Theatrical art Pierre, after the courtship of Prince Andrei and Natasha, for no obvious reason, suddenly felt the impossibility of continuing his former life. No matter how firmly he was convinced of the truths revealed to him by his benefactor, no matter how joyful he was at that first time of being carried away by the inner work of self-improvement, which he indulged in with such fervor, after the engagement of Prince Andrei with Natasha and after the death of Joseph Alekseevich, about which he received news almost at the same time - all the charm of this former life suddenly disappeared for him. There was only one skeleton of life left: his house with a brilliant wife, who now enjoyed the favors of one important person, acquaintance with all of Petersburg and service with boring formalities. And this former life suddenly presented itself to Pierre with unexpected abomination. He stopped writing his diary, avoided the company of his brothers, began to go to the club again, began to drink heavily again, again became close to single companies and began to lead such a life that Countess Elena Vasilyevna considered it necessary to make him a strict reprimand. Pierre, feeling that she was right, and in order not to compromise his wife, left for Moscow. In Moscow, as soon as he drove into his huge house with withered and withering princesses, with huge domestics, as soon as he saw - driving through the city - this Iberian chapel with countless candle lights in front of golden robes, this Kremlin Square with snow that had not been driven, these cab drivers and the shacks of Sivtsev Vrazhka, saw the old men of Moscow, wanting nothing and slowly living their lives nowhere, saw old women, Moscow ladies, Moscow balls and the Moscow English Club - he felt at home, in a quiet haven. He felt calm, warm, familiar and dirty in Moscow, as in an old dressing gown. Moscow society, everything from old women to children, accepted Pierre as their long-awaited guest, whose place was always ready and not occupied. For the Moscow world, Pierre was the sweetest, kindest, smartest, cheerful, generous eccentric, absent-minded and sincere, Russian, old-fashioned, gentleman. His wallet was always empty, because it was open to everyone. Benefit performances, bad pictures, statues, charitable societies, gypsies, schools, signature dinners, revels, masons, churches, books - no one and nothing was refused, and if not for his two friends, who borrowed a lot of money from him and took him under their guardianship, he would give everything away. There was no dinner in the club, no evening without him. As soon as he leaned back in his place on the sofa after two bottles of Margot, he was surrounded, and rumors, disputes, jokes began. Where they quarreled, he - with his kind smile and by the way said joke, reconciled. Masonic dining lodges were dull and sluggish if he wasn't there. When, after a single supper, he, with a kind and sweet smile, surrendering to the requests of a cheerful company, got up to go with them, joyful, solemn cries were heard among the youth. At the balls he danced, if he did not get a gentleman. Young ladies and young ladies loved him because, without courting anyone, he was equally kind to everyone, especially after dinner. “Il est charmant, il n "a pas de sehe", [He is very nice, but has no gender,] they talked about him. Pierre was that retired chamberlain, good-naturedly living out his life in Moscow, of which there were hundreds. How horrified he would have been if seven years ago, when he had just arrived from abroad, someone would have told him that he did not need to look for and invent anything, that his track had long been broken, determined eternally, and that, no matter how he turn around, he will be what everyone in his position was. He couldn't believe it! Didn't he, with all his heart, wish now to produce a republic in Russia, now to be Napoleon himself, now a philosopher, now a tactician, the conqueror of Napoleon? Didn't he see the opportunity and passionately desire to regenerate the vicious human race and bring himself to the highest degree of perfection? Didn't he establish both schools and hospitals and set his peasants free? And instead of all this, here he is, the rich husband of an unfaithful wife, a retired chamberlain who loves to eat, drink and easily scold the government, a member of the Moscow English Club and everyone's favorite member of Moscow society. For a long time he could not reconcile himself to the idea that he was that same retired Moscow chamberlain, the type of whom he so deeply despised seven years ago. Sometimes he comforted himself with the thought that this was the only way, for the time being, he was leading this life; but then he was horrified by another thought, that for the time being, so many people had already entered this life and this club with all their teeth and hair, like him, and left without one tooth and hair. In moments of pride, when he thought about his position, it seemed to him that he was completely different, special from those retired chamberlains whom he had despised before, that they were vulgar and stupid, pleased and reassured by their position, “and even now I am still dissatisfied I still want to do something for humanity,” he said to himself in moments of pride. “And maybe all those comrades of mine, just like me, fought, looked for some new, their own path in life, and just like me, by the force of the situation, society, breed, that elemental force against which there is no powerful man, they were brought to the same place as I, ”he said to himself in moments of modesty, and after living in Moscow for some time, he no longer despised, but began to love, respect and pity, as well as himself, his comrades in the fate . On Pierre, as before, they did not find moments of despair, blues and disgust for life; but the same illness, which had previously expressed itself in sharp attacks, was driven inside and did not leave him for a moment. "For what? What for? What is going on in the world?” he asked himself in bewilderment several times a day, involuntarily beginning to ponder the meaning of the phenomena of life; but knowing by experience that there were no answers to these questions, he hurriedly tried to turn away from them, took up a book, or hurried to the club, or to Apollon Nikolaevich to chat about city gossip. “Elena Vasilievna, who never loved