Conversations with Stanislavsky
(conversation No. 2)
From the editor
The section “An actor’s work on himself” is dedicated to best works concerning this topic. We decided to start by presenting the activities of K.S. Stanislavsky with the Opera Studio Bolshoi Theater. Meetings of the great theater teacher and director with studio students took place in 1918-1920 and were recorded by one of the best students of K.S. – Concordia Antarova (“Two Lives”). In these conversations, it seems to us, K.S.’s theatrical ethics are wonderfully presented, the knowledge of which is especially important for aspiring actors and directors.
“Simpler, lighter, higher, more fun.” These are the first words that should hang over every theater - a temple of art, if theaters were such. Only love for art, everything lofty and beautiful that lives in every person - only this everyone entering the theater should bring into it and pour out of himself like a bucket clean water, a thousand of which today will wash away the dirt of the entire building, if yesterday it was polluted by the passions and intrigues of people.
One of the initial concerns of those who create a studio or theater should be attention to the atmosphere in it. We must ensure that fear in no shape or form creeps into the studio and reigns in the hearts of its employees or students, so that beauty unites and captivates there. If there is no idea of unity in beauty, there is no true theater, and such a theater is not needed. If there is no elementary understanding of oneself and the whole complex of one’s powers as joyful servants of the fatherland, then such a theater is also not needed - it will not be one of the creative units among all the creative forces of the country. From here we can understand what an important matter it is - the selection of theatrical personnel, always the weakest and most difficult point of the theatrical business. When the choice is made according to patronage, and not according to talents and characters, when they are accepted into the studio based on acquaintances and recommendations, this not only reduces the dignity of the theater, performance or rehearsal, but introduces boredom into them, and creativity itself will be composed in these cases from surrogates , and not out of true love burning in those who came to learn.
The rules of the theater, where rehearsals are carried out with several casts at once, but some of those present act, work with them, and the rest sit, not taking part in the tasks being analyzed, not uniting internally in creative work, but filling the atmosphere with envy and criticism, are impossible in the studio, where everyone is equal in creative work. In the studio, everyone knows that today or tomorrow, their turn will come anyway, and they understand that, while watching the work of their comrades, they must live in the task at hand with all their creative attention. Setting up a case where there is no respect for the person - the subordinate actor, where there is no politeness, creates an atmosphere of degeneration. The chaos of rudeness, which allows itself to elevate the gloss, will not lead to that atmosphere of joy and lightness, where only a high culture of spirit and thought can grow. Only in an atmosphere simple and easy word may result as a full reflection of those passions, the nobility and value of which the theater should reflect.
Those hours that an actor spends in the theater at rehearsals should create from him a full-fledged person - a creator in art, that fighter for beauty and love who can pour into the hearts of his listeners the whole meaning of words and sounds. If, after the rehearsal, the artists’ ears did not grow in their best feelings and thoughts, if their insight was on a tiny scale: “while I was rehearsing, everything captivated me, and my heart was clear,” but they left and again fell into cabotism and vulgarity: “I am an actor, I am a person,” which means that there was little true love and fire among those who led the rehearsal.
The point is not at all in the actors and not in the tricks, but at the beginning of everything in creativity - in teaching the artist to look within himself for an understanding of the value of the word, teaching him to develop his attention and introspectively attract it to the organic properties of the role, to the nature of human feelings, and not to judge from the outside the effects of certain actions, believing that one can learn to play this or that feeling. The living heart of a living human artist must be brought into the chain of internal and external actions that always run parallel in life; it is necessary to help him, through a number of devices, free his body and his inner world from all restraints so that he can reflect the life of the play he plays; it is necessary to bring him to such a power of attention that the conditional and external do not prevent him from comprehending the organic nature of human passions.
These are the tasks of the studio, this is the path on which everyone can and should develop the grain that lies within them and turn it into a force that acts as beauty. But everyone can achieve this development if they love art. In art you can only captivate and love; there are no orders in it.
TO
. Antarova
Conversations with Stanislavsky
(conversation No. 5)
Every person who wants to become an artist needs to answer three questions:
1. What does he mean by the word “art”?
If in it he sees only himself, in some privileged position relative to the people walking next to him, if in this thought about art he does not seek to reveal what worries him inside, like the barely conscious forces of creativity wandering in the dark, but disturbing him , but simply wants to make his personality shine; if petty bourgeois prejudices arouse in him a desire to overcome obstacles by will only in order to open the external path to life as a noticeable and visible figure, such an approach to art is the death of both the person himself and art.
