Introduction

Chapter 1 Cycles and composition of calendar ritual poetry

Chapter 3 Lamentations as a genre

Chapter 4 Conspiracies

Chapter 5 Fairy Tale

Chapter 6 Non-fairy prose

Chapter 7 Non-ritual lyrics. Lyric song

Chapter 8 Folk Drama

Chapter 9 Children's folklore

Chapter 11 Ditties

Chapter 12 Riddle

Conclusion

Literature used

Introduction

Folklore – folk wisdom. Folkloristics studies folklore. Folklore combines different types arts (music, pagan and Christian rituals and traditions). The core of folklore is the word. Folklore is a phenomenon, not an art; it combines arts. And above all, this is a synthetic phenomenon. At the time of the formation of folklore, syncretism should be attributed (mutually; penetration; unity; coherence.) One of the most important qualities folklore - the oral nature of its existence. The genre of folklore dies when its work ceases to be passed on from mouth to mouth. Variability is widely developed in folkloristics (everyone who hears information conveys it in their own way). Tradition in folklore is rules, frameworks that must be observed. Contamination is the merging of several plots into one. Folklore reflects the people's position, education, morality, and worldview.

a) 1 – ritual poetry. Ritual complexes associated with the calendar cycle and human economic and agricultural activities are identified.

2 – Ritual complexes associated with human life (everyday) – birth, naming, initiation, wedding ceremony, funeral.

3 – Ritual complexes associated with the physical, morale a person and with everything that lives in his house (conspiracies).

b) 1 – Non-ritual poetry. Epic (epic, fairy tale, ballad) and non-fairy tale (legend, tradition, true story, spiritual poems). Lyrics (lyric song). Drama (folk drama): inviting balagennyh grandfathers, Petrushka theater.

c) Small folklore genres (ditty, proverb, lullaby, sayings, nursery rhymes).

1 – Children’s folklore (riddles, teasers, nursery rhymes, etc.);

2 – Proverbs + sayings;

3 – Riddles;

Chapter 1 Cycles and composition of calendar ritual poetry

There is folklore associated with the preparation of the harvest (October - end of July - winter and spring-summer periods). The main rituals at this time are Christmastide (12/25-01/06), Maslenitsa (8 weeks before Easter) and Kupala (from June 23 to 24). As well as folklore associated with harvesting (autumn period - stubble time)

Poetry of the winter cycle.

Passive rite - fortune telling. Active – caroling. Both were accompanied by Christmas ritual songs, respectively, of two varieties - subservient songs and carols. Subject songs (with the help of allegories and symbols fortunetellers were promised wealth, prosperity, a successful marriage, or, vice versa) have a fortune-telling, not an incantatory character, but the ending of the songs is affirming, conjuring fate. This brings them closer to spells and carols that have a magical effect. Fortune telling could come down to either the interpretation of phenomena observed by humans, or to actions performed by the fortune tellers themselves and by people or animals on their orders.

Caroling is the walking of young people around the huts, with special songs that have three names according to the chorus called out by the carolers: carols (“Oh, Kolyada!”), Ovsen (“Oh, Ovsen, Tausen!”) and grapes (“Vinogradye, red- my green!”). Carols are very archaic in content, which was determined by their purpose. The main goal of the carolers was to wish the owners goodness, wealth, and prosperity. Some carols have an air of majesty; they ideally describe the wealth and well-being of a peasant family. Distinctive feature carols of the majestic type - their generalized nature. Another, required topic, associated with the purpose of carols - a request for a treat or reward. In many carols, a request or requirement for a treat is its only content. Another theme of carols is a description of walking, searching for Kolyada, the magical actions of carolers, ritual food, i.e. elements of the ritual itself. Carol composition:

1) appeal to Kolyada, search for her by carolers;

2) magnification, description of a ritual or request for a reward;

3) a wish for well-being, a request for alms.

Maslenitsa and Maslenitsa rituals.

At the center of the Maslenitsa holiday is the symbolic image of Maslenitsa. The holiday itself consists of three parts: meetings on Monday, revelry or turning point on the so-called wide Thursday and farewells. Songs for Maslenitsa can be divided into two groups. The first - meeting and honoring, has the appearance of grandeur. They glorify the wide, honest Maslenitsa, its dishes, and entertainment. She is completely called Avdotya Izotyevna. The character of the songs is cheerful and playful. The songs accompanying the farewell to Maslenitsa are somewhat different. They talk about the upcoming fast. The singers regret the ending of the holiday. Here Maslenitsa is already a dethroned idol, she is no longer magnified, but is called disrespectfully “a deceiver.”

Maslenitsa was usually interpreted primarily as a celebration of the victory of spring over winter, life over death.

Spring-summer cycle. Trinity-Semitic rites.

The first spring holiday - welcoming spring - falls in March. These days, in the villages, figurines of birds (larks or waders) were baked from dough and distributed to girls or children. Vesnyankas are ritual lyrical songs of the incantatory genre. The ritual of “spell” spring was imbued with the desire to influence nature in order to obtain a good harvest. Imitating the flight of birds (throwing larks from dough) was supposed to cause the arrival of real birds, the friendly onset of spring. Images of spring and birds dominate the stoneflies. Stoneflies are characterized by a form of dialogue or appeal to imperative mood. Unlike a conspiracy, spring flowers, like carols, are performed collectively, which is expressed in appeals on behalf of a group of people. Spring festivities and youth games continued, starting from Red Hill, throughout April, May and June, despite the heavy field and garden work. At these festivities, drawn-out play and round dance songs were performed that had no ritual significance. Their themes - family, love - are revealed in everyday life.

Trinity-Semitic Week: Semik - the seventh Thursday after Easter, Trinity - the seventh Sunday, also called the “Russian” week or “green Christmastide”. This is a girl's holiday, taking place surrounded by blooming nature - in a field outside the outskirts, in a grove. The character of this holiday is determined by its main image - birch trees. The girls, dressed smartly and taking treats with them, went to “curl” birch trees. The girls' holiday was also accompanied by fortune telling. The girls wove wreaths and threw them into the river. By the wreath that floated far away, washed ashore, stopped, or sank, they judged the fate that awaited them. Fortune telling by wreaths was widely reflected in songs performed both during fortune telling and without regard to it.

Ivan Kupala holiday. The summer solstice holiday was celebrated on the night of Ivan Kupala (from June 23 to 24). This is a celebration of "full bloom of vegetation." During the Kupala holidays they do not help the earth, but, on the contrary, they try to take everything from it. On this night, medicinal herbs are collected. Whoever finds the fern, it was believed, will be able to find the treasure.

