The roots of pop art go back to the distant past, traced in the art of Egypt, Greece, Rome; its elements are present in the performances of traveling comedians-buffoons (Russia), shpilmanov (Germany), jugglers (France), dandies (Poland), masqueraders (Central Asia), etc.

Satire on urban life and morals, sharp jokes on political topics, a critical attitude towards power, couplets, comic scenes, jokes, games, clown pantomime, juggling, and musical eccentricities were the beginnings of future pop genres, born in the noise of carnival and square amusements.

Barkers, who, with the help of jokes, witticisms, and funny couplets, sold any product in squares and markets, later became the predecessors of the entertainer. All this was of a massive and intelligible nature, which was an indispensable condition for the existence of all pop genres. All medieval carnival performers did not perform performances.

In Russia, the origins of pop genres were manifested in buffoon fun, fun and mass creativity, folk festivals. Their representatives are the raus jokers with the obligatory beard, who amused and invited the audience from the upper platform of the raus booth, parsley players, raeshniks, leaders of the “learned” bears, buffoon actors performing “sketches” and “reprises” among the crowd, playing the pipes , harp, sniffles and amusing the people.

Variety art is characterized by such qualities as openness, laconicism, improvisation, festivity, originality, and entertainment.

Developing as an art of festive leisure, pop music has always strived for unusualness and diversity. The very feeling of festivity was created due to external entertainment, play of light, change of picturesque scenery, change in the shape of the stage area, etc. Despite the fact that the stage is characterized by a variety of forms and genres, it can be divided into three groups:

Concert stage (previously called “divertissement”) combines all types of performances in variety concerts;

Theatrical stage (chamber performances of miniature theaters, cabaret theatres, cafe theaters or large-scale concert revues, music halls, with a large performing cast and first-class stage technology);

Festive stage (folk celebrations, holidays in stadiums, full of sports and concert performances, as well as balls, carnivals, masquerades, festivals, etc.).

There are also these:

3. 1. VARIETY THEATERS

3.1.1.MUSIC HALLS

If the basis of a variety performance is a completed number, then the review, like any dramatic action, required the subordination of everything that happens on stage to the plot. This, as a rule, did not combine organically and led to a weakening of one of the components of the performance: either the number, or the characters, or the plot. This happened during the production of “Miracles of the 20th Century” - the play broke up into a number of independent, loosely connected episodes. Only the ballet ensemble and several first-class circus acts were successful with the audience. The ballet ensemble, staged by Goleizovsky, performed three numbers: “Hey, let’s whoop!”, “Moscow in the rain” and “30 English girls”. The performance of “Snake” was especially impressive. Among the circus acts, the best were: Tea Alba and “Australian Lumberjacks” Jackson and Laurer. Alba simultaneously wrote different words with chalk on two boards with her right and left hands. At the end of the room, the woodcutters were racing to chop down two thick logs. The German Strodi showed an excellent balancing act on the wire. He performed somersaults on a wire. Of the Soviet artists, as always, Smirnov-Sokolsky and ditties V. Glebova and M. Darskaya had great success. Among the circus acts, the act of Zoe and Martha Koch on two parallel wires stood out.

In September 1928, the opening of the Leningrad Music Hall took place.

3. 1.2. THEATER OF MINIATURES - a theater group that works primarily on small forms: small plays, sketches, operas, operettas along with variety numbers (monologues, couplets, parodies, dances, songs). The repertoire is dominated by humor, satire, irony, and lyricism is not excluded. The troupe is small, a theater of one actor or two actors is possible. Laconic in design, the performances are designed for a relatively small audience and present a kind of mosaic canvas.

3. 1.3. CONVERSATIONAL GENRES on the stage - a symbol for genres associated primarily with words: entertainer, sideshow, skit, sketch, story, monologue, feuilleton, microminiature (staged joke), burime.

Entertainer - entertainer can be paired, single, or mass. Conversational genre built according to the laws of “unity and struggle of opposites,” that is, the transition from quantity to quality according to the satirical principle.

A variety monologue can be satirical, lyrical, or humorous.

Interlude is a comic scene or musical piece of humorous content, which is performed as an independent number.

A skit is a small scene where intrigue rapidly develops, where the simplest plot is built on unexpected funny, poignant situations, turns, allowing a whole series of absurdities to arise during the action, but where everything usually ends with a happy denouement. 1-2 actors(but no more than three).

Miniature is the most popular spoken genre on the stage. On the stage today, a popular joke (not published, not printed - from Greek) is a short topical oral story with an unexpected witty ending.

A pun is a joke based on the comic use of similar-sounding but different-sounding words to play off the sound similarity of equivalent words or combinations.

Reprise is the most common short conversational genre.

Couplets are one of the most intelligible and popular types of conversational genre. The coupletist seeks to ridicule this or that phenomenon and express his attitude towards it. Must have a sense of humor

Musical and conversational genres include couplet, ditty, chansonette, and musical feuilleton.

A parody common on the stage can be “conversational,” vocal, musical, or dance. At one time, speech genres included recitations, melodic recitations, literary montages, and “Artistic reading.”

It is impossible to give an accurately recorded list of speech genres: unexpected syntheses of words with music, dance, original genres (transformation, ventrology, etc.) give birth to new genre formations. Living practice continuously supplies all kinds of varieties; it is no coincidence that on old posters it was customary to add “in his genre” to the name of the actor.

Each of the above speech genres has its own characteristics, its own history, and structure. The development of society and social conditions dictated the emergence of first one genre or another. Actually, only entertainer born in cabaret can be considered a “variety” genre. The rest came from booths, theaters, and from the pages of humorous and satirical magazines. Speech genres, unlike others that tend to embrace foreign innovations, developed in line with the domestic tradition, in close connection with theater and humorous literature.

The development of speech genres is associated with the level of literature. Behind the actor is the author, who “dies” in the performer. And yet, the intrinsic value of acting does not detract from the importance of the author, who largely determines the success of the act. The artists themselves often became the authors. The traditions of I. Gorbunov were picked up by pop storytellers - Smirnov-Sokolsky, Afonin, Nabatov and others created their own repertoire. Actors who did not have literary talent turned for help to authors who wrote with the expectation of oral performance, taking into account the performer’s mask. These authors, as a rule, remained “nameless.” For many years, the press has discussed the question of whether a work written for performance on the stage can be considered literature. In the early 80s, the All-Union and then the All-Russian Associations of Pop Authors were created, which helped legitimize this type literary activity. Author's "anonymity" is a thing of the past; moreover, the authors themselves took to the stage. At the end of the 70s, the program “Behind the Scenes of Laughter” was released, composed like a concert, but exclusively from performances by pop authors. If in previous years only individual writers (Averchenko, Ardov, Laskin) presented their own programs, now this phenomenon has become widespread. The phenomenon of M. Zhvanetsky greatly contributed to the success. Having started in the 60s as the author of the Leningrad Theater of Miniatures, he, bypassing censorship, began to read his short monologues and dialogues at closed evenings in the Houses of the Creative Intelligentsia, which, like Vysotsky’s songs, spread throughout the country.

3. JAZZ ON STAND

The term “jazz” is commonly understood as: 1) a type of musical art based on improvisation and special rhythmic intensity, 2) orchestras and ensembles performing this music. The terms “jazz band”, “jazz ensemble” (sometimes indicating the number of performers - jazz trio, jazz quartet, “jazz orchestra”, “big band”) are also used to designate groups.

