No cultural country can be imagined without theater. And India is no exception. Therefore, when booking hotels in India, do not forget that in all Indian major cities you can get to see a theater performance. Moreover, the canons and style of Indian theater are very different from domestic dramas and comedies, and therefore no less interesting and even brilliant.
Theater came to India from Ancient Greece. Although many experts dispute this thesis, nevertheless, many features of Indian theater were inherent in Greek tragedies and comedies.
However, as in any other country, talented people were found in India who began to independently prepare scripts for Indian works. At the same time, local traditions and customs were put on a Greek basis.
At the dawn of the theater, only local rulers and very rich people could afford such luxury. Therefore, their servants became the first actors. With the spread of theater, professional actors also appeared.
As for Indian plays, they are quite diverse, although many of the rules for them remained common. The volume of the works was very different. Among Indian dramas you can find both small sketches and scenes lasting a few minutes, and large-scale works whose actions last for whole days.
Most Indian play directors and writers followed clear rules. There are several of them. First of all, regardless of the idea and plot, violence was not allowed on the stages. IN Ancient India There was enough of it without the theater, so it was not accepted to transfer scenes of cruelty to the theatrical stage.
The second rule, which was strictly observed, concerned the ending of the work. Therefore, you should not think that the happy ending of a play or film is an invention of Hollywood. It was known and used in ancient India several centuries BC. Therefore all Indian plays, both ancient and modern, strictly follow this rule. The plot may be tragic and even heartbreaking, but in the end everything will end well.
A special issue is the arrangement of the theater. Much attention was paid to this part of the theatrical performance. Costumes for the heroes were carefully selected. The most expensive material was used for them, and the decorations cost big money. Although the theatrical props were not the property of the actors.
The rules for staging Indian plays also applied to stage equipment. There were no screens or curtains between the audience and the actors. Therefore, when the actors entered the stage, they immediately caught the eye of the audience. There were also few sets in the Indian theater. And the abundance of props was replaced by increased gestures, facial expressions and dancing.
Interestingly, the Indian actors said almost nothing. All actions were expressed through gestures and dance. And the public could guess what was happening only by understanding the special symbols, which were expressed by gestures.
It is advisable to see Indian theater with your own eyes. This is a very interesting and fascinating spectacle.
One of the most ancient styles - bharat natya reached us thanks devasi – temple dancers who dedicated their lives to the deity. Over time, dance became a means of entertainment for the feudal aristocracy and the name “devasi” became synonymous with courtesan. The dance was a combination nritya(dance-story) and snritta(dance in its purest form). Then an interlude was performed ( paddam), in which the dancer conveys with gestures the content of a song performed in Sanskrit. The semantic polyphony of the interlude was born from the singer’s repetition of the same line, to which he gave different interpretations, and from the dancer’s various interpretations of the same text.
In the 15th century in Northern India there is a classic dance style Kathak. By that time, a state had emerged in which the Muslim conquerors had assimilated, giving impetus to the fusion of Muslim and Hindu art kathak was the result of the fusion of two cultures. The dance was performed in Persian costumes, but was a continuation of the legends about the love of Vadha and Krishna. Unlike bharat natyam, where the movements of the legs are synchronized with the movements of the arms and eyes, kathak built on improvisation. It is characterized by skillful foot movements, variety and complexity of rhythms. To test the dancer's skill, the drummer masks the main rhythm from time to time. In turn, the dancer strives to change her rhythm, trying to throw off the rhythm of the drummer. The play of rhythms ends with the general agreement of dance and rhythmic accompaniment, which is always accompanied by the delight of the audience.
In the 17th century Theater is born in South India Kathakali. A pantomime dance drama about gods and demons, their love and hate. The performance is given either in the temple courtyard or under open air. Its audience is the peasants of the surrounding villages, who leave their daily worries and affairs as soon as they hear the sound of the drum. The theatrical performance is given against the black background of the night. Characters in bright makeup - green, red and black - appear from the darkness and disappear into the darkness. Make-up and its design have a symbolic meaning, well known to the viewer.
Characters kathakali are divided into seven types: paccha– noble heroes; catty – arrogant and arrogant; redbeards- villains and ambitious people; white-bearded, most often these are advisers to the monkey king Hanuman - a noble and heroic image; blackbeards– forest people and hunters; kari – evil giantesses and female demons; minukku – sages, hermits, brahmins and women.
Mastery kathakali learned from childhood under the guidance of a guru. The actor learns to understand the inner essence of what he is portraying, be it a person, a flower or a bird.
As for theatrical theory, the first Sanskrit treatise on theater was the work of the ancient sage Bharata Natyashastra (Treatise on the Art of the Actor). Scientists date the appearance of the treatise to the 3rd–4th centuries. Until now, the rules established in this book remain the law for Indian actors of all generations.
According to the treatise, there are four main means of expression: angika,mudra,Wachika,aharya.Angika – a language of conventional gestures of the hands, fingers, lips, neck and feet. Thirteen movements of the head are prescribed, seven movements for the eyebrows, thirty-six for the eyes; six for the nose, six for the cheeks, seven for the chin, thirty-two for the legs. Various leg positions and various gaits are provided - stately gait, mincing or weaving, etc. Mudra - a gesture that has symbolic meaning. There are twenty-four basic gestures, each of which has over thirty different meanings. Wachika– diction, intonation and pace of speech that create a certain mood. Aharya – canonized color and details of costume and makeup. For the gods and heavenly maidens - orange makeup, for the sun and Brahma - golden, for the Himalayas and the Ganges - white. Demons and dwarfs wear horns - deer, ram or buffalo. People's makeup depends on their social status, caste affiliation. Representatives of the highest castes - Brahmins and Kshatriyas - have red makeup, Sudras - dark blue, kings - pale pink, hermits - purple.
Theatrical component sattvika- these are mental states conveyed by the actor (bhava), and the mood of the audience after what they saw on stage ( race). An actor must get used to the feelings of his character and be able to convey the subtlest experiences, for which he must master the acting technique. The ability to shed a tear, to show how the skin of the face tightens from the cold, how a shiver runs through the whole body from fear, i.e. masterful acting technique can evoke a certain mood in the viewer. The entire aesthetic concept of Indian performing arts is based on the teaching bhava And race. Literally, the word "rasa" means taste or taste, i.e. the mood that remains with the audience after the performance. Race There are nine kinds: erotic, comic, sad, angry, heroic, terrifying, disgusting, amazing, soothing. Each race denoted by a certain color: in order - transparent greenish, white, ash-gray, red, light orange, black, blue, yellow. Nine race match nine bhava, which in turn can be stable or transient.
Natyashastra written in a difficult-to-read archaic form and has been accompanied by many commentaries over the centuries.
