History of Russian drama of the 19th century, volume two. Pushkin and Russian drama of the second half of the 19th century

The Russian theater in the nineteenth century was distinguished by a certain two-facedness - on the one hand, it continued to react just as sharply to various social and political changes in the state structure, and on the other, it improved under the influence of literary innovations.

The Birth of Great Masters

IN early XIX centuries in Russian performing arts Romanticism and classicism are replaced by realism, which brings a lot fresh ideas to the theatre. During this period, many changes occur, a new stage repertoire is formed, which is popular and in demand in modern dramaturgy. The nineteenth century becomes a good platform for the emergence and development of many talented playwrights, who with their creativity make a huge contribution to the development of theatrical art. The most prominent person in dramaturgy of the first half of the century is N.V. Gogol. In fact, he was not a playwright in the classical sense of the word, but, despite this, he managed to create masterpieces that instantly gained world fame and popularity. Such works can be called “The Inspector General” and “Marriage”. These plays very clearly depict full picture public life in Russia. Moreover, Gogol did not glorify it, but, on the contrary, sharply criticized it.

"The Inspector" N.V. Gogol

At this stage of development and full development Russian theater can no longer remain satisfied with the previous repertoire. Therefore, the old will soon be replaced by a new one. Its concept is to depict a modern person with a keen and clear sense of time. A.N. is considered to be the founder of modern Russian drama. Ostrovsky. In his creations, he very truthfully and realistically described the merchant environment and their customs. This awareness is due to a long period of living in such an environment. Ostrovsky, being a lawyer by training, served in court and saw everything from the inside. With his works, the talented playwright created a psychological theater that sought to peer into and reveal as much as possible internal state person.

"Thunderstorm" A.N. Ostrovsky

In addition to A.N Ostrovsky, performing arts XIX century Other outstanding masters of the pen and stage also made a great contribution, whose works and skills are the standard and indicator of the pinnacle of mastery. One of these individuals is M. Shchepkin. This talented artist performed great amount roles, mostly comedic. Shchepkin contributed to the emergence of acting beyond the boundaries of existing patterns at that time. Each of his characters had their own individual traits character and appearance. Each hero was a personality.

In the nineteenth century, Russian theater continues, on the one hand, to react sharply to political and social change in the country, and on the other hand, to correspond to literary changes.

Almost the entire century in Russian literature passes under the sign of realism, which replaces both outdated classicism and romanticism. The nineteenth century gives the domestic theater the names of playwrights who, in fact, clean slate will create a theatrical repertoire that is still in demand today.

In the first half of the century, N.V. became such a person. Gogol. Not being a playwright himself, he managed to create real masterpieces of world drama - the plays “The Inspector General” and “Marriage”, which presented the viewer with a large-scale picture of the life of the then Russian society and sharply criticized it.

It was at the premiere of The Inspector General that Emperor Nicholas I said legendary phrase“Everyone got it, and I got it more than anyone!”, realizing who is depicted under the mask of the Mayor.

At this time, the theater can no longer be satisfied with the old repertoire; it strives to show a modern person, keenly aware of the times. The playwright who created literary basis modern Russian theater, and became A.N. Ostrovsky.

A lawyer by training who served in court, Ostrovsky gained an excellent understanding of the environment that he would later describe in his immortal plays. Describing morals in detail and realistically merchant environment, he creates primarily a psychological theater that tries to look inside a person.

Ostrovsky subtly senses the impending social changes and depicts the collapse of established merchant traditions, the impoverishment and moral decline of the nobility, and the increasing role of money in human relations. He vividly and accurately describes the new heroes of life, enterprising, quite cynical and dexterous: Glumov (“Simplicity is enough for every wise man”), Lipochka (“Bankrupt”), Paratov (“Dowry”).

Almost all of Ostrovsky's works were successfully staged at the Moscow Maly Theater, which in this century became the best theater empires.

The nineteenth century gave the Russian theater a whole galaxy of outstanding masters scenes whose names have forever become legends. One of the founders of the Russian acting school is M. Shchepkin.

The history of M. Shchepkin’s creative path is history national theater first half of the nineteenth century. Being a serf and starting his career with the consent of his master, Count Wolkenstein, Shchepkin becomes an actor at the Maly Theater and plays a huge comic repertoire.

His success in comedies was largely determined by the actor’s external characteristics (a tendency to be overweight and short in stature). But at the same time, Shchepkin also had an amazing talent, which allowed him to cope well with a variety of roles.

It was Shchepkin who sought to bring acting from the framework of stereotypes, each character in his performance had many striking details of behavior and appearance. In addition, Mikhail Semyonovich carefully developed the character’s line of behavior, basing the role on a sharp change in the character’s behavior.

