The first dramatic performance of The Snow Maiden took place on May 11, 1873 at the Maly Theater in Moscow. The music for the play was commissioned by P.I. Tchaikovsky Ostrovsky in the process of working on the play in parts sent her text to Tchaikovsky. “Tchaikovsky's music for The Snow Maiden is charming,” wrote the playwright. ""Snow Maiden"<...>was written by order of the directorate of theaters and at the request of Ostrovsky in 1873, in the spring, and at the same time it was given, recalled later, in 1879, Tchaikovsky. - This is one of my favorite creations. The spring was wonderful, my soul was good, as always when summer and three months of freedom approached.
I liked Ostrovsky's play, and in three weeks I wrote the music without any effort. It seems to me that in this music there should be a noticeable joyful spring mood, which I was then imbued with.
All three troupes of the then Imperial Theater were involved in the performance: drama, opera and ballet.
“I am staging the play myself, as a complete master,” Ostrovsky reported with joy, “here they understand very well that only under this condition will it go well and be successful. Tomorrow I am reading The Snow Maiden to the artists for the third time, then I will go through the roles with each separately. The scene of the melting of the Snow Maiden was discussed for a long time. Assistant Stage Engineer K.F. Waltz recalled: “It was decided to surround the Snow Maiden with several rows of very small holes in the floor of the stage, from which trickles of water were supposed to rise, which, thickening, should hide the figure of the performer, imperceptibly descending into the hatch under the spotlight.”
In connection with the renovation of the premises of the Maly Theater "Snegurochka" it was decided to play in the Bolshoi. For dramatic actors Bolshoi Theater turned out to be uncomfortable. It was too large and acoustically not adapted for natural, everyday sounding voice. This greatly hindered the success of the play. Actor P.M. Sadovsky wrote to Ostrovsky, who was not present at the premiere: “The audience listened to the play with great attention, but did not hear much at all, so the scene of Kupava with the Tsar, despite all the efforts of Nikulina to speak loudly and distinctly, was only half audible.” The next day after the performance, playwright V.I. Rodislavsky sent a detailed “report” to Ostrovsky, in which he reported on the same shortcomings of the performance: “... many wonderful, first-class poetic beauties, so generously scattered by you in the play, perished and can only be resurrected in print ... But I will tell you in order . Leshy's charming monologue disappeared completely. Spring's flight was quite successful, but her poetic monologue seemed long. The witty folk song about birds disappeared, because the music did not allow to hear the words, so sharp that the censors thought about them. The dance of the birds was applauded. Wonderful story Frost about his amusements disappeared, because he was started up not by a story, but by singing with music that drowned out the words. Maslyanitsa's monologue failed, because Milensky spoke it from behind the curtains, and not hidden in a straw effigy... In the first act, Lelya's charming song was repeated... The appearances of the Snow Maiden's shadow were unsuccessful... My favorite story about the power of flowers. .. was not noticed, the procession disappeared, the disappearance of the Snow Maiden was not very skillful ... The theater was completely full, there was not a single empty seat ... The cry of the privet was very successful.
The reviewer wrote about the attitude of the public to The Snow Maiden: “... some immediately turned away from her, because she was beyond their understanding, and stated that the play was bad, that it failed, etc. Others, to their surprise, noticed that, when they watched it for the second time, they began to like it ... The music ... is both original and very good, the main thing is that it is completely in the nature of the whole play.
During the life of Ostrovsky, "The Snow Maiden" was played at the Moscow Maly Theater 9 times. The last performance took place on August 25, 1874.
In 1880 N.A. Rimsky-Korsakov asked Ostrovsky for permission to use the text of The Snow Maiden to create an opera. The composer himself composed the libretto, having coordinated it with the author. Subsequently, Rimsky-Korsakov recalled: “The first time I read The Snow Maiden was around 1874, when it had just appeared in print. I didn't like it much in reading then; the kingdom of the Berendeys seemed strange to me. Why? Were the ideas of the 60s still alive in me, or did the demands of so-called life stories, which were current in the 70s, keep me in fetters?<...>In a word, Ostrovsky's wonderful, poetic tale did not impress me. In the winter of 1879-1880, I again read The Snow Maiden and as if I saw the light on her amazing beauty. I immediately wanted to write an opera based on this story.”
