Theatre
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This term has other meanings, see Theater (meanings).
Illustration by Konstantin Somov for Blok's book "Theater"
"Melodrama", a painting by Honore Daumier, 1856-1860
Theater (gr. θέατρον — the main meaning — a place for spectacle, then a sight, from θεάομαι — look, see) — spectacular art form, which is a synthesis of the various arts — literature, music, dance, vocals, visual arts and other[1][2][3][4], and has its own specifics: reflection of reality, conflict, characters, and their interpretation and evaluation, adoption of certain ideas here going through dramatic action, the main carrier of which is the actor[2][5][6].
The generic concept of "theater" includes its various types: drama theater, opera, ballet, puppet, pantomime theater, etc. [2]
At all times, the theater has been a collective art; in modern theater, in addition to actors and a director (conductor, choreographer), a set designer, composer, choreographer, as well as props, costumers, make up artists, stagehands, lighting designers participate in the creation of a performance[1][7].
The development of the theater has always been inseparable from the development of society and the state of culture as a whole — its heyday or decline, the predominance of certain artistic trends in the theater and its role in the spiritual life of the country were associated with the peculiarities of social development[2][3].
Content
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1 History of the Theater 1.1 Ancient Theater 1.2 European Theater 1.2.1 The Middle Ages 1.2.2 The Renaissance 1.2.2.1 Drama Theater 1.2.2.2 Opera and Ballet
1.2.3 Subsequent history
1.3 Theater of the East 1.4 Theater in Russia 1.5 Theater in the USA
2 Types of theater 2.1 Drama Theater 2.2 Opera 2.3 Ballet 2.4 Puppet Theater 2.5 Pantomime
3 Theater Festivals 4 See also 5 Notes 6 Literature 7 References
History of the theater[edit / edit wiki text]
The theater was born out of the most ancient hunting, agricultural and other ritual festivals that reproduced natural phenomena or labor processes in an allegorical form[2].
However, the ritual actions themselves were not yet a theater: according to art critics, the theater begins where the viewer appears — it involves not only collective efforts in the process of creating a work, but also collective perception, and the theater achieves its aesthetic goal only if the stage action resonates with the audience[2][4].
At the early stages of the development of the theater — in folk festivals, singing, dance, music and dramatic action existed in an inseparable unity; in the process of further development and professionalization, the theater lost its original synthetism, three main types were formed: drama theater, opera and ballet, as well as some intermediate forms[2].
Ancient Theater[edit / edit wiki text]
See also: Mimes, Theater in Ancient Greece, Roman Theater and Theater Building in Classical Greece
The ancient Greek theater was born out of the mysteries dedicated to the patron gods of agriculture, primarily Dionysus: during the festivals dedicated to him, a choir of "satyrs" dressed in goat skins sang songs (praises), the content of which was the myths of the Dionysian circle.
The word "tragedy" (literally, "the song of goats") also came from the choir of satyrs[8].
The year of birth of the world theater is considered to be 534 BC, when the Athenian poet Thespides used one actor reciter along with the choir during the Great Dionysians[8].
The declaimer, who in the VI century BC was called "hypocrite" ("respondent" or "commentator"), could enter into a dialogue with the choir, portray various characters of myths in the course of the narrative, and thus elements of acting were mixed into the dialogue.
Later, Aeschylus added a second declamator actor to the choir, and Sophocles added a third in the V century BC , the "hypocrites" could already communicate not only with the choir, but also with each other, which made possible a dramatic action independent of the choir, and as a result — the transformation of the satyr choir into a drama[8].
At that time, there were plays of only two genres tragedies and comedies.
They were written most often on mythological or historical subjects.
All the roles were played by men.
The actors performed in huge masks and on couturnes.
There were no decorations.
Women (excluding hetaerae) they were not always and not everywhere allowed to attend performances, especially comedy, and sat, as a rule, separately from the men.
In Greece, the profession of an actor was considered prestigious, and in Rome — shameful (that's why Nero's performances so shocked his entourage).
Famous playwrights of that time: Aeschylus, Sophocles, Euripides, who are called the fathers of Greek tragedy, Aristophanes — the father of comedy.
In Rome, one can note Plautus the comedian and Seneca, who processed the works of Euripides.
Many plays by ancient Greek authors have come down to us, several plays about Hippolytus, the tragedy of Aeschylus "Prometheus Chained", several plays about Electra, the trilogy "Oresteia" and others.
In Greece, competitions were held between playwrights (agon), when choosing the winner, the opinion of the public was taken into account.
In ancient Rome, atellans were popular, short farcical performances in the spirit of buffoonery.
