What is the original genre. Numbers original Artists of different genres at a corporate party

Your attention is presented to the section of the portal Artist.ru dedicated to information about artists original genre Moscow. Do you know what an original genre is? In general, this concept can mean almost anything. For example, an artist of the original genre may be engaged in throwing knives, or playing a burning guitar. Any talent that does not fall under the generally accepted definition and framework is an artist of the original genre. Yogis and ventriloquists, psychics and sword swallowers and many others can fall into this category of artists.

If you need artists of the original Moscow genre, then you have come to the right place. Add unusual and amazing rooms to the ongoing show program of your holiday!

Artists of the original genre

If you have even acted as an artist of the theater of the original genre, want to work and take part in festive events, show programs, register on the site Artist.ru, and your data will be available in the catalog in the "Artists of the original genre" section. Your potential employer will be able to easily contact you.

Artists of the original genre for the holiday, collected on the pages of the site, are ready to present exciting and unusual numbers for holiday programs to fill them with spectacle and beauty.

So, neon show able to please the most spoiled audience for entertainment. It includes plastic choreographic elements, theatrical production of the plot, bright costumes. It turns out a truly magical spectacle. An additional advantage of neon is its safety for small spaces and children's audiences.

An actor of the original genre, who staged a solo show of costume transformation, can easily captivate and rivet all the attention of guests to his person. Spectators from young to old will experience delight, surprise and charm while watching such an extraordinary performance. A unique combination of illusion skills, choreography, acrobatic and comic elements will create a subtle atmosphere of magic.

Living sculptures will serve as an excellent addition to the decorations of the festive premises, they will entertain the audience at a city festival or at a holiday in the park. An amazing combination of static and plasticity, an image thought out to the smallest detail, will attract not only a mischievous and restless children's audience, but also respectable men and women.

Arrange a truly unimaginable children's holiday on fresh air an aircraft modeling show will help. Excitement, a sea of ​​​​fun and positive emotions will accompany the audience throughout the event after watching extreme turns performed by airplanes. And if, to top it all off, give the kids the opportunity to try their hand at managing a reduced size air transport, then the holiday will forever enter the category of unforgettable ones.

If you feel an irresistible desire to turn your modest celebration into original show, That Digital catalogue of our site will be the first and indispensable assistant in this exciting business.

Welcome to our site and we hope we will be of maximum use to you. With us you can order a performance by an artist or an entertainment professional for your holiday quickly, easily and without intermediaries. Every day, hundreds of customers visit our website in search of the perfect show program, make booking requests for artists and receive offers. Our main task is a great atmosphere at your event. For the sake of this goal, we have been working for several years and are constantly improving our service. Our catalog contains thousands of artists from all over the country - musicians, presenters, dancers, music bands, acrobats, show ballets, exclusive shows, photographers, catering professionals and others. To send a request, simply click on "contact the artist" or "order a service". Fill in the basic details of your event and submit your request. We encourage you to submit multiple requests at once to get more suggestions from artists. Booking artists has never been so convenient. Simply select from 1 to 10 artists from our catalog, fill in the basic details of your event and submit your request.

The original genre is not similar in content to any classic. It contains numbers demonstrating the possibilities human body. Most often, the original genre is performed in the circus or specialty shows. These are acrobats, clowns, jugglers, parodists, aerialists, animal trainers. They are able to evoke emotions in people, such as joy, pleasure, admiration, fear, etc.

The original genre is recognized by the public. The numbers of this genre go beyond the boundaries of everything familiar and boring, they bring novelty, the atmosphere of a holiday and general fun.

For for long years artists of the original genre are in demand at all kinds of public and private events: corporate parties, weddings, children's parties, concerts, outdoor parties, etc. Today, there are agencies and where the customer can have an artist on his own. Particularly in demand are numbers with animals, magicians and representatives of the modern performing arts.

Rooms with pets

Animals enjoy big love public. Trained delight and touch the audience. Therefore, numbers with quadrupeds are included in the mandatory circus program and are widely in demand at private parties. Most often, monkeys, snakes, birds, cats, dogs, large animals, predators, etc. participate in performances.

bartender show

This type of show is appropriate for corporate parties and night parties. Bartenders skillfully demonstrate manual dexterity, skillfully juggle glasses and a shaker, treat the audience with prepared cocktails. In fact, the bartender shows the show and professionally prepares delicious drinks, and his skill is evaluated by two parameters at once.

Magicians and illusionists

These artists surprise and delight the audience. Tricks can be simple, based on manual dexterity. Children especially love these. The numbers of illusionists are based on the use of complex devices, techniques, implemented with the help of assistants. They are designed for a more adult audience and are often based on a sense of fear.

