Why study folklore. What is folklore in literature? genres of folklore. Folklore is the harmony of the inner world
Literature is the art of the word. But there is another type of verbal art - oral folk art (oral literature, oral literature), or folklore. Folklore has specific features which is not found in fiction. The first chapter is devoted to their consideration.
1. FOLKLORE AND FOLKLORE
The international term "folklore" appeared in England in the middle of the 19th century. It comes from English. folk-lore ("folk knowledge", " folk wisdom") and denotes folk spiritual culture in a different volume of its types.
Folklore is the subject of study of various sciences. Musicologists study folk music, choreographers study folk dances, rituals and other spectacular forms. folk art- theater critics, folk arts and crafts - art critics. Linguists, historians, psychologists, sociologists and other scientists turn to folklore. Each science sees in folklore what interests it. Particularly significant is the role of ethnology (from the Greek ethnos: "people" + logos: "word, teaching") - a science that pays much attention to people's life 1 .
For philologists, folklore is important as the art of the word. Philological folklore studies the totality of oral works of art of different genres, created by many generations of the people.
Folk verbal creativity was kept in the memory of people; in the process of communication, works passed from one to another and were not recorded. For this reason, folklorists should be engaged in so-called "field work" - go on folklore expeditions to identify performers and record folklore from them. Recorded texts of oral folk works (as well as photographs, tape recordings, diaries of collectors, etc.) are kept in folklore.
1 Previously, this science was called ethnography. Both terms (ethnology and ethnography) are used as synonyms.
lore archives. Archival materials can be published, for example, in the form of folklore collections.
When a folklorist is engaged in the theoretical study of folklore, he uses both published and archival records of folk works.
2. SPECIFICITY OF FOLKLORE
Folklore has its own artistic laws. The oral form of creation, distribution and existence of works is the main feature that gives rise to the specifics of folklore, causes its difference from literature.
2L. traditional
Folklore is mass creativity. Works of literature have an author, works of folklore are anonymous, their author is the people. In literature there are writers and readers, in folklore there are performers and listeners.
Oral works were created according to already known patterns, even including direct borrowings. The speech style used constant epithets, symbols, comparisons and other traditional poetic means. The works with a plot were characterized by a set of typical narrative elements, their usual compositional combination. In the images of folklore characters, the typical also prevailed over the individual. The tradition required the ideological orientation of the works: they taught goodness, contained the rules of human behavior in life.
Common in folklore is the main thing. Storytellers(performers of fairy tales), peselniki(songwriters) storytellers(performers of epics), wailers(performers of lamentations) sought, first of all, to convey to the listeners what corresponded to the tradition. The repeatability of the oral text allowed for its changes, and this allowed an individual talented person to express himself. There was a multiple creative act, co-creation, in which any representative of the people could be
participant.
The development of folklore was promoted by the most talented people endowed with artistic memory and creative gift. They were well known and appreciated by those around them (remember the story of I. S. Turgenev "Singers").
The oral artistic tradition was the common stock. Each person could choose for himself what he needed.
In the summer of 1902, M. Gorky observed in Arzamas how two women - a maid and a cook - composed a song (the story "How the song was composed").
“It was in a quiet Arzamas street, before evening, on a bench at the gate of the house in which I lived. The city was dozing in the hot silence of June weekdays. talking to the maid<...>Suddenly, Ustinya says smartly, but businesslike: "Come on, Mashutka, tell me..." - "What is it?" - "Let's put down the song ..." And, sighing noisily, Ustinya quickly sings:
"Oh, yes, on a white day, in a clear sun,
Bright night, with a month ... "
Hesitantly groping for a melody, the maid sings timidly, in an undertone:
"I'm restless, young girl..."
And Ustinha confidently and very touchingly brings the melody to the end:
"All the sadness of the heart toils ..."
She finished and immediately spoke merrily, a little boastfully: “So it began, the song! bells, she again deftly played with words and sounds:
"Oh, yes, no fierce blizzards in winter,
Not in the spring streams are cheerful ... "
The maid, moving close to her, ... already bolder, in a thin trembling voice continues:
"They do not inform from their native side
Comforting news to the heart ... "
“Well, that’s it!” Ustinya said, slapping her knee with her palm. “But I was younger, I composed songs even better! will it be next?" "I don't know," said the maid, opening her eyes, smiling.<...>
"The lark sings over the fields,
Cornflowers-flowers in the fields bloomed, "-
Ustinya sings thoughtfully, arms folded across her chest, looking up at the sky, and the maid echoes gracefully and boldly:
"Look at the native fields!"
