Tsar Maximilian (II) (folk heroic-romantic drama). Folk drama: presentation of the work “Tsar Maximilian”

KING MAXIMILIAN (I)

(People's Theater / Compiled, introductory article, prepared texts and comments by A.F. Nekrylova, N.I. Savushkina. - M.: Sov. Russia, 1991. - (B-ka of Russian folklore; T. 10), pp. 131-150, comments pp. 503-504).

Characters:

Tsar Maximilian, tall, with a beard, a menacing face, loud, harsh speech.
Adolf, his son, young, about 18 years old, thin, quiet voice. After imprisonment he was very weak and emaciated.
Anika the Warrior, of extraordinary height, fat, with a menacing face, with a long mustache and beard, and a thick voice.
Brambeus, knight, gray-haired himself, 130 years old, large gray beard, speaks rarely and thickly.
Gigantic knight(aka the Strange Knight), young, tall, speaks harshly.
Speedy Marshal, young, with a mustache, average height. The blacksmith, an old man, has a gray beard, speaks like a peasant.
Old Grave Digger, long hair and beard, coughs; speaks like a man.
Old woman, his wife, no speeches.
Death, says thickly, not very much.
Two pages, young, speak harshly.
Courtiers, retinue, warriors.

Costumes of the characters

Tsar Maximilian: uniform of ancient kings, in a military cap, with a camisole, with orders and with a saber; simple general's trousers, high boots with spurs. In the fifth appearance, they put on a crown and give him a scepter and orb and all the royal accessories.

Adolf, his son: in military uniform, on the head there is a crown, with orders, the same clothes as the king, only worse and there is less cavalry. In the tenth appearance, Adolf appears without any merits and royal accessories, in a disgraced state.

Gigantic knight: in armor, in one hand a pike, in the other a saber, in full armor, with medals; a military cap with a feather, a black mask on the face, boots with spurs.

Anika the Warrior: in armor, a pike and a saber with him; on the arm is a copper shield, on the head is a shiny helmet; gilded lance; with orders and medals.

Brambeus, knight: in ancient armor, large hat, armor, saber and spear, without any cavalry or merit, simple boots.

Speedy Marshal: military uniform, military frock coat, with saber, court cap, with a feather, high, narrower at the top; simple boots with spurs; two medals; with shoulder straps.

Blacksmith: dressed like a peasant, in a shirt, bast shoes, without a hat, with an apron, covered in coal.

Old Grave Digger: in a caftan, long hair and beard, coughing, with a thick stick in his hands, in bast shoes and onuchas, a peasant’s hat and everything like a peasant.

Old woman: in a colorful sundress and all the old woman's attire, as if they were walking like peasants, with a kichka on their head.

Death: clothes are white, as if in a shroud, a long braid is in the hands, there is nothing on the legs.

Pages two: at checkers, without merit, beautiful suits, red jackets, blue trousers, tall hats, Napoleonic, with a feather; multi-colored belts.

Courtiers(two that offer royal accessories): military uniform, frock coats with crosses and stars, trousers with red stripes, triangular hats with a feather and a bow; with checkers over the shoulder. The rest of the courtiers, in military clothing, but without cavalry, are dressed more simply.

Retinue: military uniform, with spears and checkers, with medals.

Warriors: soldier's uniform, with checkers, without merit.

Furnishings and accessories

An ordinary room, whatever there is, even a simple peasant hut. In the middle of it is placed the throne of Tsar Maximilian, decorated in the shape of armchairs. For him, there is a crown, a scepter and an orb on a golden platter, covered with gold and silver paper. Iron shackles for Adolf. Hammer for a blacksmith. Snuff box for the grave digger.

PHENOMENON 1

Quickly steps onto the stage Skorokhod and, out of breath from fast walking, speaks.

Skorokhod.
Hello gentlemen, Senate O ry,
I didn’t come here to you myself,
And sent from the royal office.
Get everything out of this place
And here the royal throne will be erected.
Goodbye, gentlemen,
Now the king himself will be here.
(Leaves.)

They go on stage senators, royal guard And warriors.

PHENOMENON 2

It turns out Tsar Maximilian and addresses the public.

Tsar Maximilian.
Hello gentlemen senate O ry,
I came from the royal office,
Who do you think I am:
For the Russian Emperor
Or the King of France?
I don't Russian Emperor,
Not the French king
I am your formidable king Maximilian,
Strong and glorious throughout all lands
And his great mercy is evident.
(He looks at the throne prepared for him and addresses everyone around him, pointing his hand at it.)
Look at this marvelous structure,
Look at this magnificent decoration,
For whom was this Palace of Facets erected?
And for whom is this royal throne
Was it built on a higher location?
Not otherwise than for me, your king.
I'll sit in that place
And I will judge my rebellious son Adolf.
(Sits on the throne, looks menacingly at everyone around and shouts at the top of his lungs.)
My faithful, unhypocritical pages, appear quickly before the throne of your monarch!

PHENOMENON 3

Tsar Maximilian And two pages. The pages enter, marching in step, and stop a little short of the throne, at once draw their sabers from their scabbards, stand guard and disperse on both sides of the throne. Then one kneels in front of the throne and speaks.

Page. Oh, mighty sovereign, merciful king,
Why are you calling us, pages, to you?
And what do you command us to do?
(Gets up and goes back to his place.)
Tsar Maximilian. Go to my royal white-stone palaces and bring me my dear son Adolf, I need to have a secret conversation with him.
Pages (both in one voice). Let's go and get it! (They make swords on guard, converge and march into the audience.)
Tsar Maximilian. Speedy Marshal, appear before the throne of your monarch!

PHENOMENON 4

The same Speedy Marshal.

Skorokhod (enters very quickly, comes close to the throne, kneels on one knee and, as if out of breath from fast running, speaks).
O most powerful sovereign,
Most merciful King Maximilian,
Why are you calling on your fast and light Skorokhod-Marshal?
Tsar Maximilian. Go and tell my retinue that I want to remove all unworthiness from myself and put on all the decency and royal accessories that befit my high royal rank.
Skorokhod. I'll go and take care of everything. (He leaves, backing away and bowing low to the king.)

PHENOMENON 5

The same, courtiers And retinue. The doors of the hut open, two courtiers on golden trays carry the royal crown, scepter, orb, golden saber, etc. A retinue follows them, several warriors with drawn sabers on his shoulder.

All (singing).
We are going to the king, the king,
We bring him a golden crown,
Our monarch sits on the throne
In a gilded crown,
Exalted with glory and honor,
Highly produced.
All honor guard
Holds sabers drawn.
Hurray, hurray, hurray!
To our king!

The warriors enter and stand equally around the royal throne, holding their sabers on their shoulders the entire time. The courtiers approach the throne itself, kneel before Maximilian and hand him trays with royal regalia.

One of the courtiers. Accept, most merciful monarch, from our unworthy hands your royal belongings.
Tsar Maximilian.
My friends, my friends,
My faithful servants,
Take away my unworthiness from me
And put all my accessories on me.

The courtiers take off his military cap, medals and simple saber, put on a crown and orders, give him a scepter and orb, put his previous attire on trays and leave, bowing low. The retinue stands near the throne all the time.

Tsar Maximilian (waving the scepter, menacingly). Why are my faithful pages delaying in bringing my dear son Adolf? Or are they not obeying my royal order?

