Dramaturgy of the second half of the 19th century and theater. Pushkin and Russian drama in the second half of the 19th century
The origin of Russian drama can be attributed not so much to the productions of the court theater under Alexei Mikhailovich (1672-1676), because. in essence, these were dramatizations of the Holy Scriptures, much like a school drama. Its founder is the scholar-monk Simeon of Polotsk, who wrote plays based on Biblical stories.
Russian drama began to develop actively in the 18th century and basically followed the European drama. The first representative of Russian classicism was A.P. Sumarokov, who played a major role in the formation and development of the Russian theater. Sumarokov's tragedies are written mainly on historical themes. In them, the main characters were more likely the bearers of certain ideas than specific historical characters. In contradiction to classicism, he introduces, instead of a story about events taking place behind the scenes, their direct display. He also introduces an interact curtain, sound effects. Speech tends to approach conversational. However, his focus on the laws of classicism and, in particular, on the work of Molière, is rather palpable. The pinnacle of the development of classicist dramaturgy was the work of D.I. Fonvizin. On the other hand, he can be considered the founder of a new direction in the Russian theater - critical realism. He did not contribute anything significant to the technology of drama, but for the first time he showed a reliable picture of Russian life, it is on this, in the future, that the national artistic method will be based.
In the second half of the XVIII century. The comedy genre is on the rise. Playwrights Ya.B. Knyaznin, V.V. Kapnist, I.A. Krylov are developing a new direction - a satirical comedy in which they criticize noble society and his vices. N.N. Nikolev and Ya.B. Knyazhnin create a "political tragedy". At the same time, there is tearful comedy"and" bourgeois drama "representing a new direction on the Russian stage - sentimentalism. Vivid representatives of this trend were V.I. Lukin and M.M. Kheraskov. A significant place in the repertoire of the Russian theater in the early 70s. XVIII occupies a comic opera. It does not look like an opera performance, in fact, it was a drama, including various vocal numbers, solo, choral and dance scenes. The heroes were peasants and raznochintsy.
At the beginning of the XIX century. the dramaturgy of the Russian theater is diverse and colorful. The heroic-patriotic theme prevails in the period Napoleonic Wars and at the same time a new theatrical genre was created, called "people's patriotic divertissement". The socio-political problems that worried the advanced noble circles were reflected in the tragedies of V.A. Ozerov. Their success was based on political relevance. Comedy genre in the first quarter of the XIX century. represented by satirical comedy (I.A. Krylov, A.A. Shakhovsky, M.N. Zagoskin) and “noble” or “secular” comedy (N.I. Khmelnitsky). In the 19th century in dramaturgy, the traditions of educational drama, the rules of classicism are still observed, but at the same time sentimental motifs begin to penetrate into it. In the first quarter, on the eve of the Decembrist uprising, a new progressive dramaturgy emerges. The most prominent representatives of this trend are A.S. Griboyedov. special page in the history of Russian drama is the work of A.S. Pushkin, who was of decisive importance for the entire subsequent history of the theater.
By the middle of the XIX century. romanticism in Russian drama was represented by the work of M.Yu. Lermontov, but at the same time, melodrama and vaudeville were especially popular (D.T. Lensky, P.A. Karatygin, F.A. Koni). The most popular are vaudeville "with dressing up" - these were mostly French vaudevilles remade in a Russian way. On the Alexandria stage in the 40s. up to 100 vaudevilles were staged per season. Sentimentalism and romanticism were too short periods in the history of Russian drama. From classicism, she immediately stepped into realism. The representative of a new direction - critical realism - in dramaturgy and theater was N.V. Gogol. He also entered the history of the theater as a theorist who insisted on realistic aesthetics and the moral and educational role of the theater, the social nature of the conflict in the play.
Gradually, realism becomes the dominant style in the theater of the second half of the 19th century. bright representative this direction is A.N. Ostrovsky. His plays became the basis of the Russian theater repertoire both in his and in subsequent times. Ostrovsky wrote 47 plays, these are historical plays, satirical comedies, dramas, "scenes from life", a fairy tale. He introduces new heroes into the drama - a merchant-entrepreneur; dexterous, energetic, able to make capital adventurer; provincial actor, etc. At the end of his life, being one of the directors of the Imperial Theatres, responsible for the repertoire, he made many useful changes in the development of the Russian theater. At the turn of the XIX-XX centuries. the theater is simultaneously strongly influenced by revolutionary and populist ideas, along with bourgeois tastes. At this time, the French comedies of Labiche and Sardou were widely used. V. Krylov, I. Shpazhinsky, P. Nevezhin, N. Solovyov, who wrote on fashionable topics: love vicissitudes between representatives of different classes, become the most repertory domestic playwrights. L.N. Tolstoy opens new page in Russian drama. His difficult, personal attempt to search for truth, ways of goodness and general justice, which naturally ended in an anathema, was reflected in a number of plays. In them, he builds a conflict on the clash of human truth and "official" truth.
Russia in the twentieth century began to set the tone not only in drama, but also in the theater. This is primarily due to the work of the Moscow Art Theater and the circle of playwrights with whom he was associated. The Russian theater has given the world a whole galaxy of remarkable playwrights. Among them, the first place undoubtedly belongs to A.P. Chekhov. His work marks the beginning of a qualitatively new stage in the history of not only Russian but also European theater. A.P. Chekhov, although considered more of a symbolist, nevertheless has some naturalistic characteristics in his plays and was often, in his day, interpreted as a naturalist. He brought a new type of conflict to dramaturgy, a new type of construction and development of action, created a second plan, zones of silence, subtext and many other dramatic devices. His influence on the dramaturgy of the twentieth century. (especially Russian) is very significant.
Gorky A.M. was not limited only to the formulation of social problems. He laid the foundations of a new artistic method in art - socialist realism. He expounded his revolutionary ideas with romantic pathos, glorifying the spontaneous, essentially atheistic, revolt of a lone rebel. Obviously calling for the accomplishment of the revolution, he nevertheless did not accept it. Here we can see how artistic and real reality was not adequately understood by him. The second period of his work, after returning from exile, is a short but tragic page of his life.
The plays of L. Andreev gravitated toward symbolism, but they were not symbolist in their purest form. They expressed all the complexity and ambiguity of Andreev's work. For some time he was in the grip of revolutionary ideas, but later changed his views. The generalization of characters, the schematic nature of the main collision, the fantastic setting and images, some elation and pathos of the existence of heroes, all this brings his dramas closer to the theater of expressionism. Andreev himself called his direction in the theater panpsychism. In the play "The Life of a Man" he removes stage directions, which, from the point of view of the technology of drama, is in itself revolutionary; introduces a narrator - Someone in gray, fantastic images of old women, etc. But his work did not have a noticeable influence on dramaturgy, he was rather an exception to the general realistic rules of that time.
Russian drama after 1917, under the influence of the existing system in Russia, developed mainly in line with the so-called socialist realism (Gorky's brainchild) and, on the whole, does not represent special interest. It is worth highlighting only M. Bulgakov, N. Erdman and E. Schwartz, as perhaps the only ones who continue the traditions of Russian dramaturgy. All of them were under strong censorship, their creative and personal life was very dramatic.
undergrowth
Analysis of the work
The play was conceived by D.I. Fonvizin as a comedy on one of the main themes of the era of enlightenment - as a comedy about education. But later the writer's intention changed. The comedy "Undergrowth" is the first Russian socio-political comedy, and the theme of education is connected in it with the most important problems of the 18th century.
Main themes;
1. the theme of serfdom;
2. condemnation of the autocratic power, the despotic regime of the era of Catherine II;
3. the theme of education.
The peculiarity of the artistic conflict of the play is that the love affair associated with the image of Sophia turns out to be subordinate to the socio-political conflict.
