Post on the topic genre musical. Musical - the history of development as a musical genre

When the musical was formed as a separate theatrical genre, it began to gain more and more popularity in the world. The best plays that have received recognition from the audience are transferred to the stage in different countries.

Musicals immediately captured the audience with an acute stage rhythm and through this rhythm they make them perceive a whole cascade of feelings: the tension of dramatic collisions, the humor of comic situations, even the lyrical sadness of the heroes. Viewers receive a thorough emotional jolt. The rhythm is created by brilliantly executed crowd scenes, colorful scenery and costumes. In combination with a fast pace of action and energetic dances, bright colors add richness to the action. "Ideally, everything: words, voices, movements, arms, legs, dresses, hats, trousers, portals, roofs, ceilings and chandeliers - all this in the musical to the smallest detail should merge together, reaching that unexpected unity, that brilliant culmination of perfection, which captures the audience with its dizzying splendor ", - wrote the English artist Cecile Beaton, the author of costumes for the play and film" My Fair Lady ". All of the above is the expressive means used in the musical.

Therefore, from the above study, it can be traced that during the 19th century, dance in almost all theatrical genres that preceded the formation of the musical was successfully used and gave such performances interest, brightness and entertainment. Therefore, it is quite possible to consider the role of the importance of choreography in the musical.

If earlier dance in the musical was given very little and these were mainly plug-in numbers, diluting the vocal performances, today dance occupies an important place in any musical. In the first years (1943) of the existence of the new theatrical genre, the musical was mainly attended by elements of tap dance. An example is the famous production of the play "Oklahoma", which still pleases tap dancers all over the world. Ballet was the next dance style to hit the Broadway stage. The staging "Massacre on Tenth Avenue" is considered a striking representative of this genre. The famous choreographer Robert Alton added jazz rhythms and elements of Latin American plastics to the musical.

In the modern musical, dance plays an important role. Dance is a means of expressing the emotions and feelings of the heroes, with the help of dance the era of the performance, the atmosphere of what is happening on the stage, is revealed. And choreography with the help of choreographic text enhances the images of the characters, making them more expressive. Therefore, the expressive means of choreographic construction in the musical are an integral part. The concept of "expressive means" includes: the type of construction of the performance (divertissement, lyrical pictures, through symphonic development, etc.), a choreographic text consisting of solo and ensemble forms of various types of dance and dance characteristics, the interaction of choreographic and musical forms, ways of solving, bifurcation and reproduction of choreographic images, their philosophical meaning, the role of accessories and objects in the performance, scenography, etc. The concept also includes a set of means of stage expressiveness, which is: a plastic idea (vocabulary), a musical idea, a scenographic idea, an artist's personality.

A typical example is the legendary musical "Cats" by composer Andrew Lloyd Webber - an exciting and bewitching sight. Despite the popularity of the soundtrack to "Cats", it is the dancing that creates the beauty and the image of the musical. At the same time, in addition to the main characters, there is an extra scene in the musical - they create mass character, give the musical additional attractiveness, fill the space, create a seemingly single image, but in this extra scene each character has its own character - every cat that does not even have a name and a certain role. And the features, demeanor is created by the dance movement.

If you look at dance as an aesthetic act, decoration, then you can also find a number of features in it: gestures, postures, facial expressions, foreshortenings, each step has its own meaning. Therefore, dance is used to express any action.

The director, creating an artistic and plastic construction on the stage, thinks with plastic images, translates the psychology of words and content into a vivid theatrical performance, seeks original expressive techniques for the fascination and infectiousness of the theatrical show. The language of choreography in a vivid form reveals the content of the performance and is one of the expressive techniques of the director.

The main thing for a director is the expressiveness and infectiousness of his work. Creating images, he selects and comprehends every detail in order to discover the essence of a thing, its important qualities and properties. All this is necessary in order to draw attention to what is shown. The director seeks to emotionally stir up, amaze, amaze with the discovery of the content of his viewer, thereby making him feel, think, imagine, associate, make generalizations.

Opera and operetta accustomed the viewer to divertissement-type ballet scenes: sometimes these are separate numbers, sometimes whole suites interrupting, stopping the development of the main intrigue. The musical, in its best examples, connects such scenes with the plot, with the development of characters. Thus, ballet episodes cease to be inserted numbers and become part of the action. But this is not enough: choreography and plastic become the most important element in the system of expressive means of the musical along with singing. Musical numbers, as a rule, are also solved plastically. The characters of the characters are revealed both in singing and dancing.

Also, in a modern musical, the expressiveness of choreography is given by interesting scenographic techniques aimed not only at creating special effects that can surprise and amaze the viewer, they are also addressed to associative perception. Scenographic images and metaphors, woven into the choreographic text of the musical, prompt the viewer to analyze the interaction of dance drama and visuals. For example, the use of buckets in the production as a decoration and props, which act as a symbol of the hearth, or a fog (smoke) screen is a device that creates a flat surface from small water droplets for displaying images or videos. The key feature of the smoke screen is the ability to freely pass through the installation without destroying it (such decorations help dancers move freely around the stage). At the same time, choreographic numbers can acquire an "unreal" sound, and the dancers seem unusual, similar to a vision.

Also interesting are the scenographic findings of the musical "Cats" (composer - Andrew Lloyd Webber, choreographer Gillian Lynn). The original design of the musical was created by designer John Napier. The hall and the stage are a single space, and the action unfolds not frontally, but throughout its depth. In the musical with extraordinary skill, an important means of expression was used - make-up, which was developed individually for each actor and served as a visible reflection of the character of each hero of the musical. The actors are reincarnated as graceful cats using layered makeup, hand-painted tights, wool wigs, fur collars, tails and shiny collars.

I would like to note that the modern musical of the 20th century is based on the idea of \u200b\u200ba harmonious and complete synthesis of the stage arts-components (choreography, music, costume, make-up, stage effects). The components of the visual informative series (costume, stage design) "accompany" the plastic expressiveness, complement the content of the choreographic text in the musical.

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 Pogoreltsev turned to a colleague from the drama theater, where the melodrama was rehearsed. 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 the audience did not tire - they accepted it with enthusiasm. The success inspired the directors of theaters, and similar performances began to appear on various stages.

It follows from the above that the genre nature of the musical is largely due to the practice of theatrical entrepreneurship in the United States. American theater is primarily a commercial enterprise, and has taken shape as an extremely light genre art, generally focused on entertainment. Thus, the musical has a dual nature: it is, on the one hand, art and, on the other, a powerful entertainment industry.

