INTRODUCTION The history of Russian theater is divided into several main stages. The initial, playful stage originates in clan society and ends by the 17th century, when a new, more mature stage in the development of the theater begins, culminating in the establishment of a permanent state professional theater in 1756. The terms “theater” and “drama” entered the Russian dictionary only in the 18th century. At the end of the 17th century, the term "comedy" was in use, and throughout the century - "fun" (Poteshny Chulan, Amusing Chamber). Among the masses, the term “theater” was preceded by the term “disgrace”, the term “drama” - “game”, “game”. In the Russian Middle Ages, definitions synonymous with them were common - “demonic” or “satanic” buffoon games. All sorts of wonders brought by foreigners in the 16th - 17th centuries, as well as fireworks, were also called amusement. The military activities of the young Tsar Peter I were also called fun. The term “game” is close to the term “game” (“buffoon games”, “feast games”). In this sense, both the wedding and the mummering were called “game” or “game”. “Play” has a completely different meaning in relation to musical instruments: playing tambourines, sniffles, etc. The terms “game” and “game” as applied to oral drama were preserved among the people until the 19th - 20th centuries.
Russian theater originated in ancient times. Its origins go back to folk art - rituals, holidays associated with labor activity. Over time, the rituals lost their magical meaning and turned into performance games. Elements of theater were born in them - dramatic action, mummering, dialogue. Subsequently, the simplest games turned into folk dramas; they were created in the process of collective creativity and were stored in people's memory, passing from generation to generation.
Bull game. A guy dressed up as a bull holds in his hands, under a blanket, a large clay pot with real bull horns attached to it. The interest of the game is to butt the girls. As usual, the girls start screaming and squealing, after which the bull is killed: one of the guys hits the pot with a log, the pot shatters, the bull falls, and is carried away. Game Konyashki - Players are divided into two “troops”. Each “army” is divided into “horses” and “horses”. The riders are usually girls. The players' task is to unbalance the other pair. The one who stays on his feet the longest wins. Christians, having watched such games from behind the bushes, then made up terrible tales about “jumping witches” driving people to death.
The games originally had a round dance, choral character. In round dance games, choral and dramatic creativity were organically merged. Songs and dialogues abundantly included in the games helped characterize the images of the games. Mass commemorations also had a playful character; they were timed to coincide with spring and were called “Rusalia.” . The center of the holiday was the ritual of funeral or farewell to the mermaid. Its participants chose the most beautiful girl, decorated with numerous wreaths and “garlands” of greenery. Then the procession passed through the village, and in the late afternoon the participants took the “mermaid” out of the village, most often to the river bank. While performing special songs, wreaths and garlands were removed from the mermaid and thrown into the water or into a fire (if there was no river nearby). After the ceremony was completed, everyone scattered, and the former mermaid tried to catch up and catch one of those accompanying her. If she caught someone, it was considered a bad omen, foreshadowing future illness or death.
The Rusalia holiday begins with honoring ancestors, who are invited to stay in the house, scattering fresh birch branches in the corners of the house. This is also a day of remembrance and communication with water, meadow and forest navyas - mermaid spirits of a kind. According to legends, those who die prematurely without becoming an adult or who pass away voluntarily become mermaids and merman. Women perform secret rituals, leaving the housework to men, sometimes for the entire week. And those who have children leave their children’s old clothes, towels, and linens for the mermaid children in the field or on the branches near the springs. It is necessary to appease the mermaid spirits so that they do not pester children and other relatives and the harvest. . According to legend, during Mermaid Week, mermaids could be seen near rivers, in flowering fields, in groves and, of course, at crossroads and in cemeteries. It was said that during the dances, mermaids perform a ritual related to the protection of crops. They could also punish those who tried to work on the holiday: trample the sprouted ears, send a crop failure, rainstorms, storms or drought. A meeting with a mermaid promised untold riches or turned into misfortune. Girls, as well as children, should be wary of mermaids. It was believed that mermaids could take a child into their round dance, tickle or dance to death. Therefore, during Mermaid Week, children and girls were strictly forbidden to go into the field or meadow. If children died or died during Mermaid Week, they said that they were taken in by mermaids. To protect yourself from a mermaid's love spell, you had to carry sharp-smelling plants with you: wormwood, horseradish and garlic.
Kievan Rus Three types of theaters were known: court, church, and folk. In 957, Grand Duchess Olga got acquainted with the theater in Constantinople. The frescoes of the Kiev St. Sophia Cathedral of the last third of the 11th century depict hippodrome performances. In 1068, buffoons were first mentioned in the chronicles.
Buffoonery The oldest “theater” was the games of folk actors - buffoons. Buffoonery is a complex phenomenon. The buffoons were considered a kind of sorcerers, but this is erroneous, because the buffoons, participating in the rituals, not only did not enhance their religious-magical character, but, on the contrary, introduced worldly, secular content. Anyone could make a joke, that is, sing, dance, joke, act out skits, play musical instruments and act, that is, portray some kind of person or creature. But only those whose art stood out for its artistry became and was called a skilled buffoon.
buffoon - “musician, piper, sniffler, whistler, bagpiper, guslar; who trades in this, and dances, songs, jokes, tricks; amusing man, lomaka, gayer, jester; bugbear; comedian, actor, etc."
Buffoons arose no later than the middle of the 11th century, we can judge this from the frescoes of the St. Sophia Cathedral in Kyiv, 1037. Leather masks of buffoons from the 12th-14th centuries are known from archaeological finds from Novgorod and Vladimir. The heyday of buffoonery occurred in the 15th-17th centuries. In the 18th century, buffoons began to gradually disappear under pressure from the tsar and the church, leaving some traditions of their art as a legacy to booths and districts. Buffoons performed on the streets and squares, constantly communicating with the audience, involving them in their performance.
“Baba Yaga is going with the Crocodile to fight on a pig with a pestle, and they have a bottle of wine under a bush.” Buffoons were carriers of synthetic forms of folk art that combined singing, playing musical instruments, dancing, bear fun, puppet shows, performances in masks, tricks. Buffoons were regular participants in folk festivals, games, festivities, and various ceremonies: weddings, maternity baptisms, funerals, etc. d.
