Means of artistic expression in theatrical art. Means of “theatricalization. Concept, signs and means of theatricalization

Dear colleagues!

We present to your attention an elective course program for students of educational institutions in grades 8–9 “Theater, ballet, cinema. Means of artistic expression". This course can be used both as part of music and fine arts lessons, and as an additional course. This elective manual can also be used in grades 10–11 within the framework of the humanities profile.

The course program is focused on developing competencies in the field of Russian cultural heritage, understanding the values ​​of artistic culture in such areas of art as theater, ballet and cinema. All of these areas are united by the single theme “Means of Artistic Expression”. It is thanks to the means of artistic expression that the image of works of art is revealed, they are given clarity, emotionality and effectiveness.

The program is built on a modular principle and contains three modules: “Theater”, “Ballet” and “Cinematography”, each of which contains 11 topics, and a summary lesson at the end of the course.

The course is structured in such a way that students will be able to use the material not only in the classroom under the guidance of a teacher, but also during independent work. Additional material, presented in the form of links to museum resources and encyclopedic resources that can be used by both teachers and students, will allow for a more in-depth look at a particular topic of interest. Also, as additional material, links are provided to anniversary lessons and video lectures within the framework of the “More than a lesson” project.

The course involves various forms of organizing students' activities in the lesson, this includes individual work, frontal questioning by the teacher, and the possibility of organizing group activities.

While studying the course, students will learn various ways of searching, collecting, processing and analyzing information. All areas of art that the course is devoted to are visual, which is why the course contains a lot of audio and video materials that clearly demonstrate works of art. Each lesson contains a large number of quotes and sayings.

At the end of the course, students will learn to identify the main periods in the development of theater, ballet and cinema of the 20th century, will be able to understand the role of national heritage and its influence on world culture, identify and independently evaluate outstanding works of national culture, and will acquire research experience. This course will develop in students an understanding of the importance of preserving and enhancing the country's heritage, which will awaken their desire to expand their knowledge in this area.

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EXPRESSIVE MEANS OF THEATER PERFORMANCES AND HOLIDAYS AND THEIR IMPACT ON THE SPECTATORS

T.K. Donskaya1), I.V. Goliusova2)

Belgorod State Institute of Arts and Culture 1) e-mail: [email protected] 2)e-mail: [email protected]

The article examines the means of expressiveness of mass performances and holidays, highlighting their sociocultural functions. The authors reveal the possibilities of expressive means of theatrical performances and holidays from the point of view of their impact on the thinking, consciousness, feelings and behavior of spectators and listeners.

Key words: art, language of art, functions of art, theatrical performances and holidays, expressive means of theatrical performances and holidays.

In the modern world, mass spectacular theatrical performances and celebrations (TPPs) are very popular, meeting the needs of people to satisfy the growing artistic and aesthetic impressions. A grandiose sports festival in Sochi (Winter Olympics 2013), “Day of Slavic Literature and Culture” on Red Square (May 24, 2015), numerous competitive programs on TV (“The Voice”, “Dancing on Ice”, etc.) , anniversary concert in honor of L. Zykina in the Kremlin Palace, musical and literary concerts and festivals dedicated to outstanding figures of Russian culture and art (G.V. Sviridov, K.S. Stanislavsky, P.I. Tchaikovsky, A.P. Chekhov ,

M.A. Sholokhov, M.S. Shchepkin, etc.), memorable historical and cultural events (Battle of Kulikovo, the Patriotic War of 1812, the Battle of Stalingrad and Kursk, May 9, etc.) - all this is evidence of the rich cultural tradition of our people and a demonstration of their talent and inexhaustible creative possibilities , a manifestation of the grateful and life-giving memory of the people, who recognize themselves as heirs of the creative creative activity of their ancestors in the name of the present and future Fatherland.

In organizing such mass entertainment performances, the leading role belongs to production directors, whose names deservedly enjoy the recognition of the audience: A.D. Silin, O.L. Orlov, E.A. Glazov, E.V. Vandalkovsky, V. A. Alekseev, A.I. Berezin, S.M. Komin, S.V. Tsvetkov and others.

The reason for the mass interest in art, the famous Leningrad director N.P. Akimov believed, is that “art is a means of communication between people. This is a second special language (emphasis added by us - I.G.), in which many of the most important and deepest things can be said better and more fully than in ordinary language...”1.