In the second half of the 19th century. A new dramaturgy and a new dramatic theater are emerging in India. The first attempts to create a new dramaturgy belonged to the Bengali playwrights Dinobondhu Mitro, Modhushudon Dotto, Ramcharainou Tarkorotnu. Their works were distinguished by their social depth and anti-British orientation. At the same time, theater groups appeared in other provinces of the country. The formation of Hindi drama is associated with the name of Bharatendu Harishchandra, whose work combined the traditions of national and Western European drama.
The ideas of the national liberation struggle and the demand for independence are reflected in the works of S. Govindas ( Path of Service, Why suffer? and etc.). In the 1940s theatrical life countries has become significantly more active. The Association of People's Theaters of India is being created, the activities of which have had noticeable influence for development theatrical culture in the country. After independence was established in 1947, conditions for development were created in India, as traditional forms theatrical art and for dramatic theater. The Indian Academy of Music and Drama has been established, which conducts scientific work in the field of theater arts. The best works of world drama are staged in Indian theaters, including Shakespeare, Ibsen, Moliere, Turgenev, Gorky, and Chekhov.
THEATER OF CHINA
The basis of Chinese theater is music, which shaped classical musical drama Xiqu, which is still alive today. Since ancient times, the place of music in the state was secured by the first rulers of its important function in religious ritual. But before starting to create music, the creator had to hear it in the cosmic sounds of the universe, and then organize it according to the laws of the universe, established by the universe. The voices of the universe reached man when he listened to the sounds of the wind and the flow of rivers, the noise of trees and the singing of birds, observing the habits of animals and creating melodies and dances in tune with the rhythms of fusion qi Heaven and Earth.
Music, melody, vocal performance are the areas to which theater theory has paid the greatest attention. About 50 theatrical treatises, making up a 10-volume Collection of treatises on Chinese classical drama(1959 and 1982), wholly or partly devoted to music. And although music in the theater in the Chinese table of ranks represented a common, low form ( Su Yue- art as opposed to high ( I am Yue) ritual music, the theater itself never forgot its origins, often lamenting the loss of the music of ancient canons.
The origins of Chinese theatrical art originate in the shamanic rituals of the Shang era (1766–1122 BC). Already on the Yin bones (1st millennium BC) there is an image of hieroglyphs yu e(music) and at(dance). During the Zhou era (1027–1256 BC), religious ritual and palace festivals polished dance technique, developing a canon of stage movement. Even then, they distinguished between singing and dancing actors ( chan–yu) and jesters, actors and comedians ( pay - yu). Outside the walls of the palace, the theater sprang up in folk rituals and holidays. A tangible element of theatricality was present in the rituals, ceremonies, and pantomime dances associated with the cult of ancestor worship. T.N. “dead games” involved imitation of the deceased while depicting his deeds and feats of arms.
In the Han era (206 BC - 220 AD), folk music that accompanied the struggle of several participants gave a powerful impetus to the development of theater. This spectacle was included in the performance jiaodixi(butting, competition of strength), which in turn became part of baisi(one hundred games, one hundred performances). It was a constellation of circus genres, such as dance, acrobatics, sword swallowing, tightrope walking, fencing with tridents, battle axes, and pecks, in which Chinese artists are considered unsurpassed masters to this day.
During the same period, puppet theater was born. However, long before this, it became known about the Zhou master Yan-shi, who was skilled in carving dolls. His dolls could move to the music as if they were alive. But then dolls were part of the funeral ritual, accompanying the deceased in his transition to the Other World. Under the Han, the doll stepped onto the stage when puppeteers began to be invited to banquets in the houses of the nobility. Tang time (618–907) is a period of developed puppet theater, which was represented by puppets, water puppets performing on water, and leather dolls. The Song period (960–1279) is considered the golden age of puppet theater. Water puppet extravaganzas were especially popular. Boat theaters were equipped with machinery that worked wonders: the water element gave birth to and absorbed giant fish and water dragons. Actor-puppeteers hid in the water, quietly controlling the movement of the puppets. The extensive puppet repertoire and technical capabilities of puppet artists undoubtedly attracted the attention of the live actor theater, which was only gaining strength. However, the influence of puppet theater on the art of the latter was not as significant as the influence of puppets on the art of Kabuki actors in Japan. A process was maturing in the Chinese theater that led to the birth of the actor's individuality as an aesthetic value of the theater. This required internal mobility in the emotional sphere of acting. At this point, the living actor separated from the doll. In the 18th century theatrical theory has already pointed to static tightness as a vice that turns an actor into a doll.
The Tang era was marked by the growth of cities and crafts, and the expansion of trade relations with the states of Central Asia and India. The influence of Buddhism on literature, painting, music and, of course, theatrical art strengthened. At court, dances based on Buddhist themes were very popular. One of them Rainbow Feather Dress – about a beautiful celestial fairy. A dramatic form also developed, based on small plays-dialogues of comedic and satirical content. canjun xi(games about Cangjun). The first roles appear in them - a resourceful wit Canjun and his partner collet. Over time, spoken dialogues began to be interspersed with singing and dancing. During the Tang period, a professional theater was born, called the “Pear Orchard,” because in the pear orchard of the imperial palace they began to teach children acting.
During the Song period, already known dramatic forms and performances of folk storytellers with singing to musical accompaniment continued to be improved. Regional types of theater are beginning to take shape - northern, based on the northern, sharp, strict sound of the melody, and southern, with a soft, smooth flow of melody. The texts of the plays have been lost, leaving us with a list of 200 titles. Among them – historical and everyday life Song Chuang Tzu, love Sima Xiangru and Wenjun, About Ying-ying etc. City stationary booth theaters appeared for the common people and theaters with a room behind the stage and an auditorium for wealthy audiences.
The Yuan period (1280–1367) was the time of the conquest of China by the Mongols, who oppressed not only the common people, but also the educated and respected sections of the population. The common feeling of national humiliation brought the highly educated closer to the life of ordinary people and helped them understand their troubles and needs. During the period of Mongol rule, theater became very popular in society, which contributed to the birth of Yuan drama, a significant phenomenon in the history of Chinese drama. Yuan drama is built on the northern type of melodies and is characterized by a four-part composition. Gradually, there was a rapprochement between northern and southern melodies, which created the preconditions for the creation of a national theater in the future.
An outstanding playwright of Yuan drama was Guan Hanqing (b. c. 1230–died c. 1300). One of the most famous plays Resentment Doe E about the innocent death of a young widow who took on someone else’s guilt. Her emotional depth influenced the improvement of the acting skills of female roles. The play has been preserved in the repertoire of today's theater.
The Ming era (1368–1644) is the time of the heyday of Chinese culture, its maximum achievements in the field of theater. This time was marked by the birth and rise of theater kunqu. Originating in rural areas, it quickly moved to large cultural centers, where he attracted the attention of professional writers and musicians. One of them was a singer and musician, Wei Liangfu, who combined the features of the northern and southern vocal schools, expanded the composition of the orchestra, thanks to which new Kunshan melodies and a new style musical accompaniment.
