The history of the theater for children presentation. Presentation "history of the theater" presentation for a lesson on the topic. And the characters, heroes will find life
Slide 1
From round dance to booth Municipal educational institution Secondary School No. 8, Severomorsk village - 3, Murmansk regionSlide 2
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In the old days, round dance was a popular folk game in Rus'. It reflected a variety of life phenomena. There were round dances for love, military, family, work... We know three types of round dance:
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In round dance games the choral and dramatic principles were organically merged. Such games usually began with “composite” songs and ended with “collapsible” songs, and the songs were distinguished by a clear rhythm. Subsequently, with changes in the structure of the clan community, the round dance games also changed. Lead singers (luminaries) and performers (actors) appeared. There were usually no more than three actors. While the choir sang the song, they acted out its content. There is an opinion that it was these actors who became the founders of the first buffoons.
Slide 5
Russian dance is an integral part of folk games and celebrations. She was always connected to the song. It was this combination that was one of the main expressive means of folk theater. Since ancient times, Russian folk dance has been based on the daring of competing partners, on the one hand, and unity, smoothness of movements, on the other.
Slide 6
Russian dance was born from pagan rituals. After the 11th century, with the advent of professional buffoon actors, the nature of the dance also changed. The buffoons had a developed dance technique; Varieties of buffoon-dancers arose. There were buffoon dancers who not only danced, but also performed pantomime performances with the help of dance, which were most often improvised in nature. Dancers appeared, usually they were the wives of buffoons. Russian dance
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Dance occupied a large place in various forms of theater. He was part of not only games and celebrations, but also performances of the puppet show Petrushka, and often filled the pause between acts of the school drama. Many traditions of Russian dance have survived to this day.
Slide 8
Guides with bears have been mentioned in sources since the 16th century, although it is possible that they appeared much earlier. The respectful attitude towards this beast originated in pagan times. The bear is the progenitor. He is a symbol of health, fertility, prosperity, he is stronger than evil spirits.
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Among the buffoons, the bear was considered the breadwinner of the family, its full member. Such artists were called by their first name and patronymic: Mikhailo Potapych or Matryona Ivanovna. In their performances, guides usually depicted the life of ordinary people; interludes were on a wide variety of everyday topics. The owner asked, for example: “And how, Misha, do small children go to steal peas?” - or: “How do women slowly wander to their master’s work?” - and the beast showed it all. At the end of the performance, the bear performed several memorized movements, and the owner commented on them.
Slide 10
The “bear comedy” in the 19th century consisted of three main parts: first, the dance of a bear with a “goat” (the goat was usually portrayed by a boy who put a bag on his head; a stick with a goat’s head and horns was pierced through the bag from above; a wooden tongue was attached to the head, the flapping of which produced a terrible noise), then came the performance of the animal to the jokes of the guide, and then its fight with the “goat” or owner. The first descriptions of such comedies date back to the 18th century. This fishery existed for a long time, until the 30s of the last century.
Slide 11
Since ancient times, in many European countries at Christmas it was customary to install a manger in the middle of the church with figurines of the Virgin Mary, a baby, a shepherd, a donkey and a bull. Gradually, this custom grew into a kind of theatrical performance, which, with the help of dolls, told the famous gospel legends about the birth of Jesus Christ, the worship of the Magi and the cruel King Herod. The Christmas performance was well spread in Catholic countries, in particular in Poland, from where it spread to Ukraine, Belarus, and then, in a slightly modified form, to Villikorossiya.
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When the Christmas custom went beyond the Catholic church, it acquired the name nativity scene (Old Slavonic and Old Russian - cave). It was a puppet theater. Imagine a box divided inside into two floors. The box ended at the top with a roof, its open side facing the public. There is a bell tower on the roof. A candle was placed on it behind the glass, which burned during the performance, giving the action a magical, mysterious character. Dolls for the nativity play were made of wood or rags and attached to a rod. The lower part of the rod was held by the puppeteer, so the dolls moved and even turned. The puppeteer himself was hidden behind the box. On the upper floor of the den, biblical scenes were played out, on the lower floor - everyday ones: everyday, comedic, sometimes social. And the set of dolls for the lower floor was the usual: men, women, devils, gypsies, gendarmes, and the simple man always turned out to be more cunning and smarter than the gendarme. It was from the nativity scene that the Petrushka Theater, so popular among the people, was born.
Slide 13
Everyone will dance, but not like a buffoon,” says the Russian proverb. Indeed, many people could play games, but not everyone could be a professional buffoon. The people's favorite professional buffoon was the puppet theater actor, and the most popular was the comedy about Petrushka. Parsley is a favorite hero of both the buffoons who gave the performance and the audience. He is a daring daredevil and a bully who maintained a sense of humor and optimism in any situation. He always deceived the rich and government officials and, as a protester, enjoyed the support of the audience.
Slide 14
In such a theatrical performance, two heroes acted simultaneously (according to the number of hands of the puppeteer): Parsley and the doctor, Parsley and the policeman. The plots were the most common: Petrushka gets married or buys a horse, etc. He always participated in a conflict situation, and Petrushka’s reprisals were quite brutal, but the public never condemned him for this. At the end of the performance, Petrushka was often overtaken by “heavenly punishment.” The most popular puppet theater of Parsley was in the 17th century.
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Since the end of the 18th century, at the fair one could often see a brightly dressed man carrying a decorated box (rayok) and shouting loudly: “Come here with me to scribble, honest people, both boys and girls, and young men and women, and merchants and merchant women, and clerks and clerks, and clerk rats and idle revelers. I’ll show you all sorts of pictures: both gentlemen and men in sheepskin, and you listen to jokes and various jokes with attention, eat apples, gnaw nuts, look at pictures and take care of your pockets. They’ll trick you.” Rayok
Slide 16
Rajek came to us from Europe and goes back to large panoramas. Art historian D. Rovinsky in his book “Russian Folk Pictures” describes it as follows: “A rack is a small, arshin-high box in all directions with two magnifying glasses in front. Inside, a long strip with homegrown images of different cities, great people and events is rewound from one skating rink to another. The spectators, “a penny apiece,” look into the glass. Raeshnik moves the pictures and tells tales for each new number, often very intricate ones.”
Slide 17
Raek was very popular among the people. In it one could see a panorama of Constantinople and the death of Napoleon, the Church of St. Peter in Rome and Adam with his family, heroes, dwarfs and freaks. Moreover, the raeshnik did not just show pictures, but commented on the events depicted in them, often criticizing the authorities and the existing order, in a word, touching on the most pressing problems. Rayek existed as a fair entertainment until the end of the 19th century.