Clowns and buffoons

Since ancient times, they have been called upon to amuse the public. They make fun of simple, ordinary things and phenomena.

"Minute of Glory" is the most popular TV show of original genre artists in Russia. It helps unknown talents from the regions to express themselves throughout the country.

They are also very popular with children. However, history knows virtuoso clowns, skillfully combining children's and adult humor in the numbers.

Soap bubbles show

Decoration for anyone. The performance can use a bubble machine and giant hand tools. Such shows cause joy, delight. Often, artists let the audience try to make a big bubble themselves. In addition, with bubbles, beautiful photos are obtained.

Fire show

An extreme performance associated with fire and its exploitation. An original, exciting, elemental action based on the danger and bewitching beauty of fire.

Types and genres of numbers in the script

theatrical performance.

The structure of the number is identical to the structure of any dramatic action. There should be a kind of expositional moment, the necessary plotting of the action. The performance cannot exist without development, the intensity of which depends on the specific tasks of the director. The climax in the performance is most often expressed as a contrasting turning point, without which there cannot be the necessary fullness of the development of the entire scenario. The number concludes, as a rule, with a permissive moment, leading the action to relative completeness.

The number should be relatively short in tension, but not short. Its duration is directly dependent on its function, purpose, task in the general solution of the theme of the theatrical performance: no less and no more than what is assigned to it by artistic logic.

The next requirement for the performance is a high concentration of content: in an extremely short time, you need to give maximum information, and not just convey information to the viewer, but artistically organize it for the purpose of emotional and aesthetic impact.

Unlike a pop concert number, the number in the scenario of the theatrical performance must, one way or another, participate in solving a common theme. Therefore, the number requires a clear general direction, communication with other numbers.

Any classification in art is incomplete, and therefore it is possible to distinguish species and genre groups here, focusing only on the numbers that are often found in scenarios of theatrical performances.

The first species group should include colloquial (or verbal) numbers. Then go musical, plastic-choreographic, mixed, “original” numbers. There may be more groups, their names may be more accurate, but the essence of the division will not change from this. And without specific features it is impossible to establish genre features.

So, what genres of performances are found in theatrical performances?

A fairly common and dramaturgically fully developed number in the scenario of a theatrical performance is scene. In French this concept corresponds to the terms etude, sketches, in English - a sketch.

According to the genre division adopted in the theory of drama, scenes can be dramatic, melodramatic, comic, tragic, farcical, etc.

Sideshow- a genre from the group of colloquial numbers.

There were interludes in the medieval "school" theater, and in the Italian comedy of masks, and in Spanish folk theater XV-XVll centuries, and later among professional playwrights. Sideshows are small comic scenes performed between the actions of a dramatic work.

In Rus', from time immemorial, a folk interlude has been played.

Nowadays, the interlude is a popular form of the so-called "small dramaturgy" of variety art, television, and radio. On the stage and in theatrical performances, the interlude intrudes, as a rule, between two episodes.

The nature of the interlude is the opposition of two different points of view, the dispute. Such a collision in the best way contributes to the artistic disclosure of the main theme of the theatrical performance script.

Intermedia as a form of entertainer is most widely used in propaganda and art programs. And it is precisely here that a misunderstanding of the genre and character of the performance most often leads to miscalculations.

Often the program of the theatrical performance is “cemented” by the presenters - as a rule, two entertainers at the same time. This is a paired entertainer, following from the considered genres of colloquial numbers.

The distant predecessors of our entertainers are the managers of the people's farce - "barkers", "balcony", "pump comedians", - wits and bold satirists.

In contrast to the variety show, the paired compere in a theatrical performance most often has more complex functions, and its weight in the journalistic identification of an idea is very significant.

Another genre of spoken number - monologue.

The same genre can be connected and lyric poem.

Monologues and lyrical poems in the scenario of a theatrical performance can be both separate completed numbers, and peculiar bundles between them. But, of course, a monologue as a number differs from a monologue-bundle - the number has a great dramatic completion, it must have a climax, as well as a resolving part.

A monologue can be both in prose and in verse, and combine verse and prose.

It is difficult to find the structural elements of a number in a short lyric poem. But often lyrical poems, combined into cycles, have their own inner dramaturgy and are perceived as a single whole. In such cases, they really acquire the completeness of the number.

The next of the considered genres of colloquial number is burime. This is a poetic game in which the performer composes verses to rhymes given by the audience. As a number in the scenario of theatrical performance, burime is relatively rare. But this kind variety art It is not counter-indicative to either agitational art or other performances and can be one of the successful means of involving the public in action, activating its attention. In addition, it conceals considerable journalistic opportunities.

