"Witchcraft begins
prankster brownie.
Tomorrow will be Christmas
tomorrow there will be a holiday.
A gentle snow will fall
to the hole-tear.
It will be good
then there will be laughter.
Everyone will find something
in mittens and a hat.
And the neighbor Vaska the cat
It will hide the scratches.
Tinkle-foil
like silver
Pink bows.
Get rid of the paper! Away with the pen!
Boring dictations.
Flashing in the mirrors
Gossamer dresses.
A good needle loves
good records.
Let's have fun sharing
tangerine slices,
will happily circle
ballerina tree,
will fly from under your hand
piano keys,
and the bubbles will dance
in my mother's glass...
That will be good!
There will be a lot of laughter.
Sleep, children. I went.
Good riddance to anxiety."
Alexander Bashlachev
“He goes to the right - he starts a song, to the left - he tells a fairy tale...”
Alexander Pushkin
They say that in old houses that were built “according to individual project", Once upon a time there lived brownies. A kind of guardians of the hearth, carefully maintaining the fire in the fireplace of the house from generation to generation. Preserving the peace of a single family. Their origin, as well as their purpose, have given rise to many theories (see Scientific Notes of the University of Wittenberg, books XXXVII-XXXIX), but the fact remains: they have grown. Maybe in warmer climes gave in... Maybe a mutation of the species led them along an evolutionary path to natural human society, where they got lost.
I put forward a hypothesis: their disappearance is associated with the loss of construction secrets. The habitat has been disturbed - where, pray tell, can a brownie live in a modern block house? Whose peace should I protect? Housing office? Non-residential stock is a different matter; Here they are still found: alive and well, because they are in business.
The Kazan Youth Theater also has a brownie. Preserved from those memorable times when a merchant meeting was located in the building of the current theater (see photo 2). And why, one might ask, would a brownie disappear if the house stood and still stands, practically not even rebuilt.
This is what the Kazan Youth Theater looked like a hundred years ago. This is what he looks like now.
Theater hall - in the very hall where educated merchants enjoyed variety shows; the foyer - where they pestered with pleasantries the local Zarechny (Zavolzhsky) ... Unless they built a stage box - but the house is the same. In moments of inspiration, the brownie appears in the guise of the theater’s chief director, Boris Tseitlin (see photo 1). If you look closely, you can see that the photographer captured Tseitlin against the backdrop of his own photograph... From behind the shoulder of this somehow sad (in this photo) personality, a malicious but good-natured prankster brownie peeks out, playing pranks in a rocking chair. “The theater is a home. They don’t come here to work, they live here. But we must live like a human being, comfortably and conveniently” (see Tseytlin B. Monologue in three acts // Theater life", 1991, No. 17, p. 6). That's what everyone says, and everyone lies, because they come to the theater to work and leave. And the simple-minded brownie let it slip: he lives there. Because it's convenient.
Boris Tseitlin's theater seems to be the same, only comfortable, on a human scale. The hall, balcony, foyer “are tailored to the figure, adjusted so as not to feel discomfort. You walk in and you don’t feel either your pseudo-significance or your pseudo-insignificance. Tseitlin is probably very good man, if you tailored the theater to your figure, but it turned out to fit many others.
A kind person.
There is such a place on earth - “China Town”. Muscovites will say that they know where it is (there is a metro station of the same name) - and they will be mistaken, as usual. Why is it suddenly “China” in the middle of Moscow? Although the etymology (cf.: “Uzhgorod”, “Zvenigorod”) clearly indicates that “China” lies in the European part of Russia.
But somewhere closer to the east. Approximately where both Europe and Asia are equally close. Where it seems that the land is already Tatar, and the time is Moscow. In general, near Lukomorye. Tseytlin knows where. Where the action takes place" kind person from Sichuan."
In China, as you know, the emperor himself and all of him are Chinese. More precisely, Chinese - after all, this China, like everything by Boris Tseitlin, is slightly reduced in size, close to human. Each of us is Chinese in some way, just a little bit. And this Chinese man fits in a small dwelling that looks like a cardboard box from... yes, that’s what it is. And what can be mistaken for inventory inscriptions are actually hieroglyphs.
And all this China fits in one room. Maria Rybasova (to whom - the only one! Boris Tseitlin, partial to the intricacies of arranging living space, entrusts the design of his habitats) places China in a large fabric hangar, which can just as easily be imagined as the hold of the Noah's Ark liner. Anyway, this one cozy world spacious enough for everyone human life. Because it’s not about literal spaces. “Imprison me in a nutshell…” wrote a graduate of the University of Wittenberg (hereinafter referred to in the text). If, say, rain is needed, the cute Chinese children, previously called the servants of the proscenium, will immediately produce it, splashing shiny drops from the porcelain bowls of the Chinese (and no other) service. This couple of Chinese children are the legal heirs of Meyerhold’s little blacks. The beggars could have wandered into China from Bruegel’s paintings, or they could have wandered from Akutagawa’s short stories. The space of the theater is quite widely open into the depths of world culture. His house book contains autographs of great theatrical figures, including, in particular, Boris Alekseevich Trigorin, with his “neck of a broken bottle,” a detail that highlights the whole moonlit night, as well as Carl Hieronymus Friedrich von Munchausen, a great lover of autographs, Martha’s gentle husband and a good joker. Tseitlin's jokes, firstly, are also good-natured, and, secondly, theatrically significant.
The West is the West, the East is the East, but China Town does not lie in the geographical world, and they easily converge: behind a miniature Chinese screen lurks the unemployed pilot Song (R. Yarygin), a hero of the resistance, the character of Jack Nicholson, Rainer Werner Fassbinder and James Aldridge. His last inch last chance- this Thumbelina, in love with him like a child - Child big cities Francois Truffaut and Charlie Chaplin.
