Circus presentation. Children about the circus - children's presentation
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Circus (from the Latin circus - circle, circle) is one of the most beloved art forms. At the heart of circus art is a trick - a difficult to perform and emotionally impressive action. The totality of such actions-tricks in combination with music, choreography, in a word, external design forms a circus number, and their combination - a program; in the presence of a plot outline - a circus performance.
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Like the theater, it arose from the labor, ritual, military activities of people (see the article "The oldest forms of theatrical performances"). In Europe XI - XVI centuries. itinerant comedians entertained the people in the fairgrounds. In a circle formed by the audience, the artists demonstrated their skills in acrobatics, gymnastics, juggling, and acted out comic scenes. Since the XVI century. in Europe, riding schools spread - the origins of one of the types of the future circus - equestrian.
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From the middle of the 18th century. a higher riding school appeared, where masterful horse control and the art of equestrian training reached particular perfection. Bereitors are nominated - riders, trainers, who lead small equestrian-acrobatic groups to perform at temporary arenas for the public.
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In 1770 the former English cavalryman Philip Astley (1742 - 1814) built a Riding School in London, which he transformed in 1780 into a special Astley Amphitheater. Historians trace the beginnings of a modern professional circus from it. In the same year Astley built a branch of this school - the "English Amphitheater on the outskirts of the Temple" in the Paris area. In addition to equestrian performances, the program included performances of acrobats, gymnasts, clowns; pantomimes were performed. Pantomimes became widespread in the 19th century, attracting plots that responded to the most important events of their time
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How did the professional circus develop in Russia? At the beginning of the XIX century. most of the circus entrepreneurs and performers were foreigners. From the second half of the XIX century. domestic circuses appear. The founders of the first Russian circus were the brothers Akim (1843 - 1917), Dmitry (1835 - 1918) and Peter (1846 - 1921) Nikitins, who came from the family of the former serf peasant Alexander Nikitin. They began their career as artists, performing on the streets to the music of a barrel organ played by their father. In 1873 they opened a small circus in Penza, which was a success Circus of A.A. Nikitin on the former Yekaterinoslavskaya street of Kharkov A.A. Nikitin (1843-1917)
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In the circuses of Russia of that period (S. Ciniselli in St. Petersburg, A. Salamonsky in Moscow, on Tsvetnoy Boulevard, Truzzi in large provincial cities), whole generations of outstanding Russian artists were formed, many of whom later wrote memorable pages in the history of the Soviet circus. These are the famous satirical clowns, animal trainers, brothers Vladimir Leonidovich (1863 - 1934) and Anatoly Leonidovich (1864 - 1916) Durov. How did the professional circus develop in Russia?
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The performances of Vitaly Efimovich Lazarenko (1890 - 1939) were very popular with the public. He combined the satirical acts of clowning with acrobatics. Popular in the Russian circus, next to the Durovs and Lazarenko, were the clowns Alperovs, the Tahiti brothers, Bim-Bom. Russian artists of all genres have successfully performed at the arena of the country. Among them were the well-known rope-walker FF Molodtsov, horsemen of various profiles: the Gamsakhurdia family, PS Krutikov, VT Sobolevsky, NL Sychev, PA Fedoseevsky; athletes and wrestlers: I. M. Poddubny, I. M. Zaikin, N. A. Vakhturov, P. F. Krylov, I. V. Shemyakin, who emerged victorious from competitions with renowned world and European champions; the Winkin acrobats; bike riders Podrezovy (based on Poldi's stage); jugglers K. and M. Pashchenko, juggler on a horse N. A. Nikitin and others. How did the professional circus develop in Russia?
