her was no longer able to keep Liza from taking a decisive step. As a result, the character of the heroine is idealized, but internally whole.

Erast, his character is much different from the character of Lisa. Erast is described more in line with the social environment that brought him up than Lisa. This is a “rather rich nobleman”, who led a dispersed life, thought only about his pleasure, looked for it in secular amusements, but often did not find it, got bored and complained about his fate”, endowed with “a fair mind and a kind heart, kind by nature, but weak and windy”, “he read novels. In the image of Erast, for the first time, the type of a disappointed Russian aristocrat is outlined.

Liza is a child of nature, her soul and character are close to the people. Erast recklessly falls in love with Liza, breaking the rule that she is not a girl of his circle. Lisa is naive and it is not clear to her that at the time in which she lives, she is considered a small person and they do not give her the right to love, after learning that Erast loves her, Lisa surrenders to her love selflessly without thinking about anything. At first, Erast acts in the same way, but then a turning point comes, the hero cannot stand the test of love, low feelings win. Wednesday prevents the hero's soul from resurrecting and forces him to lie to Liza. Only circumstances allow the heroine to open the deception. The minute Lisa begins to see clearly, fate acts as a punishment for sin. Lisa is punished for her love. Erast is punished for not keeping his oath.

The author's position in the story is the position of a humanist. Before us is Karamzin the artist and Karamzin the philosopher. He sang the beauty of love, described love as a feeling that can transform a person, the Writer teaches that a moment of love is beautiful, but only reason gives long life and strength.

Karamzin laid the foundation for a huge cycle of literature about "little people", took the first step into this hitherto unknown topic. It was he who opened the way for such classics of the future as Gogol, Dostoevsky and others.

A.S. Pushkin was the next writer whose sphere of creative attention began to include the whole of vast Russia, its expanses, the life of the villages; Petersburg and Moscow opened not only from a luxurious entrance, but also through the narrow doors of poor people's houses. Evidence of this was his “Belkin's Tale”, in the center of which is provincial Russia. Here are the "martyr of the fourteenth class" collegiate registrar, the caretaker of one of the thousands of small postal stations, the poor official Samson Vyrin, and the retired hussar officer Silvio, and rich nobles, and many others 9 .

The revelation of the social and artistic significance of "The Stationmaster" was initiated by Dostoevsky in the story "Poor People" Through the mouth of Makar Devushkin, Dostoevsky expressed judgments about the realism of Pushkin's story, about its cognitive significance. He pointed to the typical image of the poor official Vyrin, to the simplicity and clarity of the language of the story, noted the depth of the image of human grief in it. The tragic fate of the “martyr of the fourteenth grade” Vyrin after Dostoevsky more than once attracted the attention of critics who noted the humanism and democracy of Pushkin and evaluated the “Station Master” as one of the first, since the 18th century, realistic stories about a poor official.

Pushkin's choice of the hero, the stationmaster, was not accidental. In the 20s of the 19th century. In Russian literature, as you know, there are many moralistic essays, stories, the heroes of which are people of the "lower class". In addition, the genre of travel is being revived. In the mid-1920s, poems, poems, essays began to appear in magazines more and more often, in which attention is paid not only to descriptions of the region, but also to meetings and conversations with stationmasters.

In the story, three arrivals of the narrator, separated from each other by several years, organize the course of the narration, and in all three parts, as in the introduction, the narration is conducted by the narrator. But in the second, central part of the story, we hear Vyrin himself. In the words of the narrator: "Let's look into all this carefully, and instead of indignation, our heart will be filled with sincere sympathy," a generalization is given, it is said about hard labor and the position of the station master not of one particular tract, but of all, at any time of the year, day and night. Excited lines with rhetorical questions (“who did not curse ...”, “who in a moment of anger?”, etc.), interrupted by the demand to be fair, to enter the position of a “real martyr of the fourteenth grade” make us understand that Pushkin sympathetically speaks of the hard work of these people.

The first meeting in 1816 is described by the narrator with obvious sympathy for his father, for his daughter, the beautiful Duna, and for their well-established life. Vyrin is the image of a “fresh, kind man of about fifty, in a long green frock coat with three medals on faded ribbons”, an old soldier who, probably, walked during military campaigns for about 30 years, he buried his wife in 1812, and only a few years he had to live with his beloved daughter, and a new misfortune fell upon him. The stationmaster Samson Vyrin lived in poverty, his desires were elementary - with work full of insults and humiliation, he earns a livelihood, does not complain about anything and is pleased with fate. The trouble that breaks into this private world later is a young hussar who secretly takes away his daughter Dunya to Petersburg. Grief shook him, but did not break him yet. A story about Vyrin's fruitless attempts. The struggle with Minsky, after he had begged for leave and set out on foot for St. Petersburg, is given just as sparingly as the story of Vyrin's mountain, but by other means. Four small, but full of vital truth pictures of Vyrin's arrival draw a typical situation in the conditions of social and class inequality - the position of the powerless, weak and the "right" of the strong, the one in power. The first picture: An old soldier in the role of a petitioner in front of an indifferent, important one.

Pushkin exacerbates the situation to the limit, bringing Vyrin face to face with his offender “The Heart of an Old Man”. It seemed that a decisive moment had come in a person's life, when all the accumulated past grievances would raise him to rebellion in the name of holy justice. But “...tears welled up in his eyes, and he only said in a trembling voice: “Your honor!...Do such a divine favor!” Instead of protest, there was a plea, a pitiful request.

Third painting: (two days later). Again in front of an important lackey, who pushed him out of the hall with his chest and slammed the door under his nose.

Fourth scene: Again in front of Minsky: “Get out! ”- and, grabbing the old man by the collar with a strong hand, pushed him onto the stairs.

And finally, two days later, the return from St. Petersburg to his station, obviously also on foot. And Samson Vyrin resigned himself.

The second visit of the narrator - he sees that "grief has turned a kind peasant into a frail old man." And the view of the room that did not escape the attention of the narrator (dilapidation and negligence), and the changed appearance of Vyrin (gray hair, deep wrinkles of a long unshaven face, hunched back), and the surprised exclamation: “It was exactly Samson Vyrin, but how old he is! ”- all this indicates that the narrator sympathizes with the old caretaker. In the narration of the narrator himself, we hear echoes of the feelings and thoughts of Vyrin, the praying father (“He shook Dunyushkin’s hand; “I saw my poor Dunya”) and Vyrin, a trusting, helpful and powerless person (“It was a pity for him to part with his kind guest”, “not understood how blindness came over him”, “decided to come to him”, “reported to his high nobility” that he was an “old soldier”; thought, waved his hand and decided to retreat”).

For the first time, Russian literature so poignantly and clearly showed the distortion of the individual by a hostile environment. For the first time, it was possible not only to dramatize the contradictory behavior of a person, but also to condemn the evil and inhuman forces of society. Samson Vyrin judged this society. Pushkin's artistic attitude was directed to the future - it made way for the still unknown.

In the story, written on the topic of the stationmaster, popular in the 20s, it is perfectly explained who the collegiate registrar is, and compassion for him is a decisive element in the author's attitude towards his hero. The story expresses a broad generalization of reality, revealed in the individual case of the tragic story of an ordinary person, “martyr of the fourteenth grade” Samson Vyrin.

The fate of the stationmaster is a typical fate of a simple person, whose well-being can be destroyed at any moment by the rude intervention of the “powerful ones”, the ruling class, Pushkin preceded Gogol, Dostoevsky, Chekhov and their heroes with his story, saying his word about the people of his time.

Even deeper than Pushkin this topic was revealed by Lermontov. In his works we see how little Maksim Maksimych needs to make him happy: share a modest dinner with him and tell a little about himself. Maxim Maksimych is almost completely devoid of personal self-awareness, a critical attitude to reality, he accepts it as it is. Maxim Maksimych is a person closer to the people and, as Belinsky said, "understands everything human." Lermontov, in the image of a charming simpleton officer, saw not a loyal subject, but a man from the people, a man capable of a great awakening. In spirit and pure, undemanding, honest soul, the Russian soldier Maxim Maksimych is close to Russia.

The theme of social inequality, the theme of poverty, the theme of offended human dignity, the burning and noblest theme of Russian literature appeared with irresistible force in Lermontov's unfinished novel Princess Ligovskaya. Here, the image of the impoverished official Krasinsky and the image of Pechorin are contrasted. Pechorin's passive perception of the world, Lermontov sought to oppose the hero, alien to the idle bustle of secular society, a man of an angry soul, rebellious denial. But his impoverished official dreams of that same happiness; from which Pechorin runs. The novel “Princess Ligovskaya” begins with an appeal to the reader with a request to notice the day and hour - December 21st at 4 pm, when something happened that led to a chain of various events. The bay trotter of a guards officer knocked down a gaping poor official. Only the white sultan and the developing collar of the overcoat had time to flash, leaving in the soul of the official for the rest of his life, hatred for bay trotters and white sultans.

So for the first time the fates of Pechorin and the official Krasinsky collided. In a theater restaurant, having accidentally heard Pechorin's story about how his trotter the other day killed a passing official, Krasinsky turns to his offender with an indignant monologue: “-Dear sir! ... You almost crushed me today, yes, me - who is in front of you ... and you brag about it, you have fun!” Here, with frankness, the poet's democratic sympathies break through. Lermontov, having pushed close to him Pechorin, with a democratic hero, endowed the latter not only with moral attractiveness, but also, unlike Pechorin, with excellent appearance.

And the portrait of a Petersburg official, and a remarkable description of the courtyard and stairs of a huge house near the Obukhov bridge, Lermontov already sketched in the manner of the emerging “natural school”. In the same city, at the same time, and under the same gloomy sky, Gogol's short man with a bald head on his forehead, in an overcoat of a reddish-cloudy color, with his penetrating words, "I am your brother," wandered.

And already as a citation of the following example, the former lowest official in the form of a ghost flashes in the end in the form of a ghost flashes in the end at the same Obukhov bridge, and hides in the silence and darkness of the night. Lermontov pushed two heroes together and showed that not a single “little man” could survive in an environment opposite to them. How much naive disgust in the appeal of Princess Ligovskaya to Krasin, who accidentally got into her living room, “Tell me: I think you are terribly tortured by business.”

And what a significant answer of a person familiar with the need: “Your lot of fun, luxury - and our work and worries; it follows so, if it were not for us, who would begin to work. The sympathies of the young Lermontov were on the side of the democratic hero. He endowed the impoverished official not only with beauty, but also with the energy of indignation, a sense of dignity, gave him a noble goal, the ability to elevate a person.

But in the hero's miserable little room there is only a ridiculous manual on how to become rich and happy. Lost in the crowd, with what envy Krasinsky looks at the carriages rolling up to the proudly lit entrance of the baroness: “Why am I worse than them? - he thought - these faces ... Oh, I'll be rich ... ". Seeing Prince Ligovsky with the princess, Krasinsky hurried to lean out of the crowd of onlookers and bow.

They did not notice him, but the poor official attributed this to pride and deliberate negligence: “Good,” he thought as he walked away, “there will be a holiday on our street.” The image of Krasinsky in "Princess Ligovskaya" is one of the early attempts to go beyond Pechorin's fruitless rejection of the world, the search for protest among the socially taxed. But the theme of the impoverished official to the money to the very environment that oppresses Pechorin, Lermontov and Lermontov's heroes is the source of an insurmountable contradiction, that vicious circle that Lermontov restored in his work. The heroes of Lermontov, his “little people” are different from all previous ones.

The central story in this cycle is “The Overcoat”, “Petersburg Tales”. They differ in character from Gogol's previous works. Before us is bureaucratic Petersburg, Petersburg - the capital - the main and high society, a huge city - business, commercial and labor, and the "universal communication" of Petersburg - the brilliant Nevsky Prospekt, on the sidewalk of which everything that lives in Petersburg leaves its traces: "takes out on it is the power of strength or the power of weakness.” And before the reader flashes, as in a kaleidoscope, a motley mixture of clothes and faces, in his imagination there is a terrible picture of the restless, intense life of the capital. The bureaucracy of that time helped to write this accurate portrait of the capital.

