F. A. C. E. S. MAGAZINE F. A. C. 2012
CINEMATOGRAFFF. INSIDE I’M SINGING
30
BRIEF BROADWAY MUSICAL HISTORY40
EXCLUSIVE PHOTOS
THEATRE? NO!
7
42
CAST
EDITORS-IN-CHIEF Kozhura Olga Il’ya Lysenko AUTHORS
STEVEN KROPACHEV KOZIMYANETS ZARONA IVSHINA ELENA VASILIEVA LUDMILA SIDORINA KSENIA KONOVA OLGA ANASTASIYA SHWETZ SERGEENKOVA JULIA OLGA SMIRNOVA ALEXANDRA NAUMOVA KOLPAKOVA LYUBOV DZALAEVA OLGA BEAGINOVA YANA NATALIYA GYUMYUSHLYU SOFYA KHAUSTOVA VASILIEVA LISA KOVALEVA ALINA VERONIKA VOROCHAI YAKUSHEV EVGENIY STASUNATE VERONIKA SOKRATILINA ANASTASIA KOMINA ANASTASIYA KSENIA FETISKINA SHTINA EKATERINA MARIA KALITA ALEXANDRA OSTAPENKO REGINA SHELOFAST ALEXANDRA ALEKSEEVA SAKOVICH OLGA
PHOTOGRAPHERS NATALIA USKOVA DARIA VOLKOVA
SPECIAL THANKS TO
2
HELEN VERTUGINA
Saint Petersburg State University Philisophical Faculty 25-27 April 2012
Why hold festivals? Make students’ magazines? Aren’t you busy enough with exams, tests, conferences and lectures? Some of you, dear readers, consider all this “students’ fun” not worth paying attention to or, even, the waist of time. Well, the choice is always yours! What I see is that SOME people write, present, take part and express themselves. SOME people overcome their lack of selfconfidence, learn to work under pressure.
SOME people gain new friends, exchange ideas, acquire new skills. SOME people rediscover familiar people from a totally new side. Oh! And SOME, of course, will never miss the chance to enrich their mind with knowledge. This year SOME people want to talk about “THEATRE”. By Elena Vertugina
3
PLAYBILL 6................ Some Questions 7............. Theatre? No! 8............................ 9....................
Modern Theatre. Is LULLABY: the how
that the
Real Art?
that will put you to sleep and
then serve you breakfast
My own Story. The Great Theatre
of
Liceo
10........................ Architecture 11........... Modern Street Theatre in the Islamic Republic Iran 12...................... African Theatre. Does it Exist? 13...... Indian Theatre 14................................ Traditional Japanese Theatre 16................ Traditional Chinese Circus 19.... Roles and characters in Beijing opera 20................................ Theaters
of the
Ancient World
Middle Ages
22........ 23.................. 24................................ 27..... 28................ 30............................... 32...............
From Skomorokhses to the Theater Laugh, Emotions and…Theatre! The Theatrical Troupe ‘‘The Blue Blouse’’ How Hard Is It to Be a Queen? Victory Over the Sun - the New Era of Theatre Cinematografff. Inside I’m Singing Hamlet of XXI century
34.. 35..................... 36........ 38................................
FRIDA.the spectacle of flamenco How To Be a Ballerina Dance and Theatre Brief History of Broadway Musicals
40........ Mask... 41................ ARTISTIC NEUROTICISM 42.......................... Exclusive photos
4
and
of
EDITOR’S WORD And finally it’s spring… And it means that it’s the time for annual festival of art and culture – F.A.C.E.S.2012. Since the theme is “Theatre”, we collected the articles about it in this issue. But before you start reading ask yourselves one simple question: “What if there was no theatre?” No plays, no famous performances, no opera, no ballet… Wouldn’t it be really sad?! Living in the Cultural Capital of Russia it’s really impossible to imagine it without theatre! And when the theatrical season in Saint-Petersburg comes to its end, you still have enough possibility to visit guest performances of theatre companies from all over the world. But if you don’t like going to the theatre, there are a lot of street art and performances, which are available at evening and night time. We want to thank all the authors and friends who helped us with their ideas! We all worked hard making this magazine!
Read it and enjoy! We hope you will explore the
fascinating world of magic and art and feel an instant and unstoppable urge to go and buy tickets to the theatre ! Editors-in-chief. Lysenko I. Kozhura O.
5
Some Questions
T
he rapid development of technology creates the impression that very soon we’ll be living in a fantasy world of science fiction writers. But these guys clearly overestimated our possibilities in the political sphere and space travelling. Meanwhile man is turning the technological progress to the sphere which seems most important to him – the timekilling. Entertaining - that’s what makes technological revolution every half a year. People require more and more new impressions to fill the emotional vacuum of routine. The man, as it always was, craves for bread and show. But the entertaining needs to be various, that’s the main idea of it. And every time when we get a brand new discovery in the time-killing sphere it makes us forget everything antecedent and fully absorb into new fun. I’m not saying it’s bad! I’m not saying the progress or entertaining is bad… It’s not about good or evil, it’s about the reflection. I am totally confident that the main thing of our existence is what kind of questions we’re bringing up.
not for everyone. In this case I can only say: The best can’t be the heritage of many. And it’s not about elitism or some kind of selection; it’s about morals and manners. Theatre is not in fashion nowadays it’s true. Theatre nowadays is more underground, less mainstream among youth. But it doesn’t need to be! The theatre is not trying to satisfy everyone, it doesn’t need to turn people to good. It’s eternal satellite of humanity and it occupies a niche in our life. Sometimes they say that the theatre is a crisis phenomenon. But I think that the theatre has never been in demand like now. The society is in crisis not the theatre. Everyone who’s been in theater knows what I’m talking about. I don’t think that theatre is a predecessor of cinema, but the autonomous phenomenon! Theatre is something different, theatre’s got a soul, it’s exciting and hypnotizing. And in this case theatre is pure magic, the art born in your eyes, nor on the film stage neither in special effects team computers. The theatre is naked real feeling. It’s true, it’s happens in front of you.
And in this case the question I would like to ask is: Does the progress in the sphere of entertaining give us the So, I really can’t understand what technology can be brand new delight? Is it true that the 3D film technology compared with reality? What operator work can be gives us more enjoyment than classical drama theatre? compared with real fillings expression? What screen can offer us that can’t offer the stage with the real man? American actor Anthony Hopkins once said: “Now
I spit on theatre. Honestly, I can’t understand why some refer to it so tenderly. What is all about? Who needs it? Bury it down! It’s not a big deal, it’s a dead deal! Who really cares which Lire is the best? You’re making something that the thousands of actors have made before”.
So when we’ve got cinema – why do we need theater? It’s logical to suppose that the cinema is a successor of theatre - it’s more flexible, more progressive, it’s opportunities are much greater than theatre’s. What theatre can compete this? None! Yes, there are also some modernists in this genre, but the creation of most of them are empty, primitive and rather a pathetic attempt to say something new in the genre, where everything has been said.
6
Sometimes they say, that theatre in the crisis ‘cause of it elitism. Some of them think that the theater is
By Steven Kropachev
Why don’t you visit the theatre? (answers of those, who visits the theatre rarely)
“I have absolutely no free time. But try to visit it from time to time, and I believe that everyone can find something interesting in the theatre”
Do you go to the theatre? “Yes, I go to the theatre. I can even say that I live there because I’m a future theatrical director” “I don’t go. It’s so boring and I want to sleep in the theatre”
Why don’t you visit the theatre? (answers of those, who don’t go to the theatre)
“It’s not interesting for me to visit the theatre, I think it lacks the realism and scope, combination of music, color and special effects” What would you prefer: cinema or theatre?
“I would prefer the theatre. It has a unique atmosphere. Its aesthetics, beautiful interiors, different chandeliers and so on… Wilde said that the theatre has more life than the life itself…” “I love theatre because it’s more honest than cinema. think it’s an opportunity to release psychic energy…” “I love cinema for its spectacle and theatre – for the psychologism” “…theatrical play is like a small life” “Cinema is for the rest, theatre – for the soul”
Legend: a) it’s too expensive b) I have no time c) I’m not interested in it d) it’s so far e) I have no company f) because of my laziness
Theatre? No!
T
heatre is translated from the Greek as a place for performances. It was ancient Greece where this kind of art appeared. It immediately aroused public love. The theatre was almost the only entertainment. Performances were shown only a few times per year. For this purpose the special days were stood out, often it was the holidays. People waited for new plays with enthusiasm. At one moment the value of the theater strengthened, at another it became less visible, but it has never disappeared. In XVIII-XIX centuries the theatre became a fashionable entertainment. Rich people spent every evening in the theater. Later they discussed the latest plays at high society meetings. Each premiere caused a great interest among well-educated people. In XX century the value of the theater dropped sharply. It was replaced by new kinds of art. Cinema became the main rival of the theater. Movies quickly won the love of people, there is almost no one who would be indifferent to it. That can’t be said about the theater in our time. Today people have no shortage of entertainment. Everyone can choose what is closer to them. Sometimes people don’t even leave the house, because everything they need they can get watching TV or surfing the Internet. The theater is considered to be the difficult art which makes people think. Not everyone can handle the special emotional atmosphere of the theater. Therefore they prefer more affordable and light entertainment. However, we decided to interview people to find out how they refer to the theatre. To find out how young people refer to the theatre we decided to interview our friends. So we had 80 respondents and they were asked some questions. So, we can conclude that interest in the theatre doesn’t vanish, but for some reasons (shortage of time or money, laziness and etc.) people don’t visit it often and prefer to go to the cinema.