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The October Revolution is a historic milestone in the history of the Russian circus, which marked a sharp turn in the organization of the creative activity of the arena masters. In January 1919, the Circus Section was created in the theatrical department of the People's Commissariat for Education. On August 26, 1919, V. I. Lenin signed the Decree of the Council of People's Commissars "On the unification of the theater business." By announcing the nationalization of circuses, the decree forever predetermined the democratic essence of the circus as an art form, which, along with theaters, is necessary for the people, in need of constant organizational and ideological and creative leadership of the Soviet state. Indeed, the circus of the USSR has become a qualitatively new phenomenon. How did the professional circus develop in Russia? Equilibrist acrobats N. and P. Mayatsky
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Slide 2: The structure of the Roman theater
The Roman theater arose when the patriarchal clan system disintegrated. He did not know the social and round dance forms of the Greek theater and did not rely on the initiative of the urban population. The Roman theater was immediately professional. The Roman theater was not associated with the cult of the deity, as in Greece, so it did not have the same social significance. The actors were not respected, but despised people. They were recruited from among slaves and freedmen and could be beaten for poor performance.
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Reconstruction of the ancient Roman theater of Marcellus
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The performances were staged in honor of public holidays, as well as at any other time on the initiative of any of the noble citizens. For a long time, there were no permanent theater buildings in Rome. For the performances, special temporary wooden structures were built, which broke down at the end of the performance. The first permanent stone theater was built around 55 BC. commander Gnei Pompey the Great and accommodated 17 thousand spectators. By the end of the 1st century. BC. in Rome, two more theaters appeared, accommodating up to 45 thousand spectators. The building became uniform in height - three-story. The water supply system cooled the spectators in the theater. The theater in Rome had a curtain; before the start of the performance, it was lowered in front of the stage.
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The birth of the main genres of Roman literature was associated with the imitation of Greek and Hellenistic models. The works of the first Roman playwright Livy Andronicus (c. 280–207 BC) were a reworking of the Greek tragedies of the 5th century. BC, like most of the writings of his followers Gnaeus Nevi (c. 270–201 BC) and Quintus Ennius (239–169 BC). At the same time, Gnei Nevi is credited with creating the Roman national drama - pretexts (Romulus, Clastidia); his work was continued by Ennius (Abduction of the Sabine Women) and Aktius (170 - c. 85 BC), who completely abandoned mythological plots (Brutus).
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Andronicus and Nevius are also considered the first Roman comedians who created the genre of the palleata (Latin comedy based on a Greek plot); Nevi took material from Old Attic comedies, but supplemented it with Roman realities. The heyday of the Palleate is associated with the work of Plautus (mid-3rd century - 184 BC) and Terence (c. 195–159 BC), who were already oriented towards neo-Attic comedy, especially Menander; they actively developed everyday topics (conflicts between fathers and children, lovers and pimps, debtors and usurers, problems of upbringing and attitudes towards women).
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In the second half of the II century. BC. the Roman national comedy (togata) was born; Afranius stood at its origins; in the first half of the 1st century. BC. Titinius and Atta worked in this genre; they portrayed the life of the lower classes and ridiculed the fall in morals. At the end of the II century. BC. Atellana (Pomponius, Novy) also received a literary form; now they began to play it after the performance of the tragedy for the entertainment of the audience; she often parodied mythological subjects; the mask of a rich old curmudgeon, thirsty for positions, acquired special significance in it. At the same time, thanks to Lucilius (180-102 BC), satire turned into a special literary genre - satirical dialogue.
Slide 8: Circus
In Rome, the largest city of antiquity, there were seven circuses. They were all arranged in almost the same way, but the most extensive and most ancient of them was the so-called Circus Maximus. This circus was located in a valley formed by two hills, the Palatine and Aventine. The main performance was horse-drawn chariot races. According to legend, such races were established by one of the founders of Rome, Romulus. Later, about 600 BC, the first wooden circus was built in this valley. Over the centuries, it expanded more and more, was decorated with marble, bronze and by the beginning of our era took shape into a grandiose hippodrome, designed for 150 thousand spectators.
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By its structure, the Circus Maximus was primarily a rectangular arena in plan. Along its entire length, rising rows of public spaces were located on either side. A curious feature of the circus arena was its back - a wide (6 meters) and low (1.5 meters) stone wall, which, like a ridge, divided the arena into two halves. Tourists who come to Rome from different countries still admire the ruins of the Colosseum, which was once a huge amphitheater - with a circumference of more than 500 meters and a capacity of about 50 thousand people. The Colosseum itself was called in antiquity the Flavian Amphitheater - after the family name of the emperors Vespasian, Titus and Domitian, under whom this monumental spectacular structure was created.
