Russian Dramatic Greats - Sumarokov & Pushkin
Reading Russian Drama; 'Khorev', 'Boris Godunov' and More
Oct 24, 2009
Writing under a strict political censor, the works of some of Russia's most bold and influential playwrights were supressed during their lifetime. Today these plays are being interpreted and performed in a way that would not have been possible under the Tsarist Empire or the Communist dictatorship.
From Pushkin to Chekhov, to Gorky and Mayakovsky, the development of Russian drama spans centuries of heated intellectual debate. Dealing with themes of history, politics and identity, Russian drama remains a vital and fascinating area of study appreciated not only in Russia but across the world.
The Origins of Russian Dramatic Performance
As is the case with many European countries, theatrical performance developed in Russia through rituals of worship - religious dialogues (or 'mystery plays') illustrating biblical scenes and performed exclusively within monastic circles. Such performances are believed to have arrived in Russia in the early 12th century by way of Poland.
Out of this form of religious theatre a more popular variety of play was born. 'Vertep' employed the use of marionettes enclosed within an open booth, a form of travelling puppet theatre predominantly viewed at Christmas fairs. Although Vertep theatre traditionally dealt with the nativity scene, it evolved in the mid-17th century to include a strong element of social satire and commentary. Vertep was consequently banned by the church, a fact which did not seem to diminish its popularity.
Alexander Sumarokov - 'The founder of the Russian theatre'
In 1721 a decree was issued which ruled that all students of public seminaries must perform a play twice a year. Popular genres proved to be plays of a religious or comic nature, as well as plays adapted from foreign theatre (particularly those of the French playwrights Moliere and Racine).
The study of literature in public schools was also prospering during this time. At the Cadet School of St. Petersburg, students formed a literary society where they could read out and perform their composed dramatic works. One student went on to become known as the founder of Russian Neo-Classical drama. His name was Alexander Sumarokov (1717-1777) and he formed Russia's first national theatre in St. Petersburg in 1756.
Sumarokov's tragic play 'Khorev' (1749), which was performed in the presence of Empress Elizabeth, is considered to be the first formal Russian drama. He considered himself to be 'the Racine of the North', studying the poetic plays of European playwrights such as Shakespeare and Voltaire and adopting their models. His work utilised forms such as the traditional Eastern European fable, romance and sonnet, dealing predominantly with themes of Russian national history and legendry. Although the literary value of his works are little appreciated today, his persistence and determination to be known as Russia's Horace thrust him repeatedly into the public spotlight and earned him temporary popularity - as well as notoreity.
Alexander Pushkin and the Romantic Era
The Moscow-born Pushkin (1799-1837), who is best known for his poetic and operatic works, was the first playwright to break away from Sumarokov's poetic form of European theatre to utilise blank verse and to cast characters that were authentically Russian. His first play and only full-length drama - 'Boris Godunov' (publ. 1831) - established certain important precedents which were adopted later on by playwrights such as Gogol and Gorky. Although 'Boris Godunov' was never produced in Pushkin's time (only breaking through the political censor in 1866) it is often remarked as Pushkin's best play for its realistic portrayal of historical events and its depiction of comic scenes from Russian life.
'Boris Godunov' is a historical drama centred around the Russian tsar (who ruled 1598-1605) of the same name. Its subject matter deals with the 'Time of Troubles' - an anarchic period of Russia's history during which the country was left temporarily without a ruler - allowing the boyar Boris Godunov to ascend the throne. However, he is haunted by the memory of the dead Tsar's son, Tsarevich Dmitri, whose murder he is responsible for. When a figure proclaiming to be Dmitri attempts to seize the throne, Godunov finds himself struggling to defend his position - as well as his reputation.
The proximity of the plot of 'Boris Godunov' to a Shakspearean drama is no surprise - Pushkin was an avid reader of Shakespeare. However, Pushkin was also an admirer of Byron's Romantic poetic values. He sought to dispell formal forms of Russian language in favour of a more down-to-earth and human vernacular that would allow his protagonist to relate more closely to real life. However, Pushkin's play suffered the consequences of the political censor and of his relationship with Tsar Alexander I (who exiled him numerous times). Although his work was acclaimed amongst his friends and allies, it was not a critical success, deemed too comical for a historical tragedy and its subject matter too dark for a historical comedy.
Despite the fact that 'Boris Godunov' was never shown on stage during Pushkin's lifetime, he is known as one of the great innovators of Russian Drama. Rather than imitating French and Italian models, he created a drama which was - in both its language and style - unequivocally Russian.
'Russian Dramatic Greats' continues in a second part which includes a discussion of Nikolai Gogol and the development of 19th century Russian drama.
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