To the group musical numbers we regard, first of all, concert musical number. Its completeness is due to the musical form itself. If, however, an excerpt from great work, then it should be relatively complete, producing a holistic impression.

The people's favorite genre of musical number - ditty. Its features are topicality, extreme brevity, expressiveness of form and capacity of content. A ditty, created on a specific material, is an indispensable genre in terms of efficiency. Speech in a ditty always sounds individualized, artistically justified, like the speech of a certain person or as a dialect characteristic of a particular district, region, or region.

The laconic content in the ditty corresponds to a clear composition, determined by the form and structure of the quatrain. One of the characteristic features of this form is the organic combination of colloquial intonation with musical structure. But in general, the ditty number is built as an effective element of the program completed within itself.

When singing, the four-line ditty stanza is divided into two half-stanzas with a deep pause in the middle. The pause prepares for a new, usually unexpected turn, the resolution of the theme “declared” at the beginning. As a rule, the first couplet plays the role of a beginning, it gives, as it were, the beginning of a lyrical narration; the second couplet is the ending: the development of the theme and the final conclusion. It is this dramatic structure of the ditty that makes it an extremely expressive, effective genre, easily perceived by listeners.

Ditties with “reservations” have great power of emotional impact. For example:

Today women are held in high esteem:

At home, everything lies on them,

And also at work

Throw in for two.

- That is the weaker sex! ..

The common genres of musical numbers include also musical feuilleton And couplet number. These are songs of humorous, most often satirical content, having a more or less completed, effective structure. In verses, a constant chorus (refrain) plays an important role, which, in combination with the entire text, emphasizes the main idea of ​​the number.

Sometimes proverbs, sayings or lines from popular songs are used as a refrain. Couplets are always performed to music in recitative, speaking.

The group of plastic-choreographic numbers includes, first of all, pantomime and plastic sketch (or number).

Pantomime and itself can be an integral part, an element of a plastic act, but most often it is a traditionally established form of performance with separate plot scenes. In Russia, pantomime was part of many folk games and rites. She occupied a prominent place in farce theaters and circuses. The Soviet school of pantomime is characterized by the desire to express human feelings, to show various psychological states through the exact plastic characterization of the image.

plastic study- the concept is broader than pantomime. This number can include both dance, and elements of acrobatics and other sports spectacular exercises, and dialogue, and a song, and, as mentioned above, pantomime, pantomime scene. The general plan for this type of room must be developed by the screenwriter.

Compositionally, the number is built taking into account the effective structure (it has an exposition, development of the action, a climax and a finale). The synthesis of plastique, pantomime, songs in a performance is a very characteristic phenomenon for modern theatrical performances. This is evidence that a mixed number is the most acceptable for the dramaturgy of theatrical performances.

“Getting more complicated in their plot and content content, individual club games leave the lobby and the hall for the stage and take on a new form of game presentation. These performances include theatrical game competitions. They have a developed script-literary basis and involve a lot of work of the director-organizer. Some tasks in this case cannot be performed by the participants improvisationally - they require preliminary preparation and rehearsals.” (Ikonnikova S.N. and Corresponding Member of the Academy of Pedagogical Sciences of the USSR Prof. V.I. Chepeleva Club Studies. Textbook - M. "ENLIGHTENMENT" 1980.)

Gaming competitions are almost always complex. They require erudition, ingenuity, artistic and visual abilities, physical dexterity, and ingenuity from the participants. The high spectacular prestige of these events is due to their originality. There is practically no stereotype in the use of tasks, and, consequently, in the content of the developing action. Only the very idea of ​​gaming competitions and some of their structural elements are traditional.

One of the most simple species game competition - an evening of funny questions. Such an evening is a detailed and somewhat theatrical quiz. As a rule, questions evenings are thematic and cover one or another area of ​​human activity (sports, literature, art, etc.). The content of the evening is greatly enriched if its future participants receive a general thematic orientation in advance.

No less widespread in club practice are competitions-auctions. Such a competition is a series of thematic questions and tasks with which the hosts address the participants of the gaming competition. The tasks of such competitions are built with the expectation of spectacularly effective responses, the use of visible attributes of the competition.

Another form of theatrical gaming competition is the competition of the cheerful and resourceful. A characteristic feature of such competitions is their content-organizational complexity. They include elements of a quiz, a concert review, a sports competition, a funny relay race, etc. Humor, resourcefulness, erudition - these are the basic principles on which KVN is built. They are distinguished by vivid theatricalization and therefore are especially advantageous in terms of entertainment.

