The meaning of the word paradise. Folk TheaterPeople's Theater(12)

29.03.2019

The section is very easy to use. In the field provided, just enter the right word, and we will give you a list of its values. I would like to note that our website provides data from different sources– encyclopedic, explanatory, word-formation dictionaries. Here you can also see examples of the use of the word you entered.

The meaning of the word paradise

paradise in the crossword dictionary

Explanatory dictionary of the Russian language. D.N. Ushakov

paradise

A box with movable pictures shown through multifaceted magnifying glasses, the display of which is accompanied by the utterance of comic jokes (historical theater). Raek amuses the crowd of listeners with homemade witticisms. Kokorev. Grandfather fed on the district and showed Moscow and the Kremlin. Nekrasov.

Puppet theater (historical theater).

Popular humorist in the form of measured rhymed speech (theatre, lit.).

Gallery, top places in the theater under the ceiling (colloquial obsolete). In the paradise they splash impatiently, and the curtain rises and makes noise. Pushkin.

collected, units only Spectators occupying the gallery (colloquial obsolete).

New explanatory and word-formative dictionary of the Russian language, T. F. Efremova.

paradise

m. outdated Iris.

Rayok

Rayok- 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. Raeshnik moves the pictures and tells sayings and jokes for each new plot. These pictures were often made in the popular print style, initially had a religious content - hence the name “paradise”, and then began to reflect the most diverse different topics, including political ones. Fair trade was widely practiced.

Rayoshnik or rayonnik- a storyteller, a performer of a paradise, as well as a person visiting a paradise. In addition, the term raeshnik(or heavenly verse) denotes the rhymed prose spoken by the narrator and his characters.

Rayok (river)

Rayok, Royok- a river in Russia, flows in the Kilmez and Malmyzh districts of the Kirov region. The mouth of the river is located 11 km along the right bank of the Rozhka River. The length of the river is 25 km, the drainage basin area is 94.8 km².

The source of the river is in the forests 22 km southwest of the village of Kilmez. In the upper reaches the river flows southwest through an uninhabited forest, in the lower reaches it comes out onto the vast swampy floodplain of Vyatka, where it turns south and meanders among the swamps until it flows into Rozhka just above the village of Zakhvataevo (Meletsky rural settlement) and the place where Rozhka passes into the long and elongated backwater of Vyatka, known as the Kurya backwater.

Rayok (Cherkasy region)

Rayok- a village in the Kanevsky district of the Cherkasy region of Ukraine.

The population according to the 2001 census was 17 people. Covers an area of 0.22 km². Postal code - 19013. Telephone code - 4736.

Rayok (disambiguation)

Rayok:

Rayok - folk theater.
Rayok is a vocal suite by M. P. Mussorgsky (1869), which is a musical pamphlet, a satire on musical figures, ideological opponents of the principles of the “mighty handful”
Rayok - the upper seats in the theater, under the ceiling, an outdated name for the theater gallery (in the French theater it is called “paradis” - paradise); hence the expression “to sit in heaven.” Cm. Children of Raik
Rayok - a cut piece of glass showing rainbow colors or objects in rainbow colors, glass prism. “Raiki” - a rainbow-colored eye of objects, multi-colored rays or reflection
Rayok - eye iris, rainbow, iris membrane with a window, apple, pupil
Rayok - trademark fungicide based on difenoconazole.
Antiformalistic paradise - satirical cantata by Dmitri Shostakovich.

Toponym

Rayok is a village in Kanevsky district, Cherkasy region of Ukraine.
Rayok is a village in the Torzhok district of the Tver region

Part of a toponym

Znamenskoye-Rayok is a manor complex in the Tver region, built according to the design of the architect N. A. Lvov

Rayok (Tver region)

Rayok- village rural type in the Torzhok district of the Tver region. Belongs to the Maryinsky rural settlement.

It is located 20 km southeast of Torzhok on the Logovezh River, 3 km from the Moscow - St. Petersburg highway.

The population according to the 2002 census is 33 people, 16 men, 17 women.

It consists of two parts: a street with one line of houses opposite the estate and a street behind the stream with two lines.

There is a monument in the village architecture XVIII century, Znamenskoye-Rayok estate.

Examples of the use of the word paradise in literature.

We believed that this resolution should not be canceled, since it reflects the logical course of hostile and anti-Marxist practical activities leadership of the Communist Party of Yugoslavia We reason this way: if this resolution falls away, if everything that was written in it falls away, then, for example, the trials in the case will also fall away Raika in Hungary, in the Kostov case in Bulgaria, etc.

You can listen to everyone, all district committee, the entire executive committee, all special apartments and special houses, with the exception of Baev’s house and my apartment.

Less than ten minutes had passed before Bakhrushin was racing towards the big fire truck V district committee.

On the day when Pyotr Terentyevich Bakhrushin traveled with a letter from America to district committee, to Stekolnikov, it became no clearer to him how to react to Trofim’s arrival.

He had several factories, trusts, combines, shops, an oil depot, a motor depot, a poultry farm, district committee, the district executive committee, the prosecutor's office, the police, the sobering station and the KGB department.

He was witty, and Vyazemsky said that the hated play, in which Zhukovsky was ridiculed, was funny and was a resounding success among paradise.

And with a jerk, as if jumping from a tower into ice water, Raikov I ordered myself to open my eyes.

The cyberneticist and the physicist began to discuss the details of this project, drawing some formulas in the sand, but Raikov I didn’t listen to them anymore.

Immediately before the boat landed at a new place, about four kilometers from here, Raikov noticed something very similar to the coastline.

For the first time Raikov I noticed that the Physicist was not so young, he had thick cheeks and kind eyes that now looked sad.

Sometimes in front of them, now very close, blue spots of the water surface flashed behind the hills, and Raikov I tried not to look in that direction, as if I was afraid of ruining something in the upcoming meeting.

Then Raikov He scooped up full handfuls of blue water and brought them to his face.

With envy Raikov I thought he was probably dreaming good sleep, possibly Earth.

As soon as Raikov looked at them, the dance stopped, looked away - and again everything began to move.

If Raikov looked at that time at the fragment clutched in his hand, he would have seen how the whole gamut of colors passed across its surface.

Grandfather fed on the district, showed Moscow and the Kremlin... (N.A. Nekrasov. Who can live well in Rus')

Grandfather fed on the district,

Showed Moscow and the Kremlin...

