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Russian Theater of the twentieth century
30 Russian Theater of the twentieth century Introduction
1.
The Moscow Art Theater and its creators K. S. Stanislavsky and V. I. Nemirovich Danchenko.
The theater of experience.
2. The Maly Theater as an example of the theater of critical realism.
3. The Tatras of Modernity.
Meyerhold, Komissarzhevsky, Vakhtangov, etc.
4. The Soviet theater of the 30-80s.
The main trends.
5. Theater today.
Conduction
The art of the stage was born in ancient times.
At different times, it was called to entertain, educate, or preach.
And the theater coped with these tasks - its capabilities are diverse, and the power of influence is great, and therefore kings and princes, emperors and ministers, revolutionaries and conservatives sought to put theatrical art at their service.
Tolstykh V. I., Aesthetic Education, M., 1984, p. 224 The best theatrical works have always been sensitive to historical changes.
The theater was a mirror in which events and people were reflected.
More than once in the history of mankind, prophecies uttered from the stage have come true.
Overcoming borders and language barriers, he reveals new discoveries to the world.
The Great Russian Encyclopedia, Moscow, 2004, p. 1005 Theater, the only kind of art that presents us not only the result of its creativity.
When we come to the theater, we become spectators and accomplices of the performance that is being created in our presence before our eyes.
It is this feature of theatrical art that requires the special atmosphere that the theater lives in.
It is the ability to talk about what people are concerned about today, the ability to experience and rethink what they have seen, comparing it with their life experience, to take them by the heart and make it beat faster, that attracts us to the theater, where we get true aesthetic pleasure.
All this speaks about the relevance of theatrical art in our days.
That is why, always and at all times, people who think and search have rushed to the theater, considering it a school of high civic feelings and genuine humanity.
The purpose of the work is to analyze the historical stages of the development of the theater of the XX century.
The work presents various periods of the development of the theater, the dependence of the directions on the historical time.
1. The Moscow Art Theater and its creators K. S. Stanislavsky and V. I. Nemirovich Danchenko.
Theater of experience
The new century for the Russian theater began earlier than the calendar one.
On June 22, 1897, two people met at the Slavyansky Bazaar restaurant in Moscow.
No one could even imagine that this event would open a new era in the art of the stage.
The playwright and theater critic Vladimir Ivanovich Nemirovich Danchenko (1858-1943) wrote a short note.
The message was addressed to the son of one of the most influential Moscow merchants - Konstantin Sergeevich Alekseev (pseudonym Stanislavsky, 1863 - 1938).
He was an amateur actor who played countless roles in dramas and comedies, farces and vaudevilles.
In the note, Nemirovich Danchenko offered to discuss theater plans.
Alekseyev replied with an urgent telegram - and the meeting took place.
After a long conversation, it was decided to organize a new theater that would overcome the cliches and routine of the Russian stage of that time.
The very name the Artistic Public Theater already contained a program.
"Artistic" - a high level of art was guaranteed.
"Public" - addressed to everyone, not only to the chosen ones, not only to theater regulars.
http://scit.boom.ru/music/teatr/Russiu teatr.htm The banner of the new theater was the drama of Anton Pavlovich Chekhov, mysterious, not fully disclosed even today.
The premiere of "The Seagull" took place on the stage of the Art Theater on December 17, 1898, two months after the failure of the play on the stage of the Alexandria Theater in St. Petersburg.
Nemirovich Danchenko understood that the reason for the failure was the novelty and unusual nature of this work.
The performance of the Moscow Art Theater was a triumph and a breakthrough in the new theatrical age.
It was Chekhov's dramaturgy that allowed Stanislavsky to create his own style, unlike anyone else, it was on Chekhov's plays that the director developed the method of acting.
Subsequently, this led to the creation of his famous system.
One of the main achievements of Stanislavsky before the world theater is the education of talented students who have absorbed the experience of his theater system and develop it further in the most unexpected and paradoxical directions (vivid examples are Vsevolod Emilevich Meyerhold, Mikhail Alexandrovich Chekhov, Evgeny Bagrationovich Vakhtangov).
The Stanislavsky system is the conventional name of the stage theory and the director actor method developed by the famous Russian director, actor, teacher and theater worker K. S. Stanislavsky.
Probably, there is no other theater system that has had such a profound impact on the development of the world art of theater (including theater pedagogy), and at the same time caused the most contradictory opinions - from fervent, almost cliched apologetics to fierce declarative denial.
It is especially interesting that the contradictions continue at the present time.
http://www.krugosvet.ru It is quite common to believe that the main result of a performance staged "according to the system" is the achievement of complete psychological reliability of acting works (which, in particular, is facilitated by the so called "fourth wall", conditionally separating the auditorium from the stage and isolating the actors from the audience).
Stanislavsky's term "the art of experiencing" also became a common place, contrasted with "the art of representation", often identified with rough handicraft.
However, Stanislavsky's student was V. E. Meyerhold - whose bright theatrical method, as it is commonly believed, contradicts Stanislavsky's teaching, in particular, the "fourth wall".
Stanislavsky for the first time turned to the practical solution of the problem of conscious mastery of subconscious creative processes; to the problem of stable professionalism of the actor.
The basis of the system is the objective laws of stage creativity, laid down in the organic nature of the artist.
Stanislavsky and Nemirovich Danchenko at the Moscow Art Theater became the founders of the psychological theater, developing and supplementing each stage image with an invisible prehistory that stimulates certain actions of the character.
The actor's tool is his internal (mental) and external (physical) data, called by Stanislavsky "elements of creativity".
The actor's body, voice, nerves, and temperament are his tools, combining the creator and the material into a single whole.
Professional stage action is possible only under the condition of masterly possession of the entire spectrum of their psychophysical data.
Stanislavsky refers to the elements of creativity: perception organs - vision, hearing, etc.; imagination; logic and sequence of actions and feelings; memory for sensations; stage charm; a sense of perspective of action and thought; muscle freedom; plasticity; voice control; a sense of phrase; a sense of character; the ability to act with a word; perception of a partner and influence on him; etc.