Funeral of Kostroma. At the same time (before Peter's Day, June 28), the holiday of Yarila or Kostroma was celebrated, which meant farewell to summer until a new revival of the forces of the earth. The central episode of the ritual is the funeral of Yarila, Kupala or Kostroma. The image of Kostroma is similar to the image of Maslenitsa. The cheerful funeral of Kostroma is similar to the same funeral of Maslenitsa.

Poetry of the autumn cycle.

Autumn rituals among the Russian people were not as rich as winter and spring-summer ones. They did not have a special calendar date and accompany the harvest. Zazhinki (the beginning of the harvest), dozhinki or obzhinki (the end of the harvest) - such work was done with the help of neighbors and was called “help” or “cleaning” - accompanied by songs. But these songs do not have a magical character. They are directly related to the labor process. The leading motive of such songs is an appeal to the harvesters. More diverse in subject matter and artistic techniques pre-zhin songs. They tell about the harvest and the custom of treating the reapers-tolochans. In pre-harvest songs there are elements of glorification of rich hosts who have treated the reapers well.

Chapter 2 Composition and classification of family and household ritual complexes

Family ritual poetry accompanied ceremonies celebrating major events in a person’s life – the birth of a child, the creation of a family, recruitment, death. These rituals, like the calendar ones, were accompanied by the performance of poetic works, some of which had a ritual origin, others - a wider sphere of existence. Works of the first kind: wedding, recruitment and funeral lamentations; Great songs, sentences, proverbs and dialogues are an integral part of maternity, recruitment and wedding rites. Works of the second kind: various kinds songs, ditties, riddles, proverbs.

Wedding ceremony.

Marriage was considered by peasants primarily as an economic act of kinship between two families pursuing mutual benefit, and the acquisition of one of them as a new worker and continuator of the family.

The wedding ceremony was divided into 3 main rituals: 1 – pre-wedding cycle (matchmaking, collusion, hand-waving or singing, marriage, bachelorette party, bathhouse); 2 – wedding ceremony (gatherings and blessing of the bride, coming to pick up the bride, wedding, wedding feast); 3 – post-wedding (awakening of the newlyweds, withdrawal or separation). Wedding lamentations - the bride had to mourn her lot, regret her girlhood and happy life V parental home and express your ill will towards the groom and his family. All this found expression in the parable - poetic genre, which is a lyrical outpouring, a monologue of a great emotional stress and penetration, in which traditional poetic images connect and develop with the help of improvisation into bright contrasting pictures of a happy girlish and unhappy married life.

In addition to the bride's laments, wedding poetry also includes songs dedicated to different episodes of the wedding. A special genre of wedding songs, distinguished by its function and artistic specificity, are greatness. Greatnesses pursued the goal of endowing those being honored with all the qualities that, in the opinion of the peasant, he should have happy man. There is no doubt about the ancient magical basis of exaltations, in which what is desired is presented as reality and is depicted colorfully and idealized. A majestic song has a descriptive character, it is a portrait song, a characteristic song, and not individual, but typical. The majestic song is characterized by richly developed and precise symbolism and parallelisms associated not only with the concept of wealth, prosperity, happiness, but also with marital status dignified. In addition to the songs of praise that create positive images, at the wedding there were comic, parody glorifications - reproachful songs. In meaning and imagery, they parodied real grandeurs, creating an unattractive, diminished, but also typical portrait - of owners, matchmakers, boyfriends, etc. They were performed when the girls received little for their previous glory and wanted to ridicule the “poverty” and stinginess of the guests and hosts.

Funeral rite.

The main genre of the funeral ritual is lamentation. After declaring death, there is a lamentation on the topic: why did you leave, a request to stand up, open your eyes, and forgive offenses. Next is a crying warning. When bringing an empty coffin into the house - lamentation and gratitude to those who made the coffin. When carrying out a dead person, there are lamentations that the person will not return. When carrying a lamentation to a cemetery, in which the plot is similar to the grief of loss plus a notification. When lowered into the grave, lamentation - a request to return. When returning from the cemetery, lamentation is an imaginary search plus crying about the foreshadowing of troubles for the family. According to custom, on the day of the funeral there is a ritual dinner - a wake (trizna). The funeral service should not have been received with tears. On the contrary, it was necessary to eat more (give honor). Third day – funeral, wake; ninth day - the soul finally leaves the earth; the fortieth day is the complete ascent of the soul along 40 steps to the gates of heaven. You should definitely visit the grave on your anniversary and on parent’s day.

Chapter 3 Lamentations as a genre

Lamentations can be wedding, recruiting, funeral. There were no complaints a certain shape and plots.

Recruitment ritual- of later origin than wedding and funeral rites. It took shape at the beginning of the 18th century, after Peter the Great introduced universal conscription (1699). Seeing off to “serve the sovereign” for 25 years for a peasant family was tantamount to the death of a recruit; entailed ruin and economic decline. In the army itself, there were frequent cases of brutal reprisals against soldiers, so the recruit’s relatives lamented over him as if he were dead. This ritual contained almost no magical or symbolic moments (sometimes the recruit was charmed from illnesses, and especially from bullets).

The purpose of conspiracies, like ritual poetry, was to have a magical effect on nature. Over time, the conspiracy acquired the meaning of a spell with a word and, in connection with this, became a stable poetic formula, most often built on comparison real action or a phenomenon desired and used to achieve medicinal or other purposes. An important feature of the conspiracy is belief in the magical power of words. There are two types of conspiracies: white - aimed at getting rid of illnesses and troubles and containing elements of prayer (witchcraft) - and black - aimed at causing damage, harm, used without prayer words (witchcraft associated with evil spirits). The use of conspiracies in most cases was associated either with various types traditional medicine, or with symbolic actions - echoes of ancient magic. By topic, conspiracies are divided into 3 groups: medicinal - against illness and painful condition of people and domestic animals, as well as against damage; economic - agricultural, cattle breeding, fishing - against drought, weeds, for taming domestic animals, hunting, fishing; aimed at regulating public and personal relationships between people: love sugars and cures for illnesses, to attract honor or favor. Great influence Christianity influenced the conspiracies. Christian images of healing saints and prayers were supposed to strengthen the authority of the magical formula at a time when pagan beliefs had already been forgotten by the people. Composition of spells: introduction (usually a prayer address), beginning (indicating where the speaker or the person being spoken should go and what he should do); the main part (containing an expression of desire, an appeal-demand, dialogue, an action followed by a listing, expulsion of the disease) and fastenings (again a prayer appeal).

