Barin. Why did folklorists call this play-play a satirical drama? The concept of folklore, types and classification Folklore in the USSR

Barin is a drama created by the people and called satirical. The basis for the appearance of this drama was Christmas time and Christmas dressing up with the Horse and the Bull. The popularity of this game-play is that everyone can put it on, so we played the heroes of folk folk art in the class, where there was a proud, arrogant gentleman, and a cunning appraiser, and fashionable Panya. We also had the Petitioner, who humiliated himself in front of the Barin, and an amazing audience that watched everything that was happening with surprise. The acting turned out to be wonderful, while Barin's drama itself came to us in a slightly distorted antibar direction, although in other versions, probably, the play felt and revealed a more acute social problem.

Why was Barin's play called a satirical drama?

Most likely it was called satirical, because here the heroes of the play, the peasant people who played the roles, wanted to laugh at their fellow villagers. They mocked the shortcomings of their neighbors, over those disputes, and even quarrels that you want or don’t want, but arose in the life of the peasants, but the game just helped to peacefully solve the problem.

Characters:

Barin, in a red shirt and jacket; straw epaulettes on the shoulders; on his head is a straw hat with paper figures cut out; in the hands of a cane, decorated with paper figurines. The master has a big belly and the jacket is not buttoned up.
From the merchant, on the shoulders of an army coat, in the hands of a pusher, on his head he holds a hat - an ordinary one.
Panya, Kumachnik - a red sundress, a white shirt and a white apron, a two-row belt, silk; on the head there is a "dressing" with ribbons, in the hands of a "koragushka" - a fan and a scarf.
A horse, a man, a straw tail is forged to him.
Amazing people: half a dozen or seven boys of twelve years old; soot-covered faces.
The bull, especially, does not dress, but slips in from the Fofans.
Askers, usually from the audience.

In Tamtsa, players who play "Barin" are usually taken from different "quarters" of the village (the village is divided into four "ends" that have special names), - Barin, for example, from Zarechye, Otkupchik even from the Upper, Panya, let's say, from Serechye, Horse, let's say, from the bottom. This is done so that no end of the village is offended.
The game begins like this: the players come up to the house where, for example, a party takes place. They open the door, and the first horse runs into the hut and whips the audience with a chariot; all those in the hut stand on the benches, some climb on the floor, and thus the hut becomes free for action. Behind the Horse, the whole company enters the hut and goes with songs to the front corner; a lantern is carried in front of them. In the front corner, Barin stands facing the people, next to him on one hand is Panya, on the other is the Farmer. The people and the fofans (mummers) from the street follow the players and stand all over the hut.

Viceroy, Viceroy,
good fellows,
red girls,
Hello!

In with e (answer). Hello, hello, mister barin, hello!

B a r i n. Owner, hostess
Viceroy, Viceroy,
good fellows,
red girls,
Do you have any proseb between you?

In with e. Yes, there is.

B a r i n. Come on, come on!

One of the Fofans comes up, pretending to be a petitioner.

P r o s i t e l. Sir, please accept my request.

B a r i n. Who are you?

Beggar (called by a fictitious name, - the name of some guy in the village). Vladimir Voronin.

B a r i n. What are you asking for?

P r o s i t e l. I ask for Paraskovya: Parashka loves me in years, and Vasily loves another guy in winters.

B a r i n. And come here, Paraskovya, here. Why do you love two people at once?

Paraskovya is also the real name of some girl in the village. Instead, one of the Fofans comes up to the call of the Master and begins to argue and swear with the petitioner. They say what they want; who swears stronger and wittier, he has more success with the public. The master and the farmer consult aloud which of the suing men is guilty and whom to punish: a guy or a girl; find guilty, for example, a girl. The master says: "Come on, Paraskovya, lean on your back!" Paraskovya obeys the court's decision and turns his back. The farmer punishes her with a whip. After the first petitioner, another appears and lays out some other request about a neighbor, about a wife, and so on. The requests are usually based on some fact that really exists in the village, which, of course, is exaggerated, brought to the ridiculous, to the point of absurdity, and thus the court is a satire on local life and customs, sometimes very evil, sometimes cruel. When there are no more petitioners and all requests are considered, court decisions are given and sentences are executed, the sale of the horse begins.

B a r i n. Kupchinushka, is there a horse to sell?

About t to y p sch and k. There is, there is.

They bring a horse. The master leads the Horse around the hut, watches him run, looks into his teeth, pokes his sides, makes him jump over a stick and decides to buy.

B a r i n. How much do you want for a horse?

