The first European theatrical performances arose in the 6th century BC. from religious festivities dedicated to the god of wine and fertility, Dionysus. Actors used masks to show the emotions of the characters, as well as to make it clear to the audience what gender and age of the character who took the stage. The thousand-year tradition forbidding women to play on stage originated in the ancient Greek theater.

The first actor is considered the Greek Thesipus, who won the poetic competition in honor of Dionysus.

In the III century BC. The Romans, inspired by Greek theatre, created their own versions of ancient Greek plays and staged them on impromptu stages. The actors in these performances were slaves. Women were only allowed to play minor roles. As Roman theaters had to compete for the attention of audiences accustomed to gladiator fights, public executions, and chariot races, plays increasingly included violent scenes and crude humor. With the spread of Christianity, such ideas came to an end.

The emergence of the theater of the Middle Ages

Although theatrical performances were considered sinful in medieval Europe, theatrical traditions developed. Minstrels invented and performed ballads, puppeteers, acrobats and storytellers performed at fairs. During the Easter service, the priests acted out mysteries - theatrical stories that allowed illiterate people to understand the meaning of what was happening.

Later, the mysteries began to play out during other religious holidays, presenting various biblical stories.

Renaissance theater

During the Renaissance (XIV-XVII centuries), interest arose in the revival of classical Greek and Roman theater. At the intersection of the traditions of the ancient and medieval theater, secular theatrical performances arose, the commedia dell'arte appeared - an impromptu spectacle created by several masked actors. In these plays, for the first time since ancient Roman times, women were allowed to return to the stage.

In 1576, the first theater building was built in London, before that all the plays were played in hotels, on the fair stage or in the middle of the halls in castles and noble houses. The English Queen Elizabeth I patronized theatrical art, in the era that bears her name, the first professional playwrights appeared, the most famous of which is the great Shakespeare, actors, the tradition of using props and changing costumes during the performance. The classical theater was finally formed by the middle of the 18th century.

For any modern person, theaters have become an integral part of the planned cultural leisure. And many are interested in the history of the emergence of the theater, because there was a period when there were no theaters? It is difficult to remember when it was, because the very first theaters appeared in primitive communities.

In those distant times, people still did not understand why it was raining, why it suddenly got colder and how they were guilty before the Almighty that he sent snow or heavy rain. So that nothing threatened them, they tried to hold a theatrical ceremony before each important event. Information about such events gave us the opportunity to understand how the theater appeared and why so much attention was paid to it.

From primitive to modern

The primitive theater, of course, was not like modern productions. There was no question of professionalism or talent here - people tried to theatricalize events the way they felt, putting their soul and all their experiences into each event. They sincerely believed that the more emotionally they could present their devotion, the better the harvest would be, for example. All this was accompanied by improvised music and songs.

Later, somewhere in the third millennium BC. in Egypt, more organized theatrical skits were already held about the patrons of artisans and farmers. Greece became the birthplace of carnival performances, which were organized mainly in the open air. Folk theaters were popular here. Actors almost always had to wear masks.

The Renaissance - during this period, mainly comedy performances were staged. They were staged in city squares, and many people gathered to watch the spectacle.

Somewhere at the end of the 16th century. - at the beginning of the 17th century, the world recognized opera, and only later, by the middle of the 18th century, ballet appeared, the first operettas appeared only in the middle of the 19th century.

Productions of past years today

Speaking about the theater of the 18th and 19th centuries, we are already talking about performances and productions in which talented actors took part. They were put on the stage and the theaters themselves were radically different from the primitive ones and the Renaissance. So, since the end of the 19th century, a magnificent production of the ballet The Nutcracker came to us. And in those days, and now were not available to everyone. This is due, of course, to the great and constantly growing popularity of the production. If earlier only the elite, noble ladies and gentlemen could afford such a luxury as the theater, today they are available to everyone. Despite the hype around tickets, people continue to find alternative ways to purchase tickets. So, for example, you can order them on our website. This will save you from queues and unforeseen unpleasant situations.