Shen De performed by Elena Krainya is hilarious happy child, loving the whole world and every single person, which comes very easily to her, because people are in Chinese world contrary. Everything that happens for her is a game (and there is nothing more serious than a game, at least for a child or for a theater), and the degree of seriousness with which Shen De throws herself into the next plot twist of the game does not cancel her joy from a successfully won round or endless sadness from losing. Dressed in the Shoy Da costume, the heroine is embarrassed not by the fact that she is embarking on the dangerous path of split personality (in a game this is inevitable!) - but by the difficult responsibility of playing two games at the same time, and for different teams. Profound ethical problems are unknown to the free and carefree Shen De. Her joy of life charges everything around her, her childhood perception does not know the contradictions of the world, from her point of view - and Boris Tseitlin willingly shares it - the world is whole and beautiful. The poverty of cardboard boxes and nasty neighbors is funny, but not repulsive; Waterbear's injury is a momentary grief and a reason for new tricks (deprived of the ability to pour water with his bitten hand, Van becomes a cheerful drinking fountain), and even the “accusatory” zong about Saint Never Day is presented as a divertissement, an advertising break: the hangar began to play color music, Sun grabbed the microphone - “and now disco!”
Not doubting for a minute that everything will end well, Shen De joyfully (I knew it! It was you stupid people who didn’t believe it!) jumps onto the stage with sparkling eyes and declares:
- The bad ending has been discarded in advance!
He must, must, must be good!
Because - how could it be otherwise?
Shen De Yepena Extreme is the younger sister of the heroines of Juliet Masina.
(Written without exaggeration).
There is no happier person in the world than main director, whose wife is a wonderful actress. This a happy family happy in her own way.
Fellini's little clown from Sichuan, Elena Krainaya - Shen De - breaks off her carefree note several times during the performance. The Chinese bring her (like the black formal suit of Shoi Da, like Sunu - the white “plantation” overseer’s suit) a huge Russian scarf (little Shen De wraps herself in it almost to her heels). And in the world of oriental masks and paints there is a pause, not at all advertising, not “zoning”. With the sadness of a bride from a northern Russian village, Shen De writes:
In the moonlight the snow turns silver...
If you close your eyes, you can feel like you’re miles away from Kazan and Kitai-Gorod, in another Youth Theater- in his native St. Petersburg on the Fontanka River...
Tseitlin, a joker and actor, takes some things very seriously, not without sentimentality, for the sake of which he is ready to interrupt the thin, Chinese silk fabric of the performance. This is the original lyric of the brownie: Family. Children. Pets. The prankish boy sent by his thieving relatives to a criminal trade is not dear to Tseitlin. He is portrayed by a rag doll, which is kicked and thrown by the Policeman (S. Moseyko plays him in the traditional Japanese samurai). The real boy appears later - a gloomy, lonely, angular teenager who is hugged by Shen De - not like a mother (she is a child herself), but like a sister. What would have been rude didactics for some overly serious director (“children are our future”), for Tseitlin, an otherwise serious director, is precisely and significantly significant. His children are not touching babies, they look like neorealist street boys, but they are not playful, included in the world system - they are truthful. This is how they are, the “personifications” of our future.
"Software" ( creepy word, obliges us to do so much!) Boris Tseitlin’s play “Pogrom” is also connected with children, with the natural childlike naturalness. The child sits on the front stage with the Book and reads from it: “The third day... The fourth day... And He saw that it was good.”
Here Tseitlin’s intuition betrays him. Or the boy, seated at the front of the stage, “understands” that he is in the theater and begins to “intonate,” highlighting the text “meaningfully.” In fact, what was needed here was precisely a confused voice, untouched by “comprehension” - as, for example, in Tarkovsky’s “Mirror”, where Ignat is slipped a letter from Pushkin to Chaadaev - and he, confused, without delving into it, makes his way through the lines... After all, Tseitlin’s boy “Pogrom” also turns the pages of Genesis for the first time - he’s not some kind of Pimen...
“A good man from Sichuan”: Sheen De and Shoi Da - E. Extreme, Yang Sunn - r. Yarygin, Chinese children - E. Krutovskikh and L. Zamyatina
Based on the novel “And There Was Evening and There Was Morning” by Boris Vasiliev, “Pogrom” not only does not follow the text of this—I would venture to say—graphomaniac work, but overturns the novel’s space into a theatrical plot. Vasiliev, who in all seriousness operates with hackneyed cliches of Russian literature, turns into Tseitlin’s bearer of primordial Russian myths. The myth of the Pogrom, the myth of the intelligentsia, the myth of the people - in general, the myth of Russia with many components. And if the author of the novel rudely, with pressure, presents a detail that self-proclaimed to be a metaphor (“Ward No. 6”, where one of the characters is placed) - then Tseitlin with this detail characterizes only the hero who pompously pays attention to it. And where Vasiliev, without realizing it, measures with pages the endless expanses of cheap fiction, Tseitlin begins the field of performance, under which there are deep cultural layers. The director, remaining true to his style, theatricalizes - sometimes with leitmotifs, sometimes with light, one-touch hints - cultural mythologems (picturesque, musical) of the Russian 20th century. Hovering over fabulous city Let us glorify Chagall's shadow; the tread of the Kustodiev Bolshevik is heavy; Tseitlin’s trivial Vasiliev herms come from the pages of Chekhov, Kuprin, Andreev, Gorky that have become classics, the cultural background; in the melody “Transval, Transval, my country,” notes of the march “We are all selfless heroes” appear... Unknown to the inhabitants of Proslavl, immersed in momentary worries, the distance - not in real time / space - but between the hero and the narrator) allows Tseitlin to soar above everyday specifics the city described by Vasiliev.