The content of the article

MUSICAL(English musical), a special stage genre where dramatic, musical, vocal, choreographic and plastic arts merge in an indissoluble unity. At the present stage, it is one of the most complex and original genres, in which, to one degree or another, almost all styles of performing arts that existed before are reflected. Formed in the United States at the beginning of the 20th century.

HISTORICAL CONDITIONS FOR FORMATION OF THE GENRE

Theatrical art of the USA until the end of the 19th century. developed in a difficult way, along a special path that practically did not correlate with the general European one. The English Puritans, who made up the majority of the immigrants to the young country, brought with them an extremely intolerant attitude towards artistic culture in general, and theater 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 banned all theatrical performances by special decree. However, England, despite its insular location, still could not develop in isolation from the general tendencies of the European Enlightenment of the 18th century, which placed the theater at the service of its ideology, and, consequently, paid much attention to the theatrical art. The USA, due to its remoteness from Europe, had a much greater ability to resist the integration of trends in artistic culture. The Puritan immigrants, consistently preaching the ideology of asceticism, for two centuries assigned the theater the role of a “low” and socially disapproved type of human activity, proclaiming intellectual, but not artistic, development as the focus of spiritual life. This could not destroy the theater at all, but determined completely definite forms of its development.

Existence in the 19th century. American theater outside the official ideology contributed to the development of its simplest and most rude forms, designed for an inexperienced and therefore unassuming spectator. In addition, theater troupes and individual actors migrating from Europe, as a rule, were not the most talented and not the most wealthy people who could not 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 roving theater, whose material well-being is directly related to the specific interests of the audience, these troupes were forced to master the “local specifics”, including Negro folklore. By the middle of the 19th century. American theatrical genres were formed, representing, despite borrowing their names from European theater, a very special variety of them. They all had a common focus - entertainment. The differences between these genres were formal rather than fundamental.

ORIGINS OF MUSIC

Minstrel show (from "minstrel" - medieval singer, musician, reciter). Initially, mineshot shows were short comic scenes performed by white actors, disguised as blacks, parodying their life, music and dancing. At the end of the Civil War between North and South, Negro troupes appeared, continuing the tradition of white minstrels. Immersion in Negro folklore, and especially in its musical culture, led to the emergence of jazz in the ministries show (in particular, reg-time, as one of its early forms). It seems that this is precisely why the genre played a special role in the formation of musical and theatrical art in the United States. The peak of popularity of the mineshot show ended by the 1870s.

Burlesque, which arose in Europe as a travesty, a parody of serious theatrical performances, in the United States has turned into a collection of a variety of pop numbers based on ambiguity and obscenity. By the end of the 19th century. striptease numbers began to appear in burlesque, which later constituted its main "highlight".

Vaudeville - unlike its European version, as a rule, did not have a common plot and, rather, approached a variety show, a music hall performance, where various musical, dance and circus numbers followed each other in an arbitrary order. A revue can be considered a kind of vaudeville, in which the numbers were connected by a certain thematic line.

Perhaps the only musical and theatrical genre that retains its European roots in America was the operetta. At the end of the 19th century. the most popular were the operettas of English, French and Austrian authors.

At the beginning of the 20th century. what happened, without exaggeration, can be considered a revolutionary turn in the development of the culture of America, and later - of the whole world: the formation and development of jazz as a new generic concept of musical art. Jazz gradually became not just music, but also a way of thinking; it penetrated all spheres of artistic culture, including theater. Gradually recognized as a distinctive national music, jazz compositions gained more and more popularity. By the early 1940s, it was difficult to find a musical comedy performance that did not include jazz numbers. Against their background, the triviality of other scenes and sketches looked more and more vulgar. A qualitative leap forward in musical and theatrical performances was becoming inevitable. It was jazz thinking that united all musical and spectacular genres not too different from each other on new principles, giving their light and superficial character an unexpected depth. The change in the nature of music inevitably led to a fundamental change in the dramatic basis. So, at the intersection of seemingly incompatible artistic directions, a musical arose.

MUSIC IN AMERICA

The official date of birth of the new genre is considered to be March 1943, when the premiere of the play took place on Broadway 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 destroys the established canons. The performance was compositionally a single whole: there were no inserted divertissement vocal and dance numbers; the plot, the characters of the 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 unassuming plot, the fundamental values \u200b\u200barose - love, social community, patriotism. No wonder ten years later, the state of Oklahoma announced the song from this show as its official anthem.

After the premiere, which was held with extraordinary success, the authors proposed a new term for the genre of the performance: musical. Musical Oklahoma!hasn't left the Broadway stage for over five years; after - he traveled all over America on a tour. In 1944 he received the Pulitzer Prize. For the first time, a disc was released with the recording not of individual musical numbers, but of the entire performance. The film was shot in 1955 Oklahoma!, which has received two Oscars - for best music and best work with sound. In 2002 it was again staged on Broadway. New York Drama League announced Oklahoma! the best musical of the century.

This is how a new era began 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. The dramatic primary sources of musicals were works W. Shakespeare, M. Cervantes, C. Dickens, B. Shaw, T.S. Eliot, D. Hayward and others.

For all the synthetic genre of the musical, its specific feature is not the obligatory presence of “conversational scenes” in the play: there are undoubted musicals written and staged in an operatic manner, where roles turn into parts: Porgy and Bess, Cats, Jesus Christ Superstar, Evitaetc. To avoid confusion, such works are often called "rock operas". However, in fact, they are related to musicals by the general way of acting, when any means of acting technique, be it dance, vocal or plastic performance, becomes absolutely organic for the performer in the expression of emotion or thought. This extremely conventional, vivid theatrical genre must be incomprehensibly combined with the naturalness of the transition from one means of expression to another. In addition, with the highest level of technical performance, the staging of vocals or plastics should be fundamentally different than in classical music genres: voices cannot sound “operatic”, and dance cannot look “ballet”. Speech, facial expressions, plasticity, dance can only be subordinated to a single line of stage behavior, the task of creating an integral image.

This is the way of being demonstrated by the actors in the best productions of Broadway musicals, as well as in their cinematic versions: Sounds 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) etc. Many of these films have received high cinematic awards.

MANAGEMENT AND FORMS OF THEATER PRACTICE

The form of the enterprise leads to a careful miscalculation of the commercial success of the work. The stake is placed equally on the art of the creative team and on the art of the producer. Work on the performance is carried out by the "deep immersion" method, by refusing to participate in other projects. The finished performance, brought to the level of technological perfection, is operated continuously, as long as there is an audience demand for it (if successful, for several years). The refinement of the form, combined with the psychological orientation of the actors specifically towards the entreprise form of work, allows the performance to avoid obsolescence for a long time and to achieve the same type of audience reaction, regardless of the composition of the audience. In addition, the complex development of spectacular effects, which has become one of the hallmarks of a modern musical, undoubtedly requires automatism from the actors in strict adherence to the entire score of the performance. The contact of such performances with the viewer can be compared to the perception of a film: regardless of the individual reaction of the audience, a work of art does not change, it is created once and for all. An entertaining performance simply cannot allow fluctuations in the reaction of the audience: a decrease in interest in the project is tantamount to his death. Moreover, for American management, the release of an entreprise performance is just the beginning. Almost every project is accompanied by income from the release of audio and video recordings, and with great success, licenses for staging in other theaters.