Chapter 5 Fairy Tale

Folk tale.

A fairy tale is a genre of non-ritual folklore. The most ancient genre in folklore. The genre is epic, narrative. A fairy tale is a work that is based on fiction. Initially, the fairy tale was not fun. A fairy tale is what they say. The most famous collector and publisher of fairy tales is A.N. Afanasyev (he replenished his stock of fairy tales from the records of P.I. Yakushin). He divided fairy tales into:

1. tales about animals;

2. short story tales;

3. fairy tales are magical.

Now the classification of fairy tales has changed. Highlight:

1 – cumulative;

2 - magical;

3 – tales about animals;

4 – adventurous;

5 – household;

6 – novelistic;

7 – satirical;

8 – fairy tales of the children's dramatic genre;

Folk dramatic art - a set of forms dramatic creativity V different genres(round dance songs, ritual poetry). The degree of dramatization and theatricalization in different genres of folklore is different. It manifests itself in two forms: 1 – in the dramatic performance of epic and lyrical works; 2 – in the performance of folk plays by actors or puppets.

Chapter 9 Children's folklore

Children's folklore - works created by children and existing among them. But many works are invented and performed by adults for children (lullabies, fairy tales, nursery rhymes, tongue twisters). One of the regularities is a desirable element in a children's fairy tale - a hero-peer. National genres are distinguished (proverbs, sayings, riddles). This is a genre for both children and adults. But within this genre itself there will still be an age division. Vinogradov also noticed that in rituals, ritual complexes, there are actions entrusted to children. For example: magpies, stoneflies. Or, for example, singing Christ’s words is a child’s prerogative. Over time, caroling and Christ-speaking merged together. Now they have disappeared almost completely. But there are genres that live almost forever - sadistic poems, horror stories.

Chapter 10 Proverbs and sayings

A proverb is a short, stable in speech, rhythmically (proverbs were rhythmic, because this contributed to their faster memorization, in a time when there was no written language), organized figurative folk saying, which has the ability to be used in multiple meanings in speech according to the principle of analogy. To these properties it is also worth adding nationality, instructiveness, categorical affirmation or denial. The most significant of all collections of proverbs is recognized as the collection by V.I. Dahl "Proverbs of the Russian people." It includes over 30,000 proverbs, sayings and other “small” genres of Russian folklore. The secret of the origin of proverbs is hidden in them themselves. Many proverbs invade the sphere business relations, customs and become their affiliation. Initially, there were short sayings(“Mosquitoes are hustling - to the bucket”; “Dry March, but wet May gives good bread”), expressing advice, everyday rules that had to be obeyed. The emergence of sayings is associated with the appearance in speech of stable figurative expressions that serve to compare similar phenomena. IN structurally The proverb is an image that defines either persons (“a pig under an oak tree” - ungrateful; “not one of the brave dozen” - a coward) or circumstances (“when the cancer whistles on the mountain”, “after the rain on Thursday”). The content of a saying determines its place in a sentence as a grammatical component - it acts as either a subject, or a predicate, or an object, or a circumstance. On this basis, attempts have been made grammatical classification proverb

Chapter 11 Ditties

Ditties – new genre Russian folk poetry. Their appearance dates back to the second half of the 19th century. Chatushkas are a small genre of folk lyrics, usually four-line or two-line songs, which are a lively response to the phenomena of life, with a clear positive or negative assessment, in which important role joke and irony play a role: ditties express the immediate reaction of their authors and performers to what is depicted in them. The reasons that gave rise to the miniature form of folk lyrics - ditties, were: a significant disruption of life, a rapid change in its phenomena, which caused the need to quickly express attitudes towards them and determined the multi-subject nature of the ditties. Chastushki originated among peasants. They arose on a general folklore basis and go back to many genres, as if combining their features. At the same time, it is especially closely connected with some genres. The process of birth of ditties is associated with the transformation of the traditional lyrical song and its reduction in new conditions. TO genre features ditties include their extreme brevity and economy of expression and transmission of life content, plot situations and the experiences of the characters. There are several ditties structural types. The main ones are: -two; -four; - six lines. In addition, two more types can be distinguished: ditties without a chorus and ditties with a chorus. Couples are most often love ditties (I have suffered, I will suffer, Whom I love, I will not forget). Quatrains are the most common form. It expresses all the basic forms and situations (They say that she is not white. What should we do, dear? Girls paint and bleach themselves, I wash myself with water.). Sixth lines – rare form. It is obviously older and more connected with the traditional song (Early in the morning, my mother woke me up: - Get up, daughter, get up, - Having finished my work. I didn’t want to get up, Having sat with my dear one.). All three of these forms usually do not have a chorus. However, there are ditties in which the chorus plays an important expressive role; At the same time, he can link ditties into entire songs.

Chapter 12 Riddle

A riddle is an allegorical image of an object or phenomenon that is proposed to be guessed. It consists of two parts: the riddle itself and the answer. The riddle and the answer are organically linked. In most cases, the answer names an object or action, and the riddle is its metaphorical image. In a riddle, it is important to highlight the main, main features of the riddle. Often riddles rhyme. Characteristic of most riddles is a tale verse. Riddle is an ancient genre. Its ancient existence is indicated by the spread of riddles among peoples with an underdeveloped culture. The riddle can be included in a fairy tale (“The Greedy Old Woman”) and in songs (songs of groomsmen at a wedding).

Conclusion

I have only superficially examined some genres of Russian folklore.

Many more questions remained unanswered. However, even this superficial study shows what a huge path of development Russian folklore has gone through.

He went down in the history of our country as an active participant in our entire life, of each person individually, from birth to his death.

Throughout life, folklore helps a person live, work, relax, helps make decisions, and also fight enemies.

Literature used

1. Russian folklore / Ed. V. P. Anikina; - M.: Khud. Lit., 1985. –367 pp.;

2. T. M. Akimova, V. K. Arkhangelskaya, V. A. Bakhtina / Russian folk poetic creativity(a manual for seminar classes). – M.: Higher. School, 1983. – 208 p. ;

3. L. N. Tolstoy Epics / Reprint. Preface V. P. Anikina; - M.: Det.Lit., 1984. – 32 p. ;

4. Kruglov Yu. G. Russian ritual songs: Textbook. manual for teachers Institute for special "Russian" language and lit." – 2nd ed., rev. and additional – M.: Higher. school 1989. –320 p.

