The development of the theater in different historical eras. Theatrical art and its features. See what "theater" is in other dictionaries

2. Theatrical art

Theatrical art is one of the most complex, most effective and oldest arts. Moreover, it is heterogeneous, synthetic. Theatrical art includes architecture, painting and sculpture (scenery), and music (it sounds not only in the musical, but also often in dramatic performance), and choreography (again, not only in ballet, but also in drama), and literature (the text on which the dramatic performance is built), and the art of acting, etc. Among all of the above, the art of acting is the main thing, defining for the theater. The famous Soviet director A. Tairov wrote, “... in the history of the theater there were long periods when it existed without plays, when it did without any decorations, but there was not a single moment when the theater was without an actor” Tairov A. Ya , Director's notes. Articles. Conversations. Speeches. Letters. M., 1970, p. 79..

The actor in the theater is the main artist who creates what is called the stage image. More precisely, an actor in a theater is both an artist-creator and a material for creativity, and its result is an image. The art of the actor allows us to see with our own eyes not only the image in its final expression, but also the very process of its creation and formation. The actor creates an image of himself, and at the same time creates it in the presence of the viewer, in front of his eyes. This is perhaps the main specificity of the stage, theatrical image - and here is also the source of a special and unique artistic pleasure that it delivers to the viewer. The spectator in the theater, more than anywhere else in any other art, directly participates in the miracle of creation.

The art of theater, unlike other arts, living art... It appears only at the hour of meeting with the viewer. It is based on the indispensable emotional, spiritual contact between the stage and the audience. If this contact is absent, then there is no performance living according to its aesthetic laws.

It is a great agony for an actor to perform in front of an empty hall, without a single spectator. Such a state is tantamount to being in a space closed from the whole world. At the hour of the performance, the soul of the actor is directed towards the viewer, just as the soul of the viewer is directed towards the actor. The art of theater lives, breathes, excites and captures the viewer in those happy moments when two spiritual energies are actively exchanged through the invisible wires of high-voltage transmissions, mutually aspiring to one another - from actor to viewer, from viewer to actor.

Reading a book, standing in front of a painting, the reader and viewer do not see the writer or painter. And only in the theater does a person meet eye to eye with a creative artist, meets him at the moment of creativity. He guesses the origin and movement of his heart, together with him he lives with all the vicissitudes of the events that took place on the stage.

The reader alone, alone with the cherished book, can experience exciting, happy moments. And the theater does not leave its audience alone. In the theater, everything is based on the active emotional communication of those who create this evening on the stage work of fiction, and those for whom it is created.

The spectator does not come to a theatrical performance as an outside observer. He cannot but express his attitude to what is happening on stage. An explosion of approving applause, cheerful laughter, tense, unbroken silence, a sigh of relief, silent indignation - spectator's complicity in the stage action is manifested in the richest variety. A festive atmosphere arises in the theater when such complicity, such empathy reaches its highest intensity ...

This is what his living art means. Art, in which the beating of the human heart is heard, the subtlest movements of the soul and mind are sensitively captured, in which the whole world of human feelings and thoughts, hopes, dreams, desires is enclosed.

Of course, when we think and talk about an actor, we understand how important for the theater is not just an actor, but an ensemble of actors, unity, creative interaction of actors. "Real theater," wrote Chaliapin, "is not only individual creativity, but also collective action, requiring complete harmony of all parts."

Theater is a kind of double collective art. The viewer perceives a theatrical performance, stage action not alone, but collectively, “feeling the elbow of a neighbor,” which greatly enhances the impression and artistic infectiousness of what is happening on the stage. At the same time, the very impression comes not from one person-actor, but from a collective of actors. Both on the stage and in the auditorium, on both sides of the ramp, they live, feel and act - not separate individuals, but people, a society of people, connected for a while by common attention, purpose, common action.

To a large extent, this is what determines the enormous social and educational role of the theater. Art that is created and perceived together becomes a school in the true sense of the word. “Theater,” wrote the famous Spanish poet García Lorca, “is a school of tears and laughter, a free platform from which people can denounce outdated or false morality and explain with living examples the eternal laws of the human heart and human feeling”.

A person turns to the theater as a reflection of his conscience, his soul - he recognizes himself in the theater, his time and his life. The theater opens up amazing opportunities for spiritual and moral self-knowledge for him

And let the theater, by its aesthetic nature, a conditional art, like other arts, on the stage appears before the viewer not the real reality itself, but only its artistic reflection... But there is so much truth in the reflection that it is perceived in all its unconditionality as the most authentic, true life. The viewer recognizes the supreme reality of the stage heroes' existence. The great Goethe wrote: "What can be more nature than the people of Shakespeare!"

In the theater, in a lively community of people gathered for a stage performance, everything is possible: laughter and tears, grief and joy, undisguised indignation and violent delight, sadness and happiness, irony and distrust, contempt and sympathy, alert silence and loud approval, - in a word, all the wealth of emotional manifestations and shocks of the human soul.

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Ancient greek culture

Spiritual culture in the context of historicism

The ancient Greeks called art "the ability to create things in accordance with certain rules." In addition to architecture and sculpture, they referred to art as handicrafts, arithmetic, and in general any business ...

The origins of ancient Greek theater

Theater was perhaps the greatest gift of all that Ancient Greece left to the new Europe. From its very birth, this completely original creation of the Greek genius was considered not entertainment, but a sacred rite ...

Culture of Belarus in the second half of the 19th early 20th century

Features of the development of theatrical art in Germany and Russia at the beginning of the twentieth century

In the 19th century, the theatrical art developed rapidly due to several factors: the opening of new theaters, the creativity of a new generation of playwrights, the emergence of specialized theatrical professions, the development of literary trends ...