anything except her body and one of the most stupid women in the world,” thought Pierre, “appears to people as the height of intelligence and refinement, and they bow before her. Napoleon Bonaparte was despised by everyone as long as he was great, and since he became a miserable comedian, Emperor Franz has been trying to offer him his daughter as an illegitimate wife. The Spaniards send prayers to God through the Catholic clergy in gratitude for having defeated the French on June 14th, and the French send prayers through the same Catholic clergy that they defeated the Spaniards on June 14th. My brother Masons swear by their blood that they are ready to sacrifice everything for their neighbor, and do not pay one ruble each for the collection of the poor and intrigue Astraeus against the Seekers of Manna, and fuss about a real Scottish carpet and about an act, the meaning of which does not know even the one who wrote it, and which no one needs. We all profess the Christian law of forgiveness of offenses and love for our neighbor - the law as a result of which we erected forty forty churches in Moscow, and yesterday we whipped a man who had run away with a whip, and the minister of the same law of love and forgiveness, the priest, gave the soldier a cross to kiss before execution " . So thought Pierre, and this whole, common, universally recognized lie, no matter how he got used to it, as if something new, every time amazed him. I understand the lies and confusion, he thought, but how can I tell them everything I understand? I tried and always found that they, in the depths of their souls, understand the same thing as I do, but they just try not to see her. It has become so necessary! But me, where do I go?” thought Pierre. He tested the unfortunate ability of many, especially Russian people, the ability to see and believe in the possibility of good and truth, and to see the evil and lies of life too clearly in order to be able to take a serious part in it. Every field of labor in his eyes was connected with evil and deceit. Whatever he tried to be, whatever he undertook, evil and lies repelled him and blocked all the paths of his activity. And meanwhile it was necessary to live, it was necessary to be busy. It was too terrible to be under the yoke of these insoluble questions of life, and he gave himself up to his first hobbies, only to forget them. He went to all sorts of societies, drank a lot, bought paintings and built, and most importantly read. He read and read everything that came to hand, and read so that when he arrived home, when the lackeys were still undressing him, he, having already taken a book, read - and from reading he went to sleep, and from sleep to chatter in the drawing rooms and the club, from chatter to revelry and women, from revelry back to chatter, reading and wine. Drinking wine for him became more and more of a physical and at the same time a moral need. Despite the fact that the doctors told him that with his corpulence, wine was dangerous for him, he drank a lot. He felt completely well only when, without noticing how, having knocked several glasses of wine into his big mouth, he experienced pleasant warmth in his body, tenderness for all his neighbors and the readiness of his mind to superficially respond to every thought, without delving into its essence. Only after drinking a bottle and two wines did he vaguely realize that the intricate, terrible knot of life that had terrified him before was not as terrible as he thought. With a noise in his head, chatting, listening to conversations or reading after lunch and dinner, he constantly saw this knot, some side of it. But only under the influence of wine did he say to himself: “This is nothing. I will unravel this - here I have an explanation ready. But now there’s no time—I’ll think it over later!” But that never came after. On an empty stomach, in the morning, all the previous questions seemed just as insoluble and terrible, and Pierre hurriedly grabbed a book and rejoiced when someone came to him. Sometimes Pierre recalled a story he had heard about how, in a war, soldiers, being under fire in cover, when they had nothing to do, diligently find an occupation for themselves in order to more easily endure the danger. And to Pierre, all people seemed to be such soldiers fleeing life: some with ambition, some with cards, some with writing laws, some with women, some with toys, some with horses, some with politics, some with hunting, some with wine, some with state affairs. “There is nothing insignificant or important, it doesn’t matter: if only I can save myself from it as best I can!” thought Pierre. - "If only not to see her, this terrible her." At the beginning of winter, Prince Nikolai Andreevich Bolkonsky and his daughter arrived in Moscow. In his past, in his intelligence and originality, especially in the weakening at that time of enthusiasm for the reign of Emperor Alexander, and in that anti-French and patriotic trend that reigned at that time in Moscow, Prince Nikolai Andreevich immediately became an object of special reverence for Muscovites and the center of the Moscow opposition to the government. The prince has grown very old this year. Sharp signs of old age appeared in him: unexpected falling asleep, forgetfulness of the nearest events and memory of long-standing ones, and the childish vanity with which he assumed the role of the head of the Moscow opposition. Despite the fact that when the old man, especially in the evenings, went out to tea in his fur coat and powdered wig, and, touched by someone, began his abrupt stories about the past, or even more abrupt and sharp judgments about the present, he aroused in all his guests the same sense of respect. For visitors, this whole old house with huge dressing tables, pre-revolutionary furniture, these lackeys in powder, and the last century itself, a tough and smart old man with his meek daughter and pretty Frenchwoman, who were in awe of him, represented a majestically pleasant sight. But the visitors did not think that in addition to these two or three hours, during which they saw the owners, there were another 22 hours a day, during which the secret inner life of the house went on. Recently in Moscow, this inner life has become very difficult for Princess Marya. She was deprived in Moscow of those of her best joys - conversations with God's people and solitude - which refreshed her in the Bald Mountains, and did not have any benefits and joys of metropolitan life. She did not go out into the world; everyone knew that her father would not let her go without him, and he himself could not travel due to ill health, and she was no longer invited to dinners and evenings. Princess Marya completely abandoned hope for marriage. She saw the coldness and bitterness with which Prince Nikolai Andreevich received and sent away young people who could be suitors, who sometimes came to their house. Princess Marya had no friends: on this visit to Moscow, she was disappointed in her two closest people. M lle Bourienne, with whom she could not be completely frank before, now became unpleasant to her and for some reason she began to move away from her. Julie, who was in Moscow and to whom Princess Mary wrote for five years in a row, turned out to be a complete stranger to her when Princess Mary again met with her personally. Julie at this time, on the occasion of the death of her brothers, having become one of the richest brides in Moscow, was in the midst of social pleasures. She was surrounded by young people who, she thought, suddenly appreciated her virtues. Julie was in that period of an aging socialite who feels that her last chance of marriage has come, and now or never her fate must be decided. Princess Mary, with a sad smile, recalled on Thursdays that she now had no one to write to, since Julie, Julie, from whose presence she had no joy, was here and saw her every week. She, like an old emigrant who refused to marry the lady with whom he spent his evenings for several years, regretted that Julie was here and she had no one to write to. Princess Mary in Moscow had no one to talk to, no one to believe her grief, and much new grief has been added during this time. The deadline for the return of Prince Andrei and his marriage was approaching, and his order to prepare his father for that was not only not fulfilled, but, on the contrary, the matter seemed to be completely spoiled, and the reminder of Countess Rostova pissed off the old prince, who had already been out of sorts for most of the time. . A new grief that has recently been added for Princess Marya was the lessons that she gave to her six-year-old nephew. In her relations with Nikolushka, she recognized with horror in herself the quality of her father's irritability. How many times she told herself that she should not allow herself to get excited when teaching her nephew, almost every time she sat down with a pointer at the French alphabet, she so wanted to quickly, easily pour her knowledge out of herself into a child who was already afraid that here was her aunt she would be angry that, at the slightest inattention on the part of the boy, she shuddered, hurried, got excited, raised her voice, sometimes pulled his hand and put him in a corner. Putting him in a corner, she herself began to weep over her evil, bad nature, and Nikolushka, imitating her sobs, would leave the corner without permission, come up to her and pull her wet hands away from her face, and console her. But more, more than anything else, the princess was distressed by her father's irritability, which was always directed against her daughter and had recently reached the point of cruelty. If he had forced her to bow down all night, if he had beaten her, forced her to carry firewood and water, it would never have occurred to her that her situation was difficult; but this loving tormentor, the most cruel because he loved and for that he tormented himself and her, deliberately knew how not only to insult and humiliate her, but also to prove to her that she was always and in everything to blame. Recently, a new trait appeared in him, which tormented Princess Mary most of all - it was his closer rapprochement with m lle Bourienne. The thought that came to him, in the first minute after receiving the news of his son’s intention, was the joke that if Andrei marries, then he himself marries Bourienne, apparently liked him, and with stubbornness lately (as it seemed to Princess Mary) only in order to insult her, he showed a special kindness to m lle Bourienne and showed his displeasure to his daughter by showing love to Bourienne.
Cinema: A Collegiate Dictionary (1987 ed.)Dictionary of EfremovaVaudeville - m.
- A short dramatic work of a light genre with an entertaining intrigue, couplet songs and dances.
- obsolete A playful vaudeville song, playful verses.
Dictionary UshakovVaudeville vaudeville, vaudeville, husband. (French vaudeville) ( theatre.). comic farcical play, initial with the singing of verses. Ozhegov's dictionaryVODEV AND L [de], I, m. A short comic play, usually with singing. |
adj.
vaudeville, oh, oh. Explanatory Dictionary of the Russian Language (Alabugina)Vaudeville I, m. A short comic play, usually with singing and dancing. * Put on a vaudeville. * ||
adj. vaudeville, th, th. * vaudeville situation. * Glossary of musical termsVaudeville (from fr. vaudeville) - a type of light comedy with verses performed to music. It was distributed in France in the second half of the 18th century. appeared in Russia in early XIX in. A. Verstovsky, A. Alyabyev and others wrote music for vaudeville. At the end of the 19th century. vaudeville was replaced by musical comedy and operetta. At present, vaudeville is rare ("Lev Gurych Sinichkin" by A. Kolker, text by V. Dykhovichny and A. Slobodsky). Jazz LexiconVaudeville Vaudeville In the modern sense, it is a kind of everyday comedy with musical numbers, couplets, dances, pantomimes and trick scenes. In the USA, the so-called. American voleville (and as its variety - Negro vaudeville), the specificity of which is associated with the national-characteristic features of the plot and music, with an appeal to local folklore and everyday material, as well as with the influences of the minstrel theater (see minstrel show). encyclopedic DictionaryVaudeville (French vaudeville, from vau de Vire - the valley of the river Vir in Normandy, where in the 15th century folk songs-vaudevirs were widespread), - view "sitcoms" with couplet songs, romances and dances. Originated in France; from the beginning 19th century received a European distribution. The heyday of Russian vaudeville - 1820 - 40s. (A. A. Shakhovskoy, D. T. Lensky, P. A. Karatygin, F. A. Koni, N. A. Nekrasov, etc.). Classics of the genre - E. Scribe, E. M. Labish.