O t to y p sch and k. One hundred rubles in money,
forty magpies
Salty.........
Forty anbars
frozen cockroaches,
Arshin oil,
Three skeins of sour milk,
Mikhalka Tamitsyna nose,
Our Kozharikha's tail.

B a r i n. I'll find a hundred rubles in my pocket,
And forty magpies
Salty.....
Forty anbars
dry cockroaches

Seek whether, laity?

In with e. We will seek, we will seek.

The master gives the money and takes the Horse.

B a r i n. And what, merchant, do you have a bull to sell for meat?

O t to u p s ch and k. As no, yes, yes.

B a r i n. How much do you want for a bull?

O t to y p s ch and k. One hundred rubles in money.
forty magpies
Salty.....
Forty anbars
Dry cockroaches...

As usual, the bargain goes to the end. When the bargaining ends, the Bull - a man in a turned-out fur coat and with a lid on his head, is brought up, and the Master hits him on the head with a log, the lid breaks, the Bull falls; the fofans pounce on him and crumple his sides; release blood.

B a r i n. And what, merchant, don't you have amazing people to sell?

About t to y p sch and k. There is, there is. Hey Amazing people, get out!

Amazing people jump out, make faces, dance, spit in all directions, then leave.

B a r i n. Hey, little one, give me scarlet vodka.

One of the Fofans goes and carries a bottle of water. They sing the song "In the Pit", and Barin, arm in arm with Panya, walk several times through the hut. Leaving the hut for another party, they say goodbye.

B a r i n. Owner, hostess
Viceroy, Viceroy,
good fellows,
red girls,
Farewell!

In with e. Farewell. Farewell!

The whole company goes to another party, which is visited by three or four in the evening.

Folklore as a special kind of art is a qualitatively unique component of fiction. It integrates the culture of the society of a certain ethnicity at a special stage in the historical development of society.

Folklore is ambiguous: it manifests both boundless folk wisdom, and folk conservatism, inertia. In any case, folklore embodies the highest spiritual forces of the people, reflects the elements of the national artistic consciousness.

The term "folklore" itself (from the English word folklore - folk wisdom) is a common name for folk art in international scientific terminology. The term was first introduced in 1846 by the English archaeologist W. J. Thomson. As an official scientific concept, it was first adopted by the English Folklore Society, founded in 1878. In 1800-1990, the term entered into scientific use in many countries of the world.

Folklore (English folklore - "folk wisdom") - folk art, most often it is oral; artistic collective creative activity of the people, reflecting their life, views, ideals; poetry created by the people and existing among the masses of the people (tradition, songs, ditties, anecdotes, fairy tales, epic), folk music (songs, instrumental tunes and plays), theater (dramas, satirical plays, puppet theater), dance, architecture, visual and arts and crafts.

Folklore is creativity that does not require any material and where the person himself is the means of embodying the artistic concept. Folklore has a clearly expressed didactic orientation. Much of it was created specifically for children and was dictated by the great people's concern for young people - their future. "Folklore" serves the child from his very birth.

Folk poetry reveals the most significant connections and patterns of life, leaving aside the individual, the special. Folklore gives them the most important and simple concepts about life and people. It reflects the general interest and the vital, what affects everyone and everyone: the work of a person, his relationship with nature, life in a team.

The value of folklore as an important part in education and development in the modern world is well known and generally recognized. Folklore always responds sensitively to people's requests, being a reflection of the collective mind, accumulated life experience.

The main features and properties of folklore:

1. Bifunctionality. Each folklore work is an organic part of human life and is conditioned by practical purpose. It is focused on a certain moment of people's life. For example, a lullaby - it is sung to soothe, lull a child to sleep. When the child falls asleep, the song stops - it is no longer needed. This is how the aesthetic, spiritual and practical function of the lullaby is manifested. Everything is interconnected in the work, beauty cannot be separated from benefit, benefit from beauty.

2.Polyelement. Folklore is polyelemental, since its internal diversity and numerous interconnections of an artistic, cultural-historical and socio-cultural nature are obvious.

Not every folklore work includes all artistic and figurative elements. There are also genres in which their minimum number. The performance of a folklore work is the integrity of a creative act. Among the many artistic and figurative elements of folklore, they are distinguished as the main verbal, musical, dance and mimic. Polyelementity is manifested during the event, for example, “Burn, burn clearly so that it does not go out!” or when studying a round dance - the game "Boyars", where row-by-row movements occur. In this game, all the main artistic and figurative elements interact. Verbal and musical are manifested in the musical and poetic genre of the song, performed simultaneously with the choreographic movement (dance element). This manifests the polyelement nature of folklore, its original synthesis, called syncretism. Syncretism characterizes the interconnection, integrity of the internal components and properties of folklore.

