Folk art is an art created by the people. Folk art

Folk art

artistic, folk art, folklore, artistic creative activity of the working people; poetry, music, theater, dance, architecture, visual and decorative art created by the people and existing among the masses. applied art. In collective artistic creativity, the people reflect their labor activity, social and everyday way of life, knowledge of life and nature, cults and beliefs. N. t., which has developed in the course of social labor practice, embodies the views, ideals and aspirations of the people, their poetic fantasy, richest world thoughts, feelings, experiences, protest against exploitation and oppression, dreams of justice and happiness. Having absorbed the centuries-old experience of the masses, N. t. is distinguished by the depth of artistic development of reality, the truthfulness of images, and the power of creative generalization.

The richest images, themes, motifs, and forms of artistic creativity arise in the complex dialectical unity of individual (though, as a rule, anonymous) creativity and collective artistic consciousness. For centuries, the folk collective has been selecting, improving and enriching the solutions found by individual masters. Continuity, sustainability artistic traditions(within which, in turn, personal creativity is manifested) are combined with variability, the diverse implementation of these traditions in individual works.

The collectivity of the literary work, which constitutes its permanent basis and undying tradition, manifests itself in the course of the entire process of the formation of works or their types. This process, including improvisation, its consolidation by tradition, subsequent improvement, enrichment and sometimes renewal of the tradition, turns out to be extremely long in time. It is characteristic of all types of N. t. that the creators of a work are at the same time its performers, and the performance, in turn, can be the creation of variants that enrich the tradition; also important is the closest contact between performers and people who perceive art, who themselves can act as participants in the creative process. The long-standing indivisibility and highly artistic unity of its types also belong to the main features of N. t.: poetry, music, dance, theater, and decorative arts merged in folk ritual actions; in the folk dwelling, architecture, carving, painting, ceramics, embroidery created an inseparable whole; folk poetry is closely connected with music and its rhythm, musicality, and the nature of the performance of most works, while musical genres usually associated with poetry, labor movements, dances. The works and skills of N. t. are directly passed down from generation to generation.

N. t. was the historical basis of the entire world artistic culture. Its original principles, the most traditional forms, types, and partly images originated in ancient times in a pre-class society, when all art was the creation and property of the people (see Primitive Art). WITH social development of humanity, the formation of a class society, the division of labor, a professionalized "high", "scientific" art is gradually emerging. N. t. also forms a special layer of world artistic culture. It distinguishes layers of different social content associated with the class differentiation of society, but by the beginning of the capitalist period, modern art was universally defined as the collective traditional art of the working masses of the countryside, and then of the city. The organic connection with the fundamental principles of the people's worldview, the poetic integrity of the attitude to the world, the constant polishing determine the high artistic level of folk art. In addition, N. t. developed special forms of specialization, continuity of skill and teaching it.

N. t. of various, often widely separated peoples has many common features and motives that arose under similar conditions or inherited from a common source. At the same time, N. t. for centuries absorbed the features of the national life and culture of each people. It retained its life-giving labor base, remained a treasure trove of national culture, an expression of national self-consciousness. This determined the strength and fruitfulness of the influence of N. t. Glinka and M. P. Mussorgsky. In turn, N. t. took a lot from "high" art, which found a variety of expressions - from classical pediments on peasant huts to folk songs to the words of great poets. N. t. preserved valuable evidence of the revolutionary mood of the people, their struggle for their happiness.

Under capitalism, having fallen into the sphere of bourgeois social and economic relations, natural technology develops extremely unevenly. Many of its branches are degrading, disappearing completely or are in danger of being forced out; others lose their valuable traits by industrializing or adapting to the demands of the market. In the 19th century the growth of national self-awareness, democratic and national liberation movements, and the development of romanticism aroused interest in N. t. At the end of the 19th and 20th centuries. increasing influence of folklore world culture, some lost branches of natural history are being restored, museums and societies for its protection are being organized. At the same time, state and private philanthropy often subjugates tourism to commercial goals and the interests of the “tourism industry,” for which purpose it cultivates the most archaic features and religious-patriarchal remnants in it.

Conditions have been created in a socialist society for the preservation and development of natural science; inheriting and asserting national folk traditions, it is imbued with the ideas of socialism, the pathos of reflecting a new, transformed reality; N. t. enjoys the systematic support of the state and public organizations, its masters are awarded prizes and honorary titles. A network of scientific research institutions has been set up—institutes and museums that study the experience of science and technology and contribute to its development. Many traditional genres of N. t. are dying out (for example, ritual folklore, incantations, folk drama), but others find a new place in life. New forms of artistic culture of the masses are also born. Amateur art activities are intensively developing (choirs, choreographic groups, folk theaters etc.), which has a different nature than N. t., but partly uses its legacy. Created over many centuries, high examples of N. t. retain the value of an ever-living cultural heritage, a treasury of the artistic experience of the masses.

Folk poetic creativity - mass verbal artistic creativity of a particular people; the totality of its types and forms, denoted in modern science This term has other names - folk literature, oral literature, folk poetry, folklore. Verbal artistic creativity arose in the process of the formation of human speech. In a pre-class society, it is closely connected with other types of human activity, reflecting the beginnings of his knowledge and religious and mythological ideas. In the process of social differentiation of society, various types and forms of oral verbal creativity arose, expressing the interests of different social groups and strata. The most important role in its development was played by the creativity of the working masses. With the advent of writing, there arose a literature that was historically associated with oral N. t.

Collectivity of oral N. t. (meaning not only the expression of thoughts and feelings of the collective, but above all - the process of collective creation and distribution) determines the variability, i.e., the variability of texts in the process of their existence. At the same time, the changes could be very different - from minor stylistic variations to a significant revision of the idea. In memorization, as well as in varying texts, a significant role is played by peculiar stereotypical formulas - the so-called common places associated with certain plot situations, passing from text to text (for example, in epics - the horse saddle formula, etc.).

In the process of existence, genres of verbal non-verbal t. go through “productive” and “unproductive” periods (“ages”) of their history (emergence, spread, entry into the mass repertoire, aging, extinction), and this is ultimately connected with social and cultural - household changes in society. The stability of the existence of folklore texts in folk life is explained not only by their artistic value, but also by the slowness of changes in the way of life, worldview, tastes of their main creators and keepers - the peasants. The texts of folklore works of various genres are changeable (albeit to varying degrees). On the whole, however, traditionalism has an immeasurably greater force in N. T. than in professional literary creativity.

The collective nature of verbal N. t. does not mean that it is impersonal: talented masters actively influenced not only the creation, but also the dissemination, improvement, or adaptation of texts to the needs of the collective. Under the conditions of the division of labor, peculiar professions of performers of production arose. N. t. (ancient Greek Rhapsodes and Aeds, Russian Skomorokhs, Ukrainian kobzars (See Kobzar), Kazakh and Kirghiz Akyns, etc.). In some countries of the Middle East and Central Asia, and in the Caucasus, transitional forms of verbal N. t. have developed: works created by certain individuals were distributed orally, but the text changed relatively little, the name of the author was usually known and often introduced into the text (for example, Toktogul Satylganov in Kyrgyzstan, Sayat-Nova in Armenia).

The wealth of genres, themes, images, and poetics of verbal N. t. storytelling, acting out, dialogue, etc.). In the course of history, some genres have undergone significant changes, disappeared, new ones appeared. In the most ancient period, most peoples had tribal traditions, labor and ritual songs, and incantations. Later, magical, everyday fairy tales, fairy tales about animals, pre-state (archaic) forms of Epic a. During the formation of statehood, a classical heroic epic took shape, then historical songs (See Song), ballads (See Ballad) arose. Still later, extra-ceremonial lyric song, Romance, Chastushka and other small lyrical genres and, finally, working folklore (revolutionary songs, oral stories, etc.).

