Folk art and traditions of the Oryol region. Oryol play doll Oryol story doll

The Oryol doll is one of the traditional gaming dolls. It was made by 11-12 year old girls for their little sisters. One of the features of this doll is the absence of handles. It was believed that hands were not needed for the playing role of this doll. The doll also has legs that bend well and the doll takes a sitting position.

The Oryol doll is made on the basis of a bag, which must be sewn with a needle, and the needle is also used in the manufacture of other parts of the doll. Keep this in mind when working with children. Dressing the doll is quite simple: a paneva, an apron and two scarves. Our doll is not dressed so simply.

The Oryol doll is a mother with a child. The child is tied to his mother with a scarf with two knots.

How to make an Oryol doll with your own hands.

The basis of the doll, the bag, is made from a 10x15cm rectangle. For the legs you need rectangles approximately 6x10 cm.

Fold the large rectangle in half and make a seam (any) on the side.

You can sew the top with a straight stitch, or you can, like ours, gather all the fabric on top together.

Turn the resulting bag right side out and set it aside for a while.

Making legs for an Oryol doll. Take a 6x10 cm rectangle, fold one long edge - this is necessary to remove the raw edge of the fabric.

Wrap the fabric with a tube, and so that the tube holds its shape, secure the edge with a needle and thread.

Repeat the operation with the second leg.

We put shoes on the doll. To do this, take 2 squares 3x3 cm. You can cut circles out of them.

Sew the squares for the doll's shoes in a circle using the stitch forward. It is better to take a thread of the same color as the fabric for the shoes.

Fold the sharp edges inward; pull the fabric together by pulling the thread; insert a tube leg into the center of the square.

Pull the thread as far as possible and, using the same thread, continue to make stitches around the doll's shoe, while also grabbing the leg.

Fill the bag with padding polyester or other stuffing.

Sew up the bottom of the bag, first inserting the doll's legs into the open edge.

The basis for the Oryol doll is ready.

Now we dress the doll. For the skirt, we took a 14x22 rectangle of fabric, sewed lace to the bottom of the skirt and sewed the fabric into a tube.

The doll was put on a skirt in a reverse fashion.

We put on the apron, also in a reverse manner.

Skirt and apron.

We put a warrior on the doll. For us this is a strip of fabric folded underneath. And on top we put a piece of lace.

We put the warrior on the head of the Oryol doll and attach it to the back using a needle and thread with several stitches.

In September 1943, in the city liberated from the Nazis, where the ruins were smoking, a theater for children was organized - a puppet theater. Little spectators saw the first performance ““. The first director and artistic director of the theater was A.A. Voskresenskaya, a former actress of the Leningrad Puppet Theater. O. Logvinova, G. Pronina, G. Popova, M. Bulavko took part in the first performance - people who devoted their entire lives to the puppet theater. The artists worked in difficult conditions: there was no room, costumes, or transport. Often I had to speak in hospitals in front of the wounded. And the adults, who had gone through the harsh military roads, rejoiced at these meetings no less than the kids. For the first five years, the theater does not have its own premises - in the winter it huddles in one or another city club, and in the summer it travels around the region, showing its performances to children and adults.

In 1947, musical director G.P. Malygina came to the theater and since then has become an inseparable companion of the troupe. In 1948, the puppet theater received official premises and a semi-truck. By this time he was completely strong. Talented people work in the theater: Honored Artist of the RSFSR V. Abolmazov, artists V. Tkachenko, E. Mironova, M. Sokolova. In the same year, the first creative trip to Moscow took place, where the artists met and became acquainted with the work of S. Obraztsov’s puppet theater. In the early 50s, A.A. Voskresenskaya brought the Oryol Puppet Theater to the top five best theaters in the country.

Years passed, the theater got on its feet, an interesting one appeared, staged by the wonderful director E.S. Feodoridi. The older generation still remembers her performances, and many of them.