Conclusion

Based on the work done, it can be concluded that the socialization of theater and literature in the 18-19 centuries. had a serious continuation in the form of a rethinking of the way of life of ordinary Russian people.

Romanticism in Russia, which developed as a cultural trend in the early 19th century, was associated with the rise of national self-consciousness and the beginning of the Decembrist revolutionary movement. In Russian Romanticism, two trends clearly manifested themselves.

The work of V. A. Zhukovsky (1783 - 1852) revealed the mastery of conveying the inner world of a person, his immediate feelings, the poeticization of folk antiquity and folklore; he has the musicality of the verse. However, the conservative nature of Zhukovsky's romanticism was reflected in the one-sidedness of his poetry, limited by the world of personal experiences, in the idealization of the past, in contemplative, religious-melancholy moods.

Representative of revolutionary romantic poetry in the 30s. M. Yu. Lermontov (1814 - 41) spoke, in which the embodiment of the romantic theme was associated with the assertion of a freedom-loving rebellious personality opposed to society. In the aesthetics of progressive Romanticism, in the works of the Decembrists, Pushkin and Lermontov, a transition was gradually made to realism.

Bibliography

Zezina M. R. Koshman L. V. Shulgin V. S. History of Russian culture. - M., 1990.

Ionov I.N. Russian civilization, IX - early XX centuries: Textbook. M., 1995.

History of Russian literature of the 19th century, volume 1 (edited by Petrov.) Enlightenment 1970.

History of Russian literature. (1800 - 1830s) M. Enlightenment 1989

Kornilov A.A. Music and fine arts of Russia of the 19th century. M., 1993.

Culture of Russia 1861-1938 / Ed. O.A. Vaskovsky, A.T. Tertyshny. Yekaterinburg, 1995.

Milyukov P. N. Essays on the history of Russian culture. - M., 1993.

And drama... two more stone Abstract >> History

Theatre Ballet in Brighton (English ... York. According to a long tradition Theatre Ballet in Brighton welcomes the season ... all the creative possibilities of students, guidance Theater Brighton Ballet and Schools... 02.07 RUSSIAN BALLET SCHOOL AND THEATRE BRIGHTON BALLET. WEEKDAYS AND HOLIDAYS. ...

Theatre as a synthetic art form
Abstract >> Culture and art
Kind of art. Theatre encompasses a variety of many forms...

PENZA STATE PEDAGOGICAL UNIVERSITY IM. V. G. BELISKY

Historical Department of National History and Faculty of Methods of Teaching History

Thesis on the topic

Theatrical culture of Russia in the 19th century

Student Omarova K.T.

Scientific adviser Kuzmina T.N.

Head Department Kondrashin V.V.

Penza - 2011

Introduction

Chapter I. Russian theater of the 1st half of the 19th century

§ 3. The transition of the serf theater to a commercial basis. Vicegerent and governor's theaters

§ 4. Theater in Nicholas Russia: artistic culture in the conditions of political reaction

§ 5. Theatrical life of the province

§ 6. Stage art and the ideological search of society in 1850 - 1860: the establishment of the principles of critical realism

Chapter II. Russian theater of the second half of the 19th century

§ 1. Russian theater in the era of the “Great Reforms”

§ 2. Private and club theaters of the capitals, the provincial theater of the 1860s - 1870s of the XIX century

§ 3. Metropolitan and provincial theaters in 1880-1890

§ 4. Abolition of the monopoly of the imperial theaters. First private theater in Moscow

Conclusion

List of used sources and literature

Introduction

The theme of this thesis is "Theatrical culture of Russia in the 19th century." This problem is the most important component of Russian culture and its history.

Relevance of the research topic. Theatrical art was born in ancient times. The creators and masters of Russian scenic folk art were parsleys, bahari, storytellers, guslyars, buffoons, who amused honest people on holidays. At different times, stagecraft was called upon to entertain, educate and preach morally significant truths.

The greatest power of influence, diverse possibilities - this is why the theatrical art has been placed at the service of kings and princes, emperors and ministers, revolutionaries and conservatives.

In the Middle Ages, the stage space was thought of as a model of the universe, where it was necessary to play, to repeat the mystery of creation.

During the Renaissance, the theater was most often entrusted with the task of correcting vices.

And in the era of enlightenment, theatrical art was valued very highly "as cleansing morals" and encouraging virtue. (These ideas were later developed by the Russian writer and playwright N.V. Gogol). For him, the stage is "such a pulpit from which one can say a lot of good to the world."

The aesthetic thesis “the theater is a university of folk culture” remains relevant today. After all, comprehending the meaning of the performance, the viewer comprehends the meaning of life.

The object of the study is Russian culture of the 19th century in the process of its development. The subject is the process of formation and development of the Russian theater in the context of the evolution of the political regime in Russia in the 19th century.

The purpose of this thesis is to study the Russian theater in the 19th century and reveal its features.

Based on the goal, the main objectives of the study are:

- to identify the factors influencing the development of theatrical art of the 19th century;

- trace the influence of the Decembrist ideology on the Russian theater;

- to characterize the state of stage art in the conditions of the crisis of classicism;

Analyze the ideological foundations and trends in the development of theatrical art;

Show the theatrical life of Russia in the 19th century;

To reveal the features of the theatrical life of the province.

The chronological framework of the study covers the 19th century. At the beginning of the 19th century, the role of the theater in social and cultural life grew. The theatrical repertoire becomes the subject of discussion in the press, persistent wishes were expressed to create a national dramaturgy that would reflect Russian folk life and history. By the end of the first quarter of the 19th century, Russian dramaturgy and Russian stage art rise to classical heights: in tragedy - Pushkin's "Boris Godunov" and the art of actress E. S. Semyonova, in comedy - Griboedov's "Woe from Wit" and the work of actor M. S. Shchepkina. Following this, Gogol's "natural school" brings to life the humanistic art of the artist of the St. Petersburg stage A. E. Martynov, and the brilliant actor P. S. Mochalov shocks his contemporaries, revealing the tragedy of his time in Shakespeare's tragedy. As early as the middle of the century, the unprecedented intensive development of dramatic literature and stage art led to the creation by the writer A. N. Ostrovsky of a new type of drama (“plays of life”) and to the creation of a powerful national school of realistic acting. This paved the way for the revolution in art, which was made by such writers as A. P. Chekhov and A. M. Gorky, directors K. S. Stanislavsky and V. I. Nemirovich-Danchenko, a revolution that had a huge impact on the entire course of world artistic culture of the 20th century.

Historiography of work. The first attempts to write the history of the Russian theater date back to the end of the 18th century. Already in 1779, the work of Academician Jakob Stehlin appeared “Brief news about theatrical performances in Russia from their beginning to 1768”, and in 1790 “notes belonging to the history of the Russian theater” were published by the archeographer and translator A. F. Malinovsky 1 History of the Russian Drama Theater // In 7 volumes - V.1. - P.6 .. Extensive work on the history of the Russian theater is undertaken by one of the associates of F. G. Volkov, the outstanding Russian actor I. A. Dmitrevsky, but his work was not published, and the manuscript was lost. S. P. Zhikharev, S. T. Aksakov, A. A. Shakhovsky refer to the information gleaned from this manuscript in their theatrical memoirs. In 1864, the playwright, critic and publisher of the theatrical magazine F. A. Koni published an article "The Russian Theatre, its fate and admirers", which, according to him, was written on the basis of the manuscript of I. A. Dmitrevsky. In 1883 it was published, also with references to this manuscript, "The Chronicle of the Russian Theater", compiled by a retired actor, later assistant director and librarian Ivan Nosov.

Among the early attempts to write the history of the Russian theater, the Chronicle of the Russian Theater, written by the playwright and theater official P. N. Arapov, should be noted. The Chronicle of the Russian Theater covers the history of the theater from 1673 to 1825 and contains a lot of factual material, however, theater art researchers believed that it could not be called a truly scientific work. P. 6. The author, obviously, did not check the facts cited, especially those relating to the initial period of the theater's formation, and made serious mistakes; the last section of the "Chronicle" is the author's personal reminiscences, hence the subjectivity of assessments, the lack of information about many paramount phenomena, the mention of unimportant events Vsevolodsky-Gengross V.N. History of the Russian theater // In 2 volumes - L. - M., 1929. - S. 9 ..

Since the second half of the 19th century, major Russian historians and philologists have shown great interest in the study of the history of the Russian theater - P. P. Pekarsky, I. E. Zabelin, N. S. Tikhonravov, A. N. Veselovsky, I. A. Shlyapkin , S. K. Bogoyavlensky, V. N. Peretz and others. However, in the works of historians, the theater was considered mainly from an ethnographic point of view, as one of the forms of everyday life; scholars-philologists focused their interests not so much on theatrical art itself, but on dramatic literature; the limitations of the comparative methodology of scientists of the comparative historical school did not allow revealing the original national character of Russian theatrical art. At the same time, the attention of researchers is attracted almost exclusively by the early period of the formation of the theater in Russia.

The only attempt in pre-revolutionary Russian theater studies to give a general description of the entire theatrical process, including the art of the 19th and early 20th centuries, was B.V. Varneke's History of the Russian Theater Questions of the History of Russian Culture in Russian and Foreign Literature. - M .. 1986. - S. 53 .. This book contains a huge amount of factual material. According to a number of researchers of theatrical art, the author failed to reveal the driving forces of theatrical history, limiting himself to an empirical presentation of the facts and refusing to analyze their social analysis, to comprehend the ideological problems of dramaturgy and acting.

It can be said without exaggeration that theater studies as a special branch of the social sciences were formed only in the post-revolutionary years. In pre-revolutionary Russia there was not a single scientific institution dealing with the history and theory of theatrical art, not a single educational institution that trained theater critics. From the first years of its existence, the young Soviet state has paid great attention to the organization of theater science. Already in 1918, the Historical and Theater Section of the People's Commissariat for Education was established, in 1920 the Theater Section of the State Academy of Arts was created in Moscow, in Petrograd in the same year the so-called "Theatrical Discharge" of the Russian Institute of Art History was organized. A whole network of higher theatrical educational institutions is being formed in the country, headed by the A. V. Lunacharsky State Institute of Theatrical Art in Moscow; in most of them, theater studies faculties are being created, where a lot of research work is carried out on the history and theory of the theater. In 1944, the Institute of Art History was organized in Moscow, which became one of the centers for studying the history and theory of the theater.

The first attempt to cover the entire history of the Russian theater, from its origins to the first years of the Soviet theater, was made by V. N. Vsevolodsky-Gengross in 1929 in his two-volume History of the Russian Theatre, Problems of the History of Russian Culture in Russian and Foreign Literature. P. 54. This work convincingly showed the advantage of the sociological method of studying theater over the empirical method characteristic of pre-revolutionary theater studies.

In 1939, a new, revised edition of The History of the Russian Theater was published by B.V. Varneke Ibid. S. 55. . This book, approved as a manual for theater educational institutions, considered the history of the theater in it, as before, outside the general historical process, outside social life.

In the postwar years, the study of Russian theater has expanded significantly. Valuable collections of materials and documents dedicated to the work and theatrical views of outstanding Russian playwrights, actors and directors have been published. Monographic studies on the life and work of the largest artists of the Russian stage of the 19th century have been published. The processes of formation and development of Russian theatrical art of the 19th century are studied in such generalizing works as “Russian theatrical art at the beginning of the 19th century” by T. M. Rodina, “Russian Drama Theater of the first half of the 19th century” by S. S. Danilov, “Russian Drama Theater the second half of the 19th century” by S. S. Danilov and M. G. Portugalova, “The Maly Theater of the second half of the 19th century” and “The Maly Theater in the late 19th and early 20th centuries” and in a number of other works.