4. SONG ON STAND

Vocal (vocal-instrumental) miniature, widely used in concert practice. On the stage it is often solved as a stage “game” miniature with the help of plastics, costume, light, mise-en-scène (“song theater”); The personality, characteristics of the talent and skill of the performer, who in some cases becomes a “co-author” of the composer, become of great importance.

The genres and forms of the song are varied: romance, ballad, folk song, couplet, ditty, chansonette, etc.; The methods of performance are also varied: solo, ensemble (duets, choirs, vocal-instrumental ensembles).

There is also a composing group among pop musicians. These are Antonov, Pugacheva, Gazmanov, Loza, Kuzmin, Dobrynin, Kornelyuk, etc. The previous song was mainly a composer's song, the current one is a "performer's" one.

Many styles, manners and trends coexist - from sentimental kitsch and urban romance to punk rock and rap. Thus, today's song is a multi-colored and multi-style panel, including dozens of directions, from domestic folklore imitations to infusions of African-American, European and Asian cultures.

5. DANCE ON STAND

It's short dance number, solo or group, presented in national pop concerts, variety shows, music halls, miniature theaters; accompanies and complements the program of vocalists, numbers of original and even speech genres. It was formed on the basis of folk, everyday (ballroom) dance, classical ballet, modern dance, sports gymnastics, acrobatics, on the crossing of all kinds of foreign influences and national traditions. The nature of dance plasticity is dictated by modern rhythms and is formed under the influence of related arts: music, theater, painting, circus, pantomime.

Folk dances were initially included in the performances of capital troupes. The repertoire included theatrical divertissement performances of village, city and military life, vocal and dance suites from Russian folk songs and dancing.

In the 90s, dance on the stage sharply polarized, as if returning to the situation of the 20s. Dance groups involved in show business, like Erotic Dance and others, rely on eroticism - performances in nightclubs dictate their own laws.

6. PUPPETS ON STAND

Since ancient times, in Russia, handicrafts have been valued, toys were loved, and fun games with dolls were respected. Petrushka dealt with a soldier, a policeman, a priest, and even with death itself, bravely brandished a club, put to death those whom the people did not like, overthrew evil, and affirmed the people's morality.

The parsley players wandered alone, sometimes together: a puppeteer and a musician, they themselves composed plays, they themselves were actors, they were directors themselves - they tried to preserve the movements of the puppets, the mise-en-scène, and the puppet tricks. Puppeteers were persecuted.

There were other shows in which puppets acted. On the roads of Russia one could see vans loaded with dolls on strings - puppets. And sometimes with boxes with slots inside, through which the dolls were moved from below. Such boxes were called nativity scenes. Puppets mastered the art of imitation. They loved to impersonate singers, they copied acrobats, gymnasts, and clowns.

7. PARODY ON STAGE

This is a number or performance based on an ironic imitation (imitation) of both the individual manner, style, characteristic features and stereotypes of the original, and entire movements and genres in art. The amplitude of the comic: from the sharply satirical (derogatory) to the humorous (friendly cartoon) is determined by the attitude of the parodist to the original. Parody has its roots in ancient art; in Russia it has long been present in buffoon games and farcical performances.

8. THEATERS OF SMALL FORMS

Creation of cabaret theaters in Russia “The Bat”, “Curved Mirror”, etc.

Both “The Crooked Mirror” and “The Bat” were professionally strong acting groups, the level of theatrical culture of which was undoubtedly higher than in numerous miniature theaters (of the Moscow ones, Petrovsky stood out more than others, the director was D.G. Gutman, Mamonovsky, cultivating decadent art, where Alexander Vertinsky made his debut during the First World War, Nikolsky - artist and director A.P. Petrovsky Among the St. Petersburg - Troitsky A.M. Fokina - director V.R. Rappoport, where with ditties and. V.O. Toporkov, later an artist of the artistic theater, successfully performed as an entertainer.

4. Musical genres on the stage. Basic principles, techniques and directing.

Pop genres are distinguished:

1 Latin American music

Latin American music (Spanish: musica latinoamericana) is a generalized name for the musical styles and genres of Latin American countries, as well as the music of people from these countries who live compactly on the territory of other states and form large Latin American communities (for example, in the USA). In colloquial speech, the abbreviated name “Latin music” (Spanish musica latina) is often used.

Latin American music, whose role in the everyday life of Latin America is very high, is a fusion of many musical cultures, but it is based on three components: Spanish (or Portuguese), African and Indian musical cultures. As a rule, Latin American songs are performed in Spanish or Portuguese, less often in French. Latin American artists living in the United States are usually bilingual and often use English lyrics.

Actually, Spanish and Portuguese music does not belong to Latin American music, being, however, closely connected with the latter by a large number of connections; Moreover, the influence of Spanish and Portuguese music on Latin American music is mutual.

Despite the fact that Latin American music is extremely heterogeneous and each country in Latin America has its own characteristics, stylistically it can be divided into several main regional styles:

* Andean music;

* Central American music;

* Caribbean music;

* Argentine music;

* Mexican music;

* Brazilian music.

It should, however, be borne in mind that such a division is very arbitrary and the boundaries of these musical styles are very blurred.

Blues (English blues from blue devils) is a genre of music that became widespread in the 20s of the 20th century. It is one of the achievements of African-American culture. It was formed from such ethnic musical movements of the African-American society as “work song”, “spirituals” and cholera. In many ways he influenced modern popular music, especially such genres as “pop” (English pop music), “jazz” (English jazz), “rock and roll” (English rock’n’roll). The predominant form of blues is 4/4, where the first 4 measures are often played on the tonic harmony, 2 each on the subdominant and tonic, and 2 each on the dominant and tonic. This alternation is also known as a blues progression. The rhythm of eighth triplets with a pause is often used - the so-called shuffle. A characteristic feature of the blues is the “blue notes”. Often music is built on a “question-answer” structure, expressed both in the lyrical content of the composition and in the musical content, often built on a dialogue between instruments. Blues is an improvisational form of the musical genre, where compositions often use only the main supporting “framework”, which is played by solo instruments. The original blues theme is built on the sensual social component of the life of the African-American population, its difficulties and obstacles that arise on the path of every black person.

Jazz is a form of musical art that arose in late XIX- the beginning of the 20th century in the USA as a result of the synthesis of African and European cultures and subsequently became widespread. The characteristic features of the musical language of jazz were initially improvisation, polyrhythm based on syncopated rhythms, and unique complex techniques for performing rhythmic texture - swing. The further development of jazz occurred due to the development of new rhythmic and harmonic models by jazz musicians and composers.

Country music combines two types of American folklore - the music of white settlers who settled in the New World in the 17th-18th centuries and the cowboy ballads of the Wild West. This music has a strong heritage of Elizabethan madrigals, Irish and Scottish folk music. The main musical instruments of this style are guitar, banjo and violin.

"The Little Old Log Cabin in the Lane" is the first "documented" country song, written in 1871 by Will Heiss of Kentucky. 53 years later, Fiddin John Carson recorded this composition on a record. In October 1925, the Grand Ole Opry radio program began operating, which to this day broadcasts live concerts of country stars.