In the 16th-17th centuries, buffoons began to unite into “gangs”. The church and the state accused them of committing robberies: “the buffoons, “coupling in gangs of many up to 60, up to 70 and up to 100 people,” in the villages of the peasants “eat and drink heavily and rob their bellies from cages and smash people along the roads.”” At that time At the same time, in the oral poetry of the Russian people there is no image of a buffoon-robber robbing the common people. In the work of Adam Olearius, secretary of the Holstein embassy, who visited Muscovy three times in the 30s of the 17th century, we find evidence of a wave of general searches in the houses of Muscovites in order to identify “demonic vitriol vessels” - the musical instruments of buffoons - and their destruction.
In their homes, especially during their feasts, Russians love music. But since they began to abuse it, singing all kinds of shameful songs to the music in taverns, taverns and everywhere on the streets, the current patriarch two years ago first strictly forbade the existence of such tavern musicians and their instruments, which were found on the streets, and ordered them to be immediately smashed and destroy, and then generally forbade the Russians from all kinds of instrumental music, ordering musical instruments to be taken away from houses everywhere, which were taken out. . . on five carts across the Moscow River and burned there. - Detailed description of the trip of the Holstein embassy to Muscovy. . . - M., 1870 - p. 344.
In 1648 and 1657, Archbishop Nikon achieved royal decrees on the complete prohibition of buffoonery, which spoke of beating buffoons and their listeners with batogs and destroying buffoon equipment. After this, the “professional” buffoons disappeared, turning over time into safecrackers, puppeteers, fair entertainers and show-offers.
BALAGAN is a temporary wooden building for theatrical and circus performances, which has become widespread at fairs and folk festivals. Often also a temporary light building for trade at fairs, to accommodate workers in the summer. In a figurative sense - actions, phenomena similar to a farcical performance (buffoonish, rude).
Parsley is the nickname of a farce doll, a Russian jester, a jokester, a wit in a red caftan and a red cap. Parsley has been known since the 17th century. Russian puppeteers used marionettes (string puppet theater) and parsleys (glove puppets). Until the 19th century preference was given to Petrushka, and by the end of the century - to puppets, since parsley makers united with organ grinders. The parsley screen consisted of three frames, fastened with staples and covered with chintz. It was placed directly on the ground and hid the puppeteer. The barrel organ gathered spectators, and behind the screen the actor began to communicate with the audience through a peep (whistle). Later, with laughter and reprise, he ran out himself, in a red cap and with a long nose. The organ grinder sometimes became Petrushka's partner: because of the squeak, speech was not always intelligible, and he repeated Petrushka's phrases and conducted a dialogue. The comedy with Petrushka was played out at fairs and booths. From some memoirs and diaries of the 1840s it follows that Petrushka had full name- they called him Pyotr Ivanovich Uksusov or Vanka Ratatouille. There were main plots: Parsley's treatment, soldier training, the scene with the bride, buying a horse and testing it. The stories were passed from actor to actor, by word of mouth. Not a single character in the Russian theater had the popularity equal to Petrushka.
Usually the performance began with the following plot: Petrushka decided to buy a horse, the musician calls the gypsy horse dealer. Petrushka examined the horse for a long time and bargained with the gypsy for a long time. Then Petrushka got tired of the bargaining, and instead of money, he beat the gypsy on the back for a long time, after which he ran away. Petrushka tried to mount the horse, but it threw him off to the laughter of the spectators. This could go on until people laughed it off. Finally the horse ran away, leaving Petrushka lying dead. The doctor came and asked Petrushka about his illnesses. It turned out that everything hurt him. There was a fight between the Doctor and Petrushka, at the end of which Petrushka hit the enemy hard on the head with a club. “What kind of doctor are you,” shouted Petrushka, “if you ask where it hurts? Why did you study? You yourself should know where it hurts!” The policeman appeared. - “Why did you kill the doctor? “He answered: “Because he doesn’t know his science well.” After the interrogation, Petrushka hits the policeman on the head with a club and kills him.
A growling dog came running. Petrushka unsuccessfully asked the audience and the musician for help, after which he flirted with the dog, promising to feed it cat meat. The dog grabbed him by the nose and dragged him away, and Petrushka shouted: “Oh, my little head with a cap and a brush has disappeared!” The music stopped, which meant the end of the performance. If the audience liked it, then they did not let the actors go, applauded, threw money, demanding a continuation. Then they played a small scene of Petrushkin's wedding. A bride was brought to Parsley, he examined her the way a horse is examined. He liked the bride, he did not want to wait for the wedding and began to beg her to “sacrifice herself.” From the scene where the bride “sacrifices herself,” the women left and took their children with them. According to some reports, another skit in which a clergyman was present was a great success. It was not included in any of the recorded texts; most likely, it was removed by censorship.
BALAGAN Not a single fair in the 18th century was complete without a booth. Theatrical booths became the favorite spectacles of that era. There was a stage and a curtain inside, and ordinary spectators were seated on benches. Later, a real auditorium with stalls, boxes, and an orchestra pit appeared in the booths. We always looked forward to such a fair.
Nativity scene is a folk Christmas performance performed in a special box using rod dolls, accompanied by singing and dialogues. In a broad sense, a nativity play can be called any Yuletide act about the massacre of the infants or the Nativity, performed by both dolls and people. The nativity play must necessarily be accompanied by the singing of various religious cants, which distinguishes it from the secular folk drama of live actors, which could also be shown at Christmas. In a broad sense, the nativity scene is part of the carol complex of folk Christmastide and is almost always associated with various forms of caroling: the walking of mummers with a “star” (in the form of a multi-colored lantern on a pole) or a manger with the Baby; reading Christmas poems by schoolchildren, singing spiritual poems in order to receive a reward, etc. The nativity play got its name from the nativity scene - a puppet theater in the shape of a two-story wooden box, the architecture of which resembles a stage for performing medieval mysteries.
The structure of the nativity scene is very interesting. The box-house, picturesquely decorated on the inside, has special slots for driving dolls. Dolls are not allowed to move from one floor to another. In the upper tier scenes related to the Holy Family were played out, and the lower one depicted the palace of King Herod. In the same part, in later times, satirical sketches and comedies were shown. However, the nativity scene is not just a magic box, it is a small model of the universe: the upper world (upper floor), the lower world (lower floor), and hell - the hole where Herod falls through. In winter, the nativity scene was carried on a sleigh, carried from hut to hut, and performances were shown at inns. Benches were placed around the nativity scene, candles were lit, and the fairy tale began. The classic “troupe” of the nativity scene is the Mother of God, Joseph, the Angel, the Shepherd, the three Magus Kings, Herod, Rachel, the Soldier, the Devil, Death and the Sexton, whose duty was to light the candles in the nativity scene before the performance. Each doll was attached to a pin, which the puppeteer could grasp from below, like a handle, and move it along special slots in the stage floor.
