Theatrical expressions. Means of "theatricalization
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EXPRESSIVE MEANS OF THEATER PERFORMANCES AND HOLIDAYS AND THEIR IMPACT ON VIEWERS
T.K. Donskaya1), I.V. Goliusova2)
Belgorod State Institute of Arts and Culture 1) e-mail: [email protected] 2) email: [email protected]
The article considers the means of expressiveness of mass performances and holidays, highlights their socio-cultural functions. The authors reveal the possibilities of expressive means of theatrical performances and holidays in terms of their impact on the thinking, consciousness, feelings and behavior of spectators and listeners.
Key words: art, language of art, functions of art, theatrical performances and holidays, expressive means of theatrical performances and holidays.
In the modern world, mass spectacular theatrical performances and holidays (TPP) are very popular, meeting the needs of people in satisfying the growing artistic and aesthetic impressions. A grand sports festival in Sochi (Winter Olympics 2013), "Day of Slavic Literature and Culture" on Red Square (May 24, 2015), numerous competitive programs on TV ("Voice", "Dancing on Ice", etc.) , an anniversary concert in honor of L. Zykina in the Kremlin Palace, musical and literary concerts and festivals dedicated to outstanding figures of Russian culture and art (G.V. Sviridov, K.S. Stanislavsky, P.I. Tchaikovsky, A.P. Chekhov ,
M.A. Sholokhov, M.S. Shchepkin, etc.), memorable historical and cultural events (the Battle of Kulikovo, the Patriotic War of 1812, the Battles of Stalingrad and Kursk, May 9, etc.) - all this is evidence of the richest cultural tradition of our people and the demonstration of his talent and inexhaustible creative possibilities , a manifestation of the grateful and life-giving memory of the people, who recognize themselves as the heirs of the creative creative activity of their ancestors in the name of the present and future Fatherland.
In organizing such mass spectacular performances, the leading role belongs to the directors, whose names deservedly enjoy the recognition of the audience: A.D. Silin, O.L. Orlov, E.A. Glazov, E.V. Vandalkovsky, V.A. Alekseev, A.I. Berezin, S.M. Komin, S.V. Tsvetkov and others.
The reason for the mass interest in art, the famous Leningrad director N.P. Akimov believed, is that “art is a means of communication between people. This is the second special language (highlighted by us - I.G.), in which many of the most important and deepest things can be said better and more fully than in ordinary language ... "1.
“People come to this or that performance in different ways.<...>But, if on the stage there is a living and genuine<...>, the paths turn into one big road that leads everyone to himself, discovering in him something that he does not
1 Art and Pedagogy. Reader / Comp. M.A.Verb. St. Petersburg: Education, 1995. S. 28.
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supposed...”, - considers G.G. Taratorkin, one of the few modern actors who remained true to the traditions of the Russian theater school2.
In the structure of the readiness of students-directors of creative universities to
independent research project activities to create works on a socio-historical and cultural theme, an important component is the possession of a directing and staging "language" specific to their activities as representatives of the spectacular mass art.
Each art form has its own means of expression: the language of colors (painting), the language of bodily movement (dance, ballet), melody (music), word (fiction), etc. There are also specific features in the "language" of screenwriting and directing activity of the director of the Chamber of Commerce and Industry as a special kind of art that has its own "language". Therefore, in a specific analysis of various genres of mass spectacular performance, it seems methodologically necessary to distinguish between the idea of the language of art as a means of communication in a certain socio-cultural context and as a system of expressive forms.
“The language of art is a historically formed modeling system secondary to natural language, which is characterized by a certain system of signs of a pictorial nature and the rules for their connection, which serve to convey special messages that cannot be transmitted by other means. The success of an act of artistic communication is determined by the degree of generality of the abstract system of the language of art for the addresser and the addressee of the message (correct understanding of the code), thus, the addressee receives the information for the perception of which he is prepared at the moment, while in the future perception can deepen. The language of each type of art, like natural language, can be translated into another sign system (screen adaptation, theatrical production, illustration),” Yu.M. Lotman3.
By analogy with the functions of language and speech identified by linguists (cognitive, communicative, cumulative, expressive, axiological, appellative, ideological, etc.), V.I. Petrushin singled out the following functions of art and artistic creativity in society:
The cognitive function reflects the knowledge of the world through images and ideas about the surrounding reality; understanding of art as a special way of thinking and learning about life is widely represented in the works of V.G. Belinsky, who saw the difference between science and poetry “not in the content, but only in the way of processing this content”4;
Educational function: “A genuine work of art includes the artist’s assessment of what he depicts and expresses,” since “aesthetics - the beauty of form and ethics - the beauty of content in a classic work of art act in unity”5; asserting universal human and national spiritual and moral values in an artistic and aesthetic form, the artist contributes to the stability of the ethnos, “the ability to “grasp”, accumulate in the meanings of its units and transfer to each new member of the ethnos the most valuable elements of the sensory, mental and activity experience of previous generations and a number of
2 Ibid., p. 84.
3 Lotman Yu.M. The structure of a literary text // Lotman Yu.M. About art. SPb., 1998.
4 Petrushin V.I. Psychology and Pedagogy of Art Creativity: Textbook for High Schools. - 2nd ed. M., 2008. S. 59.
5 Ibid., p. 60.
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others";
The hedonistic function, from the point of view of some art critics, is used for entertainment purposes, but even L.N. Tolstoy said that one should “stop looking at it as a means of pleasure, and consider art
as one of the conditions of human life”; modern psychology has gone far from these primitive views on the nature of art, but they have proved to be quite tenacious in the field of aesthetics; “but the highest achievements in any kind of art become possible only when the necessary balance between
beautiful external sensual form and embodied in this form of spiritual
The communicative function is associated with one of the main human needs - the need for communication. “Art,” said L.N. Tolstoy, is not a game at all, as physiologists think, not pleasure, but it is simply one of the types of communication between people, and this communication unites them in the same feelings”6 7 8 9 10;
The compensatory function makes up for the emotional impressions and experiences that a person lacks in the field of social, historical and cultural phenomena that make up for the lack of education, isolation from cultural and cultural
educational centers, immersion in everyday life, limited social activity, etc. For such people, art is a “window to the world”, enriching the meeting with outstanding works of classical and folk heritage, and in some cases, an impulse to independent creative activity.
The psychotherapeutic function of works of art is used not only in art-pedagogical activities, but also in everyday life, meeting the needs of each person for beauty and the ability of works of art to raise a person above everyday life, to engage in a dialogue with the pictures they like, with the characters of literature, plays, that struck the imagination. film, ballet, to fill the world of a person, even far from creative activity in the field of art and culture, with light and a joyful feeling of being...
However, one more important, from our point of view, function of mass spectacular art should be singled out - the influencing (charging - according to L.N. Tolstoy) function of art: “As soon as the audience, listeners are infected with the same feeling that the writer experienced, this is art" . This "contagious" function of art is closely related to the identification
viewers/listeners with those artistic images and symbols
theatrical performances that carry those spiritual and moral value meanings that are close and dear to the audience, who feel like a single team with a common collective consciousness of belonging to national treasures, transferred to us from the past to the present and future ... But for the implementation of this function in the content and form of the created work, the director needs to master all possible means of emotional and moral influence on the feelings, consciousness, will and behavior of the audience, on all channels of their perception of the CCI.
6 Radbil T.B. Fundamentals of the study of language mentality: textbook. allowance / T.B. Radbil. M., 2010.
7 Art and Pedagogy. Reader / Comp. M.A. Verb. SPb., 1995. S. 15.
8 Petrushin V.I. Psychology and Pedagogy of Art Creativity: Textbook for High Schools. - 2nd ed. M., 2008. S. 64.
9 Ibid., p. 65.
10 Art and Pedagogy. Reader / Comp. M.A. Verb. SPb., 1995. S. 17.
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However, for the implementation of this most important - influencing - function, organically related to others listed by V.I. the personal experience of the viewer, and the artistry of the artists, etc.), the director, as the author, must “cause in himself a once experienced feeling, and, having evoked it in himself, through movements, lines, colors, sounds, images, expressed in words, convey this feeling so that others experience the same feeling, and this is the activity of art.
The listed functions of the CCI are manifested not by themselves, but as a result of the professional artistic and aesthetic activity of the director and the team of performers of his plan, aimed at establishing mutual understanding and adequate "empathy" (the term of L.S. Vygotsky - I.G.) by the audience / listeners into the spiritual and moral world of the action unfolding before them, infecting them with the organic and harmonious unity of the content and form of visual representation, which is achieved by various means specific to the Chamber of Commerce and Industry - the language of art of the Chamber of Commerce and Industry.
The expressive means of a research project's impact on a socio-cultural topic in terms of their impact on the thinking, consciousness, feelings and behavior of viewers/listeners of mass CCIs, which make up their specific language, can be differentiated into two groups - verbal and non-verbal.
The verbal means of expression include, first of all, the Word of the native language with its functional varieties, the richness of the synonymic and antonymic system, the aphorism of phraseology, the wisdom of winged words and expressions, precedent texts, the metaphorical figurative meanings of words and phrases, rhetorical figures, concepts reflecting moral values of the Russian people, constituting the concept sphere of Russian culture (D.S. Likhachev). And especially - the intonational expressiveness of the spoken text. As M.A. Rybnikova, an ingrained domestic methodologist-linguist, said: “The word lives in the sounds of the voice, this is its nature.” But at the same time, expressive reading is one of the types of reader's interpretation, in which the performing art of the reader-reciter is realized and the result of the analysis of the "score of feelings" of the text of a literary work by the author of the verbal script and the performer is reflected, striving to awaken the feelings of the audience / listeners, to help them get used to the situation of theatrical ideas, to understand and experience, together with the characters of the Chamber of Commerce and Industry, the spiritual and moral national values that are common to them. In the course of perception of the talented performance of the text of the script, the audience/listeners get the illusion of involvement in the events of the text. In order for this influencing effect of “contagion” to occur, when preparing for the presentation of the CCI, it is necessary to create a “score” of the readable text, focusing the reader’s attention on highlighting “key” words, phrases, raising and lowering the voice and other expressive voice means that convey the features of poetic or prosaic text in order to draw attention to the semantics and figurative expressiveness of the sounding artistic Word. Thus, the sounding Word in the scenario of the Chamber of Commerce and Industry is a living Word (the term of G.G. Shpet and M.M. Bakhtin), inspired by the feeling of the speaker, which is “shrouded in a halo of the national spirit” in the forms of culture, as the German linguist V.fon would say Humboldt, Russian philologist F.I. Buslaev, Spanish philosopher J. Ortego y Gasset and others, i.e. interested, passionate, not
11 Art and Pedagogy. Reader / Comp. M.A. Verb. SPb., 1995. S. 17.
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mechanical, but spiritualized Word, in which the meaning and effectively colored meaning are merged (N.F. Alefirenko, 2009). Such an understanding of the living Word reflects "the real nature of the mind as a mechanism for the realization of the spirit." Otherwise, the orientation only to the philosophy of rationalism in the understanding of the Word leads to a "disabled intellect" (V.P. Zinchenko). From these positions, the influencing function of the word in the system of the language of art of the Chamber of Commerce and Industry should be considered.
Already the choice of the name of the theatrical performances, addressed to the “memory of the heart” of the audience, to the feeling of identification with the heroic traditions of the native people (“Priceless Chronicle of the Holy War”, “These days the glory will not cease ...”, “Holy Belogorye”, etc. ); journalistic Word of the presenters, reflecting their civic position in assessing the events of the story and calling to protect the freedom of the Fatherland won by our ancestors, referring to the expressive and passionate statements of famous public figures, lights of Russian history and culture (“Remember! Only unity will save Russia!” - St. Sergius of Radonezh), addressed to us, citizens of Russia in the 21st century; speeches of acting heroes of the past in situations of historical narrative (Vladimir the Baptist, Yaroslav the Wise, Vladimir Monomakh, Alexander Nevsky, Dmitry Donskoy, etc.), addressed to the consciousness, feeling and will of the audience, prompting to keep heroic traditions and be ready to defend the Fatherland from the next aggressors, not sparing his stomach, etc. - already activates national self-awareness and a sense of identification of a person with a proclaimed theme and its subtext. The stylized speech of real historical statesmen and
representatives of culture, consonant with the thoughts and feelings of the participants of the CCI (Peter I, M. Lomonosov, A.S. Pushkin, V.V. Stasov, M. Gorky, V. Mayakovsky, announcer Levitan, Marshal G. Zhukov, etc.), implementing the communicative and dialogical function of the project and involving viewers/listeners in interested listening to every word addressed to them, especially in the case when the "reader's interpretation of the artistic text" (E.R. Yadrovskaya) conveys the author's attitude to the reality he depicts.
The talented reproduction of the author's text by the performers creates, according to G.V. Artobalevsky, D.N. Zhuravlev and other outstanding masters of the artistic word, "imagination theater". Influencing the imagination of the viewer/listener with a word, any character and the team of the project as a whole involve them in the process of co-creation: mentally they seem to be present at what is happening. “This moment of interaction, live contact between speakers and listeners is absolutely necessary,” D.N. Zhuravlev believes. And this is the difference between a reader's performance and an actor's performance: "... without listeners there is no art of artistic reading", and "for a theater actor, the natural partner on whom he influences, with whom he interacts, are other actors, his stage partners" ( from the article "On the Art of the Reader"). Without an emotional response of viewers / listeners to expressive reading, according to L.S. Vygotsky, there can be no analysis, since he called the emotions of art “smart emotions”. The outstanding psychologist believed that it is possible not only to think talentedly, but also to feel talentedly... The education of such a viewer/listener by means of the Chamber of Commerce and Industry is the most important task facing the director of mass performances, the best of which understand that
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“the cognitive basis of the “living” word is living knowledge, which is formed on the interconnections of education, science and culture”12.
But the sounding living Word reflects the meaning only in the text as a product of the speech-creative realization of the author's intention. Without touching the lexical and grammatical structure of the text, one should turn to the intonation of the text as a means of influencing this unit of the language of the art of the Chamber of Commerce and Industry on the feelings and thoughts of the viewers / listeners of the Chamber of Commerce and Industry.
Intonation (melody, rhythm-melodic, tonality, pitch, duration, strength, intensity, tempo, timbre, etc. intonation) is a complex set of vocal features of the expressive pronunciation of a text-statement to express various meanings expressed in it, including expressive and emotional connotations that serve for various kinds of expressive-emotional-evaluative overtones and can give the statement solemnity, lyricism, optimism, sadness, playfulness, ease, familiarity, etc.
Intonation has always been recognized as the most important sign of sounding, oral speech, a means of its communicative meaning and emotionally expressive shades. That is why the most important method of teaching expressive expression to student directors of the CCI is the recommendation of the psychologist N.I. Zhinkin - to teach the ability to subtract the intonation that is inscribed in the text by the writer. The accuracy (adequacy) of understanding the intonation of the author's text is ensured not only by the truth of the word, but also by the "truth of feelings" transmitted by the "reader's" intonation of the performer. A brilliant interpreter of the works of A.S. Pushkin was
V.N.Yakhontov. The reading of the “Prophet” by A.S. Pushkin described by I.L.
However, there is no text outside the genre and style, which are manifested with particular expressiveness in the journalistic intonation of the texts of the documentary and journalistic genre of the Chamber of Commerce and Industry.
The journalistic style of the modern Russian literary language is a functional kind of speech, which reflected the orientation of the statement to appeal to the broad masses of the people with an explanation of socio-political problems that are of current socio-cultural, spiritual and moral significance for stabilizing the social order of society. This ideological and political predestination was reflected in oral and written speech in a special journalistic intonation that affects the consciousness, feelings and will of the spectators / listeners, participants in documentary and journalistic performances:
Emotionality, reflecting the author's interest in the socio-cultural problem proposed for discussion with the audience,
Invocation, realizing the agitational and propagandistic content of the journalistic presentation,
Objective-subjective modality, addressed to the audience as interlocutors, accomplices in the dialogue,
Logical persuasiveness, emphasized focus of listeners' attention by means of logical and phrasal emphasis on important, from the point of view of the author-publicist, the key points of the problem under discussion,
Expressiveness of language means, including the appropriate use of tropes,
12 Alefirenko N.F. "Live" word: Problems of functional lexicology: monograph / N.F. Alefirenko. M., 2009. S. 14.
13 Ibid., p. 7.
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rhetorical questions and rhetorical exclamations that reinforce
dialogic nature of social communication,
Confidence in tone
Civic pathos.
But the speech addressed to the audience/listeners is accompanied by facial expressions and gestures, body movements, artistry, organic behavior of the costume character, mastery of subject details corresponding to the game image, and other behavioral features of the performers of the text of the scenario action. They enliven, emphasize, enhance the meaning of the uttered statement, drawing attention to those semantic acts of artistic communication that convey the feelings of the author and their own. So non-verbal means of expression of the language of the Chamber of Commerce and Industry become additional means of expression to the verbal means of influencing
viewer/listener.
Non-verbal linguistic units of expressiveness of a particular genre of CCI include various artistic and aesthetic symbols that replace verbal units, but carry certain generalized, concise semantic information about the well-known historical and cultural event encoded in it (symbol). The characters in the script are historical dates (1380, 1812, 1941, etc.), attributes of power (banners, coats of arms, orders, etc.), portraits, monuments, legendary places that have unfading glory for the people (hoisting Banner of Victory over the Reichstag), etc.
But due to its syncretism, the art of the Chamber of Commerce and Industry refers to the synthesis of arts as the most expressive unit of the language of the Chamber of Commerce and Industry, since the semantic similarity of works of different types of art (words and music, literature and ballet and painting, etc.) contributes to the creation of a generalized panoramic artistic image of an object or phenomenon taken for artistic embodiment in a particular genre of the CCI. The synthesis of arts, performing an influencing function, acts on various channels of perception of the viewer / listener with the language inherent in each type of art: on vision - with the language of colors in the scenery of the graphic designer and the sound and color background created by technical means corresponding to the major or minor mood of the stage action; by ear - the language of natural language and the language of musical accompaniment of the verbal text; on consciousness and subconsciousness - by the language of dance through the perception of a visual dance image and the corresponding melody, and on figurative thinking - by the synthesis of all types of arts, which (synthesis - I.G.) intensifies the effect of "interaction of various semiotic codes", when in artistic representation " elements of several sign systems are combined, providing a synergistic effect”14.
Thus, we confirm the idea of L.S. Vygotsky on the role of the unity of the form and content of a work of art and on the significance of form in the artistic perception of a work of art. This does not mean that form alone creates a work of art (the failure of formal aesthetics and formal art in their denial of plot has long been debunked in the theory and practice of literary criticism and art theory of the 20th century): for example, all sounds in a language can acquire an expressive impression if it is facilitated by the very meaning of the word where they meet. This psychological law, deduced by the eminent
Issers O.S. Speech impact: textbook. Benefit / O.S. Issers. - 3rd ed., revised. M., 2013.
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psychologist: “Sounds become expressive if the meaning of the word contributes to this. Sounds can become expressive if this is facilitated by the verse”15-refers to the expressive impression of any unit of the language of art. But the artists and other performers of the artistic performance master this “second language” of the art of the Chamber of Commerce and Industry in accordance with the idea and the most important task of the author of the production.
Among the most important expressive units of the CCI language, a special place should be given to the artistic image, in which expressive verbal and non-verbal means are organically intertwined, contributing to the transfer of the author's intention and influencing the thoughts and feelings of the audience/listeners. incarnated
an artistic image or in the main character of a festive performance, or in a collective image, or in an artistic symbol, realizing the socio-cultural and artistic and aesthetic intention of the author-director.
An artistic image is an artistic reflection of ideas and feelings in words, paints and other units of languages of other arts. The artistic image created by the director reflects a certain typical character that carries spiritual and moral values close to the Russian audience (for example, the collective image of a young conscript, courageous, cocky,
resilient, readily responding to the call of the Motherland - Chamber of Commerce and Industry "Indestructible and Legendary", dir. I.V. Goliusova). Artistic communication with the characters of the Chamber of Commerce and Industry is a dialogue between the author and the audience, carried out through aesthetic perception, comprehension, active dialogical mutual understanding and spiritual and cultural appropriation of a work of art. It reflects the personal experience of the director, who transforms personal experience in order to generate artistic creation. The manifestation of this creative, creative ability to recode, transform real life experience into an artistic image of the Chamber of Commerce and Industry is the most important moment of the director's research, search activity, which occurs simultaneously with the appearance of an idea that anticipates future creation. Observation of students' research project activities showed that the director's artistic intuition plays an important role in this process.
Thus, the possession by student directors of the expressive units of the language of art of the Chamber of Commerce and Industry is the most important component of students' readiness to independently create any kind of Chamber of Commerce and Industry.