“People come to this or that performance in different ways<...>But, if what happens on stage is alive and authentic<...>, the paths turn into one big road that leads everyone to himself, discovering in him what he does not

1 Art and pedagogy. Reader / Comp. M.A.Verb. St. Petersburg: Education, 1995. P. 28.

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assumed...,” says G.G. Taratorkin, one of the few modern actors who has remained faithful to the traditions of the Russian theater school2.

In the structure of the readiness of student directors of creative universities for

An important component of independent research project activity to create works on a socio-historical and cultural theme is the mastery of a director’s and production “language” specific to their activities as representatives of spectacular mass art.

Each type of art has special means of expression: the language of colors (painting), the language of bodily movement (dance, ballet), melody (music), words (fiction), etc. There are specific features in the “language” of the screenwriting and directing activities of the director of the Chamber of Commerce and Industry as a special type of art that has its own “language”. Therefore, in a specific analysis of various genres of mass entertainment, it seems methodologically necessary to distinguish between the idea of ​​the language of art as a means of communication in a certain socio-cultural context and as a system of expressive forms.

“The language of art is a historically established modeling system secondary to natural language, which is characterized by a certain system of signs of a figurative nature and rules for their connection, which serve to convey special messages that cannot be conveyed by other means. The success of an act of artistic communication is determined by the degree of commonality of the abstract system of the language of art for the sender and the addressee of the message (correct understanding of the code), thus, the addressee receives the information for which he is prepared to perceive at the moment, and in the future the perception can deepen. The language of each type of art, like natural language, can be translated into another sign system (film adaptation, theatrical production, illustration),” believed Yu.M. Lotman3.

By analogy with the functions of language and speech identified by linguists (cognitive, communicative, cumulative, expressive, axiological, appellative, ideological, etc.), V.I. Petrushin identified the following functions of art and artistic creativity in society:

The cognitive function reflects the knowledge of the world through images and ideas about the surrounding reality; the understanding of art as a special way of thinking and experiencing life is widely represented in the works of V.G. Belinsky, who saw the difference between science and poetry “not in the content, but only in the way of processing this content”4;

Educational function: “A genuine work of art includes the artist’s assessment of what he depicts and expresses,” since “aesthetics—the beauty of form and ethics—the beauty of content in a classical work of art appear in unity”5; By affirming in artistic and aesthetic form universal human and national spiritual and moral values, the artist contributes to the stability of the ethnos, “the ability to “grasp”, accumulate in the meanings of its units and transfer to each new member of the ethnos the most valuable elements of the sensory, mental and activity experience of previous generations and a number

2 Ibid., p. 84.

3 Lotman Yu.M. The structure of a literary text // Lotman Yu.M. About art. St. Petersburg, 1998.

4 Petrushin V.I. Psychology and pedagogy of artistic creativity: Textbook for universities. - 2nd ed. M., 2008. P. 59.

5 Ibid., p. 60.

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others" ;

The hedonic function, from the point of view of some art critics, is used for entertainment purposes, but also L.N. Tolstoy said that we must “stop looking at it as a means of pleasure, and consider art

as one of the conditions of human life"; modern psychology has moved far from these primitive views on the nature of art, but they turned out to be quite tenacious in the field of aesthetics; “but the highest achievements in any form of art become possible only when the necessary balance is achieved between

beautiful external sensual form and spiritual embodiment embodied in this form

The communicative function is associated with one of the main human needs - the need for communication. “Art,” said L.N. Tolstoy, “is not a game at all, as physiologists think, not pleasure, but this is simply one of the types of communication between people, and this communication unites them in the same feelings”6 7 8 9 10;

The compensatory function makes up for the personality’s missing emotional impressions and experiences in the field of social, historical and cultural phenomena, making up for the lack of education, isolation from cultural

educational centers, immersion in everyday life, limited social activity, etc. Art for such people is a “window to the world,” an enriching meeting with outstanding works of classical and folk heritage, and in some cases, an impulse for independent creative activity.

The psychotherapeutic function of works of art is used not only in art-pedagogical activities, but also in everyday life, responding to the need of every person for beauty and the ability of works of art to lift a person above everyday life, to involve him in a dialogue with the paintings he liked, with characters from literature, plays, that captured the imagination, cinema, ballet, fill the world of a person, even those far from creative activity in the field of art and culture, with light and a joyful feeling of being...