Medieval Arab-Muslim culture

Medieval Arab architecture has absorbed the traditions of the countries they conquered - Greece, Rome, Iran, Spain. Art in the countries of Islam also developed, interacting with a complex religion. Mosques ...

Medieval society

The ecclesiastical and religious worldview had a decisive influence on the development of medieval art. The church saw its task in strengthening the religious feeling of believers ...

Theatrical art of the twentieth century: the search for ways to dialogue

When the line is dictated by the feeling - It sends a slave to the stage And here art ends And the soil and fate breathe. B. Pasternak The idea of dialogue, conversation is connected in our minds with the sphere of linguistic, with oral speech, with communication ...

Moskovsky State University

them. M.V. Lomonosov

Faculty of Journalism

Abstract on aesthetics

THEATER AS A KIND OF ART

Completed:

5th year student

group 506

Sannikov Oleg

Introduction

1. The essence of theater

2. Theatrical art

2.1 Stage image

2.2 Actor in the theater

3. Theater in the XX century

4. "Children's" theater

Conclusion

No one in the world has established, and will not establish the exact year of birth of the theater.

No one in the whole world has said, and will not say on which sheet of the calendar its original date should be indicated.

The lifetime of the theater is measured by an unprecedented historical measure - the lifetime of the human race itself.

The day the theater was founded is hidden behind a mountain range of centuries and millennia long gone, in the depths of the most ancient epoch of human history, the most remote from us. That era, when a man, who for the first time took the tools of primitive labor into his hands, became a man.

Introduction to work brought him poetic insight: man began to acquire a poet in himself, the aesthetic ability of poetic perception of the world.

In those distant centuries, the newly emerging poetry did not have powerful wings, it was not yet touched by the powerful breath of free flight. Until a certain period, until a certain time, its purpose was reduced only to subordinate accompaniment of ceremonies and rituals that were established in the life of the primitive community. And when the time had already come for its maturity, the independence of poetic existence, poetry broke free, breaking the fetters of its former inseparability with everyday life. And then the time came for the fate of poetry to converge with the fate of the theater.

In the golden age of the childhood of mankind, the first poets of the earth - the great Greek tragedians Aeschylus, Sophocles, Euripides - bent over the cradle of the theater like good geniuses of poetry. They brought him to life. And they turned him to serve people, to glorify the spiritual power of man, his indomitable strength, the moral energy of heroism. Euripides, the most tragic poet of the ancient world, rose behind them, his mighty predecessors. Renouncing the predestination of mythological plots, he forged the real characters of people living with heated passions, heated feelings, thoughts, experiences.

Aeschylus, Sophocles and Euripides laid - according to the testimony of history - the great beginning of a great cause. Century after century - at all times, in all epochs lived by innumerable human generations, the theater has invariably, inseparably accompanied the movement of the history of mankind.

Theatrical creativity, as you know, is collective creativity. This is the unconditional strength of the theater, the source of its internal energy. At the same time, this is his weakness. Experts, for example, claim that there are more than 10 thousand different parts in a modern car. It is enough for one part in the engine to break down - and the car, even if it is a Mercedes, will stand and will not drive.

In the theater, there are much more such "details", which means there is a much greater risk that the theater can often stand still, stand motionless, without any signs of life.

The theater has always lived, delighted the audience with its unique art, helped to assert the ideals of goodness and justice, gave hope in the most difficult hours, which, unfortunately, were too many in our history.

What changes did not occur on earth - the era followed the era, one socio-economic formation replaced another, states, countries, empires, monarchies arose and disappeared, Atlantis disappeared in the depths of the ocean, an angry Vesuvius flooded unfortunate Pompeii with hot lava, sands for many centuries They brought Troy, sung by Homer, on the Gissarlik hill, but nothing ever interrupted the eternal existence of the theater.

The most ancient creation of man, to this day it retains an invariable attractive force, indestructible vitality, that miraculous elixir of youth, the secret of which was never discovered by the alchemists of the Middle Ages. In all previous epochs, no matter how many of them you can count - always - there was an eternal need for theater in man. The need that once arose at the ancient Dionysian festivals of rai grapes in honor of the mythical deity of earthly fertility

Tens of thousands of spectators - almost the entire population of the city-republics - traveled to theatrical performances in Ancient Greece. And to this day, a reminder of this is the majestic amphitheaters, dilapidated by time, built in times infinitely far from us.

In ancient times, more than twenty centuries ago, the Greek comedian Aristophanes reflected on the innermost essence of the power that so imperiously attracts a person to the theater. Why do people love theater, why do they value its masters so much? .. They love and appreciate, the first comedian of mankind was responsible, for truthful speeches for good advice and for making citizens wiser and better native land.

In the words of Aristophanes, which have not tarnished over a long series of past centuries, the highest aesthetic, moral, spiritual, social purpose of the theater is perceived. Its purpose is to be a school of life for people.

The school of life is the oldest, the most amazing and emotional, the most festive, inspiring, great school unlike anything else - that is what theater is.

Theatrical art is one of the most complex, most effective and oldest arts. Moreover, it is heterogeneous, synthetic. Theatrical art includes architecture, painting and sculpture (scenery), and music (it sounds not only in a musical, but often in a dramatic performance), and choreography (again, not only in ballet, but also in drama). ), and literature (the text on which the dramatic performance is based), and the art of acting, etc. Among all of the above, the art of acting is the main determining factor for the theater. The famous Soviet director A. Tairov wrote, "... in the history of the theater there were long periods when it existed without plays, when it did without any decorations, but there was not a single moment when the theater was without an actor."

The art of theater, unlike other arts, is a living art. It appears only at the hour of meeting with the viewer. It is based on the indispensable emotional, spiritual contact between the stage and the audience. If this contact is absent, then there is no performance living according to its aesthetic laws.

