The formation of the Russian national theater and Russian drama. Science, literature, art in the post-war period

Decisive changes occurred in the Russian theater in the first revolutionary decade. The revolution contributed to the creation of the Soviet director's theater. During these years, many new theater groups arose in the country, among them the Bolshoi Drama Theater in Leningrad, whose first artistic director was A.A. Blok, Theater named after V.E. Meyerhold, Theater named after. E.B. Vakhtangov, Moscow Theater named after. Mossovet. The first Soviet theatrical performance was "Mystery - Buff" directed by V.E. Meyerhold, (1921). V.E. Meyerhold substantiated the principles of journalistic, passionate, propaganda theater-meeting; he introduced elements of circus and cinema, grotesque and eccentricity into theatrical action.

The innovator of theatrical art was E.B. Vakhtangov. In his work they came closer aesthetic principles K.S. Stanislavsky and V.E. Meyerhold: the deep truthfulness of revealing the inner world of a person was organically combined with the desire to give the performance a hyperbolic, bizarrely grotesque form. By introducing music and dance into the performance, using conventionally generalized scenery, varying lighting effects, Vakhtangov enriched the modern stage language. His production of “Princess Turandot” by C. Gozzi in 1922 marked the establishment of the principle of “festive theatricality.” According to Vakhtangov’s plan, throughout the entire performance the performers maintained a humorous and ironic attitude towards the plot of the fairy tale play they were performing and towards their characters: they either “entered the character”, completely immersing themselves in the experiences of the characters, or “came out of the character”, communicating casually and cheerfully with the public. Live contact between actors and auditorium, light, elegant form ensured the performance a long stage life.

The beginning of a professional theater for children dates back to this time, at the origins of which was N.I. Sats. By the end of the 30s, there were already more than 70 children's theaters in the country.

Talented youth who passed through the fronts civil war, came to literature. Only from 1920 to 1926. More than 150 writers appeared in print for the first time, among them. V.A. Kaverin, N.S. Tikhonov, L.M. Leonov, M.A. Sholokhov, N.N. Aseev, A.A. Fadeev. Famous figures in cultural life republics in the first Soviet decade There were those writers whose creative activity began and was recognized even before the revolution: A.S. Serafimovich, V.V. Mayakovsky, S.A. Yesenin, D. Bedny, M. Gorky. These names personified continuity in the development of Russian artistic culture. M. Gorky occupied a special place in this galaxy. In the 20s, his works “My Universities” and “The Artamonov Case” were published. On Gorky's initiative, the publishing house "World Literature" was organized.

In the 20s and 30s, the leading theme in literature was the theme of revolution and socialist construction. First attempts artistic comprehension revolutions date back to its first months and years. These are poems by V.V. Mayakovsky, a poem by A.A. Block "Twelve". The inevitable collapse of the old world, the approach of revolution - main idea M. Gorky's novel "The Life of Klim Samgin" (1925 - 1936). The problem of man in the revolution, his destinies are reflected in the epic of M.A. Sholokhov" Quiet Don"(1928-1940). The symbol of heroism and moral purity became the image of Pavel Korchagin - the hero of N.A. Ostrovsky's novel "How the Steel Was Tempered" (1934). The theme of the country's industrial development was revealed in the works of L.M. Leonov "Sot", M .S.Shaginyan "Hydrocentral", F.V.Gladkova "Cement", V.P.Kataeva "Time - forward!".

In the 1930s the role of historical novel, shows a deep interest in the history of the fatherland and the most striking historical characters. Hence a whole series of serious historical works: “Kyukhlya” by Yu.N. Tynyanova, "Radishchev" O.D. Forsh, "Emelyan Pugachev" V.Ya. Shishkova. During these same years, A.A. gave brilliant examples of poetry in his work. Akhmatova, O.E. Mandelstam, B.L. Parsnip. M.M. successfully worked in the genre of satire. Zoshchenko, I.A. Ilf and E.P. Petrov. The works of S.Ya. became classics of Soviet children's literature. Marshak, A.P. Gaidar, K.Ya. Chukovsky.

Theater arts V modern world is one of the most widespread branches of culture. There are a huge number of theater buildings built all over the world, in which productions are performed every day. With the development of innovative technologies, many people began to forget about the true values of art. First of all, theater gives a person the opportunity to improve and develop.

