In 1984, Paul Libo was replaced as FIVB President by Dr. Ruben Acosta, a lawyer from Mexico. At the initiative of Ruben Acosta, numerous changes were made to the rules of the game aimed at increasing the entertainment of the competition. On the eve of the 1988 Olympic Games, the 21st FIVB Congress was held in Seoul, at which changes were adopted in the regulations of the decisive fifth set: now it must be played according to the “rally-point” system (“draw-point”). Since 1998, this scoring system has been applied to the entire match, and in the same year the role of libero appeared.

In the early 1980s, the jump serve appeared and the side serve almost ceased to be used, the frequency of attacking shots from the back line increased, changes occurred in the methods of receiving the ball - the previously unpopular technique from below became dominant, and the reception from above with a fall almost disappeared. The playing functions of volleyball players have narrowed: for example, if previously all six players were involved in the reception, then since the 1980s, the implementation of this element has become the responsibility of two finishing players.

The game has become more powerful and faster. Volleyball has increased the demands placed on the height and athletic training of athletes. If in the 1970s there might not have been a single player on the team taller than 2 meters, then since the 1990s everything has changed. In high-class teams below 195-200 cm, there is usually only a setter and a libero.

Since 1990, the World Volleyball League has been played, an annual cycle of competitions designed to increase the popularity of the sport throughout the world. Since 1993, a similar competition has been held for women - the Grand Prix.

3. Current state

Since 2006, the FIVB has united 220 national volleyball federations, volleyball is one of the most popular types sports on Earth. In August 2008, Chinese Wei Jizhong was elected as the new president of the FIVB.

Volleyball is the most developed sport in countries such as Russia, Brazil, China, Italy, USA, Japan, and Poland. The current world champion among men is the Brazilian national team (2006), among women - the Russian national team (2006).

On November 8, 2009, the current winner of the European Volleyball Champions League, Italian Trentino, won another trophy, becoming the world club champion.

4. Development of volleyball in Russia

In the spring of 1932, a volleyball section was created under the All-Union Council of Physical Culture of the USSR. In 1933, during a session of the Central Executive Committee, an exhibition match was played between the teams of Moscow and Dnepropetrovsk on the stage of the Bolshoi Theater in front of the leaders of the ruling party and government of the USSR. And within a year, championships are held regularly Soviet Union, officially called the “All-Union Volleyball Festival”. Having become the leaders of domestic volleyball, Moscow athletes were honored to represent it on the international stage, when Afghan athletes were guests and rivals in 1935. Despite the fact that the games were played according to Asian rules, the Soviet volleyball players won a convincing victory - 2:0 (22:1, 22:2).

Competitions for the USSR championship were held exclusively in open areas, most often after football matches next to the stadiums, and the largest competitions, such as the 1952 World Cup, were held in the same stadiums with crowded stands.

Soviet volleyball players are 6-time world champions, 12-time European champions, 4-time World Cup winners. The USSR women's team won the World Championships 5 times, the European Championships 13 times, and the World Cup 1 time.

The All-Russian Volleyball Federation (VFV) was founded in 1991. The president of the federation is Nikolai Patrushev. The Russian men's team is the winner of the 1999 World Cup and the 2002 World League. The women's team won the 2006 World Championships, European Championships (1993, 1997, 1999, 2001), Grand Prix (1997, 1999, 2002), and the 1997 World Champions Cup.

Full name - “State Academic Bolshoi Theater Russia" (SABT).

Opera history

One of the oldest Russian musical theaters, the leading Russian opera and ballet theater. The Bolshoi Theater played an outstanding role in establishing the national realistic traditions of opera and ballet art and in the formation of the Russian musical and stage performing school. The Bolshoi Theater traces its history back to 1776, when the Moscow provincial prosecutor, Prince P. V. Urusov, received the government privilege “to be the owner of all theatrical performances in Moscow...”. Since 1776, performances were staged in the house of Count R.I. Vorontsov on Znamenka. Urusov, together with entrepreneur M.E. Medox, built a special theater building(on the corner of Petrovka Street) - “Petrovsky Theater”, or “Opera House”, where opera, drama and ballet performances were held in 1780-1805. It was the first permanent theater in Moscow (it burned down in 1805). In 1812, a fire destroyed another theater building - on Arbat (architect K. I. Rossi) and the troupe performed in temporary premises. On January 6 (18), 1825, the Bolshoi Theater (design by A. A. Mikhailov, architect O. I. Bove), built on the site of the former Petrovsky, opened with the prologue “The Triumph of the Muses” with music by A. N. Verstovsky and A. A. Alyabyev. The room - the second largest in Europe after Milan's La Scala theater - after the fire of 1853, it was significantly rebuilt (architect A.K. Kavos), acoustic and optical deficiencies were corrected, auditorium divided into 5 tiers. The opening took place on August 20, 1856.

The first Russian folk plays were staged in the theater. musical comedies- “The Miller - a sorcerer, a deceiver and a matchmaker” by Sokolovsky (1779), “The St. Petersburg Gostiny Dvor” by Pashkevich (1783) and others. The first pantomime ballet, The Magic Shop, was shown in 1780 on the opening day of the Petrovsky Theater. Among the ballet performances, conventional fantastic-mythological spectacular performances predominated, but performances were also staged that included Russian folk dances, which were a great success with the public (“Village Festival”, “ Village painting", "The Capture of Ochakov", etc.). The repertoire also included the most significant operas foreign composers 18th century (G. Pergolesi, D. Cimarosa, A. Salieri, A. Grétry, N. Daleirac, etc.).

Late 18th - early 19th centuries opera singers played in dramatic performances, and dramatic actors performed in operas. The troupe of the Petrovsky Theater was often replenished by talented serf actors and actresses, and sometimes by entire groups of serf theaters, which the theater management bought from landowners.

The theater troupe included serf actors from Urusov, actors from the theater troupes of N. S. Titov and the Moscow University. Among the first actors were V. P. Pomerantsev, P. V. Zlov, G. V. Bazilevich, A. G. Ozhogin, M. S. Sinyavskaya, I. M. Sokolovskaya, later E. S. Sandunova and others. The first ballet dancers- pupils of the Orphanage (where a ballet school was founded in 1773 under the direction of choreographer I. Walberch) and serf dancers of the troupes of Urusov and E. A. Golovkina (including: A. Sobakina, D. Tukmanova, G. Raikov, S. Lopukhin and others).