The methodological basis of the work is the principle of historicism. The paper examines the process of development of the Russian theater in close connection with the key problems of the life of Russian society. The consistent historical approach allows revealing the internal patterns and contradictions in the development of theatrical art; to show its place in the artistic and - more broadly - the spiritual life of society in each given period; discover its diverse and changing from stage to stage relationship with other arts and with other forms of social consciousness. The work attempts to reveal the dynamics of the formation, struggle, mutual influence and change of various creative methods and stylistic trends - from enlightenment classicism and sentimentalism, through romantic theatrical forms, to the gradual establishment and development of critical realism. At the same time, special attention is paid to critical, turning points, when new trends begin to mature within the existing artistic systems, which are associated with the establishment of new aesthetic principles and style in the theater.

The practical significance of the thesis lies in the fact that the materials of the work can be used by students to write reports and prepare for seminars on this topic, as a teaching aid for organizing extracurricular activities in historical circles and in history lessons at school.

Chapter 1. Russian theater of the first half of the 19th century

§ 1. Stage art in the conditions of the crisis of classicism

The socio-political life of Europe in the late 18th and early 19th centuries was distinguished by an unusually turbulent character. The French bourgeois revolution, its political echoes in different countries, the Napoleonic wars, national liberation and anti-feudal movements - all this gave the era a very special look. Although the upheavals that many European states experienced during this period did not always end with the fall of feudal-despotic regimes, the stream of philosophical ideas and artistic images that came from the progressive literature of the 18th century continued to revolutionize public consciousness at the beginning of the next century. Art, in particular dramaturgy and theater, were active conductors and transformers of these ideas in various national conditions. But it sought to develop its own holistic ideas about reality, relying on the rich and diverse experience of the surrounding life in its new forms and trends. Here, art inevitably came into conflict with certain aspects of the Enlightenment tradition, sought to rework it and rise above it.

Both processes found their expression in the development of Russian social and artistic thought at the beginning of the 19th century.

Speaking about the factors that influenced the development of theatrical art in the first decade of the 19th century, it is necessary to take into account some foreign policy circumstances. From 1804 to 1807, Russia was at war with France, acting on the side of the Austro-Prussian coalition. Semi-feudal states, such as Austria and Prussia at that time, could not resist the united onslaught of the Napoleonic army and its victorious spirit. The military-political coalition was defeated. The patriotic feelings of Russian society were sharpened and wounded at the same time. The peace of Tilsit, experienced as shameful, aroused the need for revenge. Historically, the dual figure of Napoleon in some circles of society caused condemnation of the Great French Revolution, which gave birth to him, while for others this figure personified a tyranny that encroaches on the national independence of European peoples, a betrayal of the principles of freedom and equality proclaimed by the Enlighteners.

At the beginning of the 19th century, the French Revolution gave impetus to reflections on the further ways of Russia's development. Its implementation in Russia, in the then only nationally possible form of a mass peasant revolution, is not wanted by anyone among the noble intelligentsia of this period. But at the same time, it would be wrong to underestimate the importance of the French Revolution of 1789-1794 for Russian social thought, Russian culture - it was no less than for other European countries.

No matter how tangibly the limited freedom of the nobility made itself felt in dramaturgy and criticism, it is impossible not to notice that obvious strengthening of democratic tendencies, which affected the entire state of theatrical art.

The speed with which the Russian theater is saturated with the beginnings of social, historical, psychological truth is largely due to the fact that the conflicts typical of Russian feudal-serf reality, for all their national character, no longer appear in the light of the experience of the bourgeois era, although learned and experienced, reflected.

For the theater, the period that ended with the Patriotic War of 1812 was in many respects a transitional one. The artistic traditions of the 18th century in the new social conditions gradually disintegrated, pouring into new forms, although not as decisively as it would be in the pre-Pushkin and Pushkin times. It is also important that some tendencies contained in these traditions, but then, as it were, clamped down, crushed by the course of the social process and breaking through only occasionally beyond the possibility of their full flowering, now manifested themselves as part of other genres and trends that were just emerging.

The connections of the theater with the social environment are also becoming freer, more direct, the theater responds to modern life more vividly than before; its cultural role is growing. The nature of the era is such that the very concept of the social environment is expanding, influencing the development of the theater, drama, acting, and the criteria for theater criticism. Both socio-politically and artistically, the theater is under the influence of heterogeneous and multidirectional factors.

In the theater of the beginning of the century, the traditions of classicism and sentimentalism continue to operate - artistic systems that were formed in Russian art in the middle and in the second half of the 18th century. These traditions carried with them not only formal stylistic skills, not only asserted the authority of a taste formed in a certain way - they were associated with a stable range of problems, common ideas, conflicts, with a special understanding of the goals of theatrical art and its place in public life.

The tradition of Russian classicist drama, the classicist theater as a whole as a world phenomenon, also possessed such mobility, although we sometimes, contrary to artistic practice, underestimate this mobility. The classicist tradition was polymorphic, like any other tradition born of a complex artistic system. Quite often, however, the theoretical prejudice against classicism as a rational and normative art leads us to exaggerate the stability of its forms, methods, and content itself. The tradition of classicism at the beginning of the 19th century is manifested not only in the repetition of conceptual and stylistic features, fixed by theory and the most “pure” examples of creative practice. She lives (which is much more important) in an attempt to solve similar artistic problems on material that is close in subject matter, but with different historical premises. Stylistic repetitions that involuntarily and spontaneously arise in such cases will testify both to the intensity of the artistic process, constrained by the given “conditions of the game”, and to the fact that the forces needed to rebuild these conditions are accumulated by a whole generation of artists.

Speaking about the traditions of classicism in the theater, drama and acting art of the early 19th century, it must be taken into account that Russian classicism was a late and in many ways a peculiar branch of the great pan-European artistic system. Let us touch on the questions of the general methodology of classicism only to the extent that they are connected with the theatrical processes of the early 19th century and help to clarify their essential aspects.

After all, one of the main and socially significant genres of the theater of that time - tragedy - grew entirely out of this peculiar classicist tradition.

Classical theater clearly sought to limit and curb the means of normative poetics (Renaissance, Shakespearean) the beginning in the human character, and yet it could not fully cope with this task. He made the impetuous, changeable element of feelings the subject of rationalistic analysis, putting the human mind above his own emotions, so that if not to keep the hero from harmful deeds, then, in any case, to immerse him in the understanding of the full measure of his guilt and responsibility.

The crisis of classicism was also reflected in the conservative-protective dramaturgy, which is becoming more and more difficult to defend the monarchy and challenge the rights of individual self-consciousness from the standpoint of reason and social necessity. For all its orientation towards tradition, the conservative drama is essentially unable to follow it. It departs from the cardinal classicist problematics and more and more loses the characteristic features of style, replacing the analytical basis of the action with its inevitable sequence, arbitrary plot fiction, complicated intrigue, striving for entertainment and effects. Both in tragedy and in comedy, these tendencies reveal themselves quite clearly.

The artistic processes of the period under study cannot be clearly understood without taking into account all that the activity of the largest representative of Russian sentimentalism, an advocate of the sentimentalist theater, N. M. Karamzin, brought into them.

Karamzin acted a lot as an art theorist, and at the beginning of his literary activity - as a theater critic. He was the first in the Moscow Journal published by him in 1791-1792 to regularly publish reviews of Moscow performances, as well as of some plays performed on the Parisian stage. This rapprochement between Moscow and Paris productions had its own symbolic meaning, expressing Karamzin's firm conviction of the need to consider the Russian theater in line with European cultural life as an integral and important part.

Sentimentalism, whose role in the Russian theater at the turn of the two centuries was extremely great, was not, however, the main trend that determined the development of Russian stage art. It would be more accurate to admit that his own development was influenced by an even more powerful force - realistic tendencies.

These trends, originating in the aesthetics of Novikov and the work of Fonvizin, were defended with the greatest energy and brilliance at the turn of the century by the playwright and critic, later the famous fabulist Ivan Andreevich Krylov.

Enlighteners, and, above all, Novikov and Fonvizin, taught him to judge the phenomena of life, applying to them the assessment of high reason. For Krylov, first of all, it is essential: “What subject did the author have?”, “What did he want to ridicule?”. The concept of truth, the principle of "following nature", which Krylov defends at this time along with many other writers, for him is firmly combined with the requirement of a critical attitude to reality. This is the most significant feature of the theatrical aesthetics of Krylov, one of the most prominent representatives of Russian Enlightenment realism of the 18th century.

In his articles, speaking about the theater, Krylov puts forward the accusatory direction of the Russian drama Vsevolodsky-Gengross V.N. The history of the Russian theater // In 2 vols. revealing the truth and educating public opinion. The primary force of influence on the viewer for him is moralization (he, like Karamzin, sharply rebels against the teachings that overload contemporary plays), and the truth of the image of life itself. In everything that Krylov writes about the theater, the democratic nature of his convictions is clearly felt.

The creative work of A. N. Radishchev had a huge impact on the development of progressive Russian theater at the beginning of the 19th century. Ibid. P. 271 .. Radishchev's traditions turned the artist, first of all, to the real contradictions of social life, to the problem of serfdom, while demanding from him to give up hope to correct the serf-owner and tyrant by the power of verbal persuasion and moral example, that is, demanding the rejection of enlightenment illusions, formed in the West even before the French Revolution, and in Russia - before the peasant war and government reaction. Radishchev rethought the educational program in the light of the experience of the class struggle that unfolded in Western Europe and Russia in the 1870s-1890s. He was the only one among the major literary figures of the late 18th century who drew consistently revolutionary conclusions from contemporary social experience.

At the beginning of the 19th century, one of the most important artistic ideas of the era was born, namely, the idea of the nationality of any truly national-original art. Of course, the advanced criticism of that time, relying on certain traditions of the previous development of art, in particular, on the theoretical statements of Novikov and Krylov, takes only the first steps towards placing the problem of nationality on a truly democratic basis. A particularly large place will be occupied by the discussion of this problem in Decembrist criticism, moving from there to Belinsky and Gogol Vsevolodsky-Gengross V.N.

Despite all the limiting moments, the idea of the nationality of art will become an active force in the development of drama and theater already in the pre-Pushkin period. But even at the beginning of the century, contrary to the conservative-noble interpretation of nationality as “common people”, there was a desire to put forward this problem as a central one, to connect the successes and tasks of modern Russian drama with it. In this regard, it is extremely important that Russian dramaturgy, even in the years preceding the Patriotic War of 1812, takes practical steps towards becoming a national drama, folk in its very content. At the same time, she has to regain the ideological positions that were largely lost with the crisis of classicism. And she succeeds in this to the extent that she becomes a conductor of the historically progressive and generally significant trends of her time.

The rise of patriotism during the years of Russia's participation in the wars against Napoleonic France is clearly reflected in the Russian theater, in the developed themes and genres of Russian drama. The theater refers to the plots of national history, to the themes of the heroic past of the Russian people. Western European history, the struggle of other peoples for their national independence also attracted Russian playwrights during these years.

The movement of ideas and artistic tendencies acts as the main moment that determines the development of the genres of drama, their mutual connection and predominant development in the circle of one or another problem. As the main pattern in this regard, the process of displacement of the classicist tradition of the 18th century by sentimental drama is traced, and then the flourishing of the tragic genre in the second half of the decade and the connection with the arrival of a new tragic theme in the theater. The conflict between the humanistically interpreted personality and the real world, based on the power of unjust, unnatural orders, comes to the fore more and more sharply. Having stepped over the stage at which the moral-emotional equalization of the slave and the master seemed to be a sufficiently convincing argument in favor of social equality, the theater puts forward a hero who no longer accepts this kind of resolution of contradictions. The principle of emotional interpretation of the image, affirmed by the aesthetics of sentimentalism, naturally turned under such conditions into a source of pre-romantic and at the same time socially oppositional tendencies in the theater.