3. Collectivity. Absence of the author. Collectivity is manifested both in the process of creating a work and in the nature of the content, which always objectively reflects the psychology of many people. Asking who wrote a folk song is like asking who wrote the language we speak. Collectivity is due to the performance of folklore works. Lead some components of their forms, for example, the chorus, require the mandatory inclusion in the performance of all participants in the action.

4. Lack of writing. Orality in the transmission of folklore material is manifested in the absence of writing in the forms of transmission of folklore information. Artistic images and skills are transmitted from the performer, the artist to the listener and viewer, from the master to the student. Folklore is oral art. It lives only in the memory of people and is transmitted in a live performance "by word of mouth". Artistic images and skills are transmitted from the performer, the artist to the listener and viewer, from the master to the student.

5. Tradition. The variety of creative manifestations in folklore only outwardly seems spontaneous. Over a long period of time, objective ideals of creativity have evolved. These ideals became those practical and aesthetic standards, deviations from which would be inappropriate.

6.Variability. Variation of the network is one of the incentives for constant movement, "breathing" of a folklore work, and each folklore work is always, as it were, a variant of itself. The folklore text turns out to be unfinished, open to each subsequent performer. For example, in the round dance game "Boyars", children move "row by row", and the step may be different. In some places it is a regular step with an accent on the last syllable of the line, in others it is a step with a footstep on the last two syllables, in the third place it is a variable step. It is important to convey to the mind the idea that in a folklore work, creation-performance and performance-creation coexist. Variability can be considered as the variability of works of art, their uniqueness when performed or in another form of reproduction. Each author or performer supplemented traditional images or works with his own reading or vision.

7. Improvisation is a feature of folk art. Each new performance of the work is enriched with new elements (textual, methodical, rhythmic, dynamic, harmonic). brought by the performer. Any performer constantly introduces his own material into a well-known work, which contributes to the constant development, change of the work, during which the reference artistic image crystallizes. Thus, the folklore performance becomes the result of many years of collective creativity.

In modern literature, the broad interpretation of folklore as a combination of folk traditions, customs, views, beliefs, and arts is common.

In particular, the famous folklorist V.E. Gusev in the book "Aesthetics of Folklore" considers this concept as an artistic reflection of reality, carried out in verbal - musical, choreographic and dramatic forms of collective folk art, expressing the worldview of the working masses and inextricably linked with life and everyday life. Folklore is a complex, synthetic art. Often in his works elements of various types of arts are combined - verbal, musical, theatrical. It is studied by various sciences - history, psychology, sociology, ethnography. It is closely connected with folk life and rituals. It is no coincidence that the first Russian scholars took a broad approach to folklore, recording not only works of verbal art, but also recording various ethnographic details and the realities of peasant life.

The main aspects of the content of folk culture include: the worldview of the people, folk experience, housing, costume, work, leisure, crafts, family relations, folk holidays and rituals, knowledge and skills, artistic creativity. It should be noted that, like any other social phenomenon, folk culture has specific features, among which it is worth highlighting: an inextricable connection with nature, with the environment; openness, educational nature of the folk culture of Russia, the ability to contact with the culture of other peoples, dialogue, originality, integrity, situationality, the presence of a purposeful emotional charge, the preservation of elements of pagan and Orthodox culture.

Traditions and folklore are wealth developed by generations and conveying historical experience and cultural heritage in an emotionally figurative form. In the cultural and creative conscious activity of the broad masses, folk traditions, folklore and artistic modernity merge in a single channel.

The main functions of folklore include religious - mythological, ritual, ritual, artistic - aesthetic, pedagogical, communicative - informational, social - psychological.

Folklore is very diverse. There is traditional, modern, peasant and urban folklore.

Traditional folklore is those forms and mechanisms of artistic culture that are preserved, fixed and transmitted from generation to generation. They capture universal aesthetic values ​​that retain their significance outside of concrete - historical social changes.

Traditional folklore is divided into two groups - ritual and non-ritual.

Ritual folklore includes:

calendar folklore (carols, carnival songs, stoneflies);

family folklore (wedding, maternity, funeral rites, lullabies, etc.),

occasional folklore (charms, incantations, incantations).

Non-ritual folklore is divided into four groups:

Folklore of speech situations (proverbs, sayings, riddles, teasers, nicknames, curses);

Poetry (chastushkas, songs);

· folklore drama (Petrushka theatre, crib drama);

prose.