In 1806, many of the theater's serf actors received their freedom; the troupe was placed at the disposal of the Directorate of the Moscow Imperial Theaters and turned into a court theater, which was directly subordinate to the Ministry of the Court. This determined the difficulties in the development of advanced Russian musical art. The domestic repertoire was initially dominated by vaudevilles, which were very popular: “The Village Philosopher” by Alyabyev (1823), “Teacher and Student” (1824), “Humpster” and “Fun of the Caliph” (1825) by Alyabyev and Verstovsky, etc. From the end of the 20th century In the 1980s, the Bolshoi Theater staged operas by A. N. Verstovsky (inspector of music for Moscow theaters since 1825), marked by national-romantic tendencies: “Pan Tvardovsky” (1828), “Vadim, or the Twelve Sleeping Virgins” (1832), “Askold’s Grave” "(1835), which remained in the theater's repertoire for a long time, "Homesickness" (1839), "Churova Dolina" (1841), "Thunderbreaker" (1858). Verstovsky and the composer A. E. Varlamov, who worked in the theater in 1832-44, contributed to the education of Russian singers (N. V. Repina, A. O. Bantyshev, P. A. Bulakhov, N. V. Lavrov, etc.). The theater also staged operas by German, French and Italian composers, including “Don Giovanni” and “The Marriage of Figaro” by Mozart, “Fidelio” by Beethoven, “The Magic Shooter” by Weber, “Fra Diavolo”, “Fenella” and “The Bronze Horse” by Ober, “Robert the Devil” by Meyerbeer , " Barber of Seville"Rossini, "Anna Boleyn" by Donizetti, etc. In 1842, the Moscow Theater Administration became subordinate to the St. Petersburg Directorate. Staged in 1842, Glinka’s opera “A Life for the Tsar” (“Ivan Susanin”) turned into a magnificent performance that was staged on solemn court holidays. Thanks to the efforts of the artists of the St. Petersburg Russian Opera Troupe (transferred to Moscow in 1845-50), this opera was performed on the stage of the Bolshoi Theater in an incomparably better production. In the same performance, Glinka's opera Ruslan and Lyudmila was staged in 1846, and Dargomyzhsky's Esmeralda in 1847. In 1859, the Bolshoi Theater staged "The Mermaid". The appearance of operas by Glinka and Dargomyzhsky on the stage of the theater marked a new stage in its development and was of great importance in the formation of realistic principles of vocal and stage art.

In 1861, the Directorate of Imperial Theaters leased the Bolshoi Theater to an Italian opera troupe, which performed 4-5 days a week, actually leaving 1 day for Russian opera. The competition between the two groups brought a certain benefit to Russian singers, forcing them to persistently improve their skills and borrow some principles of the Italian vocal school, but the neglect of the Directorate of Imperial Theaters to approve the national repertoire and the privileged position of the Italians made it difficult for the Russian troupe to work and prevented Russian opera from gaining public recognition. New Russian opera house could only have been born in the struggle against Italian mania and entertainment trends for the affirmation of the national identity of art. Already in the 60-70s, the theater was forced to listen to the voices of progressive figures in Russian musical culture, to the demands of the new democratic audience. The operas “Rusalka” (1863) and “Ruslan and Lyudmila” (1868), which had become established in the theater’s repertoire, were resumed. In 1869, the Bolshoi Theater staged P. I. Tchaikovsky’s first opera, “The Voevoda,” and in 1875, “The Oprichnik.” In 1881, “Eugene Onegin” was staged (the second production, 1883, became established in the theater’s repertoire).

Since the mid-80s of the 19th century, there has been a turning point in the attitude of the theater management towards Russian opera; productions of outstanding works by Russian composers were carried out: “Mazepa” (1884), “Cherevichki” (1887), “ Queen of Spades"(1891) and "Iolanta" (1893) by Tchaikovsky, first appeared on the stage of the Bolshoi Theater of the opera of the composers of the "Mighty Handful" - "Boris Godunov" by Mussorgsky (1888), "The Snow Maiden" by Rimsky-Korsakov (1893), "Prince Igor" by Borodin (1898).

But the main attention in the repertoire of the Bolshoi Theater in these years was still paid to French operas (J. Meyerbeer, F. Aubert, F. Halévy, A. Thomas, C. Gounod) and Italian (G. Rossini, V. Bellini, G. Donizetti, G. Verdi) composers. In 1898, Bizet’s “Carmen” was staged for the first time in Russian, and in 1899, Berlioz’s “The Trojans in Carthage” was staged. German opera is represented by the works of F. Flotow, Weber's The Magic Shooter, and single productions of Wagner's Tannhäuser and Lohengrin.

Among the Russian singers of the mid and 2nd half of the 19th century are E. A. Semyonova (the first Moscow performer of the parts of Antonida, Lyudmila and Natasha), A. D. Alexandrova-Kochetova, E. A. Lavrovskaya, P. A. Khokhlov (who created images of Onegin and the Demon), B. B. Korsov, M. M. Koryakin, L. D. Donskoy, M. A. Deisha-Sionitskaya, N. V. Salina, N. A. Preobrazhensky, etc. There is a shift not only in the repertoire, but also in the quality of productions and musical interpretations of operas. In 1882-1906 the chief conductor of the Bolshoi Theater was I.K. Altani, in 1882-1937 the chief choirmaster was U.I. Avranek. P. I. Tchaikovsky and A. G. Rubinstein conducted their operas. More serious attention is paid to the decorative design and staging culture of performances. (In 1861-1929, K. F. Waltz worked as a decorator and mechanic at the Bolshoi Theater).

By the end of the 19th century, a reform of the Russian theater was brewing, its decisive turn towards the depth of life and historical truth, to the realism of images and feelings. The Bolshoi Theater is entering its heyday, gaining fame as one of the largest centers of musical and theatrical culture. The theater's repertoire includes the best works of world art, however, Russian opera occupies a central place on its stage. For the first time, the Bolshoi Theater staged productions of Rimsky-Korsakov’s operas “The Pskov Woman” (1901), “Pan-voevoda” (1905), “Sadko” (1906), “The Tale of the Invisible City of Kitezh” (1908), “The Golden Cockerel” (1909) , as well as “The Stone Guest” by Dargomyzhsky (1906). At the same time, the theater stages such significant works by foreign composers as “Die Walküre”, “The Flying Dutchman”, “Tannhäuser” by Wagner, “The Trojans in Carthage” by Berlioz, “Pagliacci” by Leoncavallo, “Honor Rusticana” by Mascagni, “La Bohème” by Puccini, etc.

