Title of the article:

MONOLOGUES IN “DIVERTISSEMENTS” AND “INTERMISSIONS” OF THEATRICAL STAGE OF THE 19th CENTURY

Author(s):

Elena A. Sarieva

Information about the author/authors

Elena A. Sarieva — PhD in Arts, Senior Researcher, State Institute of Art Studies, Kozitsky lane 5, 125009 Moscow, Russia; Associate professor, Russian Institute of Theater Arts — GITIS, Maly Kislovsky lane 6, 125009 Moscow, Russia. ORCID ID: https://orcid.org/0000–0002–2883–773X. E-mail: easarieva@mail.ru

Section

History of Arts

Year

2020

Volume

Vol. 56

Pages

pp. 202–212

Received

March 03, 2019

Date of publication

June 28, 2020

DOI:

https://doi.org/10.37816/2073-9567-2020-56-202-212

Index UDK

792.7+792.071

Index BBK

85.36 + 85.33(2)52

Abstract

The paper traces processes of emerging of variety`s colloquial genres, in particular, monologues in “intermissions” and “divertissements”. At the beginning of the 19th century divertissements and intermissions become well-established phenomena in imperial theaters. Participation in the “intermissions” and “divertissements” of artists of the dramatic stage has expanded genre palette in the direction of conversational variety. Texts for performance were drawn from the current theatrical repertoire and adapted for variety performance. The researchers believe it was M. S. Shchepkin, the first to begin performing monologues from comedies and vaudevilles during “intermissions” and “divertissements”, who came to be the founder of all colloquial genres on the Russian concert stage. The paper examines the performance by M. S. Shchepkin, and others after him, of the monologue of the Baron from A. S. Pushkin`s tragedy “The Miserly Knight”. Preservation of poetic form and naturalness of the acting game used to constitute particular complexity during the performance of poetic monologues. “Small forms” of great literary prose were also performed during “intermissions” and “divertissements”.  When performing monologues, artist entered into new, direct relations with the auditorium feeling the power of a direct connection between “author — actor — spectator”. The artists had to improvise, informing their characters with new features and thus bringing them closer to spectators. As the author notes the execution of monologues during “intermissions” and “divertissements” did not go beyond theatrical framework, costume and makeup were being used. Subsequently, monologues became a regular feature as an independent genre of conversational variety.

Keywords

divertissement, intermission, variety, colloquial genre, theater, Schepkin, Mochalov, Andreev — Burlak, Samarin, Pushkin, Gogol.

References

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