Slide 18
Not a single fair in the 18th century was complete without a booth. Theatrical booths became the favorite spectacles of that era. They were built right on the square, and by the way the booth was decorated, one could immediately understand whether its owner was rich or poor. Usually they were built from boards, the roof was made of canvas or linen.
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There was a stage and curtain inside. Ordinary spectators sat on benches and during the performance ate various sweets, crumpets, and even cabbage soup. Later, a real auditorium with stalls, boxes, and an orchestra pit appeared in the booths. The outside of the booths was decorated with garlands, signs, and when gas lighting appeared, then with gas lamps. The troupe usually consisted of professional and traveling actors. They gave up to five performances a day. In the theatrical booth one could see a harlequinade, magic tricks, and sideshows. Singers, dancers and simply “outlandish” people performed here. Popular was the man drinking fiery liquid, or the “African cannibal” eating pigeons. The cannibal was usually an artist smeared with tar, and the dove was a stuffed animal with a bag of cranberries. Naturally, ordinary people always looked forward to the fair with its theatrical farce.
Slide 20
There were also circus shows, their actors were “jacks of all trades.” Yu. Dmitriev in the book “Circus in Russia” quotes a message about the arrival of comedians from Holland who “walking on a rope, dancing, jumping in the air, on the stairs, without holding on to anything, they play the violin, and while walking on the stairs, they dance, immensely.” they jump high and do other amazing things.” Over the long years of their existence, booths changed, and by the end of the 19th century they almost disappeared forever from the history of Russian theater.
Slide 21
1672 - performances of the court troupe of Tsar Alexei Mikhailovich began Artamon Matveev orders “to perform a comedy”, “and for that action to arrange a khoromina” On October 17, the first performance took place in the village of Preobrazhenskoye
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1702 - the first Russian public theater on Red Square. Festive processions, fireworks, masquerades, assemblies become popular.
Slide 23
This is what the theater looked like in Yaroslavl in 1909. In 1911 he was named after Fyodor Volkov STORY RUSSIAN
THEATER INTRODUCTION
The history of Russian theater is divided into several main stages. Elementary,
the gaming stage originates in clan society and ends by the 17th century,
when a new, more mature stage in the development of theater begins, completed
establishment of a permanent state professional theater in
1756
The terms “theater” and “drama” entered the Russian dictionary only in the 18th century. At the end
In the 17th century, the term "comedy" was used, and throughout the century - "fun"
(Amusing closet, Amusing chamber). Among the masses, the term "theater"
was preceded by the term "disgrace", the term "drama" - "play", "game". IN
In the Russian Middle Ages, the synonymous definitions of “demonic” or “satanic” buffoon games were common. They called it fun
all kinds of curiosities brought by foreigners in the 16th - 17th centuries, and
fireworks. The military activities of the young Tsar Peter I were also called fun.
The term “game” is close to the term “game” (“buffoon games”,
"feast games"). In this sense, a wedding was also called a “game”, a “game”,
and mummering. "Game" has a completely different meaning in relation to
musical instruments: playing tambourines, playing snuffles, etc. Terms of "game"
and “play” as applied to oral drama were preserved among the people until the 19th and 20th centuries. Russian theater originated in ancient times. Its origins go back to folk
creativity - rituals, holidays associated with work. Co
Over time, rituals lost their magical meaning and turned into
performance games. Elements of theater were born in them - dramatic
action, mummery, dialogue. In the future, the simplest games
turned into folk dramas; they were created in the process
collective creativity and were stored in people's memory, moving from
generation to generation. Bull game. A guy dressed up as a bull
holding in hands, under a blanket, large
clay pot with attached
real bull horns. The game's interest
about butting girls As usual, girls
they raise a scream and a squeal, after which the bull
killed: one of the guys hits the
pot, the pot shatters, the bull falls, and
he is carried away.
Konyashki game - Players are divided into two
"troops". Each "army" is divided into
"riders" and "horses". Horsewomen
usually girls perform. Players' task
- unbalance the other couple.
The one who stays standing the longest wins.
legs.
Christians, having seen enough from behind the bushes
for such games, they then invented
scary tales of “jumping witches”,
driving people to death. Capture of the snowy city by V. Surikov The games originally had a round dance, choral character. In round dances
The games organically merged choral and dramatic creativity. Abundantly
songs and dialogues included in the games helped characterize the games
images The mass commemorations also had a playful character; they were
timed to coincide with spring and were called "Rusalia".. The center of the holiday was the ritual
funeral or farewell to the mermaid. Its participants chose the most beautiful girl,
decorated with numerous wreaths and “garlands” of greenery. Then the procession
passed through the village, in the late afternoon the participants took the “mermaid” out of the village,
most often on the river bank. While performing special songs, wreaths were removed from the mermaid and
garlands, threw them into water or into a fire (if there was no river nearby).
After the ceremony was completed, everyone scattered, and the former mermaid tried to catch up and
catch one of the escorts. If she caught someone, it was considered
a bad omen, foreshadowing future illness or death. The Rusalia holiday begins with honoring the ancestors who are invited
visit the house, scattering fresh birch branches in the corners of the house.
This is also a day of remembrance and communication with water, meadow and forest waters -
mermaid spirits of a kind. According to legend, people become mermaids and mermaids
those who died prematurely before becoming an adult, or died voluntarily.
Women conduct secret rituals, leaving the household to men, sometimes for the entire time.
week. And those who have children leave them for the mermaid children in the field or on the branches of
sources old clothes of their children, towels, linens. We need to appease the mermaids
spirits, so as not to pester children and other relatives, the harvest...
According to legend, during Mermaid Week mermaids could be seen near rivers, on
flowering fields, in groves and, of course, at crossroads and cemeteries.
It was said that during the dances, mermaids perform a ritual associated with protection
crops. They could also punish those who tried to work on holiday: trample
sprouted ears, send crop failure, rainfall, storms or drought.
A meeting with a mermaid promised untold riches or turned into misfortune.
Girls, as well as children, should be wary of mermaids. It was believed that mermaids could
take the child into your round dance, tickle or dance to death.
Therefore, during Rusal Week, children and girls were strictly forbidden
go out into the field or meadow. If you died or died during Rusal Week
the children said that the mermaids took them to them.
To protect yourself from a mermaid love spell, you had to carry with you strong-smelling
plants: wormwood, horseradish and garlic. Three types of theaters were known to Kievan Rus:
courtier, church, folk.
In 957, Grand Duchess Olga got acquainted with the theater
in Constantinople. On the frescoes of Kiev-Sophia
cathedrals of the last third of the 11th century are depicted
hippodrome performances. In 1068 for the first time
buffoons are mentioned in the chronicles. Buffoonery
The oldest "theater" was the games of folk actors - buffoons.