Without a doubt, the heyday of Shchepkin’s career coincided with the appearance immortal works Russian drama. Shchepkin understood the imperfection of the plays of the early 19th century and enthusiastically accepted the emerging dramatic works A. Griboedov, N. Gogol, A. Sukhovo-Kobylin, A. Ostrovsky, that is, the material that every actor dreams of playing today. Thus, M. Shchepkin played Famusov in “Woe from Wit”, Mayor in “The Inspector General”, Kochkarev in “Marriage”.

The history of Russian theater of the second half of the 19th century is inextricably linked with the name of M. Ermolova. During her career, this outstanding actress created a whole gallery of female images on the stage of the Maly Theater classical drama. Yermolova’s repertoire also included high tragedy (“ Maid of Orleans Schiller, Shakespeare's Macbeth, Lope de Vega's The Sheep Spring), and everyday drama (plays by V. Alexandrov and V. Dyachenko).

P. Sadovsky contributed to the emergence of realism on the Russian stage. His best works– roles in plays by A. N. Ostrovsky and N. V. Gogol. Sadovsky became famous as a versatile, character actor, whose mere appearance attracted the attention of the audience.

Related information.

The origins of Russian progressive drama, in line with which the work of A.N. Ostrovsky and A.P. arose. Chekhov, - in the people's theater. Domestic

The folk theater is characterized by:

10.

11.

12.

13. Ostrovsky's innovation

14.

15.

16. OSTROVSKY THEATER

17.

18. The main ideas of theater reform:

19.

20. “My task is to serve Russian dramatic art. I am everything: the academy, the philanthropist, and the defense.”

21.

22.

23.

24.

25.

26.

27.

28.

29.

30. Scene from the Maly Theater play “The Seagull”. Doctor Dorn - Yaroslav Baryshev, Arkadina - Irina Muravyova

The development of drama in the second half of the 19th century is inseparable from the formation of Ukrainian national theater. My literary activity Ukrainian playwrights combined with the organization of theater troupes, were actors and directors.

Mark Lukich Kropivnitsky (1840-1910).

His talent is amazingly multifaceted: an outstanding playwright, organizer professional theater, talented artist, composer, author of musical and dramatic works). Kropivnitsky began his creative path as a participant in amateur performances. Already in 1863, he wrote his first drama - “Give your heart free rein, it will lead you into captivity.” During the period of persecution Ukrainian language a young playwright writes his work in bright in native language, includes pictures of Ukrainian life, folk rituals, parties, matchmaking, and weddings. The image of the main character, the young farm laborer Nepokryty, embodies the best features of the people's character.

A new stage in his work was the creation of the drama “The World Eater, or the Spider” (1882). It uses satirical colors to create the image of a cruel world-eater - the predator Goby. At the same time, Kropivnitsky is working on the drama “While the sun rises, the dew will eat away the eyes,” where he poses the problem of the intelligentsia and the people; addresses female images in the dramas “Two Families”, “Olesya”. The problem of “crime and punishment” is revealed in the psychological drama “Lost Power”, turning to the dramaturgy of Shakespeare and Moliere.

While creating dramatic works, Kropivitsky at the same time led practical work in the theatre. He trained a whole galaxy of wonderful artists: Zaikovetskaya, Saksagapskaya, Zatirkevich-Karpnpskaya, Menptskaya, Maryaneiko and others. With his artistic troupe, Kropivitsky toured in Belarus, the Baltic states, and Georgia, where he gave performances in the Ukrainian language. And in our time, Kropiviptsky’s plays occupy an honorable place in the repertoire of the Ukrainian theater.

Mikhail Petrovich Staritsky (1840-1904). A talented playwright, poet, prose writer, director, organizer of theater troupes, translator into Ukrainian of many works of world literature. Staritsky wrote twenty-five plays, of which thirteen were original works, the rest were translations and adaptations of plays by other authors.

Starnsky's drama from folk life“Oh, don’t go, Gritsyu, to the evening parties,” staged on stage in 1887. At the center of the play is Marusya Shuray. The author describes her as a beautiful and proud girl, sensitive and poetic. The play depicts passionate love heroes - Marusya and Grpts, the evil homewrecker Foma, pushing them towards mutual suspicion, and the poisoning of Grits, Marusya's insanity, Foma's suicide... Realism, elements of the tragic are intertwined with melodrama; the poetic coloring in the depiction of Ukrainian life and musicality made the play popular with the audience.

Staritsky wrote a drama from folk life “In the Dark” (1892), a number of plays about the fate of the creative intelligentsia, about the attitude of the democratic intelligentsia towards the people: “Not Destined”, “Fate”, “ Broken heart" and others. He also turned to the historical theme: the dramas “Bogdan Khmelnitsky”, “Marusya Boguslavka”, “Defense of Bush”.