Today the theater has taken on a different look. It has become a symbol and pride in every country. Architectural ensembles, decorations and spacious halls, portraits of famous poets, directors and theater creators, as a rule, always adorn the hall. On the modern stage, we often see performances that were first staged under the Tsar. Yes, they have undergone some adjustments, perhaps some more real events were introduced, and somewhere the artistic directors decided to add musical accompaniment, combining opera with ballet. But, nevertheless, this still confirms once again that the theater has always been in the past, and in the future it will attract the attention of the audience, even if a performance of the last century is presented on stage - this is our history and for many it is an important component of the formation of culture and traditions.

The history of the Russian theater is divided into several main stages. The initial, playful stage originates in a tribal society and ends by the 17th century, when, along with a new period in Russian history, a new, more mature stage in the development of the theater begins, culminating in the establishment of a permanent state professional theater in 1756.

The terms “theatre”, “drama” entered the Russian dictionary only in the 18th century. At the end of the 17th century, the term "comedy" was used, and throughout the century - "fun" (Amusing closet, Amusement chamber). In the popular masses, the term “theater” was preceded by the term “disgrace”, the term “drama” - “game”, “game”. In the Russian Middle Ages, definitions synonymous with them were common - “demonic”, or “satanic”, buffoon games. All sorts of curiosities brought by foreigners in the 16th-17th centuries, and fireworks were also called fun. The military occupations of the young Tsar Peter I were also called fun. In this sense, both the wedding and dressing up were called “play”, “game”. “Play” has a completely different meaning in relation to musical instruments: playing tambourines, sniffles, etc. The terms “game” and “play” in relation to oral drama were preserved among the people until the 19th-20th centuries.

Folk art

Russian theater originated in ancient times. Its origins go to folk art - rituals, holidays associated with labor activity. Over time, the rites lost their magical meaning and turned into performance games. Elements of the theater were born in them - dramatic action, disguise, dialogue. In the future, the simplest games turned into folk dramas; they were created in the process of collective creativity and kept in people's memory, passing from generation to generation.

In the process of their development, the games were differentiated, disintegrated into related and at the same time more and more distant varieties - into dramas, rituals, games. They were brought together only by the fact that they all reflected reality and used similar methods of expressiveness - dialogue, song, dance, music, disguise, disguise, acting.

Games instilled a taste for dramatic creativity.

Games were originally a direct reflection of the tribal community organization: they had a round dance, choric character. In round dance games, choral and dramatic creativity was organically merged. Songs and dialogues, abundantly included in the games, helped to characterize the playful images. Mass commemorations also had a playful character; they were timed to coincide with the spring and were called “mermaids”. In the XV century, the content of the concept of "Rusalia" was defined as follows: demons in human form. And the Moscow “Azbukovnik” of 1694 already defines mermaids as “buffoon games”.

The theatrical art of the peoples of our Motherland originates in rituals and games, ritual actions. Under feudalism, theatrical art was cultivated, on the one hand, by the "popular masses", and on the other hand, by the feudal nobility, and buffoons were differentiated accordingly.

In 957 Grand Duchess Olga got acquainted with the theater in Constantinople. Hippodrome performances are depicted on the frescoes of the Kiev Sophia Cathedral of the last third of the 11th century. In 1068, buffoons were first mentioned in the annals.

Three types of theaters were known to Kievan Rus: court, church, folk.

buffoonery

The oldest "theater" was the games of folk actors - buffoons. Shyness is a complex phenomenon. Buffoons were considered a kind of sorcerers, but this is erroneous, because buffoons, participating in rituals, not only did not enhance their religious and magical character, but, on the contrary, introduced worldly, secular content.

Anyone could buffoon, that is, sing, dance, joke, act out skits, play musical instruments and act, that is, portray some kind of person or creature, anyone could. But only the one whose art stood out above the level of the art of the masses by its artistry became and was called a buffoon-craftsman.