Despite the bright national coloring of the works of verbal N. t. different peoples, many motives, images and even plots are similar in them. For example, about two-thirds of the plots of the tales of European peoples have parallels in the tales of other peoples, which is caused either by development from one source, or by cultural interaction, or by the emergence of similar phenomena on the basis of general patterns of social development.

Up until the late feudal era and the period of capitalism, verbal literacy developed relatively independently of written literature. Later literary works more actively than before, they penetrate into the people's environment (for example, "The Prisoner" and "Black Shawl" by A. S. Pushkin, "Pedlars" by N. A. Nekrasov; see also about this in the article. Free Russian poetry, Lubochnaya literature) . On the other hand, the work of folk storytellers acquires some features of literature (individualization of characters, psychologism, etc.). In a socialist society, the availability of education provides an equal opportunity for the development of talents and creative professionalization of the most gifted people. Various forms of mass verbal and artistic culture (creativity of songwriters, ditties, composing interludes and satirical scenes, etc.) develop in close contact with the professional socialist art; among them, the traditional forms of verbal N. t. continue to play a certain role. tastes, lifestyle This is also the reason for the profound influence of verbal neologism on the development of literature. M. Gorky said: “... The beginning of the art of the word is in folklore” (“On Literature”, 1961, p. 452). For the recording of N. t., its study, and the methodological principles of study, see Folkloristics.

Folk music (musical folklore) - vocal (mainly song), instrumental and vocal-instrumental collective creativity of the people; exists, as a rule, in non-written form and is transmitted through performing traditions. Being the property of the whole people, musical musical t. exists mainly thanks to the performing art of talented nuggets. These are among different peoples Kobzar, guslar (see Gusli), buffoon (See Buffoons), Ashug, Akyn, kuyshi (see Kuy), Bakhshi, gusan (See Gusans), Hafiz, olonkhosut (see Olonkho), aed (See Aeds), Juggler, Minstrel, Shpilman, and others. The origins of folk music, like other arts, go back to the prehistoric past. The musical traditions of various social formations are exceptionally stable and tenacious. In each historical epoch, more or less ancient and transformed works coexist, as well as anew created on their basis. Together they form the so-called traditional musical folklore. It is based on the music of the peasantry, which for a long time retains the features of relative independence and, on the whole, differs from the music associated with younger, written traditions. The main types of musical N. t. are songs (See Song), epic tales (for example, Russian Bylinas, Yakut olonkho), dance melodies, dance choruses (for example, Russian ditties (See Chastushka)), instrumental pieces and tunes (signals , dancing). Every piece musical folklore represented by a whole system of stylistically and semantically related variants that characterize the changes in folk music in the process of its performance.

The genre richness of folk music is the result of the diversity of its vital functions. Music accompanied the whole working and family life of the peasant: calendar holidays of the annual agricultural circle (carols (See Carol), Vesnyanki, Shrovetide, Kupala songs), field work (mowing, harvest songs), birth, wedding (lullabies and wedding songs), death (funeral lamentations). Among pastoral peoples, songs were associated with taming a horse, driving cattle, etc. Later, the greatest development in the folklore of all peoples was received by lyrical genres, where simple, short tunes of labor, ritual, dance and epic songs or instrumental tunes are replaced by detailed and sometimes complex musical improvisations - vocal (for example, Russian drawling song, Romanian and Moldavian Doina) and instrumental (for example, program pieces by Transcarpathian violinists, Bulgarian cavalry players, Kazakh dombra players, Kyrgyz komuz players, Turkmen dutar players, Uzbek, Tajik, Indonesian, Japanese and other instrumental ensembles and orchestras).

Various types of Melos a have developed in various genres of folk music - from recitative (Karelian, Runes, Russian epics, South Slavic epic) to richly ornamental ( lyric songs Near and Middle Eastern musical cultures), polyphony (See Polyphony) (polyrhythmic combination of voles in ensembles of African peoples, German choral chords, Georgian quart-second and Middle Russian subvocal polyphony, Lithuanian canonical Sutartine), rhythmics (See Rhythm ) (in particular, rhythm formulas that generalized the rhythm of typical labor and dance movements), fret-scale systems (from primitive narrow-voluminous frets to developed diatonic "free melodic system"). The forms of the stanzas, the couplet (paired, symmetrical, asymmetric, etc.), and the works as a whole are also varied. Musical N. t. exists in monophonic (solo), antiphonal (see Antiphon), ensemble, choral, and orchestral forms. The types of choral and instrumental polyphony are diverse - from heterophony (see heterophony) and bourdon (continuously sounding bass background) to complex polyphonic and chord formations. Each national folk music The local culture, which includes a system of musical-folklore dialects, forms a musical-stylistic whole and at the same time combines with other cultures into larger folklore-ethnographic communities (for example, in Europe - Scandinavian, Baltic, Carpathian, Balkan, Mediterranean, etc.) .

The recording of folk music (in the 20th century with the help of sound recording equipment) is dealt with by a special scientific discipline - musical ethnography, and its study - ethnomusicology (musical folkloristics).

On the basis of folk music, almost all national professional schools arose, each of which contains samples of various uses of folklore heritage - from the simplest arrangements of folk melodies to individual creativity, freely transforming folklore musical thinking, laws specific to a particular folk musical tradition. In modern musical practice, N. t. is a fertilizing force for both professional and various forms of amateur art.

In Russia, the dramas “Tsar Maximilian and his recalcitrant son Adolf”, “Boat” (options - “Boat”, “Gang of Robbers”, “Stepan Razin”, “Black Raven” received the greatest distribution in the peasant, soldier, factory environment); the dramas "King Herod", "How the Frenchman took Moscow" were also played out. According to their type, they belong to the tyrannical, heroic or so-called robber dramas known among many peoples. "Tsar Maximilian" has a literary source - the school drama "The Crown of Demetrius" (1704), which is based on the "Life of St. Demetrius"; "Boat" (late 18th century) is a dramatization folk song"Down the mother along the Volga". The final formation of these plays is associated with the inclusion in their text of fragments from the works of poets of the late 18th - 1st half of the 19th centuries. - G. R. Derzhavin, K. N. Batyushkov, A. S. Pushkin, M. Yu. Lermontov, motifs and images of popular print novels. In Rus', there were also satirical plays "Barin", "Naked Master", "Petrushka".

The most characteristic feature of the folk theater (as well as folklore art in general) is the open conventionality of costumes and props, movements and gestures; during the performances, the actors communicated directly with the audience, which could give cues, intervene in the action, direct it, and sometimes take part in it (sing along with the choir of performers, portray secondary characters in crowd scenes). The folk theater, as a rule, had neither a stage nor scenery. The main interest in it is focused not on the depth of disclosure of the characters of the characters, but on the tragic or comical nature of situations and situations. Of great importance are the exit monologues of the heroes, the performance actors songs (folk or specially composed for performance), arias from operas. In folk drama, there are two types of characters - dramatic (heroic or romantic) and comic. The first are distinguished by a high solemn style of addresses, monologues and dialogues, the second - by comic, parodic techniques, a play on words. The traditional performance in the folk theater subsequently determined the emergence of a special type of theatrical performances, which have a stable form. These performances in many countries are called traditional theater. Folk-dance pantomimic performances have been widespread in Asian countries since ancient times. On their basis, the traditional theater of the peoples of Asia was formed: the wayang-topeng theaters in Indonesia, kolam on about. Sri Lanka (Ceylon), kathakali in India, etc.