Tang Xianzu (1550–1616), a playwright and theorist, reformer of drama and theatrical art, essayist and literary critic, is rightfully considered an outstanding phenomenon not only of theater, but also of culture as a whole of that period. He created four voluminous dramatic works under the general title Four Dreams in Linchuan or Four Dreams from the Hall of the Beautiful Tea Bush(note: Linchuan is the playwright’s birthplace; “The Hall of the Beautiful Tea Bush” is the motto of the playwright’s study room, which he traditionally chose himself). Peony gazebo- an outstanding work of the playwright. It was a song of love and the omnipotence of feeling. The heroine is ready to die, but not to live without love. As a theorist, Tang Xianzu believed feeling to be the main criterion of acting.
The rise of drama kunqu influenced the improvement of acting art. This is confirmed by the rapid development of theater theory. By the end of the 17th century. kunqu reached the peak of his popularity, conquered the capital's public, settling at the court of the emperor. Focusing on the aristocracy, kunqu loses mass audience. In the 18th century theater for the elite gives way to common folk melodies that bring to the stage jingxi(Capital Drama or Peking Opera).
A feature of the new melodies was a clear rhythm, which determined the tense development of the action and the abundance of battle scenes, which accordingly made actors skilled in martial arts techniques popular. New theater borrowed repertoire kunqu, expanding it by creating cycles of plays based on famous epic novels: Three Kingdoms, River backwaters, Journey to the West. Play-serials became fashionable and ran for several days in a row, ending each time at the most interesting episode.
From the middle of the 19th century. Capital drama has become the most popular theatrical genre, in which two streams have merged that have nourished Chinese theatrical art since ancient times: courtly, graceful, presented kunqu and “florid, mixed”, associated with the art of common local theaters. It did jingxi a national theater, popular in its homeland and famous abroad. His fame consists of a galaxy of remarkable performers: Zhou Xinfang (1895–1966) – a performer of male roles of a heroic nature, who combined in his art the techniques of various male roles; Mei Lanfang (1894–1961) – reformer and outstanding performer female heroines, which combined several female roles that brought the Chinese actor world fame; Cheng Yanqiu (1904–1958) is a performer of female roles who created an original school of vocal art.
There are four main roles in Beijing Opera: sheng(hero), tribute(heroine), ching(male character, so-called “painted face” ( Hualien) And chow(comedian). Since the 16th-17th centuries. With the development of dramaturgy, the role became more detailed: sheng began to distinguish xiaosheng(young hero) laosheng(elderly hero) wusheng(military hero, commander); the female role differentiated laodan(elderly heroines), Qingyi(“women in blue robes”, virtuous, modest heroines), their antipode was huadan(“a girl in a colorful outfit”), usually the mistress’s servant-servant. The abundance of battle scenes made the sub-role popular udan(women fencers) and daomadan(female riders). The role of “painted faces” is a male positive or negative character, who can be civilian or military. Chow– comic supporting role or “little painted face”, could be military or civilian characters. Until the middle of the 20th century. all female roles were performed by men, but there were also female troupes where women performed male parts. Mixed troupes appeared only in the 20th century.
Makeup. With the exception of the role of “painted faces,” makeup served only as a means of makeup. For female roles, it had an erotic character, emphasizing the fullness of the lips and the beauty of the eyes. The hairstyle and head decorations served the same purpose. “Clouds of hair” arranged in buns were held in place by beautifully finished hairpins. The hairpin in China was considered a symbol of the woman herself; lovers exchanged hairpins.
Makeup Hualien often called a mask, although the mask itself is quite rare in Chinese theater. The actor has been learning the art of makeup since childhood and masters it masterfully. The color scheme is regulated and has a symbolic meaning: red - loyalty and honesty, white - deceit, black - courage, purple - composure, blue and green - cruelty and obstinacy. Gold and silver paints - for werewolves and celestials, etc. The makeup ornament is also symbolic: a green monogram on the bridge of the nose in the form of a stylized bat signifies the hero’s courage and cruelty; a black shadow near the eyes, making them look like the eyes of the mythical phoenix bird, wide eyebrows indicate the hero’s readiness to take advantage of the fullness of power.
The stage space and acting skills were symbolic. The square of the stage symbolized the Earth, and the actor’s movement along oval trajectories symbolized the Sky. This gives the stage action a cosmic scale, allowing the actor to move freely in the spaces of earth and heaven. The conventions accepted by the theater and understandable to the viewer make the stage language more capacious and expressive: having taken a conventional step, the hero goes outside the house; climbing onto the table, he finds himself on a hill; wave the whip - and everyone knows that the hero is racing on a horse; two try to feel for each other and miss on the illuminated stage - everyone guesses that it is happening in the dark.
The canonization of character assigned certain expressive means to the role. More than twenty ways of laughter are known. Any gesture is reproduced by the actor with rounded movements, in which one can discern the influence of the graceful school kunqu. The movements of the arm and hand are very diverse: a thinking hand, a prohibiting hand, a helpless hand, etc. There are many options for the stage step: a flying step for celestials, “flowery castanets” – a step for huadan etc.
Depending on the level of skill, theatrical theory distinguishes brilliant, perfect actors ( Miao), divine ( Shen), beautiful, beautiful ( May), skilled ( Nan).
After 1949 traditional theater underwent theatrical reform, with the goal of modernizing the repertoire and adapting it to modern ideological tasks. T.N. The “cultural revolution” that shook the country in the second half of the 1970s caused irreparable damage to traditional theatrical art. It took years to restore the theater. Currently, traditional theater is no longer so popular in its homeland.
At the beginning of the 20th century. A dramatic theater emerged that turned to the experience of European theater. The date of birth is considered to be 1907, when Chinese students studying in Japan organized the Spring Willow troupe. It lasted only two years. Also in 1907, the “Spring Sun” troupe was created. They staged such performances as The Tale of the Lost Soul of an Opium Smoker, Uncle Tom's Cabin- dramatization of the Beecher Stowe novel, New lady with camellias, Better come back, Second Miss Chen etc. All performances were an eclectic combination of national theatrical traditions with European ones, although there were attempts to stage purely dramatic performances.
In the 1920s and 1930s, the number of amateur troupes grew; A theater society is being created in Beijing " New China", which had a positive impact on the training of actors and directors. In the 1940s and 1950s, the drama theater became capable of staging plays by world drama - Shakespeare, Chekhov, Ibsen, Gorky.
After the Cultural Revolution, the drama theater gradually regained its strength. New young playwrights have emerged, creating works on current topics.
THEATER OF JAPAN
Japanese culture is the culture of the Way (Chinese). Tao, Japanese Before), therefore different types of arts were designated by the word “Path”. So the Way of the Noh Theater - Nogaduko. To follow the Path means to follow the Universal Law, and in this the Japanese theater is no different from the theater of China, from where hieroglyphics, Confucian classics, and the Buddhist canon came to Japan. But having learned foreign things well, Japan assimilated them from a Japanese point of view. This is how the formula of Japanese culture arose - “ wakon kansai"("Japanese soul - Chinese knowledge").