The reader alone, alone with the cherished book, can experience exciting, happy moments. And the theater does not leave its audience alone. In the theater, everything is based on the active emotional mutual communication of those who create a work of art on the stage that evening, and those for whom it is created.

And let the theater, by its aesthetic nature, is a conditional art, like other arts, on the stage it is not the real reality itself that appears on the stage, but only its artistic reflection. But there is so much truth in the reflection that it is perceived in all its unconditionality as the most authentic, true life. The viewer recognizes the supreme reality of the stage heroes' existence. The great Goethe wrote: "What can be more nature than the people of Shakespeare!"

In the theater, in a lively community of people gathered for a stage performance, everything is possible: laughter and tears, grief and joy, undisguised indignation and violent delight, sadness and happiness, irony and distrust, contempt and sympathy, alert silence and loud approval, in a word , all the wealth of emotional manifestations and shocks of the human soul.

2.1 Stage image

The stage image - here only the image created by the art of cinema can be compared with it - is perceived by us as the most authentic of all images existing in art. The most authentic, despite its obvious convention. How can this be explained? Why is the image created by the actor so reliable, so vividly affects us? First of all, because it is as adequate as possible to its material. In the theater, the image of a person is created by a person. We don't need much effort great work imagination to imagine a human character in a human actor. Of course, in the actor we see not himself, but another person, perhaps even from a different era - but still a person. What is assumed in the image is inherent in the actor himself.

We can mention Moskvin, who perfectly played the role of Tsar Fyodor Ioannovich in the performance of the Moscow Art Theater. The great actor played this role in such a way that for the audience he was no longer Ivan Mikhailovich Moskvin, but a genuine living Fyodor Ioannovich. When Moskvin - Fyodor would say, throwing himself on Irina's neck: “Arinushka! My darling! Perhaps you blame me for not holding him back now? .. What can I do, that I was not born to be a sovereign! " ", For which the" hat of Monomakh "turned out to be too heavy. It was almost impossible to imagine Fyodor Ioannovich as he was created by Moskvin. But an amazing sense of truth artistic image is explained not only by the unique acting skills Moskvin, but also by the very nature of theatrical art - by the fact that the image of a person on the stage is created by a person.

The maximum reliability of the stage image is also associated with another important property of theatrical art - a special sense of time. Each art form has a specific artistic time. In sculpture, it is "zero", which means the absence of time boundaries, the setting for eternity. In epic or lyric poetry, it is usually the past tense. In dramatic art - the present. When we read Homer's Iliad or even the most modern story — say, by F. Abramov or V. Belov — we perceive all the events described there as already past. When we watch a theatrical performance - whether tragedy, drama or comedy - everything that happens on stage happens for us in the present. Events on the stage take place simultaneously with their perception by the viewer. Psychologically, this leads to the fact that in the theater we feel ourselves not only as spectators, but also as accomplices in the action. It does theatrical action especially convincing and impressive.

Meanwhile, the desire to become an active participant in events in the atmosphere of the theater is not so rare and distinguishes not only children. The story of a madman who, having taken art for life itself, cut up Repin's painting "Ivan the Terrible and His Son Ivan," is quite unique. There is no doubt that the illusion of plausibility and authenticity in painting, sculpture or poetry is less than in theatrical art. Less, in particular, and because only the theater lives in the present time, and from the point of view of the psychological, it is the most reliable and authentic.

It is no coincidence that the concepts of "truth" and "untruth" as evaluative ones are applied to the theater much more often than, for example, to painting or sculpture, not to mention architecture and music. It is more natural to call for the direct truthfulness of art - and in relation to the theater, such calls are heard constantly - it is more natural when such an almost immediate truthfulness is already contained in the very nature of this art and the artistic image it creates.

2.2 Actor in the theater

Theatrical art is both truthful and conditional. Truthfully - despite its convention. As, however, all art. The types of art differ from each other both in the degree of truthfulness and in the degree of conventionality, however, without the very combination of truthfulness and conventionality, no art can exist.

What is the originality of the activity of a theatrical actor? Much in the acting of an actor in the theater not only brings him closer to the truth of life, but also leads him away from it. For example, the theater loves the expression of feelings "loud" and "talkative". “The theater is not a living room,” wrote the great realist actor B.K. Coquelin, to whose statements I have already referred more than once. - One and a half thousand spectators gathered in the auditorium cannot be addressed as two or three comrades with whom you are sitting by the fireplace. If you don't raise your voice, no one will hear the words; if you do not articulate them, you will not be understood. "

Meanwhile, in reality, human emotions can be deeply hidden. Grief can be expressed in a subtle tremor of the lips, movement of the muscles of the face, etc. The actor knows this very well, but in his stage life he must reckon not only with psychological and everyday truth, but also with the conditions of the stage, with the possibilities of perception of the audience. It is for the sake of the character's words and feelings to reach them that the actor must somewhat exaggerate the degree and form of their expression. This is what the specificity of theatrical art requires.

For the theatrical actor, communication with the audience creates an important creative impulse. During the performance, invisible strong threads are stretched between them, along which amazingly invisible waves of sympathy and antipathy, sympathy, understanding, delight are transmitted. This internally controls the actor's play, helps him to create.

“A theater, whatever its structure,” says Alexei Batalov, “is always a date, always the warmth of live communication. The soul of the theater appears only in the process of the performance itself ... An actor who is truly connected with the audience sometimes does almost incredible things. Like a Polynesian on a board, he moves only thanks to these living waves coming from the hall. "

In contrast to literature, from painting, sculpture, the spectator who comes to the theater becomes not a creator of what has already been created, but a direct participant in creativity. He is actively involved by the theater in a lively and exciting process of the very creation of a stage work - a performance. After all, the play begins to live only from the very moment when the theater curtain opens before the viewer and ceases to exist, when the curtain closes, when the auditorium becomes empty and the theater lights go out.