In parallel with the folk theater, professional theatrical art developed, the carriers of which in Ancient Russia were buffoons. The appearance of a puppet theater in Russia is connected with buffoon games. The first chronicle information about buffoons coincides in time with the appearance on the walls of the Kiev Sophia Cathedral of frescoes depicting buffoon performances. The chronicler monk calls buffoons servants of the devils, and the artist who painted the walls of the cathedral found it possible to include their image in church decorations along with icons. Buffoons were associated with the masses, and one of the types of their art was "gum", that is, satire. Skomorokhovs are called "fools", that is, scoffers. Glum, mockery, satire will continue to be firmly associated with buffoons.

The secular art of buffoons was hostile to the church and clerical ideology. The hatred that the churchmen had for the art of buffoons is evidenced by the records of the chroniclers (“The Tale of Bygone Years”). Church teachings of the 11th-12th centuries declare that disguise, which buffoons resort to, is also a sin. Buffoons were subjected to especially strong persecution during the years of the Tatar yoke, when the church began to intensively preach an ascetic way of life. No persecution has eradicated the buffoon art among the people. On the contrary, it successfully developed, and its satirical sting became more and more acute.

Art-related crafts were known in Ancient Russia: icon painters, jewelers, wood and bone carvers, and book scribes. Buffoons belonged to their number, being "cunning", "masters" of singing, music, dance, poetry, drama. But they were regarded only as amusing, funny people. Their art was ideologically connected with the masses of the people, with the artisan people, usually opposed to the ruling masses. This made their skill not only useless, but, from the point of view of the feudal lords and clergy, ideologically harmful and dangerous. Representatives of the Christian church placed buffoons next to the wise men and fortune tellers. In rituals and games there is still no division into performers and spectators; they lack developed plots, reincarnation into an image. They appear in a folk drama permeated with sharp social motifs. The appearance of the square theaters of the oral tradition is connected with the folk drama. The actors of these folk theaters (buffoons) ridiculed those in power, the clergy, the rich, sympathetically showed ordinary people. Performances of the folk theater were built on improvisation, included pantomime, music, singing, dancing, church numbers; performers used masks, make-up, costumes, props.

The nature of the performance of the buffoons initially did not require them to be combined into large groups. For the performance of fairy tales, epics, songs, playing the instrument, only one performer was enough. Buffoons leave their homes and roam the Russian land in search of work, move from villages to cities, where they serve not only the rural, but also the townspeople, and sometimes princely courts.

Buffoons were also attracted to folk court performances, which multiplied under the influence of acquaintance with Byzantium and its court life. When the Amusing Closet (1571) and the Amusement Chamber (1613) were arranged at the Moscow Court, buffoons found themselves in the position of court jesters there.

The performances of buffoons united different types of arts: both dramatic art proper, and church and “variety” ones.

The Christian Church opposed folk games and the art of buffoons with ritual art, saturated with religious and mystical elements.

Performances of buffoons did not develop into a professional theater. There were no conditions for the birth of theater troupes - after all, the authorities persecuted buffoons. The church also persecuted buffoons, turning to secular authorities for assistance. Against the buffoons were sent a charter of the Trinity-Sergius Monastery of the XV century, the Statutory charter of the beginning of the XVI century. The Church persistently put buffoons on a par with the bearers of the pagan worldview (magicians, sorcerers). And yet, buffoon performances continued to live, the folk theater developed.

At the same time, the church took all measures to assert its influence. This found expression in the development of the liturgical drama. Some liturgical dramas came to us along with Christianity, others in the 15th century, along with the newly adopted solemn charter of the “great church” (“Procession on the Ground”, “Washing of the Feet”).

Despite the use of theatrical and spectacular forms, the Russian church did not create its own theater.

In the 17th century, Simeon of Polotsk (1629-1680) tried to create an artistic literary drama on the basis of liturgical drama, this attempt turned out to be isolated and fruitless.