The main conflict of the comedy is the struggle between the enlightened nobles (Pravdin, Starodum) and the feudal lords (the landowners Prostakovs, Skotinin).
"Undergrowth" is a vivid, historically accurate picture of Russian life in the 18th century. This comedy can be considered one of the first pictures of social types in Russian literature. In the center of the narrative is the nobility in close connection with the serfs and the supreme power. But what is happening in the Prostakovs' house is an illustration of more serious social conflicts. The author draws a parallel between the landowner Prostakova and high-ranking nobles (they, like Prostakova, are devoid of ideas of duty and honor, crave wealth, servility to the nobles and push around the weak).
Fonvizin's satire is directed against the specific policy of Catherine II. He acts as the immediate predecessor republican ideas Radishchev.
According to the genre "Undergrowth" - a comedy (there are many comic and farcical scenes in the play). But the author's laughter is perceived as irony directed against the current order in society and in the state.
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A. N. Ostrovsky(1823–1886) and theater. Creation of the Russian national repertoire. The range of life phenomena in Ostrovsky's plays. The writer's attitude. The drama of national self-consciousness. Ostrovsky's religiosity. The evolution of religious themes and motifs in his work. The variety of genres of dramatic works: scenes, comedies, tragedies, dramas. Historical chronicles.
Periodization of the work of A. N. Ostrovsky.
Biographical information. Start literary activity. “Own people - let's count” (1849). The development of Gogol's traditions in comedy. Lack of a positive character.
"Poor Bride"(1851). Narrative depiction of everyday life. Lack of outwardly spectacular stage situations. Combination of drama and comedy. Psychological development central image.
The impact of Slavophile ideas. The concept of national character, understanding of Russian identity (Lubim Tortsov, "Poverty is not a vice", 1853). Obligation of moral rules (“Do not sit in your sleigh”, 1852; “Poverty is not a vice”, “Do not live as you want”, 1854) and the preaching of pity and compassion. The contempt of evil.
Perception by the theater of the works of A. N. Ostrovsky. Premieres of "Poverty is no vice" in Moscow and St. Petersburg (1854). The acting ensemble of performances. Hangover in someone else's feast (1855). P. M. Sadovsky and A. E. Martynov as Tit Titych Bruskov. Difference of interpretations.
"Plum"(1856). Satirical depiction of bureaucracy, its groups and types. The search for a positive hero: the image of Zhadov. Moral convictions and the force of circumstances.
The first collection of dramatic works by A. N. Ostrovsky (1859). Article by N. A. Dobrolyubov “ dark kingdom» (1859).
"Storm"(1859). The pinnacle of Ostrovsky's pre-reform dramaturgy. Worldly and spiritual diversity of Russian life in the face of a tragic cataclysm. Life in the extreme tension of the upcoming demarcations and breaks.
Image of Katherine. Religious and moral paradigm of the heroine's tragic guilt. N. A. Dobrolyubov and A. A. Grigoriev about "Thunderstorm". The first productions of "Thunderstorm".
Trilogy about Balzaminov: “A festive dream before dinner” (1857), “Your dogs are biting, don’t pester someone else” (1861), “What you go for, you will find” (“Balzaminov’s Marriage”, 1861). Satire and lyric. Archetype of Ivan the Fool. The innocence and naivety of the hero. The fabulous sovereignty of chance, lawlessness, a cheerful spirit and the mystery of Russian life: “the power and truth of a comic performance” (A. A. Grigoriev).
D ramaturgy of A. N. Ostrovsky in the post-reform period. Old and new Russia - the dramatic meaning of the historical movement of time.
historical drama. The problem of correlation of individual fate and human community in the historical past. The lessons of history in comprehending the laws that determine the fate of Russia. Historical ideals and illusions. " Kozma Zakharyin Minin-Sukhoruk"(first edition - 1861, second - 1866). Paphos of national unity. The dissolution of personality in the integrity of national existence.
Critical image of modern reality. A dramatic display of the speed and variety of changes in Russian life. Sharpness of plot twists. " Enough simplicity for every sage» (1868). Genre of political comedy. Gallery of socio-psychological portraits of post-reform Moscow. double morality and the career of a hero of the new time.
scope mental strength heroes. new nature dialogue. Open clash of characters. " Warm heart» (1868). The absurd life of Kalinov in the 1830s through the prism of modern times. The comic element of the play, theatricality and buffoonery of the action. The song-lyrical warehouse of the image of Parasha, her independence and self-will.
Dramaturgy by A. N. Ostrovsky in the 1870s - the first half of the 1880s. New themes and genres.
"Snow Maiden"(1873). Poetic drama in the work of Ostrovsky. Philosophical and religious aspects of the "spring fairy tale". Folk utopia of a happy fairy-tale kingdom. Poetry of nature and love. Folklore motives.
The sharpness of the genre reversals of the conflict between the impoverished nobility and the advancing bourgeoisie. " crazy money» (1870). "Budget" of a love story. The novelty of psychological characteristics central hero. « Wolves and sheep» (1875). A fusion of the comedy of manners with the comedy of intrigue. Variants of bourgeois enterprise in the camp of the local nobility.
The theme of theater in the dramaturgy of Ostrovsky. The world of theater and the theater of life. " Forest» (1870). The high style of comedy and the contrast of genre differences. Fusion of satire and poetry. Biplanar construction of action. The ambiguity of the image of the forest. Actor figures. " talents and fans» (1881). Negina's dilemma: self-realization of talent and the moral imperative. Lyrical description of the central image, " Guilty without guilt» (1884). genre of melodrama. Backstage world. The stage effect of the central role.
Late Ostrovsky. "A new variety of my works."
"Dowry"(1878). musical course of action. Lots of contrasting themes. Poetry of the unsaid and captivating femininity, the original nature of the heroine. Humiliation and destruction of love.
"Author's direction" A. N. Ostrovsky. "Internal directing" of the play. Theoretical understanding theatrical process. The inconsistency of the theatrical practice of A. N. Ostrovsky: the deepening and expansion of the "table" period of rehearsals, "intonation directing". Their significance in the first period of creativity and the limitations of a purely literary approach to the performance in the late 1870s - 1880s.
The value of the repertoire of A. N. Ostrovsky for the Russian theater.
2.3. Dramaturgy A. K. Tolstoy (1817–1875)
Biographical information. The beginning of literary activity. Creation, together with the brothers V. M. and A. M. Zhemchuzhnikov, of the image of Kozma Prutkov. Appeal to dramaturgy. Literary parody "Fantasy" (1851).
The creative position of A. K. Tolstoy in the 1860s–1870s. The concept of Russian history. A satirical interpretation of it in the History of the Russian State from Gostomysl to Timashev (1868). The history of Russia as the history of the struggle of the boyars against the autocracy. Dramatic trilogy: "The Death of Ivan the Terrible" (1866), "Tsar Fedor Ioannovich" (1868), "Tsar Boris" (1870). The fatality of the path to autocratic power. Types of human and political relations and ways of governing the state. Images of Russian monarchs.
The specifics of A. K. Tolstoy's attitude to historical sources. The problem of historicism. Views of A. K. Tolstoy on the historical drama in his staged "Projects" of the first (1866) and second (1868) parts of the trilogy. Production of "The Death of Ivan the Terrible" at the Alexandrinsky Theater (1867, "boyar performance"). Creation of historical-archaeological staging style.
Moral and psychological characteristics of the characters. Change of ideas about the tragic hero.
censorship restrictions. Unfinished drama "Posadnik" (1870-1875). A. K. Tolstoy and the development of the historical drama of the 1860s: L. A. May (1822–1862), N. A. Chaev (1824–1914), I. V. Shpazhinsky (1848–1917). Variety of approaches. The popularity of historical performances, their place in the repertoire.