Good performance remains in the theatrical repertoire for a long time. But every time, every new meeting with the viewer he reappears, reborn. And then, as it should be, it will not be: the artists will go home, the scenery will be removed from the stage, the props and props will be taken away, and on the empty stage nothing will remain from the performance, which has just so excited and touched the viewer.

But no matter how much has passed since that time, the day indicated on the theatrical playbill, it did not appear, as it did more than once before. Between the stage and the auditorium, the fire of the relationship of soul and thought will again ignite. And the intensity of this emotional, spiritual interchange will certainly affect both the actor's performance and the entire atmosphere of the auditorium.

In the following days, weeks and months, everything will repeat itself over and over again. But the constantly repeated performance will not be the same. Every time, depending on the current internal state of the auditorium, on the current state of mind of the actors and on many other reasons and circumstances that can increase or decrease the emotional tone of creativity, it will be somewhat different.

One and the same performance can go on with a surprisingly hot, excited perception of the audience, with the festive enthusiasm of the actors, the improvisational brilliance of their skills. And he can pass sadly, with unexpected spectator indifference, without any enthusiasm, as if someone replaced the actors, who only yesterday performed with such enthusiasm in the same play, in the same roles.

2.3 Opera is part of the performing arts

In its most general form, opera can be defined as a theatrical performance, in which they do not speak, but sing. Singing and song are indispensable component part of this art. Here the song appears in different forms: it is an aria - a song - a monologue, a song-recognition; duet - dialogue song; recitative - imitation of colloquial forms in music, etc. A special place in the opera is occupied by choral singing, in which not an individual, but a mass image is revealed - the image of the people or some large group of people. In some operas, choral forms play a leading role. This is typical of musical folk dramas. As an example, one can cite Mussorgsky's brilliant opera-dramas Boris Godunov and Khovanshchina.

Of course, opera is not just a song. This is also the kind of music that exists in the opera and outside the direct connection with the song. And the game of the actor-singer. And elements of fine art - in the scenery, in props. Opera is a synthetic art. But at the same time, as in any form and genre of art, it has its own leading principle. Such a beginning in the art of opera is precisely music, song. First of all, she makes opera a unique art of spiritually sublime truth.

Due to the special nature of its imagery, the opera conveys mainly the non-everyday, poetic side of life. Goncharovskaya An ordinary story"Or Chekhov's" Boring Story ", for all the depth of their content, could hardly serve as a good plot basis for an opera performance. An operatic libretto can be sad, tragic, or heroic story, but not "ordinary" and not "boring". Opera is all about singing. But, as it is said, "a girl can sing about lost love, but a curmudgeon cannot sing about lost money." You can not sing on any topic. There are forbidden areas here and one cannot but reckon with them, since they are conditioned by the internal laws of art itself.

Ballet is closer to opera than other arts. Ballet is a combination of music and choreography (dance, pantomime). We can say about him that he is “doubly musical”. It is dominated by the element of sounding music and no less visible. Dance in ballet has such "visible music". Only outwardly does he appear to be dumb. Essentially, the dance is based on the music that fills it from the inside.

This musical fullness and at the same time the "inexpressibility" of the choreographic image has the consequence that the content of the ballet does not lend itself to direct "retelling" and cannot be sufficiently fully and accurately expressed through verbal explanations. The ballet image has a polysemantic, generalized and symbolic character. Reducing the essence of the ballet image to everyday meaning not only does not explain it, but also largely destroys it. In this case, the same thing happens as with any kind of presentation of the content of symphonic works.

Ballet art, like opera, does not allow for a too grounded plot. Of course, there can be no categorical prohibitions in art. But absolute freedom is also impossible. You can, for example, translate even Tolstoy's Anna Karenina into the language of ballet. Rodion Shchedrin and Maya Plisetskaya proved that it is possible. However, this translation is by no means adequate - it is intentional selective. To understand the problems of Tolstoy's social novel based on Shchedrin's ballet is not just difficult, but impossible. The ballet does not pretend to be. "Anna Karenina" by Shchedrina is a song of beautiful and tragic love. This ballet is based not even on Tolstoy's novel, but on Tolstoy's plot. The same can be said about "Don Quixote" by Minkus, and about " The Bronze Horseman»Gliere, etc. The very selection of plot material in such ballets shows that ballet art can and what can not. It can be neither too everyday, nor too edifying, nor momentary-topical.

An important problem of our time cannot be solved straightforwardly in ballet. Its very artistic nature does not allow this. KS Stanislavsky, as an obvious curiosity, gave an example of staging a ballet on the topical theme of the fight against malaria: “Malaria was rampant in the city, and it was necessary to popularize the means to fight it. For this, a ballet was staged, in which a traveler appeared inadvertently asleep in a swamp reed, depicted swaying beautiful half-naked women. Bitten by a nimble mosquito, the traveler dances with fever. But the doctor comes, gives quin or other remedy, and in front of everyone's eyes, the patient's dance becomes calm. "

This production refers to the first years of the revolution, when art was especially intensely striving to "interfere in life", to be extremely active, to overcome traditions. Unfortunately, similar examples (although not so anecdotal) met in the history of ballet and in later years.

The famous ballet critic Krasovskaya spoke with bitter irony about the ballet Native Fields by N. Chervinsky - A. Andreev (1953). The heroine of this ballet dance expresses her call for the groom to come to his native collective farm to build a power plant, and he expresses excitement before the defense of the diploma, pleasure over his successful defense and doubts whether he should choose graduate school or a collective farm.