The Christmas drama was shown not only in secular houses, but also in the houses of priests. And by the end of the 18th century, a dynasty of nativity scene performers had formed in St. Petersburg - the Kolosov family, who for almost a whole century kept the traditions of performing performances. The heyday of nativity scenes came in the 19th century, when they became popular not only in central Russia, but also in Siberia. Until the end of the century, the nativity scene wandered through cities and villages, at the same time experiencing “secularization” and turning from a puppet drama with a biblical plot into a secular folk performance. The nativity scene began to consist of two parts: a Christmas mystery and a cheerful musical comedy with local flavor. But by the end of the century, the farce scenes played on the lower floor turned out to be more significant than the events of the “upper tier”. The nativity scene makers began to carry the wonderful box to fairs, not only on Christmastide, but they walked with it right up to Maslenitsa. It is known that some artists even went with nativity scenes to the Nizhny Novgorod Fair, which opened... on July 15! The October Revolution of 1917 and the anti-religious campaign that followed it decided the fate of Christmas performances. They, like the traditional Christmas tree, were strictly prohibited.
Rayok is a folk theater consisting of a small box with two magnifying glasses in front. Inside it, pictures are rearranged or a paper strip with homegrown images of different cities, great people and events is rewound from one skating rink to another. Rayok is a type of performance widespread mainly in Russia in the 18th-19th centuries. It got its name from the content of pictures on biblical and evangelical themes (Adam and Eve in paradise, etc.). Rayoshnik moves pictures and tells sayings and jokes for each new plot. These pictures were often made in popular print style, initially had a religious content - hence the name “rayok”, and then began to reflect a wide variety of topics, including political[. Fair trade was widely practiced.
The appearance of the raeshnik himself was similar to the appearance of the carousel grandfathers, that is, his clothes attracted the public: he was wearing a gray caftan trimmed with red or yellow braid with bunches of colored rags on his shoulders, a kolomenka hat, also decorated with bright rags. He has bast shoes on his feet, and a flaxen beard is tied to his chin.” [The rajka box was usually brightly painted and colorfully decorated. The shout of the raeshnik was as colorful as his appearance, addressed to everyone: “Come and scribble here with me, honest people, boys and girls, and young women, and merchant women, and clerks, and sextons, and clerk rats, and revelers idle, I’ll show you all sorts of pictures, and gentlemen, and men in sheepskin, and you listen to jokes and various jokes with attention, eat apples, gnaw nuts, look at pictures and take care of your pockets. They'll fool you!" The heavenly performance included three types of influence on the public: image, word, game. For example, having installed the next picture, the raeshnik first explained “what this means”: “And this, if you please, look and look, look and look, Lexandrovsky Garden.” And while those standing at the windows looked at the image of the garden, he amused those around him who were not busy looking at people, ridiculing modern fashion: “There girls walk around in fur coats, in skirts and rags, in hats, green linings; the farts are fake and the heads are bald"
These pictures were often made in popular print style. And initially they had a religious content - hence the name “paradise”. And only after a while they began to display a wide variety of topics, including political ones.
Most likely, the paradise came to St. Petersburg in 1820 from Moscow, where city entertainment was held annually. True, the new spectacle did not immediately attract the attention of periodicals. It was only in 1834 that the “Northern Bee” first mentioned “the paradises where for a penny you can see Adam and his family, a flood and the burial of a cat.”
Lubo k (popular picture, popular sheet, amusing sheet, simple book) - a type of graphics, an image with a caption, characterized by the simplicity and accessibility of the images. Originally a type of folk art. It was made using the techniques of woodcuts, copper engravings, lithographs and was supplemented with hand-cutting. Popular prints are characterized by simplicity of technique and laconism of graphic means (rough strokes, bright colors). Often the popular print contains a detailed narrative with explanatory inscriptions and additional (explanatory, complementary) images to the main one. In Russia in the 16th century - early 17th century, prints were sold that were called “Fryazhskie sheets” or “German amusing sheets” [In Russia, drawings were printed on specially sawn boards. The boards were called lube (where the deck comes from). Drawings, drawings, and plans have been written on luba since the 15th century. In the 17th century, painted bast boxes became widespread. Later, paper pictures were called lubok, lubok picture. At the end of the 17th century, a Fryazhsky printing mill was installed in the Upper (Court) printing house for printing Fryazhian sheets. In 1680, master Afanasy Zverev cut “all sorts of Fryazhian cuttings” on copper boards for the Tsar. German amusing sheets were sold in Vegetable Row, and later on Spassky Bridge. At the end of the 19th century, lubok was revived in the form of comics
Thematically, St. Petersburg and Moscow popular prints began to differ noticeably. Those made in St. Petersburg resembled official prints, while those in Moscow were mocking and sometimes not very decent depictions of the adventures of silly heroes (Savoska, Paramoshka, Thomas and Erem), favorite folk festivals and amusements (Bear with a Goat, Daring Fellows - Glorious Fighters, Bear Hunter stabbing, Hare hunting). Such pictures entertained rather than edified or taught the viewer. Variety of themes of Russian popular prints of the 18th century. continued to grow. An evangelical theme was added to them (for example, the Parable of prodigal son) at the same time, the church authorities tried not to let the publication of such sheets out of their control. In 1744, the Holy Synod issued an instruction on the need to carefully check all lubok with religious content. At the same time, in Moscow, which Peter deprived of the title of capital, anti-government lubok began to spread. Among them are images of an impudent cat with a huge mustache, similar in appearance to Tsar Peter, the Chukhon Baba Yaga - an allusion to the native of Chukhonia (Livonia or Estonia) Catherine I. Plot The Shemyakin court criticized judicial practice and red tape. Thus, the popular satirical popular print marked the beginning of Russian political caricature and visual satire.
TYPES OF LUBKOV: Spiritual and religious - in the Byzantine style. Icon type images. Lives of saints, parables, moral teachings, songs, etc. Philosophical. Legal - depictions of trials and legal actions. The following subjects were often encountered: “The Shemyakin Court” and “The Tale of Ersha Ershovich”. Historical - “Touching stories” from chronicles. Image of historical events, battles, cities. Topographic maps. Fairy tales - magical tales, heroic tales, “Tales of Daring People”, everyday tales. Holidays - images of saints. Cavalry - popular prints with images of horsemen. Joker - amusing popular prints, satires, caricatures, jokes.