Along with the official one, there was also an ancient folk theater, in which wandering comedians — fliaks and mimes performed.
They played primitive plays of everyday, entertaining, satirical, often obscene content[9] on the streets and squares, the actors were without masks, women could participate in the performance.
European Theater[edit / edit wiki text]
See also: Theater in Western Europe
The Middle Ages[edit / edit wiki text]
English medieval theater, an engraving of the 19th century
After the fall of the Roman Empire, the ancient theater was forgotten: the early ideologists of Christianity condemned acting, and not only actors, musicians and "dancers", but also all "obsessed with a passion for the theater" were excluded from Christian communities[10].
The medieval theater was actually born anew, from folk rituals and religious holidays dramatizations of church services[10].
The art of medieval histrions — wandering actors who could be both dancers, singers, storytellers, animal trainers, gymnasts and magicians, play a wide variety of instruments[11][12] dates back to pagan peasant holidays and traditional games associated with them.
Farce dates back to the art of histrions, which has become an invariable part of urban mystery performances[13].
In contrast to the pagan ones, the Christian Church developed its own rituals, which gave its teaching an effective illustrative effect[14].
Already in the IX century in Western Europe, on Christmas Day, priests depicted evangelical shepherds going to Nazareth, there was a brief dialogue between them and the priest who served the liturgy — the dialogization of the service in its development opened up opportunities for dramatic action.
In the XI century, real performances were already played at Easter and Christmas[14].
Gradually, the liturgical drama became more effective, more meaningful, filled with psychological experiences; the tendency to a realistic interpretation of evangelical plots and images, reflected both in the design of performances and in the props, contradicted the goals of the church service, and in 1210 the liturgical drama was expelled from the church — later performances were given on the porch, which allowed not only clerics, but also citizens to participate in them[14].
In the second half of the XIII century, representations devoted to the lives of the saints — mirakli, which differed from the actual gospel stories and were more "everyday" in design, became widespread[15].
At the same time, secular plays appeared, to a greater extent than miracles, related to folk folklore performances — in particular, "The Game about the Gazebo" and "The Game about Robin and Marion" by Adam de la Ala are known.
At the same time, the genre of mysteries — mass, square, amateur art was born in cities, regardless of the church.
The mysteries were part of the city celebrations that were held on fair days, abstract church subjects acquired a national flavor in them[16].
The Renaissance Era[edit / edit wiki text]
See also: Commedia dell'arte, Ballet in Italy and the History of Opera
Italian Commedia dell'arte.
XVI century
Drama Theater[edit / edit wiki text]
The Renaissance theater was born in Italy, where the liturgical drama existed longer than in other countries, and relatively late, only in the middle of the XV century, an Italian analogue of the mysteries appeared rapresentazioni sacre[17].
In Florence, the texts for these performances were written by major humanist poets Feo Belcari, Luigi Pulci and Lorenzo de ' Medici himself.
Fascinated by ancient literature and philosophy, humanists initially instilled, as far as possible, the ancient spirit of sacred ideas, up to the use of pagan subjects in the mysteries, in particular the myth of Orpheus[17].
In parallel, another trend developed: in the 70s of the XV century, Pomponio Leto revived the ancient Roman theater in Rome — - with his students, he staged the works of Seneca, Plautus and Terence in the original language.
Leto's experience quickly spread throughout Italy, and since Latin was not understood by everyone, translations of ancient Roman authors into Italian soon appeared.
Two forms of Italian theater — ancient comedies in Italian translations (and original plays, which for a long time had a frankly imitative character) and mysteries on mythological subjects gradually approached, borrowed elements of dramatic technique and stage embodiment from each other[17].
The spread of the mysteries in Italy was associated with the appearance of the first theater groups — at the turn of the XV XVI centuries, at first in the form of amateur associations, which eventually turned into semi professional: artisans and intellectuals gathered a troupe when there was a demand for performances, showed them for a fee in rich houses and returned to their former occupations when there was no demand for performances[18].
An important role in the formation of the Italian professional theater was played by the Paduan troupe of the actor and playwright Angelo Beolco, whose members, performing in different plays under the same names, in the same costumes, created unchanged types (tipi fissi) [19] — in this respect, the Beolco troupe anticipated the Commedia dell'arte, which appeared in the middle of the XVI century, shortly after his death[20].
However, in the exact translation from the Italian commedia dell'arte at that time meant "professional theater" — the concept of "comedy of masks" appeared later[18].
For a long time, performances were played in palaces.
Only in the 20s of the XVI century, special theater buildings began to appear, while the principles of construction were borrowed from Vitruvius: as in ancient Rome, the auditorium was built in the form of an amphitheater[21].
