Театральное Исскуство Великобритании, обычаи и традиции в сравнении с Казахстаном



Contents:

Introduction:                                                                                                                              2-p

Theatres of Kazakhstan:                                                                                                  3-7p

Theatres of Great Britain:                            8-20p

Traditions and customs of Kazakhstan:                                                        21-35p

Traditions and customs of Great Britain:                                                        36-48p

Conclusion:                                                                                                                              49-p

Application:                                                                                                                              50-53p

List of uses of literature:                                                                                                  54-p

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Introduction

Great Britain is a great country with a rich history and famous traditions and customs. Some of them are famous all our the world, but also we should not forget about art and especially theatrical art.

              Because namely in this country. In the county Yorkshire in Stratford-upon-avon this born great playwright  William Shakespeare, whose plays are translated in to almost all languages of the world and are performed on the world theatre stages.

              But in the very heart of Asia is  situated another country,  the Rising Star, which has taken appropriate place on the world sky and it’s name is Kazakhstan, also rich with its history outstanding people, events, also culture and art. Kazakhstan has given great and famous writer, philosopher Abai Kunanbayev, his books are translated in 49 languages.

              The main aims of the course work are:

      To describe, theatrical art, traditions and customs of Great Britain and Kazakhstan.

      To compare  these themes between these 2 countries.

Basic tasks of these course work:

      Description of different traditions and customs.

      To compare historical development of the theatrical art of Great Britain and Kazakhstan.

      To compare traditions and customs of Great Britain and Kazakhstan.

      Up-to-date role of the theatrical art, traditions and customs of Great Britain and Kazakhstan.

 

 

 

 

 

 

 

Theatres of Kazakhstan

The State Academic Opera and Ballet Theatre named after Abay

On January 13 the Opera and Ballet Theatre named after Abay celebrates its birthday, because in far 1934, it was the day when it was founded on the base of musical drama school. The first musical comedy “Ayman and Sholpan” was performed in the same year. The year later the theatre created own opera troupe, which produced “Carmen” of George Bizet. And already in 1936, after performance of opera troupe, led by Kulyash Bayseitova, in Moscow, the theatre obtained the recognition all over the Soviet Union. In 1938 the ballet troupe was created, which produced the “Swan Lake” of Tchaikovsky in the same year.

Before the beginning of the war, before only 7 years, the repertoire of the theatre numbered more than 30 operas and 6 ballet plays. And in the eve of war the theatre was given the status of academic theatre. And during the war notwithstanding all difficulties, the new building of Opera and Ballet theatre was built. So far as the great number of residents of western part of Soviet Union was evacuated to Almaty, the cultural figures from Moscow and St. Petersburg began to work in this theatre, rising the level of skill of theatrical troupe. In the end of war, in 1945 the theatre was named after the great Kazakh philosopher, poet and enlightener Abay.

The theatre was growing, its limits were expanding, European, Russian and Kazakh plays were produced on the stage of the theatre. Some quickly lost the public interest, others constantly were met with great applauses. The adaptation of world classic took place, operas were translated into Kazakh language, and performances acquired the Kazakh national style.

The theatre, war-hardened, went on its development, the new generation of professional musicians, opera singers and dancers began the job within the walls of the theatre. New operas and ballets were produced. Bu together with collapse of USSR the theatre declined too. In connection with difficult economic situation many workers of theatre had to look for another kind of earning.

But the period of stagnation lasted about 10 years, and in 2000 the full reconstruction of theatre building was finished, and favorable conditions were created for the collective. Today the collective of theatre again is increased by new soloists and dancers, who honor the memory of the theatre and work, keeping the traditions of past generations. The theatre performs on the stages of Europe, America and Asia, and also receives the troupes from the theatres of various countries. Today the opera and ballet theatre named after Abay is the largest theatre of Central Asia and undoubtedly the flagman of musical art of Kazakhstan.

State Academic Russian Drama Theatre named after M.Yu. Lermontov

In 1933 in the city of Semipalatinskoe it was the opening of Russian Drama Theatre, and not longer after it was the reopening in Almaty. It happened because the theatre building was not built up yet and the play was ready. On the first opening they performed the play of Trenev “Love of Spring” and then in Southern Capital it was the play “Fear” of Afinogenov.

From the very beginning of existence it became the norm to produce 7-8 premier plays per year, which were based on dramaturgy of Gogol, Chekhov, Ostrovskiy, Gorkiy, Shakespeare, Schiller, Moliere, and many other. The theatre became the best school for many actors and directors of that time. Many of them, gaining the experience, went on the work within the walls of the theatre, and soon it became the etalon of theatrical art in Kazakhstan.

In 1964 the theatre was named after the great Russian poet M.Yu. Lermontov, during Lermontov’s 150th anniversary. At the same time the play “Lieutenant Lermontov” was produced, and soon the word “Lermontovets” firmly entered the lexicon of residents of Almaty, and it meant the member of theatre collective. And 10 years later in 1974 the theatre was conferred the rank of academic theatre.

In 90-ties of XX century, against the background of economic decline on the territory of entire former USSR, the drama theatre experienced its own drama: it did not receive almost any financing but it did not surrendered, and even produced new plays, which earlier were prohibited by Soviet regime. Fortunately the theatre could survive this difficult period and today continues to gladden its spectator.