(N.A. Nekrasov. Who lives well in Rus')

There is chaotic movement on the fairground: the chatter does not stop, music can be heard from the booths. A lively man appears in the crowd. He is carrying a cart, on it is a decorated box the size of arshin by arshin. Stopped. Those hungry for entertainment gather around him. The box has two holes with magnifying glasses. Pay a penny and you can look into them. There is a picture inside, and the owner of the box explains what is depicted: “...The noble family walks decorously through the streets of Palermo and generously gives Russian money to the poor in Tallinn. But, if you please, look, the undermandir pieces are a different species. The Assumption Cathedral stands in Moscow. They hit their beggars in the neck and give nothing.” Pictures replace one another, new explanations come...

Such a spectacle appeared in Rus' in early XIX century. The box in which the strip with pictures was rewound from roller to roller was called a raikom or cosmorama, and its owner was called a rayoshnik.

The performance was a huge success at festivals and fairs: many Russian writers emphasized this in their works. A.I. Levitov, for example, in the essay “Types and Scenes country fair“The description of this spectacle ends with the phrase: “The crowd roared with pleasure...”

There are several versions of the origin of rajka as a type of spectacle. Academician A.N. Veselovsky believed that the model for them was nativity scenes, where drawn figures acted. Historian I.V. Zabelin claimed that a box with holes - a cosmorama - was brought to us from the West by traveling artists. Be that as it may, it can be assumed that the first raishniks in our country were ofeni, peddlers who sold popular prints. To make the goods go faster, they attracted the attention of buyers by giving humorous explanations of the contents of the popular prints. And the popular prints were really interesting.

Pictures on a variety of topics were chosen for display in amusing panoramas, or raikas. Portraits of Russian emperors, generals, as well as, for example, the jester Balakirev, Alexander the Great, epic heroes, Adam himself, etc. Images of various events of the past and present, wars, natural disasters were shown: the Battle of Sinop and the eruption of Vesuvius, the battle with the Circassians and the comet Bel, “which almost touched our planet with its tail”; something curious: “Flying on hot air balloon", "Lion hunting in Africa", "Elephant ride in Persia" and the like.

Naturally, every rayoshnik, in order to attract attention to himself, tried to make his speeches more entertaining and amusing. To do this, he entered into humorous dialogues with the audience, using the techniques and demeanor of old-time barkers at booths and other booth comedians.

For example, the owner of the district, giving explanations to one of the pictures, says:

But two fools are fighting, the third stands and watches.

The one leaning towards the window in the box is surprised:

Uncle, where is the third one?

And you!?

Everyday scenes were most often colored with crude humor, but very understandable to ordinary people. They ridiculed laziness, greed, cunning, and the claims of the rootless to look like an aristocrat. They often made fun of the dandy and his “sweetheart”: “Look, look at both: a guy and his sweetheart are coming. They put on fashionable dresses and think they are noble. The guy is lean, he bought an old frock coat somewhere for rubles, and shouts that it is new. And the sweetheart is excellent: a hefty woman, a miracle of beauty, three miles thick, a nose - half a pound, and eyes - just a miracle: one looks at us, and the other at Arzamas. Interesting! "

Even about events that, it would seem, give no reason for fun at all, the “amusementists” still tried to talk about them as funny as possible: “But the fire of the Apraksin market. Firemen are jumping around, hiding half a pint in barrels; There’s not enough water, so they pour vodka to make it burn brighter!”

But, of course, not everything in the speeches of the raeshniks was reduced to jokes. There was, for example, a patriotic trend that developed during wars. About victories Russian army spoken with pride and pathos. Showing a drawing of the Russian army crossing the Alps, the raeshnik exclaimed: “What a gratifying picture! Our dear Suvorov crosses the Devil's Bridge. Hooray! Take it with hostility!” And with what disdain the owner of the district spoke about, say, Napoleon, deliberately distorting the words for greater amusement: “I will report to you: the French king Napoleon, the same one whom our Alexander the Blessed exiled to the island of Elentia for bad behavior.”

Some of the audience looked with interest at pictures with views of Moscow, St. Petersburg, Paris, and other cities. They listened: “This, if you please, is Moscow - golden domes. Ivan the Great Bell Tower, Sukharev Tower, Assumption Cathedral: 600 - height, 900 - width or a little less. If you don’t believe me, send an attorney and let him check and measure.” Or: “And this is the city of St. Petersburg. The Peter and Paul Fortress stands. Cannons are firing from the fortress, and criminals are sitting in the casemates.”

Imagine a picture depicting the Petersburg-Tsarskoe Selo railway. Rayoshnik begins to tell: “Would you like to have some fun? By railway to take a ride to Tsarskoe Selo? Here are mechanical miracles: steam turns the wheels, a steam locomotive runs ahead and drags a whole convoy behind it. Carriages, lines and wagons in which different people sit. In half an hour we drove twenty miles, and then we arrived at Tsarskoe! Stop! Come out, gentlemen, please, to the station here. Wait a little, the Moscow road will soon be ready.

Well, now let's go back, the steam is already whistling again. The conductor calls and opens the doors to the cars. Come here, gentlemen, if you are late, there will be trouble!

Now the locomotive is moving, let's set off. Let's fly like an arrow! Smoke pours out of the chimney in a stripe, forests and villages flash by! They are coming back to St. Petersburg. What, what was the ride like? And we didn’t see how we found ourselves! This is the power of mechanics! Before, a nag drove you around...

Over the course of more than a hundred years, the performances of the paramilitaries, of course, have changed. Technical improvements to the box took place. They increased its size and made not two, but four holes. Stationary panoramas appeared. And color reproductions were added to popular prints. In the texts of the raishniks, the influence of newspaper language and other printed publications was increasingly felt.

At the very beginning of the twentieth century, the number of fairs and festivals sharply decreased. Apparently, interest in them was declining: they were being replaced by cinema and other new shows. And soon the raeshniks, who entertained and enlightened Russian residents for more than a hundred years, disappeared without a trace...

RBURG RAYEK

But if you please see, gentlemen,
Andermanir pieces - nice view:
The city of Kostroma is on fire;
There's a guy standing by the fence - s[...]t;
The policeman grabs him by the collar, -
He says he's setting it on fire
And he shouts that it’s flooding.

Peter the Great is standing;
The Emperor was glorious
And besides, he is Orthodox;
He built a capital on a swamp [...],
But the undermanier pieces are of a different type:

The city of Palerma stands;
The noble family walks decorously through the streets
And he generously gives Russian money to the poor of Talyan;
And here, if you please, take a look,
Andermanir pieces - another type:
The Assumption Cathedral in Moscow stands;
They hit their beggars in the neck,
They don't give anything.

