Театральное Исскуство Великобритании, обычаи и традиции в сравнении с Казахстаном

Contents:

Introduction:                                                                                                                              2-p

Theatres of Kazakhstan:                                                                                                  3-7p

Theatres of Great Britain:                            8-20p

Traditions and customs of Kazakhstan:                                                        21-35p

Traditions and customs of Great Britain:                                                        36-48p

Conclusion:                                                                                                                              49-p

Application:                                                                                                                              50-53p

List of uses of literature:                                                                                                  54-p

Introduction

Great Britain is a great country with a rich history and famous traditions and customs. Some of them are famous all our the world, but also we should not forget about art and especially theatrical art.

              Because namely in this country. In the county Yorkshire in Stratford-upon-avon this born great playwright  William Shakespeare, whose plays are translated in to almost all languages of the world and are performed on the world theatre stages.

              But in the very heart of Asia is  situated another country,  the Rising Star, which has taken appropriate place on the world sky and it’s name is Kazakhstan, also rich with its history outstanding people, events, also culture and art. Kazakhstan has given great and famous writer, philosopher Abai Kunanbayev, his books are translated in 49 languages.

              The main aims of the course work are:

      To describe, theatrical art, traditions and customs of Great Britain and Kazakhstan.

      To compare  these themes between these 2 countries.

Basic tasks of these course work:

      Description of different traditions and customs.

      To compare historical development of the theatrical art of Great Britain and Kazakhstan.

      To compare traditions and customs of Great Britain and Kazakhstan.

      Up-to-date role of the theatrical art, traditions and customs of Great Britain and Kazakhstan.

Theatres of Kazakhstan

The State Academic Opera and Ballet Theatre named after Abay

On January 13 the Opera and Ballet Theatre named after Abay celebrates its birthday, because in far 1934, it was the day when it was founded on the base of musical drama school. The first musical comedy “Ayman and Sholpan” was performed in the same year. The year later the theatre created own opera troupe, which produced “Carmen” of George Bizet. And already in 1936, after performance of opera troupe, led by Kulyash Bayseitova, in Moscow, the theatre obtained the recognition all over the Soviet Union. In 1938 the ballet troupe was created, which produced the “Swan Lake” of Tchaikovsky in the same year.

Before the beginning of the war, before only 7 years, the repertoire of the theatre numbered more than 30 operas and 6 ballet plays. And in the eve of war the theatre was given the status of academic theatre. And during the war notwithstanding all difficulties, the new building of Opera and Ballet theatre was built. So far as the great number of residents of western part of Soviet Union was evacuated to Almaty, the cultural figures from Moscow and St. Petersburg began to work in this theatre, rising the level of skill of theatrical troupe. In the end of war, in 1945 the theatre was named after the great Kazakh philosopher, poet and enlightener Abay.

The theatre was growing, its limits were expanding, European, Russian and Kazakh plays were produced on the stage of the theatre. Some quickly lost the public interest, others constantly were met with great applauses. The adaptation of world classic took place, operas were translated into Kazakh language, and performances acquired the Kazakh national style.

The theatre, war-hardened, went on its development, the new generation of professional musicians, opera singers and dancers began the job within the walls of the theatre. New operas and ballets were produced. Bu together with collapse of USSR the theatre declined too. In connection with difficult economic situation many workers of theatre had to look for another kind of earning.

But the period of stagnation lasted about 10 years, and in 2000 the full reconstruction of theatre building was finished, and favorable conditions were created for the collective. Today the collective of theatre again is increased by new soloists and dancers, who honor the memory of the theatre and work, keeping the traditions of past generations. The theatre performs on the stages of Europe, America and Asia, and also receives the troupes from the theatres of various countries. Today the opera and ballet theatre named after Abay is the largest theatre of Central Asia and undoubtedly the flagman of musical art of Kazakhstan.

State Academic Russian Drama Theatre named after M.Yu. Lermontov

In 1933 in the city of Semipalatinskoe it was the opening of Russian Drama Theatre, and not longer after it was the reopening in Almaty. It happened because the theatre building was not built up yet and the play was ready. On the first opening they performed the play of Trenev “Love of Spring” and then in Southern Capital it was the play “Fear” of Afinogenov.