This ballet, with its straightforwardly understood "relevance" and "vitality", is far from the specifics and possibilities of the dance image, and the mistake of its creators is of a fundamental nature. As the critic noted, “musical theater is, after all, primarily a theater of generalizations, and this applies even more to ballet than to opera”. “Ballet, like music, is capable of conveying the subtlest shades of feeling and its highest, most grandiose, heroic ups. But ballet is unable to convey everyday and prosaic actions, it cannot express itself in prose, even if inspired ideas, great thoughts are hidden behind it. "

“Children's” theater - is it very different from “adult”, is theatrical activity well-known and understandable for teachers? Talking about parenting is true creative personality, it must be remembered that theatrical art - like any creative process - does not tolerate duplication. And this is where the first problem comes up. The main technique that teachers use in theatrical activities is showing their own or a child's, that is, most often we get children to copy their own activities.

Any theater includes enough a large number of various areas of activity: literary (knowledge of texts, turns of speech, their presentation); musical (singing songs, musical accompaniment); visual (design of theatrical performances, preparation of scenery) and, of course, play, where the actor himself is visible in all its uniqueness. Unfortunately, today most teachers take the leading role (choosing a play, preparing costumes, sets, etc.), leaving the child the role of an obedient performer, but not a creator.

As shown by the survey of teachers, conducted at the courses of advanced training for educators, many see a serious problem in acquainting children with theatrical culture. The form of classes does not usually give a positive result, which confuses educators.

What fundamentals of theatrical culture can a preschool child master? First of all, it is knowledge of theatrical genres: puppet show, where the actors are any puppets; dramatic, where an adult or a child himself is an artist; animal theater, musical theater, pantomime theater ...

Some teachers ask the question: is it worth introducing children to the subtypes of theatrical genres (comedy, tragedy, opera, operetta, etc.)? Acquaintance with the structure of the theater, the professions of people creating theatrical action, should also be carried out mainly in an activity that is interesting and desirable for children - a role-playing game.

Speaking about another direction of the teacher's work on theatrical activities - acquaintance with various types of puppet theaters, the following should be noted.

The puppet theater not only creates a good mood, enriches children with impressions, but also contributes to their general development and aesthetic education.

A puppet theater for preschoolers has some advantages over a theater in which human actors perform.

It is this theater that is offered to kids as the first theater, because more than any other, by its nature it is close and understandable to small children. On the stage of this theater, children see familiar and favorite toys, dolls or pictures. When the “revived” dolls or pictures begin to move, talk, they take the children into a completely new, fascinating world, the world of living toys, where everything is extraordinary, everything is possible.

Kids are often afraid of Santa Claus, a wolf, a bear and other characters performed by human actors, but they are happy to play with toys depicting them.

When teaching children puppetry skills, you should pay attention to some points.

For the organization children's theater need dolls different systems that form in children certain skills and abilities that stimulate children's creativity(song, dance, play), encouraging improvisation on children's musical instruments.

Introduce children to puppet theater it is possible from an early age. Small performances (theater of pictures, shadow theaters, puppet theater, etc.), shown by teachers and older preschoolers, will not only bring joy from communicating with the doll, but also give the first knowledge about different types theaters.

Tabletop toy (puppet) theaters are diverse: soft toy theater; theaters of Dymkovo, Bogorodskaya, Kargopol toys, etc .; theatre wooden toy; crocheted or knitted puppet theater (worn on bottles or baby pins); theaters made of paper cones, boxes of different heights; theater of foam toys, etc.

Another type of theater that children 2-4 years old can master is a flat theater made of paper, cardboard, plywood, etc. Manipulating the "actors" by pronouncing individual words or all of the text gives a good puppetry skill.

From the age of 4, a transition to more complex types of theater is possible. This is primarily a theater with ready-made puppets. The basis of such a doll is a wooden rod - a hapite. Typically, preschool children are offered the following theaters: spoon; theater with volumetric puppets; planar images.

At an older age, children should be introduced to puppets, dolls with a “live” hand. Interesting for children of this age and the theater, where the actors are “dolls-people”.

Do not forget about one more type of theater - shadow: immovable and moving, with the use of lighting devices. And since the main task of acquaintance with any kind of theater is independent use, we transfer work with these types of theater to an older age.

Let's note one more point. The age suggested in these recommendations for acquaintance with this or that type of theater is rather relative and depends, first of all, on the beginning of work in this direction, its systematic character and, of course, on the skills of children.

But it is not the creation of a subject-developing environment that is the only thing for the teacher. important point, although it is of considerable importance, especially in younger age... Creation of a creative atmosphere, activation of sensations is the main task of the teacher. Creative manifestation is a strictly individual phenomenon. It is necessary to provide conditions for the creativity of each of the children.

Theater classes can increase children's level of emotional responsiveness, organization, mobility and training of attention, memory, teamwork skills, a responsible attitude to their words and actions that determine every moment of communication between people.

Theater is a school of life. So they talked about him from century to century. They spoke everywhere: in Russia, in France, Italy, England, Germany, Spain ...

The Gogol Theater called the Department of Goodness.

Herzen recognized him as the supreme authority for solving life questions.

Belinsky saw the whole world, the whole universe with all their diversity and splendor in the theater. He saw in him an autocratic master of feelings, capable of shaking all the strings of the soul, awakening a strong movement in the minds and hearts, refreshing the soul with powerful impressions. He saw in the theater some kind of invincible, fantastic charm for society.

According to Voltaire, nothing ties the bonds of friendship closer than the theater.

The great German playwright Friedrich Schiller argued that "the theater has the most beaten path to the mind and heart" of man.

The immortal creator of Don Quixote, Cervantes, called the theater “a mirror of human life, an example of morals, an example of truth”.