Folklore poetry includes: epic, historical song, spiritual verse, lyrical song, ballad, cruel romance, ditty, children's poetic songs (poetry parodies), sadistic rhymes. Folklore prose is again divided into two groups: fabulous and non-fabulous. Fairy tale prose includes: a fairy tale (which, in turn, is of four types: a fairy tale, a fairy tale about animals, a household fairy tale, a cumulative fairy tale) and an anecdote. Non-fairytale prose includes: tradition, legend, bylichka, mythological story, dream story. The folklore of speech situations includes: proverbs, sayings, good wishes, curses, nicknames, teasers, dialogue graffiti, riddles, tongue twisters and some others. There are also written forms of folklore, such as chain letters, graffiti, albums (for example, song books).

Ritual folklore is folklore genres performed within the framework of various rituals. The most successful, in my opinion, was the definition of the rite by D.M. Ugrinovich: “A rite is a certain way of transferring certain ideas, norms of behavior, values ​​and feelings to new generations. The rite is distinguished from other ways of such transmission by its symbolic nature. This is its specificity. Ritual actions always act as symbols that embody certain social ideas, ideas, images and evoke corresponding feelings. The works of calendar folklore are timed to coincide with the folk annual holidays, which had an agricultural character.

Calendar rituals were accompanied by special songs: carols, Shrovetide songs, stoneflies, Semitsky songs, etc.

Vesnyanki (spring calls) are ritual songs of an incantatory nature that accompany the Slavic rite of calling spring.

Carols are New Year's songs. They were performed during Christmas time (from December 24 to January 6), when caroling was going on. Caroling - walking around the yards with carol songs. For these songs, carolers were rewarded with gifts - a festive treat. The main meaning of the carol is magnificence. Carolers give an ideal description of the house of the magnified. It turns out that before us is not an ordinary peasant hut, but a tower, around which “there is an iron tyn”, “on each stamen there is a dome”, and on each dome “a golden crown”. Match this tower and the people living in it. Pictures of wealth are not reality, but the desired: carols perform to some extent the functions of a magic spell.

Maslenitsa is a folk holiday cycle that has been preserved among the Slavs since pagan times. The rite is associated with the farewell to winter and the meeting of spring, which lasts a whole week. The celebration was carried out according to a strict schedule, which was reflected in the names of the days of the Pancake week: Monday - "meeting", Tuesday - "flirty", Wednesday - "gourmet", Thursday - "revelry", Friday - "mother-in-law evening", Saturday - "sister-in-law gatherings ”, Sunday - “seeing off”, the end of the Maslenitsa fun.

Few Shrovetide songs have come down. By subject and purpose, they are divided into two groups: one is associated with the rite of meeting, the other - with the rite of farewell ("funeral") Maslenitsa. The songs of the first group are distinguished by a major, cheerful character. This is, first of all, a majestic song in honor of Maslenitsa. The songs accompanying the farewell to Maslenitsa have a minor key. The "funeral" of Maslenitsa meant seeing off winter and a spell, a greeting for the coming spring.

Family rituals are predetermined by the cycle of human life. They are divided into maternity, wedding, recruiting and funeral.

Birthing rites sought to protect the newborn from hostile mystical forces, and also assumed the well-being of the infant in life. A ritual washing of the newborn was performed, health was spoken of by various sentences.

Wedding ceremony. It is a kind of folk performance, where all the roles are painted and there are even directors - a matchmaker or a matchmaker. The special scale and significance of this rite should show the significance of the event, play the meaning of the ongoing change in a person's life.

The rite educates the behavior of the bride in the future married life and educates all the participants of the rite present. It shows the patriarchal nature of family life, its way of life.

Funeral rites. During the funeral, various rituals were performed, which were accompanied by special funeral lamentations. Funeral lamentations truthfully reflected life, everyday consciousness of the peasant, love for the deceased and fear of the future, the tragic situation of the family in harsh conditions.

Occasional folklore (from lat. occasionalis - random) - does not correspond to generally accepted use, is of an individual character.

A variety of occasional folklore are conspiracies.

SPELLS - a folk-poetic incantatory verbal formula to which magical power is attributed.

CHALLENGES - an appeal to the sun and other natural phenomena, as well as to animals and especially often to birds, which were considered messengers of spring. Moreover, the forces of nature were revered as living: they turn to spring with requests, wish it to come soon, complain about the winter, complain.

COUNTERS - a type of children's creativity, small poetic texts with a clear rhyme-rhythmic structure in a playful form.

Genres of non-ritual folklore evolved under the influence of syncretism.

It includes the folklore of speech situations: proverbs, fables, omens and sayings. They contain a person's judgments about the way of life, about work, about higher natural forces, statements about human affairs. This is a vast area of ​​moral assessments and judgments, how to live, how to raise children, how to honor ancestors, thoughts about the need to follow precepts and examples, these are everyday rules of behavior. In a word, their functionality covers almost all ideological areas.