Come, come,
Just take care of your pockets
And wipe your eyes!..
And here I am, a cheerful amusement boy,
Famous metropolitan raeshnik,
With its amusing panorama:
I turn the pictures around and around,
I'm fooling the audience
I'm nailing up my heels!..
And here, if you please, see the city of Rome,
Vatican Palace,
A giant to all palaces!..
And the Pope lives in it,
Ragged paw!..
And here is the city of Paris,
How will you get there -
You'll burn right away!..
Our eminent nobility
He goes there to spend money:
He's going there with a sack full of gold,
And from there he returns on foot without boots.
And here, if you please, see the city of Berlin!..
Mr. Bismarck lives in it,
His politics are rich
Only full of intrigue!..
The people in the wilderness are rude,
He sharpens his teeth for everything...

They have been wanting it for a long time
To rush to the Baltic region,
Yes, they are afraid, as if foolishly
If only we wouldn't lose our skins,
After all, in the twelfth year
The Frenchman caused trouble for himself!..

Come, honest people, people of God,
Covered with matting,
For a copper nickel
I'll show you everything this way and that way.
You will be pleased.
Here is the French city of Paris,
If you arrive, you'll get away with it.
One day and Senator Gambet himself there
They brought the carriage, -
They say, get lost.
But the insidious Englishmen,
He pouted, exactly like a chan.
I wish he was spoiling us,
But our Russian brother doesn’t pet him either.
Against the Russian fist
English science is far away,
And we won't say a word
Let’s just disrespect it, -
It will be wet.

And here, my sirs,” the voice of the raeshnik reaches you, “is the Kingdom of China, where they sell tea. Here is the Chinese city of Nanka, where we get nanka from. But look, gentlemen, the Battle of Sedan: the Germans beat the French and take Napoleon prisoner. The French put down their guns and sabers and asked for forgiveness.

MOS KOVSKY RAYEK

I
But, if you please see, gentlemen, the undermanir pieces are a good view, the city of Kostroma is on fire, a man is standing at the fence with..., the policeman grabs him by the collar, says that he is setting fire, and he shouts that he is flooding it.
But the undermanir pieces are a different species, the city of Palerma stands, a noble family walks the streets and gives money to the poor of Tallinn.
But, if you please see, the undermanir pieces are a different type. The Assumption Cathedral in Moscow stands, they beat their beggars in the neck, they don’t give anything.
Look, the city of Arivan, Prince Ivan Fedorovich moves in and convenes troops, look how the Turks exchange currency like lumps.
Look at the Turkish battle where Aunt Natalya is fighting. She rang bells throughout the village, fired cannons, broke three pokers herself, took the village to capacity, and the village is large: two courtyards, three stakes, five gates, straight into Andryusha’s garden. Beggars have room to live. There are no stoves, the pipes are not covered, they never burn out, and there is no smell of burning. Yeah, good thing, but the last one!

II
1. Come and poop here with me, honest people: boys, and girls, and young men, and young women, and merchants, and merchant women, and clerks, and clerks, and clerk rats, and idle revelers. I’ll show you all sorts of pictures, and gentlemen, and men in sheepskin, and you listen to the jokes and various jokes with attention, eat apples, gnaw nuts, look at the pictures and take care of your pockets. They'll fool you!
2. Look, look at both: a guy and his sweetheart are coming, they put on fashionable dresses, but they think that they are noble. A guy bought a lean frock coat, an old one somewhere, for rubles and shouts that it’s new. And an excellent sweetheart - a healthy woman, a miracle of beauty,

Three miles thick, a nose half a pound, and the eyes are simply a miracle: one looks at you, and the other at Arzamas. Interesting!
3. And here is the city of Vienna, where the beautiful Elena lives, an expert in baking French bread. She lit the oven, planted five loaves of bread, and took out thirty-five. All the breads are good, toasty, burnt on top, soft on the bottom, doughy on the edges, but bland in the middle. Passion is so delicious!
4. In front of you is the city of Krakow. Crayfish traders sell them. The traders are sitting all red and shouting: the crayfish are beautiful! Whatever the crab costs a quarter, but for a wonderful dozen we only charge three hryvnias, and to top it off we give each one a hryvnia in change. Trade!
5. Dear friends, baked cockroaches, keep your pockets and look further. Here is a dandy walking on Khodynka Field, boots with welts, eyebrows on the wheel, a bump under his nose, a cigarette near his nose, curls curled, eyes blackened, so the lanterns shine until dawn. And here are three more: one in a hat, another in a rag, the third on an iron lining, his nose covered in tobacco, he himself fell into the tavern. Expanse!
6. But in the Moscow “Yar” there is a lot of running around like at a bazaar. A Moscow merchant is on a spree, having gotten damn drunk, and is happy to drink everything. The devil himself is not his brother, don’t get in his way, he’ll ruin everything. And from him, like a peahen, swims to the right, a mamzel from foreign women, from Tambov bourgeois women, offers him a kiss and tenderly asks: “Sweat your mamzel, take off your respect for a whole week, bring him some English ale.” And the merchant amuses, Mamzel treats, and he drinks vodka, sometimes gets off his nose, prepares a snack and catches the devils under the table. God bless everyone!
7. But in the city of Constantinople there is a sultan on the fence. He waves his hand, Omer Pasha calls: “Omer Pasha, our town is not worth a penny!” A Russian soldier ran up and grabbed him in the forehead with a banner, and he fell down like a sheaf, as if he had sniffed a penny worth of tobacco. Clever!
8. Look, a nation of women: here is a village hut, on the floor a drunk man has turned out his pockets, covered himself and is sleeping and snoring like a pipe. And the wife is lopsided, the woman is red-cheeked, she sulks at the drunk and kisses the guy in the corner. Nice!
9. I’m turning the car again, and you give the old man an altyn

On to vodka, I'll wet my throat. Before you is a gentleman, either a Jew, or a Tatar, or perhaps a Greek, a very rich man. He is calmly walking along the boulevard, suddenly someone takes a handkerchief from his pocket. The master hears this and deliberately barely breathes. That's why he keeps a banker's office, so as not to interfere with any thief. Apparently, he started out small. Purely! 10. Look at the city square, it’s so nice and tidy, besides, every step you take there are puddles, and there are countless decorations, everywhere you look there’s a swamp, and it smells like a rose, because there are heaps of manure everywhere. Purely!

TUL LSKY RAYEK

Battles
With Aunt Natalya:
Turks
They're lying around like lumps
And ours are firing,
Even though they stand without heads,
They only sniff tobacco.
________

And this is Aunt Matryona,
The head is scorched
Curls the puffs,
And my eyes were swollen.
She made pancakes
Yes, she blackened her eyes.
Behind her is her dandy
Puts on a tailcoat
About sixteen coattails,
Fourteen pockets.
From one pocket
The sponge is sticking out,
So let's start, gentlemen, from the beginning!

AT BOUTIQUE OF YAROSLAVSKY RAESHNIK

Holy city Jerusalem
And holy places.
Warsaw city, Vistula river,
Yes, the water in it has turned sour.
Grandma Sophia is here
It dried on the stove for three years.
How did you drink this water?
She lived another thirty-three years.