The original artistic and performing techniques of the folk theater attracted and were used by professional theater workers (W. Shakespeare, Molière, C. Goldoni, A. N. Ostrovsky, E. De Philippe, and others).

Folk dance is one of the oldest types of N. t. Dance was part of folk performances at holidays and fairs. The appearance of round dances and other ritual dances is associated with folk rituals (the Ceylon fire dance, the Norwegian torch dance, and Slavic round dances associated with the rites of curling birch trees, weaving wreaths, and lighting fires). Gradually moving away from ritual actions, round dances were filled with new content, expressing new features of life. The peoples engaged in hunting, animal husbandry, reflected in the dance their observations of the animal world. The nature and habits of animals, birds, domestic animals were conveyed figuratively and expressively: the bison dance among the North American Indians, the Indonesian penchak (tiger), the Yakut bear dance, the Pamir dance of the eagle, Chinese, Indian - peacock, Finnish - bull, Russian crane, gander, Norwegian cockfighting, etc. There are dances on the themes of rural labor: the Latvian dance of reapers, the Hutsul dance of woodcutters, the Estonian dance of shoemakers, the Belarusian lanok, the Moldavian poame (grapes), the Uzbek silkworm, buttermilk (cotton). With the advent of handicraft and factory labor, new folk dances arise: the Ukrainian cooper, the German dance of glassblowers, the Karelian “How cloth is woven”, etc. The military spirit, valor, heroism are often reflected in the folk dance, battle scenes are reproduced (“pyrrhic” dances of the ancient Greeks, combining dance art with fencing techniques, Georgian horumi, berikaoba, Scottish dance with swords, Cossack dances, etc.). A large place in dance N. t. is occupied by the theme of love; originally these dances were overtly erotic; later there were dances expressing the nobility of feelings, a respectful attitude towards a woman (Georgian Kartuli, Russian Baynian Quadrille, Polish Mazur).

Each nation has developed its own dance traditions, plastic language, special coordination of movements, methods of correlation of movement with music; for some, the construction of the dance phrase is synchronous with the musical one, for others (among the Bulgarians) it is not synchronous. The dances of the peoples of Western Europe are based on the movement of the legs (the arms and the body seem to accompany them), while in the dances of the peoples of Central Asia and other countries of the East, the main attention is paid to the movement of the hands and the body. In folk dance, the rhythmic principle always dominates, which is emphasized by the dancer (stomping, clapping, ringing of rings, bells). Many dances are performed to the accompaniment of folk instruments, which the dancers often hold in their hands (castanets, tambourine, drum, doira, harmonica, balalaika). Some dances are performed with everyday accessories (shawl, hat, dish, bowl, bowl). The costume has a great influence on the character of the performance: for example, the smoothness of the movement of Russian and Georgian dancers is helped by a long dress that covers the feet; a characteristic movement in Russian and Hungarian male dance is a beating on the shaft of hard boots.

Rise and popularity folk dance in the USSR they contributed to the emergence of a new stage form - folk dance ensembles. In 1937, the USSR Folk Dance Ensemble was created, which established stage folk dance as a professional choreography. Elements of folk dance are also used in classical ballet. Professional folk dance ensembles and song and dance ensembles have been set up in all the republics of the Soviet Union. Professional and amateur folk stage dance groups are common in countries around the world (see Dance).

Folk architecture, fine and decorative arts include tools, buildings (see Wooden architecture, Dwelling), household utensils and domestic furnishings (see Wood in art, Iron, Ceramics, Art varnishes, Furniture, Copper, Art vessels, Glass ), clothes and fabrics (see Embroidery, Kilim, Carpet, Lace, Printed fabric, Clothing, Artistic fabrics), toys (See Toy), Lubok, etc. Pottery, weaving, artistic carving, decorative painting, forging, artistic molding, engraving, embossing, and so on are among the most important artistic and technical processes widespread in modern technology. Folk architecture and arts and crafts belong to material production and are directly creative in nature; hence the fusion in them of aesthetic and utilitarian functions, figurative thinking and technical ingenuity.

Creating and shaping the subject environment and giving subject-aesthetic expression to labor processes, everyday life, calendar and family rituals, N. t. from time immemorial has been an integral part of the slowly changing system folk life. In some features of N. t., norms of work and life, cults and beliefs, dating back to the Neolithic and the Bronze Age, can be traced. The most common element of N. t. Individual ornamental motifs, most of which originally had a mythological meaning (“world tree”, “great goddess” with forthcoming ones, solar symbols), imprinted features of primitive consciousness, mythological and magical ways of communicating with nature. These ancient roots show through, for example, in folk toy, in which the features of primitive cult plasticity are traced. The works of N. t. often have a specific connection with one or another custom, which is preserved even when the memory of the cult nature or the mythological conditionality of this custom is lost. This also explains the fragility and ephemeral nature of many N. t. items (sand drawings, painted eggs), designed for periodic reproduction in a regularly repeating rite.

In contrast to the “high” art of the social elite, N. t. does not know the contrasting changes in artistic styles. In the course of its evolution, separate new motifs appear, but the degree of stylization and the nature of comprehension of old motifs change more; images, once associated with the fundamental ideas about the world, gradually acquired a narrowly utilitarian meaning (for example, in various signs-amulets and signs-spells that adorned everyday objects) or began to play a purely decorative role, while the shape of the object often underwent only minor structural and functional changes. . The idea of ​​a thing in N. T. is usually not fixed in a preparatory model or drawing, but lives in the mind and hand of the master; at the same time, the results of his individual ingenuity, leading to the development of the most rational methods of work, must be accepted by the people's collective. Because of this, the tradition, fixed by centuries of selection, undergoes constant, but only partial, specific changes. The most ancient objects (for example, wooden ladles in the form of a duck) can be extremely close to nature; The later comprehension of these forms in N. t., while preserving the original typology and figurative basis, combines them with the methods of generalization and decorative stylization developed over the centuries, with the rational use of technical means and materials.

As the class differentiation of society develops, the preconditions for the emergence of socialist t. artistic work for himself and for the rustic craft. The presence of a special folk branch is already found in ancient art (for example, in votive objects (See Votive objects) of the Italo-Etruscan circle, reminiscent of Neolithic plastic). The initial monuments of palace and even cult architecture are clearly associated with the simplest ancient examples of folk wooden and stone architecture (Aegean Megaron, German Halle), portable nomad dwellings, etc., but then the paths of urban and manor construction sharply diverge and folk architecture serving mainly peasant life(residential building, threshing floor, barn, barn, barn, etc.).

In medieval Europe, feudal-church culture was opposed by the desire to preserve the cultural tradition of the tribal system, economic and political isolation, and the cult of local gods; an expression of this is the popular stream in medieval art, usually saturated with images of the animal style (See Animal style). The popular worldview, expressed with particular purity in pagan jewelry-amulets, also appears in monuments that are examples of the influence of folk culture on court and church culture (such are the reliefs of the Vladimir-Suzdal school (See. Vladimir-Suzdal school), the grotesque plasticity of Romanesque and Gothic churches, ornamentation of manuscripts). However, the underdevelopment of commodity-money relations, the weak differentiation of forms of life, as well as the fundamental anonymity of medieval art and the closeness of its masters to the people's environment, did not contribute to the complete isolation of N. t. In countries that later entered the early capitalist stage of development, in particular in medieval Rus', a similar the situation persisted until the end of the 17th - beginning of the 18th centuries. In the countries of the East, which preserved the medieval way of life especially for a long time (until the 19th and 20th centuries), all arts and crafts are deeply imbued with folk handicraft skills, and highly developed natural t. in the visual arts of a number of countries, the folk stream is strong (Chinese, Japanese, Indian popular prints). Finally, in post-colonization countries, ancient native culture usually served as the basis for N. t., although it absorbed many features of the cultures brought.