Literature

1. Abalkin N. Stories about the theater. - M., 1981.

2. Bakhtin MM Questions of literature and aesthetics. - M., 1975

3. Kagarlitskiy Yu. I. Theater for centuries.- M., 1987.

4. Lesky K.L. 100 great theaters of the world.- M., Veche, 2001.

6. Nemirovich-Danchenko Vl. I. The birth of the theater. - M., 1989.

7. Sorochkin B.Yu. Theater between the past and the future. - M., 1989.

Tairov A. Ya, Director's Notes. Articles. Conversations. Speeches. Letters. M., 1970, p. 79.

Stanislavsky K. S. My life in art. - Collected. op. in 8 t. M., 1954, t. 1, p. 393-394.

The theater has its roots in Ancient Greece more than two millennia ago. The oldest art originated as a spectacular entertainment for the public, festive scenes of mummers. The performances were originally timed to coincide with the Great Dionysia - a great religious holiday.

Now the theater is undoubtedly more than a procession of singing men in goats' skins through the city. He became high art, a way of recreation for high society, a place of cultural education. The history of the theater is a fascinating development process that continues to this day. We will tell the reader about it in our article. You will also find many interesting facts in the presented material. So, let's begin.

Start

In Athens, 5th century BC. NS. theatrical performances were an integral part of religious festivals. The processions with the statue of Dionysus were accompanied by cheerful chants and dramatic games. We can say that the history of the Athenian theater began as an amateur performance for small amount onlookers. Initially, only tragedies were staged, comedies were shown later. It is noteworthy that the plays, as a rule, were shown only once. This stimulated authors to create relevant, interesting works... The playwright not only wrote the play, he was a full-fledged participant in the performance, played the roles: director, composer, choreographer and even an actor. Naturally, these were extremely talented people.

But to become a choreg (leader of a choir), great talent was not required. All they needed was money and connections with government officials. The main duty of the choreographer was to pay bills, provide full material support and support the theater. It was in those days a place of competition, the victorious horeg, poet and protagonist won in it. The winners were crowned with ivy and awarded with prizes. The victory was given to them by the decision of the jury.

An interesting fact is that the ancient Romans were real fans of realism. The production was considered ideal, in which the actor got used to the role by 100% - if necessary, he had to be ready to even die.

At the time when Pushkin was alive, theaters in Russia were not completely sedentary. The farthest rows were occupied by people standing on their feet throughout the show.

An iconic play in the history of Russian theatrical art is DI Fonvizin's The Minor, which became the first attempt to ridicule officials, nobles, typical characters of the 18th century. Starodum (a positive character) was first played by the aforementioned Dmitrevsky.

In 1803, the imperial theaters were divided. Drama and music troupes, opera and ballet troupes, appeared as part of the music. The dominance of the French school of playing on the Russian stage lasted until the 19th century. It was then that the Russian theater finally got on its feet and followed its own path. The experience gained has become a good base, and the discovery of new talented Russian composers, actors, dancers raised the theater to a high level.

PN Arapov was the first to describe the entire history of Russian theater in one encyclopedia - "Chronicle of the Russian Theater". Theater magazines and professional critics appear. Thus, the development of the theater gave impetus, including, to Russian literature.

The most famous theater in Moscow

The history of the Bolshoi Theater begins on March 28, 1776. It was on this day in Moscow that Empress Catherine II signed a "privilege" for Prince Peter Urusov, allowing him to maintain the theater for ten years. At first it was called the Petrovsky Theater (in honor of the street on which the entrance went). In 1805, the building completely burns down, the architect Osip Bove created new project... In 1820, construction began, which lasted 5 years.

The constructed theater became larger, which is why it got its name. The residents of Moscow were pleased with this beautiful, harmonious, rich building until 1853, when the second fire broke out. This time, the reconstruction was entrusted to the architect Albert Cavos. The theater was restored already in 1856. Imperial The Bolshoi Theatre became famous not only in Russia, but also in the world: there was excellent acoustics. In 1917 after the Revolution, the name was changed to the State Bolshoi Theater. The decoration was supplemented with Soviet symbols.

He was seriously injured during the Great Patriotic War taking over the bomb. The building was reconstructed again. Until 1987, the building underwent only minor cosmetic repairs. Now the Bolshoi Theater is a building with a new stage where you can use modern effects... At the same time, it has retained the spirit of classical architecture, its "signature" acoustics, which gives it the right to be considered one of the best theaters in the world. This is the story of the Bolshoi Theater.

And finally, one more, no less interesting fact. Films that take place in whole or in part in the theater: Birdman, Woe Creator, La La Land, The Phantom of the Opera, Burlesque Tales, Knockout, Bumping into Broadway, Black Swan "," Puppeteer "," Awfully Big Adventure "," Shakespeare in Love "," Murder in a Small Town "," Orfevre Quay ".

The history of theater (dramatic and other genres of this art) will continue to develop, since interest in it has remained unchanged for more than two thousand years.

Modern cultural society in its present form, it owes much to the theatrical art, which arose long before the appearance of etiquette and the familiar norms of morality. Let's dive into the ancient times of history. During this you will be able to find out Interesting Facts about the theatrical art, when the first theater was created and everything related to the first acting performances.

The creation of the first theater in the world is impossible to know for sure, because it was back in the 5th century BC in ancient Greece, when the theater of Dionysus appeared. It was made of wood. The actors performed on stage twice a year, during which the most talented authors of those times fought for the right to be called the best in different genres. The person who sold tickets and supervised the performance of the performances was called the archon. VIPs were seated in plush marble armchairs (established over time), from which there was an excellent view. The Dionysus Theater still exists today. Its last reconstruction should be completed in 2015.

The very first stone theater originated in 52 BC in Rome. The stage was a raised platform with a screen in the background. There were seats in front of the stage (in the stalls). Over time, Roman theatrical art ceased its development due to the influence of Christianity on culture.