Theater in ancient times

Theatrical art is one of the oldest. Its origins go far from primitive society. It arose from agricultural and hunting games of a mysterious and magical nature. Primitive society believed that if, before starting a certain work, a scene was played out depicting a favorable completion of the process, the result would be positive. They also imitated animals, their habits and appearance. Ancient people believed that this could influence the outcome of the hunt; they often danced while wearing animal skins. And it was in these actions that the first elements of theater began to appear. Somewhat later, masks began to be used as the main attributes of the priest-actor entering the image.

Theater in Ancient Egypt

Theater in Egypt began its development from the very beginning of the Ancient World. This was towards the end of the third millennium BC. Every year small events were held at the temples. theatrical performances, of a dramatic and religious nature.

Theater in Ancient Greece

IN Ancient Greece theaters were mainly built for open air and were designed for tens of thousands of spectators. The audience sat on high stone benches facing a wide circular stage located in the center, it was called an “orchestra”. Big role The cult of the great god of fertility Dionysus played a role in the development of Greek theater. The repertoire consisted of three tragedies and comedies. The actors were only men, who sometimes played women. In comedy, they had to make the audience laugh, for this they used homemade masks, which depicted flattened noses, protruding lips and bulging eyes. The masks were made from dry wood and then from cloth, after which they were covered with plaster and painted with a variety of paints. The masks allowed spectators seated away from the ancient stage to see facial expressions corresponding to the action. The wide open mouth carved into the mask allowed the actors to increase the volume of their voices; one could even say that it served as a mouthpiece.

The performances were very popular in Greece folk theater, which the ancient Greeks called mimes. A mime was considered a small scene of an everyday or satirical nature, in which mythological heroes, brave warriors or simple market thieves were portrayed by actors. Women could also perform in mimes; masks were not used during the performance.

Theater in Ancient Rome

IN Ancient Rome the theater was primarily for the entertainment of crowds of spectators. And actors were considered one of the lower classes of the population; few Roman actors achieved respect in the theatrical art. Most often, freedmen and slaves became actors. In the Roman theater, as in the Greek, seats for spectators were located depending on the main circle. In addition to tragedies and comedies, Roman actors played antonyms, pyrrhicians, mimes and attelans. Attendance at the theater was free for both women and men, but not for slaves. To attract spectators and surprise them with luxury, the organizers of the games decorated the hall with gold, sprinkled the most fragrant liquids in it and strewn the floor with flowers.

Theater in Italy

IN Italian theater During the Renaissance, the performances were very different; they were more cheerful, full of humor and satire. The theatrical performance was staged on specially made wooden stages, around which a huge crowd of spectators always gathered. Ancient theaters began to concentrate in large cultural and industrial cities. It was the theatrical art of antiquity that revolutionized the whole and divided theater into varieties. Since those very times, no fundamental changes and revolutionary innovations have been observed to this day.

Theater in the 17th-18th century

The theatrical art of the 17th and 18th centuries was increasingly filled with romanticism, fantasy and imagination. During these years, theater was most often created by troupes, which included united traveling actors and musicians. In the 1580s, it was visited by commoners, but starting in 1610, the wealthier and more elegant residents of France began to become interested in this art. Later, the theater was considered as a moral cultural institution; it was most often visited by aristocrats. French theater He mainly played costume plays, comedies and ballet. The scenery took on a more similar appearance to the real situation. The theatrical art of the 17th and 18th centuries became the basis for the development of all future world art. Many theaters from those times have survived to this day.

In England

English theatrical art of the 18th century played a significant role in the history and development of everything European theater. It became the founder of Enlightenment dramaturgy. Also at that time a new dramatic genre, which was called a bourgeois drama, or, as the audience called it, a bourgeois tragedy. For the first time, it was in England that performances of bourgeois drama arose; later they penetrated into Germany, Italy and France.