PHENOMENON 6

The same, Adolf And two pages. The doors open, Adolf enters, flanked by two pages with drawn sabers. Adolf approaches the throne and kneels; the pages stand behind him.

One of the pages. They fulfilled your royal order and brought your all-kind son Adolf.
Tsar Maximilian. Now get away from my sight.

The pages leave.

Adolf(on my knees all the time).
Oh, most gracious sir
And the glorious Maximilian the king,
I hit your forehead against your mother - the damp earth.
Why are you calling on your dear son Adolf?
Tsar Maximilian.
Dear Adolf, my son,
I am not happy now about your coming:
Now I heard from my wife,
Why have you abandoned our idol gods?
And you cheat on them
And you secretly read some new ones.
Fear my parental wrath
And bow to our idol gods.
Adolf (without getting up from your knees).
I am your idol gods
I put it under my feet,
And I believe in the Lord Jesus Christ,
I depict the sign of the cross against your gods
Tsar Maximilian (very angry, he gets up from the throne and, stretching out his hand with a scepter, menacingly addresses Adolf).
Fear your parents' wrath.
I thought that you, rebellious monster, would sit on the royal throne,
And you want to leave.
(Shouts loudly, addressing the doors.)
My faithful pages, present yourself before the throne of your monarch.

PHENOMENON 7

The same two pages. Two pages come out, just as before, and perform all the same actions as before. In general, pages always act in the same way.

One of the pages.
O mighty king,
Dear Lord, everyone,
Why do you call us, your pages, so quickly?
And what do you tell us to do?
Tsar Maximilian(rises from the throne and, pointing his finger at his son, speaks in a menacing voice).
Take this rebellious son of mine to prison,
And in order not to let any animal or bird go there,
And for his daring disobedience
Put him on abstinence.
Pages (both in one voice). We will do everything as ordered. (They lift Adolf from his knees and lead him under escort with drawn weapons.)

PHENOMENON 8

Tsar Maximilian And Gigantic knight. The door opens and it shows Bogatyr gigantic growth, draws a saber, slowly walks towards the throne of Tsar Maximilian; approaching, strikes the floor with the blunt end of the spear, stands in a menacing pose and speaks.

Gigantic knight.
Conqueror foreign countries,
I passed through foreign kingdoms
And all the Roman states,
Everyone says that your trial is unfair.
You have to justify yourself
Allow me, the Roman Ambassador,
To speak to you.
Tsar Maximilian.
Speak up, impudent ambassador.
Gigantic knight.
Know you, barbarian and murderer,
You innocent soul you're ruining
You cut off the head of your dear son Adolf.
(Waving a spear around.)
Look how everyone pities him
Everyone sheds tears for him
AND a true hero revered.
Make up your mind while you still have time!
Tsar Maximilian (stands on the throne and, stomping his feet, shouts).
Get out of my sight, insolent ambassador!
Gigantic knight. Farewell for now, barbarian and murderer, but I will soon return to avenge innocent blood. (Leaves.)
Tsar Maximilian.

PHENOMENON 9

Tsar Maximilian And two pages.

One of the pages.
O mighty king,
Blessed Sovereign,
Why are you calling us, your pages, so quickly?
Or what do you command me to do?
Tsar Maximilian.
Go to my former capital,
Into the dark imprisoned dungeon
And bring to me my rebellious son Adolf.
Pages (in one voice). Let's go and bring your rebellious son Adolf.

PHENOMENON 10

Tsar Maximilian, Adolf And two pages. The pages bring Adolf in the same way as the first time. Adolf approaches the throne and kneels. The pages remain standing behind him with drawn sabers.

Adolf.
Oh, all-merciful sir,
Blessed Maximilian the Tsar,
My dearest parent, father,
I hit your forehead on the damp ground.
Why are you calling on your disobedient son Adolf?
Or what do you command him to do?
Tsar Maximilian.
Well, my rebellious son,
What will be your answer now?
Have you changed your mind or not?
Aren't you tired of the dark dungeon and starvation?
Will you believe in our gods,
Will you expose them to your feet?
Adolf.
No, I am your old idol gods
I put it under my feet,
I believe in one God
And I maintain his holy law.
Tsar Maximilian (in great anger he rises from the throne and, shaking his scepter, speaks menacingly).
O rebellious one, monster of the mother's womb,
Fear my parental wrath!
I thought of making you heir to my kingdom,
And you are playing tricks on me.
I will give you over to other torments
And I will make you bow to our gods.
(Sits down and shouts to the walker.)
Speedy Marshal,

PHENOMENON 11

The same Speedy Marshal. The fast walker arrives the same way as the first time. In general, his outputs are always similar to one another.

Skorokhod.
O mighty lord,
Dear King Maximilian,
Or what do you command me to do?
Tsar Maximilian.
Come to my white-stone royal chambers
And bring me the best blacksmith.
Skorokhod.
I'll go and get the best blacksmith.

Adolf remains on his knees all the time, sadly bowing his head and not raising his eyes.

PHENOMENON 12

The same Blacksmith.

Skorokhod.
I went and brought the best blacksmith.
Blacksmith.
Hello, father,
Why are you calling me
Or what do you command me to do?
Tsar Maximilian (pointing to Adolf). Put this monster in strong shackles.
Blacksmith (as if not trusting his ears, he repeats to himself). Shackle his monster. (Looks at the king.)
Tsar Maximilian (starting to get angry). I tell you in Russian: chain up this monster.
Blacksmith. I’ll do the shackling, but who’s going to pay me for the work?
Tsar Maximilian. I'll give you a coin.
Blacksmith. Yes, father, I don’t even have a pocket.
Tsar Maximilian. Never mind, the old woman will sew it.
Blacksmith. Well, apparently there’s nothing to do, I’ll get going with my blessing. (Takes his hammer, puts a chain on Adolf’s legs and chains him.) I chained it, father, now it will be strong.
Tsar Maximilian. Here's a coin for you and go home to your old woman.
Blacksmith. We ask for forgiveness. (Leaves.)
Tsar Maximilian. My faithful pages, present yourself before the throne of your monarch.

PHENOMENA 13

The same two pages.

One of the pages.
O mighty king,
Most Serene Sovereign,
Why are you calling us, your pages, so quickly?
Or what do you command me to do?
Tsar Maximilian.
Take this daring and rebellious monster
And put him in a dark dungeon,
And starve him to death,
Until he comes to his senses and believes our idol gods.
Pages.
Let's go and take Adolf to the dungeon.

They take Adolf by the hands. Adolf rises from his knees and slowly, lowering his head to his chest, moves towards the door. Sings a song in a mournful voice.

Adolf.
I'm going to prison
From these wonderful places,
How many fatal sorrows
I have to bear the separation. I leave my dear city
And you, my parent.

At these words, Adolf turns around and addresses Maximilian and, looking pitifully at him, bows. Then, turning around, he continues to walk to the door, singing.

I know that my fate is like this,
What to live in separation from you.
(Hides behind the doors.)

Tsar Maximilian remains sitting in sad thought, hitting his elbow on the handle of the throne.

PHENOMENA 14

Tsar Maximilian And Gigantic knight.