The first performance of Rimsky-Korsakov's opera took place in St. Petersburg, at the Mariinsky Theatre, on January 29, 1882.
In the winter of 1882/83, The Snow Maiden in a dramatic production was performed by amateurs in the Mamontovs' house. Prominent representatives of the artistic intelligentsia were involved in it. The performance marked an attempt at a new reading of the play. The artistic part of the production was undertaken by V.M. Vasnetsov. The artist's talent manifested itself in this work with the greatest force: he managed not only to be imbued with the poetry of Ostrovsky's marvelous fairy tale, to reproduce its special atmosphere, its Russian spirit, but also to captivate other participants in the performance. In addition, he perfectly played the role of Santa Claus.
The performance in the Mamontovs' house was a prologue to the production of The Snow Maiden by N.A. Rimsky-Korsakov on the stage of the Private Russian Opera S.I. Mamontov in Moscow on October 8, 1885. Artistic design was carried out by V.M. Vasnetsov, I.I. Levitan and K.A. Korovin. In the work of artists, first of all, that new perception of Ostrovsky's fairy tale and Rimsky-Korsakov's opera was expressed, which contributed to the revival of public interest in these works. After the premiere, a number of newspapers strongly demanded that the opera The Snow Maiden be included in the repertoire of the Bolshoi Theatre. However, on the stage of the Bolshoi Theater "The Snow Maiden" was performed only on January 26, 1893.
In 1900, The Snow Maiden was shown in two theaters in Moscow - the Novy Theater and the Moscow Art Theatre. A wonderful Russian actor and director V.E. Meyerhold wrote about the performance Art Theater: “The play is staged amazingly. So many colors that, it seems, they would be enough for ten plays. It should be noted that the brilliance of the performance was based on the study of the ethnographic content of the play; it reflected an attempt to convey the true picturesqueness of ancient life and to approach this task seriously, to study, if possible, the real forms of folk applied art: costume, the conditions for the life of peasants.
A play for the theater of A. N. Ostrovsky "The Snow Maiden". Prepared by: 8th grade student G Durnikova Anastasia
ü Biography of Ostrovsky ü What is a play? o What is theater? ü Snow Maiden ü The history of the creation of the play. u Research. ü Conclusion
Biography of A. N. Ostrovsky Ostrovsky Alexander Nikolaevich - Russian playwright, whose work became the most important stage in the development of the Russian national theater, corresponding member of the St. Petersburg Academy of Sciences, author of the works "Thunderstorm", "Snow Maiden", "Poor Bride" and others.
In 1874, the Society of Russian Drama Writers and Opera Composers was formed, of which Ostrovsky remained chairman until his death. In 1885, Ostrovsky was appointed head of the repertoire of the Moscow theaters and chief theater school. A. N. Ostrovsky created a whole repertoire - fifty-four plays. "I wrote down all Russian life" - from the prehistoric, fabulous times "The Snow Maiden", and the events of the past chronicle "Kozma Zakharyich Minin, Sukhoruk" to the topical reality "Talents and Admirers" and "Guilty Without Guilt". On June 2 (14), 1886, Ostrovsky died in his Kostroma estate Shchelykovo. The writer was buried next to his father, at the church cemetery near the Temple in the name of St. Nicholas the Wonderworker in the village of Nikolo-Berezhki, Kostroma province. After the death of the writer, the Moscow Duma set up a reading room named after A. N. Ostrovsky in Moscow.
What is a play? Play - 1. dramatic work designed for theatrical performance. obsolete small literary work(usually in poetry).
What is theater? Theater - One of the art forms in which a figurative reflection of life is achieved by means of stage performance.
Snegurochka Snegurochka ("Spring Tale") - a fairy tale play in four acts with a prologue by Alexander Ostrovsky. She graduated as a playwright on March 31, 1873. Published in the journal "Bulletin of Europe", No. 9 (1873). The plot is based on a Russian folk tale, drawn by Ostrovsky from the second volume of “Poetic Views of the Slavs on Nature” (1867) by A. N. Afanasyev. It was staged for the first time in Moscow, on the stage of the Bolshoi Theater, on May 11, 1873, for a benefit performance by the artist Zhivokini. Composer P. I. Tchaikovsky wrote music for The Snow Maiden.