However, one more important, from our point of view, function of mass entertainment art should be highlighted - the influencing (charging - in the words of L.N. Tolstoy) function of art: “As soon as the spectators, listeners are infected with the same feeling that the writer experienced, this is art" . This “contagious” function of art is closely related to identification

viewers/listeners with those artistic images and symbols

theatrical performances that carry those spiritual and moral value meanings that are close and dear to the audience, who feel themselves to be a single team with a common collective consciousness of belonging to national treasures handed down to us from the past to the present and the future... But to implement this function in Given the content and form of the created work, the director needs to master all possible means of emotional and moral influence on the feelings, consciousness, will and behavior of the audience, on all channels of their perception of the Chamber of Commerce and Industry.

6 Radbil T.B. Fundamentals of studying linguistic mentality: textbook. allowance / T.B.Radbil. M., 2010.

7 Art and pedagogy. Reader / Comp. M.A. Verb. St. Petersburg, 1995. P. 15.

8 Petrushin V.I. Psychology and pedagogy of artistic creativity: Textbook for universities. - 2nd ed. M., 2008. P. 64.

9 Ibid., p. 65.

10 Art and pedagogy. Reader / Comp. M.A. Verb. St. Petersburg, 1995. P. 17.

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However, for the implementation of this most important - influencing - function, organically connected with others listed by V.I. Petrushin, which, in fact, is integrative in relation to them (both the cognitive and informative material of the representation and the communicative function addressed to memory and personal experience of the viewer, and the artistry of the artists, etc.), the director-producer as the author must “evoke in himself a once experienced feeling, and, having evoked it in himself, through movements, lines, colors, sounds, images, expressed in words, convey this feeling so that others experience the same feeling, and this is the activity of art.”11

The listed functions of the Chamber of Commerce and Industry are not manifested by themselves, but as a result of the professional artistic and aesthetic activity of the director and the team of performers of his plan, aimed at establishing mutual understanding and adequate “feeling” (the term of L.S. Vygotsky - I.G.) by the audience/ listeners into the spiritual and moral world of the action unfolding before them, infecting them with the organic and harmonious unity of content and form of visible representation, which is achieved by various means specific to the Chamber of Commerce and Industry - the language of art of the Chamber of Commerce and Industry.

The expressive means of influencing a research project on a sociocultural topic in terms of their impact on the thinking, consciousness, feelings and behavior of spectators/listeners of mass TPPs, constituting their specific language, can be differentiated into two groups - verbal and non-verbal.

Among the verbal means of expressiveness we include, first of all, the Word of the native language with its functional varieties, the richness of the synonymous and antonymic system, the aphorism of phraseology, the wisdom of winged words and expressions, precedent texts, the metaphorical nature of figurative meanings of words and phrases, rhetorical figures, concepts reflecting moral the values ​​of the Russian people that make up the conceptual sphere of Russian culture (D.S. Likhachev). And especially - the intonational expressiveness of the spoken text. As M.A. Rybnikova, a passionate Russian methodologist and literature scholar, said: “The word lives in the sounds of the voice, this is its nature.” But at the same time, expressive reading is one of the types of reader interpretation, in which the performing art of the reader-reciter is realized and the result of the analysis of the “score of feelings” of the text of a literary work is reflected by the author of the verbal script and the performer, striving to awaken the feelings of viewers/listeners, to help them get used to the situation of the theatrical ideas, understand and experience, together with the characters of the Chamber of Commerce and Industry, the spiritual and moral national values ​​they share. In the process of perceiving a talented performance of the script text, viewers/listeners are born with the illusion of involvement in the events of the text. In order for this impacting effect of “contagion” to occur, when preparing for the presentation of the Chamber of Commerce and Industry, it is necessary to create a “score” of the text being read, focusing the reader’s attention on highlighting “key” words, phrases, raising and lowering the voice and other expressive vocal means that convey the features of poetic or prose. text in order to draw attention to the semantics and figurative expressiveness of the sounding artistic Word. Thus, the sounding Word in the TPP script is a living Word (the term of G. G. Shpet and M. M. Bakhtin), inspired by the feeling of the speaker, which is “shrouded in a halo of the folk spirit” in the forms of culture, as the German linguist V. von would say Humboldt, Russian philologist F.I. Buslaev, Spanish philosopher J. Ortego y Gasset and others, i.e. interested, partial, not

11 Art and pedagogy. Reader / Comp. M.A. Verb. St. Petersburg, 1995. P. 17.

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mechanical, but a spiritualized Word, in which meaning and effectively colored meaning are fused together (N.F. Alefirenko, 2009). This understanding of the living Word reflects “the actual nature of the mind as a mechanism for the realization of the spirit.” Otherwise, focusing only on the philosophy of rationalism in the understanding of the Word leads to “disabled intelligence” (V.P. Zinchenko). From these positions we should consider the influencing function of the word in the system of the language of art of the Chamber of Commerce and Industry.

