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Theatre
Belarusian performing arts have the roots in great antiquity. Elements of theatrical activity occurred in the folk rituals, games and round dances. Folk art in Belarus has become widespread and flourished in the work of skomorokhs, interludes of school theater, batleyka, folk drama. Most of them continued to exist until the early twentieth century.
Many performances of private magnates of urban and manor theatres, that existed in the XVIII century in Niasvizh, Slutsk, Slonim, Grodno, Shklov, Mogilev, etc., stand out for their pompousness and stage wealth. V.Dunin-Marcinkiewicz, writer, actor and director, played an outstanding role in the establishment of a national drama, the organization of the theater in the XIX century. His work was continued in the early twentieth century by I. Buynitsky – a creator of the first Belarusian companies of actors, and F. Zhdanovich – a creator of the first Association of Belarusian Drama and Comedy, and then of the Belarusian State Theater, currently National Academic Theater named after Y.Kupala. Stagings made by E. Mirovich of his own works “Masheka” and “Kastus Kalinowski” were landmark in the creation of this company in 1920, central roles belonged to V. Krylovich. The performances of “Who laughs last” by K. Krapiva (the 30s), “Pavlinka” by Y. Kupala (wartime), “Konstantin Zaslonov” by A. Movzon, “The Fox and the Grapes” according to G. Figueiredo with B. Platonov playing leading role of Aesop (in the postwar period) were events. Achievements of the theater were multiplied in the coming decades in the productions “People in the swamp” by I. Melezh, “The Tribunal” by A. Makayonak, “Ruined Nest” by Y. Kupala, “Evening” and “The Private” by A. Dudarev. Contribution to the performing arts of kupalovtsev weas made by directors E. Mirovich, L. Litvinov, K. Sannikov, B. Erin B., actors V. Krylovich, B. Platonov, G. Glebov, I. Zhdanovich, V. Pollo, O. Galina, G.Grigonis, L.Rzhetskaya, L. Rakhlenko, V. Dedjushko, S. Stanyuta, Z. Stomma, I. Shatillo, V.Tarasov, L. Davidovich.
In 1926, from Belarusian drama studio, which studied in Moscow, a theater in Vitebsk was set up, currently the National Academic Theatre named after Y.Kolas. The largest prewar productions – performances “In the forests of Polesie” by Y. Kolas, “Nesterka” by V. Volsky, in subsequent years “Hamlet” by W.Shakespeare, “The Inspector General” by Gogol, “The Power of Darkness” by L.Tolstoy, “The Boor” by E. Ozheshko, “Mother Courage and Her Children” by B.Brecht, etc. Contribution to the development of dramatic art were done by A.Ilyinsky, T. Sergeichik, F. Shmakov, Z. Konopelko, I. Matusevich, A. Coward, V. Kuleshov, G. Markin and others. The Third Belarusian Theatre (1920-1937) left a bright trace in the Belarusian art, especially with the work of the playwright, director, and actor V. Golubok.
Coryphaei of Kupala’s and Kolos’ stages consistently professed a realistic method of acting, which has been devoid of scholasticism, dogmatism, and was in a constant process of renewal and development. Also inside of the school, there were many actors' personalities, who were professionals in a variety of genres and styles. Each performer had a bright personality, and together they created a unique company.
Tangible changes in the theatrical art occurred in the early 90-es and they are associated primarily with the country's independence. Increased cultural processes was revealed in the opening of the new drama theatres, mainly speaking Belarusian. The democratization of public life led to the disappearance of censorship and freedom of repertoire policy, the ability to obtain additional sponsorship funds from private business organizations, to promote linkages with foreign stage leaders.
There was a significant upgrade of theatrical posters. Forgotten and previously forbidden works of Y. Kupala, F. Alekhnovich, V. Golubok, E. Mirovich, Y. Kolas, L. Rodzevich were returned to the stage. The performance “The Locals” by Y.Kupala, N.directed by Pinigin at the stage of National Academic Theater named after Y. Kupala, was distinguished with vivid entertainment, fine acting work. The director not only offered his understanding of the specific historical events, but comprehended them from the position of the contemporary, whose consciousness is enriched by experience of past decades.
