10th grade student of secondary school No. 15 in Sergiev Posad Zakharova Vsevolod 1) The emergence of professional theater 2) Old Russian musical culture 3) Sources of information 1) Reveal the features of the emergence of professional theater in Russia, 2) Reveal the features of the formation of musical culture from ancient Rus' to Russia, 3) Contribute to the formation of the spiritual culture of students, interest and respect for the culture of our country. TSAR ALEXEY MIKHAILOVICH The foundations of professional Russian theater were laid in the second half of the 17th century. Its origin is usually attributed to 1672, when Tsar Alexei Mikhailovich, a persecutor of folk “fun” and a great lover of magnificent shows and entertainment, was presented with the first performance of the court theater. The initiator of the creation of a theater similar to the European one was the enlightened boyar Artamon Sergeevich Matveev. The German pastor of the Lutheran Church in Moscow, Johann Gottfried Gregory, a widely educated man, literary gifted and possessing the necessary knowledge in the field of German and Dutch theaters, was appointed playwright. The theater was hastily built in the Tsar's residence near Moscow, in the village of Preobrazhenskoye. The auditorium of the “comedy mansion”, located like an amphitheater, was smaller in size than the stage, but was richly decorated: the walls and floor were upholstered in crimson, red and green cloth; the royal seat, located in front of the wooden benches, was upholstered in red cloth, on which, in accordance with the spectators were seated according to their “rank and rank”, some of them stood on the stage. For the queen and princesses, special boxes were arranged - “cages”, according to tradition, separated from the auditorium by a lattice. The first performance on the stage of the “comedy mansion” was the play “Esther, or the Action of Artaxerxes.” The plot of the play was based on the biblical story of Esther, a humble beauty who attracted the attention of the Persian king Artaxerxes and saved her people from death by becoming his wife. The performance lasted ten hours, but the king watched it all to the end and was very pleased. Ten more plays were staged in the “comedy hall”: “Judith”, “Piteous Comedy about Adam and Eve”, “Joseph” and others, on religious and historical subjects. Court performances were staged on a large scale and luxury, as they were supposed to reflect the pomp and wealth of the royal court. The suits were made from expensive fabrics. Music, singing and dancing were widely used in the performances. The organ, trumpets and other instruments were often heard. Each performance had lifting scenery and side scenes. Various effects were applied using stage technology. The first performers of the plays of the court theater were mainly actors from the German settlement and only men. At the end of the 17th century, the “state amusement” was replaced by a school theater (organized at some educational institution), based on the rich experience of theaters in Poland and Ukraine. Its origins were associated with the name of a student of the Kiev-Mohyla Academy, educator, poet and playwright Simeon of Polotsk. He wrote two plays especially for the school theater - “The Comedy of the Parable of prodigal son" and "About King Nechadnezzar, about the golden body and about the three youths who were not burned in the cave." The court and school theaters of the 17th century laid the foundation for the development of theatrical art in Russia and largely predetermined its future. The origins of ancient Russian musical culture go back to pagan traditions Eastern Slavs, which took shape long before the adoption of Christianity. The musical instruments of Ancient Rus' were quite diverse. Psaltery, sniffles, pipes, and flutes were widely used. The gusli, the oldest plucked string instrument, was especially respected in Rus', mentioned back in the 10th century in the Tale of Bygone Years. It has long been believed that the harp is akin to the human soul, and its ringing drives away death and illness. Folk storytellers and heroes played the gusli: the prophetic Boyan in “The Tale of Igor’s Campaign”, the epic heroes Volga and Dobrynya Nikitich in Kyiv, Sadko in Novgorod. As Dobrynya takes those ringing little goslings in her white hands, She pulls them into gilded strings, The Jewish verse begins to play in a sad way, In a sad way and in a touching way. At the feast, everyone became thoughtful, Thoughtful and listened. Dobrynya started playing in a merry way, He started a game from Erusolim, Another game from Tsar-grad, a third from the capital city of Kyiv - He brought everyone to the feast at the fun. During military campaigns, percussion and wind instruments were used: drums, tambourines, trumpets, rattles. They maintained the morale of soldiers during battles, relieved emotional stress, and instilled confidence in victory. The adoption of Christianity