Theaters of the 17th century

In the 17th century, the first oral dramas developed, simple in plot, reflecting popular moods. The puppet comedy about Petrushka (his first name was Vanka-Ratatouille) told about the adventures of a clever merry fellow who was not afraid of anything in the world. The theater really appeared in the 17th century - the court and school theater.

court theater

The emergence of the court theater was caused by the interest of the court nobility in Western culture. This theater appeared in Moscow under Tsar Alexei Mikhailovich. The first performance of the play "The Action of Artaxerxes" (the story of the biblical Esther) took place on October 17, 1672. Initially, the court theater did not have its own premises, scenery and costumes were transferred from place to place. The first performances were staged by pastor Gregory from the German settlement, the actors were also foreigners. Later, they began to forcefully recruit and train Russian “youths”. Their salaries were paid irregularly, but they did not skimp on scenery and costumes. The performances were distinguished by great splendor, sometimes accompanied by playing musical instruments and dancing. After the death of Tsar Alexei Mikhailovich, the court theater was closed, and performances resumed only under Peter I.

school theater

In addition to the court theater, in Russia in the 17th century there was also a school theater at the Slavic-Greek-Latin Academy, in theological seminaries and schools in Lvov, Tiflis, and Kyiv. The plays were written by teachers, and the students staged historical tragedies, allegorical dramas close to European miracles, interludes - satirical everyday scenes in which protest against the social order sounded. Interludes of the school theater laid the foundation for the comedy genre in the national dramaturgy. At the origins of the school theater was a famous political figure, playwright Simeon Polotsky.

The appearance of the court school theater expanded the scope of the spiritual life of Russian society.

Theater of the early 18th century

At the behest of Peter I, in 1702, the Public Theater was created, designed for the mass public. Especially for him, not on Red Square in Moscow, a building was built - “Comedy Temple”. The German troupe of I. Kh. Kunst gave performances there. The repertoire included foreign plays that were not successful with the public, and the theater ceased to exist in 1706, as the subsidies of Peter I ceased.

Conclusion

A new page in the history of the performing arts of the peoples of our Motherland was opened by serf and amateur theaters. In the serf troupes that existed from the end of the 18th century, vaudeville, comic operas, and ballets were staged. On the basis of serf theaters, private enterprises arose in a number of cities. The Russian theatrical art had a beneficial effect on the formation of the professional theater of the peoples of our Motherland. The troupes of the first professional theaters included talented amateurs - representatives of the democratic intelligentsia.

Theater in Russia in the 18th century gained immense popularity, became the property of the broad masses, another public sphere of people's spiritual activity.

The first theater appeared in Athens, in 497 BC. In Rome, the first stone theater appeared only in 55 BC. . Prior to this, actors and spectators were content with only temporary wooden buildings.
The performances of past years bore little resemblance to what we understand as a performance today. Only one actor could be on the stage, changing masks and playing several roles at once. The need for masks was due to the large size of the theaters, which could accommodate ten or even seventeen thousand people. It was almost impossible to see the actor's facial features from a distance, and masks easily solved this problem.

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Educator - Dementieva S.A. MDOU d / s "Fairy Tale" preparatory group

William Shakespeare is an outstanding English poet and playwright. Years of life: 1564 - 1616. The great playwright William Shakespeare said: "The whole world is a theater, and people are actors in it"

The first theater appeared in Athens, in 497 BC

In Rome, the first stone theater appeared only in 55 BC. . Prior to this, actors and spectators were content with only temporary wooden buildings. The performances of past years bore little resemblance to what we understand as a performance today. Only one actor could be on the stage, changing masks and playing several roles at once. The need for masks was due to the large size of the theaters, which could accommodate ten or even seventeen thousand people. It was almost impossible to see the actor's facial features from a distance, and masks easily solved this problem.

Theater is a union of all arts, it includes music, architecture, painting, cinematography, photography, etc.

There was no theater in Russia until the 17th century. Over the centuries, this cultural niche has been filled with rituals and folk festivals, which included elements of theatrical action, and buffoons, musicians, dancers, puppeteers, guide bears.