The flourishing of the performing school of Russian art came after a long and intense struggle for Russian opera classics and is directly related to the deep mastery of the domestic repertoire. At the beginning of the 20th century, a constellation of great singers appeared on the stage of the Bolshoi Theater - F. I. Chaliapin, L. V. Sobinov, A. V. Nezhdanova. Outstanding singers performed with them: E. G. Azerskaya, L. N. Balanovskaya, M. G. Gukova, K. G. Derzhinskaya, E. N. Zbrueva, E. A. Stepanova, I. A. Alchevsky, A V. Bogdanovich, A. P. Bonachich, G. A. Baklanov, I. V. Gryzunov, V. R. Petrov, G. S. Pirogov, L. F. Savransky. In 1904-06, S. V. Rachmaninov conducted at the Bolshoi Theater, giving a new realistic interpretation of Russian opera classics. Since 1906, V. I. Suk became the conductor. The choir under the direction of U. I. Avranek achieves honed skills. Prominent artists are involved in the design of performances - A. M. Vasnetsov, A. Ya. Golovin, K. A. Korovin.

The Great October Socialist Revolution opened a new era in the development of the Bolshoi Theater. In difficult years Civil War the theater troupe was completely preserved. The first season began on November 21 (December 4), 1917 with the opera “Aida”. A special program was prepared for the first anniversary of the October Revolution, which included the ballet “Stepan Razin” to the music of Glazunov’s symphonic poem, the “Veche” scene from the opera “Pskovite” by Rimsky-Korsakov and the choreographic picture “Prometheus” to the music of A. N. Scriabin. During the 1917/1918 season, the theater gave 170 opera and ballet performances. Since 1918, the Bolshoi Theater Orchestra has given cycles of symphony concerts with the participation of soloists. At the same time, chamber instrumental concerts and concerts of singers were held. In 1919, the Bolshoi Theater was awarded the title of academic. In 1924, a branch of the Bolshoi Theater opened in the premises of Zimin's former private opera house. Performances were performed on this stage until 1959.

In the 20s, operas appeared on the stage of the Bolshoi Theater Soviet composers- “Trilby” by Yurasovsky (1924, 2nd production 1929), “Decembrists” by Zolotarev and “Stepan Razin” by Triodin (both in 1925), “The Love for Three Oranges” by Prokofiev (1927), “Ivan the Soldier” by Korchmarev (1927 ), “Son of the Sun” by Vasilenko (1928), “Zagmuk” by Crane and “Breakthrough” by Pototsky (both in 1930), etc. At the same time, great job over opera classics. New productions of R. Wagner’s operas took place: “Das Rheingold” (1918), “Lohengrin” (1923), “Die Meistersinger of Nuremberg” (1929). In 1921, G. Berlioz’s oratorio “The Damnation of Faust” was performed. The production of M. P. Mussorgsky’s opera “Boris Godunov” (1927), performed for the first time in its entirety with scenes, became fundamentally important. Under Kromy And At St. Basil's(the latter, orchestrated by M. M. Ippolitov-Ivanov, has since been included in all productions of this opera). In 1925, the premiere of Mussorgsky's opera “Sorochinskaya Fair” took place. Among the significant works of the Bolshoi Theater of this period: “The Tale of the Invisible City of Kitezh” (1926); “The Marriage of Figaro” by Mozart (1926), as well as the operas “Salome” by R. Strauss (1925), “Cio-Cio-san” by Puccini (1925), etc., staged for the first time in Moscow.

Significant events in creative history The Bolshoi Theater of the 30s are associated with the development of Soviet opera. In 1935, D. D. Shostakovich’s opera “Katerina Izmailova” (based on the story “Lady Macbeth” by N. S. Leskov) was staged Mtsensk district"), then " Quiet Don"(1936) and "Virgin Soil Upturned" by Dzerzhinsky (1937), "Battleship Potemkin" by Chishko (1939), "Mother" by Zhelobinsky (after M. Gorky, 1939), etc. Works by composers are staged Soviet republics- “Almast” by Spendiarov (1930), “Abesalom and Eteri” by Z. Paliashvili (1939). In 1939, the Bolshoi Theater revived the opera Ivan Susanin. The new production (libretto by S. M. Gorodetsky) revealed the folk-heroic essence of this work; Mass choir scenes acquired special significance.

In 1937, the Bolshoi Theater was awarded the Order of Lenin, and its greatest masters were awarded the title of People's Artist of the USSR.

In the 20-30s, outstanding singers performed on the stage of the theater - V. R. Petrov, L. V. Sobinov, A. V. Nezhdanova, N. A. Obukhova, K. G. Derzhinskaya, E. A. Stepanova, E. K. Katulskaya, V. V. Barsova, I. S. Kozlovsky, S. Ya. Lemeshev, A. S. Pirogov, M. D. Mikhailov, M. O. Reizen, N. S. Khanaev, E. D. Kruglikova, N. D. Shpiller, M. P. Maksakova, V. A. Davydova, A. I. Baturin, S. I. Migai, L. F. Savransky, N. N. Ozerov, V. R. Slivinsky and others. Among the conductors of the theater are V. I. Suk, M. M. Ippolitov-Ivanov, N. S. Golovanov, A. M. Pazovsky, S. A. Samosud, Yu. F. Faier, L. P. Steinberg, V.V. Nebolsin. Bolshoi Theater opera and ballet performances were staged by directors V. A. Lossky, N. V. Smolich; choreographer R.V. Zakharov; choirmasters U. O. Avranek, M. G. Shorin; artist P. W. Williams.

During the Great Patriotic War (1941-45), part of the Bolshoi Theater troupe was evacuated to Kuibyshev, where in 1942 the premiere of Rossini's opera William Tell took place. On the stage of the branch (the main building of the theater was damaged by a bomb) in 1943 the opera “On Fire” by Kabalevsky was staged. IN post-war years The opera troupe turned to the classical heritage of the peoples of socialist countries; the operas “The Bartered Bride” by Smetana (1948) and “Pebble” by Moniuszko (1949) were staged. The performances “Boris Godunov” (1948), “Sadko” (1949), “Khovanshchina” (1950) are noted for the depth and integrity of the musical and stage ensemble. Vivid examples of Soviet ballet classics were the ballets “Cinderella” (1945) and “Romeo and Juliet” (1946) by Prokofiev.