With the disintegration of feudalism and the guild system, a folk art craft that works for the market develops; Thanks to this, N. t., while still maintaining a close connection with the life of the people, masters new types of products, new forms and themes. On the other hand, the identification of artistic individuality and the cult of ancient art, which were established in the Renaissance, lead to the fact that modern art emerges more and more clearly as something local, isolated, tied to native antiquity. Folk art culture - works of religious art (votive painting, icons, painted on glass, painted sculpture), rapidly developing from the 16th-17th centuries. (especially in the countries of the Catholic cult), the design of festivities, lubok, with their naive archaism of forms, already has a completely different figurative system than exquisite, sometimes innovatively unusual works of "high" art; a similar discrepancy arises in the style of household items. This gap is less noticeable where folklore elements penetrate deeply into the culture of the privileged strata and the church. In Russia, this manifested itself, for example, in the architecture of the palace in the village. Kolomenskoye (17th century), with its abundance of forms of folk wooden architecture, and in the countries of Latin America - in the decoration of Baroque churches, which absorbed the features of the art of pre-Columbian civilizations. In the 17-18 centuries. in N. t., the ideographic principle noticeably weakens. In plant motifs, now everywhere replacing symbolic-geometric patterns, the decorative structure becomes freer and more diverse. Increasingly more fresh observations and everyday scenes are penetrating into N. t. However, new motifs and forms (Renaissance, Baroque, and Empire), penetrating into the modern style, retain only a very remote resemblance to the model, simplifying and congealing into a rhythmically clear decorative pattern. In general, in the 17th - early 19th centuries. N. t. flourished, giving an extraordinary variety of its types and forms. This was facilitated by equipping N. t. with materials and tools previously inaccessible to him, the emergence of new technical capabilities, and broadening his horizons. folk artists, the development of folk lyrics and satire.

In the 19th century the intensively developing artistic handicraft production is being drawn more and more into the system of the capitalist economy; commodity craft in most countries is finally separated from the conservative home. In Russia, after 1861, folk art crafts acquire the character of private workshops that work for the all-Russian market. The narrow specialization of crafts, the growing division of labor and the standardization of motifs give rise to patterns and forms that are extremely merged with virtuoso techniques of technical execution (sometimes reaching almost machine speed); at the same time, handicraft, mechanically impeccable craftsmanship is increasingly replacing creativity. By imitating samples of urban mass production, often random and anti-artistic, the craftsmen destroy the unity of technical and aesthetic principles typical of folklore. Compositions that were previously strictly organized, saturated with semantic associations, become freer, but less logical. In painting, tempera paints are replaced by oil, and later by aniline; folk icon and lubok are replaced by oleography mi; in plastic, the volumetric-objective form loses its architectonicity. The image and ornament, previously merged with the thing, now become, as it were, a picture pasted onto the surface. Separate industries, unable to compete with cheap factory products, decline or die out, but others arise and expand, using mostly technique, style, and even examples of professional easel art and the commercial art industry. In a number of countries that previously possessed the richest natural t. (England, Denmark, the Netherlands), it almost completely disappears, but intensively develops in industrially backward areas that have preserved powerful layers of medieval culture (the northern province in Russia, Brittany in France, Tyrol in Austria , Slovakia, Balkan countries, Spain, Sicily in Italy).

Since the middle of the 19th century, following the recognition of the value of verbal folklore, in a number of countries there has been an interest in folk decorative art. Since that time, the aesthetics of modern art (both national and exotic), its colorfulness and rhythm, have increasingly influenced professional architecture and the fine and decorative arts. The collection of N. t. collections begins, public organizations and philanthropic circles revive a number of extinct crafts and organize new ones. This activity acquires a special scope at the turn of the 19th and 20th centuries. with the spread of the "Modern" style and the national-romantic trends associated with it. However, when imposing easel-type solutions on folk craftsmen, the artists and theorists of “modernism” often showed a lack of understanding of the specifics of N. t. Similar mistakes were made later (including in Soviet practice in the 1930s and 50s); in a number of capitalist countries, on the contrary, attempts were made to bring folk sculpture and ornament closer to abstract art.

The works of modern N. t. are mainly in the nature of decorative items and souvenirs, figuratively testifying to the originality of the folk culture of a particular locality; through their apparently hand-made appearance, they endow with features of national tradition and direct humanity an environment created mainly by standardized industrial means. Folk arts and crafts play an important role in the economies of developing countries. In many countries (primarily in the USSR and other socialist states), means are being sought for the protection of folk crafts and their artistic originality, the activities of folk craftsmen are encouraged through competitions and exhibitions, vocational schools and colleges train artists and performers. With the participation of scientific research institutes and museums, traditions are carefully studied and samples of N. t. N. t. has an unrelenting influence on the art industry, helping to find the most expressive forms and decor of everyday things; individual features of N. t. live in the works of amateur masters, as well as professional artists using the experience of folk art. In the USSR, a number of stalled folk crafts have been revived, many have received new development and are associated with Soviet life orientation (thus, the former centers of icon painting have become world-famous centers of lacquer miniatures). In the diverse types and genres of Soviet N. t., careful preservation of folk traditions is combined with a breadth of interests and an active perception of Soviet reality.

About N. t. of various peoples, see sections Literature, Architecture and fine arts, Music, Ballet, Drama Theater, Circus in articles about individual countries and the republics of the USSR.

Lit.: Chicherov V. I., K. Marx and F. Engels on folklore. Bibliographic materials, in the collection: Soviet folklore, No. 4-5, M. - L., 1934; Bonch-Bruevich V. D., V. I. Lenin on oral folk art, "Soviet Ethnography", 1954, No. 4; Lenin's heritage and the study of folklore, L., 1970. Propp V. Ya., The specifics of folklore, in the book: Proceedings of the anniversary scientific session of Leningrad State University. Section philological sciences, L., 1946; his own, Folklore and Reality, "Russian Literature", 1963, No. 3; Chicherov V. I., Questions of the theory and history of folk art, M., 1959; Gusev V. E., Aesthetics of folklore, L., 1967; Bogatyrev P. G., Questions of the theory of folk art, M., 1971; Kravtsov N. I., Problems Slavic folklore, M., 1972; Chistov K. V. The specificity of folklore in the light of information theory, "Problems of Philosophy", 1972, No. 6; Schulze, F.W., Folklore..., Halle/Saale, 1949; Cocchiara G., Storia del folklore in Europa, Torino, 1952 (Russian translation - M., 1960); Corso R., Folklore, 4th ed., Napoli, 1953; Thompson S., Motifindex of folk-literature, v. 1-6, Bloomington, 1955-58; Aarne A. The types of the folktale. A classification and bibliography, 2 ed., Hels., 1964; Krappe, A. H., The science of folklore, N. Y., 1964; Bausinger H., Formen der "Volkspoesie", B., 1968; Vrabile G. Folclorul. object. principles. Methoda. Categories, Buc., 1970.

Melts M. Ya., Russian folklore. Bibliographic index, 1945-1959, L., 1961; the same 1917-1944, L., 1966; the same 1960-1965, L., 1967; Kushnereva Z. I., Folklore of the peoples of the USSR. Bibliographic sources in Russian (1945-1963), M., 1964; Volkskundliche BibliogrgIphie B, - Lpz., 1919-957; [Continuation], in: Internationale volkskundliche BibliogrgIphie Bonn, 1954-70.