Staritsky also revealed his talent in the field of poetry (“To Shevchenko”, “On the anniversary of Shevchenko”, “To Ukraine”. His first drama was the play “Burlak”, her main character- Protestant Panas, who stands up for the poor people in love Alexei and Galya.

The drama “The Laborer” was written in the same genre.

(1885), which was a great stage success. Especially strong impression The audience was affected by Zankovetskaya's performance in leading role, revealing the tragedy of an enslaved person suffering humiliation, insults, and abuse. It was no less successful social drama“Unhappy” (1884-1885). In this regard, the connection between Karpenko-Kary’s dramaturgy and the work of A. N. Ostrovsky is undoubted.

The pinnacle of creativity I.

Karpenko-Kary is the play “Savva Chaly” (1896). The drama depicts episodes of the Haidamak uprising in Ukraine, reveals the character of one of the leaders of this movement - Savva Chaly, the inconsistency and complexity of his activities. The author used the experience of world drama - Byron, Hugo, Pushkin, A. Tolstoy, revealing the problem of the hero’s relationship with the people.

Karpenko-Kary’s great successes in the field of comedy, the basis of which was the use of deeply folk humor, national tradition. In Karpenko-Kary's comedies, laughter is combined with deep drama and psychologism. The comedies “Martyn Borulya” (1866), “One Hundred Thousand” (1890), and “The Master” (1900) became famous; comical situations here are built on ridicule of stinginess, money-grubbing - eternal themes world literature. The comedy “The Boss” still lives on stage today, famous performer The role of Bubble was played by A. Buchma.

The end of the 19th century was marked by Ukrainian culture creation of a professional theater. It was founded by M. L. Kropivnitsky in Elisavetgrad. The theater, which toured throughout Ukraine, brought together a constellation of talents. The director of the troupe was M. P. Staritsky, the director was M. L. Kropivnitsky, he also played as an actor (performed both comedy and dramatic roles). The image of Taras Bulba created by him entered the treasury of world art. The great Ukrainian actress M. K. Zankovetskaya was the first performer of the main roles in plays that explored the theme female destiny: “The Laborer” by I.K. Karpenko-Kary, “Until the sun rises, the dew will eat away the eyes” by M.L. Kropivnitsky, “Gypsy Aza” by M.P. Staritsky, “Limerivna” by Panas Mirny. Unique images created by M. Sadovsky in the plays by T. G. Shevchenko “Nazar Stodolya”, I. P. Kotlyarevsky “Patalka-Poltavka” and others.

Despite the extremely difficult conditions (lack of permanent premises, the ban on playing in the Ukrainian language, which lasted from 1683 to 1893, etc.), Ukrainian theater achieved significant success in the 19th century.

Second half of the 19th century - the most important period in the development of Ukrainian music. At this time it is widespread musical education, are created music schools, perks up concert life. During this period, professional composers appeared: S. S. Gulak-Artemovsky, II. P. Sokalsky, M. V. Lysenko and others.

S. S. Gulak-Artemovsky (1813-1873) revealed his talent as a composer and Opera singer. In his work he turned to themes of folk life. He created the first Ukrainian opera - “Zaporozhets beyond the Danube”, which is included in the repertoire musical theaters and in our days. This opera was staged for the first time Mariinsky Theater In Petersburg. The role of Ivan Karas was played by the author himself.

There was a significant contribution to Ukrainian music P. P. Sokalsky. He turned to creating operas on historical topics, based on the works of classical writers. This is "Mazeppa" according to the poem

A. S. Pushkin “Poltava”, “Bogdan Khmelnitsky”, “ May night"but the story of the same name by N.V. Gogol, "The Siege of Dubno" based on his story "Taras Bulba".

Ukrainian music reached its greatest rise in the 19th century in the work of N. V. Lysenko (1842-1912), the great Ukrainian composer, pianist, conductor and teacher. Working on the original repertoire, the composer turned to folk art, to Ukrainian song folklore. He released collections that included 600 songs. II. V. Lysenko created a cycle of works “Music for Shevchenko’s Kobzar.” In the 70s - 90s he wrote a number of operas based on Gogol’s plots: “Christmas Night”, “The Drowned Woman”, the opera “Taras Bulba” - highest achievement creativity outstanding composer. This opera was written in the traditions of M. I. Glinka and is imbued with the folk spirit. In her music, the author widely used Ukrainian folk art. II. Lysenko also wrote the music for I. P. Kotlyarevsky’s play “Natalka-Poltavka”.

Creativity II. V. Lysenko is amazingly diverse. He addressed symphonic music, works for piano, wrote and published many romances based on poems by A. Mickiewicz, Ts. Franko, L. Ukrainka and others. Works II. Lysenko raised Ukrainian music to new stage in its development.