However, it should be noted another important professional skill necessary for the director to consciously choose the means of influencing the audience/listeners of the Chamber of Commerce and Industry - the ability to predict what feelings and emotions of the viewer/listener the author of a particular socio-artistic performance plans to influence in order to evoke emotions , adequate to the needs of the author and participants of the spectacular performance.
Psychologist B.I. Dodonov classifies emotions in connection with human needs that "provoke" the appearance of these emotions. The basis of its classification are needs and goals, i.e. motives that are served by certain emotions. The psychologist refers to these emotions as "valuable" emotions, that is, those in which a person most often feels the need.
As evidenced by various CCIs created by student directors, most often they set themselves the goal of evoking the following emotions in viewers / listeners:
1 altruistic emotions that arise based on desire
15 Vygotsky L.S. Psychology of art. M., 2001. S. 86.
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bring joy and happiness to people (for example, New Year's Fairy Tales),
3 pugnic emotions are associated with the need to overcome difficulties, dangers, on the basis of which an interest in wrestling arises (for example, Chamber of Commerce and Industry “Sport is the world!”),
4 romantic emotions are associated with the desire to experience a "bright miracle", in a sense of special significance of what is happening (for example, Chamber of Commerce and Industry "I remember a wonderful moment ..."),
5 gnostic feelings, or intellectual feelings, are associated with the need to receive any new cognitive information (for example, the Chamber of Commerce and Industry “Day of Slavic Literature and Culture”),
6 aesthetic emotions arise from the need to enjoy beauty, the need for the sublime or majestic in life and art (for example, the Chamber of Commerce and Industry "Sergius of Radonezh - the defender of the Russian Land").
This "emotional toolkit" enriches the readiness of student directors to plan the influencing function of the CCI on viewers/listeners. Determining the theme of his CCI, the production director, having predictive thinking, can suggest which “charging” units of the CCI language should be used as dominant in order to evoke emotions that are adequate to the intention of the author of the production.
For example:
1. Heroic-patriotic theme.
The goal is the education of historical memory.
Need - to satisfy the need for interest in the heroic past of their people.
Emotions: communicative, pugnic, gnostic, aesthetic.
2. Anniversary concert.
The goal is to enrich historical and cultural knowledge.
The need is to join the cultural and aesthetic values of the past or present of their people.
Emotions: communicative, romantic, gnostic, aesthetic.
3. Documentary and journalistic project.
The goal is to promote socio-cultural norms of behavior.
The need is to gain experience in social activity.
Emotions: altruistic, communicative, gnostic.
4. Historical and educational project.
The goal is to enrich viewers/listeners with the heritage of national culture and art.
Need - to satisfy the need for beauty in life and art.
Emotions: altruistic, communicative, gnostic, aesthetic.
5. Art-pedagogical project.
The goal is to prevent the negative impact of antisocial phenomena on adolescents. The need is to be socially active.
Emotions: altruistic, communicative, pugnic, gnostic,
aesthetic.
Thus, the mastery of "emotional tools" by directors not only enriches their cognitive competence and develops creative (predictive) abilities, but also contributes to the formation of a humanistic
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consciousness of the directors-producers in the direction of "smart emotions"
(JI.C. Vygotsky) and “valuable emotions” (B.I. Dodonov).
Bibliography
1. Alefirenko, N.F. "Live" word: Problems of functional lexicology: monograph / N.F. Alefirenko. - M., 2009. - 344 p.
2. Vinogradov, S. "The theater is a sacrament without cheating" / S. Vinogradov // Russian World. Yai Magazine about Russia and Russian civilization. - M., 2015. April, No. 1, p. 82-85.
3. Vygotsky, L. S. Psychology of art / L. S. Vygotsky. - M., 2001. - 211 p.
4. Interpretation of art texts. Textbook / Ed. E.R. Yadrovskaya. - St. Petersburg, 2011. -196 p.
5. Art and pedagogy. Reader. / Comp. M.A. Verb. - St. Petersburg: Education, 1995. - 293 p.
6. Issers, O.S. Speech impact: textbook. allowance / O.S. Issers. - 3rd ed., revised. - M., 2013. -240 p.
7. Lotman, Yu.M. The structure of the literary text / Yu.M. Lotman. About art. - SPb., 1998. -288 p.
8. Petrushin, V.I. Psychology and Pedagogy of Art Creativity: Textbook for High Schools / V.I. Petrushin. - 2nd ed. - M., 2008. - 490 p.
9. Radbil, T.B. Fundamentals of the study of language mentality: textbook. allowance / T.B. Radbil. - M., 2010. - 328 p.
10. Yakhontov, V.N. Theater of one actor / V.N. Yakhontov. - M., 1958. - 455 p.
THE EXPRESSIVE MEANS OF THEATRICAL PERFORMANCES AND FESTIVALS AND THEIR IMPACT ON THE SPECTATORS
T.K. Donskaya1-*, I.V. Goliusova2)
Belgorod state institute of arts and culture 1)e-mail: [email protected] 2) email: [email protected]
The article is about the expressive means and socio-cultural functions of theatrical mass representations and holidays. The authors point out the opportunities of expressive means of theatrical performances and festivals from the point of view of their impact on thinking, consciousness, feelings, and behavior of spectator and listeners.
Keywords: art, language of art, the function of art, expressive means of theatrical performances and
MINISTRY OF EDUCATION OF THE AUTONOMOUS REPUBLIC OF CRIMEA
CRIMEAN STATE ENGINEERING AND PEDAGOGICAL UNIVERSITY
Faculty of Psychology and Education
Department of Methods of Primary Education
Test
By discipline
Choreographic, stage and screen art with teaching methods
Means of expressiveness of theatrical art
Students Mikulskite S.I.
Simferopol
2007 - 2008 academic year year.
2. The main means of expressiveness of theatrical art
Decoration
Theatrical costume
Noise design
Light on stage
Stage effects
Literature
1. The concept of decorative art as a means of expressiveness of theatrical art
Set art is one of the most important means of expressiveness of theatrical art, it is the art of creating a visual image of a performance through scenery and costumes, lighting and staging techniques. All these visual means of influence are organic components of the theatrical performance, contribute to the disclosure of its content, give it a certain emotional sound. The development of decorative art is closely connected with the development of theater and dramaturgy.
Elements of decorative art (costumes, masks, decorative curtains) were present in the most ancient folk rituals and games. In the ancient Greek theater already in the 5th century. BC e., in addition to the building of the skene, which served as an architectural background for the actors' play, there were three-dimensional scenery, and then picturesque ones were introduced. The principles of Greek decorative art were adopted by the theater of ancient Rome, where the curtain was first used.
During the Middle Ages, the inside of the church originally played the role of a decorative background, where the liturgical drama was played out. Already here, the basic principle of simultaneous scenery, characteristic of the medieval theater, is applied, when all scenes of action are shown simultaneously. This principle is further developed in the main genre of medieval theater - mystery plays. In all types of mystery scenes, the greatest attention was paid to the scenery of "paradise", depicted in the form of an arbor decorated with greenery, flowers and fruits, and "hell" in the form of a dragon's opening mouth. Along with voluminous decorations, picturesque scenery (the image of the starry sky) was also used. Skillful artisans were involved in the design - painters, carvers, gilders; theater first. The machinists were watchmakers. Antique miniatures, engravings and drawings give an idea of the various types and techniques of staging mysteries. In England, performances on pedzhents, which were a mobile two-story booth mounted on a cart, were most widespread. In the upper floor, a performance was played, and the lower one served as a dressing room for the actors. Such a circular or annular type of arrangement of the stage platform made it possible to use the amphitheaters preserved from the ancient era for staging mysteries. The third type of decoration of the mysteries was the so-called system of pavilions (16th-century mystical performances in Lucerne, Switzerland, and Donaueschingen, Germany) - open houses scattered over the square, in which the action of the mystery episodes unfolded. In the school theater of the 16th century. For the first time there is an arrangement of places of action not along one line, but parallel to three sides of the stage.
The cult basis of the theatrical performances of Asia determined the dominance for a number of centuries of the conditional design of the stage, when individual symbolic details designated the places of action. The lack of scenery was made up for by the presence in some cases of a decorative background, the richness and variety of costumes, make-up masks, the color of which had a symbolic meaning. In the feudal-aristocratic musical theater of masks that took shape in Japan in the 14th century, a canonical type of decoration was created: on the back wall of the stage, against an abstract golden background, a pine tree was depicted - a symbol of longevity; in front of the balustrade of the covered bridge, located at the back of the site on the left and intended for the actors and musicians to enter the stage, images of three small pines were placed
At 15 - beg. 16th centuries in Italy, a new type of theater building and stage appears. The largest artists and architects took part in the design of theatrical productions - Leonardo da Vinci, Raphael, A. Mantegna, F. Brunelleschi and others. in Rome - B. Peruzzi. The scenery, depicting a view of a street going into the depths, was painted on canvas stretched over frames, and consisted of a backdrop and three side plans on each side of the stage; some parts of the scenery were made of wood (house roofs, balconies, balustrades, etc.). The necessary perspective contraction was achieved with the help of a steep rise of the plate. Instead of simultaneous scenery on the Renaissance stage, one common and unchanging scene was reproduced for performances of certain genres. The largest Italian theatrical architect and decorator S. Serlio developed 3 types of scenery: temples, palaces, arches - for tragedies; city square with private houses, shops, hotels - for comedies; forest landscape - for pastorals.
Renaissance artists considered the stage and the auditorium as a whole. This was manifested in the creation of the Olimpico theater in Vicenza, built according to the design of A. Palladio in 1584; in this t-re V. Scamozzi built a magnificent permanent decoration depicting an "ideal city" and intended for staging tragedies.
The aristocratization of the theater during the crisis of the Italian Renaissance led to the predominance of external showiness in theatrical productions. The relief decoration of S. Serlio was replaced by a picturesque decoration in the Baroque style. The enchanting character of the court opera and ballet performance at the end of the 16th and 17th centuries. led to the widespread use of theatrical mechanisms. The invention of telarii, trihedral rotating prisms covered with painted canvas, attributed to the artist Buontalenti, made it possible to carry out scenery changes in front of the public. A description of the arrangement of such movable perspective scenery can be found in the works of the German architect I. Furtenbach, who worked in Italy and planted the technique of the Italian theater in Germany, as well as in the treatise "On the Art of Building Stages and Machines" (1638) by the architect N. Sabbatini. Improvements in the technique of perspective painting have made it possible for decorators to create an impression of depth without the steep rise of the tablet. The actors could make full use of the stage space. In the beginning. 17th century backstage scenery invented by G. Aleotti appeared. Technical devices for flights, a hatch system, as well as side portal shields and a portal arch were introduced. All this led to the creation of the box scene.
The Italian system of backstage scenery has spread throughout Europe. All R. 17th century in the Viennese court theater, baroque backstage scenery was introduced by the Italian theater architect L. Burnacini; in France, the famous Italian theater architect, decorator and machinist G. Torelli ingeniously applied the achievements of the promising backstage scene in court productions of the opera and ballet type. The Spanish theatre, which was still preserved in the 16th century. primitive fair scene, assimilates the Italian system through the Italian thin. K. Lotti, who worked in the Spanish court theater (1631). The city public theaters of London for a long time retained the conditional stage of the Shakespearean era, divided into upper, lower and back stages, with a proscenium protruding into the auditorium and meager decoration. The stage of the English theater made it possible to quickly change places of action in their sequence. Perspective decoration of the Italian type was introduced in England in the 1st quarter. 17th century theater architect I. Jones in the production of court performances. In Russia, backstage perspective scenery was used in 1672 in performances at the court of Tsar Alexei Mikhailovich.
In the era of classicism, the dramatic canon, which demanded the unity of place and time, approved a permanent and irreplaceable scenery, devoid of a concrete historical characteristic (the throne room or the vestibule of the palace for tragedy, the town square or room for comedy). The whole variety of decorative and staging effects was concentrated in the 17th century. within the opera and ballet genre, and dramatic performances were distinguished by rigor and stinginess of design. In the theaters of France and England, the presence of aristocratic spectators on the stage, located on the sides of the proscenium, limited the possibilities of scenery for performances. The further development of operatic art led to the reform of the opera house. The rejection of symmetry, the introduction of angular perspective helped create the illusion of great depth of the scene by means of painting. The dynamism and emotional expressiveness of the scenery was achieved by the play of chiaroscuro, rhythmic diversity in the development of architectural motifs (endless enfilades of Baroque halls decorated with stucco ornamentation, with repeating rows of columns, stairs, arches, statues), which created the impression of the grandeur of architectural structures.
The aggravation of the ideological struggle in the Enlightenment found expression in the struggle of various styles and in decorative art. Along with the intensification of the spectacular splendor of baroque scenery and the appearance of scenery performed in the rococo style, characteristic of the feudal-aristocratic direction, in the decorative art of this period there was a struggle for the reform of the theater, for liberation from the abstract splendor of court art, for a more accurate national and historical characterization of the place. actions. In this struggle, the educational theater turned to the heroic images of antiquity, which found expression in the creation of scenery in the classic style. This direction was especially developed in France in the work of decorators J. Servandoni, G. Dumont, P.A. Brunetti, who reproduced buildings of ancient architecture on stage. In 1759, Voltaire achieved the expulsion of the audience from the stage, freeing up additional space for scenery. In Italy, the transition from baroque to classicism found expression in the work of G. Piranesi.
The intensive development of the theater in Russia in the 18th century. led to the flourishing of Russian decorative art, which used all the achievements of modern theater painting. In the 40s. 18th century major foreign artists were involved in the design of performances - K. Bibbiena, P. and F. Gradipzi and others, among whom a prominent place belongs to the talented follower of Bibbiena J. Valeriani. In the 2nd floor. 18th century talented Russian decorators came to the fore, most of whom were serfs: I. Vishnyakov, the Volsky brothers, I. Firsov, S. Kalinin, G. Mukhin, K. Funtusov and others who worked in court and serf theaters. From 1792, the outstanding theater designer and architect P. Gonzago worked in Russia. In his work, ideologically connected with the classicism of the Enlightenment, the rigor and harmony of architectural forms, creating the impression of grandeur and monumentality, were combined with a complete illusion of reality.
At the end of the 18th century in the European theater, in connection with the development of bourgeois drama, a pavilion scenery appears (a closed room with three walls and a ceiling). The crisis of feudal ideology in the 17th-18th centuries. found its reflection in the decorative art of Asian countries, causing a number of innovations. Japan in the 18th century buildings were being built for Kabuki theaters, the stage of which had a proscenium strongly protruding into the audience and a curtain moving horizontally. From the right and left sides of the stage to the back wall of the auditorium there were scaffolds ("hanamichi", literally the road of flowers), on which the performance also unfolded (subsequently, the right scaffold was abolished; in our time, only the left scaffold remains in Kabuki theaters). Kabuki theaters used three-dimensional scenery (gardens, facades of houses, etc.), specifically characterizing the scene; in 1758, for the first time, a rotating stage was used, the turns of which were made by hand. Medieval traditions are preserved in many theaters in China, India, Indonesia and other countries, in which there are almost no scenery, and decoration is limited to costumes, masks and make-up.
French bourgeois revolution of the late 18th century. had a great impact on the art of the theater. The expansion of the theme of dramaturgy led to a number of shifts in decorative art. In the production of melodramas and pantomimes on the stages of the "boulevard theaters" of Paris, special attention was paid to the design; the high skill of theater engineers made it possible to demonstrate various effects (shipwrecks, volcanic eruptions, thunderstorm scenes, etc.). In the decorative art of those years, the so-called pratikables (three-dimensional design details depicting rocks, bridges, hills, etc.) were widely used. In the 1st quarter 19th century Picturesque panoramas, dioramas, or neoramas, combined with innovations in stage lighting, became widespread (gas was introduced into theaters in the 1920s). An extensive program for the reform of theatrical design was put forward by French romanticism, which set the task of historically concrete characterization of scenes. Romantic playwrights were directly involved in the productions of their plays, supplying them with lengthy remarks and their own sketches. Performances were created with complex scenery and magnificent costumes, striving to combine in the productions of multi-act operas and dramas on historical plots the accuracy of the color of the place and time with spectacular prettiness. The complication of staging technique led to the frequent use of the curtain in between acts of the performance. In 1849, the effects of electric lighting were used for the first time on the stage of the Paris Opera in a production of Meyerbeer's The Prophet.
In Russia in the 30-70s. 19th century a major decorator of the romantic direction was A. Roller, an outstanding master of theatrical machines. The high technique of staged effects developed by him was subsequently developed by such decorators as K.F. Valts, A.F. Geltser and others. New trends in decorative art in the 2nd half. 19th century were affirmed under the influence of realistic classical Russian dramaturgy and acting art. The fight against academic routine was started by decorators M.A. Shishkov and M.I. Bocharov. In 1867, in the play "The Death of Ivan the Terrible" by A.K. Tolstoy (Alexandria Theatre), Shishkov for the first time succeeded in showing on the stage the life of pre-Petrine Rus' with historical concreteness and accuracy. In contrast to the somewhat dry archeology of Shishkov, Bocharov introduced a true, emotional feeling of Russian nature into his landscape scenery, anticipating the arrival of genuine painters on the stage with his work. But the progressive searches of decorators of state theaters were hampered by embellishment, the idealization of the stage spectacle, the narrow specialization of artists, divided into "landscape", "architectural", "costume", etc.; in dramatic performances on modern themes, as a rule, prefabricated or "duty" typical scenery was used ("poor" or "rich" room, "forest", "rural view", etc.). In the 2nd floor. 19th century large decorative workshops were created to serve various European theaters (the workshops of Filastr and C. Cambon, A. Roubaud and F. Chaperon in France, Lutke-Meyer in Germany, etc.). During this period, bulky, ceremonial, eclectic in style decorations, in which art and creative imagination are replaced by handicrafts, become widespread. On the development of decorative art in the 70-80s. The activities of the Meiningen Theater had a significant impact, whose tours in Europe demonstrated the integrity of the director's decision of the performances, the high staging culture, the historical accuracy of the scenery, costumes and accessories. The Meiningenians gave the design of each performance an individual look, trying to break the standards of pavilion and landscape scenery, the traditions of the Italian stile-arch system. They widely used the diversity of the relief of the tablet, filling the stage space with various architectural forms, they used pratikables in abundance in the form of various platforms, stairs, three-dimensional columns, rocks and hills. On the pictorial side of the Meiningen productions (the design of which
mostly belonged to Duke George II) the influence of the German historical school of painting - P. Cornelius, W. Kaulbach, K. Piloty - clearly affected. However, historical accuracy and plausibility, the "authenticity" of accessories at times acquired self-sufficient significance in the performances of the Meiningen people.
E. Zola performs in the late 70s. with criticism of abstract classicist, idealized romantic and spectacular enchanting scenery. He demanded a depiction on the stage of modern life, "accurate reproduction of the social environment" with the help of scenery, which he compared with descriptions in the novel. Symbolist theater, which arose in France in the 90s, under the slogans of protest against theatrical routine and naturalism, carried out a struggle against realistic art. Around the Artistic Theater of P. Faure and the theater "Creativity" of Lunier-Poe, the artists of the modernist camp M. Denis, P. Serusier, A. Toulouse-Lautrec, E. Vuillard, E. Munch and others united; they created simplistic, stylized sets, impressionist obscurity, emphatic primitivism and symbolism, which led theaters away from a realistic depiction of life.
The powerful upsurge of Russian culture captures in the last quarter of the 19th century. theater and decorative arts. In Russia in the 80-90s. the largest easel artists are involved in work in the theater - V.D. Polenov, V.M. Vasnetsov and A.M. Vasnetsov, I.I. Levitan, K.A. Korovin, V.A. Serov, M.A. Vrubel. Working since 1885 in the Moscow private Russian opera S.I. Mamontov, they introduced the compositional techniques of modern realistic painting into the scenery, affirmed the principle of a holistic interpretation of the performance. In productions of operas by Tchaikovsky, Rimsky-Korsakov, Mussorgsky, these artists conveyed the originality of Russian history, the spiritualized lyricism of the Russian landscape, the charm and poetry of fairy-tale images.
The subordination of the principles of stage design to the requirements of realistic stage direction was first achieved in the late 19th and 20th centuries. in the practice of the Moscow Art Theatre. Instead of the traditional scenes, pavilions and "prefabricated" scenery common to imperial theaters, each performance of the Moscow Art Theater had a special design that corresponded to the director's intention. Expansion of planning possibilities (processing of the floor plane, showing unusual angles of residential premises), the desire to create the impression of a "lived-in" environment, the psychological atmosphere of the action characterize the decorative art of the Moscow Art Theater.