NIZH EGOROD FAIR AREA

The area in front of the scooters is completely filled with people; from all sides the most varied music can be heard from the booths, there are loud calls to the “comedy”, the cries of peddlers, the loud chatter of the crowd, the witticisms of the tambourine head of the craftsman, including the monotonous story of the serviceman, from which the audience’s stomachs give out, and the serviceman’s he won’t even twitch his whiskers or blink an eye.
“First of all, I will tell and show you,” he says in a monotonous, only two or three notes, voice, “foreign places, different cities, beautiful cities; My cities are beautiful, my money will not be wasted; Look at my cities, and take care of your pockets.
- This, if you please, is Moscow - golden domes, Ivan the Great Bell Tower, Sukharev Tower, the strengthened cathedral, 600 in height, and 900 in width, and a little smaller; If you don’t believe it, then send an attorney and let him believe it and try it on.
- And this, if you please, look and look, look and look, how on the Khotyn field from the Petros Palace the anpirator Lexandra Nikolaich himself leaves for Moscow for the coronation: artillery, cavalry according to right side, and the infantry is on the left.
- And this, if you please, look and look, look and look at how three hundred lion ships, one and a half hundred biscuits, with smoke, with dust, with pig horns, with

Overseas lard, an expensive product, and this product of the Moscow merchant Levka, trades deftly.
- And this, if you please, look and look, look and look, the city of Paris, if you look, you’ll be amazed; and if you haven’t been to Paris, buy skis: tomorrow you’ll be in Paris.
- And this, if you please, look and look, look and look, is the Lexandrovsky Garden; there girls walk around in fur coats, skirts and rags, green linings; the farts are fake and the heads are bald.
- And this, if you please, look and look, look and look, Constantinople; the Turkish Saltan himself leaves Tsaryagrad with his Turks, with the Murzas and Bulgamet Tatars and with his pashas; and he gets ready to go to Russia to fight, and smokes a pipe of tobacco, and smokes his nose, because here in Russia, there are great colds in winter, and this does a lot of damage to the nose, and a smoked nose never spoils and does not burst in the cold.
- And this, if you please, look and look, look and look at how Prince Menshikov took Sevastopol: the Turks are firing - all past and past, and ours are firing - all in the snout and in the snout; but God has mercy on ours, standing without their heads, smoking pipes, sniffing tobacco, and lying with their bellies up.
- And this, if you please, look and look, look and look, like in the city of Adest, in a wonderful place, about two hundred miles away, Ensign Shchegolev treats the English people, throws hot watermelons into their teeth.
- And this, if you please look and look, look and look, is the Moscow fire; how the fire brigade jumps, hides pies in his pockets, and Yashka the Crooked sits on a barrel behind the chimney and cries that he hasn’t drunk enough, and shouts: “Prince Golitsyn’s house is on fire.”
- And this, if you please, look, look, look and look, is the Nizhny Novgorod Makaryevskaya Fair; how Moscow merchants trade in the Nizhny Novgorod fair; the Moscow merchant Levka trades skillfully, came to the Makaryevskaya Yarmanka - one horse is piebald, does not run from the yard, and the other is roaning, shaking its head; but he arrived in a hurry, with smoke, with dust, with soot, but when he arrived home there was nothing to shovel: he brought only three pennies of profit; I wanted to buy my wife a house, but he brought an eye with a lump...

RU SSKY RAYEK

Look, look: big city Paris, if you visit it, you'll see it, where everything is in fashion, if only there was money in the chest of drawers, just go for a walk, just give the money. Look, look at the young ladies on the river, sitting down and riding on boats in wide skirts and fashionable, worthless hats. And there, a little closer, is the big bridge in Paris, how dandies with beards walk along it, young ladies nod with a smile, and passers-by onlookers have handkerchiefs flying out of their pockets. Brrr... Good thing, but the last one!

ALL PEACEFUL SPACEFRAMA

In this cosmorama every city is shown and different types worldly, Chaldean countries and the city of Paris - as soon as you enter, you will be sick of the noise, and the American countries, from where ladies' galoshes are brought.
Here you can see:

Saltan waves his handkerchief,
they threaten him with a bayonet,
a mess ensued -
houses are on fire,
thunder of guns,
croaking frogs,
woman's snoring.
You won't understand anything!

Here comes a man with his wife. His name is Danila, and his wife is Nenila. For the third night, dear Kuzma comes to see her. Here the husband is afraid - he stocks up with a pitchfork, goes into the barn, and dear Kuzma - the guy is not crazy: right in the meantime he makes his way into the bedroom.

Brazilian monkey Julia Pastrana -
nice lady.

The sophisticated German put him in a cage
and it seems to people for money,
He will tell a story about an overseas miracle.
And this monster is wearing a crinoline skirt.

But if you please see how an army corporal with a Yaroslavl woman grabs a “siskin” under an old balalaika, and works off such enitasha with their feet.

Rayok is a type of performance at fairs, widespread mainly in Russia in the 18th-19th centuries. It got its name from the content of pictures on biblical and gospel themes(Adam and Eve in paradise, etc.).

D. A. Rovinsky, famous collector and researcher of Russians folk pictures(lubka), described the rayek this way: “The rayek is a small box, a yard wide in all directions, with two magnifying glasses in front. Inside it, a long strip with homegrown images of different cities, great people and events is rewound from one skating rink to another. Spectators,” a penny from the snout,” they look into the glass, - the raeshnik moves the pictures and tells tales for each new number, often very intricate.<...>At the end there is a show and an ultra-fast beating<...>, which are no longer suitable for printing."

During folk festivals, the raeshnik with his box was usually located on the square next to booths and carousels. The “grandfather-raeshnik” himself is “a retired soldier in manners, experienced, dexterous and quick-witted. He is 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 , a flaxen beard is tied to his chin."

The explanations and jokes of the raeshniks were divided into lines, with a rhyme (usually a pair) at the end of the lines. There was no pattern in the number and arrangement of syllables. For example: “But the undermanir of pieces is a different type, the city of Palerma stands, a noble family walks the streets and gives money to the beggars of Talyan. But, if you please see, the undermanir of pieces is a different type. The Assumption Cathedral in Moscow stands, they beat their beggars in the neck, they don’t give anything” (see in the Reader). This folk verse was called "paradise". It was also used in the jokes of farcical grandfathers, in folk dramas, etc.