Country music as a music industry began to gain momentum in the late 1940s. thanks to the success of Hank Williams (1923-53), who not only set the image of a country singer for several generations to come, but also outlined the typical themes of the genre - tragic love, loneliness and the hardships of working life. Already by that time, there were different styles in country: Western swing, which took the principles of arrangement from Dixieland - here the king of the genre was Bob Wills and his Texas Playboys; bluegrass, dominated by founder Bill Monroe; The style of musicians such as Hank Williams was then called hillbilly. In the mid-1950s. country music, along with elements from other genres (gospel, rhythm and blues), gave birth to rock and roll. A borderline genre immediately emerged - rockabilly - it was with it that such singers as Elvis Presley, Carl Perkins and Johnny Cash began their creative careers - it is no coincidence that they all recorded in the same Memphis Sun Records studio. Thanks to the success of Marty Robbins' album Gunfighter Ballads and Trail Songs (1959), the genre of country and western, which was dominated by stories from the life of the Wild West, emerged as a genre.

Chanson (French chanson - “song”) is a genre of vocal music; the word is used in two meanings:

2) French pop song in cabaret style (in Russian it leans).

Blatna?ya song (blatnoy folklore, blatnyak) is a song genre that glorifies the life and customs of the criminal environment, originally designed for the environment of prisoners and people close to the criminal world. Originated in Russian Empire and became widespread in the Soviet Union and subsequently in the CIS countries. Over time, songs began to be written in the genre of criminal music that go beyond the criminal theme, but retain it characteristic features(melody, jargon, narrative, worldview). Since the 1990s, the criminal song in the Russian music industry has been marketed under the name “Russian chanson” (cf. the radio station and awards of the same name).

Romance in music is a vocal composition written on a short poem of lyrical content, mainly love.

Author's song, or bard music, is a song genre that arose in the mid-20th century in the USSR. The genre grew in the 1950s and 1960s. from amateur performances, regardless of the cultural policy of the Soviet authorities, and quickly achieved wide popularity. The main emphasis is on the poetry of the text.

6 Electronic music

Electronic music (from the English Electronic music, colloquially also “electronics”) is a broad musical genre that refers to music created using electronic musical instruments. Although the first electronic instruments appeared at the beginning of the 20th century, electronic music as a genre developed in the second half of the 20th century and beginning of XXI century includes dozens of varieties.

7 Rock music

Rock music is a general name for a number of areas of popular music. The word "rock" - to swing - into in this case indicates the rhythmic sensations characteristic of these directions, associated with a certain form of movement, by analogy with “roll”, “twist”, “swing”, “shake”, etc. Such signs of rock music as the use of electric musical instruments, creative self-sufficiency (rock musicians typically perform their own compositions) are secondary and often misleading. For this reason, the identity of some styles of music as rock is disputed. Also, rock is a special subcultural phenomenon; subcultures such as mods, hippies, punks, metalheads, goths, emo are inextricably linked with certain genres of rock music.

Rock music has large number directions: from light genres such as dance rock and roll, pop rock, Britpop to brutal and aggressive genres - death metal and hardcore. The content of the songs varies from light and casual to dark, deep and philosophical. Rock music is often contrasted with pop music and so-called. “pop”, although there is no clear boundary between the concepts of “rock” and “pop”, and many musical phenomena balance on the line between them.

The origins of rock music lie in the blues, from which the first rock genres emerged - rock and roll and rockabilly. The first subgenres of rock music arose in close connection with folk and pop music of that time - primarily folk, country, skiffle, and music hall. During its existence, there have been attempts to combine rock music with almost all possible types of music - with academic music (art rock, appears in the late 60s), jazz (jazz rock, appears in the late 60s - early 70s ), Latin music (Latin rock, appears in the late 60s), Indian music (raga rock, appears in the mid 60s). In the 60-70s, almost all the major genres of rock music appeared, the most important of which, in addition to those listed, are hard rock, punk rock, and avant-garde rock. In the late 70s and early 80s, such genres of rock music as post-punk, new wave, alternative rock appeared (although early representatives of this direction appeared already in the late 60s), hardcore (a large subgenre of punk rock ), as well as brutal subgenres of metal - death metal, black metal. In the 90s, the genres of grunge (appeared in the mid-80s), Britpop (appeared in the mid-60s), and alternative metal (appeared in the late 80s) were widely developed.

The main centers of the emergence and development of rock music are the USA and Western Europe (especially Great Britain). Most of the lyrics are in English. However, although, as a rule, with some delay, national rock music appeared in almost all countries. Russian-language rock music (so-called Russian rock) appeared in the USSR already in the 1960-1970s. and reached its peak in the 1980s, continuing to develop in the 1990s.

8 Ska, rocksteady, reggae

Ska is a musical style that emerged in Jamaica in the late 1950s. The emergence of the style is connected [source not specified 99 days] with the advent of sound systems, which made it possible to dance right on the street.

Sound installations are not just stereo speakers, but a peculiar form of street discos, with DJs and their mobile stereo systems, with increasing competition between these DJs for best sound, best repertoire and so on.

The style is characterized by a swinging 2/4 rhythm, with the guitar playing on the even-numbered drum beats and the double bass or bass guitar emphasizing the odd-numbered ones. The melody is performed by wind instruments such as trumpet, trombone and saxophone. Among the ska melodies you can find jazz melodies.

Rocksteady (“rock steady”, “rocksteady”) is a musical style that existed in Jamaica and England in the 1960s. The basis of the style is Caribbean rhythms in 4/4, with increased attention to keyboards and guitars.

Reggae (English reggae, other spellings "reggae" and "reggae"), Jamaican popular music, was first mentioned in the late 1960s. Sometimes used as a general name for all Jamaican music. Closely related to other Jamaican genres - rocksteady, ska and others.

Dub is a musical genre that emerged in the early 1970s in Jamaica. Initially, recordings in this genre were reggae songs with (sometimes partially) vocals removed. Since the mid-1970s, dub has become an independent phenomenon, considered an experimental and psychedelic form of reggae. The musical and ideological developments of dub gave birth to the technology and culture of remixes, and also directly or indirectly influenced the development new wave and genres such as hip-hop, house, drum and bass, trip-hop, dub-techno, dubstep and others.

Pop music (English: Pop-music from Popular music) is a direction of modern music, a type of modern mass culture.

The term "pop music" has a double meaning. In a broad sense, this is any mass music (including rock, electronics, jazz, blues). In a narrow sense - separate genre popular music, directly pop music with certain characteristics.

The main features of pop music as a genre are simplicity, melody, reliance on vocals and rhythm with less attention to the instrumental part. The main and practically the only form of composition in pop music is the song. Pop music lyrics usually deal with personal feelings.

Pop music includes subgenres such as Euro pop, Latin, disco, electropop, dance music and others.

10 Rap (Hip-Hop)

Hip-hop (English) hip hop) is a cultural movement that originated among the working class of New York on November 12, 1974. DJ Afrika Bambaataa was the first to define the five pillars of hip-hop culture: MCing, DJing, breaking, graffiti writing), and knowledge. Other elements include beatboxing, hip-hop fashion and slang.

Originating in the South Bronx, hip-hop became part of youth culture in many countries around the world in the 1980s. Since the late 1990s, from a street underground with a strong social orientation, hip-hop has gradually turned into part of the music industry, and by the middle of the first decade of this century, the subculture had become “fashionable” and “mainstream”. However, despite this, many figures within hip-hop still continue its “main line” - protest against inequality and injustice, opposition to the powers that be.

