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Foreign theater of the 20th century

The theater of the 20th century is a theater of searches and numerous experiments that gave it new forms and means of expression, a special art style. In the 20th century The leading trends - realism and romanticism - are being replaced by new, contradictory trends in the theater, which will be called modernist. The theatrical art of the 20th century was significantly influenced by new dramaturgy, represented by such names as G. Ibsen (Norway), B. Shaw (Great Britain), G. Hauptmann (Germany), R. Rolland (France). The plays of these authors for several decades determined the nature and features of development theatrical arts.

George Bernard Shaw (1856-1950) British (Irish and English) writer, novelist, playwright, laureate Nobel Prize in the field of literature. Laid the foundation for the formation intellectual theater, educating the consciousness and mind of the audience.

Shaw advocated a theater of high ideas, capable of teaching how to think, and therefore act. He created the theory of a “superman”, a man of the future who has the ability to change for the better not only himself, but also the world. His hero is filled with good, not evil, thoughts, the main objective– creation, not destruction. Bernard Shaw used a special way of presenting problems - a paradox. That is why his works simultaneously contain the comic and the tragic, the sublime and the base, fantasy and reality, eccentricity, buffoonery and the grotesque. The essence and meaning of Shaw’s work lay in the words: “The most funny joke in the world - to tell people the truth"

Plays by B. Shaw “The House Where Hearts Break” (1913 -1919) “Pygmalion” (1913)

Avant-garde in theatrical art. New, modernist trends in theatrical art of the 20th century are: expressionism in Germany; futurism in Italy; constructivism in Russia; surrealism in France.

Expressionism in Germany. At the end of the First World War, a new movement arose in Germany, clearly expressing a desperate protest against callous attitude to human suffering. The severe consequences of the war dictated new themes and forms for the theater stage, capable of awakening the soul and consciousness of a person. This direction was expressionism (French “expression”) Theater stage revealed to the audience all the nuances of the hero’s consciousness: visions, dreams, premonitions, doubts and memories. The dramaturgy of German Expressionism was called “scream drama.” The heroes of theatrical plays saw the end of the world, an impending global catastrophe, the “last cataclysm” of nature. Small man, with eyes full of hopeless despair and screaming, appeared on the stage of the expressionist theater in Germany. Edvard Munch "The Scream" (1895)

LEONHARD FRANK (1882-1961) The title of his first book - “A Good Man” (1917) - became the motto of the Expressionists, the program slogan of their “revolution of love”. Works: Novel “Gang of Robbers” (1914); short story “In the last carriage”, (1925); Frank's sympathies for socialism were expressed in the novel “On the Left, Where the Heart is” (1952). Theatrical plays were staged in Switzerland, France, Great Britain, the USA, and the USSR.

Surrealism in France. (French “superrealism”, “standing above reality”) S.’s followers denied logic in art and suggested that artists turn to the spheres of the human subconscious (dreams, hallucinations, delusional speeches), while retaining some features of reality. Jean Paul Sartre (1905 - 1980) - French philosopher and writer. In 1943, he staged a drama in occupied Paris - the parable "The Fly" based on ancient myth about Orestes.

“Epic Theater” by Bertolt Brecht (1898 – 1956), a German playwright of the 20th century. In his productions he used commentary on events from the outside, puts the viewer in the position of an observer, included in the performances a choir performance, songs - zongs, insert numbers, most often not related to the plot of the play. Inscriptions and posters were widely used in performances. The “alienation effect” is a special technique when a singer or narrator appears before the audience, commenting on what is happening in a completely different way than the heroes could have done. (People and phenomena appeared before the audience from the most unexpected side)

“The Threepenny Opera” - written in 1928 in collaboration with E. Hauptmann; in the genre of zong opera; composer Kurt Weill.