Zueva T.V., Kirdan B.P. Russian folklore - M., 2002

I. Pre-theatrical period (elements in calendar and family rituals, mummers, clownery, trainers, buffoons).

II. Theatrical period from the 17th century:

1. Balagan.

2. Rayok (moving picture theater).

3. Parsley Theater.

4. Nativity scene (about the birth of Christ in a cave).

For many centuries, the national (folklore) theater played an important role in the spiritual life of the Russian people, responding to everything major events, associated with its history, was an integral part of festive folk festivities and a favorite folk spectacle.

Its roots go back to ancient ceremonial rituals and actions associated with mummers. These rituals have become indispensable integral part calendar and family holidays, which were based on a dramatic game beginning.

Folk theater is the traditional dramatic art of the people. The types of folk entertainment and gaming culture are diverse: rituals, round dances, mummers, clownery, etc. In history folk theater It is customary to consider the pre-theatrical and theatrical stages of folk dramatic creativity.

TO pre-theatrical forms include theatrical elements in calendar and family rituals.

In calendar rituals there are symbolic figures of Maslenitsa, Mermaid, Kupala, Yarila, Kostroma, etc., acting out scenes with them, and dressing up. Agricultural magic played a prominent role, with magical acts and songs designed to promote the well-being of the family. For example, on winter Christmastide they pulled a plow around the village, “sowed” grain in the hut, etc. With the loss magical meaning the ritual turned into fun.

The wedding ceremony was also a theatrical game: the distribution of “roles”, the sequence of “scenes”, the transformation of the performers of songs and lamentations into the protagonist of the ceremony (the bride, her mother). Complex psychological game there was a change in the internal state of the bride, who in her parents’ house had to cry and lament, and in her husband’s house she had to portray happiness and contentment. However, the wedding ceremony was not perceived by the people as a theatrical performance.

In calendar and family rituals, mummers were participants in many scenes. They dressed up as an old man, an old woman, a man dressed up as women's clothing and the woman as a man, they dressed up as animals, especially often as a bear and a goat. Dressing up in various clothes, making humps, masks, smearing with soot, as well as using sleighs and ropes, benches, spindles and spinning wheels, troughs and frying pans, an inverted fur coat and a straw effigy, a wax candle as conventional theatrical props, significantly enlivened folk entertainment, making them a bright, exciting and unforgettable spectacle.

The costumes of the mummers, their masks, makeup, as well as the scenes they performed were passed down from generation to generation. On Christmastide, Maslenitsa, and Easter, mummers performed humorous and satirical scenes. Some of them later merged into folk dramas.

In addition to rituals, theatrical elements accompanied the performance of many folklore genres: fairy tales, round dances and comic songs, etc. An important role here was played by facial expressions, gesture, and movement - close to theatrical gesture and movement. For example, the storyteller did not just tell a fairy tale, but in one way or another acted it out: he changed his voice, gesticulated, changed his facial expression, showed how the hero of the fairy tale walked, carried a bucket or bag, etc. In fact, it was a game one actor.

Actually theatrical forms of folk dramatic creativity- a later period, the beginning of which researchers date back to the 17th century.

However, long before this time in Rus' there were comedians, musicians, singers, dancers, and trainers. This is a buffoon. They united in wandering groups and until mid-17th century V. took part in folk rituals and holidays. There are proverbs about the art of buffoons (Everyone will dance, but not like a buffoon), songs and epics. Their creativity was reflected in fairy tales, epics, different forms folk theater. In the 17th century buffoonery was prohibited by special decrees. For some time the Sko-Morokhs took refuge on the outskirts of Rus'.

Specific features of folk theater- absence of a stage, separation of performers and audience, action as a form of reflection of reality, transformation of the performer into a different image, aesthetic orientation of the performance. Plays were often distributed in written form and pre-rehearsed, which did not exclude improvisation.

During the fairs they built BALAGANIA.

Booths— temporary structures for theatrical, variety or circus performances.

In Russia they have been known since the middle of the 18th century. Balagans were usually located on market squares, near places of city festivities. They featured magicians, strongmen, dancers, gymnasts, puppeteers, folk choirs; small plays were staged. A balcony (raus) was built in front of the booth, from which artists (usually two) or a paradiseman invited the audience to the performance. Grandfather barkers developed their own way of dressing and addressing the audience.

Booth booths first appeared at European markets in the Middle Ages, when various shows and entertainments were organized to attract buyers, and traveling magicians, acrobats, and trainers performed. From the second half of the 16th century, professional actors began to be invited there.

The word “booth” has been known in the Russian language for a long time. It came from the Turkic language and meant a light, collapsible extension to a house, intended for storing goods or for trading. Researchers date the history of theatrical booths in Russia to the 18th century.

“Eh-wah, So many booths have been built for your pockets. Carousels and swings for festive fun! - shouted the barkers.

The first descriptions of booths, which were then called fair theaters, date back to the end of the 18th century. In these “wooden huts” all sorts of comic and tragic important acts, fables, fairy tales, miracles were presented. Each spectacle lasted no more than half an hour, “and therefore there are up to 30 or more of them per day, and although each spectator only costs 5 kopecks he pays for the entrance, but this amounts to a significant profit.”

Booths, along with other entertainment facilities, quickly gained popularity. In 1822, an entire city was erected in Moscow, consisting of 13 booths, 4 roller coasters, 2 carousels and 31 tents for trade.

There was no technical control over the construction of booths. They built it by eye, based on experience. This continued until thunder struck, or rather a huge fire broke out. In February 1836, during a performance, a booth caught fire from a lamp suspended close to the rafters. Panic began in the auditorium and out of 400 spectators, 126 died.

After this fire, rules for the construction of booths were developed, in particular, the width of passages and the number of emergency exits were determined, and it was forbidden to install stoves. However, these rules were often deviated from, especially in the provinces.

Especially in booths they loved the so-called frequent changes, i.e. instant changes of all the scenery with the curtain open, in full view of the public. Although the stage was dismountable, it was precisely calculated and “fitted.” Each year it was reassembled from the same parts, with minor replacements of warped or lost parts. In front of the stage there was an orchestral “pit” for 12-15 musicians; open boxes were adjacent to it, and behind them were two or three rows of chairs. Boxes and chairs had a special entrance and exit and were separated by a blank barrier. Then came the so-called “first places” - 7-8 rows of benches. Behind them, on a more sloping part of the floor, there were 10-12 rows of “second places” benches, also with a separate entrance and exit.

The “third place” audience watched the performances standing and was the last to enter the hall. These spectators were called "kopecks" because entrance ticket standing places cost ten kopecks. They waited for the performance to begin on a high, wide staircase, from where they were let in through a sliding gate called the “gateway.” And indeed, as soon as the doors were opened, a crowd of several hundred people broke through in a noisy wave and quickly rushed along the covered floor slope to take places closer to the barrier.

The spectators of the boxes, stalls, “first” and “second” seats were waiting for the start of the performance in the side extensions - cramped, but still a foyer.