The skill of an actor in terms and definitions of K. S. Stanislavsky.
M., 1961 The constant improvement of these elements is the content of the "actor's work on himself" (the first section of the Stanislavsky system), which involves daily training and drill aimed at improving the acting technique.
Possession of his" tool " - psychophysics allows an actor to work fully and professionally on the stage, regardless of inspiration, or rather, to enter the right creative state exactly when it is necessary; by volitional effort to achieve the right creative well being.
Only on the basis of basic constant classes in acting technique is a full fledged "work of an actor on a role" possible.
The key concepts in the work on the role and the performance were the definitions of "effective analysis", "end to end action" (and "counter through action", based on conflict, as a fundamental specific feature of theatrical art), as well as "super tasks".
An effective analysis of the role means building a consistent line of the complex of psychophysical actions of the actor throughout the performance, based not just on the plot of the play, but on the convergence and interpenetration of the personalities of the actor and the character ("I am in the proposed circumstances").
End to end action is a logical chain, a continuous action in the semantic perspective of the performance.
A counter through action (or counter action) is carried out either in a clash of characters, or in the hero overcoming his internal contradictions.
From the interweaving of various lines of action of the characters, according to Stanislavsky, the "score of the play" is formed, a whole action that unites the actors and other means of theatrical expression (light, music, scenery, etc.) with the audience.
A super task is a common creative, semantic, moral and ideological goal that unites the entire production team and contributes to the creation of an artistic ensemble and a single sound of the performance.
The skill of an actor in terms and definitions of K. S. Stanislavsky.
M., 1961 A huge place in the Stanislavsky system is occupied by artistic ethics.
We are not talking about speculative ethical education, but about a necessary condition for collective creativity.
Today, the key provisions of the system are taken for granted in many respects - they are used by almost all (except for the emphatically ritualized, canonically traditional - Kabuki, But, etc.) theater schools.
And the Stanislavsky system is by no means dogmatic rules, but a universal basic tool that allows you to build any theatrical style on its basis; to work in any theatrical genre and in any aesthetics, including in the so - called "performance theater".
2. The Maly Theater as an example of the theater of critical realism
The Maly Theater is the oldest theater in Russia.
His troupe was created at the Moscow University in 1756, immediately after the famous Decree of the Empress Elizabeth Petrovna, which marked the birth of professional theater in our country: "We have now ordered to establish a Russian theater for the presentation of comedies and tragedies...".
In the acting art of the Maly Theater, two main lines have always been combined - deep life realism, the founder of which was Mikhail Semyonovich Shchepkin, and passionate revolutionary romanticism, the largest representative of which was Pavel Stepanovich Mochalov.
Mochalov's creative work connected the Russian stage with the dramaturgy of W. Shakespeare and F. P. S. Mochalov, "the plebeian actor" Belinsky V. G.
About drama and theater in 2 t .
M., 1983, according to the critic Vissarion Grigoryevich Belinsky, who praised him, managed to overcome the canons of the previous style, expressed by the aesthetics of classicism.
The romantic loners of Mochalov protested and fought with all the evil world hostile to them, despairing, and often lost heart.
The best roles of an actor are Hamlet, Richard III, (in the tragedies of the same name by V. Shakespeare), Chatsky, Ferdinand (The Treachery and Love of F. Schiller).
The emergence of the most important direction of theater - romanticism is associated with the work of P. S. Mochalov.
The next significant milestone in the history of the Maly Theater is the work of the great Russian actor reformer M. S. Shchepkin.
"He was the first to create the truth on the Russian stage, he was the first to become non - theatrical at the theater," Alexander Ivanovich Herzen said of Shchepkin.
M. S. Shchepkin made his debut in Moscow in 1822 as an already established provincial actor.
Throughout his work, the actor, who was previously a serf, sought to be faithful to the truth of life and natural intonations on the stage.
The actor's broad requests and aesthetic views went beyond the limits of purely "shop" interests, hence his close rapprochement with the advanced Moscow intelligentsia, writers, theater goers, critics who have influence on the Moscow theater: S. T. Aksakov, V. G. Belinsky, A. I. Herzen, N. V. Gogol, A. S. Pushkin.
Shchepkin's realistic method was formed mainly in the roles of Russian classics Famusov (Woe from the mind of A. S. Griboyedov, 1831) and Gorodnichem (Inspector N. V. Gogol, 1836), in which the actor with all his inherent comicality and observation created vivid typical images of "pillars of society".
By the end of the 19th century, the significance of the Maly Theater's activities was weakening.
The increased pressure of reaction led to the fact that craft plays and entertainment farces began to occupy a dominant position on its stage.
However, the most prominent actors Maria Nikolaevna Ermolova, Glikeria Nikolaevna Fedotova, Alexander Pavlovich Lensky, Alexander Ivanovich Yuzhin, Mikhail Provich and Olga Osipovna Sadovsky revealed their talents mainly in productions of Russian and foreign classics.
Attempts to update the art of the Maly Theater, undertaken in the late 19th and early 20th centuries, primarily by A. P. Lensky, met stubborn resistance from the tsarist administration and proved ineffective.
At the beginning of the 20th century, the country was literally captured by innovative trends and trends.
It's time to search for new directorial ideas.
New theatrical esthetics were growing everywhere.
New theatrical reforms were brought by Stanislavsky, Nemirovich Danchenko, Vakhtangov, the genres of theatrical parodies and skits developed; at first, the revolutionary situation in the country and the Great October Socialist Revolution of 1917 itself contributed to the formation of these ideas.
The Maly Theater firmly preserved the dramatic classical foundations, continuing historical traditions in new social conditions.
Zograf N. G. Maly Theater at the end of the 19th and 20th centuries.
Moscow, 1966 New artistic trends completely denied academicism and old traditions.
Nevertheless, the Maly Theater remained true to its traditions.
In 1918, a theater school was opened at the theater (since 1938 - the Higher Theater School named after M. S. Shchepkin, since 1943 the university), and in 1919 the Maly Theater was awarded the title of academic.