"Mother Courage and Her Children" (1939)

Brecht's legacy. Artistic principles epic theater Brecht was developed by many directors around the world. In Italy, they were used as the basis for the unique direction of George Strehler (1921 - 1997) at the Milan Piccolo Theater (1047). In Russia, performances based on the works of Brecht were staged: “The Good Man from Szechwan” (Yuri Lyubimov at the Taganka Theater, 1964), “The Caucasian Chalk Circle” (Robert Sturua at the Sh. Rustaveli Theater, 1975), “The Threepenny Opera” (Valentin Pluchek at the Theater of Satire and Vladimir Mashkov at the “Satyricon” 1996 – 1997)

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In the Russian theater of the late nineteenth and early twentieth centuries. There is a powerful rise in the democratic direction associated with the growth of the revolutionary movement. The tsarist government, trying to isolate the theater from advanced social thought, encouraged filling the repertoire of the imperial theaters with “fashionable” bourgeois plays and artisan drama. The Maly Theater in Moscow and the Alexandrinsky Theater in St. Petersburg were saved only by the high skill of the actors. The best of them, enriching the traditions of the older generation, introduced new progressive features into theatrical art. The work of the great Russian actress M. N. Ermolova takes on a revolutionary sound. The soulful art of other luminaries of the Maly Theater - G.N. Fedotova, A.P. Lensky, M.P. - maintains a close connection with public sentiment. and O.O. Sadovskikh, A.I. Yuzhin, as well as outstanding actors of the Alexandrinsky Theater - V.N. Davydov, M.G. Savina, K.A. Varlamov.

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The beginning Art Theater It is believed that the meeting in the Slavic Bazaar restaurant on June 19, 1897 of the already famous theater figure, actor and director Konstantin Sergeevich Stanislavsky and the experienced teacher and playwright Vladimir Ivanovich Nemirovich-Danchenko was considered to be a meeting. Initially it was called the Art and Public Theatre. The “public accessibility” of the new theater presupposed, first of all, low ticket prices; because find necessary funds did not succeed, it was decided to apply for subsidies to the Moscow city ​​council. Nemirovich-Danchenko presented a report to the Duma, which, in particular, said: “Moscow, which has a population of millions, of which the largest percentage consists of working-class people, needs public theaters more than any other city.” But it was not possible to get subsidies; in the end, we had to turn to wealthy shareholders for help and increase ticket prices. In 1901, the word “public” was removed from the name of the theater, but the focus on a democratic viewer remained one of the principles of the Moscow Art Theater.

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The Moscow Art and Public Theater opened on October 14 (26), 1898 with the first production of Alexei Tolstoy’s tragedy “Tsar Fyodor Ioannovich” on the Moscow stage. The performance was a joint production by K. Stanislavsky and Vl. Nemirovich-Danchenko, the title role was played by Ivan Moskvin.

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A.P. Chekhov reads The Seagull to the artists of the Art Theater. On December 17, 1898, the legendary premiere of Chekhov's The Seagull took place.

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In an effort to give an answer to the burning problems of our time, the Moscow Art Theater turns to the dramaturgy of A.P. Chekhov and M. Gorky. In the performances “The Seagull” (1898), “ The Cherry Orchard"(1904) viewers saw a call to overcome philistinism, faith in the value of man, longing for better life. Of particular importance was the production of Gorky’s play “At the Depths” (1902), which awakened a sense of high humanism and an angry protest against the blatant injustices of the bourgeois system.

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Undoubtedly, the theater succumbed to revolutionary sentiments. During the period of reaction that came after the defeat of the revolution of 1905-1907, symbolist trends intensified in the Russian theater, and a campaign against realism began. Symbolist plays imbued with pessimism are staged at the Moscow Art Theater. Theater in the revolutionary period

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In Moscow, it was customary to call the Moscow Maly Theater the second university. But the theater in Yaroslavl was the same university in the Russian theater province. The season of 1899–1900 was marked by preparations for the anniversary and celebration of the 150th anniversary of the Russian national theater. The best forces of the imperial - St. Petersburg and Moscow Maly - theaters were invited to the Volkov anniversary celebrations in 1900. Celebrations in Yaroslavl in honor of the birth of the First Russian Theater became a holiday for all of Russia. In 1909, a competition was announced for best project building of the new city theater, the previous building fell into disrepair, and the Duma decided to build new theater with a capacity of more than 1000 spectators. The first prize in this competition was awarded to the architect N. A. Spirin (1882 - 1938).

