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Theater as an art form, and its fundamental difference from other art forms. The history of the theater: the emergence and development of theatrical art, entertaining facts List of sources used

CLASSIFICATION OF ARTS

Art (creative reflection, reproduction of reality in artistic images.) exists and develops as a system of interrelated types, the diversity of which is due to the versatility of itself (the real world, displayed in the process of artistic creation.

Types of art are historically established forms of creative activity that have the ability to artistically realize the content of life and differ in the ways of its material embodiment (word in literature, sound in music, plastic and color materials in fine arts, etc.).

In modern art history literature, a certain scheme and system of classification of arts has developed, although there is still no single one and they are all relative. The most common scheme is its division into three groups.

The first includes spatial or plastic arts. For this group of arts, spatial construction in the disclosure of the artistic image is essential - Fine Arts, Decorative and Applied Arts, Architecture, Photography.

The second group includes temporary or dynamic arts. In them, the composition unfolding in time is of key importance - Music, Literature. The third group is represented by spatio-temporal types, which are also called synthetic or spectacular arts - Choreography, Literature, Theatrical art, Cinematography.

The existence of various types of arts is due to the fact that none of them, by its own means, can give an artistic comprehensive picture of the world. Such a picture can only be created by the entire artistic culture of mankind as a whole, consisting of individual types of art.

THEATER

Theater is an art form that artistically masters the world through a dramatic action carried out by a creative team.

The basis of the theater is dramaturgy. Synthetic nature of theatrical art determines its collective nature: the performance combines the creative efforts of a playwright, director, artist, composer, choreographer, actor.

Theatrical performances are divided into genres:

Tragedy;

Comedy;

Musical, etc.

Theatrical art has its roots in ancient times. Its most important elements already existed in primitive rites, in totemic dances, in copying the habits of animals, etc.

Theater is a collective art (Zahava)

The first thing that stops our attention when we think about the specifics of the theater is the essential fact that a work of theatrical art - a performance - is created not by one artist, as in most other arts, but by many participants in the creative process. Playwright, actors, director, make-up artist, decorator, musician, illuminator, costume designer, etc. Everyone contributes their share of creative work to the common cause. Therefore, the true creator in theatrical art is not an individual, but a team - a creative ensemble. The team as a whole is the author of a finished work of theatrical art - a performance. The nature of the theater requires that the entire performance be imbued with creative thought and living feeling. They must be saturated with every word of the play, every movement of the actor, every mise-en-scene created by the director. All these are manifestations of the life of that single, integral, living organism, which, being born through the creative efforts of the entire theatrical team, gets the right to be called a true work of theatrical art - a performance. The creativity of each individual artist involved in the creation of the performance is nothing but an expression of the ideological and creative aspirations of the entire team as a whole. Without a united, ideologically cohesive team, passionate about common creative tasks, there can be no full-fledged performance. Full-fledged theatrical creativity presupposes the presence of a team that has a common worldview, common ideological and artistic aspirations, a creative method common to all its members and subject to the strictest discipline. “Collective creativity,” wrote K. S. Stanislavsky, “on which our art is based, necessarily requires an ensemble, and those who violate it commit a crime not only against their comrades, but also against the very art they serve.” The task of educating an actor in the spirit of collectivism, arising from the very nature of theatrical art, merges with the task of communist education, which presupposes the development of a feeling of devotion to the interests of the collective in every possible way, and the most bitter struggle against all manifestations of bourgeois individualism.