Decorator of the Art Theater V.A. Simov was, according to K.S. Stanislavsky, "the founder of a new type of stage artists", distinguished by a sense of the truth of life and inextricably linking their work with directing. The realistic reform of the decorative art carried out by the Moscow Art Theater had a huge impact on the world theatrical art. An important role in the technical re-equipment of the stage and in enriching the possibilities of decorative art was played by the use of a rotating stage, which was first used in the European theater by K. Lautenschläger when staging Mozart's opera Don Giovanni (1896, Residenz Theatre, Munich).
In the 1900s the artists of the "World of Art" group - A.N. Benois, L.S. Bakst, M.V. Dobuzhinsky, N.K. Roerich, E.E. Lansere, I.Ya. Bilibin and others. The retrospectivism and stylization characteristic of these artists limited their creativity, but their high culture and skill, striving for the integrity of the overall artistic conception of the performance played a positive role in the reform of opera and ballet decorative art not only in Russia, but also abroad. Tours of Russian opera and ballet, which began in Paris in 1908 and were repeated over the course of a number of years, showed the high level of pictorial culture of scenery, the ability of artists to convey the style and character of the art of different eras. The activities of Benois, Dobuzhinsky, B. M. Kustodiev, Roerich are also associated with the Moscow Art Theater, where the aestheticism characteristic of these artists was largely subordinated to the requirements of the realistic direction of K.S. Stanislavsky and V.I. Nemirovich-Danchenko. The largest Russian decorators K.A. Korovin and A.Ya. Golovin, who worked from the beginning. 20th century in the imperial theaters, made fundamental changes in the decorative art of the state stage. Korovin's broad free manner of writing, the feeling of living nature inherent in his stage images, the integrity of the color scheme that unites the scenery and costumes of the characters, most clearly affected the design of Russian operas and ballets - "Sadko", "The Golden Cockerel"; The Little Humpbacked Horse by Ts. Pugni and others. Ceremonial decorativeness, clear delineation of forms, boldness of color combinations, general harmony, integrity of the solution distinguish Golovin's theatrical painting. Despite the influence of modernism in a number of the artist's works, his work is based on great realistic skill based on a deep study of life. Unlike Korovin, Golovin always emphasized in his sketches and scenery the theatrical nature of stage design, its individual components; he used portal frames decorated with ornaments, a variety of appliqued and painted curtains, a proscenium, etc. In 1908-17 Golovin created decorations for a number of performances, post. V.E. Meyerhold (including "Don Juan" by Moliere, "Masquerade"),
The strengthening of anti-realistic trends in bourgeois art at the end of the 19th and beginning. 20 centuries, the refusal to disclose social ideas had a negative impact on the development of realistic decorative art in the West. Representatives of the decadent currents proclaimed "conventionality" as the basic principle of art. A. Appiah (Switzerland) and G. Craig (England) waged a consistent struggle against realism. Putting forward the idea of creating a "philosophical theater", they depicted the "invisible" world of ideas with the help of abstract timeless scenery (cubes, screens, platforms, stairs, etc.), by changing the light they achieved the play of monumental spatial forms. Crag's own practice as a director and artist was limited to a few productions, but his theories subsequently influenced the work of a number of theater designers and directors in various countries. The principles of the Symbolist theater were reflected in the work of the Polish playwright, painter and theater artist S. Wyspiansky, who strove to create a monumental conditional performance; however, the implementation of national forms of folk art in the scenery and spatial stage projects freed Wyspiansky's work from cold abstraction, made it more real. The organizer of the Munich Art Theater G. Fuchs together with the artist. F. Erler put forward the project of a "relief scene" (that is, a scene almost devoid of depth), where the figures of the actors are located on a plane in the form of a relief. Director M. Reinhardt (Germany) used a variety of design techniques in the theaters he directed: from carefully designed, almost illusionistic pictorial and three-dimensional scenery associated with the use of a rotating stage circle, to generalized conditional immovable installations, from simplified stylized decoration "in cloth" to grandiose mass spectacles in the circus arena, where more and more emphasis was placed on purely external stage effectiveness. Artists E. Stern, E. Orlik, E. Munch, E. Schütte, O. Messel, sculptor M. Kruse and others worked with Reinhardt.
In the late 10's and 20's. 20th century Expressionism, which initially developed in Germany, but also widely captured the art of other countries, acquires predominant importance. Expressionist tendencies led to a deepening of contradictions in decorative art, to schematization, a departure from realism. Using "shifts" and "bevels" of planes, non-objective or fragmentary scenery, sharp contrasts of light and shadow, the artists tried to create a world of subjective visions on the stage. At the same time, some expressionist performances had a pronounced anti-imperialist orientation, and the scenery in them acquired the features of an acute social grotesque. The decorative art of this period is characterized by the passion of artists for technical experiments, the desire to destroy the stage-box, expose the stage, and the techniques of staging techniques. Formalist currents - constructivism, cubism, futurism - led decorative art to the path of self-sufficing technicism. Artists of these trends, reproducing on the stage "pure" geometric shapes, planes and volumes, abstract combinations of parts of mechanisms, sought to convey the "dynamism", "tempo and rhythm" of a modern industrial city, sought to create on the stage the illusion of the work of real machines (G. Severini, F. Depero, E. Prampolini - Italy, F. Leger - France, etc.).
In the decorative art of Western Europe and America, ser. 20th century there are no specific artistic trends and schools: artists strive to develop a broad manner that allows them to apply to various styles and techniques. However, in many cases, the artists who design the performance do not so much convey the ideological content of the play, its character, specific historical features, as they strive to create on its canvas an independent work of decorative art, which is the "fruit of the free imagination" of the artist. Hence the arbitrariness, abstract design, break with reality in many performances. This is opposed by the practice of progressive directors and the work of artists who seek to preserve and develop realistic decorative art, relying on the classics, progressive modern drama and folk traditions.
From the 10s. 20th century masters of easel art are increasingly involved in work in the theater, and interest in decorative art as a type of creative artistic activity is growing stronger. From the 30s. the number of qualified professional theater artists who know the staging technique well is increasing. Stage technology is enriched by a variety of means, new synthetic materials, luminescent paints, photo and film projections, etc. are used. From various technical improvements of the 50s. 20th century Of greatest importance is the use of cycloramas in the theater (synchronous projection of images from several film projectors onto a wide semicircular screen), the development of complex lighting effects, etc.
In the 30s. in the creative practice of Soviet theaters, the principles of socialist realism are affirmed and developed. The most important and defining principles of decorative art are the demands of life's truth, historical concreteness, the ability to reflect the typical features of reality. The volumetric-spatial principle of scenery, which dominated many performances of the 1920s, is enriched by the extensive use of painting.
2. The main means of expressiveness of theatrical art:
Scenery (from lat. decoro - I decorate) - the design of the stage, recreating the material environment in which the actor operates. The scenery "represents an artistic image of the scene and at the same time a platform, representing rich opportunities for performing stage action on it." The scenery is created using a variety of expressive means used in the modern theater - painting, graphics, architecture, the art of planning the scene, the special texture of the scenery, lighting, stage technology, projection, cinema, etc. The main scenery systems:
1) rocker mobile,
2) rocker-arch lifting,
3) pavilion,
4) volumetric
5) projection.
The emergence, development of each system of scenery and its replacement by another were determined by the specific requirements of dramaturgy, theatrical aesthetics, corresponding to the history of the era, as well as the growth of science and technology.
Sliding mobile decoration. Backstage - parts of the scenery located on the sides of the stage at certain distances one after another (from the portal deep into the stage) and designed to close the backstage space from the viewer. The wings were soft, hinged or rigid on the frames; sometimes they had a figured outline depicting an architectural profile, the outlines of a tree trunk, foliage. The change of rigid wings was carried out with the help of special wings - frames on wheels, which were (18th and 19th centuries) on each stage plan parallel to the ramp. These frames moved in passages specially carved in the stage board along rails laid along the floor of the first hold. In the first palace theaters, the scenery consisted of a backdrop, wings and ceiling hoops, which rose and fell simultaneously with the change of scenes. Clouds, tree branches with foliage, parts of plafonds, etc. were written on the padugs. The stage systems of scenery in the court theater in Drottningholm and in the theater of the former estate near Moscow Prince. N.B. Yusupov in "Arkhangelsk"
The stile-arched lifting decoration originated in Italy in the 17th century. and was widely used in public theaters with high grates. This type of scenery is a canvas sewn in the form of an arch with tree trunks, branches with leaves, architectural details (observing the laws of linear and aerial perspective) painted (along the edges and top). Up to 75 of these stage arches can be hung on the stage, the backdrop for which is a painted backdrop or horizon. A variety of stage-arch decoration is openwork decoration (painted "forest" or "architectural" stage arches glued on special nets or applied on tulle). At present, stage-arch decorations are mainly used in opera and ballet productions.
Pavilion decoration was first used in 1794. actor and director F.L. Schroeder. The pavilion decoration depicts an enclosed space and consists of frame walls covered with canvas and painted to match the pattern of wallpaper, boards, and tiles. The walls can be "deaf" or have spans for windows and doors. Between themselves, the walls are connected with the help of throw ropes - overlaps, and are attached to the floor of the stage with slopes. The width of the pavilion walls in a modern theater is no more than 2.2 m (otherwise, when transporting scenery, the wall will not pass through the door of a freight car). Behind the windows and doors of the pavilion scenery, backboards (parts of hanging decoration on frames) are usually placed, on which the corresponding landscape or architectural motif is depicted. The pavilion decoration is covered with a ceiling, which in most cases is suspended from the grate.
In the theater of modern times, three-dimensional scenery first appeared in the performances of the Meiningen Theater in 1870. In this theater, along with flat walls, three-dimensional details began to be used: straight and inclined machines - ramps, stairs and other structures for depicting terraces, hills, fortress walls. The designs of machine tools are usually masked by picturesque canvases or fake reliefs (stones, tree roots, grass). To change parts of the three-dimensional scenery, rolling platforms on rollers (furkas), a turntable and other types of stage equipment are used. Volumetric scenery allowed directors to build mise-en-scènes on a "broken" stage plane, to find a variety of constructive solutions, thanks to which the expressive possibilities of theatrical art expanded extraordinarily.
Projection decoration was first used in 1908 in New York. It is based on the projection (on the screen) of color and black-and-white images drawn on transparencies. The projection is carried out with the help of theater projectors. The backdrop, horizon, walls, floor can serve as a screen. There are front projection (the projector is in front of the screen) and transmission projection (the projector is behind the screen). The projection can be static (architectural, landscape and other motifs) and dynamic (movement of clouds, rain, snow). In the modern theater, which has new screen materials and projection equipment, projection scenery has been widely used. Ease of manufacture and operation, ease and speed of changing scenes, durability, and the possibility of achieving high artistic qualities make projection decorations one of the promising types of scenery for a modern theater.
A course was taken for the industrialization of the country, the strengthening of the planned and directive construction of socialism, and the "curtailment of the NEP." 2. Cultural policy of the Soviet government during the NEP. Theatrical business in the USSR during the years of the NEP 2.1 Theatrical business in the USSR during the years of the NEP The revolution showed a complete crisis and collapse of the social system in Russia. All theaters - imperial and private - were declared state...
These opportunities were used, the creative potential of an adult will largely depend. Chapter 2. Theatrical activities as a means of developing the creative abilities of children of senior preschool age. Creative abilities in children are manifested and developed on the basis of theatrical activities. This activity develops the personality of the child, instills a stable ...
If we compare different types of art, then an important point should be noted: painting, literature, architecture, sculpture are perceived by the viewer, reader and other perceiving subject, only as a result of the creative process. That is, first the artist carries out his creative activity, and then, after the lapse of time, its results are presented to the audience. Here, the creative process is, as it were, taken out of the brackets of public perception, not subject to evaluation. Rather, consideration of the creative process, its assessment, analysis, motivation, impact on society, etc. are the prerogative of the guild of critics, art historians, sociologists, that is, professional appraisers. The direct consumer of art, on the other hand, performs the act of consuming the result of creativity, without experiencing an urgent need to go into details related to its birth.
Another thing is when it comes to the perception of those types of art that are related to performing. As follows from the very name of this group, the viewer's assessment of the results of a creative act is carried out directly at the moment of its execution. At the same time, the viewer involuntarily becomes not only an observer, but also an accomplice in the creative process, which involves almost all of his abilities to perceive the world. Theatrical art in this regard uses the maximum number of information channels. As you know, according to the type of the main representational system, people are divided into visuals, auditory and kinesthetics. If music or vocal art only indirectly affects the visual representation of the viewer (through his imagination), then the impact of the theater is carried out in a direct way. The theater actively affects all three types of perception: the organs of vision and hearing allow the viewer to perceive the visual and auditory components of the discourse, and the kinesthetic component can be perceived thanks to the already mentioned phenomenon of empathy. It is this feature - the use of the maximum number of information channels - that allows the theater to influence the viewer much more actively and effectively, compared to other types of art. Each type of art, comprehending certain spheres of objective reality due to its figurative specificity, already by virtue of this circumstance has its own laws inherent only to it. First of all, here it is necessary to note its own special artistic re-creation of the world, characteristic only of this art, immanently incorporated in the system of its visual and expressive means. What is characteristic of music is different from what is comprehended by poetry or painting. However, the limitation in direct reflection, characteristic of every art, in reality turns into its ambiguity, comprehension of the essence.
In order to identify the specifics of the interaction (co-creation) between the actor and the viewer, which is characteristic of the plastic theater, it is necessary to take into account not only the types of information channels, but also the area of the audience's perception to which they are mainly addressed. As noted in the first chapter, for the plastic theater such a specific zone is a zone that can be characterized as intercultural or pre-cultural. This is the zone of consciousness, which, being common to all mankind, serves as the foundation on which all national, religious or other macrocultures are built.
Intuitive searches and discoveries of the theater of all previous centuries have led to the accumulation of a rather rich experience of influencing the spectator's psyche. This is the use of methods of suggestive influence and an appeal to its archetypal components. Since the middle of the twentieth century, the study of mental phenomena, the structure of the psyche and the introduction into circulation of such a concept as an archetype made it possible to realize that these searches can be put on the rails of a strict methodology. This was facilitated by research in philosophy, psychology and cultural studies. Since the end of the twentieth century. to these areas was added such a direction of science as neurolinguistic programming. Theoretical research and practical developments of Terry-Lee Still, Steven Heller, Virginia Satir, Bandler, Grinder and other researchers gave the theater such a tool as manipulating the minds of the public at the level of instantaneous formation of motivations and assessments of what is happening on the stage in an explicit or implicit form.
Speaking about the means of artistic expressiveness of the plastic theater, it is necessary to take into account the following extremely important point: neither the voice of the actor, nor his movement, nor the scenery, nor the musical or light accompaniment is the exclusive property of the plastic theater. All these elements are used by other types of performing arts in varying degrees and proportions. That is, according to this principle, it is impossible to single out a plastic theater as an independent structural unit. However, it is necessary to take into account the following: the audience's perception of theatrical discourse occurs differently in different types of performing arts. And, considering the means of artistic expression of the plastic theater, in essence, we must consider the difference in communication between the viewer and the stage, which is characteristic of it or another type of theatrical art, paying special attention to which areas of the spectator's psyche are involved in the communicative exchange.
As mentioned above, the plastic theater, referring to the subconscious of the viewer, uses all available means. These tools can be divided into two main complexes - auditory and visual. Auditory includes the actor's voice (with all its possibilities in the field of loudness, intonation, monotony, rhythm, etc.), music, sound effects of a natural or artificial nature, rhythmic and sound methods of influencing the audience, and some other elements that will be discussed below. The visual complex includes everything that the viewer sees. These are the bodies of the actors in all their expressive ability, the design of stage decorations, their scale, their location on the stage in relation to the actors and the audience, rhythm or randomness, etc., which is included in the concept of "proxemics". In addition, from the point of view of visual perception, the color and light solution of the stage space plays an important role. Its illumination, the possible active light-rhythmic effect on the viewer and other technical and constructive aspects can have a significant impact on how the audience will perceive the action taking place on the stage and at what level (conscious or subconscious) this process will take place. The interaction of expressive means of visual and auditory complexes in the plastic theater can be deliberately built in such a way as to have a suggestive effect on both the audience and the performer, which can create a chain cumulative effect. In electronics, the phenomenon of resonance in positive feedback circuits can serve as an analogue, when two interconnected elements, while simultaneously acting on each other, generate an effect that they are not capable of individually.
Speaking about the expressive means of stage art, it is necessary to note the important point that distinguishes it from other types: we are talking about the fact that the actor is the direct implementer of the impact on the viewer, while both the author and director, and stage designer, and composer, and other participants. However, the attention of the viewer, first of all, is drawn to the actor. The term "actor" itself is based on the concept of "action" - action. That is, the actor is the essence of the agent. And the viewer is absorbed, first of all, by the action, that is, his attention is focused on the actor. Undoubtedly, the actions of the actors are subject to the author's intention, and the director's idea, and many other components of a single theatrical process, so the choice of the actor's means of expression is not his sole decision. But the awareness of this fact at the moment of perception of the stage action is on the periphery of the spectator's consciousness. However, despite the fact that this fact is not clearly conscious, it does not deny that the expressive means in the hands of the director, choreographer, composer, artist and other members of the creative group have less weight and have less influence than the expressive means of the actor. . That is, considering the specifics of the impact of the expressive means of the plastic theater on the viewer, it is necessary to consider the whole complex of expressive means, regardless of whether they belong to the field of the actor or someone else in the creative group.
Speaking about the acting possibilities of influencing the viewer, two main zones can be distinguished, one of which includes the possibilities of the body, and the other includes voice possibilities. Both of these zones, as already noted, intersect, on the one hand, with the proxemic components of the performance as a whole, and, on the other hand, with all the elements of the performance related to the auditory component. Let us consider both of these zones from the point of view of comparing their functioning in the plastic theater and in other types of theatrical art.
It is obvious that any stage art cannot do without the use of a gesture, however, the role, functions and specific gravity of a gesture in the process of conveying meanings from the stage to the viewer in various types of art varies significantly. Moses Kagan considers gestures, along with facial expressions, body movements and glances, to be the primary form of acting. According to the researcher, this form originated in the process of hunting, and under the name of orchestika was preserved in ancient Greek culture. In the process of development, dance, which has a non-pictorial character, emerged from such syncretic art, and the acting art without words, visual or mimetic in essence, became the other pole. In the book "Morphology of Art" he writes: "The artistic language of this art is based on the reproduction of real forms of human behavior, his everyday movements, gestures, facial expressions, that is, it has a pictorial character." Gordon Craig takes the same position: "The art of the theater arose from action - movement - dance ... Drama is not for reading, but for watching on the stage, so it needs gestures ... The ancestor of playwrights was a dancer ... The first playwright understood what they do not understand still modern. He knew that if he and his comrades appeared in front of the public, the audience would become more eager to watch what was being done than to listen to what was said. He knew that the eye is more quickly and powerfully attracted to the scene than the other senses, that sight is unquestionably the keenest sense in the human body.
On the basis of gesture (body movement), ballet, pantomime, and plastic theater are built. Yes, and drama and opera, as spatial arts in which actors participate, also cannot do without a gesture. Even in the musical performing arts, the artist's movements have an impact on the audience's perception: it is not for nothing that the musicians are in front of the audience and the most prestigious places in concert halls are those from which the viewer can clearly see how the musician plays. However, the gestures themselves, and their purpose, and the way they are read and deciphered by the viewer are not the same. Common to all these types of art is that the gesture carries information, in one way or another correlated with the narrative canvas of the work. Regardless of whether the actor pronounces the words or not, "... a gesture reveals a secret, betrays innermost thoughts ... Psychoanalysts reveal the omissions of their patients, watching them during a conversation ... A gesture has the property of making the secret clear." This gesture function is common to any kind of performing arts. However, there are differences and there are many more. If in drama a gesture is necessarily connected with the spoken (or supposed to be spoken) word, then in non-verbal arts - ballet and pantomime - the movement of the actor's body is valuable in itself, since it is not supported by the word and is not in any relationship with it. In the plastic theater, a gesture can sometimes be in some kind of opposition to the spoken word, but its weight is immeasurably greater. "If we deprive a dramatic performance of the word, one of the main tools of expressiveness, then it is obvious that it should be replaced by something that can replace it as a bearer of meanings, which will become decisive in the style of the performance. Experimenters of the twentieth century have found the very equivalent that the degree of semantic richness not only was not inferior to the word, but sometimes even surpassed it. The plasticity of the actor became this component, and the theater, using it as the main visual means, finally received its final name plastic theater in the second half of the century.