Stationary theaters with a permanent troupe and a large, diverse repertoire are more characteristic of the European theatrical tradition. This dictates a completely different style of work and a different type of relationship with the viewer: more intimate and complex. Reincarnating in different roles every day, the actor of the repertoire theater at each performance establishes contact with the audience anew, gaining their attention and adjusting to the reactions of the audience. It is not for nothing that it is believed that in such a theater there are no two identical performances: the semantic accents, nuances of relationships and characters of the characters change depending on the psychophysical state of the actors, and on the receptivity and mood of the audience. And if the theater also receives subsidies, then the commercial success of the performance remains, of course, an important but not a vital condition for its existence. All this greatly complicates the standardization of the formulation and execution of the technical tasks facing the actors. Consequently, the likelihood of a successful production of a musical is reduced.

Nevertheless, the genre of the musical turned out to be extremely attractive for actors from all countries and all theatrical directions. This is undoubtedly connected not only with the natural craving for popularity, but also with the desire to master a new genre, to expand their creative possibilities.

MUSICAL HISTORY IN RUSSIA

In Russia, relations with the musical began to be tied for a very long time, albeit in a slightly different, original modification of this genre. However, the first approaches to the musical went the same way as in America - through jazz. This happened in the films of G. Alexandrov, and especially in Cheerful guys with the participation of the jazz band L. Utesov. Despite the fact that there are not so many musical numbers in the score, in fact they are authorized participants in the film, existing on an equal footing with the actors. This line was continued by the director in Circus, and - somewhat less organic - in Volga-Volgawhere musical numbers were often inserted. This experience of Aleksandrov has practically no analogues in Soviet cinema, where the development of the genre of musical comedy proceeded mainly along the line of operetta (from the early films of I. Pyriev to the work of the classic of the genre J. Fried).

Since the mid-1960s, numerous attempts have been made to stage musicals on the Soviet stage. The Leningrad Theater named after the Lenin Komsomol was even staged West Side Story... However, predominantly the range of staging of musical performances fluctuated between social journalism such as the Brecht song-opera ( A kind man from Cezuan on Taganka, Opera threepenny and People and passionsat the Lensovet Theater) and a lyrical musical comedy-operetta, played with more or less psychological persuasiveness ( Dulcinea Tobosskaya in theaters named after Mayakovsky and Lensovet, Lefty at the Lensovet Theater and even Khanuma in the BDT). However, there were also a number of real breakthroughs towards the musical. They were, as a rule, associated with the rock art of Russian composers. So, the performance looked completely unexpected Krechinsky's wedding at the Leningrad Operetta Theater (composer A. Kolker, director V. Vorobyov). And, of course, Lenkomov performances by M. Zakharov - Thiel(composer G. Gladkov), The star and death of Joaquin Murietaand "Juno and Avos"(composer A. Rybnikov). The last of them, in some inexplicable way, healed according to the laws of the American musical, maintaining a stable audience reaction for decades (despite the fact that the performers are widely employed in the rest of the theater's repertoire).

Tatiana Shabalina

Ugra State University

Humanitarian institute

Department of Pedagogy and Psychology

Abstract on the topic

"Musical as a genre of music"

by academic discipline

"The history of the development of passive and jazz music »

Performed:

4th year student

group No. 9175

HER. Sokolova

Checked:

associate professor of the department

music education

N.M. Provozina

Khanty-Mansiysk

1. What is a musical?

2. "American way" of development of the musical.

3. Musical in Russia.

Bibliography.

What is a musical?

Contemporary musical art is filled with a variety of genres and trends. Now on the stage you can meet representatives of the classical school, and various youth subcultures, and all kinds of musical trends. What is a musical and what are the features of this unique genre?

Musical (sometimes called a musical comedy) is a musical stage work in which dialogues, songs, music are intertwined, choreography plays an important role.

The musical is a special stage genre where dramatic, musical, vocal, choreographic and plastic arts merge in an inseparable unity. Their combination and interconnection gave the musical extraordinary dynamism, a characteristic feature of many musicals is the solution of serious dramatic problems by means of artistic means that are not difficult to perceive. At the present stage, it is one of the most complex and peculiar genres, in which, to one degree or another, almost all styles of stage art that existed before are reflected. While the musical was in its early stages of formation, many did not believe in its success.

The three main components of a musical are music, lyrics and libretto. The libretto of a musical refers to the "play" or history of the show — in fact, its conversational (not vocal) line. However, "libretto" can also refer to dialogue and lyrics together, like a libretto in an opera. Music and lyrics together form the musical score. The interpretation of the musical by the creative team greatly influences the way the musical is presented. The creative team includes a director, music director and usually a choreographer. Production of musicals is also creatively characterized by technical aspects such as sets, costumes, stage properties, lighting, etc. This generally changes from production to production (although some notable aspects of the production tend to persist from the original production, such as the choreography of Bob Fosse in Chicago).

There is no fixed length for a musical, and it can last from a short one-act performance to several acts and several hours (or even several evenings). However, most musicals run from half an hour to three hours. Musicals today are usually presented in two acts, with one break from ten to 20 minutes. The first act is almost always somewhat longer than the second act, and generally represents most of the music. A musical can be built around 4-6 main thematic tunes that are repeated throughout the show, or it can consist of a series of songs not directly musically related. Conversational dialogue is usually interspersed between musical numbers, although the use of "vocal dialogue" or recitative is not excluded.

"American Way" of the development of the musical.

How old is the musical? The art of telling stories through songs dates back to time immemorial. We know that the ancient Greeks included music and dance in their theatrical performances as early as the 5th century BC. Some of them wrote special songs for each musical, others used existing ones. These plays combined political and social satire and anything else that could entertain the masses. With the help of songs it was possible to comment on actions, talk about what was happening, etc.

The Romans copied almost all forms and traditions of the Greek theater, but they also made some changes. In particular, they began to hammer shoes with metal to better hear the movement of dancers, which began to emphasize the importance of special effects.