And Ustinya, skillfully maintaining a high, swaying voice, spreads like velvet soulful words:
"Walk with a dear friend, through the forests!"
When they finish singing, they are silent for a long time ... then the woman says quietly, thoughtfully: "Did they put the song together badly? It's all good, after all."
1 Gorky M. Sobr. cit.: In 30 volumes - T. 11. - M., 1951. - S. 290-293.
Not everything newly created was preserved in oral existence. Repeatedly repeated fairy tales, songs, epics, proverbs and other works passed "from mouth to mouth, from generation to generation." Along the way, they lost what bore the stamp of individuality, but at the same time revealed and deepened what could satisfy everyone. The new was born only on a traditional basis, while it had to not just copy the tradition, but supplement it.
Folklore was presented in its regional modifications: folklore central Russia, the Russian North, the folklore of Siberia, the folklore of the Don, etc. However, local specificity has always had a subordinate position in relation to the general Russian properties of folklore.
In folklore, a creative process constantly proceeded, which supported and developed the artistic tradition.
With the advent of written literature, folklore entered into interaction with it. Gradually, the influence of literature on folklore increased more and more.
In the oral creativity of the people, its psychology (mentality, mentality) is embodied. Russian folklore is related to the folklore of the Slavic peoples.
The national is part of the universal. Folklore contacts arose between peoples. Russian folklore interacted with the folklore of neighboring peoples - the Volga region, Siberia, Central Asia, the Baltic states, the Caucasus, and so on.
2.2. Syncretism
The artistic principle won in folklore not immediately. In ancient society, the word merged with the beliefs and everyday needs of people, and its poetic meaning, if any,
was not realized.
Residual forms of this state were preserved in rituals, incantations and other genres of late folklore. For example, a round dance game is a complex of several artistic components: words, music, facial expressions, gesture, dance. All of them can exist only together, as elements of a whole - a round dance. Such a property is usually denoted by the word "syncretism" (from the Greek synkretismos - "connection").
As time went on, syncretism historically faded away. Different types the arts overcame the state of primitive indivisibility and stood out on their own. In folklore, their late compounds began to appear - synthesis.
The oral form of assimilation and transmission of works made them open to change. There were no two completely identical performances of the same piece, even when there was only one performer. Oral works had a mobile, variant nature.
Variant (from Latin variantis - "changing") - each single performance of a folk work, as well as its fixed text.
Since a folklore work existed in the form of multiple performances, it existed in the aggregate of its variants. Any variant was different from others, told or sung at different times, in different places, in different environments, by different performers or by one (repeatedly).
Oral folk tradition sought to preserve, to protect from oblivion what was most valuable. The tradition kept the changes of the text within its boundaries. For variants of a folklore work, it is important what is common, repeated, and secondary, how they differ from one another.
Let us turn to the variants of the riddle about the sky and the stars. They were recorded in different provinces - Moscow, Arkhangelsk, Nizhny Novgorod, Novgorod, Pskov, Vologda, Samara, etc. (see Reader).
The artistic basis of the riddle is a metaphor: something crumbled, and his do not collect. Metaphor is mobile. From the options, we learn what exactly could crumble. As it turns out, crumbled peas (peas), beads, carpet, ship, cathedral. It is usually noted where this happened: along a hundred roads; at our gates; on matting; in all cities, in all suburbs; over the mosses, over the seas; on twelve sides. In one of the options, a narrative preamble arises, explaining the circumstances of what happened:
There was a girl from St. Petersburg, Carrying a jug of beads; She scattered it<...>
Finally, those to whom the scattered do not collect: the king. Queen, red maiden, white fish(symbol of the girl-bride), clerks (dumny clerks), priests, silversmiths, princes, smart peasants, literate people, us fools. Mention silversmiths hints at a hidden comparison: money, coins scattered. white fish talks about interaction with wedding poetry. In one of the options, the impossibility of collecting the crumbling is emphasized paradoxically - with the help of the statement:
One God will gather
Stores in boxes.
God resembles an economic peasant with box, intolerant of loss and disorder. Since only God can collect what has crumbled, it means that no one else can. In another version, tools are named (broom, shovel) which will not help in this situation. So, in the riddle of the sky and the stars, there are stable and variable elements. Resistant function(disintegration) and its consequence(impossibility to collect). All other elements are variable. Some of the variable elements are mandatory (what was scattered; the place where it was scattered; those who cannot collect what was scattered). Along with this, optional variable elements arose singly (under what circumstances did something fall apart, by what means it was impossible to assemble it).