2.4. M. E. Saltykov-Shchedrin(1826–1889) and theater
Biographical information. The activities of M. E. Saltykov-Shchedrin as a theater critic. Articles about the theater and dramaturgy. Theatrical themes in fiction and journalism. Dramatizations of the prose of M. E. Saltykov-Shchedrin (“ Provincial essays”: “The first story of the clerk”, “Mrs. Muzovkina”, “Provincial originals”, etc.).
Comedy " Death of Pazukhin"(1857) Merchant's Russia as a "kingdom of death". The triumph of vice and the absence of virtue. Departure of M. E. Saltykov-Shchedrin from the principles of the “natural school”. censorship ban.
Dramatic satire " Shadows» (1862–1865). Meaning of the play's title. The destructive power of the environment. The triumph of almighty calculation. "Transformed morality" of the era of "great reforms". Klaverov is the hero of the new generation of "post-reform Russia". The pessimism of M.E. Saltykov-Shchedrin's view of the possibility of social change and moral revival.
The peculiarity of the dramatic structure of the plays by M. E. Saltykov-Shchedrin. The meaning of off-stage characters.
2.5. Dramaturgy A. V. Sukhovo-Kobylina (1817–1903)
Biographical information. The influence of G.‑W.‑F. Hegel on the formation of the philosophical views of the writer. Gogol's tradition and originality of the artistic method of A. V. Sukhovo-Kobylin.
Dramatic trilogy: Krechinsky's Wedding (1854), The Case (1861) and Tarelkin's Death (1868).
"Wedding Krechinsky". The tradition of the well-made play. Mastery of intrigue and showiness of stage situations. The swiftness of action. Rhythmic structure of the word and composition. Hero-adventurer in the system of patriarchal values. Romantic laying of the image of Krechinsky. Rasplyuev and rasplyuevshchina.
"Case". The autobiographical plan of the drama: “torn from the most real life with blood case". Structural-genre interaction of two storylines. The Man and the State Machine. The grotesque hierarchy of its well-functioning parts - "bosses", "powers", "subordination" and the function of the Muromskys - "insignificance, or private individuals". Angry-sarcastic pathos of the drama. Aphoristic accuracy of linguistic characteristics.
"Death of Tarelkin". Grotesque forms of "comedy-joke". Innovative refraction of the stage tradition of farce. Terrible masks of the rude comic. Rasplyuev's frightening metamorphosis.
The unity of the artistic system of the trilogy. The dramatic tradition of the pairing of the main characters and its development in the genre amplitude of the trilogy (Krechinsky - Rasplyuev. Varravin - Tarelkin. Tarelkin - Rasplyuev).
Stage fate of the dramaturgy of A. V. Sukhovo-Kobylin.
2.6. L. N. Tolstoy(1828–1910) and theater
Biographical information. Start dramaturgical activity L. N. Tolstoy in the late 1850s - early 1860s. The ideas of the comedies "A Noble Family", "Practical Man". "The Infected Family" is a pamphlet-comedy directed against nihilist raznochintsy.
Dramaturgy of the 1880s. The idea of creating a theater for the people, folk dramaturgy of didactic content. The plays "The First Distiller" (1886), "Pyotr Khlebnik" (1884-1894), "All the qualities come from her" (1910).
"The Power of Darkness"(1886), The tragedy of the life of the patriarchal and post-reform peasantry. The bitterness of morals under the influence of the emerging bourgeois way of life. Tragic intensity of action. Chain reaction of conflicts - life as a chain of crimes. Preaching religious humility and moral self-improvement. condemnation of evil. The meaning of the image of Akim. "Resurrection" by Nikita at the end of the play. Censorship ban on productions of The Power of Darkness (1886). First productions in Russia (1895).
"Fruits of Enlightenment"(1890). The idea of a comedy and its development into a satire on culture and mores modern society. Language characteristics of the characters.
Work on the drama "And the light shines in the darkness" (1910). The autobiographical nature of the play. The combination of accusatory tendencies with the preaching of moral self-improvement.
"Living Dead"(1900). Plot sources. Exposing the injustice, lies and hypocrisy of modern morality. Criticism of justice, family and religion. Fedya Protasov is Tolstoy's program hero. Depth of psychological analysis and display of "dialectics of the soul". Rejection of traditional dramatic and stage techniques, depth and sharpness psychological drama. The innovation of the composition is its multi-episode nature.
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Dramaturgy of the 2nd half of the 19th century.
Dramaturgy and theatrical activity of A. N. Ostrovsky (1823-1886). The main stages of dramatic activity. The breadth of coverage and depth of the image of Russian reality: ʼʼOur people - let's settle downʼʼ (ʼʼBankruptʼʼ) (1849), ʼʼProfitable placeʼʼ (1856), ʼʼThunderstormʼʼ (1859), ʼʼEach sage is quite simpleʼʼ, ʼʼHot heartʼʼ (18 68), ʼʼForestʼʼ (1870), ʼʼDowryʼʼ (1878 ), ʼʼTalents and Admirersʼʼ (1881) and other plays. Artistic features of Ostrovsky's dramaturgy. The significance of Ostrovsky's plays for the development of realistic acting. Chernyshevsky and Dobrolyubov about Ostrovsky.
Concept and types, 2018.
Theatrical and aesthetic views of Ostrovsky. Ostrovsky about the educational and educational value of the theater. Criticism of the state-owned scene. Ostrovsky about acting art. The influence of Ostrovsky on the subsequent development of the Russian theater.
I. S. Turgenev (1818-1883) and the theater.
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The main stages of the dramatic work of Turgenev. Subject little manʼʼ in the comedies ʼʼThe Bachelorʼʼ and ʼʼThe Freeloaderʼʼ. The innovative character of the comedy ʼʼA Month in the Countryʼʼ. stage history dramaturgy of Turgenev. Turgenev the playwright as a forerunner of the ʼʼnew dramaʼʼ.
M. E. Saltykov-Shchedrin (1826-1889) and the theater.
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Theatrical aesthetics of Saltykov-Shchedrin. Comedies ʼʼDeath of Pazukhinʼʼ and ʼʼShadowsʼʼ.
Satirical dramaturgy by A. V. Sukhovo-Kobylin (1817-1903). Worldview and ideological orientation of creativity. Trilogy ʼʼPictures of the Pastʼʼ: ʼʼKrechinsky's Weddingʼʼ, ʼʼDeloʼʼ, ʼʼTarelkin's Deathʼʼ. Her socially accusatory pathos. Development in the dramaturgy of Sukhovo-Kobylin of Gogol's principle of ʼʼpublič comedyʼʼ. Stage history of drama by Sukhovo-Kobylin.
A. K. Tolstoy (1817-1875) and Russian historical dramaturgy. Dramatic trilogy ʼʼThe Death of Ivan the Terribleʼʼ, ʼʼTsar Fyodor Ioannovichʼʼ, ʼʼTsar Borisʼʼ. Stage history of these plays. The tragedy of Don Juan.
Drama by L. N. Tolstoy (1828-1910). Theatrical aesthetics of Tolstoy. Criticism of the modern noble-bourgeois theater. Tolstoy about drama (ʼʼdrama is conflictʼʼ). The idea of creating a theater for the people in the 1880s. The main stages of the work of Tolstoy the playwright. ʼʼPower of darknessʼʼ as a folk tragedy. Comedy ʼʼFruits of Enlightenmentʼʼ. Drama ʼʼLiving Corpseʼʼ.
Dramaturgy of the 2nd half of the 19th century. - concept and types. Classification and features of the category "Dramaturgy of the 2nd half of the 19th century." 2017-2018.
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19th century became for the culture of Russia a period of its unprecedented rise. Patriotic War of 1812, stirring up all life Russian society accelerated the formation of national identity. She, on the one hand, once again brought Russia closer to the West, and on the other hand... .