Already the choice of the name of theatrical performances, addressed to the “memory of the heart” of the audience, to the feeling of identification with the heroic traditions of the native people (“The Priceless Chronicle of the Holy War”, “The Glory of These Days Will Not Silence...”, “Holy Belogorye”, etc. ); journalistic Word of the presenters, reflecting their civic position in assessing the events narrating and calling on them to preserve the freedom of the Fatherland won by our ancestors, turning to the expressive and passionate statements of famous public figures, luminaries of Russian history and culture (“Remember! Only through unity will Rus' be saved!” - St. Sergius of Radonezh), addressed to us, citizens of Russia in the 21st century; speeches of the current heroes of the past in situations of historical narration (Vladimir the Baptist, Yaroslav the Wise, Vladimir Monomakh, Alexander Nevsky, Dmitry Donskoy, etc.), addressed to the consciousness, feelings and will of the audience, encouraging them to preserve heroic traditions and be ready to defend the Fatherland from the next aggressors, not sparing their belly, etc. - already activates national self-awareness and a sense of personal identification with the proclaimed theme and its subtext. The stylized speech of real historical statesmen and

representatives of culture, in tune with the thoughts and feelings of the participants of the Chamber of Commerce and Industry (Peter I, M. Lomonosov, A.S. Pushkin, V.V. Stasov, M. Gorky, V. Mayakovsky, announcer Levitan, Marshal G. Zhukov, etc.), implementing the communicative-dialogical function of the project and involving viewers/listeners in interested listening to every word addressed to them, especially in the case when the “reader’s interpretation of a literary text” (E.R. Yadrovskaya) conveys the author’s attitude to the reality he depicts.

Talented reproduction of the author's text by performers creates, according to G.V. Artobalevsky, D.N. Zhuravlev and other outstanding masters of artistic expression, “theater of imagination.” By influencing the imagination of the viewer/listener with words, any character and the project team as a whole involve them in the process of co-creation: mentally they seem to be present at what is happening. “This moment of interaction, live contact between speakers and listeners is absolutely necessary,” says D.N. Zhuravlev. And this is the difference between reading performance and acting: “...without listeners there is no art of artistic reading,” and “for a theater actor, the natural partner on whom he influences, with whom he interacts, are other actors, his stage partners” ( from the article “On the Art of the Reader”). Without an emotional response from viewers/listeners to expressive reading, according to L.S. Vygotsky, there can be no analysis, since he called the emotions of art “smart emotions.” The outstanding psychologist believed that it is possible not only to think talentedly, but also to feel talentedly... Educating such a viewer/listener using the means of the Chamber of Commerce and Industry is the most important task facing the director of mass performances, the best of whom understand that

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“The cognitive basis of the “living” word is living knowledge, formed on the interrelationships of education, science and culture”12.

But the sounding living Word reflects the meaning only in the text as a product of the speech-creative implementation of the author’s intention. Without touching on the lexical and grammatical structure of the text, one should turn to the intonation of the text as a means of influencing this unit of the art language of the Chamber of Commerce and Industry on the feelings and thoughts of the viewers/listeners of the Chamber of Commerce and Industry.

Intonation (melody, rhythmomelodic, tonality, pitch, duration, strength, intensity, tempo, timbre, etc. intonation) is a complex set of vocal features of the expressive pronunciation of a text-statement to express the various meanings expressed in it, including expressive and emotional connotations, which serve for various kinds of expressive-emotional-evaluative overtones and can give the statement solemnity, lyricism, optimism, sadness, playfulness, ease, familiarity, etc.

Intonation has always been recognized as the most important feature of spoken, spoken speech, a means of its communicative meaning and emotionally expressive shades. That is why the most important technique for teaching TPP student directors to express themselves is the recommendation of psychologist N.I. Zhinkin - to teach the ability to subtract the intonation that is written into the text by the writer. The accuracy (adequacy) of understanding the intonation of the author's text is ensured not only by the truth of the word, but also by the “truth of feelings” conveyed by the “reading” intonation of the performer. A brilliant interpreter of the works of A.S. Pushkin was

V.N. Yakhontov. The reading of V.N. Yakhontov’s “The Prophet” by A.S. Pushkin, described by I.L. Andronikov, is an unsurpassed example for student directors in mastering the concept of intonation as one of the expressive units of the CCI language in its influencing communicative function13.