In front of the stage, two wooden pillars with iron brackets were dug into the ground. Lightning lamps were inserted into these brackets with three sockets. After the ban on building stoves, they provided light and warmth; food could be heated on them. However, the lamps were expensive for the owner: in a large booth they consumed up to two pounds of kerosene every evening. The walls, covered with two rows of boards, helped to retain heat.

The spectators sat on simple, rough-hewn benches. The front ones were made lower, and the back ones were so high that those sitting on them did not reach the floor with their feet. There was also a brisk trade in seeds, nuts, and buns.

The repertoire could be unimaginable, for example: “On Sunday, May 9, great musical entertainment in the belly of a whale. First place 50 kopecks, second place - 25 kopecks. silver."

Panoramas, dioramas, wax figures, monsters, wild people, overgrown with moss, and even “recently caught in Atlantic Ocean fishermen siren."

RAYOK- a type of performance at fairs, widespread mainly in Russia in the 18th-19th centuries.

The rack is a small box, a yard wide in all directions, with two magnifying glasses in front. Inside it, a long strip with home-grown images of different cities, great people and events is rewound from one skating rink to another. The spectators, “a penny from the snout,” look into the glass - the raeshnik moves the pictures and tells tales for each new number, often very intricate.

During folk festivals, the raeshnik with his box was usually located on the square next to booths and carousels. The “grandfather-raeshnik” himself is a retired soldier, experienced, dexterous and quick-witted. He wears a gray caftan trimmed with red or yellow braid with bunches of colored rags on his shoulders, and a kolomenka hat also decorated with bright rags. He has bast shoes on his feet and a flaxen beard tied to his chin.

Such a spectacle appeared in Rus' at the beginning of the 19th century. The box in which a strip of pictures was rewound from roller to roller was called a district or cosmorama, and its owner was called a district.

The performance was a huge success at festivals and fairs: many Russian writers emphasized this in their works. A.I. Levitov, for example, in the essay “Types and Scenes of a Country Fair” ends the description of this spectacle with the phrase: “The crowd roared with pleasure...”

There are several versions of the origin of rajka as a type of spectacle. Academician A.N. Veselovsky believed that the model for them was nativity scenes, where drawn figures acted. Historian I.V. Zabelin argued that a box with holes - a cosmorama - was brought to us from the West by traveling artists. Be that as it may, we can assume that the first raishniks in our country were ofeni, peddlers who sold popular prints. To make the goods move faster, they attracted the attention of buyers by giving humorous explanations of the contents of the popular prints. And the popular prints were really interesting.

Pictures on a variety of topics were selected for display in amusing panoramas, or raikas. Portraits of Russian emperors, generals, as well as, for example, the jester Balakirev, Alexander the Great, epic heroes, Adam himself, etc. Images of various events of the past and present, wars, natural disasters were shown: the Battle of Sinop and the eruption Vesuvius, the battle with the Circassians and the comet Bel, “which almost touched our planet with its tail”; something interesting: “Balloon flight”, “Lion hunt in Africa”, “Elephant ride in Persia” and the like.

Naturally, every rayonnik, in order to attract attention to himself, tried to make his speeches more interesting and amusing. To do this, he entered into humorous dialogues with the audience, using the techniques and demeanor of old-time barkers and other farce comedians.

For example, the owner of the district, giving explanations to one of the pictures, says:

- But two fools are fighting, the third stands and watches. The one leaning towards the window in the box is surprised:

- Uncle, where is the third?

- And you!?

They often made fun of the dandy and his “sweetheart”: “Here, look both ways; a guy and his sweetheart are walking. They put on fashionable dresses and think they are noble. The guy is lean, he bought an old frock coat somewhere for rubles, and shouts that it is new. And the sweetheart is excellent: a healthy woman, a miracle of beauty, three miles thick, a nose - half a pound, and eyes - just a miracle: one looks at us, and the other at Arzamas.

But, of course, not everything in the speeches of the raeshniks was reduced to jokes. There was, for example, a patriotic trend that developed during wars. The victories of the Russian army were spoken of with pride and pathos.

Showing a drawing of the Russian army crossing the Alps, the raeshnik exclaimed: “But this is a gratifying picture! Our dear Suvorov is crossing the Devil’s Bridge. Hurray! Take hostility!” And with what disdain the owner of the paradise spoke about, say, Napoleon, deliberately distorting the words for greater amusement: “I will report to you: the French king Napoleon is the same one whom our Alexander the Blessed exiled to the island of Elentia for bad behavior.”

Some of the audience looked with interest at pictures with views of Moscow, St. Petersburg, Paris and other cities. They listened: “And this is the city of Petersburg. The Peter and Paul Fortress stands. The guns are firing from the fortress, and the criminals are sitting in the casemates.”

Imagine a picture depicting the St. Petersburg-Tsarskoe Selo railway. Rayoshnik begins to tell: “Would you like to have some fun? Take a ride by rail to Tsarskoe Selo? Here are the miracles of mechanics: steam turns the wheels, a locomotive runs ahead and drags a whole convoy behind it. Carriages, lines and wagons in which different people sit. In half an hour we drove twenty miles, and then we arrived at Tsarskoe! Stop! Come out, gentlemen, please, to the station here. Wait a little, the Moscow road will soon be ready.

Well, now let's go back, the couples are already whistling again. The conductor calls and opens the doors to the cars. Come here, gentlemen, if you are late, there will be trouble!

Over the course of more than a hundred years, the performances of the raishniks, of course, changed. Technical improvements to the box took place. They increased its size and made not two, but four holes. Stationary panoramas appeared. And color reproductions were added to popular prints. In the texts of the raishniks, the influence of newspaper language and other printed publications was increasingly felt.

At the very beginning of the 20th century, the number of places at fairs and festivities decreased sharply. Apparently, interest in them was declining: they were being replaced by cinema and other new shows. And soon the raeshniks, who had entertained and enlightened Russian residents for more than a hundred years, disappeared without a trace...

PETRUSHKA THEATER- Russian folk puppet comedy. Its main character was Petrushka, after whom the theater was named. This hero was also called Pyotr Ivanovich Uk-susov, Pyotr Petrovich Samovarov, in the south - Vanya, Vanka, Vanka Retatouille, Ratatouille, Rutyutyu (tradition of the northern regions of Ukraine).

In ancient times, in order not to incur the wrath of the gods, presenting stories from their lives, actors resorted to a cunning trick - they “entrusted” responsible roles to wooden dolls. Probably, it was from then on that it became a custom not to identify puppeteer actors with their charges, who sometimes made very dubious jokes. A favorite of the ancient Romans, the big-nosed hunchback allowed himself not only various kinds of obscene remarks, but also poisonous remarks about the rich and powerful - and nothing: the doll, and at the same time the actor, usually got away with everything. Well, what to take from a creature with a wooden head!