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Folklore as oral folk art is the artistic collective thinking of the people, which reflects its main idealistic and current realities, religious worldviews. Such creativity is created by an entire people and is reflected in poetry, folk theater, architecture, dance, as well as in arts and crafts and artistic creativity.

Examples of folklore find themselves in almost all areas of modern human life, from humming lullabies to creating collections of clothing.

Examples of folklore in oral speech They are mostly ditties, proverbs, sayings, in a word, speech patterns used by people in everyday life once a day.

The main Russian folklore genres

Folklore is divided into three types, each of which is systematized according to its own personal and impartial orientation, as well as methods of artistic expression.

The first folklore type is the epic, which is a work that reflects specific assessments of the world around us, expressed in narrative form. Poetic examples folklore of this kind- various epics, ballads, historical songs and spiritual poems.

Everyday epic is divided into fairy-tale and non-fairy-tale prose, the first includes tales about animals and magic, funny stories; to the 2nd - little stories, legends and traditions.

2nd type - lyrics reflecting personal experiences and inner world person. These are works of folklore, examples of which are revealed in lamentations, ditties and songs. All these works can be divided into ritual and non-ritual texts according to their own motivated purpose.

The 3rd folklore type is dramatic works, conveying the attitude to reality through game actions. Examples include theatrical acting performances, puppet theater, picture theater, ritual and dramatic games.

The fourth type is folklore speech situations- sayings, proverbs, curses, well-wishes, teasers, tongue twisters and riddles.

Russian ritual folklore

It is divided into calendar and home. The calendar type represents a large layer of ordinary practical rituals and beliefs designed to help a person, ensure the survival of the clan and village, increase productivity in livestock farming and agriculture. Calendar folklore was formed and reproduced all year round. An example is Maslenitsa, following the rules of which took Russian man week.

Examples of folklore aimed at the home ritual type are lamentations, spell songs, fortune telling, and also magical ritual acts aimed at recruiting future spouses and love. Any action related to marriage and wedding ceremony was also accompanied by a whole set of ritual folklore parts - hand-waving, conspiracy, matchmaking and others.

Features of folk theater

Examples of Russian folklore can also be cited in the field of theater. Researchers divide dramatic folk art according to its temporary evolutionary steps into pre-theatrical and theatrical.

Colorful examples of Russian folklore can be seen in calendar rituals and games, for example, in the processes of dressing up, making Maslenitsa, Yarila, Kupala dolls, and acting out actions with them. These elements of pre-theatrical actions are also found in family wedding rituals, for example, in the ransom of the wife or the role of her friends in acting out her role.

Theatrical forms folk art developed in Russia only by the middle of the 17th century. It's actually dramatic theatrical creativity in his modern understanding.

TO separate group Representatives of folk art, which is part of pre-theatrical folklore, should include buffoons - comedians, trainers, dancers and musicians.

Feature of folk poetry

Poetic works of folklore, examples of which are numerous, are included in the Russian school curriculum on literature and native speech. Such folk works are epics, spiritual poems, historical songs, literary fables, ballads, ditties and children's poetic songs. All these examples of folklore, oral folk art, passed down from generation to generation, form the basis of folk ideology and mythology. For example, in epics the image is described folk hero, the historical song reveals his strategic and tactical talents; ditties and children's songs develop a sense of humor and situational resourcefulness; In fables, the negative properties of the heroes are ridiculed in a playful and comic form.

Fairytale folklore prose

This genre is a written and oral form of prose, separated from myth and telling about fictitious events that happened to real characters. Folklore tales are available to all peoples of the world. They represent several typical lines - tales about animals, objects and inanimate nature, about fooling evil spirits, about magic. This folklore genre also includes impossible tales, funny stories and cumulative chain tales. It is worth saying that the fairy-tale genre can both flow from the genre of mythological poetry and transform back into it.

Examples of fairy tale folklore in oral speech are more variable than in written speech, due to the personal perception of the narrator. These are variants of the cumulative chain fairy tale “Kolobok” and “Turnip”, “Fox and Crane”, “Cat, Cockerel and Fox”, “Fox and Wolf”. In the midst of tales of evil spirits You can remember “Geese-Swans”, “Koschey the Immortal”.

Tales where main character- a wizard, with the role of magical animals or objects, - this is, for example, “Finist Yasen Falcon”, “Ivan Prince and the Gray Wolf”, “At the behest of the pike”. Plants and natural phenomena, possessing their own mysticism, are found in virtually every parable - talking apple trees, rivers and the wind, striving to shelter the main character from pursuit, to save him from death.

Folklore prose is the key to Russian demonology

The 2nd layer of folklore prose is non-fairy tale. It is represented by stories or versions from life that tell about human contacts with representatives of otherworldly forces - witches, devils, kikimoras, spirits, etc.

It must be emphasized that all these creatures came to modern times as unaccountable species from ancient times and have pre-Christian pagan origins.

The category of non-fairy tale everyday folklore also includes stories about shrines, miracles and the saints who perform them - here the theme of communication is revealed higher powers and a person who came to the Christian faith.

Everyday examples of folklore belonging to the non-fairy tale layer are quite diverse - these are legends, tales, tales, and stories about dreams.

Modern Russian folklore

It consists of two layers, coexisting and at times flowing into each other.

The first layer consists of folk traditions and beliefs transferred to modern realities. They are sayings, religious and everyday rituals, and signs that are still relevant to this day. Examples of Russian folklore relevant to modern life, can be observed both in everyday life (placing a broom with a broom upward to attract material benefits) and on holidays. Ritual solemn folklore elements include carols performed at Christmas time.

The 2nd layer of modern urban folklore is significantly younger and represents a belief in man-made scientific theories, shaped according to human beliefs and horrors.

Contemporary urban folklore

He acts as an egregor collective images fears and beliefs of people living in towns dates back to the period of industrialization, when harsh current conditions and technical progress turned out to be superimposed on an old layer of old Russian beliefs.

Examples of folklore that reflect modern Russian realities, for the most part, are aimed at several types of human fears. In most cases, these are songs, rituals and gestures created to evoke otherworldly forces (“ Queen of Spades» gnomes, etc.): ghosts, various spirits historical figures, also for the manifestation of Divine Providence and various entities.

Certain elements of folklore creativity are included in scientifically oriented theories of industrial customs.

Examples of urban folklore used in modern legends have flooded the Internet - these are stories about closed stations and metro lines, abandoned bunkers and various unfinished buildings with accompanying stories about mysterious rooms, devices and living creatures.