A peculiar place in the system of gaming competitions is occupied by competitions that have come into practice under the names “Come on, girls!”, “Come on, guys!”. In accordance with the physical, professional and other capabilities and characteristics of the participants, they are differently oriented in terms of content, although they have much in common in orientation and methodological terms. In the competition for girls, the main emphasis is on tasks that reveal knowledge in various fields of art, pedagogical preparedness, the ability to dress beautifully, everyday resourcefulness, etc. In the competition for men, the main place is occupied by competitions in technical training, knowledge of automaking, strength, agility, possession of sporting weapons, etc.

There are also a number of other theatrical competitions in practice: the savvy tournament, “Who is who”, “Attention to the start”, etc. Like everything related to folk amateur performances, game competitions are constantly changing and improving.

Let us dwell on the basic rules for organizing theatrical competitions.

The nature of competitive tasks requires versatile erudition from the speakers: one must be aware of the latest innovations in science, art, variety, etc. There is no such scope for improvisation, amateur performance, creative self-expression in any other games and entertainment. At the same time, improvisation here requires careful preliminary preparation: a few weeks before the competition, the composition of the team is selected, texts for future performances, questions and tasks for rivals are prepared, and rehearsals are held. The competition is a long-term event, involving a long rehearsal period.

Teams participating in game competitions are fundamentally different from randomly created teams in other games: here the team always represents a real team (factory, workshop, brigade, educational institution).

In addition to the team, a large number of voluntary assistants from the members of this team are involved in the orbit of gaming competitions. They participate in determining the composition of the speakers, help with homework, offer questions that will be asked to opponents, view and discuss everything that their team has prepared, and finally, cheer for their team during the competition.

In practice, there are two main ways of holding theatrical competitions.

In one case, several teams representing enterprises, production sites, and educational teams participate in the draw. Depending on the number of teams and the adopted system (Olympic or circular), the competitive season may take a different period of time, but usually quite long, several months. At the same time, teams meet at predetermined hours and days (every week, decade, month). During the game evening, one or two duels are held.

And the second option: at an ordinary evening of rest or a mass celebration, two teams are created in an improvisational order, and a blitz tournament is held between them. Its duration is short, and the tasks are relatively simple, since this competition is only part of a larger event.

As a result of any competition, the winner must be revealed. This task is entrusted to the jury, whose members are required to have strict objectivity, understanding the essence of the tasks, erudition, aesthetic taste, and a sense of humor. Referees must take into account not only knowledge, but also wit, resourcefulness, ingenuity, the general style of behavior of teams and fans. The direct managers of the competition are the hosts, usually two of them. The presenters also serve as a link between the jury, teams and the public.

With all the variety of competitive programs, they clearly distinguish common structural elements. These include: ceremonial exit of teams - warm-up - check homework– fan competitions – answers to questions from the jury, presenters and rivals – improvisational competitions – summing up the results – solemn end of the competition.

The ritual of greeting judges and rivals came to gaming competitions from sports competitions. However, if in sports greetings are held in strictly canonized forms, then in club games only the very fact of the greeting is unchanged, and its specific content and form is the fruit of the invention of the participants. Funny witticisms here side by side with reports of production success, friendly caricatures can alternate with satirical denunciations. Often, all kinds of ritual ceremonies are parodied or ironically rethought: challenge to a knightly duel, presentation of ambassadors, presentation of letters, etc.

One of the central moments of many gaming competitions is checking homework. As the name suggests, these tasks are prepared well in advance. All participating teams usually receive the same theme. The task of the team is to develop it witty. Homework, which is prepared without haste, provides the best opportunity to demonstrate a high ideological and artistic level in solving a topic.

The main part of the competition consists of a number of improvisational competitions. In this case, the participants learn about the task already during the competition and, therefore, they cannot prepare in advance for its implementation. Some tasks must be completed immediately, others are given time to prepare.

Very diverse art competitions. Some tasks here are intended to test artistic erudition, others are entirely designed for wit, others require artistic, creative or performing abilities, a developed imagination.

Scientific and technical assignments, as well as ingenious solutions on issues of the domestic plan, are becoming more common in competitions. Some tasks require physical dexterity, quick reactions, etc.

It is not possible to enumerate, let alone characterize all types of tasks for teams and fans, and it is hardly necessary. Originality, diversity, surprise - these are the main advantages and distinctive features of these popular entertainments.

Funny game competitions have great recreational and educational opportunities. It is only important to understand in the name of what people are joking. There is a danger of slipping from real wit to empty scoffing. Being one of the main organizers of gaming competitions, a cultural worker must always remember that this is not only entertainment, but also a powerful educational tool.

