Theatrical Culture of the Silver Age

The musical life of the early XX century. characterized by a sharp struggle of creative movements. S. V. Rachmaninov (1873-1843), a talented pianist, composer and conductor, being an implacable enemy of formalism, followed in his work the best traditions of Russian classics. He had a pronounced creative personality. His music reflected a connection with the national-musical culture. Images of Russian nature occupy a large place in his work; S. V. Rachmaninov was even called the “Levitan of Russian music”. But at the same time, he, like A. N. Scriabin (1872-1915), showed a tendency to new, modernist trends. The work of A. N. Scriabin is a peculiar combination of late-romantic traditions, as well as musical impressionism, symbolism and expressionism. A. N. Scriabin was attracted by the idea of synthesizing the arts.

For the first time in musical practice, he introduced a special part of the world (“Prometheus”) into the symphonic score, which is connected with the appeal to color hearing. It can be considered a forerunner of color music. A special line for the “light clavier” indicated how and when the auditorium was to be illuminated with various colored rays. When the traditions of the “Kuchkists” and P. I. Tchaikovsky came closer in a symphonic genre, a new type of musical work appeared - a symphonic poem. A. N. Scriabin created the famous "Poem of Ecstasy."

Grouped around the magazine "World of Art" S. N. Vasilenko, N. N. Cherepnin, I. F. Stravinsky are among the composers and innovators of the 20th century. In S. N. Vasilenko’s symphonic poem “Flight of the Witches” by D. S. Merezhkovsky, N. N. Cherepnin’s vocal miniatures “Fairy Tales” to poetry by D. D. Balmont, and I. F. Stravinsky’s ballets “The Rite of Spring”, “ Parsley ”,“ Firebird ”traces of impressionism are traced.

In chamber-instrumental music, the greatest achievements were observed in the works of S.I. Taneyev and A.K. Glazunov. Russian musical performing art was represented by such names as F. I. Chaliapin, A. V. Nezhdanova, L. V. Sobinov.

In 1898, the Moscow Art Theater was created, where K.S. Stanislavsky and V.I. Nemirovich-Danchenko laid the foundation for a new work, free from official custody. It was a theater of modern drama, where the plays of A.P. Chekhov, M. Gorky, G. Ibsen were staged. On the stage of the Art Theater shone O. L. Knipper-Chekhov, V. I. Kachalov, I. M. Moskvin.

Most patients diagnosed with arthrosis suffer from the direction of the disease, such as arthrosis of the knee (knee joint). Despite the fact that problems with this joint are predominant and require inpatient treatment for reliability and greater effect, few patients refuse outpatient treatment in favor of a hospital.

The opponent of the realistic-democratic line of the Art Theater was V. Ya. Bryusov. He believed that modern theater is a conditional theater, full of characters, allegories and allegories.

In 1904, a theater was opened by the outstanding actress V.F. Komissarzhevskaya, reflecting the mood of the advanced Russian democratic intelligentsia. His repertoire, free from treasury and routine, included such plays as The Seagull by A.P. Chekhov, The Children of the Sun by M. Gorky, The Nora by G. Ibsen.

At the beginning of the XX century. many amateur theaters are opening. At the same time, some of them were opened at public expense in order to distract workers from revolutionary circles, but contrary to the intentions of the government, theaters often became not only centers of culture, but also contributed to the cultural and political education of the masses.

The culture of the “Silver Age”, on the one hand, contributed to the development of the best democratic and realistic traditions, and on the other, was characterized by doubts and conflicting searches, intellectualism and elitism. This time is not only the heyday of the national tradition, but integration into the world of modern, as well as the leading and leading development in the field of literature and painting.

Text writer: M.V. Sokolova