From the very beginning of existence it became the norm to produce 7-8 premier plays per year, which were based on dramaturgy of Gogol, Chekhov, Ostrovskiy, Gorkiy, Shakespeare, Schiller, Moliere, and many other. The theatre became the best school for many actors and directors of that time. Many of them, gaining the experience, went on the work within the walls of the theatre, and soon it became the etalon of theatrical art in Kazakhstan.

In 1964 the theatre was named after the great Russian poet M.Yu. Lermontov, during Lermontov’s 150th anniversary. At the same time the play “Lieutenant Lermontov” was produced, and soon the word “Lermontovets” firmly entered the lexicon of residents of Almaty, and it meant the member of theatre collective. And 10 years later in 1974 the theatre was conferred the rank of academic theatre.

In 90-ties of XX century, against the background of economic decline on the territory of entire former USSR, the drama theatre experienced its own drama: it did not receive almost any financing but it did not surrendered, and even produced new plays, which earlier were prohibited by Soviet regime. Fortunately the theatre could survive this difficult period and today continues to gladden its spectator.

From the beginning of its existence in the centre of attention of the theatre it was the Man, his joy and grief, social and moral parts of life. All of these was clothed in artistic shape, and was presented before the thankful spectator in the form of bright and emotional performances, over the whole period of the theatre’s history.

Kazakh State Academic Drama Theatre named after M.O.Ayezov

This theatre by right can be called the first professional theatre of Kazakhstan – it raised its curtains in town of Kizil-Orda on January 13, 1986. Two years later the theatre moved to Almaty. From the very beginning the eminent directors of country entered the first team of the theatre, and first actors quickly reached high level of skill, afterwards becoming the national artists of Soviet Kazakhstan.

In 30-ties of XX century a lot of changes happened in the theatre: Russian professional directors began to work here, the division on drama theatre and musical school happened, the theatre was named the Academic drama theatre. The stage became the forge of the best actors of Kazakh dramatic art, whose names became the property of the drama theatre.

After World War II the theatre start working with new power, and during second half of XX century it was the member of many international festivals, held in Europe, America, Asia and Africa. And in 1961 the theatre was named after the outstanding.

Kazakh writer-dramatist M. Auezov who was at the forefront of this theatre.

Today drama theatre named after Auezov continues the best of its traditions, constantly train new actors, participates in international festivals, and also receives troupes of other theatres on its stage. Up to date it remains one of the leading theatres of Kazakhstan.

Theatre of Young Spectator

Today the Theatre of Young Spectator is divided on two theatres, and some time it was the single theatre. Its base was laid on September 6, 1944 on the meeting of Communist Party of Kazakhstan, where it was decided to open the theatre for children. Year later, on November 7, 1945 two first plays went off, where one of the directors was Natalya Sats. It was the woman who struggled for the opening of theatre for children in Almaty. She was put to repression, and spent 5 years in Gulag, and than was in exile in Almaty; and even here continued her activity. Today they call here the mother of children theatre of the world: she founded first theatre of young spectator in the world, and totally she founded 6 theatres for children.

After year of official opening the troupe was created in the theatre, which worked on Kazakh Language. For 30 years of joint existence of Russian and Kazakh troupes several dozens of plays were produced on the stage of theatre. However the main part of repertoire consisted of works of European and Russian authors, and Kazakh plays could be counted on the fingers of the hand.

In 1985 it was the crucial resolution of the Ministry of Culture of Kazakhstan, according to which the theatre was divided on Russian theatre for children and youth named after Natalya Sats, and Kazakh theatre named after Musrepov. Some time both theatres were located in one building (as two troupes over 30 years): carried out rehearsals separately, and performed the plays in divided between them time. But later the new building was allocated for Russian theatre and their ways were parted.