But here it is, by the way, all on the front stage - a town: toy houses, Churches, storehouses, estates... A toy set from a Christmas gift. And there is no doubt: the townspeople inhabiting it - presented for the audience's convenience in a larger, human size - are as conventional as any fairy tale heroes. The Slavs, who grew up from the town, carefully and ceremoniously transfer their childhood away from the storms of life - closer to the viewer, to the front of the stage. But at the moment of impending danger, the houses will be used - they will be used to build a barricade, protecting first from the Pogrom, and later from the military chain advancing on the fragile houses. When the story ends, and the actor marks not the hero, but the hero’s grave in the Proslavsky cemetery, the houses will again take their place - now in the graveyard, and the initial mise-en-scène will turn into a metaphor, deciphered for the ending. The procession with Proslavl in its arms “seemed like a funeral. They saved the city from harm - now they buried it. Having completed the “legend of the city of Kitezh”.
History cannot be told again; all Russian literature that has entered into common cultural usage, “from Pushkin to Gorky, has already told everything possible stories. The eternal Russian anecdote told by the ink master Moi Sey - about how the Lord did not live to see happiness on Russian soil - is the actual summation of the Russian myth. What can those living after, the listeners of this anecdote, do? My Sey (R. Yarygin) takes a sieve and pours flour onto the town of Proslavl. Everything will change...
“We were born to make a fairy tale come true,” Boris Tseitlin once said (see “Theater Life”, 1991, no. 17, p. 7). Yes, it’s just the opposite! Tseitlin was born to turn reality into a fairy tale, to reveal a parable in reality. Many people from the Russian 20th century were fused by Tseitlin into a fairy tale.
The pompous statements of the author of the novel (“Justice has become the highest manifestation pro-Slavic spirit") turned into ironic maxims of the Narrator or orbits of the characters in the play. Tseitlin, contrary to the poet, is wary of pompous words. And not in vain.
“Justice”, which only the lazy do not shout about in “Pogrom” - this same justice is possible only if the author, with a generous hand, rewards everyone according to their deeds in the finale. But Tseitlin does not assign such responsibilities to himself. He knows whose functions these are - it is no coincidence that the boy on the front stage is reading His words from the book. And he treats the struggle for justice taking place on stage with a kind, sad smile. Like the games of naughty children. Because it is impossible to seriously tell the story of how the eternal Jewish sufferer was freed from the neighborhood by the first city prostitute, his fellow tribesman... and how the remedies brothel are going towards the revolution. These are all the games of our childhood. To whom we treat exceptionally tenderly.
Tseitlin distances himself from the struggle for a bright future, does not participate in it and does not talk about it. Playing the role of Narrator for some time, the director showed the audience not a “confession,” as some critics decided, but “1001 Nights.” This story did not happen to Tseitlin, and although his likes and dislikes are clear, he stands “above the fray.” Because in the fate of a Man, in the fate of a country, there are many such battles, and one single victory (defeat) solves literally nothing. Reserving to B. Vasiliev the right to wave his fists, narrating about a fight that ended long ago, the director allows himself an ironic, dispassionate intonation - the intonation of a scientist’s cat, who knows that everything is overgrown with the past, dusted with snow, and those who are most persistently interested can familiarize themselves with newsreel footage.
In scenes that imitate newsreel footage, not a trace of romantic pathos remains. Just as all the heroes - nobles and burghers, pogromists and defenders, gendarmes and Bolsheviks - are united in the Proslavchanskoe cemetery, where there is no place for strife, they are also united in front of the filming that captures history. The young lady preens, the craftsman's family lines up, and puts on a military polish. The “non-posing” genre episode of the fight on the streets of Proslavl, accidentally caught by the cameraman, again emphasizes the detached gaze of the creator of the play: after all, the filming is in black and white... and the scene in this episode is dressed in monochrome tones. Red banner of struggle this moment stage action is replaced by a dark banner - the color of grief... The film image, while capturing reality, distances it - and highlights the unexpected, the accidental. Antonioni's flash - "Blow up" - entered the culture of the century as clearly as the moonlit night on the dam from Trigorin's prose.
Almost the entire troupe of the Youth Theater is involved in the performance. There are no solo parts; Of course, some roles are larger and others are smaller, but Tseitlin set a non-dramatic order of things. Here everyone is equal in the highest sense— and even named “heroes” or “their lovers.” They do not merge into a single, massive stream of “citizens” - Tseitlin set a clear “social” structure, where each group of people has its own shade in the overall leisurely narrative. The degree of ironic detachment increases in direct proportion to the depersonalization of the “social group.”
Thus, pogromists are extremely caricatured - extras acting according to the law of the crowd, according to the law large numbers- according to the role prescribed by the myth: meaningless cries of “beat the Jews” and shaking of axes. However, caricature does not negate the fear that a blind crowd inspires, like any natural disaster.