In the 7th–8th centuries. Actors from Korea and China appeared in Japan, who gave impetus to the birth of two theatrical forms - gigaku And bugaku.
Gigaku(acting art) - a song and dance form with musical accompaniment and stage acting. The performers wore masks, which have survived to this day.
Bugaku(dance and music), in its content the form resembles baisi(one hundred games) of Chinese theater: dancing interspersed with sword fighting; the dance “Ball Game” imitated the popular Japanese ball game, which came from China and its participants were on horseback; dragon dance; dance of fantastic birds; dance scenes with characters from the Indian pantheon of gods were performed.
The birth of Noh theater (“skill”) has its own background. Its origins can be traced to the solar cult of the goddess Uzume, in whose honor mysteries were held under the sacred pine tree of the Shinto shrine in the ancient capital of Japan, the city of Nara. It is this pine tree that is depicted on the backdrop of the stage in the Noh theater.
The actual history of the theater begins in the 13th century. and by the middle of the 14th century. he reaches his peak. This coincides with the Kamakura era (1192–1333), whose worldview represented a fusion of Buddhist beliefs, Shinto mythology, Chinese Taoism and Confucian ethics. It is believed that the Noh theater created traveling mimes sarugaku-hoshi(“action, theater of monks”), whose art was popular already in the 8th century. In the 11th century they acted out farcical scenes based on improvisation and including short comic dialogues or monologues. Due to their popularity, monasteries began to provide their patronage, inviting actors to perform on holiday services. In the 12th century these performances already included a song and dance prayer play Okina (Elder), which later became part of the Noh theater repertoire. In the 13th century plays sarugaku got the name no-kyogen (kyogen- Obsession with speaking).
A new stage in the history of Japanese theater was opened by the work of Kanami Kiyotsugu (1333–1384), an actor and playwright. He created a full-fledged author's drama and new performance. In the art of acting, Kanami placed above all else the ability to “imitate” ( monomane), which introduced the principle of stylization into the dance, turning it into a pantomime dance and subordinating the stage movement to a strict musical rhythm. It was then that he realized the meaning of the principle Yugen, which was used by actors to denote the beauty of the spectacle. Later Yugen has become one of the main categories of Japanese aesthetics, meaning “the beauty of the hidden.” As a playwright he created new type drama, acutely conflicting, full of internal tension, in contrast to the earlier narrative-illustrative plays of Noh. In his drama Sotoba Komachi the image of a half-mad, obsessed hero appears, expressing the extreme degree of human suffering. From this time the history of national drama begins. In the 19th century Noh drama is called "yokyoku". Noh drama in the Muromachi era (1333–1573) took on Buddhist tones under the influence of the spread of the Zen Buddhist sect. Representation But were very popular at that time not only among ordinary spectators, but also attracted the attention of the shogun, who took the Noh troupe under his protection. This contributed to the development of acting skills and the actors’ trips to the provinces, which expanded the circle of their admirers. An outstanding actor of that period was Zeami. He expanded the themes of Noh drama, orienting the plays to the tastes of the samurai class. Zeami creates a series of plays about the legendary warriors from the Taira and Minamoto clans who led in the 12th century. bloody struggle for power.
In the Edo era (1617–1868), the best Noh troupes moved to Edo (Tokyo) and by special decrees of the authorities, Noh art turned into a “ceremonial theater” of the ruling class. The performance was given the character of a ritual magical performance. They began to pay more attention to playing technique. All elements of stage action - stage, props, costumes, masks, gestures, dance, intonation - were strictly regulated. Noh dramaturgy had a great influence on puppet show and the emerging Kabuki theater. The further history of the Noh drama is the history of its stage life.
In the drama But from three to five characters. Main character site(“actor”), this is the name of the role. Second character - waki(“side”) is also a role; the hero’s story is addressed to him, he shows interest in it and expresses sympathy. Tsure(“companion”) accompanies the main character in his vicissitudes. Waki – zure(“side companion”) shares the fate of the second character. Some dramas have a character kokata(“child”) for the roles of children, emperors or military rulers. The custom of playing emperors with a boy actor was established in the 14th century. due to the ban on reproducing imperial figures on stage. The play has five plot moves ( Danov), each of which is accompanied by a special melody. The acting is canonized and brought to formal perfection. Stage movement consists of 250 simple basic movements - kata and includes the canonized technique of gait, dance movements, poses, playing with a fan, movement of the arms, shoulders, etc. The pattern of the role is given, the actor must fulfill everything that the role and the mask prescribe.
The mask in Noh theater plays an important role, creating a special charm of the game, based on the expressiveness and spirituality of the gesture while the face is still. Only the first actor wears a mask and sometimes tsure(if it's a woman). There are four categories of masks: elders, warriors, women and demons. Each mask can have options - a mask of a beauty, a fairy, a fading woman, a terrifying spirit of jealousy. The masks are made of cypress, small in size, they do not cover the entire face with narrow slits for the eyes, which corresponds to the aesthetic ideal: it was considered beautiful to have a small head with a massive body. Women's masks had high foreheads, and eyebrows were drawn at the roots of the hair. On the mask, a frozen half-smile in special lighting created the impression of a change in mood, a certain mystery hidden in the “half-expression” of the mask-face. The ability to wear a mask is used to judge the actor’s skill and his achievement of “hidden beauty” ( Yugen).
The stage of the Noh theater, smooth to a mirror shine, is made of Japanese cypress. Platform 6ґ 6 is extended into the auditorium along with the adjacent under acute angle platform ( hashigakarki).
The color of the suit symbolically denotes the character’s mood, his social status, and age. The most noble color is white, red - for the costumes of deities, noble persons, and beauties. The belt, woven with flowers with small red petals, hints at the old woman's former beauty.
In modern Japan, Noh theater attracts the interest of an elite audience.
Kabuki theater originated in 1603, the first year of the Tokugawa era, which ended the era of Japanese feudalism. The growth of cities as trading centers and the emergence of new trading classes created the conditions for new forms in literature, painting and theater. The emerging bourgeoisie wanted to see a reflection of their tastes and aspirations in the theater. The birth of Kabuki is associated with the name of the dancer Okuni from the Shinto shrine. Her troupe, consisting of lively and attractive girls, performed songs and scenes of erotic content, which immediately attracted the attention of the public to them. Perhaps this is where the name of the theater comes from: the verb “ kabuku" means "to deviate", "to go out of the ordinary." Kabuki of the Courtesans was later banned by the authorities due to fears of spreading immorality. To replace women's kabuki The “Kabuki of Youths” came, which contributed to the spread of male prostitution. In 1652, by a special decree, young men were prohibited from performing in Kabuki. Prohibitive measures failed to curb development popular genre, although the regulation of the stage and everyday life of theater troupes and actors was very strict.