- Final couplet song in a vaudeville play.
Etymological Dictionary of the Russian LanguageVaudeville French - vaudeville (comedy with songs and verses). This word is French in origin, appeared in Russian in modern meaning"a dramatic work of the comedy genre with the singing of cheerful verses" in the 18th century. The original meaning of the word is folk song"- has been known in the language since the 16th century. According to scientists, the French word that served as the basis for borrowing was formed from a proper name: a Norman area called de Vire, which became famous for its cheerful songs and their performers. Derivative: vaudeville. Terminological dictionary-thesaurus on literary criticismVaudeville (French vaudeville) - a kind of comedy, a light, entertaining play of everyday content, based on entertaining intrigue and combining witty dialogue with music and dancing, cheerful couplet songs. Rb: genera and genres of literature Genus: comedy Persian: E. Labish, V. Shakhovskoy, E. Skrib, D. Lensky * Vaudeville is the younger brother of comedy, a good-natured and good-natured merry fellow who does not pretend to deep generalizations and serious thoughts. In the old days, vaudeville included verses and dances performed in the course of action by universal actors. Later, vaudeville freed itself from dancing and singing and was transformed into a one-act (rarely more) joke play. Chekhov's Medved, Proposal, Jubilee (S.S. Narovchatov) can serve as an example of such vaudeville. * Encyclopedia of Brockhaus and EfronVaudeville Franz. the word Vaudeville comes from the word vaux-de-Vire, that is, the valley of the city of Vir in Normandy, the birthplace of the national poet Olivier Basselin, who first began to compose humorous songs here, called vaudeville, and later vaudeville. In the XV and XVI tables. these vaudeville songs composed by unknown authors in a satirical and humorous spirit about various events political life, became very popular in France and were sung by itinerant singers, among other things, on the Pont Neuf bridge in Paris (hence they were often called pon-neufs).
Sometimes, however, V. did not have a satirical content and was a simple fun drinking song. As the best composers of V. songs in the 18th century. Piron, Panard and Collet are known, who published them in the Almanach des Muses. In 1792-1793. two books appeared: "Constitution en vaudevilles" (Merchant) and "La République en vaudevilles", in which the new institutions were portrayed in a humorous way. The transformation of vaudeville songs into a special kind of dramatic work did not occur before the 18th century. Entrepreneurs of fair theaters sometimes inserted suitable V-songs into plays. From 1712, Lesage, Fuselier and Dorneval began to compose plays with vaudeville; Lesage published a collection: "Thé âtre de la Foire ou l" Opéra Comique, contenant les meilleures pièces, qui ont été représentées aux foires de Saint Germain et de Saint Laurent avec une table de tous les vaudevilles et autres airs etc." (Paris, 1721-37). In 1753, Vade made the first attempt to specially order music for the play Les Troqueurs composed by him. Seden, Ansom, Favard and others followed his example; music was written for them Gretry, Philidor, Monsigny, etc. Little by little new music supplanted the motifs of the old vaudevilles; plays of a transitional type began to appear, which were not quite correctly named comic operas
(probably on behalf of the Opéra-comique theater, where they first began to be given). As the conversational part in these plays increased and the action began to be interrupted only by inserted couplets, this new genre dramatic works resulted in that original form, which modern Vaudeville has preserved without significant changes. In 1792, when the freedom of theaters was proclaimed, a special vaudeville stage was opened in Paris, which was called T héâtre Vaudeville. È z vaudeville, whose works were successful in the era of the first empire and the restoration, we will name Dupaty, Desogier, Bayard, Melville and the famous Scribe, who is considered the creator of V. of the newest formation; later Labish became famous in the same genre. V. to this day remains a peculiar product of the French esprit, bearing the imprint of an easy, elegant Parisian life with its beautiful, cheerful sensuality and subtle, sparing nothing witty phrase. Vaudeville in Russia.
