Theatre

       Sources of Belarusian theatrical art are in popular rites and games, in creations of vagrant actor-skomorokhs. In the 16th the "Batleika" puppet theatre appeared. In the 16th -18th centuries school theatres grew widespread, and in the 16th -20th centuries - the popular drama. In the 1st half of the 18th century private theatres worked in cities and estates, some of them reached professional level. In the 1840s the professional theatre was created by the playwright, actor and producer V. Dunin-Martsinkevich.
       A new phase of development of Belarusian theatrical art begun in the 20th century. Its foundation was laid by dramatic art of K. Kaganets, Y. Kupala, Y. Kolas, K. Bujlo, L. Rodzevich, etc. Belarusian evening-parties that encouraged origination of professional theatre became widespread. A great role in this process was played by the first Belarusian troupe of I. Bujnitsky. A considerable contribution to development of theatrics in this period was made by F. Alekhnovich, playwright and theatrical figure. In 1920 F. Zhdanovich organized the Belarusian theatre, nowadays the National Academic Theatre Named after Y. Kupala, and B. Golubok - the Belarusian Third State Theatre (both in Minsk). In 1926 the Second Belarusian State Theatre, nowadays the Belarusian Academic Drama Theatre named after Y. Kolas) in Vitebsk started its work. In the 1930s, the greatest achievements of the theatres were reached in staging plays dedicated to historical past ("Fatherland" by K. Chorny, "In Virgin Forests of Polesye" by Y. Kolas, "Partisans" by K. Krapiva), on topics of Belarusian folklore ("Nesterka" by V. Volsky), of classic drama art ("Pavlinka" by Y. Kupala, "Unendowed Bride" by A. Ostrovsky, "The Last Ones" by M. Gorky, "The Avaricious" by Molier).
       On the eve of the Great Patriotic War 23 professional theatres worked in Belarus. During the war years the majority of the theatres stopped their activity. In post-war years many collectives resumed their activity, and new ones appeared. Belarusian playwrights K. Krapiva, K. Gubarevich, I. Dorsky, A. Kucher, A. Movzon, V. Polessky, as well as playwrights of other Soviet republics fruitfully cooperated with theatres. Predominantly, they were plays about the Great Patriotic War and the post-war life. Bright scenic images were created by the actors B. Platonov, G. Glebov, I. Zhdanovich, L. Rzhetskaya, A. Ilyinsky, V. Dedyushko, L. Rakhlenko, P. Molchanov, M. Belinskaya, T. Sergeichik, etc. Significant stagings were fulfilled by producers L. Litvinov, N. Mitskevich, K. Sannikov. In the 2nd half of the 1950s style searches in theatrical art expanded, image pallet of performances was renovated and becoming richer. A considerable place in the repertoire of theatres was taken by staging of works of Belarusian writers: "Thunderstorm Coming" on the trilogy "At a Crossroads" by Y. Kolas and his poem "Symon-Musician", "People in the Swamp" by I. Melezh, "War under the Roofs" by A. Adamovich, etc. Theatres have reached successes in stagings of Russian, Soviet and foreign classics ("Optimistic Tragedy" by V. Vishnevsky, "Hamlet", "Romeo and Juliet", "King Lear" by W. Shakespeare, "Auditor" by N. Gogol, "Enemies" and "Barbarians" by M. Gorky, "Late Love", "Talents and Admirers" and "Profitable Place" by A. Ostrovsky, etc.). Wholesome effect on development of theatrics in the 1960s-1980s was rendered by dramatic works of A. Makayonok, I. Kozel, V. Korotkevich, N. Matukovsky, A. Pe-trashkevich, A. Dudarev, I. Chigrinov, stagings on works of V. Bykov, A. Adamovich. In the beginning of the 1990s stagings of Belarusian classic plays were successfully carried out: "The Local Ones" by Y. Kupala and "Idyll" by V. Dunin-Martsinkevich. Among the outstanding masters of the scene were G. Makarova, S. Stanyuta, Z. Stomma. Among the working actors among the most known are G. Ovsyannikov, L. Davidovich, V. Belokhvostik, A. Klimova, R. Yankovsky, G. Garbuk, M. Zakharevich, P. Duboshinsky, A. Milovanov, T. Kokshtys, O. Klebanovich, V. Manayev, A. Pomazan, among producers - V. Rayevsky, B. Lutsenko, N. Pinigin, V. Mazynsky, V. Barkovsky, R. Talipov, etc.
       In 2000 there are 27 state-owned theatres in Belarus: 11 in Minsk, 2 in Brest, 2 in Vitebsk, 3 in Gomel, 2 in Grodno, 2 in Mogilev, 2 in Molodechno (in each of these cities they also have a puppet theatre), one theatre in Bobruisk, Slonim, Mozyr each. Actors, producers, designers, theatre scientists are trained by the Belarusian Academy of Arts and the Belarusian University of Culture. The Belarusian Union of Theatrical Figures (since 1946), the Belarusian Guild of Theatrical Producers (since 1998), the Belarusian Union of Literary and Art Critics (since 1987) are acting.
       Belarus is holding festivals, drama competitions, shows of theatrics on a regular basis: "Slavic Theatrical Meetings" international festival in Gomel in which theatres from non-Slavic countries also take part, "White Tower" international festival in Brest, festival "March in Molodechno".
       International festivals of drama and puppet theatres, mono-performances of plays are periodically organised in Minsk. Belarusian theatrical collectives take part in festivals held in England, Spain, Germany, Poland, Ukraine and Russia.