MYSTERY - works with a hidden meaning. They have a rich fiction, wit, poetry, figurative structure of colloquial speech. The people themselves aptly defined the riddle: "Without a face in a disguise." The subject that is conceived, the “face”, is hidden under the “mask” - allegory or allusion, roundabout speech, bluff. No matter how many riddles are invented to test attention, ingenuity, quick wits. Some consist of a simple question, others look like puzzles. It is easy to solve riddles for those who have a good idea of ​​the objects and phenomena in question, and also know how to unravel the hidden meaning in words. If a child looks at the world around him with attentive, keen eyes, noticing its beauty and richness, then every tricky question and every allegory in a riddle will be solved.

PROVERB - as a genre, unlike a riddle, it is not an allegory. In it, a certain action or deed is given an expanded meaning. In their form, folk riddles adjoin proverbs: the same measured, folded speech, the same frequent use of rhyme and consonance of words. But the proverb and the riddle differ in that the riddle must be guessed, and the proverb is a lesson.

Unlike a proverb, a SAYING is not a complete judgment. This is a figurative expression used in an extended sense.

Sayings, like proverbs, remain living folklore genres: they are constantly found in our everyday speech. The prepositions contain a capacious playful definition of the inhabitants of a locality, city, living in the neighborhood or somewhere far away.

Folklore poetry is epic, historical song, spiritual verse, lyrical song, ballad, cruel romance, ditty, children's poetic songs.

BYLINA is a folklore epic song, a genre characteristic of the Russian tradition. Such epics as "Sadko", "Ilya Muromets and the Nightingale the Robber", "Volga and Mikula Selyaninovich" and others are known. The term "epic" was introduced into scientific use in the 40s of the 19th century. folklorist I.P. Sakharov. The basis of the epic plot is some heroic event, or a remarkable episode of Russian history (hence the popular name of the epic - "old", "old", implying that the action in question took place in the past).

FOLK SONGS are very diverse in their composition. In addition to songs that are part of the calendar, wedding and funeral rites. These are round dances. Game and dance songs. A large group of songs are lyrical non-ritual songs (love, family, Cossack, soldier, coachman, robber and others).

A special genre of songwriting is historical songs. Such songs tell about the famous events of Russian history. The heroes of historical songs are real personalities.

Round dance songs, like ritual ones, had a magical meaning. Round dance and game songs depicted scenes from the wedding ceremony and family life.

LYRICAL SONGS are folk songs that express the personal feelings and moods of the singers. Lyrical songs are original both in content and in artistic form. Their originality is determined by genre nature and specific conditions of origin and development. Here we are dealing with a lyrical kind of poetry, different from epic in terms of the principles of reflecting reality. ON THE. Dobrolyubov wrote that in folk lyrical songs "an inner feeling is expressed, excited by the phenomena of ordinary life", and N.A. Radishchev saw in them a reflection of the people's soul, spiritual grief.

Lyrical songs are a vivid example of the artistic creativity of the people. They introduced a special artistic language and samples of high poetry into the national culture, reflected the spiritual beauty, ideals and aspirations of the people, the moral foundations of peasant life.

Chastushki is one of the youngest folklore genres. These are small rhyming poems. The first ditties were excerpts from songs of a large size. Chastushka is a comic genre. It contains a sharp thought, apt observation. Topics are varied. Chastushki often ridiculed what seemed wild, ridiculous, nasty.

CHILDREN'S FOLKLORE is commonly referred to as works that are performed by adults for children, as well as those composed by the children themselves. Lullabies, pestles, nursery rhymes, tongue twisters and incantations, teasers, rhymes, absurdities, etc. belong to children's folklore. Modern children's folklore has been enriched with new genres. These are horror stories, mischievous rhymes and songs (funny alterations of famous songs and poems), anecdotes.

There are various connections between folklore and literature. First of all, literature is derived from folklore. The main genres of drama that developed in ancient Greece - tragedies and comedies - date back to religious rites. Medieval romances of chivalry, about journeys through fictional lands, about fights with monsters, and about the love of brave warriors, are based on the motifs of fairy tales. Literary lyric works originate from folk lyric songs. The genre of a small action-packed narrative - a short story - goes back to folk everyday tales.

Very often, writers deliberately turned to folklore traditions. Interest in oral folk art, fascination with folklore awakened in the pre-romantic and romantic eras.

The tales of A.S. Pushkin go back to the plots of Russian fairy tales. Imitation of Russian folk historical songs - "Song about Tsar Ivan Vasilievich ..." by M.Yu. Lermontov. N.A. Nekrasov recreated the style features of folk songs in his poems about the hard peasant lot.