Since the mid-40s, the role of directing in revealing ideological content and the embodiment of the author’s intention of the work, in the education of an actor (singer and ballet dancer) capable of creating deeply meaningful, psychologically truthful images. The role of the ensemble in solving the ideological and artistic problems of the performance becomes more significant, which is achieved thanks to the high skill of the orchestra, choir and other theater groups. All this determined the performing style of the modern Bolshoi Theater and brought it worldwide fame.

In the 50-60s, the theater's work on operas by Soviet composers intensified. In 1953, the monumental epic opera “Decembrists” by Shaporin was staged. Prokofiev's opera War and Peace (1959) was included in the golden fund of the Soviet musical theater. The productions were “Nikita Vershinin” by Kabalevsky (1955), “The Taming of the Shrew” by Shebalin (1957), “Mother” by Khrennikov (1957), “Jalil” by Zhiganov (1959), “The Tale of a Real Man” by Prokofiev (1960), “Fate” person" by Dzerzhinsky (1961), "Not Only Love" by Shchedrin (1962), "October" by Muradeli (1964), "The Unknown Soldier" by Molchanov (1967), "Optimistic Tragedy" by Kholminov (1967), "Semyon Kotko" by Prokofiev (1970 ).

Since the mid-50s, the Bolshoi Theater's repertoire has been replenished with modern foreign operas. For the first time, works by composers L. Janacek (Her Stepdaughter, 1958), F. Erkel (Bank-Ban, 1959), F. Poulenc (The Human Voice, 1965), B. Britten (A Midsummer's Dream) were staged night", 1965). The classical Russian and European repertoire has expanded. Among the outstanding works of the opera group is Beethoven's Fidelio (1954). Operas were also staged: “Falstaff” (1962), “Don Carlos” (1963) by Verdi, “The Flying Dutchman” by Wagner (1963), “The Tale of the Invisible City of Kitezh” (1966), “Tosca” (1971), “Ruslan” and Lyudmila" (1972), "Troubadour" (1972); ballets - “The Nutcracker” (1966), “ Swan Lake"(1970). The opera troupe of this time included singers I. I. and L. I. Maslennikov, E. V. Shumskaya, Z. I. Andzhaparidze, G. P. Bolshakov, A. P. Ivanov, A. F. Krivchenya, P. G. Lisitsian, G. M. Nelepp, I. I. Petrov and others. Conductors worked on the musical and stage embodiment of the performances - A. Sh. Melik-Pashaev, M. N. Zhukov, G. N. Rozhdestvensky, E. F. Svetlanov; directors - L. B. Baratov, B. A. Pokrovsky; choreographer L. M. Lavrovsky; artists - P. P. Fedorovsky, V. F. Ryndin, S. B. Virsaladze.

Leading masters of the Bolshoi Theater opera and ballet troupes have performed in many countries around the world. The opera troupe toured in Italy (1964), Canada, Poland (1967), East Germany (1969), France (1970), Japan (1970), Austria, Hungary (1971).

In 1924-59, the Bolshoi Theater had two stages - the main stage and a branch stage. The main stage of the theater is a five-tier auditorium with 2,155 seats. The length of the hall, including the orchestra shell, is 29.8 m, width - 31 m, height - 19.6 m. Depth of the stage - 22.8 m, width - 39.3 m, size of the stage portal - 21.5 × 17.2 m. In 1961, the Bolshoi Theater received a new stage - Kremlin Palace conventions (auditorium for 6,000 seats; stage size in plan - 40x23 m and height to the grate - 28.8 m, stage portal - 32x14 m; stage plank is equipped with sixteen lifting and lowering platforms). The Bolshoi Theater and the Palace of Congresses host ceremonial meetings, congresses, decades of art, etc.

Literature: The Bolshoi Moscow Theater and a review of the events that preceded the founding of the proper Russian theater, M., 1857; Kashkin N.D., Opera stage of the Moscow Imperial Theater, M., 1897 (in the region: Dmitriev N., Imperial Opera stage in Moscow, M., 1898); Chayanova O., “Triumph of the Muses”, Memo of historical memories for the centennial anniversary of the Moscow Bolshoi Theater (1825-1925), M., 1925; hers, Medox Theater in Moscow 1776-1805, M., 1927; Moscow Bolshoi Theater. 1825-1925, M., 1925 (collection of articles and materials); Borisoglebsky M., Materials on the history of Russian ballet, vol. 1, L., 1938; Glushkovsky A.P., Memoirs of a choreographer, M. - L., 1940; State Academic Bolshoi Theater of the USSR, M., 1947 (collection of articles); S. V. Rachmaninov and Russian opera, collection. articles edited by I. F. Belzy, M., 1947; “Theater”, 1951, No. 5 (dedicated to the 175th anniversary of the Bolshoi Theater); Shaverdyan A.I., Bolshoi Theater of the USSR, M., 1952; Polyakova L. V., Youth opera stage Bolshoi Theater, M., 1952; Khripunov Yu. D., Architecture of the Bolshoi Theater, M., 1955; Bolshoi Theater of the USSR (collection of articles), M., 1958; Grosheva E. A., Bolshoi Theater of the USSR in the past and present, M., 1962; Gozenpud A. A., Musical theater in Russia. From the origins to Glinka, L., 1959; his, Russian Soviet Opera Theater (1917-1941), L., 1963; by him, Russian Opera Theater of the 19th century, vol. 1-2, L., 1969-71.

L. V. Polyakova
Musical Encyclopedia, ed. Yu.V.Keldysh, 1973-1982

History of ballet

Leading Russian musical theater, who played an outstanding role in the formation and development of national traditions of ballet art. Its emergence is associated with the flourishing of Russian culture in the 2nd half of the 18th century, with the emergence and development of professional theater.