Buffoonery is a complex phenomenon. Skomorokhs were considered a kind of magicians,
but this is erroneous, for the buffoons, while participating in the rituals, not only did not strengthen them
religious-magical character, but on the contrary they introduced the worldly, secular
content.
To make a fool of yourself, i.e. to sing, dance, make jokes, act out skits, play the
musical instruments and acting, i.e., portraying some faces
or creatures, anyone could. But he became a skilled buffoon and was called
only the one whose art stood out for its artistry. buffoon - “musician, piper,
sniffler, whistler, bagpiper, psaltery player;
who trades in this, and dancing, singing,
jokes, tricks; funny guy, scrapper,
gaer, jester; bugbear; comedian, actor and
etc." Buffoons arose no later than the middle of the 11th century, we can judge this
based on the frescoes of St. Sophia Cathedral in Kyiv, 1037. Leather masks
buffoons of the 12th-14th centuries are known from archaeological finds from
Novgorod and Vladimir The heyday of buffoonery occurred in the XV-XVII
century. In the 18th century, buffoons began to gradually disappear under pressure
king and the church, leaving some inheritances for booths and districts
traditions of their art.
Buffoons performed on the streets and squares, constantly communicating with
spectators and involved them in their performance. “Baba Yaga rides with the Crocodile to fight on a pig
with a pestle and they have a bottle of wine under a bush.”
Buffoons were carriers of synthetic forms of folk
arts that combined singing, playing musical instruments,
dancing, bear fun, puppet shows, performances
in masks, tricks. Buffoons were regular participants
folk festivals, games, festivities, various rituals:
wedding, maternity and baptismal, funeral, etc.. In the 16th-17th centuries, buffoons began
unite into “gangs”. Church and
the state accused them of committing
robberies: "buffoons, "coupling in gangs
many up to 60, up to 70 and up to 100 people,” according to
villages, the peasants “eat and drink heavily and
bellies are robbed from cages and along the roads
people are being broken up." At the same time, verbally
poetic creativity of the Russian people
there is no image of the buffoon-robber,
robbing the common people.
In the work of Adam Olearius, secretary
Holstein embassy, three times in the 30s
years of the 17th century, having visited Muscovy, we
we find evidence of a wave of rampant
searches in the houses of Muscovites for
identifying “demonic vitriol vessels” -
musical instruments of buffoons - and
their destruction. In their homes, especially during their feasts,
Russians love music. But since they became
abuse by singing to music in
taverns, taverns and everywhere on the streets of all kinds
kind of shameful songs, then the current patriarch
two years ago first strictly
prohibited the existence of such squash
musicians and their instruments, what
caught on the streets, ordered immediately
smash and destroy, and then in general
forbade Russians of any kind
instrumental music ordered in houses
pick out musical instruments everywhere,
which were taken out... on five carts for
the Moscow River and were burned there.
- Detailed description of the trip
Holstein embassy to Muscovy... - M.,
1870 - p. 344. In 1648 and 1657, Archbishop Nikon
achieved royal decrees on a complete ban
buffoonery, which talked about
beating buffoons and their listeners with batogs,
destruction of buffoon equipment. After
this "professional" buffoons
disappeared, turning over time
in safecrackers, puppeteers, fairs
yentertainers and show-goers. SHOW -
temporary wooden building for theater and circus performances,
widespread at fairs and folk festivals. Often also
temporary light building for trade at fairs, for accommodation
workers in the summer. In a figurative sense - actions, phenomena,
similar to a farce show (buffoonish, rude). Parsley is the nickname of a farcical doll, a Russian jester,
amusing, witty in a red caftan and in a red
cap. Parsleys have been known since the 17th century. Russian puppeteers
used puppets (string puppet theater) and
parsley (glove puppets). Until the 19th century preference
was given to Petrushka, by the end of the century - to puppets, because
parsley makers teamed up with organ grinders. Screen
parsley consisted of three frames fastened with staples
and covered with chintz. She was placed directly on the ground and
hid the puppeteer. The barrel organ attracted spectators, and
screen, the actor began to communicate through a peep (whistle) with
by the public. Later, with laughter and reprise, he ran out himself,
wearing a red cap and a long nose. Organ Grinder
sometimes became Petrushka's partner: because of the squeaker
speech was not always intelligible, and he repeated phrases
Parsley, conducted a dialogue. Comedy with Petrushka
played out at fairs and booths. From some
memoirs and diaries of the 1840s it follows that
Parsley had his full name - he was called Peter
Ivanovich Uksusov or Vanka Ratatouille.
There were main plots: the treatment of Parsley,
soldier training, scene with the bride, shopping
horses and testing them. The stories were passed on from actor to actor.
actor, word of mouth. Not a single Russian character
theater there was no popularity equal to Petrushka. Usually the show started with
next story: Parsley decided to buy
a horse, a musician calls a gypsy dealer.
Parsley examined the horse for a long time and
bargained with the gypsy. Then to Petrushka
he got tired of bargaining, and instead of money he kept beating for a long time
the gypsy on the back, after which he ran away.
Petrushka tried to mount a horse, but
threw it off to the laughter of the audience. It could
continue until the people
laughs it off. Finally the horse ran away, leaving
Parsley lying dead. came
doctor and asked Petrushka about his
diseases. It turned out that everything hurt him.
What happened between the Doctor and Petrushka
a fight, at the end of which Petrushka beat him hard
hit an enemy on the head with a baton. "What are you like?
doctor,” Petrushka shouted, “if
you ask where it hurts? Why did you study?
You yourself should know where it hurts!” Appeared
quarterly. - “Why did you kill the doctor?” He
answered: “Because he doesn’t know his science well.”
After interrogation, Petrushka beats with a club
the police officer on the head and kills him. A growling dog came running. Parsley
unsuccessfully asked the audience for help and
musician, after which he flirted with the dog,
promising to feed her cat meat. Dog
grabbed him by the nose and dragged him away, and Petrushka
shouted: “Oh, my little head is gone.”
cap and brush! The music stopped
which meant the end of the show. If
the audience loved it, they didn’t let go
actors, applauded, threw money,
demanding a continuation. Then they played
a small scene of Petrushka's wedding.
A bride was brought to Parsley, he examined
she is examined the way a horse is examined.