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In the other half of the XIX century. the formation of the Ukrainian lands was completed, the formation of the Ukrainian nation was completed, the social structure was shaped and the social structure was politicized. All the appearances and processes have deprived the memory of the ticket for... .
Mid 19th century Bula spent an hour trying for the Habsburg Empire. Standing up to the revolutionary squalor of 1848, she unsurprisingly recognized pre-school defeats in the international arena. On the back of Austria, the Franco-Italo-Austrian war 1859 p., and 1866 p. recognized the blows in ... .
The difference, form, style changes in culture lie not only in the evolution of science, the stench is closely connected with the mustache by the sides of the life of the society, with the peculiarities and the laws of the historical process as a whole. Modernism is a light-seeing one ....
Collected Kathleen and the traditions of the Indians. They tell of a white people who once came to Kentucky "who had things the Indians didn't know." But these people were taken away in an unknown direction and apparently killed. In addition to boats and dwellings, some turned out to be similar ... .
The problem of abilities has existed in psychology since the end of the 19th century, when the first attempts to measure abilities using tests appeared. One of the first tests of ability was the Binet and Simon intelligence scale, created in 1905, which measured 30 ... .
I got up early. It was not yet time to go to Miss Havisham, and I went for a walk out of town, in the direction that was closer to her house - and further from Joe's forge (you can go to Joe tomorrow!). I walked and thought about my benefactor and about the radiant future that she gave me....
The Russian theater in the nineteenth century was distinguished by a certain duplicity - on the one hand, it continued to react sharply to various social and political changes in the state structure, and on the other hand, it improved under the influence of literary innovations.
Birth of great masters
At the beginning of the 19th century, in Russian stage art, romanticism and classicism were replaced by realism, which brings a lot of fresh ideas to the theatre. During this period, many changes take place, a new stage repertoire is being formed, which is popular and in demand in modern dramaturgy. The nineteenth century is becoming a good platform for the emergence and development of many talented playwrights who, with their work, make a huge contribution to the development of theatrical art. The brightest person in the dramaturgy of the first half of the century is N.V. Gogol. In fact, he was not a playwright in classical sense of this word, but, despite this, he managed to create masterpieces that instantly gained worldwide fame and popularity. Such works can be called "The Government Inspector" and "Marriage". These plays are very graphic full picture public life in Russia. Moreover, Gogol did not sing of it, but on the contrary, sharply criticized it.
"Inspector" N.V. Gogol
At this stage of development and full formation, the Russian theater can no longer remain satisfied with the previous repertoire. Therefore, the old will soon be replaced by the new. Its concept is to depict a modern person with a sharp and clear sense of time. The founder of modern Russian dramaturgy is considered to be A.N. Ostrovsky. In his works, he very truthfully and realistically described the merchant environment and their customs. Such awareness is due to a long period of life in such an environment. Ostrovsky, being a lawyer by education, served in court and saw everything from the inside. With his works, the talented playwright created a psychological theater that sought to look into and reveal as much as possible internal state person.
"Thunderstorm" A.N. Ostrovsky
In addition to A.N. Ostrovsky, in the theater art XIX centuries, other outstanding masters of the pen and the stage made a great contribution, whose works and skills are the standard and indicator of the pinnacle of mastery. One of these personalities is M. Shchepkin. This talented artist has performed a huge number of roles, mostly comedy. Shchepkin contributed to the exit acting beyond the existing patterns at that time. Each of his characters had their own individual traits character and appearance. Each character was a person.
In the nineteenth century, the Russian theater continues to react sharply to the political and social changes in the country, on the one hand, and, on the other hand, to correspond to literary changes.
Almost the entire century in Russian literature passes under the sign of realism, which is replacing both outdated classicism and romanticism. The nineteenth century gives the national theater the names of playwrights who, in fact, from scratch will create a theatrical repertoire that is still in demand today.
In the first half of the century, N.V. Gogol. Not being a playwright himself, he managed to create real masterpieces of world dramaturgy - the plays "The Inspector General" and "Marriage", which presented the viewer with a large-scale picture of the life of the then Russian society and sharply criticized it.
It was at the premiere of The Inspector General that Emperor Nicholas I uttered the legendary phrase “Everyone got it, but I got it the most!”, realizing who is depicted under the mask of the Governor.
At this time, the theater can no longer be satisfied with the old repertoire, it strives to show a modern person who is keenly aware of the time. playwright who created literary basis modern Russian theater, and became A.N. Ostrovsky.
A lawyer by training who served in court, Ostrovsky got an excellent idea of the environment that he would then describe in his immortal plays. Describing in detail and realistically the mores of the merchant environment, he creates, first of all, a psychological theater that tries to look inside a person.
Ostrovsky subtly feels the coming social changes and depicts the collapse of established merchant traditions, the impoverishment and moral decline of the nobility, the growing role of money in human relations. He vividly and accurately describes the new heroes of life, enterprising, quite cynical and dexterous: Glumov (“Enough simplicity for every wise man”), Lipochka (“Bankrupt”), Paratov (“Dowry”).
Almost all of Ostrovsky's works were successfully staged at the Moscow Maly Theatre, which in this century has become the best theater of the empire.
The nineteenth century gave the national theater a whole galaxy of outstanding stage masters, whose names have become legends forever. One of the founders of the Russian acting school is M. Shchepkin.
The history of the creative path of M. Shchepkin is the history of the national theater of the first half of the nineteenth century. Being a serf and starting his career with the consent of his master, Count Volkenstein, Shchepkin becomes an actor at the Maly Theater and plays a huge comic repertoire.
His success in comedies was largely determined by the external data of the actor (a tendency to be overweight and small in stature). But at the same time, Shchepkin also possessed an amazing talent, which allowed him to perfectly cope with a variety of roles.
It was Schepkin who sought to bring the acting game out of the stereotyped framework, each character in his performance had many vivid details of behavior and appearance. In addition, Mikhail Semyonovich carefully developed the character's line of behavior, built a role drawing on a sharp change in the character's behavior.
Without a doubt, the heyday of Shchepkin's career coincided with the appearance immortal works Russian dramaturgy. Shchepkin understood the imperfection of the plays of the early 19th century and enthusiastically accepted the emerging dramatic works A. Griboyedov, N. Gogol, A. Sukhovo-Kobylin, A. Ostrovsky, that is, the material that every actor dreams of playing today. So, M. Shchepkin played Famusov in Woe from Wit, Gorodnichiy in The Government Inspector, Kochkarev in Marriage.
The history of the Russian theater in the second half of the 19th century is inextricably linked with the name of M. Yermolova. This outstanding actress during her career has created on the stage of the Maly Theater a whole gallery of female images of classical drama. Yermolova's repertoire included high tragedy (Schiller's Maid of Orleans, Shakespeare's Macbeth, Lope de Vega's The Sheep Spring), and everyday drama (plays by V. Alexandrov and V. Dyachenko).
P. Sadovsky contributed to the formation of realism on the Russian stage. His best works are roles in plays by A. N. Ostrovsky and N. V. Gogol. Sadovsky became famous as a versatile, characteristic actor, one appearance of which attracted the attention of the auditorium.
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Theater and drama in the 50-70s of the 19th century. The 50-70s of the 19th century is an important period in the history of the Russian theater, extremely saturated with new trends both in dramaturgy and acting. However, the beginning of the 50s was a rather gloomy time in the history of Russia. The revolutions of 1948 in France frightened Petersburg. Persecution of any movement of thought begins. In the studies of history, literature, philosophy, they see an attempt on the foundations of state power. journalism, literary criticism are falling into disrepair. The power of censorship becomes uncontrolled and unlimited. Particularly strict supervision was established for the theater, much more than literature, which depended on the politics of the court. This ominous, mute situation continued until the second half of the 50s - until the death of Nicholas and the inglorious end of the Crimean campaign. "The Dark Seven Years".