Entrance to the second floor

The theater celebrates its twentieth anniversary in the reconstructed building of the Epiphany Cathedral. New artists and directors are coming to the theater. A well-equipped stage makes it possible to stage complex performances. The artistic design of performances is becoming brighter, more complex in light, and the possibility of interesting use of musical design has appeared. In 1973, at the Second All-Russian Festival of Drama and Theater Arts of the Peoples of the USSR, held in Leningrad, the play based on the play “The Golden Horse” by J. Rainis, directed by V. Volkhovsky, received a first degree diploma.

Fairytale composition (2nd floor)

Since 1970, she has been associated with the Destiny Theater. A graduate of the Gorky Theater School also received a higher specialized education and since 1985 has been working as the director of a puppet theater.

She has been working as the main artist in the theater since 1975, a graduate of the OGPI, who has a lot of creative baggage behind her. She is the only specialist in the city in the field of professional art of puppet theater, who knows the manufacturing technology of all stage design components.

The theater has repeatedly participated in International festivals (Gorky - 1987, Charleville-Mezières, France - 1994, 2006, 2009, Belgorod -1997, 1999, 2002, Moscow - 2001). The Oryol Regional Puppet Theater has a wide geography of tours - not only the Oryol region and regions of the former USSR. In 1992, the Oryol Regional Puppet Theater went on an exchange tour to Bulgaria. Since 2003, the theater has been a regular participant in the “May Carousel” tour, organized by the Association of Puppet Theaters of Russia “Puppet Theater - 21st Century”.

In 1994, the puppet theater moved to the building of the Stroiteley Palace of Culture and began to settle into the new premises. In 2000, a miracle clock appeared on the facade of the theater, in which music plays every hour and the characters of children's fairy tales begin to move: Puss in Boots, Pierrot, Malvina and Buratino.

By the opening of the 59th theater season in 2001, an amazing fairy-tale corner appeared in the upper foyer of the puppet theater, where children are waiting for their favorite characters - Snow White and the Seven Dwarfs, the Three Bears, the Steadfast Tin Soldier and the ballerina, Thumbelina. The author of all this splendor is .

Theater Museum

During the operation of the theater, 13 main directors and nine houses were replaced, where dolls and people could not breathe without each other. Three generations of viewers replaced each other in watching the adventures of little animals, funny people, and wizards. More than two hundred and fifty productions are behind us - Russian fairy tales and fairy tales of the peoples of the world, Ostrovsky, Leskov, Garcia Lorca, our contemporaries. The theater is constantly searching for new forms and unique dramaturgy. Now the puppet theater has more than twenty performances and big creative plans for the future - these are new interesting performances for children and adults.

You can get acquainted with the performances that will be staged this month in the section

The origins of Russia, its identity, the Russian soul, lie in folk culture, traditions, and the creative heritage of our ancestors. Traditional song, dance, and folk crafts continue to convey the primordial things that shaped Russian civilization thousands of years ago. Even innovations that came to us from abroad were creatively rethought and acquired their traditionally Russian features - musical instruments were rebuilt in the manner of folk songs, traditional, often pagan folk motifs were introduced into lace and embroidery. Everything could be included in folk culture, processed and made part of it, consistent with all other aspects of folk life. Today, in many places in Russia and the Oryol region, folk culture and folk crafts are being revived. You can often find an old hereditary master who is ready to pass on the folk tradition to the younger generation; sometimes some folk nugget picks up his hereditary craft from the weakening hands of the master. To renew traditions in the Oryol Polesie National Park, the Trinity Round Dances holiday has been revived, which has today become a major international folklore festival, which brings together creative groups and folk craftsmen not only from the Oryol region, but from neighboring regions and states.

A peculiarity of the formation of Oryol folk crafts can be called the historical remoteness of our lands from the centers of Russian statehood - Kyiv and Moscow. The Vyatichi, who inhabited our lands, were among the last to accept Christianity only in the 14th century, so traditional symbols, customs and traditions were preserved here the longest and were reflected in folk crafts, toys and embroidery. In the region, such types of art have been preserved and developed as wood carving, house carving, making furniture from wicker, carpet weaving, weaving Mtsensk lace, creating Pleshkovo and Chernyshensk toys from clay, making black-polished dishes from Raspopov clay, weaving from straw, hemp, embroidery in the style of the Oryol "spis", the creation of Liven accordions.