“...The mouse tribe suffered a lot of troubles from the treacherous cat. And when it seemed to the mice that the cat was lying dead, they decided to give their enemy a magnificent funeral, and a holiday for themselves. The mice put the cat on a sled, but tied his paws just in case. Many mice harnessed themselves to the sleigh, while others began to push from all sides. And the mice took the cat to bury it. Here, in the midst of the solemn ceremony, the pretender came to life, easily broke the mouse's fetters and pounced on his enemies. The mouse race suffered many losses then.”
Driving a Bear and Mummers A worthy place in folk theater art is occupied by everyone's favorite show with bears - "Bear Fun". Guides roamed the roads of Russia for many centuries and were frequent guests at modest village holidays and city fairs. The very first guides of the bear were, most likely, “cheerful people” - buffoons. The appearance of a bear was always accompanied by delight, admiration and respect. According to pagan beliefs, the bear is a relative or even the ancestor of man. They believed that the sacred animal had a direct connection with fertility, health, procreation, and well-being. The art of a guide consisted not only of good training of the animal, but also the ability to fill all the movements of the bear with content and a certain meaning. The funniest moments arose from the unexpected interpretation of bearish gestures, bold juxtapositions of people, and therefore the result was either good humor or even evil satire. In "Bear Fun" a bear played the role of a person, and a dressed-up person, for example, played a goat. Mummers' games should be classified as mummers - a special form of folk culture. And although they contain dialogue, they are monologue. And even if the game has a plot, it is not theater, because the game does not imply a spectator. It does not have its own dialogue, which makes the text dramatic. Mummers' games are a ritual game.
CHURCH THEATER The Church took all measures to assert its influence. This found expression in the development of liturgical drama. Some liturgical dramas came to us along with Christianity, others - in the 15th century, along with the newly adopted solemn charter of the “great church” (“Procession on the Donkey”, “Washing of the Feet”). Despite the use of theatrical and entertainment forms, the Russian church did not create its own theater.
The “procession (walking) on a donkey” took place on Palm Sunday (a week before Easter). After the liturgy, the solemn bell ringing began. In Moscow, a donkey or a white horse under a white blanket was brought to the Kremlin. At the same time, an argument with the owner of the donkey was inserted into the liturgical text. The clergy went out into the square, the metropolitan (in the 17th century - the patriarch) sat sideways in a special saddle and took the cross in his right hand and the Gospel in his left. The donkey was usually led by the bridle by the tsar himself or his close boyar; the king was in ceremonial attire, wearing Monomakh's hat. During the procession, clothes were spread along the Metropolitan's path and green willow branches were thrown. In the 1620-1630s, this was done by special people - “postilniki”. They took off their red caftans and laid them on the ground at the feet of the marchers. The number of postilalniks reached fifty, and by the end of the 17th century there were already up to one hundred people. The whole procession as a whole also became more magnificent and solemn. The metropolitan was followed by the prince, dressed in full regalia, followed by many boyars; The people brought up the rear of the procession. The procession headed from the Kremlin to St. Basil's Cathedral, where a short service was held, and then returned to the Kremlin. The last time the “Procession on a Donkey” took place during the reign of Tsars Peter and Ivan Alekseevich.
On the fourth day after the Procession, Thursday of Holy Week, the Washing of the Feet was performed. This liturgical drama was part of the divine service back in the 10th century, in which the Metropolitan, together with the priests, reenacted the scene of the Last Supper. The priests, twelve in number, ascended to a raised platform specially built for these occasions in the middle of the church, and sat six on each side of the platform. Next came a dramatization of the Gospel text: the bishop stood up, took off his vestments and, pouring water into a basin that was carried in front of him, washed and then wiped the priests’ feet. Each of the priests kissed his hand as a sign of gratitude.
But the most dramatically developed and most theatrical of all liturgical dramas was “The Cave Act,” which was a dramatization of the biblical tale of the three youths: Ananias, Azarin and Misail. It was sent on December 17th (before Christmas). In Rus', the “Cave Act” was apparently performed back in the 11th century. But we only know the rank of the 16th century, since in the oldest list of actions found in our country, Prince Vasily Ivanovich (1505 - 1533) has been around for many years. . Two different editions of “The Cave Action” have been preserved - from the 16th and 17th centuries. If liturgical dramas were usually limited to the staging of gospel texts and the dialogues contained in them, then in the 17th century edition there were several inserted dialogic genre scenes performed not in Church Slavonic, but in the Russian everyday language. The influence of oral folk drama is clearly visible in them. We can assume that these dialogues were conducted by buffoons
On Saturday, a structure depicting a “furnace of fire” was erected opposite the royal gates. An image of an angel was hung on a hook from a removed chandelier, which was raised and lowered with the help of a rope coming from the altar and thrown over a block. The oven was divided into two parts by a floor, to which steps led on one side. The upper tier included "babies"; in the lower one, directly on the church floor, a forge with hot coals was placed. The action depicted the story of the miraculous salvation of the three youths Ananias, Azariah and Misail from the fiery furnace
Despite the use of theatrical and entertainment forms, the Russian church did not create its own theater. The experience of liturgical dramas passed, essentially, without a trace for the history of the theater and gave some results only from the moment when the masses began to democratize liturgical drama, saturate the images with flesh, surround them with everyday life, and include genre comic scenes - interludes - in dramas. And although in the 17th century Simeon of Polotsk tried to create an artistic literary drama on the basis of liturgical drama, this attempt remained isolated and proved fruitless. Simeon of Polotsk. A figurative poem in the shape of a heart “From the abundance of the heart the mouth speaks” from the cycle “Greetings” “for the occasion” - in honor of the birth of Tsarevich Fyodor (1661).
Theater truly appeared in the 17th century - court and school theater. Court theater The emergence of the court theater was caused by the interest of the court nobility in Western culture. This theater appeared in Moscow under Tsar Alexei Mikhailovich. The first performance of the play "The Act of Artaxerxes" (the story of the biblical Esther) took place on October 17, 1672. The author of the play was the pastor of the Lutheran church in the German settlement, Master Johann Gottfried Gregory. The play was written in verse in German, then the translators of the Ambassadorial Prikaz translated it into Russian, and after that the foreign actors, students of Gregory’s school, learned the roles in Russian.