The numbers of the original genre, as they are usually called in the practice of performances, actually refer to the type, and it, in turn, is divided into genres: eccentricity, tricks, buffoonery, playing unusual musical instruments, onomatopoeia, lubok, tantamoreski, etc. Let's consider just a few of them.

Lubkom were called folk pictures, printed from linden boards (bast) and depicting fairy-tale, everyday, military, biblical plots.

At the beginning of the 20th century, on the curtains and backdrops of the first Russian theaters of miniatures, satirical and simply comic plots began to be reproduced in the manner of popular prints. But in the place where the faces should be depicted, cuts were made on the curtain, and the actors inserted their heads into them. Thus, it became possible to play original interludes and dialogues between “drawn” characters. Sometimes the actors put not only their heads, but also their arms and legs through the slots.

In modern different kind performances also sometimes resort to popular prints. A bus, a train or an airplane, or some group of characters, is depicted on the curtain, and the performers stick their heads through the windows of the cars, portholes, etc.

A variation of the popular print is tantamoresque. The essence of the reception is as follows: in addition to the face, the performers pass their hands through the slits of the curtain, on which trousers and boots are put on. In other words, the actor's hands represent the character's legs. It turns out the head is of normal size, and the legs are small. Usually, a bench is placed on the stage in front of the curtain, on which the “legs” rely. Thus, the dwarf gets the opportunity to dance on the bench - this is the main trick. And if another performer (invisible to the viewer) puts his hands over the shoulders of the first artist into other slots, then the person visible to the public will also have hands with huge hands disproportionate to his body. (Chechetin A.I. Fundamentals of dramaturgy of theatrical performances: History and theory. Textbook for students of the Institute of Culture. - M .: Education, 1981. - 192 p.)

Of course, it would be impossible to characterize all genre varieties of numbers, and it is hardly necessary, since they, reflecting various aspects of reality, are the most “fluid”, changeable, especially in the arts that synthesize heterogeneous expressive means in themselves. This is directly related to numbers in theatrical performances. It is no coincidence that when creating this or that number, amateur artists or students often find it difficult to determine its genre variety. Purely practically, when defining the genre of a performance, it is best to focus on the “dominant”, on the main composition of its artistic expressive means.

Conclusion.

As a result, the following conclusions can be drawn:

The word theatricalization can only mean an organic combination of non-theatrical, vital material, directly related to production practice and the life of people, and artistic, figurative material; this combination, this fusion of documentary and fiction is created with the aim of a certain impact on the public.

Genre refers to a specific variety of a particular art form. Unlike the genus and species, the genre category is the most specific and extremely variable.

Types of theatrical performances: propaganda and artistic performance, literary and musical composition, thematic evening, mass theatrical festival.

Agitational and artistic performance as a type of theatrical performance has its own species specificity: it is, first of all, agitation and propaganda by theatrical and artistic means.

Literary and musical composition is one of the types of theatrical performance, where mainly literary, artistic and musical elements are organically combined in order to purposefully and most productively influence the mind and feelings of the viewer.

Thematic evening is a stage composition with an extremely specific, documentary plot, with real, not fictional characters.

The mass theatrical festival reflects important events in the life of a large community of people, and sometimes on a national and global scale.

In the scenario of the theatrical performance, the number can be defined as a separate segment of the action, which has its own internal structure.

Any classification in art is incomplete, and therefore it is possible to single out species and genre groups here, focusing only on the numbers often found in scenarios of theatrical performances.

The first species group should include colloquial (or speech) numbers. Then come musical, plastic-choreographic, mixed, “original” numbers.

Genres of the species group of colloquial numbers: skit, interlude, paired entertainer, burime.

Genres of musical numbers: concert musical number, ditty, musical feuilleton, couplet number.

Genres of plastic-choreographic performances: pantomime and plastic etude.

Genres of the species group of “original numbers”: eccentricity, tricks, buffoonery, playing unusual musical instruments, onomatopoeia, popular prints, tantamoresques, etc.

The involvement of the audience in the direct action of the theatrical performance is one of the specific features of this kind of art. Therefore, it is here that the game number in its various genre forms (referring either to mixed or “original” numbers) is very common.

Getting more complicated in their content content, individual club games leave the foyer and the hall for the stage and take on a new form of game presentation. These performances include theatrical game competitions.

Of course, it would be impossible to characterize all genre varieties of numbers, and it is hardly necessary, since they, reflecting various aspects of reality, are the most “fluid”, changeable, especially in the arts that synthesize heterogeneous expressive means in themselves.