Bartok B., Why and how to collect folk music [trans. from Hung.], M., 1959; Kvitka K.V., Izbr. works ..., vol. 1-, M., 1971-1973; Essays on the musical culture of peoples Tropical Africa, Sat. Art., comp. and ter. L. Golden, M., 1973; Bose F., Musika-Ilische Völkerkunde, Freiburg im Breisgau, 1953; Nettl B., Theory and method in ethnomusicology L. 1964; Brăiloiu C. Folklore musical, in his book: CEuvres, v. 2, Buc., 1969, p. 19-130.

Alferov A. D., Petrushka and his ancestors, M., 1895: Onchukov N. E., Northern folk dramas, St. Petersburg, 1911; Russian folk drama of the 17th-20th centuries. Texts of plays and descriptions of performances, ed., entry. Art. and comments by P. N. Berkov, Moscow, 1953: History of the Western European Theatre, ed. S. S. Mokulsky, vol. 1, M., 1956; Avdeev A.D., The origin of the theater, M. - L., 1959; Vsevolodsky-Gerngross V.N., Russian oral folk drama, M., 1959; Dzhivelegov A.K., Italian folk comedy ..., 2nd ed., M., 1962; Cohen C. Le theater en France au moyen-âge, v. 1-2, nouv. ed., P., 1948.

Tkachenko T. S. Folk dance M., 1954; Goleizovsky K. Ya. Images of Russian folk choreography, M., 1964; The encyclopedia of social dance, N. Y., 1972.

K. V. Chistov(literature),

I. I. Zemtsovsky(music),

N. I. Savushkina(theater),

A. K. Chekalov, M. N. Sokolov(architecture, fine and decorative arts).

Electronic training and metodology complex by discipline

Lecture notes

(as a manuscript)

Abakan

CHAPTER. Folk art as the basis of the artistic culture of society.

The concept and essence of folk art.

Folk art (folk art, folklore) is the artistic collective creative activity of the people, reflecting their life, views, ideals; these are poetry, music, theater, dance, architecture, fine arts and arts and crafts created by the people and existing among the people.

In collective artistic creativity, the people reflect their labor activity, social and everyday way of life, knowledge of life and nature.

The following types and genres of folk art can be distinguished:

1. Oral folk art (folklore).

The genres of fairy tale, tradition, legend, legend, epic, historical song, proverbs and sayings, riddles, etc. belong to the epic genre.

The genres of lyrical song, ritual song, family, love, social protest songs, ditty, etc. belong to the genus of lyrics.

Christmas games, ritual performances, the folk theater of Petrushka, rayek, etc. - to the kind of drama.

A feature of folklore is its pronounced regional affiliation and historical specificity. Folklore develops together with the people, absorbing the most valuable and reflecting new social changes and historical events.

2. Folk music - musical tradition, which arose as a rhythmic accompaniment of labor or part of a certain ritual, having its own sound ideal and its own modal forms. It is represented by instrumental and vocal-instrumental creativity of the people. The main genres of musical folklore are songs, dance melodies, dance choruses, instrumental pieces and tunes. Music accompanied the whole working and family life of the peasant:

Calendar holidays (carols, stoneflies, Shrovetide songs);

Field work (mowing, reaping songs);

Birth, wedding (lullabies, wedding songs)

Death (funeral lamentations).

3. Folk theater - a theater that exists among the people in forms organically related to oral folk art, originated in ancient times: the games that accompanied hunting and agricultural holidays contained elements of reincarnation. Theatricalization of the action was present in the calendar and family rituals (Christmas dressing, wedding). Next comes the comedy about Petrushka. The folk theater also includes farcical performances and the so-called rayek (showing moving pictures accompanied by a dramatized text). Feature folk theater - the conventionality of costumes, movements and gestures, improvisation (the actors communicated with the public, who gave replicas, intervened in the action).

Folk dance - a dance of a certain nationality, ethnicity or region, is a form of folk art that has developed on the basis of folk dance traditions; characterized by its own choreographic language and plastic expressiveness.

The primary source of folk dance is human movements and gestures associated with labor processes and emotional impressions of the surrounding world.

Dance is one of the oldest types of folk art. The peoples engaged in hunting, animal husbandry, reflected in the dance observations of the habits of animals (Yakut bear dance). There are dances on the themes of rural labor (Latvian dance of reapers, etc.). A large place in folk dance art is occupied by the theme of love (Russian quadrille, Georgian kartuli, etc.). Many dances are performed to the accompaniment of folk instruments.

5. Folk arts and crafts is the material embodiment of the spiritual culture of the people, which is reflected in the decor art products(household utensils, dishes, furniture, weapons, clothing, etc.)

In Russia, it is represented by artistic carving, painting (Khokhloma, Gzhel), ceramics (Dymkovo toy, Kargapol, etc.), embossing, lace-making, spinning and weaving, embroidery, etc.

It is typical for all genres of folk art that the creators of a work are at the same time its performers, and the performance can be the creation of variants that enrich the tradition. The unity of various genres should also be noted: poetry, music, dance, theater, and decorative arts merged in folk ritual actions; in the people's dwelling - architecture, carving, painting, ceramics, embroidery created an inseparable whole.

Modern folk art is represented by the following forms:

Amateur creativity (amateur associations and interest clubs);

Amateur art - a form of folk art, which includes the creation and performance of works of art by amateurs acting collectively (circles, studios, groups, folk theaters) or alone;

Folk crafts are the activities of creating artistic products for utilitarian (applied) or decorative purposes, based on the collective development and development of folk traditions in a certain area (Zhostovo, Palekh, Khokhloma, etc.)

Folk art - historical background of the entire world artistic culture, the source of national artistic traditions, the spokesman for the people's self-consciousness.

It is necessary to distinguish between the concepts of "folk art" and "folk art culture". Folk art culture is the embodiment of the spiritual and moral values ​​and ideals of an ethnic group, national character, “national images of the world” (G. Gachev and others)

The folk art culture of a society is a set of works of art created and distributed in a given society, as well as forms, ways of preserving, studying, broadcasting them. It includes art as a form of reflection of reality in artistic images with the help of special artistic means, but is not limited to it. The structure of the artistic culture of society also includes various means and forms of preservation, study and dissemination of artistic values. Folk culture contains an important mechanism for the functioning and preservation of culture as a whole; it cements and strengthens the spiritual foundations of society.

Russian ethnologist S.V. Lurie considers folk culture as a structure that holds a given society together and protects it from disintegration. Therefore, it can be argued that the study of folk culture is the knowledge of the people themselves.

A.S. Kargin offers the following definition of the main structural formations of folk art culture.

1. Folklore (oral-poetic, musical-dramatic) is the everyday spiritual philosophy traditional for an ethnic group - an aesthetic culture that reflects its mentality, which has developed as a result of centuries-old collective creativity through oral communication, manifested in an infinite multiplicity of individual-personal options.

2. Neo-folklore - everyday artistic creativity of a non-formalized leisure nature, including at the same time forms of folklore, mass and professional art, amateur art, distinguished by aesthetic diversity, style and genre instability, and acting as the second wave in modern folklore culture.

3. Folklorism or secondary folklore is a stage form of folklore, prepared and comprehended taking into account the patterns of demonstration to viewers, listeners as an artistic phenomenon.

4. Amateur art - socially organized creativity, focused on the reproduction and development of existing samples (works, products) of elite, mass or folk culture through special training of part of the population in artistic skills and abilities.

5. Arts and crafts, fine folklore - a materialized, materialized layer of folk art culture, reflecting in a figurative and aesthetic form the self-consciousness, the mentality of an ethnic group, which has both folklore and specialized forms.

6. Archaic culture has an ancient peasant origin and is associated with the era of the agricultural calendar.

7. Traditional culture determines the qualitative and most stable, established, parameters (qualities, properties, characteristics) of folk culture that have shown their unconditional value; it is a culture that has become universally valid for all, or at least for most social groups.