Who invented theater in Russia?

The first national theater is the FG Volkov Academic Drama Theater, founded in Yaroslavl. The year of its creation is 1750. On one of the warm summer days, the young temperamental Fyodor Volkov, together with his comrades, performed in front of the public. The performance consisted of works by Lomonosov, Sumarokov, Rostovsky and the young genius Volkov's own plays. By the way, F. Volkov was also a decorator, translator, director of performances and an architect. The actors even visited Empress Elizabeth (according to a specially issued decree by her) during a tour in St. Petersburg. It is noteworthy that at that time there were other acting troupes, but the performances were of a closed nature and were not available to the general public.

What was the first modern theater?

In 1618, the Italian city of Parma presented the world with the first modern theater - the Farnese. The stage was constructed in a rather unusual way - along one of the walls. A wide curtain separated the actors and spectators, which also helped to change the scenery without being noticed by the guests of the performance.

Did you know? The longest theatrical performance (about 10 hours) took place in 1672 in the Moscow region.

Let's try to imagine world art no theater. A clear understanding of what art is in principle immediately disappears from such a thought. If you remove at least one aspect of creativity, then art will disappear entirely, since it is integral. Theater, on the other hand, synthesizes in itself all the creative aspects: music, painting, architecture, expressive means literature and expressive means of man, generously donated to him by nature.

In addition, being an integral part of culture in a natural way, theater is becoming an indispensable leisure activity. modern man... People need bread and circuses. And this, in fact, is one of the functional tasks of the theater, which becomes obvious if you understand the origin of the term.
The concept "Theater" comes from the Greek. "theatron" - which literally means a place for spectacles, the spectacle itself. The idea of a theater appeared in ancient Greece, and only then did it gain strength and sprout with powerful roots in the sphere of art in the sense to which we are accustomed. Initially, the birth of the theater is associated with ritual games dedicated to the patron gods of agriculture: Demeter, her daughter Kore, Dionysus. The latter, of the entire pantheon of Gods, the Greeks paid special attention to. Dionysus, was considered the god of the creative forces of nature, winemaking, and later was called the god of poetry and theater. At the holidays dedicated to him, they sang solemn carnival songs, the costumed retinue arranged a festive procession, smeared the face with wine, put on masks and goat skins (thereby showing respect to God, he was depicted as a goat). This is where the theater got its start. From ritual games, genres grew: tragedy and comedy, which are the basis of dramuturgy. An interesting fact is that in the Greek theater only men played all the roles. The actors, who were two on stage, performed in huge masks and on catturns (shoes on a high platform). There were no decorations. Women were admitted to performances in exceptional cases and sat, as a rule, separately from the men.
If in Ancient Greece the theater was considered a state affair, playwrights and actors were respected citizens and could occupy high public positions, then during the Roman Empire the social status of theatrical art greatly decreased. The performances were staged with an emphasis on entertainment. And soon they began to be replaced altogether with gladiatorial battles, which took place in the Colosseum and other theatrical buildings. There were also more bloody spectacles - mass hunting, single combats with the beast, public torn apart by wild beasts of convicted criminals. By this time, theatrical art had finally lost its connection with the ritual and its sacred character, and the actors: from respected citizens moved to the lowest strata of society.

Medieval theater

Medieval or Western European theater covers a huge period in the development of theatrical art - ten centuries: from the 5th to the 11th century. (early Middle Ages) and from the 12th to the 15th centuries. (period of developed feudalism). Its development is conditioned by the general historical process of the development of civilization, and is inseparable from its tendencies.
The Middle Ages were one of the most difficult and dark periods in history. After the fall of the Roman Empire in the 5th century. the ancient civilization of antiquity was practically wiped out from the face of the earth. The young Christian religion, like any ideology at its early stage, gave birth to fanatics who fought against the ancient pagan culture, including the theater, considering it a relic of paganism. During this period, difficult times fell on art in general and especially for the theater.
The early ideologues of Christianity: John Chrysostom, Cyprian and Tertullian called the actors the children of Satan, and the audience - the lost souls. All previously existing secular theaters were closed, all actors, musicians, jugglers, circus performers, dancers were anathematized. Theatrical art was considered heresy and fell under the Inquisition. It would seem that under such a regime the theater should have disappeared from the face of the earth, but it survived. Largely thanks to itinerant troupes who wandered with improvised scenes in small villages. And due to the fact that theatrical traditions were stubbornly preserved in folk ritual games and rituals associated with the calendar cycle. The state could not keep track of everything, so elements of the theater clearly seeped through the law in the ritual traditions of numerous villages. For example, in the countries of Western and of Eastern Europe theatrical May games were held, symbolizing the victory of summer over winter, autumn harvest holidays. Over time, traditional ritual performances gradually transformed, they included folklore elements, the artistic side of the ritual acquired more and more importance, approaching the modern concept of theater. People who began to engage in games and activities more professionally began to stand out from the folk environment. From this source, one of the three main lines of medieval theater arose - the folk-plebeian one. Later, this line was developed in street performances and satirical farces.
Another line of the medieval theater is the feudal-church one. It is associated with a change in the attitude of the church towards theatrical art and the replacement of a prohibitive policy with an integration one. By about the 9th century, having lost the war against the remnants of paganism and appreciating the ideological and propagandistic possibilities of spectacles, the church began to include elements of the theater in its arsenal. It is to this time that it is customary to classify the emergence of the liturgical drama. The texts for the drama were taken from the Gospel writings, sounded in Latin, and their performance as an actor was distinguished by formality, severity and dryness, with a pretense of catharsis. But in spite of the formality of the performance, the liturgical drama became the theater's loophole for legalization. By the 12-13th centuries, folklore and everyday elements, comic episodes, and folk vocabulary began to penetrate into the liturgical drama. Already in 1210, Pope Innocent III issued a decree banning the display of liturgical dramas in churches. However, the church did not want to give up such a powerful means of attracting popular love. The liturgical drama was transformed into a semi-liturgical one. This was the first transitional form from religious to secular theater. A transitional form between the popular-plebeian and feudal-ecclesiastical lines of development of the medieval theater can also be considered the vagants - itinerant lyricists, comedians from among the defrocked priests and half-trained seminarians. Their appearance is due to the liturgical drama - the performances of the vagants, as a rule, satirically parodied liturgies, church rites and even prayers, replacing the idea of humility and obedience to God with the glorification of earthly carnal joys. The Vagants were persecuted by the church with particular cruelty. By the 13th century. they have practically disappeared.
The third line of development of the medieval theater is the burgher one. In the Middle Ages, there were isolated, timid attempts to create a secular drama. One of the earliest forms of secular theater was the "puy" poetry circles, which at first had a religious and propaganda direction, and later became secular. A participant in the Arras "puy", a French trouvor (musician, poet and singer) Adam de La Halle, wrote the first medieval secular plays - "The Play in the Gazebo" and "The Game about Robin and Marion". He was actually the only secular playwright of the early Middle Ages, so there is no need to talk about any tendencies.