The first beginnings of Russian vaudeville are usually seen in the comic opera with couplets by Ablesimov "The Miller, the Sorcerer, the Deceiver and the Matchmaker", given for the first time on January 20, 1779 and withstood many performances thanks to couplets in the folk-sentimental spirit and Sokolovsky's music. But in essence, "The Miller" in terms of texture is much closer to a comic opera. The first Russian vaudeville should be recognized as the "Cossack poet" composed by Prince A. A. Shakhovsky with music by Kavos (1812). Shakhovsky's original vaudevilles should also include: "Fyodor Grigorievich Volkov", "Lomonosov" (1814), "Meeting of the Uninvited" (1815), "Two Teachers" (1819), "News on Parnassus, or the triumph of the Muses". The last of them was written by Shakhovsky to ridicule the writers of empty theatrical plays, presumptuously dreaming of becoming, along with writers, classical writers who have earned the respect of posterity. The play disputes the rights of Vaudeville to the place on Parnassus, where he somehow climbed along with Melodrama and the Journal, and ridicules "equivocates, merchants, jokes and funny trinkets" with which "precocious vaudevilles" will never get into the Temple of Immortality. All Shakhovsky's arrows are directed against his happy rival in the field of vaudeville, N. I. Khmelnitsky, and at the witty V. of the latter, who was then given with great success, "A New Prank, or a Theatrical Battle." Khmelnitsky also wrote several successful vaudevilles before that: You Can’t Eat Your Betrothed, Grandmother’s Parrot (1819), Actors Among themselves, or the debut of the actress Troepolskaya, Quarantine (1822) and others, mostly with music by Maurer . The attempts of the original Russian V., made by M. N. Zagoskin (“Makarievskaya Fair” and “Lebedyanskaya Fair”) and R. M. Zotov (“Adventure at the Station”) date back to the same time. The most witty vaudeville and couplet player of the 20s and 30s is undoubtedly AI Pisarev. His vaudevilles, although mostly translated ones, enjoyed great success, mainly due to the witty couplets, which often touched on the topic of the day and ridiculed the features and phenomena of modern reality. "Master and Student", "Fun Caliph", "Shepherdess", "Five years at two o'clock", "An old sorceress, or that's what women love", "Three dozen", "Magic nose", "Two notes", " Uncle for Hire, Petitioner (1824), Troublemaker, Thirty Thousand People (1825), Means of Marrying Daughters, Stagecoach Meeting, etc., did not leave the repertoire for a long time and enjoyed great success. The music for these vaudevilles was written by Verstovsky, Alyabyev and F. E. Scholz, which, of course, increased the interest of these plays and their success in the public. Pisarev represents a transition to the vaudeville players of the second era in the history of Russian V., embracing the 30s, 40s and 50s. our century. In this era, V. reaches its peak, having received a predominant role in the repertoire and enjoying the constant and unchanging love of the public, who shared the opinion of Repetilov that only "V. is a thing, and everything else is a gil." Vaudevilles have already completely departed from the forms of comic opera and show a great desire for originality, reproducing the comic phenomena of modern, mainly metropolitan life. Types of bureaucratic and bourgeois people in general are brought onto the stage, comic phenomena of family and city life with the most intricate intrigue, constant misunderstandings (quiproquo), a mass of funny sayings in speeches. actors, witticisms and puns, with which couplets were especially abundantly equipped. The couplets were put into the mouths of almost all the actors and often represented an appeal to the public, especially the almost inevitable final couplets, in which the actors turned to the public with a request on behalf of the author for a favorable reception of the acted work. V.'s music has become much simpler in comparison with comic operas; couplets were composed mostly on popular motifs from operas and operettas, playful in nature and not difficult to perform. In general, the musical side of vaudeville fades into the background. Many of the verses, which were beyond the power of actors deprived of their voice and hearing, were not sung, but spoken to the music, and this genre of recitation won a prominent place in Russian vaudeville thanks to some highly talented vaudeville artists. Of the numerous Russian vaudeville performers of this era, let us first of all name Fedor Alekseevich Koni. The most successful of his vaudevilles were: "In the still waters there are devils" (1842), "Dead Husband" (1835), "Hussar Girl" (1836), "Titular Counselors in Home Life" (1837), "Petersburg Apartments" ( 1840), "Trouble from the heart and grief from the mind" (1851), "Do not fall in love without memory, do not marry without reason", "Student, artist, chorister and swindler" and so on. Dimitri Timofeevich Lensky ( real name- Vorobyov) from 1828 to 1854 published more than 100 plays, mostly vaudeville, translated and borrowed from French. The ability to adapt French originals to Russian customs and types, liveliness in the conduct of scenes, resourcefulness and wit in the speeches and couplets of characters - that's distinctive features vaudeville Lensky; some of them do not leave the repertoire to this day. Having made his debut with the unsuccessful play The Matchmaker Out of Place (1829), he quickly won success with his further vaudevilles: The Solicitor Under the Table (1834), Two Fathers and Two Merchants (1838), This is how pills - that in the mouth, then thanks "," Lev Gurych Sinichkin "," Kharkiv fiance, or a house on two streets "," In people an angel, not a wife - Satan is at home with her husband ", etc. Pyotr Andreevich Karatygin 2nd, although he followed the French originals fashionable in his time , but he introduced into his vaudeville, more than all other vaudeville artists, the Russian everyday coloring of the derived types and characters, drawn exclusively from Petersburg life. Resourceful in witticisms and inventive