Gigantic knight(enters, loudly knocking, surrounded, and, without any respect, approaching the throne itself, screams at the top of his lungs).
I burn with a warrior's heat,
I approach your kingdom,
I will burn the city of Anton with fire,
And I’ll take you in full.
Set up an opponent against me
Amuse yourself with damask swords,
Converge on sharp copies.
I stand under the walls of your city.
Defend yourself, otherwise your reward will be death.
For your unfair trial.
Tsar Maximilian (angry, shouts in a loud voice, shaking the scepter). Away, impudent knight! Expect your enemy soon under the walls of my city Anton.
Gigantic knight. Farewell, barbarian and murderer; Expect quick revenge. (He leaves without any respect for the king.)
Tsar Maximilian (shouting).
My speedster, marshal,
Appear before the throne of your monarch!

PHENOMENA 15

Tsar Maximilian And Speedy Marshal.

Skorokhod.
O mighty lord,
You are our king Maximilian,
Why do you call upon such a menacingly light Swift Marshal?
Or what do you command me to do?
Tsar Maximilian.
Call to me the ancient and brave warrior Anika,
Skorokhod.
I'll go and call ancient hero Anika the warrior,
Which death alone can defeat.

PHENOMENA 16

Tsar Maximilian And Anika the Warrior.

Anika the Warrior (of enormous stature, in armor, a helmet and other weapons, approaches the throne, shakes his weapon and speaks).
Hello, Tsar Maximilian,
Why are you calling me, Anika the warrior?
Or what do you command me to do?
Tsar Maximilian.
Ancient and invincible warrior Anika,
A certain ignoramus approached our city,
He wants to burn the city of Anton with fire, kill all my knights,
And I’m ready to take myself.
Anika the warrior. This has never happened before and can never happen.
Tsar Maximilian.
Brave and invincible warrior Anika,
Go behind the white stone walls,
Protect this city from the ignorant,
And honor and praise will be given to you throughout the kingdom, as a hero.
Anika the warrior. Now I’ll go and put the impudent ignoramus to death. (He leaves, shaking his weapon.)
Tsar Maximilian. My faithful pages, present yourself before the throne of your monarch.

PHENOMENA 17

Tsar Maximilian And two pages.

One of the pages.
O glorious Maximilian the King
And mighty sovereign,
Why are you calling us to you soon?
Or what do you command me to do?
Tsar Maximilian.
Go to the dark dungeon,
Investigate my rebellious son Adolf;
If he is alive, then bring him to me,
If he's dead, keep it there.
Both pages. Let's go and investigate everything. (They leave.)

PHENOMENA 18

Tsar Maximilian, Adolf And two pages.

Pages. Your rebellious son Adolf is alive and brought here.
Adolf (exhausted in chains, barely moves, speaks in a quiet voice, pitifully, before reaching the throne, falls to his knees).
Oh, most merciful and most amiable sovereign father,
Why do you call upon your tormented son Adolf?
Or what do you command me to do?
Tsar Maximilian.
Well, rebellious and daring son Adolf,
Have you changed your mind or not?
Did the upcoming painful death scare you?
Give up before it's too late, you impudent wicked man,
And I will return to you the royal purple and crown.
Give up your Christian Orthodox faith,
Bow down to our idol gods!

Adolf is silent, bowing his head on his chest.

Tsar Maximilian.
Well, why are you silent? Answer, who do you believe?
Adolf.
My dear sir, father,
I believe everything as before, in the Lord Jesus Christ,
Who created heaven and earth
And your idol gods.
Tsar Maximilian.
Oh, you rebellious monster,
You set my heart on fire,
I won't spare you anymore,
And now I will command that the evil one be put to death.
(Shouts.)
Speedy Marshal,
Appear before the throne of your monarch!

SCENE 19

The same Speedy Marshal.

Speedy Marshal.
Oh great sir,
Our mighty king Maximilian,
Why do you call upon your light Speedy Marshal?
Or what do you command him to do?
Tsar Maximilian.
My fast and faithful Skorokhod-marshal,
Come soon to my white stone chambers,
There is an ancient Brambeus knight there,
Summon him here as soon as possible.
Skorokhod.
Now I'm going to your royal white-stone chambers
And I will soon bring Brambeus the knight to you.

PHENOMENON 20

Tsar Maximilian, Adolf And Brambeus.

Brambeus (comes close to the throne, stands in front of King Maximilian, hits the floor with his spear, puts his saber on guard and speaks in a thick voice). May God grant you, Tsar Maximilian, to live as many years as I, an ancient knight, live in the world.
Why do you call on me, the strong and ancient knight Brambeus?
Or what do you command me to do?
Tsar Maximilian (pointing the scepter at Adolf, who remains on his knees all the time with his head bowed to his chest).
Take this rebellious son Adolf
And put him to an evil death before my eyes.
Brambeus (backs away in horror and looks first at the king, then at Adolf).
Oh great sir,
Terrible Tsar Maximilian,
I lived in the world for one hundred and fifty years
And not a single person's life was decided
And in my old age I won’t decide.
When my sword
He will tear the rebellious royal head off his shoulders,
When youthful hot blood splashes on my gray head,
Then I myself must die!
Tsar Maximilian (menacingly). Rebellious old man, obey the orders of your monarch.
Brambeus. There is nothing to do, I cannot disobey my monarch. (Addresses Adolf.)
Adolf, say goodbye to the white light,
You must die on this spot.
Adolf (gets up from his knees, bows on all four sides and laments).
Farewell, dear land,
Farewell, native fields,
Goodbye sun and moon
Farewell to all the world and all the people.
(Bows to King Maximilian.)
Farewell to you too, cruel father!
Tsar Maximilian. Brambeus, continue the orders of your monarch, do not hesitate any longer, otherwise you yourself will be executed.
Brambeus.
I continue to continue
But I don’t spare myself either.
(Hits the kneeling Adolf on the neck, he falls face down.)
I rub it
But I’m also ruining myself!
(Stabs himself in the chest and falls dead.)
Tsar Maximilian. Speedy Marshal,
Appear before the throne of your monarch.

SCENE 21

The same Speedy Marshal.

Skorokhod.
O mighty lord,
Terrible Tsar Maximilian,
Why do you call upon the formidable Speed ​​Marshal so soon?
Or what do you command him to do?
Tsar Maximilian.
Go quickly to the nearest village
And call the Old Grave Digger here.
Skorokhod.
Now I’ll go and bring the Old Grave Digger here.

SCENE 22

Tsar Maximilian And Old Grave Digger.

Old man (with a thick stick in peasant clothes he comes on stage, coughs, shakes his head and talks to himself).
And why is the king calling me to him...
Apparently they know me far
If such big things are trusted.
(Yawns, crosses his mouth, scratches the back of his head and looks up at the imaginary sun.)
Oho-ho-ho-ho-ho-honey!
The sun is still high
And the king is not far away,
I'll sit down and rest,
I'll take a sniff of tobacco,
And then I’ll wave to the king.
(Sits down, slowly pulls out the bottle, puts a sniff into both nostrils, sneezes, blows his nose, then gets up and says.)
Well, now we obviously need to go; The Tsar is no joke either, not my Malashka. (He approaches the throne, sees Adolf and Brambeus lying, stops and, looking at them, scratches his head in bewilderment.)
These are the green ones,
Aunt Matryona:
The Tsar, apparently, called me to stand up for these heroes,
And I had a bad time with Malashka, and I was late.
(Takes off his hat in front of Tsar Maximilian and tells him.)
Great, yours-can’t-jump-high!
Why are you calling on me, the famous old man?
Or whom do you order to protect?
Tsar Maximilian(pointing to Adolf and Brambeus lying down).
Take away these two bodies,
So that they don’t smolder above the ground,
So that the worm does not sharpen them,
So that the rain doesn't wet them.
Old man(goes to the corpses and mutters to himself). So that the devil doesn’t sharpen them, but where can they go now if not to hell? (He takes one, then the other, then by the legs, then by the head, but cannot lift him up. Turns around the stage and shouts to his wife.) Malashka, oh Malashka! (Silence. The old man shouts again.) Malanya, come, you fool, hurry here, there’s something to do. (Silence again.)
Old man (to the audience). You see, you damned figure, nothing will come of it until you truly exalt yourself. (To his wife.) Malanya Rogovna, please come here, I have something to do.