With the advent of Christianity, puppet mysteries based on religious themes were played out even in churches. For example, during the celebration of the Nativity of Christ, a wooden box without a front wall was placed on the altar, where doll figures depicted the main event of the holiday.

There were three main types of puppets - cane puppets (they were especially popular in the East), rope puppets, that is, puppets, and easier-to-control glove puppets.

Parsley - from gloves. He had a wooden, rather crudely made head (a hooked nose, a mouth up to the ears), and his body was a cloth bag that the puppeteer put on his hand.

The Parsley Theater arose under the influence of the Italian puppet theater Pulcinello, with which Italians often performed in St. Petersburg and other cities. A sharp-tongued bully wearing a jester's cap appeared in Italy at the turn of the 15th-16th centuries.

Soon, Pulcinell's "brothers" were not slow in appearing in other countries - the English Punch, the French Polichinelle, the Dutch Pickelherring, the Czech Kasparek, the German Kasperle. In Russia, the red-nosed scoundrel was respectfully called Pyotr Ivanovich Uksusov. And if it’s simple - Pe-trushka. What characterizes the characters is not so much their external resemblance as their permissiveness, the ability to joke about any topic.

An early sketch of the Petrushka Theater dates back to the 30s. XVII century “A man, having tied a woman’s skirt with a hoop at the hem to his belt, lifted it up - this skirt covers him above his head, he can move his hands freely in it, put dolls on top and present entire comedies.”

Later, the raised women's skirt with a hoop at the hem was replaced by a screen.

In the 19th century the Parsley Theater was the most popular and widespread type puppet theater in Russia. It consisted of a light folding screen, a box with several dolls (but the number of characters is usually from 7 to 20), a barrel organ and small props (sticks or batons, rattles, rolling pins). The Parsley Theater did not know the scenery.

The puppeteer, accompanied by a musician, usually an organ grinder, walked from courtyard to courtyard and gave traditional performances about Petrushka. You could always see him during folk festivals and fairs.

About the structure of the Petrushka Theater: “The doll has no body, but only a simple skirt, to which an empty cardboard head is sewn on top, and on the sides are arms, also empty. The puppeteer sticks it into the doll’s head index finger, and in the hands - the first and third fingers; He usually puts a doll on each hand and thus acts with two dolls at once.”

Characteristics appearance Parsley: a large hooked nose, a laughing mouth, a protruding chin, a hump or two humps (on the back and on the chest). The clothes consisted of a red shirt, a cap with a tassel, and smart boots on his feet; or from a clownish two-tone clown outfit, collar and cap with bells.

The puppeteer spoke for Petrushka with the help pika - a device, thanks to which the voice became sharp, shrill, rattling. (The pischik was made of two curved bone or silver plates, inside of which a narrow strip of linen ribbon was fastened), so it was not always possible to understand the words. But this did not at all detract from the audience’s enjoyment of the rough and fun action. Satisfied spectators threw money and demanded a continuation - an endless repetition of well-known scenes a long time ago.

The puppeteer spoke for the rest of the characters in the comedy in a natural voice, moving the squeak behind his cheek

The Petrushka Theater's performance consisted of a set of skits that had a satirical orientation. Parsley - invincible hero puppet comedy, which defeats everyone and everything: the police, the priests, even the devil and death, but he himself remains immortal.

The appearance of the beloved hero was eagerly awaited at fairs, folk festivals and booths. As soon as the screen was installed, a crowd immediately gathered to “gawk at the comedy.” There was no smell of high “calm” here. The skits were primitive, but enjoyed constant success - here Petrushka buys a horse from a gypsy, he tries to deceive, but it doesn’t work out - he gets beaten; So Petrushka fell ill, and a stupid pompous doctor came to him, introducing himself:

- I am a doctor from Kuznetsky Most, a baker, a doctor and a pharmacist. They lead people to me on their feet, and they take them away from me on drays...

Here the fool of the quarter or the gentleman of the fool does not give the hero peace; They’re trying to teach Petrushka military skills, but he sneers and calls the corporal “Your frying pan.” At the end of a short reprise, Petrushka invariably beat the hapless opponent with a huge club and drove him away in shame, interspersing his tirades with obscene jokes.

As a rule, in the finale the ba-lagur was carried away by the devil or the dog. But the spectators were not upset - everyone knew that the cheerful Petrushka would again jump out from behind the screen and give pepper.

The bully usually had only one “partner” in each scene - two at a time actors according to the number of hands of the puppeteer.

The simple “repertoire” consisted of a set of time-tested scenes and was passed on orally from artist to artist, acquiring new jokes.

Parsley and Gypsy

The image of Parsley is the personification of festive freedom, emancipation, and a joyful feeling of life. Petrushka’s actions and words were opposed to accepted standards of behavior and morality. The parsley man's improvisations were topical: they contained sharp attacks against local merchants, landowners, and authorities. The performance was accompanied by musical inserts, sometimes parodies.

At the beginning of the 20th century, the popularity of Parsley began to decline. The authorities and guardians of morality turned against him. The Pyotr Ivanovich Theater was banned, and puppeteers were expelled from fairgrounds. To make money, artists began performing in front of a completely different audience. But the attempt to “comb” the vocabulary of the people’s favorite, to make him the hero of sugary moralizing stories and children’s holidays, failed. The time of the hooligan Uksusov has passed. And the Pulcinella brothers gave way to new heroes.

Puppet theater VERTEP received its name from its purpose: to present a drama in which the Gospel story about the birth of Jesus Christ in the cave where Mary and Joseph found refuge was reproduced (Old Church and Old Russian "den" - cave).

The nativity scene came to Russia from Ukraine and Belarus at the end of the 17th - beginning of the 18th centuries.

The nativity scene was a portable rectangular box made of thin boards or cardboard. Outwardly, it resembled a house, which could consist of one or two floors. Most often there were two-story nativity scenes. Dramas of religious content were played in the upper part, and ordinary interludes and comic everyday scenes were played in the lower part. This also determined the design of the parts of the nativity scene.

Nativity boxChristmas drama

The upper part (sky) was usually covered with blue paper from the inside; Nativity scenes were painted on its back wall; or on the side there was a model of a cave or stable with a manger and motionless figures of Mary and Joseph, the infant Christ and domestic animals.

The lower part (ground or palace) was covered with bright colored paper, foil, etc., in the middle, on a small elevation, there was a throne on which was a doll depicting King Herod.