HISTORY OF CREATING THE PLAY The appearance of the poetic play "The Snow Maiden" was caused by a random circumstance. In 1873, the Maly Theater was closed for major repairs, and its troupe moved to the building of the Bolshoi Theatre. The Commission for the Management of the Imperial Moscow Theaters decided to put on an extravaganza performance in which all three troupes would participate: drama, opera and ballet. With a proposal to write such a play in a very short time, they turned to A.N. Ostrovsky, who willingly agreed to this, deciding to use the plot from the folk tale "The Snow Maiden Girl". The music for the play, at the request of Ostrovsky, was commissioned by the young P. I. Tchaikovsky. Both the playwright and the composer worked on the play with great enthusiasm, very quickly, in close creative contact. On March 31, on the day of his fiftieth birthday, Ostrovsky finished The Snow Maiden.
Research
A play for the theater of A.N. Ostrovsky "The Snow Maiden"
Cultural studies and art history
The work of Ostrovsky "The Snow Maiden" is an amazing fairy tale, which shows the beauty of the world, love, nature, youth. In "The Snow Maiden" the main place is occupied by human relations. At first glance, the plot looks absolutely fantastic. But then it turns out that living human characters are visible in this phantasmagoria.
MBOU LYCEUM №8
abstract
On the topic: “A play for the theater by A.N. Ostrovsky "Snow Maiden"
Completed:
Pupils of 8 "A" class
Savvateeva Irina
Bogdanova Olga
Akishina Maria
Malaeva Elena
Teacher:
Yudakova V.P.
Solnechnogorsk, 2015
History of creation
In 1873, A. N. Ostrovsky, under the influence of the ideas of A. N. Afanasyev, wrote a play, so famous and beloved by the Russian people, - “The Snow Maiden”.While working on the play, Ostrovsky carefully studied numerous folklore, historical, and ethnographic sources. Among the folklore sources of the "Snegurochka" it should be noted folk tales, ritual poetry, folk charms, folk songs. He, combining fairy tales, legends and songs together, gave folk art very unique coloring. Therefore, the plot basis of the story of the Snow Maiden in the play by A.N. Ostrovsky does not entirely coincide with any of the variants of the fairy tale that exist among the people.
Plot
The work of Ostrovsky "The Snow Maiden" is an amazing fairy tale, which shows the beauty of the world, love, nature, youth. In "The Snow Maiden" the main place is occupied by human relations. At first glance, the plot looks absolutely fantastic. But then it turns out that living human characters are visible in this phantasmagoria.
In the spring fairy tale by A. N. Ostrovsky "The Snow Maiden" from a little girl - granddaughter, the heroine turns into a beautiful girl who can ignite the hearts of young Berendeys with a burning feeling of love. Sheappears as the daughter of Santa Claus and Spring-Red, who dies during the summer ritual of honoring the sun god Yarila. Outwardly, she appears in the work as a beautiful pale fair-haired girl, she is dressed in white and blue clothes with a fur trim (fur coat, fur hat, mittens). This whole appearance represents winter with its white snow and cold frosts. The spring side of the character of the heroine is represented by her extraordinary emotionality and desire to know human feelings, albeit destructive for her.
The action takes place in fabulous place- the kingdom of Berendey. Describing the laws of this country, Ostrovsky seems to draw his own ideal of social order. In the kingdom of Berendey, people live according to the laws of conscience and honor, trying not to provoke the wrath of the gods. It's very great importance given to beauty. The beauty of the surrounding world, the beauty of girls, flowers, songs are valued. It is no coincidence that the singer of love Lel is so popular. He, as it were, personifies youth, ardor, ardor.
Reviews
Surprisingly, the play was not initially successful with the public, it seemed rude and ineptly written. But that was only at the beginning...
Spring fairy tale by A.N. Ostrovsky was highly appreciated by A.I. Goncharov and I.S. Turgenev, however, many responses from contemporaries were sharply negative. The playwright was reproached for departing from social problems and "progressive ideals". So, the caustic critic V.P. Burenin complained about A.N. Ostrovsky to false, "ghostly-meaningless" images of Snow Maidens, Lelei, Mizgiri. In the great Russian playwright, critics wanted to see, first of all, an accuser of the “dark kingdom”.