From the beginning of its existence in the centre of attention of the theatre it was the Man, his joy and grief, social and moral parts of life. All of these was clothed in artistic shape, and was presented before the thankful spectator in the form of bright and emotional performances, over the whole period of the theatre’s history.

Kazakh State Academic Drama Theatre named after M.O.Ayezov

This theatre by right can be called the first professional theatre of Kazakhstan – it raised its curtains in town of Kizil-Orda on January 13, 1986. Two years later the theatre moved to Almaty. From the very beginning the eminent directors of country entered the first team of the theatre, and first actors quickly reached high level of skill, afterwards becoming the national artists of Soviet Kazakhstan.

In 30-ties of XX century a lot of changes happened in the theatre: Russian professional directors began to work here, the division on drama theatre and musical school happened, the theatre was named the Academic drama theatre. The stage became the forge of the best actors of Kazakh dramatic art, whose names became the property of the drama theatre.

After World War II the theatre start working with new power, and during second half of XX century it was the member of many international festivals, held in Europe, America, Asia and Africa. And in 1961 the theatre was named after the outstanding.

Kazakh writer-dramatist M. Auezov who was at the forefront of this theatre.

Today drama theatre named after Auezov continues the best of its traditions, constantly train new actors, participates in international festivals, and also receives troupes of other theatres on its stage. Up to date it remains one of the leading theatres of Kazakhstan.

Theatre of Young Spectator

Today the Theatre of Young Spectator is divided on two theatres, and some time it was the single theatre. Its base was laid on September 6, 1944 on the meeting of Communist Party of Kazakhstan, where it was decided to open the theatre for children. Year later, on November 7, 1945 two first plays went off, where one of the directors was Natalya Sats. It was the woman who struggled for the opening of theatre for children in Almaty. She was put to repression, and spent 5 years in Gulag, and than was in exile in Almaty; and even here continued her activity. Today they call here the mother of children theatre of the world: she founded first theatre of young spectator in the world, and totally she founded 6 theatres for children.

After year of official opening the troupe was created in the theatre, which worked on Kazakh Language. For 30 years of joint existence of Russian and Kazakh troupes several dozens of plays were produced on the stage of theatre. However the main part of repertoire consisted of works of European and Russian authors, and Kazakh plays could be counted on the fingers of the hand.

In 1985 it was the crucial resolution of the Ministry of Culture of Kazakhstan, according to which the theatre was divided on Russian theatre for children and youth named after Natalya Sats, and Kazakh theatre named after Musrepov. Some time both theatres were located in one building (as two troupes over 30 years): carried out rehearsals separately, and performed the plays in divided between them time. But later the new building was allocated for Russian theatre and their ways were parted.

And though they are divided, but they have the same aim – they are called to bring up in young generation the love to the art and the sense of beauty. Both theatres gained the rank of academic theatres in 1996. the Kazakh theatre named after Musrepov is located in the old building, and the theatre named after Natalya Sats moved to one of the Houses of Art of Almaty in 2000. And we only can hope that this division will not create language barriers, and just will give the opportunity to show more plays for its young, but searching spectator.

The Theatre “ARTISHOCK”

The theatre, which name similar to Mediterranean plant, and which can be decode as “art and shock”, is the first independent project in Kazakhstan. The history of the theatre “ARTiSHOCK” began in 2001, and just for a couple of years it was known in Kazakhstan as the most extravagant and shocking.

The basis of theatre was pantomime, body plasticity, street plays with interactive elements and constant virtuosic improvisation. Thanks to these features the theatre could find its spectator not only in Kazakhstan but in many countries of Europe and Asia. The number of contests, won by the group of theatre, was growing and the theatre gradually has grown to the entire theatrical company, which realizes various projects in cultural life of Almaty.

One of the most impressive projects of the theatre was the play “BACK IN USSR”, which brought to the collective Grand prizes of many contests and festivals all over the world. constant projects for the theatre became such projects as “Theatrical improvisation” “ARTiSHOCK-session”, which wipe off the boundaries between actor and spectator. From year to year the activity of theatre on streets of Southern Capital grows and some projects can be seen in the form of absurd advertisement, sudden short performances and etc.

Perhaps this is the most peculiar theatrical project in Almaty. And actor troupe constantly uses improvisation, so that one and the same play appears before spectator absolutely in different way. Similar projects exist in Europe, but in Central Asia it is almost the only theatre of improvisation. It is impossible to pass this theatre by.

Puppet Theatre "Sesame"

This unusual theater was founded in 1997 on the initiative of Kairat Bayanov, who gathered around him such enthusiastic of puppet theatre, as he was himself too. It was the first and only theater of puppets in Kazakhstan. That time, the first show was completely created by actors who acted as screenwriters, sound men, lighting technicians, etc. The play, designed for children, perhaps was not as professional as it is appropriate among the actors, but children see not the skill of the play, but the sincerity and they really liked it. So, on March 3, 1997 there was the birth of puppet theater "Sesame".

After the first performance, actors inspired by the success fell into new spectacle, which was "Santa Claus & Co.” At this time, professionals of theatre mastery were involved in, who helped the creators of the theater to reach the new level and to show the play of better quality. In addition puppets from abroad were ordered for performances. Thus, the puppet theater moved from the category of hobby to the professional level.