It is known that directing a variety show is divided into directing a variety performance and directing a variety act.

The methodology for working on a variety performance (concert, review, show), as a rule, does not include the task of creating the numbers from which it consists. The director unites ready-made numbers with a storyline, a single theme, builds the end-to-end action of the performance, organizes its tempo-rhythmic structure, and solves the problems of musical, scenographic, and lighting design. That is, he is faced with a whole series of artistic and organizational problems that require resolution in the program as a whole and are not directly related to the variety act itself. This position is confirmed by the thesis of the famous director of variety shows I. Sharoev, who wrote that “most often the stage director accepts performances from specialists in various genres, and then creates a variety program from them. The room has great independence.”

Working on a variety act requires the director to solve a number of specific problems that he does not encounter in the production big program. This is, first of all, the ability to reveal the individuality of the artist, build the dramaturgy of the act, work with reprise, trick, gag, know and take into account the nature of the specific expressive means of the act, and much more.

Many methodological postulates for creating a performance are based on common fundamental principles that exist in dramatic, musical theater, and circus. But then completely different structures are built on the foundation. There is a noticeable specificity in stage direction, which is, first of all, determined by the genre typology of the variety act.

On the stage, the director, as a creator, achieves in a performance the ultimate goal of any art - the creation of an artistic image, which constitutes the creative side of the profession. But in the process of staging a performance, a specialist works on the technology of expressive means. This is due to the very nature of some genres: let’s say, most of the sub-genre varieties of sports and circus require rehearsal and training work with a coach on sports elements and special tricks; working on a vocal number is impossible without lessons from a specialist vocal teacher; In the choreographic genre, the role of the choreographer-tutor is essential.

Sometimes these technical specialists loudly call themselves stage directors, although their activity, in fact, is limited only to building a special stunt or technical component of the routine - it doesn’t matter whether it’s acrobatics, dancing or singing. Here it is a stretch to talk about creating an artistic image. When leading pop masters (especially in original genres) share the secrets of their skills in printed works, they mainly describe the techniques of magic tricks, acrobatics, juggling, etc.

I would like to emphasize once again that the artistic structure of a variety act is complex, diverse, and often conglomerative. Therefore, staging a pop number is one of the most complex species director's activities. “It’s very difficult to do a good performance, even if it only lasts a few minutes. And it seems to me that these difficulties are underestimated. Maybe that’s why I so respect and appreciate the art of those who are sometimes somewhat disparagingly called entertainers, assigning them a not very honorable place in the unwritten scale of professions.” These words of S. Yutkevich once again confirm the importance of analyzing the artistic structure of a variety act with the ultimate goal of studying the fundamentals of the methodology of its creation, especially in terms of directing and production work.

Conclusion.

VARIETY ART (from the French estrade - platform, elevation) is a synthetic type of stage art that combines small forms of drama, comedy, music, as well as singing, art. reading, choreography, eccentricity, pantomime, acrobatics, juggling, illusionism, etc. Despite its international nature, it retains its folk roots, which give it a special national flavor. Originating in the Renaissance on the street stage and starting with clownery, primitive farces, buffoonery, E. and. in different countries it evolved differently, giving preference to one or another genre, one or another mask image. In the variety programs of the salons, circles and clubs that arose later, in booths, music halls, cafes, cabarets, miniature theaters and on the surviving variety gardening grounds, cheerful humor, witty parodies and cartoons, caustic communal satire, pointed hyperbole, and slapstick predominate. , grotesque, playful irony, soulful lyrics, fashionable dance and musical rhythms. Individual numbers of the polyphonic variety of divertissement are often held together on the stage by an entertainer or a simple plot, and theaters of one or two actors, ensembles (ballet, musical, etc.) - by an original repertoire, their own dramaturgy. Variety art is oriented towards the widest audience and relies primarily on the skill of the performers, their technique of transformation, the ability to create spectacular entertainment using laconic means, and a bright character - more often comedic-negative than positive. By exposing his antiheroes, he turns to metaphorical features and details, to the bizarre interweaving of verisimilitude and caricature, real and fantastic, thereby helping to create an atmosphere of rejection of their life prototypes, opposition to their prosperity in reality. Popular art is characterized by topicality, a combination in the best examples of entertainment with serious content, educational functions, when fun is complemented by a variety of emotional palette, and sometimes by socio-political, civil pathos. Show business, generated by bourgeois mass culture, lacks the latter quality. Almost all operational “small”, “light” varieties, including the common “cabbage”, are characterized by a relatively short lifespan, rapid depreciation of masks, which depends on the exhaustion of the relevance of the topic, the implementation of social orders, changes in the interest and needs of the audience. Being one of the most dynamic forms of art, at the same time more ancient arts, pop art is subject to the disease of stamping, a decrease in the artistic and aesthetic value of talented finds, up to their transformation into kitsch. Development is strongly influenced by such “technical” arts as cinema and especially television, which often include variety shows and concerts in their programs. Thanks to this, traditional forms and techniques of the stage acquire not only greater scale and prevalence, but also psychological depth (the use of close-ups, other visual and expressive means of screen arts), and vivid entertainment.

In the system of performing arts, pop music today firmly occupies a separate place, representing an independent phenomenon of artistic culture. The popularity of pop music among the widest and most diverse audiences forces it to respond to the contradictory aesthetic needs of various groups of the population by social, age, educational and even national composition. This feature of pop art largely explains the presence of negative aspects in the professional, aesthetic and tasteful merits of pop works. The massive size of the pop audience in the past and present, its heterogeneity, the need to combine entertainment and educational functions in pop art, imposes specific requirements on the creators of works of pop art and imposes a special responsibility on them.

The complexity of studying pop works, as well as developing methodological approaches to their creation, is due to the fact that it as a whole is a conglomerate various arts. It synthesizes acting, instrumental music, vocals, choreography, painting (for example, the “instant artist” genre). Sports (acrobatic and gymnastic acts) and science are wedged into this synthesis of arts (among the pop genres there is a mathematical act - “live counting machine"). Moreover, there are variety genres based on the stunt component, which requires the manifestation of a person’s unique abilities and capabilities (for example, a number of variety and circus subgenres, hypnosis, psychological experiments). The multiplicity of expressive means, their unexpected and unusual combinations in various synthetic forms on the stage are often more diverse than in other performing arts.

List of used literature.

Bermont E. Variety competition. //Theater. 1940, No. 2, p.75-78

Birzhenyuk G.M., Buzene L.V., Gorbunova N.A.

Kober. The highlight of the program: Transl. with him. L., 1928. S. 232-233; Stanishevsky Yu. Number and culture of its presentation // SEC. 1965. No. 6.

Konnikov A. The world of variety. M., 1980.

Ozhegov S.I. and Shvedova N.Yu. Explanatory dictionary of the Russian language: 80,000 words and phraseological expressions

Rozovsky M. Director of the spectacle. M., 1973.

Russian Soviet stage // Essays on history. Rep. ed. doc. claim, prof. E. Uvarova. In 3 T. M., 1976, 1977,1981.

Uvarova E. Variety theater: Miniatures, reviews, music halls (1917-1945). M., 1983; Arkady Raikin. M., 1986; How they had fun in Russian capitals. St. Petersburg, 2004.