Despite the strength and power of tradition, variation could still go quite far, express some new creative trend. Then was born a new version folklore work.
Version (from Latin versare - "modify") - a group of options that give a qualitatively different interpretation of the work.
For example, among the variants of the riddle we have considered, there is the following: A letter was written On blue velvet, And neither the priests nor the clerks can read this letter. Not smart men. This is already a new version, since the stable element of the puzzle ( crumbled- not collect) took on a different form written- do not read).
As you can see, the differences between the versions are deeper and more significant than the differences between the variants. Variants are grouped into versions according to the degree of similarity and the range of differences.
Variation is a way of existence of folklore tradition. The idea of an oral work can only be formed on the basis of taking into account as many of its variants as possible. They must be considered not in isolation, but in comparison with each other.
There are no and cannot be "right" or "wrong" variants in the oral tradition - it is mobile in its essence. There are variants of both high and low artistic quality, expanded or compressed, etc. They are all important for understanding the history of folklore, the processes of its development.
When recording a folklore work, if it is for scientific purposes, certain requirements must be observed. The collector is obliged to accurately reproduce the text of the performer, and the recording made by him must have the so-called "passport" (indication - who, where, when and from whom recorded this option). Only in this case the variant of the work will find its place in space and time and will be useful for studying folklore.
2.4. Improvisation
The variability of folklore could practically be realized thanks to improvisation.
Improvisation (from lat. 1PrgoU180 - "unforeseen, suddenly") - the creation of the text of a folklore work, or its individual parts, in the process of performance.
Between acts of performance, a folklore work was kept in memory. Each time the text is voiced, it is as if born anew. The performer improvised. He relied on the knowledge of the poetic language of folklore, selected ready-made artistic components, and created their combinations. Without improvisation, the use of speech "blanks" and the use of oral poetic techniques would be impossible.
Improvisation did not contradict tradition, on the contrary, it existed precisely because there were certain rules, an artistic canon.
The oral work obeyed the laws of its genre. The genre allowed for this or that mobility of the text, set the boundaries of fluctuation.
In different genres, improvisation manifested itself with greater or lesser force. There are genres focused on improvisation (lamentations, lullabies), and even those whose lyrics were one-off (fair cries of merchants). In contrast, there are genres designed for accurate memorization, therefore, as if not allowing improvisation (for example, conspiracies).
Improvisation carried a creative impulse, generated novelty. It expressed the dynamics of the folklore process.
3. FOLKLORE AS ARTISTIC SYSTEM
Folklore is a single artistic system with stylistic canons, rich in figurative universalism.
Folklore is also a system of systems. Like literature, it is divided into poetic genera: epic, lyric, drama. Genera are divided into types (song, fairy tale, non-fairy prose, etc.), and types are divided into genres. Some genres have a combination of features of different kinds (lyric epic songs). If the classification is based on the mode of existence of works, then folklore will be divided into ritual and extra-ritual. On the basis of volume, small genres are distinguished.
Genre is the basic unit of study of folklore. According to V.P. Anikin’s definition, each genre is a typical structural model that has the ability to realize a certain life attitude. In the oral folk poetic tradition, genres are interconnected and interact.
Many genres are universal (for example: proverbs, riddles, fairy tales, legends, epic songs). Being perfect forms of artistic assimilation of reality, they lived for centuries in the folklore of different peoples.
Folklore evolved depending on changes in everyday life, social life people and their minds. Many elements of folklore changed, processed, transformed. There was a gradual replacement of the outdated system of genres with a new artistic system.
Russian folklore has its own history. Its roots go back to the ancient Slavic period, and then to the times of a single ancient Russian people. The feudal era led to the flowering of classical folklore. Later, urban folklore appeared, the folklore of industrial workers, and so on.
Early traditional folklore, classical folklore, post-traditional folklore are artistic systems that historically replaced one another.
4. THE CREATIVE METHOD OF FOLKLORE
The method is a way to establish the relationship between reality and its display in art.
The creative method of folklore developed gradually, its formation proceeded in line with the continuity of the oral tradition. The poetic experience of the people accumulated from century to century.
Folklore is the art of large generalizations, which has a very high level of typification. It combines the direct reflection of life with the conventional. Folklore is characterized by associativity, thinking by analogy, symbolism.