By Kozimyanets Zarona, Ivshina Elena
7
Modern Theatre. Is
that the
Real Art?
historic. ts. entirely mixtured with kil a popular t o n e s r a k e li e w w f clothes oked a little bit and cinycal. stumes o o c le ty s art. ven orary rd, lo ciple in ts. Contemp character, Richa he was unsha coration, it was in r p in D, e ma main for de e wan hard m is th nts and how h ented The age – House M was also used nce Ric e o a d m e e fo r fr e s a p repre person g the it in th hnique owadays n do what he w can be t or sing tec id earlier, durin staging shows s e y a li r c a la te r p im in to in e c a , a big m th An Dire . As I s . Director of the e heroes dies heet le cters of rations are often y the space p a r im a s h e th c very The ed b ne of deco metal s . e thron clothes, ction is not limit nderstand and kills heirs to th ry time when o f wood hits a t ash u o h it w u da Eve with a cr lly es o n to c a . e s y ll ie , th a ll p fa a lp w g d e t l d n in h a m us origina aper a own an n. Fina methods not used is proble lastic, p reaks d during the actio p th b h , t it e u they are e. But do these w g o g ta t ba sing to sor f the s tag theatre at the center o “waste” is inrea sin. of the s y? I have tried eare – r te f . e in rka Shakesp pla eo feel the f modern staging h to visit O companied by This huge pil ed in rubbish lik the play of great ethods and o ac ug em bogg llthat example as lucky eno ll plays are hard is st sight, ot true. All thes e and more aw we r ic s fi R t I a a w s . ll a I ird. It seem ut it's n loser to our tim d with all where ls at the th e oiled. B c p te d s r terdam, are not musica a s ly h m th te ic A R ple represen espeare, this play of m in e o e n r y c k ic e ig e a n w e is o r th m r k h t t r c to Bu creation e time of Sha eas, it the sho are's thirsty. detailes allow is e d d music. th p n o s a lo If e b r k . e th a s u nd ll id ow Sh of stand a ing to p s treacherous a nd traditions. connected with , with music r e is known r d n t u u o But now n't sa wa ess ld t. u le tn o n o It's ab s c ip h r e a w c s e w x e in d e r r r e , mu al p ative hard ith p g, w historic any mor volved in of actin king Ric their cre a rallels w English t afraid to break hands or was in wn. Finally he with pathos ult to draw pa realization of for e no n cro . ill live iffic th o d w to in e s b e ie v e d He was led with his ow r to get the a e and e fr gr would nd com inspiring acting y. rs are rde kil was in a o n to d e a c r h s e a in s ir h ie – y d ic d a le R ne op age alw s, when are pla ce is do lose pe wer is great tr ater Tom Wait hakespe S of his c e king, but justi rce of the po e problems of plans, the e k r th O the fe of fo th th staging long time. At h “extended” li ila structive t, reflecting became e is d th a f a Ludm o is . So, istic asiliev rubb e plo r ic V s th te h u y c it t a B m w r u a e B ch bags rt is th eme . e main sting pa odern e r m actual th ciaty, is not th te e in th t so e mos ngs of modern ne of th rfomed the so . He is known O . r te a e k p r its r his of the O to time actors oser Tom Wa ) and fo s. e ic p e o v m m o ti c e rs nre From ger and (he has a hoa of different ge in s n a nd g e Americ sense a of singin t are a mixtur h it le w ty , s tha spiring ! Their for his positions rs was live, in real rock-band m o c ic mus of acto , like a Singing mselves e th d ie ompan they acc
N
My
8
own
Story.
Actually, first of all I have to admit - I'm not into theatre in the ordinary way at all. The story that we can call "Theatre and Ksenia" will start from the big fail. When I was 3 years old my grandmother bought us tickets to the theatre, the frontrow one. Now I don't remember what play it was - something for adults, maybe Chehov, but I will never forget that it was extremely long and boring. 3 hours of something that I didn't understand and didn't want to understand. Everything ended with me dancing between the rows trying to busy myself with something interesting. What to do, I was 3 years old. We left, but at home parents forced me to seat on the chair for 3 hours. It wasn't a problem for me that time - I got so tired dancing in the theatre. My second experience connected with theatre that I remember took place when I was about 15th years old. We went with class to see Oedipus Rex at the theatre at Liteyniy prospect. That was interesting, and I started to think about becoming a theatre-lover. Later I took part in school plays, my best was the one where I played the main role in the The Dog
in the Manger, but that was definitely not my obsession. As years go by I understand that I`m getting more and more obsessed with costumes for the plays, or, actually, the way that the theatre costume can be wore in everyday life, the way the person should be to wear something dramatically theatrical. I love Leon Bakst with his dynamic, vivid and colourfull drawings, I love Alfred Hitchcock because of he was the one who turned the theatre into the movie - my favorite movie is The Rope and it was made totally like a play for a stage. I love not the theatre itself but the way life is after the theatre became popular, I love to play with the plays, because sometimes we just can`t understand what is more theatrical - our life or the plays we see on the stage. By Sidorina Ksenia
LULLABY:
the show that will put you to sleep and
then serve you breakfast
It
Tired of the daily routine? Don’t get enough sleep at home? Then this article is for you! is not a secret that very often theater seem wearisome to us. Tired of work or studying, people often fall asleep during the play, hindering everybody by outrageous snoring! Company members at Duckie, a theatre collective based in south London, also admit to having slept through plays in the past. "All the time!" says performer H Plewis. "Everyone has," says director Mark Whitelaw, "haven't they?" It produced a thought to create something absolutely new. The result is Lullaby, a show that runs at the Barbican. The audience, on arrival, should choose a comfortable single-, double- and triple-beds situated around the theatre's Pit space. It’s important to bring pajamas and toothbrush, to prepare themselves for sleeping. Spectators are given pillows and blankets and then the performers do everything they can to send the 50-persons audience off for the night.
A ticket costs £42, and includes breakfast in the morning. Producer Simon Casson explains the logistics: "The show
starts at 11pm. There's half an hour of fun, all dancing. Then there'll be an interval – hot chocolate, bickies – before the real show begins. That goes on for about two hours..." As for performers,
they play the role of mum and dad, gently backing out of the room when they think the kids have fallen asleep. By Konova Olga
The Great Theatre
T
of
Liceo
he Theatre is Barcelo na of as a sym 's opera house, one of th bol of th Lic e city an e best in of the be dap Spain. It eu st serves wonderfu singers, dancers lace of great pe rformanc ,a la es. sophistic tmosphere of cre ctors come here ated aud to experi Best ativity an ie e d nce nce. Its fantastic enchantm veri ch en pieces o arm makes it a w table architecture t along with f art , acousti onderful cs place to As a thea . a bsorb the and ter that s pecializin true the great g in the w tenor and o rl s d oprano o Caballe, ’s best op f that Plac era It was b ido Domingo, Pa spectacular genre it received all with thea varoti, th uilt in th , like Mon te eT e ts building In opera r performances was dam XIX Century by hree Tenors, and errat you can especiall addit ag o se p y design times it io has bee ed by the fire in rivate shareholde thers. such as Mozart e a range of pe e d for child n n restore , rf rs o Miquel G 1 V . th rm 8 e 6 T e re rd a 1 h n n. e i, Sao Pau and ces from d. Wagner arriga R lo Ballet compose a oca featu It was designe 1994 and both their n d specific B eethov rs and db late rin to all Ita lian thea g special chara y the architect and so st shows. In the Ángel Core en. In dance, Hall. De te c ll tre loists are signed w teristics a Ballet rnationall th ith a bea s, including a y presti present the key it is beli If you g horsesho at are utiful sta g eved to p io a e u rt t s s to o o g e f v rc e is b shaped interior the conc h e the la it this w and six The Lice rg erts and estras a o m u hosts very high est theatre at th arvelous floors, and li mbiance, be the nderful theatre, re concerts citals. sten be at period pa level perf an ormance of time. sure th to the extraord rt of the univers able to feel its Today th d recitals. s of ope al history inary mu at it wo e Gran T ra, danc sic you uld be o eatro de range of th a t e , u c c an be 10 f opera nforgetta ould an l Liceo in shows su b d 0 le B would e percent ch as op arcelona and pric mbrace era, dan and fulf eless experience ce, conc provides a wide ill your erts and e recitals, in By Anastas ntire life. iya Sh wetz
9
Architecture
I
t t is said that theatre experiences hard times and that the dramatic art is dying. But perhaps it is only lull before the storm? Because newly qualified architectures all over the world create inimitable theatre’s buildings, using newest technologies. It can be regarded as an attempt to revive the dramatic art or to invite attention to it, and maybe we just underestimate it? So, I’ll provide some examples of the most interesting projects and everybody can make his own opinion. is a large multimedia screen, that size is more than 20 meters. There people can see not only ballet and operatic performance but any other video for people, who missed their performance or only is going to visit one. It is well known that theatre begins from a coat check, and opera-from foreside.
Sinfonia Varsovia Concert Hall
Taipei Performing Arts Center
The first one is Taipei Performing Arts Center. Creating this project the American architectural studio B+U understood literally words of the famous statement of German philosopher Friedrich Schelling , who said, “architecture is a poured music”, because elaboration of the design was started by studying of sound waves. Outcomes of investigation were transformed into tridimensional forms of Taipei Performing Arts Center. According to members of B+U, futuristic, radical forms of the building mean art as one of the most important constituent of harmonious society’s evolvement .
The floating wall inhabits the symphonic hall and all rehearsal areas. It floats above the foyer – thus a seamless extension of the park into the building - and holds several mysteries and miracles: hidden rooms and stairs, a narrow surveillance path at its top, all technical
Busan Opera House
In Korea as in many different countries opera is no considered to be classic or even old-fashioned art. Vice versa, there Opera assume a new, modern shape. The project of opera house Busan Opera House serves as a model. Authors of the project consider that opera is not the art of the past, it is the art of modernity and future! It means that the Opera House itself must be modern and even futuristic. The key-word for description of Busan Opera House can be “multimedia”. Theatre’s foreside
10
infrastructures and a span of 140m without any column. The hall of the theatre provides the benefit of compactness, short distances and a volume that is also suited for smaller symphony orchestras and chamber orchestras. For the audience that means that each listener is situated as near to the orchestra as possible thus creating an immense impression of being “in midst the music”.
By Sergeenkova Julia
Modern Street Theatre
in the Islamic
Persia… Hmmm, sounds like a fairy-tale, doesn’t it? This mysterious and luring country in Central Asia has always been a riddle sometimes impossible to solve. Over the years many travelers passed through this country charmed by its beauty and attractiveness. The country tracks its history 4000 years back, and no wonder that history of theatre on this soil is just as ancient as the land itself. Let us
take a glance at what now turned out to be theatrical art in the Islamic Republic of Iran.
People have lived on this land for over 10 thousand years, which is a long time, we should admit. Of course during such a long period people developed some form of communication, even play which we call ‘theatre’ in a very wide sense. The scientists have found some documents written in cuneiform and the amazing thing is that one of these documents was an ancient religious tragedy from Sumer period (which is pretty old, as you can tell). It was about annual theatre performances staged in honor of Baal, the highest Sumer god. Anyway, that was long time ago and it has nothing to do with modern reality. Right? Well, almost. During its long history the land of Iran has been conquered several time, and of course sometimes there was not much left of its history. Nevertheless, the Persians are very creative people, so they came up with some new ideas, which were even better than the previous ones. Nowadays one of the most interesting forms of theatrical art in Iran is street theatre. I am going to tell you about one of its examples.
This is an archive photo made in February 2008,
Republic
of Iran
Street Theater at Iran Shahr by Mahyar via Flickr. After Islamic revolution of 1979 social life in Iran fell under harsh restrictions; however, the Iranians found the way out. The country is evolving rapidly, and so are its culture affairs. Iran is developing live street theatre, some kind of flash-mobs that are extremely popular nowadays all over the globe. For instance, there is a woman dressed completely in red who comes out every day onto Ferdowsi Square in Tehran. This strange scene takes place every day between 6 PM and 7 PM. This is in fact a performance art piece, which, with the authorities’ approval, has been going on for nearly three months. The legend says that she is waiting for her lover who was supposed to show up but never did. In fact, this lady in red is not always alone: on October, 13, 2011 she was accompanied by 40 women who were also completely dressed in red.