The beginning of the reign of Alexander II was marked by a rapid revival of social forces. The time for hope begins. It seemed Russian society awakened, and this awakening was reflected in everything, but above all in the spiritual life and art.
The magazines again turn to the most important issues of our time, which Russia is so rich in. And the first of these is the question of serfdom. Everyone feels the need for rapid changes, they live in anticipation of decisions and actions. It's time for reforms.
The abolition of serfdom in 1861 begins a new era in the history of Russia. There is a growing interest in Russian contemporary drama. The audience eagerly watches plays that tell about the present day in Russia. Theater suffocating under the net of censorship in last years reign of Nicholas, began to listen to real life. Gradually, public questions began to penetrate the stage of the imperial theaters. Audiences increasingly preferred to watch a contemporary play rather than a lavishly staged ballet or opera.
The spirit of analysis has penetrated theater stage. Melodrama and vaudeville gradually give way household comedies contemporary authors. Graceful counts, marquises with impeccable manners, noble robbers of French melodrama are forced to let the heroes in the uniforms of officials, business cards, tailcoats, and sometimes in zipuns and oiled boots go ahead.
The interest of the public in modernity is so great that it sometimes brings disappointment to the touring celebrities of Paris. So, the great tragic actress Rachel, who arrived in 1853, was forced to perform in Moscow only in morning performances if Ostrovsky’s play “Don’t Get in Your Sleigh” with Nikulina-Kositskaya in the title role was on in the evening.
The appearance of plays with new, modern content, other types of characters unusual for the theater leads to changes in the character and style of acting. There is a gradual destruction of the former roles, best traditions Russian realistic theater are developing, enriched with new modern themes. Ostrovsky's dramaturgy was of particular importance for the formation of Russian stage art. A whole galaxy of talented artists who brought glory to the Russian stage of the 19th century were brought up on his plays.
In 1859, Ostrovsky could already say that the Russian national drama had been created, the theater had its own national repertoire. In addition to Ostrovsky, such names as Sukhovo-Kobylin, Saltykov-Shchedrin, A. Tolstoy, L. Tolstoy, Chekhov appeared in the Russian theater of the second half of the 19th century.
Small theatre. The history of the Maly Theater in the second half of the 19th century is a deeply meaningful and vibrant period, closely associated with the rise public consciousness and the emergence of new ideological and aesthetic trends of the time. The performances of the Maly Theater sometimes went beyond purely theatrical events, acquiring a great public response. It was a time of complex changes and intensive development of dramaturgy and performing arts. It is no coincidence that contemporaries called the Maly Theater "the second university."
1853 - Ostrovsky's comedy "Don't get into your sleigh" was staged on the Maly stage. From that moment on, Ostrovsky gave all his works to this theater. having become close to many talented artists, the playwright subsequently writes his plays, taking into account the originality of the nature of their talent.
Public opinion, heated debates about the historical fate of Russia penetrate the walls of the Maly, and the actors are deeply disturbed. The liberal-democratic aspirations of the troupe were reflected in the appeal to Russian and Western European classics. In the 50s and 60s, “Little Tragedies” (“The Miserly Knight”, “Mozart and Salieri”, “ stone guest”), scenes from Dead Souls, Turgenev’s drama. In 1861-1863 Gogol's scenes were staged - "Sobachkin", "Excerpt", "Morning business man", in 1855 -" Krechinsky's wedding ". The previous performances are resumed - "Woe from Wit", "Undergrowth", "Foreman" are staged. Lessing's drama Emilia Galotti was staged in 1870, and later a number of plays by Shakespeare, Lope de Vega, Calderon, and other authors.
Until the early 1960s, melodrama continued to occupy a significant place in Maly's repertoire. Close and understandable to the viewer, but far from the present, she could give little to the theater. In the 60s, the public's interest in melodrama weakened significantly and it gave way to modern everyday drama. Ostrovsky's plays are becoming more and more part of the theatre's repertoire, influencing the work of other playwrights as well. Dramas written on the topic of the day are becoming increasingly popular with the audience.
Shchepkin's creative principles continue to improve in the performing arts of the best actors of the Maly. New plays, primarily by Ostrovsky, determine the nature of the development of stage realism at a new stage. Shchepkin's demand for a deep understanding of the essence of the image, complete merging with the character being portrayed becomes the main thing in the work of the largest actors of the Maly. Their art was distinguished by persuasiveness, conquered by charm. artistic truth, reliability and concreteness of the reproduction of reality. The troupe of Maly was famous for its mastery of the word, the highest culture of speech.
The basis of the troupe of this time: Sadovsky, Nikulina-Kositskaya, Shumsky, Vasiliev, Samarin.
Prov Sadovsky (Ermilov) (1818-1872). His name is associated with the establishment of Ostrovsky's dramaturgy on the Russian stage, the creation of the traditions of the Ostrovsky theater. He became the ancestor of a whole dynasty of actors who brought fame to the Russian theater.
In 1838, Shchepkin, who came on tour to Kazan, saw him. With his participation and support, Sadovsky in 1839 was enrolled in the Maly troupe. Success does not come immediately. At first - vaudeville roles, comic simpletons. Recognition - after the role of Filatka in the vaudeville "Filatka and Miroshka - Rivals" by P. Grigoriev.
For a long time, vaudeville and minor, empty roles in dramas and comedies were the basis of Sadovsky's repertoire. They did not bring him joy and satisfaction. After three years in the theater, he begins to think about returning to the province, where he still managed to play real big roles. this would have happened if not for Gogol's comedies, in which he performed with great success. In Gogol's repertoire, the artist played many roles: Khodilkin (Anuchkina) and Podkolesin in "Marriage", Zamukhryshkin in "Players", Osip and Gorodnichy in "Inspector General". Among these roles, the most remarkable are Podkolesin and Osip.
The meeting with Ostrovsky is the most an important event both actor and playwright. One finds his repertoire, the other - an actor who creates unfading glory for his plays. creative method Ostrovsky is organically close to the actor Sadovsky. He played thirty roles in twenty-seven plays out of thirty-two written during his lifetime by Ostrovsky (Rusakov "Not in his Sleigh", Lyubim Tortsov; Podkhalyuzin and Bolshov "Own People"; Wild "Thunderstorm"; Kuroslepov "Hot Heart"; Yusov "Profitable place"; Mamaev "Sage"). was the first and one of best performers the role of Rasplyuev in "Krechinsky's Wedding". In addition to the Russian repertoire, Sadovsky successfully played in the plays of Western European classics, in Shakespeare's tragedies and Molière's comedies. Not all Sadovsky's roles are equal, there were big and small successes. But in all roles, whether it was the Jester or King Lear himself, the actor conquered with the simplicity and naturalness of his performance. Molière was especially close to him. The image of Jourdain becomes Sadovsky's masterpiece.
Sadovsky perfectly mastered the internal technique of impersonation, all means of stage expressiveness. He possessed the richest facial expressions, brilliantly mastered the art of makeup. And yet, the most important artistic medium was the highest art of the word, skill speech characteristics, a sense of the language of the author and character.
Lyubov Nikulina-Kositskaya (1827-1868). Tragedienne. Her talent combined the features of a dramatic style and the deep truth of human feelings and experiences.
1847 - debut at the Maly in the role of Parasha-Siberian. Plays Louise, Ophelia. Appear romantic traits in her art. Important milestone- performance in plays of the Russian realistic repertoire, everyday drama, in Turgenev's comedy "The Bachelor" in the role of Masha. Gradually, her art takes on a theme - the theme of the tragic situation of a Russian woman, her bitter fate. Since 1853 - in the plays of Ostrovsky (Dunya "Not in your sleigh"; Anna Ivanovna "Poverty is not a vice"; Pear "Do not live like this"; Katerina "Thunderstorm"). Comparisons with Mochalov.