Theater is a synthetic art. Actor - carrier of the specifics of the theater

In the closest connection with the collective principle in theatrical art is another specific feature of the theater: its synthetic nature. Theater is a synthesis of many arts interacting with each other. These include literature, painting, architecture, music, vocal art, dance art, etc. Among these arts is one that belongs only to the theater. This is the art of the actor. The actor is inseparable from the theater, and the theater is inseparable from the actor. That is why we can say that the actor is the bearer of the specifics of the theatre. The synthesis of the arts in the theater - their organic combination in the performance - is possible only if each of these arts performs a certain theatrical function. When performing this theatrical function, the work of any of the arts acquires a new theatrical quality for it. For theatrical painting is not the same as mere painting, theatrical music is not the same as mere music, and so on. Only acting is theatrical in nature. Of course, the value of the play for the performance is incommensurable with the value of the scenery. The scenery is called upon to play an auxiliary role, while the play is the ideological and artistic foundation of the future performance. And yet a play is not the same as a poem or a story, even if written in the form of a dialogue. What is the most significant (in the sense that interests us) difference between a play and a poem, scenery from a painting, stage construction from an architectural structure? A poem, a picture have an independent meaning. The poet, the painter address directly to the reader or viewer. The author of a play as a work of literature can also address his reader directly, but only outside the theatre. In the theater, however, the playwright, the director, the decorator, and the musician speak to the audience through the actor or in connection with the actor. Indeed, is the word of the playwright sounding on the stage, which the author has not filled with life, has not made it his own word, is perceived as living? Can the director's instructions formally carried out or the mise-en-scene proposed by the director but not experienced by the actor turn out to be convincing for the viewer? Of course not! It may seem that the situation is different with decoration and music. Imagine that the performance begins, the curtain opens, and although there is not a single actor on the stage, the auditorium applauds the magnificent scenery created by the artist. It turns out that the artist addresses the viewer directly, and not at all through the actor. But here the actors come out, a dialogue arises. And you begin to feel that as the action unfolds, a dull irritation gradually builds up inside you against the scenery that you just admired. You feel that it distracts you from the stage action, prevents you from perceiving acting. You begin to understand that there is some kind of internal conflict between the set and the acting: either the actors do not behave the way they should behave in the conditions associated with this set, or the set incorrectly characterizes the scene. One does not agree with the other, there is no synthesis of the arts, without which there is no theater. It often happens that the audience, enthusiastically meeting this or that scenery at the beginning of the act, scolds it when the action is over. This means that the public positively assessed the work of the artist, regardless of this performance, as a work of art of painting, but did not accept it as a theatrical scenery, as an element of the performance. This means that the scenery has not fulfilled its theatrical function. In order to fulfill its theatrical purpose, it must be reflected in the acting, in the behavior of the characters on the stage. If the artist puts up a magnificent backdrop at the back of the stage that perfectly depicts the sea, and the actors behave on stage in the way that people in the room, and not on the seashore, behave, the backdrop will remain dead. Any part of the scenery, any object placed on the stage, but not animated by the attitude of the eraser expressed through the action, remains dead and must be removed from the stage. Any sound that sounded at the will of the director or musician, but not perceived by the actor in any way and not reflected in his stage behavior, must be silenced, because he did not acquire a theatrical quality. Theatrical being to everything that is on the stage, the actor informs. Everything that is created in the theater in order to receive the fullness of one's life through the actor is theatrical. Everything that lays claim to independent significance, to self-sufficient being, is anti-theatrical. This is the sign by which we distinguish a play from a poem or a story, a scenery from a painting, a stage construction from an architectural structure.

Theater is a collective art

Theater is a synthetic art. Actor-carrier of the specifics of the theater

Action is the main material of theatrical art

Dramaturgy is the leading component of the theater

The creativity of the actor is the main material of directing art

The spectator is the creative component of the theater ZAKHAVA!!!

THEATER(from the Greek theatron - places for a spectacle, spectacle), the main kind of spectacular art. The generic concept of the theater is divided into types of theatrical art: drama theater, opera, ballet, pantomime theater, etc. The origin of the term is connected with the ancient Greek antique theater, where the places in the auditorium were called that way (from the Greek verb "teaomai" - I look). However, today the meaning of this term is extremely diverse. It is additionally used in the following cases:

1. A theater is a building specially built or adapted for showing performances (“The theater is already full, the boxes are shining” A.S. Pushkin).

2. An institution, an enterprise engaged in showing performances, as well as the entire team of its employees who provide rental of theatrical performances (Mossovet Theater; tours of the Taganka Theater, etc.).

3. A set of dramatic or stage works structured according to one or another principle (Chekhov's theater, Renaissance theater, Japanese theater, Mark Zakharov's theater, etc.).

4. In an obsolete sense (preserved only in theatrical professional slang) - stage, stage ("Noble poverty is good only at the theater" A.N. Ostrovsky).

5. In a figurative sense - the place of any ongoing events (theater of military operations, anatomical theater).

Theatrical art has specific features that make its works unique, unparalleled in other genres and types of art.

First of all, it is the synthetic nature of the theatre. His works easily include almost all other arts: literature, music, fine arts (painting, sculpture, graphics, etc.), vocals, choreography, etc.; and also use the numerous achievements of a wide variety of sciences and fields of technology. So, for example, the scientific developments of psychology formed the basis of acting and directing creativity, as well as research in the field of semiotics, history, sociology, physiology and medicine (in particular, in teaching stage speech and stage movement). The development of various branches of technology makes it possible to improve and move to a new level of stage machinery; sound and noise economy of the theater; lighting equipment; the emergence of new stage effects (for example, smoke on stage, etc.). To paraphrase the famous saying of Moliere, we can say that the theater "takes its good where it finds it."

