RUSSIAN POP ART OF THE 20TH CENTURY

Аннотация

This article discusses the practical and theoretical foundations for the emergence of Russian pop music of the 20th century as an art form, a type of pop art. Keywords: pop music, music, art, concerts, artist. By the 20th century, there was a sufficient practical and theoretical basis for the emergence of pop music as an art form. Its basis was small-format numbers. A number was considered a small-format artistic performance of 5-10 minutes, with an ideological and figurative composition. Concerts - in the form of a small-format - are a type of performance that has the power to gather all the directions of a number's creativity on one night, on one stage, and to manage and glorify them with the help of a host. Concerts can also be dedicated to the activities of a single creative person. Here, too, the host announces the numbers of a single artist in turn, introducing his new facets to the fans. In some cases, the artist himself, having a personal concert, also performed the role of a speaker. Concerts with the participation of one artist - a poet, actor, singer, composer, performer, musician or dancer - were organized in the form of a creative report dedicated to the anniversary of the ballet master. In 1908, cabarets called "Летучая мышь" (Flying Mouse) and "Кривое зерколо" (Crooked Mirror) were opened in Moscow, where people could relax by watching a night concert and eating. This process created practical conditions for the emergence usic as an art form in Russia. "Летучая мыш" (Flying Mouse) was the first miniature theater opened in a cabaret in Moscow on February 29, 1908. A person named L.N. Tarasov proposed to re-perform the "kapustnik" - humorous imitations, staged by actors of the Moscow Art Theater, in his cabaret, that is, on the stage in the corner of the restaurant. Until 1910, the Tarasov cabaret, dedicated to the work of the artists of the Moscow Art Theater (MAT), was performed exclusively for the actors of this theater. After the performance, the actors showed their new creative side with their own numbers in small forms. The host called them on stage one by one and asked the actor on behalf of the audience to show his best number. Noticing that such numbers were becoming more and more numerous, the owner of the cabaret began to sell tickets to the audience in 1910. From that day on, the night cabaret called "Letuchaya Mish" - a variety theater - had fans and was constantly increasing. Since 1912, "Letuchaya Mish" - "Miniature Theater" began to sell tickets for its specially prepared night performances for its patrons. This theater became a place where famous satirists, examples of the work of classical poets were combined with famous composers, musicians, dancers and circus acts. This made the famous actors even more popular. It introduced a new generation of hostes to the audience. The high-quality performances of experienced actors increasingly attracted miniature fans to the nightly spectacle. Since 1918, all private rooftop venues have been taken over by the state. In 1920, the talented artists of the "Flying Tale" miniature theater dispersed to Paris, New York, and Kiev. They contributed to the development of the Miniature Theater in these cities. 860 ResearchBib IF - 11.01, ISSN: 3030-3753, Volume 2 Issue 11 In 1908, the theater "Krivoe Zerkolo" was opened in St. Petersburg by the actor Z.V. Kholmskoy under the charter of the "Theatre Workers' Club". Its charter stated that "the theater will show performances of literary parody, social satire and will be called "Krivoe Zerkolo". This name is reminiscent of the proverb in our language - "If the face is crooked, then do not look in the mirror". The theater was directed by a critic named A.R. Kugel. In the small-scale performances presented by this theater, he attached great importance to the fact that the humorous numbers consisted of high-level numbers. He especially strictly controlled that the parodies were free from vulgarity. The one-act play "Wampuka - African Bride" staged by the theater in 1909 became very popular and became the reason for the introduction of the term "Krivoe Zerkolo" into theatrical art. Because this performance was staged on the basis of a one- act play specially written on the basis of a feuilleton dedicated to opera theaters, it became a parody performance dedicated to opera art. After this performance, the term “Vampuka” went down in history as a parody name for numbers dedicated to the shortcomings of pop opera. After this success, the “Krivoe Zerkalo” theater gained the power to show performances every night and go on tour in Moscow from 1910. The theater, which created parodies of the shortcomings of opera with “V am puka”, next performed a play called “Revizor” and laughed at the shortcomings considered “fashionable” in directing. And with the parody called “Rychalov Tour”, it turned the “creativity” of the actors during the tour into a funny show. After the revolutionary coup of 1918, the theater revi