As noted above, the beginning of the 20th century was characterized by the search for new means of artistic expression in all areas of the performing arts. In the field of drama, the most prominent figures in this sense were Meyerhold, Fokin, Tairov and M. Chekhov. The outstanding merit of the latter lies in his development of the theory of psychological gesture (here we observe some similarity with the concept of stylization in pantomime, which we will consider below). Chekhov called a psychological gesture the ideal embodiment of a gesture that denoted one or another state that exists in the soul ... He saw its difference from a naturalistic gesture in that people make it not in the physical sphere, but in the spiritual, ideal. Therefore, the "psychological" gesture, or the ideal prototype of a simple, everyday gesture, is devoid of the individual differences inherent in physical gestures, and relates to a naturalistic gesture as the general to the particular. In order for an actor to master a psychological gesture, it is not enough to develop the body through gymnastics, dance, fencing, etc. It is necessary to perform psychophysical exercises, when the psychological aspect of each physical exercise is meant, that is, a kind of filling the body. Chekhov created a classification of gestures: in his opinion, there are gestures of opening, repulsion, compression, closing. Each of them has its own gradation. Although Chekhov was a great practicing actor, nevertheless, his theory is based not only on his own acting experience. One of his teachers was Rudolf Steiner, extremely popular among Russian cultural figures. It was Steiner that Chekhov found confirmation of his intuitive feelings, in particular, his thoughts about the plasticity of the actor, interest in which was an organic embodiment of Chekhov's artistic worldview.
Back in the first half of the twentieth century, Antonin Artaud declared his position in relation to the bodily expressiveness of the actor: "The point is to acquire a new physical language based on signs, not words." And in the second half of the 20th century, Jerzy Grotowski, who paid great attention to the plastic culture of the actor, clearly formulated those requirements for the gesture, for the movement of the actor, for the work of his body, which is absolutely necessary for the plastic theater. He believed that in order to master the art of an actor, it is necessary to look for morphemes of a theatrical score (just as notes serve as morphemes of a musical score). Moreover, such morphemes, in his opinion, are not external gestures or vocal notes, but something else that lies deeper and is not based on consciousness or logic. In his work "Theatre and Ritual" he writes: "We believe that morphemes are impulses rising from the depths of the body towards what is outside ... We are talking here about a certain area, which, by analogy with a hidden inner thought, I would define as a hidden inner existence, as something that embraces all the motives of the inner depths of the body and the depths of the soul... There is an impulse that strives "outward", and a gesture is only its completion, the final point. And also his statement: "The actor should no longer use his body to illustrate the movement of the soul; he should perform this movement with the help of his body."
Thus, we see that comparing the role of a gesture and the ways it affects the viewer in dramatic theater and plastic theater, we can first of all distinguish two main differences: in semantic fullness and in functioning, with regard to the area of consciousness to which it is addressed.
If we compare the gesture in pantomime and in the plastic theater, then it should be noted that both there and there (and in ballet) the kind of gesture that I. Rutberg writes about is used: "... the most comprehensive kind of gesture-sign is a gesture born directly , this minute born emotional message: "... It is not the gesture that is interesting with which a person shows that he wants to sleep, but the one that betrays his drowsiness." These signs are the main material of pantomime, the most important material of mimodrama, so they directly characterize the individuality of a person " .
Emphasizing the difference between pantomime and midrama, which, in essence, is closest to the plastic theater, Rutberg, however, notes the similar role of gesture, which is inherent in both directions. What is the difference? The dictionary of foreign words gives the following definition of pantomime: "Pantomime is a type of performing art in which plastic expressive body movements, gesture, facial expressions are used to convey content, create an artistic image; sometimes accompanied by music, rhythmic accompaniment, etc." As you know, in pantomime the word is excluded from the composition of the means of actor's expressiveness, so the gesture should completely replace it. The plastic theater, while not being a categorically non-verbal art form, also involves the use of the word, with which the gesture interacts and complements it. In addition, as was already shown in the first chapter, in pantomime the gesture is more discursive, unambiguously readable and is intended to evoke in the viewer the illusion of the objective world created on stage by the mime actor. That is, it is more focused on logical perception than in the plastic theater. Between the gesture in pantomime and in the plastic theater there is that significant difference, which consists in the fact that in the pantomime of Decroux, Barrot and Marceau, the gesture is clearly worked out, memorized. However, this should not be understood in such a way that the gesture in pantomime is stereotyped. According to Marcel Marceau, "It's all about stylization, building style. Real stylization expresses the essence of the phenomenon more deeply than life, than academic art that claims to know life." But the stylization underlying pantomime largely lacks the element of spontaneity. The very concept of stylization contains a clearly fixed form into which the movements of a mime actor are molded, having a variety of motivations under them. Jean-Louis Barrault described his search for stylization together with Etienne Decroux: “I improvised, and he selected, classified, memorized, brushed aside. And we all started all over again. So it took us three weeks to calculate the famous step on the spot: loss of balance, balances, breathing, isolation of energy".
As already noted in the first chapter, Ilya Rutberg gives the following laws, according to which the movement in pantomime is built:
· Pantomime strives for the maximum generalization of the content.
· Such a generalization is achieved through the stylization of the form of movement, taken from real life and recognizable from life experience.
· Ways of stylization should be sought, first of all, in the utmost expediency and accuracy of each movement.
Grotowski, in his quest for the plastic expressiveness of the actor, initially also followed this path, but it was precisely this stylization, characteristic of classical pantomime, that did not suit him. He clearly indicates the difference between the work of a mime actor and a plastic theater actor on bodily expressiveness: “In the beginning, when, under the influence of Delsarte, we were engaged in so-called plastic exercises, we were looking for means to differentiate reactions coming from us to others and from others to us. This is not In the end, having gone through the experience of various plastic exercises according to the well-known systems of Delsarte, Dalcroze and others, we, moving step by step, discovered the so-called plastic exercises, as a kind of coniunctiko oppositorium(conjugation of contradictions - lat.) between structure and spontaneity. Here, in the movements of the body, details are fixed that can be called forms. The first point is to fix a certain number of parts and achieve their accuracy. Then find individual impulses that could be embodied in these details and, embodied, change them. To change, but not to destroy." This is precisely the main difference between gesture in classical pantomime and plastic theater.
Plastic theater, unlike pantomime, deliberately declares its rejection of some rigidly fixed style. A similar difference can be seen in the difference between plastic theater and drama. Drama, in terms of its means of bodily expression, is much more rigidly tied to one style. For some researchers, this feature of the plastic theater causes a sharply negative attitude. "The deliberate, emphasized conventionality of plastic means, devoid of any sign of a specific style or, conversely, containing a sign of mixing all possible styles, claiming to have an independent artistic value" anti-style ", that is, style, as the absence of stylistic certainty. This principle of stylization is characteristic of many directions of the avant-garde theater, including those of its varieties that call themselves "plastic". Indeed, often the lack of a school, the proper level of acting skills and any intelligible direction are covered with speculative manifestations of pseudo-avant-garde. The harmonious unity of the internal and external technique of the actor is the basis of creative "We will call a plastically expressive actor only one who knows how to use natural data and the technique acquired as a result of training for the most vivid disclosure of the essence of the role ... We do not say: "Look how well the actor plays, but moves badly." If he doesn't move well, he probably doesn't play his role well. In the same way, we cannot say: "Look how badly the actor plays, but moves well," since in this case the plasticity of the actor, apparently, is absolutely not related to the role.
However, the absence of a rigid attachment to any one style is not a manifestation of unprofessionalism or technical unpreparedness, but an attempt to break out of the framework of those rigidly fixed means of acting expressiveness that were born and brought to perfection by other types of art. The stylistic technique of pantomime, dramatic theater acting techniques or ballet dancing, which are the basis of acting technique in the respective art forms, are only those steps for the plastic theater actor, starting from which he builds his specific manner of communicating with the audience. And in various works, various creators take various techniques as the basis of this manner, combining them, synthesizing something new, but not at all striving to master the heights already achieved by someone. For Grotovsky or Carmello Bene, the skill of a dramatic actor was taken as the basis, Mackevicius relied mainly on pantomime, and Pina Bausch and Alla Sigalova on dance. That is why it is far from always possible to draw a clear line between the plastic theater and those types of art that are taken as a starting point in each specific case.
Comparing the functions and fullness of the actor's movement in dance and in the plastic theater, it is necessary to note several points. Firstly, in dance, in contrast to the plastic theater, the role of music as a meaning-forming component is much more important. Proceeding from this, the connection between music and movement is built in these two directions in different ways. In dance, unlike plastic theatre, there is almost always a very rigid correlation between movement and music. Moreover, this correlation is, almost always, one-sided, so we are essentially talking about the dependence of movement on musical accompaniment. As noted above, both music and dance (as a sequence of movements of an actor) have very similar characteristics - rhythm, dynamics, amplitude, composition, harmony or dissonance, pattern, discreteness or continuity, etc. And almost always in dance, the characteristics of the dancer's movement are subordinated to the corresponding characteristics of the music. The exception is those cases when music and movement contradict each other in contrast on any of the above characteristics (for example, to create a comic effect). Moreover, if we consider such a form of dance as classical ballet, then applying the term "musical accompaniment" to music is generally incompetent, since first the composer writes the music and only then the choreographer builds the entire movement pattern of the dancers, which visualizes the idea as vividly and accessible to the viewer as possible. embedded in music. At the same time, it must be remembered that this process is carried out within the rather rigid framework of the tradition that has developed over the centuries of development and formation of the art of ballet and is subject to the coding rules that have been developed by the joint efforts of both choreographers and composers. That is, in the art of ballet, the dancer's movement is tied to the plot indirectly through music. In those types of dance art where the plot or semantic content of the dance is absent or does not play a significant role, the nature of the movement is still rigidly tied to the nature of the music. In the plastic theater, the priorities are diametrically opposed: the main meaning-forming element is movement. It would be an exaggeration to say that music here performs only a service or auxiliary function, but it is no longer playing the dominant role. In the plastic theater, it is the characteristics of the movement of the actors that come to the fore, and the music is already selected or written in accordance with the movement pattern of the role or the entire performance.
The aesthetics of gesture in dance and plastic theater are also formed differently: the traditionally choreographically constructed movement is distinguished by the desire for "beautifulness". This, to a large extent, is explained by his dependence on music, already cited above. Gesture and movement in the plastic theater can be unaesthetic or even anti-aesthetic, from the point of view of dance aesthetics, if the situation requires it. "The desire to penetrate into the unconscious of a person, an interest in the irrational forces that control his actions, for the outstanding dancer of expressionist dance, a student of von Laban, Marie Wigman (1886 - 1973) means a rejection of beautiful movements, an interest in the ugly and terrible. Her dance style (permanent falling to the ground, kneeling, squatting, crawling, convulsive movements, shudders) testified to a new type of plasticity on the stage. Not stylized, harmonious movements, but movements prompted, in the words of Mikhail Yampolsky (who in one of the chapters of the book "The Demon and the Labyrinth "speaks about the foundations of facial expressions and plasticity of the expressionist theater as a whole)" by the inorganic corporeality of the "hysterical". At the basis of this difference lies the fact that the art of dance refers to the human ability of the aesthetic judgment of taste, which is formed in the social environment and in accordance with some cultural paradigm. And the plastic theater appeals to deeper structures of consciousness, for which the beauty and harmony of the gesture recede into the background, and the main thing is the ability of the gesture to actively and accurately influence certain pre-cultural zones in the spectator's psyche. Because of this, when choosing a gesture in the plastic theater, the main criterion is its functionality and semantic content, which can quite rigidly set the degree of its "beautifulness" or "ugliness".
Another important difference in the perception of gesture in dance and plastic theater is that the scale in a plastic theater performance does not always consist only of music. It can be everyday sounds or their combinations; sound accompaniment provided by the artists themselves during the performance, but not music in the traditional sense of the word; sounds that have no analogues in real life, synthesized using modern electronic technology (below we will dwell in more detail on the functional significance of these elements in the plastic theater). In this regard, the interaction of the movement of actors in a plastic theater with music or other sound accompaniment can be perceived by the viewer not as something interdependent, but as the existence of two parallel phenomena. Moreover, the video sequence and the sound sequence can both emphasize each other and exist in opposition. The combination of movement with some sounds that are not music can give rise to new meanings that are not directly embedded either in movement or in sound accompaniment. This is another feature that distinguishes the perception of the movement of actors in dance and plastic theater.
All the facts cited concerned the movement of the actors on the stage. However, plastic theatre, due to the fact that it is not fundamentally non-verbal, can operate both with the voice in non-verbal forms and with the word. And here one can also trace a significant difference between how the actor's voice is perceived in the plastic theater and drama (or opera). First of all, it should be noted that the word, which does not play a dominant role in the plastic theater, often performs only an auxiliary function. The intonation, emotional coloring of the spoken text is much more important than its verbal and narrative content. For this reason, manifestations such as screams, groans, wheezing, or other sounds of actors that are not articulate speech, can contribute to the realization of the stage plan much more than a clearly perceived text. Conscious work in this direction was carried out by Bob Wilson, who in his productions "... does not completely abandon the word. Often it sounds and is present, transformed into some kind of acoustic material and devoid of the" burdensome load of meanings. phrases, phrases obsessively repeated and then truncated to a word, words to a sound, a sob, a whisper, a rustle ... They, repeatedly amplified and reproduced at various points in space, along with the words, make up the score of the performance.
An important trend of the 20th century was that searches in the field of combining movement with voice were undertaken by the dancers and choreographers themselves. In the ballet The Flames of Paris, the dancers sing the Marseillaise. In the ballet "Le Corsaire" Lyubov Vasilievna Geltser "...appeared in a man's suit, caricaturing the rough gait of the Corsair. She twisted her mustache, blew the muster signal and suddenly shouted quite like a pirate: "On board!" It came out so naturally that the audience accepted "the word "Gelzer. By the way, today Maya Plisetskaya is inclined to assert that in the future ballet will become a synthesis of word and dance." The dance theater actors Pina Bausch do not just speak from the stage, they engage the audience in a dialogue. There are many examples like these, which once again speaks of a tendency towards a deliberate blurring of the boundaries between individual types of performing arts.
Summing up this section, we can summarize the following: it cannot be argued that the set of expressive means of the plastic theater differs to some significant extent from similar sets of drama, pantomime or dance. However, what is fundamentally important, the impact of these means on the viewer is different, due to their initial focus on other areas of the viewer's perception.
MINISTRY OF EDUCATION OF THE AUTONOMOUS REPUBLIC OF CRIMEA
CRIMEAN STATE ENGINEERING AND PEDAGOGICAL UNIVERSITY
Faculty of Psychology and Education
Department of Methods of Primary Education
Test
/>By discipline
Choreographic, stage and screen art with teaching methods
Subject
Means of expressiveness of theatrical art
Students Mikulskite S.I.
Simferopol
2007 – 2008 academic year year.
Plan
2. The main means of expressiveness of theatrical art
Decoration
Theatrical costume
Noise design
Light on stage
Stage effects
Makeup
Mask
Literature
1. The concept of decorative art as a means of expressiveness of theatrical art
Set art - is one of the most important means of expressiveness of theatrical art, it is the art of creating a visual image of a performance through scenery and costumes, lighting and staging equipment. All these visual means of influence are organic components of a theatrical performance, contribute to the disclosure of its content, give it a certain emotional sound. The development of decorative art is closely related to the development of theater and dramaturgy.
In the most ancient folk rituals and games, there were elements of decorative art (costumes, masks, decorative curtains). In the ancient Greek theater already in the 5th century. BC e., in addition to the skene building, which served as an architectural backdrop for the actors' play, there were volumetric scenery, and then picturesque ones were introduced. The principles of Greek decorative art were assimilated by the theater of ancient Rome, where the curtain was first used.
During the Middle Ages, the interior of the church, where the liturgical drama was played out, originally played the role of a decorative background. Already here, the basic principle of simultaneous scenery, characteristic of the medieval theater, is applied, when all scenes of action are shown simultaneously. This principle is further developed in the main genre of medieval theater - mystery plays. In all types of mystery scenes, the greatest attention was paid to the scenery of "paradise", depicted in the form of an arbor decorated with greenery, flowers and fruits, and "hell" in the form of a dragon's opening mouth. Along with voluminous scenery, picturesque scenery (image of the starry sky) was also used. Skilled artisans were involved in the design - painters, carvers, gilders; the first theater. The machinists were watchmakers. Antique miniatures, engravings and drawings give an idea of the various types and methods of staging mysteries. In England, performances on pedzhents, which were a mobile two-story booth mounted on a cart, received the greatest distribution. In the upper floor, a performance was played, and the lower one served as a dressing room for the actors. Such a circular or ring type of arrangement of the stage platform made it possible to use the amphitheaters preserved from the ancient era for staging mysteries. The third type of design of the mysteries was the so-called system of arbors (16th-century mysterial performances in Lucerne, Switzerland, and Donaueschingen, Germany) - open houses scattered over the area, in which the action of the mystery episodes unfolded. In the school theater of the 16th century. For the first time there is an arrangement of places of action not along one line, but parallel to three sides of the stage.
The cult basis of the theatrical performances of Asia determined the dominance for a number of centuries of the conditional design of the stage, when individual symbolic details designated the scenes of action. The lack of scenery was made up for by the presence in some cases of a decorative background, the richness and variety of costumes, make-up masks, the color of which had a symbolic meaning. In the feudal-aristocratic musical theater of masks that developed in Japan in the 14th century, a canonical type of decoration was created: on the back wall of the stage, against an abstract golden background, a pine tree was depicted - a symbol of longevity; in front of the balustrade of the covered bridge, located at the back of the stage on the left and intended for the actors and musicians to enter the stage, images of three small pines were placed
At 15:00 16th centuries in Italy, a new type of theater building and stage appears. The largest artists and architects took part in the design of theatrical productions - Leonardoda Vinci, Rafael, A. Mantegna, F. Brunelleschi and others. .Peruzzi. The scenery, depicting the view of the street going into the depths, was painted on canvas stretched over frames, and consisted of a backdrop and three side plans on each side of the stage; some parts of the scenery were made of wood (house roofs, balconies, balustrades, etc.). The required perspective contraction was achieved by steeply lifting the tablet. Instead of the simultaneous scenery on the Renaissance stage, one common and invariable scene was reproduced for performances of certain genres. The largest Italian theatrical architect and decorator S. Serlio developed 3 types of scenery: temples, palaces, arches - for tragedies; town square with private houses, shops, hotels - for comedies; forest landscape - for pastorals.
Renaissance artists considered the stage and the auditorium as a whole. This was manifested in the creation of the Olimpico Theater in Vicenza, designed by A. Palladio in 1584; V. Scamozzi erected a splendid permanent decoration in this place, depicting an “ideal city” and intended for staging tragedies.
The aristocratization of the theater during the crisis of the Italian Renaissance led to the predominance of external showiness in theatrical productions. The relief decoration of S. Serlio was replaced by a picturesque decoration in the Baroque style. The enchanting character of the court opera and ballet performance at the end of the 16th and 17th centuries. led to the widespread use of theatrical mechanisms. The invention of telarii, trihedral rotating prisms covered with painted canvas, attributed to the artist Buontalenti, made it possible to change the scenery in front of the public. A description of the device of such moving perspective scenery is available in the works of the German architect I. Furtenbach, who worked in Italy and planted the technique of the Italian theater in Germany, as well as in the treatise “On the Art of Building Stages and Machines” (1638) by the architect N. Sabbatini. Improvements in the technique of perspective painting have made it possible for decorators to create an impression of depth without the steep rise of the tablet. Actors could fully use the stage space. In the beginning. 17th century backstage scenery appeared, invented by J. Aleotti. Technical devices for flights, systems of hatches, as well as side portal shields and a portal arch were introduced. All this led to the creation of the box scene.
The Italian system of backstage scenery has become widespread in all European countries. All R. 17th century in the Viennese court theater, baroque backstage scenery was introduced by the Italian theater architect L. Burnacini; in France, the famous Italian theater architect, decorator and machinist G. Torelli ingeniously applied the achievements of the promising backstage scene in court productions of the opera and ballet type. The Spanish theatre, which was still preserved in the 16th century. primitive fair scene, assimilates the Italian system through the Italian thin. K. Lotti, who worked in the Spanish court theater (1631). The city public theaters of London retained for a long time a conditional stage of the Shakespearean era with a division into upper, lower and back stages, with a proscenium protruding into the auditorium and meager decoration. The stage of the English theater made it possible to quickly change scenes in their sequence. A promising decoration of the Italian type was introduced in England in the 1st quarter. 17th century theater architect I. Jones in the production of court performances. In Russia, backstage perspective scenery was used in 1672 in performances at the court of Tsar Alexei Mikhailovich.