Hence - the following specific feature of theatrical art: the collectivity of the creative process. However, things are not so simple here. This is not only about the joint work of the numerous theater staff (from the cast of the performance to representatives of the technical workshops, whose well-coordinated work largely determines the "purity" of the performance). In any work of theatrical art, there is another full-fledged and most important co-author - the spectator, whose perception corrects and transforms the performance, placing accents in different ways and sometimes radically changing the general meaning and idea of the performance. A theatrical performance without a spectator is impossible - the very name of the theater is associated with spectator seats. The audience's perception of a performance is a serious creative work, regardless of whether the audience is aware of it or not.

Hence the next feature of theatrical art is its momentary nature: each performance exists only at the moment of its reproduction. This feature is inherent in all types of performing arts. However, there are some peculiarities here.

So, in a circus, when the artistry of the performance participants is required, the technical purity of the trick still becomes a fundamental factor: its violation carries a danger to the life of the circus artist, regardless of the presence or absence of spectators. In principle, active co-authorship with the audience is, perhaps, only one circus artist - a clown. From here came the development of one of the types of theater, theatrical clowning, which develops according to laws close to those of the circus, but still different: general theatrical.

Performing musical and vocal art, with the development of audio recording technology, gained the possibility of fixation and further multiple reproduction, identical to the original. But an adequate video recording of a theatrical performance is impossible in principle: the action often develops simultaneously in different parts of the stage, which gives volume to what is happening and forms a gamut of tones and semitones of the stage atmosphere. With close-ups of shooting, the nuances of the general stage life remain behind the scenes; general plans are too small and cannot convey all the details. It is no coincidence that only directing, author's television or cinematographic versions of theatrical performances made according to cross-cultural laws become creative successes. It's like with a literary translation: the dry fixation of a theatrical performance on film is similar to interlinear: everything seems to be correct, but the magic of art disappears.

Any empty space can be called an empty stage. Man is moving

in space, someone looks at him, and this is already enough for a theatrical

action. However, when we talk about theater, we usually mean something else. Red

curtains, spotlights, blank verse, laughter, darkness - all this is randomly mixed in

our mind and creates a blurry image, which we designate in all cases

in a word. We say that the cinema killed the theatre, meaning the theater that

existed at the time of the advent of cinema, that is, a theater with a box office, foyer, folding

armchairs, footlights, scene changes, intermissions and music, as if the word itself

"theater" by definition means just that and almost nothing else.

I will try to divide this word in four ways and highlight four different ones.

meanings, so I will talk about the Dead Theatre, the Sacred Theatre, the Rough Theatre.

and about the theater as such. Sometimes these four theaters exist in the neighborhood somewhere in

West End in London or near Times Square in New York. Sometimes they are separated by hundreds

miles, and sometimes this division is conditional, since two of them are combined into

one evening or one act. Sometimes for a single moment all four theaters -

Sacred, Rough, Inanimate and the theater as such merge into one. P.Brook"Empty space"

1. THEATER AND TRUTH Oscar Remez "The Mastery of the Director"

If it is true that "theatricality" and "truth" aremaincomponents of a dramatic performance, just as trueANDthe fact that the struggle of these two principles is the source of developmentexpressivemeans in theatrical art. This fight is easyguessedwhen we survey the theater's past, and muchmore difficultis revealed when considering the living creativeprocessdeveloping before our eyes.

3. CYCLE OF THEATER HISTORY

Comparing the well-known past and the emerging present, one can come to the conclusion about a special pattern of changes in theatrical trends, a special, strictly measured, cyclicality of theatrical eras.

Princess Turandot was replaced by a new criterion of stage truth - the method of physical actions. The new theatrical tradition was continued in the works of M. Kedrov. At the same time and in the same vein, the theaters of A. Popov and A. Lobanov worked. Further, the increasingly strict and consistent stage "vitality" is replaced by the romantic theatricality of N. Okhlopkov. The synthesis of two principles, the pinnacle of the theater of the late 40s - "The Young Guard", a play by N. Okhlopkov, which most fully expressed reality by means of modern artistic language. In the mid-50s - a new wave - the triumph of the method of effective analysis: the works of M. Knebel, the birth of Sovremennik, the performances of G. A. Tovstonogov.