Theater types

On October 17, 1672, the first performance took place. Tsar Alexei Mikhailovich was so delighted that he did not get up for 10 hours in a row while the performance was going on. The boyars stood: in the presence of the sovereign they were not allowed to sit down. On the eve of the monarch received the blessing of his confessor Archpriest Andrei Savinov, who assured that even the Byzantine emperors staged theatrical performances. Alexei had to be convinced for a long time that he would allow the use of music, without which it is impossible to arrange a choir. The king reluctantly agreed. The court theater had no permanent premises. The authorities did not skimp on the cost of costumes for actors and scenery for theatrical productions, but they saved money on paying Russian actors.

Tsar Alexei Mikhailovich

Portrait of the founder of the first court theater Artamon Sergeevich Matveev. 1801.

The history of the theater goes back to ancient Greece more than two thousand years ago. The most ancient art originated as a spectacular entertainment for the public...

By Masterweb

08.05.2018 14:00

The history of the theater goes back to ancient Greece more than two thousand years ago. The most ancient art originated as a spectacular entertainment for the public, festive scenes of costumed actors. The performances were originally timed to coincide with the Great Dionysius, a great religious holiday.

Now the theater is undoubtedly something more than a procession of singing men in goatskins through the city. It has become a high art, a way of relaxation for high society, a place of cultural enlightenment. The history of the theater is a fascinating process of development that continues to this day. We will tell the reader in our article. You will also find many interesting facts in the presented material. So, let's begin.

Start

Athens in the 5th century BC. e. theatrical performances were an integral part of religious holidays. Processions with the statue of Dionysus were accompanied by cheerful chants and dramatic games. We can say that the history of the Athenian theater began as an amateur performance for a small number of onlookers. Initially, only tragedies were staged, comedies began to be shown later. It is noteworthy that the plays, as a rule, were shown only once. This stimulated the authors to create relevant, interesting works. The playwright not only wrote the play, he was a full-fledged participant in the performance, playing the roles of director, composer, choreographer and even actor. Naturally, these were exceptionally talented people.

But to become a choreg (leader of the choir), great talent was not required. All they needed was money and connections with government officials. The choreg's main duty was to pay the bills, provide full financial support and support the theatre. It was in those days a place of competition, the choreg, the poet and the protagonist won it. The winners were crowned with ivy and awarded prizes. The victory was given to them by the decision of the jury.

An interesting fact is that the ancient Romans were real fans of realism. The production was considered ideal in which the actor got used to the role by 100% - if necessary, he had to be ready even to die.

There was no roof in the Greek theater, the audience and actors were, in fact, on the street. The size of the ancient theaters was huge, they could accommodate from 17 to 44 thousand people. At first, wooden platforms were used to seat the audience, then natural stone slopes were adapted for the theater. And only then, in the IV century BC. e., a stone theater was built.

You will probably be interested to know that the government, starting with Pericles, made it possible to visit the theater and join the beauty even to financially disadvantaged citizens. To do this, each was allocated a subsidy for one visit to the theater, and in the future for three visits.

The history of the ancient theater has one characteristic feature: the actors played their roles without the help of their own facial expressions. It was replaced by all sorts of masks, often very grotesque. The actor paid much attention to the movements of the body, clothing. The actors were men, even for female roles. They occupied a privileged position in society and were exempt from taxes.

An interesting fact is that Livy Andronicus, an ancient Roman playwright, became the father of the world's first "phonogram". He was left without a voice, but got out of the situation by finding a boy who spoke for him.