The new Italian theater was born as a court theater, but very soon gained popularity in the widest strata of Italian society, to whose interests and tastes it began to adapt at the turn of the XV—XVI centuries: mythological plots gradually gave way to plots from modern life, which, in turn, dictated new principles of performance design and a different style of acting[17].
Commedia dell'arte, thanks to the constant tours of Italian artists from the end of the XVI and throughout the XVII century, became popular in Spain, France, England and Germany[22].
Opera and ballet[edit / edit wiki text]
During the Renaissance, opera and ballet were also born in Italy.
Claudio Monteverdi
At first, music was introduced sporadically in the mysteries, later music began to accompany the entire action.
In the middle of the XVI century, pastorals were popular, which were accompanied by choral singing.
At the end of the XVI century, works with one voice singing (monody) appeared.
In 1637, the first opera house was opened in Venice.
The first opera composers were Jacopo Peri, Claudio Monteverdi and others[23].
The first ballets were staged at the court for the entertainment of the court nobility.
The choreography was created on the basis of court dances[24].
In the XV century, one of the first masters of dance was Domenico da Piacenza (English)Russian..
He studied dance together with his students Antonio Cornazano (English)Russian.
and Guglielmo Ebreo (English)Russian, as well as give this art the Italian nobility.
Da Piacenza wrote a work entitled: De arte saltandi et chorus ducendi (About the art of dance and the conduct of dances)[25].
In 1489, Gian Galeazzo Sforza married Isabela of Aragon.
in Tortona.
In honor of the wedding, a grandiose performance was given, dances were organized based on the story of Jason and the Argonauts.
The spectacle turned out to be so impressive that similar performances were arranged in other places[24][26].
In the XVI century, grandiose performances appeared in northern Italy — spectaculi.
They included not only dances, but also equestrian performances and battles.
Catherine de ' Medici brought an interest in dancing to France.
She was the first sponsor of ballets, and arranged grandiose spectaculi .
One of the most notable was the "Polish Ballet" (Le Ballet des Polonais), which was staged for the visit of the Polish ambassadors in 1573.
The first ballets included not only dancing, but also conversations and elements of drama.
Gradually, dance replaced the elements of drama from the ballet.
In France, ballet has formed as a separate genre.
Ballet performances were now given not only at the court, but also in theaters.
Nobles, including Louis XIV, performed roles of varying importance in the ballet.
In 1585, the Teatro Olimpico with a proscenium was opened in Verona.
Subsequent history[edit / edit wiki text]
See also: Elizabethan Drama, Naturalistic Drama, Realistic Drama, Melodrama and the Theater of Italian Comedy (Paris)
Theater of the East[edit / edit wiki text]
See also: Shadow Theater, No, Kabuki, Chinese Theater, Yuan Drama, Beijing Opera, Teo Theater, Puppet Theater on the Water and Kailyong Theater
The Theater of the East has preserved the ancient archaic traditions of dramatic, puppet, and musical theaters.
This is equally true for the theater of India, the theater of Japan, China, Vietnam, and the theater of Indonesia.
Theater in Russia[edit / edit wiki text]
Main article: The History of theater in Russia
See also: Imperial Theaters of the Russian Empire, Yearbook of Imperial Theaters and Theaters of Russia
In Russia, the theater was born late — only in the second half of the XVII century.
However, in the Orthodox Church, dramatizations of individual services were adopted — a Cave action and a Procession on a donkey.
These rites were performed no later than from the beginning of the XVI century[27].
Buffoonery, which originated in the XI century, was harshly condemned by the Church and was officially banned in 1648 by the decree of Alexey Mikhailovich[28], the cities did not have enough independence to arrange performances similar to Western European mysteries on their own — the theater was imported to Russia from Western Europe[2].
In 1672, the first court theater was created, but it lasted only a few years.
At the same time, the emergence of the so — called "school theater" - the theater at spiritual educational institutions belongs to this time; the first mention refers to 1672, when the mystery "About Alexey the Man of God"was staged at the Kiev Mohyla Academy[29].
In 1687, the Slavic Greek Latin Academy was founded in Moscow, at which a theater was also created[29].
Theater in the USA[edit / edit wiki text]
Main article: The history of theater in the United States
The main development of the US theater falls on the colonial period and is based on Western European theatrical traditions.
The key difference is the contribution to the theatrical art from the black population of America, which has been detected since the XIX century, but has become of main importance only since the 1920s[30].
Types of theater[edit / edit wiki text]
Drama Theater[edit / edit wiki text]
Main article: Drama Theater
Unlike other types of stage art, a performance in a drama theater is based on a literary work — a drama or on a script involving improvisation[31].