Researchers of the repertoire of the Russian court theater have noted its diversity. Treatments of biblical stories predominated: “Judith” (“The Action of Holofernes”) – about the biblical heroine, at whose hands the pagan Holofernes, the leader of the army that besieged the hometown of Judith, died; “Piteous Comedy about Adam and Eve”, “Small Cool Comedy about Joseph”, “Comedy about David and Goliath”, “Comedy about Tobias the Younger”. Along with them, there were historical ("Temir-Aksakov action" - about Tamerlane, who defeated Sultan Bayazet), hagiographic (the play about Yegori the Brave) and even ancient mythological (the play about Bacchus and Venus and the ballet "Orpheus") productions. The latter case should be discussed in more detail. "Orpheus" is a ballet staged at the court theater of Tsar Alexei Mikhailovich in 1673. The performance was created on the basis of the German ballet "Orpheus and Eurydice", performed in 1638 in Dresden with words by August Büchner and music by Heinrich Schütz. Probably, in the Russian production the music was different. The text of the Russian play has not survived. The production is known from the work of the Courlander Jacob Reitenfels, who visited Moscow in 1671-1673. and who published in 1680 in Padua the book “On the Affairs of the Muscovites” (“De rebus Moscoviticus”). In the German production, a choir of shepherds and nymphs sang greetings to the prince and his wife. In the Moscow ballet, Orpheus himself sang the greeting to the Tsar before starting the dance. Reitenfels cites German poems that were translated to the Tsar. The staging of the musical performance was a particularly remarkable event for the Russian theater, because Tsar Alexei Mikhailovich did not like secular music and at first resisted its introduction into performances. However, in the end he had to admit the need for music in theater.
At first, the court theater did not have its own premises; scenery and costumes were moved from place to place. The first performances were staged by Pastor Gregory from the German Settlement; the actors were also foreigners. Later they began to forcibly recruit and train Russian “youths”. They were paid irregularly, but they did not skimp on decorations and costumes. The performances were distinguished by great pomp, sometimes accompanied by playing musical instruments and dancing. After the death of Tsar Alexei Mikhailovich, the court theater was closed, and performances resumed only under Peter
The beginning of the Russian school theater is associated with the name of Simeon of Polotsk, the creator of two school dramas ("The Comedy of Nebuchadnezzar the King" and "The Comedy of the Parable of the Prodigal Son"). The most famous is the latter, which is a stage interpretation of the famous Gospel parable and is dedicated to the problem of a young man (i.e., the new generation) choosing his path in life. This topic was extremely popular, one might even say that it dominated the literature of the second half of the century. The content of the drama is quite traditional and is a retelling of the events of the Gospel parable, supplemented with specific everyday details. The task of the play - like the task of Simeon's poetry collections - is to combine instruction with entertainment, which is directly stated by the Prologue before the start of the action: So please show mercy, incline your eyes and ears to the action: Thus, for sweetness will be found, Not only hearts, but souls will be saved .
School theater In addition to the court theater, in Russia in the 17th century a school theater also developed at the Slavic-Greek-Latin Academy, in theological seminaries and schools in Lvov, Tiflis, and Kyiv. Plays were written by teachers, and students staged historical tragedies, allegorical dramas close to European miracles, interludes - satirical everyday scenes. The emergence of school theater in Rus' is associated with the development of school education. In Russia, school theater was used by Orthodoxy in the fight against Roman Catholic influence. A monk, a student of Kiev, contributed to its inception. Mogila Academy, educated man, political figure, educator and poet Simeon of Polotsk. In 1664 he came to Moscow and became a teacher of the royal children at court. In the collection of his works “Rhythmologion” two plays were published - “The Comedy about King Novhudonosor, about the Golden Body and about the Three Youths who were not burned in the Cave” and the comedy “The Parable of the Prodigal Son”.
Theater of the early 18th century By order of Peter I, the Public Theater was created in 1702, designed for mass audiences. A building was built especially for him on Red Square in Moscow - the “Comedial Temple”. The German troupe of J. H. Kunst gave performances there. The repertoire included foreign plays that were not successful with the public, and the theater ceased to exist in 1706, as subsidies from Peter I ceased.
"Comedial Temple" is a theater building built in Moscow in 1702 on Red Square opposite the Nikolsky Gate of the Kremlin. The theater premises were built by order of Tsar Peter I for the public state theater. The new theater was significantly different from the one that existed during the time of Tsar Alexei Mikhailovich. It was public, that is, intended not for the courtier, but for the city viewer. Peter I attached great importance to this theater. The idea of Peter I, of course, met resistance among supporters of the old style of life - they also did not like the fact that the theater was located in the very center of the ancient Russian capital. (According to the original plan, the theater was supposed to be located inside the Kremlin.) By the end of 1702, the Comedy Temple was ready.
The Comedy Temple troupe consisted of German actors, and was headed by the entrepreneur Kunst. The performances were on German. But shortly before the opening of the Kunst Theater, ten “Russian guys” were sent to study. Kunst was supposed to teach them the basics of acting, which would allow them to perform performances in Russian in the future. The “Comedy Temple” could accommodate up to 400 spectators. Performances were given twice a week: on Mondays and Thursdays. Ticket prices were 10, 6, 5 and 3 kopecks. For the convenience of spectators and to increase the theater's fees, a decree was issued that relieved theater visitors from paying taxes that were collected at the "city gates" from persons walking around the city at night. But despite all kinds of events, the public was not very willing to go to the theater. Sometimes no more than twenty-five people were present at the performances. The reason for such low popularity of the new spectacle was, of course, its foreign troupe and foreign dramaturgy, the performance of many performances in German. The theater was cut off from Russian life. In 1706, the Moscow theater "Comedial Temple" was closed, the actors were dismissed, costumes and scenery were transported in 1709 to the palace of Peter I's sister Natalya Alekseevna, who had a court theater. In 1707, the building of the "Comedial Temple" began to be dismantled, and in 1735 it was finally demolished.
It is curious that the birthplace of Russian theater is neither Moscow nor St. Petersburg. The Russian theater appeared not in the capital, but in the ancient Russian city of Yaroslavl. It was here in 1750 that Russian actor Fyodor Grigorievich Volkov founded Russia's first professional theater troupe.