Folklore not only influences literature, but is itself affected in the opposite way. Many author's poems have become folk songs. The most famous example is the poem by I.Z. Surikov “Steppe and steppe all around ..”

folklore drama. It includes: Petrushka theatre, religious drama, crib drama.

Nativity scene drama got its name from a nativity scene - a portable puppet theater that has the shape of a two-story wooden box, resembling a stage platform for the performance of medieval mysteries in architecture. In turn, the name, which came from the plot of the main play, in which the action developed in a cave - a nativity scene. The theater of this type was widespread in Western Europe, and it came to Russia with itinerant puppeteers from Ukraine and Belarus. The repertoire consisted of plays of religious themes and satirical skits - interludes, which had an improvisational character. The most popular play is King Herod.

PETRUSHKA THEATER – glove puppet theatre. The main character of the play is a resilient Petrushka with a big nose, protruding chin, with a cap on his head, with the participation of which a number of scenes are played out with various characters. The number of characters reached fifty, these are such characters as a soldier, a gentleman, a gypsy, a bride, a doctor and others. Such performances used the techniques of folk comic speech, lively dialogues with a play on words and contrasts, with elements of self-praise, with the use of action and gestures.

The Petrushki Theater was created not only under the influence of Russian, Slavic, Western European puppet traditions. It was a kind of folk theatrical culture, part of the extremely developed in Russia (spectacular folklore). Therefore, a lot of things unite it with folk drama, with performances of farce grandfathers-barkers, with sentences of friends at a wedding, with amusing popular prints, with jokes of raeshniks, etc.

The special atmosphere of the city's festive square explains, for example, Petrushka's familiarity, his unbridled gaiety and promiscuity as an object of ridicule and shame. After all, Petrushka beats not only class enemies, but everyone in a row - from his own bride to the quarter, often beats for no reason at all (Arapa, a beggar old woman, a German clown, etc.), in the end he hits him too: the dog is merciless pats him on the nose. The puppeteer, as well as other participants in the fair, square fun, is attracted by the very opportunity to ridicule, parody, bludgeon, and the more, louder, unexpected, sharper, the better. Elements of social protest, satire were very successfully and naturally superimposed on this ancient comic base.

Like all folklore amusements, "Petrushka" is stuffed with obscenities and curses. The primordial meaning of these elements has been studied quite fully, and how deeply they penetrated into the folk culture of laughter and what place swearing, verbal obscenity and degrading, cynical gestures occupied in it, is fully shown by M.M. Bakhtin.

Performances were shown several times a day in different conditions (at fairs, in front of the booth, on the streets of the city, in the suburbs). "Walking" Petrushka was the most common use of the doll.

A light screen, puppets, miniature backstage and a curtain were specially made for the mobile folklore theater. Petrushka ran around the stage, his gestures and movements created the appearance of a living person.

The comic effect of the episodes was achieved by techniques typical of folk culture of laughter: fights, beatings, obscenities, imaginary deafness of a partner, funny movements and gestures, mocking, fun funerals, etc.

There are conflicting opinions about the reasons for the extraordinary popularity of the theater: topicality, satirical and social orientation, comic character, a simple and understandable game for all segments of the population, the charm of the main character, acting improvisation, freedom of choice of material, the puppet's sharp language.

Parsley is a folk holiday fun.

Parsley is a manifestation of popular optimism, the mockery of the poor over the powerful and the rich.

Folklore prose. It is divided into two groups: fabulous (fairy tale, anecdote) and non-fairytale (legend, tradition, bylichka).

FAIRY TALE is the most famous genre of folklore. This is a kind of folklore prose, the hallmark of which is fiction. Plots, events and characters are fictional in fairy tales. The modern reader of folklore discovers fiction in other genres of oral folk art. Folk storytellers and listeners believed in the truth of the bylichki (the name comes from the word "truth" - "truth"); the word "epic" was invented by folklorists; the people called epics "old times". Russian peasants, who said and listened to epics, believing in their truth, believed that the events depicted in them took place a long time ago - in the time of mighty heroes and fire-breathing snakes. They did not believe in fairy tales, knowing that they tell about something that did not exist, does not exist, and cannot be.

It is customary to distinguish four types of fairy tales: fairy tales, household (otherwise - novelistic), cumulative (otherwise - "chain-like") and fairy tales about animals.

MAGIC FAIRY TALES differ from other fairy tales in a complex, detailed plot, which consists of a number of unchanging motifs that necessarily follow each other in a certain order. These are fantastic creatures (for example, Koschei the Immortal or Baba Yaga), and an animated, human-like character denoting winter (Morozko), and wonderful objects (self-assembled tablecloth, walking boots, flying carpet, etc.).

