| The History of Belarusian Theatre
Belarusian theatre emerged from ancient rites, pastimes and feasts. In fact, ancient Belarusians seem to have led a kind of life, in which «theatre» played the role most important. There were little magic rituals to accompany nearly every important happening in life, from the birth of children to funerals. Those rituals suggested a different role for all clan members – those were the first scenarios. Many of ancient traditions are still there all right, although in the form of omens, and on the very basic everyday level people still coordinate their plans and prospects for the future with hose remnants from the time of old. Isn't that a reason why the Belarusian theatre school is so special? Some theatre historians suggest that the Belarusians are possibly the last, and anyway the most faithful, Pagan nation in Europe. Disputable as such statement may seem, Prince Vladimir's efforts to baptise his people in the 10th century A.D. could not at once destroy the faith in the magic powers of trees, birds, flowers and stones in all of them. Some originally Pagan holidays are still very famous in this country, including the Koupaly Night in June, the Welcoming of Spring or the End of Harvest. Those, who are still amused with the idea that all are Pagans, themselves inclusive, say pre-Christian culture is not only mystery and enigma; it can also answer questions on origins of the Belarusian national character. However, to me the Belarusian national character seems an attraction for tourists rather than a real thing, so let us get down to theatre proper. Belarusian theatre originated from «batleika», which is the folk puppet theatre, much similar to street «Punch and Judy» shows. And, like the «Punch and Judy» shows, «batleikas» were written, organised and presented by professional actors, called «skomorokhi». The tradition dates back to times immemorial, at least a 12th century book refers to «skomorokhi» as to something common and already widely known. Their trade was none too easy, as they had to act themselves, move puppets, as well as sing and play a number of musical instruments. And, scholars say, this eclecticism, inherent in the first Belarusian proto-theatre type, had an enormous impact on the development of the national theatrical tradition. Well, the second milestone in the evolution of Belarusian theatre came many years later, in the 16th - 17th century. That was school theatre, the most up-to-date concept of that time. It is known, that there were 22 of them in Belarus in the 17th century, and they served not only to present drama to people, but also as a powerful instrument in church propaganda and — home policies of the state. The state was multinational, and that usually means different cultures, different ways and a strong movement for independence. So theatre was needed to create the one-size-fits-all «European» cultural environment, the more so because the language used in presentation was Latin, and plays as often as not written by Catholic authors. However, the same school theatres were very well available to people, who were unable to understand Latin, as also they staged some folk shows in Belarusian dialects. Late 18th century saw the creation of slave theatres in the Belarusian towns of Nesvizh and Slutsk, Bely, Zhoukva and Alets. Those were organised by the Radzivil family, who were at that moment one of the wealthiest families in Europe. So, first they invited actors from Italy and France, and purchase expensive scenery and costumes. However, then they set up local theatre companies, of which Nesvizh theatre was maybe the most famous. Anyway, this was the first theatre company, which had a regular orchestra (Nesvizh Choir) and a regular specially-constructed building, called «Komedienhaus». Originally Nesvizh theatre was an amateur company, which included some members of the Radzivil family and other nobility, officers of the Nesvizh Academy as well as slave singers, dancers etc. The first play, called «The Pattern of Justice», was staged in 1740. Later, the company staged dozens other plays, in Polish and French. Again, some of them were written by the founder of the theatre, Francziska Ursula Radzivil, or translated by her. However, the «Golden Age» of Nesvizh theatre was 1753-1762, when the famous connoisseur Radzivil Rybonka made the theatre truly professional. It was also he, who invited Italian, French and German actors, musicians and teachers to work in Nesvizh. But that did not last long – the Nesvizh theatre decline followed shortly after 1809, the year that its benefactor died. Around 1770 hetman (commander-in-chief) of the Great Duchy of Lithuania Oginski set up another famous theatre company. That