The work of Kositskaya had a great influence on the art of many actresses of the Russian theater. Strepetova, the largest provincial tragic actress, will forever remember her performances. The meeting with Kositskaya made her an actress. The tradition of Kositskaya's art was reflected both in the work of Strepetova and in the work of Yermolova.
Ivan Samarin (1817-1885). Belonged to the number of the most beloved and popular actors of his time. As an actor, he is brought up on the melodramatic repertoire. His role is "hero-lover." His playing was dominated by soft lyricism, nobility, elegance of external forms (Don Caesar de Bazan; Mortimer in Mary Stuart; Ferdinand; Marquis Pose in Don Carlos). He worked a lot on roles, destroying the conventional clichés of pseudo-classical, abstractly romantic theater. The actor's desire for a realistic interpretation of the characters is also noticed by Belinsky in The Grandfather of the Russian Fleet.
1839 - Chatsky (replacing the sick Mochalov - a failure). Much subsequently worked on this role. In his performance, contemporaries sometimes pointed out shortcomings, but everyone saw in Chatsky-Samarin a new, correct understanding of the image. The actor managed to convey the deep personal and social drama of the hero.
1864 - after the death of Shchepkin, Famusov played.
Great importance- directing and pedagogical activity Samarin (1879 - with students of the conservatory he staged the first production of the opera "Eugene Onegin").
Samarin played many roles in his life. His art awakened a love for beauty, conquered the nobility of the human soul. It was these qualities that were characteristic of his heroes. For this he was loved and admired by the public.
Sergei Shumsky (Chesnokov) (1821-1878). One of Shchepkin's most beloved students. A versatile actor who has replayed the roles of a very different plan and role. Always worked hard and thoughtfully on the role. Actor of a great public theme, progressive views and principled civic position.
1841 - in Maly, 1847 - on the advice of Shchepkin for three years in the Odessa Theater for a normal repertoire. He returns to Maly, where the repertoire is already more serious. (Kochkarev, Khlestakov (the first to win Gogol's approval), Krechinsky, Zhadov, Schastlivtsev, Krutitsky in The Wise Man; Chatsky). Brilliantly played in the plays of Shakespeare, Moliere, Beaumarchais, Schiller, Lope. The greatest success in the roles of Molière.
The significance of Shumsky is great. By asserting and developing Shchepkin's traditions, he paved the way for the future of the theater, the stage art of modern times.
Sergei Vasiliev (1827-1862). In the beginning, mostly vaudeville roles. With the arrival of Ostrovsky in the theater - a new stage in the biography (Balzaminov, Tikhon Kabanov, Khlestakov). He leaves the stage in the prime of his creative powers. Due to an eye disease in 1855 he began to go blind. The last benefit performance on January 27, 1861 was almost completely blind.
Alexandrinsky Theatre. In the first decades of the second half of the 19th century, the city experienced the most difficult and controversial period in its history. A great influence on the fate of the theater has always been its proximity to the court. If the Small was called the "second university", then Alexandrinsky in the era of the 50-70s continued to be primarily imperial. The directorate of the imperial theaters treated the Russian drama troupe with undisguised disdain, which could not but affect the general level of the performances of the Alexandrinsky stage, which depressed contemporaries with poverty and squalor of external design. Bureaucratic forms of government flourished in the theatre, making it more like a bureaucratic institution than a creative organism. The Theater and Literary Committee, formed in 1858, did not bring any significant changes either.
The theater's repertoire consisted mainly of reactionary, artistically weak defensive plays. However, the public revival, the sharp ideological struggle of the 60s, began to affect the walls of the Alexandrinsky Theater as well. The demands of the time, the emergence of a new dramatic audience, the establishment of the Russian bourgeoisie determine the processes taking place in the theater. The theater could not be completely indifferent to what was happening outside its walls. The viewer awakens interest in the modern drama of Russian life. melodrama and vaudeville do not enjoy their former success. The main spectator of the Alexandrinsky Theater is becoming a strengthening class of the bourgeoisie. New social issues and problems, penetrating the stage of the theater, were always resolved in accordance with the ideology of the government.
In the 1960s, the traditional vaudeville was replaced by the operetta. The success of this genre on the stage of Alexandrinka is grandiose, although not very long in time. most famous actress who did not know failures in this genre was Lyadova. In 1874 she dies and the triumph of the operetta ends with her.
A rather modest place in the Alexandrinsky's repertoire was given to Western classics during these years. The plays of Shakespeare, Moliere, Schiller very quickly left the stage. The theater could not bring anything new to the reading of the classics during this period of its history.
The theater pays much more attention to historical drama. The dramaturgy of Kukolnik and Polevoy can no longer enjoy its former popularity. Along with the plays by Chaev, Averkiev, there are historical chronicles of Ostrovsky "Tushino" and "Vasilisa Melentiev" and a large number of historical dramas, written by a variety of and, as a rule, not famous authors. The most significant performance that went on the stage of the theater for many years was Tolstoy's tragedy "The Death of Ivan the Terrible". These performances affirmed the idea of the greatness and wisdom of monarchical power, and even the tragedy of Tolstoy, imbued with hatred for despotism, was no exception. Depicting the tragedy of the formidable king, the theater glorified the wisdom of the rulers and called for respect for the monarchical power.
The acting art of Alexandrinka develops mainly in the direction of improving external techniques, improving the technique of presentation. Formal skill reaches a very high level in the work of artists. The greatest master of impersonation, masterfully mastering the technique of acting, was V. Samoilov, who created life-like, scenically spectacular images. The dramaturgy of the era of reforms brings new, modern content to the theater, which makes one abandon the traditional methods of acting, gives rise to the desire to depict specific images with characteristic, everyday features. Those actors who succeeded, enjoyed great success with the public.
However, artists with great, genuine dramatic talent, carrying a deep social theme, were crowded on the Alexandrinsky stage. Performers who were close in the nature of their talent to the work of Shchepkin or Sadovsky did not get along on the stage of the St. Petersburg theater. Their position was difficult, precarious, and their presence in the troupe was undesirable. The work of the most talented humanist actor A. Martynov was an exception for the Alexandrinsky Theater of those years. He was alone in the theater early death carries him away in the prime of his creative powers. Close to Martynov in the direction of his art, P. Vasiliev was eventually forced to leave the capital's stage. The theater is closer to actors who are not too fond of social, philosophical problems modernity.
Alexander Martynov (1816-1860). In vaudeville, he played a huge number of roles. He had everything necessary to comprehend the secrets of this genre: musicality, lightness, plasticity, the ability to dance superbly. Thanks to him, in the sometimes empty vaudeville characters, the viewer saw the beating of a living human heart, familiar with hardships and troubles. The actor deepened the images of playwrights.
He enjoyed great success in the comedies of Molière (Harpagon). Gogol - Ikharev, Khlestakov. Rasplyuev. Mokshin in "The Bachelor" by Turgenev. He played in almost all Ostrovsky's plays staged at the theater during his lifetime (the top is Tikhon in The Thunderstorm). For him, it was necessary to discover a good, positive beginning in a person. Played great negative characters but inwardly they were alien to him.
Pavel Vasiliev (1832-1879). Brother of the actor Maly Sergey Vasiliev. He was one of the few and most talented successors of the work of the great actor Martynov in Aleksandrinka. He enters the theater troupe in the year of Martynov's death, and many of the roles of that are transferred to him. Truthfulness of the reproduction of the types of Russian society, simplicity and naturalness of performance, sympathy common man- have always been the basis of Vasiliev's work.
Repertoire: Osip, Kochkarev at Gogol's; Rasplyuev in "Krechinsky's Wedding"; Kuzovkin in "The Freeloader". The biggest success - in the plays of Ostrovsky (more than twenty roles): Podkhalyuzin in "Own People", Krasnov in "Sin and Trouble".