The troupe began to form in 1776, when the Moscow philanthropist Prince P. V. Urusov and the entrepreneur M. Medox received a government privilege to develop the theater business. The performances were given in the house of R.I. Vorontsov on Znamenka. In 1780 Medox built in Moscow on the corner of the street. Petrovka theater building, which became known as the Petrovsky Theater. Drama, opera and ballet performances took place here. It was the first permanent professional theater in Moscow. His ballet troupe was soon replenished with students from the ballet school of the Moscow Orphanage (existed since 1773), and then with serf actors from E. A. Golovkina’s troupe. The first ballet performance was “The Magic Shop” (1780, choreographer L. Paradise). It was followed by: “The Triumph of the Pleasures of the Female Sex,” “The Feigned Death of Harlequin, or the Deceived Pantalon,” “The Deaf Mistress” and “The Feigned Anger of Love” - all productions by choreographer F. Morelli (1782); “Village morning entertainment when the sun awakens” (1796) and “The Miller” (1797) - choreographer P. Pinucci; “Medea and Jason” (1800, according to J. Nover), “The Toilet of Venus” (1802) and “Revenge for the Death of Agamemnon” (1805) - choreographer D. Solomoni, etc. These performances were based on the principles of classicism, in comic ballets (“The Deceived Miller,” 1793; “Cupid’s Deceptions,” 1795) features of sentimentalism began to appear. Among the dancers of the troupe, G. I. Raikov, A. M. Sobakina and others stood out.

In 1805, the building of the Petrovsky Theater burned down. In 1806, the troupe came under the jurisdiction of the Directorate of Imperial Theaters and played in various venues. Its composition was replenished, new ballets were staged: “Gishpan Evenings” (1809), “Pierrot’s School”, “Algerians, or the Defeated Sea Robbers”, “Zephyr, or the Anemone, who became permanent” (all - 1812), “Semik, or Festivities in Maryina Roshcha" (to music by S. I. Davydov, 1815) - all staged by I. M. Abletz; “The New Heroine, or the Cossack Woman” (1811), “Celebration in the Camp of the Allied Armies in Montmartre” (1814) - both to the music of Kavos, choreographer I. I. Valberkh; “Festival on the Sparrow Hills” (1815), “Triumph of the Russians, or Bivouac near Krasny” (1816) - both to music by Davydov, choreographer A. P. Glushkovsky; “Cossacks on the Rhine” (1817), “Neva Walk” (1818), “Ancient Games, or Yule Evening” (1823) - all to the music of Scholz, the choreographer is the same; “Russian Swing on the Banks of the Rhine” (1818), “Gypsy Camp” (1819), “Festival in Petrovsky” (1824) - all choreographed by I. K. Lobanov, etc. Most of these performances were divertissements with extensive use folk rituals And character dance. Performances were especially important dedicated to events Patriotic War of 1812 - the first ballets on a modern theme in the history of the Moscow stage. In 1821, Glushkovsky created the first ballet based on the work of A. S. Pushkin (“Ruslan and Lyudmila” to the music of Scholz).

In 1825, with the prologue “The Triumph of the Muses,” staged by F. Gyullen-Sor, performances began in the new building of the Bolshoi Theater (architect O. I. Bove). She also staged the ballets “Fenella” to the music of Ober’s opera of the same name (1836), “Tom Thumb” (“The Cunning Boy and the Cannibal”) by Varlamov and Guryanov (1837), etc. T. N. stood out in the ballet troupe of this time Glushkovskaya, D. S. Lopukhina, A. I. Voronina-Ivanova, T. S. Karpakova, K. F. Bogdanov and others. In the 1840s. The Bolshoi Theater ballet was decisively influenced by the principles of romanticism (the activities of F. Taglioni and J. Perrot in St. Petersburg, the tours of M. Taglioni, F. Elsler, etc.). Outstanding dancers of this direction are E. A. Sankovskaya, I. N. Nikitin.

Of great importance for the formation of realistic principles of stage art were the productions at the Bolshoi Theater of the operas “Ivan Susanin” (1842) and “Ruslan and Lyudmila” (1846) by Glinka, which contained detailed choreographic scenes that played an important dramatic role. These ideological and artistic principles were continued in Dargomyzhsky’s “Rusalka” (1859, 1865), Serov’s “Judith” (1865), and then in productions of operas by P. I. Tchaikovsky and the composers of “The Mighty Handful.” In most cases, dances in operas were choreographed by F. N. Manokhin.

In 1853, a fire destroyed all the interior of the Bolshoi Theater. The building was restored in 1856 by the architect A.K. Kavos.

In the 2nd half of the 19th century, the Bolshoi Theater ballet was significantly inferior to that of St. Petersburg (there was neither such a talented director as M. I. Petipa, nor the same favorable material conditions for development). The Little Humpbacked Horse by Pugni, staged by A. Saint-Leon in St. Petersburg and transferred to the Bolshoi Theater in 1866, enjoyed enormous success; This revealed the long-standing tendency of Moscow ballet towards genre, comedy, everyday and national characteristics. But few original performances were created. A number of productions by K. Blazis (“Pygmalion”, “Two Days in Venice”) and S.P. Sokolov (“Fern, or Night under Ivan Kupala”, 1867) indicated a certain decline in the creative principles of the theater. The only significant event was the play “Don Quixote” (1869), staged on the Moscow stage by M. I. Petipa. The deepening of the crisis was associated with the activities of choreographers V. Reisinger (The Magic Slipper, 1871; Kashchei, 1873; Stella, 1875) and J. Hansen (The Virgin of Hell, 1879) invited from abroad. The production of “Swan Lake” by Reisinger (1877) and Hansen (1880) was also unsuccessful, as they failed to understand the innovative essence of Tchaikovsky’s music. During this period, the troupe had strong performers: P. P. Lebedeva, O. N. Nikolaeva, A. I. Sobeshchanskaya, P. M. Karpakova, S. P. Sokolov, V. F. Geltser, and later L. N. Gaten, L. A. Roslavleva, A. A. Dzhuri, A. N. Bogdanov, V. E. Polivanov, I. N. Khlustin and others; talented mimic actors worked - F.A. Reishausen and V. Vanner, the best traditions were passed on from generation to generation in the families of the Manokhins, Domashovs, Ermolovs. The reform carried out in 1882 by the Directorate of Imperial Theaters led to a reduction in the ballet troupe and aggravated the crisis (especially manifested in the eclectic productions of the choreographer J. Mendes invited from abroad - “India”, 1890; “Daita”, 1896, etc.).