Oryol list

One of the characteristic Oryol crafts is embroidery “Oryol List”. The roots of this embroidery go deep into antiquity in those days when the Vyatichi tribe lived on the territory of the Oryol region - pagans, who were one of the last, only in the 14th century, to succumb to Christianity. The boundaries of the distribution of the list surprisingly coincide with the area of residence of the Vyatichi in the Oryol region. The protective meaning of ancient images was preserved for a long time in ritual actions and accompanying objects. Images of ancient symbols were still revered as signs of good magic.

Embroidery from the 18th - early 20th centuries has reached us: towels, tablecloths. The list includes a combination of two technical techniques: “typing” and “painting”. The predominant color is various shades of red, achieved due to the density of the flooring of various “brancs” - patterned fillings inside the contour. Blue was also added, and later black, yellow, and green. The characteristic features of the Oryol list are the unusual outlines of the pattern and a wide variety of brankas: “stack”, “crow’s eye”, “bag with poker”, “wave”, “drobnushki”, “pine”, “horseshoe”, etc. The list is dominated by traditional motifs: “tree of life”, “peahen bird”, “frog in labor”. The bizarre shapes themselves are suggested to the embroiderers by the surrounding nature: frosty patterns on the windows, clouds floating in the sky.

Today, the traditions of the Oryol list continue to be developed by Oryol embroiderers, new images and motifs are used, but ancient traditions are also preserved and passed on to students.

Folk costume

The folk costume reflected the traditions, beliefs, customs and lifestyle of the peasants. The folk costume not only protected from cold and bad weather, but also decorated, informed others about the status of the person wearing it, and protected from the evil eye and witchcraft. The most varied, of course, was women's clothing. Oryol peasant women used many types and methods of decorating clothes: embroidery, patterned weaving, dyeing, various inserts made of calico and printed satin; stripes made of colored stripes, satin ribbons, sequins, lace.

It is noteworthy that the Russian women's costume, while having significant features for different areas, had common features - a poorly articulated compact volume, a soft, laconic outline. When the woman walked, her costume retained its smoothness and fluidity of lines. This character of movement was so organic for a Russian woman that it was preserved in many dances and round dances: in the mischievous dynamic Oryol “Matana” and in the lyrical round dance “Scarlet Flowers”, popular in the Oryol region. Since ancient times, the main Oryol peasant costume, like all costumes of the southern Great Russian region, consisted of a shirt, a poneva, an apron-veil, a complex headdress of several elements and neck ornaments - a “necklace”, beads or gaitan. The favorite color combination was red and black. Variations in the decoration and cut of the main elements of clothing varied significantly in the eastern and western districts of the Oryol province and even in individual villages.

The headdress occupied an important place in women's attire. In the western and central regions of the Oryol region, a ubiquitous headdress was a kichka combined with a “magpie.” “Magpie” is a specially cut and sewn piece of fabric with an embroidered headband, which served as the upper part of the headdress. On top of the “magpie” was worn a beaded “back of the head”, called in some areas a “harrow”. Such “magpie” headdresses were decorated with garus, gold embroidery, beads, blown beads, and fringe. The festive dresses of peasant women were so bright and shiny that in Dmitrovsky district they were called “golden-domed”. The kichka and the back of the head were supposed to completely cover the hair of a married woman, since according to ancient beliefs, human hair had magical powers. Having gotten married, a woman became a member of someone else’s clan, and in order not to bring misfortune to her husband’s relatives, she did not have the right to “go wild,” that is, to appear in public with a “simple” - bare head. This was allowed to girls who left their long braid open - a maiden beauty. Until marriage, often the only clothing girls and girls of marriageable age had was a long canvas shirt ("mood"), tied with a narrow belt.

Men's peasant clothing in the Oryol province was sewn, basically, like women's, from homespun materials: canvas, motley fabric, printed cloth, cloth and sheepskin.