Success with the audience, but hard in the theater: roles were taken away, replaced with understudies, and the number of performances was limited. 1864 - leaves the theater - the dissatisfaction of the audience and critics - a year later they were again accepted into the troupe. 1874 - goes away completely. Starts performing on the stage of the Moscow Public Private Theatre. 1875 - tour in a well-known province. Famusov. Disease.
Vasily Samoilov (1813-1887). One of the brightest and most characteristic artists for Alexandrinsky. His work, in terms of its artistic principles and ideological aspirations, was in many respects opposed to the art of Martynov and Vasiliev. One of the most talented actors of the performance school. Most often he went from the external characteristic of the image, nevertheless surprisingly correctly and accurately conveying the features of behavior and speech, creating a reliable, truthful drawing roles.
He shows great interest in roles in the historical repertoire. Among the best roles of this genre is the role of Richelieu in plays by various authors. Vaudeville, melodrama occupied a large place in his repertoire, but the artist did not lag behind his time. In the 1950s and 1960s, he performed in plays that responded to the topic of the day. True, he prefers to play not in the plays of Ostrovsky, but in the plays of Dyachenko.
The well-known limitations of Samoilov's realism were sharpest of all in Russian realistic drama and European classics. Krechinsky, Shylock, Lear, Hamlet. In many roles of Samoilov's classical repertoire, behind the skillfully found and conveyed characteristic features of the image was the truth of a particular case, a separate fact, and not a deep generalization of the entire essence of the image. At the same time, the ability to find accurate, reliable features appearance, Samoilov's amazing powers of observation made him an excellent performer of the roles of "secular" heroes on the stage of the Alexandrinsky Theater. Samoilov was a wonderful director of his roles, who had a great sense of the stage. His high professionalism raised the level acting skills Alexandrinsky Theatre.
Theater and drama in the 80-90s of the 19th century. After the assassination of Alexander II by Narodnaya Volya on March 1, 1881, the time for reaction comes, which also affects the theater. Censorship and the Directorate of the Imperial Theaters put up all sorts of obstacles to the appearance on the posters of the names of Ostrovsky, Sukhovo-Kobylin, Leo Tolstoy. IN theater life This time the struggle of conflicting tendencies is manifested. Heroic and romantic performances are staged on the stage of the Maly Theater. Civil themes sound in the work of the most talented actors. A whole galaxy of remarkable actors who entered the history of Russian stage art comes to both Maly and Aleksandrinka. Along with this, there is a significant decline in the artistic level of the repertoire, leading to a theater crisis associated with the emergence of a new audience with their own tastes and morals.
French plays, adapted to Russian customs, are being widely disseminated, mainly the comedies of Labiche and Sardou. The most repertory playwrights are V. Krylov, I. Shpazhinsky, P. Nevezhin, N. Solovyov. These authors willingly touched on new fashionable topics, sometimes even sharp, topical ones. public issues, but they did it extremely superficially, playing on the viewer's interest in what was happening. The authors of such plays strove, first of all, to be entertaining, visually effective and "stage-like" in their works. As a result, the theater found itself aloof from the general literary movement. The new themes and questions that Russian literature lives by receive only a pale reflection on the stage. Chekhov, Tolstoy, modern foreign drama - rare guests on the stage of the imperial theaters.
Small theatre. In the 1980s and 1990s, Maly was going through one of the most difficult and controversial periods in its history. The abundance in the theater's repertoire of empty, stereotyped entertaining plays sometimes contributed to a decrease in the overall level of performing arts, the appearance of clichés and craft performance techniques. Censorship in every possible way prevented the penetration of the best modern plays on the stage of the theater. With great difficulty, it is possible to obtain permission to stage the play by Sukhovo-Kobylin, published under the title "Obsolete Time" (82), L. Tolstoy - "The Fruits of Enlightenment" (91) and "The Power of Darkness" (95). Under these conditions, the mainstay of the creativity of the largest artists is the classics. Performances of dramas by Schiller, Shakespeare, Lope, Hugo became events in the theatrical life of Moscow. By the beginning of the 90s, Ibsen's first production on the Maly stage dates back. But on the whole, Maly lags far behind other theater troupes that arose in the 1990s in their appeal to the new Western dramaturgy. Instead of Hauptmann, Ibsen, Zola, Sudermann, Bjornson, Maeterlinck, the salon-household plays of Ogier, Dumas, Paleron are much more often performed.
In the 1990s, the heroic-romantic theme faded somewhat. The era puts forward new problems for theaters that require new artistic tasks to be solved. In the art of acting, there is a tendency towards in-depth psychologization of stage images and characters.
The troupe of Maly by the end of the 19th century was unusually rich the most talented actors who brought fame to this theater and all Russian art. There were still actors on the stage whose work began under the direct influence of Shchepkin, and at the same time a new generation of actors grew up, whose talent was formed on Ostrovsky's dramaturgy and developed the best traditions of the performing school - Shchepkin, Mochalov, Prov Sadovsky.
Glikeria Fedotova (1846-1925). Samarin's student. 1863 - enrolled in the troupe. By the end of the 60s - a leading actress. Ostrovsky wrote the Snow Maiden and Vasilisa Melentiev for her. Katerina in "Thunderstorm", Kruchinina in "Guilty Without Guilt"; Lydia Cheboksarova and her mother in Mad Money, Murzavetskaya in Wolves and Sheep.
The richness and versatility of Fedotova's talent, her highest technology games and the charm of a sincere, genuine feeling made her one of the most remarkable performers of Shakespearean characters (Catarina, Lady Macbeth, Volumnia in Coriolanus). Vela and pedagogical work, which did not stop even after her departure from the theater due to illness in 1905. She provided great help and support to Lensky, Stanislavsky during his activity in the Society of Arts and Literature.
Maria Ermolova (1853-1928). For a whole generation, she was an idol, an artist who embodied in her work the dearest, brightest dreams and hopes. During the years of reaction, the tragic power of her art shook the hearts of her contemporaries, inspired her with a bold statement of the greatness and beauty of a feat.
1870 - for Medvedeva's benefit performance "Emilia Galotti" instead of the ill Fedotova. In the first years he does not find his repertoire. 1873 - Katerina in The Thunderstorm. Laurencia ("Sheep Spring"). The heroic theme, the call to struggle, to the sacrifice of personal happiness in the name of a great goal, becomes the main one in Yermolova's work. The mainstay of her repertoire is Western European classics (Estrella in The Star of Seville, Mary Stuart, Joan of Arc in The Maid of Orleans, Judith in Uriel Acosta, Dona Sol in Hernani). A lot of effort had to be spent on getting permission to stage plays, which ultimately raised the repertoire of Maly.
There are many roles in Ostrovsky's plays (Negin, Tugin, Kruchinin). Lady Macbeth and other roles of Shakespeare.
1907 - leaves the theater, but a year later, at the request of Lensky, he returns.
Yermolova was the first actress who was awarded a high title People's Artist republics (1920).
Alexander Lensky (1847-1908) - outstanding actor, director, actor's theorist. Master of internal and external reincarnation. The completeness of the external drawing of the role, grace, softness and lyricism of the performance distinguished Lensky's stage images. Great influence - Shumsky and Samoilov. Starts in the province. 1876 - in Maly (Hamlet, Benedict in Much Ado, Paratov, Don Juan, Glumov, Dulchin, Velikatov, Lynyaev, Uriel Acosta, Around the World in Fruits of Enlightenment). The creative pinnacle is Bishop Nicholas in Ibsen's "Struggle for the Throne".