An active appeal of theaters to historical issues begins in the same period. Plays by A. Petrashkevich, I. Chigrinov, A. Dudarev, R. Borovikova, S. Kovalev, A. Volsky are at the stage. For the first time of its existence, the Belarusian Theatre creates a theatrical chronicle of the national history: the X century – Ragneda and Vladimir; XIV century – Vytautas and Jagiello; XVI century – Barbara Radziwill and King Zigimont; XVIII Century – Vasil Vaschilo, Urszula Radziwill, Solomeya Rusetskaya. After a long oblivion next to the stage personalities of Skarina and Kalinowsky the historical figures – representatives of the national elite – came out to the stage. This was especially important because the audience was able to get in touch with the grandeur and tragedy of life of their ancestors, which at different historical stages determined the spiritual potential of the nation.
An entirely new phenomenon for the Belarusian theatrical art was the active exploration by dramatic theater of the drama of absurd, which set new challenges for actors and directors in the field of updating means of expression and artistic imagery. Plays of world classics E. Ionesco, S. Beckett, S. Mroczek, T. Ruzhevich are well placed at the stage. The Belarusian playwrights A. Boiko, S. Kondrashov, N. Orekhovsky, V. Saulich, I. Sidoruk are trying their strength in the vanguard sphere. The experience of appeal of theaters to plays of absurd was certainly useful, as gave the stage figures access to the experiment, forced them to seek new and innovative solutions. Avant-garde performances have shown – the organic of Belarusian actors, the very method of actor to be on stage does not quite correspond to the unusual and sometimes strange world of heroes of paradoxical drama. Therefore, artists have often nriched the grotesque characters of the stage actors with deep psychological insight.
At the end of the XX – the first decade of the XXI century directors M. Abramov, V. Anisenko, V. Barkovsky, N. Bashev, G. Borovik. A. Garcuev, M. Dudareva, V. Erenkova, O. Zhyugzhda, T. Ilevsky, S. Kovalchik, V. Kotovitsky, V. Korotkevich, Yu. Lizengevich, B. Lutsenko, V. Mazynsky, V. Maslyuk, G. Mushpert, N. Mackiewicz, J. Natapov, A. Osipov, N. Pinigin, W. Rajewski, V. Rastrizhenkov, V. Savitsky, R. Talipov, N. Trukhan, R. Tsyrkin, etc. worked successfully.
Belarus has 19 drama groups. 8 of them are working in Minsk, the rest – in the provincial cities of Vitebsk, Gomel (2 theaters), Brest, Grodno, Mogilev, and in Bobruisk, Molodzechno, Mozyr, Slonim. Pinsk. 3 companies have the status of “national” – the Theatre named after Y. Kupala, the Theater named after Y. Kolos, the Theatre named after M. Gorky. Each creative company has its own art program, under which the repertoire billboard is formed, and its thematic and genre variation is defined.
Thus, the basis of the artistic program of the National Academic Theater named after Y. Kupala is oriented on the preservation of its identity, the spiritual formation of the nation by familiarizing the viewer to the country's history and traditional culture. In the repertoire the priority belongs to the Belarusian drama that does not preclude the development of the best examples of world heritage.
National Academic Theatre named after M. Gorky during the formation of the repertoire basicly prefers Russian and world classics. Belarusian Republican Youth Theater builds repertoire poster, taking into account different ages of child, adolescent and young auditorium. Aims and objectives of the Drama Theatre of the Belarusian army – to educate the youth patriotism and love for their native land, implant into consciousness cultural and moral values, close to the mentality of our people. The main purpose of the Republican Theatre of Belarusian Drama is to work with young writers. From 2007 on the basis of the theater the Center for Belarusian drama and directing, which aims to collect, preserve and disseminate the best examples of modern domestic drama and their implementation on the scene, was organized. Along with works by famous playwrights, A. Dudarev, E. Popova, S.Kovalev, E. Shaban, pieces of beginners N. Rudkovsky, A. Karelin, S. Kondrashov, S. Girgelya, A. Shurpin, etc. are set in a theater.