And at the same time, there are calls throughout the country to abandon all the old, old things, not to let the stronghold of bourgeois noble culture into the life renewed by the revolution.
Under the influence of these appeals, the Maly Theater could have been closed if the first People's Commissar of Education, Anatoly Vasilyevich Lunacharsky, had not stood up to defend it.
The theater kept the traditions of classical performing art, not of director's delights.
Since the first years of Soviet power, the art of the Maly Theater has become closer to the revolutionary modernity.
Zolotnitsky D. I. Academic theaters on the paths of October , 1982 In 1919 he was awarded the title of academic.
Such performances as "The Posadnik" by Alexey Konstantinovich Tolstoy (1918), "The Old Man" by Maxim Gorky (1919), "Oliver Cromwell" by Anatoly Vasilyevich Lunacharsky (1921), and numerous productions of classical drama testified to the viability of the collective, about the new rise of the art of its best actors - Nikolai Kapitonovich Yakovlev, Elena Konstantinovna Leshkovskaya, Osip Andreevich Pravdin, Varvara Osipovna Massalitinova, Varvara Nikolaevna Ryzhova, Evdokia Dmitrievna Turchaninova, Prov Mikhailovich Sadovsky, Mikhail Mikhailovich Klimov and many others.
The leading figures of the theater Maria Nikolaevna Ermolova and Alexander Ivanovich Yuzhin continued to perform with success.
The play "Spring Love" by Konstantin Andreevich Trenev (1926, starring Vera Nikolaevna Pashennaya) showed that the revolution responded to the art of the Maly Theater with a surge of creative forces and artistic innovation.
Further productions of Soviet plays ("The Fiery Bridge"Boris Sergeyevich Romashov, 1929; "Skutarevsky" by Leonid Maksimovich Leonov, 1934; "In the Steppes of Ukraine", 1941, by Alexander Evdokimovich Korneychuk) and classical works ("Rasteryaeva Street" by Gleb Ivanovich Uspensky, 1929; "Enemies", 1933, "Barbarians", 1941, Maxim Gorky; "Othello" by William Shakespeare, 1935, "Uriel Acosta" by Karl Gutskov, 1940, with Alexander Alekseevich Ostuzhev in the roles of Othello and Acosta; "Woe from Wit" by Alexander Sergeyevich Griboyedov, 1938), as well as plays by Alexander Nikolaevich Ostrovsky ("Mad Money", 1933, "Simplicity is Enough for every Wise Man", 1935, "The Forest", 1937," Wolves and Sheep"," Truth is Good, but Happiness is Better", both in 1941) meant a fundamentally new stage in the development of the art of the Maly Theater, enriched by the method of socialist realism.
In 1937, in the play "On the Banks of the Neva" by Trenev, the image of V. I. Lenin was created for the first time on the stage of the Maly Theater.
During the Great Patriotic War of 1941-45, a number of inspired patriotic performances were staged at the Maly Theater ("The Front" by Alexander Yevdokimovich Korneychuk, 1942; "The Invasion" by Leonid Maximovich Leonov, 1943), brigades of theater actors and its front line branch performed in units of the active army.
Preserving the glory of the Ostrovsky House, the Maly Theater systematically stages its dramas and comedies, while simultaneously expanding the classical repertoire, embodying the works of Nikolai Vasilyevich Gogol, Alexander Sergeyevich Griboyedov, Maxim Yuryevich Lermontov, Alexander Vasilyevich Sukhovo Kobylin, Leo Tolstoy, William Shakespeare, Victor Hugo, dramatizations of the works of Fyodor Mikhailovich Dostoevsky, Wimlyam Memykpis Temkkerei, Gustave Flaubert.
The repertoire widely includes plays by Soviet playwrights: Alexander Evdokimovich Korneychuk, Konstantin Mikhail ovich Simonov, Viktor Sergeevich Rozov and many others.
In the 50s and 60s, performances were created: "The Power of Darkness" by L. N. Tolstoy (1956) with Igor Vladimirovich Ilyinsky in the role of Akim, directed by Boris Ivanovich Ravenskikh; "Ivanov" by A. P. Chekhov (1960), "Summer Residents" by M. Gorky (1964), "Truth is Good, but Happiness is Better" by A. N. Ostrovsky (1970) - directed by Boris Andreevich Babochkin; "Masquerade" by M. Y. Lermontov (1962) and" Optimistic Tragedy " by Vsevolod Vishnevsky (1967) - directed by Leonid Viktorovich Varpakhovsky; in the early 70s: "Before Sunset" by Gerhart Hauptman (directed by L. E. Heifitz) and others.
The artistic directors and chief directors of the Maly Theater were: Alexander Ivanovich Yuzhin (1923-27), Ilya Yakovlevich Sudakov (1937-43), Prov Mikhailovich Sadovsky (1944-47), Konstantin Alexandrovich Zubov (1947-56), Mikhail Ivanovich Tsarev (1957-62), Evgeny Rubenovich Simonov (1963-70).
In 1937, the Maly Theater was awarded the Order of Lenin.
There is a theater school at the theater, leading from the Moscow Theater School organized in 1809 (since 1938 - the Theater School named after M. S. Shchepkin).
3. The Tatras of Modernity.
Meyerhold, Komissarzhevsky, Vakhtangov, etc.
In art in general and in the theater in particular, the period of the end of the first decade of the 20th century was very difficult.
Artists (like the whole country) were divided into supporters and opponents of the revolution.
Somewhat simplifying, we can say that in the aesthetic sphere, the division occurred in relation to the traditions of world culture.
The excitement of a social experiment aimed at building a new society was accompanied by the artistic excitement of experimental art, the rejection of the cultural experience of the past.
During the Art Nouveau period, the partition between the auditorium and the stage was destroyed.
The actors were put in the hall-"podsadok", who ran out on the stage at the agreed moment and were included in the action.
Yielding to this impulse, some ordinary viewers also began to play along with the actors.
The center of theatrical life was a private stage and an enterprise.