As you can see, each theatrical direction develops at first, as it were, latently, often ripens in the bowels of the previous (and, as it turns out later, polar) direction, arises unexpectedly, develops in conflict with tradition and passes the path conditioned by dialectics - ascent, fullness expressions, creative crisis. Each period of theatrical history has its own leader. They follow him, they imitate him, they argue with him fiercely, as a rule, from two sides - those who are left behind, and those who are in front.

Of course, the path of ascent to theatrical synthesis is many-complex. The turning points in theatrical art are not necessarily associated with the names of the directors named here. The pedantic division of theater workers into “groups”, “currents”, “camps” is hardly justified either. Let's not forget - during the period of theatrical synthesis of the 20s, none other than K. S. Stanislavsky created performances in which the winning trend expressed itself most fully and vividly - "Hot Heart" (1926) and "The Marriage of Figaro" ( 1927). It was in these works that brilliant theatricality was combined with deep psychological development.

A continuation of this kind of tradition at the Art Theater was such a performance as The Pickwick Club (1934), staged by director V. Ya. Stanitsyn.

One might get the impression that the theater is repeating itself, following one predetermined circle. A concept that is very close to this kind of understanding (with some shift and ambiguity of terminology) was once proposed by J. Gassner in his book “Form and Idea in Modern Theatre”.

However, the concept of a closed cyclical development of the theatererroneous. An objective picture of the development of theatrical history -movement, performed in a spiralessential, What's onevery housein its new turn, the theater puts forward fundamentally newcriteria truth and theatricality that crowning each, from the cycles of development, the synthesis arises each time on a different basis. At the same time, the new theatricality cannot but master (even despite the controversy) the previous experience, and this is the prerequisite inevitable in the future of dynamic equilibrium. Thus, the struggle between theatricality and truth becomes the content of the history of directing expressive means, a source of development of new, modern theatrical forms.

1. Theater as an art form has a synthetic nature. Theatrical performances include expressive possibilities, means of almost all types of art (literary, music, fine art, choreography, etc.). At the same time, none of the art forms will play a leading role. At the present time, the synthesis of the theater is achieved through the use of the developments of modern science and technology (psychology, semiotics, technology).

2. Theater is a collective creative process. It is not only about the joint creativity of the members of the troupe, but it is about the interaction, co-authorship of the viewer. The audience's perception can correct and modify the performance. The performance is not possible without an audience. Audience perception is a serious, creative, intellectual work, even if the viewer himself does not realize it.

3. Theater exists as a momentary performance. Each performance exists only at the moment of its reproduction. This provides an understanding of the idea of historicity in the perception of the theater. It is in the theater that the spectator has direct access, involvement in the work. Regardless of what era the actors are playing.

4. A theatrical work is not preserved because of the moment, it exists only in the current moment. Any transfer to film makes it possible only to fix the action. In this case, the magic of art disappears.

5. The theater, like any kind of art, is subject to a certain artistic time, the events on the stage (the birth of a work) take place simultaneously with the act of perception by the viewer. In the theater, the so-called. stage time - during which the performance takes place. At the present time, the performance is 2.5-3 hours, but some productions suggest a duration of 5-10 hours. Sometimes it takes several days.

6. The main carrier of the theatrical idea, action is the actor. The actor's image is created within the framework of the idea laid down by the play, its interpretation by the director, but, despite this, the actor remains an artist who independently embodies living images on stage.

7. Theater as an art form is subject to interpretation. The problem of interpretation arises in relation not so much to the texts of modern dramaturgy as to the texts of the classics. Interpretation in the theater is a variant of a new reading of a well-known work, in which one can trace the philosophical, political, moral position of the author.

In the theater, interpretation makes it possible to correlate the problems of the current day with the historical facts of the past day.

In the analysis of theatrical interpretation, an important role is played by the understanding of the director's attitudes, his worldview, as well as the clarification of some eternal problems relating to the essence of man. The viewer, perceiving a classical work in the theater, enters into a dialogue not so much with the author, but with the director, which allows you to reveal the essence of the conflicts of modern society. But at the same time, the viewer is in dialogue with the era in which the work was created. Directors turn to classical works, interpret them, because. in them the conflict is not resolved, it is eternal. The director is in a state of "interpretative appeal" (W. Eco). Interpretation in the theater is possible, it is possible at the level of a playwright, at the level of a director, actor, spectator, theater critics (Anatoly Smenlyansky, A.V. Protashevich).