In the bottom of the box and in the shelf that divided the box into two parts, there were slots along which the puppeteer moved rods with dolls - characters from dramas - fixedly attached to them. The rods with the dolls could be moved along the box, the dolls could turn in all directions. Doors were cut into the right and blind side of each part: they appeared from one doll and disappeared from the other.

Dolls were carved from wood (sometimes sculpted from clay), painted and dressed in cloth or paper clothes and mounted on metal or wooden rods.

The text of the drama was pronounced by one puppeteer, changing the timbre of his voice and intonation of speech, thereby creating the illusion of a performance by several actors.

Varieties of folk dramas.

Compared to other genres of folk literature, the repertoire of Russian folk drama is small. All known material consists of no more than two dozen plays. And even those are more various options with its own name.

Why is there so little representation? dramatic works in literature? There are sufficient grounds for this in the long-established way of life folk life. Staging a more or less voluminous play requires considerable effort and time. The peasant had little free time - only winter, and not all of that: after Christmas, weddings were held, and then Lent. In Rus', the Priesthood has always treated theater very strictly, calling it “demonic actions.”

This made us very different from the theater. Ancient Greece, where theater was the main entertainment and was never prohibited. The clergy managed to convince the people that by performing “demonic games”, “satanic games”, they are pagan and unclean. If, nevertheless, someone was noticed in these actions, then it was necessary to plunge into the hole three times on the day of the Epiphany of the Lord (January 6), in order to atone for this sin. But you won’t wash yourself Epiphany water- you will remain condemned to eternal torment.

For these two reasons, the “theatrical” season was short-lived: from December 26 to January 4, during Christmas time. It was then that all the festivities took place. Despite the shortness of the season, rehearsals began long before its performance. A few weeks before the Christmas holidays, a troupe was organized, and the participants in the performance, hiding from prying eyes, learned their roles. They were led by more competent comrades, as a rule, retired soldiers or factory workers. At the same time, other participants prepared decorations from multi-colored paper and costumes. The roles had to be learned by heart, because There were no prompters in the village theater.

The female roles caused great difficulty, because girls were forbidden to play, and boys took part in the performance instead of women with little pleasure. Therefore, everyone who expressed a desire to learn the female role was welcome. There were often difficulties with this. Small quantity female roles is explained precisely by this fact. The performances began on the third day of the holiday (to start earlier is a sin). After lunch, the entire troupe, called a “gang” in the village, went around the village or village, first entering rich houses. An ambassador was usually sent ahead to ask if the owner would like to accept the performance. Or the whole “gang” lined up under the windows with a chant: “Allow me, allow me, master, to enter the new mountain, to ascend to the new mountain, to say a word...”.

When permission was received, all the performers burst into the house and began the performance. There were no preparations on site, all that was needed was a crowd from which the performers would emerge and hide there. Everyone tried to speak loudly, almost shouted, stamped their feet. All this was considered a sign of a good performance of the role. The listeners also did not mince words, approving or scolding the actors, and often interfering in the dialogue of the performers. This was the external environment of Smolensk folk performances.

There has always been a desire for folk drama.

The most common drama was folk drama about Tsar Maxemyan. Its content in general outline the following: the ambassador comes on stage and announces the arrival of the formidable Tsar Maxemyan. Maxemyan himself appears, ordering all the royal paraphernalia in which he is clothed to be brought. He asks his son Adolf to come, whom he orders to accept the Muslim faith. He refuses, actively defending Orthodoxy. For refusal, the king wants to kill his son. The death of his son does not pass without a trace for the king - Death appears and strikes Maksemyan.

Appearing at the end of the 18th century, this play has undergone various changes. It was added, retold, and new options appeared.

The origin of “Tsar Maximilian” (sometimes the drama had this name) has not yet been clarified. Some researchers have suggested that this play is a dramatic adaptation of the life of the martyr Nikita, the son of the persecutor of Christians Maximilian, who subjected Nikita to torture for confessing the Christian faith. Others, based on foreign names in the play (Maximilian, Adolf, Brambeul or Brambeus, Venus, Mars), it is assumed that this drama goes back to some school drama of the first half of the XVIII century, in turn based on some translated story of the late 17th, early 18th centuries.

But from these possible prototypes, a story and a school drama, “The Comedy about Tsar Maximilian and his son Adolf” should have retained, in any case, only very little - maybe only scenes where the pagan king demands from his Christian son the worship of “idol gods” " The rest of the content is filled with scenes borrowed apparently from some interludes (one has already been established - “About Anika the Warrior and his struggle with death”), episodes from the nativity scene, Petrushka, as well as from other folk plays related to “Tsar Maximilian ": "Boats", "Barina", etc.

Moreover, the text of “Tsar Maximilian” is filled with excerpts from folk songs and romances, as well as distorted quotes, folk 559 alterations of poems by Pushkin, Lermontov and other poets. As you can see, the improvisational principle is used very widely in the play. In its original form, at the beginning of the 18th century, the play “Tsar Maximilian” could be perceived with political acuteness: in it contemporaries could see a satire on the attitude of Peter the Great, who married a Lutheran and fought against many traditions of the church, to Tsarevich Alexei (according to the play Tsar Maximilian marries the “idol goddess”). The plot of this play is very similar family life Peter 1.

Another equally famous play of this time is the drama "Anaka the Warrior and Death." This is a debate about life and death. Strong and invincible, Anika the warrior boasts of her strength. The Grim Reaper enters the stage. Anika the warrior greets her with ridicule. Death knows no mercy and kills the warrior.

Later, a drama called "Boat". IN different times The “boat” is changing, new heroes appear. Russian folk drama wears different names: “Boat”, “Gang of Robbers”, “Ataman”, one of the complicated options is “Mashenka”. In its basic scheme, this play is very close to the traditional beginning of several robber songs, often dedicated to the name of Stepan Razin: a boat is described floating down the river (Volga, Kama) with robbers sitting in it and an ataman standing in the middle of the boat. The content of the play is as follows: the chieftain asks the captain what is visible in the distance. IN different options the drama is complicated by introductory episodes, e.g. borrowings from the third folk play“The Imaginary Master”, or “The Naked Master”. The last play is based on a popular folk anecdote about a master and a headman, who informs the landowner that everything is fine with him, “only... mummy died, the house burned down, the cattle died,” etc.

Drama "Master" is a parody scene of a master's court and the master's purchase of a horse, bull and people. Apparently the play originated among the landed gentry.

In the drama “The Horse”, or “The Rider and the Farrier”, although in a very confused form of dialogue between the rider (originally the master) and the farrier, the relationship with the landowners and various authorities is also parodically depicted.

The drama “Mavrukh”, representing a folk adaptation of the song “Malbrouk is ready to go on a campaign,” contains a satire on the church funeral of the deceased and on the life of the clergy.

In the 19th century, dramas often used words from the works of famous poets.