In the Art Nouveau theater, there was a characteristic convergence of all types of art poetry, painting, music, acting, which was characteristic of the Silver Age.
In 1920, Meyerhold put forward the program Theatrical October, which proclaimed the complete destruction of the old art and the creation of a new art on its ruins.
It is paradoxical that Vsevolod Emilevich Meyerhold, who deeply studied traditional theaters, became the ideologist of this direction.
But the destructive euphoria of social reconstruction was accompanied by the euphoria of an artistic experiment supported by the government and addressed to new viewers.
The key to success during this period was an experiment, an innovation - of a different nature and direction.
Perhaps this is what caused the existence in the same period of futuristic politicized "performances of rallies" by Meyerhold and the refined, emphatically antisocial psychologism of Alexander Yakovlevich Tairov, the "fantastic realism" of Yevgeny Bagrationovich Vakhtangov and experiments with performances for children by young Natalia Sats, the poetic biblical theater Gabim and the eccentric FEKS, etc.theaters of a more traditional direction (Moscow Art Theater, Maly, former Alexandrinsky, etc.) paid tribute to modern performances are revolutionary romantic and satirical, but sources indicate that the 1920s were a period of creative crisis for them.
http://www.krugosvet.ru V. S. Meyerhold left the Moscow Art Theater troupe, having worked there from 1898 to 1902, playing the role of Treplev in "The Seagull".
He decided to settle in Kherson.
In 1902, Meyerhold staged performances there "on the mise en scene of the Art Theater", and then began to develop and approve his own directorial style.
The 1903/04 season was opened by the Meyerhold troupe under the name "New Drama Partnership".
Meyerhold's aesthetic was the development of theatrical forms, in particular, stage movement, he is the author of a system of theatrical biomechanics.
Sincere and impetuous, he immediately embraced revolutionary innovations, looking for innovative forms and bringing them into the theatrical art, completely breaking the academic dramatic framework.
In 1906-1907, V. E. Meyerhold became the main director of the Vera Fyodorovna Komissarzhevskaya Theater.
The performances staged by him are not similar to each other, he experimented with different repertoire, staged classical and modern drama, pantomime and operas.
He did not have a single, definitively formulated view of the profession and tasks of a director.
According to Meyerhold, the director is always the master on the stage and is necessarily the creator, inventor, some kind of theatrical god.
The artistic language of the Russian Siena of the XX century was formed largely thanks to the works of Meyerhold, his solutions of the stage space, creative work with the texts of plays.
The premiere of the drama by Alexander Alexandrovich Blok (1880-1921) "Balaganchik" took place in December 1906, staged by Meyerhold.
The performance made it possible to remind the audience about the Italian comedy of masks, with its indispensable characters (Piero, Harlequin and Columbine).
In the" Balaganchik", the theater triumphed as a beautiful and great art, to which everything is available and which is not afraid of anything (it can also laugh at itself).
It was a very exquisite sight; sometimes there was mockery in it, and sometimes it was filled with unspeakable sadness.
The performance caused both violent raptures and noisy scandals.
The "orthodox" symbolists, serious, mystically minded people, were especially outraged.
They couldnot let some director laugh at them.
Meyerhold himself played the role of Pierrot.
He came up with a dry, cracked voice, a toy plastic puppet; from time to time, this doll character made plaintive moans.
In full accordance with the programs of the symbolists, Piero's beloved Columbine turned out to be Death.
However, perhaps it was another prank, because a beautiful and slender Harlequin suddenly appeared and took Columbine away, as it should be in the traditional love triangle of the comedy of masks.
It was a frank theater - the director turned the exposure of the reception into the main principle of the production.
The design of the performance was unusual.
Everything was solved in a conditional manner.
The window in the back of Siena was covered with paper.
Props in front of everyone lit up the playground with sparkler sticks.
The Harlequin jumped out of the window, tearing the paper.
The scenery soared up, leaving Siena empty, and in the finale Piero Meyerhold, playing a simple melody on a pipe, addressed the audience with the words: "I am very sad.
Is it funny to you?.." http://scit.boom.ru/music/teatr/Russiu teatr.htm Another significant figure in the theatrical art of that time was Yevgeny Bagrationovich Vakhtangov.
He became an active conductor of the ideas and system of K. S. Stanislavsky, took part in the work of the 1st Studio of the Moscow Art Theater.
The sharpness and refinement of the stage form, resulting from the deep penetration of the performer into the spiritual life of the character, were clearly manifested both in the roles played by Vakhtangov (Tackleton in "The Cricket on the Stove" by Charles Dickens, 1914; The Fool in "Twelfth Night" by W. Shakespeare, 1919), and in the performances staged by him in the 1st Studio of the Moscow Art Theater: "The Feast of Peace" by Gerhart Hauptman (1913), "The Flood" by Berger (1919, played the role of Fraser).
In 1919, Vakhtangov headed the director's section of the Theater Department (Teo) of the People's Commissariat of Education.
After the revolution, Vakhtangov's diverse directorial activity unfolded with extraordinary activity.
The theme of the anti humanity of bourgeois philistine society, which was already outlined in The Flood, was developed in the satirical images of Chekhov's "Wedding" (1920) and Maeterlinck's "Miracle of St. Anthony" (2nd stage edition, 1921), staged in his Studio.
http://www.dombulgakova.ru Vakhtangov's desire to search for "modern ways to resolve the performance in a form that would sound theatrical" was brilliantly embodied in his latest production the play "Princess Turandot" by Karl Gozzi, permeated with the spirit of bright life affirmation, the artist Ignatiy Nivinsky (3rd Studio of the Moscow Art Theater, 1922) was perceived by K. S. Stanislavsky, V. I. Nemirovich Danchenko and other theatrical figures as the largest creative victory enriching the art of the stage, paving new paths in the theater.
Fundamental to Vakhtangov's directorial work were: the idea of an inseparable unity of the ethical and aesthetic purpose of the theater, the unity of the artist and the people, a keen sense of modernity that corresponds to the content of the dramatic work, its artistic features, defining a unique stage form.