The creative method of folklore V. P. Anikin proposed to call "sublimating"! The scientist wrote: "The Latin word
sublemare- "uplift" is used here metaphorically. In a special technical language, it means a direct transition solid body when heated to a gaseous state. The usual transition to a gas is accompanied by an intermediate liquid state. Sublimation allows a solid to pass into a gas, bypassing the liquid state. In a similar way, folklore art, in the process of realizing the facts, bypasses the stage of plausibility, passes to the level of such a broad generalization that plausibility becomes a burden for it.<...>There is no compulsory reflections of life in the form of life itself, convention is allowed" 1 .
Thus, the sublimating method is a special artistic view of the world, which gives rise to a special way of typifying life phenomena. The creative thought of the people cut off everything superfluous. The path of ascent from life facts to their generalization was short, without intermediate links. Poetic generalizations acquired universal properties in folklore.
recreating real life, the people-artist transformed it in the spirit of his ideal.
LITERATURE TO THE TOPIC
Veselovsky A. N. Historical poetics / Ed., entry. Art. and note. V. M. Zhirmunsky. - L., 1940.
Chicherov V. Questions of the theory and history of folk art. - M., 1959.
Principles of textual study of folklore. - M.; L., 1966.
Bogatyrev P. G. Questions of the theory of folk art. - M., 1971.
Propp V. Ya. Folklore and Reality: Selected. articles. - M., 1976.
Chistov K.V. Folk Traditions and Folklore: Essays on Theory. - L., 1986.
Potebnya A. A. theoretical poetics. - M., 1990.
East Slavic folklore: Dictionary of scientific and folk terminology / Editorial board: K. P. Kabashnikov (responsible editor) and others - Minsk, 1993.
Gusev V. E. Russian folk art culture (theoretical essays). - St. Petersburg, 1993.
Putilov B. N. Folklore and folk culture. - SPb., 1994.
Anikin V.P. Tethys of folklore: a course of lectures. - M., 1996.
1 Anikin V.P. folklore theory. - M., 1996. - S. 172.
Tell me, have you ever sung a lullaby to your baby from the repertoire of Zemfira or Philip Kirkorov? That's right, it didn't even cross your mind.
We sing to our children uncomplicated, so simple and so beloved songs that our mothers sang to us, and our grandmothers sang to them, which were sung from generation to generation, for centuries, and they have come down to us. And this is part of Russian folklore.
What values have become a priority in modern families? First of all, those that, according to young parents, will help the child survive in a difficult time in a difficult world. Often we forget that there can be no harmonious personality without all-round development, and we miss its main component - emotional, moral.
During the first years of life, the child lives not by reason, but by emotions, through which his first knowledge of life takes place. And very great importance has how and what he hears and sees around him. The first impressions of a child are the cozy tenderness of mother's hands and her voice. A soft, unhurried lullaby, funny pestles, when the mother plays with the baby, saying rhymes, disturbing him, making him laugh and filling him with positive emotions.
Such folklore forms were created by whole generations, constantly replenished with new shades, they carry wisdom and great educational value.
Through children's songs, sayings, counting rhymes, the child learns the first moral concepts- empathy, kindness, responsiveness. Speaking of musical folklore, we mean not only oral song forms, but also the characteristic rhythmic pattern of folk dance. Involving children in folk outdoor games, we teach them not only to navigate in space, to move, to develop coordination, but also to accept the general rules of the game.
For older children, who no longer only listen and memorize folk songs and jokes, folklore is of great importance in the development of their creative beginnings. When playing folk music games, children try to bring their own fantasies into the game, endowing their characters with new features or qualities.
Speaking about folk music, I would call it “natural”, so harmoniously and consistently it can lead children through the stages of their development, give each of them the knowledge and concepts that they need at this particular age.
Children will be especially interested in folklore holidays that our ancestors celebrated every year, for example, Christmas, because there are so many songs, games and traditions associated with it!
To book a ticket, you must complete registration form, but you can get to the performance only by purchasing a ticket in advance (.
Price:
with advance payment – adult + child ticket - 1100 rubles, additional ticket - 550 rubles.
when paying on the spot (subject to availability) – adult + child ticket - 1300 rubles, additional ticket - 650 rubles.
All questions by phone: 8916-2656147.
Several decades artistic director of the Radeyushka Folklore Theater Zinaida Popova dedicated to preserving and reviving the folklore traditions of the Russian North.