Literary folklore - from chronicles to modern times

Russian literature, replete with folklore elements, is divided into two layers: that which has come down to us from the period of the 12th-16th centuries, which is the basis for the construction of some later symbolic images; made from the 17th to the 19th centuries, using these images in their own subjects. Accordingly, examples of folklore in literature are found in the works of both periods. Let's look at the more famous of them below.

Examples of folklore in “The Tale of Igor’s Campaign” consist mainly in metaphorical comparisons of the main characters with pagan gods, for example, Boyan is called the grandson of Veles, the princes are called the grandchildren of Dazhdbog, and the winds are called Stribozh’s grandchildren. The creator’s appeal to the Majestic Horse is also recorded.

IN modern literature folklore elements used by the main characters in the course of their daily life.

Examples of folklore in the poem “Who Lives Well in Rus'” come from the area of ​​small and lyrical folklore, including sayings, ditties, sayings (“praise the grass in a haystack, and the master in a coffin”), an appeal to folk signs(chapter “Peasant Woman,” where Matryona’s fellow villagers see the reason for the crop failure being that she “...put on a clean shirt at Christmas...”), also insertions into the text of folk Russian songs(“Corvee”, “Hungry”) and the introduction of sacred digital signs (seven men, seven eagle owls).

Small folklore genres

They distinguish a type of small folklore works that enter a person’s life from birth. These are small genres of folklore, examples of which can be observed in the conversation between mother and child. Thus, in petushki (tunes of poetic form), nursery rhymes (songs-sayings using gestures of the child’s fingers and toes), jokes, chants, counting rhymes, tongue twisters and riddles, the required rhythm of body movement is set and ordinary plot lines are conveyed.

The first folklore genres in human life

Lullabies and pesters have ancient origin. They are part of the so-called maternal poetry, which enters the life of a child from the moment of his birth.

Pestushki are rhythmic, short sentences that accompany the activities of mother and newborn. Along with the content, rhythm is important.

The lullaby song, with its lyrics and melody, is aimed at achieving a state of sleep for the child and does not require the use of any musical instrument. This genre always contains elements of an idol that protects a newborn from aggressive forces.

Small genres of folklore, examples of which are given above, are the oldest layer of folk art.

Folklore - oral folk art, creative activity people, reflecting their life. Folklore arose before the advent of writing. Its most important feature is that folklore is an art spoken word. This is what distinguishes it from literature and other forms of art. One more important characteristic- collectivity of creativity.

There are three types of works in folklore: epic, lyrical and dramatic. Epic genres have poetic and prose forms (in literature, the epic genre is represented only by prose works). In Russian folklore, epic genres include epics, historical songs, fairy tales, traditions, legends, proverbs, sayings, and tales.

Lyrical folklore genres- these are ritual, lullabies, family and love songs, lamentations, ditties.

TO dramatic genres include folk dramas. Many folklore genres have entered literature: song, fairy tale, legend (for example, the legends of M. Gorky and the fairy tales of A. S. Pushkin).