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In 1911, the new theater building was inaugurated with a huge crowd of people. At the opening of the theater, a welcoming telegram from K. S. Stanislavsky was read: “Please accept my heartfelt gratitude for the invitation and memory... I sincerely wish that a nice young business will arise and flourish in the homeland of the founder of the Russian theater. Please accept congratulations and pass on the work to the participants. Stanislavsky." In the same year, the theater was named after Fyodor Grigorievich Volkov. For two years (1914 - 1916) the theater was run by a young but already well-known director in Russia, I. A. Rostovtsev, who assembled a very strong troupe, attracting spectators with talented productions of “The Bourgeois” by M. Gorky, “The Seagull” by A. P. Chekhov, attention to Russian classical drama. In the first years of Soviet power, the Yaroslavl Theater received the name “Soviet Volkov Theater.”

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In the 20s and 30s, the artistic directors of the Volkovsky Theater later became real enthusiasts and collectors of theater in Yaroslavl, the creators of a strong and strong acting team: B. E. Bertels, I. A. Rostovtsev, D. M. Mansky, artists A I. Ippolitov, N. N. Medovshchikov, people of great creative courage, inner temperament, with great demands on themselves and others, with a desire to raise the level of theater to the true heights of art. In the second half of the 30s, the Volkovsky Theater troupe united into a wonderful, strict and harmonious ensemble of stage masters, who determined the creative face of the theater for many decades. These are S. Romodanov, A. Chudinova, A. Magnitskaya, V. Sokolov, S. Komissarov, V. Politimsky, G. Svobodin. The repertoire of the 30s is represented by Russian classics, primarily the dramaturgy of Ostrovsky (“The Thunderstorm”, “Dowry”, “Guilty Without Guilt”, “The Last Victim”), where in the roles of Katerina, Larisa Ogudalova, Kruchinina, Yulia Tugina, the poetic- tragic talent of Alexandra Chudinova. The theater’s ability to deeply, philosophically and psychologically reveal the “crisis” man of the Soviet era is becoming stronger. The breath of time burst onto the stage in “Bread” by V. Kirshon and “Distant” by A. Afinogenov, “Platon Krechet” by A. Korneichuk and “My Friend” by N. Pogodin. In the performances “Three Sisters” by A.P. Chekhov, “Anna Karenina” (based on L.N. Tolstoy), “Romeo and Juliet” by Shakespeare, “Nora” by G. Ibsen, “Cunning and Love” by Schiller, the Volkovites affirm their desire for theater deeply psychological, to the revelation of spiritual truth

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During the Great Patriotic War many Volkovites went to the front, taking up arms in defense of their homeland. Among them are actors Valerian Sokolov, Vladimir Mitrofanov, Dmitry Aborkin, Vladimir Mosyagin, decorator, and later actor Konstantin Lisitsyn, awarded the title of Hero of the Soviet Union, actress who became a front-line intelligence officer, Sofya Avericheva, actress Maria Rypnevskaya, artistic director Theater David Mansky. The young director Semyon Orshansky came to the theater in 1940. He made his debut with the play “Warm Heart”. Severe, strict military drama has become leading in the theatrical repertoire from the very beginning of the war - “The Guy from Our City”, “Russian People” by K. Simonov, “Front” by A. Korneychuk, “Invasion” by L. Leonov, “The Boatwoman” by N. Pogodin , “General Brusilov” by I. Selvinsky, “Field Marshal Kutuzov” by V. Solovyov.

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In 1950, the whole country solemnly celebrated the 200th anniversary of the First Russian Theater. Starting from the 50s, the theater entered a time of true prosperity. The best stage masters - People's Artists of the USSR and the RSFSR, State Prize laureates Grigory Belov, Valery Nelsky, Sergei Romodanov, Alexandra Chudinova, Klara Nezvanova - carry a considerable charge of the old Russian classical theatrical culture in their work. The performances of the Volkovsky Theater are marked by unity and integrity of style.