It is significant that during this period Ukrainian themes entered the works of outstanding Russian composers. So, II. I. Tchaikovsky, who lived for a long time in Ukraine, narrated the operas “Mazeppa” and “Cherevichki”, M. II. Musogorsky - the opera “Sorochi Fair”, which uses folk melodies. The plots of Gogol's stories "May Night" and "The Night Before Christmas" formed the basis operas of the same name II. A. Rimsky-Korsakov. Ukrainian themes were addressed by A. II. Serov, A.G. Rubinstein and other composers.

Traditions of Russian drama at the endXVIIIV. – startedXIXV. Russian Theatre of Drama“before Ostrovsky”: repertoire, principles of acting, the role of the director, leading Russian theaters.

A.N. Ostrovsky(1823 – 1886). The scale and significance of the writer-playwright’s activity.

Life experiences and personal experience, which became the basis of creativity. The beginning of his creative career is the comedy “Our People – Let’s Be Numbered” (1849)  . Artistic development of vital material that was new to literature and theater of that time - the life and customs of the merchant class. Mastery in creating socio-psychological types, plotting, organizing dialogue. A combination of comedy and drama. Social and universal in the play.

Slavophile period of creativity. Work in the magazine “Moskvityanin”, the spirit and direction of the “young editorial staff”, Ostrovsky’s friendship with A. Grigoriev. Idealization of old traditions of family and life, traditions of folk carnival performances, opposition of national values ​​to alien influences in the comedy “Poverty is not a vice” (1854).

Changing the nature of creativity towards strengthening critical, realistic tendencies. “There is a hangover at someone else’s feast” (1856).

Comedy "Profitable Place" (1856). The drama and comedy of the collision of abstract idealism with aggressive inertia and social egoism of the “guardians of the foundations.”

Drama "The Thunderstorm" (1859). Content of the conflict: family, moral-psychological, social aspects. Katerina’s position in the Kabanov family and her inner sense of self. Katerina and Kabanikha: irreconcilable opposition and deep similarity. Comparative characteristics of Tikhon and Boris, the role of each of them in the fate of Katerina. Stages of conflict development, the playwright’s compositional skill in juxtaposing individual scenes. The meaning of the name. The tragic nature of the play. N. Dobrolyubov, A. Grigoriev, D. Pisarev about “The Thunderstorm”. Modern interpretations and theatrical interpretations of the play.

Historical plays by Ostrovsky. Chronicle “Dmitry the Pretender and Vasily Shuisky” (1866). The problem of interaction between people and government.

Political comedy“Simplicity is enough for every wise man” (1868): accusatory and satirical development of the theme of personal and social self-affirmation in an aggressive and inert environment. Glumov’s cynicism as a form of adaptation of a person who is intelligent and not alien to moral ideas to the world of greed, bureaucratic disorder and obscurantism.

Satirical comedies“Warm Heart” (1869), “Mad Money” (1870), “Forest” (1871), “Wolves and Sheep” (1875). A satirical denunciation of the nobility.

“Snow Maiden” (1873) – “spring fairy tale”(genre definition by Ostrovsky). Mythopoetic basis, lyricism, dramatism of the work. Symbolic and philosophical content of the play.

Social and psychological drama “Dowry” (1878). Content and stages of development of the conflict. Character system. The originality of the character and personality of Larisa Ogudalova, the reasons for the drama of her fate. The attractiveness and inferiority of the figure of master Paratov. External respectability and tyrant essence of Knurov and Vozhevatov. The content of Karandyshev’s image and his literary genealogy (“ small man"). The meaning and significance of the tragic denouement. Film interpretations of the play.

“Talents and Admirers” (1882), “Guilty Without Guilt”(1884): lyrical, dramatic and comic collisions from the life of theater people.

The significance of A.N.’s activities Ostrovsky in the formation of the Russian national theater. Moscow Maly Theater - Ostrovsky House.

Dramatic activity A.V. Sukhovo-Kobylina(1817 – 1903) and A.K. Tolstoy (1817 – 1875).

Trilogy A.V. Sukhovo-Kobylin’s “Krechinsky’s Wedding” (1855), “The Affair” (1861), “The Death of Tarelkin” (1868) are a satirical-dramatic depiction of moral stratification among the nobility, the strengthening of the soulless power of the bureaucracy, the triumph of its power that kills all living things. Grotesque images, farcical and fantastic features of Krechinsky’s artistic world.

Trilogy A.K. Tolstoy’s “The Death of Ivan the Terrible” (1866), “Tsar Fyodor Ioannovich” (1868), “Tsar Boris” (1870). The problem of the relationship between moral and political principles in the activities of the ruler. Three versions of the personal drama of three autocrats. A. Tolstoy’s artistic polemic with the Hegelian idea of ​​historical progress.