8. Authentic culture - the most typical layer of culture that exists in any marginal area. This is the primary, original and retained its relevance folk culture, a model and symbol of the most valuable aesthetic and spiritual layer of culture of any social group. Therefore, we can talk about the authentic culture of the peasantry, workers, intelligentsia, etc. The concepts of "authentic" and "traditional" are closely related in the characteristics of folk culture.

Behind these words is a great and important phenomenon: folk poetry and theatre, music and dance, architecture and fine arts. Folk art is the foundation on which the building of world artistic culture has grown.

This article talks only about folk arts and crafts. It originated in ancient times and, like other types of artistic creativity, at first was not perceived as art at all. It's just that people did the things they needed in everyday life, creating, as we now say, the subject environment: the traditional design of the home, costume, household utensils, tools and military weapons. The entire working people created this objective world, reflecting in it their social and everyday way of life, a peculiar perception of the world, ideas about happiness and beauty, and a unique national character.

The collective nature of creativity is a characteristic feature of folk art. After all, almost everything in the work of the master was dictated by a centuries-old tradition: the choice of material and the methods of its processing, the nature and content of decorative decoration.

A great connoisseur of folk art, V. S. Voronov, wrote well about the collectivity of folk art: “All its formal wealth was created through constant repetition: the slow accumulation of paraphrases, additions, amendments, changes ... and variations ... led to the creation of strong, mature forms ... Successful and original, brought into art by individual dexterity and sharp vigilance, was instilled, developed and brought into a finished form; random, untalented and far-fetched did not withstand further collective verification, fell away and disappeared.

This is a historical collectivity, closely associated with the transmission of traditions from master to master, from generation to generation. But there is also the collective creativity of contemporaries, in which the “choral” principle characteristic of folk art is clearly manifested. From time immemorial, its spiritual basis was a common worldview, rituals, customs, folklore. The same image varied in the work of different masters. A new technique or motive found by someone quickly became public property. As a result, the art was developed and enriched not by one or several masters, but by the whole craft as a single creative organism. And today, the artists of Palekh and Khokhloma, the village of Kubachi and Polkhovsky Maidan are proud of their belonging to the unique art of their native craft, together they solve the creative problems facing it (see Folk art crafts).

Isn't this the source of the amazing cheerfulness of folk art - from the consciousness of one's own strength! After all, behind every thing - be it a carved spinning wheel or an embroidered towel, a painted spoon or a woven tablecloth - is the talent, work and unanimity of many people, ideally - a whole people! And beauty is also from this source. And of course, from native nature, from which the master learns tirelessly. And she takes colors, and rhythms, and forms - to recall at least typical for the Russian North ladles in the form of a floating bird. Like nature, folk art selects only the best and polishes it for centuries, creating truly perfect technology, forms, ornament, color. Over time, all this acquires the character of a tradition: since the achieved beauty must be preserved - this is the demand of the people. That is why people talk about works of folk art as monuments of history and culture.

Today we buy the “golden” Khokhloma bowl not because it is needed in the household. It captivates us with the nobility of form, the elegance of painting. For this beauty, we, as it were, free the thing from the performance of its direct function and put it on the shelf as an interior decoration. Today, the decorative side is beginning to dominate more and more in the work of folk art.

Making any thing necessary in the economy, the master reproduced the picture of the world as he imagined it in the conditional language of ornament. One of the largest researchers of folk art - V. M. Vasilenko recently "read" the symbolism of a wooden ladle-scoop from the area of ​​​​the city of Kozmo-Demyansk. Looking into the scoop, you can easily see the head of a swan. Above - a circle and a rhombus decorated with radial notches. These are very ancient motifs, most often denoting the sun. And the figure of a horse crowns the whole product. He stands solemnly, as if on a pedestal. Without a doubt, this is not an ordinary peasant horse, but a real “horse-fire”! To make the symbolism of the thing understandable, let us recall that for centuries the poetic idea has lived among the people that in the daytime horses pull the light across the sky in a carriage, and at night it is transplanted into a boat, which is dragged along the underground ocean by swans or ducks.

This meaning, often incomprehensible to us now, made a completely ordinary thing an integral part of not only everyday life, but also the worldview of the people, associated with the peculiarities of their worldview and ethical ideals. Other aspects of a work of folk art are also inseparable: utilitarian and aesthetic. Over the centuries, peculiar rules have been developed that the masters have always followed. For example, the shape of an object is dictated by its purpose, so it is ideally simple and well thought out. Further, any form is the result of special properties of the material. An earthen jar will have one configuration, a wooden one of the same dimensions will have a completely different configuration, and a copper one will also have its own. Finally, the shape of the object and its decor must match each other.

Having originated in ancient times, folk art has long been the common property of the people. The situation changed with the development of class society. The division of labor gave rise to a new type of artistic activity - professional art that satisfies the spiritual and aesthetic needs of the ruling classes. At the center of it was a creative individuality with its uniquely personal perception of the surrounding world. By the beginning of the capitalist period, folk art in industrialized countries is everywhere turning into the art of the working masses of the countryside and city. Increasingly, it is assessed as "common" and "obsolete". The efforts of patrons who tried to save the "dear old times" could not change the fate of the folk craftsman, doomed to compete with the factory, throwing millions of faceless, but cheap things on the market. By the end of the XIX century. in most European countries it has been practically solved.

In the states that took the capitalist path of development later, the gap between folk and professional art was not so noticeable. Especially where, as in Russia, folklore elements have deeply penetrated into the culture upper layers society. It is no coincidence that the golden ladles, now kept in the Armory, decorated with a light herbal ornament, are very similar to their wooden counterparts used by ordinary people.

The folk art of Rus' was predominantly peasant, so it clearly reflected the farmer's view of the world around him. What concepts occupy a central place in such a worldview? Sun, earth, water. And, of course, everything that grows on earth. Hence the main "characters" of folk art: the sun, which was most often depicted in the form of a cross, rhombus or rosette; horses and birds; mermaids strongly associated with the water element; the mythical Tree of Life, symbolizing the endless growth of the fruits of the earth; finally, Mother-Cheese-Earth, whose image scientists recognize in women embroidered on towels with their hands raised to the sky, as if asking him for rain and blessed sunlight, and in clay toys from various regions of Russia - a woman with a baby at her chest, and along the hem - bright "suns".

But life changed, and folk art changed with it. After all, the strength of tradition lies precisely in the fact that it sensitively responds to changes in reality, helping to imprint the new in art. Otherwise, folk art would long ago have turned into a cold stylization. But it makes us happy today! Gradually, the mythological meaning of the ancient symbols was forgotten, their connection with agricultural rituals weakened. IN late XIX V. the master often no longer knew what certain images meant, and yet he did not refuse them: he crowned the roof of the hut with a ridge, carved solar rosettes on the shutters. True, gradually the ancient symbols acquired an increasingly noticeable decorative character, but something important for people from their original meaning was always preserved.

In the XVII-XIX centuries. many new motifs entered the art of the people - the sources were baroque, classicism, empire. However, these images became an expression of a purely popular worldview, often acquiring even a new look. So, the lions on the window sills of the Nizhny Novgorod huts clearly echo the stone lions of the noble estates. But how good-natured they are: often such an animal resembles a dog or a cat. Folk art never copies, always remains itself. It can be said that there is no change of styles in it at all, which is so characteristic of professional art. All historical layers, starting from the most ancient, coexist in folk art, just as they are inseparable in the memory of the people. This is a clear example of the wise accumulation of cultural values.