Theater performance
theatrical performance"Snow Maiden" by the Moscow Maly Theater (May 11, 1873) actually failed. Despite the fact that all three troupes were involved in the performance: drama, opera and ballet, and the music for it was written by P.I. Tchaikovsky, despite the use of technical curiosities: moving clouds, electric lighting, beating fountains that hide the disappearance of the “melting” Snow Maiden in the hatch, the play was mostly scolded. The public, like the critics, was not ready for the poetic pirouette of the author of The Storm and The Deep. Only at the beginning of the 20th century did A.N. Ostrovsky was appreciated. A.P. Lensky, who staged The Snow Maiden in September 1900 in Moscow, remarked: “Ostrovsky would have had plenty of imagination to fill his fairy tale to the brim with native devilry. But he, apparently, deliberately saved fantastic elements, saved them in order not to overshadow another, more complex element - the poetic one - with the enchantment.
Petersburg, on stage Alexandrinsky Theater, the production took place only on December 27, 1900, for the benefit performance of the artist Varlamov.
In 1881, the composer N. A. Rimsky-Korsakov wrote the opera The Snow Maiden based on the text of the play. The opera was staged in St. Petersburg on January 29, 1882.
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“If there are thirteen at the table, then there are lovers here,” noted Chekhov's Three Sisters. Thirteen actors performances testify to the same. On the stage of the theater named after M.N. Yermolova played a love story in which there were no victims - "The Snow Maiden". Fairy tale? Lie! Musical performance. If the first is indisputable, then the second is still on the rise.
Father Frost, according to Ostrovsky, the father of the Snow Maiden, was withdrawn from the play. Spring-Red appears before the audience in a quilted jacket and felt boots - Spring in a different outfit would not have reached our northern regions. With a large janitor's shovel, she collects from the stage traces of her husband's stay - snowdrifts. However, the story is fabulous, and therefore the snowdrifts come to life and turn into Berendeys asleep under the snow: it is warmer under the snow. They also want to warm the audience of Yermolovsky with the "Spring Tale", but it is perceived with coolness.
Alexey Kuzmin-Tarasov in this performance is one in three persons - the author of the idea, embodiment and music. There is enough music in the performance and the audience is quite satisfied with it. "The Snow Maiden" is defined as "Scenes from the Outback in 12 Songs", so that the operatic creation of N. A. Rimsky-Korsakov remained untouched. But the text of A.N. Ostrovsky, written 140 years ago, freely fit into the rhythms of folk, reggae and rock and roll performed by the musicians of Garik Sukachev's group "The Untouchables". After all, the author of the play also provided for songs, and therefore such a musical interpretation does not seem alien to the original source. The music in the performance is lively and incendiary, and the singers do not cause any complaints - everything is in time: the sounds, the voices, and the swaying of the audience's legs. And yet "The Snow Maiden" is far from a musical, because twelve songs are diluted with "scenes".
The Snow Maiden is a winter, festive character, but A.N. Ostrovsky wrote a spring fairy tale, and therefore the daughter of Frost, who went with her soul to her father, would not celebrate for long. Veronika Ivashchenko, who plays this role, appears either as an angular disheveled (from the forest) “blue stocking” (in a blue dress), or as a spectacular cold blonde, on which field wreaths wither every now and then - a sharp temperature drop. Well, without the motives of a children's matinee and a white and blue fur coat with an inventory number, it could not have done here. The Snow Maiden desires love, having no idea about it. For her, in the performance, an arrogant and arrogant person, love is something like a dress code, without which she will not be allowed to a party on the occasion of Yarilin's Day. Because the words: “Mom, give me love!”, She pronounces with an impassive everyday intonation like: “Mom, give me money!”. The Snow Maiden will dress up both the camp and the heart, but this outfit is akin to what Medea Kreusa gave to a dress soaked in poison (in this case, love). The finale is known - "melts, melts, disappears." The Snow Maiden will leave a wet place and dry eyes of the audience.