Already on the eve of the Patriotic War of 1812, ideological processes were taking place, preparing the Decembrist movement. The influence of these processes is tangible in the literature and theater of the end of the first decade of the 19th century. The drama of F. N. Glinka, L. N. Nevakhovich, F. F. Ivanov, and some other writers of the progressive direction opposes the Ozerovsky hero, who is prone to melancholy and lyrical isolation, with a hero capable of active social struggle and heroic selflessness in the name of a lofty ideal. Democratic ideology, love of freedom, civic pathos connect this drama with the Radishchev tradition, as well as interest in the individual, reliance on his moral intransigence to social evil.

However, in the work of these writers, tragedy is not freed from stylistic eclecticism, which comes from its insufficiently formalized ideological and artistic structure at a new stage in the development of the genre, its attachment to the sentimentalist tradition - in substantiating the inner truth of the hero, and to the classicist - in characterizing his relationship with society, its ideological and political position.

Thus, it should be concluded: if during the years of the war between Russia and France, patriotic motifs in their progressive, democratic interpretation are widely included in dramaturgy and theater, then at the same time, monarchical, conservative-protective tendencies in drama, criticism, features of official splendor are also intensifying. in style and performance. In the press, there are often sharp attacks on the traditions of enlightenment art, on Russian satirical comedy of the 18th century, on the works of such foreign playwrights as Mercier, Beaumarchais, and Schiller. But, on the other hand, it was during these years that the significance of the work of Fonvizin and Kapnist was realized, Krylov's last comedies were created, and a voice was raised in defense of the progressive Western European drama. The repertoire of the Russian theater includes works by Schiller and Shakespeare, a struggle is unfolding for the ideological and creative rethinking of the dramaturgy of Molière, Racine, Voltaire. New, deeply fruitful trends are revealed in the field of acting History of Russian Art / Ed. M. Rakova, I. Ryazantsev. - M., 1991. - S. 29 ..

§ 2. Theatrical life in Russia in the era of liberal reforms of Alexander I

The development in large cities at the end of the 18th century of interest in the theater not only on the part of the nobility, but also on the part of a part of the merchant class is confirmed by more than one cited fact. The journal Urania, which was published at that time in Kaluga, testifies that with the advent of the theater in the city, Kaluga residents, and especially merchants, were significantly enlightened, while “before this, it was considered a miracle” to see young merchants in some cultural public meetings Karskaya T. Ya. Great traditions of Russian classical theater. - L., 1955. - S. 48 ..

The period that began with the Patriotic War of 1812 and ended with the uprising on Senate Square on December 14, 1825, gave a lot of new things both in the social and cultural development of the country. At this time, the general picture of the artistic life of Russia changed markedly. The balance of forces fighting and interacting in art is becoming different than in the previous decade. The tendencies caused by the spread of liberation democratic ideas in Russian society come to the fore.

The circle of future Decembrists and a significant stratum of the intelligentsia adjoining them are the environment where the formation of new views on art, in particular on the theater, takes place first. And just as the social aspirations of the Decembrists grow out of the urgent needs of the country's development, so their aesthetic views, their artistic innovation have a real basis.

The revival of public life after the victory over Napoleonic France took place not only in St. Petersburg and Moscow, but also in many cities of the province, where the fighting Russian officers who had seen a lot and changed their minds returned. Liberation ideas gradually penetrate into very remote corners of the Russian Empire, exerting their influence on the stage.

At the same time as the political ideas of Decembrism are taking shape, the freedom-loving ideals of Griboedov and Pushkin are being formed, the love of freedom of Shchepkin, Semyonova, Mochalov Kulikov K. F. The first actors of the Russian theater are maturing. - M., 1991. - P.133.. Coming from the serf environment, from the "lower classes" of society, the largest Russian actors perceive the liberal trends of the time through the prism of their own social experience. It is in the theater that the spontaneous democratism of the people's intelligentsia merges with the democratism of advanced Russian literature, which has grown on European soil. This is the inner strength of the theater, the reason for its rapid creative growth, its ever-increasing significance in national culture.

One of the most important phenomena characterizing the artistic life of the period is the formation of Russian romanticism, which widely influences theatrical practice.

The theoreticians and propagandists of Russian romanticism are, first of all, the Decembrist writers. They give this direction a politically progressive content and associate it with the struggle for the national identity of Russian art, for the development in it of the principles of nationality and historical concreteness.

The contradictions of the political ideology of the Decembrists are also manifested in their theatrical aesthetics. However, her positive impact on the theater is enormous. The theater is entering a period when the protection of the rights of the individual becomes on the stage the ideological basis of civic valor and heroism. Moreover, this heroism itself ceases to be a simple expression of an abstract ideal, more and more acquiring motivation in political and moral necessity. On this basis, the beginnings of historicism develop in the romantic drama of the Decembrist trend, and the entire system of its artistic expression is rebuilt (despite the force of resistance of traditional creative skills that hindered this restructuring).

“The main task of the romantic reform of the theater was to replace the story, that is, the description, with the show, that is, the action,” B. Reizov rightly noted Reizov B.V. The French historical novel in the era of romanticism. - M., 1958. - S. 401 .. The interaction of characters with the environment developed. People took to the stage. Instead of a conventional place of action, a historical epoch arose on the stage. From the truth of feelings to social and psychological truth in the depiction of the environment and characters, from the conceptual and speculative construction of a political conflict to the disclosure of socio-historical necessity - this is the most important direction in the development of Russian theater and drama in the period 1813-1825.

The composition of the theatrical repertoire is changing significantly and becoming more complex. A new trend of the time, which largely determined the repertoire of the theater, was the translated melodrama, which rushed to the Russian stage in a wide stream. Interest in her was natural. The most popular genre of Western European romantic theater, melodrama was close to the Russian audience for its democratic, humanistic, socially critical tendencies. However, the limited outlook, which determined its artistic inferiority, puts the melodrama under fire from critics.

In the early 1820s, realistic tendencies in the Russian theater were already quite significant. Griboedov and Pushkin create their plays, being in the very center of the theatrical interests of the time, being closely connected with the theatrical environment, the acting world, participating in disputes around the phenomena of theatrical life Reader on the history of Russian theater of the XVIII - XIX centuries. - L., 1940. - S. 230 ..

The Decembrists wanted to see in the actor a progressively thinking artist, capable of influencing the minds and feelings of his contemporaries, awakening in them the consciousness of moral and civic responsibility. Such an understanding of the purpose of the actor will be deeply assimilated by Shchepkin, and will form the social and ethical basis of his school. Belinsky and Gogol would later develop a similar point of view, contributing to the strengthening of one of the main traditions of the national theatrical culture.

Under the conditions of political reaction, with the dominance of obscurantists in the government, the persecution of everything that oppositional sentiments could only see as an insult to religion and religious morality intensified. In 1819, theatrical censorship, together with the Ministry of Police, was transferred to the Ministry of the Interior and came under the jurisdiction of its "special office".

"Woe from Wit", created in the midst of the rise of the Decembrist movement, was completed by Griboedov in 1824. Comedy was strictly forbidden for the theatre. Griboyedov died without seeing her on the professional stage. On the eve of the Decembrist uprising, the autocratic-feudal state, with the help of the censorship system, tried in every possible way to block the path of progressive social thought and the liberation movement. In 7 volumes - M., 1977. - V.3. - P. 224 .. The ban was canceled only by the censorship charter, approved on April 22, 1828 Morov A. G. Three centuries of the Russian stage. - M., 1978. - S. 74 ..

A special mission in subordinating theaters to the ideological tasks of the government was entrusted to censorship. In 1826, a new censorship charter was introduced, which received from writers the apt definition of "cast iron". True, two years later it was replaced by another, but this one turned out to be no less difficult. Plays, even passed by the general censorship for publication, in case of desire to put them on the stage, were submitted for a new consideration to the III department. And this, the last, by banning the play, did not even explain the reasons for the ban. Often the tsar intervened directly in the affairs of dramatic censorship. Nikolai could not indifferently hear about any manifestation of public initiative. It was forbidden to depict any kind of popular unrest on the stage. Censorship did not allow Pushkin's Boris Godunov and Pogodin's Martha the Posadnitsa to be staged, in particular because they portrayed people raising their voices.

The censorship categorically forbade bringing the clergy on stage, subjecting the military, high-ranking officials, and policemen to any kind of criticism. Having learned from his own experience what censorship is, Gogol wrote on May 15, 1836 to Pogodin: “To say about a rogue that he is a rogue is considered by them to undermine the state machine; to say any only living and true trait means, in translation, to disgrace the entire estate and arm others or his subordinates against him. Drizen N.V. Dramatic censorship of two eras (1825 - 1881). - M., 1905. - S. 33. .

Anything reminiscent of the French Revolution was immediately subjected to a censorship veto. The censor, after reading the translation of the innocent French comedy “Lunch at Barras”, made by N. A. Polev, wrote in horror in his report: “At the sight of this play, my hair stood on end. Is it possible that the Russian writer will choose a play for translation, where in the title we find the name of one of the monsters of the French revolution, namely Barras, the regicide who gave his vote for the death of Louis XVI: what can this serve to acquaint our good Russian people with revolutionary expressions : equality and freedom?...” Quote from the book. Drizen N.V. Dramatic censorship of two eras (1825-1881) .. - S. 35 ..

The chief of staff of the corps of gendarmes Dubelt, to whom the censorship department was subordinate, said: “Dramatic art, like the whole branch of literature, should have a beneficent goal: instructing people, amuse them together, and this will be achieved incomparably sooner with high pictures than with descriptions of baseness and depravity” Herzen A.I. Full Op. Op. In 30 volumes - M., 1954-1960. - T. 8. - S. 121. .

The situation of the people in Nicholas Russia was difficult, entire provinces were starving, frank administrative arbitrariness reigned. But the ruling circles demanded from the theater to give life to the Ennobled, to create the impression of the prosperity of Russia, the happiness of all those living in it, and the loyalty of the people to the throne. As for even the slightest manifestations of criticism, they met with hostility.

Over the years, this monarchical, protective tendency has been widely represented in the repertoire. But of course, it was not she who determined the main direction in Russian theatrical art. It was determined by artists who sought to express in their work the pressing problems of the era and were looking for new forms in art for this.

It should also be noted that at the time under consideration, professional theater criticism is being established, which has an increasing impact on the theater. True, of the newspapers, only the "Northern Bee" had the right to give reports on performances, and then each time in agreement with the III branch. But then there was, it seems, not a single literary and artistic journal that would not publish reviews, reviews, theoretical articles devoted to theatrical art. In 1839, the theater magazine "Repertoire of the Russian Theater" began to appear, and since 1840 the magazine "Pantheon of Russian and all European theaters" began to appear. In 1842, both magazines merged under the title "Repertoire of the Russian and the Pantheon of all European theaters."

Beginning in 1831, V. G. Belinsky constantly turned to the theater, having written up to one hundred and eighty articles and notes on various theatrical topics. Of course, during the course of Belinsky's critical activity, his views changed; starting with a passionate defense of revolutionary romanticism, he later became a theorist and leader of the "natural school". Belinsky defends the lofty social purpose of the theatre, fighting against relegating it to empty entertainment. He consistently opposes the protective ideas of the official nationality, for the genuine democracy of theatrical art, for the triumph of life's truth on the stage. Arguing that the repertoire, first of all, determines the ideological direction of the theater, he at the same time considers the actors as independent creators, full-fledged co-authors of the playwright. Belinsky was one of the first to talk about directing, about the ensemble as an urgent need for contemporary theater.

S. T. Aksakov acts as a theater critic. Despite the well-known conservatism of his worldview, Aksakov, in his journal articles (Vestnik Evropy, Moskovsky Vestnik, Athenaeus, Galatea, and others), consistently defends the realistic principles of art, combining spiritual truth and depth of feelings.

In the Moscow Telegraph magazine, the theater department is led by V. A. Ushakov, who defends romantic positions close to the magazine's publisher, N. A. Polevoy.

Beginning in the 1840s, N. A. Nekrasov, I. I. Panaev, F. A. Koni and other writers of the democratic direction often turned to theater criticism.

On the other hand, reactionary journalists are no less active in the field of theater criticism. The newspaper "Northern Bee" preaches autocracy, Orthodoxy and nationality, trying to introduce this formula in the theater.