Stagnation and routine were overcome only with the arrival of choreographer A. A. Gorsky, whose work (1899-1924) marked an entire era in the development of the Bolshoi Theater ballet. Gorsky sought to free ballet from bad conventions and cliches. Enriching ballet with the achievements of modern dramatic theater and fine art, he staged new productions of Don Quixote (1900), Swan Lake (1901, 1912) and other ballets by Petipa, created the mime drama Gudula's Daughter by Simon (based on The Cathedral Notre Dame of Paris"V. Hugo, 1902), the ballet "Salammbô" by Arends (based on the novel of the same name by G. Flaubert, 1910), etc. In his pursuit of the dramatic fullness of the ballet performance, Gorsky sometimes exaggerated the role of the script and pantomime, and sometimes underestimated music and effective symphonic dance. At the same time, Gorsky was one of the first directors of ballets set to symphonic music not intended for dance: “Love is fast!” to the music of Grieg, “Schubertian” to the music of Schubert, the divertissement “Carnival” to the music of various composers - all 1913, “The Fifth Symphony” (1916) and “Stenka Razin” (1918) to the music of Glazunov. In Gorsky’s performances, the talent of E. V. Geltser, S. V. Fedorova, A. M. Balashova, V. A. Coralli, M. R. Reisen, V. V. Krieger, V. D. Tikhomirova, M. M. Mordkina, V. A. Ryabtseva, A. E. Volinina, L. A. Zhukova, I. E. Sidorova and others.

At the end of 19 - beginning. 20th centuries Ballet performances of the Bolshoi Theater were conducted by I. K. Altani, V. I. Suk, A. F. Arends, E. A. Cooper, theater decorator K. F. Waltz, artists K. A. Korovin, A. took part in the design of the performances. Ya. Golovin et al.

The Great October Socialist Revolution opened up new paths for the Bolshoi Theater and determined its blossoming as the leading opera and ballet company in the artistic life of the country. During the Civil War, the theater troupe, thanks to the attention of the Soviet state, was preserved. In 1919 the Bolshoi Theater joined the group academic theaters. In 1921-22, performances at the Bolshoi Theater were also given at the New Theater. A branch of the Bolshoi Theater opened in 1924 (operated until 1959).

From the first years of Soviet power, the ballet troupe faced one of the most important creative tasks - to preserve the classical heritage and bring it to a new audience. In 1919, “The Nutcracker” (choreographer Gorsky) was staged for the first time in Moscow, then new productions of “Swan Lake” (Gorsky, with the participation of V.I. Nemirovich-Danchenko, 1920), “Giselle” (Gorsky, 1922), “Esmeralda” "(V.D. Tikhomirov, 1926), "The Sleeping Beauty" (A.M. Messerer and A.I. Chekrygin, 1936), etc. Along with this, the Bolshoi Theater sought to create new ballets - one-act works were staged to symphonic music (“Spanish Capriccio” and “Scheherazade”, choreographer L. A. Zhukov, 1923, etc.), the first experiments were made to implement modern theme(children's ballet extravaganza “Eternally Living Flowers” ​​to the music of Asafiev and others, choreographer Gorsky, 1922; allegorical ballet “Smerch” by Bera, choreographer K. Ya. Goleizovsky, 1927), development of choreographic language (“Joseph the Beautiful” Vasilenko, ballet Goleizovsky, 1925; “Footballer” by Oransky, ballet by L. A. Lashchilin and I. A. Moiseev, 1930, etc.). The play “The Red Poppy” (choreographer Tikhomirov and L.A. Lashchilin, 1927) acquired landmark significance, in which a realistic presentation of a modern theme was based on the implementation and renewal of classical traditions. The creative search for the theater was inseparable from the activities of artists - E. V. Geltser, M. P. Kandaurova, V. V. Krieger, M. R. Reizen, A. I. Abramova, V. V. Kudryavtseva, N. B. Podgoretskaya , L. M. Bank, E. M. Ilyushenko, V. D. Tikhomirova, V. A. Ryabtseva, V. V. Smoltsova, N. I. Tarasova, V. I. Tsaplina, L. A. Zhukova and others .

1930s in the development of the Bolshoi Theater ballet were marked by major successes in the embodiment of the historical and revolutionary theme (The Flame of Paris, ballet by V. I. Vainonen, 1933) and images of literary classics (The Bakhchisarai Fountain, ballet by R. V. Zakharov, 1936) . A direction that brought it closer to literature and literature has triumphed in ballet. drama theater. The importance of directing and acting has increased. The performances were distinguished by the dramatic integrity of the development of action and the psychological development of characters. In 1936-39, the ballet troupe was headed by R.V. Zakharov, who worked at the Bolshoi Theater as a choreographer and opera director until 1956. Performances on a modern theme were created - “The Little Stork” (1937) and “Svetlana” (1939) by Klebanova (both by ballet dancer A. I. Radunsky, N. M. Popko and L. A. Pospekhin), as well as " Caucasian prisoner"Asafiev (after A.S. Pushkin, 1938) and "Taras Bulba" by Solovyov-Sedoy (after N.V. Gogol, 1941, both by ballet dancer Zakharov), "Three Fat Men" by Oransky (after Yu. K. Olesha, 1935, ballet by I. A. Moiseev) and others. During these years, the art of M. T. Semyonova, O. V. Lepeshinskaya, A. N. Ermolaev, M. M. Gabovich, A. M. Messerer flourished at the Bolshoi Theater , the activities of S. N. Golovkina, M. S. Bogolyubskaya, I. V. Tikhomirnova, V. A. Preobrazhensky, Yu. G. Kondratov, S. G. Koren and others began. Artists V. V. participated in the design of ballet performances Dmitriev, P. V. Williams, Yu. F. Fire achieved high conducting skills in the ballet.

During the Great Patriotic War, the Bolshoi Theater was evacuated to Kuibyshev, but part of the troupe that remained in Moscow (headed by M. M. Gabovich) soon resumed performances in a branch of the theater. Along with showing the old repertoire, a new performance was created “ Scarlet Sails"Yurovsky (ballet choreographer A. I. Radunsky, N. M. Popko, L. A. Pospekhin), staged in 1942 in Kuibyshev, in 1943 transferred to the stage of the Bolshoi Theater. Brigades of artists repeatedly went to the front.

In 1944-64 (with interruptions) the ballet troupe was headed by L. M. Lavrovsky. The following were staged (the names of the choreographers in brackets): “Cinderella” (R.V. Zakharov, 1945), “Romeo and Juliet” (L.M. Lavrovsky, 1946), “Mirandolina” (V.I. Vainonen, 1949), " Bronze Horseman"(Zakharov, 1949), "Red Poppy" (Lavrovsky, 1949), "Shurale" (L. V. Yakobson, 1955), "Laurencia" (V. M. Chabukiani, 1956), etc. The Bolshoi Theater repeatedly contacted to revivals of the classics - “Giselle” (1944) and “Raymonda” (1945) staged by Lavrovsky, etc. In the post-war years, the pride of the Bolshoi Theater stage was the art of G. S. Ulanova, whose dance images captivated with their lyrical and psychological expressiveness. A new generation of artists has grown up; among them M. M. Plisetskaya, R. S. Struchkova, M. V. Kondratyeva, L. I. Bogomolova, R. K. Karelskaya, N. V. Timofeeva, Yu. T. Zhdanov, G. K. Farmanyants, V. A. Levashov, N. B. Fadeechev, Ya. D. Sekh and others.