Thus metropolitan theaters determine their way of relationships with the audience. In slightly different conditions theater companies, working in regional centers, exist. Each of them is a kind of cultural center in the city, so their repertoire is formed by taking into account audience differentiated by age and socially.
In general, the billboard today is characterized by increased interest of stage figures to the Belarusian, Russian and world classics. National classic performances of “The Ruined Nest” (directed by Boris Lutsenko) and “The Eternal Song” (directed by S. Kovalchik) by Y. Kupala, “Savage Hunt of King Stach” by V. Korotkevich, “The Ballad of Love” (“Alpine Ballad”) by V. Bykov, “Belarus in the fantastic stories” by J. Barshcheuski (directed by V. Savitsky), “Symon the Musician” by Y. Kolas and “Pinsk Gentry” by V.Dunin-Marcinkiewicz (directed by N. Pinigin) and many others on the associative level, actively saturated with modern problems. Most of the Belarusian classical productions by genre and stylistically are moving away from domestic display of folk life and with the help of styling rise to symbolic generalizations at the level of philosophical parables.
From foreign classics plays by A. Ostrovsky, A. Chekhov, N. Gogol, W. Shakespeare, Jean-B.Moller, P. Beaumarchais, C. Goldoni, C. Gozzi are the most popular on the Belarusian stage. Performances of the world classical drama are of great importance for the development of a national theater. They contribute both to familiarizing of viewers with universal humanistic ideas, and improving professional skills of the creators of the stage. Classical tragedy allows the actors not only temperamentally, and at a high emotional rise to realize large-scale characters, but also to reveal their personal understanding of the complex ethical, moral, philosophical problems. Classic comedy helps to comprehend the different shades of the comic: the farce grotesque, buffoonery, a sharp satire – to the gentle humor and self-irony. Comedy genre develops improvisation performances, opens wide space to reveal the creative ingenuity and imagination.
Contemporary repertory poster of Belarus theaters is greatly enhanced by the plays by B. Show, G. Ibsen, B. Brecht, T. Williams, G. Hauptmann, L. Pirandello, which are rightly considered classics today, as well as the existential drama by Jean-P.Sartra, A. Camus and symbolist drama by A. Strindberg, A. Schnitzler, V. Gombrovich. Such work requires from the Belarusian actors, traditionally strong in realistic drama, a new method of performance, identifying subtle psychotechnics, intuition.
The leading masters of the stage P. Jankowski, S. Okruzhnaya, G. Ovsyannikov, V. Gostyukhin, G. Garbuk, B. Masumyan, O. Klebanovich, A. Tkachenok, M. Zakharevich, T. Mironova. L. Korhova, V. Petrachkova, L. Pisareva, L. Volkova, T. Levchuk, V. Shushkevich, A. Palkin, I. Sigov, L. Sidorkevich, creatively develop a realistic method of acting, convincingly showing that psychology is not that stiff and rigid. With their inherent skills in each role, they subtly and generously reveal new scenic nature of truth.
And next to the original harmony of contrasts, there are other performing styles, which are based on tragicomic, farcical aesthetics. Actors Yu. Feigin, V. Manaev, N. Kirichenko, S. Kurylenko, T. Kokshtys, S. Zhuravel, V. Kovalerova, G. Belotserkovsky, A. Parfenovich, M. Metlitsky pleased to refined form improvisation and a sharp grotesque, boldly combining the role of spiritual insight and theatrical illusion.
Creative young people maintain and develop the best traditions of the national scene. Actors A. Molchanov, R. Podolyako, A. Khitrik, S. Zelenkovskaya, E. Kulbachny, S. Anikei, N. Solomakha, A. Ganum, R. Kushner, E. Maksimenko, E. Belotserkovskaya, S. Chekeres, E . Dubrovskaya, V. Piskun and others bring to the stage scaffolding attitude of their generation, personal understanding of modern life and its meaningful changes.
Young directors P. Adamczikov, E. Ogorodnikova, M. Laschitsky, D. Nupreychik, S. Kulikovsky, M. Sohar, K. Tarasova, O. Saratokina, L. Marchenko Actively declare themselves. They are actively updating synthetic nature of the theater and openly use modern stage technologies. In this case, songs, dances, rituals, aesthetics interludes of folk drama and Batleyka are not formally introduced into the structure of the stage works, and are the essential definition of a new artistic quality.