In the era of classicism, the dramatic canon, which demanded the unity of place and time, approved a permanent and irreplaceable scenery, devoid of a specific historical characteristic (the throne room or lobby of the palace for tragedy, the city square or room for comedy). The whole variety of decorative and staging effects was concentrated in the 17th century. within the opera and ballet genre, and dramatic performances were distinguished by rigor and stinginess of design. In the theaters of France and England, the presence on the stage of aristocratic spectators, located on the sides of the proscenium, limited the possibilities of scenery for performances. The further development of opera art led to the reform of the opera. The rejection of symmetry, the introduction of angular perspective helped create the illusion of a great depth of the scene by means of painting. Dynamism and emotional expressiveness of the scenery were achieved by the play of light and shade, rhythmic diversity in the development of architectural motifs (endless enfilades of baroque halls decorated with stucco ornaments, with repeating rows of columns, stairs, arches, statues) , with the help of which the impression of the grandiosity of architectural structures was created.
The aggravation of the ideological struggle in the Enlightenment found expression in the struggle of various styles and in decorative art. Along with the intensification of the spectacular splendor of baroque scenery and the appearance of scenery performed in the rococo style, characteristic of the feudal-aristocratic direction, in the decorative art of this period there was a struggle for the reform of the theater, for liberation from the abstract splendor of court art, for a more accurate national and historical characterization of the scene. In this struggle, the educational theater turned to the heroic images of romanticism, which found expression in the creation of scenery in the classic style. This direction was especially developed in France in the work of decorators J. Servandoni, G. Dumont, P.A. Brunetti, who reproduced buildings of ancient architecture on stage. In 1759, Voltaire achieved the expulsion of the audience from the stage, freeing up additional space for scenery. In Italy, the transition from baroque to classicism found expression in the work of G. Piranesi.
Intensive development of theater in Russia in the 18th century. led to the flourishing of Russian decorative art, which used all the achievements of modern theater painting. In the 40s. In the 18th century, major foreign artists were involved in the design of performances - K. Bibbiena, P. and F. Gradipzi and others, among whom a prominent place belongs to the talented follower of Bibbiena J. Valeriani. In the 2nd floor. 18th century talented Russian decorators came to the fore, most of whom were serfs: I. Vishnyakov, the Volsky brothers, I. Firsov, S. Kalinin, G. Mukhin, K. Funtusov and others who worked in court and serf theaters. From 1792, the outstanding theater artist and architect P. Gonzago worked in Russia. In his work, ideologically connected with the classicism of the Enlightenment, the rigor and harmony of architectural forms, creating the impression of grandiosity and monumentality, were combined with a complete illusion of reality.
At the end of the 18th century in the European theater, in connection with the development of bourgeois drama, pavilion scenery appears (a closed room with three walls and a ceiling). The crisis of feudal ideology in the 17-18 centuries. found its reflection in the decorative arts of Asia, causing a number of innovations. Japan in the 18th century buildings are being built for kabuki theaters, the stage of which had a proscenium that protruded strongly into the audience and a curtain moving horizontally. From the right and left sides of the stage to the back wall of the auditorium there were platforms ("hanamichi", literally the road of flowers), on which the performance also unfolded (subsequently, the right platform was abolished; in our time, only the left platform remains in Kabuki theaters). Kabuki theaters used three-dimensional scenery (gardens, facades of houses, etc.), specifically characterizing the scene; in 1758, for the first time, a rotating stage was used, the turns of which were made manually. Medieval traditions are preserved in many theaters in China, India, Indonesia and other countries, in which there are almost no scenery, and decoration is limited to costumes, masks and make-up.
French bourgeois revolution of the late 18th century. had a great impact on the art of theatre. The expansion of the themes of drama led to a number of shifts in decorative art. In the production of melodramas and pantomimes on the stages of the “theatres of the boulevards” in Paris, special attention was paid to the design; the high skill of theatrical machinists made it possible to demonstrate various effects (shipwrecks, volcanic eruptions, thunderstorm scenes, etc.). In the decorative art of those years, the so-called pratikables (three-dimensional design details depicting rocks, bridges, hills, etc.) were widely used. In the 1st quarter 19th century Picturesque panoramas, dioramas, or neoramas, combined with innovations in stage lighting, became widespread (gas was introduced into theaters in the 1920s). An extensive program for the reform of theatrical design was put forward by French romanticism, which set the task of historically specific characterization of scenes. Romantic playwrights took a direct part in the productions of their plays, supplying them with lengthy remarks and their own sketches. Performances were created with complex scenery and magnificent costumes, striving to combine in the productions of multi-act operas and dramas on historical plots the accuracy of the color of the place and time with spectacular prettiness. The complication of staging technique led to the frequent use of the curtain in between acts of the performance. In 1849, on the stage of the Paris Opera in the production of Meyerbeer's The Prophet, the effects of electric lighting were used for the first time.
In Russia in the 30-70s. 19th century A. Roller, an outstanding master of theatrical machines, was a major decorator of the romantic direction. The high technique of staging effects developed by him was subsequently developed by such decorators as K.F. Valts, A.F. Geltseri et al. New trends in decorative art in the 2nd half. 19th century were affirmed under the influence of realistic classical Russian dramaturgy and acting art. The fight against academic routine was started by decorators M.A. Shishkov and M.I. Bocharov. In 1867, in the play "The Death of Ivan the Terrible" by A.K. Tolstoy (Alexandria Theatre) Shishkov for the first time succeeded in showing on the stage the life of pre-Petrine Rus' with historical concreteness and accuracy. In contrast to the somewhat dry archeology of Shishkov, Bocharov introduced a truthful, emotional feeling of Russian nature into his landscape scenery, anticipating the arrival of genuine painters on the stage with his work. architectural”, “costume”, etc.; in dramatic performances on contemporary themes, as a rule, prefabricated or “on duty” typical scenery was used (“poor” or “rich” room, “forest”, “rural view”, etc.). In the 2nd floor. 19th century large decorative workshops were created to serve various European theaters (the workshops of Philastre and Ch. Cambon, A. Roubaud and F. Chaperon in France, Lütke-Meyer in Germany, and others). During this period, bulky, ceremonial, eclectic in style decorations, in which art and creative imagination are replaced by handicrafts, become widespread. On the development of decorative art in the 70-80s. significant influence was exerted by the activity of the Meiningen theatre, whose tours in Europe demonstrated the integrity of the director's decision of performances, high production culture, historical accuracy of scenery, costumes and accessories. . They widely used the diversity of the relief of the tablet, filling the stage space with various architectural forms, they used pratikables in abundance in the form of various platforms, stairs, three-dimensional columns, rocks and hills. On the pictorial side of the Meiningen productions (the design of which
in the majority belonged to Duke George II) the influence of the German historical school of painting - P. Cornelius, W. Kaulbach, K. Piloty - clearly affected. However, historical accuracy and plausibility, the "authenticity" of accessories at times acquired a self-sufficient significance in the performances of the Meiningen people.
E. Zola performs in the late 70s. with a critique of abstract classicist, idealized, romantic and spectacular enchanting scenery. He demanded a depiction on the stage of modern life, "accurate reproduction of the social environment" with the help of scenery, which he compared with descriptions in the novel. Symbolist theater, which arose in France in the 90s, under the slogans of protest against theatrical routine and naturalism, fought against realistic art. Around the Artistic Theater of P. Faure and the theater "Creativity" of Lunier-Poe, the artists of the modernist camp M. Denis, P. Serusier, A. Toulouse-Lautrec, E. Vuillard, E. Munch and others united; they created simplistic, stylized scenery, impressionist obscurity, emphatic primitivism and symbolism, which led theaters away from a realistic depiction of life.
The powerful upsurge of Russian culture took hold in the last quarter of the 19th century. theater and decorative art. In Russia in the 80-90s. the largest easel artists are involved in work in the theater - V.D. Polenov, V.M. Vasnetsov and A.M. Vasnetsov, I.I. Levitan, K.A. Korovin, V.A. Serov, M.A. Vrubel. Working since 1885 in the Moscow Private Russian Opera S.I. Mamontov, they introduced the compositional techniques of modern realistic painting into the scenery, affirmed the principle of a holistic interpretation of the performance. In productions of operas by Tchaikovsky, Rimsky-Korsakov, Mussorgsky, these artists conveyed the originality of Russian history, the spiritualized lyricism of the Russian landscape, the charm and poetry of fairy-tale images.
The subordination of the principles of stage design to the requirements of realistic stage direction was first achieved in the late 19th and 20th centuries. in the practice of the Moscow Art Theatre. Instead of the traditional backstage, pavilions and "prefabricated" scenery, common for imperial theaters, each performance of the Moscow Art Theater had a special design that corresponded to the director's intention. The expansion of planning possibilities (processing the floor plane, showing unusual angles of living quarters), the desire to create the impression of a "lived-in" environment, the psychological atmosphere of the action characterize the decorative art of the Moscow Art Theater.
Decorator of the Art Theater V.A. Simov was, according to K.S. Stanislavsky, "the founder of a new type of stage artists", distinguished by a sense of the truth of life and inextricably linking their work with directing. The realistic reform of decorative art carried out by the Moscow Art Theater had a huge impact on world theatrical art. An important role in the technical re-equipment of the stage and in enriching the possibilities of decorative art was played by the use of a revolving stage, first used in the European theater by K. Lautenschläger in the production of Mozart's opera Don Giovanni (1896, Residenz Theatre, Munich).
In the 1900s the artists of the World of Art group - A.N. Benois, L.S. Bakst, M.V. Dobuzhinsky, N.K. Roerich, E.E. Lansere, I.Ya. Bilibini, etc. The retrospectivism and stylization characteristic of these artists limited their creativity, but their high culture and skill, striving for the integrity of the general artistic design of the performance played a positive role in the reform of opera and ballet decorative art not only in Russia, but also abroad. Tours of Russian opera and ballet, which began in Paris in 1908 and were repeated over a number of years, showed the high pictorial culture of scenery, the ability of artists to convey the styles and character of art from different eras. The activities of Benois, Dobuzhinsky, B. M. Kustodiev, Roerich are also associated with the Moscow Art Theater, where the aestheticism characteristic of these artists was largely subordinated to the requirements of the realistic direction of K.S. Stanislavsky and V.I. Nemirovich-Danchenko. The largest Russian decorators K.A. Korovin and A.Ya. Golovin, who worked from the beginning. 20th century in the imperial theaters, made fundamental changes in the decorative art of the state stage. Korovin's broad free manner of writing, the sense of living nature inherent in his stage images, the integrity of the color scheme that unites the scenery and costumes of the characters, most clearly affected the design of Russian opera ballets - Sadko, The Golden Cockerel; "Humpbacked Horse" C. Pugni and others. Ceremonial decorativeness, clear delineation of forms, boldness of color combinations, general harmony, and integrity of the solution distinguish Golovin's theatrical painting. Unlike Korovin, Golovin always emphasized in his sketches and scenery the theatrical nature of stage design, its individual components; he used portal frames decorated with ornaments, a variety of appliqued and painted curtains, a proscenium, etc. In 1908-17 Golovin created a design for a number of performances, post. V.E. Meyerhold (including "Don Juan" by Moliere, "Masquerade"),
Strengtheninganti-realistic trends in bourgeois art at the end of the 19th and beginning. In the 20th century, the refusal to disclose social ideas had a negative impact on the development of realistic decorative art in the West. Representatives of the decadent currents proclaimed "conventionality" as the main principle of art. A. Appiah (Switzerland) and G. Craig (England) waged a consistent struggle against realism. Putting forward the idea of creating a "philosophical theater", they depicted the "invisible" world of ideas with the help of abstract timeless scenery (cubes, screens, platforms, stairs, etc.), by changing the light they achieved the play of monumental spatial forms. Craig's own practice as a director and artist was limited to a few productions, but his theories subsequently influenced the work of a number of theater designers and directors in various countries. The principles of the Symbolist theater were reflected in the work of the Polish playwright, painter and theater artist S. Wyspiansky, who aspired to create a monumental conditional performance; however, the implementation of national forms of folk art in the scenery and projects of the spatial stage freed Wyspiansky's work from cold abstraction, made it more real. Organizer of the Munich Art Theater G. Fuchs together with the artist. F. Erler put forward the project of a "relief scene" (that is, a scene almost devoid of depth), where the figures of the actors are located on a plane in the form of a relief. Director M. Reinhardt (Germany) used a variety of design techniques in the theaters he directed: from carefully designed, almost illusionistic pictorial and three-dimensional scenery associated with the use of a rotating stage circle, to generalized conditional immovable installations, from simplified stylized decoration “in cloth” to grandiose mass entertainment circus arena, where more and more emphasis was placed on purely external stage effectiveness. Artists E. Stern, E. Orlik, E. Munch, E. Schütte, O. Messel, sculptor M. Kruse and others worked with Reinhardt.
In the late 10's and 20's. 20th century Expressionism, which developed initially in Germany, but has widely captured the art of other countries, acquires predominant importance. Expressionist tendencies led to a deepening of contradictions in decorative art, to schematization, a departure from realism. Using "shifts" and "bevels" of planes, objectless or fragmentary scenery, sharp contrasts of light and shadow, the artists tried to create a world of subjective visions on the stage. At the same time, some expressionist performances had a pronounced anti-imperialist orientation, and the scenery in them acquired the features of an acute social grotesque. The decorative art of this period is characterized by the passion of artists for technical experiments, the desire to destroy the stage-box, expose the stage, and the techniques of staging techniques. Formalist currents - constructivism, cubism, futurism - led decorative art on the path of self-sufficing technicism. Artists of these trends, reproducing on the stage "pure" geometric shapes, planes and volumes, abstract combinations of parts of mechanisms, sought to convey the "dynamism", "tempo and rhythm" of a modern industrial city, sought to create on stage the illusion of the work of real machines (G. Severini, F. Depero, E. Prampolini - Italy, F. Leger - France, etc.).
In the decorative art of Western Europe and America, ser. 20th century there are no specific artistic trends and schools: artists strive to develop a broad manner that allows them to apply to various styles and techniques. However, in many cases, the artists who design the performance do not so much convey the ideological content of the play, its character, specific historical features, as they strive to create on its canvas an independent piece of decorative art, which is the “fruit of the artist’s free fantasy”. Hence the arbitrariness, the abstract design, the break with reality in many performances. This is opposed by the practice of progressive directors and the work of artists who seek to preserve and develop realistic decorative art, relying on the classics, progressive modern drama and folk traditions.
From the 10s 20th century masters of easel art are increasingly involved in work in the theater, and interest in decorative art as a type of creative artistic activity is growing stronger. From the 30s. the number of qualified professional theater artists who know the staging technique well is increasing. Stage technology is enriched by a variety of means, new synthetic materials, luminescent paints, photo and film projections, etc. are used. From various technical improvements of the 50s. 20th century Of greatest importance is the use of cyclorama in the theater (synchronous projection of images from several film projectors onto a wide semicircular screen), the development of complex lighting effects, etc.
In the 30s in the creative practice of Soviet theaters, the principles of socialist realism are affirmed and developed. The most important and defining principles of decorative art are the demands of life's truth, historical concreteness, and the ability to reflect the typical features of reality. The volumetric-spatial principle of scenery, which dominated many performances of the 1920s, is enriched by the widespread use of painting.
2. The main means of expressiveness of theatrical art:
2.1 Decoration
Scenery (from lat. decoro - I decorate) - the design of the stage, recreating the material environment in which the actor operates. The scenery "represents an artistic image of the scene and at the same time a platform, representing rich opportunities for performing stage action on it." The scenery is created using a variety of expressive means used in the modern theater - painting, graphics, architecture, the art of planning the scene, the special texture of the scenery, lighting, stage technology, projection, cinema, etc. The main scenery systems:
1) rocker mobile,
2) rocker-arched lifting,
3) pavilion,
4) volumetric
5) projection.
The emergence and development of each set system and its replacement by another were determined by the specific requirements of dramaturgy, theatrical aesthetics, corresponding to the history of the era, as well as the growth of science and technology.
Swing mobile decoration. Backstage - parts of the scenery located on the sides of the stage at certain distances one after another (from the portal into the depths of the stage) and designed to close the backstage space from the viewer. The wings were soft, hinged or rigid on the frame; sometimes they had a figured contour depicting an architectural profile, the outlines of a tree trunk, and foliage. The change of rigid wings was carried out with the help of special wings - frames on wheels, which were (18th and 19th centuries) on each stage plan parallel to the ramp. These frames moved in passages specially carved in the stage plank along the rails laid along the half-first hold. In the first palace theaters, the scenery consisted of a backdrop, wings, ceiling hoops, which rose and fell simultaneously with the change of wings. Clouds, branches of trees with foliage, parts of plafonds, etc. were written on padugs. To this day, the backstage systems of scenery in the court theater in Drottningholmei in the theater of the former estate near Moscow, Prince. N.B. Yusupov in "Arkhangelsk"
The stile-arched lifting decoration originated in Italy in the 17th century. and received wide distribution in public theaters with high grates. This type of decoration is a canvas sewn in the form of an arch with tree trunks, branches with foliage, architectural details (observing the laws of linear and aerial perspective) painted (at the edges and at the top). Up to 75 of these stage arches can be hung on the stage, the background for which is a painted backdrop or horizon. A variety of backstage-arched decorations is openwork decorations (painted "forest" or "architectural" backstage arches glued onto special nets or applied to tulle). Currently, backstage-arched decorations are used mainly in opera and ballet productions.
Pavilion decoration was first used in 1794. actor and director F.L. Schroeder. The pavilion decoration depicts an enclosed space and consists of frame walls covered with canvas and painted to match the pattern of wallpaper, boards, and tiles. The walls can be "deaf" or have spans for windows and doors. Between themselves, the walls are connected with the help of throw ropes - laps, and are attached to the floor of the stage with slopes. The width of the pavilion walls in a modern theater is no more than 2.2 m (otherwise, when transporting scenery, the wall will not pass through the door of a freight car). Behind the windows and doors of the pavilion scenery, backrests (parts of hanging decoration on frames) are usually placed, on which the corresponding landscape or architectural motif is depicted. The pavilion decoration is covered by a ceiling, which in most cases is suspended from the grate.
In the theatrical era, three-dimensional scenery first appeared in the performances of the Meiningen Theater in 1870. In this theater, along with flat walls, three-dimensional details began to be used: straight and inclined machines - ramps, stairs and other structures for depicting terraces, hills, and fortress walls. The designs of machine tools are usually masked with picturesque canvases or sham reliefs (stones, tree roots, grass). To change parts of the three-dimensional scenery, rolling platforms on rollers (furkas), a turntable and other types of stage equipment are used. Volumetric scenery allowed the directors to build mise-en-scènes on the “broken” stage plane, to find various constructive solutions, thanks to which the expressive possibilities of theatrical art expanded extraordinarily.
Projection decoration was first used in 1908 in New York. It is based on the projection (on the screen) of color and black-and-white images drawn on transparencies. The projection is carried out using theater projectors. The backdrop, horizon, walls, floor can serve as a screen. There are front projection (the projector is in front of the screen) and transmission projection (the projector is behind the screen). The projection can be static (architectural, landscape and other motifs) and dynamic (movement of clouds, rain, snow). In the modern theater, which has new screen materials and projection equipment, projection scenery has been widely used. Ease of manufacture and operation, ease and speed of changing scenes, durability, and the ability to achieve high artistic qualities make projection decorations one of the promising types of scenery for a modern theater.
2.2 Theatrical costume
Theatrical costume (from Italian costume, actually custom) - clothes, shoes, hats, jewelry and other items used by the actor to characterize the stage image he creates. A necessary addition to the costume is make-up and hair. The costume helps the actor find the appearance of the character, reveal the inner world of the stage hero, determines the historical, socio-economic and national characteristics of the environment in which the action takes place, creates (together with the rest of the design components) the visual image of the performance. The color of the costume should be closely related to the overall color scheme of the performance. The costume constitutes a whole area of creativity of the theater artist, embodying in the costumes a huge world of images - sharply social, satirical, grotesque, tragic.
The process of creating a costume from sketch to stage implementation consists of several stages:
1) the choice of materials from which the suit will be made;
2) samples for coloring materials;
3) search for lines: making cartridges from other materials and tattooing the material on a mannequin (or on an actor);
4) checking the costume on stage in different lighting;
5) "settlement" of the costume by the actor.