An old, wrinkled old woman comes out of the hut.

Old man.
Look what God has sent us:
Choose anyone
Leave the bad one
Let's pull it out and steal it,
And then we’ll remove it.
(They drag Adolf and Brambeus by the legs into the hole.)

Included Anika the Warrior.

SCENE 23

Tsar Maximilian And Anika the Warrior.

Anika the Warrior (proudly approaches from the very throne of King Maximilian, knocks his spear on the floor and speaks, hitting himself in the chest).
Am I not a warrior?
Am I not a knight?
I'll stand on the ground
The earth will shake;
I'll look at the sea
The blue sea will stir,
Mountains and hills
And they will be heard.
Asia, Africa, America, Europe -
And they will tremble!
I defeated all the infidels
And saved you from evil death, King Maximilian.
Tsar Maximilian.
Praise, praise to you, hero,
That the city of Anton was saved by you. (Shouts.)
Speedy Marshal,
Appear before the throne of your monarch!

PHENOMENON 24

The same Speedy Marshal.

Skorokhod.
Oh great sir,
Terrible Tsar Maximilian,
Why are you calling for the Speedy Marshal?
Or what do you command him to do?
Tsar Maximilian. Go and call to my royal palace all my brave and mighty knights to give military honors to Anika the warrior for his liberation of our city Anton.
Skorokhod.
I'll go and call. (Leaves.)

PHENOMENON 25

Tsar Maximilian, Anika the Warrior And crowd of knights. The knights enter in pairs and stand tall on both sides of the royal throne, drawing their sabers.

Tsar Maximilian. My brave warriors, give honor to the invincible warrior Anika for the liberation of the city of Anton.
Choir of warriors.
Praise, praise to you, hero,
That the city of Anton was saved by you;
by your mighty right hand
The daring enemy is exposed to dust...

A strong knock on the door and a woman's howl are heard.

Tsar Maximilian.
My brave warriors, stop your singing.

Everyone falls silent and looks at the door in bewilderment.

Tsar Maximilian.
What kind of woman is there?
What kind of drunk is that?

PHENOMENON 26

The same Death.

The door opens, Death with a scythe appears on the threshold, stands at the very threshold and speaks.

Death.
I'm not a woman,
I'm not drunk,
I am your stubborn death.
(Begins to move from the door to the royal throne.)
Tsar Maximilian(stands on the throne in horror and asks for soldiers). Warriors, my warriors, you have defended me many times from all sorts of enemies, protect me now from cruel death.

The warriors stand in front of the king's throne and block the path of Death with naked sabers. Death approaches, makes a movement with his scythe, and the sabers of the warriors fall with a ringing sound. The warriors get scared and move apart in front of Death.

Death (approaching the throne, addresses Tsar Maximilian). Follow me!
Tsar Maximilian.
My Mother, dear Death,
Give me at least three years to live,
To make money for me
And dispose of your kingdom.
Death.
You don't even have one year to live.
Tsar Maximilian.
My Mother, dear Death,
Give me at least three months to live.
Death.
You won't even live for a month.
Tsar Maximilian.
My mother, dear death,
Give me at least three days.
Death.
You won't have time for even three hours,
And here's my sharp braid for you.
(Hits him on the neck with a scythe. The king falls.)

PHENOMENON 27

Speedy Marshal comes out to the middle and addresses the audience.

Skorokhod.
Here, dear audience,
The curtain closes
And the attachment all ends,
And the ahters are entitled to a tip from you.

A fragment of Anna Nekrylova’s article “Tsar Maximilian” in the People’s Theater”, published in the book “People’s Theater”:

<...>“Alexey Remizov, whose work is permeated with images and themes of Russian folklore, based on the set of texts “Tsar Maximilian” published at the beginning of the twentieth century, created his own work - a drama, where, along with traditional heroes, there were also characters he invented from the modern era, where the ringleaders turned out to be loved ones Remizov's devils.

Meanwhile, “Tsar Maximilian” did not leave the popular stage in the 20th century. Organizer folk theater on their estate Polenovo, Tula province, there was the family of the artist V.D. Polenova. The artist's daughter, E.V. Sakharov, left curious, very vividly and slightly ironically written memories of one of the performances of “Tsar Maximilian,” which took place in 1918. In the 1920s–1930s, folk theater plays were staged on club stages in Zaonezhye and Kargopol, in the Tver and Yaroslavl regions, and here and there in Siberia. In 1967, philology students at Moscow University showed their “Tsar Maximilian”, reconstructed as a result of expeditions to the river, to a crowded audience. Onegu. In the early 1980s, “Tsar Maximilian” was revived by the famous team of Dmitry Pokrovsky. Based on fragments found in the archives and recorded during expeditions, the Novgorod folk ensemble “Kudesy” reconstructed the local version of this drama, which became firmly part of the “Kudes” repertoire and was successfully performed under the walls of the Novgorod Kremlin.”

A fragment of Anna Kasumova’s article “Christmas Gifts” in the St. Petersburg Theater Magazine (2002):

<...>“Galibin’s performance, shown at the Christmas festival, like “The Players,” has its predecessor in St. Petersburg: Galibin addressed the topic of Russian history in “The Tale of Tsar Peter.” In Novosibirsk, he continued this theme, turning to the origins - the folk drama “Tsar Maximilian” (design by Eduard Kochergin), however, in the interpretation of the playwright E. Gremina, decorated with a poem by Alexei Tolstoy. “Our land is rich, but there is just no order in it” - the leitmotif sounds throughout the entire performance. Tsar Maximilian, who is chosen from among the people, acquires a retinue. The first round of the game begins, continuing until the death of the ruler. Then - all over again: they choose a king, a retinue, and each time the king remains the same, only he is called differently, depending on the move Russian history. Alexander Galibin adds his own to the names existing in Alexei Tolstoy: Maximilian first appears to us in the form of Stalin, then suddenly, like Khrushchev, he begins to hit the pulpit with his shoe. Yeltsin, Gorbachev and Lenin are parodied here, and it all resembles the final game of the Club of the Merry and Resourceful. The musical elements only enhance the experience. Having taken the microphones, the people suddenly begin to sing not a Russian lament at all, but the most popular “They killed the Negro, they killed”... And then - “God save the Tsar”... Or maybe Galibin is right, maybe that’s exactly what she is, recent history Russia, - endless variations on the theme of E. Gremina’s play “Tsar Maximilian”?”<...>

FOLK DRAMA (THEATRE)