Does this lady symbolize the pain of her lost beloved or is she a token of the whole generation of young women waiting for their destiny? We might never find out but what she does certainly symbolize is love in its fullest sense, Love that finds its way even in the Islamic Republic of Iran, the country that is not normally associated with tender feelings. So even if the veiled women of Tehran found a place for love in their lives, why can’t we?
By Olga Smirnova
11
African Theatre. Does
W
e e are used to the idea of traditional European theatre. Everyone knows how its looks like, what kind of entertainment it could be and the general idea is also common. No matter where to come the audience will find a ballet, some drama, an opera to satisfy its requirements. The public pays its attention to classical or contemporary art but still associate theatre with the building of a particular construction and the story to watch. This system has become so natural to the most part of theatreamateurs that they can hardly imagine the other to exist. Africa can ruin this statement. It seems strange but it’s a fact.
What’s different with African art? The spirit of a traditional theatre comes from religious rituals and everyday life. The idea of no African theatre before colonization is rather popular. I’ll try to prove the opposite that there had been the beginning of national art in rites. Some tribes still live mixing their existence with the sacral dances, songs and movements wearing symbolical masks and trying to perform animals or typical situations as realistic as their religious tradition permit to. On that point of view the life of the whole tribe is a theatre without planned and written plot. There are no
professional actors but the roles are the way to improvise and to play.
The most common African theatre is a koteba
12
it
Exist?
theatre. It’s rather popular in the south-west part of the continent and in the central Mali. It grew from hunters associations traditional ceremonies and such performance is close to European comedy. The name “koteba” means a big snail which is embodied in a rotating mask, dancing before and after the show. This construction looks like a snail’s shell. A koteba theatre has had little foreign influence so its main idea is to show the stories based on a historical plot including the burning issues of the day in a humorous way. The other difference from the world’s theatre is an audience. African culture is far from the Western or Americans’ typical theatre stories and the most part of performances is based on the national plot and the local language. The budget of staging doesn’t permit to use expensive decorations and clothes so the decision is found in “African ballets”. There is no need in big investments and this entertainment is close to public. For example, the performance of Matsamo Cultural Group Ballet shows the life of African tribe while the actors are dancing. The audience can find the hunting scene, some planting episodes and some ritual aspects. The musical accompaniment is also special – the dancers sing themselves and some members play on the traditional instruments. Nobody can reject the role of the European influence on contemporary African art: the tendency of festivals and theatres close to world standards to appear is clear. However, the tradition of national art with its problems and original ideas is deeply connected with the development of this region. Poverty, social conflicts and nature forces to choose the cheapest, the most suitable performance. The playwrights and the directors have to prefer foreign languages to attract the biggest audience try to find appropriate plots in world’s art to remake them in an African way. So, all these factors make the African theatre different from the entertainment we are used to.
By Alexandra Naumova
E
verybody at least once heard about Indian films with their picturesque songs, costumes and dances. And if you are asked to describe them and say your opinion, you’ll easy cope with it. However, film industry is comparatively recent achievement. Mmm…How people were spending their time without TV or Internet? Now it is very difficult for us to imagine it. But they should relax somehow or the reality finally got at them. That’s why people went to the theatre. There are generally recognized to be several theories of origin of the Indian theatre. Some of researchers hold the theory of Greek adoption; other scientists consider that the theatre arose from Vedic cults or Krishnaitic mysteries. But it is more correct to tell about the origin of the Indian theatre as a combination of different factors. As a result the theatre of India became unique and amazing phenomenon of worldwide art. And now you can make sure of it. Thus our trip in unusual and mystical Indian theatre begins… One of the features of Indian theatre is an absence of scenery. “It is boring” – you’ll say – “to look at lonely standing man!” But we can consider it as the chance for audience to give vent to imagination. Moreover to do performance more expressive and obvious players should follow abhinaya. Abhinaya is a significant presentation. It involves four aspects: temperament, word, gesture and make-up. We think you’ll agree that this collection can compensate an absence of scenery. Another important conception of Indian theatre is an idea of rasa. Rasa is pure senses which appear after influence of a performance on audience. For example, there are such rasas as love, comic, angry, heroic, surprised, etc. It should suppose that the Indians are very sensitive since the theatre can stir up such strong feelings, but this is our purely personal opinion. Also it is very significant there is no tragic end in Indians performances. So this feature will appear then in Indians films. And just this aspect will win
Indian Theatre
fame for Indian films because people like tales where evil heroes are always punished but kind heroes live happily ever after. You can argue with this position: “The happy end doesn’t exist in every film!” But another trait of Indian theatre says that there is no accurate differentiation between tragedy and comedy. There are several main roles in Indian theatre. Traditionally the main role is the king. The next one is a counterpart of European jester. This comic person of Indian theatre called vidushaka. Of course there would be no performance without woman role. A heroine personifies goddess, queen or even
courtesan. The hero’s character is usually divided on four categories. The hero can be gentle, quiet, sublime or passionate. There is also an antihero who is always stubborn, insidious and vicious. As we can see Indian theatre’s tendency is to systematize all its aspects. It can seem to us to be boring but systematicness is a special characteristic of Indians. As well it concerns languages. Each category of roles has its own language or dialect. For example noble men use one language on the stage. Women and ordinary men could speak only another one language. Own dialects have jesters, swindlers, slaves, children and others.
Indian theatre has an abundant past with its tradition going back to almost 5000 years.
Created strictly as a narrative form, Indian theatre gradually put together all the popular expression of fine arts. We hope you could be filled with uniqueness and uncommonness of India and got some new things.
By Kolpakova Lyubov
and
Dzalaeva Olga
13
Traditional Japanese Theatre
J
aapan nowadays is one of the most progressive countries in the world. But its culture is also great, some traditions are very old. And one of these customs is traditional 2. Noh Japanese theatre. And this article I try to pick out Originally Noh was just entertainment for commons, some of the most famous and big types of this art but it turned into ĂŠlite type of art with its high style and to describe their features. of speech and refined plot. Music does not play big role in Noh performance.
1. Kabuki
The most known kind of Japanese theatre. Its history started in XVII century. Temple attendant called Okuni is believed to be the foundress of it. She began to perform with ritual dances and songs to the accompaniment of instruments. Her shows become very popular so other troupes appeared. All roles were being played by women. But performances were quite gross, actresses’ ways of life were immoral, so special edict was issued to replace all actresses to men. Now most every role is played by man. There are even some dynasties of actors. The main parts of the Kabuki performance are special, very expressive poses and distinctive makeup.
The most important part is dialogue which has hidden sense and goal to reveal character’s emotions.
Shows does not have a lot of scenery, usually there is only one with image of pine. But costumes and masks are magnificent. Fans are used too.
3. Kyogen
Folk comic genre. Its repertoire includes plays which were written in XV-XVI centuries. Originally they were being performed between Noh performances, but now they are also separated genre. Characters are usual people. And actors mainly are young people so there are a lot of them among the audience.
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4. Gigaku
The most ancient type of Japanese performance (appeared in 7th century). Gigaku combined many music and dance styles (from Korea and Japan). Usually it is performed only in imperial court, and commons had no chance to see it. But this situation changed. To become a court musician pupil need to pass the exam and have 7 years of trainings. There are 14 characters, each has his special costume and mask (to 0.5 meters long).
from one generation to another. So there are the most famous types of traditional Japanese theatre. In Japan also Western style theatre exists. But only Kabuki, Noh and so on can tell about rich culture of Land of the Rising Sun. By Bezginova Yana
Theatre «Comic-trust» http://www.comic-trust.com/
«Unique brand of visual comedy. The most original you are likely to see for a long time» The STAGE (UK) «The audience dies laughing» Le FIGARO (France) «Visually stunning. Not to be missed!” The GUARDIAN (UK)
26 and 27 of APRIL 2012
5. Bunraku
Traditional puppet show. Appeared at the beginning of 18th century. There are 3 people who take part in performance: performer, musician and puppet-maker. Performer tells a story to the accompaniment of a samisen (a three-stringed musical instrument). Puppet in his hand is dressed in luxurious clothes. Usual plot is about unanswered love or about loyalty and selflessness of samurai.
«TOTAL RATATOULLE» On stage of «CHAPLIN-HALL» Address: St.Petersburg, Pirogovskaya nab., 5/2 Beginning at 20.00 10 of MAY 2012
«WHITE SIDE STORY» On stage of «Theatre Estrady» Address: St.Petersburg, Bolshaya Konyushennaya, 27 (Metro station «Nevskii prospekt») Beginning at 19.00 18 and 19 of MAY 2012
«SECOND HAND»
Now there are special courses for performers. But before it was secret art and it was being passed on
On stage of Uchebnyii theatre «Na Mokhovoi» Address: St.Petersburg, ul. Mokhovaya, 35 Beginning at 19.00
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Traditional Chinese Circus 雜技•馬戲
T History
he Chinese acrobatic circus, called zaji雜 技in Chinese, translates as ‘variety art/ technique, acrobatics, variety show’. Maxi 馬戲 is translated as ‘horse performance’ or ‘equestrian vaulting’. The history of Chinese
time, performances began to use special artifices like movable models, imitations of animals, and fantastical monsters portrayed by humans. During Han times, circus tricks were acted in conjunction with folk dances and that celebrated many traditional
circus is longer than 3000 years and is one of the oldest traditions of acrobatic circus the world.