Thus, ideological and aesthetic disputes are being waged around theaters, certain performances, and actors' performances. The theater at this time is in the center of attention of a thinking society.

§ 3. The transition of the serf theater to a commercial basis. Vicegerent and governor's theaters in the province

The theatrical life of the late 18th and early 19th centuries was permeated with acute struggle, which, under the conditions of serfdom, took unusually dramatic forms. Serfdom, the reactionary policy of the autocratic government, bureaucratic arbitrariness and the legal dependence of actors retard the natural process of the artistic development of stage art. The government establishes police and censorship control over theaters, seeks to centralize their management in the capitals and in the provinces, to make the theater a conductor of the autocratic-feudal ideology. These efforts are manifested consistently from the very moment of the emergence of professional public theaters, penetrate into all spheres of their organizational and creative life, and are carried out through the entire theater management system.

In the narrow forms of the government theatrical system, shackled by direct manifestations of feudal violence (as it was in the serf theater), democratic principles are revealed in the work of stage artists - playwrights and actors - despite these unfavorable circumstances, in a constant and intense struggle with them.

At the beginning of the 19th century, in fact, there was not a single theatrical undertaking in the provinces, the origins of which would not go back to those phenomena that arose and developed in the previous century. Both the serf and the “free” theaters of the early 19th century were the result of the development and crisis of the serf large-land, noble and vicegerent theater that functioned in parallel with it.

After the establishment of the court theater in St. Petersburg, the provincial nobility began to show interest in the city's theatrical "undertakings". There are deaf mentions that in 1764-1765 an "opera house" was created in Omsk, which was intended mainly for "polishing" the noble youth. In 1765, the governor of Novgorod, Yakov Efimovich Sievers, at a dinner with the heir Pavel, said "that he had a masquerade in Novgorod and that a theater was being started there." In the Elizavetgrad Theater in 1770, the comedy The Coffee House, composed by V. A. Chertkov, was staged. However, until the mid-70s of the XVIII century, these initiatives were of an accidental nature, having neither support among the urban population, nor any consistent support in the ruling circles.

In 1793, with the sanction of the governor, the theater of "noble lovers" was opened in the city of Penza. A special building for a hundred people was built for the theater in the city center. The theater existed until 1797 - as long as the famous theater-goer, playwright, amateur actor I. M. Dolgorukov remained the Penza vice-governor. Little information has been preserved about the governor's theater in Voronezh. We only know that the theater was "noble - amateur", that its initiator was the Voronezh governor V. A. Chertkov. The Pantheon magazine reports that "entrance to the theater was ... free", and "the best audience was invited to each performance by tickets, and the paradise was filled with people of the lower classes." After the death of Chertkov, in 1793 the "noble" theater was closed. Levanidov, who took the vicegerent post in 1796, tried to revive the stalled theater, but with the liquidation of the post of governor-general, the “noble” performances finally stopped.

Similar processes took place in a city as remote from central Russia as Irkutsk. The population of this city consisted mainly of merchants and bourgeoisie. But the circle of the urban nobility, for all its small number, was distinguished by solidarity and influence; it was formed almost exclusively from large officials, who made up the retinue of the Irkutsk governor. To meet the theatrical needs of this very narrow circle of the nobility, two theatrical undertakings were undertaken in Irkutsk, with the explicit patronage of the governor. The first is the "noble" amateur theatre, which has given performances since 1787; its organizer was the wife of a local official. The second undertaking is connected with the opening of the Noble Assembly in Irkutsk in 1799. Until 1803, theatrical performances were given here. They were also designed for an extremely narrow audience: only members of the assembly had the right to attend performances, and the last could be only the most eminent and wealthy citizens who paid an entrance fee of twenty rubles, a very significant amount at that time.

The beginning of the process, which received its true development only in the 19th century, is given the concept of two vicegerent theaters: Kaluga and Kharkov. The first was created by general-in-chief M.P. Krechetnikov, after the Kaluga province was transformed into a vicegerency by decree of August 24, 1776, which included the cities of Kaluga and Tula. Kaluga was an uncultured, but rich merchant city with a large number of Old Believers. Krechetnikov sets as his task to turn this city into a stronghold of the local nobility, scattered over various, sometimes very remote counties. He celebrates the beginning of his reign with balls, fireworks, masquerades, to which all local nobles are invited from the estates. In addition, Krechetnikov is considering the creation of a governor's theater, which would be under his personal supervision.

This theater was still very far from fulfilling the functions of a truly urban theater, that is, a theater designed to serve a wide circle of citizens. Being personally subordinate to the governor, he was used mainly to lure the county landed nobility. This is evidenced not only by the above excerpt from A. T. Bolotov’s Notes, but also by another of his testimonies: the memoirist reports that when Krechetnikov moved from Kaluga to Tula, the theater followed him.

Another provincial theater, about which we have some information - Kharkov - was also created in connection with the establishment of the governorship. On this occasion, on September 29, 1780, there was a festivity, fireworks and a theatrical performance on the University Hill. In 1781, the first regularly operating theater appeared in Kharkov. There is little information about him, but no doubt, and he was in full charge of the governor.

In the 80s of the XVIII century, the government did not interfere with the initiative of the local nobility to organize theaters in provincial cities. In the decree of Catherine II to Olsufiev of June 12, 1783, it is said, among other things, about the royal permission “everyone to start entertainment decent for the public, keeping only state laws and regulations in the Police Charter ...” Reader on the history of the Russian theater of the XVIII - XIX centuries .. - C 241.. It is interesting to compare this decree with another document signed by Catherine, which followed it in 1785 - "Charter of Letters to the Cities", which contributed to the development of local administrative and cultural centers. Catherine's decree strengthened the significance of the city, gave it a coat of arms, certain rights, encouraged the development of schools, theaters, etc. Rybakov Yu. S. Epochs and people of the Russian stage. 1823 - 1917. - M., 1989. - S. 118 .. Along with the main ruling class of nobles in cities, the concept of "city dweller" is officially introduced, which included all of its non-noble, but "free" population, which is given some rights.

The development of theater in the province is characterized in the period under review by the expansion of the network of theaters. Interest in the theater in the provinces was also revived by the fact that with the approval, and sometimes at the initiative of the central and provincial authorities in 1813-1814, a wave of charitable amateur performances swept through literally all Russian cities. The participants of these performances were nobles, officials and landowners. In almost all such performances, the recent victory of Russian weapons was glorified. All proceeds from the collection usually went to the families of the fallen soldiers or to the families of those devastated by the war.

The current situation in the country required, however, not only a quantitative increase in theaters and performances. It also demanded new forms of organization of theatrical work, more flexible, more capable of expressing the demands of the time than the old serf type of theater could do.

The revival of city life, the growth of entrepreneurship prompted some actors to create more or less independent profitable commercial theaters, free from direct subordination to the landowner or city official. This does not mean at all that already in the initial period of its existence, the new type of theater immediately and completely replaced the old, serf theater. In the period under review, in various cities of the province, in addition to numerous small traveling troupes, there were at least fifteen more or larger, or at least partially stationary theaters. Of these, six theaters were serfs (sometimes with civilian artists) and nine theaters were civilians (some of the actors in which were quitrent serfs).

It was the young free theatre, which was sometimes in dire need, that was destined to play a significant role in spreading theatrical culture throughout the vast territory of Russia. It was he who contributed to the rooting of the urgent need for theater among the general population. At the same time, it is significant that the disintegration of serfdom relations also concerns the fate of the serf theater. His ties with private estate life are increasingly weakening, performances are increasingly acquiring a public and paid character. The maintenance of a serf troupe or the exploitation of the talents of individual serf actors very often acquires a commercial character.

abstract

in the subject "Art"

On the topic: "Dramaturgy and theater in Russia in the 19th century."

I. Introduction…………………………………………………………….3

II. Main part………………………….

XIXcentury……………………………5

2. Amateur dramaturgy of the puppet theaterXIXcentury…………….7

3. Maly Moscow TheaterXIXcentury……………………………..11

4. St. Petersburg TheaterXIXcentury……………………………16

III. Conclusion……………………………………………………… 18

IV. List of used literature………………………..21

V. Review……………………………………………………….22

Introduction

The topic of my essay: "Dramaturgy and theater in RussiaXIXcentury."

This work is devoted to the study of Russian dramaturgy and theater in Russia in the 19th century.

Russian professional literary drama took shape at the end of the 17th and 18th centuries, but it was preceded by a centuries-old period of folk, mostly oral and partly handwritten folk drama. At first, archaic ritual actions, then round dance games and buffoons contained elements characteristic of as a form of art: dialogue, dramatization of the action, playing it in faces, the image of a particular character (dressing). These elements were consolidated and developed in the folklore drama.

The relevance of the chosen topic lies in the fact that the theater, having originated in antiquity, had a great influence on the development of culture as a whole.

And now continues to play an important role in the life of society.

From the end of the XVIII century. theater in Russia, as in other European countries, is entering a new era of its development. A rapid growth in the number of theaters in the provinces begins, often due to the transition of landlord serf theaters to a commercial basis. Large theatrical enterprises uniting drama, opera and ballet troupes are created in such cities as St. Petersburg and Moscow. In 1824, an independent drama troupe of the Maly Theater was formed in Moscow. In St. Petersburg, in 1832, the Alexandrinsky Theater was founded.

The progressive direction of the Russian theater asserted itself in a constant struggle against reactionary tendencies in the repertoire and in the entire organization of theatrical business, generated by government policy in the field of art.

The monopoly of the imperial theaters that existed in St. Petersburg and Moscow limited the possibilities of innovative undertakings, made playwrights and actors dependent on the requirements of the directorate and all the bureaucratic regime implanted in the theaters. Under difficult conditions, the theater developed in the provinces, where the commercial initiative of entrepreneurs flourished and where, mainly, only by the power of acting talents, the theater was kept at the level of artistic requirements. Enormous support for the development of a progressive trend in Russian stage art was provided by advanced democratic criticism, which defended the ideological foundations of the theater, its social content, and fidelity to the principles of life's truth. An ideological struggle runs through the entire development of the Russian theater of the 19th century. The leading role in it is won by a progressive direction, based on the process of formation of a national democratic culture that is widely developing in Russia in this era and on the growing possibilities for a vivid expression in dramaturgy and theater of critical, anti-serfdom tendencies. On this basis, stage realism achieves particular success, and at the same time the direction of progressive romanticism is affirmed. In the period from Fonvizin to Ostrovsky, the main traditions of Russian theatrical culture were formed, the features of its artistic originality were determined.

The purpose of this work is to:

1) Consider the development of theatrical and dramatic art in Russia.

2) Find out the main directions and styles in dramaturgy and theaterXIXcentury.

1. Styles in dramaturgy and theaterXIXcentury.

At the end of the 18th and beginning of the 19th century, enlightenment sentimentalism acquired leading importance in the Russian theater. The enlightening idea of the innate equality of all people, the idea of the “natural man”, which in the works of a number of playwrights and actors turned to reveal the contradictions of the feudal system, helped to reveal the social and moral inadmissibility of slavery. At the same time, the attention of playwrights was attracted by the inner world of a person, his spiritual conflicts (dramas by N. I. Ilyin, F. F. Ivanov, tragedies by V. A. Ozerov, etc.). On the other hand, in those sentimental dramas that were imbued with protective tendencies, there was a desire to smooth out life's contradictions, features of sugary idealization, melodramatism (works by V. M. Fedorov, S. N. Glinka, etc.).

Increased "sensitivity", sincerity of the stage experience, often enriched with elements of social and everyday truth in the portrayal of the character, distinguished the performance of Ya. E. Shusherin (1753-1813), A. D. Karatygina (1777-1859) and other actors of this time. Sentimentalism freed actors from the power of the rationalistic principles of classicism and contributed to the destruction of the epigone traditions of this system, the development of romantic and realistic tendencies in the performing arts.