2. Why does a person who has chosen any art - drama, opera, ballet, chamber stage, paint or pencil art - enter the artistic branch of humanity and what idea does he want and should bring to this branch of art?
If he has not realized how much suffering, struggle and disappointment will confront him, if he sees only a rainbow bridge carrying him with inspiration to the other side of the earth and life where dreams live, the studio must disappoint him.
The studio must know from the first steps that only work - to the end of not only the external “career”, but work to death - will be the path that he chooses for himself; work should be the source of the energy that, in a number of exciting tasks, the studio should fill the brain, heart and nerves of the student.
3. Is there in the heart of a person going to the theater such an amount of unquenchable love for art that could overcome all the obstacles that inevitably arise before him?
The studio, in a living example of the influence of its leaders, should show how the stream of unquenchable love for art in the heart of a person should be poured into the work of the day. And this creative work can, should, burn like a fire. Only when the oil that kindles the fire is human love, only then can one hope to overcome all the obstacles that stand in the way of creativity and achieve the goal: pure art, freed from conventions, which is created by pure creative forces developed within oneself. Only then can one find the flexibility of the actor's will, the free combination of a deep understanding of the basis - the grain of the role - and its end-to-end action, when the love of art has overcome personal vanity, self-esteem and pride. When the understanding of harmony lives in the mind and heart stage life, only then – in action detached from the “I” – can one present the truth of passions in the proposed circumstances.
But may all the great forces of life protect each studio from boredom and pedantry taking hold. Everything died then; then it is better to disperse the studio, teachers and studio members, and destroy the entire mechanism. This is only the corruption of young forces, forever distorted consciousnesses. In art you can only captivate. It, I repeat, is a fire of unquenchable love. Teachers who complain about being tired are not teachers, they are machines working for money. Anyone who has completed ten hours of classes a day and has not managed to burn his love in them, but only his will and body, is a simple technician, but he will never be a master, a teacher of young people. Love is sacred because its fire never begs, no matter how many hearts it ignites. If the teacher poured out his creativity - love, he did not notice the hours of labor, and all his students did not notice them. If a teacher served the needs of everyday life, his students became bored, tired and vegetated along with him. And the art in them, eternal, inherent in everyone and living in everyone as love, did not penetrate through the dusty windows of the conventions of the day, but remained to smolder in the heart.
Every hour, every minute of the unity of teacher and student should be only a flying consciousness, an eternal movement in the rhythm of the environment.
Feeling - thought - word, as a spiritual image of thought, must always be a manifestation of truthfulness, the law of the ability to convey facts as a person saw them. Truthfulness and love are two paths that introduce the rhythm of the entire life of art.
Fans of surrealism and simply those who appreciate pleasant leisure time cannot miss the play “The Crazy Life of Salvador Dali,” which will be shown in St. Petersburg in February. “VD” talked with the performer leading role Sergei Yankovsky about the production, the great artist and contemporary art.
— A play about a great painter, in my opinion, requires extraordinary scenography...
— We initially wanted to make a production with an interesting visual solution, which is why the decoration of the play appeals to the works of our main character. Every now and then pictures appear on the stage, but they do not appear as illustrations. The characters in the paintings come to life and begin to interact with the main character and influence him.
— Which characters from Dali’s paintings appear in the play?
- His first teacher was Ramon Pichot, Paul Eluard, Hitler, Lenin, Vermeer's Lacemaker, Dr. Freud and even Elephant.
— What was more important and more interesting for you in working on the play - the works of Salvador Dali or his fate?
“It seems to me that it is so interconnected that one is inseparable from the other. In the process of writing the play, I was interested in something else: total myth-making, which extended to all areas of his life. His books are an explosive mixture of fiction and autobiographical literature. Often, when he describes an event that took place, you suddenly realize that this is a fiction, it never happened and could not have happened. For example, Dali recalls that when he was a child, he saw in the theater optical illusions his teacher, Russia and a little girl who, as he writes, was Gala. This, of course, is beautiful, but I think that at that moment he had not heard of any Russia.
— When you were writing the play, were you tempted to add another episode, supposedly from the biography of Salvador Dali?
— No, first of all, the task was to cut off everything unnecessary and not fall into surrealism on stage. An attempt to bring surrealism to the stage pure form often ends with the viewer having no idea what is happening. In my opinion, it is important to be able to tell a story clearly.