In the mid-1950s. In the Bolshoi Theater productions, the negative consequences of choreographers’ passion for one-sided dramatization of a ballet performance (everydayism, the predominance of pantomime, underestimation of the role of effective dance) began to be felt, which was especially reflected in the performances “The Tale of the Stone Flower” by Prokofiev (Lavrovsky, 1954), “Gayane” (Vainonen, 1957), “Spartak” (I. A. Moiseev, 1958).

A new period began in the late 50s. The repertoire included landmark performances for Soviet ballet by Yu. N. Grigorovich - “The Stone Flower” (1959) and “The Legend of Love” (1965). In Bolshoi Theater productions, the range of images and ideological and moral problems expanded, the role of the dance principle increased, the forms of drama became more diverse, the choreographic vocabulary was enriched, and interesting searches began to be carried out in the embodiment of modern themes. This was manifested in the productions of choreographers: N. D. Kasatkina and V. Yu. Vasilyov - “Vanina Vanini” (1962) and “Geologists” (“Heroic Poem”, 1964) by Karetnikov; O. G. Tarasova and A. A. Lapauri - “Second Lieutenant Kizhe” to the music of Prokofiev (1963); K. Ya. Goleizovsky - “Leyli and Majnun” by Balasanyan (1964); Lavrovsky - “Paganini” to the music of Rachmaninov (1960) and “ Night city"to the music of Bartók's The Marvelous Mandarin (1961).

In 1961, the Bolshoi Theater received a new stage - the Kremlin Palace of Congresses, which contributed to the wider activities of the ballet troupe. Along with mature masters - Plisetskaya, Struchkova, Timofeeva, Fadeechev and others - the leading position was taken by talented young people who came to the Bolshoi Theater at the turn of the 50-60s: E. S. Maksimova, N. I. Bessmertnova, N. I. Sorokina, E. L. Ryabinkina, S. D. Adyrkhaeva, V. V. Vasiliev, M. E. Liepa, M. L. Lavrovsky, Yu. V. Vladimirov, V. P. Tikhonov and others.

Since 1964 chief choreographer Bolshoi Theater - Yu. N. Grigorovich, who consolidated and developed progressive trends in the activities of the ballet troupe. Almost every new performance at the Bolshoi Theater is marked by interesting creative explorations. They appeared in “The Rite of Spring” (ballet by Kasatkina and Vasilev, 1965), “Carmen Suite” by Bizet - Shchedrin (Alberto Alonso, 1967), “Aseli” by Vlasov (O. M. Vinogradov, 1967), “Icare” by Slonimsky (V.V. Vasiliev, 1971), “Anna Karenina” by Shchedrin (M.M. Plisetskaya, N.I. Ryzhenko, V.V. Smirnov-Golovanov, 1972), “Love for Love” by Khrennikov (V. Boccadoro, 1976), “Chippolino” by K. Khachaturyan (G. Mayorov, 1977), “These enchanting sounds...” to the music of Corelli, Torelli, Rameau, Mozart (V.V. Vasiliev, 1978), “Hussar Ballad” by Khrennikov ( O. M. Vinogradov and D. A. Bryantsev), “The Seagull” by Shchedrin (M. M. Plisetskaya, 1980), “Macbeth” by Molchanov (V. V. Vasiliev, 1980), etc. It acquired outstanding significance in the development of Soviet ballet play “Spartacus” (Grigorovich, 1968; Lenin Prize 1970). Grigorovich staged ballets on the themes of Russian history (“Ivan the Terrible” to the music of Prokofiev, arranged by M. I. Chulaki, 1975) and modernity (“Angara” by Eshpai, 1976), which synthesized and generalized the creative searches of previous periods in the development of Soviet ballet. Grigorovich's performances are characterized by ideological and philosophical depth, a wealth of choreographic forms and vocabulary, dramatic integrity, and a wide development of effective symphonic dance. In the light of new creative principles, Grigorovich also staged productions of the classical heritage: “The Sleeping Beauty” (1963 and 1973), “The Nutcracker” (1966), “Swan Lake” (1969). They achieved a deeper reading of the ideological and figurative concepts of Tchaikovsky’s music (“The Nutcracker” was staged entirely anew, in other performances the main choreography of M. I. Petipa and L. I. Ivanov was preserved and the artistic whole was decided in accordance with it).

Ballet performances of the Bolshoi Theater were conducted by G. N. Rozhdestvensky, A. M. Zhiuraitis, A. A. Kopylov, F. Sh. Mansurov and others. V. F. Ryndin, E. G. Stenberg, A. D. participated in the design. Goncharov, B. A. Messerer, V. Ya. Levental and others. The designer of all performances staged by Grigorovich is S. B. Virsaladze.

The Bolshoi Theater ballet troupe toured the Soviet Union and abroad: in Australia (1959, 1970, 1976), Austria (1959. 1973), Argentina (1978), Egypt (1958, 1961). Great Britain (1956, 1960, 1963, 1965, 1969, 1974), Belgium (1958, 1977), Bulgaria (1964), Brazil (1978), Hungary (1961, 1965, 1979), East Germany (1954, 1955, 1956, 1958 ), Greece (1963, 1977, 1979), Denmark (1960), Italy (1970, 1977), Canada (1959, 1972, 1979), China (1959), Cuba (1966), Lebanon (1971), Mexico (1961 , 1973, 1974, 1976), Mongolia (1959), Poland (1949, 1960, 1980), Romania (1964), Syria (1971), USA (1959, 1962, 1963, 1966, 1968, 1973, 1974, 1975, 1979), Tunisia (1976), Turkey (1960), Philippines (1976), Finland (1957, 1958), France. (1954, 1958, 1971, 1972, 1973, 1977, 1979), Germany (1964, 1973), Czechoslovakia (1959, 1975), Switzerland (1964), Yugoslavia (1965, 1979), Japan (1957, 1961, 1970, 1973, 1975, 1978, 1980).