The precise origin of acrobatics in China is unknown, but historical records and ancient relics such as relief carvings, bas-reliefs, and mural painting in ancient tombs, show that acrobatics achieved imperial recognition no later than the Chun-Qiu春秋 period (VIII–V c. BC). In that era of constant warfare, acrobatics that emphasized strength and agility developed in conjunction with training in the fighting arts. Other acrobatic acts, such as walking on stilts myths and legends. and juggling, functioned as entertainment during village harvest celebrations. Other possible origins The scholar and scientist Zhang Heng張衡 (78–139 of acrobatics include shamanistic ritual, martial arts, AD) described in his ‘Ode to the Western Capital’ an acrobatic theme show performed in the royal palace. The acts included balancing on a pole, walking on a rope, jumping through hoops, performing handstands, and performing the conjuring act ‘turning a fish into a dragon’. These acts are still performed
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and theater. During the Qin dynasty秦 (221–206 BC), performances that combined theatrical roles with athletic featswere often performed for the imperial court. Many involved wrestling between men or with animals. During the Han dynasty漢 (206 BC–220 AD) acrobatics was an integral part of ‘baixi’百戲 (the “Hundred Entertainments”) a type of variety show that also included music, dance, martial arts, and magic. Acrobats performed alongside other types of athletes, dwarfs, freaks, animal trainers, snake charmers, tightrope walkers, and jugglers. Performers demonstrated pole acrobatics, sword swallowing, wrestling, fencing, juggling with porcelain vases, weightlifter juggling with wheels and stone blocks, and pole dancing. During this
today, although they have been modified for modern audiences. Stone engravings that date back to the Han dynasty illustrate numerous types of acrobatic acts that showcased strength and agility. One relief shows an acrobat balancing on seven discs as three acrobats hang upside-down from a cross that is balanced on his head. Due to the patronage of Han emperors, acrobatics
was integrated into large-scale and extravagant performances, a tradition that lasted for years. Silk Roads promoted cultural exchange with Persia and the Roman Empire. Acrobatic shows were shown to foreign dignitaries and guests visiting China, and also performed for the Han court. In 108 BC Emperor Wu Di 武帝hosted a royal show for visiting dignitaries,
and a performer sent by the king of Parthia also performed for the emperor. Acrobatic shows continued to be performed for the imperial court during the Sui 隋and Tang dynasties 唐(618–907 AD). Certain acts flourished, including acrobatic acts on horses, animal training, and pole climbing, in which an acrobat balances a pole on which many more acrobats are balanced. At that time acrobatics with a combination of music and dancing became the most popular entertainment of Chinese noble class. A poem written by Bai Juyi白居易 (772–846 AD) and a mural in the Dunhuang敦煌 grottoes illustrate these performances. Sui emperor Yang Guang楊廣 (604-617) opened a circus school in 610 AD in a capital of Sui Chang’an 長安. During the Spring Festival , which was celebrated for an entire month, more than 30 thousand circus actors took part in the great performance. During the Song dynasty宋 (960–1279), acrobatic shows lost their popularity due to the rise of formal Chinese theatre, and subsequently left the palace to enter the streets and public places of the masses. Acrobatics were performed in town markets along with other types of performances such as singing, storytelling, and dramatic plays. Juggling, in particular, flourished. Traveling and professional acrobatics troupes developed during this time along with their corresponding training schools. During Yuan 元 (1271-1368) and Ming 明dynasties (1368-1644) the elements of acrobatics, equilibristics,
and juggling became an inalienable part of Chinese traditional theatre. During Qing 清dynasty (1644–1912) the most popular troop was from Anhui province, its popularity was so terrific that they were invented to perform on tour in Beijing. According to one contemporary’s memoirs, one artist could hold the five-men-pyramid while another could jump the height of a few zhangs (one zhang = 3,2 m). One of the most famous acts, called ‘play with fire and falling stars’, involved a performer rotating a round copper vessel with burning hot coal while dancing upon a rope. This trick became a very important element of development for the famous Beijing opera 京劇.
Origin
of
Chinese Circus
Originally, the Chinese circus was connected with working, religious and military activities. The first tightrope walkers were craftsmen who wanted to show the quality of their jute fiber ropes. To demonstrate its great strength, they would stretch the rope tautly between two tress and stand upon it. With the passing of time, these demonstrations grew more theatrical and the performers skills evolved to be more acrobatic. One striking feat, wherein acrobats juggle heavy porcelain vases, has ties to one of China’s most ancient craft technologies. More than 4000 years ago, before the invention of the potter’s wheel, pieces were made without handles. Therefore, the easiest way to carry pottery was upon one’s head. This legacy also emerges in the act “Heaven pagoda”, where a very elastic, female contortionist, performs acrobatic feats with a number of vases on her head. The familiar performance of spinning plates upon bamboo sticks is also harkens to the old artisan lineage. Ancient potters often revolved plates on their fingertips or a stick to demonstrate
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the high quality of their form. Weapons sparring exercises of the ancient’s military gave birth to the “dance with two swords” and juggling with trident spear in Chinese variety arts. Actually, the character ‘xi’ 戲can be traced back to etymon “dance with a spear” a ritual struggle accompanied with music.
Specificity
of
Chinese Circus
While Indian performances try to impart an enigmatic and secretive sense and Japanese ones tend towards ceremonial grandeur, Chinese circus performances always focus upon real life results. It is the cult of work that reigns supreme in the Chinese circus. Unlike European or Japanese acts, no technical gadgets are used to aid in the performance of difficult acts. Chinese performers rarely worked alone, and rather belonged to craftsman guilds with an apprentice system. The master served as caretaker for his apprentices, supporting them while they trained. Pupils could begin receiving training from as early as 3 years old. At the beginning of the
visitors not only of neighboring East Asian countries, but also in Persia, Turkey, Greece and Rome. In the middle of nineteenth century, they regularly went on tour to Europe. The influence of the Chinese
circus upon many cultures in Asia, Africa and Europe is apparent. Uzbeks’ juggling of decorated
plates and contortionist type acrobatics definitely owe lineage to Chinese origins. And modern African circus performers have widely emulated traditional acts of Chinese acrobats likehoop diving. Meanwhile, European circuses have borrowed the repertoire of Chinese equilibrists, hair hanging (a performance of gymnast who hangs on his or her own braided hair), and the pulling rabbits out of hats, which became a symbol of illusionism in Western culture. Although recently the Chinese circus has fallen under the strong Western influence, it still preserves many traditional features discussed above. It must to be stressed that Chinese do not mechanically imitate European acrobatic acts, but rather creatively interpret them into new and original performances. Zhao Ming’s interpretation of ‘Swan Lake’ is a recent, very striking example of a Western cultural edifice being completely reinvented through the craft of the Chinese performer. Nowadays Chinese circusis experiencing a type of renaissance, a phenomenon reinforced by the growing patronage of prestigious European and American performance venues. Indeed, visiting performances by many Chinese performance troupes have become and important cultural event for many urban intellectuals and social elite.
By Nataliya Gyumyushlyu learning process, apprentices grasped the simplest exercises, eventually becoming more sophisticated.
The Influence countries
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of
Chinese
circus on other
Since ancient times Chinese artists have led nomad lifestyles. Searching for new audiences, they often traveled outside China. The artists were frequent
By Sofya Khaustova
C
Roles
and
Characters
hinese opera is known as one of three ancient theatres in the world. The other two are ancient Greek tragicomedy, and Indian Sanskrit play. Chinese opera has a long history that dates back to as early as the third century. During thousands of years of development, it has now become a rich system of drama and musical theatre. Definitely the most famous Chinese opera is Beijing opera that was originated in mid 19th century in Beijing by combining Anhui opera and Wuhan opera which combines music, vocal performance, mime, dance and acrobatics. Only four main roles exist in opera. They are, undoubtedly, subdivided into more specific characters, but they are only the part of the main four.
in
Beijing Opera
performs minor military roles as a soldier and must be skilled in acrobatics. The Wu Chou is one of the most demanding in Beijing opera, because of its combination of comic acting, acrobatics, and a strong voice. Chou characters are generally amusing and likable, if a bit foolish.
Female
Male character – Sheng.
Depending on the age he can be adult, child or warrior. Old sheng appears more often and a lot of professional actors specialized on this middle-aged or old-aged man with beard and strict majestic speech. Sheng-warrior is a master of martial arts and a great acrobat. There are two kinds of sheng-warrior: first wears full military equipment (colorful and unreal) and the second is warrior in a short clothes with weapon suitable to his height. And the last one, young-sheng, is a man with pretty face and without any equipment.
character – Dan. This role divided into five subtypes. As male roles there are also exist old women, but two categories of warrior: martial women and young female warrior, plus elite women and unmarried women. The main dan character (it could be any of these five types depending on piece) is an intelligent, sensible women who is never in hurry and acts very modesty. She looks like a lady in traditional China: never shows her teeth or pulls hands out of sleeves. Sleeves were very long not only because it is beautiful but also to hide actors wrists (most of them are male).
Painted face male – Jing. Usually these are
man with a lot of strength and energy. They speak loudly, almost cry, often use their fists and fight with legs. All Jing actors wear a heavy, ornate costume and a head dress. ‘His bass voice and grotesquely painted face together with his swaggering self-assertive The first character in Beijing manner all combine to opera was Chou – a clown. make him the most forceful Chinese even say ‘without chou personality in most scenes in there is no play’. Chou parts can which he appears.’ Much action and less singing – that is the be divided into two types: Wen reason why jing is so loved by foreigners.
Chou, who is usually a civilian, Every actor and every character will definitely such as a jailer, servant, merchant try to take viewer’s attention. In that case the or scholar; and Wu Chou, who
only thing left – enjoy the play!
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Theaters
T
of the
Ancient World
and
Middle Ages
heatre is an ancient form of art. The origins of the theater can be found even in ancient hunting and agricultural public merrymaking. I want to tell some stories about the origin and development of theater in the ancient world.
India
Ancient Egypt
The earliest models of the theater appeared In ancient Egypt, the theater began as in India. Ritual dance was the basis for a mass action. The basis of theatrical the formation of classical Indian theater. performances went to the mysteries of In ancient India, theatrical performances Osiris. The plot of the drama of religious were a mandatory part of beliefs were "Passion" of Osiris celebrations dedicated episodes of his life, to the gods. In his martyred death. ancient India, created the first technical guide to theater performances staged "Natyashastra" attributed to Bharata.
Ancient Greece
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The theater was born out of the Mysteries in honor of Dionysus. In those days there were only two pieces of genres -tragedy and comedy. They were written mostly on mythological and historical subjects. All roles were played by men. The actors were in huge masks. The choir was accompanied by action. On the Greek theater, we can judge by the extant works of great playwrights and theater-preserved buildings.
Even the word "theater" comes from the Greek «theatron» - a place for spectacles and spectacle. Famous playwrights of the time: Aeschylus, Sophocles, Euripides, who are called fathers of Greek tragedy, and Aristophanes - the father of comedy. The theater was almost all the Greek cities. By Vasil’eva Lisa
Ancient Rome
In ancient Rome, the drama loses its connection with religion. But gradually the theatrical action degenerates into the usual entertainment. Gladiator fights and rude, vulgar spectacle performed by mimes become popular. Theatrical innovation of ancient Rome an amphitheater that is adapted for the grand spectacle.
Europe
In the 10th century in the Catholic church service there are the beginnings of a new theater. The first primitive religious drama sung or retold in Latin priests in the church, in the nave. Soon the church authorities forbade priests to participate in such performances, and hold them in churches. However, this prohibition only contributed to the development of a new drama. Submission shifted to ulitsu.Misterii played out in front of a large audience during the annual festivities. By the 15th century increased public interest in the dramatic spectacle led to the emergence of the first professionals on the scene.