Genres of folklore

Myth, Greek, ancient legend and the story of deities and heroes with superhuman strength, in which the beliefs and general worldview of the ancient peoples were expressed in concrete form. The collection of myths created by a people is called its mythology. The mythology of the ancient Greeks is the richest and most scientifically studied; Ch. its sources are poetic works Homer and Hesiod. Hindu, German-Scandinavian and Slavic mythologies are the subject of numerous studies. Comparative mythology aims to find common features in the process of the origin and development of beliefs and views of individual peoples. See op. Hell. Kuhn, Max Müller, Mangardt, Ed. Meyer, L. Schroeder, Orest Miller, Potebnya and others. Myth is, first of all, an ideological imprint characteristic of a certain historical period in the development of the people and/or all humanity. In the understanding of many people, these are, first of all, ancient, biblical and other ancient “fairy tales” about the creation of the world and man, as well as stories about the deeds of ancient, mainly Greek and Roman, gods and heroes - poetic, naive, and often bizarre. This “everyday”, sometimes still existing, idea of ​​​​myths in particular and of mythology in general, is to some extent the result of the earlier inclusion of ancient mythology in the circle of knowledge of European people (the word “myth” itself, Greek, means tradition, legend ); It is about ancient myths that highly artistic literary monuments have been preserved, the most accessible and well-known to a wide circle readers. Indeed, up to the 18th century. In Europe, only ancient myths were the most widespread - stories of the ancient Greeks and Romans about their gods, heroes and other fantastic creatures. The names of ancient gods and heroes became especially widely known from the Renaissance (15th - 16th centuries), when European countries interest in antiquity revived. Around the same time, the first information about the myths of the Arabs and American Indians penetrated into Europe. In the educated environment of society, it has become fashionable to use the names of ancient gods and heroes in allegorical sense: when saying “Mars” they meant war, by “Venus” they meant love, by “Minerva” - wisdom, by “muses” - various arts and sciences, etc. Mythology - 1 set of myths of a people; 2. science that studies myths. Ozhegov S.I., Shvedova N.Yu. " Dictionary Russian language" (M., "АЗЪ", 1995) About the fact that mythology is historical type worldview, says the fact that scientific approach to the study of “world religions” (Christianity, Islam, Buddhism) showed that they too are “filled” with myths. Myths about the origin of animals from people are deeply archaic (there are a lot of such myths, for example, among Australians) or mythological ideas that people were once animals. Ideas about zooanthropomorphic ancestors are common among Australians; they are colored by totemic features. Myths about the transformation of people into animals and plants are known to almost all peoples globe. Widely known ancient greek myths about hyacinth, narcissus, cypress, laurel tree (girl-nymph Daphne), about the spider Arachne, etc. Myths about the origin of the sun, month, and stars are very ancient. In some myths they are often depicted as people who once lived on earth and for some reason rose to heaven; in others, the creation of the sun (not personified) is attributed to some supernatural being. The central group of myths, at least among peoples with developed mythological systems, consists of myths about the origin of the world, the universe and man. Culturally backward peoples have few cosmogonic myths. These myths highlight two ideas - the idea of ​​creation and the idea of ​​development. According to some mythological ideas (creation, based on the idea of ​​creation), the world was created by some supernatural being - a creator god, demiurge, great sorcerer, etc., according to others ("evolutionary"), the world gradually developed from some primitive formless states - chaos, darkness, or from water, eggs, etc. Usually, theogonic subjects are woven into cosmogonic myths - myths about the origin of gods and anthropogonic myths - about the origin of people. Among the widespread mythological motifs are myths about a miraculous birth, about the origin of death; Mythological ideas about the afterlife and fate arose relatively late. Cosmogonic myths also include eschatological myths, which are found only at a relatively high stage of development - stories and prophecies about the “end of the world” (developed eschatological myths are known among the ancient Mayans and Aztecs, in Iranian mythology, in Christianity, in German-Scandinavian mythology, in Talmudic Judaism , in Islam). In the early stages of development human society myths are for the most part primitive, brief, elementary in content, lacking a coherent plot, which fully reflects the type of worldview of the society that created them. Later, on the threshold of a more complex, developed class society, more complex myths are gradually created, different in origin, mythological images and motifs are intertwined, myths turn into detailed narratives, are connected with each other, forming cycles. Thus, the comparative study of myths different nations showed that, firstly, very similar myths often exist among different peoples, in the most various parts world, and, secondly, that the very range of topics and subjects covered by myths are questions of the origin of the world, man, cultural goods, social structure, the mysteries of birth and death and others - touches on the widest, literally "global", range of fundamental issues of the universe. Folklore as the art of the people (and not an individual), an ethnic group living in a certain territory, is always local. General ethnic or national folklore develops, or rather exists, in local (regional, territorial) traditions. In this regard, folklore as a whole is correlated with a folklore work, a plot that exists in variants. Fine-expressive means of the language of folklore: the problem of specificity "shows that the specificity of the figurative and expressive means of folklore consists, as a rule, not in the uniqueness of the linguistic constructions themselves, but in "fundamentally different conditions of their use", in high degree"generalization of the folk poetic word." The analysis carried out by the author of the article allows us to consider the language of folklore as a synthesis of two “heterogeneous systemic entities- systems of local dialect of the performer, and systems of forms of organization of dialect means, that is, systems of specific canons regulating the use of these means in the folklore and creative process. Folklore studies the complex of verbal, verbal-musical, musical-choreographic, gaming and dramatic types of folk art (folklore ). Her base object serves Russian folklore, folklore of the peoples of Russia and foreign countries. The content of folkloristics is the theory, history, textual criticism of folklore; its classification and systematization; issues of its collection and archiving; the study of the interaction of folklore and professional arts; the methodology of folklore research; the history of collecting and studying folklore. For folkloristics, the development of already formed branches (such as fairy tale studies, epic studies, paremiology, ethnolinguistics, ethnomusicology) and the creation of new ones (folklore in the ethnocultural landscape, folklore and the Orthodox tradition). Philological folkloristics studies the traditional spiritual culture of the people in its linguistic expression. Area of ​​study: Theory of folklore: - creation of theoretical poetics of folklore, taking into account the specifics of folk art (traditionality, variability, multi-element, polyfunctionality), its genres and genre systems, imagery, style; - identification of the typology of folklore forms, allowing us to determine the national, regional and universal in folklore; - study of memory folklore tradition a universal property of folk poetry related to fundamental ethnic values. Consideration of Russian folklore in its unity with Ukrainian and Belarusian folklore and in the system traditional culture Slavs; - study of ethnopoetic constants of all types; - study of the forms and methods of folklore; collectivity creative process as a dialectical unity of individual and mass creativity; performing arts; - research into the creative method of folklore; - improvement of terminology (clarification of terms; use of the vocabulary of the Russian language to denote concepts). Development of the content of academic disciplines. History of folklore: - creation general history folklore; - study of the historical poetics of folklore developing over time in all its forms (verbal, musical, plastic); - reconstruction of archaic folklore that preceded the formation of folklore artistic creativity; archetypes in time; - the study of classical folklore as a system, as well as its genres and types (ritual poetry, proverbs, riddles, fairy tales, traditions, legends, demonological stories, epics, historical songs, ballads, spiritual poems, lyrical songs, theatrical performances, works for children); the development of branches of folkloristics specializing in the study of individual genre systems (fairy tale studies, epic studies, paremiology) and the creation of new ones; - the study of late traditional folklore as a set of heterogeneous works of different genres; analysis modern forms folklore; - study of folklore relationships and mutual influences at all levels: inter-genre, intra-genre, semantic, figurative, stylistic; - identification of interethnic folklore connections, communities and isoglosses; - consideration of folk art in cultural context, ethnographic, historical and natural-geographical environment (folklore in the ethnocultural landscape). Textology of folklore: - textual clarification of the concept of “folklore” as a phenomenon of a multidimensional nature (the connection of the word with gesture, facial expressions, intonation, music, dramatic play, costume); - study of the specifics of folklore text (variant, edition, version, archetype, invariant, hypertext); - development of principles and methods of textual examination of folklore texts; - development and improvement of rules for the scientific publication of folklore texts (supplementing the printed word and notes with audio and video recordings). Classification and systematization of folklore: - verbal, musical, choreographic folklore (clarification of the scope of sections); - development of philological classifications and systematization: ritual and non-ritual folklore; its types, types, genres; classification and systematization of plots and other elements of poetics; - creation of folklore indexes for all genres; continuation of work on indexes of fairy tales, epic songs, non-fairy-tale prose, spells, lyric poetry; - development of indexes different types: chronological, thematic, based on the material of one people, related peoples, international, regional and others; - typology and semiotics of folklore forms; - development of principles of formal systematization of folklore using computer technology. Folk poetry dates back to ancient times, when people did not know how to write, so naturally it was characterized by oral form expressions. The genres of folklore in their totality represent the historically established artistic system, in which all types of works are in complex and unique relationships and interactions: (mutual influence, mutual enrichment, adaptation to each other) A unique form of interaction between folklore genres is the inclusion of works of one genre in the work of another. Thus, in ancient times epics were performed to the accompaniment of the gusli. Chatushkas are still performed to the accordion or balalaika. Often the song is accompanied by a dance. All this is a manifestation of the synthetic nature of folklore. The historically established system of folklore genres subsequently undergoes changes: it can develop, improve, be enriched, but it can also disintegrate. LYRICS (from the Greek lira - an ancient Greek stringed musical instrument, to the sounds of which songs and poems were performed). Songs: seasonal, Maslenitsa, drawn-out lyrical (love, family and everyday life, about recruiting and soldiering, daring (robber)), historical, ballad, game round dance and dance. Small folklore forms (genres). The poetry of nurturing: lullabies, pesters, nursery rhymes, jokes, boring tales. Everyday folklore: chants, sayings, teasers. Amusing folklore: jokes, tongue twisters, upside-down fables, riddles. Game folklore: games, counting rhymes. Proverbs, sayings. EPOS (from the Greek epos - word, narration, story). Fairytale epic. Fairy tales: heroic, social-class, family (pedagogical). Tales about animals: the struggle of predators among themselves; the struggle of a weak animal with a predator; fight between man and beast. Novellistic (everyday) tales: anecdotal, satirical (anti-lord, anti-royal, anti-religious), fairy tales-competitions, fairy tales-ridicule. A fabulous epic. Historical legends, legends, stories, tales. Epic poetic genres. Epics, historical songs (early), ballads. DRAMA (from the Greek drama - action). For many centuries, folklore theater played an important role in the spiritual life of the Russian people, responded to the topic of the day, and was an integral part of festive folk festivals and, undoubtedly, my favorite spectacle. Folklore theater in in a broad sense words are unprofessional, but in the history of its formation, buffoons - ancient Russian folk actors - professionals played a certain role. In Rus' there were sedentary and traveling buffoons. Sedentary people lived in villages and cities, where they were prominent figures at ritual games and festivals thanks to the art of playing the musical instruments, singing and dancing. Traveling buffoons usually performed on days of public entertainment. They are associated with such types of folk theater as bear fun and Parsley. Folklore theater is the most capacious and precise concept that defines folk theater and dramatic art. It includes a set of theatrical phenomena in folklore - the performance of folklore dramas by folk performers, puppet and heavenly performances, the verdicts of farcical grandfathers.