Transition from Renaissance to Enlightenment

The transition from the Renaissance to the Enlightenment was very turbulent, long and quite painful for both actors and spectators. The Renaissance Theater gradually died from year to year, but such a miracle of human thought as musical and theatrical art did not succeed in dying just like that. The last and one of the strongest blows it was damaged by the Puritan Revolution. England, which just recently was full of life and joy, bright and colorful, suddenly became pious, dressed in dark clothes and overly pious. There was no place for theater in such a gray life. They were all closed, and a little later the buildings were burned. In 1688, the long-awaited revolution took place in England, after which the transition from the Renaissance to the Enlightenment occurred.

Returning to power, the Stuarts completely restored the theaters, but now they were significantly different from those of the previous era. In the 18th century, musical and theatrical arts flourished lush bouquet new genres. Ballad opera, pantomime and rehearsal are beginning to enjoy enormous popularity. From that moment English theater They were more concerned about income than problems. In 1737, the English government approved an act of control over theatrical life, and from that moment on, all written plays were subject to strict censorship.

Theater in Ancient Rus'

In the territories that were once Kievan Rus, theatrical art appeared in the 17th century. It began with school and court performances. The first theatrical art studios were founded at fraternal schools and the courts of wealthy people. Plays were written by teachers and students. They mainly used both everyday legends and gospel stories. The emergence of the court theater was caused by the great interest of the court nobility in art and Western culture. The nobles liked the performances of the students produced by the first theatrical art studio so much that they could watch them more than 10 times. Initially, the court theater did not have permanent place, all costumes, decorations and decorations were transferred from one place to another. Over time, closer to the 18th century, theater performances began to be distinguished by great pomp and were accompanied by dancing and playing musical instruments.

In the 19th century Russian theater first divided into musical troupes, drama groups, and they were also divided into opera and ballet groups. It was during these years that one of the first dramatic scenes, which in the future will be called the Maly Theater. Although the division occurred between the troupes, they still for a long time remained inseparable. Soon such institutions as the Academy of Theater Arts began to appear, and not the poor, but rather wealthy and wealthy people became actors. educated people. Over time, the number of theaters began to grow rapidly; they were managed by the emperor's theater office. As for the actors and workers, they began to refer to all theaters, and not specifically to any troupe. In the 20th century there was an improvement in art in a form that we can see to this day.

One of the brightest representatives, developed at that time, is the Bolshoi Theater.

Role in the modern world

The theater occupies the most important place in the modern art world, and therefore it is intended for wide audience and gathers more and more new viewers every day. Very often in modern theaters there are plays dedicated to the works of famous classics, this allows you to gain new knowledge and become better acquainted with history. Today there are many academies and schools where you can become an actor.

But, in addition to the large academy, where future actors are trained, there are also small institutions, for example, a theater art studio, which anyone can get into talented person who wants to prove himself and learn all the subtleties of acting. Some modern theaters amaze us with their beauty and plasticity of architectural forms.

Dramaturgy - special kind art. It exists “at the confluence” of literature and theater, that is, in it the laws of literature and theater are manifested in their interaction.

The history of modern Russian literature begins its countdown from the second half of the XVIII century, since the appearance of the “Ancient Russian Bibliophilia”, which marked a fundamentally new attitude of the reader to Russian literature and literature towards itself as an independent and self-sufficient phenomenon. This conclusion was made by D. S. Likhachev in his work “The Poetics of Old Russian Literature”: “ Old Russian literature exists for the reader as a single whole, not divided by historical periods. <...>When in the minds of the reader authors and their works are arranged in chronological order, this means that awareness of the historical changeability of literature has emerged, and this means that the process of development of literature has begun to take place as a united front. Since when can we see the emergence of this literary memory, this awareness of the changeability of literature?<...>It begins with Novikov’s grandiose activity in collecting ancient monuments in a publication that emphasizes this historical consciousness in its very title: “Ancient Russian Bibliophilia.” But awareness of the historical changeability of style and language appears only at the beginning of the 19th century. Pushkin was the first to fully appreciate the difference in literary styles across eras, countries and writers. He was passionate about his discovery and tried his hand at different styles - different eras, peoples and writers. This meant that the leap was over and the normal development of literature began, aware of its development, its historical changeability. A historical and literary self-awareness of literature appeared. “So, from the work of A.F. Novikov, whose appearance proved that in order for Russian literature to develop freely, it is necessary to look at its history, to realize the entire length of the path it has traversed, from the second half of the 18th century, a new Russian literature begins. Around the same time, Russian theater began: its origins are associated with the name of Fyodor Volkov. Thus, only by the middle of the 19th century did Russian literature become an absolutely independent factor in world culture, and Russian stage literature reached serious heights and formed the most important principles and postulates dramatic art. But what was the repertoire of Russian theaters like? Original, bright plays by domestic authors were an extremely episodic phenomenon on their stages. “Woe from Wit” was first seen by viewers only in 1862; of all the plays by N.V. Gogol, only “The Inspector General” was shown in theaters; the dramaturgy of Pushkin and Lermontov was generally unknown to the Russian theater. The bulk of the productions were based on material from translated French plays and imitative Russian ones; Vaudeville became a favorite genre, and the value of theater was perceived as entertaining and entertaining.