The “aristocrats” are almost depersonalized. And, although the characters are assigned roles (and there is even a scene of a “dispute about Russia”), the dispute itself and the difference in individual positions in it are only appearances, because for Tseitlin the essence is not in words (which, of course, are banal) but in the banality of the very situation of the dispute, which constitutes the main subject of the “aristocrats’ activities.” The “craftsmen” each come forward with their own theme - which, nevertheless, allows them to be generalized as a “striving for a way of life” - and Pogrom, like Discord, brings destruction to their life, their work, and themselves. But even here, above the pathos, there is the impartiality of the Narrator, who weaves into a single series of events the sufferings of the horse doctor Bayrulla (A. Kuptsov), who is forced to break the legs of the military horses, and the wheelwright Samokhlebov (V. Arapov), who has no sons - only daughters. The most melodramatic plot moves (the story of the dissolute daughter of Pan Zamora) and one of the most cherished myths by B. Vasilyev - about the international adhesiveness of the "workers" - are associated with the “craftsmen”. Easy playing (much lighter than that of other “groups”) allows Tseytlin to bring out this “ social layer"from the danger of "reflecting reality."
“Heroes” bear their “heroic” cross alone, as they should good fellows. Their triad according to the laws of the genre (see “ The Magnificent Seven") together resists the bandits, and in moments of respite - according to the same laws - he quarrels and sighs for his beloved. Tseitlin gives each of the three main characters an individual appearance in Proslavl: Belobrykov, a hero of the Anglo-Boer War (M. Merkushin), is taken out on a huge wooden horse (at the same time referring consciousness to both a children's horse and a Trojan horse; Kolya Tretyak (S. Moseiko) ), “in a red shirt, so handsome,” wins his place in the sun in a fist fight; Boris Pribytkov (V. Zaitsev), a terrorist expropriator, rises above the crowd with a bag full of money (robbery of the century!), wearing the mask of “Mr. "to the corresponding aria... It is not difficult to notice that the prototypical reality of "Pogrom" is a wide cultural field - the Russian field...
“Pogrom” by Boris Pribytkov - V. Zaitsev, Sergei Belobrykov - M. Merkushin, Kolya Tretyak - S. Moseyko, Gusary Ulanovich - V. Glushkov, Olenka Oleksina - E. Krainaya
A special group is made up of the “blessed” of Proslavl - their unification, strictly speaking, is formal, since the degree of inclusion of the characters in the “Structural stratification” is different, and the degree of detachment is also different. More fabulous is Filya Kubyr, the holy fool (E. Tsarkov), who - in accordance with the genre - is the first, innocent one, to be crushed by the weight of fate (a weighty balloon woven from humanoid rag bodies is lowered onto the tablet). An eternal child, Filya Kubyr is not involved in the plot - it is he (the Narrator’s counterpart), a mute, incoherent commentator, for whom the toy houses of the scenery are more real than the Slavic people who do not correspond to their city. Grandma Palashka (M. Chernykh) - the clique, the city Cassandra, does not so much prophesy as cause trouble - the only one who has the most direct relation to reality, a person who is the personification of the elements of Pogrom. Finally, Gusariy Ulanovich (V. Glushkov), adjacent to the “hero” defenders - behind whom there is no real prototype in the cultural space, a generalized image of a madman who understands the essence of matters better than sane people - he is played by an actor completely in the traditions psychological school. Tseitlin thereby singles him out from all the characters in the story; he is the only one within her who is endowed with knowledge greater than the framework of history.
"Pogrom" tells the end of history. Tseitlin as it is began in the Kazan Youth Theater at that time with “Dragon”, included in the chain of rapidly moving history. The finale of the play, which tells about the futility of anyone’s attempts to turn history in a different direction, is a cold, foreboding flicker of the screen of a “really” working television, which on the day of the performance displays exactly what television shows on this Laziness. But this non-theatrical, non-game technique worked precisely because it was included in the playing field.
Then, in the late eighties, only the lazy did not stage “Dragon”: why, Mr. Dragon, Mr. Burgomaster, allusions, illusions...
Tseitlin even then, with the story included in the network, knew how it would end.
It won't end.
Tseitlin turned out to be much more perspicacious than all the politicians from the theater, including Mark Zakharov, who dressed Lancelot in an earflap and again sent him to war. In Tseitlin, Lancelot occupies the place that was occupied by Mr. Dragon in the first act (applause), and in the second by Mr. Burgomaster (applause). The place at the microphone, invariably occupied by the new winner, now rightfully belongs to Mr. Lancelot (applause turning into applause).
You can't say much into a microphone. You can't cure souls. And are these mentally ill people curable? And are they sick? Is Lancelot doomed to a “whole company is out of step” situation?
He is very awkward, this Lancelot (E. Tsarkov). Worn, middle-aged (wounds...). At the decisive moment of the challenge, he almost drops his belongings on the dining table.
The Dragon (V. Feigin), on the contrary, is a darling, a sweetheart, a chick, “your guy,” imposing, sleek. He is, indeed, a childhood friend of all the townspeople: he hums a lullaby from “The Circus” to them, and they joyfully sing along. Thank you Mr. Dragon for our happy childhood!
This is what Tseitlin does not forgive. According to Tseitlin, childhood is sacred.
But they are happy! After all, here not only Henry is the first student, but also Elsa and Charlemagne are willingly ready to suggest the right word to the Dragon. Elsa (E. Extreme) is happy that she is ready to fulfill her destiny, and joyfully, and not obediently, goes towards death. This young Joan of Arc is overwhelmed by vanity: she was chosen to suffer for everyone! The ritual of her own death seems beautiful to her...
Who is Lancelot to them, who are they to him?
That is, everything is clear with him. When the Burgomaster asks again: “Are we going to kill the savior?”, then in his definition of Lancelot the first letter is clearly capitalized. Such is the fate of a knight.
And the townspeople have their own. Perhaps, from Lancelot's point of view, terrible.
But Tseitlin does not agree with his point of view. He turns into the silent cat Mashenka (the cat in the play is silent, because he is “performed” by a real cat) - and washes his paws. Tseitlin maintains peace at home (city), and therefore stands above the fray. Dragons come and go. Saviors too. And people - to live.