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THEATER (Greek theatron - a place for spectacles) - an art form based on the artistic reflection of life, carried out through a dramatic action performed by actors in front of the audience. The art of theater is secondary. The basis of the art of the stage is drama, which acquires a new quality in the theatrical embodiment - theatricality, theatrical image. The development of the theater is closely connected with the development of drama and the dramatic, expressive means of the drama of monologue and dialogue. The main work of theatrical art is a performance, artistically organized, spectacular and playful action. The performance is the result of the efforts of the creative team. At the same time, the performance is distinguished by figurative unity. The figurative structure of the performance is created by the unity of all elements of the play action, subordinated to a single artistic task - the “super task”, and a single stage goal that organizes the stage action in time and space, “through action”.

The playful essence of the theater is changing historically. Having arisen from the ritual, the system of spectacular influence as a whole is preserved at all stages of the development of the theater - the transformation of the actor, who uses his psychophysical data to create the image of another person - the character of the word and plasticity are the main conditions for involving the viewer in the action. Modern theater knows various forms of organization of play action. In a realistic, psychological theater of experience, the principle of reflecting life in the forms of life itself implies the principle of a "fourth wall", as if separating the viewer from the stage and creating the illusion of reality. In the theater of performance - the "epic theater" the principle of play may not coincide with the truth of life circumstances and suggests a poetic-generalized, metaphorical, figurative solution.

Theater is a collective art (see). In the process of historical evolution, the principle of the ensemble was established. In the modern theater, the role of the organizer of the stage action and the creative efforts of the team belongs to the director, who is responsible for the stage interpretation of the dramatic basis. With the help of such figurative and expressive means as mise-en-scene, tempo-rhythm, composition, the director creates an artistic image of the performance.

By its nature, the art of the theater is synthetic (see). The nature of synthesis in the history of theatrical art changed, ballet stood out, musical theater became independent. The contemporary theater tends to combine the most diverse art forms. The organization of the spectacular synthesis depends to a large extent on the participation of the composer, costume designer, lighting designer and, above all, the set designer. The material environment created by the stage designer's means may have different functions, but always, corresponding to the context of the whole, the performer, the bearer of psychological truth, organizes the viewer's attention.

The art of theater is designed for collective perception. The spectator, his reaction is a component of the action. The theater does not exist without the immediate reaction of the audience. A performance rehearsed but not shown to the audience is not a work of art. It is the viewer who is given the right to distinguish between the meaning of the expressive device chosen by the performer and its use. The spectator of the modern theater is influenced by many spectacular forms that expand his associations and change his preferences. The theater cannot but take into account these changes in its development, increasing the role and significance of theatrical forms, strengthening the connection between the stage action and the audience.

The art of the theater is a form of social consciousness, a means of artistic knowledge and education. The specificity of the theater is in the reflection of significant conflicts and characters that affect the interests and needs of the modern audience. The originality of the theater as an art form is in this modernity, which makes it an important factor in education.

2. Theatrical art

Theatrical art is one of the most complex, most effective and oldest arts. Moreover, it is heterogeneous, synthetic. As components, theatrical art includes architecture, painting and sculpture (scenery), and music (it sounds not only in musical, but often in a dramatic performance), and choreography (again, not only in ballet, but also in drama). ), and literature (the text on which a dramatic performance is built), and the art of acting, etc. Among all of the above, the art of acting is the main, determining one for the theater. The famous Soviet director A. Tairov wrote, "... in the history of the theater there were long periods when it existed without plays, when it did without any scenery, but there was not a single moment when the theater was without an actor" Tairov A. Ya , Director's Notes. Articles. Conversations. Speeches. Letters. M., 1970, p. 79. .

The actor in the theater is the main artist who creates what is called the stage image. More precisely, an actor in the theater is at the same time an artist-creator, and the material of creativity, and its result is an image. The art of the actor allows us to see with our own eyes not only the image in its final expression, but also the very process of its creation, formation. The actor creates an image from himself, and at the same time creates it in the presence of the viewer, in front of his eyes. This is perhaps the main specificity of the stage, theatrical image - and here is the source of the special and unique artistic pleasure that it delivers to the viewer. The spectator in the theater, more than anywhere else in art, is directly involved in the miracle of creation.

The art of theater, unlike other arts, is a living art. It occurs only at the hour of meeting with the viewer. It is based on the indispensable emotional, spiritual contact between the stage and the audience. There is no such contact, which means that there is no spectacle that lives according to its own aesthetic laws.