Some terms of the ancient theater

Many definitions used in ancient theaters have survived to the present day. A small dictionary of terms of ancient times is presented to your attention below:

• Orchestra - a part of the theater with a round shape with two entrances, designed for the performance of dramatic and lyrical choirs. In the Athenian theater, its diameter was 24 meters.
• Skene is a place for changing clothes. It was originally a simple tent, then connected to pieces of stage decoration, such as a background.
• Proskenium - a colonnade in front of the skene.
• Paraskenium - side stone outbuildings.
• Stage - a hill above the orchestra, where actors began to play in late antiquity.
• Ekkiklema is a mobile platform made of wood that allows you to transform the scene and move the actors around the stage.
• Koturny - shoes with high soles, reminiscent of stilts. With the help of such shoes, the actors became taller, more imposing and similar to mythical creatures.

A remarkable fact is that it was in Rome that the phrase "Finita la commedia" was first uttered.

Puppets in the theater world

The history of the puppet theater originates in Egypt, where the priests used the puppet of the god Osiris to perform ritual actions. At the beginning, the puppet theater was just ritual and ritual, but now the religious connotation has faded to nothing. Well-known ritual and ritual puppet theaters exist in many countries: Japan (Bunraku), Indonesia (Wayang), Catalonia (El Pastores), Belarus (Batleika) and others.

In the history of the puppet theater in America, the theater created in 1962 under the name "Bread and the Doll" stands out. It features giant papier-mâché dolls, obvious political overtones, and delicious bread treats at the entrance. Such interaction between actors and spectators is symbolic: theatrical art should be as close to the people as possible.

Dolls vary in size and appearance. There are finger and glove, cane and tablet, puppets and giant puppets. Being an actor in a puppet theater is not so easy, because you need to be able to revive an inanimate object, endow it with character and voice.

A characteristic feature of any puppet theater is the ridicule of something, the presence of morality, an educational element in the scenes. No matter how old the spectator of the puppet theater is, he will find there not only something to laugh at, but also something to think about. Often the heroes in the puppet theater are unattractive, even ugly characters, for example, the French Open with a hooked nose.

You will probably be interested to know that actors are not always rich people. In the history of puppet theater in America, there are facts that theatergoers could see the production in exchange for food.

Drama

The history of drama theater dates back to ancient times. This is one of the art forms, along with puppet theater, pantomime, opera and ballet. The main distinguishing feature of the dramatic theater is that the actions of the actor are combined with the words he uttered. Stage speech is given special attention in this variety of the genre. The basis of a dramatic performance is a play. In the process of acting, improvisation is possible, the action may include dancing, singing. The performance is based on a literary work. The main interpreter of a play or script is the director.

Quite remarkable is the fact that theater workers believe that dropping a script is not good. If this trouble happened, you must definitely sit on it.

The emergence of domestic theatrical traditions

The history of the theater in Russia is divided into stages:

• Initial ("playful").
• Average.
• Mature.

Playful stage

As in ancient Rome, the history of the theater in Russia began as a not quite serious occupation. Theatrical performances were called "fun", and performances - "games". The first chronicle mention of buffoons dates back to 1068. In fact, anyone could become such an entertaining actor. From the point of view of religion, the activities of buffoons were shameful. In the annals they are called servants of the devil, and mockery, satire and disguise are sins. Sharp satire was not welcomed by the church, however, this did not particularly stop anyone.

Buffoonery was also not considered an art pleasing to the authorities, on the contrary, the sharp social themes of scenes, ridiculing modern shortcomings made the actors dangerous and harmful. But the people loved to watch and laugh at the performances of buffoons. However, it should be understood that classical theater, as we know it now, did not grow out of these buffoon scenes, but independently of them, even rather in spite of them.

middle stage

The next stage in the history of the Russian theater is intermediate between playful and mature. At this phase, court and school theaters arise. At that time, Tsar Alexei Mikhailovich ruled, the actors of the court theater were foreigners, the school theater was students. After the death of Alexei Mikhailovich, the activity of the court theater was suspended until Peter I came to power. He treated "spectacles" positively, but, in addition to entertainment, he also became endowed with a propaganda function. In 1702, a theater for the masses appeared - a public one. Its building was called the "Comedy Temple", where performances were given by the German troupe. The people did not accept this theater. Although Peter I did not achieve his goal, did not make the theater a favorite place for people, public and popular, but he laid all the necessary prerequisites for this.