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In the Roman circus, not only the winners-charioteers were honored, but also the winners-horses. People received money and expensive clothes, and both people and horses received palm branches and wreaths (which were also rewards). They were also public spectacles, gladiator fights, which reached extraordinary proportions under the Roman emperors (for example, Augustus arranged gladiator fights eight times, and 10 thousand people participated in them). One of the favorite spectators of gladiatorial fights was the so-called fishing. The first of them, armed with a sword and a shield, wore an image of a fish on his helmet; the second used a sharply sharpened trident as a weapon and was equipped with a metal net). The purpose of the “game” was that the retiarius had to entangle the enemy with a net, knock him down and, if the audience so desired, finish off the “fish” with a trident; the other's task was to escape unscathed from the "fisherman" and, at the first convenient moment, hit him with a sword ...
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The armor of gladiators, beautiful in appearance, left large areas of the body unprotected: those who fought were obliged to entertain the audience with their wounds, blood, and finally, death, which increased the public's interest in the fight. It goes without saying that gladiators were well trained in the arts of swordsmanship and hand-to-hand combat. They were trained in this in gladiatorial schools-barracks (both private and imperial), where cruel stick discipline reigned - even beating to death. First of all, prisoners of war ("barbarians", as the Romans contemptuously called them) were gladiators.
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The fate of gladiators was hard, but even worse was the bestiaries (animal fighters) who fought with wild animals - boars, bears, panthers, lions. In Rome, there was a special school for them, but most often convicts acted as bestiaries. They were released into the arena almost unarmed - with a short sword or light spear. In addition to such "spectacles" in the Colosseum, animal persecutions were arranged. A rhinoceros was forced to fight with an elephant, a panther with a bull, a bear with a wild boar. Often they were tied in pairs with lassos, and the audience was in a frenzied delight when the animals began to torment each other.
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In the same Colosseum, trained animals were shown: lions caught hares and released them unharmed, elephants danced and, according to Roman custom, reclined at tables with food; the Circus Maximus hosted gymnasts' competitions, sprints, fist fights, disc throwing. These spectacles did not inspire enthusiasm among the expansive Roman public and gradually faded away altogether, as they did not satisfy the principles of the same notorious policy - "bread and circuses" ... Such were the circuses and circus shows in ancient Rome. Thus, in blood and in agony, the art of the circus was born.
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Musical art of ancient Rome
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At the end of antiquity, Rome played an important role in the musical life of the slave society. The musical art of this huge colonial empire reflected its wealth, the antiquity of culture, the artistic talent of the people and, at the same time, the more and more rapidly approaching decline, the disintegration of the slave-owning world.
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The Roman capital lived a noisy and luxurious, however, superficial musical life. Music was used to arrange magnificent shows and bloody circus competitions
Irina Tokareva
Presentation of the project "Circus, circus, circus!"
On the eve of April Fool's Day, held on April 1, I decided to implement with the children of the younger group project, the purpose of which was to expand the horizons of children and, of course, create an atmosphere of a bright, unforgettable holiday. During the project I introduced children to circus professions(clown, acrobat, trainer and others).I suggested that parents, together with their baby, make a craft "Funny clown" from improvised and waste material, the clowns turned out to be funny and funny - we have a bright one on our shelf. colorful exhibition. As the theater begins with a coat rack, the children learned that circus starts with a poster, which was made independently, with a little help from a teacher. The children watched with pleasure the cartoons "Boniface's Vacation" and "The Girl in circus"We drew and painted a clown, made an applique" Barbarian Clown. "The kids were delighted with the cartoon character-losharik. They dressed up in a clown costume and made each other laugh. the project was entertainment"Visiting Timoshka the clown. I suggest you watch presentation of this project.
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