In essence, Elsa is completely indifferent to Lancelot. Her disobedience begins with the elementary: with the groundless - and this is precisely the humiliating - jealousy of Henry. Elsa even wants to fulfill her duty and grabs a knife to hit the alien, but suddenly stops.
Rebellion against the world begins with rebellion against oneself. Is she, Elsa, being commanded like a wind-up toy? Is she acting on someone else's will? And what used to bring happiness (performing a ritual) suddenly causes hatred. Starting with myself, the main performer. Despising herself, Elsa rebels against what she almost served. In essence, this is where the outcome of the fight against the Dragon is decided. Elsa still doesn’t understand anything about Lancelot, but she’s already figured out herself: she’s rubbish. The dragon fell victim to his own victories. A legitimate sense of pride in the work done (dead souls) turned against him. Firstly, no one gave even a sip of water, and everyone spat as soon as they felt that it was with impunity. And, most importantly, Elsa turned her eyes inside her desecrated soul.
Lancelot's victory is his defeat. The winner is destined for the throne of the vanquished. The winner is destined for the bride of the vanquished, who loves him just as little as the previous crowned suitors. She felt sorry for him, who was doomed to death. Lancelot, doomed to power, is disgusted by her.
The climax of “Dragon” is a quiet lyrical scene. When, amid mutual betrayals, on days of defeats and victories, a boy and a girl sit down near a quiet Christmas tree - and how then, like many, many years ago, inspired by the angel of the first timid love, they will hold hands... They are warmed by the ghostly warmth of Christmas tree candles - a common childhood , the general happiness of carefree years, in which they seem to have remained to this day - and therefore they strive to prolong, stretch out the childish feeling of life to the end... The girl Elsa and the boy Heinrich. V. Zaitsev plays Schiller's Wurm in Heinrich, who is madly in love with his Louise. He manipulates Elsa like a puppet (their intimacy also turns out to be an intimate form of interrogation), but he is allowed to do this by the higher power of Love. Only he wound up his favorite mechanical toy too much. The spring burst.
And what does it feel like for him to give his beloved into the wrong hands every time?! A dragon, an idiot father, an incomprehensible stranger?.. The music box wound up at the beginning of the performance turned out to be irreparably broken. There is nothing to be done, Lancelot reigned - everything will have to start over. The townspeople sit down in front of the TV to watch the next debate in the capital - on the proscenium, a boy and a girl reveal Schwartz. We need to try again, from the first line. Or are their names also Heinrich and Elsa?
You can't teach people anything. If a Dragon lives inside everyone, then you can kill it only by killing everyone. And then the killer Lancelot himself will become the Dragon. Wasn’t that what they meant when they said: “ The best way get rid of the Dragon - have your own? And if the Dragon is invincible, then what will a bloody fight with him bring? What kind of children are we, in essence, faced with these questions...
P.S. “I watched the Kabuki theater tour at the Moscow Art Theater on Tverskoy. Not a speck of dust on the stage! Literally. Well, the floor, it’s clear where it comes from - Japanese, from Japanese boards. Well, and everything else, ours, from the Moscow Art Theater, where did it go with the dust? It turns out that every half hour throughout the day a man comes out barefoot and wipes the tablet with a white cloth. And that’s it... But I thought it was electronics” (B. Tseitlin. Monologue in three acts).
CHRISTMAS
A. Bashlachev
The wind twists the lanterns
On the Fontanka River.
Sleep, children... Until dawn
A good angel is with you.
Begins witchcraft
Brownie is a prankster.
Tomorrow will be Christmas
Tomorrow will be a holiday.
A gentle snow will fall
To the hole-tear.
It will be good
That will make me laugh.
Everyone will find something
In mittens and a hat.
And the neighbor Vaska the cat
It will hide the scratches.
Ringing foil, like silver.
Pink bows.
Get rid of the paper! Away with the pen!
Boring dictations.
Flashing in the mirrors
Gossamer dresses.
A good needle loves
Good records.
Let's have fun sharing
Tangerine slices.
It will be joyful to circle
Christmas tree ballerina.
They'll fly out of your hand
Piano keys.
And the bubbles will dance
In my mother's glass.
It will be good
There will be a lot of laughter.
Sleep, children. I went.
Good riddance to anxiety...
GOD'S TREE
G. Heine
Brightly with star rays
The blue sky shines.
- Why, tell me, mom,
Brighter than the stars in the sky
On the holy night of Christmas?
Like a Christmas tree in a mountain world
This midnight is lit
And diamond lights,
And the shine of radiant stars
Is she all decorated?
- Truth, my son, in God's heaven
On this holy night
A Christmas tree is lit for the world
And full of wonderful gifts
For the family, she is human.
Look how bright the stars are
They shine for the world there, in the distance:
The holy gifts shine in them -
For people - goodwill,
Peace and truth are for the earth.
CHRISTMAS NIGHT
Olga Guzova
The snow falls white-white
to the hills and houses;
dressed in sparkle-frost
Old Russian winter.
The stillness of the blue river...
And you don’t need anything -
on the painted porch
Christmas is lurking.
Rock the cradle
and drive the clouds away...
All doubts will be debunked
that Christmas night.
BEFORE CHRISTMAS
Valentin Berestov
“And why are you, my stupid baby,
Nose pressed to the glass,
You sit in the dark and look
Into the empty frosty darkness?
Come with me there,
Where a star shines in the room,
Where with bright candles,
Balloons, gifts
The Christmas tree in the corner is decorated!” —
“No, soon a star will light up in the sky.