Clay Chernyshin toy

Afanasova A.Kh.
Master of Chernyshensk toys

One of the oldest folk crafts is making clay toys. In the Oryol region, the living tradition of the Chernyshin clay toy, named after the village of Chernyshino, Novosilsky district, has been preserved. The surrounding area of the village is rich in a variety of clays: red, white, blue. Among them there are those that are credited with medicinal properties, and there is an unusually viscous one, from which since ancient times men made dishes, and women made toys and whistles. They took this clay under the mountain in early spring and stored it in a cellar or other cold places. When making toys, this clay was not crushed, but smoothed, as if moving it. After production, the toys were dried for a long time on the tops of the ovens. They fired in a common furnace, which was laid out of stone in the ground for each firing. The toys were painted with mineral and aniline paints using a rooster feather. They were sold at two fairs - Preplovenskaya and Trinity. During the fair, the streets of even the most remote villages were filled with the sounds of whistles.

Chernyshevsky toy craft is closely connected with the beliefs and rituals of the Novosilsk peasants. The plots of the toy are mostly traditional: women, birds, skates. Chernyshin's lady dolls, nurses and girls with braids are especially good. Also popular are cuckoos and three-headed horses, sometimes with a rider. At the very beginning of the 20th century, a significant number of women were employed in this craft in the village of Chernyshino, but as soon as the factory toy appeared, local production began to decline. Today, the hereditary master of Chernyshin toys, Anna Kharitonovna Afanasova, lives on the territory of the Novosilsky district, who passes on her skills to young masters.

Clay Pleshkovo toy

Frolova
folk master

The Pleshkovo toy (village of Pleshkovo, Livensky district) is also famous in the Oryol region. The village of Pleshkovo was located near a deposit of unique refractory clay, from which, presumably, at the beginning of the 17th century, Pleshkovo residents began to make bricks, pottery and toys. Women and girls were engaged in the toy industry. The toys were distinguished by their external simplicity and brevity. After firing, the clay acquired light pink, flesh-colored shades, and the mica included in the clay made it elegant, as if sprinkled with silver. Coloring was usually done in two colors: blue and red. Sometimes green was also used. The drawing was applied in the form of circles, spots, parallel lines, which looked impressive on flesh-colored clay. Blue paint was prepared from dried elderberries and blue primroses, red from crushed brick, green from the juice of burdock or hemp leaves. The subjects are traditional - horse, woman, soldier, duck, cockerel, cow, ram. Often the toy was a whistle.

Liven accordion

Through the village along a crooked path
On a blue summer evening
The recruits walked with a raincoat
A rollicking crowd.
S. Yesenin

Far beyond the borders of the Oryol region, the Livenka harmonica is known - one of the original versions of the Russian hand harmonica, simple and easily accessible to a musician. Its capabilities are amazingly demonstrated to the general public by the Livenskie Harmonica ensemble.

The rainwater was invented in 1830-1940. for performing folk songs, mainly dance ones. Traditionally, on the “livenka” on the right keyboard there were 15 buttons in one row, which were made from mother-of-pearl buttons, which in turn were made from mollusk shells from the Sosna River. On the left keyboard there were only 5 “paws” - single basses, they were placed on the front of the case so close to each other that you could press 2-3 keys with one finger, and depending on the location, a fourth or a triad sounded. On the other side of the body there were 2-3 keys, tuned to the second or first small octaves - by agreement with the customer - and were called wheezing. An additional valve was built into the upper part - a scribe, tuned in the second octave. Here, on the back of the harmonica, there was a gear valve. The sizes of the harmonics were different, depending on the range of the right keyboard - 22-30 cm in height and 8-9 in width. The volume of the fur chamber with such a narrow body became insufficient and was increased due to the number of borins (folds). Their number in the Livenka reaches 40, and the furs can stretch up to two meters. Livenka is the longest accordion in the world!

Today, the tradition of making livenkas continues in the “Workshop for the repair and production of musical instruments” at the “Leader” Youth Center in the city of Livny. In addition to traditional accordions, they also make miniature souvenir showers in painted cases and stylized stands in the form of a balalaika, notea, or hemp.