was the first court theatre in Belarus, and the company included a number of prominent Polish singers, actors, a choir and a ballet company. The theatre was richly financed, so it could stage large-scale horsemen engagements and even water spectacles (part of the stage was somehow transformed into a giant water pool, where boats could swim). The repertoire included some Italian and Polish ballets and operas. The «Court Theatre» was also the first theatre, which had a couple of branches across Belarus. In early 19th century Prince Tyshkevich set up two companies in his residences Svisloch and Pleshenitsy. Although those theatres worked on an irregular basis and plays were staged by amateur actors, they are still remembered because Tyshkevich, himself a devoted connoisseur, launched a tradition of theatre tours in this country, inviting other companies to act on his stages. In late 18th century Belarusian audiences were virtually rocked by count Zorich's slave theatre, which staged classical comedies and tragedies, with the participation of French, Italian, German and Czech actors and singers. The company's professionalism was so high, that after it broke up in 1800, many actors went to play in St. Petersburg Emperor's Theatre, and the orchestra moved to Moscow. The 19th century was a period of a re-birth of truly Belarusian culture, after the 17th-18th century decay. And Vincent Dounin-Martinkevich was probably the most pre-eminent cultural worker of that time. A truly Renaissance figure, he was a scholar, teacher, poet, writer and playwright, he even composed some music! He also set up a Belarusian theatre in the estate Lutsinka near Ivenets, to promote popular Belarusian culture. The company staged shows in Polish, Belarusian and Russian, which let them target the broadest audience. Notable is the fact, that all Dounin-Martinkevich`s family played in the company, the master himself showing a true talent of a comedian. Students of his school and his neighbours also participated in theatre productions, which were usually shown on holidays. It is rumoured that Dounin-Martinkevich wrote a new comedy for every such holiday, however very few are known now. It was that theatre, which came up with the first Belarusian opera «Peasant girl» (libretto by Dounin-Martinkevich, music by Manushko). 1905 marked the start of a «Silver Age» in the history of Belarusian culture, characterised by a rise in the interest in all things Belarusian. That year saw the establishment of many a music and drama club, which organised drama evenings and poetry readings. Funny enough, but such clubs were set up not only in Belarus and the present Ukraine, but also in Siberia, where lots of Belarusian people had to live in exile. It was then, that Yanka Koupala`s famous «Paulinka» was first staged. The history of Belarusian theatre could not possibly go without a reference to Ignat Buinitski. In 1907 he set up the first modern-type professional theatre company in the village Polivachi, Vilnius region. The performances of that theatre were truly eclectic, with all their poetry reading, singing and dancing. And the repertoire included plays by the Belarusians Karus Kaganets, Eloisa Ozheshko, Daletski brothers, as well as Chekhov and Krapivnitski`s works. Theatre historians say, that company laid the basis of all modern Belarusian theatrical school. It also toured across Belarus, advocated Belarusian literature and promoted folklore, which is the jewel in the crown of the Belarusian nation. Yanka Koupala's Theatre 31 May, Mon Crimson Flower: Karnaoukhova,
1 June, Mon Paulinka: Koupala 3 June, Wed Parfen and Alexandra: Polotski 4 June, Thu Woman Dictates the Terms: Ellis, Rease 5 June, Fri Forest: Ostrovski 27 June, Sat Eternal Foma (Foma is a male name, so
28 June, Sun Eternal Foma: premiere 7 Ul. Engelsa
Gomel Drama on Tour Venue: Russian Drama Theatre 31 May, Sun Paraclet Carnival: Yevreinov 5 Ul. Volodarskogo
Film Actor Theatre 31 May, Sun Talents and Admirers: Ostrovski 2 June, Tue We are Going to Watch the «Tchapaev»
3 June, Wed We are Going to Watch the «Tchapaev»
4 June, Thu Helena`s Abduction: Verneyle 5 June, Fri Helena`s Abduction: Verneyle 7 June, Sun Love of a Funny Man: Dostoevski 9 June, Tue Talents and Admirers: Ostrovski 10 June, Wed Talents and Admirers: Ostrovski 12 June, Fri Don Juan`s Last Woman: Zhukhovitski 14 June, Sun Don Juan`s Last Woman: Zhukhovitski 17 June, Wed Merchant Yepishkin`s Theatre: Mirovich 18 June, Thu Merchant Yepishkin`s Theatre: Mirovich 21 June, Sun Nutcracker: Poleschenkova (shows start
24 June, Wed Dear Liar: Quilty 25 June, Thu Isedora, the Dance of Love: Kovaleva 26 June, Fri My Dear: Varfolomeev 28 June, Sun My Dear: Varfolomeev 11 Prospect Masherova |