Theatrical art of the United States until the end of the 19th century. developed in a complex way, along a special path, practically not correlated with the pan-European one. The English Puritans, who made up the majority of settlers in the young country, brought with them an extremely intolerant attitude towards artistic culture in general, and towards theatrical art in particular. The origins of this can be traced back to the 17th century, from the time of the English bourgeois revolution, when in 1642 the English parliament by a special decree banned all theatrical performances. However, England, despite its insular location, still could not develop in isolation from general trends of the European Enlightenment of the 18th century, which put the theater at the service of its ideology, and, consequently, paid much attention to theatrical art. The United States, due to its remoteness from Europe, had a much greater ability to resist the integration of artistic culture trends. Puritan settlers, consistently preaching the ideology of asceticism, for two centuries assigned the role of a “low” and socially disapproved type of human activity to the theater, proclaiming intellectual, but not artistic development as the center of spiritual life. This could not destroy the theater at all, but it caused quite definite forms of its development.
existence in the 19th century. American theater outside the official ideology contributed to the development of its most simple and crude forms, designed for an inexperienced and therefore unassuming audience. In addition, theater troupes and individual actors migrating from Europe, as a rule, were not the most talented and wealthy people who failed to succeed in their homeland. The most widespread at that time were traveling troupes, consisting of a small number of actors. The small composition of the troupes determined their repertoire: a set of heterogeneous, mostly comic, numbers, short sketches, musical or dance scenes. Like any traveling theater whose material well-being is directly related to the specific interests of the audience, these troupes were forced to master "local specifics", including Negro folklore. By the middle of the XIX century. American theatrical genres were formed, representing, despite borrowing their names from the European theater, their very special variety. All of them had a common focus - entertainment. The differences between these genres were more formal than fundamental.
The musical owes its birth to chance. In 1886, a fire broke out in one of the New York musical theaters, and the ballet troupe was left without work. The producer of the fire victims turned to a colleague from the drama theater, where they rehearsed the melodrama. Together they came up with an original move: they connected both troupes and showed an unusual musical performance. It lasted five and a half hours, but did not tire the audience - they accepted it with delight. The success inspired theater managers, and similar performances began to appear on different stages. From the above, it follows that the genre nature of the musical is largely due to the practice of theatrical entrepreneurship in the United States. The American theater is, above all, commercial enterprise, and took shape as an exceptionally light-genre art, generally focused on entertainment. Thus, the musical has a dual nature: it is, on the one hand, an art and, on the other, a powerful entertainment industry.
The origins of the musical go back to the beginning of the 20th century. The predecessors of the genre are called ballad opera, "minstrel theater", extravaganza, burlesque and vaudeville, revue, operetta.
Ballad opera was borrowed by American culture from European. One of the forerunners of the famous American minstrel show was the folk ballad of the Elizabethan era. On its basis, a special theatrical genre arose - the ballad opera. it theatrical performance contained conversational episodes, well-known ballads were used as musical arrangement. The basis of the ballad opera is caricatured scenes from history, famous literary works, theatrical plays. This comedy-musical play was replete with songs, the musical material of which was not original, but was a primitive adaptation of popular melodies. The first American ballad opera, The Archers, or, The Swiss Highlanders, was staged in New York in 1796. The classic ballad opera and the only one that survived until the 20th century was The Beggar's Opera, first presented in 1728 and has since been constantly renewed.
Let us designate some features that anticipated the genre features of the musical. Firstly, the desire of the ballad opera to reflect modern everyday life, topical themes with elements of satire. Secondly, popular melodies of a folk character were fused in the ballad opera genre into a kind of urban folklore, which was one of the sources of the US pop music up to the modern "pop-song".
A whole theatrical tradition turned out to be a link between the theatrical culture of England and the New World: in many dramatic performances staged on English stages, the image of a black slave was used, often acquiring distinct comedic features. These performances gave impetus to the development of a specifically American theatrical performance. In connection with the growth of the American theater at the beginning of the 19th century, a peculiar form of folk entertainment spread in America - the "minstrel show", that is, the "representation of minstrels".