Folk art experienced a rebirth in the USSR and the countries of socialism with the entry into the historical arena of the broad masses of the people. A lot has been done during the years of Soviet power. Many art crafts that had died out were revived, new folk art crafts arose, for example, a lacquer miniature of the former icon painters of Palekh, Mstyora and Kholuy. The works of local artists are saturated with images of Soviet reality, they carry a new content that pre-revolutionary folk art did not know (see Palekh, Lacquer miniature).

Similar processes took place in the Kholmogory bone carving, in the Fedoskino lacquer miniature, in the Tobolsk bone plastic, in the Shemogoda carved birch bark. A surprisingly fresh phenomenon is Ukrainian wall painting, which found itself in easel-type art. The same can be said about Kosovo ceramics, painted Uzbek dishes, pottery Georgian and Armenian vessels, and the art of northern peoples. Soviet folk art did not know the simple restoration of old traditions. On their basis, a new arts and crafts, imbued with genuine nationality, was created.

Today it exists in two main forms. On the one hand, the traditional art of the village is still alive, associated with the unique way of life of this or that people, the peculiarities of the surrounding nature. On the other hand, folk art crafts are developing, many of which have a rich history. The resolution of the Central Committee of the CPSU "On Folk Artistic Crafts" (1974) emphasizes the important role of folk art in the culture of socialist society.

And today, works of folk art give us all those spiritual and aesthetic values ​​that the people have been accumulating for centuries. Here - the history of the country, its present and future. Because the rich and varied art of the people is a guarantee of its creative power, moral health and historical longevity.

Introduction Folk art

NHT is poetry, music, theater, dance, architecture, fine and decorative arts created by the people and existing among the masses. Collective artistic creativity reflects labor activity, everyday life, knowledge of life and nature, cults and beliefs, as well as people's views, ideals and aspirations, poetic fantasy, thoughts, feelings, experiences, dreams of justice and happiness. Folk art is distinguished by the depth of artistic exploration of reality, the truthfulness of images, and the power of creative generalization.

One of the forms of folk art. Includes, including the creation and performance of works of art by amateur performers individually (singers, reciters, musicians, dancers, acrobats) or collectively (circles, studios, folk theaters). In pre-revolutionary Russia, amateur performers united in circles and societies at clubs and meetings. There were also workers' circles, folk theaters, which were under the strict control of the authorities.

Amateur art- non-professional artistic creativity of the masses in the field of fine and decorative applied, musical, theatrical, choreographic and circus arts, film art, photography, etc. Amateur art includes the creation and performance of works of art by amateurs acting collectively or alone.

Collective of amateur performances- a creative association of lovers of one of the types of art, working on a voluntary basis at clubs or other cultural institutions. Collective initiative has a number of features. This is the presence of a single goal, leaders, self-government bodies, as well as a combination of public and personal aspirations and interests of members of an amateur collective.

Essential features of amateur creativity: voluntariness of participation in an amateur group, initiative and activity of participants in amateur activities, spiritual motivation of participants in amateur groups, functioning of amateur activities in the field of free time. Specific signs of amateur creativity: organization, lack of special training for activities among participants in amateur activities, a lower level of activity than professional teams, gratuitousness, etc.

Amateur creativity- a unique socio-cultural phenomenon, with a multi-type and multi-functional structure, which has the properties of leisure and artistic culture. As you know, leisure is a part of free time aimed at the development of the individual, used for communication, consumption of the values ​​of spiritual culture, entertainment, various types of unregulated activities that provide relaxation and further development of the individual.

Amateur art plays a big role in aesthetic education. By joining art, a person develops his ability to perceive and appreciate the beautiful, raises his cultural level, develops spiritually. "Choreographic amateur groups, performing the tasks of aesthetic formation of the personality, serve the cause of mass upbringing and education. These tasks are solved by means of the art of dance", "The formation of an active, spiritually rich personality is the goal of an amateur theater." Fairly, the above can be attributed to any other type of amateur creativity. Whether it is singing, composing or performing music, participating in circus performances, the creation of objects of fine and decorative art, all this contributes to the development of the intellectual and general cultural level of the individual.

"Amateur art ... is not only a school of artistic skill proper, but, perhaps even more importantly, a school of life, a school of citizenship. In other words, awakening to active artistic activity and developing one's abilities, a person does not simply assert himself in art, and above all, asserts itself as a member of society, whose activity and whose talent are socially necessary and useful.

Amateur art can be considered as a socio-pedagogical value, carrying out a system of functions: information and cognitive; communicative; social, containing in the artistic product ethical values, norms, ideals characteristic of different historical periods of cultural development, thereby ensuring continuity, the ability to transmit it from generation to generation; aesthetic, because it carries the idea of ​​beauty in the life of society, in everyday life, in language, plasticity, forms; educational, contributing to the development and change of spiritual values ​​and needs of the individual.

Through the forms of amateur performances, folklorism and professional art, their performers, aesthetic norms, technical methods, etc., interact to a large extent.

Folklore- folk art, most often it is oral; artistic collective creative activity of the people, reflecting their life, views, ideals; poetry created by the people and existing among the masses of the people (tales, songs, ditties, anecdotes, fairy tales, epics), folk music (songs, instrumental tunes and plays), theater (dramas, satirical plays, puppet theater), dance, architecture, visual and arts and crafts.

Definition

Folk art, which originated in ancient times, is the historical basis of the entire world artistic culture, the source of national artistic traditions, and the spokesman for people's self-consciousness. Some researchers also refer to folk art all types of non-professional art (amateur art, including folk theaters).

The exact definition of the term "folklore" is difficult, since this form of folk art is not immutable and ossified. Folklore is constantly in the process of development and evolution: Chastushki can be performed to the accompaniment of modern musical instruments on contemporary themes, new fairy tales can be devoted to modern phenomena, folk music can be influenced by rock music, and modern music itself can include elements of folklore, folk art and applied art can be influenced by computer graphics, etc.

Typology of folklore

Folklore is divided into two groups- ritual and non-ritual. Ritual folklore includes: calendar folklore (carols, Shrovetide songs, stoneflies), family folklore (family stories, lullabies, wedding songs, lamentations), occasional (conspiracies, incantations, counting rhymes). Non-ritual folklore is divided into four groups: folklore drama, poetry, prose and folklore of speech situations. Folklore drama includes: Petrushka theatre, crib drama, religious drama.

Folklore poetry is Keywords: epic, historical song, spiritual verse, lyrical song, ballad, cruel romance, ditty, children's poetic songs (poetry parodies), sadistic rhymes. Folklore prose is again divided into two groups: fabulous and non-fabulous. Fairy tale prose includes: a fairy tale (which, in turn, is of four types: a fairy tale, a fairy tale about animals, a household fairy tale, a cumulative fairy tale) and an anecdote. Non-fairytale prose includes: tradition, legend, bylichka, mythological story, dream story. The folklore of speech situations includes: proverbs, sayings, good wishes, curses, nicknames, teasers, dialogue graffiti, riddles, tongue twisters and some others. There are also written forms of folklore, such as chain letters, graffiti, albums (for example, song books).

Creative activity - the creative activity of a person in the field of science, literature, art, as a result of which a new work is created.

Folklore(from English Folklore - "folk wisdom") – folk (more often oral) creativity, the creative collective activity of people embodied in a work of art, which is a specific reflection of their life, ideals, events.