Folk drama- these are oral poetic works in which the reflection of reality is given through the actions and conversations of the characters; in them the word is inextricably linked with the action. The beginning of Russian folk theater dates back to very distant times. Games, round dances, pagan rituals with elements of dramatic action were widespread not only among Russians, but among all Slavic peoples. In The Tale of Bygone Years, the Christian author disapprovingly mentions the “games”, “dances” and “demonic songs” organized by some East Slavic tribes. In Russian folklore, dramatic actions include rituals, mummers, games (merrymaking), round dances, dramatic scenes, plays, as well as puppet theater. The difference between dramatic actions and other genres is that general folklore qualities are manifested in them in a special way; the conventions inherent in folklore manifest themselves especially clearly here. This is also observed in the characteristics internal qualities characters, both in depicting their appearance, and in giving them special clothes and accessories. Tradition and improvisation in dramatic actions are expressed differently than in other genres of folklore; here improvisation manifests itself in the form of varying the text, inserting new scenes or releasing individual passages of the text. Contrast plays a special role in this genre; it can represent social antitheses (master and peasant), everyday antitheses (husband and wife), antitheses of positive and negative principles (in the puppet theater - Petrushka and his opponents). In dramatic actions, syncretism is more complex, since it includes the fusion of words, chant, musical accompaniment, dancing, the use of gestures and facial expressions, costumes, sometimes part of the text is sung, and part is recited, etc.

Folk theater is born at the moment when it is isolated from ritual and becomes a reflection of the life of the people. The first mentions of theater in Rus' usually date back to the 11th century, when some of the participants folk games and performances stood out amuse- buffoons. The creativity of buffoons expressed the thoughts, aspirations and moods of the people, most often rebellious ideas. From this point of view, the epic “Vavila’s Journey with the Buffoons” is interesting, which tells how funny people, the buffoons, together with Vavila, decided to outplay the evil Tsar Dog. Because of the play of the buffoons and Babyla, the kingdom of King Dog burned “from edge to edge,” and “they installed Babyla here as king.” Buffoonery was a form of Russian national theater, which existed for a number of centuries, it was the soil on which the Russian theater arose. But academician P.N. Berkov believes that “it is wrong to derive Russian folk theater entirely from the art of buffoons: “Russian theater grew from the very folk life, and the art of buffoons was only part of the folk theater.”

One of the most ancient forms of folk actions was mummery, a situation where a person dressed up as an animal: a goat, a bear, a wolf, a horse, etc. The custom of mummery was widespread in Kievan Rus, this custom, with some changes, has survived to this day; Russians traditionally dress up during the Russian Winter holiday.

All rituals, both calendar and family, have features of dramatic action. Games, round dances and ritual dramatic scenes were not yet theater in the literal sense of the word, they were not a spectacle. In the emerging theatrical action there is a great role "games". “Playing” is the name given to those improvised folk plays that occupy an intermediate position between “game” and “oral drama.” The first mention of such ideas refers to XVII century(“The Game about the Master”, “The Landowner, the Judge and the Peasant”). From rituals and games the path led to dramatic performances proper, for the formation of which folk choral games, as well as everyday scenes performed by wandering singers, musicians and buffoon actors, were of particular importance.

PUPPET SHOW

A special, extremely bright page of folk theatrical entertainment culture was represented by fairs and festivities in cities on the occasion of major calendar holidays (Christmas, Maslenitsa, Easter, Trinity, etc.) or events of national importance. The heyday of the festivities occurred in the 18th – early 19th centuries, although individual species and genres folk art were created and actively existed long before the designated time; some, in a transformed form, continue to exist to this day. This is the puppet theater, bear fun, jokes of traders, many circus acts. Fairs and festivities have always been perceived as a bright event, as a general holiday. At fairs, a special place was given to the puppet theater, which in Rus' had several varieties: “Petrushka”, “Nativity scene”, “Rayok”.

Petrushka Theater- This is a theater of finger puppets. Such a theater probably existed in Kievan Rus; evidence of this is the fresco in the St. Sophia Cathedral in Kyiv. The traveler Adam Olearius, who visited Russia three times in the 30s of the 17th century, left the following description of the puppet theater he saw near Moscow: “The leaders of the bears have with them such comedians who, by the way, can immediately present any joke with the help of dolls To do this, they tie a sheet around their body, lift its free side up and arrange something like a stage over their heads, from which they walk through the streets and show various performances on it with dolls.”

Parsley looks more like Ivanushka from the Russians folk tales, this is a resilient hero who emerges victorious from different unpleasant situations. This hero mocks representatives of the authorities and the clergy; his apt, sharp word reflected the rebellious mood of the people. Petrushka's adventures boiled down to brawls, he was often beaten and taken to prison, but he always emerged victorious in the end. The text of the entire presentation changed depending on local conditions. The action at the Petrushka Theater was commented on in the form of a conversation between the puppeteer and the hero himself; the text consisted of various crude jokes, often rhyming, that could be applied to local events and persons. But Petrushka was not always just the amusement of the crowds gathering at fairs and squares. It was a theater of topical satire, for which puppeteers often ended up in prison. Despite the primitiveness of the Petrushka Theater, its image has deep roots in Russian folklore. Parsley is the embodiment of folk ingenuity, jokes, casual wit, and sincere laughter. The comedy about Petrushka expressed the rebellious mood of the people, their optimism and faith in their victory. The Petrushka Theater has been repeatedly reflected in the works fiction. In the poem “Who Lives Well in Rus',” Nekrasov depicts a rural fair and forces wanderers to watch a “comedy with Petrushka.” M. Gorky highly valued this image: “This is the invincible hero of the folk puppet comedy. He defeats everyone and everything: the police, the priests, even the devil and death, but he himself remains immortal. The hero of a comedy is a cheerful and cunning person, hiding a sly and mocking mind under the guise of a comic grotesque.”

Nativity scene- a special type of puppet theater, it came to Russia from Europe. The nativity scene is associated with the custom of installing a manger with figurines of the Virgin Mary, baby, shepherds, and animals in the church at Christmas; this custom came to Slavic countries from medieval Europe. In Catholic Poland it grew into a truly popular religious performance and in this form penetrated into Ukraine, Belarus, and some regions of Russia. The nativity play was played out in a special box, divided into two floors, which was carried by two people. The bearers of the nativity scene were wandering priests and monks, students, and later peasants and townspeople. Nativity scenes are associated with the so-called “school dramas”, which were composed and performed by students of church schools, “colleges” and “academies”. School dramas consisted of dramatizations of the birth of Christ and other biblical stories. These scenes got their name from the fact that the scene of the birth of Christ was played out in a den, a cave hidden from people. Events related to the birth of Christ were performed in the upper tier, and episodes with Herod and the everyday, comedic part were performed in the lower tier. The upper floor was usually covered with blue paper, in the center was a manger with a baby, and a star was drawn above the manger. The lower floor was covered with bright colored paper, there were doors on the right and left through which the dolls appeared and left. Wooden dolls were made fifteen to twenty centimeters high, they were painted or dressed in cloth clothes, attached to rods, with the help of which they were moved along slots in the floor of the box. The puppeteer himself spoke for all the characters; musicians and singers sat behind the box. In the Russian tradition, the religious part did not occupy a large place, but the comedic part was quite developed, where everyday, historical, and comic scenes were staged one after another. “Nativity Scene” had a great influence on the development of oral folk drama; subsequently, almost all nativity scene interludes were included in the repertoire of the folk theater.