This performance was prepared specially for winter vacations of pupils, and since that time, the theatre season in this theater began to start in the New Year holidays. For more than ten-year term on the stage of the theatre many world-famous fairy tales ware performed such as "Dwarf-Nose" of W. Hauff, "Unbearable Little Elephant" of R. Kipling, "The Nutcracker and the Mouse King" of T.A. Hoffmann, "Brer Rabbit and Brother Fox" of D. Harris and many others.

Today the theatre "Sesame" is solid creative team, which passed the long way from the simple desire to show the kids a fairy-tale to the professional work to foster in young spectator the sense of beauty.

 

 

 

 

 

 

 

 

 

Theatres of Great Britain

COVENT GARDEN THEATRE.

"The houses twain of Covent Garden and of Drury Lane."—Rejected Addresses.

The Building of the Theatre—"Rich's Glory"—The First Performance at Covent Garden—Ladies at the Theatre—Receipts of the House—Performance of Handel's "Messiah"—Royalty flock to the Haymarket, and Horace Walpole's Remarks upon the Subject—First Appear ance of "Peg" Woffington—Death of Rich, and Sale of Covent Garden Theatre—Charles Macklin, the Comedian and Centenarian—Stephen Kemble—Incledon—George Frederick Cooke—John Philip Kemble—"The Young Roscius"—The Theatre burnt in 1808—The Duke of Northumberland's Generosity to Kemble—The Theatre rebuilt and opened—The "O. P." Riots, succeeded by a run of uninterrupted Prosperity—Poetic Effusions upon Actresses wedded to Noblemen.

We have seen that "the new playhouse in Drury Lane" was frequently spoken of as "Covent Garden Theatre," and naturally enough, for the theatre in Bow Street was not built until the year 1731. The latter was a speculation of John Rich, the celebrated harlequin, and patentee of the theatre in Lincoln's Inn Fields, who removed hither with his company in 1732.

Hogarth's caricature of "Rich's Glory; or, His Triumphal Entry into Covent Garden," of which we give a copy on page 223, refers to this removal. The progress of the building was thus commented on in the Daily Advertiser for March 2, 1730:—"We hear the new theatre which is to be built in Covent Garden will be after the model of the opera-house in the Haymarket; and by the draught that has been approved of for the same, it's said it will exceed the opera-house in magnificence of structure."

The same paper for August 4, 1731, states:—"The new theatre building in Covent Garden for Mr. Rich is carrying on with such expedition and diligence (there being a great number of hands employed therein) that it's thought it will be completely finished and ready to receive his audience next winter. Several persons of distinction resort thither daily to view the said work, and seem much pleased at the performance."

The first performance at Covent Garden Theatre was advertised in the following manner:—

 

"By the Company of Comedians.—At the Theatre Royal in Covent Garden, on Thursday next, being the 7th day of December, 1732, will be revived a comedy called The Way of the World, written by Mr. Congreve. The cloathes, scenes, and decorations entirely new, and, on account of the great demand for places, the pit and boxes, by desire, will be laid together at 5s.; gallery, 2s.; upper gallery, 1s.; and to prevent the scenes being crowded, the stage half-a-guinea. N.B.—All persons who want places are desired to send to the stage-door (the passage from Bow Street leading to it), where attendance will be given and places kept for the following night as usual."

It was doubtless àpropos of some such comedy as the one just mentioned that the Guardian remarks:—"As the playhouse affords us the most occasions of observing upon the behaviour of the face, it may be useful (for the direction of those who would be critics this way) to remark that the virgin ladies usually dispose themselves in front of the boxes, the young married women compose the second row, while the rear is generally made up of mothers of long standing, undesigning maids, and contented widows. Whoever will cast his eye upon them under this view, during the representation of a play, will find me so far in the right, that a double entendre strikes the first row into an affected gravity or careless indolence, the second will venture at a smile, but the third take the conceit entirely and express their mirth in a downright laugh."

Here, as Mr. Timbs reminds us, Rich and Lambert, in 1735, founded the Beefsteak Club; and here, in 1746, Garrick played for the season.

The site of the theatre was leased to Rich for a term of years by the Duke of Bedford, at a yearly rental of £100. It held before the curtain £200, which was at that time reckoned a good receipt. In Shakespeare's day £20 was considered profitable; and "in 1747," says Colley Cibber, in his "Apology," "Mrs. Rich said she was always contented if the receipts reached three figures." In 1750, further to increase the profits, seats were built on the stage sufficient to accommodate a large number of persons; but this arrangement was such an obstruction to the actors that it was abolished by Garrick. At the time of the death of John Rich in 1761, the ground-rent had been raised from £100 to £300 per annum, and the property was estimated at £60,000. In 1792, when the Duke of Bedford, as ground-landlord, granted a new lease, it was at the rate of £940 a year.