could not completely change the traditional way of life of the people and their musical preferences. With the baptism of Byzantium, many artistic principles were transferred to Russian soil, and the canon and system of genres were borrowed. Here they were creatively rethought and reworked, which subsequently made it possible to form original national traditions. Church music in Ancient Rus' existed in the form of choral singing without instrumental accompaniment. Musical instruments in Orthodox Church were prohibited. Moreover, instrumental music was considered sinful, demonic. This opposition had a spiritual meaning. In those days, it was believed that only angelic singing should sound in an Orthodox church, which is an echo of heavenly music. Such singing embodied the ideal of beauty and gave people a feeling of grace, purification, consolation, and taught them to love God and their neighbors. The only exception was the art of playing bells, which was developed in various forms of simple ringing, chime, trezvon, etc. Several bells with different tones formed a belfry, which made it possible to perform entire musical works. Church singing served as a model of the highest professionalism, embodied in the most various forms in a practical and theoretical system, which was called the osmoglas system, that is, the alternation of groups of tunes over periods of eight weeks. Folk music in those days was traditionally passed down from generation to generation orally, “from mouth to mouth.” Cult music in this era was recorded with special signs called banners, of which the most common were hooks. Therefore, ancient musical manuscripts were called znamenny, or hook. In the 17th century, musical culture in Russia, especially choral culture, reached very high level. It was a time when, along with traditional genres musical art new forms and genres were born. Before choral music was monophonic. Now it has been replaced by polyphony. And the hooks were replaced by musical notation, and the style of partes singing arose. That’s what they called singing from the notes of cants and choral concerts back then. These concerts were an important transitional step from church to secular professional music. The musical culture of Ancient Rus' was the solid foundation on which a beautiful building subsequently grew, which laid the foundation for the development of professional creativity. The best examples of ancient Russian music have rightfully become the most valuable asset of Russian musical culture. http://images.yandex.ru/, http://www.google.ru/imghp?hl=ru&tab=wi, http://vkontakte.ru/id47570217#/search?c%5Bsection%5D=audio, http://www.youtube.com/, World artistic culture. From origins to the 17th century. 10 grades Basic level: textbook for educational institutions / G.I. Danilova. – 7th ed., revised. – M.: Bustard, 2009
Russian theatrical creativity arose in the era of the primitive communal system and in to a greater extent than painting and architecture, it is connected with folk art. The soil on which its original elements appeared was the production activity of the Slavs, who folk rituals and holidays turned it into a complex system of dramatic art.
Folklore theater in Slavic countries still exists today. Weddings, funerals, agricultural holidays are complex rituals, sometimes lasting several days and widely using such theatrical elements as dramatic action, singing, dance, costume, decorations (matchmaker, bride, round dances, ritual or entertaining games etc.). The ancient Slavs also reflected the festival of the resurrection of dead nature, characteristic of world paganism.
After the adoption of Christianity, the role of folk games in the life of society decreased significantly (the church persecuted paganism). Theater folk art nevertheless, it continued to live until the 20th century. At first, its carriers were buffoons. At folk games the popular “mummer games” and “dead people’s” performances with the “learned bear” were performed. The People's Theater gave the Petrushka Theater.
Were loved ones in Rus' puppet shows- nativity scene, later raika (Ukraine), in the south and west - batleyki (Belarus). These performances were given using a wooden box divided into upper and lower tiers. On the top floor, a serious part of the performance was played on the theme of the biblical tale of the birth of Christ and King Herod. On the lower floor they showed everyday comic and satirical scenes, much like the Petrushka Theater. Gradually, the serious part of the nativity scene was reduced, and the second part grew, supplemented by new comic scenes 
and, the nativity box changed from a two-tier one to a single-tier one.
Until the 17th century in Russia, theatricality was an organic component folk rituals, calendar holidays, staged round dances. Its elements were included in the church service, and it was here that, as the secular principle intensified in Russian society, a professional theater began to form.