Rayok is a picture theater that has spread throughout Russia in XVIII-XIX centuries. A rack is a box, a box, quite big size. On its front wall there were two holes with magnifying glasses; inside the box there was a paper tape with drawn pictures (it was twisted from roller to roller). Raeshnik moved the pictures and gave explanations for them. The district's interest lay not so much in the pictures as in the explanations, which were distinguished by wit and a unique way of speaking. The pictures on the tape initially had religious and church content, but gradually they were replaced by various secular images: fires, foreign cities, royal coronation, etc. Showing pictures, the raeshnik gave them a drawn-out, noisy description, often of a satirical nature. For example, “Here is the city of Paris, as soon as you enter, you will leave, our nobles come here to spend money, they leave with a sack of gold, and return on a stick on horseback.” Although the rayok arose later than many other forms of folk theater, its influence nevertheless penetrated into oral drama, and the influence of the “raesh style” on the language of folk drama was especially great.

FOLK DRAMATIC WORKS

The themes and problems of major folk dramas are similar to other genres of folklore. This is evidenced first of all by its main characters - the freedom-loving chieftain, the robber, the brave warrior, the rebellious royal son Adolf. In them the people embodied their ideas about goodies, with deeply attractive features for their creators - daring and courage, uncompromisingness, the desire for freedom and justice.

Folk dramatic works, which have developed on the basis of a rich theatrical tradition, can be divided into three groups according to ideological and thematic criteria: 1) heroic plays, stories about rebels, exponents of spontaneous protest (“Boat”, “Boat”, “Gang of Robbers”, “Ataman Storm”, etc.), 2) historical-patriotic plays, expressing the patriotism of the Russian people (“How the Frenchman took Moscow”, “Tsar Maximilian”, “About the hero and the Russian warrior”, etc.), 3) plays on household topics (“The Master and Afonka”, “The Master and the Clerk”, “The Imaginary Master”, etc.).

"Boat"– the central work of the first group; in terms of the number of recordings and publications it belongs to the most famous. Usually “The Boat” is attributed to the so-called “robber” folklore. In the eyes of the people, robbers are avengers for the oppressed state, they are individuals who defend people's rights, so the robbers were not only not condemned, but were perceived as heroes. Therefore, the drama “The Boat” should be defined as a work with a heroic theme. “The Boat” is based on the song “Down on Mother Volga”; it is a dramatization of the events described in the song. Images of ataman, captain, good fellows, daring robbers are determined by the songs of Razin’s cycle. The plot of the play is simple: a gang of robbers led by an ataman and an esaul sails along the Volga. Esaul looks around the area through a telescope and reports to the chieftain what he sees. When a large village comes across the shore, the robbers land and attack the landowner's estate. One of the versions of the play ends with the call: “Burn, burn the rich landowner!”

At the center of the play is the image noble robber- ataman, who sometimes does not have a name, and in some versions is called Ermak or Stepan Razin. It is the image of Razin that most fully expresses the main ideological meaning of the play: social discontent of the masses, their protest.

“The Boat” is based on songs about robbers, including Razin, and popular prints, popular novels, and literary songs. This was also reflected in complex composition plays: it contains monologues and dialogues, a conversation between the ataman and the captain, folk songs, quotes from literary works. "The Boat" went through a complex story: it included new songs, interludes, for example, a scene with a doctor, but the core of the plot was preserved. In different regions of Russia there were different variants of this plot, for example, in the play “Gang of Robbers” one of the episodes is reflected peasant war in Ukraine. In Siberia, a version of “The Boat” was recorded, where robbers not only burn down the landowner’s estate, but hold a trial over him. Some versions of the play depict uncoordinated actions between the ataman and members of the gang, sometimes the Cossacks quarrel with each other. The motives and situations of the dramas “The Boat” and “Gang of Robbers” are widely known not only in the folklore of various nations, but also in the literature of the Romantic period.

TO historical-patriotic drama may be considered a play “How the Frenchman took Moscow”. This one-act play, originating among soldiers, takes place at Napoleon's headquarters. The French leader is shown satirically in this play; plans for military adventures keep him awake. Napoleon is surrounded by a deceitful and servile retinue; he cannot understand the nationwide upsurge in Russia. The play shows the unanimity of the Russian people; these are Russian women who give up their jewelry for the defense of the country, and a peasant who cut off his own hand so as not to serve Napoleon. The drama allegorically depicts the feat of Raevsky, who, according to legend, at a decisive moment, in order to inspire the army, sends his own children into battle. In the image of the wife of a general who was shot by Napoleon, a faithful daughter of her homeland is depicted, who mourns her hero husband as the defender of her native land.

The image of Potemkin captures the typical features of a Russian warrior, dying, but not giving up, faithful to duty. The tyrant in the play most often dies at the hands of the people: a village woman is chasing him with a pitchfork. This play is truly historical, it contains reliable historical facts, but fictional details are also inserted. Overall, the play accurately conveys popular attitude to the War of 1812.

One recording of a “living nativity scene” includes a scene from some play about the War of 1812 that has not reached us. This scene is a sharp caricature ridiculing the vanity of Napoleon, who believes that “they will honor me as a king, an earthly god.” Napoleon interrogates a poor old man, a partisan: “What village are you from? - “I’m from a village where there are oaks, birches, and broad leaves.” The partisan not only fearlessly answers Napoleon’s questions, but also uses mocking jokes in his speech. The scene ends with the old man suddenly raising his stick and hitting Napoleon.

The most favorite play of the folk theater is "Tsar Maximilian"(30 options). A number of researchers (I.L. Shcheglov, D.D. Blagoy) argue that this play reflected the history of the relationship between Peter I and his son Alexei. Historically, this assumption is justified. “Tsar Maximilian” is a play that exposes the external “splendor” of tsarism and shows its cruelty and heartlessness. The play probably took shape among soldiers; it depicts military characters (warriors and a walking marshal), reflects the military order, military phraseology is used in the speech of the characters, and military and marching songs are quoted. The sources of the play were various works: lives of saints, school dramas, where there are images of kings who persecute Christians, sideshows.

The action of the play “Tsar Maximilian” develops quite sequentially. In the very first scene, the king appears (“I am your formidable king Maximilian”) and announces that he will judge his rebellious son Adolf. The king demands that his son bow to the “idol gods,” but Adolf refuses to do so. The king and his son have an explanation three times, then Adolf is shackled and taken to prison. The “Giant Knight” tries to speak out in defense of the prince, but the king kicks him out and orders the brave warrior Anika to defend the city. The king is angry that Adolf still does not recognize the “idol gods” and orders the knight Brambeus to execute his son. The executioner cuts off Adolf's head, but then pierces his own chest and falls dead. At the end of the play appears symbolic Death with a scythe and cuts off the king's head.

The play not only denounces tyranny and despotism, but also exalts the brave Adolf. A fantastic death destroys the king, which speaks of the inevitability of the death of despotism. In this patriotic play, two antagonistic images are contrasted in conflict: Maximilian - the type of tyrant, Adolf - the type of the kind, humane king, people's defender who betrays his native faith. The source of the conflict, of course, is not in differences over religious issues, but in Adolf’s connection with the people; it is no coincidence that in one of the options he appears as a member of a band of robbers.