— Do you yourself understand where the truth is and where the artist’s imagination is?
— Events are known that were absolutely certain. For example, when they brought him a bill at a restaurant, when he wrote out a check, he signed his autograph, knowing that this check would never be cashed, because it had the signature of Salvador Dali himself, or more significant events - for example, his first meeting with Gala. These facts are found in different books, and it becomes obvious that this happened. They became the basis of the performance.
— Dali was an innovator in painting. Did you want to bring something innovative to the theatrical language of the production?
— I want to hide somewhere from modern innovation. Any language - theatrical or literary - first of all implies a conversation between one person and another. The author is with the viewer. This conversation assumes that one person will convey certain information to the other. Almost all contemporary art does not strive to be understandable to the average viewer. Contemporary artists They often place entire explanatory treatises next to their “works.” Reading these treatises, you are surprised that they have nothing to do with the work itself... Such innovation has swept all forms of art, including theater. As a viewer, I don’t understand what they are talking about. Therefore, the goals are to make an innovative performance, in modern sense I didn’t have this word, I don’t have it and never will! The task of art is to convey thoughts, moods, emotions - and especially positive ones.
— Positive emotions? They are rarely found in modern theater...
- This is true. I like it when theater is a holiday for the viewer. And we see this holiday now only in classical ballet where it sounds classical music where everything is beautiful. Why is this holiday not in drama theater?! Basically, everything is shrouded in some kind of darkness. Everything is gloomy, everything is black or, in best case scenario, gray. Everything is bad, or even worse. I noticed that at exhibitions of contemporary art - for example, in the exhibitions that were presented at the Manifesta 10 biennale or at Erarta - there is no beauty, there is no component that has been valued at all times. look modern paintings- everything is ugly! Even if some critic recognizes it as a genius, it is still ugly. The viewer does not want to plunge into darkness, into everything black, scary, gloomy and, moreover, dirty. If a person has at least a little self-confidence, then it is quite natural for him to strive to receive pleasant emotions, a positive charge and enjoy beauty. Stanislavsky said, and we always repeat what he said: “Simpler, easier, higher, more fun.” These are the first words that should hang over every theater..."
— In your opinion, the theater should be a holiday. Does this mean that the play should lack dramatic lines, and the audience will not empathize with the characters?
- Of course it doesn’t mean that. In our performance, the audience will definitely empathize and may even cry at the end, especially the girls. By holiday I mean rise human spirit. View interesting film, a play or reading a book inspires us, we feel uplifted. The same cannot be said about contemporary art: after viewing it you want to find rope, soap and a lamppost. I really love Franco Zeffirelli's films. Let's take the most famous - “Romeo and Juliet” - everything that happens there, we perceive as sublime history about the incredible power of love, and not about how everyone died. Not about how Juliet stabbed herself with a knife, covered everything with blood, and he drank poison and writhed on the floor near her tomb. After this film you ask yourself the questions: “Is it in me?”, “Can I love like that?” You feel uplifted, you begin to look for it in everyday life, appreciate the people who are nearby. This is a real holiday!
September 12, 2013 year in the press center of Irkutsk academic theater took place Round table called “Theater is a force that protects a person from moral emptiness and social loneliness”, which opened a series of discussions among the theater community, united general direction- theater and modernity.
Festival modern dramaturgy This is not the first time that Vampilov has brought together philologists, writers, journalists, literary and theater scholars to answer questions about the nature and influence of theater on society, the relevance of its educational function today, its mission, relationships with the audience and the existing theater audience, its expectations, preferences . The 2013 meeting can be called a continuation of the already traditional festival conversations.
Elena Streltsova, theater critic, candidate of art history:
"Job theater is on or for destruction, and here only pragmatism fits in: only material, only money, only profit, hence the constant life of an enterprise, which from the inside largely destroys the ensemble nature of the theater. On the other hand, what is now devalued is the spiritual side of the theater. All the words that are desecrated today: education, mission, which are even impossible to say with normal intonation - everyone begins to make fun of, be ironic...
Now everyone is repeating ideal program theater, which Stanislavsky saw. Four words: “simpler, lighter, higher, more fun.” And it is clear that it is more fun and easier - that’s it, but simpler and higher is difficult, forgotten, slandered. There can be no reconciliation here, it can be either-or, there is no third option. Either you stand on one side, the side of cynicism and pragmatism, or you stand on the ladder that leads upward. It's much more complicated. And now, perhaps, is not the time for this, but we must resist, somehow get out.”