She will bring you here tonight
as soon as Christ is born
(Yes, yes, right to these places!
Yes, yes, right in this frost!),
Eastern kings, wise magicians,
To glorify the child Christ.
And I already saw shepherds through the window!
I know where the barn is! I know where the ox is!
And a donkey walked down our street!”
CHRISTMAS
Alexander Blok
A ringing bell strikes
The winter air awakens.
We work for a reason -
There will be a bright rest.
Light frost shines silver
Near the entrance,
Silver on blue
Clear firmament stars.
How transparent, snow-white
The sparkle of patterned windows!
How fluffy and softly tender
Your golden curl!
How thin you are in a red fur coat,
With a bow in your braid!
If you laugh, your lips will tremble,
Eyelashes will tremble.
You amuse all passersby -
Young and old
The ugly and the pretty
Fat and lean.
They will marvel, smile,
They'll trudge along,
It's almost like they're laughing
The children didn't see it.
The sisters will be happy with the dolls,
The brothers are asking for guns
And you don't need it at all
No toys.
You will decorate the Christmas tree yourself
The stars are golden
And tie it to a branch with a peg
The apples are big.
You throw beads on the Christmas tree,
Golden threads.
You will push apart the strong branches,
You shout: “Look!”
You will shout, you will raise a branch,
With thin hands...
And the old man is laughing there
With a white mustache!
CHRISTMAS
V. Prikhodko
The whole family this evening
Let's gather around the table.
Mom will say:
-Maybe candles
Let's light it up for the holiday?
Let's turn off the electricity
We'll do without him.
And we will solemnly decorate
Community dinner on Christmas Day.
Let the cheerful fire jump
Over a raspberry candle,
And the candlestick quietly cries
Stearic tear.
CHRISTMAS
Glows with lights
The Christmas tree is elegant.
I drink tea with sweets
Very chocolatey.
Jesus Nativity
Celebrating with mom
This holiday is joyful
And, of course, nice.
King of kings Jesus Christ
Born this night.
Like a little wanderer,
He huddled in a stable.
Christmas is wonderful!
The Son of God sleeps in a manger.
I'm very much into Jesus
I want to be like.
I will love all people
I will listen to my mother.
Jesus loves me
And He is the best!
WAITING FOR CHRISTMAS
N. Voronina
Soon, soon Christmas
If only I could hurry up -
There will be a celebration in the house,
The Christmas tree will sparkle!
They will prepare our outfits
For a wonderful holiday.
We will all be very happy
To the Heavenly Triumph.
On this cheerful, bright day -
Laughter and songs! A whole cartload
He will bring gifts for the children
Good Grandfather Frost!
And there's a calendar on the wall
Smiles strangely:
It's still October
The sadness never ends.
Soon, soon Christmas
If only I could hurry up -
There will be a celebration in the house,
The Christmas tree will sparkle!
CHRISTMAS
D. Popov
Winter day. A cherished holiday.
Let the January frost be angry, -
He's like a prankster in disguise,
He came to visit us again.
The doors swung wide open,
There was a lot of fuss.
Everyone who believes and does not believe,
They glorify the boy Christ.
The elders, straightening their shoulders,
They grunt approvingly.
Day and night twisted candles
They burn in front of the image.
It comes alive before our eyes
Russian fairy tales have magic.
Everything rejoices and plays -
Hello, holiday - Christmas!
CHRISTMAS TREE
Christmas tree!
What height!
Christmas tree!
What a beauty!
Toys hung -
lanterns, firecrackers,
colored tinsel...
And somewhere there on the tree,
among the sonorous toys,
there is a painted house.
That house is not easy!
A flashlight is burning above him,
and a golden ball
like the full moon.
A swarm of snowflakes is spinning,
the snow is silvering on the roof,
and quietly from the pipe
gray smoke swirls.
Let's look through the window,
squinting my eyes a little.
And we see, by the fireplace -
familiar old man,
in front of him is a large bag.
And in it there is a mountain of toys,
nesting dolls, rattles,
cars, dolls, clubs...
Football balls!
The Old Man counts them
picks up gifts
yes he sings songs...
Above the letters, under the lamp,
The Snowman bowed.
He serves as a postman
he is used to work.
He delivers the letters himself,
then reads them out loud...
And the Old Man to the guys
answers letters.
Work is in full swing.
Pleasant worries.
After all, Christmas is coming!
The fireplace is sparkling,
like a fairy bird
it’s already past midnight...
And in the morning, at dawn,
looking under the tree,
children will find gifts,
clasping his hands.
Best regards, admin Kotya! I hope your children will like the poems and you will enjoy reading them together!
During the shift, almost every day we have to unite children into teams, groups, and pairs. Consider the following options for combining children into teams.
This is probably one of the most famous and universal methods of division large group to teams. It is good because it requires almost no participation of the presenter and allows you to get rid of the dissatisfaction of the participants about the composition of the teams. The secret is that the participants themselves choose the composition of the teams. The presenter only controls the order of choice. So, from the group, according to the number of teams, several guys are selected. Each of them chooses one person for their team. Those who are chosen, in turn, choose the next ones. So, along the chain, it continues until all participants are chosen.
Zoo
All participants stand or sit in a circle. The leader, walking in a circle, speaks the name of an animal into everyone’s ear. As many commands as you want to make, so many types of animals need to be named. For example, if three teams are needed, then let the animals be a dog, a cat and a mouse. When everyone knows the animal they will represent, players need to unite into teams consisting of animals of the same species. An indispensable condition is that you cannot say anything out loud. You can imitate the behavior of “your” animal, make sounds characteristic of it, etc. Once the game is over, you will have the commands you need.