Its founder is considered to be the actor and musician Johann Christian Gottlieb Graupner, an emigrant from Germany, who performed in 1799 in a Boston theater with an eccentric comedy scene between the actions of a “serious” performance, where, disguised as a Negro (“blackface”, as they later began to call minstrel actors ), portrayed "a gay Negro guy" ("The Gay Negro Boy" - appeared on the poster of this performance), sang and danced, accompanying himself on the banjo. Its followers are individual artists (J. W. Dixon, B. Farrell, J. Nichols, T. "Jim Crow" Rais) and minstrel troupes that appeared in the 1840s, including the most famous of them - "Virginia Minstrels" ("Virginia Minstrels"), which first performed in New York in 1843.
In the 1820s and 1840s, two main Negro types appeared in the "minstrel show": the day laborer dressed in South American plantation rags and the city dandy. At first, songs, caricatures and sketches accompanied by musical accompaniment of the banjo filled the pauses and intermissions in other performances. However, with the growth in the number of "minstrels", entire troupes arose, the performance of which was based on such numbers.
In 1850, the "minstrel theater" reaches its apogee of glory, seriously competing with opera and drama. Like a circus parade, minstrel show troupes traveled across America (including the floating theaters that cruised the Mississippi), giving performances in every corner of the country.
The performances of the minstrel theater consisted of jokes and parodies, skits and dances, instrumental and vocal solos. The text was usually improvised. As for the musical arrangement, the most nationally diverse music was used in the "minstrel show": these are traditional African-American genres, and old ballads of Anglo-Celtic origin, and Irish jig. Sometimes the musical numbers grew so large that the performances were called "Ethiopian" or "African" operas.
Minstrel performances were most popular in the 1830s and 1870s. After the end of the Civil War in the USA (1865), Negro troupes proper began to form. By the beginning of the 20th century, the minstrel theater was commercialized and gradually began to lose its significance, turning, in the words of M. Stearns, into a “galloping elephant”. Nevertheless, the historical role of minstrels is extremely great. They brought public attention to the Negro folk art, created a number of song and dance genres in the spirit of Negro music, more accessible and understandable to a wide range of listeners than its authentic forms.
In the music of the "tetra minstrels" some early elements of jazz (ragtime) were formed. At the beginning of the 20th century, having joined the Broadway stage, minstrels contributed to the penetration of jazz onto the stage.
Genre extravaganza - French origin. It was brought to America in 1857 by the Italo-French troupe Ronzani. The name denoted extravagant, fantastic performances, full of melodramatic events and mind-blowing stage effects with songs, dances, variety show elements, circus attractions. The action mostly took place in the magical world of spirits, it was full of mysterious events and amazing characters. One of the first American examples of "extravaganza" was the five-hour play "The Fraudster Villain" ("The Black Rogue"), staged in New York in 1866. It was a "fusion" of French romantic ballet and tasteless melodrama based on "Faust" by I.V. Goethe and "The Magic Shooter" by I.M. Weber.
Stunning stage effects - a hurricane raging on the stage, a coven of witches, the ascension of angels to heaven in luxurious carriages, a grandiose ballet troupe (100 artists), put the actors' creativity in the background. In 1905, a special building "Hippodrome" was built, a theater with 5200 seats, on the stage of which there were two circus arenas and a pool for water effects. "Center of Gravity" was transferred to fantastic spectacles, pompous scenery, a colossal show. Performances were still full of music composed by famous composers.
From the extravaganzas, the future musical borrowed, first of all, the obligatory dance scenes staged on a grand scale. In all subsequent productions of the musical, a similar "ballet" was introduced. Gradually, he lost his classical ballet form: first he was replaced by folk dances, and then "modernized" by dancers from the variety show. The merit of the extravaganza also lies in the fact that in this stage genre the professionalism of actors in the field of dramatic, vocal, and dance arts was polished. The influence of the "extravaganza" on the style and dynamics of the action in the musical is indisputable.