The development of romanticism in the Russian theater at the beginning of the 19th century. associated with the growth in the drama and acting creativity of motives of dissatisfaction with the existing reality, individualistic protest, violent experiences of a freedom-loving personality. These romantic features are characteristic of the art of the outstanding Russian actor A. S. Yakovlev (1773-1817).

The aesthetic views of the Decembrist writers had a significant impact on the development of the theater. The themes of the struggle against national and political oppression are developed, images of strong, freedom-loving heroes are created, seized with a thirst for patriotic deeds (“Marfa Posadnitsa, or the Conquest of Novgorod” by F. F. Ivanov, “Beelzen, or the Liberated Holland” by F. N. Glinka, “Andromache » P. A. Katenin, «The Argives» by V. K. Kuchelbeker and others). The performing style was determined by a combination of great emotionality, sincerity and naturalness in the expression of feelings with the heroic scale of the characters and the plastic severity of the external drawing of the image. This style found its highest and most complete expression in the work of the greatest tragic actress of that era, E. S. Semenova (1786-1849).

At the same time, the development of realistic tendencies continued in comedy and drama, limited, however, by the narrow possibilities of vaudeville (A. A. Shakhovskoy, N. I. Khmelnitsky, A. I. Pisarev) and the family-household, conservative in spirit play (M. N. Zagoskin). The desire of the actors for the truth of life was based both on the sincerity of experience, simplicity, naturalness (young M. S. Shchepkin), and on the art of external reincarnation, copying individual vivid types (I. I. Sosnitsky, E. I. Guseva, etc.) .

2.Amateur dramaturgy of the puppet theater of the 19th century

The puppet theater in Russia in the 19th century was surprisingly diverse. At this time, the life of the nativity scene continues, Russian folk puppet comedy develops, in the performances of numerous European puppeteers, the paths of various Western European and Russian folk puppet shows intersect with the traditions. The art of puppet theater is actively penetrating the family environment.

The traditions of home and folk puppet theater in Russia of that century became so strong that almost none of the well-known playwrights, writers, poets, scientists, artists who later glorified their name in childhood or youth avoided meeting with the puppet theater. Among them: A. Bestuzhev-Marlinsky, A. Herzen, D. Grigorovich, N. Polevoy, A. I. Panaev A. Benois, S. Aksakov, M. Lermontov, V. Sollogub, L. Tolstoy, F. Dostoevsky, K. Stanislavsky, N. Gumilyov, A. Blok, A. Tolstoy, A. Remizov, K. Balmont, A. Bely and many others.

The art of playing dolls actively declares itself at Russian fairs and festivities. The puppeteers themselves were a multinational, multilingual, diverse community, with different levels of culture and education, repertoire, and performing skills. In the repertoire of puppet shows of the XIX century. there are plays created on the basis of dramatizations of European novels, free adaptations of traditional European puppet plays: "The Devil's Well, or the Old Man Everywhere and Nowhere", "Pimperle's Wedding after Death", "The Magic Palace, or the Adventure of the Hunt", "The Magnanimous Sultan, or Naval Battle on the Black Sea”, “Marianna, or the Robber Woman”, “Atheist Punished by Thunder”, “Robber Knight” and many others. Drama theater plays adapted for puppets often appeared in the repertoire.

In the posters of puppet shows - "Princess Cacambo" by A. Kotzebue, "Escape to Turkey, or the Involuntary Prisoner" by I. G. Eberle, "Faust" and "Don Giovanni", "Ataman of the Venetian Robbers, or Fire in Venice", "Magic zither, or the Feast of the Witches on the Dragon Rock”, “Rudolf, the Son of Hell, or the Terrible Punishment”, “Happiness after Sorrow, or Love Comforts” and many others.

In imitation of these plays, which are close to the aesthetics of the "free Anglo-German comedies", but also with a clearly manifested romantic tendency, the first attempts at Russian authorial dramaturgy for the puppet theater appear. Among them was the five-act play The Enchanted Forest by A. A. Bestuzhev-Marlinsky, which has not come down to us. In the memoirs "Childhood and Youth of A. A. Bestuzhev", his brother Mikhail wrote that "The Enchanted Forest" was the second literary work of A. Bestuzhev. It was a big play, in five acts, written for a puppet theater. For the first presentation, Alexander Bestuzhev limited himself to puppets of the main faces, the rest were cut out of cardboard and painted by his own hand. Most of the scenery was made with the help of students of the Academy of Arts, who mercilessly corrected mistakes and inaccuracies in his album against perspective and taste. The author of the memoirs well remembered how one of the characters in the play, a coward-gourmet squire in an enchanted forest, seduced by an apple, despite the ban, wanted to pick it, but when he approached the tree, the wire that set the hands of the puppet in motion broke. But young A. Bestuzhev not at a loss, he brought the jester onto the stage and began improvisation, which he so cleverly connected with the course of the play that the effect was almost better.

Amateur puppet shows were also held in the houses of L. Tolstoy, S. Aksakov, A. Herzen, V. Sollogub, V. Serov, V. Polenov, who composed plays for them. This contributed to the formation and development of professional Russian dramaturgy.

The puppet theater was one of M. Yu. Lermontov's favorite children's amusements. The future poet sculpted heads of puppets out of red wax. Among them was his favorite doll, Berken, who portrayed the famous French writer, playwright, and author of children's stories. Barkan performed "the most fantastic roles" in the plays that the young Lermontov composed.

The first Russian plays for the puppet theater, which were not yet classified as a literary type, without the names of authors and stage performers, appeared in puppet sets for children's games and helped not only the upbringing of children, but also their creative - literary and artistic development.

Dolls, including theatrical ones, in whole sets, boxes with plays and scenery, were sold in shops and shops, brought from abroad. “In each such box,” A. Benois wrote, recalling his childhood, “there was also a brochure with the text of this play, according to which it was necessary to read the roles of the characters who performed, but I preferred not to use these librettos, but to impromptu compose my own text, speckled with pathetic interjections ... Relatives, knowing my passion, one by one brought more and more new boxes, in which the portal, curtains, whole productions, and a troupe of actors cut out of paper were laid. In the box with the play “The Little Humpbacked Horse”, such characters included a fabulous mare and her horse, the same horse with Ivan the Fool sitting on it, Miracle Yudo - a whale fish, a ruff and other marine inhabitants. There were also theaters that had to be made by oneself.

All the necessary elements were bought from the curtain to the last extra, printed on sheets of paper and painted; they were glued to cardboard and carefully cut out. In addition to flat paper dolls, I also had puppets that my grandmother brought me from Venice. They were “just like real” little gentlemen in felt hats and caftans with gold tinsel, a gendarme in a cocked hat with a saber in his hand, a Harlequin with his batte, an open chinelle with a tiny flashlight. Columbine with a fan "...

3. Maly Moscow Theater XIXcentury.

At the beginning of the emperor's reign , along with the general upsurge of public life, came to life and was completely fallen with theatrical art. During these years, the troupe was replenished with actors . In 1805 the building burned down. However, already in the next year, in 1806, the directorate of the Imperial Theaters was formed in Moscow, where the artists of the former Petrovsky Theater entered. In 1806, the theater acquired the status of a state theater, entering the system of imperial theaters. Thus, the actors who entered the troupe from serf theaters were immediately freed from serfdom, such as S. Mochalov, the father of the famous tragedian, Mochalova P.The troupe did not have its own premises for a long time. The political situation in the country itself was not conducive to this. The country was shaken by instability and military conflicts (with Sweden, Turkey). In 1812 there was a war with . A few more years passed when the architect was invited to the construction of a theater building in Moscow. As early as 1803, the troupes were divided into opera and drama. Played an important role in this division , who, in fact, became the founder of Russian opera. However, in fact, opera and drama coexisted side by side for a long time. Until 1824, the ballet-opera and drama troupes of the Imperial Moscow Theater were a single whole: a single directorate, the same performers, but for a long time after that, the theaters were even connected by an underground passage, there were common dressing rooms, etc.

In 1824, according to the design of Beauvais, the architect rebuilt the merchant's mansion for the theater , this building on Petrovskaya (now ) of the square and gradually became known as the Maly Theater, and still bears this name. Initially, the building was narrower due to the excessive width of Neglinny passage. In 1838-1840, after the adjoining plots were purchased, the architect completed the building to its current volume and completely changed the internal layout.

The opening day of the Maly Theater can be considered : gave a new overture .

“Moskovskie Vedomosti placed an announcement about the first performance in the Maly: “The Directorate of the Imperial Moscow Theater announces through this that next Tuesday, October 14 of this year, a performance will be given at the new Maly Theater, in the Vargin House, on Petrovsky Square, to open it. th, namely: a new overture compositions. A. N. Verstovsky, later for the second time: Lily Narbonskaya, or the Knight’s Vow, a new dramatic knightly performance-ballet ... "" (quoted in: ).

Theatrical art immediately went on the rise. In addition to the former, already well-known theater masters, new talented artists appeared.

One of the important periods in the history of the development of the Maly Theater is associated with the name . This great tragedian became a spokesman for the time of hopes and disappointments of Russian society in 1820-1840, the controversial era of Emperor Alexander I. “P. S. Mochalov, "a plebeian actor", in the words of his critic who praised him , managed to overcome the canons of the former style, expressed by the aesthetics of classicism. Instead of a recitation and a solemn pose, the actor brought to the stage a bubbling lava of hot passion and gestures that amaze with suffering and pain. The romantic loners of Mochalov protested and fought with the whole hostile world of evil, despairing, and often lost heart "(quoted from: ). Among the roles of P. S. Mochalov: , Richard III, (in the tragedies of the same name ), , Ferdinand ("Deceit and love" ).

In 1822, the former serf actor, already known for provincial entreprises, joined the troupe . “He was the first to create truth on the Russian stage, he was the first to become non-theatrical in the theater,” said Shchepkin about .

was extensive: from classic dramas to light vaudeville.“Even during the life of A. S. Pushkin, Maly created stage versions of three works by the poet: Ruslan and Lyudmila (1825), The Fountain of Bakhchisaray (1827) and Gypsy (1832). From foreign dramaturgy, the theater gave preference to the works of Shakespeare and Schiller. (quoted in: ). On the stage of the Maly Theater on November 27 for the first time a comedy was shown in full in Moscow . Before that, censorship allowed only certain scenes to be performed, only in January 1831 the play was staged in its entirety in St. Petersburg, while in Moscow Woe from Wit was played for the first time in its entirety on the stage of the Maly Theater: played the role of Famusov and - Chatsky. This production turned out to be a significant stage in the history of the theater - it became the mouthpiece of new social ideas. May 25 showed here (the first production of The Inspector General took place at the Alexandrinsky Theater in St. Petersburg a little earlier - on April 19 of the same 1836). Some time later (in 1842) the Maly Theater created a stage play and put and (first production) . The premiere of both performances at the Maly Theater (“Marriage” was previously staged in St. ) took place at the same time - February 5, 1843.“The premiere of The Gamblers took place in Moscow on February 5, 1843 (on the same evening as The Marriage), in a benefit performance by Shchepkin, who played Consoling. The role of Zamukhryshkin was successfully performed by Prov Sadovsky. According to S. Aksakov, the performance was approved by the "ordinary" audience. A benevolent review of the performance appeared in Moskovskie Vedomosti (February 11, 1843), where it was noted that the intrigue was “carried out with amazing naturalness”, that the characterization testifies to Gogol’s “powerful talent” ” (quoting from: ).

Among other actors of this period - (1795-1875), (1809-1867), (1807-1874), (1817-1872), (1821−1889), (1823-1865), (1817-1885), (1820-1878).