However, there is no text outside the genre and style, which are manifested with particular expressiveness in the journalistic intonation of the texts of the documentary-pudlicistic genre of the Chamber of Commerce and Industry.

The journalistic style of the modern Russian literary language is a functional type of speech, which reflects the focus of the statement on appealing to the broad masses of the people with an explanation of socio-political problems that have current socio-cultural, spiritual and moral significance for stabilizing the social order of society. This ideological and political predicament was reflected in oral and written speech in a special journalistic intonation, affecting the consciousness, feelings and will of viewers/listeners, participants in documentary and journalistic performances:

Emotionality, reflecting the author’s interested attitude to the sociocultural problem proposed for discussion with the audience,

Appeal, realizing the agitation and propaganda content of a journalistic presentation,

Objective-subjective modality, addressed to the audience as interlocutors, participants in the dialogue,

Logical persuasiveness, emphasized focus of listeners’ attention by means of logical and phrasal emphasis on important, from the point of view of the author-publicist, key points of the problem being discussed,

Expressiveness of language, including the appropriate use of tropes,

12 Alefirenko N.F. “Living” word: Problems of functional lexicology: monograph / N.F. Alefirenko. M., 2009. P. 14.

13 Ibid., p. 7.

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rhetorical questions and rhetorical exclamations that enhance

dialogical nature of social communication,

Confidence of tone

Civic pathos.

But the speech addressed to the audience/listeners is accompanied by facial expressions and gestures, body movements, artistry, organic behavior of the costumed character, mastery of subject details corresponding to the game image, and other behavioral features of the performers of the text of the scripted action. They enliven, emphasize, and enhance the meaning of the spoken statement, drawing attention to those semantic acts of artistic communication that convey the author’s feelings and their own. Thus, non-verbal means of expressiveness of the language of the Chamber of Commerce and Industry become additional means of expressiveness to the verbal means of influencing

viewer/listener.

Non-verbal linguistic units of expressiveness of a particular genre of TPP include various artistic and aesthetic symbols that replace verbal units, but carry certain generalized, compressed semantic information about a well-known historical and cultural event encoded in it (symbol). The role of symbols in the script are historical dates (1380, 1812, 1941, etc.), attributes of power (banners, coats of arms, orders, etc.), portraits, monuments, legendary places that have unfading glory for the people (the planting of Victory Banner over the Reichstag), etc.

But due to its syncretism, the art of the Chamber of Commerce and Industry turns to the synthesis of arts as the most expressive unit of the language of the Chamber of Commerce and Industry, since the semantic proximity of works of different types of arts (words and music, literature and ballet and painting, etc.) contributes to the creation of a generalized panoramic artistic image of an object or a phenomenon taken for artistic embodiment in one or another genre of the Chamber of Commerce and Industry. The synthesis of arts, performing an influencing function, acts on various channels of perception of the viewer/listener with the language inherent in each type of art: on vision - the language of colors in the scenery of the designer and the sound and color background created by technical means corresponding to the major or minor mood of the stage action; by ear - in the language of natural language and the language of musical accompaniment of verbal text; on consciousness and subconscious - by the language of dance through the perception of a visual dance image and the corresponding melody, and on figurative thinking - by the synthesis of all types of arts, which (synthesis - I.G.) intensifies the effect of “interaction of various semiotic codes” when in an artistic performance “ elements of several sign systems are combined, providing a synergistic effect”14.

Thus, we confirm the thought of L.S. Vygotsky about the role of the unity of form and content of a work of art and the importance of form in the artistic perception of a work of art. This does not mean that form alone creates an artistic work of art (the inconsistency of formal aesthetics and formal art in their denial of plot has long been debunked in the theory and practice of literary criticism and art theory of the 20th century): for example, all sounds in a language can acquire an expressive impression if this is facilitated the very meaning of the word is where they meet. This psychological law, derived by the outstanding

Issers O.S. Speech influence: textbook. Benefit / O.S. Issers. - 3rd ed., revised. M., 2013.

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psychologist: “Sounds become expressive if the meaning of the word contributes to this. Sounds can become expressive if verse contributes to this”15 - refers to the expressive impression of any unit of the language of art. But the artists and other performers of artistic performances speak this “second language” of the art of the Chamber of Commerce and Industry in accordance with the plan and ultimate goal of the author of the production.

Among the most important expressive units of the CCI language, a special place must be given to the artistic image, in which expressive verbal and non-verbal means are organically intertwined, facilitating the transmission of the author’s intention and influencing the thoughts and feelings of viewers/listeners. Incarnated

an artistic image either in the main character of a festive performance, or in a collective image, or in an artistic symbol, realizing the socio-cultural and artistic-aesthetic intent of the author-producer.