Development Kabuki is closely connected with the successes of puppet theater and musical and song storytelling. joruri. Puppet shows were brought to Japan from China as early as the 7th century, but puppet theater developed only in the 16th century. Then they began to voice performances using legends joruri, and the plots were taken from the repertoire of the Noh theater. Over time, the new direction received the name joruri, and from the end of the 19th century. the second name came into use Bunraku, when the main puppet theater “Bunraku ku-za” opened in Osaka. The emerging Kabuki begins to borrow the repertoire and imitate puppet actors in its play. At the end of the 17th century. singer-storyteller Takemoto Gidayu created a new style of performance joruri, which has been preserved in modern puppet theater. Chikamatsu Monzaemon (1653–1724) is rightfully considered the great Kabuki playwright. He wrote one hundred and thirty plays, of which more than thirty were for his idol, actor and director Sakata Tojuro (1647–1709). Among the most famous plays Sonezaki Lovers' Suicide, which is based on a true story. He also wrote for the puppet theater, especially after Gidayu became its head. By the 18th century Kabuki created his own own style execution and reached the pinnacle of its development. Kabuki troupes were grouped in two large centers - Edo (Tokyo) and Osaka-Kyoto, which left an imprint on the style of drama and stage performance: in Edo, the service class preferred samurai drama with duels and battles, and the style of acting was formed accordingly Aragoto(“sharp, rude style”). The merchants and artisans inhabiting Osaka-Kyota were lovers of sentimental drama, which formed an elegantly romantic style vagoto(“peaceful style”). Until the middle of the 19th century. Kabuki completely owns the hearts of his viewers. After the Meiji Revolution in Japan, the time came for modernization and Westernization. Kabuki begins to be perceived as an anachronism, so it tries to overcome the cooling of the public. By the end of the 19th century. the theater manages to regain the love of the audience thanks to attempts to reform it. The famous actors Ichikawa Donjura the Ninth (1838–1903), Onoe Kikugoro the Fifth (1844–1903) made great contributions. They updated the repertoire and tried to make the action more realistic. After their passing, the matter remained unfinished. In the second half of the 20th century. Kabuki has regained a mass audience, but this is an educated audience with a refined taste.
The artistic canon of Kabuki is as strict as that of Noh theater. The modern Kabuki viewer finds himself in a different historical dimension. The action begins with the clatter of wooden mallets. A man in black appears on stage ( Kurogo) - assistant actor on stage. A platform stretches from the left edge of the stage into the hall Hanamichi(“flower road”), on which favorite actors received offerings and gifts from their fans. Later the platform expanded the location of the stage action. In 1758, a rotating stage appeared in the Kabuki theater. If necessary, part of the stage could be raised.
Role. Male roles: tatiyaku – noble hero, which is divided into three types: itsugoto– sage, Aragoto– warrior, vagoto- lover Hero; villains katakiyaku are divided into “real villains” ( jitsuaku), aristocratic villains ( kugeaku), insidious seducers ( iroaku). Comic characters of two types: positive ( dokakata) and negative ( khan dokataki). The most famous is the female role ( onnagata). These roles are filled by men. Entire dynasties existed famous performers female leads such as Nakamura Utaemon and Onoe Baiko. Roles onnagata divided into the roles of courtesans; girls from a noble family; noble wives; women who master the art of sword fighting; harmful women.
Makeup (kumadori) is specific to each role. Men's makeup involves applying colored lines to the face, each of which has a symbolic meaning: red indicates courage, kindness and passion of nature, blue indicates malice and cowardice. Onnagata they whiten the face and hands, and then apply makeup, exaggerating its color intensity.
Stage techniques as in No are called kata. They are strictly fixed and learn them from childhood. Particularly spectacular are battle and acrobatic techniques, for example, a somersault in a jump or instantly pulling off a suit, revealing another suit underneath. A special aesthetic effect is achieved by the pose mie, i.e. fixed pose at the climax of the action. Sometimes mie There are multi-figured ones, causing the delight of the audience.
Acting lies largely outside the scope of stage speech. Its quintessence is in stage movement, in which the actor follows the pictorial principle, in other words, this or that pose mie should resemble a famous painting. Performing arts Kabuki, like his acting, is aimed at achieving a single goal, which the great Chikamatsu formulated as the desire to be “on the verge of truth and fiction.”
At the beginning of the 20th century. New trends associated with the influence of Western dramatic theater are being born in Japanese theater. An eclectic genre arose earlier than others Shingeki(“New School Theatre”), which combined Kabuki techniques with elements of Western drama. The creator of this style was the famous theatrical figure Kawakami Otojiro (1846–1911). In 1900, Kawakami and a small troupe toured Europe, visiting Russia. It so happened that supposedly Kabuki came to Europe earlier than real Kabuki. But the first actress, Kawakami's wife Sada Yakko, made a great impression on the European public. Her performance was appreciated by Stanislavsky and the young Meyerhold.
The Gekidan Shimpa (New Simpa Theater) troupe worked in the same direction. Kabuki techniques, for example, mie were adjacent to the European style of play. A famous play was the drama by Kawaguchi Matsutaro (1899–1985) Meiji woman, based on a true crime story. In 1911, the Literary and Artistic Society staged the first “Western play” Hamlet. Later, the classics of Western drama reigned on the stage: Ibsen, Chekhov, Strindberg, Gorky. In the 1950s, plays by Mishima Yukio (1925–1970) were produced on Broadway under the general title Modern Noh Theater, which were interpretations of classical stories.
Beginning in the 1960s, theater troupes emerged, grouped around a single playwright. The name Abe Kobo has become almost iconic. His works are intended for chamber audiences, but his play Ghosts Among Us It was also performed in large theater halls.
In the 1970s and 1980s, over 40 troupes worked in Japan Shingeki.
Svetlana Serova
Literature:
Konrad N.I. Noh Theater. – In the collection: About the theater, L., 1926
Konrad N.I. Japanese theater. M. – L. 1928
Zhou Yibai. Zhongguo Xiqu Changbian. Beijing, 1960
Balwant Gargi. Theater and dance of India. M., 1963
Babkina M.P., Potabenko S.I. People's Theater of India. M., 1964
"Theater and Drama of Japan"" – In collection: M., 1965
Alekseev V.M. Chinese folk painting. M., 1966
M. Gunji. Japanese Kabuki Theater. M., 1969
Serova S.A. Beijing musical drama. M., 1970
Gaida I.V. Chinese traditional theater Xiqu. M., 1971
Alikhanova Yu.M. Theater of Ancient India. – In the book: Culture of Ancient India, 1975
Serova S.A. “The Mirror of the Enlightened Spirit” by Huang Fancho and the aesthetics of Chinese classical theater. M., 1979
YOKYOKU – Classic Japanese drama. M., 1979
Anarina N.G. Japanese Noh theater. M., 1984
Alikhanova Yu.M. On the history of the ancient Indian concept of “race”. – In the book: Archaic ritual of folklore and early literary monuments. M., 1987
Grintser P.A. Main categories of classical Indian poetics. M., 1987
Serova S.A. Chinese theater and traditional Chinese society (16th-17th centuries). M., 1990
Japanese theater. St. Petersburg, 2000
The performing arts of India originated during the 2nd century BC. - 1st century AD, reaching the peak of its development by the 10th century AD. At this time, hundreds of plays were created, later recognized as classics of Indian theater. After the 10th century, with the arrival of Islamic conquerors in India, classical theater fell into decline. Theater productions continue to exist in primitive form in remote corners of the countryside. During the period XV-XIX centuries. There is a revival of theatrical art. In the middle of the 19th century. The theater stage becomes a means of fighting against British colonial rule, which prompts the British to introduce strict control over theatrical activities in India, prohibiting productions with political content and allowing only classical dramas. Since India's independence in 1947, theaters have sprung up unchecked across the country, becoming an important part of the entertainment industry.