in puns, Karatygin, like Lensky, brought Russian vaudeville to a purely French gaiety and liveliness, often touching on various issues of public life that interested modern society. So, his first V., given in 1830: "Familiar strangers", brought to the stage under the name of Sarkazmov and Baklushin F. Bulgarin and N. Polevoy, who were constantly at war with each other. "Borrowed Wives" (1834), "Wife and Umbrella" (1835), "Officer at Large" (1837) drew the attention of the public to young author , and V. "Lodge of the 1st tier at the presentation of Taglioni" (1838) was a huge success. The First of July in Peterhof (1840), Bakery (1843), Natural School were the best of his original vaudevilles. Karatygin's translated vaudevilles were no less successful, and partly still are still being used, such as: "Leg" (1840), "Vitsmundir" (1845), "School teacher", "Freak-dead", "Adventure on the waters" , "The house on the Petersburg side, etc. Pyotr Ivanovich Grigoriev 1st, a contemporary and stage comrade of Karatygin, became famous for the special genre of vaudeville with dressing up, adapted to the stage abilities of contemporary performers of these roles. "Makar Alekseevich Gubkin", "Comedy with Uncle "(1841) and" The Daughter of the Russian Actor "received great fame and are still being given. "Skladchina" (1843), "Polka in St. Petersburg" (1844), in which the dance that had just come into fashion was performed on stage, or cards" (1845), "Another comedy with uncle", "Andrei Stepanych Buka" (1847) and "Salon pour la coupe des cheveux" (1847), often performed jointly by actors of Russian, French and German troupes, and other original Grigoriev did not leave the posters; his translations of vaudeville, for example: "Women and what a lot”, “Love pranks”, “Orphan Susanna” and a friend. also enjoyed considerable success. Pavel Stepanovich Fedorov made his debut with the unsuccessful original vaudevilles Peace with the Turks (1880), Marquis involuntarily (1834); had more success with I Want to Be an Actress, The Archivist (1837) and Enough (1849); fame was gained by translated V.: "Confusion" (1840), "One Hundred Thousands" (1845), "Az and Firth", "We see a twig in someone else's eye", etc. Nikolai Ivanovich Kulikov wrote several original vaudevilles, given even before still, such as: "Vaudeville with disguise", "Gypsy" (1849), "Crow in peacock feathers" (1853), and translations, for example. "The Enchanted Prince, or the Transmigration of Souls" (1845), "The Troubled Girl", "The Enamored Recruit", etc. Count Vladimir Alexandrovich Sollogub gave several vaudevilles on the topics of the day, such as: "Bouquet, or St. "Fashionable treatment" (1847), as well as given and now V. "Trouble from a tender heart" (1850). Of the rest of the V. of this era, which are still successful to this day, V. Korovkin deserves mention: "Beginners in Love", "His Excellency" (1839), "Father, which are few"; Solovyov: "We do not keep what we have, having lost it with crying" (1843); Yakovlevsky - "Black Day on the Black River" (1846), "Uncle's tailcoat and aunt's hood" (1849), and Onyx - "December 1st", "Ah yes French". V. of this era owes its success to the most talented game of Asenkova, Dyur, and especially A. E. Martynov, who created a whole gallery of types full of inimitable comedy: Sinichkin, Buka, Karlusha (“The Baker”), Pavel Pavlovich (“What we have, we don’t keep”), etc. The third era of V., the 60s, already represents the fall of this genre. At the beginning, although there are still imitations of previous models and belated translations from French, such as: "Simple and educated", "Weak string", "Mutual training", "Necessity for inventions is cunning", "Mitya", "Lordly arrogance and Anyutins Eyes", "Boarding Girl", "Old Mathematician", "Lovely Scolds - They Only Amuse", etc., but then V. begins to move either into an operetta or into a one-act comedy. "Russian Romances in the Faces" and "Russian Songs in the Faces" of Kulikov, "Opressed Innocence", "The Charming Stranger" are still quite close to vaudeville, and "Autumn Evening in the Village", red tape", "Flash at the Hearth", "Which of the Two", "Carefree", "On the Sands" by Trofimov, "Engagement in the Galley Harbor" by Shchigrov (Shiglev), etc., more and more lose the character of V. and merge with everyday descriptive comedies, scenes and sketches of anecdotal content. The operetta that appeared in the 60s dealt an incurable blow to the playful vaudeville, absorbing its musical seasoning, without which it would inevitably merge with light comedy and comedy-farce, as happened in our modern repertoire.
VAUDEVILLE - (from the French vaudeville) - a type of comedy: an entertaining play with an entertaining intrigue and an unpretentious everyday plot, in which dramatic action is combined with music, songs, dances.
Dictionary literary terms.
2012
See also interpretations, synonyms, meanings of the word and what VAUDEVILLE is in Russian in dictionaries, encyclopedias and reference books:- VAUDEVILLE in the Literary Encyclopedia:
. - The word comes from the French "val de Vire" - the Vir valley. The Vire is a river in Normandy. In the 17th century...
- VAUDEVILLE in the Big Encyclopedic Dictionary:
(French vaudeville from vau de Vire - the valley of the river Vir in Normandy, where in the 15th century folk songs-vodevirs were widespread), ...
- VAUDEVILLE in big Soviet encyclopedia, TSB:
(French vaudeville), a light comedy play with couplet songs and dances. Homeland V. - France. The name comes from the river valley. Veer (Vau…
- VAUDEVILLE in the Encyclopedic Dictionary of Brockhaus and Euphron:
Franz. the word Vaudeville comes from the word Vaux-de-Vire, that is, the valley of the city of Vire in Normandy, the birthplace of the national poet Olivier Basselin, ...
- VAUDEVILLE in the Modern Encyclopedic Dictionary:
(French vaudeville, from vau de vire, literally - the valley of the river Vir in Normandy, where in the 15th century folk ...
- VAUDEVILLE
[French vaudeville] 1) urban street song 1 6 c. in France; 2) a small theatrical play of a light, comedic nature with couplets ...