He liked the bride, he couldn’t wait for the wedding
wanted and began to beg her
"sacrifice oneself." From the stage where the bride is
"sacrifices himself", the women left and
took the children with them. According to some
reportedly enjoyed great success
another scene in which there was
clergyman. None of the recorded
she didn't get any texts, most likely her
removed censorship. BALAGAN
Not a single fair in the XVIII
century could not do without
booth. Theater
booths are becoming
favorite shows
of that era Inside were
stage and curtain
ordinary spectators
posted on
benches. Later in
appeared in booths
real visual
hall with stalls,
boxes, orchestral
I my. Such a fair
always waited with
impatiently. Nativity scene is a folk Christmas performance performed in a special box at
with the help of rod puppets, accompanied by singing and dialogues. In a broad sense
any Christmas action involving beating can be called a nativity scene
babies or Nativity, performed by both dolls and people. Nativity scene
must necessarily be accompanied by the singing of various religious cants, which distinguishes it
from the secular folk drama of live actors, which could also be shown at Christmas. IN
in a broad sense, the nativity scene is part of the carol complex of folk Christmastide and almost
is always associated with different forms of caroling: the walking of mummers with a “star” (in the form
a multi-colored lantern on a pole) or a manger with a Baby; reading by schoolchildren
Christmas poems, singing spiritual poems for the purpose of receiving rewards and
etc.
Nativity scene drama got its name from the nativity scene - a puppet theater that has the shape
two-story wooden box, the architecture of which resembles a stage platform for
performances of medieval mysteries. The structure of the nativity scene is very interesting. In a box-house, picturesquely decorated
from the inside, there are special slots for driving dolls. Move from one
Dolls cannot move to another floor. Scenes were played out in the upper tier,
associated with the Holy Family, and the lower one depicted the palace of King Herod. IN
the same part in later times showed satirical scenes and
comedies. However, a nativity scene is not just a magic box, it is a small
model of the universe: the upper world (upper floor), the lower world (lower floor), and hell
- the hole where Herod falls through.
In winter, the nativity scene was carried on a sleigh, carried from hut to hut, and shown
performances at inns. Benches were placed around the nativity scene,
The candles were lit and the fairy tale began.
The classic “troupe” of the nativity scene is the Mother of God, Joseph, Angel, Shepherd, three Magi Kings, Herod, Rachel, Soldier, Devil, Death and Sexton, in charge
which included lighting candles in the nativity scene before the performance. Each
the doll was attached to a pin, which could be grasped from below, like a handle
puppeteer and move her along special slots in the stage floor. the Christmas drama was shown not only in secular houses, but also in
priests' houses. And by the end of the 18th century, a dynasty had formed in St. Petersburg
nativity scene makers - the Kolosov family, for almost a century
preserving the traditions of performing performances.
The heyday of nativity scenes came in the 19th century, when they became popular not
only in central Russia, but also in Siberia. Until the end of the century
the nativity scene wandered through cities and villages, at the same time experiencing
"worldliness" and turning from puppet drama with biblical
plot into a secular folk performance. The nativity scene began to consist of two
parts: a Christmas mystery and a cheerful musical comedy with
local flavor. But by the end of the century, farcical scenes played
in the lower level turned out to be more significant than the events of the “upper level”.
Nativity scene makers began to carry the wonderful box around fairs not only
Christmas time, but we went with him until Maslenitsa. It is known that some
artists even went with nativity scenes to the Nizhny Novgorod Fair, which
opened... July 15th!
The October Revolution of 1917 and the one that followed it
anti-religious campaign decided the fate of Christmas
representations. They, like the traditional Christmas tree, were under strict
ban. Rayok is a folk theater consisting of
small box with two
magnifying glasses in front. Inside
pictures are rearranged or
rewinds from one roller to another
paper strip with homegrown
images of different cities, great
people and events.
Rayok is a type of performance,
distributed mainly in
Russia in the XVIII-XIX centuries. His name is
received from the content of the pictures on
biblical and evangelical themes (Adam and
Eve in Paradise, etc.).Raeshnik moves
pictures and tells tales and
jokes for every new story
These pictures were often made in
popular print style, originally had
religious content - here
the name "paradise", and then began to reflect
a wide variety of topics, including
political[.
Fair trade was widely practiced. The appearance of the raeshnik himself was similar to the appearance of the carousel grandfathers, i.e. his clothes
attracted the public: he was wearing a gray caftan trimmed with red or yellow braid with
bunches of colored rags on the shoulders, a kolomenka hat, also decorated with bright
rags. He has bast shoes on his feet, and a flaxen beard is tied to his chin.”[
The rajka box was usually brightly painted and colorfully decorated. Shout
raeshnik was as colorful as his appearance, addressed to everyone: “Crumble
Come here with me, honest people, both boys and girls, and young men, and young women, and
merchants, and merchants' wives, and clerks, and clerks, and clerk rats, and idle revelers, I will show
you get all sorts of pictures, and gentlemen, and men in sheepskin, and you jokes and all sorts of things
listen to jokes with attention, eat apples, gnaw nuts, pictures
watch and take care of your pockets. They'll fool you!"
The heavenly performance included three types of influence on the public:
image, word, game. For example, by installing another picture,
first he explained “what this means”: “And if you please, look and examine this,
look and examine, Leksandrovsky Garden.” And while those standing at the windows
looked at the image of the garden, he amused those around him who were not busy
looking at people, making fun of modern fashion: “There are girls walking in
fur coats, skirts and rags, hats, green linings; the farts are fake and
bald heads" These pictures were often made in popular print style. AND
originally had religious content - hence the name
"heavenly" And only after a while they began to display a wide variety of
topics, including political ones. Most likely, the river came to St. Petersburg in 1820 from Moscow, where
City entertainments were held annually. True, a new spectacle is not immediately
attracted the attention of periodicals. Only in 1834 “Northern Bee” for the first time
mentioned “paradises where for a penny you can see Adam and his family, the flood
and the burial of a cat." Lubok (popular picture, popular sheet, funny sheet, simple sheet) - type
graphics, an image with a caption, characterized by simplicity and accessibility of images.
Originally a type of folk art. Made using woodcut and engraving techniques
on copper, lithographs and complemented by hand coloring.
Lubok is characterized by simplicity of technique and laconicism of visual aids.
(rough stroke, bright coloring). Often the splint contains an expanded
narration with explanatory notes and additional to the main one
(explanatory, complementary) images.
In Russia of the 16th century - early 17th century, prints were sold that were called
“Fryazhskie sheets” or “German amusing sheets” [In Russia, drawings were printed on
special sawing boards. The boards were called lube (where the deck comes from). Drawings, drawings,
Plans have been written on luba since the 15th century. In the 17th century, widespread
paintable bast boxes. Later, paper pictures were called
popular print, popular print.
At the end of the 17th century, a Fryazhsky camp was installed in the Upper (Court) printing house
for printing Fryazh sheets. In 1680, master Afanasy Zverev carved for the Tsar
copper boards “all sorts of Fryazhsky things.”