It is a great torment for an actor to perform in front of an empty hall, without a single spectator. Such a state is tantamount to being in a space closed from the whole world. At the hour of the performance, the soul of the actor is directed towards the spectator, just as the soul of the spectator is directed towards the actor. The art of the theater lives, breathes, excites and captures the viewer in those happy moments when, through the invisible wires of high-voltage transmissions, there is an active exchange of two spiritual energies, mutually aspiring to one another - from actor to viewer, from viewer to actor.

Reading a book, standing in front of a painting, the reader, the viewer does not see the writer, the painter. And only in the theater does a person meet eye to eye with a creative artist, meets him at the moment of creation. He guesses the emergence and movement of his heart, lives with him all the vicissitudes of the events that took place on the stage.

The reader alone, alone with the treasured book, can experience exciting, happy moments. And the theater does not leave its audience alone. Everything in the theater is based on active emotional interaction between those who create a work of art on stage that evening and those for whom it is created.

The spectator comes to a theatrical performance not as an outside observer. He cannot but express his attitude to what is happening on the stage. An explosion of approving applause, cheerful laughter, tense, undisturbed silence, a sigh of relief, silent indignation - the spectator's complicity in the process of stage action is manifested in the richest variety. A festive atmosphere arises in the theater when such complicity, such empathy reaches its highest intensity...

This is what living art means. Art, in which the beating of the human heart is heard, the subtlest movements of the soul and mind are sensitively captured, in which the whole world of human feelings and thoughts, hopes, dreams, desires is enclosed.

Of course, when we think and talk about an actor, we understand how important for the theater is not just an actor, but an ensemble of actors, unity, creative interaction of actors. “A real theatre,” Chaliapin wrote, “is not only individual creativity, but also a collective action that requires complete harmony of all parts.”

Theater is, as it were, doubly collective art. The spectator perceives a theatrical production, a stage action not alone, but collectively, “feeling the elbow of a neighbor”, which to a large extent enhances the impression, the artistic contagion of what is happening on the stage. At the same time, the impression itself comes not from one person-actor, but from a group of actors. Both on the stage and in the auditorium, on both sides of the ramp, they live, feel and act - not separate individuals, but people, a society of people, connected with each other for a while by common attention, purpose, common action.

To a large extent, it is precisely this that determines the enormous social and educational role of the theater. Art, which is created and perceived together, becomes a school in the true sense of the word. “The theater,” wrote the famous Spanish poet Garcia Lorca, “is a school of tears and laughter, a free platform from which people can denounce outdated or false morality and explain, using living examples, the eternal laws of the human heart and human feeling.”

A person turns to the theater as a reflection of his conscience, his soul - he recognizes himself in the theater, his time and his life. The theater opens before him amazing opportunities for spiritual and moral self-knowledge.

And let the theater, by its aesthetic nature, a conditional art, like other arts, on the stage appears before the viewer not the reality itself, but only its artistic reflection. But there is so much truth in that reflection that it is perceived in all its absoluteness, as the most genuine, true life. The viewer recognizes the higher reality of the existence of stage characters. The great Goethe wrote: “What can be more nature than the people of Shakespeare!”

In the theater, in a lively community of people who have gathered for a stage performance, everything is possible: laughter and tears, grief and joy, undisguised indignation and violent delight, sadness and happiness, irony and distrust, contempt and sympathy, watchful silence and loud approval - in a word, all the riches of emotional manifestations and upheavals of the human soul.

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QUESTION 1

Theater as an art form. The specificity of theatrical creativity.

Theater as an art form.

Theater is a doubly collective art. The spectator perceives a theatrical production, a stage action not alone, but collectively, “feeling the elbow of a neighbor”, which to a large extent enhances the impression, the artistic contagion of what is happening on the stage. At the same time, the impression itself comes not from one person-actor, but from a team of actors. Both on the stage and in the auditorium, on both sides of the ramp, they live, feel and act - not separate individuals, but people, a society of people, connected with each other for a while by common attention, purpose, common action.

^ The specificity of theatrical creativity.

Each art, having special means of influence, can and must make its contribution to the general system of aesthetic education.