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From 1960 to 1978, the theater was managed by an outstanding figure in Soviet theatrical art, National artist USSR, State Prize laureate Firs Shishigin. A significant stage in the history of the Volkovsky stage is associated with the name of Shishigin, who headed the theater for almost two decades. It was the Russian character, sweeping, spontaneous, with enormous internal contradictions. Russian theater of the second half of the twentieth century can name few directors who worked so passionately, enthusiastically and temperamentally on global and tragic problem Russian people and history. Shishigin's time in the theater is a time of creative passion and unprecedented unity of the troupe.

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Theater

The most important event late XIX V. was the opening in 1898 of the Art Theater in Moscow.

Founders:

• K.S. Stanislavsky
• IN AND. Nemirovich-Danchenko
• O.L. Knipper, V.I. Kachalov, I.M. Moskvin, L.M. Leonidov and others

The significance of the founding of the Moscow Art Theater lay in the fact that it became the final stage in the formation of a realistic school of acting, and also in the fact that plays of the modern repertoire were performed on the stage of the theater, so close to the Moscow public, which was more democratically inclined than the St. Petersburg one.

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STANISLAVSKY (Alekseev) Konstantin Sergeevich (1863-1938) - actor, director, teacher, theorist of performing arts. S. is the author of a creative system for educating an actor, the basic principles of which are set out in the books “An Actor’s Work on Oneself” (1938) and “An Actor’s Work on a Role” (1957). The core of the S. system is the doctrine of the supertask and the method of physical actions. In contrast to other theoretical directions (including psychoanalytic concepts dating back to Freud), S. considered the motivator of creativity to be the “super-super task” of the artist (actor, director) - the need to understand and embody the “life of the human spirit.” This need is concretized in the super-task of the role, that is, in those goals to which the through action of the stage character is subordinated. The super-task is determined by the super-consciousness (creative intuition) of the artist and can only partially be translated from the language of images into the language of logic. The actor's experiences are involuntary and are largely regulated by his subconscious. Consciousness and will are only subject to the actions of the stage character portrayed by the actor, on which S. proposed to focus the performer’s attention. S.'s system and the method of physical actions he discovered had a huge influence on the theatrical culture of the 20th century and contributed to the study of the psychology of performing arts.

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Nemirovich-Danchenko Vladimir Ivanovich is a talented dramatic figure and fiction writer, brother of the previous one. Born 1858; received his education at Moscow University. Even when he was a student he was theater critic in "Russian Courier". He was a member of the Moscow Literary and Theater Committee and taught at the Moscow theater school performing arts. Nemirovich-Danchenko occupies a major place in the history of Russian theater as the founder, together with Stanislavsky, of the Moscow Art Theater. Beginning in 1882 (the play “Our Americans,” which was not successful), Nemirovich-Danchenko’s comedies were staged in Moscow and other cities: “Rosehip”, “Lucky” (1887), “The Last Will” (1888), “New Business” " (1890) and dramas: "Dark Forest" (1884), "Falcons and Crows" (in collaboration with Prince Sumbatov), ​​"The Price of Life" (1896), "In Dreams" (1902), etc., giving the author a noticeable place among modern playwrights. Among the short stories and novellas of Nemirovich Danchenko, the story “With a Diploma” (“Artist”, 1892) stands out. Larger fictional works by Nemirovich-Danchenko: “On Literary Bread” (1891), “ an old house"(1895), "Governor's Revision" (1896), "Mist", "Drama Behind the Stage", "Dreams" (1898), "In the Steppe" (1900), collection of stories "Tears" (1894). Works by Nemirovich- Danchenko, with careful finishing of details and delineation of characters, is distinguished by definiteness of thought. In his great novels, he depicts the collapse of high aspirations and good impulses of people who are not devoid of talent, but do not have enough willpower and character to fight obstacles and to work hard. the impulses of these people stem from their search for the meaning of life. Nemirovich-Danchenko tries to give an idealistic answer to the question of what the meaning of life is in his drama: “The Price of Life.” S.V.

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Theater

• 1904 at the St. Petersburg Theater V.F. Komissarzhevskaya
• The main director of her theater was V.Z. Meyerhold.
• Founder V.F. Komissarzhevskaya in 1914, the Chamber Theater appears in Moscow
• Founder E. Tairov
• From large quantity This was the largest and most stable of such groups and lasted until the 30s.

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