And though they are divided, but they have the same aim – they are called to bring up in young generation the love to the art and the sense of beauty. Both theatres gained the rank of academic theatres in 1996. the Kazakh theatre named after Musrepov is located in the old building, and the theatre named after Natalya Sats moved to one of the Houses of Art of Almaty in 2000. And we only can hope that this division will not create language barriers, and just will give the opportunity to show more plays for its young, but searching spectator.

The Theatre “ARTISHOCK”

The theatre, which name similar to Mediterranean plant, and which can be decode as “art and shock”, is the first independent project in Kazakhstan. The history of the theatre “ARTiSHOCK” began in 2001, and just for a couple of years it was known in Kazakhstan as the most extravagant and shocking.

The basis of theatre was pantomime, body plasticity, street plays with interactive elements and constant virtuosic improvisation. Thanks to these features the theatre could find its spectator not only in Kazakhstan but in many countries of Europe and Asia. The number of contests, won by the group of theatre, was growing and the theatre gradually has grown to the entire theatrical company, which realizes various projects in cultural life of Almaty.

One of the most impressive projects of the theatre was the play “BACK IN USSR”, which brought to the collective Grand prizes of many contests and festivals all over the world. constant projects for the theatre became such projects as “Theatrical improvisation” “ARTiSHOCK-session”, which wipe off the boundaries between actor and spectator. From year to year the activity of theatre on streets of Southern Capital grows and some projects can be seen in the form of absurd advertisement, sudden short performances and etc.

Perhaps this is the most peculiar theatrical project in Almaty. And actor troupe constantly uses improvisation, so that one and the same play appears before spectator absolutely in different way. Similar projects exist in Europe, but in Central Asia it is almost the only theatre of improvisation. It is impossible to pass this theatre by.

Puppet Theatre "Sesame"

This unusual theater was founded in 1997 on the initiative of Kairat Bayanov, who gathered around him such enthusiastic of puppet theatre, as he was himself too. It was the first and only theater of puppets in Kazakhstan. That time, the first show was completely created by actors who acted as screenwriters, sound men, lighting technicians, etc. The play, designed for children, perhaps was not as professional as it is appropriate among the actors, but children see not the skill of the play, but the sincerity and they really liked it. So, on March 3, 1997 there was the birth of puppet theater "Sesame".

After the first performance, actors inspired by the success fell into new spectacle, which was "Santa Claus & Co.” At this time, professionals of theatre mastery were involved in, who helped the creators of the theater to reach the new level and to show the play of better quality. In addition puppets from abroad were ordered for performances. Thus, the puppet theater moved from the category of hobby to the professional level.

This performance was prepared specially for winter vacations of pupils, and since that time, the theatre season in this theater began to start in the New Year holidays. For more than ten-year term on the stage of the theatre many world-famous fairy tales ware performed such as "Dwarf-Nose" of W. Hauff, "Unbearable Little Elephant" of R. Kipling, "The Nutcracker and the Mouse King" of T.A. Hoffmann, "Brer Rabbit and Brother Fox" of D. Harris and many others.

Today the theatre "Sesame" is solid creative team, which passed the long way from the simple desire to show the kids a fairy-tale to the professional work to foster in young spectator the sense of beauty.

Theatres of Great Britain

COVENT GARDEN THEATRE.

"The houses twain of Covent Garden and of Drury Lane."—Rejected Addresses.

The Building of the Theatre—"Rich's Glory"—The First Performance at Covent Garden—Ladies at the Theatre—Receipts of the House—Performance of Handel's "Messiah"—Royalty flock to the Haymarket, and Horace Walpole's Remarks upon the Subject—First Appear ance of "Peg" Woffington—Death of Rich, and Sale of Covent Garden Theatre—Charles Macklin, the Comedian and Centenarian—Stephen Kemble—Incledon—George Frederick Cooke—John Philip Kemble—"The Young Roscius"—The Theatre burnt in 1808—The Duke of Northumberland's Generosity to Kemble—The Theatre rebuilt and opened—The "O. P." Riots, succeeded by a run of uninterrupted Prosperity—Poetic Effusions upon Actresses wedded to Noblemen.