Encyclopedia "Ballet" ed. Yu.N.Grigorovich, 1981

On November 29, 2002, the New Stage of the Bolshoi Theater opened with the premiere of Rimsky-Korsakov’s opera “The Snow Maiden”. On July 1, 2005, the main stage of the Bolshoi Theater was closed for reconstruction, which lasted more than six years. On October 28, 2011, the grand opening of the Historical Stage of the Bolshoi Theater took place.

Publications

Current state

Since 2006, the FIVB has united 220 national federations volleyball, volleyball is one of the most popular sports on Earth. In August 2008, Chinese Wei Jizhong was elected as the new president of the FIVB.

Volleyball is the most developed sport in countries such as Russia, Brazil, China, Italy, USA, Japan, and Poland. The current world champion among men is the Brazilian national team (2006), among women - the Russian national team (2006).

Development of volleyball in Russia

As the publication “All About Sports” (1978) notes, volleyball was born overseas, but at first it was a stepson on the American continent. “Our country became his true homeland. It was in the Soviet Union that volleyball acquired its remarkable qualities. He became athletic, fast, agile, as we know him today.”

Pre-war volleyball in the USSR was jokingly called “the game of actors.” After all, in Moscow, the first volleyball courts appeared in the courtyards of the Meyerhold, Kamerny, Revolution, Vakhtangov theaters. On July 28, 1923, the first official match took place on Myasnitskaya Street, in which the teams of the Higher Art Theater Workshops (VKHUTEMAS) and the State School of Cinematography (GShK) met. From this meeting the chronology of our volleyball begins. The pioneers of the new sport were masters of art, future folk artists USSR Nikolai Bogolyubov, Boris Shchukin, Anatoly Ktorov and Rina Zelenaya, future famous artists Georgy Nissky and Yakov Romas. The level of skill of the actors at that time was not inferior to the sports one - the club "Rabis" (trade union of arts workers) beat the team of the sports society "Dynamo" (Moscow).

In January 1925, the Moscow Council of Physical Education developed and approved the first official rules for volleyball competitions. According to these rules, Moscow championships have been regularly held since 1927. An important event in the development of volleyball in our country was the championship played during the first All-Union Spartakiad in 1928 in Moscow. It was attended by men's and women's teams from Moscow, Ukraine, North Caucasus, Transcaucasia, Far East. In the same year, a permanent panel of judges was created in Moscow.

For the development of volleyball great value had mass competitions held at the sites of cultural and recreation parks in many cities of the USSR. These games also became a good school for foreign guests - in the early 30s, competition rules were published in Germany under the name “Volleyball - a Russian folk game.”

In the spring of 1932, a volleyball section was created under the All-Union Council of Physical Culture of the USSR. In 1933, during a session of the Central Executive Committee, an exhibition match was played between the teams of Moscow and Dnepropetrovsk on the stage of the Bolshoi Theater in front of the leaders of the ruling party and government of the USSR. And a year later, the championships of the Soviet Union were regularly held, officially called the “All-Union Volleyball Festival.” Having become the leaders of domestic volleyball, Moscow athletes were honored to represent it on the international stage, when Afghan athletes were guests and rivals in 1935. Despite the fact that the games were played according to Asian rules, the Soviet volleyball players won a convincing victory - 2:0 (22:1, 22:2).

During the Great Patriotic War, volleyball continued to be cultivated in military units. Already in 1943, volleyball courts in the rear began to come to life. Since 1945, the USSR championships have been resumed, volleyball in our country becomes one of the most mass species sports The number of people involved in volleyball was estimated at 5-6 million (and according to some sources, several times more). As the legendary coach Vyacheslav Platonov notes in his book “The Equation with Six Famous People,” “those days, those years are unimaginable without volleyball. The ball flying through a net stretched between two pillars (trees, racks) had a magical effect on teenagers, on boys and girls, on brave warriors returning from the battlefields, on those who were drawn to each other. And then everyone was drawn to each other.” Volleyball was played in courtyards, parks, stadiums, on beaches... Together with amateurs, recognized masters - Anatoly Chinilin, Anatoly Eingorn, Vladimir Ulyanov - did not hesitate to go to the net. Thanks to such mass participation, schoolchildren who picked up a ball for the first time quickly grew into real stars of Soviet and world volleyball.

Competitions for the USSR championship were held exclusively in open areas, most often after football matches next to the stadiums, and the largest competitions, such as the 1952 World Cup, were held in the same stadiums with crowded stands.

In 1947, Soviet volleyball players entered the international arena. At the first World Youth Festival in Prague, a volleyball tournament was held, in which the Leningrad team participated, reinforced, as was customary then, by Muscovites. The team was led by legendary coaches Alexey Baryshnikov and Anatoly Chinilin. Our athletes won 5 matches with a score of 2:0, and only the last 2:1 (13:15, 15:10, 15:7) against the hosts, the Czechoslovakian national team. The first “women’s” trip took place in 1948 - the capital’s team “Lokomotiv” went to Poland, supplemented by colleagues from Moscow “Dynamo” and “Spartak” and Leningrad Spartak teams. In the same 1948, the All-Union Volleyball Section became members of the International Volleyball Federation (and not American, but our rules of the game formed the basis of international ones), and in 1949, our players took part in official international competitions for the first time. The debut turned out to be “golden” - the USSR women's team won the title of European champions, and the men's team won the World Championship. In 1959, the USSR Volleyball Federation was formed.

Our men's team also became the first Olympic champion in Tokyo 1964. She won both the Olympics in Mexico City (1968) and Moscow (1980). And the women's team won the title of Olympic champion four times (1968, 1972, 1980 and 1988).

Soviet volleyball players are 6-time world champions, 12-time European champions, 4-time World Cup winners. The USSR women's team won the World Championships 5 times, the European Championships 13 times, and the World Cup 1 time.

The All-Russian Volleyball Federation (VFV) was founded in 1991. The president of the federation is Nikolai Patrushev. The Russian men's team is the winner of the 1999 World Cup and the 2002 World League. The women's team won the 2006 World Championships, European Championships (1993, 1997, 1999, 2001), Grand Prix (1997, 1999, 2002), and the 1997 World Champions Cup.

Under the auspices of the FIVB

The Olympic Games are held every 4 years. The World Championship is also held every 4 years. The World Champions Cup is held every 4 years. The World League is held once a year. The Grand Prize is held once a year. Under the auspices of the CEV, the European Championship is held every 2 years.