Mature stage in the history of theatrical art

This period in the history of the creation of the theater in Russia is the most important. At this stage, the theater began to acquire those features that are familiar to modern man, and took shape in a serious professional community. On August 30, 1756, the start was given, namely, the Imperial Theater was opened. The same date is the founding day of the Alexandrinsky Theater in St. Petersburg. It happened under Elizabeth Petrovna.

A feature of the theater of that time was the simultaneous participation in productions of both Russian and foreign artists. It was at this stage that the performance of roles was first entrusted not only to men, but also to women. Catherine II attached great importance to the theater, under her there were three troupes in St. Petersburg, a fantastic amount of money was spent on the development of this industry.

In addition to the development of the state, Catherine paid attention to the private theaters of the nobility, there was, for example, the theater of Sheremetyev, Volkonsky, Rumyantsev. Even in the provinces, their own landlord troupes were created. A Russian theater was being built, namely the productions themselves, based on the models of their French colleagues. At the head of the French school of acting was I. A. Dmitrevsky, who brought up more than one generation of excellent actors.

Did you know?

We present to the attention of the reader some more entertaining facts from the history of theatrical art.

At the time when Pushkin was alive, theaters in Russia were not completely seated. The back rows were occupied by people standing on their feet throughout the performance.

A landmark play in the history of Russian theatrical art is "Undergrowth" by D. I. Fonvizin, which became the first attempt to ridicule officials, nobles, typical characters of the 18th century. Starodum (a positive character) was the first to play just the above-mentioned Dmitrevsky.

In 1803 the imperial theaters were divided. Drama and musical troupes appeared, as well as opera and ballet troupes as parts of the musical one. The dominance of the French school of playing on the Russian stage lasted until the 19th century. It was then that the Russian theater finally got on its feet and went its own way. The adopted experience became a good base, and the discovery of new talented Russian composers, actors, dancers raised the theater to a high level.

P. N. Arapov was the first to describe the entire history of the Russian theater in one encyclopedia - “Chronicles of the Russian Theater”. Theater magazines and professional critics appear. Thus, the development of the theater gave impetus, among other things, to Russian literature.

The most famous theater in Moscow

The history of the Bolshoi Theater begins on March 28, 1776. It was on this day in Moscow that Empress Catherine II signed a “privilege” for Prince Peter Urusov, allowing him to maintain the theater for ten years. It was called at first the Petrovsky Theater (in honor of the street on which the entrance went). In 1805, the building burned down completely, and a new project was created by the architect Osip Bove. In 1820, construction began, lasting 5 years.

The built theater became larger, which is why it got its name. This beautiful, harmonious, rich building pleased the inhabitants of Moscow until 1853, when the second fire broke out. This time, the reconstruction was entrusted to the architect Albert Kavos. The theater was restored already in 1856. The Imperial Bolshoi Theater became famous not only in Russia, but also in the world: it had excellent acoustics. In 1917, after the Revolution, the name was changed to the State Bolshoi Theatre. The decoration was supplemented with Soviet symbols.

He was seriously injured during the Great Patriotic War, taking on a bomb. The building was reconstructed again. Until 1987, the building underwent only minor cosmetic repairs. Now the Bolshoi Theater is a building with a new stage where modern effects can be used. At the same time, it has retained the spirit of classical architecture, its "signature" acoustics, which gives it the right to be considered one of the best theaters in the world. This is the history of the Bolshoi Theatre.

And finally, one more, no less interesting fact. Movies set wholly or partly in a theatre: Birdman, The Disaster Artist, La La Land, The Phantom of the Opera, Burlesque of a Tale, Knockout, Bumping Broadway, Black swan", "The Puppeteer", "A Terribly Big Adventure", "Shakespeare in Love", "Murder in a Small Town", "Orfevre Quay".

The history of the theater (drama and other genres of this art) will continue to develop, as interest in it has remained unchanged for more than two thousand years.

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