Indian performing arts are divided into three forms: classical Sanskrit drama, traditional folk theater and modern theatre.
Classical Sanskrit drama
Indian classical Sanskrit drama
- one of the oldest forms of theatrical art, which began to actively develop in the 1st century. AD About existence Sanskrit drama such ancient times are evidenced by such authoritative sources as: “Natya Shastra” - a treatise on theatrical art, compiled by Bharata Muni (IV century BC - IV century AD) and “Mahabhashya” - a commentary on Indian grammar , belonging to Patanjali (2nd century BC).
Indian drama is an achievement supreme perfection Indian literature. It is constructed in such a way as to evoke in the viewer strong emotional experiences associated with the character and actions of the heroes. Some characters evoke a feeling of admiration and awe, others, on the contrary, disgust, and still others evoke laughter and fun. Characters Sanskrit drama clearly divided by social status.
There are two types of plays in Indian drama: lokadharmi, where the characters are presented realistically and natyadharmi is a stylized drama that uses sign language.
The first playwright to write in Sanskrit is considered to be Ashvaghosha (2nd century AD). This educated and talented man preached the philosophy of Buddhism through his works. Ashvaghosa's three famous poems are Buddhacarita, Soundarananda and the drama Sharinutrakarana.
But the most significant figure in Indian drama is the poet Kalidasa (IV-V centuries), who composed plays in Sanskrit, based on stories from the Puranas. The most famous works of Kalidasa are the dramas “Malavikagnimitram”, “Vikramorvashi”, “Abhijnana-Shakuntala”. The main plot in them is the love of the hero and heroine. Having overcome multiple obstacles, the lovers are rewarded with the opportunity to reunite with each other.
Kalidasa
Another important personality is the Sanskrit playwright Bhavabhuti (8th century). Of the author’s numerous works, only three dramas have survived: “Mahaviracharita” (about the heroic life of Rama), “Malatimadhava” (Love Story) and “Uttaramacharita” (The Further Life of Rama).
According to the research of Indologist Dasharadh Sharma (1903-1976), both of the latter playwrights, when writing their works, relied on texts from the Arthashastra (an ancient Indian political and economic treatise, the compiler of which is considered to be Kautilya, the chief adviser to Emperor Chandragupta Maurya (321-297 BC). e.)). In their works, there is a clear parallel in the actions and policies of the heroes. Moreover, Bhavabhuti uses words and ideas from the Arthashastra in his romantic play Malatimadhava.
It is also impossible not to mention the North Indian ruler Harsha (606-647 reign) from the Pushyabhuti family, who is credited with the authorship of the plays “Ratnavali”, “Priyadarshika” and “Nagananda”, as well as the poets Shudraka and Bhasa, who wrote many plays in Sanskrit.
Sanskrit drama, which originated in India in ancient times, has become one of the forms of art that reflects all the realities of life without embellishment. Later it was complemented by classical dance. The combination of music, gestures and dance allowed Indian drama to gain a new facet and transform into classical dance drama.
Classical dance drama
This new direction conveyed all the beauty of life, relying on divine examples given in ancient epics. Notable examples of Indian classical dance drama are: kudiattom, krishnanattom, ramanattom and kathakali (). Also, almost all classical dances of India can be classified as dance drama, since today they are a theatrical musical performance that tells the story of the love relationship of the hero and heroine.
Traditional folk theater
Indian traditional folk theater
, clearly formed in the Middle Ages, is a synthesis classical drama and free improvised performances based on historical events, as well as themes from the Puranas and epics. Folk theater reflects the thoughts, ideas and emotions of ordinary people. In fact, traditional folk theater can be divided into performances of a religious and secular nature. The first ones serve to preach religious, moral values and, in fact, are reflections on the meaning of life. The purpose of the second is entertainment.
Important place In Indian folk theater, song plays a vital role.
Traditional folk theater in India is amazingly diverse. Each state of the multinational country is represented by vibrant spectacular performances that reflect local morals and customs. But they are all united by the realism of life, love, virtue and vice, often embellished with a romantic idea.
Nautanki is one of the most popular comedy and musical theater performances in northern India. Storylines nautanki based on folk tales, stories about legendary heroes and epic tales. Folk music, singing and dancing are intertwined in nautanki. Performances are performed as if in language Hindi, and on Urdu. Before the advent of the film industry, performances nautanki were a very common means of entertainment in all cities and villages of northern India. According to tradition, the performance nautanki begins late in the evening and lasts without interruption all night until dawn. There are also short versions performances lasting about two hours on modern social topics, such as family problems, health care and feminization (women's emancipation).
Nautanki
Swang/saang is a form of dance and musical theater common in Haryana, Uttar Pradesh, Rajasthan and Madhya Pradesh. Actually swang very similar to nautanki. There are only minor differences. Nautanki- This is a purely comedic form of performance. While in Swange There is both satire and heroic romance. Representation swang captivate with their extensive repertoire of folk songs and dances. Traditionally, all roles are played by men. To create the appropriate atmosphere, a concert begins an hour before the performance, priming the audience for the performance.
Bhand pater is the form folk theater, distributed throughout the state of Jammu and Kashmir. Subjects bhand pater are based on mythological stories and traditions of the region and are mainly satirical in nature. The performances clearly show elements of Kashmir Shaivism and the traditions of Kashmir Sufism. But the main storyline is the opposition of the local population to foreign conquerors. Although the theme of the production revolves around ancient stories of kings, modern social themes are also introduced into it. The main language of the actors in performances bhand pater is Kashmiri .
But in order to emphasize humorously absurd situations and highlight incompatible expressions, the productions also use Punjabi, Gujari, Dogri, Farsi and English languages. To portray animals in plays bhand pater the actors dress in bulky costumes and wear masks.