For an artist of a drama theater, the main means of expression, along with physical actions, is speech; at the same time, drama theater is a synthetic art: it can include vocal, dance, and pantomime as full — fledged elements[31].
An important role in the drama theater is played by the director, who, based on his own interpretation of a literary work, directs the work of the entire team.
Opera [edit / edit wiki text]
Main article: Opera
Opera is a synthetic type of theatrical art in which dramatic action is closely merged with vocal and orchestral music; dance is often present in opera[32].
There are such genres as grand opera, comic opera (opera buffa in Italy, opéra comique in France, Singspiel in Germany, Tonadilla in Spain, ballad opera in England)[33], romantic opera, opera ballet, etc.
The genre of comic opera influenced the formation of such genres as operetta, musical, musical comedy in the 20th century[33].
Opera productions are usually performed in specially equipped opera houses.
Ballet[edit / edit wiki text]
Main article: Ballet
This section of the article has not yet been written.
According to the idea of one of the Wikipedia participants, a special section should be located in this place.
You can help the project by writing this section.
Ballet is a kind of stage art; a performance whose content is embodied in musical and choreographic images.
The classical ballet performance is based on a certain plot, dramatic idea, libretto, in the XX century a plotless ballet appeared, the drama of which is based on the development laid down in music.
Puppet Theater[edit / edit wiki text]
Main article: Puppet Theater
- one of the varieties of the puppet art form, which includes animated and non animated animated cinema art, puppet art of the variety stage and artistic puppet programs of television.
In puppet theater performances, the appearance and physical actions of the characters are depicted and / or indicated, as a rule, by three dimensional, semi three dimensional (bas relief or high relief) and flat dolls (actor dolls)Puppet actors are usually controlled and driven by people, actors by puppeteers, and sometimes by automatic mechanical devices.
In the latter case, the actor dolls are called robot dolls.
It should be noted that the phrase "puppet theater" is incorrect and offends the professional dignity of puppeteers, since the adjective "puppet" is associated with the concept of "fake"[source not specified 194 days].
It is correct to say: "puppet theater", which, by the way, is the name of all professional animation theaters.
This section of the article has not yet been written.
According to the idea of one of the Wikipedia participants, a special section should be located in this place.
You can help the project by writing this section.
Pantomime[edit / edit wiki text]
Main article: Pantomime
Pantomime is the art of creating an artistic image using facial expressions and plasticity of the human body, without using words.
Pantomime originated in ancient Greece, where it was part of the repertoire of mimes.
In ancient Rome, in the era of Augustus, it became a full fledged theatrical genre.
In the Middle Ages, the church forbade pantomime, but traveling actors continued to use elements of pantomime.
Commedia dell'arte included wordless interludes.
Pantomime was an important element of the harlequinade, comic plays where the main character was a Harlequin.
In France, the harlequinade has become a favorite genre of farcical theater.
In 1702, a pantomime in the form of a theatrical ballet was staged at the Drury Lane Theater in London.
In the 18th century, pantomime was staged in the theater as interludes in the intermissions of tragedies and comedies.
Baptiste Debureau marked the beginning of lyrical poetic pantomime, thanks to him Pierrot became the classic hero of pantomime.
In the 20th century, the Carnot group was engaged in pantomime, in which Charlie Chaplin, Max Reinhardt, Jean Louis Barraud, Marcel Marceau and others performed for the first time.
Pantomime can be dance, classical, acrobatic, eccentric, at the beginning of the 20th century, dramatic pantomime appeared[34].
The pantomime genre is developed in the classical Indian musical theater and in the Japanese Noh Theater.
Theater festivals[edit / edit wiki text]
Chekhov International Theater Festival [1] Avignon Festival Golden Mask Golden Harlequin Edinburgh Festival of Theater and Music International Theater Festival "Voices of History" [35]
See also[edit / edit wiki text]
Portal "Theater" Theater in Wiktionary?
Theater in Wikicitatnik?
Theater in Wikitek?
Theater on Wikimedia Commons?
Theater in Vikinovosti?
Theater (architectural structure) Performance Epic Theater Acting art Theater director World Theater Day Entertainment institutions Chronology of theater events
Notes[edit / edit wiki text]
↑ Show compactly
Перейти Go to: 1 2 Theater / Rodina M. T.
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ed .
A.M. Prokhorov.
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↑ Go to page: 1 2 Bushueva S. K. Introduction // Relations: the Theatre in the context of culture: Collection of scientific works.
— L., 1991.
— P. 4-6.
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The structure of action and modern performance — - L., 1988.
- pp.