We have seen that "the new playhouse in Drury Lane" was frequently spoken of as "Covent Garden Theatre," and naturally enough, for the theatre in Bow Street was not built until the year 1731. The latter was a speculation of John Rich, the celebrated harlequin, and patentee of the theatre in Lincoln's Inn Fields, who removed hither with his company in 1732.

Hogarth's caricature of "Rich's Glory; or, His Triumphal Entry into Covent Garden," of which we give a copy on page 223, refers to this removal. The progress of the building was thus commented on in the Daily Advertiser for March 2, 1730:—"We hear the new theatre which is to be built in Covent Garden will be after the model of the opera-house in the Haymarket; and by the draught that has been approved of for the same, it's said it will exceed the opera-house in magnificence of structure."

The same paper for August 4, 1731, states:—"The new theatre building in Covent Garden for Mr. Rich is carrying on with such expedition and diligence (there being a great number of hands employed therein) that it's thought it will be completely finished and ready to receive his audience next winter. Several persons of distinction resort thither daily to view the said work, and seem much pleased at the performance."

The first performance at Covent Garden Theatre was advertised in the following manner:—

"By the Company of Comedians.—At the Theatre Royal in Covent Garden, on Thursday next, being the 7th day of December, 1732, will be revived a comedy called The Way of the World, written by Mr. Congreve. The cloathes, scenes, and decorations entirely new, and, on account of the great demand for places, the pit and boxes, by desire, will be laid together at 5s.; gallery, 2s.; upper gallery, 1s.; and to prevent the scenes being crowded, the stage half-a-guinea. N.B.—All persons who want places are desired to send to the stage-door (the passage from Bow Street leading to it), where attendance will be given and places kept for the following night as usual."

It was doubtless àpropos of some such comedy as the one just mentioned that the Guardian remarks:—"As the playhouse affords us the most occasions of observing upon the behaviour of the face, it may be useful (for the direction of those who would be critics this way) to remark that the virgin ladies usually dispose themselves in front of the boxes, the young married women compose the second row, while the rear is generally made up of mothers of long standing, undesigning maids, and contented widows. Whoever will cast his eye upon them under this view, during the representation of a play, will find me so far in the right, that a double entendre strikes the first row into an affected gravity or careless indolence, the second will venture at a smile, but the third take the conceit entirely and express their mirth in a downright laugh."

Here, as Mr. Timbs reminds us, Rich and Lambert, in 1735, founded the Beefsteak Club; and here, in 1746, Garrick played for the season.

The site of the theatre was leased to Rich for a term of years by the Duke of Bedford, at a yearly rental of £100. It held before the curtain £200, which was at that time reckoned a good receipt. In Shakespeare's day £20 was considered profitable; and "in 1747," says Colley Cibber, in his "Apology," "Mrs. Rich said she was always contented if the receipts reached three figures." In 1750, further to increase the profits, seats were built on the stage sufficient to accommodate a large number of persons; but this arrangement was such an obstruction to the actors that it was abolished by Garrick. At the time of the death of John Rich in 1761, the ground-rent had been raised from £100 to £300 per annum, and the property was estimated at £60,000. In 1792, when the Duke of Bedford, as ground-landlord, granted a new lease, it was at the rate of £940 a year.

It was at Covent Garden that Handel, in 1741, produced his great oratorio, the Messiah. The fashion of the day was against him, though he was supported by the court, the mob, and the poet of common sense, Alexander Pope, who records in his "Dunciad" how, on finding it impossible to hold his own against the Italian faction. Handel quietly withdrew to Ireland for a year or so, till the tide should turn in his favour. "Handel has set up an oratorio," writes Horace Walpole in 1742, "against the operas, and it succeeds." And well was Handel avenged. In a few years the Italian Opera House in the Haymarket went out of fashion, and the nobility set up their own rival house in Lincoln's Inn Fields. "What the Court then patronised," observes Charles Knight, "the aristocracy rejected." As usual, Horace Walpole has a cynical story to tell upon the subject. He writes thus to Mr. Conway, in 1761:—"The late royalties went to the Haymarket when it was the fashion to frequent the other opera in Lincoln's Inn Fields. Lord Chesterfield one night came into the latter, and was asked if he had been at the other house. 'Yes,' said he; 'but there was no one there but the king and queen; and as I thought they might be talking business, I came straight away.'"