These principles were continued and developed in the art of Vakhtangov's students and followers directors Ruben Nikolaevich Simonov, Boris Yevgenyevich Zakhava, actors Boris Vasilyevich Shchukin, Joseph Moiseevich Tolchanov, Mikhail Chekhov, etc. Zavadsky Yu.
A. Teachers and Students.
M., 1975 In 1918-1919, the Studio Theater of the KHPSRO (Artistic and Educational Union of Workers ' Organizations), headed by Fyodor Fyodorovich Komissarzhevsky, worked, uniting opera soloists and dramatic artists into one troupe.
In the summer of 1919, Komissarzhevsky left Russia to participate in the Edinburgh Theater Festival.
In England, he staged "Prince Igor" (1919)," Sister Beatrice "by Maurice Maeterlinck and" The Inspector " by N. V. Gogol (both 1920)," Six Characters in Search of the Author "by Luigi Pirandello (1921), "Racing for the Shadow" by V. von Scholz, "Uncle Vanya" by A. Chekhov, etc.
In the 1922-1923 season, he performed a number of productions at the Guild Theater in New York, worked in Paris for the next two seasons, staged" The Tangerine Duck Club "by G. Duvernois and P. Fortuny, "The Road to Dover" by A. Milne, "Siegfried" by Richard Wagner, etc.
In 1925, he opened the Rainbow Theater in Paris.
The 1925-1926 season Komissarzhevsky is back in London, staging "Ivanov" (1925), "Uncle Vanya"," Three Sisters "and" The Cherry Orchard " by Chekhov," The Inspector "by Gogol, "Ekaterina Ivanovna" by L. Andreev (all 1926), etc.
In 1927, Komissarzhevsky worked in Italy, where he staged operas by Mozart, D.-A.Rossini, F. Alfano, et al.
In the same year, on the stage of the London "Court Theater" he staged" Paul I "by D. Merezhkovsky, "Mr. Prohack" by A. Bennett, and for the national festival in Golihead - "The Struggle for the Throne" by H.Ibsen.
In the Dramatic society of the University of Oxford, the company had delivered "King Lear" by William Shakespeare (1927), July 14, R. Rolland (1928); in the Apollo theatre "Brass paperweight" by Dostoevsky's novel the Brothers Karamazov (1928).
Great success has had a dramatic re enactment of the Queen of spades Alexander Pushkin theatre in N. Baliyeva "the Bat" shown first in Paris (1931), then in other countries.
At the Memorial Shakespeare Theater in Stratford on Avon, Komissarzhevsky performed a series of productions of Shakespeare's plays:" The Merchant of Venice "(1932)," Macbeth "(1933)," King Lear "(1936)," The Taming of the Shrew"," The Comedy of Errors " (both 1939).
In 1939, the director moved to the United States.
Among his American productions are" Crime and Punishment " by Dostoevsky (1947)," Cymbeline " by Shakespeare (1950) , etc.
He taught at the Royal Academy of Dramatic Art in London.
He often performed as an artist in his performances.
Komissarzhevsky was an intermediary between Russian and Western cultures.
In particular, for the British, he discovered the drama of Chekhov, Gogol, prepared the ground for the reforms of Peter Brook and P. Hall in the theater.
Bartoshevich A. Fedor Komissarzhevsky.
Chekhov and Shakespeare.
- Moscow Observer, 1991, No. 11 4.
The Soviet theater of the 30-80s.
Main trends
The new period of the Russian theater began in 1932 by the resolution of the Central Committee of the CPSU (b) "On the restructuring of literary and artistic organizations".
The method of socialist realism was recognized as the main method in art.
The time of artistic experiments is over, although this does not mean that the subsequent years did not give new achievements and successes in the development of theatrical art.
It's just that the" territory " of permitted art narrowed, performances of certain artistic trends were approved - as a rule, realistic ones.
And an additional evaluation criterion appeared: ideologically thematic.
So, for example, on the stage of the Russian theater, since the mid 1930s, performances of the so called "Leninians" were staged, in which the image of V. Lenin was brought to the stage ("A Man with a Gun" in the Theater named after V. Lenin).
Vakhtangov, in the role of Lenin - Boris Vasilyevich Shchukin; "Pravda" in the Theater of the Revolution, in the role of Lenin - Maxim Maksimovich Strauch, etc.).
Almost any performances based on the plays of the "founder of socialist realism" M. Gorky were doomed to success.
This does not mean that every ideologically sustained performance was bad, it's just that artistic criteria (and sometimes audience success) in the state evaluation of performances ceased to be decisive.
For many figures of the Russian theater of the 1930s (and the second half of the 1940s, when the ideological policy continued) they became tragic.
However, the Russian theater continued to develop.
New directing names appeared: Andrey Popov, Yuri Alexandrovich Zavadsky, Ruben Simonov, Boris Zakhava, Nikolai Okhlopkov, Maria Knebel, Vasily Sakhnovsky, Boris Sushkevich, etc.
These names were mainly associated with Moscow and Leningrad and the directing school of the country's leading theaters.
A new generation of actors is also emerging.
In the Moscow Art Theater, along with such luminaries as Olga Leonardovna Knipper Chekhov, Vasily Ivanovich Kachalov, Leonid Maksimovich Leonidov, Ivan Ivanovich Moskvin, Mikhail Mikhailovich Tarkhanov, Nikolai Pavlovich Khmelev, Boris Georgievich Dobronravov, Olga Nikolaevna Androvskaya and others work confidently.
The Moscow Theater of the Lenin Komsomol (former TRAM) successfully employs actors and directors of the Moscow Art Theater School Ivan Nikolaevich Bersenev, Serafim Birman, Sofia Giatsintova.