Magic colors
This type of division is similar to the previous one. But, instead of the names of the animals, the presenter draws a dot on each player’s forehead with a pencil (felt-tip pen) a certain color. When the dots are drawn for everyone, you need to, without saying a word, gather in teams by color.
A color is spoken into the first player's ear, for example red. The second player gets a different color, for example green. Then you say red again, and so on, alternating colors. After everyone has their own color, on the count of one-two-three, everyone must find their team by color. Depending on how many teams you need to divide the group into, that many colors are taken. For example, you name three colors if you need to create three teams, etc.
Molecules (Atoms and molecules)
every child is an atom. The presenter dictates the speed of the atom (from 1 to 3 (or up to 4-10, the more the more difficult)). All children accordingly begin to move at a given speed from a slow step (1st speed) to a fast step (3rd or 10th speed). As you know, atoms in a gas fill all the free space and, accordingly, children must go to the empty parts of the room. Periodically, the leader commands the molecules in twos (three, four...). Atoms combine into molecules and freeze... When the leader deems it necessary, he will name the molecules by “as many people as needed in the team” and receive his commands. Yes, atoms SHOULD NOT collide. This is one of the purposes of every atom.
The group moves chaotically around the room. The presenter shouts, “Let’s unite into groups of 3 (4.5, etc.) people. The rest should quickly unite, as was said, and hug tightly in groups. If after this the games need several micro groups, then you can call the right number right away.
All the players move randomly around the playing area, at this moment they are all “atoms”. Atoms can turn into molecules. There can be two in a molecule. and three. and five atoms (depending on how many commands are needed). Players playing at the command of the leader will need to create a “molecule”, i.e. multiple players will need to grapple with each other. If the presenter says “the reaction occurs in threes,” this means that three players - “atoms” - merge into one “molecule.”
Each player approaches the leader (or one of the leaders) and names a number. The presenter, after deliberation, sends him to one of the teams. In fact, the presenter does not perform any calculations, but distributes them wherever he wants. You can, for example, go through the multiplication table in your head so that it looks like you are calculating. The convenience is that the leader can make the commands he wants, and the children will think that the distribution is random. It makes sense to say that everyone should say different numbers.
Animals
The host whispers in each player's ear the name of one of n animals. Next are 2 options:
- You need to portray the animal that was whispered to you and form a team. (Here they often give a rabbit and a kangaroo among the animals)
- Needed with eyes closed make the sounds of this animal and again gather in teams.
Ribbons
Ribbons of the required number of colors are cut into the hat, everyone pulled out a ribbon... then, judging by the colors, they split up into teams.
Puzzle postcard
Several postcards (as many teams as needed) are cut into pieces (as many pieces as there will be people in the team). Everyone pulls out a piece of postcard. The first task is to get together as a team and collect your postcard.
Mixer
“Chips” are cut out of cardboard (as many as there are people in total). The “chip” has several parameters: color, shape, number on one side, design on the other side. Accordingly, people who pulled out these “chips” can be divided into teams in different ways (by color, by shape...). This makes it possible to change team compositions during one game. Which is especially convenient in team-building games.
Participants are counted from the first to the nth number, and n teams are formed accordingly.
Cone, Christmas tree, stick (You can choose any words)
The leader walks along the guys and lists “Pine cone, Christmas tree, stick...”, pointing at the guys. Accordingly, then “Cones” form the first team, “Christmas trees” - the second, and “Sticks” - the third.
You have five leaders. You announce that you will now be divided into five ship crews. The captains stand in a row and take turns recruiting their team. First boatswains, then pilots, radio operators, cooks, sailors. The last ones are the cabin boys. (Variations: tree (root, trunk, leaves, flower)).
Collect a postcard
Before the game, postcards are prepared according to the number of future teams. The organizer cuts one postcard into as many pieces as there should be people in one team. Having pre-mixed the cut cards, the presenter distributes them to the children. At the signal, the teams organize themselves by making pictures.
Same figure
A variety of figures are needed (circles, triangles, squares, etc.), the variety of figures depends on the required number of teams, the number of identical figures depends on the number of players in the team. The guys who choose the same figure form one team.
Paints
Multi-colored squares are required (these can be triangles, stars, etc.) The number of colors depends on the number of teams. The number of squares of the same color depends on the number of players in the team. The guys who choose the same color form one team.
Along the chain
Several people are selected according to the number of required teams. Each of them in turn is asked to choose a pair from among the remaining ones. Then two choose a third for their team, three choose a fourth, a fourth chooses a fifth, etc.
What's in a name?
Before the event, the presenter analyzes the children’s first and last names and invites them to form teams based on:
- number of letters in the name;
- the number of vowels or consonants in the name, etc.
With calendar sheet
All players are pinned to their chests with a piece of paper from the tear-off calendar. The sheets must be arranged so that the players can complete the tasks listed below.
- Assemble a team consisting of five identical days of the week (Tuesdays, Thursdays or Fridays, etc. - it doesn’t matter, the numbers don’t matter).
- Assemble a team consisting of all seven days of the week (the date and month do not matter).
- Gather so that the year 1982 is formed (or another, as directed by the leader).
Several people are selected according to the number of required teams. Each of them in turn is asked to choose a pair from among the remaining ones. Then two choose a third for their team, three choose a fourth, a fourth chooses a fifth, etc.
Call signs
First, the number of required commands is determined (for example, four). In advance before the game, names, words, numbers are written on a paper square: (“13”, “01”, “666”, “911”). We need to unite as quickly as possible and groups with the same name. To do this, having received a paper square and read the word written on it, you need to find the guys who have the same pieces of paper, and, shouting out this word, assemble your team.