In fairy tales, the memory of performances and rituals that existed in deep, deep antiquity is preserved. They reflect the ancient relationships between people in a family or clan.

HOUSEHOLD TALES tell about people, about their family life, about the relationship between the owner and the farmhand, the master and the peasant, the peasant and the priest, the soldier and the priest. A commoner - a laborer, a peasant who has returned from the service of a soldier - is always smarter than a priest or a landowner, from whom, thanks to cunning, he takes away money, things, and sometimes his wife. Usually, in the center of the plots of everyday fairy tales, there is some unexpected event, an unforeseen turning point that occurs due to the cunning of the hero.

Household tales are often satirical. They ridicule the greed and stupidity of those in power. They do not tell about miraculous things and travels to the Far Far Away kingdom, but about things from peasant everyday life. But household tales are no more believable than fairy tales. Therefore, the description of wild, immoral, terrible acts in everyday fairy tales does not cause disgust or indignation, but cheerful laughter. After all, this is not life, but fiction.

Household fairy tales are a much younger genre than other varieties of fairy tales. In modern folklore, the heir to this genre is an anecdote (from gr.anekdotos - “unpublished”

CUMULATIVE TALES built on repeated repetition of the same actions or events. In cumulative (from Latin Cumulatio - accumulation) fairy tales, several plot principles are distinguished: the accumulation of characters in order to achieve the necessary goal; a heap of actions ending in disaster; a chain of human or animal bodies; forcing episodes, defiantly unjustified experiences of the characters.

The accumulation of heroes helping in some important action is evident in the fairy tale "Turnip".

Cumulative fairy tales are a very ancient kind of fairy tales. They have not been studied enough.

In TALES ABOUT ANIMALS, the memory of ancient ideas has been preserved, according to which people descended from ancestors - animals. Animals in these tales behave like people. Cunning and cunning animals deceive others - gullible and stupid, and this trickery is never condemned. The plots of fairy tales about animals are reminiscent of mythological stories about heroes - rogues and their tricks.

Non-fabulous prose is stories and incidents from life that tell about a person’s meeting with the characters of Russian demonology - sorcerers, witches, mermaids, etc. This also includes stories about saints, shrines and miracles - about the communication of a person who has accepted the Christian faith, with powers of a higher order.

BYLICHKA - a folklore genre, a story about a miraculous event that allegedly happened in reality - mainly about a meeting with spirits, "evil spirits".

LEGEND (from Latin legenda “reading”, “readable”) is one of the varieties of non-fairytale prose folklore. Written tradition about some historical events or personalities. Legend is an approximate synonym for the concept of myth; an epic story about what happened in time immemorial; the main characters of the story are usually heroes in the full sense of the word, often gods and other supernatural forces are directly involved in the events. The events in the legend are often exaggerated, a lot of fiction is added. Therefore, scientists do not consider the legends to be completely reliable historical evidence, without denying, however, that most of the legends are based on real events. In a figurative sense, legends refer to glorious, admirable events of the past, depicted in fairy tales, stories, etc. As a rule, they contain additional religious or social pathos.

The legends contain memories of the events of antiquity, an explanation of some phenomenon, name or custom.

The words of Odoevsky V.F. sound surprisingly relevant. remarkable Russian, thinker, musician: “We must not forget that from an unnatural life, that is, one where human needs are not satisfied, a painful state occurs ... in the same way, idiocy can occur from the inaction of thought ..., - a muscle is paralyzed from an abnormal state of the nerve, - in the same way, the lack of thinking distorts the artistic feeling, and the absence of an artistic feeling paralyzes thought. At Odoevsky V.F. one can find thoughts about the aesthetic education of children on the basis of folklore, consonant with what we would like to bring to life today in the field of children's education and upbringing: “... in the field of human spiritual activity, I will limit myself to the following remark: the soul expresses itself either through body movements, , colors, or through a series of sounds that form singing or playing a musical instrument "

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8.beringia 9.varvochronology 10.grain grater

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Belkin's Tales" are conceived as a parody of the canons of romantic literature. Pushkin takes common plot romantic clichés and "reverses" them. The conflict in Stationary Caretakers is deliberately banal. A military man drives into a permanent yard, seduces the stationmaster's daughter, and takes him away. According to all the canons of romantic literature, the story must certainly end tragically. Pushkin follows this tragedy almost to the very end, escalating the tragedy. But at the very end it turns out that Dunya is happy, she has children and a loving husband. In The Young Lady-Peasant Woman, another common plot is taken - the enmity of two families. The situation is escalated, but then it is also resolved in a completely unromantic way - everything turns out to be the best it can be. In Belkin's Tales, real life and common sense are opposed to a romantic view of reality. Pushkin ridicules the "romantic inclinations" of his heroes, contrasts them with a normal life, in which there is joy, pleasant little things in life, and a "rich estate", and "connections", which is not so little for a normal, fulfilling life.