In the Maly Theater, along with the actors of the older generation, Alexandra Alexandrovna Yablochkina, Varvara Osipovna Massalitinova, Alexander Alekseevich Ostuzhev, Prov Mikhailovich Sadovsky, etc., a prominent place is occupied by new actors who became famous already in the Soviet era: Vera Nikolaevna Pashennaya, Elena Nikolaevna Gogoleva, Nikolai Alexandrovich Annenkov, Mikhail Ivanovich Zharov, Mikhail Ivanovich Tsarev, Igor Vladimirovich Ilyinsky (who moved here after the break with Meyerhold).
In the former Alexandrinsky Theater (which was named after A. Pushkin in 1937), famous old masters Ekaterina Pavlovna Korchagina Alexandrovskaya, Vara Arkadyevna Michurina Samoilova, Yuri Mikhailovich Yuryev, etc. they take the stage together with young actors Nikolai Konstantinovich Simonov, Boris Andreevich Babochkin, Nikolai Konstantinovich Cherkasov, etc.
At the theater.
Boris Vasilyevich Shchukin, Anna Alekseevna Orochko, Cecilia Mansurova and others are successfully working in Vakhtangov.
At the Theater.
A strong troupe is being formed in the Moscow City Council (the former MSPS and MOSPS), consisting mainly of Yu's students.
Zavadsky - Vera Petrovna Maretskaya, Rostislav Yanovich Plyatt, Osip Abdulov, etc.
Despite the fate of the main directors, the work of the Chamber Theater actress Alisa Georgievna Koonen, as well as many actors of the Revolution Theater and the Theater named after her, is widely recognized.
Meyerhold: Maria Ivanovna Babanova, Maxim Maksimovich Strauch, Judith Samoilovna Glizer, etc.
During the Great Patriotic War, Russian theaters mainly turned to the patriotic theme.
Plays written during this period ("Invasion" by L. Leonov, "Front" by A. Korneychuk, "The Guy from Our City" and "Russian People" by K. Simonov), and plays of historical and patriotic themes ("Peter I" by A. N. Tolstoy, "Field Marshal Kutuzov" by V. Solovyov, etc.) were staged on the stages.
The success of theatrical performances of this time refuted the validity of the popular expression "When the guns speak, the muses are silent".
This was especially evident in the besieged Leningrad.
The City Theater (later the Theater named after Komissarzhevskaya) and the Musical Comedy Theater, which worked here throughout the blockade, gathered full halls of spectators, despite the lack of heating, and often light, bombing and shelling, deadly hunger.
The period 1941-1945 had another consequence for the theatrical life of Russia and the Soviet Union: a significant increase in the artistic level of provincial theaters.
The evacuation of theaters in Moscow and Leningrad and their work on the periphery breathed new life into local theaters, promoted the integration of performing arts and the exchange of creative experience.
Khaychenko G. A., Pages of the history of the Soviet Theater, Moscow, 1983, p. 269 However, after the end of the war, the patriotic rise of the theatrical art of wartime was replaced by a decline.
The resolution of the Central Committee of the CPSU (b) of August 26, 1946 "On the repertoire of drama theaters and measures to improve it" tightened ideological control and censorship.
Russian art in general and theater in particular were experiencing a crisis associated with a social crisis.
The theater reflects the state of society, and a new round of the rise of the Russian stage was also the result of social changes: the exposure of the cult of personality (1956) and the weakening of ideological policy, the so called "thaw".
The renovation of the Russian theater in the 1950s and 1980s began with directing
A new theatrical aesthetic was being formed again in Moscow and Leningrad.
In Leningrad, this process was less vivid, not so much in a revolutionary, but in an evolutionary way.
It is associated with the name of G. Tovstonogov, who headed the Leningrad Theater named after him since 1949.
Lenin Komsomol, and in 1956 became the artistic director of the BDT.
A great troupe (Evgeny Alekseevich Lebedev, Kirill Yuryevich Lavrov, Sergey Yuryevich Yursky, Oleg Valerianovich Basilashvili, Tatyana Vasilyevna Doronina, etc.), brilliant performances, excellent organizational skills of the director brought BDT among the best theaters.
The other theaters of Leningrad in 1950-1980 e looked at the background of a pale, although they were engaged in an active search for new expressive means (directed by Igor Petrovich Vladimirov, Gennady Mikhailovich of Walkers, Yefim Padve M., Zinovy Korogodsky, etc.).
At the same time surprisingly paradoxical was the fate of many of the Leningrad Directors next generation Lev Abramovich Dodin of M. Kama Ginkas, etc.
Most of them managed to realize their creative potential in Moscow.
Many Leningrad actors made a great contribution to the formation of Russian theatrical art: Nikolai Konstantinovich Simonov, Yuri Vladimirovich Tolubeev, Bruno Arturovich Freundlich, Olga Yakovlevna Lebzak, etc. (Theater named afterPushkin); Dmitry Dmitrievich Barkov,, Georgy Stepanovich Zhzhenov, Alice Freundlich, Mikhail Boyarsky, Irina Mazurkevich, etc. (Theater named afterLensoveta); Roman Borisovich Gromadsky, the Era of Ziganshin, Vladimir Tykke, etc. (Theater named afterLeninsky Komsomol); Stanislav Landgraf, Yuri Ovsyanko, Vladimir Osobik, etc. (Theater named afterKomissarzhevskaya); Elena Junger, Sergey Nikolaevich Filippov, Mikhail Svetin, etc. (Comedy Theater), etc.
In Moscow, the formation of a new theatrical aesthetic took place more rapidly and clearly.
Here, first of all, we should mention the name of Anatoly Vasilyevich Efros, who did not become the banner of any theatrical revolution, although his every performance aroused great interest of critics and viewers.
Having headed the Central Children's Theater in 1954, Efros rallied around himself a group of talented young people Oleg Nikolaevich Efremov, Oleg Pavlovich Tabakov, Lev Konstantinovich Durov, etc.
Here, in many ways, the artistic program was formed, which led to the opening of the Sovremennik Theater in 1958.
This marked the beginning of a new era of the Russian stage.
The renewal of the aesthetics of realistic psychological theater was combined in Sovremennik with the search for new means of artistic expression.