It was at Covent Garden that Handel, in 1741, produced his great oratorio, the Messiah. The fashion of the day was against him, though he was supported by the court, the mob, and the poet of common sense, Alexander Pope, who records in his "Dunciad" how, on finding it impossible to hold his own against the Italian faction. Handel quietly withdrew to Ireland for a year or so, till the tide should turn in his favour. "Handel has set up an oratorio," writes Horace Walpole in 1742, "against the operas, and it succeeds." And well was Handel avenged. In a few years the Italian Opera House in the Haymarket went out of fashion, and the nobility set up their own rival house in Lincoln's Inn Fields. "What the Court then patronised," observes Charles Knight, "the aristocracy rejected." As usual, Horace Walpole has a cynical story to tell upon the subject. He writes thus to Mr. Conway, in 1761:—"The late royalties went to the Haymarket when it was the fashion to frequent the other opera in Lincoln's Inn Fields. Lord Chesterfield one night came into the latter, and was asked if he had been at the other house. 'Yes,' said he; 'but there was no one there but the king and queen; and as I thought they might be talking business, I came straight away.'"

It was at Covent Garden that the fascinating Irish actress, Margaret Woffington, made her first appearance upon a London and her last upon any stage. Her choice of a character for her début, in 1738, excited the surprise of the public, being that of "Sir Harry Wildair;" but so captivating did she appear in it that Garrick, with whom it had been a favourite part, gave it up from that time. Her best rôle was that of "Rosalind," in As You Like It, to which, in 1757, she was speaking the epilogue with all the saucy piquancy peculiarly her own, when she was suddenly stricken with paralysis, and carried off the stage never to return to it. According to Dr. Doran, a bitter source of jealousy existed between "Peg" Woffington and the beautiful and notorious George Anne Bellamy, whose "Memoirs," written by herself with an astonishing absence of reserve, were formerly read and quoted by every lady of fashion. "The charming Bellamy," says Dr. Doran, "had procured from Paris two gorgeous dresses wherein to enact 'Statira' in the Rival Queens. 'Roxana' was played by Woffington, and she was so overcome by malice when she saw herself eclipsed by the dazzling glories of the resplendent Bellamy, that she rolled 'Statira' and her spangled sack in the dust, pommelling her the while with the handle of her stage dagger, as she declaimed, Alexander standing by:—

'Nor he, nor heaven shall shield thee from my justice!

Die, sorceress, die! and all my wrongs die with thee!'

Rich lies buried in Hillingdon churchyard, near Uxbridge. A vignette of his tomb, and a fac-simile of his autograph, attached to an agreement with Charles Fleetwood respecting the receipts of Covent Garden Theatre, will be found in "Smith's Historical and Literary Curiosities."

 

A few years after the death of Rich the theatre, having been sold by his heirs for £60,000, was opened in 1767 by Messrs. Harris, Colman, Powell, and Rutherford. In 1774 Mr. Colman sold his share, and from this time the theatre was virtually under the management of Mr. Harris, who had by far the largest interest in the property. In 1787 it was almost wholly rebuilt, and was further altered and enlarged in 1792.

Covent Garden is rich in names famous in histrionic annals, each of which is a landmark to point out the progress of the drama during the last century and a half. Among the earliest of these is that of Charles Macklin, the comedian and centenarian, who frequently performed on its boards, and unless absent from London on engagements at Dublin, lived constantly almost under its shadow—mostly under its piazza; or hard by, in James Street, Hart Street, or Tavistock Row. Having once retired from the stage in middle life, in the hope of making a fortune by establishing a tavern and coffee-house in Hart Street, he returned to it after the failure of his scheme and his consequent bankruptcy, and for many years, whilst quite an old man, played leading parts with some of the fire of youth. His last appearance at Covent Garden was on May 7th, 1789, he being then eighty-nine years of age, when he attempted the part of "Shylock" for his "benefit," but was unable to proceed with the performance. But in spite of his loss of memory he still lived much abroad as usual, haunting the scene of his former triumphs, telling his stock of anecdotes over and over again, and, evening after evening, frequenting a public-house in Duke's Court, close by, where a large concourse would repair in order to hear the anecdotes of so aged and remarkable a person, who remembered the days of the dramatic giants of an earlier generation. "As the infirmities of age increased on him, he would wander feebly about the neighbourhood of Covent Garden, sometimes looking in at the theatre, though he went thither rather more from the force of habit than from any gratification that he could receive, except, perhaps, from the music between the acts. On these occasions the audience, it is said, would always venerate his age, and compassionate his condition; for on his entrance into the pit, however full the house might be, room was always made for him in his accustomed seat—the centre of the last row next to the orchestra; and when the performance was over he would walk home leisurely by himself across the square of Covent Garden to Tavistock Row, where he lived and where he died, a veritable centenarian, in 1797. His "Memoirs," which originally appeared in the European Magazine, but were subsequently re-published in a volume, furnish us with some curious information respecting society in London and the manners and habits of the gentry and professional classes a century ago.