China
In traditional Chinese theater which has arisen around the 8th century, arbitrariness reigns. Stage action is given a number of standardized movements.
Japan
A sample of conditionality gives uncompromised Japanese Noh theater (12-14 cc.) At the stage given highly stylized drama, mainly for the sophisticated audience. Participants first small troupes were mostly itinerant actors, sometimes they worked and on the premises. Interest in the classical heritage,
which was marked by the awakening of the Renaissance, not bypassed and the ancient theater. By the early 16th century Ń ourt Theatre is actively engaged in finding new forms, which was caused by the desire to adapt the ancient scene of humanists to new conditions, the need of the court and nobility in the spectacle and the lively interest graphic designers the stage to the problems of perspective.shape today.
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From Skomorokhs
W
to the
e can say the history of theater in Russia began with the performance of skomorokhses, who had been known since the 11th century. There were musicians, singers, dancers, jokers, wild animals’s trainers (especially bears, the Bearbaiting). They often joined their efforts together to build show booths, special wooden buildings for theater and circus performances.
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Themes of performances were rude, focused on the lower social strata, so with the lapse of time the «show booth» acquired a contemptuous shade of meaning. The first royal theater in Russia is associated with the name Artamon Matveyev, who presented the idea of creating theater on the European model to tsar Aleksey Mikhailovich. Artamon Matveyev decided to realize this idea himself, and the pastor Johann Gottfried Gregory assisted with the actors’s casting, involving men and boys, and writing the play. At the residence of the tsar in the village Preobrazhenskoe the real theater room was built. The opening of the theater and the longawaited first performance took place in October 17, 1672. This important event was attended by the tsar and all his near boyars. In a special box were tsarina and her court ladies. Performance was lasting ten hours, but the tsar had watched to the end and was very pleased. After the presentation, the audience went to Russian bath, they believed that after all they need to wash away sins. However, with the death of tsar Aleksey Mikhailovich the first Russian imperial theater died. Later the tradition of peasant theatre was born, where the rich boyars established in their houses theater performances. Women began to take a part in the theater. One of the greatest serf-actresses,
Theater
who later became the countess Sheremeteva, was Praskovia Kovalyova-Zhemchugova. In the 17th century the art of theatre troupes in Russia was affected by Italian, German and French troupes, and Peter I turned the theater from court to national. The day 30 August 1756 entered in Russian history as day that laid a start to the structure of the Imperial Theaters in Russia: the Russian theater in the Petersburg was founded. Ekaterina II made account of theatre’s educational function. The first in the history of Russian drama of social and political comedy was the play by Denis Fonvizin «The Minor», in which the author openly mocked typical representatives of different social strata of the 18th century in Russia: officials, nobles, boyars, popular teachers… Gradually theaters were shared on the dramatic and musical troupes, and musical was shared on opera and ballet, which are remaining the basic foundation of the modern theatrical world’s division.
By Kovaleva Alina
D
Laugh, Emotions
o you like to laugh? I’m sure you’ll answer – “Of course!” There are a lot of reasons to do it in our world. Somebody likes to laugh with friends, somebody likes to laugh at jokes or, for example, at themselves. But some have taken another course. They laugh in…a theatre! Unfortunately, some days are monotonous in our life. A lot of people are tired of routine functions, works and cares. Sometimes we have not enough catching laughter. But there is a way out of this situation when everybody can plunge into the atmosphere of frivolity and cheerful carelessness and laugh until one cries. Just visit The St.-Petersburg theatre on Vasilevsky! It’s an ideal place to get supply of energy and unforgettable emotions. Everybody can laugh with all viewers and get extraordinary pleasure. Don’t be mislead by the idea that this theatre is only for laugh. All performances make philosophical sense. The actors can combine the soft and mellow lyricism, various meanings of comedy, highly dramatic and love for life. But now I would like to set my choice on the only one comedy play, which is entitled “Love for three” (“Lubov’ vtroem”) (stage director – Vladimir Glazkov). This play was created to make people laugh.
and…Theatre!
tragedy, and fun) is presented here in Russian and French style. So, the performance consists of two vaudevilles – Russian, written by Andrew Kurbski in the early twentieth century, and the French, created by Marcel Burke Marino. The performance of disguises and preposterous misunderstandings with unusual events and miracles enjoys the invariable success with the theater audience. The comedy, reminiscent of the style of old Russian vaudevilles, you will remember for witty dialogues, a lot of eccentric situations, and the acting will make glad sparkling humor and improvisational freedom of actors. “Love for three” is the play for those, who wants to forget about everyday worries and laugh heartily. The ease of the genre, cheerful colors, beautiful scenery, colorful costumes, funny actor's improvisation – the audience is guaranteed a good mood! Visit the performance and you will be surprised at the ease with which heroes go out of the most complicated situations, you will feel the fullness of life.
Are you still sad and you life consists of colorless days? Go to the theatre of comedy or, for example, to The St.-Petersburg theatre on Vasilevsky! So, to my mind a theatre is a perfect The first night of the play was in 1989, and the play way for putting people in a good mood. It takes has had two revisions in 1993, then in 2010. It was everybody to the world of laughter and happiness. one of the first performances of new-born theater. By Veronika Vorochai The play is still going with the invariable success, having become an original talisman of the theater. “The theater has to evoke feelings. It can A plot of “Love for three” is quite simple: it’s an annoy, eternal anecdote about a simpleton-husband, adroit lover and charming wife. The anecdote about a love it can make you laugh or cry – as you wish, but it should evoke emotions” triangle (from which it can turn out various - and
Andrzej Buben
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The Theatrical Troupe ‘‘The Blue Blouse’’
T
he Soviet era is a complex phenomenon and contradictory period in the development of Russian culture. Nowadays we have some difficulties analyzing the history of the USSR. But we would like to attempt to describe the theatrical movement “The Blue Blouse”. We consider the historical and cultural circumstances which allowed «The Blue Blouse» to exist.
«The Blue Blouse» is the propaganda and youth group. At first it was amateur theatric collective. And «The Blue Blouse» propagated the revolution and the new revolutionary art. This group contrasted their propaganda work and publicistic creation with variety’s professional activity. However, «The Blue Blouse»’s developed its – in character with repertoire (short plays), multi-genre (singing, dancing, acrobatics, rendering a scene, book programme) etc. It was the movement from 1923 to 1933. The first group was organized by Boris Yuzhanin (Boris Semenovich Gurevich) in 1923. He was the man of Soviet culture and journalist. In 1930s he was living in Alexandrov and Mytishchi for few years. «The Blue Blouse» took the Living Newspaper as a base. The group’s name was connected with uniform. They appeared in loose blue blouse and black trousers. These clothes were traditional look for propaganda poster’s worker. «The Blue Blouse»’s catchword was “In the morning we are in the newspaper, in the evening we are in the couplet”. The Moscow City Council of Trade Unions offered Boris Yuzhanin to make several groups like that
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one. They were to serve worker’s clubs, diningrooms and tearooms. The program was going dynamically for 1 hour. It was listening to the piano or accordion, for instance. Beginnings and endings were marches (antre). The most famous was “We are profsoyuzniki, we are sinebluzniki”. The program changed every week. It introduced latest political news, international news, economic news etc. to spectators. The information came from chastushkas, book programmes. These activities were accompanied by acrobatic reshaping (pyramid). Spectators were deeply impressed by choral recitation to music which was known as oratorios. It was the solution of heroic themes and passionate themes. New couplet with famous melody was the efficiency for mastering different subjects (Monetary Reform, Social Insurance Office, Likbez ("elimination of illiteracy") etc.). Satirical couplets made fun of bureaucratism, alcoholism, protectionism, hooliganism. Aesthetics of «The Blue Blouse» ran counter to aesthetics of Stanislavsky's theatre. It expressed itself in the fact that personal psychology aliened to sinebluzniki’s ideas. Collectivism and pathetic element of great social goals were of inspiration for this movement. Many Soviet composers, actors, directors and artists started their creative activities in variety performances of «The Blue Blouse». There were Vladimir Mayakovsky, Sergei Yutkevich, Vasily Lebedev-Kumach, the young writers, the poets, playwrights A. M. Argo, V. E. Ardov, N. Aseyev, Semyon Kirsanov, entertainer Alexander Shurov, director Alexander Rou, future composer Yuri Milyutin, composers Konstantin Listov (he was music director from one of the Blue Blouse’s department), M. I. Blanter, Sigizmund Abramovich Katz (author of the hymn), actors Boris Tenin, Vladimir Zeldin, Lev Mirov, author of books about cinema A. V. Macheret, painter B. R. Erdman among them. But it isn’t all list. One of the ideologist of the Blue Blouse was Osip Maksimovich Brik. .
The Blue Blouse employed eccentric process in their appearences. Lately they paid special attention to dress. The fashion designer N. Eisenberg trainded a appliqué work. Blue blouses were instantly changed into sailor suit, pilot suit etc. with this technique. Painters B. Erdman, V. Komardenkov, P. Galadzhev maked dresses more colorful. They added geometrical lines. It gave picturesque.
In the flourishing period of «The Blue Blouse» the movement completed with professional variety successfully. They had performances in variety theatre Alcazar and Hermitage. Every year they had guest-performances in Volga Region (Povolzhye), Ural, Siberia, the South Caucasus, Turkistan. Foreign tour to German and Latvia (1927) were effective. They had journeys to Manchuria and China too. Number of performances was 125. The movement «Blue Blouse» was widespread Analogous groups had arisen in other Russian towns since the group was organized in Moscow. It was the basis for number of professional theatres and variety performances. Not long after about
400 professional and amateur groups were as exactly the same as «The Blue Blouse».
Their repertoire consisted of literary and artistic endings, reviews and scenes which reflected production sphere, public life and international events. Subjects were topical. It combined heroic spirit with pathetic element and satire with humor. The team sinebluzniki appeared with propaganda poetry, choir recitation and physical culture scenes. They went out to factories and clubs, went to towns and villages. The scale shows some facts: it was the First All-Union Conference of Sinebluzniki in 1925 and the Five-Year Movement was celebrated in the Bolshoi Theatre. In 1927 «The Blue Blouse» started to digress from their
traditional programs. «The Blue Blouse» stopped to answer to new esthetical ideals. Unofficial theatre with orientation to mask was not as strong as psychological theatre. Former sinebluzniki were called to turn to industry, local themes and local authors. Thus «The Blue Blouse» took a new turn. There were amateur activities again. In the early 1933 «The Blue Blouse» closed down as their work became unprofitable. «The Blue Blouse» was the name of publication from 1924 to 1928 in Moscow (the Moscow City Council of Trade Unions publication). This publication devoted to sinebluzniki. It contained the list of Moscow the Blue Blouse groups’ programs, repertoire material, textbooks of methodic, commentaries, different advices (which came from directors, painters and musicians), theoretical articles and discussions about the path of development the Blue Blouse etc. The publication wasn’t regular. Periodical basis and shape changed often. The Blue Blouse was spread across the country. There were 80 issues. Furthermore the publication had names “Smichka”, “Stanok”, “Bolt”, “Gaika”. In connection with closing of the Blue Blouse the publication was terminated. In 1928 – 1930 the repertoire was published in magazine “the Small Forms of a Club Scene”. Thereby the Blue Blouse was the theatrical group with unusual lineaments. The Culture of the Soviet Period had its own characteristics. The Blue Blouse was the illustration. The specific movement was organized on the basis of the journal. And it became widespread. The theatrical movement appeared because the historical period demanded it. Then this theatrical movement disappeared because other problems arose in the society. Now the arts like this can’t exist. The modern theatre doesn’t look like the Blue Blouse. But we should remember that the Blue Blouse gave rising to the modern theatre.