Folklore genres

Myth, Greek, ancient legend and narrative about deities and heroes with superhuman strength, in which the beliefs and general worldview of the ancient peoples were expressed in concrete form. The collection of myths created by a people is called its mythology. The mythology of the ancient Greeks is the richest and most scientifically studied; Ch. its sources are the poetic works of Homer and Hesiod. Hindu, German-Scandinavian and Slavic mythologies are the subject of numerous studies. Comparative mythology has as its task to find common features in the process of origin and development of beliefs and views of individual peoples. See op. Hell. Kuhn, Max Müller, Mangardt, Ed. Meyer, L. Schroeder, Orest Miller, Potebnya, etc. Myth is, first of all, an ideological imprint characteristic of a certain historical period in the development of a people and/or all of humanity. In the understanding of many people, these are, first of all, ancient, biblical and other ancient “fairy tales” about the creation of the world and man, as well as stories about the deeds of ancient, mainly Greek and Roman, gods and heroes - poetic, naive, and often bizarre. This “everyday”, sometimes still existing, idea of ​​​​myths in particular and of mythology in general, is to some extent the result of the earlier inclusion of ancient mythology in the circle of knowledge of European people (the word “myth” itself, Greek, means tradition, legend ); It is precisely about ancient myths that highly artistic literary monuments have been preserved, the most accessible and known to the widest circle of readers. Indeed, up to the 18th century. In Europe, only ancient myths were the most widespread - stories of the ancient Greeks and Romans about their gods, heroes and other fantastic creatures. The names of ancient gods and heroes became especially widely known since the Renaissance (15th - 16th centuries), when interest in antiquity revived in European countries. Around the same time, the first information about the myths of the Arabs and American Indians penetrated into Europe. In the educated environment of society, it became fashionable to use the names of ancient gods and heroes in an allegorical sense: when saying “Mars” they meant war, by “Venus” they meant love, by “Minerva” - wisdom, by “muses” - various arts and sciences, etc. .d.

Mythology - 1 set of myths of a people; 2. science that studies myths.

Ozhegov S.I., Shvedova N.Yu. “Explanatory Dictionary of the Russian Language” (M., “AZ”, 1995) The fact that mythology is a historical type of worldview is evidenced by the fact that the scientific approach to the study of “world religions” (Christianity, Islam, Buddhism) has shown that they are "filled" with myths. Myths about the origin of animals from people are deeply archaic (there are a lot of such myths, for example, among Australians) or mythological ideas that people were once animals. Ideas about zooanthropomorphic ancestors are common among Australians; they are colored by totemic features. Myths about the transformation of people into animals and plants are known to almost all peoples of the globe. The ancient Greek myths about hyacinth, narcissus, cypress, laurel tree (the nymph girl Daphne), the spider Arachne, etc. are widely known.

There are very ancient myths about the origin of the sun, month, and stars. In some myths they are often depicted as people who once lived on earth and for some reason rose to heaven; in others, the creation of the sun (not personified) is attributed to some supernatural being. The central group of myths, at least among peoples with developed mythological systems, consists of myths about the origin of the world, the universe and man. Culturally backward peoples have few cosmogonic myths. These myths highlight two ideas - the idea of ​​creation and the idea of ​​development. According to some mythological ideas (creation, based on the idea of ​​creation), the world was created by some supernatural being - a creator god, demiurge, great sorcerer, etc., according to others ("evolutionary"), the world gradually developed from some primitive formless states - chaos, darkness, or from water, eggs, etc. Usually, theogonic subjects are woven into cosmogonic myths - myths about the origin of gods and anthropogonic myths - about the origin of people. Among the widespread mythological motifs are myths about a miraculous birth, about the origin of death; Mythological ideas about the afterlife and fate arose relatively late. Cosmogonic myths also include eschatological myths, which are found only at a relatively high stage of development - stories and prophecies about the “end of the world” (developed eschatological myths are known among the ancient Mayans and Aztecs, in Iranian mythology, in Christianity, in German-Scandinavian mythology, in Talmudic Judaism , in Islam).

In the early stages of the development of human society, myths are for the most part primitive, brief, elementary in content, lacking a coherent plot, which fully reflects the type of worldview of the society that created them. Later, on the threshold of a more complex, developed class society, more complex myths are gradually created, different in origin, mythological images and motifs are intertwined, myths turn into detailed narratives, are connected with each other, forming cycles. Thus, a comparative study of the myths of different peoples has shown that, firstly, very similar myths often exist among different peoples, in the most different parts of the world, and, secondly, that the very range of topics and subjects covered by myths are questions the origin of the world, man, cultural goods, social structure, the mystery of birth and death and others - touches on the widest, literally “global” range of fundamental issues of the universe.

Folklore as the art of a people (and not an individual), an ethnic group living in a certain territory, is always local.

General ethnic or national folklore develops, or rather exists, in local (regional, territorial) traditions. In this regard, folklore as a whole is comparable to a folklore work, a plot that exists in variants.