- VAUDEVILLE in the Encyclopedic Dictionary:
, i, m. A short comic play, usually with singing. Vaudeville - pertaining to vaudeville, vaudeville; like vaudeville. ||Wed. MUSICAL …
- VAUDEVILLE in the Encyclopedic Dictionary:
[de], -ya, m. A short comic play, usually with singing. II adj. vaudeville…
- VAUDEVILLE in the Big Russian Encyclopedic Dictionary:
VAUDEVILLE (French vaudeville, from vau de Vire - the valley of the river Vir in Normandy, where in the 15th century people were common ...
- VAUDEVILLE in the Encyclopedia of Brockhaus and Efron:
Franz. the word Vaudeville comes from the word vaux-de-Vire, that is, the valley of the city of Vire in Normandy, the birthplace of the national poet Olivier Basselin, ...
- VAUDEVILLE in the Full accentuated paradigm according to Zaliznyak:
vaudeville, vaudeville, vaudeville, vaudeville, vaudeville, vaudeville, vaudeville, vaudeville, vaudeville, vaudeville, vaudeville, vaudeville, vaudeville, ...
- VAUDEVILLE in the Popular Explanatory-Encyclopedic Dictionary of the Russian Language:
[de], -i, m. A play of a light comedic nature with an entertaining intrigue, in which dialogues alternate with singing couplets and dancing. Plot …
- VAUDEVILLE in the Dictionary for solving and compiling scanwords:
Musical …
- VAUDEVILLE in the New Dictionary of Foreign Words:
(French vaudeville) 1) street urban song in France of the 16th century; 2) a play of a light, comedic nature with couplets and dances; …
- VAUDEVILLE in the Dictionary of Foreign Expressions:
[fr. vaudeville] 1. urban street song in 16th century France; 2. a play of a light, comedic nature with couplets and dances; 3. …
- VAUDEVILLE in the Dictionary of synonyms of Abramov:
see the spectacle, ...
- VAUDEVILLE in the dictionary of Synonyms of the Russian language:
vaudeville, spectacle, TV vaudeville, farce, ...
- VAUDEVILLE in the New explanatory and derivational dictionary of the Russian language Efremova:
m. 1) A short dramatic work of a light genre with an entertaining intrigue, couplet songs and dances. 2) outdated. A joking vaudeville song, joking…
- VAUDEVILLE in the Dictionary of the Russian Language Lopatin:
vaudeville, ...
- VAUDEVILLE in the Complete Spelling Dictionary of the Russian Language:
vaudeville...
- VAUDEVILLE in the Spelling Dictionary:
vaudeville, ...
- VAUDEVILLE in the Dictionary of the Russian Language Ozhegov:
a short comic play, usually with...
- VAUDEVILLE in the Dahl Dictionary:
husband. , French a dramatic spectacle with songs, singing, and the opera and operetta are all set to music. Vaudeville, related. to vaudeville...
- VAUDEVILLE in Modern explanatory dictionary, TSB:
(French vaudeville, from vau de Vire - the valley of the river Vir in Normandy, where in the 15th century folk songs-vodevirs were widespread), ...
Contrary to popular belief, vaudeville of the early 20th century had nothing to do with Paris and women in puffy dresses and stockings. He combined many types theatrical art and was not directly related to sexuality. The word itself is indeed of French origin, but as a type of performance, vaudeville appeared in the United States and Canada in the 1880s and 1930s.
The origin of the genre
In the 1840s, America already had its own "folk theater" - a minstrel show in which white actors made up played scenes from the life of blacks. At that time, the male population of the United States watched obscene humorous performances in closed clubs with the participation of dancers and gymnasts, and itinerant doctors entertained the provincial audience. Only vaudeville managed to combine the preferences of a diverse audience in one show.
("img": "/wp-content/uploads/2015/06/vaudeville_22.jpg", "alt": "Vaudeville", "text": "Vaudeville Sleeping Car Scene. March 1904. From Archived Libraries University of Washington."
("img": "/wp-content/uploads/2015/06/vaudeville_23.jpg", "alt": "Vaudeville", "text": "Vaudeville shooting scene. From the archives of the University of Washington Libraries.")
("img": "/wp-content/uploads/2015/06/vaudeville_24.jpg", "alt": "Vaudeville", "text": "Chorists from the Cavaliers Act, 1911. From the University of Washington Libraries archive .")
("img": "/wp-content/uploads/2015/06/vaudeville_01.jpg", "alt": "Vaudeville", "text": "Lew Christensen, William Christensen, Viora Stoney and Minion Lee in vaudeville costumes Mascagno Four, circa 1925-1929 Digital archive of the Christensen family.")
("img": "/wp-content/uploads/2015/06/vaudeville_02.jpg", "alt": "Vaudeville", "text": "Lew Christensen, William Christensen, Viora Stoney and Mignon Lee in Venetian costumes for Act in Mascagno Four vaudeville. Circa 1927-1934 Christensen Family Digital Archive.")
("img": "/wp-content/uploads/2015/06/vaudeville_03.jpg", "alt": "Vaudeville", "text": "Lew and William Christensen with three dancers on a vaudeville tour, 1926. Christensen Family Digital Archive.")