The precursors of the modern musical were many light genres: operetta, comic opera, vaudeville, burlesque. Some generally consider it just an American version of the operetta. This is not a big mistake. Art genres tend to develop, and operetta has changed its national and genre specificity more than once. The sentimental melodramatic operettas by I. Kalman and F. Lehar were so unlike the Viennese operetta of the late 19th century, and the musical comedies of Soviet authors differed so much from Western production that sometimes they also gave rise to talk about them as a new genre. The words "this is not an operetta" were well known to many operetta authors of the 20th century. The main structural difference between operetta and musical is determined by the role that music plays in comparison with spoken scenes. The operetta largely retained the features of a consistent musical form with ensembles and finals, with leitmotifs and elements of symphonic development. The musical is more a theatrical form, in which music is one of the means of musical and stage editing along with choreography, plastics, staging effects, etc. "In structure, the musical is close to the kind of operetta that we have, as and in other countries, received the name "musical comedy" and which advocates of the purity of the genre sometimes fundamentally separated from the operetta. It was in the American musical theater that the qualitative leap took place, which allows many to consider the musical as an independent stage genre, although it is in a relationship of close kinship and continuity with the operetta.

A huge role in the emergence of the musical (one might say, the musical appeared thanks to this genre) was played by jazz, which at the beginning of the XX century. gradually became not just music, but also a way of thinking, it penetrated into all spheres of artistic culture, including theater. Gradually recognized as a distinctive national music, jazz compositions gained more and more popularity. By the early 1940s, it was difficult to find a musical comedy performance that did not include jazz numbers. Against their background, the triviality of other scenes and sketches looked more and more vulgar. A qualitative leap forward in musical and theatrical performances was becoming inevitable. It was jazz thinking that united all musical and spectacular genres not too different from each other on new principles, giving their light and superficial character an unexpected depth. The change in the nature of music inevitably led to a fundamental change in the dramatic basis. So, at the intersection of seemingly incompatible artistic directions, a musical arose.

The history of the world musical today is about 100 years old. Although some experts consider Georges Bizet's opera Carmen (1874) to be the world's first musical, some go even further and begin counting with Mozart's The Magic Flute (1791). Unconditional forerunners of the musical can be considered the "Beggars' Opera" by John Gay (1787) or the comic operas by Gilbert and Sullivan (mid-19th century). The first true American musical is the "Show Boat" by composer Jerome Kern and librettist Oscar Hammerstein (1927). In it, for the first time, the degree of integration of text and music reached a "musical consistency". However, at that time the "Floating Ship" was still called not a musical, but also a musical comedy.

The official date of birth of the new genre is considered to be March 1943, when the premiere of the play took place on Broadway 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 destroys the established canons. The performance was compositionally a single whole: there were no inserted divertissement vocal and dance numbers; the plot, the characters of the characters, music, singing - all the components existed inseparably, emphasizing and developing by various means the general line of the stage work. The basic values \u200b\u200b- love, social community, patriotism - stood behind a simple and unassuming plot. No wonder ten years later, the state of Oklahoma announced the song from this show as its official anthem.

After the premiere, which was held with extraordinary success, the authors proposed a new term for the genre of the performance: musical. Musical Oklahoma! hasn't left the Broadway stage for over five years; after - he traveled all over America on a tour. In 1944 he received the Pulitzer Prize. For the first time, a disc was released with the recording not of individual musical numbers, but of the entire performance. The film was shot in 1955 Oklahoma!, which has received two Oscars - for best music and best work with sound. In 2002 it was again staged on Broadway. 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.

In America, the epicenter of such a bright musical and theatrical performance is, of course, Broadway - the cult street in New York, where a huge number of theaters and music halls are concentrated, has always attracted the imagination of both actors and spectators. Broadway musicals have become a real brand, Hollywood stars now and then participate in the local productions, and theater lovers eagerly read reviews of new performances in the newspapers. At the intersection of Broadway with 42nd Street is Times Square - where the famous Broadway theaters are located. Today, there are about 40 large theaters in this quarter, which are the backbone of American theater culture. Therefore, the name of the street has long become a household name, synonymous with this art in the United States in principle.

Broadway has set the tone for the musical world for years. In the twenties and thirties, the most notable composers in the world of musicals were Rudolf Friml (Rosemary, 1924), Oskar Hammerstein (Floating Theater, 1927) and George Gershwin (I Sing About You, 1931). , - the first musical to receive the Pulitzer Prize; the folk opera Porgy and Bess, 1935). By 1937, theatrical musical began to lose ground, yielding to a formidable rival - cinema. The development of sound films immediately led to the desire to hear music and songs on the screen, and what genre was better than musical for this?

Nevertheless, the musical survived on the stage. In 1943, the famous "Oklahoma!" Rogers and Hammerstein, which was already mentioned, was subsequently filmed with stunning success. It is "Oklahoma!" set the tone for a new round in the development of the musical.

In the following years, Broadway produced popular musicals almost every year. The Threepenny Opera by Bertold Brecht, written in the twenties, was a huge success. Rogers and Hammerstein presented The King and I, starring Gertrude Lawrence and Yule Brynner, and The Sound of Music. But the pinnacle of the fifties musical was one of the greatest musicals of all time, Frederick Lowe's My Fair Lady. The libretto for My Fair Lady was based on the famous Pygmalion by Bernard Shaw. Lowe and his co-authors many times asked Shaw for permission to stage a musical based on Pygmalion, but the British classic stubbornly refused them, considering the musical a "frivolous" genre. When "Lady" finally appeared on the stage, it became clear that the musical was quite capable of presenting classic stories. Indeed, in the future it can be traced that the works of W. Shakespeare, M. Cervantes, C. Dickens, B. Shaw, T.S. Eliot, D. Hayward and others became the dramatic primary sources of musicals.

Julia Andrews, the great musical actress, made her debut in My Fair Lady and later became famous in the musical The Sound of Music and Mary Poppins. In addition, the 50s saw the heyday of the great American composer Leonard Bernstein. It is worth mentioning three of his works: "The Wonderful City", "Candide" and the West Side Story, which will forever remain in the history of the musical.

In the sixties, Broadway gave the world some unforgettable musicals. Stein's "Funny Girl" made Barbra Streisand a star. In 1969, Barbra Streisand starred in the film adaptation of the wonderful Broadway musical Hello, Dolly! Herman. The artistic masterpiece of the decade was the musical "Cabaret" by John Kander, magnificently resurrecting the atmosphere of Berlin in the thirties. Cabaret was the directorial debut of Harold Prince, by far the most celebrated production director of theatrical musicals. The famous choreographer and director Bob Foss later took part in the production.