So, by the middle of the 19th century, the Russian stage experienced an urgent need for a fundamental update of the repertoire; she sought to appeal to national images and domestic problems. The passion for drama is evident among all outstanding Russian writers of the beginning of the last century. But the plays of Pushkin, Lermontov, Gogol do not form interconnected phenomena. They are perceived organically only when taken in the context of the work of their author; combining them into some independent series looks mechanical. However, these plays, brilliant in themselves, even if they did not make the “Russian theater,” were necessary for the development of Russian drama. And by the middle of the century, Russian literature was already ready to meet the theater. It should be especially noted that not only the cultural, but also the social life of the country required a new theater and a new dramaturgy. The end of the 50s - the beginning of the 60s was the expectation, preparation and implementation of important reforms. In the updated post-reform Russia gains special power public opinion: The majority found their voice for the first time in many years and actively sought to make that voice heard and heard. A. Anikst comments on the features of this period of our history: “ Cutoff date, marking the end of one period and the beginning of another, is 1855 - the year of the death of Nicholas 1, whose thirty-year reign was marked by the darkest reaction in the social and spiritual life of the country.

The abolition of serfdom in 1861 and the reforms that accompanied it were half-hearted measures that did not resolve all the contradictions. Nevertheless, the atmosphere in the country, compared to the times of Nicholas 1, has changed somewhat. It became possible to depict the evils of the previous period more sharply. In accordance with the changed conditions, new trends appeared in the literature. The end of this period coincides with the assassination of Alexander II by Narodnaya Volya in 1881. The time subject to our consideration covers a quarter of a century; These were very fruitful years for Russian literature and, in particular, for drama. It was during these years that Russian drama reached full maturity and became main force in the theatre. Now, not just single masterpieces... but dozens of plays indicate that a unique Russian national drama has emerged, possessing a great wealth of ideas and distinguished by its originality. artistic form“^All these dozens of plays, if not written by Ostrovsky himself, were created in collaboration with him, under his leadership. Ostrovsky alone did what generations of playwrights did in other countries. He purposefully and consistently created the Russian national theater. The uniqueness of his talent is in the amazing harmonious combination of the talent of a writer and theatrical figure. He did not just create a theatrical repertoire. He formed a school of acting. Developed a sustainable and necessary classical theater role system. And most importantly, he formed a new actor and a new viewer. The Ostrovsky Theater is a holistic phenomenon. It is characterized special treatment to the text, the cult of the text. The play itself, according to the playwright’s plan, already contains everything: the interpretation of each role, the necessary directorial techniques, and even the design of the stage. The director in this theater is a third-rate person; All that is required from the actors and the artist is maximum attention to the author's text. After all, the basis of any classical play is dialogue. All the action is based on the characters’ conversations, monologues, and exchanges of remarks. Heroes are ideal interlocutors. The word is an action in itself. Life is speech. Most of Ostrovsky's plays are distinguished by their complete elaboration: the author allows each character to fully express himself in order to fully characterize him.

The creativity of the viewer in such a theater lies mainly in empathy with what is happening on stage. Deep co-thinking is not yet required from him. But by the 70s, the desire of Ostrovsky’s characters for complete frankness with the viewer was replaced by restraint and isolation. Frank confessions give way to hints, allegories, defaults. Subtext begins to play its role in Ostrovsky's theater. In the plays of the 70-80s, themes and images arise that anticipate a fundamentally new phenomenon of Russian drama - Chekhov's theater. L. M. Lotman rightly notes: “The understanding of the drama of life that Ostrovsky expressed, his idea of dramatic conflict, as a form of struggle of the individual against the enslavement of man " in general being ", about the character's speech as the most important element dramatic action, the complex relationship between the elements of the comic and the tragic - all these features of his works prepared the possibility of a revolutionary rethinking of the laws of drama and theater that occurred by end of the 19th century- the beginning of the 20th century.