“The Soul of Russia award is a merit of the entire choir,” she says. We are one family in which everyone supports each other. There are women in our theater who came 30 and even 40 years ago. Young people come to us, and we are always glad to see them. In general, I believe that those who sing folklore and love folk songs will definitely grow up to be good people.”
Where are the traditions?
Anna Nechai, AiF-Arkhangelsk: Your theater performs both in Russia and abroad. Where does the viewer take it best?
Zinaida Popova: Of course, in Russia the audience is better received. I remember we performed in Germany, and so the Germans kept wanting to hear the translation of the songs, and were surprised that we were singing more and more about sad things. When we perform in Russia, the second half of the concert is dedicated to the fact that we sing songs together with the audience. At these moments, people even cry. They miss the folk song. Judge for yourself, on TV it is often difficult to hear a song even in Russian, and not something that is folk. I remember someone said: “When the people stop singing, then the nation disappears!” And I completely agree with this. And now people just began to sing less. Remember how they used to gather at the table? Be sure to start a song. It was very close and united. Where is this tradition now? It is necessary to revive the customs of the ancestors, to return to their roots. Our Russian song is the soul of the people. Hearing it, you can imagine and understand all your life.
- On the streets of the city, we constantly see posters of the capital's stars. Why are there no Radeyushka posters?
We give big concerts twice a year, we go to schools and kindergartens. We are in demand even without advertising. The only pity is that today there are no large sites for amateur performances in the city. Although, we have already been promised to allocate one, it remains to wait.
By the way, we have another problem. So, for example, we often sing in the "Small Korely" on holidays. People come up, ask to perform songs, for example, "Victory Day", but we can't. The Russian Authors' Society allows only folklore to be sung. With such prohibitions, you can stop singing altogether. And something needs to be done about it.
Concerts of "Radeyushka" always gather full houses. Photo: From the personal archive of Z. Popova
Fur coats instead of concerts
- Here we all talk about mass sports. And what is needed to bring culture to the masses?
First, you need to communicate with people, be closer to them. For example, it is important to perform not only on the big stage, but also in small halls, where you find yourself face to face with the audience. We used to have such concerts at the Marfin House, but now they sell fur coats there. It's a shame. Here, take the same villages. People just have nothing to do. There is no work, no cultural life either. The clubs have very poor funding, if there are any circles, then they are paid. And at the same time, there is a craving for art, for beauty, but it simply is not realized. So it turns out that people flee the villages, and those who stay often just start drinking.
It is said that the hardest times for culture were the 90s, when many lost viewers due to the fact that people relegated culture to the background. Did you feel it yourself?
In fact, at any time the viewer is drawn to the spectacle. I do not remember that we performed in front of empty halls. There were always people at our concerts, including in the 90s. Even in remote villages, we collected halls. And many, here, for example, call the 80s stagnant, and I call them "golden". How much we then traveled around the country! Almost all of the Golden Ring traveled. Were in Kaliningrad, Syktyvkar, Minsk, etc. And today our choir is loved and well received everywhere.
Dossier:
Zinaida Popova was born in the village of Udimsky, Kotlassky district, Arkhangelsk region. She has been interested in singing and dancing since childhood. Arriving in Arkhangelsk, she entered the studio of the Northern Choir. Since 1979 he has been artistic director of the Radeyushka Folklore Theatre.
Level literary work determine many components: the scale of the idea, the quality of the text, the variety of artistic techniques, the originality of the author and the originality of the solution of the topic, etc. The same writers who take on works of large form also need courage. Because when a modern author decides on such a feat, he always keeps in mind the best examples of Russian and Soviet epic prose. 
Heading in the newspaper: Nostalgia for summer residents, No. 2020/9, 03/12/2020
A new edition, the like of which has not yet existed in nature - the almanac "Literary Peredelkino" - is dedicated to various aspects of the history of the famous writer's town. And this is all the more important and relevant, since at present Peredelkino has largely lost its former “face”. So, the famous House of Creativity in general "ordered a long life." 