Mtsensk lace

Maslova
folk master

Mtsensk lace is one of the oldest in Rus'. Back in the 18th century, the landowner Protasova opened a lace manufactory near Mtsensk. She invited two teachers from Belgium, and they taught local girls. Russian girls studied with interest, but adopted foreign art creatively. Very soon the motifs of their weaving became so unique that people all over the world started talking about Russian lace. It was the largest lace production in Russia. 1,200 craftswomen worked on bobbins all year round. The products were supplied to the royal court and exported to England and Turkey.

At the end of the 19th and beginning of the 20th centuries, Princess Anna Dmitrievna Tenisheva did a lot for the residents of Mtsensk. She built schools and hospitals for the poor in the city and surrounding villages. In 1899, she opened a lace making school in Mtsensk for girls aged 8 - 12 years. The girls were taught not only crafts, but also literacy and the basics of drawing, and as the number of students grew, a boarding school was created at the school for the most capable residents of the surrounding villages. The girls lived there on full board.

The quality of Mtsensk lace grew. At the World Exhibition in Paris it was awarded a silver medal, and at the exhibition in Glasgow - an honorary diploma.

And now the lace making school is working in Mtsensk again. Children study here for three years. During this time, they must learn to weave measured lace and make copies of ancient samples. The best works of young lacemakers can be seen in the lace museum, as well as the works of their teachers. The Mtsensk Patterns studio has been opened.

A distinctive feature of Mtsensk lace is the active use of geometric motifs, while in Yelets lace floral patterns are more often used. If we compare it with Vologda lace, then there is a denser, more saturated pattern; background lattices are almost never used, but in Yelets and Mtsensk it is very common, so the pattern turns out to be more airy.

Ragdoll

At one time, rag dolls were created in all villages and towns of the region. From ancient times it was believed that children's games could bring about a harvest, wealth, a happy marriage, or, conversely, bring misfortune if the toys were handled carelessly. A doll in a family was a symbol of procreation, and entertaining games with dolls were only encouraged.

The dolls did this: they took unnecessary rags, threads, and most often tangled hemp left over from combing. They squeezed it, tied it into a ball with threads so that it had the shape of a head, then wrapped it in a white cloth. When the head was twisted, they took a chemical pencil and drew the face. Some craftswomen embroidered the face. The face was not drawn on the amulets dolls, since it was believed that in this case the doll could be possessed by evil spirits. And then they braided their hair, often a short braid was woven from hemp and slipped under a scarf or a homemade hat. Then they made the torso, sewed the arms - they took sticks and wrapped them in a rag, likewise the legs, and then covered them with cloth. Next they cut out clothes: for a boy, a cap made of rags and a caftan; and for a girl - a blouse and a skirt. The skirt was sewn at the waist with a needle and thread, and the jacket was lowered lower so that it covered the seam. They sewed shoes on their feet like small slippers, or made them like felt boots or boots.

They made a crib for the dolls, as best they could, and set aside a special corner in the hut. Small pillows were sewn onto the bed and stuffed with dry grass or sheep's wool. The doll was placed either on the bed or placed next to it.

There are dolls-amulet, “nappy dolls”, “columns”, “lovebirds”, “kuvadki” for hanging over the cradle, “mother-in-law doll”, “matchmaker doll”, “gypsy”, “butterfly”, “grain box” stuffed with grains, which sprouted especially well after the child’s winter games.

Modern folk crafts

Folk art never stopped, traditional crafts continued to develop, and new ones appeared. In the Oryol region today you can find such crafts as pottery production, wood carving, weaving from straw, cattail and wicker, the production of traditional Russian folk musical instruments - pipes, zhalenki of various tunings, rattles, tambourines, bells, snaffles, rubles, bells, boxes turntables, etc.

27 masters of the Oryol region engaged in folk crafts have the title “People's Master of Russia”. OJSC Orelkeramika operates, producing souvenir products in Oryol folk traditions. In Orel there is a children's school of fine arts and folk crafts, where folk craftsmen teach traditional crafts to young people.