Theater, like no other form of art, has the greatest "capacity". He absorbs the ability of literature to recreate life in a word in its external and internal manifestations, but this word is not narrative, but lively-sounding, directly effective. At the same time, unlike literature, the theater recreates reality not in the mind of the reader, but as objectively existing pictures of life (performance) located in space. And in this respect, the theater is close to painting. But the theatrical action is in constant motion, it develops in time - and this is close to music. Immersion in the world of the viewer's experiences is akin to the state that a listener of music experiences, immersed in his own world of subjective perception of sounds.

Of course, theater is by no means a substitute for other art forms. The specificity of the theater is that it carries the “properties” of literature, painting and music through the image of a living acting person. This direct human material for other forms of art is only the starting point of creativity. For the theatre, "nature" serves not only as material, but is also preserved in its immediate vivacity. As the philosopher G. G. Shpet noted: “The actor creates from himself in a twofold sense: 1) like any artist, from his creative imagination; and 2) specifically having in its own person the material from which the artistic image is created.

The art of the theater has an amazing ability to merge with life. The stage performance, although it takes place on the other side of the ramp, at moments of high tension blurs the line between art and life and is perceived by the audience as reality itself. The attractive power of the theater lies in the fact that "life on the stage" freely asserts itself in the imagination of the viewer.

Such a psychological turn occurs because the theater is not only endowed with the features of reality, but in itself is an artistically created reality. Theatrical reality, creating the impression of reality, has its own special laws. The truth of the theater cannot be measured by the criteria of life's plausibility. The psychological load that the hero of the drama takes upon himself cannot be endured by a person in life, because in the theater there is an extreme compaction of entire cycles of events. The hero of the play often experiences his inner life as a bunch of passions and a high concentration of thoughts. And all this is taken by the audience for granted. “Incredible” according to the norms of objective reality is not at all a sign of unreliable art. In the theater, “truth” and “untruth” have different criteria and are determined by the law of figurative thinking. “Art is experienced as a reality by the fullness of our mental “mechanisms”, but at the same time it is evaluated in its specific quality as a man-made-game “not real”, as children say, illusory doubling of reality.”

The visitor to the theater becomes a theatrical spectator when he perceives this double aspect of the stage action, not only seeing a vital concrete act in front of him, but also understanding the inner meaning of this act. What is happening on the stage is felt both as the truth of life and as its figurative recreation. At the same time, it is important to note that the viewer, without losing a sense of the real, begins to live in the world of the theater. The relationship between real and theatrical reality is rather complicated. There are three phases in this process:

1. The reality of objectively shown reality, transformed by the playwright's imagination into a dramatic work.

2. A dramatic work embodied by the theater (director, actors) in stage life - a performance.

3. Stage life, perceived by the audience and become part of their experiences, merged with the life of the audience and, thus, again returned to reality.

But the "return" is not analogous to the original source, now it is enriched spiritually and aesthetically. "A work of art is made to live - to live almost literally

This word, i.e. entered, like experienced events of real life,

In the spiritual experience of each person and all mankind.

The crossing of two types of active imagination - the actor's and the audience's - gives rise to what is called "the magic of the theater". The advantage of theatrical art lies in the fact that it embodies the imaginary into a live action unfolding on the stage with clarity and concreteness. In other arts, the imaginary world either appears in human imagination, as in literature and music, or is depicted in stone or on canvas, as in sculpture or painting. In the theater, the viewer sees the imaginary. "Every performance contains some physical and objective elements available to any viewer" .

Stage art by its very nature presupposes not passive, but active enthusiasm for the audience, for in no other art is there such a dependence of the creative process on its perception as in the theater. At G.D. Gachev, the audience is “like celestials, like a thousand-eyed Argus<...>ignite the action on the stage<...>for the world of the stage itself arises, appears, but to the same extent is the work of the spectator.

The basic law of the theater - the internal complicity of the audience in the events taking place on the stage - involves the excitement of the imagination, independent, internal creativity in each of the spectators. This fascination with the action distinguishes the spectator from the indifferent observer, who is also found in theater halls. The spectator, unlike the actor, the active artist, is a contemplative artist.

The active imagination of the audience is not at all some special spiritual property of the chosen art lovers. Of course, the developed artistic taste is of great importance, but this is a matter of the development of those emotional principles that are inherent in every person. “Artistic taste opens the way for the reader, listener, viewer from the external form to the internal and from it to the content of the work. For this path to be successfully passed, the participation of imagination and memory, the emotional and intellectual forces of the psyche, will and attention, and finally, faith and love, that is, the same integral mental complex of spiritual forces that carry out the creative act, is necessary.