An important component of the play is set design. Belarusian theater artists today are able to freely carry out their ideas, experiment with materials, textures, colors, light design. For the activity of the leading stage designers B.Gerlanov, D. Mokhov, V. Timofeyev, A. Kostyuchenko, T. Korvyakova, L. Rulevaya, V. Chernyshev, etc. poetizing of subjects, mediated use of symbols, the use of traditional materials - wood, flax, ceramics, sign for the Belarusian culture – are characteristical. The experimental search for an individual style peculiar to young artists D. Volkova, O. Mackevich, A. Sorokin, A. Gritsaeva, T. Sokolova, I. Anisenko, A. Merenkov. Denying the static nature and naturalism, they seek not only for the bright entertainment, but also meaningful picturesqueness, philosophical fullness of stage space.
In parallel with the public and stationary theaters in Belarus there are private single-play companies whose activities were revived in the 90-es of the last century. At the root of the movement were single plays as “Theatre Stars” (project leader Mikhail Abramov); “Virtuosi of the Stage” (producer V.Ushakov), “Belarusian Seasons” (from 2006 “Theatre Ark”, directed by E. Voloboev), single play of the Belarusian Foundation for Cultural Development; Little Theatre under the direction of I. Zabara, which emerged in place of the closed Alternative theater named after V. Grigolnas. In the new century the Producer center “Alfa Radio” and “Nicola Theatre”; Modern Art Theatre, New Theatre were opened. All these teams have worked on a contractual basis with the invitation of the director and actors on one statement.
In general, modern Belarusian theater creatively interprets values accumulated by the domestic and world artistic culture. Feature of today's theater is an organic compound of various styles, trends and directions. Figures of the scene remain in their productions of the realistic tradition and simultaneously master modernist aesthetics. Traditionally, verbal and psychological theater, where the main emphasis is given to word, still exists with the theater conventional, ritual and ceremonial, preferring nonverbal meansof scenic imagery – plastics, choreography, music, elements of folklore.
Theater, shaped like a model of life, becomes more symbolic and metaphorical, saturated with associative images, which read the national epic archetypes and the traditional culture of laughter. The best performances contribute to the awakening of historical and cultural memory, approximate the author's reflections on the challenges of being a world perception of the modern viewer.
A characteristic feature of modern theatrical process is the active development of the festival movement. Today in Belarus, the International Theatre festival “White Tower” (Brest), “Slavonic Theatrical Meetings” (Gomel), “M.ART.Contact” (Mogilev), “Panorama” and solo performance “I am” (Minsk); Republican – “Belarusian Drama” (Bobruisk). Theater Festival – is always a holiday for both the audience and for its participants, equally combined with expectation of aesthetic and artistic impressions. It allows you to look at the creative process in the dynamics, helping to assess their own achievements in the context of other national cultures. The geography of international festivals is constantly expanding. They are attended by theaters in Eastern and Western Europe, Asia, USA. At the same time the Belarusian teams are involved in theatrical forums near and far abroad. All this contributes to the active entry of the Belarusian theater into space of modern European culture.
Contacts with foreign dramatists also help to strengthen international ties. Thus, staging productions in Belarus were carried by directors: A. Katz, V. Salyuk, N. Sheiko, A. Ischenko, K. Panchenko, V. Pankov (Russia), A. Bakirov (the Ukraine), A. Latenas (Lithuania); A. Yakimets and J. Patsoha (Poland), H.-G.Flahhuber (Germany), L. Farnam and B. Busagol (France); H. Ringler, and A. Nordstrem (Sweden), K. Martin and D. Banks (the USA).
Professional training of actors, directors, set designers, theater critics and theater specialists in theatrical management and marketing is carried out by the Belarusian State Academy of Arts.
Theatre life of Belarus is covered on pages of the magazine “The Art”, newspapers “Culture” and “Literature and Art”, as well as at others Minsk, provincial and regional publications, where there are commentators on culture.
See also: Cinema
© National Academy of Sciences of Belarus, 2011
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