And the greatest success of the sixties was ... again a musical based on a classic plot - this time "Fiddler on the Roof" by Jerry Bock based on "Tevye the Milkman" by Sholem Aleichem. Fiddler on the Roof has been running in New York for almost eight years - an unprecedented event in Broadway history that demands something new all the time.

In the late 60s, theaters on Broadway were rapidly emptied. Disco, rock and other new musical genres took first places in the charts, songs from musicals lost popularity, musicals lost their press - and people went to listen to new, fashionable music. Failure followed failure on Broadway. Fortunately for the genre, some composers began to think that if musical is a synthetic art, why not combine the idea of \u200b\u200btheatrical production with fashion trends in music?

Rock music was first brought to the musical scene by Galt McDermot in his scandalous musical Hair. John Kander's mocking Chicago, choreographed by Bob Fosse, revived the dance rhythms of the 1920s. And the best Broadway musical of the 70s is considered the "Corps de Ballet" by Marvin Hamlish, who talked about the Broadway "kitchen" - seeing dancers in the troupe for a new production; this musical won the Pulitzer Prize. Rock and biblical stories were not the first to be connected by Andrew Lloyd Webber. One of the first rock musicals was Stephen Schwartz's "Charm of the Lord" based on ... the Gospel of Matthew. And at the turn of the 70s and 80s, a "musical that shook the world" suddenly appeared. We are talking about "Les Miserables" by Alain Bublil and Claude-Michel Schonberg. The world of musicals has never seen anything like this. Of course, not the first musical was staged according to the literary classics, but for the first time on the stage of a musical theater such a large-scale historical canvas appeared. Victor Hugo's fiction is intertwined with real events; lyrical heroes found themselves in the center of the historical cauldron. For the first time in a musical, such powerful choral scenes have appeared; in addition, the authors almost completely abandoned conversational dialogues, bringing the performance as close as possible to the opera. The authors of the musical were two young Frenchmen, far from the Broadway traditions. Apparently, they just wanted to create a musical performance based on French classics.

Soon, American musicals began their triumphant march around the world. However, their European productions were fraught with serious difficulties. The fact is that the unique stage training of a versatile actor who meets the requirements of a musical is due to a certain form of theatrical practice adopted on Broadway: an entreprise, when a specific troupe gathers to implement a specific project. The form of the enterprise leads to a careful miscalculation of the commercial success of the work. The stake is placed equally on the art of the creative team and on the art of the producer. Work on the performance is carried out by the "deep immersion" method, by refusing to participate in other projects. The finished performance, brought to the level of technological perfection, is operated continuously, as long as there is an audience demand for it (if successful, for several years). The contact of such performances with the viewer can be compared to the perception of a film: regardless of the individual reaction of the audience, a work of art does not change, it is created once and for all. An entertaining performance simply cannot allow fluctuations in the reaction of the audience: a decrease in interest in the project is tantamount to his death.

Musical in Russia.

In Russia, relations with the musical began to be tied for a very long time, albeit in a slightly different, original modification of this genre. However, the first approaches to the musical went the same way as in America - through jazz. This happened in the films of G. Aleksandrov, and especially in the "Merry Fellows" with the participation of the jazz band L. Utesov. Despite the fact that there are not so many musical numbers in the score, in fact they are authorized participants in the film, existing on an equal footing with the actors. This line was continued by the director in Circus, and - somewhat less organically - in Volga-Volga, where musical numbers were often inserted.

Since the mid-1960s, numerous attempts have been made to stage musicals on the Soviet stage. The West Side Story was even staged at the Leninist Komsomol Theater in Leningrad. However, the range of staging of musical performances predominantly fluctuated between social journalism such as Brecht's zong-opera ("The Good Man from Sesuan" on Taganka, "Threepenny Opera" and "People and Passions" at the Lensovet Theater) and a lyrical musical comedy-operetta, played with more or less psychological persuasiveness ("Dulcinea Tobosskaya" in the theaters named after Mayakovsky and Lensovet, "Lefty" in the Lensovet theater). However, there were also a number of real breakthroughs towards the musical. They were, as a rule, associated with the rock art of Russian composers. So, the play "Krechinsky's Wedding" at the Leningrad Operetta Theater (composer A. Kolker, director V. Vorobyov) looked completely unexpected. And, of course, the Lenkomov performances of M. Zakharov - "Til" (composer G. Gladkov), "The Star and Death of Joaquin Murieta" and "Juno and Avos" (composer A. Rybnikov). The last of them, in some inexplicable way, healed according to the laws of the American musical, maintaining a stable audience reaction for decades (despite the fact that the performers are widely employed in the rest of the theater's repertoire).

Bibliography.

1. History of foreign theater: textbook on culture and art. / Ed. L. Gitelman. - SPb .: Peter, 2005.

2. Kiryanova, NV History of world literature and art. / N.V. Kiryanova. - M .: Nauka, 2006.

3. Shabalina T. Article "Musical"

A musical is a genre of theatrical and musical performance, where choreography and music, singing and dialogues, theatrical drama are intertwined.

The emergence of the musical as a genre, concept and features

This type of art originated in the USA in the 20s of the last century. However, this art form was recognized as an independent direction only in the 40s, when the first ever musical "Oklahoma" was successfully staged on Broadway. Despite the fact that the authors themselves called the work a "musical comedy", the audience perceived it as something new and unusual. Later, the authors themselves called their work simply "musical" - this gave the name to the new genre. Oklahoma lasted five years on stage. And in 2002 she returned to the stage again.

For a long time, musical performances were the exclusive domain of the American entertainment industry. It was only in the 80s of the last century that Les Miserables was staged on the London stage - from this moment the history of European productions of this genre begins.

The main "three whales" of the genre:

libretto, lyrics and music are equally the basis of the work;
a wide range of genres - from comedy to drama;
based on famous literary works;
a large number of people involved: directors, screenwriters, costume designers, illuminators, choreographers, decorators.

Musical as a genre of art. Difference from vaudeville and operetta

Both of these areas of art have many similarities. For example, until the beginning of the 20th century, the musical was called the "American operetta". After local traditions and preferences began to form the basis of musical works, it became an independent art genre. Operetta is perceived as a light, comedy genre, in which music is an essential part of the performance. In contrast to her, in the musical, the main ones are dialogues, close to pop music, more complex choreographic and musical design. Moreover, dancing is an integral part of the genre.

Vaudeville is a comedy piece with dances and verses. It is easier to perceive, less expensive in terms of production and use of various effects.

The most famous world musicals

World famous works such as

"My Fair Lady", "Cabaret", "Cats", "Chicago", "Evita", "Les Miserables", "The Phantom of the Opera", "Mama Mia"

do not lose their relevance, they are still staged on Broadway and in London.