They wrote for the Maly Theater , , many other authors. But of particular importance for the Maly Theater was . His plays earned the Maly Theater the unofficial name "Ostrovsky's House". Ostrovsky's new reformist theatrical positions - everyday writing, a departure from pathos, the importance of the entire ensemble of actors, and not a single protagonist, etc. - led to conflicts with adherents of the old traditions. But these innovative ideas of Ostrovsky for that time were already demanded by time. All of his 48 plays were staged at the Maly Theater and have always been part of his repertoire over the years. He himself repeatedly participated in rehearsals, was friends with the actors, and some of his plays were written specifically for certain performers of the Maly Theater, at their request, for their benefit performances. For benefits two plays by Ostrovsky were staged for the first time - “ » - , « » - . Play was delivered in , and in the benefit performance of his wife, actress , on October 14, 1863, the play was first staged at the Maly Theater . Premiere of the play » took place on the stage of the Maly Theater to benefit .

the first time took place on November 10, 1878 at the actor's benefit performance . In a play , 1884, the role of Neznamov was written by Ostrovsky specifically for the artist of the Maly Theater . In 1929, a monument to Ostrovsky was erected at the doors of the Maly Theater. The plays of the playwright do not leave the stage of the Maly Theater to this day.

From her triumphant debut as Emilia ( , "Emilia Galotti") January 30, 1870 began the theatrical career of the great Russian tragic actress , who then shone in the roles: Laurencia - "Sheep Spring" , Mary Stuart - "Mary Stuart" by F. Schiller; Jeanne d'Arc - "Maid of Orleans" by the same author; Katerina in , Negina in , Kruchinina in and many others. This time fell on the heyday of democratic movements in Russia, to which the Maly Theater did not remain indifferent. More than once at the performances with the participation of M. N. Yermolova there were political manifestations of students and democratic intelligentsia. The theater then worked now legendary , , , , , , , and , , .

4. theatreXIX century.

Alexandrinsky Theater(akaRussian State Academic Drama Theatre. A. S. Pushkin) - theater, one of the oldest drama theaters in Russia that has survived to this day

Since 1832, the theater began to be called Alexandrinsky. The name was given in honor of the emperor's wife .

Throughout the 19th century, the theater was the flagship of the theatrical life of the capital; the history of Russian theatrical culture was born within the walls of this theater.

At the beginning of the century, the entire Russian theater was guided by European models, gradually developing its own, original school.

In the first half of the century, after the victory in , light genres enjoyed increased popularity - and . The theater staged plays by such authors as , I. I. Sosnitsky . Immersion in vaudeville led to the improvement of the skills of actors in plasticity, external technique, the combination of movement and singing. Such a change in the theater school was the reason for the opposition of the St. Petersburg and Moscow schools.

…In general, in terms of the stage, St. Petersburg differs from Moscow in its great ability, if not to be, then to seem satisfactory in terms of appearance and form. In a word, the scene in St. Petersburg is more of an art, while in Moscow it is a talent.

-

Throughout pre-revolutionary history, it was the subject of special attention of emperors and the directorate of imperial theaters, especially when , .

Conclusion.

In conclusion of my abstract, it can be said thatIn the 19th century, a new era begins in the history of the Russian theater. For example, the dramaturgy of Ostrovsky is a whole theater, and in this theater a galaxy of talented actors has grown up, glorifying Russian theatrical art.

In addition to Ostrovsky's plays, Russian dramaturgy of the 19th century featured plays by A.V.-Kobylin, M.E. Saltykov-Shchedrin, A.K. Tolstoy, L.N. Tolstoy. The theater also follows the path of asserting truth and realism.

In the second half of the XIX century. significantly increased interest in Russian contemporary drama. Revolutionary-democratic criticism, led by Chernyshevsky and Dobrolyubov, supports Ostrovsky's dramaturgy, which denounces the dark kingdom of merchants - petty tyrants, the venality and hypocrisy of the bureaucratic machine of the Russian autocracy.

After the first performance of the comedy "Don't get into your sleigh", which took place on January 14, 1853 on the stage of the small theater. Ostrovsky gives all his plays to the stage of the Maly Theater. Having become close to many talented artists, the playwright himself takes part in the staging of his works. His plays are a whole era, a new stage inRussian stage art. It was in the plays of Ostrovsky that the talent of the largest actor of the Maly Theater Prov Mikhailovich Sadovsky (1818-1872) was revealed. The artist's performance of the role of Lyubim Tortsov in the play "Poverty is no vice" was one of the artist's highest achievements. Sadovsky played 30 roles in Ostrovsky's repertoire. His heroes seemed to have come to the stage from life itself, the viewer recognized in themfamiliar people. Sadovsky, with his work, continued the principles of the great realist actor Shchepkin.

Together with Sadovsky, the outstanding Russian tragic actress Lyubov Pavlovna Nikulina - Kositskaya (1827-1868) played on the stage of the Maly Theater. She was the first and one of the most remarkable performers of Katerina in Ostrovsky's Thunderstorm. Her talent combined the features of romantic elation and deep realistic truth in the depiction of human feelings and experiences. Polina Antipyevna Strepetova (1850-1903), the largest provincial tragic actress, forever remembered her performance on stage. The meeting with Nikulina-Kositskaya helped Strepetova become a great actress. The traditions of art Nikulina-Kositskaya also affected the work of the great tragic actress of the Maly Theater M. N. Yermolova.

The advanced, democratic aspirations of the most talented actors of the Maly Theater constantly provoked fierce resistance from the theater authorities and censorship. Many of Ostrovsky's plays, despite their success with the audience, were often withdrawn from performances. And yet, Ostrovsky's plays are becoming more and more firmly included in the theater's repertoire, influencing other playwrights as well.

In the 80-90s of the XIX century. after the assassination of Alexander II by Narodnaya Volya, the offensive of reaction intensified. The oppression of censorship had a particularly hard effect on the repertoire of the theatre. The Maly Theater is going through one of the most difficult and controversial periods in its history. The basis of the creativity of the largest actors of the Maly Theater was the classics.

Drama productions by Schiller, Shakespeare, Lope de Vega, Hugo with the participation of the greatest tragic actress Maria Nikolaevna Yermolova became events in the theatrical life of Moscow. In these performances, the viewer saw the affirmation of heroic ideas, the glorification of civil deeds, a call to fight against arbitrariness and violence.

Troupe of the Maly Theater at the end of the 19th century. was unusually rich in talented actors. They were wonderful successors of the glorious traditions of the Maly Theater, its art of deep truth in life, the keepers of the precepts of Shchepkin, Mochalov, Sadovsky.

When writing the essay, I used many sources and found out that the Alexandrinsky Theater in St. Petersburg in the first decades of the second half of the 19th century. experienced the most difficult period of its history. Also a great influence on the fate of the theater has always had its proximity to the royal court. The directorate of the imperial theaters treated the Russian drama troupe with undisguised disdain. A clear preference was given to foreign actors and ballet. The art of the actors of the Alexandria Theater developed mainly in the direction of improving external methods of expression. Vasily Vasilyevich Samoilov (1813-1887) was the greatest master of impersonation, masterfully mastering the technique of acting, creating life-like, scenically spectacular images.

Thus, we can conclude that the culture of Russia in the 19th century is unusually diverse and vibrant. In dramaturgy and theater, new names of playwrights and actors appeared, who became known not only in the history of Russia, but throughout the world.

So what is theater? First of all, it is a place for spectacles. This is a kind of art, its specific means of expression is a stage action that occurs in the process of an actor playing in front of an audience.

Theater originated in ancient times. The first steps of the theater among the Slavs, as well as among other peoples, are associated with folk rituals, dances, and games. So, before the hunt, the ancestors of the Slavs performed special dances. One or more participants portrayed animals, the rest hunters. In other rituals, it was depicted how millet was grown and sown, how flax was harvested and processed. The ancient Slavs, like all the peoples of antiquity, could not explain the phenomena of nature and believed that rituals, dances, round dances would help them during a real hunt, ensure a good harvest in the field.

In all these rituals, games, holidays, people gradually began to stand out, who, with their ability to sing, dance, tell tales, joke, play musical instruments, attracted everyone's attention. These were the first artists of Ancient Russia - buffoons. They dressed up in special clothes, put on masks, transformed into other creatures.

Nowadays, there are many types of theater all over the world. This is a puppet, children's, dramatic, artistic, musical, television, illusion, variety theater, opera and ballet, operetta, fashion, shadows, miniatures, parody, dance, song, mass spectacles, one actor, clowning, animals.

Historians of theatrical art believe that in the theater of the 19th century. not to find a single phenomenon in one way or another not connected with the previous century.

Generally 19th century. began in Russia anxiously and stormily - with a palace coup and the assassination of Tsar Paul. It ended just as anxiously - with a premonition of unheard-of rebellions.

In the 19th century, the culture of Russia was glorified by poets and prose writers who only occasionally wrote for the stage. Theatrical art developed independently of dramaturgy. A remarkable exception was the work of Ostrovsky, who created plays that for a long time determined the face of Russian drama. It was with Ostrovsky that the period of psychological realism began in the Russian theater.

Questions of theatrical ethics were developed by Pushkin. He defended the principles of true nationality in the Russian theater. Griboedov's comedies "Woe from Wit" and Pushkin's tragedy "Boris Godunov" were ingenious innovative works of that time.

The repertoire of the theater was influenced by many events.

At the beginning of the 19th century - the years of the heroic struggle of the Russian people with the armies of Napoleon, plays on the Russian stage with great success, calling for the struggle for the fatherland, glorifying the exploits of heroes in the name of the Motherland. The most popular were the tragedies of Vladimir Aleksandrovich Ozerov.

During the Patriotic War, the Russian theater is experiencing a huge patriotic upsurge. As the enemy troops approach, more and more often patriotic plays are included in the repertoire that correspond to the political mood of the moment being lived through. Theatrical performances are accompanied by patriotic manifestos.

In the second half of the reign of Alexander the First, the government policy in the field of the theater began to clearly emerge. The oppositional moods of the nobility, which quite often penetrated the stage during the Napoleonic Wars, are now attracting the watchful attention of the autocracy.

The advanced revolutionary democracy, headed by V. G. Belinsky, who believed that the theater is: "an exceptionally autocratic ruler of our feelings, ready at any time and under all circumstances to excite and excite them," attached great importance to the art of the stage.

In the theatrical art of Russia in the first half of the 19th century. the main figures were entrepreneurs and actors. There was no place for the director in this series yet. Theatrical performances - therefore, suffer from negligence, they do not have the depth that the director gives to the performance. At this time, in the works of the actors, the playing techniques characteristic of the theater of classicism were noticeable: attention to recitation was emphasized, static poses. In the plays of the authors, there was clearly a penchant for sensitive episodes, even in comedies, where rebellious daughters, and often sons, shed sincere tears, repenting that they had upset their parents. Most often, different styles and ideas peacefully coexisted both in dramaturgy and on stage. The tragedies of Vladimir Aleksandrovich Ozerov are an example of a combination of features of classicism with elements of romanticism.

The tsarist government also understood the influence of the theater, so in 1804. established strict censorship. The oppression of censorship was especially heavy during the reign of Nicholas I, after the defeat of the Decembrist uprising in 1825. In the same year, the “Highest Command” was drawn up to give the directorate of state theaters a monopoly right to print posters. By 1809 includes the publication of the states of the theater directorate with a regulation on the management of the state stage, on its internal routine, on the theater school and on pensions for artists - the first attempt to legally regulate the internal life of the imperial theaters.

Thus, by the time of the Patriotic War of 1812. the contours of the bureaucratic management of theatrical business are outlined, although there is still no special administrative pressure. On the contrary, the current theatrical life is widely discussed by the public in literary magazines and almanacs of the early 19th century. And on the eve of the Patriotic War, even two special editions dedicated to the theater appeared: Dramatic Herald of 1808. and "Magazine dramatic" 1811.

In the 19th century There are two types of theaters: imperial and serf.

At the beginning of the century, a network of Russian imperial theaters developed, which were managed by the Ministry of the Court of His Imperial Majesty. The court had three theaters in St. Petersburg - Alexandria, Mariinsky, Mikhailovsky and two in Moscow - Bolshoi and Maly. The repertoire of these theaters almost coincided, which is explained by a not very rich choice of plays and a single management.