The young troupe - Oleg Efremov, Oleg Tabakov, Evgeny Evstigneev, Igor Kvasha, Galina Volchek, etc. we worked with passion on the performances.
The audience recognition of the new theater was huge, queues for tickets were built from the night - as for tickets to the Moscow Art Theater in the first years of its existence.
However, in contrast to the Leningrad situation, a number of interesting director's aesthetics with a pronounced personality have appeared in Moscow.
Nikolai Pavlovich Okhlopkov was developing a heroic and romantic theme at the Mayakovsky Theater.
After his death, Andrey Alexandrovich Goncharov, a master of catchy theatrical solutions, took over the directorial baton.
Vakhtangov's traditions of bright theatrical conventions were developed by Ruben Nikolaevich Simonov.
In the Central Theater of the Red Army (today - the Central Academic Theater of the Russian Army), the traditions of psychological theater were preserved by Andrei Alekseevich Popov and Boris Alexandrovich Lviv Anokhin (who later headed the theater named after him.Stanislavsky and staged a lot at the Maly Theater).
Working in various theaters, Efros maintained the highest artistic authority for several decades.
Mark Zakharov, who later embodied his aesthetics in the Theater of Satire, passed his formation in the Theater of Satire.
Lenin Komsomol.
In the 1970s, success accompanied the debuts of directors Anatoly Vasiliev and Boris Morozov.
But perhaps the most famous Russian theater of the 1970s and 1980s was the Moscow Taganka Theater and its director Yuri Lyubimov.
During this time, several generations of wonderful actors have been formed in Moscow, belonging to different schools, possessing high professionalism and a bright personality.
True, for a number of years the situation in the Moscow Art Theater troupe was sad - the legendary "old men of Moscow Art Theater" continued to shine on the stage, but the troupe began to be updated since 1970, when the theater was headed by Efremov.
Famous actors who were formed in different theaters, but managed to create a new magnificent ensemble came here: Evgeny Alexandrovich Evstigneev, Alexander Kalyagin, Innokenty Smoktunovsky, Elena Vasilyeva, Anastasia Vertinskaya, Andrey Myagkov, Georgy Burkov, Yuri Bogatyrev, Oleg Tabakov.
A new generation of actors appeared in the Maly Theater next to Mikhail Tsarev, Boris Babochkin, Elena Gogoleva: Eleonora Bystritskaya, Rufina Nifontova, V. Konigson, Nikita Podgorny, later Vitaly and Yuri Solomin, etc.
At the theater.
Vakhtangov's new generations of actors, starting with the immortal "Princess Turandot", are included in the repertoire: Nikolai Gritsenko, Mikhail Ulyanov, Yuri Yakovlev, Vladimir Etush, Vasily Lanovoy, etc.
At the theater.
The Moscow City Council troupe is joined by Faina Ranevskaya, Nina Drobysheva, Igor Kostolevsky, Georgy Taratorkin, Maria Terekhova, Vera Talyzina, and others.
A whole constellation of theater and cinema stars plays in the Satire Theater: Alexander Shirvindt, Andrey Mironov, Spartak Mishulin, Vera Vasilyeva, Olga Aroseva, Tatyana Vasilyeva, Tatyana Peltzer, who later follows Mark Zakharov to the Theater.
Lenin Komsomol.
In this troupe there are many high profile acting names: Evgeny Leonov, Oleg Yankovsky, Alexander Abdulov, Alexander Zbruev, Inna Churikova, Nikolai Karachentsev, Tatyana Dogileva, etc.
In Sovremennik, actors whose names become no less famous are added to the core of the troupe: Maria Neelova, Lia Akhedzhakova, Valentin Gaft, Elena Yakovleva, etc.
At the Malaya Bronnaya Theater, where Lydia Sukharevskaya and Boris Tenin shone in the early 1960s, Lev Durov, Mikhail Kozakov, Gennady Saifullin and others play in Efros ' performances.
After the premieres at the Theater.
Stanislavsky's "The Adult Daughter of a young man" (staged by A.Vasiliev) and "Cyrano de Bergerac" (staged by B. Morozov), the names of Albert Filozov, Emmanuel Vitorgan, Alla Balter became known.
The personalities of Lyubov Polishchuk, Yevgeny Gerchakov and others are revealed in the Hermitage Theater under the direction of M. Levitin.
At the Theater.
The talents of Armen Dzhigarkhanyan, Svetlana Nemolyaeva, Natalia Gundareva, Alexander Fatyushin and others are being formed and strengthened by Mayakovsky.
The idols of at least two generations of viewers are Lyubimov actors of the Taganka Theater: Vladimir Vysotsky, Valery Zolotukhin, N. Gubenko, Zinaida Slavina, Leonid Filatov, Mikhail Politsemako, Inna Ulyanova, etc.
On the one hand, the theatrical successes of the Russian theaters of the 1960s and 1980s were not won easily.
Often the best performances came out to the audience with great difficulty, or even were banned for ideological reasons, and awards and prizes were given to average performances, but ideologically sustained.
On the other hand, the semi official status of the theater-"oppositionist" almost always gave its performances an additional "audience capital": they initially received a greater chance of rolling success and being ranked among creative victories (often despite the real artistic level).
This is evidenced by the history of the Taganka Theater: any performance of the first "Lyubimov" period was considered brilliant in the liberal environment, professional criticism of shortcomings was most often regarded as strikebreaking.
On the Russian stage of that time, allegory, hint, allusions to modern reality reigned this was the key to audience success.
At the same time, we should not forget that in the public situation of state theaters, all theatrical experiments (including political ones) were funded by the state.
By the early 1980s, a new theater building with modern technical equipment was built for the semi oval Taganka.
Often, political and social criteria in the evaluation of performances often outweighed artistic ones - both in official and informal evaluation.
A balanced, adequate attitude to the performances of that time was almost impossible.
Very few people understood it then.
http://scit.boom.ru/music/teatr/Russiu teatr.htm 5.
Theater Today
The change of political formation in the early 1990s and a long period of economic ruin radically changed the life of the Russian theater.
