Theater
Belarusian theater also began gain popularity in the early 1900s. One of Belarus's most famous plays, Paulinka (written by Yanka Koupala), was performed in Siberia for the Belarusians who were being sent to the region. Documentation of Belarusian folk music stretches back to at least the 15th century. Prior to that, skomorokhs were the major profession for musicians. A neumatic chant, called znamenny, from the word 'znamia', meaning sign or neume, was used until 16th century in Orthodox church music, followed by two hundreds of stylistic innovation that drew on the Renaissance and Protestant Reformation. In the 17th century, Partesnoe penie, part singing, became common for choruses, followed by private theaters established in cities like Minsk and Vitebsk. Popular music groups that came from Belarus include Pesniary, Dreamlin and NRM. Currently, there are 27 professional theater groups touring in Belarus, 70 orchestras, and 15 agencies that focus on promoting concerts.
In 2005, playwrights Nikolai Khalezin and Natalya Kolyada founded the Belarus Free Theatre, an underground theatre project dedicated to resisting Belarussian government pressure and censorship. The group performs in private apartments and at least one such performance was broken up by special forces of the Belarusian police The Belarus Free Theatre has attracted the support of notable Western writers such as Tom Stoppard, Edward Bond, Václav Havel, Arthur Kopit and Harold Pinter.
Read more about this topic: Culture Of Belarus
Famous quotes containing the word theater:
“It is not enough to demand insight and informative images of reality from the theater. Our theater must stimulate a desire for understanding, a delight in changing reality. Our audience must experience not only the ways to free Prometheus, but be schooled in the very desire to free him. Theater must teach all the pleasures and joys of discovery, all the feelings of triumph associated with liberation.”
—Bertolt Brecht (1898–1956)
“...I have never known a “movement” in the theater that did not work direct and serious harm. Indeed, I have sometimes felt that the very people associated with various “uplifting” activities in the theater are people who are astoundingly lacking in idealism.”
—Minnie Maddern Fiske (1865–1932)
“The Beloved begins to undress. The lover is in an ecstasy of suspense. The Theater of Love.”
—Mason Cooley (b. 1927)