German amusing sheets were sold in Vegetable Row, and later on Spassky Bridge.
At the end of the 19th century, lubok was revived in the form of comics Thematically, St. Petersburg and Moscow popular prints began to differ noticeably.
Those made in St. Petersburg resembled official prints, while those in Moscow were
mocking and sometimes not very decent depictions of adventures
silly heroes (Savoski, Paramoshka, Foma and Erem), beloved folk
festivities and fun (Bear with a goat, Daring fellows - glorious
wrestlers, Bear Hunter stabs, Hare Hunt). Such pictures are more likely
entertained, edified or taught the viewer.
Variety of themes of Russian popular prints of the 18th century. continued to grow. Added to them
evangelical theme (e.g. Parable of the Prodigal Son) with church authorities
tried not to let the publication of such sheets out of their control. In 1744
The Holy Synod issued instructions on the need to carefully check everything
religious prints
At the same time, in Moscow, deprived of the title of capital by Peter, they began
Anti-government popular prints also spread. Among them are images
a cheeky cat with a huge mustache, similar in appearance to Tsar Peter, Chukhonsky
Baba Yaga - an allusion to the native of Chukhonia (Livonia or Estonia) Catherine I.
Plot Shemyakin court criticized judicial practice and red tape,). So popular
satirical popular print marked the beginning of Russian political caricature and
visual satire. TYPES OF SPULBS:
Spiritual and religious - in the Byzantine style.
Icon type images. Lives of saints, parables, moral teachings, songs
etc.
Philosophical.
Legal - depictions of trials and legal actions.
The following subjects were often encountered: “The Shemyakin Trial” and “The Tale of Ersha Ershovich.”
Historical - “Touching stories” from chronicles. Image
historical events, battles, cities. Topographic maps.
Fabulous - magical, heroic tales, “Tales of Daredevils”
people", everyday tales.
Holidays - images of saints.
Cavalry - popular prints with images of horsemen.
Joker - amusing popular prints, satires, caricatures, jokes. “...The mouse tribe suffered a lot of troubles from the treacherous cat. And when it seemed
mice that the cat was lying dead, they decided to give their enemy a magnificent
a funeral, and a holiday for yourself. The mice put the cat on the sled, but his paws are for everyone
the case was connected. Many mice harnessed themselves to the sleigh, while others stood on all sides
push. And the mice took the cat to bury it. It's in full swing here
ceremony, the pretender came to life, easily broke the mouse fetters and
attacked his enemies. The mouse race suffered many losses then.” Driving bear and mummers
Occupies a worthy place in folk theater art
Everyone's favorite show with bears is "Bear Fun."
Guides have roamed the roads of Russia for many centuries,
were frequent guests at modest village holidays and
city fairs. The very first bear guides were
most likely, “fun people” are buffoons. The appearance of the bear
always accompanied by delight, admiration and respect. By
pagan ideas, the bear is a relative or even
human progenitor. They believed that the sacred animal had
direct connection with fertility, health, procreation,
well-being. The art of a guide was not only
good animal training, but also the ability to fill
content and a certain meaning of all the movements of the bear.
The funniest moments came from unexpected interpretations
bearish gestures, bold by juxtaposition of people, and therefore
The result was either good humor or evil satire. In "Bearish
fun" the bear played the role of a man, and the dressed up man,
for example, a goat.
Mummers' games should be classified as mummers - a special form
folk culture. And although they contain dialogue, they
monologue. And even if the game has a plot, it is not theater, because
the game does not imply a spectator. It has no dialogue of its own,
making the text dramatic. Mummers' games are a ritual
a game. CHURCH THEATER
The Church took all measures to
asserting your influence. This found
expression in the development of liturgical
dramas. Some liturgical dramas came
to us along with Christianity, others - in the XV
century together with the newly adopted
the solemn charter of the "great church"
(“Procession on a Donkey”, “Washing the Feet”).
Despite the use of theatrical and entertainment forms, the Russian Church did not
created her own theater. The “procession (walking) on a donkey” took place on Palm Sunday (for
week before Easter). After the liturgy, the solemn bell began
chime. In Moscow they brought a donkey or a white horse under white to the Kremlin
blanket At the same time, a dispute with
owner of a donkey.
The clergy came out into the square, the metropolitan (in the 17th century - the patriarch)
He sat sideways in a special saddle and took the cross in his right hand and the Gospel in his left. The donkey was usually led by the bridle by the tsar himself or his close boyar; tsar
was in ceremonial attire, wearing Monomakh's hat.
During the procession along the Metropolitan’s path, they spread out clothes and threw
green willow branches. In the 1620-1630s, special people did this
- “postalists”. They took off their red caftans and laid them on the ground
under the feet of those who march.
The number of postilalniks reached fifty, and by the end of the 17th century there were already
up to a hundred people. The whole procession as a whole also became more magnificent and
more solemnly. The metropolitan was followed by the prince, dressed in full regalia,
Next came many boyars; The people brought up the rear of the procession. The procession was heading from
Kremlin to St. Basil's Cathedral, where a short service was held, and then
returned to the Kremlin. The last time the “Procession on the Donkey” took place was
Tsars Peter and John Alekseevich. On the fourth day after the “Procession”, in
Thursday of Holy Week,
"Washing the Feet" was performed. This
liturgical drama was part of
divine services back in the 10th century, in it
Metropolitan together with priests
reenacted the scene from The Last Supper.
The priests, twelve in number, ascended
specially built for these cases
there is a raised platform in the middle of the church, they sat down
six on each side of the platform.
Next came the re-enactment of the Gospel
text: the bishop stood up, took off
vestments and poured water into the basin, which
carried before him, washed, and then
wiped the feet of the priests. Each of
priests as a sign of gratitude
kissed his hand. But the most dramatically developed and most
theatrical of all
liturgical dramas was “Cave Action”,
which was
dramatization of the biblical
tales of three youths: Ananias, Azarin and
Misaile. It was sent on December 17 (before
Merry Christmas). In Rus' "Cave action"
apparently performed back in the 11th century. But we
rank only XVI is known
century, because in
the oldest list of actions found among us
Prince Vasily Ivanovich has many years of life
(1505-1533).