One of the important trends that can be clearly seen in the development of artistic creativity over many centuries is the ever-increasing strength of the personal authorial principle. Despite the fact that the individual beginning is inherent in any creativity, in folklore it is strongly muffled. Folklore is an expression of folk art, artistic and collective creative activity of the people, reflecting their life, views, ideals, created by the people themselves and existing among the masses. It can be poetry, music, dance, fine and applied arts. As a rule, folklore works were spread through language, oral presentation, which became traditional for this type of art. Most often, folklore is presented in the form of songs, epics, legends that reflect the course of people's lives: work and rest, sorrow and joy, individual events and historical ones, rituals, etc. Of course, folklore works had their own authors, however, their establishment is difficult today. The roots of folklore are in history, in pagan beliefs ( Ancient Rus'). After Christianity was adopted in Rus', the texts of the works were changed, but the ancient melodic form was preserved. The songs traditionally reflected the events of the life of people and society, sang the feats and outstanding personalities.

In addition to songs, various legends and fairy tales were also popular. They were divided into magical (where among the objects there are magical objects: flying carpets, tablecloths, self-made, walking boots, testifying to pagan witchcraft and people's dream of creating things that alleviate the hardships of life) and satirical, which had a moralizing character, describing modern conflicts, revealing political contradictions (this type of creativity was subsequently widely used by professional writers).

The individual beginning in ancient culture was mainly reflected in performance, the authors of folklore works, as a rule, remained unknown. This, according to the researchers, was due to the lack of desire for self-expression by people through art, the subjective author's vision did not prevail in culture. And the public, collective acquired a sacred meaning, the artist had to express the general ideas, giving them an ideal representation. The dominance of mythology and religious consciousness led the ancient author to the conviction that the true creator of the work is the social spiritual principle or God.

Being a synthetic phenomenon, since ancient times, art has been perceived as a means of education that can also deliver a specific spiritual pleasure to a person that is beyond his capabilities and nature.

The personal self-consciousness of the author is formed gradually as a result of the development of a collective labor activity, highlighting one's "I" from the collective "We", the emergence and formation of philosophy, the formation of morality and social relations, strengthening statehood, etc.

The personal beginning reached its maximum in the modern development of art, in which the light radiation of the author's personality gives a unique originality. work of art. In this regard, the personality of the author, the strength of his talent, the scale of thinking, the ability to penetrate deeply into the essence of the processes taking place in society, as well as knowledge of the inner world of a person, are becoming increasingly important. The most important property of the author today is the ability to say something new, unknown to other people or not yet formulated by them, to reveal the new essence of this or that phenomenon.

The talent of true artistic creativity lies in understanding the dialectics of the development of human society, with the awareness of those lofty goals in the name of which a person is called to live. Knowledge of the present is associated with the author's understanding of the prospects for the future, with the eternal desire to know the essence.

The trend towards an increase in the author's principle manifested itself pictorially already in the early stages of the development of cinema and television. One of the brightest representatives of that time was Charlie Spencer Chaplin, actor, film director, screenwriter, film producer, film composer, Oscar winner, founder of the United Artists film studio. Chaplin's works are a kind of mirror reflecting his multifaceted talent; he was one of the most creatively versatile and influential people of the silent film period.

The development of auteur cinema in our time is becoming more and more intense. Creativity and creation are increasingly subject to the author's intention, and screen works reflect the individuality of their authors.

In the author's cinematography, the creativity of the author and the director becomes a single process, where the birth of an idea, writing a script, shooting, are carried out under a single opinion. Such sole authorship allows you to convey to the viewer as accurately and fully as possible. creative look the creator of the work, his view of the world, his vision of the phenomena of reality.

The most important feature The author-director is able to create a future film in his imagination, freely and easily operate with sound-visual images. The author of the film must keep an imaginary picture throughout the entire creative process. The director must feel the whole rhythm of the picture, its general classical and rhythmic design, emotional mood, atmosphere, etc.

Directors are one of the first and most widespread representatives of screen culture.

screen culture.

Screen culture- a type of mass culture, the works of which are reproduced on a special technical means - the screen and are not perceived outside it. Types of screen culture: cinema, television, video, computer images, the Internet, etc.

Screen- (from French еcran - screen) - the surface on which the image is projected, as well as a device designed to reproduce the image.

Cinema- the sphere of human activity, which initially consists in creating moving images with the help of technical devices, subsequently accompanied by sound.

Internet- a system of worldwide association of computer systems and networks that form a specific information and technical space, which has the widest distribution and application.

Multimedia- the interaction of audiovisual effects under the control of interactive software with the direct use of technical, electronic and software tools that reproduce images in a digital representation is extremely widespread and applicable.

The emergence of screen culture at the end of the 19th century was initially associated only with cinema, which could only arise at a certain level of cultural and technological development of civilization. The most important feature of cinema, in addition to technical conditionality, is its focus on a wide audience, mass impact. Communication of social, technical, cultural conditions- the main quality of the emerging cinema. Cinema has come new form a reality other than theatrical performances. At the same time, the realities of cinema contributed to the transformation of the realities of reality, imperceptibly introducing fictitious, artificial, virtual images into it.

Thus, the birth of cinema, and subsequently screen culture, led to the emergence of a new type of communicative interaction, new opportunities for influencing mass and individual consciousness.

The next great achievement of screen culture after cinema was television, which has greater communicative capabilities, among which we single out: almost ubiquitous distribution, temporal availability, comfortable conditions for perception, reporting and documentary, scale of coverage of interests and preferences, differentiation. That is, one can observe the combination of many media and culture in one phenomenon.

A continuation of the development of screen culture can be recognized as the emergence and steady spread of computer culture, which combines elements of all types of both screen and other cultures. Their indestructible mutual influence and interaction takes place, with a rather powerful influence of a society that is practically unlimited neither in space nor in time. Participants in this type of communicative interaction can simultaneously assume different roles (spectator, listener, moderator, director, etc., that is, an active communicator), which definitely entails a rather strong emotional impact on a person. There are quite fair concerns about the benefits of such involvement in the virtual world, the emergence of addiction, emotional overload, which can lead to personality disorders. In fairness, it should be noted that the first films also made a strong impression on the audience, influenced their emotional sphere. This phenomenon persists in a slightly modified form until today. After all, it is precisely the appeal to the emotional sphere that is in many respects the goal and calling of any art.

It is safe to assume that the continued existence of screen culture will be accompanied by the inevitable interaction of its elements. Objects and works of screen culture, which are essentially simulacra (that is, copies without the original), artifacts, with the help of modern digital means, receive an almost perfect resolution, in which the audience believes almost unlimitedly. But, at the same time, this audience is able to create its own virtual worlds and act as one of the most important elements of universal communication. And in this mosaic interweaving of the links of screen culture lies the essence of a new communication paradigm that is being introduced into traditional forms of interaction. However, one should constantly take into account the factor of distorted reality, the mythologization of the objects of this culture, totally penetrating into the real dimension, manipulating the creation of people. The altered reality transforms the subconscious, deforming the individual and society. These are real questions to which civilization must find adequate answers.

What is the role of the producer in this situation. What are its goals? As an entrepreneur, under whose leadership significant labor resources and teams carry out their creative and production activities, he must take care of the commercial benefits of the projects being created. This is possible if the product is sold on the market with maximum efficiency. But the producer's activity does not end with the completion of production, but continues at the post-production stage, the essence of which, among other things, is the manipulation of public and private consciousness in order to most profitably implement the project. The producer must also take into account universal human values ​​in his activities, be responsible for the cultural impact on millions of viewers, for their moral and spiritual development. Thus, sometimes the producer faces intractable tasks, truly world problems. And on how, by what means, with what results the producer will overcome these difficulties, his further activity, and the work of the team, and the production sector, and the economy, politics, and culture as a whole largely depend. Therefore, in addition to thorough knowledge in the field of film production, film business, the producer must have a high level of human culture and be responsible for the results of his own work and the activities of the team. Society and the state, as a spokesman for public interests, should be primarily interested in this.