In Moscow, where the boy was sent for training, Volkov became deeply and forever interested in theater. He literally caught fire with his new hobby and studied art and stagecraft for several years. Returning in 1748 to Yaroslavl, where the family lived, Volkov organized a theater troupe and began giving performances in a stone barn. The first performance took place on June 29, 1750, it was the drama "Esther". Two years later, Volkov and his comrades, by order of Empress Elizabeth Petrovna, were summoned to St. Petersburg. And in 1756, the main event in the theatrical life of Russia in the 18th century took place - the establishment of the “Russian Theater for the Presentation of Tragedies and Comedies,” the first state operating professional theater.
Fyodor Volkov was immediately appointed “the first Russian actor,” and Alexander Sumarokov was appointed director of the theater; only after his death, in 1761, Volkov became director of “his” theater. For this reason, Fyodor Grigorievich refused the post of cabinet minister. In total, Fyodor Volkov wrote about 15 plays, none of which have survived to this day; he was also the author of many solemn odes and songs. Today the Volkovsky Theater is one of the most famous and largest "non-capital" Russian theaters.
Goals and objectives of the work: Goal: Systematization, accumulation and consolidation of knowledge about the Russian theater of the 18th century. Objectives: Review the history of Russian theater; Describe the history of school and court theaters of the 17th-18th centuries; Summarize the main results of the abstract.
HISTORY OF THE RUSSIAN THEATER Russian theater originated in ancient times. Its origins go back to folk art - rituals, holidays associated with work. Over time, the rituals lost their magical meaning and turned into games. Elements of theater were born in them - dramatic action, acting, dialogue. In the process of their development, the games differentiated, breaking up into related and at the same time varieties increasingly moving away from each other - into dramas, rituals, games.
Buffoonery For the first time in 1068, buffoons were mentioned in the chronicles. Skomorokhs - Russian medieval actors, at the same time singers, dancers, animal trainers, musicians and authors of most of the verbal, musical and dramatic works they performed. Church teachings of the 11th-12th centuries declare the sin of dressing up, which buffoons resort to. Persecution of buffoons during the years of the Tatar yoke. Pagan persecution and disappearance of buffoons (Tsar's decrees of 1648, 1649, etc.).
Theaters of the 17th century Theater in the proper sense of the word appeared in Rus' in the 17th century as a court function under Tsar Alexei Mikhailovich. The immediate leader was Pastor I. G. Gregory. The first performance (“Artaxerxes’ action”) took place on October 17 (10/27), 1672 in the village of Preobrazhenskoye near Moscow. After the death of Tsar Alexei Mikhailovich (1676), the performances stopped. In addition to the court theater, school theater also developed in Russia in the 17th century. School theater sideshows laid the foundation for the comedy genre in national drama. The origins of the school theater were the famous political figure and playwright Simeon Polotsky.
Theater of the 18th century Theater under Peter I By the middle of the 18th century, the theater had already firmly entered the life of Russian society, and not only of its aristocratic or church elite, but also of the social lower classes. The first public theater (Comedial Temple) under the direction of I. Kunst The repertoire is varied, the general features of the plays are an extremely complicated love affair, a heap of horrors, murders, and all sorts of melodramatic effects. Under Peter, two main types of theater continued to develop: school and secular (court); At this time, plays of the city drama theater, which developed widely in the second quarter of the 18th century, also began to appear. Russian theater was mainly represented by school theater. The aesthetic paths, which by this time had sharply departed from the traditions of Simeon of Polotsk.
Theaters under Elizabeth Petrovna and Catherine II During the reign of Elizabeth Petrovna, the theater business flourished on August 30, 1756 - the Alexandrinsky Theater was established in 1757, the first actresses, before that, female roles were performed by men. At the accession of Catherine II to the throne, there were three court troupes in St. Petersburg: Italian opera, ballet and Russian drama; In 1783, “tests” (debuts) for artists were first established. They began to give paid performances for the public in city theaters. The first socio-political comedy in the history of Russian drama was Denis Ivanovich Fonvizin’s play “The Minor”
Denis Ivanovich Fonvizin () Founder of Russian drama
His work expressed a protest against serfdom and social vices that hindered the development of the country and national culture “Brigadier” - Fonvizin’s first original play (late 60s) was staged in 1780 at the St. Petersburg Theater on Tsaritsyn Meadow.
For the first time in literature and drama, Fonvizin created a reliable picture of Russian life, filled with the details of everyday life that he noticed in reality. On September 24, 1782, “The Minor” was staged in St. Petersburg. On May 14, 1783, the premiere of “The Minor” took place in Moscow. Court circles and part of the nobility were hostile.
Dmitrievsky Ivan Afanasyevich () outstanding Russian actor
Dmitrievsky played a huge role in the development of Russian theater. He created a stage school of Russian theatrical acting, which determined the movement of Russian theater. Dmitrievsky's student was the famous Russian tragic actor Alexei Yakovlev. Dmitrievsky was the first in the Russian theater to study the art of theatrical directing. Awarded the right to be called the First Actor of the Russian Theater. Especially for Dmitrievsky, Fonvizin wrote the role of Starodum in the famous comedy “The Minor.”
CONCLUSION The heyday of the Russian theater of the 18th century was the second half of the century. The most outstanding works were comedies by D.I. Fonvizin "Undergrown" and "Brigadier". The creation of the “Theater Directory” and state financial support led to the fact that Russian theater became more accessible to the population, and performances became more colorful.
Slide 1
From round dance to booth Municipal educational institution Secondary School No. 8, Severomorsk village - 3, Murmansk regionSlide 2
Slide 3
In the old days, round dance was a popular folk game in Rus'. It reflected a variety of life phenomena. There were round dances for love, military, family, work... We know three types of round dance:
Slide 4
In round dance games the choral and dramatic principles were organically merged. Such games usually began with “composite” songs and ended with “collapsible” songs, and the songs were distinguished by a clear rhythm. Subsequently, with changes in the structure of the clan community, the round dance games also changed. Lead singers (luminaries) and performers (actors) appeared. There were usually no more than three actors. While the choir sang the song, they acted out its content. There is an opinion that it was these actors who became the founders of the first buffoons.
Slide 5
Russian dance is an integral part of folk games and celebrations. She was always connected to the song. It was this combination that was one of the main expressive means of folk theater. Since ancient times, Russian folk dance has been based on the daring of competing partners, on the one hand, and unity, smoothness of movements, on the other.