Sharoev I. Stage direction and mass performances. M., 1986; The many faces of the stage. M., 1995.

If there is some overly tall man in the seat in front of me, I begin to feel as if I have trouble hearing. In any case, such music ceases to be pop music for me. However, it also happens that what is happening on stage is clearly visible, however, despite this, it does not become a fact of pop art; after all, some artists and directors concentrate all their efforts on pleasing our ears, caring little about our eyes. You especially often encounter an underestimation of the entertainment side of pop art in musical genres, but symptoms of the same disease can be observed in artistic reading and in conferences.

“Well,” you say, “again we are talking about long-known things, that many pop artists lack stage culture, that their numbers are sometimes devoid of plastic expressiveness and visually monotonous.”

Indeed, all these serious shortcomings, which have not yet been overcome by the art of variety, often appear in reviews, and in problematic articles, and in creative discussions. To some extent they will be touched upon in this article. However, I would like to pose the question more broadly. The point here, obviously, is not only a lack of skill as such. This drawback affects even those pop genres that appeal only to vision. Acrobats, jugglers, illusionists (even the best of them, great masters of their craft) most often sin with the same visual monotony, a lack of plastic culture. All varieties of the genre come down, as a rule, to the alternation within the act of approximately one circle of performed tricks and techniques. Cliches that develop year after year (for example, an acrobatic male couple, tall and short, working at a slow pace, performing power movements, or a melancholic juggler dressed in a tuxedo with a cigar and hat, etc.) only reinforce and legitimize spectacular poverty pop genres. Traditions, once alive, become fetters on the development of art.

Let me give an example of two jugglers - winners of the recent 3rd All-Russian competition pop artists. I. Kozhevnikov, awarded the second prize, exhibits the type of juggler just described: a bowler hat, a cigar, a cane make up the palette of a performance performed with impeccable skill. E. Shatov, winner of the first prize, works with a circus apparatus - a perch. At the end of it is a narrow transparent tube with the diameter of a tennis ball. Balancing on his head, Shatov throws balls into the tube. Each time the perch grows, gradually reaching almost ten meters in height. With each new section of the performance, the performance of the number becomes visually sharper and more expressive. Finally, the length of the perch becomes such that it does not fit into the height of the stage (even as high as in the Variety Theater). The juggler comes to the front of the stage, balancing over the heads of the spectators in the first rows. The ball flies up, almost gets lost against the background of the ceiling and ends up in the tube. This number, in addition to the extraordinary purity with which it is performed, is remarkable in that the visual scale, changing from time to time, is perceived by those sitting in the auditorium in complete unity. This makes the spectacular effect extraordinary. Moreover, this is a specifically pop entertainment. Imagine Shatov's number on TV or in the movies! Not to mention the fact that in a television or film plot filmed in advance, the element of unpredictability is excluded (because of this, the stage and the circus will never become organic to the screen!), the constancy of scale, dictated by the constancy of the size of the screen and our viewing distance to it, will deprive Shatov's room and its charms.

Shatov's art (to a much greater extent than, say, Kozhevnikov's act) loses if it is transferred to the sphere of another art. This is the first evidence of his true variety. If such a transfer can be easily accomplished without obvious losses, we can safely say that the work and its author are sinning against the laws of pop art. It is especially revealing for the musical and speech genres of pop radio. Many of our pop singers and singers are best listened to on the radio, where they are freed from the need to look for a plastic equivalent of the melody being performed. In front of a radio microphone, the singer, for whom the stage is a real torment, feels great. A pop singer by nature, on the contrary, experiences a certain inconvenience on the radio: he is constrained not only by the lack of contact with the audience, but also by the fact that many of the nuances of performance present in the visual side of the image will be absent in the sound. This entails, of course, a depletion of the effect. I remember the first recordings of Yves Montand’s songs, brought by Sergei Obraztsov from Paris. How much deeper and more significant the artist himself turned out to be when we saw him singing on the stage: to the charm of the music and words was added the charm of an actor who creates the most expressive plasticity human image. Stanislavsky liked to repeat: the viewer goes to the theater for the sake of subtext, he can read the text at home. Something similar can be said about the stage: the viewer wants to see the performance from the stage; he can learn the text (and even the music) while staying at home. At least when listening on the radio. Is it worth, for example, going to a concert to hear Yuri Fedorishchev, who is trying with all his might to restore Paul Robeson’s performance of the song “Mississippi”? I think that Fedorishchev would have been much more successful in achieving his goal on radio. Listening to “Mississippi” on the radio, we could marvel at how accurately the musical intonations of the Negro singer were captured, and at the same time we would not be able to notice Fedorishchev’s complete plastic inertia, which contradicts the original.

The directors of the program in which I heard Fedorishchev tried to brighten up the visual monotony of his singing. During the performance of the French song “Alone at Night”, before the verse in which the civil theme begins - the theme of the struggle for peace, the lights in the hall suddenly go out, leaving only the red backlight. In the most pathetic part of the song, which requires bright acting techniques, the viewer is forced to become only a listener, because all that he sees is a black motionless silhouette on a dim red background. Thus, the direction, trying to diversify the performance for the audience, does a truly “disservice” to the performer, and to the work as a whole. The amazing paucity of lighting techniques, which in the case described above led to a shift in emphasis, is one of the diseases of our stage. The system of lighting effects is built either on a straightforward illustrative principle (the theme of the struggle for peace is certainly associated with the color red, no less!), or on the principle of salon beauty (the desire to “present” the performer regardless of the artistic content of the act, its style) . As a result, the most interesting lighting possibilities are still not being exploited. The same can be said about the costume: rarely does it serve to enhance the visual image. If there are good traditions in the use of a costume as a means of emphasizing the origins of a role (say, a velvet jacket with a bow by N. Smirnov-Sokolsky or a mime costume by L. Engibarov), then a simple and at the same time helping to reveal the image costume is extremely rare Recently I had the opportunity to witness how an unsuccessfully chosen costume significantly weakened the impression made by the number. We are talking about Kapigolin Lazarenko: a bright red dress with large bustles constrained the singer and clearly did not correspond to the gentle, lyrical song “Come Back.”

Lighting, costume and mise-en-scene are the three pillars on which the spectacular side of a variety act rests. Each of these topics is worthy of a special discussion, which my article, naturally, cannot claim. Here I will touch only on that side of the specific pop mise-en-scène that cannot be adequately recreated on the TV and cinema screens. The stage has its own laws of space and time: close-up, camera angle, editing in cinema (and television), which violate the unity of these categories, or rather their integrity, create a new space and new time, not in every way suitable for the stage. The stage deals with a constant shot, since the distance from the performer to each of the spectators varies slightly, only as much as the actor can move deep into the stage. The same should be said about montage: it occurs on the stage (if only it occurs) within the whole, which is constantly present on the stage. This montage can be produced either by lighting (a technique successfully used in the performances of the Moscow State University variety studio), or it occurs in the mind of the viewer. Simply put, he singles out certain parts in his perception of a visual image, while continuing to keep the whole in his field of vision.