The ups and downs of The Snow Maiden, for reasons that come from childhood, cannot surprise, therefore you expect a reason for surprise from the actors. And you get it. The actors of the performance, recent graduates of theatrical universities, oddly enough, did not bring the heat and energy of youth into the performance. On the contrary, they play according to the weather - "the sun shines, but does not warm." Not that they can be called "Thugs" (play by Kirill Serebrennikov), but their reaction and dynamics leave much to be desired. The performers are slow, relaxed, pampered, but their characters lack the sun, there is no “golden laziness” from the sky, and severe frosts, it would seem, should stir up the Berendeys. Sbiten is not boiled, and it is not clear how they are warmed. Soul fire? But his sparks do not reach the audience. The words in "The Snow Maiden" do not "sound", but the songs do.
Lel (Artem Efimov), the first guy in the village (and the village, judging by the scenery of Leonid Shulyakov, is in one house), also sings with an overweight guitar (from which, however, he does not extract a sound), along with Spring (a wonderful work by Elizabeth Pashchenko) and the Snow Maiden. A barely noticeable competition for the shepherd's heart is planned between mother and daughter. Good and "guys from our yard" like the Smoking Room (Anton Kolesnikov), a kind of street bully with chains on his jeans, twirling the keys to ... a non-working motorcycle on his finger, or the big man Brusila (Nikolai Zozulin). Noteworthy are the girl-girlfriends of the offended Kupava (Anna Kuzmina) - Radushka (Margarita Tolstoganova) and Malusha (Valentina Oleneva), the funny-strange Beautiful Elena (Kristina Pivneva). Only the oriental youth Mizgir (Rustam Akhmadeev) and his bodyguard, unforeseen in the play, called by the simple "Slavic" name Emil (Yegor Kharlamov) stand out from the general motley canvas of the performance. If the Sloboda residents of Berendeevka would have been fine with a light patter, then Mizgir would not at all like a clear accent. However, Mizgir is a stranger in Berendeevo Posad, and therefore his oriental flair as an addition, opposing him to the townspeople. Another excellent feature of the actor is deliberate seriousness in the interpretation of the proposed circumstances: the actor presents his hero with an anguish, a sharp gesture, a tragic grimace, which makes him ridiculous against the backdrop of relaxed, calm "colleagues". And this is not so much a problem of the performance, but of an actor who weighs down a light production. “The East is on fire,” remarks the Snow Maiden, and, judging by the ardor of Mizgir, it seems that he will answer her; "Juliet is the sun."
The Snow Maiden, set to music, is pleasant to listen to, but strange to see. No folklore, in extreme cases - folk. They saved money on the costume designer - he is not in the program, there is no trace of him on the stage either. The actors are dressed in everyday clothes, devoid of a single style, who is in what - in a summer sundress, in a sweater, in a dress. Musicians in hats (although they take them off), actors with thermoses and plastic cups, outsiders (not from Ostrovsky) remarks ... In combination with student signs of the performance, a complete illusion of an open rehearsal is created, to which the audience was allowed. People on the stage are like people from the street, at least in terms of external characteristics, and this "democratism" is not good for the "Snegurochka". The lack of a unified style can only be justified by the capitalized outback mentioned in the program. There is such a “shelter of tranquility, work and inspiration” on the map of the Pskov region, but it is unlikely that the costumes were painted from the local residents.
Despite the lightness of the idea and the significant editing of the text, there are curious, but undeveloped (by the director) moments in the performance. Thus, the dialogue between the Tsar (Sergei Badichkin) and the “near boyar” Bermyata (Yuri Kazakov) turns out to be very consonant with the time (not stage, local). The tsar complains that the people "disappeared to serve beauty", in general, the decline in morals, to which the adviser offers a universal remedy for those in power at all times: "Issue a decree!" “But will we wait for some good?”, Specifies the Tsar, “None,” he hears in response, “Cleaning us.”