Slide 6
Russian dance was born from pagan rituals. After the 11th century, with the advent of professional buffoon actors, the nature of the dance also changed. The buffoons had a developed dance technique; Varieties of buffoon-dancers arose. There were buffoon dancers who not only danced, but also performed pantomime performances with the help of dance, which were most often improvised in nature. Dancers appeared, usually they were the wives of buffoons. Russian dance
Slide 7
Dance occupied a large place in various forms of theater. He was part of not only games and celebrations, but also performances of the puppet show Petrushka, and often filled the pause between acts of the school drama. Many traditions of Russian dance have survived to this day.
Slide 8
Guides with bears have been mentioned in sources since the 16th century, although it is possible that they appeared much earlier. The respectful attitude towards this beast originated in pagan times. The bear is the progenitor. He is a symbol of health, fertility, prosperity, he is stronger than evil spirits.
Slide 9
Among the buffoons, the bear was considered the breadwinner of the family, its full member. Such artists were called by their first name and patronymic: Mikhailo Potapych or Matryona Ivanovna. In their performances, guides usually depicted the life of ordinary people; interludes were on a wide variety of everyday topics. The owner asked, for example: “And how, Misha, do small children go to steal peas?” - or: “How do women slowly wander to their master’s work?” - and the beast showed it all. At the end of the performance, the bear performed several memorized movements, and the owner commented on them.
Slide 10
The “bear comedy” in the 19th century consisted of three main parts: first, the dance of a bear with a “goat” (the goat was usually portrayed by a boy who put a bag on his head; a stick with a goat’s head and horns was pierced through the bag from above; a wooden tongue was attached to the head, the flapping of which produced a terrible noise), then came the performance of the animal to the jokes of the guide, and then its fight with the “goat” or owner. The first descriptions of such comedies date back to the 18th century. This fishery existed for a long time, until the 30s of the last century.
Slide 11
Since ancient times, in many European countries at Christmas it was customary to install a manger in the middle of the church with figurines of the Virgin Mary, a baby, a shepherd, a donkey and a bull. Gradually, this custom grew into a kind of theatrical performance, which, with the help of dolls, told the famous gospel legends about the birth of Jesus Christ, the worship of the Magi and the cruel King Herod. The Christmas performance was well spread in Catholic countries, in particular in Poland, from where it spread to Ukraine, Belarus, and then, in a slightly modified form, to Villikorossiya.
Slide 12
When the Christmas custom went beyond the Catholic church, it acquired the name nativity scene (Old Slavonic and Old Russian - cave). It was a puppet theater. Imagine a box divided inside into two floors. The box ended at the top with a roof, its open side facing the public. There is a bell tower on the roof. A candle was placed on it behind the glass, which burned during the performance, giving the action a magical, mysterious character. Dolls for the nativity play were made of wood or rags and attached to a rod. The lower part of the rod was held by the puppeteer, so the dolls moved and even turned. The puppeteer himself was hidden behind the box. On the upper floor of the den, biblical scenes were played out, on the lower floor - everyday ones: everyday, comedic, sometimes social. And the set of dolls for the lower floor was the usual: men, women, devils, gypsies, gendarmes, and the simple man always turned out to be more cunning and smarter than the gendarme. It was from the nativity scene that the Petrushka Theater, so popular among the people, was born.
Slide 13
Everyone will dance, but not like a buffoon,” says the Russian proverb. Indeed, many people could play games, but not everyone could be a professional buffoon. The people's favorite professional buffoon was the puppet theater actor, and the most popular was the comedy about Petrushka. Parsley is a favorite hero of both the buffoons who gave the performance and the audience. He is a daring daredevil and a bully who maintained a sense of humor and optimism in any situation. He always deceived the rich and government officials and, as a protester, enjoyed the support of the audience.
Slide 14
In such a theatrical performance, two heroes acted simultaneously (according to the number of hands of the puppeteer): Parsley and the doctor, Parsley and the policeman. The plots were the most common: Petrushka gets married or buys a horse, etc. He always participated in a conflict situation, and Petrushka’s reprisals were quite brutal, but the public never condemned him for this. At the end of the performance, Petrushka was often overtaken by “heavenly punishment.” The most popular puppet theater of Parsley was in the 17th century.
Slide 15
Since the end of the 18th century, at the fair one could often see a brightly dressed man carrying a decorated box (rayok) and shouting loudly: “Come here with me to scribble, honest people, both boys and girls, and young men and women, and merchants and merchantwomen, and clerks and sextons, and clerks and idle revelers. I’ll show you all sorts of pictures: both gentlemen and men in sheepskin, and you listen to jokes and various jokes with attention, eat apples, gnaw nuts, look at pictures and take care of your pockets. They’ll trick you.” Rayok
Slide 16
Rajek came to us from Europe and goes back to large panoramas. Art historian D. Rovinsky in his book “Russian Folk Pictures” describes it as follows: “The rack is a small, arshin-high box in all directions with two magnifying glasses in front. Inside, a long strip with homegrown images of different cities, great people and events is rewound from one skating rink to another. The spectators, “a penny apiece,” look into the glass. Rayoshnik moves the pictures and tells tales for each new number, often very intricate ones.”
Slide 17
Raek was very popular among the people. In it one could see a panorama of Constantinople and the death of Napoleon, the Church of St. Peter in Rome and Adam with his family, heroes, dwarfs and freaks. Moreover, the raeshnik did not just show pictures, but commented on the events depicted in them, often criticizing the authorities and the existing order, in a word, touching on the most pressing problems. Rayek existed as a fair entertainment until the end of the 19th century.
Slide 18
Not a single fair in the 18th century was complete without a booth. Theatrical booths became the favorite spectacles of that era. They were built right on the square, and by the way the booth was decorated, one could immediately understand whether its owner was rich or poor. Usually they were built from boards, the roof was made of canvas or linen.
Slide 19
There was a stage and curtain inside. Ordinary spectators sat on benches and during the performance ate various sweets, crumpets, and even cabbage soup. Later, a real auditorium with stalls, boxes, and an orchestra pit appeared in the booths. The outside of the booths was decorated with garlands, signs, and when gas lighting appeared, then with gas lamps. The troupe usually consisted of professional and traveling actors. They gave up to five performances a day. In the theatrical booth one could see a harlequinade, magic tricks, and sideshows. Singers, dancers and simply “outlandish” people performed here. Popular was the man drinking fiery liquid, or the “African cannibal” eating pigeons. The cannibal was usually an artist smeared with tar, and the dove was a stuffed animal with a bag of cranberries. Naturally, ordinary people always looked forward to the fair with its theatrical farce.