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Question 1. What themes have become leading in Russian musical art?

Answer. Realism also comes to music. In the works of the “Mighty Handful” (Milia Alekseevich Balakirev, Modest Petrovich Mussorgsky, Caesar Antonovich Cui, Alexander Porfiryevich Borodin and Nikolai Andreevich Rimsky-Korsakov) it is clear how much they wanted to convey the truth of life in their works. In particular, they wrote extensively on topics taken from folk art. Also, topics are taken from history, most often the history of Russia. Often these two sources intertwine and create something unified that inspires the composer.

Question 2. What is characteristic of the second Russian theater half of the 19th century V.?

Answer. The theater is also imbued with the spirit of realism. A set of conventional gestures that the actors used before leave the stage. Now they strive to play a role, as if living it. The viewer seems to see what is happening through a transparent wall - life, which goes on as usual, as if not for the viewer, but for itself. This phenomenon was called the “fourth wall” (a wall between the audience and the actors, which does not exist for the audience, but must necessarily exist for the actors, hiding the hall for them so that they act without being guided by it in any way). The themes of the plays were appropriate. They mainly staged stories from modern life, revealing the problems of society, problems that broke the destinies of people. These are the plays of A.N. Ostrovsky, A.P. Chekhov.

Question 3. Prepare a report about one composer or actor of the second half of the 19th century.

Answer. Konstantin Sergeevich Stanislavsky, message outline:

1) the first years of life - the son of a major industrialist, who became an actor;

2) on the amateur stage in the house of A. A. Karzinkin on Pokrovsky Boulevard;

3) member of the directorate and treasurer of the Moscow branch of the Russian musical society and the conservatory attached to it;

4) the birth of a stage name;

5) creation and creativity of the Moscow Society of Art and Literature;

6) acting work - the experience that formed the basis of Stanislavsky’s famous actor training system;

7) meeting with Nemirovich-Danchenko and the creation of the Moscow Art Theater.

Question 4. Why in the second half of the 19th century. Is there a revival of folk crafts?

Answer. Folk crafts lose their utilitarian significance during this period. Industrial products turn out to be much cheaper. But industrial products standard, faceless. At the same time, they are becoming popular in various types of art. folk motifs, fashion begins on them. This is how some folk crafts are revived in certain areas, whose masters worked in a certain characteristic style. Now handicrafts are becoming, first of all, works of art.

Question 5. Which general ideas traceable to the authors of works various types art?

Answer. For different types art is characterized by realism, showing life as it is, with all its problems, with its inconsistency. Such are the paintings, music, and theater of those years. The idea of the unsettled nature of life and the complexity of the human personality is visible everywhere, which, due to the unsettled nature of life, only becomes more complex.

Literature. In the first half of the 19th century. literature was the pride of Russian culture. It consistently developed various artistic directions: classicism, sentimentalism, romanticism, realism. IN artistic culture In the first decades, there was a gradual shift away from the aesthetics of classicism, when the motives for the hero’s actions were civic duty and public service. Increasing attention to inner world person; feeling, and not just duty, becomes the motivating source of his actions.