Bhand pater
Yatra — popular form traditional folk song theater, spread from West Bengal and Orissa to Assam, Tripura and Bihar. In the IX-XII centuries. this musical performance was spread throughout Bengal (present-day West Bengal and Bangladesh) under the name Charya. Later in the 16th century. during the bhakti movement, Charya became known as yatra(a religious procession of preachers) and was of a religious and preaching nature. But already in the 19th century. the content of the performances became morally instructive. And in the twentieth century yatra transformed into an ordinary entertainment performance lasting four hours, preceded by a lengthy musical introduction. Today, the themes of the performances are extensive and include traditional epic and puranic tales, historical legends and local folklore. Traditionally in yatra all roles were played by men, but from the 19th century. Women began to join the male troupes. Nowadays, all modern means are used to create vivid effects in productions.
Yatra
Much is a traditional folk theater in Madhya Pradesh. This is a relatively young form of folk theater that arose in late XVIII- early 19th century Much was developed famous actors of that time, such as Guru Gopalji and Kaluram Ustad. They not only wrote the scripts, but also directed the performances. Much traditionally performed by men. Performances are performed in Hindi. Subjects of performances mach is extensive and touches on religious, historical and social issues.
Tamasha- a musical and dance theatrical form that arose in the 16th century. in Maharashtra. The heart of all performances Tamasha are love songs called Lavani, which are complemented by traditional dances. In addition to dancing in performances Tamasha acrobatic performances also predominate.
Tamasha
Yakshagana is a form of traditional dance drama that arose in the 16th-17th centuries. in Karnataka. Term yakshagana literally means "song of the spirits of nature" and combines various forms of dance drama such as aata, Bayalata, kelike And dasavatara. Yakshagana formed from the folk music, dance and theater of Karnataka during the South Indian Bhakti movement. Since Bhakti or Vaishnavism popularizes religion through simple theatrical productions, yakshagana rapidly gained recognition throughout southern India. Plots Yakshagana are episodes from the Mahabharata, Ramayana and Puranas. According to tradition, the performance begins at nightfall. The actors' appearance on stage is preceded by a long (about an hour) musical overture. All roles are performed exclusively by men. The acting is accompanied by the singing of the narrator (bhagavathi). The constant character of all performances is the jester, called kodangi. The amazing costumes and makeup of the actors create a special mood, immersing the audience in the wonderful world of imagination.
Terukkuttu is a form of ritual street theater common in Tamil Nadu and neighboring Sri Lanka. The performances are in Tamil. Terukkuttu brings together music, dance and drama. The topics of the performances are extensive. But basically, all the storylines are based on stories from the Mahabharata, more precisely those parts of the epic where Draupadi is the central figure. At the annual Maryamman festival, dedicated to the rain goddess of the same name, plays from the Ramayana are performed.
Moudiettu is a traditional ritual theater in the state of Kerala, performances of which take place only in temples dedicated to the goddess Kali. The performances depict the battle between the goddess Bhadrakali and the asura Darika, in which the former wins. These ritual performances take place after the harvest, between February and May. The performance itself begins at an auspicious time and lasts 41 days.
Traditional Indian folk puppet theater
Puppet theater (Indian puppet theater) is one of the oldest species entertainment in India, especially in rural areas. In one form or another it has flourished for centuries and is an integral part of folk culture. In the skillful hands of a puppeteer, puppets come to life, embodying scenes from the Mahabharata and Ramayana in reality, as well as imitating real life. Puppet theater is most popular in Gujarat, Rajasthan, Kerala, Karnataka and Andhra Pradesh. In India they use different kinds puppets - wooden, leather or rag puppets controlled with a stick or strings, glove puppets, as well as flat puppets used in shadow theater.
Kathputli- Rajasthani puppet theater. Translated from Rajasthani language kath means "tree" and putli- “lifeless doll.” It is believed that the theater kathputli originated in Rajasthan about two thousand years ago, as evidenced by references to wooden dolls in local legends and songs. Not a single religious festival or fair in Rajasthan takes place without fun puppet shows.
The ruling families of Rajasthan provided every possible patronage to this art form. Being not only a form of entertainment, but also a source of moral education, kathputli flourished until the arrival of the Mughals in Rajasthan. In this period kathputli gradually lost its significance. But today, as in the old days, theater kathputli once again delights the audience with its fiery performances.
Traditionally kathputli is a hereditary profession for the nomadic community bhat, living in western Rajasthan. Like the puppeteers themselves, numerous workshops in the state make dolls: they cut out puppet heads from wood, paint them and complement them with bright outfits, embroidered with sequins, gold braid and mirrors. As a rule, the color of the doll determines the image of the character. Noble figures are painted light paint, have an impressive mustache and are dressed in colorful robes. Negative characters usually dark in color. Female dolls are always in colorful and bright outfits.
By pulling the wire attached to the puppets, the puppeteer skillfully makes them dance on a makeshift stage. Riders riding horses and camels, snake charmers, warriors with swords, dancing women and much more fascinate the audience.
Changeling puppets are also very popular, when during the performance a dancing woman suddenly turns into a bearded man. Each puppet show is imbued with humor and takes place to musical accompaniment. Plots of performances kathputli They usually have a free theme, sometimes taken from local fairy tales and legends. But the main repertoire consists of ballads about the valiant Amar Singh Rathore (1613-1644), a Rajput prince who served at the Mughal court, whose legendary bravery and martial skill earned him personal recognition from the emperor. These performances with long battle scenes are very inspiring not only young viewers, but also the adult generation.
Changeling dolls
Putul beginning is another type of puppet theater spread from West Bengal to Tripura and Assam. Dolls putul beginning quite large, about 1.5 m tall. They are carved from wood and dressed in beautiful clothes. The troupe of artists includes puppeteers who sing songs and recite poetry, and musicians who play the harmonium, drums and metal cymbals. Performances often take place at rural fairs. They act out stories about Krishna or improvise on a free theme, where the dolls simply dance.
Pavakathakali is a popular dance drama puppet show in Kerala. kathakali. The performance is performed using glove puppets measuring 30-50 cm. Various stories from the Mahabharata are the subjects of performances that take place at night under the light of an oil lamp. The duration of the performance varies from an hour to two, and sometimes longer. In dance drama kathakali the story is told using gestures and facial expressions. But this language is not accessible to wooden dolls and therefore the main role in the performance is given to the word, with the help of which the singers convey the content of the performance. In the past, performances were exclusively religious in nature and were staged as offerings to the gods during times of drought and epidemics. Also pavakathakali played during the Shivaratri festival. By the 80s of the twentieth century, tradition pavakathakali almost disappeared. But thanks to the efforts of the Ministry of Culture of India, this traditional puppet theater was revived and brought to the international level. Today's performances pavakathakali can also be seen on international festivals arts
Shadow play
It is believed that shadow theater originated three thousand years ago in South-East Asia and gradually penetrated into Hindustan. Shadow theater is very popular in Andhra Pradesh, Karnataka, Kerala and Orissa. Traditionally, the shadow puppets of Orissa and Kerala are black and white. And in Karnataka and Andhra Pradesh they are colored.