1898-1903 - leads the young troupe of the Maly. Struggling with the vulgar, unprincipled repertoire, staging Ostrovsky, Gogol, Shakespeare, Beaumarchais. Strives to confirm the importance of the director in the creation of the performance, achieves an ensemble, the integrity of the embodiment of the ideological meaning of the play. His search as a director and actor was very close to the activities of the Moscow Art Theater that arose in 1898, the creative tasks of Stanislavsky and Nemirovich-Danchenko.
Mikhail Sadovsky (1847-1910). "By inheritance" - many roles of the father. Having inherited the main thing - a sense of truth on stage, he becomes the successor to the traditions of the "first actor" of the Ostrovsky theater (Baraboshev in "The Truth is Good", Apollo Murzavetsky in "Sheep and Wolves", Schastlivtsev, Dergachev in "The Last Victim", Meluzov). Khlestakov. Peter in The Power of Darkness. He translated Western plays, wrote in the spirit of the "natural school".
Olga Sadovskaya (Lazareva) (1850-1919). Ten years in the "Artistic Circle" under the leadership of Ostrovsky. 1870 - debut in the Maly, but accepted into the troupe in 1881. The main stage paint is the word, internal reincarnation, plasticity of hands. The most favorite playwright is Ostrovsky (Domna Panteleevna, Galchikha, Kabanikha, Ulita in "The Forest", Glafira Firsovna). Matryona in "The Power of Darkness", a cook in "The Fruits of Enlightenment". I played a lot, without an understudy. The most gifted actress, a rare hard worker, selflessly devoted to art.
Alexander Yuzhin-Sumbatov (1857-1927). In Maly since 1882. Not only an actor, but also a director, playwright, stage art theorist, teacher, organizer of theatrical business. Puts forward the thesis about the constant improvement of the artist. A type of romantic actor of vivid theatrical emotion, devoid, however, of spontaneity. An actor of high culture, intellect, he achieved the deepest penetration into the social and artistic essence of the image.
In Maly he made his debut in the role of Chatsky. Heroes of Hugo, Schiller, Shakespeare, Lope, Gogol, Ostrovsky. No matter what he played, it seemed that this was his main role. Having taken the post of manager of the Maly Theater in 1909, Yuzhin headed it until the end of his life, holding the positions of elected chairman of the council, chairman of the directorate, sole director and, at the end of his life, honorary director of the Maly Theater.
Alexandrinsky Theatre. The political reaction that intensified after the assassination of Alexander II also affected the fate of Alexandrinka. The proximity of the theater to the court, the bureaucratic routine of management led to the fact that Alexandrinka turned out to be far from the new ideas of the time, away from development modern literature. The post of director of the imperial theaters was held from 1881 to 1899 by Vsevolozhsky, far from the worst arbiters of theatrical destinies, but all his sympathies were given to opera and ballet. The theater repertoire was full huge amount random plays that often didn't last more than two performances. There was no clear repertoire line in the theater. The classics still continued to go, but best plays modern Western and Russian playwrights penetrated the Alexandrinsky stage with great difficulty. The performances were of a very low standard. The directorate did not give money to update the costumes, create new scenery. I had to use the old ones, which did not always correspond to the time and place of the plays.
And yet, during these years, Alexandrinka was a significant phenomenon in the artistic life of Russia. He owed this to the wonderful actors who joined the troupe in the 70s and 80s - Savina, Davydov, Varlamov. In 1881 - Strepetova. Their creativity is whole era in the history of the Russian theater. Their art enriches stage realism with new means and becomes the basis for the achievements of modern theater.
Polina Strepetova (1850-1903). Most of stage life - the provincial theater. she did not possess beauty, bright external data, but extremely beautiful expressive eyes, a surprisingly penetrating chest voice, natural talent, skill. In a huge list of her roles - the heroine of Schiller, Shakespeare's tragedies, Nina in "Masquerade", but national fame - the images of ordinary Russian women (Lizaveta in Pisemsky's "Bitter Fate", Katerina and Vasilisa Melentievna in Ostrovsky's dramas). Since 1881 - in Alexandrinka (Tugina, Sarra in Ivanovo). The undivided mistress of the theater, Savina, saw her as a serious rival and fought with all her might to maintain her priority. Ostrovsky defends her, writes plays especially for her. A new victory - the role of Kruchinina. Exhausted by the struggle, she leaves Alexandrinka - the province - in the capitals on private stages (Matryona in "The Power of Darkness"). Almost before her death, she was again accepted into Alexandrinka, in the role of comic old women. She did not succeed in these roles, and, having acted in them several times, she again and forever parted with the imperial stage.
Maria Savina (1854-1915). Started in the provinces (comedy roles of mischievous girls in vaudeville). 1874 - admitted to Alexandrinka. The popularity is growing. Constantly improving skills. The theme of inner independence, the formation of character. Ostrovsky (Poliksena in Pravda, Varya in The Savage). Stage in her artistic development - Verochka in "A Month in the Village". In the 80-90s he creates images of modern secular women. It has a secret laconic, extremely stingy and at the same time exhaustive outline of the character. critics note some severity in her work. At the turn of the century, her top achievements- Natalya Petrovna in "A Month in the Village" and Akulina in "The Power of Darkness". But these roles are the exception. Serious dramaturgy could not displace the usual "salon" dramas from Savina's repertoire. The future belonged to the theater with an exciting contemporary theme, including Chekhov's playwrights, not accepted by the actress. This future was for Komissarzhevskaya and the Moscow Art Theater. Nevertheless, Savina's art is one of the brightest pages in the history of Russian realistic theater.
Vladimir Davydov (Ivan Gorelov) (1849-1925). One of the largest representatives of Russian realistic art, who developed the traditions of the Shchepkin school. He was admired by Ostrovsky, Leo Tolstoy, Turgenev, Chekhov. Starts in the province. In 1880, at the insistence of Savina, who until 1874 played with him at Medvedev's, he entered Alexandrinka.
An extremely wide creative range (for example, in the "auditor" he played 7 roles, and one of them is female - Poshlepkina). An original talent, a great inner temperament and a thinking artist who improves his art, the enemy of theatrical conventions. Best Roles in Russian classic drama- Famusov, Gorodnichiy, Podkalesin, Kochkarev, Rasplyuev, Mamaev, Kuzovkin, Moshkin ("The Bachelor").
With his work, he continued the traditions of Martynov, paid tribute to the virtuosic professionalism of Samoilov, developed the stage realism of Shchepkin and Sadovsky. The subtlety and depth of psychological analysis, the refinement of craftsmanship and inspiration. He brought up more than one generation of Russian theater actors.
Konstantin Varlamov (1848-1915). 1875 - to Alexandrinka. Unusual voice, surprisingly figurative plasticity. King of vaudeville. But the talent was most fully revealed in the Russian classics: Ostrovsky - Tit Titych Bruskov in "Hard Days" and "Hangover at a Strange Feast", Akhov in "Not All the Cat's Shrovetide", Kuroslepov in "Hot Heart", Rusakov in "Not in Your Sleigh" ”, Berendey (top). Gogol - Strawberries, Lyapkin-Tyapkin, Gorodnichiy, Osip; Glov in "Gamblers", Chichikov, Sobakevich; Stepan, Kochkarev, Fried eggs. Sukhovo-Kobylin - Muromsky in Krechinsky's Wedding, Varravin in Delo. Bolshintsov in "A Month in the Village". Chekhov - Sorin and Shamraev; Lebedev in "Ivanov", Simeonov-Pishchik, staged stories, "Tragic involuntarily" - especially for him. Foreign drama - 7 roles. The last role is Sganarelle with Meyerhold (1910).
For Varlamov, there was nothing insignificant on the stage. Each of his images was perfected and completed. A brilliant improviser, comic buff, he was endowed with an ideal artistic taste. A priceless quality of his talent was a sense of humor. No wonder he was called "the king of Russian laughter."