Dramas on everyday topics. These plays mainly ridicule the image of a white-handed gentleman, an arrogant braggart (“I was in Italy, I was again, I was in Paris, I was closer”), his affectation, mannerisms, and frivolity. Main character of these plays - the cheerful, clever servant, practical and resourceful Afonka Maly (Afonka Novy, Vanka Maly, Alyoshka). The servant mocks the master, invents fables, and plunges him into horror and despair. A man, a soldier, Petrushka ridicules and worships everything foreign; This is how the master's lunch menu is described.

Drama "Tsar Maximilian" (sometimes Maximyan, Maksemyan) has become widespread throughout Russia (St. Petersburg, Moscow, Tver, Yaroslavl, Kostroma provinces, Russian North, Don, Terek, Ural, Siberia), Belarus (Minsk, Mogilev, Vitebsk provinces), Ukraine (Kiev, Chernigov, Podolsk , Kharkov, Kherson provinces), Moldova. It was played among soldiers, sailors, urban, workers, and peasants 3.

Several opinions have been expressed about the origin of this drama. The researchers are probably right who believed that the reason for its creation was the political situation of the early 18th century: the conflict between Peter I and his son Alexei and the execution of the latter. People also remember the murder of their son by Ivan the Terrible. The filicide could not but affect the attitude of the people towards the rulers. This helped spread the drama. It should also be taken into account that the people knew the spiritual verse “Kirik and Ulita”, in which, as in the drama, the cruel Tsar Maximilian demands that the baby Kirik renounce his faith in the Christian God. Kirik, like the hero of the drama Adolf, remains faithful to God.

A persistent search was made for the immediate source of the drama, but it was not found. There was probably no single source. At the same time, the play’s connection with the repertoire of the Russian city theater of the 17th-18th centuries is indisputable, as well as the influence on its text of translated stories (knightly novels) and their dramatizations of the same era, which has been proven by a number of researchers. However, no matter how diverse the literary sources of “Tsar Maximilian” may be, what is essentially different is the connection of the play with Russian reality.

The drama is based on the conflict between the tyrant Tsar Maximilian and his son Adolf. The pagan father demands that his son abandon the Christian faith, but he resolutely refuses:

- I am your idol gods

I put it under my feet,

I'm trampling in the dirt, I don't want to believe.

I believe in our Lord Jesus Christ,

And I kiss Him on the mouth,

And I keep His law.

Tsar Maximyan commands to the prison guard.

- Go and take my son Adolf to prison

starve him to death.

Give him a pound of bread and a pound of water 1 .

Adolf in prison. Tsar Maximilian turns to Adolf three times with his demand, but he always refuses. Then the king calls executioner Brambeus and orders Adolf's execution.

The drama depicts the cruelty of King Maximilian not only with his son. In one version, he, like King Herod, orders a warrior (here: Anika the warrior) kill babies:

- Warrior, my warrior.

All the countries of Bethlehem descend,

WITHstrike, cut down fourteen thousand babies.

You won't kill anyone else.

You will bring me alive.

Baba (Rachel) appears and asks the king:

- Why should my child

To disappear innocently?

The king is inexorable:

- How shameful

When I sent a warrior

An armed warrior?

Warrior, my warrior,

Kill this baby

ANDdrive this woman away!

A warrior kills a child. Rachel is crying 1. .

Tsar Maximilian is opposed by his son Adolf. He boldly tells his father that rode down the Mother Volga and withfree gang, with robbers, knew 2 , that he was their chieftain 3; orders the prisoner to be released from prison (restanta), who was imprisoned by order of his father 4. In the drama, Adolf firmly defended his convictions, endured torture, went to his death, but did not betray his ideals, which aroused sympathy and sympathy. The executioner, having carried out the order of the king and killed Adolf, stabbed himself with the words:

Behind that I loved

For that he cut off his head.

I am correcting the king's debt

AND I'm dying myself 5 .

The king's command to kill his son, the depiction of Adolf's execution, the executioner's suicide are tragic pictures. But the performance had to amuse the audience; a release was needed. A tradition has been established of introducing farcical, satirical and humorous episodes. Such are the conversations of the Grave Diggers, the Tailor, the Doctor, even the funeral service of the body of Adolf by the Patriarch. A sharp satire on the clergy arose when depicting the wedding of Tsar Maximilian with the Goddess (the priest and deacon drank in a tavern wedding book, and on zaupobed room hangover) 1.

Researcher of folk dramas N. N. Vinogradov wrote about “Tsar Maximilian”: “Having appeared in the middle of the 18th century and passing from mouth to mouth, from generation to generation, this play inevitably underwent a wide variety of changes, shortened and lengthened at will. Having pleased the people, she gradually drew into herself whole line individual scenes and small works of the same kind. As a result, in many versions we get a long series of individual scenes, a whole collection of different characters, a motley kaleidoscope of the most varied positions; The overall meaning of the play is lost, there is no unity of plot, only the unity of the title remains. Here, for example, is the series of plots practiced in most of the not very common (in terms of volume) variants: 1) Maksemyan and Adolf (main); 2) Goddess and Mars;

3) Mamai; 4) Anika and Death; 5) Boat. Often they are not connected at all, sometimes the connection is purely mechanical. To these plots we still need to add a whole series of inserts in the form of individual comic scenes, either stable, permanent (doctor, tailor, gypsy, grave digger...), or random, sporadic (n-number); sometimes the play begins with verte pom 2.

Gradually, the topic of the struggle for religious beliefs became less relevant - this made possible a satirical depiction of clergy, as well as church funeral and wedding rites. IN 1959 t. in the Arkhangelsk region. a version of the drama was recorded in which the religious beliefs of the father and son were not even mentioned 3. At the same time, the problem of tyranny and the fight against violence continued to worry viewers. In the drama "Tsar Maximilian" a change was made: the tsar demanded from his son not to betray his religious beliefs, but to marry his bride from the distant kingdom, which I found for him. Adolf refused to marry as resolutely as he refused to change his faith. And he was executed.

Sometimes the drama ended with the death of Tsar Maximilian himself, which could be perceived as punishment for cruelty and filicide.

The dialogue between Death and King Maximilian coincided almost word for word with the spiritual verse - the dialogue between Anika the warrior and Death.

Death (approaching the throne, addresses Tsar Maximilian):

- Follow me!

Tsar Maximilian:

- Masha, my dear Death,

Give me at least three years to live,

To make money for me And dispose of your kingdom. Death:

- You don't even have one year to live.

- You won't have time for even three hours,

And here's my sharp braid for you.

(Hits him on the neck with a scythe. The king falls) 1 .

The drama "Tsar Maximilian" is large in volume. It was often copied into notebooks and rehearsed before the performance. However, it also developed stereotypical situations, as well as formulas that contributed to the memorization and reproduction of the drama. Such, for example, are scenes of fights, formulas-answers of Adolf to his father ( "I am your idol gods TerI'll put you under your feet..." etc.). Tsar Maximilian’s challenge to Skorokhod (or other actor) and the callee's report of arrival.

Tsar Maximilian:

- Skorokhod-Field Marshal,

Ihang before the throne

GGpink king Maximilian!

Skorokhod:

- I'll go back from right to left,

I will appear before the throne of the formidable Tsar Maximilian:

O great lord.

Terrible Tsar Maximilian,

Why are you calling for the Field Marshal?

Or do you command deeds or decrees?

Or has my sword become dull?

Or I, Skorokhod-Field Marshal, in what before you

guilty? 1

In the quoted version of the drama, this formula of the report is repeated 26 times (Skorokhod pronounces it 18 times, Markushka 3 times, Adolf and Anika the warrior 2 times, Executioner 1 time).