By Yakushev Evgeniy and Stasunate Veronika
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Tovstonogov Bolshoi Drama Theater PLAYBILL На сцене ДК им.М.Горького (пл. Стачек, д. 4. Станция метро «Нарвская») May 2012 2 среда
3 четверг
12 суббота
В.П. Катаев КВАДРАТУРА КРУГА В.П. Катаев КВАДРАТУРА КРУГА
5 суббота
6 воскресенье
И. Шприц МЕРСИ
13 воскресенье
Ф.М. Достоевский ДЯДЮШКИН СОН
Ф. Шиллер МАРИЯ СТЮАРТ
14 понедельник
по пьесе Э. Томпсона ‘На Золотом озере’ ЛЕТО ОДНОГО ГОДА
М. Горький 17 четверг ВАССА ЖЕЛЕЗНОВА Н.В. Гоголь НОЧЬ ПЕРЕД РОЖДЕСТВОМ
7 понедельник
Б. Шоу 18 птяница ДОМ, ГДЕ РАЗБИВАЮТСЯ СЕРДЦА
8 вторник
9 среда
Ф. Шиллер МАРИЯ СТЮАРТ
19 суббота
И.С. Тургенев МЕСЯЦ В ДЕРЕВНЕ Ф. Шиллер МАРИЯ СТЮАРТ
Н.В. Гоголь 20 воскресенье Б. Шоу НОЧЬ ПЕРЕД РОЖДЕСТВОМ ДОМ, ГДЕ РАЗБИВАЮТСЯ СЕРД10 четверг ЦА С. Мрожек ПЕШКОМ 21 понедельник С. Мрожек 11 пятница ПЕШКОМ Б. Шоу ДОМ, ГДЕ РАЗБИВАЮТСЯ СЕРДЦА
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W
How Hard Is It
hat girl does not dream to be a queen? St. Petersburg Big Drama Theatre gives brilliant opportunity to make a little journey back in time to the XVI century and to take part into court intrigues. For three hours you are going to be a witness of the fight between two legendary queens Maria Stuart, the queen of Scotland, and Elizabeth I, the queen of England.
to
Be a Queen?
between actresses’ age and experience helped them to show distinction between two queens.
In this performance unusual methods are used. Poor scenery and lack of tricks make unbelievably vivid action. Maria’s modest attire
emphasizes her strong temper. Only during the last scene of death penalty we see her wearing blood red dress. In spite of the fact that this play is historical and the action takes place long ago, the conflict between fascinating Maria Stuart and envious queen Elizabeth can take place today. It is so typical for relationships in any collective. Though, nowadays it is not that easy to send something to scaffold.
By Sokratilina Anastasia So different by their characters they had no even slight opportunity to rule side by side. Both of them
were not just pretenders to the throne, but competitors in the war of love. During the whole
action you will observe Elizabeth’s inconstancy towards destiny of her worst enemy. In this case all other characters are not that important to the action. They symbolize Queen’s thoughts and emphasize the difficulty of her choice. In spite of it is said that without Tovstonogov St. Petersburg Big Drama Theatre no longer exists, it is obvious that interpretation of Schiller’s play “Maria Stuart” given by Chxeidze is absolutely new. It should be mentioned that if you are a huge fan of English history, you may be disappointed expecting to see exact historical events. The most significant difference is the age of Queen Elizabeth. She is almost twice younger, which makes her not cousin of Maria’s mother, but Maria’s step-sister. Of course, this close kinship influences on their relations. This change gave right to the director to give Maria’s part to the beginner actress, while Elizabeth is played by M. O. Ignatova, one of the old school actresses. This great gulf
27
Victory Over
It
the
Sun -
is generally known that Shakespeare’s plays made a revolution in the theater of XVII century, but only professional historians of art and theatre know who changed this field of art in XX century. I believe you recognize these names: Mikhail
Matiushin, Alexei Kruchenykh, V e l i m i r Khlebnikov, and Kazimir Malevich. In 1913
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the
New Era
of
Theatre
exists. Meanwhile, the Man with Bad Intentions wages war and the terrified Fat Man finds himself unable to understand the modern world. The opera ends as an airplane crashes into the stage. The personages are very extravagant: Nero and Caligula in the Same Person, Traveller through All the Ages, Telephone Talker, The New Ones, etc. Furthermore imagine that the stage is a big cube, which is black-and-white coloured; Malevich exhibited on the walls of this cube a large series of suprematist canvases composed of planes of colour, with his Black Square holding centre place (appears in the 6th act), hung like a new sun of humanity. Add to this picture futuristic dress of personages, which are also cubistic and different coloured, Zaum language created by Khlebnikov and Kruchenykh and Matiushin’s strange modern music. Finishing the description, it should be said
these young poor bohemians decided to combine different kinds of art in theatre. As a result the first Russian Futurist opera “Victory over the Sun” appeared. It’s the opera which marked a new era in the development of histrionics. If before the theatre had been just a tool to read the play’s text without straining eyes, with the appearing of “Victory over the Sun”, theater became a splendor of sounds, colours, shapes which you should feel, not understand. The era of modern art began. What is the content of the play? The Sun, representative of the decadent past, is torn down from the sky, locked in a concrete box, and given a funeral by the Strong Men of the Future. The Traveller in Time appears to declare the future is masculine and that all people will look happy, although happiness itself will no longer that the opera was performed on a double bill with
Mayakovski’s play “Vladimir Mayakovski. A Tragedy.” I think you predict what reaction this opera had: negative and even violent. The world had seen it only twice: 1913 in Saint-Petersburg and 1920 in Vitebsk. However, what is this performance about? The best characteristic was given by Russian architect, artist, one of the founders of suprematism El Lissitzky (Lazar Lissitzky). In 1923 he wrote: “the sun as the expression of old world energy is torn down from the heavens by modern man, who by virtue of his technological superiority creates his own energy source.” This is an ode to a new life, which is ruled by a man, not nature. The main theme is traditional for futurism, but the way of presenting the idea to spectators was revolutionary.
You shouldn’t understand words (moreover, sometimes it’s impossible, because Zaum not always could be understood easily), you should listen to them and feel your reaction on the sound vibrations.
You shouldn’t understand what music reflects, you should feel it. The same is
with colours and shapes. Today it doesn’t look so embarrassing, but “Victory over the sun” premiered at the beginning of XX century, when the most popular composers were Carl Maria von Weber and Joakkino Rossini! The additional significance to this event was attached because of the first appearing of Black Square in Malevich’s creativity. In two years, in 1915, Malevich presented his famous Black Square and announced a full withdrawal from the realism in art. Nowadays some theaters tried to stage the opera, but it is almost impossible. Matiushin’s music is almost entirely lost, about action we can know only by papers of few eyewitnesses and we have only several Malevich’s costume designs. Nevertheless, we should be proud of the fact that it is the Russian opera “Victory over the Sun” made by the greatest figures of the XX century, marked the beginning of new epoch in histrionics.
By Komina Anastasiya
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Cinematografff. Inside I’m Singing It is more important and interesting to see what the characters are silent about than to hear what they say aloud.
W
Lia Bannikova, a deaf writer
hat does the performance need to be successful? The answer could be that the actors should find a common language with their audience. But what should they do if the usual verbal communication is not available for them? I want to tell you about the theatre, where the actors can speak without voice. As you’ve already understood, it’s not a usual one. There are just five actors and they are almost deaf men. But they don’t like when people call them so, it’s better to use the word «hard-of-hearing».
group of graduating students of State Specialized Institute of Arts (Moscow) decided to establish a theatre. Their first work was a music video on the song “Summer nights” from musical “Grease”. In 2007 year Cinematografff presented their most successful performance which is called “Give me the Father the second one”. It is a stage musical play with songs and rhymes of Vladimir Vysotsky. With the help of song language from the stage to the audience passed such feelings and emotions as love, hatred, the loss of loved ones, loneliness and search for the soul mate. It is amazing how these people could translate the hoarse, sharp voice of Vysotsky by their actions.
Now the Cinematogrfff’s repertoire involves five plays: - “Give me the father the second one” - Musical “Le Petit café” (it includes the wellknown French songs by Joe Dassin, In-Grid, Dalida, Mireille Mathieu).
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What is the difference between Cinematografff and theatre of gestures and mimicry? The authors of Cinematografff consider that performances only in gesture language aren’t interesting, because the viewer has to translate every phrase. It won’t give him a whole specter of emotions; it stops his falling into deep feelings. In its performances Cinematografff adds other ways of portrayal, such as plastic and dancing. But the real invention of the theatre is the genre of “gesture song”. The history of Cinematografff started fin 2006. A
- “The Diary of a Madman” (on the same name Nikolay Gogol’s novelette) - a surrealistic “the Widows” (on the same name Slawomir Mrozek’s play) - “The Double” is also performing in surrealistic way (on the same name Friedrich Dürrenmatt’s play) Now the theatre is rehearsing their interpretation “Alice in Wonderland”
In spite of its short history, Cinematografff is a laureate of few Russian and European theatre festivals. The creative work of the theatre gets the praising reactions both from critics and audience. The actors don’t stint their work by playing on the stage only; they took parts in art-house movies: “Dust” (2005) and “Shapito-show” (2010), both directed by Sergey Loban. In Cinematografff every actor has his own voice. Their voices are their unique plastic, mimic. Hearing it you find yourself into another sensory reality. One of the purposes of the Cinematografff’s actors is opening their world to every audience: even in the auditorium are hearing or hard-of-hearing people. People who have some health problems shouldn’t feel themselves defective. There is a whole unique world inside everyone of us. And we are able to do much more than we think we are. Even if you disable to hear, you shouldn’t renounce your dream.