The state of affairs in the kingdom of Berendey is akin to Karamzin's diagnosis - "They steal", however, this kingdom is "not enough, there is nowhere to roam", and therefore Bermyata specifies: "A little bit." "And catch?", - without special interest asks his Majesty; – “Why catch them, / Lose labors? / Let them steal for themselves, / Someday they will get caught ... ". But, judging by the simple decoration of the royal chambers, everything has already been plundered. Yes, and the king himself, who exchanged the scepter and orb (or maybe with a capital letter?) For a massive clock and an ax that he thrusts into the platform on the stage, does not look much like a king. Although it just so happened, they are kings either with or under an ax. In a different way - only in fairy tales, where "porridge from an ax." For The Snow Maiden, both porridge - a mixture of genres, and an ax - a montage of text and meanings - are symbolic.
“The magnanimous people are great in everything,” the Tsar sings a fervent song at the end of the performance. Berendey sing sadly to the king. As befits the people under the Tsar - in chorus. A few scenes before the finale, the “generous people” rejoiced at the death sentence handed down to Mizgir, shouting: “And when? What time?". Winter crops with spring crops - in the field, but you need to nourish your soul - with spectacles. But the execution will be canceled, however, Mizgir's death cannot be avoided. People's sacrifice is manifested here in the minute-by-minute readiness to make a sacrifice. Rather, as a sacrifice of those who do not live "in the Berendey way", those who are not used to bowing "more often, but lower."
The musical numbers go with a bang in the performance, but it’s as if those who voted go astray to the recitative, the record seems to stick. The style of the performance is a kind of jam session (not musical, but artistic), which is played out without any special preparations, thoughts and effort. It seems that the artists on stage are having a good time, the audience, in general, is also happy with everything. Both those who are on the stage and those who are in the hall for about two hours manage to spend their leisure time quite tolerably. "The Snow Maiden" is not an evening at the theater, but a theatrical evening. There is no need to talk about interpretations of images, super-tasks and relevance, but you can’t call such an evening wasted either. "Snegurochka" in combination with the democratic and hospitable buffet of the theater is an ideal option for meetings, while away the evenings and moments when there is an acute desire to be in public. Nice, smart, not expensive. Not to the heart, but not to the wallet. But even this kind of theater, which is “not low, not high,” not only can, but must exist. “Drive your worries away: there is a time for caring,” they sing in the play, and they are right.
The Snow Maiden, according to the director, is played in "timelessness", but this is due, perhaps, to its temporary presence in the theater's repertoire. Her appearance, however, is fully justified - the theater is not afraid to open its doors to young directors, and this is worth a lot. Of course, we are not talking about losses. "Snegurochka" is a universal, family, easy and spring project. “Spring is coming”, “the mind is not in harmony with the heart”, but the “Snow Maiden” has every chance not to melt, but to tune in the right way.
"Komsomolskaya Pravda", "Teatron"
Performance "The Snow Maiden" in the New Space of the Theater of Nations
The Snow Maiden at the Theater of Nations
Children are the most unbiased spectators who do not look at either the name of the director or the fame of the actors ... Therefore, it is especially difficult to captivate and interest them. Oleg Dolin set himself a difficult task at all - he decided to show everyone famous play Ostrovsky's "The Snow Maiden" from a completely different perspective, primarily as a kind and instructive tale.
About the play "The Snow Maiden"
"The Snow Maiden" is a performance that opens a new and original project for children. It, unlike many other productions, involves a serious conversation, during which difficult questions will have to be answered. In addition, Oleg Dolin seeks to bring the fairy tale closer to the present, showing that it may well be relevant.
The premiere of the performance "The Snow Maiden" at the Theater of Nations is one of the highlights of the fall of 2018.
Other activities of the director
Oleg Dolin, despite the fact that he is known more as a film and theater actor, is not the first time that he pleases young viewers with his productions. On the stage of the RAMT, his performance “Morozko” is already underway. And now he surprised the guys with a modern and unusual "Snow Maiden".
How to buy tickets for the performance
Oddly enough, but good and really bright performances for children on theater stage placed much less than for adults. That is why it is not easy to buy tickets for the Snegurochka. We are ready to help you make your child happy. Why of all companies you need to contact us? Because, unlike our competitors, we:
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The play "The Snow Maiden" will surely attract not only young viewers of Moscow, but also their parents - if only because everyone wants to instill in their child a love of fairy tales. And if this fairy tale is not divorced from modern reality, then you want to see it twice as much!