The main entertainment of the American
Boston theater Vaudeville Saloon (1840) is considered to be the first American vaudeville. It is not known what exactly was shown there, but the visitors of this saloon were mostly men. TO late XIX century, the well-being of Americans has grown markedly, and with it the demand for entertainment. In 1881, American impresario, entertainer and "father of vaudeville" Tony Pastor introduced the family show format to several New York theaters. Other variety managers appreciated his idea and came to a simple conclusion: the larger the audience, the greater the revenue.
The next step was taken by Benjamin F. Keith, who built several vaudeville theaters in Boston. In 1885 he was joined by impresario Edward Franklin Albee and together they created a network of theaters and ticket offices throughout the country. Entrepreneurs established a real monopoly on vaudeville.
Caretakers and masters of ceremonies handed out cards to visitors with advice: "Gentlemen would be kind enough not to keep cigars or cigarettes in their mouths inside the building."
With the development of cities, vaudeville became the main attribute of American cultural life at the beginning of the 20th century. Each performance lasted about two hours and consisted of about ten or twelve acts, not connected by plot. Artists performed each scene different types theater and circus arts: acrobats, jugglers, comedians, dancers, magicians - everyone who could hold the attention of the audience for more than three minutes. It was something like a talent show that was supposed to make people laugh and surprise. And it doesn’t really matter what time the viewer entered the theater. Charles Stein, author of American Vaudeville Through Contemporary Eyes, quotes Keith: "The hall is always full of people, the show is in full swing, everything is bright, cheerful and inviting."
Particular attention was paid to theater buildings. In their design, the architects tried to adhere to the standards of sophistication and luxury, despite the fact that the entrance there was open to anyone (though for money). During the performances in the theater adhered to strict procedures. Caretakers and masters of ceremonies handed out cards to visitors with advice: "Gentlemen would be kind not to keep cigars or cigarettes in their mouths inside the building", "Please do not talk during the act, as this annoys the audience around and prevents them from listening to the performance."
By the end of the 1920s, vaudeville was at the height of its popularity, with about two million spectators attending performances daily. In 1925, the Keita-Alby network united 350 theaters, which employed about 20,000 people.
("img": "/wp-content/uploads/2015/06/vaudeville_11.jpg", "alt": "Vaudeville", "text": "Entrance to the Keith Theatre. Philadelphia, circa 1907. George Grantham Bain Collection .")
("img": "/wp-content/uploads/2015/06/vaudeville_12.jpg", "alt": "Vaudeville", "text": "Impresario Ernst Robert and his saloon in Manhattan. Circa 1908. George Collection Grantham Bain.")
("img": "/wp-content/uploads/2015/06/vaudeville_14.jpg", "alt": "Vaudeville", "text": "Majestic Theatre, Detroit, MI. From the Shorpy archive.")
("img": "/wp-content/uploads/2015/06/vaudeville_05.jpg", "alt": "Vaudeville", "text": "Kiwanis Follies on stage. Hokiam City Theatre. WA/Flickr." )
("img": "/wp-content/uploads/2015/06/vaudeville_07.jpg", "alt": "Vaudeville", "text": "The Five Ames Sisters. Hokiam City Theatre, 1929. WA/Flickr. ")
("img": "/wp-content/uploads/2015/06/vaudeville_13.jpg", "alt": "Vaudeville", "text": "The Brox sisters vaudeville singers. 1924. From the Shorpy archive.")
Cinema versus vaudeville
The era of radio broadcasting and the availability of inexpensive receivers, and eventually the advent of cinemas and television, distracted the mass audience from the pop genre. Theater owners appreciated the high profitability of cinema - now they did not have to pay for the work of artists and musicians, lighting, scenery. Although, ironically, it was in vaudeville that silent films began to be shown since 1895.
In 1934, the last of the best theaters vaudeville The New York Palace. Many actors then went to the cinema, where they paid more and working conditions were better. But there were also those who continued to work in city theaters and entertain the American public.
Now vaudeville theaters exist to attract tourists or to keep the family business going. For example, the Texas vaudeville Esther's Follies, opened back in 1977, shows performances in all states. And in the early 2000s, a group of historians from American universities won a grant to develop a virtual vaudeville that will not let you forget about the main American entertainment of the early 20th century.
("img": "/wp-content/uploads/2015/06/vaudeville_19.jpg", "alt": "Vaudeville", "text": "Vaudeville produced by Fanchon and Marco. From the University of Washington Libraries archive.")
("img": "/wp-content/uploads/2015/06/vaudeville_20.jpg", "alt": "Vaudeville", "text": "Vaudeville produced by Fanchon and Marco. From the University of Washington Libraries archive.")
("img": "/wp-content/uploads/2015/06/vaudeville_17.jpg", "alt": "Vaudeville", "text": "Emma, dancer for the Hoffman Girls. From the Wake Forest University Archives.")
("img": "/wp-content/uploads/2015/06/vaudeville_16.jpg", "alt": "Vaudeville", "text": "Hoffman Girls, vaudeville dancers. From the archives of Wake Forest University.")
("img": "/wp-content/uploads/2015/06/vaudeville_18.jpg", "alt": "Vaudeville", "text": "The Max Hoffman Company is performing Scheherazade. From the Wake Forest University Archives. ")
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