In order not to seem unfounded, I will give an example. The play “Our Home is Your Home” by the Moscow State University variety studio. This group is conducting a very interesting search for the expressiveness of the spectacle. At the same time, lyrical poetry or allegory, based on associative connections, often turns out to be the main element of the story. But it is important to note that both poetry and allegory turn into a form of figurative, visual storytelling in the studio’s performances (for example, painted geometric figures in one of the numbers help to reveal the satirical meaning of many important concepts). In the scene telling about the organization of leisure time for youth (“Youth Club”), four demagogue-screamers, perched as if on a tribune, on four massive pedestals, pronounce in turn snatches of phrases that together make up an amazing abracadabra of idle chatter and bureaucracy. The viewer's attention is instantly transferred from one screamer to another: the speaker accompanies his words with a gesture (sometimes in complex counterpoint with the word), while the others remain motionless. I imagine this scene filmed in a film. Its text and mise-en-scène would seem to immutably anticipate the future montage. Each line is a close-up. Machine gun fire close-ups, remarks, gestures. But then there are two significant losses. Firstly, the lack of accompaniment to each line: the frozen poses of the other characters. And the second is to turn all the lines into alternating phrases without transferring our attention from one character to another. Counterpoint, which becomes the authors' strongest weapon in this scene, inevitably disappears in the film.

It would be wrong to say that the discrepancy, the counterpoint between word and image, is the property of only pop art. They know him and theater stage and screen. But the ways to achieve this effect are different everywhere. And on the stage they are very important. Here the counterpoint is exposed, it is shown as a deliberate clash of opposites, with the purpose of striking a spark of laughter. I will give an example of performers who constantly, year after year, improve their mastery of this stage weapon. I mean the vocal quartet “Yur” (Yu. Osintsev, Yu. Makoveenko, Yu. Bronstein, Yu. Diktovich; director Boris Sichkin). In the song “Business Travel,” the quartet sings, and meanwhile the artists’ hands turn into travel certificates (open palm) and institutional stamps (clenched fist), stamps are affixed, money is given out, etc. All this does not happen in the form of an illusion. -strations of the text, but parallel to it, sometimes only coinciding, but mostly being in a contrapuntal series. As a result, a new, unexpected meaning arises from the unexpected collision of words and gestures. For example, business travelers traveling to different directions have nothing to do except play dominoes on the train. Hands shuffling the dominoes “overlay” the text, which says that people’s money is being recklessly spent on business trips. This makes the gesture of hands mixing imaginary bones in the air very eloquent.

The quartet’s latest work, “Television,” is by far its largest. creative luck in the use of means of visual expressiveness on the stage. Here the quartet members act equally as paro-dists, as readers, mimes and as dramatic actors. In addition, they demonstrate extraordinary choreographic skill: in a word, we are witnessing a synthetic genre in which the word, music are closely intertwined with pantomime, dance, etc. Moreover, the freedom of combination and instantaneous transitions from one medium sympathy for another is as great as it can be only in pop art. During the course of the issue, almost all the genres that exist in the world pass through in parody.
television. Their change, as well as the change in the means used by the artists, creates a very picturesque spectacle. Variety undoubtedly belongs to the spectacular forms of art. But there are many performing arts: theater, cinema, circus, and now also television, which reveals significant aesthetic potential. What are the relationships within this group of arts? It seems that pop theater still remains within the framework theatrical arts, although it has many similarities with some other forms. Naturally, the theater (understood in the broad sense of the word) is constantly changing its boundaries, which in some ways are becoming too tight for the stage. However, some qualities of pop art, despite significant evolution, remain unchanged. These include, first of all, the principle of visual organization of the form of a variety show. And if we talk about form, then the main thing in modern pop music (including some musical genres) remains image.

In this article it was not possible to consider all aspects of the topic. My task was more modest: to draw attention to some theoretical problems of pop art, which largely determine its position among other arts and explain the nature of the creative searches of our pop masters. Theoretical rules, as we know, remain rules that are binding on everyone only until the day when a bright innovative artist comes and breaks boundaries that seemed insurmountable just yesterday. Today we are witnessing synthetic genres of entertainment art: the canons of the past cannot withstand the pressure of new discoveries. It is important to note that the changes taking place are based on the constantly changing, but fundamentally unshakable principle of the stage as a spectacle.

A. VARTANOV, candidate of art history

Soviet Circus Magazine. March 1964

Stage- a type of stage art that implies both a separate genre and a synthesis of genres: singing, dancing, original performance, circus art, illusions.

Pop music - a type of entertaining musical art addressed to the widest listening audience.

This type of music received its greatest development in the 20th century. It usually includes dance music, various songs, works for pop-symphony orchestras and vocal-instrumental ensembles.

Often, pop music is identified with the existing concept of “light music,” that is, easy to understand, accessible to the public. IN historically Light music includes those that are simple in content and have gained universal popularity. classical works, for example, plays by F. Schubert and J. Brahms, F. Lehár and J. Offenbach, waltzes by J. Strauss and A. K. Glazunov, “Little Night Serenade” by W. A. ​​Mozart.

In this vast, and also extremely diverse in character and aesthetic level, field of musical creativity, on the one hand, the same expressive means are used as in serious music, and on the other, their own, specific ones.

The term “pop orchestra” was proposed by L. O. Utesov in the late 40s, which made it possible to separate two concepts:
pop and jazz music itself.

Modern pop music and jazz have a number of common features: the presence of a constant rhythmic pulsation carried out by the rhythm section; predominantly dance character of the works performed by pop and jazz groups. But if jazz music is characterized by improvisation, a special rhythmic property - swing, and the forms of modern jazz are sometimes quite difficult to perceive, then pop music is distinguished by the accessibility of musical language, melody and extreme rhythmic simplicity.

One of the most common types of pop instrumental compositions is the pop symphony orchestra (ESO), or symphonic jazz. In our country, the formation and development of ESO is associated with the names of V. N. Knushevitsky, N. G. Minkha, Yu. V. Silantyev. The repertoire of pop symphony orchestras is extremely extensive: from original orchestral plays and fantasies on well-known themes to the accompaniment of songs and operettas.

In addition to the indispensable rhythm section and the full brass composition of the big band (saxophone group and brass group), the ESO includes traditional groups of instruments symphony orchestra- woodwinds, horns and strings (violins, violas, cellos). The ratio of groups in the ESO is close to a symphony orchestra: the string group dominates, which is due to the predominantly melodic nature of the music for the ESO; Woodwind instruments play a big role; The principle of orchestration itself is very close to that adopted in a symphony orchestra, although the presence of a constantly pulsating rhythm section and the more active role of the brass section (and sometimes saxophones) sometimes resemble the sound of a jazz orchestra. An important coloristic role in ESO is played by the harp, vibraphone, and timpani.

ESOs are very popular in our country. Their performances are broadcast on radio and television; they most often perform film music and participate in large pop concerts and festivals. Many Soviet composers write music specifically for ESO. These are A. Ya. Eshpai, I. V. Yakushenko, V. N. Lyudvikovsky, O. N. Khromushin, R. M. Ledenev, Yu. S. Saulsky, M. M. Kazhlaev, V. E. Ter -letsky, A. S. Mazhukov, V. G. Rubashevsky, A. V. Kalvarsky and others.

The genre of pop music includes various types of pop songs: traditional romance, modern lyrical song, song in dance rhythms with developed instrumental accompaniment. The main thing that unites numerous types of pop songs is the desire of their authors for the utmost accessibility and memorability of the melody. The roots of such democracy are in old romance and in modern urban folklore.