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The work "The Snow Queen" is a fairy tale because, in fairy tales, a characteristic element is poetic fiction, and the main thing is fantasy. A fairy tale does not have to be reliable. The action in it can be transferred anywhere. The storyteller himself creates a world with his own rules, where he takes the reader. Basically, fairy tales depict fantastic faces, or real phenomena that are presented in fantastic consecration. There is also necessarily moralization, propaganda justice, kindness, truth.
Now let's compare the work "The Snow Queen" with the signs that we wrote.
The tale is not reliable (we don’t know if there was a boy who was stolen by the Snow Queen, and now he has ice instead of a heart), the action is transferred as the author wants. The storyteller created a world with his own rules (with kind characters who helped the girl (Gerda seems to be), and with negative characters who do not favor the girl). In this work there is a fantastic face - the snow queen, well, real situations that are presented in a fantastic light (robbing a carriage by robbers).
And of course moralizing, when they defeat the snow queen, the moral is this: you need to be good, lovingly treat your loved ones, etc.
We conclude: the work "The Snow Queen" is a fairy tale.

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Metaphors:
the dawn does not burn with fire;
it (dawn) spreads with a gentle blush;
the night grew;
darkness poured.
Epithets:
The sun - not fiery, not hot, as during a sultry drought, not dull-purple, as before a storm, but bright and welcomingly radiant - peacefully rises under a narrow and long cloud, shines freshly and plunges into its purple fog.
Around noon there usually appear many round high clouds, golden gray, with delicate white edges.
Avatars:
playing rays;
merrily and majestically rises the mighty luminary;
whirlwinds walk along the roads through the arable land;
I was immediately seized by an unpleasant, motionless dampness;
the night was drawing near.

Barin. Kupchinushka, is there a horse to sell?

farmer. Yes, there is.

lead Horse. Barin leads Horse around the hut, watching him run, staring into his teeth, poking his sides, making him jump over a stick, and contemplating a purchase.

Barin. How much do you want for a horse?

farmer.

One hundred rubles in money Forty forty Solyony……… Forty enbars frozen cockroaches, Arshin oil, Three skeins of sour milk,Mikhalka Tamitsyna nose,Our Kozharikha's tail.

Barin.

I'll find a hundred rubles in my pocket,And forty magpies Salted……… Forty enbars Dry cockroaches Will you seek, laymen?

All. We'll take it, we'll take it.

The master gives the money and takes the Horse.

The whole company goes to another party, which is visited by three or four in the evening.

Questions and tasks

1. Why did folklorists call this play-play a satirical drama?

2. Describe the main characters of the performance, their appearance, characters.

3. Try to join the game: play the role of "fofans" and come up with comic accusations against one of the participants in the game. It can be any student in your class: after all, the essence of the game is to include familiar participants with familiar problems.

1. Decide what is more in this play - a stage performance or a game.

Children's folklore

You get acquainted with the works of children's folklore from an early age. These are counting rhymes, teasers, fables, horror stories, family stories and much more.

Children's folklore - works of oral folk art created by children and for children.

From children's family stories

Origin of the surname

We have old documents in our family. Among them is a document from which we know that at the beginning of the nineteenth century my ancestors lived in the Smolensk province in a village called Rakity, and were peasants. The village was called so because it was located in a place where there were many small rivers and ponds, along the banks of which grew a lot of beautiful trees, which were called willows. At these trees, the branches bend down to the very water, forming a thick green wall. All the inhabitants of the village had the same surname - Rakitins - after the name of the village. Therefore, they did not call each other by their last names, but only by their first names. Lazy people were called only by their first names - Proshka, Afonka, etc., while hard-working people and old people were called respectfully by their first and patronymic names. And everyone always knew who the conversation was about.

Children's antics

Previously, there were almost no buttons, and those that were sold were very expensive. Grandmother took nickels, sheathed them with cloth, and sewed instead of buttons. And my mother and her sister tore off these “buttons”, took out patches and went to the movies for them.

Questions and tasks

1. Why did the mother tell her daughter about this way of getting money for movie tickets?

2. Recall funny stories about grandparents in your family.

Early in the morning, in the eveningAt noon, at dawnBaba rode on horseback in a painted carriage.