. Two different from each other have been preserved
editions of “The Cave Action” - XVI and XVII
centuries. If liturgical dramas are usually
were limited to staging the Gospel
texts and the dialogues contained in them, then in
edition of the 17th century had several inserts
dialogic genre scenes performed
not in Church Slavonic, but in Russian
everyday language. They clearly show
impact of oral folk drama. Can
believe that these dialogues were conducted by buffoons On Saturday, a structure depicting a “cave” was erected opposite the royal gates.
fiery." An image of an angel was hung on a hook from a removed chandelier,
which was raised and lowered by a rope coming from the altar and
thrown over the block. The stove was
divided into two parts by a floor, to which steps led on one side. IN
the upper tier included “babies”; in the lower one, directly on the church
floor, a forge with hot coals was placed.
The action depicted the story of the miraculous salvation of the three youths Ananias, Azariah and
Misailah from the fiery furnace Despite the use of theatrical and entertainment forms, the Russian Church
did not create her own theater. Liturgical experience
drams passed, essentially
without a trace for the history of the theater and gave some
results only from that
moment when the masses began
democratize liturgical drama,
saturate the images with flesh, surround them with everyday life,
include genre dramas
comic scenes - interludes. And although in the XVII
century Simeon of Polotsk tried
create on the basis of liturgical drama
artistic literary drama, this
the attempt remained a single one and turned out to be
barren.
Simeon of Polotsk. Figured poem
in the shape of a heart "Out of the abundance of the heart the mouth
verb" from the cycle "Greetings"
“in case” - in honor of birth
Tsarevich Fyodor (1661). The theater truly appeared in the 17th century - court
and school theater.
Court Theater
The emergence of the court theater was caused by
the interest of the court nobility in Western culture. This
the theater appeared in Moscow under Tsar Alexei
Mikhailovich. First performance of the play
"Artaxerxes action" (the story of the biblical Esther)
took place on October 17, 1672. The author of the play was
Pastor of the Lutheran Church in Nemetskaya Sloboda Master
Johann Gottfried Gregory. The play was written in verse
in German, then translators of the Ambassadorial Prikaz
They translated it into Russian, and after that the foreign actors, students of Gregory’s school, learned the roles in Russian. Researchers of the repertoire of the Russian court theater noted
its diversity. Treatments of biblical stories predominated:
"Judith" ("Holofernes Act") - about the biblical heroine, handwritten
which killed the pagan Holofernes, the leader of the army,
who besieged the hometown of Judith; "A pitiful comedy about
Adam and Eve", "A Cool Little Comedy about Joseph", "A Comedy about
David and Goliath", "Comedy about Tobias the Younger". Along with them
historical events occurred (“Temir-Aksakov action” - about
Tamerlane, who defeated Sultan Bayazet), hagiographical (play
about Yegoriy the Brave) and even ancient mythological (a play about
Bacchus and Venus and the ballet "Orpheus") productions. On the last
case it is necessary to dwell in more detail. "Orpheus" - ballet,
staged at the court theater of Tsar Alexei Mikhailovich in
1673 The performance was based on the German ballet "Orpheus and
Eurydice", performed in 1638 in Dresden to the words of Augustus
Büchner and music by Heinrich Schütz. Probably in a Russian production
the music was different. The text of the Russian play has not survived. ABOUT
the production is known from the work of Courlander Jacob Reitenfels,
who visited Moscow in 1671-1673. and published in 1680 in
Padua's book "On the Affairs of the Muscovites" ("De rebus Moscoviticus"). IN
in a German production, a choir of shepherds and nymphs sang a greeting to the prince
and his wife. In the Moscow ballet he sang the greeting to the Tsar himself
Orpheus before he starts dancing. Reitenfels leads
German poems that were translated to the Tsar. Staging
musical performance was especially important for the Russian theater
a remarkable event, for Tsar Alexei Mikhailovich did not like
secular music and at first resisted its introduction into performances.
However, in the end he had to admit the need for music in
theatrical business. At first, the court theater did not have its own premises, scenery and costumes
were moved from place to place. The first performances were staged by Pastor Gregory from
German settlement, the actors were also foreigners. Later they became
forcibly recruit and train Russian “youths”. Their salary
They paid irregularly, but did not skimp on scenery and costumes. Performances
were distinguished by great pomp, sometimes accompanied by playing musical
instruments and dances. After the death of Tsar Alexei Mikhailovich, the courtier
the theater was closed, and performances resumed only under Peter The beginning of the Russian school theater is associated with the name of Simeon of Polotsk -
creator of two school dramas ("The Comedy about Nebuchadnezzar the King" and "The Comedy
parables of the prodigal son"). The most famous is the last one, which is
stage interpretation of the famous gospel parable and is dedicated to
the problem of a young person (i.e., the new generation) choosing their path in
life. This topic was extremely popular, one might even say that it
dominated the literature of the second half of the century.
The content of the drama is quite traditional and is a retelling
events of the gospel parable, supplemented by specific everyday
details. The task of the play - like the task of Simeon's poetry collections -
a combination of instruction and entertainment, as the Prologue directly states before the start
actions:
Please show me your mercy,
Tidy up your hair and ears to action:
So sweetness will be found,
Not only hearts, but souls saved. School theater
In addition to the courtier, in Russia in the 17th century there was a
and the school theater at the Slavic-Greek-Latin
academies, theological seminaries and schools
Lvov, Tiflis, Kyiv. Plays were written
teachers and students put in place
historical tragedies, allegorical dramas,
close to European miracles, interludes and satirical everyday scenes.
The emergence of school theater in Rus' is associated with
development of school education.
In Russia, the school theater was used
Orthodoxy in the fight against Roman Catholic influence. Its origin
contributed by a monk, a graduate of the Kiev-Mohyla Academy, an educated person,
politician, educator and poet Simeon
Polotsk. In 1664 he came to Moscow and
becomes a teacher of the royal children at court.
In the collection of his works "Rhythmologion" there were
two plays were published - “Comedy about
Novhudnezzar king, about the body of gold and about the three
youth, not burned in the cave" and comedy
"The Parable of the Prodigal Son." Early 18th century theater
By order of Peter I in 1702, the Public Theater was created, designed
to the mass public. Especially for him, not Red Square in Moscow
a building was built - "Comedial Temple". She gave performances there
German troupe of J. H. Kunst. The repertoire included foreign plays,
which were not successful with the public, and the theater ceased to exist
in 1706, since the subsidies of Peter I stopped. "Comedy Temple" - theatrical
building built in Moscow in 1702
on Red Square against Nikolsky
Kremlin gate. Theater room
built by order of Tsar Peter I for
public state theater. New
the theater was significantly different from
existed during the time of Tsar Alexei
Mikhailovich. It was public then
is designed not for the courtier, but for
urban spectator. Peter I gave this
theater is of great importance. The idea of Peter I,
of course, met resistance in
among the champions of the old style of life - they
I also didn’t like the fact that the theater was located in
in the very center of the ancient Russian capital. (By
according to the original plan, the theater should
was located inside the Kremlin.) By the end
1702 "Comedial Temple" was
ready. The troupe of the "Comedy Temple" consisted of German actors, and its leader was
entrepreneur Kunst. The performances were performed in German. But shortly before
At the opening of the Kunst Theater, ten “Russian guys” were sent to study.