26-27 — - 201 p. Бар Barboy Yu.
M.
The structure of action and modern performance — - L., 1988 — - P. 30 — - 201 p. Artaud A. Theater and its double: Manifestos.
Drama.
Lectures.
Philosophy of the theater / Comp.
and vst.
art .
V. I. Maksimova, Komm.
V. I. Maksimova and A. Yu.
Zubkov.
- St. Petersburg, Moscow: Symposium, 2000.
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99-103 — - 443 p. Руд Rudnitsky K. L. Performance / / Theater encyclopedia (edited by P. A. Markov).
- Moscow: Soviet Encyclopedia, 1961-1965.
- Vol. 4. Перейти Go to: 1 2 3 Tragedy / / Dictionary of Antiquity.
Compiled by Johannes Irmscher (translated from German).
- Moscow: Alice Luck, Progress, 1994.
- p. 583 — - ISBN 5-7195-0033-2.
↑ Encyclopedia of circumnavigation.
ancient theater.
Checked on May 2, 2013.
Archived from the original source on May 10, 2013.
Перейти Go to: 1 2 Dzhivelegov A., Boyadzhiev G.
The history of Western European Theater.
From the origin to 1789.
- Moscow: Iskusstvo, 1941.
Ав Averintsev S. S., Boyadzhiev G. N. Histrion / / Theater encyclopedia (edited by S. S. Mokulsky).
- Moscow: Soviet Encyclopedia, 1961-1965.
- Vol. 1 .
Дж Dzhivelegov A., Boyadzhiev G. Histrions // The history of Western European Theater.
From the origin to 1789.
- Moscow: Iskusstvo, 1941.
Дж Dzhivelegov A., Boyadzhiev G. Farce / / History of the Western European theater.
From its origin to 1789.
- Moscow: Iskusstvo, 1941.
Перейти Go to: 1 2 3 Dzhivelegov A., Boyadzhiev G. Liturgical drama / / History of the Western European Theater.
From its origin to 1789.
- Moscow: Iskusstvo, 1941 .
Дж Dzhivelegov A., Boyadzhiev G. Mirakl // The history of Western European Theater.
From its origin to 1789.
- Moscow: Iskusstvo, 1941.
Дж Dzhivelegov A., Boyadzhiev G. Mystery // The history of Western European Theater.
From its origin to 1789.
- Moscow: Iskusstvo, 1941.
Перейти Go to: 1 2 3 4 A. Dzhivelegov, G. Boyadzhiev Renaissance Theater // The history of Western European Theater.
From its origin to 1789.
- Moscow: Iskusstvo, 1941.
Перейти Go to: 1 2 Dzhivelegov A., Boyadzhiev G.
The emergence of a professional theater / / History of Western European theater.
From its origin to 1789.
- Moscow: Iskusstvo, 1941.
↑ Glodowski R. I. Beolco, Angelo // Theatre encyclopedia (edited by SS mokulsky).
— M.: Soviet encyclopedia, 1961-1965.
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↑ Boyadjiev G. N. Commedia Dell'arte // Theatre encyclopedia (edited by P. A. Markov).
— M.: Soviet encyclopedia, 1961-1965.
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From the origin to 1789.
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Дж Dzhivelegov A., Boyadzhiev G. Commedia dell'arte / / History of the Western European theater.
From its origin to 1789.
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Краткий Short Music Dictionary — - 2005 (link unavailable from 22-05-2013 (1068 days)) ↑ Go to: 1 2 Andros On Ballet De Medici Catherine ↑ Lee (2002), p.
29. ↑ Vuillier, Gaston (1898).
History of Dancing from the Earliest Ages to Our Own Times, pp.
65-69.
New York: D. Anderson and Company.
[Facsimile reprint (2004): Whitefish, Montana: Kessinger Publishing. ISBN 978-0-7661-8166-3.]
↑ Zabelin I.
Home life of the Russian tsars in the XVI and XVII centuries.
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S. 294, 310-317.
↑ Dmitriev Y. A. Clowns // Theatre encyclopedia (ed. by A. P. Markov).
— M.: Soviet encyclopedia, 1961-1965.
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↑ The World Encyclopedia of Contemporary Theatre: The Americas.
— New York City: Routledge, 2000.
— P. 394.
— ISBN 0-415-05929-1.
Перейти Go to: 1 2 Theater / / Theater encyclopedia (edited by A. P. Markov).
- Moscow: Soviet Encyclopedia, 1965.
- Vol. 5. Опера Opera / / Shapovalova O. Musical encyclopedia.
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↑ Go to: 1 2 Comic Opera (unavailable link from 22-05-2013 (1068 d