The first period of weakening (and after - and cancellation) of ideological control was accompanied by euphoria: now you can put and show the audience anything.
After the abolition of the centralization of theaters, new collectives were organized in many places - studio theaters, entreprises, etc.
However, few of them survived in the new conditions - it turned out that, in addition to the ideological dictate, there is a dictate of the audience: the public will only watch what it wants.
And if in the conditions of state financing of the theater, filling the auditorium is not too important, then with self sufficiency, a full house in the hall is the most important condition for survival.
In these conditions, the professions of manager and producer could become especially popular in the theater, which, in addition to studying audience demand, would be engaged in searching for sponsors and investors.
However, today the most talented and successful theater producers are directors and actors (one of the examples is Oleg Tabakov).
Truly talented directors (especially those who combine creative talent with the ability to fit into the situation of a market economy) were able to" survive " and were given the opportunity to fully reveal their ideas.
The present day of the Russian theater is associated with the Silver Age in terms of the number and variety of aesthetic directions.
Directors of traditional theatrical directions coexist with experimenters.
Along with recognized masters Pyotr Fomenko, Valery Fokin, Oleg Tabakov, Roman Viktyuk, Alexander Kalyagin, Galina Volchek, Kama Ginkas, Henrietta Yanovskaya, Joseph Reichelgauz, Konstantin Raikin, Sergey Artsibashev, as well as even younger and radical avant gardists: Boris Yukhananov, Anatoly Praudin, etc. successfully work.
The direction of hepening and installation, which is adjacent to the theater, is actively developing.
I. Eppelbaum, starting from the aesthetics of the puppet theater, experiments with all the components of the spectacle in his Shadow theater.
Evgeny Grishkovets invents his own theatrical aesthetics.
Since 2002, the project has been opened Театр.doc based on the rejection of the literary basis of the performances: the material for them are transcripts of real interviews with representatives of the social group to which the heroes of future productions also belong.
And this is not all of today's theatrical experiments, access to world culture and its theatrical experience has largely contributed to the new round of development of the Russian theater, which helps to understand one's own work and move to the next stage.
The need for theatrical reform is widely discussed today.
For the first time, the question of the urgent need for theatrical reform was raised in the early 1980s.
However, at that time it was mainly related to the need to change the labor legislation of the actors ' work.
The fact is that in the troupes of state theaters, along with the popular actors, there were many who had not received roles for years.
However, it was impossible to dismiss them, which means that hiring new members of the troupe was impossible.
The Ministry of Culture of the RSFSR, as an experiment, in the early 1980s, introduced the so called re election system in some theaters, when the contract with the actors was concluded only for a few years.
This system then caused a lot of debate and discontent: the main argument against it was the reproach of social insecurity.
However, the change in the political formation of Russia destroyed the relevance of such a reform: the market economy itself began to regulate the number of theater troupes.
Vyrypaev I.
The Russian repertory theater is long dead.
Does Russia need a theater reform?
"Izvestia", 2005, April 6 In the post Soviet period, the contours of theater reform have changed dramatically, they have moved mainly to the field of financing theater groups, the need for state support for culture in general and theaters in particular, etc.
The possible reform causes a wide variety of opinions and a heated debate.
The first steps of this reform were the decree of the Government of Russia in 2005 on additional financing of a number of theaters and educational theater institutions in Moscow and St. Petersburg.
However, the systematic development of the theater reform scheme is still far away.
It is still unclear what it will be like.
Conclusion
The life of the theater is continuous - new interesting plays and performances are born all the time.
This incessant development, renewal, and movement forward is one of the characteristic features of our art.
It artistically reflected the life and struggle of our people, changes in consciousness, the spiritual world, the social psychology of people, captured the precious creative experience of K. S. Stanislavsky and V. I. Nemirovich Danchenko, V. E. Meyerhold and others.
Modernity is the soul of theatrical dramatic art.
An actor cannot create without contact with the audience, he is watched and evaluated today, therefore, his art must meet the thoughts, feelings, tastes of today's viewers.
A theater that does not want to be empty, that wants to excite, shock and educate, must clearly listen to the pulse of its time in order to have the opportunity and the right to lead the audience.
The path traversed by our drama theater shows that the art of drama theater only meets its goals when it is connected with the life and struggle of the people, when its performances are permeated with the great truth of life.
The strength of our theater lies in its desire to be at the forefront of the struggle for the best of the poor, in the richness and variety of creative searches that are led by different and different, but going to the same goal, masters of the Soviet theater.
K. S. Stanislavsky said very well: "The best thing is when people live in art, harass something, defend something, fight for something, argue, win or, on the contrary, remain defeated.
Struggle creates victories and conquests.
The worst thing is when everything is calm in art, everything is adjusted, defined, legalized, does not require disputes, struggle, defeat, and therefore victories."
He argues, seethes, fights, he achieves new creative victories.
Haichenko G. A., Pages of the history of the Soviet theater, Moscow, 1983, pp.
267-268.
References
1.
The Great Russian Encyclopedia, M., 2004.
2. The skill of the actor in terms and definitions of K. S. Stanislavsky.
M., 1961 3.
Belinsky V. G.
About drama and theater in 2 tt .
M., 1983 4.
Zavadsky Yu.
A. Teachers and students.
M., 1975 5.
Zograf N. G. Maly Theater at the end of the 19-20 centuries.
Moscow, 1966 6.
Zolotnitsky D. I. Academic theaters on the paths of October.
L., 1982 7.
Tolstykh V. I., Aesthetic education, M., 1984.
8. Khaychenko G. A., Pages of the history of the Soviet theater, M., 1983, p. 269 9.
Bartoshevich A. Fedor Komissarzhevsky.
Chekhov and Shakespeare.
- Moscow Observer, 1991, No. 11 10.
Vyrypaev I.
The Russian repertory theater is long dead.
Does Russia need a theater reform?
"Izvestia", 2005, April 6, 11.
http://scit.boom.ru/music/teatr/Russiu teatr.htm 12.
http://www.krugosvet.ru
ABSTRACTS © 2010