A pop song is not limited to pure entertainment. Thus, Soviet pop songs contain themes of citizenship, patriotism, the struggle for peace, etc. It is not without reason that the songs of I. O. Dunaevsky, V. P. Solovyov-Sedoy, M. I. Blanter, A. N. Pakhmutova, D. F. Tukhmanov and other Soviet composers are loved not only in our country, but also far beyond its borders. Solovyov-Sedoy’s song “Moscow Evenings” received truly worldwide recognition. In the 20th century Various types of dance music replaced each other. So, tango, rumba, foxtrot were replaced by rock and roll, they were replaced by twist and shake, samba and bossa nova rhythms were very popular. For a number of years, the disco style was widespread in pop and dance music. It arose from a fusion of black instrumental music with elements of singing and plasticity, characteristic of pop singers from Latin America, in particular from the island of Jamaica. Closely connected in Western Europe and the United States with the recording industry and the practice of discotheques, disco music turned out to be one of the fast-moving trends in pop and dance music of the 2nd half of the 20th century.

Among the Soviet composers who laid down domestic traditions in the genre of dance music are A. N. Tsfasman, A. V. Varlamov, A. M. Polonsky and others.

Modern rock music can be classified as pop music. In musical culture Western Europe and the USA is a movement, very variegated in its ideological and artistic level and aesthetic principles. It is represented both by works expressing protest against social injustice, militarism, war, and by works preaching anarchism, immorality, and violence. The musical style of the ensembles representing this movement is equally heterogeneous. However, they have a common basis and some distinctive features.

One of these features is the use of singing, solo and ensemble, and, consequently, text, which carries independent content, and the human voice as a special timbre coloring. Members of ensembles or groups often combine the functions of instrumentalists and vocalists. The leading instruments are guitars, as well as various keyboards, and less often wind instruments. The sound of instruments is amplified by various sound converters and electronic amplifiers. Rock music differs from jazz music in its more subdivided metro-rhythmic structure.

In our country, elements of rock music are reflected in the work of vocal and instrumental ensembles (VIA).

Soviet pop music, due to its mass appeal and wide popularity, played a significant role in the aesthetic education of the younger generation.

1.1 History of pop art

The word "stage" (from the Latin strata) means flooring, platform, elevation, platform.

The most accurate definition of pop art as an art that combines various genres is given in D.N. Ushakov’s dictionary: “Variety is the art of small forms, the area of ​​spectacular and musical performances on an open stage. Its specificity lies in its easy adaptability to various conditions of public demonstration and short duration actions, in artistic and expressive means, art that contributes to the vivid identification creative individuality performer, in topicality, acute socio-political relevance of the topics addressed, in the predominance of elements of humor, satire, journalism."

The Soviet encyclopedia defines pop music as originating from the French estrade - an art form that includes small forms of dramatic and vocal art, music, choreography, circus, pantomime, etc. In concerts there are separate complete numbers united by an entertainer and a plot. It emerged as an independent art at the end of the 19th century.

There is also the following definition of stage:

A stage area, permanent or temporary, for an artist's concert performances.

Pop art has its roots in the distant past, can be traced in art Ancient Egypt And Ancient Greece. Although the stage closely interacts with other arts, such as music, drama theater, choreography, literature, cinema, circus, pantomime, it is an independent and specific type of art. The basis of pop art is “His Majesty’s number” - as N. Smirnov-Sokolsky said 1.

A performance is a small performance by one or several artists, with its own plot, climax and denouement. The specificity of the performance is the direct communication of the artist with the public, on his own behalf or from a character.

In the medieval art of traveling artists, farce theaters in Germany, buffoons in Rus', mask theater in Italy, etc. there was already a direct address from the artist to the audience, which allowed the subsequent artist to become a direct participant in the action. The short duration of the performance (no more than 15-20 minutes) requires extreme concentration of expressive means, laconicism, and dynamics. Variety numbers are classified according to characteristics into four groups. The first type group includes conversational (or speech) numbers. Then there are musical, plastic-choreographic, mixed, “original” numbers.

The art of comedy was built on open contact with the public del- arte (masque) XVI- p.p.XVII century.

Performances were usually improvised based on standard plot scenes. Musical sound as interludes (inserts): songs, dances, instrumental or vocal numbers - was the direct source of the variety act.

In the 18th century they appeared comic opera And vaudeville. Vaudevilles were exciting performances with music and jokes. Their main characters are ordinary people- always defeated stupid and vicious aristocrats.

And by the middle of the 19th century, the genre was born operetta(literally small opera): a type of theatrical art that combined vocal and instrumental music, dance, ballet, elements of pop art, dialogues. Operetta appeared as an independent genre in France in 1850. The “father” of French operetta, and operetta in general, was Jacques Offenbach (1819-1880). Later the genre develops in the Italian “comedy of masks”.

The stage is closely connected with everyday life, with folklore, with traditions. Moreover, they are being rethought, modernized, “extradized.” Different shapes variety art is used as an entertaining pastime.

This is no coincidence. In England, pubs (public public institutions) arose in the 18th century and became the prototypes of music halls (music halls). Pubs became places of entertainment for broad democratic sections of the population. Unlike aristocratic salons, where predominantly classical music was played, in pubs songs and dances were performed, accompanied by a piano, comedians, mimes, acrobats performed, scenes from popular performances consisting of imitations and parodies were shown. Somewhat later, in the first half of the 19th century, cafe-concerts became widespread, initially being literary and artistic cafes where poets, musicians, and actors performed their improvisations. In various modifications, they spread throughout Europe and became known as cabaret (zucchini). Entertainment does not exclude the factor of spirituality; civic position is especially important for a pop artist.

The easy adaptation of pop art to the audience is fraught with the danger of flirting with the public and yielding to bad taste. In order not to fall into the abyss of vulgarity and vulgarity, an artist needs true talent, taste and flair. The director formed a program from individual pop numbers, which was also a strong expressive means. Free installation connection of small shapes, separated from various types artistic creativity and healed on its own, which led to the birth of colorful art variety show. The art of variety shows is closely related to theater and circus, but unlike theater it does not require organized dramatic action. The conventionality of the plot, the lack of development of the action (the main drama) are also characteristic of a big performance revue(from French - review). The individual parts of the revue are connected by a common performing and social idea. As a musical dramatic genre, revue combines elements of cabaret, ballet and variety show. The revue performance is dominated by music, singing, and dancing. The variety show has its own modifications:

- variety show from separate numbers

- variety show

- dance cabaret

- review

In the 20th century, the revue became a lavish entertainment show. Varieties of revues appeared in the USA, called show.

The musical stage included different genres of light music: songs, excerpts from operettas, musicals, variety shows in variety arrangements of instrumental works. In the 20th century, the stage was enriched by jazz and popular music.

Thus, pop art has come a long way, and today we can observe this genre in a different form and performance, which suggests that its development does not stand still.

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The first theatrical performances were once staged right on the street. Basically, the performances were staged by traveling artists. They could sing, dance, put on various costumes, portraying animals. Everyone did what they did best. New look The art gradually developed, the actors improved their skills.