The host tells each player in his ear what he needs to do (pinch, shake hands, click on the nose, etc.). The number of different actions depends on the number of commands. The players walk silently and look for members of their team based on their actions.
Atoms and molecules
All players move randomly, at this moment they are all “atoms”. As you know, atoms can turn into molecules. A molecule can have a different number of atoms. At the command of the “Molecule Three” leader, the players need to unite into groups of three people. The game can be repeated several times. IN last time the number of atoms in each molecule will depend on the number of groups required.
All year round
The presenter asks the children to unite in groups depending on the time of year. when they were born. This will result in four groups: winter, spring, summer, autumn
Chain
If you want to create groups of participants with established relationships, then the principle of division along a “chain” applies: you select as many people as you need teams, they (each next one) recruit the next ones, etc.
Mirror
For an arbitrary division, you can use a “mirror”: one participant turns his back, the counselor points at someone and asks the “mirror” which team to assign this person to.
In Advance: Choose a topic that will resonate with children, such as popular movie or television stars, musicians, songs, movies, or television shows. If you have senior group, then you can have a wider range of topics and more difficult elections. And so, let's use, for example, cartoon characters. Write the names of cartoon characters on small cards. Make sure titles are clear. Play: Make everyone turn away. Pin or tape or throw (if the card is hanging on a thread around their neck) cards with the name on their back (but so that they cannot see what is written). Everyone must now ask each other questions regarding their (the cards') character. The answers can only be “yes” or “no”. Once they guess what is written, they can place a card on the front to indicate that they have completed the task. It's the same great way divide into subgroups. With cartoons, you could have all the characters for different famous cartoons in groups.
Barnyard
Come up with the animals you want for the groups. Whisper the name of the farm animal into each child's ear. When given a signal, they must make the noise of that animal and find their family. You can also try doing this in the dark! Once the entire group has found its family, the next activity of this small group can immediately begin.
You can also give participants a “puzzle” - pictures or phrases cut into pieces. Those who collect their own phrase or picture will form a group.
Division into subgroups by word, movement, action
- name the days of the week, parts of the day, months, seasons and divide into microgroups;
- name 3-4 colors in a chain (repeating only them, for example: red, blue, green) and gather in a group of those who named the same color;
- Name 3-4 animals, plants, vehicles, etc. in a chain. and unite into appropriate groups;
- remember in chain 3-4 different movements(actions), repeating them in the same order.
Division into subgroups by subjects united by one name (attribute)
Invite each child to take one item and find from others an item that suits him. Children gather in small groups and clarify why they came together. For example, you distribute pictures of animals, birds and fish (6 pieces each). Each child takes one picture and finds who else has fish (birds, animals). Thus, we get 3 groups of 6 people. They can tell others why they got together (or others have to guess). The material you can use is:
- individual small items that can be combined by name or some characteristic into one group;
- geometric shapes, identical in color and size, but different in name (for example, 6 red circles, 6 red squares, 6 red triangles, etc.);
- geometric shapes that are the same in name and color, but different in size (for example, 6 large red triangles, 6 small red triangles, 6 small green squares);
- small toys or pictures depicting animals, birds, fish, insects, vehicles, etc.;
- dummies or silhouette images of vegetables, fruits, trees;
- household items: clothes, shoes, dishes, fabric.
- by color. One shape (circle, square) is cut out of colored paper, 5-7 pieces of each color, and distributed to the children. At a signal, groups of children with circles of the same color are assembled.
- based on fairy-tale characters. On separate pieces of paper they write the names of fairy-tale characters from several fairy tales and distribute one piece of paper to the children. Children gather according to fairy tales.
- by postcards. Several postcards (5-7, how many groups are needed) are cut into pieces (how many children will be in one group). Each child has one piece of postcard. We need to make a whole postcard. This will be the group.
The wind twists the lanterns
on the Fontanka River.
Sleep, children... Until dawn
a good angel is with you.
Begins witchcraft
prankster brownie.
Tomorrow will be Christmas
Tomorrow will be a holiday.
A gentle snow will fall
to the hole-tear.
It will be good
That will make me laugh.
Everyone will find something
in mittens and a hat.
And the neighbor Vaska the cat
will hide the scratches.
Ringing foil, like silver.
Pink bows.
Get rid of the paper! Away with the pen!
Boring dictations.
Flashing in the mirrors
Gossamer dresses.
A good needle loves
good records.
Let's have fun sharing
tangerine slices.
It will be joyful to circle
ballerina tree
They'll fly out of your hand
piano keys.
And the bubbles will dance
in my mother's glass.
That will be good!
There will be a lot of laughter.
Sleep, children. I went.
Good riddance to anxiety...
Translation
The wind turns the lights
on the river Fontanka.
Sleep Until dawn...
with you - a good angel.
Beginning witchcraft
brownie-monkey.
Tomorrow will be Christmas,
Tomorrow will be a holiday.
Lie the gentle snow
a hole is a hole.
That would be good
There would be laughter.
Everyone will find something
mittens and hat.
A neighbor Vaska the cat
hide DAC-scratchy.
Peal-foil like silver.
Pink bows.
Away paper! Away the pen!
Boring dictation.
Will flickered in the mirrors
dresses-webs.
Loves a good needle
good records.
Will be fun to share
the Mandarin slices.
Will be glad to circle
tree-dancer.
Will fly from under the hand
the piano keys.
And start dancing bubbles
in mom's glass.
That will be fine!
Laughter will be many.
Sleep, children. I went.
Cloth anxiety...