 

Macklin does not say much for the morality of Covent Garden and its neighbourhood, or of the taverns and public-houses by which it was surrounded, or of the still lower public-houses near Clare Market, which were the resort of second-rate actors, and theatrical critics of Grub Street or Drury Lane, who "lived from hand to mouth." The ordinaries of the time, it appears, were charged from sixpence to a shilling a head—in the latter case being supplied with two courses, and attended by a superior sort of mixed company; though there were private rooms besides for wits of the higher order, and for such of the nobility as liked to frequent such places, where conviviality was often carried to excess. Macklin says also that the habits and manners of the dramatic as well as of other professions were very different from those which now prevail. The merchant, at that time, scarcely ever lived out of the City, his residence being always attached to his counting-house, and, indeed, his credit being in a great degree dependent on his observance of the established practice. According to Macklin, the first migration of the London merchants to the westward dates only from 1747, when a few of those who had already made large fortunes removed to Hatton Garden. The lawyers, too, he used to tell his hearers, used at that time to live mostly in their inns of court, or else about Westminster Hall; and in like manner the actors "did mostly congregate" around the two great theatres. Thus, as we know, Quin, Booth, and Wilks lived almost constantly in or about Bow Street, Colley Cibber in Charles Street, Billy Howard in Henrietta Street, and Garrick, for a considerable portion of his life, in Southampton Street. The inferior players lodged in and about Vinegar Yard, Little Russell Street, and the lesser courts round the theatres; "so that," says Macklin, "we could all be mustered by beat of drum, could attend rehearsals without any inconvenience, and yet save coach-hire—no inconsiderable part, let me tell you, of a former player's annual expenses. I do not know how the change has been effected, but we are now all looking out for high ground—squares and genteel neighbourhoods—no matter how far distant from the theatre, which should be the great scene of business; as if, forsooth, local situations could give rhythm to the profession, or genteel neighbourhoods instinctively produce good manners." What he would have said on this subject if he had lived on into our own days may be easily inferred from these last remarks of the father of the theatrical world a century ago. But we must return from this digression to the theatre itself, from which we are in danger of wandering with the actors.

Stephen Kemble made his first appearance here, as "Othello," in 1783. Possessed, like all of his family, of considerable dramatic capabilities, his talents were unhappily obscured under a load of personal obesity, which had, however, the advantage of enabling him to enact the part of "Falstaff" (his best character) without stuffing! Charles Incledon—"The Ballad-singer—" as he loved to be termed—made his début as "Dermot," in The Poor Soldier, in 1790. His voice is said to have been the most melodious, as well as powerful, of his time; and his manner of singing such songs as "Blackeyed Susan," "The Soldier tired," and "The Storm," has never since been surpassed. In 1794 Charles Kemble, and in 1797 Mrs. Glover, made their first appearances here. In 1800 George Frederick Cooke achieved a great success as "Richard III."—a performance spoken of as "the best since Garrick." In 1803 John Philip Kemble purchased a sixth part of the property of the Covent Garden patent, transferring his own services, with those of his sister, Mrs. Siddons, and his brother Charles, from Drury Lane to Covent Garden. In 1804 "The Young Roscius," William Henry Betty, at twelve years of age was filling the theatre to overflowing, and a detachment of the Guards was posted outside, with a large body of constables inside, to preserve order amongst the thousands who had assembled hours before the opening of the doors. His salary was at first £50 a night, but, after three performances, was increased to £100; and at sixteen years of age he quitted the profession with a handsome fortune. Twelve years later he returned to the stage; but the performance of his maturer years was not considered to fulfil the promise of his youth; and disappointed at the coldness with which he was received, he again retired into private life. He died in August, 1874, aged eighty-two.

On the morning of the 30th of September, 1808, Covent Garden Theatre was totally destroyed by fire; a calamity which involved a fearful loss of human life—twenty-three firemen being killed by the unexpected fall of a part of the ruins. The splendid organ left by Handel, and the stock of wine belonging to the Beefsteak Club, shared the fate of the whole building. The loss of property was estimated at £150,000, of which £50,000 were covered by insurances.

John Kemble, who had invested his all in the share so recently purchased, met with universal sympathy, which, in some notable instances, did not confine itself to words. The Prince of Wales, afterwards George IV., presented him with £1,000; and the Duke of Northumberland with £10,000, which Kemble declined as a gift, but accepted as a loan, giving the duke his bond for the amount. On the 31st of December, 1808, the Prince of Wales laid the first stone of the new theatre, and the Duke of Northumberland sent Kemble back his bond, enclosed in a letter, saying that, "it being a day of rejoicing, he concluded there would be a bonfire, and he therefore requested that the enclosed obligation might be thrown in, to heighten the flames." The architect was Sir Robert Smirke, and the model selected, the Temple of Minerva in the Acropolis at Athens. The Doric portico in Bow Street, with its four fluted columns, and statues of Tragedy and Comedy, were by Flaxman, and the two long panels in the upper part, with representations in basso-relievo of ancient and modern drama, were by Flaxman and Rossi. Some £50,000 of the cost of the construction was received from the insurance offices, and the remaining £100,000 was raised by subscription shares of £500 each.

On the 18th of September, 1809, the splendid edifice was opened at "new prices," a proceeding which the management considered necessary on account of the enormous cost of the building. These new prices were by no means approved by the public, and led to the well-known "O.P." riots. On the opening night of the new theatre, a cry of "Old prices!" (afterwards diminished to "O.P.") burst from every part of the house. This continued and increased in violence till the 23rd, when rattles, drums, whistles, and cat-calls having completely drowned the voices of the actors, Mr. Kemble, the stage-manager, came forward and said "that a committee of gentlemen had undertaken to examine the finances of the concern, and that until they were prepared with their report the theatre would be closed." "Name them!" was shouted from all sides. Their names were declared. "All shareholders!" bawled a wag from the gallery. In a few days the theatre re-opened; the public paid no attention to the report of the referees, and the tumult was renewed for several weeks with even increased violence. The proprietors sent in hired bruisers to mill the refractory into subjection. This irritated most of their former friends, and amongst the rest the annotator, who accordingly wrote the song of "Heigh-ho, says Kemble," which was caught up by the ballad-singers, and sung under Mr. Kemble's house windows in Great Russell Street. In the end Kemble was obliged to give way, and after a humble apology, which was graciously accepted by a crowded audience, peace and the "old prices" were simultaneously restored.