Theater critic Vera Maksimova, host of the Round Table:
“Oddly enough, I also wanted to put this phrase up for discussion. Incorporation itself, and even a small right to creativity, gives such great happiness. You see, the emphasis is on “easier and more fun.” Ease, of course, is an indispensable quality of genius. There is no such thing as a heavy, sweating genius. Vakhtangov was easy, Nemirovich said. What were the performances about? About life and death. It was a mistake that we for many years Vakhtangov was measured by Turandot. "Turandot" was the only performance of outright fun, even in "The Wedding" there was a plague, and in Chekhov the plague seemed to him, and he hesitated only with one main theme- the relationship between life and death. He was a Tolstoyan. I don’t know how Christian he was, whether he believed in immortality. Gloomy performances, philosophical performances, the favorite genre - tragedies, and at the same time completely light in their fantasies, light in their compositions, construction, light in the actor. He greatly appreciated beauty. What is not remembered at all today is the question of beauty, the impact of beauty and the educational function of beauty. Here's Vakhtangov for you. So what is most precious to me in this four is “higher”.
Also in the Round Table format, other issues were raised, such as the relationship between theater and religion, whether there is a struggle today between stationary theaters (repertory theaters) and new theater, what it teaches, what it moves a person to new theater, what it affects, what the mission of its leaders is.
Photo: Anatoly Byzov
TYUMEN STATE INSTITUTE OF ARTS AND CULTURE
Department of Directing and acting
S.P.Kutmin
Brief dictionary theatrical terms
for students of directing specialization
Publishing house
Tyumen State Institute of Arts and Culture
BBK 85.33 i 2
Kutmin, S.P.
A brief dictionary of theater terms for students of directing specialization / Kutmin S.P.; TGIIK; Caf.dir. and act. mastery. - Tyumen, 2003. - 57 p.
The dictionary covers special terms theatrical, pop art. These are the words that theater directors and directors use more than others during rehearsals. mass holidays, we constantly hear them in the work on a play, performance, in the work of an actor on a role. The dictionary is intended for students and teachers of secondary and higher educational institutions arts and culture.
Reviewer: Zhabrovets, M.V. Ph.D., Associate Professor, Head. Department of Directing and Acting
© Kutmin S.P., 2003
© Tyumen State Institute of Arts and Culture, 2003
Preface
This dictionary aims to give only a brief, most basic explanation of terms that are often encountered in the process of learning to direct, while working on a play, performance, or role. Art is a field of activity that is extremely difficult to systematize, generalize, theorize, as well as precise definitions and formulations. Each term has many interpretations. And each interpretation is not entirely accurate and exhaustive. There are so many creative directors and so many opinions about professional terminology. After all, any theoretical position follows from specific creative practical experience, and creativity is always individual and unique. Even K.S. Stanislavsky there is a constant evolution in the understanding of this or that term. In the process of life and creative searches, the terminology of concepts was modified, clarified, and supplemented. Formulations by K.S. Stanislavsky were creatively comprehended and developed in the works of his students and followers - M. Knebel, M. Chekhov, V. Meyerhold, E. Vakhtangov, G. Christie, G. Tovstonogov, B. Zakhava, A. Palamishev, B. Golubovsky, A. .Efros and many others. K. S. Stanislavsky called for a creative approach to the matter, and not to treat it dogmatically. Therefore, when working with a dictionary, a novice director must learn only the essence of a particular concept, and then try to “appropriate and correlate” it with his own perception and creative search. The dictionary contains about 490 words and terms. This volume, of course, is not enough. The dictionary requires further improvements, additions and clarifications. I hope it will gradually increase in volume, and the number of words and terms will be replenished and clarified. If readers have any suggestions or comments while working with the dictionary, they will be taken into account in the next edition of the dictionary.
Simpler, higher, lighter, more fun.” K.S.Stanislavsky
Abstraction(Latin - distraction) - a way of artistic thinking and image construction. This method involves abstracting from secondary, unimportant information about an object, emphasizing significant significant points.
Absurd(Latin - nonsense, absurdity) A direction in art, a contradiction to the plot of the work. If a work develops in a certain sequence and logic of events: exposition, beginning, conflict, its development, climax, denouement and finale, then absurdity is the absence of the logic of conflict. This direction was reflected in the works of J. Anouilh, J. P. Sartre, E. Ionesco, etc. The absurd is a type of creativity that determines the paradoxical nature of this phenomenon; it has been little studied, but is of particular interest from the point of view of theater directing.