At the turn of the XVIII-XIX centuries. Sentimentalism became widespread in Russian literature. This direction is characterized emotional perception the surrounding world, increased interest in human feelings. The heyday of Russian sentimentalism is associated with the work of N.M. Karamzin (1766-1826). Hero works of art became a simple man, which especially attracted his readers sentimental stories. Karamzin’s words from his most famous story “ Poor Lisa" - "and peasant women know how to love" - were perceived by readers as the discovery of their own world of feelings and experiences, the ability to love and suffer. Karamzin idyllically depicted rural life and everyday life. morals of ordinary "villagers". Karamzin played a major role in the formation of the Russian literary language, in freeing it from archaic expressions. Karamzin consistently defended his views in literary polemics about the ways of development of the Russian language. He proclaimed the rapprochement of the literary language with the spoken language: “Write as they speak, and speak as they write.”
His opponents (A.S. Shishkov, D.I. Khvostov, P.A. Shirinsky Shikhmatov) advocated the preservation of old forms, for focusing on the Tse; ~ Kovno-Slavic language. They created the society “Conversation of Lovers of the Russian Word” (181 1-1816). Karamzin’s followers united into a common group called “Arzamas” (1815-1818), which included V.A. Zhukovsky. K.N.Batyushkov, V.T.Pushkin, P.A.Vyazemsky, S.S.Uvarov and others.
In the first decades of the 19th century. a new one has established itself in Russia literary direction- romanticism. An important factor that contributed to its emergence was the Patriotic War of 1812. The essence of romanticism is the desire to contrast a generalized ideal image with reality. A feature of Russian romanticism was a pronounced interest in national identity, national history, affirmation of the strong, free person. The emergence of romanticism in Russian literature is associated with the name of V.A. Zhukovsky (1783-1855). His ballads carried the ideals of humanism, high human dignity. Zhukovsky's lyrics are filled with elegance, contemplation, and romantic moods. A wide range of feelings and moods - from dreamy lyrics to deeply civic ones - was characteristic feature romantic poetry.
Romantic poets introduced Russian society with works of ancient and modern Western European writers. V.A. Zhukovsky translated the works of Homer (“Odyssey”), Byron, and Schiller. N.I. Gnedich brought the Iliad to the Russian reader.
In the 30-40s. XIX century in Russian literature you affirm realism. The creativity of I.A. Krylov (1768-1844) and A.S. Griboedov (1795-1829) played a major role in the development of this direction. Krylov amazes with his ability to generalize the character traits of people and human relations in the images of animals. Krylov's fables attract people with their liveliness, nationality, and colorful language. Griboyedov's comedy "Woe from Wit" is the earliest address in Russian literature to the problem of generational conflict. It contains strong criticism high society the time of Alexander I.
In the development of Russian literature and culture, a special place belongs to the great Russian poet and writer A.S. Pushkin (1799-1837). The establishment of modern literary language is associated with his work. "Eugene Onegin", published separate publication in 1833, was the first realistic novel in Russian literature. Outstanding works Pushkin steel historical drama"Boris Godunov", poem "Poltava", stories " Captain's daughter", "Dubrovsky", "Tales of Belkin".
Pushkin's traditions were continued by M.Yu. Lermontov (1814-1841). His work reflected the state of Russian society in the 30s, the painful search by the younger generation for their destiny. The novel “A Hero of Our Time” (1841) was in many ways in tune with Pushkin’s “Eugene Onegin”, since it posed the burning questions of our time.