Consciousness of artistic reality in the process of perception is the deeper, the more fully the viewer is immersed in the sphere of experience, the more multi-layered art enters the human soul. It is at this junction of two spheres - unconscious experience and conscious perception of art that imagination exists. It is inherent in the human psyche initially, organically, accessible to every person and can be significantly developed in the course of the accumulation of aesthetic experience.

Aesthetic perception is the creativity of the viewer, and it can reach great intensity. The richer the nature of the viewer himself, the more developed his aesthetic sense, the more complete his artistic experience, the more active his imagination and the richer his theatrical impressions.

Aesthetics of perception is largely geared towards the ideal viewer. In reality, the conscious process of educating theatrical culture will probably advance the viewer to gain knowledge about art and master certain skills of perception. An educated viewer may well:

Know the theater in its own laws;

Know the theater in its modern processes;

Know the theater in its historical development.

At the same time, one should be aware that the knowledge mechanically folded in the viewer's head is not a guarantee of a full-fledged perception. The process of formation of spectator culture, to a certain extent, has the properties of a “black box”, in which quantitative moments do not always add up in a straight line into certain qualitative phenomena.

Theater is an amazing art. If only because over the past century he was predicted several times imminent death. He was threatened by the Great Silent, who had found speech - it seemed that sound cinema would take away all the audience from the theater. Then the threat came from television, when the spectacle came directly to the house, later the powerful spread of video and the Internet began to be feared.

However, if we focus on the general trends in the existence of theatrical art in the world, then there is nothing surprising in the fact that at the beginning of the 21st century the theater not only retained itself, but began to clearly emphasize the non-mass character and, in a certain sense, the “elitism” of its art. But in the same sense, one can speak of the elitism of fine arts or classical music, if we compare the audience of many millions that popular performers gather with a limited number of people at the conservatory.

In the synthetic theater of modern times, the traditional correlation of the dominant principles - truth and fiction - appears in a kind of indissoluble unity. This synthesis takes place both as an act of experience (perception of the truth of life) and as an act of aesthetic pleasure (perception of theater poetry). Then the viewer becomes not only a psychological participant in the action, that is, a person who "absorbs" the fate of the hero and spiritually enriches himself, but also a creator who performs a creative action in his imagination, simultaneously with what is happening on the stage. This last moment is extremely important, and in the aesthetic education of the audience it occupies a central place.

Of course, each viewer can have their own idea of the ideal performance. But in all cases it is based on a certain "program" of requirements for art. This kind of “knowledge” presupposes a certain maturity of the audience culture.

Spectator culture to a large extent depends on the nature of the art that is offered to the viewer. The more difficult the task set before him - aesthetic, ethical, philosophical, the more tense the thought, the sharper the experience, the subtler the manifestation of the viewer's taste. For what we call the culture of the reader, listener, viewer is directly related to the development of the very personality of a person, depends on his spiritual growth and affects his further spiritual growth.

The significance of the task that the theater poses to the viewer in psychological terms lies in the fact that the artistic image, given in all its complexity and inconsistency, is perceived by the viewer at first as a real, objectively existing character, and then, as they get used to the image and reflect on it. actions, reveals (as if independently) its inner essence, its generalizing meaning.

In terms of aesthetics, the complexity of the task lies in the fact that the viewer perceives the stage imagery not only according to the criteria of truth, but also knows how (learned) to decipher its poetic metaphorical meaning.

So, the specificity of theatrical art is a living person, as a directly experiencing hero and as a directly creating artist-artist, and the most important law of the theater is a direct impact on the viewer.

The "theater effect", its clarity is determined not only by the dignity of the art itself, but also by the dignity, the aesthetic culture of the auditorium. The spectator as an obligatory co-creator of the performance is most often written and spoken about by theater practitioners themselves (directors and actors): “There is no theatrical performance without the participation of the public, and the play has a chance of success only if the spectator himself “loses” the game, i.e. ... accepts its rules and plays the role of a person who empathizes or withdraws.

However, the awakening of the artist in the viewer occurs only if the viewer is able to fully perceive the content inherent in the performance, if he is able to expand his aesthetic range and learn to see the new in art, if, remaining true to his favorite artistic style, he does not turn out to be deaf and to other creative directions, if he is able to see a new reading of a classic work and is able to separate the director's idea from its implementation by the actors ... There are many more such "if" ones. Consequently, in order for the spectator to become involved in creativity, so that the artist awakens in him, at the present stage of the development of our theater, a general increase in the artistic culture of the spectator is necessary.

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