Kunst was supposed to teach them the basics of acting, which allowed
in the future to perform performances in Russian.
The “Comedy Temple” could accommodate up to 400 spectators. Performances were given
twice a week: Mondays and Thursdays. Ticket prices were 10, 6,
5 and 3 kopecks. For the convenience of spectators and to increase the theater's revenue, it was published
a decree that exempted theater visitors from paying fees, which
rose at the “city gates” from faces walking around the city at night.
But despite all kinds of events, the public was not very willing to go to
theater. Sometimes no more than twenty-five people were present at the performances.
The reason for such low popularity of the new spectacle was, of course, its
a foreign troupe and foreign dramaturgy, the performance of many performances on
German language. The theater was cut off from Russian life. In 1706 Moscow
the Comedy Temple theater was closed, the actors were dismissed, costumes and
the scenery was transported to the palace of Peter I's sister Natalia in 1709
Alekseevna, who had a court theater. In 1707, the building of the Comedy
temples" began to be dismantled, and in 1735 it was finally demolished. It is curious that the birthplace of Russian
theater is neither Moscow nor St. Petersburg.
The Russian theater appeared not in the capital, but in
the ancient Russian city of Yaroslavl.
It was here in 1750 that the Russian actor
Fyodor Grigorievich Volkov founded the first
in Russia professional theater
troupe. In Moscow, where the boy was sent to
training, Volkov strong and forever
became interested in theater. He literally caught fire
with his new hobby and during
studied art for several years and
stage business. Returning to 1748
year to Yaroslavl, where the family lived,
Volkov organized a theater troupe and
started giving performances in the stone
barn. The first performance took place on 29
June 1750, it was the drama "Esther".
Two years later, Volkov and his comrades
by decree of Empress Elizabeth
The Petrovnas were summoned to St. Petersburg. And in
The main event took place in 1756
theatrical life in Russia in the 18th century -
establishment of "Russian for representation"
tragedies and comedies of the theater", the first
state acting
professional theater. Fyodor Volkov was immediately appointed “the first Russian actor”, and director
theater was staged by Alexander Sumarokov, only after his death, in 1761
year, Volkov became the director of “his” theater. For this reason, Fedor Grigorievich
resigned from the position of cabinet minister. In total, Fyodor Volkov wrote about
15 plays, none of which have survived to this day, he was also
author of many solemn odes and songs.
Today the Volkovsky Theater is one of the most famous and largest "non-capital"
Russian theaters.
MKOU "Torbeevskaya Basic School named after A.I. Danilov"
Novoduginsky district, Smolensk region
The history of the emergence of theater in Russia
Completed by: primary school teacher
Smirnova A.A.
village Torbeevo
2016
Folk art Russian theater originated in ancient times in folk art. These were rituals, holidays. Over time, rituals lost their meaning and turned into performance games. They showed elements of theater - dramatic action, mummering, dialogue. The oldest theater was the games of folk actors - buffoons.
Buffoons
In 1068, buffoons were first mentioned in chronicles. They coincide in time with the appearance on the walls of the Kiev-Sophia Cathedral of frescoes depicting buffoon performances. The chronicler monk calls the buffoons servants of devils, and the artist who painted the walls of the cathedral considered it possible to include their image in church decorations along with icons.
St. Sophia Cathedral in Kyiv
Frescoes on the walls of St. Sophia Cathedral
Who are the buffoons?
This is the definition given by the compiler of the explanatory dictionary V.I. Dahl:
“A buffoon, a buffoon, a musician, a piper, a wonder-player, a bagpiper, a psaltery player who makes his living by dancing with songs, jokes and tricks, an actor, a comedian, a jokester, a safecracker, a clown, a jester.”
Parsley
In the 17th century, the first oral dramas developed, simple in plot, reflecting popular sentiments. The puppet comedy about Petrushka (his name was Vanka-Ratatouille at first) told about the adventures of a clever, merry fellow who is not afraid of anything in the world .
Court Theater
Plans to create a court theater first appeared with Tsar Mikhail Fedorovich in 1643. The Moscow government tried to find artists who would agree to enter the royal service. In 1644, a troupe of comedians from Strasbourg arrived in Pskov. They lived in Pskov for about a month, after which, for an unknown reason, they were expelled from Russia.
Tsar Mikhail Fedorovich Romanov
Tsarsky Theater The first royal theater in Russia belonged to Tsar Alexei Mikhailovich and existed from 1672 to 1676. Its beginning is connected with the name of the boyar Artamon Matveev. Artamon Sergeevich ordered the pastor of the German settlement, Johann Gottfried Gregory, who lived in Moscow, to start recruiting an acting troupe.
Tsar Alexei Mikhailovich
Artamon Matveev
The pastor recruited 64 young men and teenage boys and began teaching them acting skills. He composed a play based on a biblical story. It was written in German, but the performance was performed in Russian. On October 17, 1672, the opening of the long-awaited theater in the Tsar's residence near Moscow and the first theatrical performance took place.
Fun Chamber
The Tsar's Theater as a building was called the Amusement Chamber.
School theater
In the 17th century, a school theater appeared in Russia at the Slavic-Greek-Latin Academy. The plays were written by teachers, and students staged historical tragedies, dramas, and satirical everyday scenes. Satirical skits from the school theater laid the foundation for the comedy genre in national drama. The origins of the school theater were the famous political figure and playwright Simeon Polotsky.
Simeon of Polotsk
Fortress theaters
And at the end of the 17th century the first serf theaters appeared. Serf theaters contributed to the appearance of women on stage. Among the outstanding Russian serf actresses is one who shone in the Sheremetev Counts Theater Praskovya Zhemchugova-Kovalyova. The repertoire of serf theaters consisted of works by European authors, primarily French and Italian.
Count Sheremetev
Praskovya Zhemchugova-Kovalyova
Fortress Theater of Count Sheremetev
Home theater building
Sheremetevs
Actors' costumes
Theater premises
When did the theater appear in the city of Smolensk?
1) in 1708
2) in 1780
3) in 1870
4) in 1807
In 1780 to arrive Catherine II accompanied by Emperor Joseph II , the governor of the city, Prince N.V. Repnin, prepared an “opera house”, where “a Russian comedy with a choir” was presented to nobles of both sexes.