For many years after this inauspicious commencement Covent Garden enjoyed a run of uninterrupted prosperity, the receipts between 1809 and 1821 averaging £80,000 each season. The largest annual amount taken at the theatre was in the year 1810–11, when the sum of £100,000 was received at the doors! The annual expenses during this period averaged £40,000—an outlay which required a skilful and liberal management to insure the large amounts just mentioned. It will be sufficient to mention the names of the principal performers at Covent Garden between 1809 and 1822 to show how powerful was the dramatic force there assembled:—In tragedy, Messrs. Kemble, Cooke, Macready, Young, &c. &c.; Mrs. Siddons, Miss O'Neill, &c. In comedy, Messrs. Liston, Munden, Charles Mathews, sen., W. Farren, &c.; Mesdames Jordan, Brunton, Foote, C. Kemble, &c. In opera, Messrs. Incledon, Braham, Pyne, and Mesdames Catalani, Bolton, Stephens, and Tree. "Kitty" Stephens made her first appearance here in 1812; Miss O'Neill, in 1814; Macready, in 1816; and Farren, in 1818. Several of these actresses and singers afterwards married noblemen; and the "Memoirs" of the late James Smith, published in 1840, contain various poetic effusions upon those ladies. We will quote a few, which will interest our readers.

 

The Globe Theatre

The Globe Theatre was a theatre in London associated with William Shakespeare. It was built in 1599 by Shakespeare's playing company, the Lord Chamberlain's Men, and was destroyed by fire on 29 June 1613. A second Globe Theatre was built on the same site by June 1614 and closed in 1642.

 

A modern reconstruction of the Globe, named "Shakespeare's Globe", opened in 1997 approximately 230 metres (750 ft) from the site of the original theatre. Contents

 

Location

Examination of old property records has identified the plot of land occupied by the Globe as extending from the west side of modern-day Southwark Bridge Road eastwards as far as Porter Street and from Park Street southwards as far as the back of Gatehouse Square. The precise location of the building however, remained unknown until a small part of the foundations, including one original pier base, was discovered in 1989 beneath the car park at the rear of Anchor Terrace on Park Street. The shape of the foundations is now replicated on the surface. As the majority of the foundations lies beneath 67—70 Anchor Terrace, a listed building, no further excavations have been permitted.

History

 

Site of the Globe Theatre, from Park Street; the dark line in the centre marks the foundation line. The white wall beyond is the rear of Anchor Terrace.

 

The Globe was owned by actors who were also shareholders in Lord Chamberlain's Men. Two of the six Globe shareholders, Richard Burbage and his brother Cuthbert Burbage, owned double shares of the whole, or 25% each; the other four men, Shakespeare, John Heminges, Augustine Phillips, and Thomas Pope, owned a single share, or 12.5%. (Originally William Kempe was intended to be the seventh partner, but he sold out his share to the four minority sharers, leaving them with more than the originally planned 10%).These initial proportions changed over time as new sharers were added. Shakespeare's share diminished from 1/8 to 1/14, or roughly 7%, over the course of his career.

 

The Globe was built in 1599 using timber from an earlier theatre, The Theatre, which had been built by Richard Burbage's father, James Burbage, in Shoreditch in 1576. The Burbages originally had a 21-year lease of the site on which The Theatre was built but owned the building outright. However, the landlord, Giles Allen, claimed that the building had become his with the expiry of the lease. On 28 December 1598, while Allen was celebrating Christmas at his country home, carpenter Peter Street, supported by the players and their friends, dismantled The Theatre beam by beam and transported it to Street's waterfront warehouse near Bridewell. With the onset of more favourable weather in the following spring, the material was ferried over the Thames to reconstruct it as The Globe on some marshy gardens to the south of Maiden Lane, Southwark. The new theatre was larger than the building it replaced, with the older timbers being reused as part of the new structure; the Globe was not merely the old Theatre newly set up at Bankside. It was probably completed by the summer of 1599, possibly in time for the first production of Henry V and its famous reference to the performance crammed within a "wooden O". The first performance for which a firm record remains was Jonson's Every Man out of His Humour—with its first scene welcoming the "gracious and kind spectators"—at the end of the year.

 

On 29 June 1613 the Globe Theatre went up in flames during a performance of Henry the Eighth. A theatrical cannon, set off during the performance, misfired, igniting the wooden beams and thatching. According to one of the few surviving documents of the event, no one was hurt except a man whose burning breeches were put out with a bottle of ale. It was rebuilt in the following year.

 

Like all the other theatres in London, the Globe was closed down by the Puritans in 1642. It was pulled down in 1644, or slightly later—the commonly cited document dating the act to 15 April 1644 has been identified as a probable forgery—to make room for tenements.