By Ksenia Fetiskina
Learn more: www.cinematografff.ru vk.com/club5400549
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Hamlet
T
of
XXI
century
his performance provoked my resistance from the moment of discovery of this unusual surreal setting’s description on street posters. However the Saint Petersburg State University gave free tickets for its students and we decided to go to "Hamlet" in the Alexandrinsky Theater. I think that this "Hamlet" stunned even before the beginning of action: when you enter the room your eyes come across the stadium stand which spreads out on full width and height of the stage. The set designer Alexander Borovsky deployed it back to the audience.
Stage director Valery Fokin showed us reverse side of the royal court. The center of heavy metal construction was a broad staircase, event epicenter of the play. Directed amazed us since the first scene: two members of the riot squad with well caredfor German shepherds on a leash walked down the stairs. They rounded the scene silently. To tell the truth I didn’t fully understand their role.
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Perhaps it is connected with the inauguration of Claudius, the massive event of national importance and thus there are danger of terrorist attack and specially trained dogs are needed. In my opinion Fokin also emphasized a police state site of action of "Hamlet" where everyone isn’t free and people go to escort. Hamlet (Dmitry Lysenko) also appears on the scene unusual way: he was drunk, in a sports suit "Adidas" and was brought by two servants. Rosencrantz and Guildenstern always added vodka in the hideous plastic cups and pour it into Hamlet under compulsion. Bringing Hamlet to the deranged state, they play the act "The phenomenon of phantom father" with howls of reading the text of Shakespeare's monologue into a microphone with the accompaniment of white smoke, noise, wind, thunder. When Hamlet came to himself he hammered into his head the idea of revenge and taken aback Horatio who returned after a long absence. The friend was so shocked by with the surrounding reality that he was watching the development of the intrigue with torments on his face from the auditorium at first. The next scene takes place on the background of carnival of public celebrations: a party on account of the inauguration is arranged in a historical spirit, all the guests dressed in costumes of the Elizabethan era. But the costume of mad Hamlet is striking: he had nightgown, a green pot on his head and a dish of roast suckling pig in his hands. He was very intemperate, dissolved, disgusting.
felt pity and didn’t hesitate to drink poison.
Ruling married couple occupied the main staircase. Confused, weak, complex, smiling wryly "the villain on the throne" Claudius constantly sought the support of his wife. Gertrude was imperious, cruel and cynical. She was undoubtedly the initiator of the killing of Hamlet's father. She loses her purposeful brutality only once in the final episode. Looking at the desperate, haggard face of his son Gertrude suddenly and acutely
I think that the Fokin’s tragedy of Hamlet is the fatal error. He didn’t notice that the universal evil isn’t put into his mother, stepfather and their surroundings. His consciousness is petty; it lacks the universal existential proportions. This Hamlet couldn’t pronounce Shakespeare's monologue «To be or not to be…», this statement was read in English as the well-used passage, and he left the monologue after the first few lines. Refrain Fokine's performance was output at the forefront of unknown men in black with the words "Requiem-service" on the back who dragged dead bodies and threw them into the orchestra pit. These functionaries don’t care what's going on behind their backs: while the political elite are busy intrigue, ordinary guardsmen methodically doing their job. This play is about the same for all times and peoples of power hierarchy, in which man and his life had always meant very little. At the end of the show a teenager Fortinbras - is the true hero of our time - will come on the scene. Without a trace of emotion on the face he will take in a hecatomb at a glance and will calmly say: “Remove the corpses”. Valery Fokin introduced in "Hamlet" neologisms, indecent expressions and slang. I think that every generation should report on his "Hamlet." The current generation received our version.
By Shtina Ekaterina
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FRIDA.the spectacle of flamenco
W
hat you think about dance theatre? Usually, when you think about dance theatre you imagine traditional ballet. But nowadays theatres are increasingly looking for new forms of theatrical productions. New types of dance in the theater are particularly interested by me. In Saint- Petersburg are a lot of new types of dance theatrical production. Among them there are good, for example the new ballet by Nacho Duato (www.mikhailovsky.ru/
events/nacho-duato-gotovit-premeru-baletanunc-dimittis), but there are bad dance theatrical production for example «Wait for angel» (www. krepostnoyballet.info/). Unfortunately, spectacle « Wait for angel» has nothing besides a beautiful name. Another form of new dance theatre are second birth national dances of different countries. Once interesting spectacle this is «OKEAN» (webshtab. ru/?p=20295). The most of it is a different Japanese folk dances.
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saw Frida like denser. In spectacle hasn’t dialogues – just flamenco dense, Spanish guitar and Spanish songs. All this immerses you in a magical atmosphere and you grieve and love with the heroine. The idea of dance performance is very crucial, because the dance and the plastic - a language accessible to everyone, and like the idea of paintings of Frida encrypted in place performance in its detail and characters. The music accompanied by sounds of Spanish and Mexican motifs and songs. No one can remain indifferent to the flamenco singing (cante flamenco). Spectacle reveals tragic love story and becoming Frida-artist. Reproductions of paintings and video installations have an important role in the play to understand the life and works of Frida. I have never seen anything like it. Dance, fight, love, passion, color, bright colors of clothes, a specialrecognizable style - Mexican national dress, the cigarette, a lot ofrings, big beads, flowers in her hair. After the spectacle I really wanted to be in hot Mexico or wear something bright and red. This production inspires people, and fills the hearts of life. Paintings Frida «tell» about the artist more than any most detailedautobiography. Natalia Zaikova - author of the idea, director and principal performer in the spectacle «Frida» - failed translate this diary into the language of art of flamenco. Also in the Cast : Konstantin Frolov - flamenco, Tatiana Shishkov vocals, Vladimir Slobodin - guitar, Alex Parfenov guitar, Sergey horse - percussion,Vyacheslav Pieces - piano, John Elmo - palmas. Spectacle on the its artistic qualities, competence, and emotional richness worthy of being shown the broadest possible range of viewers. But the play Frida created an independent collective and they occasionally has been renting different scenes. For this reason it is not always easy to find the nearest screening spectacle. But the theater is always sold out, so I advise you to will buy tickets in advance.
But the most striking modern theatrical performance is «the spectacle of flamenco Frida». For me this spectacle the best of what I saw. Spectacle tells the story of life the Mexican artist Frida Kahlo. Life of this genius woman was filled with tragedy and Must go on «Frida. spectacle flamenco»! passionate flamenco shows the joy and pain of the (http://www.nataliazaykova.ru/index.html) artist. The age of 17 Frida got in a car accident which made her physically defective. And it was unusual to
By Maria Kalita
L
How To Be a Ballerina
ike many little girls I dreamed of growing up to become a ballerina, just like the one I could see in the theatre or in the movies. In reality, becoming a ballerina requires a lot of hard work, persistence, and training. Moreover, not everyone has the physical abilities to dance ballet. But with determination and a little luck,
who have no aim to perform solo in Bolshoi theatre. Of course, you must spend certain amount of time before yours movements resemble classical dance .In fact, only to stand properly, you must strengthen all your muscles. One reason ballet dancers are so graceful is because they have total control over their muscles. But many people are quite shy of joining becoming a professional ballerina can come ballet dance lessons because they are too afraid of making mistakes in front of the teacher. Every person can become an elegant ballet dancer! The most
important thing is never to break up and follow your dream.
By Alexandra Ostapenko
true.
The Choreography School accepts children, just graduated from elementary school. This age is considered to be the most appropriate to start training. From this moment the hardest work begins, and only the children addicted to dance can cope with it. The education process not only requires the students to mentally understand and know the names, meanings and techniques of all the movements but it requires them to build their body. Moreover, it is important for them constantly to comply with a diet. Ballet dancers are very flexible, and they achieve this through rigorous stretching on a daily basis. Indeed, everyone who contact with them can say that they differ from people around with strict discipline, endurance and ability to force themselves to work. Accustomed by years of study to the severe daily exercise to maintain uniform shape, dancers know that their careers depend on whether they will be able to keep themselves in the toughest frames.
photos by Volkova Daria
But everybody has an opportunity to start dance ballet at any age with any background. Nowadays there are many ballet academies for adults
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Dance
D
and
Theatre
ear friends, I’d like to tell you a few words about the connection between the dance performance and the theatre scene. This idea has come to my mind because I’m dancer who is interested in the theatre sphere. So, when I was a child, I took classes at a drama studio. There were theatre lessons and some dance classes. It was my first experience in a dance area, and it was quite useful and valuable. After the theatre studio I was really fascinated by dance and continued to develop in this area. Now, I’m a dancer, and I teach people and help them express themselves through dance. This story is one of many examples of the close relationship between dance and the theatre.
visible from the scene. 4) Scene. The dance and theatrical action takes place in the scene. This is the field of the show, entertainment and emotions.
5) Plot. Every performance has a plot, even dance shows. The only thing that distinguishes the subject of a dance performance from the theatre is the simplicity of its plot, which is easier to understand. 6) Art. Theatre and dance are kinds of art, where attention is paid to the development of people. The theatre has a cultural purpose, in the dance Here are 10 points to note about my topic: dominates a physical moment. 1) Emotions. The dancing itself is an expression of various emotions, depending on the style and the 7) Artistry. The professional dancer must be mood of the dancer. Theatre is associated with the emotions of actors and their roles in a play.
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2) Performance and improvisation. The dance choreography is an important part of the all dance industry. The dancer or a dance group that is going to take part in some competitions and concerts must learn not only movements, but the whole dance show. The theatre play consists of planning the show and structure that is learned by a talented actor. Not everyone can express the conceived idea. Undoubtedly, some actors can be the actors. dancers too: for example, musical dancers such as Hugh Jackman. 3) Dress-code and image. Theatre and dance shows must have some conceptual clothes, and special make-up should be bright so that it is
Mikhailovsky
8) Solo and team. As you know, a dancer can take part in festivals and competitions by him- or herself and in a group. A one-man show is not a rare Multiplicity. phenomenon nowadays, too.
theater
Forms of Silence and Emptiness
9) Repetitions and lessons. No sweet without sweat. Sure thing, concerts and shows must be prepared very well. It is necessary to work hard and bend over to take part in important events. Therefore, artists and their teachers work together in theatre and dance studios.
Premiere at the Mikhailovsky Theatre: 21 March 2012 ballet in two acts music by by J.S. Bach Conductor — Alexey Nyaga
Choreography: Nacho Duato Sets Design: Jaafar Chalabi Costume Design: Nacho Duato Lighting Design: Brad Fields 10) The mime theatre and the body Costume Engineering: Alla Marusina language in dancing. Dancers use the Music Director of the production and Conductor: Mikhail body to express emotions and to communicate with Tatarnikov audience. A mime artist is someone who uses mime Assistants to the Choreographer: Tony Fabre, Thomas as a theatrical medium or as a performance art, Klein Assistant to the Lighting Designer: Alexander Kibitkin involving miming, or the acting out a story through Assistant Conductor: Alexey Nyaga
body motions, without use of speech.