Newspaper heading: Ballet of the Future, No. 2020/9, 03/12/2020
At the Academy of Russian Ballet named after A.Ya. Vaganova held an international casting "Ballet of the Future". Casting is a chance for future ballet stars. This project has never been held before in Russia and CIS countries. Its main goal is to find the best of the best young ballet dancers and graduates of ballet schools. The head of the Ballet of the Future project is the artistic director of the Novosibirsk Academic Opera and Ballet Theater Denis Matvienko.Contest "My mother tongue"
author: Natalia AMINA-POLOZYUK (MAKHACHKALA)
The fate of the Khanty compatriot
Heading in the newspaper: The life of nationalities: in search of harmony, No. 2020/9, 12.03.2020
Over time, you feel the need to be heard. To tell the story of Ugra and people who live firmly in the memory. Not a single photograph, not a single television piece can convey the images of impressed people. But as soon as you close your eyes and give up at least a little from business, all the details will be remembered, cute stories will arise, alas, impossible in reality. 
Heading in the newspaper: The life of nationalities: in search of harmony, No. 2020/9, 12.03.2020
Who only was not a mirror for this / for long years in the service in the restroom: / it was also a brave general - / everything in orders and medals, in stripes;Why I undertook to translate the poets of the Caucasus
author: Yuri IVANOV (v. BARDOVO, Pskov region)
Heading in the newspaper: The life of nationalities: in search of harmony, No. 2020/9, 12.03.2020
When a Russian person is unwell, he recalls the proverb: "I will go to Moscow to dispel melancholy." And when is the creative stagnation of the Russian poet? Then the poet, following the example of the classics, turns his gaze to the Caucasus. Translations of authors from the Caucasus! The systematic work of translators collapsed with Soviet power, and this is now a purely personal matter. So I decided to turn to my friend from Nalchik, the famous prose writer (and now also a poet) Igor Terekhov with a request: does he have in mind any of the local authors who can be asked for poems for translation? 
Heading in the newspaper: Prose, No. 2020/9, 03/12/2020
Marat was lying on the wooden flooring of the gazebo, flicking his father's lighter and waiting for Friday. The guests are coming on Friday. Big, soft Aunt Rosa, Uncle Igor with a newspaper under his arm, their daughter Natasha, grandmother and many others. Marat imagined how mother fussed, wiping the table, how the younger ones brought salads and pita bread from the kitchen, and Marat fearlessly set fire to a newspaper twisted with a bundle and brought it to the barbecue. Myself. It blazes like this straw, and the firewood stacked in the well instantly flares up. The guests are surprised - so small, but already fired up the grill! A satisfied mom will barely noticeably smile, and dad will nod approvingly.Tell me, have you ever sung a lullaby to your baby from the repertoire of Zemfira or Philip Kirkorov? That's right, it didn't even cross your mind.
We sing to our children uncomplicated, so simple and so beloved songs that our mothers sang to us, and our grandmothers sang to them, which were sung from generation to generation, for centuries, and they have come down to us. And this is part of Russian folklore.
What values have become a priority in modern families? First of all, those that, according to young parents, will help the child survive in a difficult time in a difficult world. Often we forget that there can be no harmonious personality without all-round development, and we miss its main component - emotional, moral.
During the first years of life, the child lives not by reason, but by emotions, through which his first knowledge of life takes place. And it is very important how and what he hears and sees around him. The first impressions of a child are the cozy tenderness of mother's hands and her voice. A soft, unhurried lullaby, funny pestles, when the mother plays with the baby, saying rhymes, disturbing him, making him laugh and filling him with positive emotions.
Such folklore forms were created by whole generations, constantly replenished with new shades, they carry wisdom and great educational value.
Through children's songs, sayings, counting rhymes, the child learns the first moral concepts - empathy, kindness, responsiveness. Speaking of musical folklore, we mean not only oral song forms, but also the characteristic rhythmic pattern of folk dance. Involving children in folk outdoor games, we teach them not only to navigate in space, to move, to develop coordination, but also to accept the general rules of the game.
For older children, who no longer only listen and memorize folk songs and jokes, folklore is of great importance in the development of their creative beginnings. When playing folk music games, children try to bring their own fantasies into the game, endowing their characters with new features or qualities.
Speaking about folk music, I would call it “natural”, so harmoniously and consistently it can lead children through the stages of their development, give each of them the knowledge and concepts that they need at this particular age.
Children will be especially interested in folklore holidays that our ancestors celebrated every year, for example, Christmas, because there are so many songs, games and traditions associated with it!
To book a ticket, you must complete registration form, but you can get to the performance only by purchasing a ticket in advance (.
Price:
with advance payment – adult + child ticket - 1100 rubles, additional ticket - 550 rubles.
when paying on the spot (subject to availability) – adult + child ticket - 1300 rubles, additional ticket - 650 rubles.
All questions by phone: 8916-2656147.