Layout

 

Exterior of the modern reproduction of the Globe

 

The Globe's actual dimensions are unknown, but its shape and size can be approximated from scholarly inquiry over the last two centuries. The evidence suggests that it was a three-storey, open-air amphitheatre approximately 100 feet (30 m) in diameter that could house up to 3,000 spectators.The Globe is shown as round on Wenceslas Hollar's sketch of the building, later incorporated into his engraved "Long View" of London in 1647. However, in 1988-89, the uncovering of a small part of the Globe's foundation suggested that it was a polygon of 20 sides.

 

At the base of the stage, there was an area called the pit, (or, harking back to the old inn-yards, yard) where, for a penny, people (the "groundlings") would stand on the rush-strewn earthen floor to watch the performance. During the excavation of the Globe in 1989 a layer of nutshells was found, pressed into the dirt flooring so as to form a new surface layer. Around the yard were three levels of stadium-style seats, which were more expensive than standing room.

 

Interior of modern reconstruction

 

A rectangular stage platform, also known as an 'apron stage', thrust out into the middle of the open-air yard. The stage measured approximately 43 feet (13.1 m) in width, 27 feet (8.2 m) in depth and was raised about 5 feet (1.5 m) off the ground. On this stage, there was a trap door for use by performers to enter from the "cellarage" area beneath the stage.

 

Large columns on either side of the stage supported a roof over the rear portion of the stage. The ceiling under this roof was called the "heavens," and was painted with clouds and the sky. A trap door in the heavens enabled performers to descend using some form of rope and harness. The back wall of the stage had two or three doors on the main level, with a curtained inner stage in the centre, perhaps (although not all scholars agree about the existence of this supposed "inner below"), and a balcony above it. The doors entered into the "tiring house"(backstage area) where the actors dressed and awaited their entrances. The floors above could have been used to store costumes and props and as management offices. The balcony housed the musicians and could also be used for scenes requiring an upper space, such as the balcony scene in Romeo and Juliet. Rush matting covered the stage, although this may only have been used if the setting of the play demanded it.

Motto

 

The name of the Globe supposedly alludes to the Latin tag totus mundus agit histrionem—all the world plays the actor—in turn derived from quod fere totus mundus exerceat histrionem—because almost the whole world are players—from Petronius, which had wide circulation in England in the Burbages' time. Totus mundus agit histrionem was, according to this explanation, therefore adopted as the theatre's motto. It seems likely, however, that the link between the saying and the Globe was made only later, originating with the industrious early Shakespeare biographer William Oldys, who claimed as his source a private manuscript to which he once had access. This was repeated in good faith by his literary executor George Steevens, but the tale is now thought "suspicious".

 

The Dominion Theatre

The Dominion Theatre is a West End theatre on Tottenham Court Road close to St Giles Circus and Centre Point Tower, in the London Borough of Camden.

History

The Dominion was built in 1928–29, designed by W and TR Milburn with a steel-framed construction and a concave Portland stone facade. It was built as a theatre for live shows, but after faltering business in the early 1930s, the building was converted to also allow it to show films. The theatre was built on the location of the former Horse Shoe Brewery, which was the site of the 1814 London Beer Flood.

 

Despite its huge seating capacity (given as 2,858 in 1940), the Dominion did well thanks to its excellent location where Charing Cross Road, Oxford Street and Tottenham Court Road all meet. The cinema closed temporarily at the height of the Blitz early in October 1940, but re-opened for good on 12 January 1941. After the war, it continued the link with the New Victoria, almost invariably playing with the Gaumont circuit programme for a pre-release week before it went into the Northwest London area to commence its suburban run. In December 1956 Rank first considered making regular use of the Dominion for live shows again and had internal estimates of the cost involved for rewiring and refurbishing the stage facilities. The first major use as a live venue came when the Judy Garland Show ran from Wednesday 16 October to Saturday 16 November 1957. Films continued to be shown at all other times, although the theatre restaurant had closed on 15 June 1957.

 

The theatre was then selected to show films in the new Todd AO system. Two Phillips 70mm / 35mm projectors were installed in a new projection box at the back of the stalls, providing a 78-foot (24 m) level throw to the screen and an immense 46-foot-wide screen (14 m), with a 5-foot-deep curvature (1.5 m) erected in the 54-foot-wide proscenium opening (16 m). Stereophonic sound was provided and seating came down to 1,654 with the upper gallery being curtained off. South Pacific inaugurated the new road show policy on 21 April 1958 and racked up the longest ever run of 4 years 22 weeks, closing down on 30 September 1962.

 

Samuel Goldwyn had patiently waited more than three years to open Porgy and Bess here, but South Pacific's success did not rub off on it. Cleopatra was another mammoth attraction that opened here in August 1963, but it was The Sound of Music (29 March 1965 to 31 June 1968) that confirmed the Dominion’s pull as a home of musicals. However Star, which followed redecoration on 18 July 1968, proved more successful at the Dominion than anywhere else. However, once Hollywood stopped making the big budget extravaganzas, the Dominion was in trouble. Live shows came back between the films, and, following a two-day revival of MGM’s The Band Wagon, the Dominion was earmarked for live use only from 8 November 1981, although The Return of the Jedi opened there in 1983 in a joint première with the Odeon Leicester Square.