Slide 20
There were also circus shows, their actors were “jacks of all trades.” Yu. Dmitriev in the book “Circus in Russia” quotes a message about the arrival of comedians from Holland who “walking on a rope, dancing, jumping in the air, on the stairs, without holding on to anything, they play the violin, and while walking on the stairs, they dance, immensely.” they jump high and do other amazing things.” Over the long years of their existence, booths changed, and by the end of the 19th century they almost disappeared forever from the history of Russian theater.
Slide 21
1672 - performances of the court troupe of Tsar Alexei Mikhailovich began Artamon Matveev orders “to perform a comedy”, “and for that action to arrange a khoromina” On October 17, the first performance took place in the village of Preobrazhenskoye
Slide 22
1702 - the first Russian public theater on Red Square. Festive processions, fireworks, masquerades, assemblies become popular.
Slide 23
This is what the theater looked like in Yaroslavl in 1909. In 1911 he was named after Fyodor Volkov
MKOU "Torbeevskaya Basic School named after A.I. Danilov"
Novoduginsky district, Smolensk region
The history of the emergence of theater in Russia
Completed by: primary school teacher
Smirnova A.A.
village Torbeevo
2016
Folk art Russian theater originated in ancient times in folk art. These were rituals, holidays. Over time, rituals lost their meaning and turned into performance games. They showed elements of theater - dramatic action, mummering, dialogue. The oldest theater was the games of folk actors - buffoons.
Buffoons
In 1068, buffoons were first mentioned in chronicles. They coincide in time with the appearance on the walls of the Kiev-Sophia Cathedral of frescoes depicting buffoon performances. The chronicler monk calls the buffoons servants of devils, and the artist who painted the walls of the cathedral considered it possible to include their image in church decorations along with icons.
St. Sophia Cathedral in Kyiv
Frescoes on the walls of St. Sophia Cathedral
Who are the buffoons?
This is the definition given by the compiler of the explanatory dictionary V.I. Dahl:
“A buffoon, a buffoon, a musician, a piper, a wonder-player, a bagpiper, a psaltery player who makes his living by dancing with songs, jokes and tricks, an actor, a comedian, a jokester, a safecracker, a clown, a jester.”
Parsley
In the 17th century, the first oral dramas developed, simple in plot, reflecting popular sentiments. The puppet comedy about Petrushka (his name was Vanka-Ratatouille at first) told about the adventures of a clever, merry fellow who is not afraid of anything in the world .
Court Theater
Plans to create a court theater first appeared with Tsar Mikhail Fedorovich in 1643. The Moscow government tried to find artists who would agree to enter the royal service. In 1644, a troupe of comedians from Strasbourg arrived in Pskov. They lived in Pskov for about a month, after which, for an unknown reason, they were expelled from Russia.
Tsar Mikhail Fedorovich Romanov
Tsarsky Theater The first royal theater in Russia belonged to Tsar Alexei Mikhailovich and existed from 1672 to 1676. Its beginning is connected with the name of the boyar Artamon Matveev. Artamon Sergeevich ordered the pastor of the German settlement, Johann Gottfried Gregory, who lived in Moscow, to start recruiting an acting troupe.
Tsar Alexei Mikhailovich
Artamon Matveev
The pastor recruited 64 young men and teenage boys and began teaching them acting skills. He composed a play based on a biblical story. It was written in German, but the performance was performed in Russian. On October 17, 1672, the opening of the long-awaited theater in the Tsar's residence near Moscow and the first theatrical performance took place.
Fun Chamber
The Tsar's Theater as a building was called the Amusement Chamber.
School theater
In the 17th century, a school theater appeared in Russia at the Slavic-Greek-Latin Academy. The plays were written by teachers, and students staged historical tragedies, dramas, and satirical everyday scenes. Satirical skits from the school theater laid the foundation for the comedy genre in national drama. The origins of the school theater were the famous political figure and playwright Simeon Polotsky.
Simeon of Polotsk
Fortress theaters
And at the end of the 17th century the first serf theaters appeared. Serf theaters contributed to the appearance of women on stage. Among the outstanding Russian serf actresses is one who shone in the Sheremetev Counts Theater Praskovya Zhemchugova-Kovalyova. The repertoire of serf theaters consisted of works by European authors, primarily French and Italian.
Count Sheremetev
Praskovya Zhemchugova-Kovalyova
Fortress Theater of Count Sheremetev
Home theater building
Sheremetevs
Actors' costumes
Theater premises
When did the theater appear in the city of Smolensk?
1) in 1708
2) in 1780
3) in 1870
4) in 1807
In 1780 to arrive Catherine II accompanied by Emperor Joseph II , the governor of the city, Prince N.V. Repnin, prepared an “opera house”, where “a Russian comedy with a choir” was presented to nobles of both sexes.
N. V. Repnin
Catherine II
Emperor Joseph II
Whose name is the Smolensk Drama Theater named after?
1) A.S. Pushkin?
2) F.M. Dostoevsky?
3) L.N. Tolstoy?
4) A.S. Griboedova?
What theater is not in Smolensk?
Chamber theater
Puppet Theatre
Opera and Ballet Theatre
There is no opera and ballet theater in Smolensk, there is a Philharmonic named after M.I. Glinka
Smolensk Regional Philharmonic named after. M.I. Glinka
Concert hall Smolensk Philharmonic
Italy Olimpico Theater (1586) The most important stage in the development of European theater was the Renaissance. The first professional theaters with permanent premises and a troupe emerged. Performances are created on the basis of dramatic or other stage works. The most important stage in the development of European theater was the Renaissance. The first professional theaters with permanent premises and a troupe emerged. Performances are created on the basis of dramatic or other stage works.
England Globe Theater (16th century) The theater is made entirely of wood, only individual parts are painted in different colors to resemble marble or brick. The canopy covering the stage depicts the celestial sphere. The theater has no roof, it is round in shape, and there is often an overcast London sky above it.
Street theaters in Russia Russian buffoon actors have been known since the 11th century. Among them were musicians, singers, dancers, jokers, trainers of wild animals, especially bears.
The First Winter Palace of Peter I - the Hermitage The First Winter Palace of Peter I - the Hermitage Theatre. Under Peter I, the first publicly accessible, public, state theater was created. But the troupes of these first theaters consisted mainly of foreigners. Under Peter I, the first publicly accessible, public, state theater was created. But the troupes of these first theaters consisted mainly of foreigners.