Burlesque (from French burlesque, from Italian burla - a joke), which is a "travesty" or a parody of a serious or famous play (the first European examples date back to the 17th-18th centuries), has a solid history. In the 19th century, burlesque gradually began to be saturated with elements of the French revue in the form of musical interludes, comic numbers and popular songs that pressed the plot. In this form, burlesque existed in America until the 60s of the XIX century. In the 70s of the XIX century, burlesque was often staged in night restaurants, and not only literary and theatrical novelties, but also real life Americans. More often in burlesques there appeared caricatured types of "advocates of sobriety" and women's equality, petty-bourgeois politicians and many others characteristic of this period in the development of American society. Some samples of burlesque approached in form a musical comedy (then the name “musical comedy” appeared) - cheerful plays with an unpretentious plot, rich in dancing and singing. In 1874, for the burlesque based on the idyllic poem Evangeline by G. Longfellow, the author's music was first specially composed by the amateur composer Edward Rice. At the very end of the 19th century, burlesque had its own theater "Weber and Field Musical Hall", opened by J. Weber and L. Fields on Broadway. From 1895 to 1904, it consistently parodied all of the Broadway productions. Parodies by Weber and Fieldsom were considered the best advertisement for the work. The burlesque was on a level above the original.
Burlescu musical "owes" the sharpness of the interpretation of the problems of our time. For example, in 1931, in the musical “I Sing About You” by J. Gershwin, D. Kaufman and M. Riskin, the American electoral system and the backstage side of political life appeared in a caricature.
Unlike the European vaudeville (a play with musical "inserts" - songs and dances), the American one was a series of various numbers - dance, song, circus, variety, with a through plot. The "Americanized" version of vaudeville became the heir to the English music hall, for a long time associated with bars, restaurants. The so-called "team" program (a set of tricks, acrobatic numbers, songs, dances) was "equipped" with a simple intrigue, which served mainly as a pretext for the formation of an entertaining spectacle. In 1865 G. Pastor founded in New York own enterprise"Pastors Operhouse", which brought vaudeville to the level of art.
The appearance of the revue in America is due to J.W. Lederer, who staged the so-called "passing show" at the Casino Theater (the first version of the revue). Revue (French revue, literally - review) is a certain sequence of verbal, musical, dance and acrobatic numbers, in which there is no single action, but there is a thematic unity (a theme that connects disparate numbers). Unlike vaudeville, the musical accompaniment of the revue, thanks to the work of the composers L. Englander and G. Kerker, from the very beginning was more consistent in style and holistic.
In 1906, F. Ziegfeld organized in New York his own revue "Ziegfeld Falls" (from the English - "madness" or "folly" of Ziegfeld). In his shows, he skillfully combined French and American traditions in a good proportion. Famous composers composed music for F. Ziegfeld: E. Berlin, W. Herbert, J. Kern, R. Friml, Z. Romberg, J. Gershwin. The ability to combine the most heterogeneous, incompatible elements in a single performance passed from the revue to the musical. Thanks to the revue, intonations of jazz music penetrated into the musical.
Throughout its journey (about half a century), the American operetta imitated the European one: first English, then Viennese. The heyday of the American operetta is associated with the names of composers G. Kerker, L. Englander, G. Luders, R. Friml, Z. Romberg, K. Khoshna, V. Herbert, R. de Kovin. The American public is accustomed to seeing her as a romantic and exotic spectacle, far from reality, as an extravagant. The need for a more democratic and contemporary genre, more closely connected to American reality, gave birth to the musical. It originated not as a continuation of the operetta, but as its negation, despite the continuity of the musical in relation to the operetta.
So, the musical synthesized elements of different genres: ballad opera, "minstrel theater", extravaganzas, burlesque, vaudeville, revue, operetta. Jazz in this synthesis plays the role of a catalyst. A significant role in the formation of jazz was played by English, French folk songs, Spanish dances, military marches, and church music. The real creators of jazz were the descendants of black slaves brought to America from Africa. The essence of jazz music is in the intonation and rhythmic basic elements of African American folklore, timbre means, the manner of performance, which cannot be accurately expressed in musical notation. The element of jazz is improvisation. In 1914, E. Berlin for the first time composed a complete score in the ragtime style. In the next decade, jazz numbers penetrate all musical stage genres. In jazz, American music has acquired its own style, an original musical language. J. Gershwin, E. Berlin, K. Porter, G. Arlen, R. Rogers "fused" together European musical forms with the piercing sounds of Negro music and its super-complex rhythms, creating commercially attractive and at the same time artistically significant music.