The history of the origin of the costume dates back to primitive society. In the games and rituals with which the ancient man responded to various events of his life, hairstyle, make-up, coloring, ritual costumes were of great importance; primitive people invested a lot of invention and peculiar taste in them. Sometimes these costumes were fantastic, other times they resembled animals, birds or beasts. Since ancient times, there have been costumes in the classical theater of the East. In China, India, Japan and other countries, costumes are conventional, symbolic. So, for example, in the Chinese theater, a yellow flower suit means belonging to the imperial family, the performers of the roles of officials and feudal lords are dressed in black and green suits; in Chinese classical opera, flags behind a warrior's back indicate the number of his regiments, a black scarf on his face symbolizes the death of a stage character. Brightness, richness of colors, magnificence of materials make the costume in the oriental theater one of the main decorations of the performance. As a rule, costumes are created for a certain performance, this or that actor; there are also sets of costumes fixed by tradition, which are used by all troupes, regardless of the repertoire. Costume in the European theater first appeared in ancient Greece; he basically repeated the everyday costume of the ancient Greeks, but various conditional details were introduced into it, helping the viewer not only understand, but also better see what was happening on the stage (theatrical buildings were huge). Each costume had a special color (for example, the king's costume was purple or saffron-yellow), the actors wore masks that were clearly visible from afar, and shoes on high stands - coturnes. In the era of feudalism, the art of the theater continued to develop in cheerful, topical, witty performances of itinerant actors-histrions. Of the performances of the religious theater that arose during this period, the mysteries enjoyed the greatest success, the productions of which were especially magnificent. The procession of mummers in various costumes of igrims (fantastic characters of fairy tales and myths, all kinds of animals) that preceded the show of the mystery was distinguished by bright colorfulness. The main requirement for a costume in a mystery play is wealth and elegance (regardless of the role played). The costume was conventional: the saints were in white, Christ with gilded hair, the devils in picturesque fantastic costumes. The costumes of the performers of instructive-allegorical drama morality were much more modest. In the most lively and progressive genre of the medieval theater - the farce, which contained sharp criticism of feudal society, a modern caricature characteristic costume and make-up appeared. In the Renaissance, the actors of the commedia dell'arte by means of costumes gave a witty, sometimes well-aimed, evil characterization of their heroes: the typical features of scholastic scholars, mischievous servants were generalized in the costume. In the 2nd floor. 16th century in Spanish and English theaters, actors performed in costumes close to fashionable aristocratic costumes or (if the role required it) in clownish folk costumes. In the French theater, the costume followed the traditions of the medieval farce.
Realistic trends in the field of costume appeared in Moliere, who, when staging his plays dedicated to modern life, used modern costumes of people of different classes. During the Age of Enlightenment in England, the actor D. Garrick sought to release the costume of pretentiousness and meaningless stylization. He introduced a costume that matches the role played, helping to reveal the character of the hero. In Italy in the 18th century, the comedian C. Goldoni, gradually replacing the typical commedia dell'arte masks in his plays with images of real people, at the same time retained the corresponding costumes and make-up. In France, Voltaire strove for the historical and ethnographic accuracy of the costume on the stage, supported by the actress Clairon. She led the fight against the conventions of the costume of tragic heroines, against fizhma, powdered wigs, precious jewelry. The cause of costume reform in tragedy was further advanced by the French actor. Leken, who modified the stylized "Roman" costume, abandoned the traditional tunnel, approved the oriental costume on the stage. The costume for Leken was a means of psychological characterization of the image. Significant influence on the development of the costume in the 2nd floor. 19th century Rendered activity to it. Meiningen Theatre, the performances of which were distinguished by high staging culture, historical accuracy of costumes. However, the authenticity of the costume acquired a self-sufficient significance among the Meiningen people. E. Zola demanded an accurate reproduction of the social environment on stage. This is what the largest theatrical figures of the early years aspired to. 20th century - A. Antoine (France), O. Brahm (Germany), who took an active part in the design of performances, attracted the largest artists to work in their theaters. Symbolist theater that arose in the 90s. in France, under the slogans of protest against the theatrical routine and naturalism, carried out a struggle against realistic art. Modernist artists created simplified, stylized scenery and costumes, leading the theater away from a realistic depiction of life. The first Russian costume was created by buffoons. Their costume repeated the clothes of the urban lower classes and peasants (caftans, shirts, ordinary trousers, bast shoes) and was decorated with multi-colored sashes, patches, bright embroidered caps. 16th century in the church theater, the performers of the roles of the youths were dressed in white clothes (crowns with crosses on their heads), the actors depicting the Chaldeans - in short caftans and caps. Conventional costumes were also used in the performances of the school theater; allegorical characters had their own emblems: Faith appeared with a cross, Hope with an anchor, Mars with a sword. The costumes of the kings were supplemented with the necessary attributes of royal dignity. The same principle distinguished the performances of the first professional theater in Russia in the 17th century, founded at the court of Tsar Alexei Mikhailovich, the performances of the court theaters of Princess Natalia Alekseevna and Czarina Praskovya Feodorovna. The development of classicism in Russia in the 18th century. was accompanied by the preservation of all the conventions of this direction in the costume. Actors performed in costumes that were a mixture of fashionable modern costume with elements of antique costume (similar to the "Roman" costume in the West), the performers of the roles of noble nobles or kings wore luxurious conditional costumes. In the beginning. 19th century in performances from modern life, fashionable modern costumes were used;
Costumes in historical plays were still far from historical accuracy.
In the middle of the 19th century. in the performances of the Alexandrinsky Theater and the Maly Theater, there is a desire for historical accuracy in costume. The Moscow Art Theater achieves great success in this area at the end of the century. The great theater reformers Stanislavsky and Nemirovich-Danchenko, together with the artists who worked at the Moscow Art Theater, achieved an exact match of the costume to the era and environment depicted in the play, to the character of the stage hero; in the Arts Theater, the costume was of great importance for creating a stage image. In a number of Russian theaters early. 20th century the costume has turned into a truly artistic work, expressing the intentions of the author, director, actor.
2.3 Noise design
Noise design - reproduction on the stage of the sounds of the surrounding life. Together with the scenery, props, lighting, noise design forms the background that helps the actors and the audience feel in an environment corresponding to the action of the play, creates the right mood, affects the rhythm and pace of the performance. Firecrackers, shots, the rumble of an iron sheet, the clatter and ringing of weapons behind the stage accompanied performances as early as the 16th-18th centuries. The presence of sound equipment in the equipment of Russian theater buildings indicates that in Russia noise design was already used in the middle. 18th century
Modern noise design differs in the nature of sounds: sounds of nature (wind, rain, thunder, birds); production noise (factory, construction site); traffic noise (cart, train, plane); battle noises (cavalry, shots, movement of troops); everyday noises (clocks, glass clinking, squeaks). Noise design can be naturalistic, realistic, romantic, fantastic, abstract-conditional, grotesque, depending on the style and decision of the performance. Noise design is handled by the sound designer or production department of the theatre. The performers are usually members of a special noise brigade, which also includes actors. Simple sound effects can be performed by stagehands, props, etc. The equipment used for noise design in a modern theater consists of more than 100 devices of various sizes, complexity and purpose. These devices allow you to achieve a feeling of large space; with the help of a sound perspective, the illusion of the noise of an approaching and departing train or aircraft is created. Modern radio technology, especially stereophonic equipment, provides great opportunities for expanding the artistic range and quality of noise design, while at the same time organizationally and technically simplifies this part of the performance.
2.4 Lights on stage
Light on the stage is one of the important artistic and staging means. Light helps to reproduce the place and atmosphere of the action, perspective, create the necessary mood; sometimes in modern performances, light is almost the only means of decoration.
Various types of scenery design require appropriate lighting techniques. Planar scenic scenery requires general uniform lighting, which is created by general lighting fixtures (soffits, ramps, portable devices).
When using a mixed type of decoration, a mixed lighting system is applied accordingly.
Theatrical lighting devices are made with a wide, medium and narrow light scattering angle, the latter are called spotlights and serve to illuminate certain parts of the stage and actors. Depending on the location, the lighting equipment of the theater stage is divided into the following main types:
1) Overhead lighting equipment, which includes lighting fixtures (soffits, spotlights) suspended above the playing part of the stage in several rows according to its plans.
2) Horizontal lighting equipment used to illuminate theatrical horizons.
3) Side lighting equipment, which usually includes projector-type devices installed on portal backstage, side lighting galleries
4) Remote lighting equipment, consisting of spotlights installed outside the stage, in various parts of the auditorium. A ramp also applies to remote lighting.
5) Portable lighting equipment, consisting of various types of devices installed on the stage for each action of the performance (depending on requirements).
6) Various special lighting and projection devices. The theater often also uses a variety of special-purpose lighting devices (decorative chandeliers, candelabra, lamps, candles, lanterns, bonfires, torches), made according to the sketches of the artist who designs the performance.
For artistic purposes (reproduction of real nature on stage), a color system of scene illumination is used, consisting of light filters of various colors. Light filters can be glass or film. Color changes in the course of the performance are carried out: a) by a gradual transition from lighting fixtures that have one color of light filters to fixtures with other colors; b) adding the colors of several, simultaneously operating devices; c) change of light filters in lighting fixtures. Light projection is of great importance in the design of the performance. It creates various dynamic projection effects (clouds, waves, rain, falling snow, fire, explosions, flashes, flying birds, planes, sailing ships) or static images that replace the picturesque details of the decoration (light projection scenery). The use of light projection uncommonly expands the role of light in the performance and enriches its artistic possibilities. Sometimes film projection is also used. Light can be a full-fledged artistic component of a performance only if there is a flexible centralized control system for it. For this purpose, the power supply of all lighting equipment of the stage is divided into lines related to individual lighting devices or apparatus and individual colors of installed filters. On the modern stage there are up to 200-300 lines. To control lighting, it is necessary to turn on, turn off and change the luminous flux, both in each individual line, and in any combination of them. For this purpose, there are light control units, which are a necessary element of stage equipment. The regulation of the luminous flux of the lamps occurs with the help of autotransformers, thyratrons, magnetic amplifiers or semiconductor devices that change the current or voltage of the lighting circuit. To control numerous stage lighting circuits, there are complex mechanical devices, usually called theater regulators. The most widely used electrical regulators with autotransformers or magnetic amplifiers. At present, electric multi-program regulators are becoming widespread; with their help, extraordinary flexibility in controlling the lighting of the scene is achieved. The basic principle of such a system is that the control unit allows a preliminary set of light combinations for a number of pictures or moments of the performance, with their subsequent reproduction on the stage in any sequence and at any tempo. This is especially important when illuminating complex modern multi-picture performances with a large dynamics of light and quickly following changes.
2.5 Stage effects
Stage effects (from lat. effectus - performance) - illusions of flights, swims, floods, fires, explosions, created with the help of special devices and devices. Stage effects were used already in the ancient theater. In the era of the Roman Empire, individual stage effects are introduced into the performances of mimes. Religious ideas of the 14th-16th centuries were saturated with effects. So, for example, when staging mysteries, special "masters of miracles" were involved in the arrangement of numerous theatrical effects. In court and public theaters of the 16th-17th centuries. a type of magnificent performance was established with a variety of stage effects based on the use of theatrical mechanisms. The skill of the machinist and decorator, who created all kinds of apotheoses, flights and transformations, came to the fore in these performances. The traditions of such spectacular spectacle were repeatedly resurrected in the practice of the theater of subsequent centuries.
In the modern theater, stage effects are divided into sound, light (light projection) and mechanical. With the help of sound (noise) effects, the sounds of the surrounding life are reproduced on the stage - the sounds of nature (wind, rain, thunderstorm, birdsong), production noises (factory, construction site, etc.), traffic noises (train, plane), battle noises ( cavalry movement, shots), household noises (clocks, glass clinking, creaking).
Light effects include:
1) all kinds of imitations of natural lighting (daylight, morning, night, lighting observed during various natural phenomena - sunrise and sunset, clear cloudy skies, thunderstorms, etc.);
2) creating the illusion of pouring rain, moving clouds, a blazing glow of a fire, falling leaves, flowing water, etc.
To obtain the effects of the 1st group, they usually use a three-color lighting system - white, red, blue, which gives almost any tone with all the necessary transitions. An even richer and more flexible color palette (with nuances of all kinds of shades) is provided by a combination of four colors (yellow, red, blue, green), which corresponds to the main spectral composition of white light. Methods for obtaining lighting effects of the 2nd group are reduced mainly to the use of light projection. By the nature of the impressions received by the viewer, lighting effects are divided into stationary (fixed) and dynamic.
Types of stationary lighting effects
Zarnitsa - is given by an instantaneous flash of a voltaic arc, produced manually or automatically. In recent years, electronic photoflashes of high intensity have become widespread.
Stars - simulated using a large number of light bulbs from a flashlight, painted in different colors and having different glow intensities. The light bulbs and their power supply are mounted on a black-painted mesh, which is suspended from a fence post.
Moon - is created by projecting an appropriate light image onto the horizon, as well as using a model raised upwards that imitates the moon.
Lightning - a narrow zigzag gap cuts through on the back or panorama. Covered with translucent material, disguised as a general background, this gap is illuminated from behind at the right moment with powerful lamps or flashlights, a sudden zigzag of light gives the desired illusion. The effect of lightning can also be obtained with the help of a specially made lightning model, in which reflectors and lighting devices are mounted.
Rainbow - created by the projection of a narrow beam of an arc spotlight, passed first through an optical prism (which decomposes white light into composite spectral colors), and then through a transparencies "mask" with an arc-shaped slit (the latter determines the nature of the projection image itself).
Fog is achieved by using a large number of powerful lamp lens lanterns with narrow, slit-like nozzles that are put on the outlet of the lanterns and give a wide fan-shaped planar light distribution. The greatest effect in the image of the creeping fog can be achieved by passing hot steam through the device, which contains the so-called dry ice.
Types of dynamic lighting effects
Fiery explosions, volcanic eruption - are obtained with the help of a thin layer of water enclosed between two parallel glass walls of a small narrow aquarium-type vessel, where drops of red or black varnish are put on top with a simple pipette. Heavy drops, falling into the water, while slowly sinking to the bottom, spread widely in all directions, occupying more and more space and being projected on the screen upside down (i.e., from bottom to top), reproduce the nature of the desired phenomenon. The illusion of these effects is enhanced by a well-made decorative background (image of a crater, the skeleton of a burning building, silhouettes of cannons, etc.).
Waves are carried out using projections with special devices (chromotropes) or double parallel transparencies, simultaneously moving in the opposite direction to each other, either up or down. An example of the most successful arrangement of waves by mechanical means: the required number of pairs of crankshafts is located on the right and left sides of the stage; between the connecting rods of the shafts from one side of the stage to the other, cables are stretched with applique - picturesque panels depicting the sea. "When the crankshafts rotate, some panels rise up, others go down, overlapping each other.
Snowfall is achieved by the so-called "mirror ball", the surface of which is lined with small pieces of a mirror. Directing a strong concentrated beam of light (coming from a searchlight or a lens lamp hidden from the public) at a known angle at this multifaceted spherical surface and making it rotate around its horizontal axis, an infinite number of small reflected "bunnies" are obtained, creating the impression of falling snow flakes. In the event that during the performance "snow" falls on the shoulders of the actor or covers the ground, it is made from finely cut pieces of white paper. Falling from special bags (which are placed on the transitional bridges), the "snow" slowly circles in the beams of the spotlight, creating the desired effect.
The movement of the train is carried out with the help of long slide frames with the corresponding images moving in the horizontal direction in front of the lens of the optical lamp. For more flexible control of the light projection and directing it to the desired part of the scenery behind the lens, a small movable mirror is often mounted on hinged devices, reflecting the image given by the lantern.
Mechanical effects include various kinds of flights, dips, mills, carousels, ships, boats. A flight in the theater is usually called the dynamic movement of an artist (the so-called standard flights) or props above the stage board.
Fake flights (both horizontal and diagonal) are carried out by moving the flight carriage along a cable road with the help of cords and cables tied to the carriage rings. The horizontal cable is stretched between opposite working galleries above the stage mirror. The diagonal is strengthened between opposite and different levels of working galleries. When conducting a diagonal flight from top to bottom, the energy created by the gravity of the object is used. Flight diagonally from the bottom up is most often carried out due to the energy of the free fall of the counterweight. As counterweights, bags with sand and rings for the guide cable are used. The weight of the bag must be higher than the weight of the props and the carriage. The counterweight is tied to a cable, the opposite end of which is attached to the flight carriage. Live flights are carried out on a cable or stationary road, as well as with the help of rubber shock absorbers. The flight device on the cable road consists of a horizontal cable road stretched between opposite sides of the stage, a flight carriage, a pulley block and two drives (one for moving the carriage along the road, the other for lifting and lowering the artist). When performing a horizontal flight from one side of the stage to the other, the flight carriage is preliminarily installed behind the scenes. After that, the block is lowered down with a flying cable. With the help of carbines, the cable is fastened to a special flight belt, located under the artist's suit. At the sign of the director leading the performance, the artist rises to the set height and, on command, “flies” to the opposite side. Backstage, he is lowered down to the tablet and released from the cable. With the help of a flight device on a cable road, skillfully using the simultaneous operation of both drives and the correct ratio of speeds, it is possible to carry out a wide variety of flights in a plane parallel to the portal arch - diagonal flights from bottom to top or from top to bottom, from one side of the stage to the other, from the wings to the center of the stage or from backstage scenes, etc.
The flight device with a rubber damper is based on the principle of a pendulum that swings and simultaneously lowers and rises. The rubber shock absorber prevents jerks and provides a smooth flight path. Such a device consists of two grate blocks, two deflecting drums (installed under the grate on both sides of the flight cable), a counterweight, a flight cable. One end of this cable, attached to the upper part of the counterweight, goes around two grate blocks and through the deflecting drums falls to the level of the tablet, where it is fastened to the artist's belt. A shock-absorbing cord with a diameter of 14 mm is tied to the lower part of the counterweight, the second end is attached to the metal structure of the stage board. The flight is carried out with the help of two ropes (diameter 25-40 mm). One of them is tied to the bottom of the counterweight and falls freely on the tablet; the second, tied to the upper part of the counterweight, rises vertically, goes around the upper behind-the-scenes block and freely falls on the tablet. For a flight across the entire stage (through flight), the grate flight unit is installed in the center of the stage, for a short flight, closer to the drive unit. Visually, flight with the help of a device with a rubber shock absorber looks like free rapid soaring. Before the eyes of the viewer, the flight changes its direction by 180, and in the case of the simultaneous use of several flight devices, the impression is created of endless take-offs and landings from one side of the stage, then from the other. One through flight through the entire scene corresponds to another flight to the middle of the stage and back, flight up - flight down, flight to the left - flight to the right.
2.6 Grim
Make-up (French grime, from old Italian grimo - wrinkled) - the art of changing the appearance of an actor, his predominant face, with the help of make-up paints (the so-called make-up), plastic and hair stickers, a wig, hairstyle and other things in accordance with the requirements of the role being played. The work of an actor on make-up is closely related to his work on the image. Makeup, as one of the means of creating an actor's image, is associated in its evolution with the development of dramaturgy and the struggle of aesthetic trends in art. The nature of the make-up depends on the artistic features of the play and its images, on the actor's intention, the director's concept and the style of the performance.
In the process of creating makeup, the costume matters, which affects the character and color scheme of the make-up. The expressiveness of the make-up largely depends on the lighting of the scene: the brighter it is, the softer the make-up, and vice versa, low lighting requires a sharper make-up.
The sequence of applying makeup: first, the face is shaped with some details of the costume (hat, scarf, etc.), then the nose and other moldings are glued on, a wig is put on or a hairstyle is made from one's own hair, a beard and mustache are glued, and only at the end is make-up with paints. The art of makeup is based on the study by the actor of the structure of his face, its anatomy, the location of muscles, folds, bulges and depressions. The actor must know what changes occur with the face in old age, as well as the characteristic features and general tone of the young face. In addition to age make-ups, in the theater, especially in recent years, the so-called “national” make-ups, used in performances dedicated to the life of the peoples of the countries of the East (Asia, Africa), etc., have become widespread. also horizontal and vertical profiles of representatives of one or another nationality. The horizontal profile is determined by the sharpness of the protrusions of the zygomatic bones, the vertical profile is determined by the protrusions of the jaw. Significantly important features in the national make-up are: the shape of the nose, the thickness of the lips, the color of the eyes, the shape, color and length of the hair on the head, the shape, beard, mustache, skin color. At the same time, in these make-ups, it is necessary to take into account the individual data of the character: age, social status, profession, era, and more.
The most important creative source for an actor and artist in determining make-up for each role is observation of the surrounding life, the study of typical features of people's appearance, their connection with the character and type of a person, his internal state, and so on. The art of make-up requires the ability to master the technique of make-up, the ability to use make-up paints, hair products (wig, beard, mustache), voluminous moldings and stickers. Make-up paints make it possible to change the actor's face with pictorial techniques. The overall tone, shadows, highlights that give the impression of depressions and bulges, strokes that form folds on the face, changing the shape and character of the eyes, eyebrows, lips, can give the actor's face a completely different character. Hairstyle, wig, changing the appearance of the character, determine its historical, social affiliation and are also important for determining the character's character. For a strong change in the shape of the face, which cannot be done with paint alone, voluminous moldings and stickers are used. Changing the inactive parts of the face is achieved with the help of sticky colored patches. To thicken the cheeks, chin, neck, stickers made of cotton wool, knitwear, gauze and flesh-colored crepe are used.