It was at Covent Garden that the fascinating Irish actress, Margaret Woffington, made her first appearance upon a London and her last upon any stage. Her choice of a character for her début, in 1738, excited the surprise of the public, being that of "Sir Harry Wildair;" but so captivating did she appear in it that Garrick, with whom it had been a favourite part, gave it up from that time. Her best rôle was that of "Rosalind," in As You Like It, to which, in 1757, she was speaking the epilogue with all the saucy piquancy peculiarly her own, when she was suddenly stricken with paralysis, and carried off the stage never to return to it. According to Dr. Doran, a bitter source of jealousy existed between "Peg" Woffington and the beautiful and notorious George Anne Bellamy, whose "Memoirs," written by herself with an astonishing absence of reserve, were formerly read and quoted by every lady of fashion. "The charming Bellamy," says Dr. Doran, "had procured from Paris two gorgeous dresses wherein to enact 'Statira' in the Rival Queens. 'Roxana' was played by Woffington, and she was so overcome by malice when she saw herself eclipsed by the dazzling glories of the resplendent Bellamy, that she rolled 'Statira' and her spangled sack in the dust, pommelling her the while with the handle of her stage dagger, as she declaimed, Alexander standing by:—

'Nor he, nor heaven shall shield thee from my justice!

Die, sorceress, die! and all my wrongs die with thee!'

Rich lies buried in Hillingdon churchyard, near Uxbridge. A vignette of his tomb, and a fac-simile of his autograph, attached to an agreement with Charles Fleetwood respecting the receipts of Covent Garden Theatre, will be found in "Smith's Historical and Literary Curiosities."

A few years after the death of Rich the theatre, having been sold by his heirs for £60,000, was opened in 1767 by Messrs. Harris, Colman, Powell, and Rutherford. In 1774 Mr. Colman sold his share, and from this time the theatre was virtually under the management of Mr. Harris, who had by far the largest interest in the property. In 1787 it was almost wholly rebuilt, and was further altered and enlarged in 1792.

Covent Garden is rich in names famous in histrionic annals, each of which is a landmark to point out the progress of the drama during the last century and a half. Among the earliest of these is that of Charles Macklin, the comedian and centenarian, who frequently performed on its boards, and unless absent from London on engagements at Dublin, lived constantly almost under its shadow—mostly under its piazza; or hard by, in James Street, Hart Street, or Tavistock Row. Having once retired from the stage in middle life, in the hope of making a fortune by establishing a tavern and coffee-house in Hart Street, he returned to it after the failure of his scheme and his consequent bankruptcy, and for many years, whilst quite an old man, played leading parts with some of the fire of youth. His last appearance at Covent Garden was on May 7th, 1789, he being then eighty-nine years of age, when he attempted the part of "Shylock" for his "benefit," but was unable to proceed with the performance. But in spite of his loss of memory he still lived much abroad as usual, haunting the scene of his former triumphs, telling his stock of anecdotes over and over again, and, evening after evening, frequenting a public-house in Duke's Court, close by, where a large concourse would repair in order to hear the anecdotes of so aged and remarkable a person, who remembered the days of the dramatic giants of an earlier generation. "As the infirmities of age increased on him, he would wander feebly about the neighbourhood of Covent Garden, sometimes looking in at the theatre, though he went thither rather more from the force of habit than from any gratification that he could receive, except, perhaps, from the music between the acts. On these occasions the audience, it is said, would always venerate his age, and compassionate his condition; for on his entrance into the pit, however full the house might be, room was always made for him in his accustomed seat—the centre of the last row next to the orchestra; and when the performance was over he would walk home leisurely by himself across the square of Covent Garden to Tavistock Row, where he lived and where he died, a veritable centenarian, in 1797. His "Memoirs," which originally appeared in the European Magazine, but were subsequently re-published in a volume, furnish us with some curious information respecting society in London and the manners and habits of the gentry and professional classes a century ago.