 

During the 1980s it became a popular venue for music concerts. Tangerine Dream's album Logos was recorded there in 1982, and contains a tune called "Dominion" in tribute. In the mid-1980s the Dominion hosted the musical Time, and the interior was extensively reconstructed to accommodate the shows effects.

 

Since the early 1990s the venue has played host to David Ian and Paul Nicholas' new production of Grease, Scrooge: The Musical, Matthew Bourne's Swan Lake, Disney's Beauty and the Beast, a return of Grease, and Notre Dame de Paris among others. Bernadette The Musical, written by Maureen and Gwyn Hughes, also enjoyed a short run in 1990.

 

In the 1990s the Dominion also hosted the Royal Variety Performance on a number of occasions.

 

Comedian Bill Hicks filmed his legendary comedy special, Revelations

 

It now has a seating capacity of 2,182 in two tiers of galleries, following the closure many decades ago of the former upper circle. The theatre retains its 1920s light fittings and art deco plasterwork.

 

There has been a lot of renovation of the theatre over the past couple of years. The large dressing room block at the rear of the theatre has its stone work cleaned and new exact replica windows fitted. Inside the building has also seen many changes with the reinstatement of the once derelict area originally occupied by the theatre's restaurant/tea rooms and which was utilised by Rank in its time at the Dominion as office space. This large space above the main foyer is now a state of the art rehearsal studio and events space. The entrance way to the Studio has had its original plasterwork carefully restored (a project which is soon to move on to the impressive main foyer). This new space is called 'The Studio' and has already housed the auditions or rehearsals of a number of the West End's top shows including We Will Rock You, Matthew Bourne's Edward Scissorhands, Les Misérables, Cats, Hairspray and Zorro, making it the best located rehearsal studio in London.

 

In 2002, the hit stage musical We Will Rock You, based on the songs of Queen, created by Queen guitarist Brian May and drummer Roger Taylor together with British comedian Ben Elton opened. The show was due to close in October 2006 before embarking on a UK tour, but due to popular demand has been extended indefinitely. The show is currently in its ninth year and as such is the longest running musical ever to play at the Dominion Theatre.

 

On Sundays, Hillsong London holds four church services throughout the day there.

Ownership

 

The Dominion has had a variety of owners during its history. It has been operated by The Rank Organisation and Apollo Leisure from 1988 to 1999. In 1999 Apollo Leisure was taken over by SFX Entertainment and in 2001 SFX Entertainment was bought by Clear Channel Entertainment, part of the US based multinational. It was run by Live Nation UK - ClearChannel's entertainments spin-off organisation, on behalf of the Nederlander Organization. on Friday 23 October 2009 the Nederlander Organization took full control of the venue, buying out Live Nation UK's third ownership taking the venue into a new era.

Recent and present productions

Jackie Mason: Brand New! (22 March 1993 - 24 March 1993) by Jackie Mason

Grease (15 July 1993 - 19 October 1996) by Jim Jacobs and Warren Casey

Scrooge (12 November 1996 - 1 February 1997) by Leslie Bricusse

Disney's Beauty and the Beast (13 May 1997 - 11 December 1999) by Howard Ashman, Alan Menken, Tim Rice and Linda Woolverton

Matthew Bourne's Swan Lake (7 February 2000 - 11 March 2000) by Matthew Bourne

Tango Passion (21 March 2000 - 23 March 2000) by Hector Zaraspe

Notre-Dame de Paris (23 May 2000 - 6 October 2001) by Richard Cocciante and Luc Plamondon

Grease (22 October 2001 - 3 November 2001) by Jim Jacobs and Warren Casey

We Will Rock You (14 May 2002 - ) by Queen and Ben Elton

 

The nearest London Underground station is Tottenham Court Road.

Hillsong Church London

 

Since January 2005 Hillsong Church London have held their church services each Sunday at the Dominion Theatre. They currently hold four services each Sunday at the theatre, at 10:30am, 1:00pm, 3:30pm and 6:00pm. These services are open to anyone to attend.

 

 

 

 

 

 

 

Traditions and customs of Kazakhstan

Kazakh culture and national traditions

The Kazakh people are rich in traditions. From birth through old age and death, every step of their lives has historically been marked with celebration. Even their funeral ceremonies have their own special symbolism.

 

Unfortunately, many rich and interesting traditions and customs of the Kazakh people have been forgotten throughout the past century. Real sovereignty is just now being reestablished in Kazakhstan due to the process of democratization. These abandoned traditions are just now being rediscovered by the Kazakh people. These traditions include being respectful to old people; being patriotic to the motherland; being honest; and learning to love mankind.

Traditionally every guest is offered Kazakh cuisine at the dastarkhan (the low table) in a yurt.

 

The yurt is one of the most sensible types of movable house. It is a comfortable and practical home, ideally suited to local conditions and ways of life - one of the greatest inventions of the Eurasian nomads.

It is easily taken apart (it is said that a Kazakh woman can do it in half an hour) and carried by horses and camels. The yurt consists of three main elements: an extensible trellis base (the kerege), a dome made of poles (the uyk) and a round top (the shanyrak).

 

In ancient times Turks were reputed as the most skillful felt-makers. These days the Kazakhs use felt to cover the yurt and for its internal decoration, as well as to make carpets, dresses and shoes. The Kazakhs live surrounded by ornaments. They richly decorate their yurts with wall carpets and multi-colored embroideries.