In the process of the historical development of the musical, the proportion of jazz elements increases more and more. An exceptional sense of rhythm, characteristic techniques of intonation and phrasing give the American musical a special dynamics and originality.
Thus, the history of the musical is a process of gradual integration of individual elements borrowed from the revue, vaudeville, operetta, burlesque, etc.
The official date of birth of the new genre is considered to be March 1943, when the premiere of the play Oklahoma! R. Rogers and O. Hammerstein. Although at first the authors traditionally called their performance a "musical comedy", the public and critics perceived it as an innovation that destroyed long-established canons. The performance was compositionally a single whole: there were no inserted divertissement vocal and dance numbers in it; the plot, characters' characters, music, singing - all the components existed inseparably, emphasizing and developing by various means the general line of the stage work. Behind a simple and unpretentious plot, there were fundamental values - love, social community, patriotism. Not without reason, ten years later, the state of Oklahoma declared the song from this performance its official anthem.
Already after the premiere, which was an extraordinary success, the authors proposed a new term for the genre of the performance: "musical". The musical "Oklahoma!" did not leave the Broadway stage for more than five years; after - he traveled all over America with a tour. In 1944 he received the Pulitzer Prize. For the first time, a record was released with a recording of not individual musical numbers, but the entire performance. In 1955, the film Oklahoma! was filmed, which received two Oscars - for best music and best work with sound. In 2002, the play was again staged on Broadway. The New York Drama League announced "Oklahoma!" the best musical of the century.
Thus began a new era in the history of first American and then world theater, which was glorified by such composers as J. Gershwin, R. Rogers, L. Bernstein, E. Lloyd Webber, J. Herman and others. W. Shakespeare, M. Cervantes, C. Dickens, B. Shaw, T.S. Eliot, D. Hayward and others.
For all the synthetic nature of the musical genre, its specific feature is not the mandatory presence of “conversational scenes” in the performance: there are undoubted musicals written and staged as if in an operatic manner, where the roles turn into parties: “Porgy and Bess”, “Cats”, “ Jesus Christ - Superstar", "Evita", etc. To avoid confusion, such works are often called "rock operas". However, in fact, they are related to musicals by the general way of acting existence, when any means of acting technique, be it dance, vocal or plastic number, becomes absolutely organic for the performer in expressing emotions or thoughts. This extremely conventional, vivid theatrical genre must be combined in an incomprehensible way with the naturalness of the transition from one means of expression to another. In addition, at the highest level technical performance, staging of vocals or plasticity should be fundamentally different than in classical musical genres: voices cannot sound “opera-like”, and dance cannot look like “ballet”. Speech, facial expressions, plasticity, dance must be subordinated to a single line of stage behavior, the task of creating an integral image.
It was this mode of existence that actors demonstrated in the best productions of Broadway musicals, as well as in their cinematic versions: The Sound of Music (1965), West Side Story (1961), Hello, Dolly! (1969), "Funny Girl" (1968), "Jesus Christ Superstar" (1973), "My Fair Lady" (1964), "Fiddler on the Roof" (1971) and etc. Many of these films have received high cinematic awards.
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The first colonies in North America were created at the beginning of the 17th century by settlers from England, Holland, and France. Especially massive every year was the influx of English colonists. The first colonies in North America were created at the beginning of the 17th century by settlers from England, Holland, and France. Especially massive every year was the influx of English colonists. Virginia, the first English colony in North America, appeared in 1607.
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The territory on which the colonies arose was inhabited by the Iroquois and Algonquins. The total number reached 200 thousand people. The Indians were at the stage of primitive society. At first, they helped the settlers, started trading with them, but soon skirmishes began between the “pale-faced” and “red-skinned”. The colonists tried to push the Indians to the West or turn them into slaves. Slaves - Indians came to replace the "white" slaves, criminals and debtors. This led to bloody wars. The territory on which the colonies arose was inhabited by the Iroquois and Algonquins. The total number reached 200 thousand people. The Indians were at the stage of primitive society. At first, they helped the settlers, started trading with them, but soon skirmishes began between the “pale-faced” and “red-skinned”. The colonists tried to push the Indians to the West or turn them into slaves. Slaves - Indians came to replace the "white" slaves, criminals and debtors. This led to bloody wars.
