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The inclusion of theater in public life inevitably led to its downfall. former “meanings”: if, as we have already noted, before the revolution, the theater, primarily the imperial one, was part of the elite social life, then from the spring of 1917 it is marginalized. The imperial become state, the former directorate headed by V.A. Telyakovsky is abolished and the post is appointed Commissioner b. Imperial Theaters, which became the Octobrist N.N.Lvov. In a new way artists began to behave, insisting on the transfer of theatrical life to their hands. It is noteworthy that, in addition to artists, the committees of representatives of state The theaters included technical personnel and stage workers, who also considered themselves servants of Melpomene, who claimed to be equal to the soloists. 494 Marginalization affected, of course, the public.

So, for example, the revolutionizing public during intermissions at the Mariinsky Theater demanded that the choir and orchestra perform “In Memory of the Fallen”, “Hey, We Go”, “Marseillaise”. The latter were forced to obey, with the result that interruptions turned into revolutionary concerts and rallies. The theater of the grand phenomenon turned into a kind of appendage social and political life of the country. Often not only in intermissions, but also in front of 491 Moscow leaflet, 1917, May 3, p.4. 492 Petrograd Gazette, 1917, May 17, p.3. 493 Ibid., May 31, p.2. 494 Bezpalov V.F. Theaters in the days of the revolution of 1917. L., 1927, p.28. 165 the beginning of the performance, during which political slogans sounded from the stage, performed public figures.

 As VF Bezpalov later wrote: “Such an environment has become usual for the spring season of 1917 and a rare performance was not intertwined with political greetings and rallies. ”495 The theaters in large numbers tumbled down soldiers, cab drivers, petty servants of different institutions, not at all ranked myself to the theater-goers in the old days. 496 For them, visiting the new revolutionary Theater personified the beginning and their new life in Free Russia. Consequently the culture of the former spectator fell, and the new one simply did not see any other example of behavior in the hall. KS Stanislavsky recalled that at first in Moscow he took care of the “education of the viewer.” It has become commonplace when someone sitting on the stalls and husking the seeds during the action, eating and rustling paper, talking, as a result of which Stanislavsky was forced to walk during the performance between rows and make comments.

Soon, he was already recognized in a darkened hall, and he was approaching from the ranks: “He, he is coming!” 497 Of course, such single actions to pull down individual viewers in On the whole, they did not have any results against the background of the general process of marginalization and the associated fall of the theater culture. Concerts and meetings, which received such popularity, eventually had their influence and led to the fact that the audience in the theater is looking for is not an art, but a spectacle. This was especially evident by the summer of 1917, in connection with which Stanislavsky wrote in August in an appeal of the Union of Moscow artists: “Theater-art, theater-balagan, theater-building merged into the concept of people in one inseparable whole, and therefore now almost everything that we see in the theater is taken for art. The boundaries of the present theater and balagan lost in the submission most people.