To what has been said, it should be added that in “Tsar Maximilian” the same situations and common passages are encountered as in the drama “The Boat”. For example: Adolf - knew the cap of robbers; about the burial of the murdered man they say: "Remove this body so that there is nosmoldered..." - etc.

Thus, the drama "Tsar Maximilian" arose and developed under the influence of other folk plays, chivalric novels, popular prints, folk songs, and spiritual poems 2.

Action drama usually occurs in any room, even in a peasant hut. In the middle of the room, with armchairs, the king’s throne is built, with “a crown, a scepter and an orb on a golden platter” attached to it.

Phenomenon 1

It turns out to be Skorokhod. He walked very quickly and was out of breath. Skorokhod reports that he was sent from the king’s office to prepare a place for the royal throne. Saying goodbye, Skorokhod reports that the king will come out now. Senators, royal guards and soldiers appear on the stage

Phenomenon 2

Tsar Maximilian enters. He is tall, wears a beard, is menacing, speaks loudly and harshly. The Tsar addresses the audience saying that he is coming from the Tsar’s office. But he is not a French tsar or a Russian emperor, but a formidable and strong “your tsar Maximilian.” Then he looks at the throne prepared for him, points at it with his hand and asks who is destined for such a “wonderful structure.” He himself answers his own question: the throne will be built for him, because he is the king. The king says that he will sit on the throne to put his son, Adolf, on trial. Sitting on a dais, he calls his faithful pages in a loud voice

Phenomena 3 - 5

Tsar Maximilian orders the pages to bring Adolf to his chambers for a secret conversation. Waiting for his son to arrive, Maximilian puts on his royal vestments

Phenomenon 6

One of the pages reports that they carried out the royal order and brought the “all-loving” son of Adolf. Tsar Maximilian

• Now come out of my sight
• (The pages are coming)
• Adolf (on his knees all the time)
• O most gracious sir
• And the glorious Maximilian the king,
• My dearest father, father,
• I hit your forehead on the cheese^-Swiss-cheese-mother-cheese-cheese-ground
• Why are you calling on your dear son Adolf?
• Or what should he do?
• Tsar Maximilian
• Dear Adolf, my son,
• Your arrival is not joyful to me now:
• Now I have confessed to the servant,
• Why have you abandoned our idol gods?
• And you change them
• How do you secretly revere new ones?
• Fear my parental wrath
• And bow to our idol gods
• Adolf (without getting up from his knees)
• I am your idol gods
• I put it under my feet,
• I believe in the Lord Jesus Christ,
• I depict the sign of the cross against your gods
• And I sweep his holy law

Tsar Maximilian from Such words made him seriously angry: now Adolfne can become the heir to the throne, but must go to serve his law. The king calls his pages loudly again

Phenomena 7 - 8

Maximilian orders the pages to take his rebellious son to prison. The doors open, a Bogatyr of gigantic stature appears in it, draws a saber, and slowly walks towards the throne of Tsar Maximilian. Approaching the throne, Logatir stops, hits the floor with his spear and says that King Maximilian is committing an unfair trial against Adolf. Bogatyr is the Roman ambassador and wants to speak with Tsar Maximilian. The king allows him to continue his daring broadcasts. The hero calls the king “a barbarian and a murderer,” which could destroy Adolf’s soul. Everyone feels sorry for the young man, grieves for him, and considers him a real hero. The hero calls on Tsar Maximilian to change his decision. The king, beside himself with anger, shouts, stamps his feet, and drives the ambassador out of his sight. The hero says goodbye to the king and threatens him to return again to avenge Adolf

Apparitions 9-13

Tsar Maximilian again calls on his faithful pages, sends them to prison for his rebellious son. The pages bring Adolf. Adolf approaches the throne and kneels. Adolf humbly asks his father why he called his son and what he orders him to do. Tsar Maximilian wonders whether Adolf has changed his mind, whether the hungry prison scares him, whether he will again believe in the correct gods. But Adolf firmly replies that he “puts the old gods under his feet.” Tsar Maximilian is very angry, he shouts at his son, promising him severe punishment for disobedience. Then he calls Skorokhod and tells him to bring the farrier. The king orders the blacksmith to shackle his disobedient son. Koval does not believe his ears, pretends that he does not understand the order, then refuses to take the coin for the work and, finally, reluctantly carries out the order. Pages lead the shackled Adolf. Saying goodbye to his formidable father, Adolf sings a mournful song. The king remains sitting in sad reverie

Apparitions 14-15

A huge knight appears in front of the king. Loudly knocking with her weapon and without any respect for the king, she screams at the top of her lungs about her determination to fight against the unjust royal court: The angry king Maximilian drives away the fierce knight, again calls the faithful Skorokhod to himself and tells him to call Onika - the warrior

Apparitions 16-19

Onika - a warrior (of enormous stature, in armor, a helmet and other weapons, approaches the throne, shakes his weapon...) King Maximilian again calls his faithful pages and orders them to bring his son Adolf. The pages bring the disobedient son. Adolf is exhausted, in chains, barely moving, speaking in a quiet voice, pitifully. He falls to his knees and asks the Tsar-Father why he is calling him again. Tsar Maximilian interrogates: Adolf has come to his senses, he was frightened by his future painful death. Adolf stands his ground: I believe in Jesus Christ, “who created heaven and earth.” Tsar Maximilian angrily shouts at his son and orders him to be put to an evil death. He calls Skorokhod again and gives him the order to bring Brambeus the Knight.

Apparitions 20 - 21

Brambeus will congratulate the king, wishes him for long years and health and asks why Tsar Maximilian called him to him and what the order was. The king points to Adolf, standing with his little head submissively bowed on his shoulders, and orders Brambeus to immediately, in front of his father’s eyes, kill the young man. Brambeus can't believe it; he is frightened, every now and then he glances at the king and Adolf, asking the king not to give him such an order. For one hundred and fifty years of his life, Brambeus did not kill a single person, and now that he has become old, he does not want to take such a sin on his soul:

• “When the hot blood of youth splashes on my gray head, then I myself must die a death!”

Appearances 23 - 26

Onik the warrior comes to the king and reports that he defeated all the infidels and saved the king from an evil death. The king praises Onitsa, calls on Skorokhod, who called the knights to glorify Onitsa. Suddenly the king sees a woman on the threshold. And the woman, heading to the royal throne, said:

• “I’m not a woman, I’m not a woman, I’m your stubborn death.”

Tsar Maximilian was afraid, rose from the royal rise and begs the soldiers to protect him from death. The warriors are trying to protect their king, blocking the path of Death, but she swung her scythe, and all the warriors’ weapons fell down. Death approaches the throne and orders Tsar Maximilian to follow her. And he begs the old woman to give him three more years to live and reign a little. Death does not give the king even a year. Then the king asks to give him three more months to live and reign. Neither Death gives him even a month. Tsar Maximilian begs to be given at least three days, but Death does not give him even three hours. She hit the king on the neck with a sharp scythe, and he fell

Phenomenon 27

The runner goes to the middle and addresses the audience:

• “Here, dear audience,
• The curtain closes
• And the predicament all ends,
• And the actors among you are entitled to a tip.”

Save - » Folk drama: presentation of the work “Tsar Maximilian”. The finished product appeared.

Folk drama: presentation of the work “Tsar Maximilian”