The most legendary work entered in the Guinness Book of Records as a musical champion is "Fantastic". It has been popular for 42 years. During this time, 17,162 performances took place.

The famous production of "Jesus Christ Superstar", which captivated the audience with its spectacle and tragedy, was staged all over the world for only 33 years (we are talking only about the original production).

Music and drama as a reflection of the basis of the musical

The main components of the musical are equally:

the words,
music,
scenery,
choreography.

They complement, explain each other, giving dynamism to the production. Musical drama is an important part of the action, a generalizing means that is present in the play from beginning to end. Music accompanies what is happening on the stage, follows the text, reflects the change of moods, joy and tragedy, expresses the main idea of \u200b\u200bthe work. Together, this allows the viewer to experience the full depth of the drama of the work.

The dramaturgy of a musical performance is to reflect the acute social issues of its time and their critical assessment. This is another feature of the development of the genre.

The origin of the musical in Russia

In Russia, just like in the USA, jazz became a prerequisite for the emergence of this trend.

The "Russian way" of the development of the musical differs from the American one. He originated in the Russian theatrical environment, has a different specificity than his “colleague” from overseas. So, in the 70s, they began to be considered musical and dramatic performances, which were based on classical works, in which musical accompaniment was parallel to the maximum effect of perception of the production.

American musical productions, on the other hand, are actively using a special form of theatrical practice that is widespread on Broadway: entreprise. Universal actors, producers - everyone is working on the commercial success of the performance. For them, contact with the viewer is as important as the financial part, in contrast to the Russian one, where the material is secondary.

The more interesting is the fate of the work "Juno and Avos", which followed the American path of development, retaining the audience for several decades.

Musical in the USSR: from Utesov to "Three Musketeers"

After the release of "Merry Fellows" on the screen, where Leonid Utyosov's jazz band played so brilliantly, the USSR first started talking about a musical. Although there were not many musical numbers in the film, nevertheless, they were participants in the film, along with the main actors. After that, the musical line began to be traced in other films: "Circus", "Volga-Volga", where musical numbers were incorporated into the film.

Thanks to the success of the films that came out on the screen, one after the other productions in the same genre were released: "Scarlet Sails", "Orpheus and Eurydice", "Juno and Avos", "Free Wind", "White Acacia" and others.

In addition to theatrical performances, musical films are shown on Soviet screens not only for adults, but also for children: "Buratino", "Devil". And the adaptation of the novels by A. Dumas "The Three Musketeers" brought the actors and the director an overwhelming success with the audience, and the film itself has not lost its appeal.

Contemporary musical in Russia

Musicals of the Russian period did not support the loud successes of such productions of the USSR. Only in the late 1990s did such performances begin to appear on the Russian theater scene. The first production of this genre was an adapted version of the Polish Metro (1999).

Soon after that, a Russian production - "Nord-Ost" (2001) was released. It was a large-scale production of V.Kaverin's "Two Captains", which promised to become very popular. Unfortunately, the prospects of this work were canceled out by a major terrorist act - the seizure of hostages on October 23-26, 2002 in the building of the Theater Center on Dubrovka. As a result of a three-day confrontation and a military operation, about 174 people died, according to various sources. Since then, the name "nord-ost" has been associated exclusively with the tragedy that happened. The work itself was tried several times to restart, but to no avail.

Over the course of several years, one after another appear:

"Notre Dame de Paris", "Chicago", "Forty second street" (all 2002),
Eastwick Witches, 12 Chairs (2003),
Romeo and Juliet (2004),
"Cats" (2005).

In 2006, a production based on the songs of the ABBA group was released - the musical "Mamma Mia!" - he became the most successful at that time in Russia. However, except for "12 chairs", these were all productions under the license of foreign authors.

2008 is an important milestone in the history of the genre development in modern Russia. At this time, the first Russian musical film "Hipsters" was released. Since that time, the production of musicals in Russia has been put on stream. Famous and not so famous, successful and disastrous, foreign and Russian - 5-7 works were published annually.

Today, musicals are still in demand and have not lost their popularity, they are translated into different languages \u200b\u200bof the world and played all over the world. New productions appear that have yet to win their audience.

Composers of the USSR musical genre:
I. Dunaevsky.
G. Gladkov.
A. Rybnikov.
A. Kolker.
V. Dashkevich.
M. Dunaevsky.

Russian musical genre composers:
M. Dunaevsky.
A. Rybnikov.
A. Gradsky.
A. Zhurbin.
A. Ivaschenko.
G. Vasiliev.