Fine-expressive means of the language of folklore: the problem of specificity "shows that the specificity of the figurative and expressive means of folklore consists, as a rule, not in the uniqueness of the linguistic structures themselves, but in the "fundamentally different conditions of their use", in the high degree of "generalization of the folk poetic word." The analysis carried out by the author of the article allows us to consider the language of folklore as a synthesis of two “heterogeneous systemic formations - the system of the local dialect of the performer, and the system of forms of organization of dialect means, that is, a system of specific canons regulating the use of these means in the folklore and creative process.

Folklore studies a complex of verbal, verbal-musical, musical-choreographic, gaming and dramatic types of folk art (folklore). Its basic object is Russian folklore, the folklore of the peoples of Russia and foreign countries. The content of folklore studies is the theory, history, textual criticism of folklore;

its classification and systematization;

issues of its collection and archiving;

studying the interaction between folklore and professional arts;

methodology of folklore research;

history of collecting and studying folklore.

For folkloristics, it is important to develop already established branches (such as fairy tale studies, epic studies, paremiology, ethnolinguistics, ethnomusicology) and create new ones (folklore in the ethnocultural landscape, folklore and Orthodox tradition). Philological folkloristics studies the traditional spiritual culture of the people in its linguistic expression.

Field of study:

Theory of folklore: - creation of theoretical poetics of folklore, taking into account the specifics of folk art (traditionality, variability, multi-element, multifunctionality), its genres and genre systems, imagery, style; - identification of the typology of folklore forms, allowing us to determine the national, regional and universal in folklore; - study of the memory of folklore tradition, a universal property of folk poetry related to fundamental ethnic values. Consideration of Russian folklore in its unity with Ukrainian and Belarusian folklore and in the system of traditional culture of the Slavs; - study of ethnopoetic constants of all types; - study of the forms and methods of folklore; collectivity of the creative process as a dialectical unity of individual and mass creativity; performing arts; - research into the creative method of folklore; - improvement of terminology (clarification of terms; use of the vocabulary of the Russian language to denote concepts). Development of the content of academic disciplines.

History of folklore:

creation of a general history of folklore;

study of the historical poetics of folklore developing over time in all its forms (verbal, musical, plastic);

reconstruction of archaic folklore that preceded the formation of artistic creativity itself; archetypes in time;

the study of classical folklore as a system, as well as its genres and types (ritual poetry, proverbs, riddles, fairy tales, traditions, legends, demonological stories, epics, historical songs, ballads, spiritual poems, lyrical songs, theatrical performances, works for children); the development of branches of folkloristics specializing in the study of individual genre systems (fairy tale studies, epic studies, paremiology) and the creation of new ones;

study of late traditional folklore as a collection of heterogeneous works of different genres; analysis of modern forms of folklore;

research of folklore relationships and mutual influences at all levels: inter-genre, intra-genre, semantic, figurative, stylistic;

identification of interethnic folklore connections, communities and isoglosses;

consideration of folk art in the context of the cultural, ethnographic, historical and natural-geographical environment (folklore in the ethnocultural landscape).

Textology of folklore:

textual clarification of the concept of “folklore” as a phenomenon of a multidimensional nature (the connection of the word with gesture, facial expressions, intonation, music, dramatic play, costume);

studying the specifics of a folklore text (variant, edition, version, archetype, invariant, hypertext);

development of principles and methods of textual examination of folklore texts;

development and improvement of rules for the scientific publication of folklore texts (supplementing the printed word and notes with audio and video recordings).

Classification and systematization of folklore:

Folklore verbal, musical, choreographic

(clarification of the scope of sections);

Development of philological classifications and systematization: ritual and non-ritual folklore; its genera, types, genres;

classification and systematization of plots and other elements of poetics;

Creation of folklore indexes for all genres; continuation of work on indexes of fairy tales, epic songs, non-fairy-tale prose, spells, lyric poetry;

Development of indexes of various types: chronological, thematic, based on material of one people, related peoples, international, regional and others;

Typology and semiotics of folklore forms;

Development of principles for formal systematization of folklore using computer technology.

Folk poetry dates back to ancient times, when people did not know how to write, so naturally it was characterized by an oral form of expression. Folklore genres in their totality represent a historically established artistic system in which all types of works are in complex and unique relationships and interactions: (mutual influence, mutual enrichment, adaptation to each other) A unique form of interaction between folklore genres is the inclusion of works of one genre in the work of another. Thus, in ancient times epics were performed to the accompaniment of the gusli. Chatushkas are still performed to the accordion or balalaika. Often the song is accompanied by a dance. All this is a manifestation of the synthetic nature of folklore.

The historically established system of folklore genres subsequently undergoes changes: it can develop, improve, be enriched, but it can also fall apart.

LYRICS (from the Greek lira - an ancient Greek stringed musical instrument, to the sounds of which songs and poems were performed).

Songs: seasonal, Maslenitsa, drawn-out lyrical (love, family and everyday life, about recruiting and soldiering, daring (robber)), historical, ballad, game round dance and dance.

Small folklore forms (genres). Poetry of nurturing: lullabies, nurseries, nursery rhymes, jokes, boring fairy tales. Everyday folklore: chants, sayings, teasers. Amusing folklore: jokes, tongue twisters, upside-down fables,

Riddles. Play folklore: games, counting rhymes. Proverbs, sayings.

EPOS (from the Greek epos - word, narrative, story). Fairytale epic. Fairy tales: heroic, social-class, family (pedagogical). Tales about animals: the struggle of predators among themselves; the struggle of a weak animal with a predator; fight between man and beast. Novellistic (everyday) tales: anecdotal, satirical (anti-lord, anti-royal, anti-religious), fairy tales-competitions, fairy tales-ridicule. A fabulous epic. Historical stories, legends, stories, stories. Epic poetic genres. Epics, historical songs (early), ballads.

DRAMA (from the Greek drama - action). For many centuries, folk theater played an important role in the spiritual life of the Russian people, responded to the topic of the day, was an integral part of festive folk festivities and, undoubtedly, its favorite spectacle. Folklore theater in the broad sense of the word is unprofessional, but in the history of its formation, buffoons - ancient Russian folk actors - professionals played a certain role. In Rus' there were sedentary and traveling buffoons. The settled people lived in villages and cities, where they were prominent figures at ritual games and festivals thanks to the art of playing musical instruments, singing and dancing. Traveling buffoons usually performed on days of public entertainment. They are associated with such types of folk theater as bear fun and Parsley.

Folklore theater is the most capacious and precise concept that defines folk theater and dramatic art. It includes a set of theatrical phenomena in folklore - the performance of folklore dramas by folk performers, puppet and heavenly performances, the verdicts of farcical grandfathers.

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