Tholu bommalata is a traditional form of performing arts in Andhra Pradesh. Verbatim thola means "skin" and bommalatu- “doll dance”. Not having permanent place residences, wandering puppeteers thola bommalata wandering around the state, they give performances, perform acrobatic acts, and also tell fortunes, sell jewelry and repair utensils. Locals call them gomberams.
Traditional classical Tholu Bommalata dolls are made from leather dyed with vegetable dyes. These days they are even cut out of film for X-rays. The size of the finished figures reaches almost a meter in height. The dolls' arms and legs are movable. The dolls themselves are controlled using sticks attached to them. A simple white screen becomes the center of a performance that tells stories from the Ramayana, Mahabharata and local legends.
Tholu bommalata
Togalu gombiyata/Togalu bombyata- shadow theater performance in Karnataka. Previously, it was a religious ritual of offering to the gods with a prayer for rain or protection from disease. Today togalu gombiyata just a means of entertainment. The main plots are stories from the Ramayana and Mahabharata. Traditionally, performances begin late in the evening and last until the morning. Puppets for productions are made of goatskin and painted in bright colors. This shadow theater can be seen in many villages of Karnataka, but still, like everything traditional, it is losing its significance, giving way to modern trends such as television, internet, etc.
Tholpavakuthu is a form of shadow theater in Kerala. It is believed that this art originated in the 9th century. Tholpavakuthu- a purely religious ritual dedicated to Bhadrakali, which is performed in numerous temples of Devi (Durga). The performance represents full version Kamba Ramayana is the Tamil version of the Ramayana. The production is performed in both Tamil, Sanskrit and Malayalam and lasts 21 days for 9 hours. But there are also longer versions, lasting up to 70 days, depending on the traditions of the temple where these productions take place. According to tradition, the performance begins in the evening and ends at dawn. This theatrical ritual involves between 180 and 200 puppets, requiring the presence of about 40 performers. Dolls with movable arms and legs are usually a little over a meter in height. They are made from goatskin. Tholpavakuthu, like many traditional forms of art, has become endangered. Until recently, only a few families in the community pulavar continued this tradition. Only thanks to the support of the government, the introduction of modern themes into the repertoire and the reduction of the performance time, this situation was slightly improved. Today, performances are performed not only in temples, but also in colleges, as well as at the Kerala International Film Festival.
Tholpavakuthu
Ravana chhaya
The Orissa Shadow Theater is called Ravana chhaya, which literally means "shadow of Ravana". This is the most primitive of all shadow theaters preserved in India. Ravana chhaya was widespread in rural areas, whose residents treated it as a ritual that could prevent natural disasters and illness. The plot of the play is a short version of the famous epic “Ramayana” based on the words of the medieval Orissa poet Vishwanath Khuntiya. The small puppets are made of deerskin and attached to bamboo sticks. The dolls are monochrome, their limbs are motionless. About 700 figures are used in the performance. Often in productions, events described in epics intersect with our time. The performance, which lasts 7 days, is shown at night to rhythmic folk music, recitation by the narrator and singing by two singers. Last time Ravana chhaya began to quickly lose its popularity. Due to this, National Center Arts named after Indira Gandhi, considerable efforts have been made to maintain and revive this type of art.
Modern theater
During the period of British rule, a new direction in Indian theater began to take shape. The theatrical stage became a weapon in the struggle against colonial rule. In this regard, the British take control of all theatrical activities in the country. All scandalous improvisations that expose the acquisitiveness of colonial politics are prohibited. But during the two hundred years of British presence there was no small cultural exchange. The fusion of Eastern and Western cultures gave rise to the modern form of Indian theatre. Over time, stories about gods, sages and legendary heroes faded into the background, giving way to stories about ordinary people with their pressing problems.
Calcutta and Madras became the first megacities where Western-style theater began to develop.
At the beginning of the twentieth century. Indian theater goes to new round development. In 1922, the Communist Party of India was created, which in 1942 formed its cultural wing, or Indian Folk Theater Association (IPTA/India People's Theater Association). The activities of the organization had a significant impact on the development of theatrical culture in the country. The activities of IPTA enjoy great support mainly from people who prefer the Western European, American model of social development.
Modern Indian theater received a new foothold in 1953, after the opening of the Sangeet Natak Academy (Indian State Academy of Music, Dance and Drama).
Today, India is one of the few countries that can boast a significant number of professional theater schools, the largest of which are located in major cities such as Delhi, Kolkata, and Mumbai.
Even in the Vedic period. In India, theatrical performances were performed by the sky. At the beginning of our era, the first small theater premises appeared in the country. They had no scenery, theatrical props were extremely poor, they were replaced by other artistic conventions: a certain gait, facial expressions, gestures.
Much attention was paid to the musical design of the performances. However, unlike modern Indian performances, which, according to European theatergoers, are oversaturated with singing, in ancient Indian monologues and dialogues the actors recited or chanted, but did not sing. A notable feature of ancient Indian theater was. His penchant for melodrama and pathos is inherent in the current theatrical art of the country. Tragic subjects were not allowed on stage for the reasons that there is plenty of tragedy in real life.
The theater was extremely popular. Ancient. India, especially among the intelligentsia, however, the profession of an artist did not belong to the prestigious, it was considered “mean”, the artists themselves were Shudras
The ancient Indians created a number of musical instruments, the most common of which was the wine lyre, similar to the ancient Egyptian one. The musicians also played the flute, other reed and percussion instruments
Developed in. Ancient. India also has the art of vocals. The singing was most often a variation of a simple melody, which was reduced literally to a single musical phrase.
The Indian art of dance has changed little over the centuries.
In ancient dances, the main role was also played by musical rhythm and gestures, and almost every part of the dancer’s or dancer’s body participated in the dance, a small movement of the little finger or eyebrow told a whole story to those initiated into the secrets of this art. The art of Indian dance is very complex. Mastering it required years of hard work.
Classification of Indian theater
In Indian culture, there is a division of theater into several types:
- People's This type of performing art had a storyline based on epic and Indian mythology. The acting profession in India was not respected. This is due to the fact that the artist portrayed the gods in a funny and obscene form. Actors were humiliated and considered the lower classes of society. But to gain mastery in this profession, you had to be a fairly educated person;
- Courtier. Performances were held in the courtyards of the nobility for entertainment purposes.
Indian theater groups included both men and women. They constantly wandered from city to city, giving performances to the people.
The main elements of theatrical performances in India were dance and music. All actions of the performance participants were subordinated to the sounds of music. Dance is the basis of all Indian theater. It owes its origin to ritual dances, which, after development and improvement, became exactly what we see today.
The national Kathakali theater, which originated in the southern part of this country, is especially popular in India. Kathakali is based on religious ritual, and instrumental music, facial expressions and gestures are just an addition. This genre of theatrical art has several features. Firstly, it always starts at sunset, and secondly, it lasts at least six hours.