N. V. Repnin
Catherine II
Emperor Joseph II
Whose name is the Smolensk Drama Theater named after?
1) A.S. Pushkin?
2) F.M. Dostoevsky?
3) L.N. Tolstoy?
4) A.S. Griboedova?
What theater is not in Smolensk?
Chamber theater
Puppet Theatre
Opera and Ballet Theatre
There is no opera and ballet theater in Smolensk, there is a Philharmonic named after M.I. Glinka
Smolensk Regional Philharmonic named after. M.I. Glinka
Concert hall Smolensk Philharmonic
Controlling fairy-tale characters is a real art, which can only be mastered by talented people who happily “breathe” life into their silent charges. On March 21 they have a professional holiday on a global scale - International Puppeteer Day.
History of the theater
When was theater born? It seems that theatrical performances have been an integral part of human culture since its very inception: no matter what antiquity we look into, it will contain elements of transformation and play. Hunting rituals of “cave” antiquity, ritual dances, shamanic rituals, magnificent festivals in Ancient Egypt and Mesopotamia, Greek bacchanalia, Roman celebrations, medieval religious mysteries - everywhere there is a share of reincarnation and theatrical play.
Initially, all theatrical performances had a sacred meaning, but already in Ancient Greece, secular theater emerged and reached unprecedented heights, the purpose of which was to teach and educate citizens. The Greek tradition was continued in Ancient Rome - however, the emphasis shifted from education to amusement, entertaining the public.
In the Middle Ages (both in Europe and in Russia), two branches of theatrical art continued to develop - religious and secular, but secular theater, condemned by the Church, goes deep into the people. Traveling theater troupes appeared, which on holidays entertained people with primitive farces, often with acute social overtones: rich people, rulers, clergy, etc. were ridiculed. The types of theaters are directly related to the genres that are represented in them. Although they express not so much a genre as a form of acting. Let's list some of them:
Opera and Ballet Theatre. Opera and ballet appeared in Italy during the Renaissance. The first opera house appeared in Venice in 1637. Ballet emerged as a separate theatrical genre in France, transforming from dances at the courts. Very often these types of theaters are combined in one place. Drama Theater Opera and ballet are accompanied by a symphony orchestra. Music becomes an integral part of these productions. It conveys the mood and atmosphere of everything that is happening on stage and emphasizes the performances of the actors. Opera singers work with their voices and emotions, while ballet dancers convey everything through movement. Opera and ballet theaters are always the most beautiful theatrical institutions. They are located in the richest city buildings with unique architecture. Luxurious furnishings, a beautiful curtain, large orchestra pits - this is how it looks from the inside. Drama theater musical theater. Here the main place is given to the actors and the director. They are the ones who create the characters’ personalities, transforming into the necessary images. The director conveys his vision and leads the team. Drama theater is called the theater of “experiences.” Drama theaters stage not only plays - plays with complex plots. The drama theater includes comedies, musicals and other musical performances in its repertoire. All productions are based only on dramatic literature. Musical theater is a place where you can watch any of the theatrical acts. It hosts operas, comedies, operettas, musicals and all those performances that contain a lot of music. Choir and ballet artists, musicians and actors work here. Any type of theatrical art related to pop or classical music can find its fans in this theater. Comedy Theater. Combined actors who can sing and dance. They should easily get used to comedic characters and not be afraid to be funny. Very often you can see “Drama and Comedy Theatres”, “Musical Comedy Theatres”. Combining several genres in one theater does not interfere with preserving its flavor. The repertoire may include operettas, satirical comedies, musicals, dramas, and musical productions for children.
Variety theater. Replenishment of types of theaters relatively recently. And the audience immediately fell in love with it. The first pop theater appeared in the middle of the last century. Variety artists include modern singers, dancers, and presenters. Variety artists are show business stars, dancers and showmen, as they are now called. Variety theaters often hold solo concerts, concerts dedicated to some memorable dates, and performances by contemporary authors. Humorists hold concerts here, stage comic plays, and performances of classical works.
Musical. This species is not always identified as distinct. The musical uses acting, singing, and dancing. It combines the forms of pop art and everyday dance. As a rule, the plots of musicals are quite simple, this type of theater is intended for a wide audience, and often the music from musicals becomes a hit.
One of the oldest types of theater - pantomime. In such performances, they try to convey the essence with the help of gestures and facial expressions; these are either short performances or a full-fledged stage action. Now we can see mimes perform not only in the theater, but also on the streets of the city.
Puppet Theatre. This is a special place. Here you plunge into the world of childhood and joy. The decoration here is always colorful, attracting the attention of the youngest spectators. The puppet theater is often the first theater that children attend. And the child’s future attitude towards the theater depends on what impression it makes on an inexperienced viewer. A variety of theatrical actions is based on the use of various types of puppets. Recently, puppeteer actors do not hide behind screens, but interact with puppets on stage. The origins of this type of theater lie far back in Ancient Greece. Puppet theater is not only an introduction to art, but also a method of psychological correction for the little ones.
Theater for everyone. Theaters of Saratov. Russian theater. Maly Theater. Theater for children. History of the theater. Theater day. Project "Theater for everyone". Theater building. Literature and theater. My favorite theater. Dramatic image. Moscow Art Theater named after. Theater "Old House". On a visit to the theater. Bolshoi Drama Theatre. Berenče theater. At the Theater of Dionysus.
A trip to the theater. History of the creation of theaters. History of puppet theater. Theater of the 20th century. Teatro La Scala. Do you love theater as much as I love it? History of Russian theater. Project “Child and Theater”. Theater is great. Theater of small forms. Athens theatre. The theater is already full... Project: “Theater, library and us.” Moscow Drama Theater on Malaya Bronnaya.
Chelyabinsk Youth Theater. Which theater can you go to? Theater of the early twentieth century. Theater on an easel. Rules of cultural behavior in the theater. Theaters are different. 10 - the best theaters. This magic word is theater. Project "Theater History". The good genius of the Russian theater. Project on the topic: “Do-it-yourself theater.” Project for the middle group on the topic: “Theater for everyone.”
A miracle called theater. Russian theater of the 17th-18th centuries. From the history of the formation of Russian theater. Foreign theater of the 20th century. Theater Week program. The oldest theater in the Urals. Theater as a path to self-knowledge. Health Theater “My Dream House”. Museums, theaters and libraries of Tver. Theaters of Moscow in the first half of the 9th century. Dramatic works of Simeon of Polotsk.
Experimental work at the preschool educational institution "Theater of Children's Hands". Fragments of classes of the social theater “Magic Land”. Theater is a mirror in which events and people are reflected. Scenes of Simferopol (Excursion to theaters and cinemas of the city).
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