Vanguard(French - vanguard) - a direction of art that contradicts established norms in art. Search for new solutions that meet the aesthetics and needs of the new generation.
Proscenium(French - in front of the stage) - front part theater stage(before the curtain). Proscenium in modern theater arts appears to be an additional play area. Possibility of direct communication with the audience.
Administrator(lat. - manage, manage) - person, professional activity which is aimed at renting performances, concerts in the theater and on the stage.
Hype(French - excitement) - strong excitement, excitement, conflict of interests.
Excitement(French - accident) - passion, enthusiasm. Strong passion, zeal. Extreme passion for gaming.
Act(lat. - act, action) - A separate, large, integral part of a dramatic action or theatrical performance.
Actor(lat. - actor, performer, reciter) - the one who acts, plays a role, becomes actor dramatic work on the theater stage and in cinema. An actor is a living connection between the author's text, the director's intention and the public's perception.
Actor's stamp- techniques of stage acting once and for all recorded by the actor in his work. The actor's ready-made mechanical techniques that become a habit and become his second nature, which replaces human nature on the stage.
Acting art- the art of creating stage images; type of performing art. The material for an actor’s work on a role is his own natural abilities: speech, body, movements, facial expressions, observation, imagination, memory, i.e. his psychophysics. The peculiarity of the art of acting is that the creative process at the final stage takes place in front of the viewer, during the performance. The art of acting is in close connection with the art of the director.
Current(Latin - existing, modern) - importance, significance for the current moment, topicality, modernity.
Allegory(gr. - allegory) - principle artistic comprehension reality, in which abstract concepts, ideas, thoughts are expressed in specific visual images. For example, the image of a woman blindfolded and holding scales - a. justice. Verbal allegory in fables and fairy tales.
Allusion(lat. - hint) - reception artistic expression, enriching artistic image additional associative meanings of similarity or difference by hinting at an already known work of art. For example, in F. Fellini’s film “And the Ship Sails On,” an allusion to the biblical legend of Noah’s Ark is read.
Ambivalence(lat. - both - strength) - a psychological concept denoting the duality of sensory perception. The simultaneous presence in the soul of a person of opposite, incompatible aspirations and feelings in relation to the same object. For example: love and hate, satisfaction and dissatisfaction. One of the feelings is sometimes repressed and masked by another.
Ambition(Latin - ambition, boasting) - pride, sense of honor, swagger, arrogance.
Role(French - application) - the nature of the roles performed by the actor. The type of theatrical roles corresponding to the age, appearance and style of acting of the actor. Types of stage roles: comedian, tragedian, hero-lover, heroine, comic old woman, soubrette, ingénue, travesty, simpleton and reasoner.
Amphitheater(gr. - all around, on both sides) - a structure for spectacles. IN modern theaters- rows of chairs located behind the porter and above it.
Analysis(gr. - decomposition, dismemberment) - method scientific research, which consists in dividing a whole phenomenon into its component elements. In the theater, analysis is (effective analysis) a type of explication, i.e. characterizes the place and time of the event, the motivation for the physical and verbal actions of the characters. Elements of the composition of the play (exposition, plot, development of conflict, climax, denouement, finale). The atmosphere of the action taking place, musical, noise and light scores. The analysis includes the rationale for the choice of topic, problem, conflict, genre, overarching goal and cross-cutting action of the future performance, as well as its relevance. Analysis - effective method, the process of preparing the production in practice.
Analogy(gr. - corresponding) - similarity between objects in some respect. To draw an analogy is to compare objects with each other, to establish common features between them.
Engagement(French - contract) - inviting an artist under a contract to perform for a certain period.
Joke(gr. – unpublished) – fictional, short story about a funny, amusing incident.
Announcement(French - announcement) - announcement about upcoming tours, concerts, performances. A preliminary poster without detailed instructions.
Ensemble(French - together, whole, connectedness) - harmonious unity of parts forming a whole. Artistic consistency in the joint performance of a dramatic or other work. The integrity of the entire performance based on its idea, directorial decision, etc. By preserving the ensemble of performers, unity of action is created.
Intermission(French - between - act) - a short break between acts, actions of a performance or sections of a concert.