After the Patriotic War of 1812. in Moscow and St. Petersburg, performances were given in temporary premises, while in 1824. the building of the Maly Theater was not built, but a year later the Bolshoi Theatre.

In 1832 in St. Petersburg, the building of the Alexandria Theater and the Mikhailovsky Theater opens.

The Maly and Alexandria theaters, in fact, were the basis of Russian theatrical culture. The theater is gradually becoming the focus of public life in Russia.

Heated disputes for a century were conducted around the monopoly of the imperial theaters. In the capitals, only the actors of these theaters were allowed to play. The monopoly was abolished in 1882. and immediately, both in Moscow and in St. Petersburg, private theaters, drama and opera, were opened. Such theaters were named after their owners. In the second half of the 19th century. new theaters appeared in other cities of Russia, and by the end of the century there was no longer a single provincial city that did not have a theater.

At the turn of the 18th - 19th centuries. reaches its limiting development and fortress theater. The idea of using the free labor of serfs for theatrical undertakings arises almost immediately with the beginning of the creation of a professional theater in Russia. Since the 1770s, the network of serf theaters began to grow literally every day.

What caused such a wide and rapid development of the fortress scene? The main reason lay in the very economic system of feudal landlord Russia, which allowed by the end of the 18th century. concentrate in the hands of the nobility innumerable land wealth and finally enslave the peasantry. The aristocracy of the nobility was forced to withdraw from participation in the political life of the country, and in connection with this, its desire in every possible way to raise the value of patrimonial "patrimonial estates", to oppose them to the imperial court, intensified. The conceited alignment with the imperial court, as well as the possibility of exploiting the serfs in a new way, at the same time finding a new application for their income - that was the economic basis for the development of the serf theater.

It is quite obvious that all this completely determined the activity of the serf theater, both in artistic and everyday terms. Now the theater is becoming an integral part of the serf economy, organically included in the everyday life of the landowner. City and estate serf theaters were created because of his desire to be able to "treat" the performance to his neighbors on the estate, and "secular society" in the city.

The situation is similar in other large cities - St. Petersburg, Kazan, Orel, Penza and others. At the same time, in a number of provincial cities, serf theaters remained as the only theatrical undertakings for many years, gradually serving an ever wider range of urban residents.

As for manor serf theaters, they appear in almost all large landowner estates. Most of the estate theaters functioned mainly in the summer, when economic affairs forced the landowners to sit on their estates. Then, coming to visit each other, receiving their city acquaintances, the landowners also flaunted their serf performances. But then autumn came, it became boring in the village. With the whole family, the landowner moved to the nearby provincial city, and after him his serf troupe with scenery, costumes and other theatrical equipment stretched to the city.

In the cities, serf performances were given most often in the landowner's houses themselves - large dance halls, where stage stages with a curtain were set up for the duration of the performance and places were set up for spectators so that after the end of the performance it would be possible to again make room for dancing. But in some cases, special theatrical buildings served this purpose.

What was played in these theaters? In an effort to keep up with fashion, and sometimes according to their personal tastes, the owners of fortress theaters widely cultivated opera and ballet performances, but the dramatic repertoire occupied no less place. However, the motives that prompted to expand the repertoire sometimes had nothing to do with art.

Competing with each other in the splendor and splendor of their serf theatres, the big landowners paid great attention to the training of actors. Enlightened landowners themselves led the troupes, giving the actors the necessary instructions.

In some cases, fortress theaters created strong cadres of professional actors, who moved from here to the private and government stages.

In the memoirs of the serf theater, it is rarely told how the action of the serf performance was suspended because for some kind of "fault" the performers were immediately punished with rods, as more than once bruises from the beatings inflicted on the eve showed through the makeup and powder.

Even more tragic was the fate of the serf actresses. It happened that serf actresses made up the harem of landlords and, in addition to performing on stage, were obliged to serve their love joys.

The disintegration of the feudal-landowner structure under the influence of the growth of capitalist relations, which took place intensively during the first half of the 19th century. accompanied by a rapid degradation of the serf theater. Manor theaters organically connected with patriarchal forms of economy perish one after another. The most enterprising landowners, however, strive to the fullest use of the possibility of exploiting the labor of serfs, even in the field of art. The landowners enter into a deal with provincial entrepreneurs. The quitrent system is widely used, which allowed the actors of serf troupes to go to provincial theaters to earn money. This is how the estate serf theaters gradually turned into provincial, entrepreneurial theatres.

At the same time, the extensive network of urban serf theaters was being reduced. But in the cities, this process was complicated by the fact that some theaters, gradually losing the features of the "master's idea", are frankly transferred to entrepreneurial principles. The patriarchal owner of the serf theater is replaced by an entrepreneur-landowner.

The peasant reform destroyed the economic base of the serf theater - the free labor of a serf actor. But long before it, the serf theater entered a period of decay. It is not for nothing that government circles have already begun to take an unfriendly attitude towards the theatrical undertakings of the landowners, believing that they discredit the "nobility". Echoes of the fortress theater, however, continued to exist for a very long time, and until the beginning of the 20th century. in the provincial theater, the type of entrepreneur-landowner was preserved.

The architecture of the theater is also interesting. Theaters were usually built as solemn and ceremonial buildings in the center of the city, decorated with colonnades, porticos, monumental and decorative sculpture; the interiors were often lavishly decorated in the spirit of the architectural style that dominated art during the years of construction. In Russia at the end of the 18th - 19th centuries. theaters of both the Italian type (the Bolshoi Theater in Moscow) and the French type were built. Some of them have become outstanding architectural monuments and an important part of the urban planning of the ensembles.

With the differentiation of theatrical genres on dramatic and musical themes, and the need for a more democratic structure of the theater building, the emergence of a new type of theater in the last quarter of the 19th century is connected. Such theaters were a sectoral hall - truncated on both sides by a rounded stepped amphitheater without stalls and tiers. This type was widely used later in the 19th century.

Thus, a lot has changed in the Russian drama theater. The performances were mainly on patriotic themes, themes calling for struggle. The choice of theatrical productions was small, because poets rarely wrote for the stage. The motives that prompted the landowners to have a serf theater were sometimes completely far from art. In the 19th century the serf theater is gradually being reborn from estate serfs into provincial entrepreneurial theaters. Sometimes the life of serf actors was terrible. The abolition of serfdom destroyed the free labor of the serf, although long before that the serf theaters had entered a phase of decay.

CONCLUSION:

Studying the topic “Theaters of Russia in the 19th century. ”, I mainly used literature (which is listed below) which allowed me to visualize theatrical life in the 19th century. I achieved the goals I set for myself. I learned what theater is, got acquainted with the history of the creation of the theater, found out what it was like in the 19th century. and what theaters are now, read about the events in the 19th century. and thought about how they influenced the repertoire, saw the difference between the serf and imperial theaters, read about the laws regarding the theater and examined its architecture.

Theatrical life in Russia in the 19th century. Russian theatrical art

Home > Abstract >Literature and Russian language

Ufa - 2005

Introduction

Theater in 18th century Russia

18th century literature

19th century - the dawn of Russian theater and literature

Conclusion

Bibliography

Ufa - 2005

Introduction

Secular character of the theater of the 18th century in Russia

18th century literature

19th century - the dawn of the Russian theater

19th century literature

Conclusion

Bibliography

Theatre as a synthetic art form

Introduction

Chapter I. Russian theater of the 1st half of the 19th century

§ 3. The transition of the serf theater to a commercial basis. Vicegerent and governor's theaters

§ 4. Theater in Nicholas Russia: artistic culture in the conditions of political reaction

§ 5. Theatrical life of the province

§ 6. Stage art and the ideological search of society in 1850 - 1860: the establishment of the principles of critical realism

Chapter II. Russian theater of the second half of the 19th century

§ 1. Russian theater in the era of the “Great Reforms”

§ 2. Private and club theaters of the capitals, the provincial theater of the 1860s - 1870s of the XIX century

§ 3. Metropolitan and provincial theaters in 1880-1890

§ 4. Abolition of the monopoly of the imperial theaters. First private theater in Moscow

Conclusion

List of used sources and literature

Introduction

The theme of this thesis is "Theatrical culture of Russia in the 19th century." This problem is the most important component of Russian culture and its history.

The greatest power of influence, diverse possibilities - this is why the theatrical art has been placed at the service of kings and princes, emperors and ministers, revolutionaries and conservatives.

In the Middle Ages, the stage space was thought of as a model of the universe, where it was necessary to play, to repeat the mystery of creation.

During the Renaissance, the theater was most often entrusted with the task of correcting vices.

And in the era of enlightenment, theatrical art was valued very highly "as cleansing morals" and encouraging virtue. (These ideas were later developed by the Russian writer and playwright N.V. Gogol). For him, the stage is "such a pulpit from which one can say a lot of good to the world."

The aesthetic thesis “the theater is a university of folk culture” remains relevant today. After all, comprehending the meaning of the performance, the viewer comprehends the meaning of life.

The object of the study is Russian culture of the 19th century in the process of its development. The subject is the process of formation and development of the Russian theater in the context of the evolution of the political regime in Russia in the 19th century.

The purpose of this thesis is to study the Russian theater in the 19th century and reveal its features.

Based on the goal, the main objectives of the study are:

- to identify the factors influencing the development of theatrical art of the 19th century;

- trace the influence of the Decembrist ideology on the Russian theater;

- to characterize the state of stage art in the conditions of the crisis of classicism;

Similar Documents

abstract

in the subject "Art"

On the topic: "Dramaturgy and theater in Russia in the 19th century."

I. Introduction…………………………………………………………….3

II. Main part………………………….

XIXcentury……………………………5

2. Amateur dramaturgy of the puppet theaterXIXcentury…………….7

3. Maly Moscow TheaterXIXcentury……………………………..11

4. St. Petersburg TheaterXIXcentury……………………………16

III. Conclusion……………………………………………………… 18

IV. List of used literature………………………..21

V. Review……………………………………………………….22

Introduction

The topic of my essay: "Dramaturgy and theater in RussiaXIXcentury."

This work is devoted to the study of Russian dramaturgy and theater in Russia in the 19th century.

The relevance of the chosen topic lies in the fact that the theater, having originated in antiquity, had a great influence on the development of culture as a whole.

And now continues to play an important role in the life of society.

The progressive direction of the Russian theater asserted itself in a constant struggle against reactionary tendencies in the repertoire and in the entire organization of theatrical business, generated by government policy in the field of art.

The purpose of this work is to:

1) Consider the development of theatrical and dramatic art in Russia.

2) Find out the main directions and styles in dramaturgy and theaterXIXcentury.

1. Styles in dramaturgy and theaterXIXcentury.

2.Amateur dramaturgy of the puppet theater of the 19th century

Amateur puppet shows were also held in the houses of L. Tolstoy, S. Aksakov, A. Herzen, V. Sollogub, V. Serov, V. Polenov, who composed plays for them. This contributed to the formation and development of professional Russian dramaturgy.

3. Maly Moscow Theater XIXcentury.

The opening day of the Maly Theater can be considered : gave a new overture .

Theatrical art immediately went on the rise. In addition to the former, already well-known theater masters, new talented artists appeared.

In 1822, the former serf actor, already known for provincial entreprises, joined the troupe . “He was the first to create truth on the Russian stage, he was the first to become non-theatrical in the theater,” said Shchepkin about .

4. theatreXIX century.

Alexandrinsky Theater(akaRussian State Academic Drama Theatre. A. S. Pushkin) - theater, one of the oldest drama theaters in Russia that has survived to this day

Since 1832, the theater began to be called Alexandrinsky. The name was given in honor of the emperor's wife .

Throughout the 19th century, the theater was the flagship of the theatrical life of the capital; the history of Russian theatrical culture was born within the walls of this theater.

At the beginning of the century, the entire Russian theater was guided by European models, gradually developing its own, original school.

…In general, in terms of the stage, St. Petersburg differs from Moscow in its great ability, if not to be, then to seem satisfactory in terms of appearance and form. In a word, the scene in St. Petersburg is more of an art, while in Moscow it is a talent.

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