The ballet Multiplicity. In conclusion, I’d like to add that these two kinds of art are Forms of Silence very creative and help to open a different part of the person. and Emptiness is one of Nacho By Regina Shelofast Duato’s bestknown works. It immediately caught the attention of the critics and brought its creator the prestigious Benois de la Dance prize. The ballet was composed in 1999 for the theatre in Weimar, where Johann Sebastian Bach lived and worked for several years. It is Bach’s music that forms the basis of Duato’s work, in which he tells the story of the great composer’s life and work through the medium of eurhythmic dance. The two-act ballet is a combination of baroque music and modern choreography. It is virtually a biography and, unlike most of Nacho Duato’s ballets, which have no plot, features specific characters — the Composer, the Woman, and Death. The audience accompany the characters through the main stages of the composer’s life and observe the miraculous creation of the music of a genius. The Mikhailovsky Theatre’s production will be the first performance of the ballet in St. Petersburg.
http://www.mikhailovsky.ru/en/afisha/
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Brief History Musicals
T
of
th the Broadway musical's history is a fascinating one. While Broadway was a popular destination for theatre-goers for many years, it wasn't until the end of the 19th century that plays featuring music and dance became an entertainment staple on the Great White Way. Here is a brief history of the musical on Broadway.
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Broadway the street was lit electrically, earning the nickname, "The Great White Way."
Early 20th Century
In 1907, A new Broadway phenomenon was born. Originally called Follies 1907, Flo Ziegfeld's lavish production would become a Broadway staple for many years to come. New productions were mounted each year until 1925, with additional productions produced in 1927, 1931, 1934, 1936 and 1943. A final Ziegfeld Follies show was produced in 1957, but was a failure. When Showboat opened in December 1927, it was unlike anything The Great White Way had ever seen. The early part of the 1920s had been filled with lighthearted comedies, such as No No, Nanette and Funny Face. Showboat featured dramatic themes and the first-ever completely integrated book and score. Early Years The Seven Sisters opened in 1860 and was the first In 1935, the Gershwin brothers and DuBose Heyward ever musical performed on Broadway. The musical debuted Porgy and Bess. It featured an all Africanproduction ran for 253 performances. There are American cast, which was quite controversial at the no known copies of the play or its score still in existence. The Black Crook, which premiered in 1866, is thought by many to be the first real Broadway musical. It was a huge success, running for over a year. There were eight revivals of the show on Broadway. Initially, the show was a melodrama. A fire at a nearby theater displaced a ballet troupe and its orchestra, so the producers of The Black Crook decided to add the group to the show to create what they called "A Musical Spectacular." Burlesque was popular Broadway fare during the time. While considered a masterpiece by many, it 1800s. In 1868, Lydia Thompson brought her has also been criticized for its racist portrayal of Burlesque troupe The British Blondes to New African-Americans. York. The elaborate production, filled with comedy, The Golden Age extravagant sets and risquĂŠ costumes, was a huge In 1943, Rodgers and Hammerstein's first show, hit. Oklahoma, was produced. The duo would go on to Broadway's theater district was one of the first areas write some of the most beloved Broadway Musicals in America to get electric light. By 1880, one mile of in history, including Carousel, South Pacific, The
King and I and The Sound of Music. When Brigadoon premiered in 1947, this show marked the first major success of one of Broadway's other power duos, Lerner and Loewe. They had been collaborating for about five years when Brigadoon premiered, and they would continue to work together for many years, creating such memorable shows as My Fair Lady in 1958 and Camelot in 1960.
A New Era
upbeat musical, which represented a return to happier shows following a decade of grittier, more dramatic musicals. Cats began its successful 18-year run in 1981. Composer Andrew Lloyd Webber, already well established with shows like Jesus Christ Superstar and Evita, would later go on to write Phantom of the Opera, the longest-running show on Broadway. In 1987, Les Miserables opened on Broadway. This
Produced in the midst of the politically turbulent 1960s, Hair was quite a departure from the musicals of the '40s and '50s, with its counter-culture themes and rock-inspired score. With high energy and a sparse use of costumes and sets, it opened the door for a more aggressive, nontraditional form of musical, compared with the elaborate song-anddance shows that dominated previous decades. In 1977, the hugely successful Annie debuted. Its young star, Andrea McArdle, drew much acclaim for her portrayal of the charming red-haired orphan. Broadway show tickets sold fast for this optimistic, popular show continues to be one of the most-performed musicals worldwide. Les Miserables is a sung-through musical, where all dialogue is sung, as in operas.
The '90s and Beyond
In recent years, the trend on Broadway has been to adapt films and books into musical productions. Mel Brooks found huge success with a musical version of his comedy, The Producers. OffBroadway plays have also found mainstream success, led by Jonathan Larson's hit show, Rent.
By Alexandra Alekseeva
39
Mask...
I
40
ssmiled today. I didn't want it but I did. Just it truth about themselves. By this way we are losing was etiquette; it was what is determined, it was the truth. When people become afraid to be really what everybody wants to see...it's my mask... themselves, they start to wear masks and make do it others. Also people wear masks to pretend to be Why do we wear such masks? Why it is difficult someone or something else. Masks are worn to gain for us to say what we want? Why is it difficult to or secure friendships. Such people have numerous hear what we don't like? We have all picked up this masks: in front of their boss, their colleagues, their uncanny ability to make others think what they want friends, their parents and even in front of unknown or what we dream up about ourselves. Why we can society. They are the super humans able to switch quietly lie and catch our close friends in a lie? And masks for different people for the same situation. generally where are a real friendship, sincere Their continual masking results to serious relational love and noble people? Maybe they are vestiges breakdowns. Their tragedy consists in the ignorance of their real essence. of the history or haven’t ever been. However, we It will be interesting to say, unfortunately I don’t like to think the mask is the truth...we revel in the remember where I read, that we all are born with two temporal glee that the mask affords us. We have fears - the fear of falling, and the fear from loud bangs. delight of the mask’s lies. Every other fear we picked up along the way growing up. Then, what are we afraid of? Why we are masked? Whether a mask hides us from a pain? Whether it is to lift a self-importance or to make our life easier?... Still I have learnt to live with the masks people wear. I don't like them, I want to enjoy the person I am and you are, regardless of who is watching. But nevertheless I wear them and more importantly, I know that others do it too. I think we all understand... we have accepted it as inevitable. It is what we call society. Modern issues that must be the subjects of widespread What, then, is a mask? The word 'mask' might have public debates, undoubtedly, are the cruel, harmful come from other languages. The French masque, habits, spoiled youth, the lack of correspondence of the Italian maschera, the Spanish máscara, the Latin technical progress to development of people’s mind… (not classical) mascus/masca (meaning "ghost") or etc. But all these problems have appeared due to the Arabic maskharah (meaning "jester" or "man people who wear masks more and more actively. in masquerade") all use the same word. A mask They don’t know who they are; moreover they begin is an object which is worn on the face, typically to wear one mask on another. I didn’t want to write for protection, concealment, performance, or about drug addiction, alcoholism, early pregnancy… amusement. Masks have been used since antiquity I liked to tell about problem seem to be little, but it for both ceremonial and practical purposes. is one of the sources for another more discussing The mask can be a kind of language that expresses issues. the emotion of the figure, which is chosen to create. There can be various reasons why people are masked. One reason for wearing a mask for Thank you for your attention and don’t forget people is to conceal their true identity, to conceal to wear the mask, in the street today it is sincere their true emotions, their true feelings; it becomes a necessity because they don't want to tell people the By Sakovich Olga
ARTISTIC NEUROTICISM
‘His life is not something like a jolly dance; it’s a battle and march, struggle against lords and realms… ‘ Thomas Carlyle
M
aankind always does not to discriminate between the words ‘artist’ and ‘neurotic’ (by the way, quite true). What can create an affinity between these two terms? For instance, it’s known that ‘…a happy man is a bad actor; he has few heartfelt causes to look for, inquire of, doubt, be dissatisfied with life and himself. […] Only one who is able to suffer and contain suffering in him can be a true actor. Sharp experience of his inward contradiction, oppressive diffidence, pain because of existence, inner discord, endless feeling of guilt, suffering and despair because it’s impossible to express himself […], longing for the truth and the highest wisdom, wishful thinking, overturned love and faith […] — all of this is a sufficient reason to be an actor’ (Alfred Shchegolev).
To draw a conclusion actor’s profession demands neuroticism. Neuroticism is the basis of its vital activity. But why?
If we try to formulate in short the essence of neurotic mind’s state, that’s what we get. Neurotic is a person, who seeks (consciously or not) to get during his communication a conflict with people and the world. Neurotic can’t do in a different way. Conflict is a vital necessity of the neurotic; it’s even possible to say, that he advances at the expense of conflicts, shuffles off his old skin for new. If he does not model conflict, he seems (to himself) dead, immobile, lifeless… as if he lives in another’s world, in another’s home… (and if in the majority of cases the theatre consists if neurotics, we can imagine what kind of world it is). That’s why great Meierkhold doesn’t stop complaining about his amazing ability to attract ordeals in his life, though notes enthusiastically, that without it his life turns into a solid boredom. That’s why the great Pushkin’s head can’t resist the demonic malevolence in regard to the mechanisms
of creativity: ‘…the status and the nickname by which poet is stigmatized and which will never disappear — this is the main bitter, the main insufferable evil for him’. It’s possible to ascertain that the artist (being a neurotic person) needs evil, needs a conflict. The war is necessary! And it is fundamentally important to build the plot, strike the fire of motivation for creativity, for development; it’s important for evolution. To say it in another words the artist rises like Phoenix from its ashes, passes on more high levels of reality experience. It happens because conflict breaks, explodes, and destroys wellestablished relationships with others; conflict gives an impulse to look for new forms of communication and so on. That’s why creative persons are trouble makers and at the same time trouble ‘solvers’.
So, to say that neurotic is a potential genius and hero — it’s to say nothing.
Neurotic’s perception of the world is totally sharpened. He is able to give mankind the incredible creative potential. Pushkin and Lermontov are great universally recognized neurotics. If you want to get added evidence that it is true, it’s enough to consider the elaborate ‘Duelling story’ written by the first of them and totally conflicting life of the second. In being on the verge these ‘sick geniuses’, just like Beethoven and Van Gogh, runs to the so-called extreme of destroying self-creation. And the more neurotic is powerful, the more he needs energy, the more the world, which he with great talent inserts into his scenario, looks like the tyrant and the persecutor, the more the flame of destruction is stronger.
(by the work of Vadim Demchog ‘Self-unleashing Game’)
By Andreeva Olga
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Exclusive photos made by Natalia Uskova
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Kristina Kalashnikova freelance actress and director
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Pavlova Maria The Moscow Art Theatre actress
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Kristina Kalashnikova
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Georgy Arkhipov actor
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