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Musical (sometimes called a musical comedy) is a musical stage work in which dialogues, songs, music are intertwined, choreography plays an important role. Plots are often taken from famous literary works, from world drama (“My Fair Lady” by Bernard Shaw, “Kiss Me, Kat!” By Shakespeare, “The Man from La Mancha” by Cervantes, “Oliver!” And “Night of Open Doors” by Dickens). Many genres had a great influence on the musical: operetta, comic opera, vaudeville, burlesque. For a long time it was not recognized as a separate genre of theatrical art.
A musical is a genre, as a rule, difficult in terms of production and therefore expensive. Many Broadway musicals are famous for their special effects, which is only possible in a stationary musical setting, where performances are performed daily for many years while they are popular with the public. In Russia, an example of such the most successful stationary musical is "Nord-Ost".
The musical is one of the most commercial genres of theater. This is due to its spectacularity, a variety of themes for staging, unlimited choice of means of expression for actors.
In form, a musical is most often a two-act performance
The origin of the musical
The forerunners of the musical were many light genres, where variety shows, French ballet and dramatic interludes were mixed. In September 1866, a production of "Black Crook" took place on the New York stage, where romantic ballet, melodrama and other genres were intertwined. It is she who is considered the starting point of the new genre. The English producer George Edwards described one of his hits "The Chorus Girl" as a musical comedy. A musical comedy meant a light entertaining performance, where the plot was not important, but rather popular vocal numbers performed by public idols. Edwards' productions won overwhelming success in New York, and until the beginning of the 20th century, English performances dictated fashion in the new genre.
Development in America
In the years preceding the First World War, the talented emigrants Herbert, Friml, Romberg and others gave impetus to the active development of the musical in America. During the 1920s and 1930s, with the arrival of new American composers Jerome Kern, George Gershwin, Col Porter and others, the musical takes on a true American flavor. The libretto became more complicated, the influence of jazz, ragtime became noticeable in the rhythms, typical American turns appeared in the songs. Many songs from musicals have become musical classics. The acting skills of the singers increased significantly. In 1932, the composer Gershwin was first awarded the Pulitzer Prize for his work on the musical "Of Thee I Sing" (1931). With the collaboration of Rogers and Hammerstein II, productions such as Oklahoma! ("Oklahoma!", 1943), "Carousel" ("Carousel", 1945), "South Pacific" ("South Pacific", 1949), distinguished by a high level of drama. They were an overwhelming success with the public.
After the Second World War, the plot of musicals became more serious, and Leonard Bernstein's "Westside Story" (1957) appeared. The production is based on Shakespeare's tragedy "Romeo and Juliet", while the action takes place in modern New York. The expressiveness of the dances indicated the growing importance of choreography.
Further development
In the late 60s of the XX century, under the influence of new musical styles, a new understanding of the musical as a genre comes. The play "Hair" (1967) reflected the then fashionable ideas of hippies, thus the production was called "the musical of primitive American lyric rock." Since the 70s, the number of performances has been decreasing, but the sets and costumes of new musicals are becoming more luxurious. The 1971 production of "Jesus Christ Superstar" by composer Andrew Lloyd Webber and librettist Tim Rice brought about a dramatic change in the concept of musical. The serious theme of the musical "Evita" (1978) proved the long way that the genre has traveled during its development. Webber's "Cats" (1981) based on TS Elliot's poem cycle "Old Possum's Book of Practical Cats" presents vivid, memorable images, felines are recognized in music. intonation, dances are flexible and plastic. Another popular work by Webber was the musical "The Phantom of the Opera", which combines elements of a detective and thriller.
The Anglo-American musical monopoly ended in 1985, when the premiere of the French production Les Miserables, based on the novel of the same name by Victor Hugo, took place on the London stage. The authors are the composer Claude Michel Schonberg and librettist Alain Bublil. The high level of the musical as a genre is proved by "Miss Saigon", a modernized opera by Puccini "Madame Butterfly".
The most famous musicals
Broadway musicals
Broadway musicals brought worldwide fame to the genre.
Threepenny Opera, The / Threepenny Opera: music: Kurt Weill, libretto: Bertolt Brecht (based on The Threepenny Novel) (1933)
My Fair Lady: Music: Frederick Lowe, libretto and song lyrics: Alan Jay Lerner (1956)
Sound of Music, The / "The Sound of Music" music: Richard Rogers, libretto: Howard Lindsay & Russell Cruise, song lyrics: Oscar Hammerstein (1959)
Oliver! / "Oliver!": Music, libretto and song lyrics: Lionel Barth (1960)
Fiddler on the Roof Music: Jerry Bock, libretto: Joseph Stein, song lyrics: Sheldon Harnik (1964)
Hair / "Hair" music: Galt McDermot, libretto: James Reido (1968)
Jesus Christ Superstar Music: Andrew Lloyd-Webber, Lyrics: Tim Rice (1970)
Chicago / Chicago / Music: John Kander, libretto: Bob Fosse, Fred Ebb (1975)
Les Miserables / Les Miserables: music: Claude-Michel Schonberg, libretto: Alain Bublil (1980)
Cats / "Cats" music: Andrew Lloyd-Webber, libretto: TS Eliot (1981)
42nd Street / Forty-second Street: Music: Harry Warren, Lyrics: Al Dabin, Libretto: Mark Bramble & Mike Stewart (1981)
Phantom of the Opera, The / "The Phantom of the Opera" music: Andrew Lloyd-Webber, libretto: Richard Stilgow and Andrew Lloyd-Webber, song lyrics: Charles Hart (1986)
Jekyll & Hyde / "Jekyll and Hyde" music: Frank Wildhorn, libretto and lyrics: Leslie Brickass (1989)
Producers, The / Music: Mel Brooks, libretto: Mel Brooks (Based on the Mel Brooks film Spring for Hitler)
French musicals
At first, in France, musicals took a different path: they were less spectacular and cost a minimum of scenery (compared to Broadway ones) and, in general, were more reminiscent of concerts by several pop singers. A striking example of this is the original version of the musical Nôtre-Dame de Paris by Riccardo Cocciante and Luc Plamondon. But over time, tastes have changed, and in recent years France has presented quite colorful, in terms of costumes and decorations, musical performances, such as Romeo et Juliette, Autant en Emporte le Vent, Le Roi Soleil, etc.
Starmania: Music: Michel Berger, libretto: Luc Plamondon (1979)
Misérables, Les / Les Miserables: music: Claude-Michel Schonberg, libretto: Alain Bublil (1980)
La legende de Jimmy / The Legend of Jimmy: music: Michel Berger, libretto: Luc Plamondon (1990)
Sand et les Romantiques / Georges Sand and the Romantics (1991)
Vu D'en Haut / Top View (1991)
La vie en bleu / Life in Blue (1996)
Nôtre-Dame de Paris / "Notre-Dame de Paris or Notre Dame Cathedral": music: Riccardo Cocciante, libretto: Luc Plamondon (1998)
Da Vinci / "Da Vinci" (2000)
Romeo et Juliette / Romeo and Juliet: Music: Gerard Presgurvik, libretto: Gerard Presgurvik (2000)
Les Mille Et Une Vies D'Ali Baba / "A Thousand and One Lives of Ali Baba": Music: Chatel Aboulker (12 June 2001)