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The concept of "scalp" for the Indians meant a symbol of valor, and for the white - a check on which money was paid. The Indian Wars ended in the 19th century when they were pushed onto reservations. The concept of "scalp" for the Indians meant a symbol of valor, and for the white - a check on which money was paid. The Indian Wars ended in the 19th century when they were pushed onto reservations. From the 16th century began the importation of blacks to America - slaves. Since the 17th century Negro slavery became lifelong. "White" slaves became overseers of blacks while working on plantations.
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All colonists were considered subjects of the English king. All colonists were considered subjects of the English king. In the middle of the XVIII century. Legislative assemblies began to appear in the colonies and their struggle with the governors began.
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In 1763, George III forbade the colonists to move beyond the Allegheny Mountains. In 1763, George III forbade the colonists to move beyond the Allegheny Mountains. In 1765 the Stamp Duty Act was passed. Troops were stationed in the colonies to "fight the Indians." The colonists declared that the law had been passed by Parliament, where there were no representatives of them. After a long struggle, the law was repealed, but duties were introduced.
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There is one day a year in America when all people stay home with their family and eat a big dinner. This is Thanksgiving Day .The Pilgrims celebrated the first Thanksgiving day in autumn 1621.
There is one day a year in America when all people stay at home with their families and eat a big meal. It's THANKSGIVING Day. Pilgrims first celebrated this holiday in the autumn of 1921.
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They sailed to America from Plymouth, England in September,1620. Their voyage took 3 months. They came to America for religious freedom.
They sailed to America from Plymouth, England in September 1920. Their journey lasted 3 months. They came to America for religious freedom.
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There were people living in America before the Pilgrims arrived. These people were the Native American Indians. They hunted, fished and farmed to survive.
There were people living in America before the arrival of the Pilgrims. These were the national American Indians. They hunted, fished and cultivated the land in order to survive.
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The Pilgrims" first winter was very difficult. They had arrived too late to grow any crops. Without fresh food half of the Pilgrims died.
The first winter of the Pilgrims was very difficult. They arrived too late to grow any crops. Without food, half the Pilgrims perished.
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The following spring the Indians taught the Pilgrims how to plant, fish, hunt and survive in America, to grow corn, pumpkins and use cranberries.
The following spring, the Indians taught the Pilgrims how to hunt, fish, and survive in America to grow corn, gourds, and use cranberries.
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The crops did well and in the fall of 1621 the Pilgrims had a great harvest. They were thankful and decided to celebrate it with a Thanksgiving feast.
The grain grew well in the autumn of 1621. The Pilgrims have reaped a good harvest. They were grateful and decided to celebrate the Thanksgiving Feast.
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They prepared a big dinner of turkey, corn, beans and pumpkins. They invited their Indian friends to share this three day feast. The Indians brought their food to the feast, too.
They cooked a big dinner of turkey, corn, beans and pumpkin. They invited their Indian friends there to take part in this three-day feast.
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American still celebrate Thanksgiving day in the fall. It is celebrated on the last Thursday of November. Turkey is still the main dish and pumpkin pie and cranberry pie are the most popular desserts.
Americans still celebrate Thanksgiving. It is celebrated on the last Thursday of November. Turkey is still the main dish on the holiday table, and pumpkin and cranberry pie are the most popular desserts.
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American children look forward to spending their Thanksgiving day with their grandparents.
Children look forward to celebrating Thanksgiving with their grandparents.
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It reminds us that our food comes from the earth. Indian corn is used as a decoration. People usually go to church in the morning or in the afternoon. Try an old Thanksgiving ritual this year. Start your meal with joyful noise of Thanksgiving. All people give thanks for the good things that they have.
It reminds us that the earth gives us our food. On this holiday, people usually go to church in the morning or afternoon. They are grateful for all the good things they have.