Renaissance theater

During the Renaissance period, changes in the field of art are associated with the transformation of the general ideological doctrine: from asceticism and fanaticism of the Middle Ages to harmony, freedom and harmonious development of the personality of the renaissance. The term itself (French renaissance - revival) proclaims the basic principle: a return to classical models antique art... The theater, which had been under a de facto ban for about a thousand years, experienced a particularly striking surge in its development during the Renaissance. Changes took place in all aspects of theatrical life: new genres, forms, and theatrical professions appeared. This is due not only to a change in the social climate, but also to one of its most important consequences - the development of science and technology.
The most important factor that influenced the development of the theater at that time was the newly started construction theater buildings... A fundamentally new type of theater building was invented and implemented - a rank or tiered building. This gave the theatrical art new possibilities, including acoustic ones. And as a result, it led to the formation and rapid development of new theatrical forms - classical opera and ballet. New concept theatrical construction interpreted the stage and the auditorium as a whole, therefore, they received an impetus for the development of new principles of theatrical and decorative art - the creation of scenic scenery with a perspective. The appearance of covered theater buildings in a new way set the technical and artistic tasks of lighting the stage for the theater - it was no longer possible to play only in daylight. New technical trends required their practical implementation. Thanks to this, a number of new theatrical professions have grown: stage machinists, decorators, acoustics, graphic designers, lighting and lighting designers, etc.
Fundamental changes took place in the organization of theatrical performances: during the Renaissance, the theater faced the problem of competition for the audience for the first time in history. When there are several theater buildings in the city at the same time, and at the same time a troupe of itinerant comedians is showing their performances on the square, potential viewers have a real alternative. Thus, the competitive struggle largely determined the development of various genres and types of theatrical art during the Renaissance. For example, in Italy, the greatest success was enjoyed by the young operatic art and the areal improvisation theater of masks (commedia dell'arte). In England, one after another, publicly accessible drama theaters("Globe", "Curtain", "Rose", "Swan", "Fortune", etc.). In Spain, the auto sacramental religious theater continued to enjoy tremendous success. In Germany, the arts of the meistersingers were actively developing - fastnakhtspili (Maslenitsa performances) and farces. Signs of geographical integration and mutual influence of theatrical art were clearly felt in Europe. different countries: the growing competition for the viewer has led to a wide "touring" practice of mobile actors (mostly Italian and English).
V a certain sense theater in the Renaissance reached the peak of its development, having mastered almost all possible genres, types and directions. At the same time, two main types of theaters were formed: repertory theater (when a stable acting troupe puts on performances based on the works of different playwrights) and non-repertory theater (when various specialists specially gather for a certain theatrical project). Further, almost until the end of the 19th century. the development of the theater proceeded mainly under the change of aesthetic trends: classicism, enlightenment, romanticism, sentimentalism, symbolism, naturalism, realism, etc.

Modern theater

The transformation of the theater in the 19th century led to the scientific and technological revolution, and in particular, the emergence of cinematography. At first, cinema, and later television, were recognized as competitors of the theater. However, the theater did not give up, it was the late 19th - early 20th centuries. characterized by a special saturation in the search for new means of theatrical expression. At this time, a new theatrical profession appeared, which today has become the main one in the theater - the profession of a director. If the theater of all past centuries can rightfully be called an acting theater, then from the beginning of the 20th century. a new era has come - director's theater. A fundamentally new concept of theatrical art arises: it is not enough just to perform the performance professionally (acting, stage design, noise and light effects, etc.), they must be organically combined, merged into a single whole. As a consequence of this, the theory and practice of the theater includes new basic concepts: the general concept of the performance, the most important task, the cross-cutting action, the ensemble of actors, the director's decision, etc.
The new theater concept proved to be extremely fruitful for all aesthetic trends. This can be seen especially clearly on the example of the theatrical systems of K.S. Stanislavsky, as well as M.A. Chekhov, actively developing in Russia at the beginning of the 20th century. The powerful defining direction of the director makes these systems fundamental to modern theater... Moreover, directing brought acting to a new stage, laying down new principles of acting. The new concept of directing theater had a fundamental impact on cinema: very soon the figure of a film director from a simple organizer of the filming process turned into the main author, creator of the film. We can rightfully say that director's theater is the best way to return the sacredness of theatrical performance.

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The development of the theater in different historical eras. Theatrical art and its features. See what "theater" is in other dictionaries