In September 1943, in a city liberated from the Nazis, where the ruins were smoking, a theater for children was organized - a puppet theater. Little spectators saw the first performance "At the Pike's Command." The first director and artistic director of the theater was A.A. Voskresenskaya, former actress of the Leningrad Puppet Theater. O. Logvinova, G. Pronina, G. Popova, M. Bulavko took part in the first performance - people who devoted their entire lives to the puppet theater. The artists worked in difficult conditions: there was no room, costumes, or transport. Often I had to speak in hospitals in front of the wounded. And the adults, who had gone through the harsh military roads, rejoiced at these meetings no less than the kids. For the first five years, the theater does not have its own premises - in the winter it huddles in one or another city club, and in the summer it travels around the region, showing its performances to children and adults.

In 1947, musical director G.P. came to the theater. Malygina and since then has become an inseparable companion of the troupe. In 1948, the puppet theater received official premises and a semi-truck. By this time the team had become quite strong. Talented people work in the theater: Honored Artist of the RSFSR V. Abolmazov, artists V. Tkachenko, E. Mironova, M. Sokolova. In the same year, the first creative trip to Moscow took place, where the artists met and became acquainted with the work of S. Obraztsov’s puppet theater. In the early 50s A.A. Voskresenskaya brought the Oryol Puppet Theater to the top five best theaters in the country.

Years passed, the theater got on its feet, an interesting repertoire appeared, staged by the wonderful director E.S. Feodoridi. The older generation still remembers her performances “Terem-Teremok”, “The Three Little Pigs”, “Kolobok”, “Pig Chok” and many other performances.

Since 1970, the fate of S.A. has been connected with the theater. Samoilova. A graduate of the Gorky Theater School also received a higher specialized education and since 1985 has been working as the director of a puppet theater.
L.E. has been working as the main artist at the theater since 1975. Zhmakina, a graduate of OGPI, who has a lot of creative baggage behind her. She is the only specialist in the city in the field of professional art of puppet theater, who knows the manufacturing technology of all stage design components.

The main director of the B.C. Sergeychev came to the theater in 1992. He is a graduate of the Gorky Theater School and in 1972 completed the higher directing courses at the State Academic Central Puppet Theater S.V. Obraztsova in Moscow.
The acting age is not long. The years passed, the troupe changed, new people appeared in the theater, who are now recognized masters: Honored Artist of the Russian Federation G. Samoilova, artists T. Legkobit, L. Chekmareva, V. Vostrikov, V. Smirnov. Leading artists: M. Gruzdeva, Z. Potapova, V. Kozlov, D. Filev. Twice, on the basis of OGIIiK, a course of puppeteer actors was recruited at the Department of Directing and Acting. The guys had a base for practice - a puppet theater, and an experienced teacher - the main director of the B.C. Theater. Sergeychev. Students immediately joined the creative process, taking part in performances and New Year's interludes. After graduating from the institute, many of them became artists of puppet theaters in various cities of Russia. S. Komarova, R. Ovsyannikova, S. Selikhov, G. Sidorova, who are now involved in many performances of the current repertoire, were invited to work at the Oryol Puppet Theater.

The theater has repeatedly participated in international festivals (Gorky - 1987, Charleville-Mezières, France - 1994, Belgorod - 1997, 1999, 2002, Moscow - 2001). The Oryol Regional Puppet Theater has an extensive geography of tours - this is not only the Oryol region and regions of the former USSR. In 1992, the Oryol Regional Puppet Theater went on an exchange tour to Bulgaria.

During the operation of the theater, 13 main directors and nine houses were replaced, where dolls and people could not breathe without each other. Three generations of viewers replaced each other in watching the adventures of little animals, funny people, and wizards. More than two hundred and fifty productions are behind us - Russian fairy tales and fairy tales of the peoples of the world, Ostrovsky, Leskov, Garcia Lorca, our contemporaries. The theater is constantly searching for new forms and unique dramaturgy. Now the puppet theater has more than twenty performances in its repertoire and has big creative plans for the future - new interesting performances for children and adults.