Initially, liturgical actions arose. These are quite complex theatrical performances used to enhance the impact church service and glorification of the unity of state and church authorities. The “cave act” (a re-enactment of King Nebuchadnezzar’s massacre of Christians) and “riding a donkey” (a reenactment of the Bible story on Palm Sunday) are well known.
The court and school theaters of the 17th century contributed to the further development of theater in Russia. Even under Tsar Alexei Mikhailovich, court celebrations, receptions, and ceremonies began to be decorated with a great deal of theatricality - expressively and magnificently. The first Russian professional theater, the Comedy Temple, was a court theater and was one of the tsar’s regulated “fun shows.” It was headed in 1662 by I. Gregory, master of theology, pastor and head of the school at the Lutheran officers' church in the German settlement of Moscow. The building itself was opened in 1672 in the village of Preobrazhenskoye with the performance “Artaxerxes’ Action”.
The emergence of school theater in Rus' is associated with the development of school education. IN Western Europe it arose in the 12th century in humanistic schools as a kind of pedagogical technique and initially served only educational purposes. He helped students master various knowledge in the form of a game: the Latin language and biblical stories, poetry and oratory. In the 16th century, the possibilities of the spiritual impact of school theater began to be used for religious and political purposes: Luther in the fight against Catholics, the Jesuits - against Lutheranism and Orthodoxy. In Russia, school 
the theater was used by Orthodoxy in the fight against Roman Catholic influence. Its origin was facilitated by the monk, a graduate of the Kiev-Mohyla Academy, an educated person, a politician, 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”.
S. Polotsky's plays, by their nature, are intended for the court theater. In their merits they stand above the school plays of that time and precede the development theater XVIII century. Thus, the functioning of the “comedy temple” and the emergence of the first professional dramatic works S. Polotsky was the beginning of a historically necessary and natural process of mastering the achievements of the world theatrical culture in Russia.
Simeon of Polotsk was not only a talented poet and playwright. In the world artistic culture he played a significant role as the largest Slavic art theorist considering the problems artistic creativity- literature, music, painting. As a theologian, he noted that art is the highest spiritual creativity. He included poetry, music and painting.
S. Polotsky’s aesthetic and educational views on art are interesting. The monk argued that the art of beauty “has spiritual and spiritual benefits for people.” According to his reasoning, there is no poetry, painting, music without harmony, proportion and rhythm. Without art there is no education, since through its influence on the souls of people negative emotions are being forced out positive feelings. Through the beauty of music and words, the dissatisfied become patient, the lazy become hard workers, the stupid become smart, the dirty become pure in heart.
S. Polotsky created the first classification in the Slavic region visual arts, raising painting to the Seven Liberal Arts. The same goes for music. He substantiated its aesthetic value and proved the necessity for the church of polyphonic singing in a harmonious combination of voices. The mode-tonal variety of music, noted S. Polotsky, is dictated by its educational function.
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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 folk theater. Since ancient times, Russian folk dance has been based on the daring of competing partners, on the one hand, and unity and 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
The dance took great place in the most different forms 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 life common 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 clapping 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 XVIII 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 puppet show. 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 nativity theater 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 top floor of the nativity scene they played biblical stories, on the bottom - 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 theatrical performance two heroes acted simultaneously (according to the number of hands of the puppeteer): Petrushka and the doctor, Petrushka 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 merchant women, and clerks and clerks, and clerk rats and idle revelers. I’ll show you all sorts of pictures: both gentlemen and men in sheepskin, and you listen to jokes and various jokes with attention, eat apples, gnaw nuts, look at pictures and take care of your pockets. They’ll trick you.” Rayok
Slide 16
Rajek came to us from Europe and goes back to large panoramas. Art historian D. Rovinsky in the book “Russians folk pictures” describes it like this: “The rack is a small box, a yard wide 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 one appeared in the booths auditorium with stalls, boxes, orchestra pit. 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, a fair with a theatrical booth simple people always looked forward to it.
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.” For for long years throughout their existence, booths have changed to end of the 19th century 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 Becoming popular festive processions, fireworks, masquerades, assemblies
Slide 23
This is what the theater looked like in Yaroslavl in 1909. In 1911 he was named after Fyodor Volkov