The first theater in the world

The word “theater” translated from Greek means a place for performing spectacles and the spectacle itself. The first such cultural institution supposedly arose in Greece. This happened in the V-IV centuries BC. e. This era was called "classical". It is characterized by harmony and balance in all elements and components. Ancient Greek theater arose from the worship of various gods.

The Theater of Dionysus is the oldest theater building. The god of wine, vegetation and nature was highly revered by the ancient Greeks. Cult rituals were dedicated to Dionysus, which gradually developed into real tragedies and comedies. Ritual celebrations turned into real theatrical performances. The structure was an open-air space. Spectators were initially seated on wooden seats. was so revered in Ancient Greece that the authorities gave money to poor citizens for performances. Married women were prohibited from watching productions.

The first temple of arts had three main parts:

• orchestra - dancers and a choir performed there;
• auditorium - located around the orchestra;
• Skena building, where rooms for artists were located.

There was no curtain or the usual stage, and all the female roles were played by men. The actors changed their roles several times during one performance, so they had to dance and sing excellently. The appearance of the actors was changed using masks. Next to the building was the temple of Dionysus.

The ancient theater laid the foundations and essence of the modern one. The closest genre can be called drama theater. Over time, more and more different genres appeared.

Theater genres

Theater genres in the modern world are so diverse. This art synthesizes literature, music, choreography, vocals, fine arts. They express different emotions and situations. Humanity is constantly evolving. In this regard, various genres appear. They depend on the country in which they originate, on cultural development population, on the mood of the audience and their requests.

Let's list some types of genres: drama, comedy, monodrama, vaudeville, extravaganza, parody, mime, farce, morality play, pastoral, musical, tragicomedy, melodrama and others.

Genres of theatrical art cannot compete with each other. They are each interesting in their own way. Viewers who love the opera theater visit the comedy theater with no less pleasure.

The most popular types theatrical genres are drama, comedy, tragicomedy, musical, parody and vaudeville.

In the drama you can see both tragic and comic moments. It is always very interesting to watch the actors work here. Roles of this genre are not easy and easily involve the viewer in empathy and analysis.

Comedy performances have the main goal of making the audience laugh. To make fun of certain situations, actors must also try hard. After all, the viewer must believe them! Comedy roles are just as difficult to play as dramatic ones. The element of satire makes the performance easier to watch.

Tragedy is always associated with a conflict situation, which is what the production is about. This genre was one of the first to appear in Ancient Greece. Just like comedy.

The musical has many fans. This is always a bright action with dancing, songs, an interesting plot and a dose of humor. The second name of this genre is musical comedy. It appeared in the USA at the end of the 19th century.

Varieties

The types of theaters are directly related to the genres that are presented in them. Although they express not so much a genre as a form of acting. Let's list some of them:

• operatic;
• dramatic;
• children's;
• author's;
• one-man theater;
• theater of light;
• musical comedy;
• theater of satire;
• poetry theater;
• dance theater;
• pop;
• robot theater;
• ballet;
• animal theater;
• theater for the disabled;
• serf;
• shadow theater;
• pantomime theater;
• song theater;
• street.

Opera and Ballet Theater

Opera and ballet appeared in Italy during the Renaissance. The first appeared in Venice in 1637. Ballet emerged as a separate theatrical genre in France, transforming from dances at the courts. Very often these types of theaters are combined in one place.

Opera and ballet are accompanied by a symphony orchestra. Music becomes an integral part of these productions. It conveys the mood and atmosphere of everything that is happening on stage and emphasizes the performances of the actors. Opera singers work with their voices and emotions, while ballet dancers convey everything through movement. Opera and ballet theaters are always the most beautiful theatrical institutions. They are located in the richest city buildings with unique architecture. Luxurious furnishings, a beautiful curtain, large orchestra pits - this is how it looks from the inside.

Drama theater

Here the main place is given to the actors and the director. They are the ones who create the characters’ personalities, transforming into the necessary images. The director conveys his vision and leads the team. Drama theater is called the theater of “experiences.” K. S. Stanislavsky wrote his works while studying the work of dramatic actors. They stage not only performances - plays with complex plots. The drama theater includes comedies, musicals and other musical performances in its repertoire. All productions are based only on dramatic literature.

Theater for every taste

Musical theater is a place where you can watch any of the theatrical acts. It hosts operas, comedies, operettas, musicals and all those performances that contain a lot of music. Ballet dancers, musicians and actors work here. Musical theater combines opera, ballet, and operetta theaters. Any type of theatrical art related to pop or classical music can find its fans in this theater.

Puppet theater

This is a special place. Here you plunge into the world of childhood and joy. The decoration here is always colorful, attracting the attention of the youngest spectators. The puppet theater is often the first theater that children attend. And the child’s future attitude towards the theater depends on what impression it makes on an inexperienced viewer. A variety of theatrical actions is based on the use of various types of puppets.

IN lately Actor-puppeteers do not hide behind screens, but interact with puppets on stage. This idea belongs to the famous S.V. Obraztsov. He put a glove puppet named Tyapa on his hand and played miniatures superbly on stage, acting as his father.

The origins of this type of theater lie far back in Ancient Greece. When creating dolls for rituals, people did not know that it would develop into real art. Puppet theater is not only an introduction to art, but also a method of psychological correction for the little ones.

Comedy Theater

Combined actors who can sing and dance. They should fit in easily comedic images and don't be afraid to be funny. Very often you can see “Drama and Comedy Theatres”, “Musical Comedy Theatres”. Combining several genres in one theater does not interfere with preserving its flavor. The repertoire may include operettas, satirical comedies, musicals, dramas, musical productions for children. People go to the comedy theater with pleasure. The hall is always full.

Variety theater

Replenishment of types of theaters relatively recently. And the audience immediately fell in love with him. The first pop theater appeared in the middle of the last century. It became a theater in Leningrad, which opened in 1939. In 2002 it was named “Variety Theater named after. A.I. Raikin." Variety artists include modern singers, dancers, presenters. Variety artists are show business stars, dancers and showmen, as they are now called.

Variety theaters often hold solo concerts, concerts dedicated to some memorable dates, and performances by contemporary authors. Humorists hold concerts here, stage comic plays, and performances of classical works. Musical theater can offer similar performances.

Satire Theater

We love the audience very much! Since its appearance, it has reflected the life of the townspeople, showing all the shortcomings and ridiculing them. The actors were always known by sight; they performed excellent comic roles not only on stage, but also in films. Satire theaters have always been in the forefront of those who were prohibited from staging certain productions. This was due to censorship. Making fun of negative aspects human behavior, it was often possible to cross the line of permissibility. The bans only attracted even more viewers. Magnificent satire theater actors who are well known: A. A. Mironov, Olga Aroseva, Spartak Mishulin, Mikhail Derzhavin, Alexander Shirvindt. Thanks to these people, satire theaters became loved by audiences.

Over time, types of theaters appear that are either long forgotten or completely unlike anything that exists.

New trends

New types of art temples surprise the most sophisticated viewer. Not long ago, the first Robot Theater appeared in Poland. It features robot actors who convey their emotions with their eyes and gestures. The productions are currently intended for a children's audience, but the project's leaders intend to constantly expand the repertoire.

In summer, theater productions take place outside. This has already become a tradition. This year many festivals took place outdoors. Small stages were built right next to the theaters, on which the performance was fully performed. Even opera and ballet artists are already going beyond the theater to attract as many spectators as possible.