The work of N.V. Gogol (1809-1852) reflected the ideological disputes of Russian society in the 30-40s. What is Russia? What is the historical significance of the Russian people? Gogol tried to pose these questions and find answers to them in his great “poem” “ Dead Souls" He planned it monumental work not only to critically reflect modern Russian reality, spiritual death landed nobility and officials provincial town, but also in order to try to look into its tomorrow, to reveal the positive principles of Russian life, to show the Motherland the path to salvation.
Interest in realistic social works The so-called “natural school” was largely responsible. This concept denoted the existing in the 40-50s. kind of Russian critical realism, continuously associated with the work of N.V. Gogol and developed his artistic principles. TO " natural school"included the early works of I.A. Goncharov, N.A. Nekrasov, I.S. Turgenev, A.N. Ostrovsky and others. Artistically, writers of this direction were distinguished by a desire for truthfulness, close attention to the life of the people. In their works they reflected the life of the fortress village, its way of life and character! (stories by D.V. Grigorovich, essays from peasant life V.I. Dahl, cycle of stories “Notes of a Hunter” by I.S. Turgenev).
Fiction had a great influence on the spiritual life of Russian society. This was facilitated by the artistic talent of writers, who in their works sharply raised questions about the meaning of personality, spiritual asceticism and many others.
Theater. The theater is beginning to play an increasingly prominent role in the cultural life of the country. The serf theater is being replaced by state and private theaters. The centers of theatrical life were the Maly Theater in Moscow (since 1824) and the Alexandrinsky Theater in St. Petersburg (since 1832). More theater from 1825 it was intended for opera and ballet performances. Theaters also existed in many provincial cities.
The basis of the repertoire drama theater early XIX V. were tragedies. The creativity of V.A. Ozerov greatly contributed to the awakening of interest in the tragedy. His plays were distinguished by their entertaining and touching plots. During the period of confrontation between Russia and Napoleonic France, the playwright turns to plots from national history. In 1807, he wrote the tragedy “Dmitry Donskoy”, which had unprecedented success. Among the actors playing tragedies, the names of I.A. Dmitrievsky and E.S. Semenova stand out.
In the 20-30s. begins to establish itself on the Russian scene romantic direction, which was characterized by heroic themes,
and in the stage performance of the actors, much attention was paid to the inner experiences of the hero. Actor play V.A. Karatygina P.S. Mochalova shocked the audience with her temperament and feeling. Karatygin, an actor at the Alexandria Theater, was especially attracted to the roles historical characters, legendary heroes- kings, generals, nobles. The performing style of P.S. Mochalov, the premiere of the Moscow stage, was characterized by intense emotionality and expression.
The appearance of realistic drama in the theatrical repertoire is associated with the names of A.S. Griboedov (“Woe from Wit”) and N.V. Gogol (“The Inspector General”). Works of the realistic genre urgently required a radical change in acting. The traditions of playing classic tragedies (theatrical acting, expressed in pathetic speech, artificial graceful plasticity) became inappropriate. Authors of realistic dramas have already called for a change in performing style. The need for this was obvious to the most talented artists.
The great actor, teacher and theorist of theatrical art M.S. Shchepkin (1788-1863) became a reformer of acting. Shchepkin contrasted the then dominant theatricalization of feelings, words and movements on stage with the naturalness and life-like verisimilitude of the created image. “To be, not to appear” - this was the credo of M.S. Shchepkin. In his roles, Shchepkin conveyed the inner movement of the human soul. Shchepkin urged actors to abandon traditional cliches in the “performance” of this or that character on stage and recreate real human characters. Best roles Shchepkin became Famusov in “Woe from Wit” and the mayor in “The Inspector General”. A new direction in performing arts, which initially arose on the stage of the Moscow Maly Theater and was represented by the work of Shchepkin and his students in the 50s and 60s years XIX V. extends to other theaters in the country, primarily St. Petersburg.
Literary and theatrical life The country was not confined only to capital cities. It also existed in the provinces. In Kazan at the beginning of the century literary life was closely associated with the university. In 1806, the Kazan Society of Literature Lovers was created at the university. This was the first association of writers. Its organizer was Nigmat Ibragimov - teacher, poet, translator, teacher Latin language, Russian literature, arithmetic and geometry at the First Kazan Gymnasium. In 1817, an almanac of this society was published, in which the works of 20 authors were presented.
A big event in the cultural life of Kazan was the train of L.S. Pushkin. He met and talked with the poet E.A. Boratynsky, the writer E.P. Pertsov, and professor K.F. Fuchs.
The Tatar language is also developing fiction. The lyrical-epic poems of G. Kandaly entitled “Mulla and Abystai”, “Sahibzhamal” and others, in which images were given, attracted the attention of contemporaries typical people Tatar society. M. Ivanov, S. Kuklyashev, M. G. Makhmudov played a major role in the collection and publication of works of folk art. M. Makhmudov and I. Khalfin published works of Russian writers in the Tatar language.
In the first half of the 19th century in Kazan, amateur performances were replaced by professional theater. Mostly plays of folk and patriotic nature were staged. The plays of P. Plavilshchikov “Bobyl”, Y. Knyazhnin “Sbitenshik”, “Miller” and others were very popular. Major event In the history of the Kazan theater, the production of “Woe from Wit” by A.S. Griboyedov appeared in 1836. In 1835, a new wooden theater building was built in Kazan. Here. In addition to dramatic ones, ballet and opera performances were staged.
By the middle of the 19th century. one of the major stages in the history of Russian literature ended. First half of the 19th century - the formation and development of Russian literature, and with it the theater. During the period under review, the formation of the Russian language took place, and a close connection between Russian literature and the development of social thought was determined.