2.7 Mask
Mask (from late Latin mascus, masca - mask) - a special overlay with some image (face, animal muzzle, head of a mythological creature, etc.), most often worn on the face. Masks are made from paper, papier-mâché and other materials. The use of masks began in ancient times in rituals (associated with labor processes, the cult of the animal, burials, etc.). Later, masks came into use in the theater as an element of actor's make-up. In combination with a theatrical costume, the mask helps to create a stage image. In the ancient theater, the mask was connected to a wig and put on over the head, forming a kind of helmet with holes for the eyes and mouth. To enhance the voice of the actor, the Mask-helmet was supplied from the inside with metal resonators. There are costume masks, where the mask is inseparable from the costume, and masks that are held in the hands or put on the fingers.
Literature
1. Barkov V.S., Light design of the performance, M., 1993. - 70 p.
2. Petrov A.A., Theatrical stage arrangement, St. Petersburg, 1991. - 126 p.
3. Stanislavsky K.S., My life in art, Soch., v. 1, M., 1954, p. 113-125
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MINISTRY OF EDUCATION OF THE AUTONOMOUS REPUBLIC OF CRIMEA
CRIMEAN STATE ENGINEERING AND PEDAGOGICAL UNIVERSITY
Faculty psychological and pedagogical
Department of Methods of Primary Education
Test
By discipline
Choreographic, stage and screen art with teaching methods
Means of expressiveness of theatrical art
Students Mikulskite S.I.
Simferopol
2007 - 2008 academic year year.
2. The main means of expressiveness of theatrical art
Decoration
Theatrical costume
Noise design
Light on stage
Stage effects
Literature
1. The concept of decorative art as a means of expressiveness of theatrical art
Set art is one of the most important means of expressiveness of theatrical art, it is the art of creating a visual image of a performance through scenery and costumes, lighting and staging techniques. All these visual means of influence are organic components of the theatrical performance, contribute to the disclosure of its content, give it a certain emotional sound. The development of decorative art is closely connected with the development of theater and dramaturgy.
Elements of decorative art (costumes, masks, decorative curtains) were present in the most ancient folk rituals and games. In the ancient Greek theater already in the 5th century. BC e., in addition to the building of the skene, which served as an architectural background for the actors' play, there were three-dimensional scenery, and then picturesque ones were introduced. The principles of Greek decorative art were adopted by the theater of ancient Rome, where the curtain was first used.
During the Middle Ages, the inside of the church originally played the role of a decorative background, where the liturgical drama was played out. Already here, the basic principle of simultaneous scenery, characteristic of the medieval theater, is applied, when all scenes of action are shown simultaneously. This principle is further developed in the main genre of medieval theater - mystery plays. In all types of mystery scenes, the greatest attention was paid to the scenery of "paradise", depicted in the form of an arbor decorated with greenery, flowers and fruits, and "hell" in the form of a dragon's opening mouth. Along with voluminous decorations, picturesque scenery (the image of the starry sky) was also used. Skillful artisans were involved in the design - painters, carvers, gilders; theater first. The machinists were watchmakers. Antique miniatures, engravings and drawings give an idea of the various types and techniques of staging mysteries. In England, performances on pedzhents, which were a mobile two-story booth mounted on a cart, were most widespread. In the upper floor, a performance was played, and the lower one served as a dressing room for the actors. Such a circular or annular type of arrangement of the stage platform made it possible to use the amphitheaters preserved from the ancient era for staging mysteries. The third type of decoration of the mysteries was the so-called system of pavilions (16th-century mystical performances in Lucerne, Switzerland, and Donaueschingen, Germany) - open houses scattered over the square, in which the action of the mystery episodes unfolded. In the school theater of the 16th century. For the first time there is an arrangement of places of action not along one line, but parallel to three sides of the stage.
The cult basis of the theatrical performances of Asia determined the dominance for a number of centuries of the conditional design of the stage, when individual symbolic details designated the places of action. The lack of scenery was made up for by the presence in some cases of a decorative background, the richness and variety of costumes, make-up masks, the color of which had a symbolic meaning. In the feudal-aristocratic musical theater of masks that took shape in Japan in the 14th century, a canonical type of decoration was created: on the back wall of the stage, against an abstract golden background, a pine tree was depicted - a symbol of longevity; in front of the balustrade of the covered bridge, located at the back of the site on the left and intended for the actors and musicians to enter the stage, images of three small pines were placed
At 15 - beg. 16th centuries in Italy, a new type of theater building and stage appears. The largest artists and architects took part in the design of theatrical productions - Leonardo da Vinci, Raphael, A. Mantegna, F. Brunelleschi and others. in Rome - B. Peruzzi. The scenery, depicting a view of a street going into the depths, was painted on canvas stretched over frames, and consisted of a backdrop and three side plans on each side of the stage; some parts of the scenery were made of wood (house roofs, balconies, balustrades, etc.). The necessary perspective contraction was achieved with the help of a steep rise of the plate. Instead of simultaneous scenery on the Renaissance stage, one common and unchanging scene was reproduced for performances of certain genres. The largest Italian theatrical architect and decorator S. Serlio developed 3 types of scenery: temples, palaces, arches - for tragedies; city square with private houses, shops, hotels - for comedies; forest landscape - for pastorals.
Renaissance artists considered the stage and the auditorium as a whole. This was manifested in the creation of the Olimpico theater in Vicenza, built according to the design of A. Palladio in 1584; in this t-re V. Scamozzi built a magnificent permanent decoration depicting an "ideal city" and intended for staging tragedies.
The aristocratization of the theater during the crisis of the Italian Renaissance led to the predominance of external showiness in theatrical productions. The relief decoration of S. Serlio was replaced by a picturesque decoration in the Baroque style. The enchanting character of the court opera and ballet performance at the end of the 16th and 17th centuries. led to the widespread use of theatrical mechanisms. The invention of telarii, trihedral rotating prisms covered with painted canvas, attributed to the artist Buontalenti, made it possible to carry out scenery changes in front of the public. A description of the arrangement of such movable perspective scenery can be found in the works of the German architect I. Furtenbach, who worked in Italy and planted the technique of the Italian theater in Germany, as well as in the treatise "On the Art of Building Stages and Machines" (1638) by the architect N. Sabbatini. Improvements in the technique of perspective painting have made it possible for decorators to create an impression of depth without the steep rise of the tablet. The actors could make full use of the stage space. In the beginning. 17th century backstage scenery invented by G. Aleotti appeared. Technical devices for flights, a hatch system, as well as side portal shields and a portal arch were introduced. All this led to the creation of the box scene.
The Italian system of backstage scenery has spread throughout Europe. All R. 17th century in the Viennese court theater, baroque backstage scenery was introduced by the Italian theater architect L. Burnacini; in France, the famous Italian theater architect, decorator and machinist G. Torelli ingeniously applied the achievements of the promising backstage scene in court productions of the opera and ballet type. The Spanish theatre, which was still preserved in the 16th century. primitive fair scene, assimilates the Italian system through the Italian thin. K. Lotti, who worked in the Spanish court theater (1631). The city public theaters of London for a long time retained the conditional stage of the Shakespearean era, divided into upper, lower and back stages, with a proscenium protruding into the auditorium and meager decoration. The stage of the English theater made it possible to quickly change places of action in their sequence. Perspective decoration of the Italian type was introduced in England in the 1st quarter. 17th century theater architect I. Jones in the production of court performances. In Russia, backstage perspective scenery was used in 1672 in performances at the court of Tsar Alexei Mikhailovich.
In the era of classicism, the dramatic canon, which demanded the unity of place and time, approved a permanent and irreplaceable scenery, devoid of a concrete historical characteristic (the throne room or the vestibule of the palace for tragedy, the town square or room for comedy). The whole variety of decorative and staging effects was concentrated in the 17th century. within the opera and ballet genre, and dramatic performances were distinguished by rigor and stinginess of design. In the theaters of France and England, the presence of aristocratic spectators on the stage, located on the sides of the proscenium, limited the possibilities of scenery for performances. The further development of operatic art led to the reform of the opera house. The rejection of symmetry, the introduction of angular perspective helped create the illusion of great depth of the scene by means of painting. The dynamism and emotional expressiveness of the scenery was achieved by the play of chiaroscuro, rhythmic diversity in the development of architectural motifs (endless enfilades of Baroque halls decorated with stucco ornamentation, with repeating rows of columns, stairs, arches, statues), which created the impression of the grandeur of architectural structures.
The aggravation of the ideological struggle in the Enlightenment found expression in the struggle of various styles and in decorative art. Along with the intensification of the spectacular splendor of baroque scenery and the appearance of scenery performed in the rococo style, characteristic of the feudal-aristocratic direction, in the decorative art of this period there was a struggle for the reform of the theater, for liberation from the abstract splendor of court art, for a more accurate national and historical characterization of the place. actions. In this struggle, the educational theater turned to the heroic images of antiquity, which found expression in the creation of scenery in the classic style. This direction was especially developed in France in the work of decorators J. Servandoni, G. Dumont, P.A. Brunetti, who reproduced buildings of ancient architecture on stage. In 1759, Voltaire achieved the expulsion of the audience from the stage, freeing up additional space for scenery. In Italy, the transition from baroque to classicism found expression in the work of G. Piranesi.
The intensive development of the theater in Russia in the 18th century. led to the flourishing of Russian decorative art, which used all the achievements of modern theater painting. In the 40s. 18th century major foreign artists were involved in the design of performances - K. Bibbiena, P. and F. Gradipzi and others, among whom a prominent place belongs to the talented follower of Bibbiena J. Valeriani. In the 2nd floor. 18th century talented Russian decorators came to the fore, most of whom were serfs: I. Vishnyakov, the Volsky brothers, I. Firsov, S. Kalinin, G. Mukhin, K. Funtusov and others who worked in court and serf theaters. From 1792, the outstanding theater designer and architect P. Gonzago worked in Russia. In his work, ideologically connected with the classicism of the Enlightenment, the rigor and harmony of architectural forms, creating the impression of grandeur and monumentality, were combined with a complete illusion of reality.
At the end of the 18th century in the European theater, in connection with the development of bourgeois drama, a pavilion scenery appears (a closed room with three walls and a ceiling). The crisis of feudal ideology in the 17th-18th centuries. found its reflection in the decorative art of Asian countries, causing a number of innovations. Japan in the 18th century buildings were being built for Kabuki theaters, the stage of which had a proscenium strongly protruding into the audience and a curtain moving horizontally. From the right and left sides of the stage to the back wall of the auditorium there were scaffolds ("hanamichi", literally the road of flowers), on which the performance also unfolded (subsequently, the right scaffold was abolished; in our time, only the left scaffold remains in Kabuki theaters). Kabuki theaters used three-dimensional scenery (gardens, facades of houses, etc.), specifically characterizing the scene; in 1758, for the first time, a rotating stage was used, the turns of which were made by hand. Medieval traditions are preserved in many theaters in China, India, Indonesia and other countries, in which there are almost no scenery, and decoration is limited to costumes, masks and make-up.
French bourgeois revolution of the late 18th century. had a great impact on the art of the theater. The expansion of the theme of dramaturgy led to a number of shifts in decorative art. In the production of melodramas and pantomimes on the stages of the "boulevard theaters" of Paris, special attention was paid to the design; the high skill of theater engineers made it possible to demonstrate various effects (shipwrecks, volcanic eruptions, thunderstorm scenes, etc.). In the decorative art of those years, the so-called pratikables (three-dimensional design details depicting rocks, bridges, hills, etc.) were widely used. In the 1st quarter 19th century Picturesque panoramas, dioramas, or neoramas, combined with innovations in stage lighting, became widespread (gas was introduced into theaters in the 1920s). An extensive program for the reform of theatrical design was put forward by French romanticism, which set the task of historically concrete characterization of scenes. Romantic playwrights were directly involved in the productions of their plays, supplying them with lengthy remarks and their own sketches. Performances were created with complex scenery and magnificent costumes, striving to combine in the productions of multi-act operas and dramas on historical plots the accuracy of the color of the place and time with spectacular prettiness. The complication of staging technique led to the frequent use of the curtain in between acts of the performance. In 1849, the effects of electric lighting were used for the first time on the stage of the Paris Opera in a production of Meyerbeer's The Prophet.
In Russia in the 30-70s. 19th century a major decorator of the romantic direction was A. Roller, an outstanding master of theatrical machines. The high technique of staged effects developed by him was subsequently developed by such decorators as K.F. Valts, A.F. Geltser and others. New trends in decorative art in the 2nd half. 19th century were affirmed under the influence of realistic classical Russian dramaturgy and acting art. The fight against academic routine was started by decorators M.A. Shishkov and M.I. Bocharov. In 1867, in the play "The Death of Ivan the Terrible" by A.K. Tolstoy (Alexandria Theatre), Shishkov for the first time succeeded in showing on the stage the life of pre-Petrine Rus' with historical concreteness and accuracy. In contrast to the somewhat dry archeology of Shishkov, Bocharov introduced a true, emotional feeling of Russian nature into his landscape scenery, anticipating the arrival of genuine painters on the stage with his work. But the progressive searches of decorators of state theaters were hampered by embellishment, the idealization of the stage spectacle, the narrow specialization of artists, divided into "landscape", "architectural", "costume", etc.; in dramatic performances on modern themes, as a rule, prefabricated or "duty" typical scenery was used ("poor" or "rich" room, "forest", "rural view", etc.). In the 2nd floor. 19th century large decorative workshops were created to serve various European theaters (the workshops of Filastr and C. Cambon, A. Roubaud and F. Chaperon in France, Lutke-Meyer in Germany, etc.). During this period, bulky, ceremonial, eclectic in style decorations, in which art and creative imagination are replaced by handicrafts, become widespread. On the development of decorative art in the 70-80s. The activities of the Meiningen Theater had a significant impact, whose tours in Europe demonstrated the integrity of the director's decision of the performances, the high staging culture, the historical accuracy of the scenery, costumes and accessories. The Meiningenians gave the design of each performance an individual look, trying to break the standards of pavilion and landscape scenery, the traditions of the Italian stile-arch system. They widely used the diversity of the relief of the tablet, filling the stage space with various architectural forms, they used pratikables in abundance in the form of various platforms, stairs, three-dimensional columns, rocks and hills. On the pictorial side of the Meiningen productions (the design of which
mostly belonged to Duke George II) the influence of the German historical school of painting - P. Cornelius, W. Kaulbach, K. Piloty - clearly affected. However, historical accuracy and plausibility, the "authenticity" of accessories at times acquired self-sufficient significance in the performances of the Meiningen people.
E. Zola performs in the late 70s. with criticism of abstract classicist, idealized romantic and spectacular enchanting scenery. He demanded a depiction on the stage of modern life, "accurate reproduction of the social environment" with the help of scenery, which he compared with descriptions in the novel. Symbolist theater, which arose in France in the 90s, under the slogans of protest against theatrical routine and naturalism, carried out a struggle against realistic art. Around the Artistic Theater of P. Faure and the theater "Creativity" of Lunier-Poe, the artists of the modernist camp M. Denis, P. Serusier, A. Toulouse-Lautrec, E. Vuillard, E. Munch and others united; they created simplistic, stylized sets, impressionist obscurity, emphatic primitivism and symbolism, which led theaters away from a realistic depiction of life.
The powerful upsurge of Russian culture captures in the last quarter of the 19th century. theater and decorative arts. In Russia in the 80-90s. the largest easel artists are involved in work in the theater - V.D. Polenov, V.M. Vasnetsov and A.M. Vasnetsov, I.I. Levitan, K.A. Korovin, V.A. Serov, M.A. Vrubel. Working since 1885 in the Moscow private Russian opera S.I. Mamontov, they introduced the compositional techniques of modern realistic painting into the scenery, affirmed the principle of a holistic interpretation of the performance. In productions of operas by Tchaikovsky, Rimsky-Korsakov, Mussorgsky, these artists conveyed the originality of Russian history, the spiritualized lyricism of the Russian landscape, the charm and poetry of fairy-tale images.
The subordination of the principles of stage design to the requirements of realistic stage direction was first achieved in the late 19th and 20th centuries. in the practice of the Moscow Art Theatre. Instead of the traditional scenes, pavilions and "prefabricated" scenery common to imperial theaters, each performance of the Moscow Art Theater had a special design that corresponded to the director's intention. Expansion of planning possibilities (processing of the floor plane, showing unusual angles of residential premises), the desire to create the impression of a "lived-in" environment, the psychological atmosphere of the action characterize the decorative art of the Moscow Art Theater.
Decorator of the Art Theater V.A. Simov was, according to K.S. Stanislavsky, "the founder of a new type of stage artists", distinguished by a sense of the truth of life and inextricably linking their work with directing. The realistic reform of the decorative art carried out by the Moscow Art Theater had a huge impact on the world theatrical art. An important role in the technical re-equipment of the stage and in enriching the possibilities of decorative art was played by the use of a rotating stage, which was first used in the European theater by K. Lautenschläger when staging Mozart's opera Don Giovanni (1896, Residenz Theatre, Munich).
In the 1900s the artists of the "World of Art" group - A.N. Benois, L.S. Bakst, M.V. Dobuzhinsky, N.K. Roerich, E.E. Lansere, I.Ya. Bilibin and others. The retrospectivism and stylization characteristic of these artists limited their creativity, but their high culture and skill, striving for the integrity of the overall artistic conception of the performance played a positive role in the reform of opera and ballet decorative art not only in Russia, but also abroad. Tours of Russian opera and ballet, which began in Paris in 1908 and were repeated over the course of a number of years, showed the high level of pictorial culture of scenery, the ability of artists to convey the style and character of the art of different eras. The activities of Benois, Dobuzhinsky, B. M. Kustodiev, Roerich are also associated with the Moscow Art Theater, where the aestheticism characteristic of these artists was largely subordinated to the requirements of the realistic direction of K.S. Stanislavsky and V.I. Nemirovich-Danchenko. The largest Russian decorators K.A. Korovin and A.Ya. Golovin, who worked from the beginning. 20th century in the imperial theaters, made fundamental changes in the decorative art of the state stage. Korovin's broad free manner of writing, the feeling of living nature inherent in his stage images, the integrity of the color scheme that unites the scenery and costumes of the characters, most clearly affected the design of Russian operas and ballets - "Sadko", "The Golden Cockerel"; The Little Humpbacked Horse by Ts. Pugni and others. Ceremonial decorativeness, clear delineation of forms, boldness of color combinations, general harmony, integrity of the solution distinguish Golovin's theatrical painting. Despite the influence of modernism in a number of the artist's works, his work is based on great realistic skill based on a deep study of life. Unlike Korovin, Golovin always emphasized in his sketches and scenery the theatrical nature of stage design, its individual components; he used portal frames decorated with ornaments, a variety of appliqued and painted curtains, a proscenium, etc. In 1908-17 Golovin created decorations for a number of performances, post. V.E. Meyerhold (including "Don Juan" by Moliere, "Masquerade"),
The strengthening of anti-realistic trends in bourgeois art at the end of the 19th and beginning. 20 centuries, the refusal to disclose social ideas had a negative impact on the development of realistic decorative art in the West. Representatives of the decadent currents proclaimed "conventionality" as the basic principle of art. A. Appiah (Switzerland) and G. Craig (England) waged a consistent struggle against realism. Putting forward the idea of creating a "philosophical theater", they depicted the "invisible" world of ideas with the help of abstract timeless scenery (cubes, screens, platforms, stairs, etc.), by changing the light they achieved the play of monumental spatial forms. Crag's own practice as a director and artist was limited to a few productions, but his theories subsequently influenced the work of a number of theater designers and directors in various countries. The principles of the Symbolist theater were reflected in the work of the Polish playwright, painter and theater artist S. Wyspiansky, who strove to create a monumental conditional performance; however, the implementation of national forms of folk art in the scenery and spatial stage projects freed Wyspiansky's work from cold abstraction, made it more real. The organizer of the Munich Art Theater G. Fuchs together with the artist. F. Erler put forward the project of a "relief scene" (that is, a scene almost devoid of depth), where the figures of the actors are located on a plane in the form of a relief. Director M. Reinhardt (Germany) used a variety of design techniques in the theaters he directed: from carefully designed, almost illusionistic pictorial and three-dimensional scenery associated with the use of a rotating stage circle, to generalized conditional immovable installations, from simplified stylized decoration "in cloth" to grandiose mass spectacles in the circus arena, where more and more emphasis was placed on purely external stage effectiveness. Artists E. Stern, E. Orlik, E. Munch, E. Schütte, O. Messel, sculptor M. Kruse and others worked with Reinhardt.