Les Dix Commandements / "10 Commandments": music: Pascal Obispo (2001)
Le Petit Prince / "The Little Prince": music: Riccardo Cocciante, libretto: Elisabeth Anais (2002)
Tristan et Yseult / "Tristan and Isolde": libretto: Jacques Francois Berthel (2002)
Emilie Jolie / "Emilie Jolie": (2002)
Don Juan / Don Juan: Music: Felix Gray (3 August 2003)
Le Roi Soleil / The Sun King: music: Albert Cohen, libretto: Eli Shuraki (2005)
Dracula, Entre l'amour et la mort / "Dracula: Between Love and Death": music: Simon Leclair, libretto: Roger Tabra (2005) - Canadian musical in French
Graal: Music: Catherine Lara (2005)
Cléopâtre, la dernière reine d'Egypte / "Cleopatra, the last queen of Egypt": (2009)
Mozart - L'Opera Rock / Mozart Rock Opera: (2009)
Austrian musicals
Elisabeth / "Elizabeth": music: Sylvester Levy, libretto: Michael Kunze (1992)
Tanz der Vampire / Ball of the Vampires: music: Jim Steinman, libretto: Michael Kunze (1997)
Mozart! / "Mozart!": Music: Sylvester Levy, libretto: Michael Kunze (1999)
Rebecca / Rebecca: Music: Sylvester Levy, libretto: Michael Kunze (2006)
Russian musicals
Orpheus and Eurydice is perhaps the founder of the Russian musical. Until now, it is performed by the St. Petersburg Theater "Rock Opera". Composer - Alexander Zhurbin. Libretto - Yuri Dimitrin.
"The Prince and the Pauper" - music by Alexander Zhurbin, after M. Twain, 1973, Moscow, 110 performances in 3 theaters.
"The Star and Death of Joaquin Murieta" is a performance (rock opera) based on the dramatic cantata by Pablo Neruda. The author of the libretto is Pavel Grushko, the composer, conductor and stage director is Alexei Rybnikov, the director is F. Ivanov. Staged in 1976 in the USSR, at the Lenkom Theater, Moscow. A double vinyl album with an audio recording of the performance was published in 1977 and took 1st place in the charts of the best records.
Re-staged in 2009 by Alexander Rykhlov (director and chief director). The author of the libretto, like 30 years ago, is Pavel Grushko.
"Penelope" - composer Alexander Zhurbin, based on the play by B. Ratser and V. Konstantinov, 1979, Sverdlovsk, there is an English version, more than 2000 performances in 40 theaters.
"Juno and Avos" is a rock opera by Alexei Rybnikov, first performed on the stage of "Lenkom" in 1981.
"Glass of Water" - Alexander Zhurbin, after E. Skrib, 1988, Moscow, 1000 performances in 30 theaters.
"Sunset (Moldavanka)" is a musical by Alexander Zhurbin, the only one of the Russian ones staged in the USA. According to I. Babel, 1987, Riga; in the United States was called How It Was Done in Odessa, Philadelphia, 1991, 30 theaters, more than 1000 performances.
"Nord-Ost" is the first world-class Russian musical. Staged by Georgy Vasiliev and Alexei Ivaschenko in Moscow in 2001.
Finrod Zong is a fantasy musical based on the works of the English writer JRR Tolkien.
"12 Chairs" is a Russian musical based on the novel of the same name by I. Ilf and E. Petrov. Delivered in Moscow in 2003.
"Vladimirskaya Square" - A. Zhurbin's musical based on F. M. Dostoevsky ("The Humiliated and the Insulted"), 2003, St. Petersburg, Theater. Lensovet;
Open Doors Night is a musical by Yevgeny Karmazin and Konstantin Rubinsky based on Charles Dickens's A Christmas Tale. Staged in Yekaterinburg in 2005, received the Golden Mask in two nominations (including the Best Performance).
Mowgli is a Russian fantasy musical staged at the Moscow Operetta Theater. It has been running in Moscow since 2005. Music and libretto - Vlad Stashinsky, production director - Alina Chevik, music. director - Vlad Stashinsky, choreographer - Boris Baranovsky, artist - Viktor Arefiev, costume designer - Valentina Komolova, makeup artist - Andrey Drykin, lighting designer - A. Kuznetsov, choirmaster - P. Suchkov.
"Keep Me, Darling" - musical by Alexander Pantykin and Konstantin Rubinsky. Staged in Yekaterinburg in 2006, received the Bravo award, and was also nominated for the Musical Heart of the Theater award.
“Www.silikonovaya dura.net” is a musical by Alexander Pantykin and Konstantin Rubinsky. Staged in Yekaterinburg in 2007, in 2008 he received the Golden Mask award in two nominations.
"Monte Cristo" is a Russian musical based on the novel by A. Dumas "The Count of Monte Cristo". Delivered in Moscow in 2008.
"The Last Test" is a fantasy musical by Anton Kruglov and Elena Khanpira.
"The Road to No Return" is a fantasy rock musical. Created by the ESSE group based on the saga "The Witcher" by Andrzej Sapkowski (premiere in 2009).
Children of the Sun is an ethno-musical by Vladimir Podgoretsky.
"Catherine the Great" - musical chronicles of the times of the Empire. Composer Sergei Dreznin. Staged by the Sverdlovsk Academic Theater of Musical Comedy in 2008 (directed by Nina Chusova). In 2009, he was awarded two Golden Mask awards (Best Actress - Maria Vinenkova, Best Costumes - Pavel Kaplevich).
“New Adventures of the Bremenskys, or Forward into the Past” (previously: “New Year's topsy-turvy, or Forward into the Past”) is a Russian musical based on songs by Yuri Entin. Stage Director: Honored Artist of the Russian Federation Boris Boreiko. Young stars Ilya Viktorov and Evgeny Aksenov take part in the musical.
"The Bremen Town Musicians" is a musical based on the famous cartoon. Composer - Gennady Gladkov. Lyrics by Yuri Entin. Stage Director - Boris Boreiko, choreographers - Marina Yatsevich and Alexey Waltz. The musical was conceived and produced by the production center "Triumph".
"Corporation" Vyhad "" - the first Russian alternative musical. Writer, director and composer Fedor: (Fredo :) Jay Lukashuk, with the participation of the Enemies of the Flies group. Sochi, 2007. The sequel ("Corporation" Vyhad "2") was delivered by the same team in Sochi in 2009.
"The Master and Margarita" - premiered on September 23, 2009. Created by the Zvezdnaya Pristan Production Center. On the stage of the Moscow Children's Variety Theater.
"Doctor Zhivago" - the premiere in St. Petersburg of the Perm Drama Theater took place on the stage of the Vyborg Palace of Culture on April 15, 2009. Music by Alexander Zhurbin, staged by Boris Milgram.
"Dead Souls" - the author defines the genre of the performance as "light opera". Music by Alexander Pantykin, libretto by Konstantin Rubinsky. The libretto includes motives from Dead Souls, The Inspector General, Taras Bulba, Evenings on a Farm near Dikanka. The premiere took place at the Sverdlovsk Academic Theater of Musical Comedy in November 2009. Stage Director - Kirill Strezhnev. In the role of Chichikov - Evgeny Zaitsev. The performance includes Sergei Smirnov's Eccentric Ballet.
"Dead Souls" is a musical by Alexander Zhurbin based on Gogol's "Dead Souls", which premiered in Omsk on 04/16/2010. Without changing his style and "light genre", Zhurbin, together with co-authors - librettists Olga Ivanova and Alexander Butvilovsky and the poet Sergei Plotov preserved both the seriousness and the depth of the literary source.
"Caesar and Cleopatra" is a musical by Alexander Zhurbin, first presented to the audience of the Moscow State Academic Operetta Theater on June 12, 13, 2010. Libretto based on the play by Bernard Shaw - Jeanne Gerder. Production designer - Alexander Vasiliev. Choreographer - Albert Alberts. In the title roles - Gerard Vasiliev, Valeria Lanskaya / Vasilisa Nikolaeva.
Ukrainian musicals
"Feminism in Ukrainian" (1998) - the first national Ukrainian musical. The author of the libretto, composer, director and set designer is Alexey Kolomiytsev.