Entrepreneur(French - entrepreneur) – private, theatrical entrepreneur. Owner, tenant, maintainer of a private entertainment enterprise (theater, circus, film studio, television, etc.).
Entreprise(French - enterprise) - a spectacular enterprise created and headed by a private entrepreneur. Keep an enterprise.
Entourage(French - environment, surrounding) - environment, setting. The surroundings are not only decorations and partitions, but also space,
Full house(German - blow) - an announcement in a theater or cinema that all tickets have been sold. Successful performance to a full house. Hence the turn of phrase - “the performance was sold out.”
Aparte(Latin - to the side.) - stage monologues or remarks spoken to the side, for the audience, and supposedly inaudible to partners on stage.
Aplomb(French - plumb line) - self-confidence, courage in manners, conversation and actions.
Apotheosis(gr. - deification) - final, solemn crowd scene theatrical performance or festive concert program. A magnificent end to a spectacle.
Arena(Latin - sand) - a round platform (in a circus) on which performances are given. Used in both theater and theatrical performances.
Harlequin(Italian - mask) - a comic character of Italian folk comedy in a characteristic costume made of multi-colored rags. Clown, jester.
"Harlequin"(it.) - a narrow and long textile curtain that limits top part scenes above the main curtain The first fall after the curtain.
Articulation(Latin - to dismember, articulate) - articulate pronunciation. The work of the speech organs (lips, tongue, soft palate, jaws, vocal cords, etc.) necessary to pronounce a certain speech sound. Articulation is the basis of diction and is inextricably linked with it.
Artist(French - person of art, artist) – a person engaged in the public performance of works of art. A talented person who masters his skills to perfection.
Artistic technique- technique aimed at developing the improvement of mental and physical nature artist. It includes all the constituent elements of stage action: the work of the senses, memory for sensations and the creation of figurative visions, imagination, proposed circumstances, logic and sequence of actions, thoughts and feelings, physical and verbal interaction with the object, as well as expressive plasticity, voice, speech, characterization, sense of rhythm, grouping, mise-en-scène, etc. Mastery of all these elements should lead the actor to the ability to perform genuine, appropriate, organic actions in an artistic and expressive form.
Architectonics(gr. - builder) - construction art, architecture. Construction work of art, which is determined by interdependence individual parts generally. Proportional arrangement of main and secondary parts. In other words, this is the unity of form and content. Based on this, there is the concept of “architectonics of a play.” To discover the chain of main events as a result of analysis means to know the architectonics of a play or composition.
backstage(French - back stage) - the back part of the stage, which is a continuation of the main stage, in modern theaters - is equal to it in area. Creating an Illusion great depth space. Serves as a reserve room.
Assistant(lat. - present) – assistant. In the art of entertainment, an assistant is a person who assists the director in staging a play or performance. The assistant's tasks are varied. He must understand the creative tasks of his leader and be inspired by them in search of artistic solutions. He must also know the laws of the stage, conduct rehearsals in the absence of the director, and be a link between the director and actors, technical services.
Associative series(lat.) – pictures and ideas that follow from one another according to their compatibility or opposition.
Association(lat. - connect) - a way of achieving artistic expressiveness based on identifying the connection of images with ideas stored in memory or enshrined in cultural and historical experience.
Atmosphere(gr. - breathing, ball) - environmental conditions, environment. In the art of theater, atmosphere is not only the setting and surrounding conditions, it is also the state of the actors and performers who, interacting with each other, create an ensemble. The atmosphere is the environment in which events develop. Atmosphere is the connecting link between the actor and the viewer. She is a source of inspiration in the work of the actor and director.
Attribute(Latin - necessary) – a sign of an object or phenomenon, belonging to something. A full attribute can be successfully replaced by its fragments, but the duration of the action will not be affected.
Attraction(French - attraction) - a number in a circus or variety program that stands out for its effectiveness and arouses interest among the public.
Poster(French - announcement nailed to the wall) - a posted announcement about an upcoming performance, concert, lecture, etc. Type of advertising.
Advertise(French: announce publicly) – flaunt, deliberately draw general attention to something.
Aphorism(gr. - saying) - a short, expressive saying containing a generalizing conclusion. For an aphorism, completeness of thought and refinement of form are equally required.
Affect(Latin - passion) - emotional excitement, passion. An attack of strong nervous excitement (rage, horror, despair).
people, architecture, fauna- i.e. everything that surrounds a person.