In the late 10's and 20's. 20th century Expressionism, which initially developed in Germany, but also widely captured the art of other countries, acquires predominant importance. Expressionist tendencies led to a deepening of contradictions in decorative art, to schematization, a departure from realism. Using "shifts" and "bevels" of planes, non-objective or fragmentary scenery, sharp contrasts of light and shadow, the artists tried to create a world of subjective visions on the stage. At the same time, some expressionist performances had a pronounced anti-imperialist orientation, and the scenery in them acquired the features of an acute social grotesque. The decorative art of this period is characterized by the passion of artists for technical experiments, the desire to destroy the stage-box, expose the stage, and the techniques of staging techniques. Formalist currents - constructivism, cubism, futurism - led decorative art to the path of self-sufficing technicism. Artists of these trends, reproducing on the stage "pure" geometric shapes, planes and volumes, abstract combinations of parts of mechanisms, sought to convey the "dynamism", "tempo and rhythm" of a modern industrial city, sought to create on the stage the illusion of the work of real machines (G. Severini, F. Depero, E. Prampolini - Italy, F. Leger - France, etc.).
In the decorative art of Western Europe and America, ser. 20th century there are no specific artistic trends and schools: artists strive to develop a broad manner that allows them to apply to various styles and techniques. However, in many cases, the artists who design the performance do not so much convey the ideological content of the play, its character, specific historical features, as they strive to create on its canvas an independent work of decorative art, which is the "fruit of the free imagination" of the artist. Hence the arbitrariness, abstract design, break with reality in many performances. This is opposed by the practice of progressive directors and the work of artists who seek to preserve and develop realistic decorative art, relying on the classics, progressive modern drama and folk traditions.
From the 10s. 20th century masters of easel art are increasingly involved in work in the theater, and interest in decorative art as a type of creative artistic activity is growing stronger. From the 30s. the number of qualified professional theater artists who know the staging technique well is increasing. Stage technology is enriched by a variety of means, new synthetic materials, luminescent paints, photo and film projections, etc. are used. From various technical improvements of the 50s. 20th century Of greatest importance is the use of cycloramas in the theater (synchronous projection of images from several film projectors onto a wide semicircular screen), the development of complex lighting effects, etc.
In the 30s. in the creative practice of Soviet theaters, the principles of socialist realism are affirmed and developed. The most important and defining principles of decorative art are the demands of life's truth, historical concreteness, the ability to reflect the typical features of reality. The volumetric-spatial principle of scenery, which dominated many performances of the 1920s, is enriched by the extensive use of painting.
2. The main means of expressiveness of theatrical art:
Scenery (from lat. decoro - I decorate) - the design of the stage, recreating the material environment in which the actor operates. The scenery "represents an artistic image of the scene and at the same time a platform, representing rich opportunities for performing stage action on it." The scenery is created using a variety of expressive means used in the modern theater - painting, graphics, architecture, the art of planning the scene, the special texture of the scenery, lighting, stage technology, projection, cinema, etc. The main scenery systems:
1) rocker mobile,
2) rocker-arch lifting,
3) pavilion,
4) volumetric
5) projection.
The emergence, development of each system of scenery and its replacement by another were determined by the specific requirements of dramaturgy, theatrical aesthetics, corresponding to the history of the era, as well as the growth of science and technology.
Sliding mobile decoration. Backstage - parts of the scenery located on the sides of the stage at certain distances one after another (from the portal deep into the stage) and designed to close the backstage space from the viewer. The wings were soft, hinged or rigid on the frames; sometimes they had a figured outline depicting an architectural profile, the outlines of a tree trunk, foliage. The change of rigid wings was carried out with the help of special wings - frames on wheels, which were (18th and 19th centuries) on each stage plan parallel to the ramp. These frames moved in passages specially carved in the stage board along rails laid along the floor of the first hold. In the first palace theaters, the scenery consisted of a backdrop, wings and ceiling hoops, which rose and fell simultaneously with the change of scenes. Clouds, tree branches with foliage, parts of plafonds, etc. were written on the padugs. The stage systems of scenery in the court theater in Drottningholm and in the theater of the former estate near Moscow Prince. N.B. Yusupov in "Arkhangelsk"
The stile-arched lifting decoration originated in Italy in the 17th century. and was widely used in public theaters with high grates. This type of scenery is a canvas sewn in the form of an arch with tree trunks, branches with leaves, architectural details (observing the laws of linear and aerial perspective) painted (along the edges and top). Up to 75 of these stage arches can be hung on the stage, the backdrop for which is a painted backdrop or horizon. A variety of stage-arch decoration is openwork decoration (painted "forest" or "architectural" stage arches glued on special nets or applied on tulle). At present, stage-arch decorations are mainly used in opera and ballet productions.
Pavilion decoration was first used in 1794. actor and director F.L. Schroeder. The pavilion decoration depicts an enclosed space and consists of frame walls covered with canvas and painted to match the pattern of wallpaper, boards, and tiles. The walls can be "deaf" or have spans for windows and doors. Between themselves, the walls are connected with the help of throw ropes - overlaps, and are attached to the floor of the stage with slopes. The width of the pavilion walls in a modern theater is no more than 2.2 m (otherwise, when transporting scenery, the wall will not pass through the door of a freight car). Behind the windows and doors of the pavilion scenery, backboards (parts of hanging decoration on frames) are usually placed, on which the corresponding landscape or architectural motif is depicted. The pavilion decoration is covered with a ceiling, which in most cases is suspended from the grate.
In the theater of modern times, three-dimensional scenery first appeared in the performances of the Meiningen Theater in 1870. In this theater, along with flat walls, three-dimensional details began to be used: straight and inclined machines - ramps, stairs and other structures for depicting terraces, hills, fortress walls. The designs of machine tools are usually masked by picturesque canvases or fake reliefs (stones, tree roots, grass). To change parts of the three-dimensional scenery, rolling platforms on rollers (furkas), a turntable and other types of stage equipment are used. Volumetric scenery allowed directors to build mise-en-scènes on a "broken" stage plane, to find a variety of constructive solutions, thanks to which the expressive possibilities of theatrical art expanded extraordinarily.
Projection decoration was first used in 1908 in New York. It is based on the projection (on the screen) of color and black-and-white images drawn on transparencies. The projection is carried out with the help of theater projectors. The backdrop, horizon, walls, floor can serve as a screen. There are front projection (the projector is in front of the screen) and transmission projection (the projector is behind the screen). The projection can be static (architectural, landscape and other motifs) and dynamic (movement of clouds, rain, snow). In the modern theater, which has new screen materials and projection equipment, projection scenery has been widely used. Ease of manufacture and operation, ease and speed of changing scenes, durability, and the possibility of achieving high artistic qualities make projection decorations one of the promising types of scenery for a modern theater.
2.2 Theatrical costume
Theatrical costume (from Italian costume, actually custom) - clothes, shoes, hats, jewelry and other items used by the actor to characterize the stage image he creates. A necessary addition to the costume is make-up and hair. The costume helps the actor to find the appearance of the character, reveal the inner world of the stage hero, determines the historical, socio-economic and national characteristics of the environment in which the action takes place, creates (together with other design components) the visual image of the performance. The color of the costume should be closely related to the overall color scheme of the performance. The costume constitutes a whole area of creativity of the theatrical artist, embodying in the costumes a huge world of images - sharply social, satirical, grotesque, tragic.
The process of creating a costume from sketch to stage implementation consists of several stages:
1) the choice of materials from which the suit will be made;
2) selection of samples for coloring materials;
3) search for a line: making cartridges from other materials and tattooing the material on a mannequin (or on an actor);
4) checking the costume on stage in different lighting;
5) "settlement" of the costume by the actor.
The history of the origin of the costume dates back to primitive society. In the games and rituals with which the ancient man responded to various events of his life, hairstyle, make-up coloring, ritual costumes were of great importance; primitive people invested in them a lot of fiction and a peculiar taste. Sometimes these costumes were fantastic, other times they resembled animals, birds or beasts. Since ancient times, there have been costumes in the classical theater of the East. In China, India, Japan and other countries, costumes are conditional, symbolic. So, for example, in the Chinese theater, the yellow color of the costume means belonging to the imperial family, the performers of the roles of officials and feudal lords are dressed in black and green costumes; in Chinese classical opera, the flags behind the back of a warrior indicate the number of his regiments, a black scarf on his face symbolizes the death of a stage character. Brightness, richness of colors, magnificence of materials make the costume in the oriental theater one of the main decorations of the performance. As a rule, costumes are created for a certain performance, this or that actor; there are also sets of costumes fixed by tradition, which are used by all troupes, regardless of the repertoire. The costume in the European theater first appeared in ancient Greece; he basically repeated the everyday costume of the ancient Greeks, but various conditional details were introduced into it, helping the viewer not only understand, but also better see what was happening on the stage (theatrical buildings were huge). Each costume had a special color (for example, the king's costume was purple or saffron-yellow), the actors wore masks that were clearly visible from afar, and shoes on high stands - cothurns. In the era of feudalism, the art of the theater continued to live in cheerful, topical, witty performances by itinerant histrionic actors. The costume of histrions (just like that of Russian buffoons) was close to the modern costume of the urban poor, but decorated with bright patches and comic details. Of the performances of the religious theater that arose during this period, the mystery plays enjoyed the greatest success, the productions of which were especially magnificent. The procession of mummers in various costumes and make-up (fantastic characters of fairy tales and myths, all kinds of animals) that preceded the show of the mystery was distinguished by bright colors. The main requirement for a costume in a mystery play is wealth and elegance (regardless of the role played). The costume was conventional: the saints were in white, Christ was with gilded hair, the devils were in picturesque fantastic costumes. The costumes of the performers of instructive-allegorical drama-morality were much more modest. In the most lively and progressive genre of the medieval theater - the farce, which contained sharp criticism of feudal society, a modern caricature characteristic costume and make-up appeared. In the Renaissance, the actors of the commedia dell'arte by means of costumes gave a witty, sometimes well-aimed, evil characterization of their heroes: the typical features of scholastic scholars, mischievous servants were generalized in the costume. In the 2nd floor. 16th century in Spanish and English theaters, the actors performed in costumes close to fashionable aristocratic costumes or (if the role required it) in clownish folk costumes. In the French theater, the costume followed the traditions of the medieval farce.
Realistic tendencies in the field of costume appeared in Molière, who, when staging his plays dedicated to modern life, used modern costumes of people of different classes. During the Age of Enlightenment in England, the actor D. Garrick sought to free the costume from pretentiousness and meaningless stylization. He introduced a costume that matches the role played, helping to reveal the character of the hero. in Italy in the 18th century. comedian C. Goldoni, gradually replacing the typical masks of commedia dell'arte in his plays with images of real people, at the same time retained the appropriate costumes and make-up. In France, Voltaire strove for the historical and ethnographic accuracy of the costume on stage, supported by the actress Clairon. She led the fight against the conventions of the costume of tragic heroines, against fizhma, powdered wigs, precious jewelry. The cause of costume reform in tragedy was further advanced by the French actor A. Lequin, who modified the stylized "Roman" costume, abandoned the traditional tunnel, and adopted an oriental costume on the stage. The costume for Leken was a means of psychological characterization of the image. Significant influence on the development of the costume in the 2nd floor. 19th century Rendered activity to it. Meiningen Theatre, the performances of which were distinguished by high staging culture, historical accuracy of costumes. However, the authenticity of the costume acquired a self-contained significance among the Meiningen people. E. Zola demanded an accurate reproduction of the social environment on stage. The largest theatrical figures of the beginning aspired to the same. 20th century - A. Antoine (France), O. Brahm (Germany), who took an active part in the design of performances, attracted major artists to work in their theaters. Symbolist theater, which arose in the 90s. in France, under the slogans of protest against theatrical routine and naturalism, carried out a struggle against realistic art. Modernist artists created simplified, stylized scenery and costumes, leading the theater away from a realistic depiction of life. The first Russian costume was created by buffoons. Their costume repeated the clothes of the urban lower classes and peasants (caftans, shirts, ordinary trousers, bast shoes) and was decorated with multi-colored sashes, patches, bright embroidered caps. In the beginning of 16th century in the church theater, the performers of the roles of the youths were dressed in white clothes (crowns with crosses on their heads), the actors depicting the Chaldeans - in short caftans and caps. Conventional costumes were also used in performances of the school theater; allegorical characters had their own emblems: Faith appeared with a cross, Hope with an anchor, Mars with a sword. The costumes of the kings were complemented by the necessary attributes of royal dignity. The same principle distinguished the performances of the first professional theater in Russia in the 17th century, founded at the court of Tsar Alexei Mikhailovich, the performances of the court theaters of Princess Natalia Alekseevna and Empress Praskovya Feodorovna. The development of classicism in Russia in the 18th century. was accompanied by the preservation of all the conventions of this direction in the costume. Actors performed in costumes that were a mixture of fashionable modern costume with elements of antique costume (similar to the "Roman" costume in the West), the performers of the roles of noble nobles or kings wore luxurious conditional costumes. In the beginning. 19th century in performances from modern life, fashionable modern costumes were used;
Costumes in historical plays were still far from historical accuracy.
All R. 19th century in the performances of the Alexandrinsky Theater and the Maly Theater, there is a desire for historical accuracy in costume. The Moscow Art Theater achieves great success in this area at the end of the century. The great theater reformers Stanislavsky and Nemirovich-Danchenko, together with the artists who worked at the Moscow Art Theater, achieved an exact match of the costume to the era and environment depicted in the play, to the character of the stage hero; in the Arts Theater, the costume was of great importance for creating a stage image. In a number of Russian theaters early. 20th century the costume has turned into a truly artistic work, expressing the intentions of the author, director, actor.
2.3 Noise design
Noise design - reproduction on the stage of the sounds of the surrounding life. Together with scenery, props, and lighting, noise design makes up the background that helps actors and spectators feel in an environment corresponding to the action of the play, creates the right mood, and affects the rhythm and pace of the performance. Firecrackers, shots, the rumble of an iron sheet, the clatter and ringing of weapons behind the stage accompanied performances already in the 16th-18th centuries. The presence of sound equipment in the equipment of Russian theater buildings indicates that in Russia noise design was already used in the middle. 18th century
Modern noise design differs in the nature of sounds: the sounds of nature (wind, rain, thunder, birds); production noise (factory, construction site); traffic noise (cart, train, plane); battle noises (cavalry, shots, movement of troops); household noises (clocks, glass clinking, squeaks). Noise design can be naturalistic, realistic, romantic, fantastic, abstract-conditional, grotesque - depending on the style and decision of the performance. Noise design is handled by the sound engineer or the staging part of the theatre. The performers are usually members of a special noise brigade, which also includes actors. Simple sound effects can be performed by stagehands, props, etc. The equipment used for noise design in a modern theater consists of more than 100 devices of various sizes, complexity and purpose. These devices allow you to achieve a feeling of large space; with the help of a sound perspective, an illusion of the noise of an approaching and departing train or aircraft is created. Modern radio technology, especially stereophonic equipment, provides great opportunities for expanding the artistic range and quality of noise design, and at the same time organizationally and technically simplifies this part of the performance.
2.4 Stage lights
Light on the stage is one of the important artistic and production means. Light helps to reproduce the place and atmosphere of the action, the perspective, to create the necessary mood; sometimes in modern performances, light is almost the only means of decoration.
Various types of decoration require appropriate lighting techniques. Flat pictorial scenery requires general uniform lighting, which is created by lighting devices of general light (soffits, ramp, portable devices). Performances decorated with voluminous scenery require local (projector) lighting, which creates light contrasts, emphasizing the voluminous design.
When using a mixed type of decoration, a mixed lighting system is applied accordingly.
Theatrical lighting devices are made with a wide, medium and narrow angle of light scattering, the latter are called spotlights and serve to illuminate certain parts of the stage and actors. Depending on the location, the lighting equipment of the theater stage is divided into the following main types:
1) Overhead lighting equipment, which includes lighting devices (soffits, spotlights) suspended above the playing part of the stage in several rows according to its plans.
2) Horizontal lighting equipment used to illuminate theatrical horizons.
3) Side lighting equipment, which usually includes projector-type devices installed on portal backstage, side lighting galleries
4) Equipment for remote lighting, consisting of spotlights installed outside the stage, in various parts of the auditorium. A ramp also applies to remote lighting.
5) Portable lighting equipment, consisting of various types of devices installed on the stage for each action of the performance (depending on requirements).
6) Various special lighting and projection devices. The theater often also uses a variety of special-purpose lighting devices (decorative chandeliers, candelabra, lamps, candles, lanterns, bonfires, torches), made according to the sketches of the artist who designs the performance.
For artistic purposes (reproduction of real nature on stage), a color lighting system is used for the stage, consisting of light filters of various colors. Light filters can be glass or film. Color changes in the course of the performance are carried out: a) by a gradual transition from lighting devices that have one color of light filters to devices with other colors; b) adding the colors of several, simultaneously operating devices; c) change of light filters in lighting fixtures. Light projection is of great importance in the design of the performance. It creates various dynamic projection effects (clouds, waves, rain, falling snow, fire, explosions, flashes, flying birds, planes, sailing ships) or static images that replace the picturesque details of the decoration (light projection scenery). The use of light projection greatly expands the role of light in the performance and enriches its artistic possibilities. Sometimes film projection is also used. Light can be a full-fledged artistic component of a performance only if there is a flexible system of centralized control over it. For this purpose, the power supply of all lighting equipment of the scene is divided into lines related to individual lighting devices or apparatus and individual colors of installed light filters. There are up to 200-300 lines on the modern stage. To control lighting, it is necessary to turn on, turn off and change the luminous flux, both in each individual line, and in any combination of them. For this purpose, there are light-regulating installations, which are a necessary element of stage equipment. The regulation of the luminous flux of lamps occurs with the help of autotransformers, thyratrons, magnetic amplifiers or semiconductor devices that change the current or voltage in the lighting circuit. To control numerous stage lighting circuits, there are complex mechanical devices, usually called theater regulators. The most widespread are electrical regulators with autotransformers or with magnetic amplifiers. At present, electrical multi-program controllers are becoming widespread; with their help extraordinary flexibility of management of illumination of a stage is reached. The basic principle of such a system is that the regulating installation allows a preliminary set of light combinations for a number of scenes or moments of the performance, with their subsequent reproduction on the stage in any sequence and at any tempo. This is especially important when illuminating complex modern multi-picture performances with a large dynamics of light and quickly following changes.
2.5 Stage effects
Stage effects (from lat. effectus - performance) - illusions of flights, swims, floods, fires, explosions, created with the help of special devices and fixtures. Stage effects were used already in the ancient theater. In the era of the Roman Empire, separate stage effects are introduced into the performances of mimes. The religious performances of the 14th-16th centuries were saturated with effects. So, for example, when staging mysteries, special "masters of miracles" were involved in the arrangement of numerous theatrical effects. In court and public theaters of the 16th-17th centuries. a type of magnificent performance was established with a variety of stage effects based on the use of theatrical mechanisms. The skill of the machinist and decorator, who created all kinds of apotheoses, flights and transformations, came to the fore in these performances. The traditions of such spectacular spectacle were repeatedly resurrected in the practice of the theater of subsequent centuries.
In the modern theater, stage effects are divided into sound, light (light projection) and mechanical. With the help of sound (noise) effects, the sounds of the surrounding life are reproduced on the stage - the sounds of nature (wind, rain, thunder, birdsong), production noises (factory, construction site, etc.), traffic noises (train, plane), battle noises (movement of cavalry, shots), everyday noises (clocks, glass clinking, squeaks).
Light effects include:
1) all types of imitations of natural lighting (daylight, morning, night, lighting observed during various natural phenomena - sunrise and sunset, clear and cloudy skies, thunderstorms, etc.);
2) creating the illusion of pouring rain, moving clouds, a blazing glow of a fire, falling leaves, flowing water, etc.
To obtain the effects of the 1st group, they usually use a three-color lighting system - white, red, blue, which gives almost any tone with all the necessary transitions. An even richer and more flexible color palette (with nuances of various shades) is provided by a combination of four colors (yellow, red, blue, green), which corresponds to the main spectral composition of white light. Methods for obtaining lighting effects of the 2nd group are mainly reduced to the use of light projection. By the nature of the impressions received by the viewer, lighting effects are divided into stationary (fixed) and dynamic.
Types of stationary lighting effects
Zarnitsa - is given by an instantaneous flash of a voltaic arc, produced manually or automatically. In recent years, high-intensity electronic flash units have become widespread.
Stars - simulated using a large number of light bulbs from a flashlight, painted in different colors and having different glow intensities. The light bulbs and the electrical supply to them are mounted on a black-painted mesh, which is suspended from the rod of the fence bar.
Moon - is created by projecting an appropriate light image onto the horizon, as well as by using a mock-up raised up imitating the moon.
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