An artistic image is an artistic reflection of ideas and feelings in words, colors and other units of the languages ​​of other arts. The artistic image created by the production director reflects a certain typical character, carrying spiritual and moral values ​​close to the Russian viewer (for example, the collective image of a young conscript, courageous, cocky,

cheerful, readily responding to the call of the Motherland - TPP “Indestructible and Legendary”, dir. I.V. Goliusov). Artistic communication with the characters of the Chamber of Commerce and Industry is a dialogue between the author and the audience, carried out through aesthetic perception, comprehension, active dialogical understanding and spiritual and cultural appropriation of a work of art. It reflects the personal experience of the director, who transforms personal experience in order to generate an artistic creation. The manifestation of this creative, creative ability to recode, transform real life experience into an artistic image of the Chamber of Commerce and Industry is the most important moment in the director’s research and search activity, which arises simultaneously with the emergence of a plan that anticipates a future creation. Observation of students' research project activities showed that the director's artistic intuition plays an important role in this process.

Thus, the mastery of expressive units of the language of art by student directors is the most important component of students’ readiness to independently create any type of TVI.

However, it should be noted that there is another important professional skill necessary for the production director to consciously choose the means of influence on the viewers/listeners of the Chamber of Commerce and Industry - the ability to predict what feelings and emotions of the viewer/listener the author of a particular socio-artistic performance plans to influence in order to evoke emotions , adequate to the needs of the author and participants of the spectacular performance.

Psychologist B.I. Dodonov classifies emotions in connection with human needs, which “provoke” the appearance of these emotions. The basis of its classification are needs and goals, i.e. motives served by certain emotions. The psychologist classifies these emotions as “valuable” emotions, that is, those that a person most often feels the need for.

As evidenced by various TPPs created by student directors, most often they set themselves the goal of evoking the following emotions in viewers/listeners:

1 altruistic emotions that arise based on desire

15 Vygotsky L.S. Psychology of art. M., 2001. P. 86.

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bring joy and happiness to people (for example, the Chamber of Commerce and Industry “New Year’s Tales”),

3 fearful emotions are associated with the need to overcome difficulties and dangers, on the basis of which interest in wrestling arises (for example, TPP “Sport is the world!”),

4 romantic emotions are associated with the desire to experience a “bright miracle”, in a feeling of special significance of what is happening (for example, TPP “I remember a wonderful moment...”),

5 Gnostic feelings, or intellectual feelings, are associated with the need to obtain any new cognitive information (for example, TPP “Day of Slavic Literature and Culture”),

6 aesthetic emotions arise from the need to enjoy beauty, the need for the sublime or majestic in life and art (for example, TPP “Sergius of Radonezh - Defender of the Russian Land”).

This “emotional toolkit” enriches the readiness of student directors to plan the impact of the TPP function on viewers/listeners. When determining the theme of his TPP, the stage director, possessing predictive thinking, can suggest which “charging” units of the TPP language should be used as dominant ones in order to evoke emotions adequate to the intention of the author of the production.

For example:

1. Heroic-patriotic theme.

The goal is to educate historical memory.

The need is to satisfy the need for interest in the heroic past of one’s people.

Emotions: communicative, fearful, gnostic, aesthetic.

2. Anniversary concert.

The goal is to enrich historical and cultural knowledge.

The need is to join the cultural and aesthetic values ​​of the past or present of one’s people.

Emotions: communicative, romantic, gnostic, aesthetic.

3. Documentary and journalistic project.

The goal is to promote sociocultural norms of behavior.

The need is to gain experience in social activity.

Emotions: altruistic, communicative, gnostic.

4. Historical and educational project.

The goal is to enrich viewers/listeners with the heritage of national culture and art.

Need - to satisfy the need for beauty in life and art.

Emotions: altruistic, communicative, gnostic, aesthetic.

5. Art-pedagogical project.

The goal is to prevent the negative effects of antisocial phenomena on adolescents. The need is to show social activity.

Emotions: altruistic, communicative, fearful, gnostic,

aesthetic.

Thus, the mastery of “emotional tools” by directors not only enriches their cognitive competence and develops creative (prognostic) abilities, but also contributes to the formation of a humanistic

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consciousness of production directors in the direction of “smart emotions”

(JI.C. Vygotsky) and “valuable emotions” (B.I. Dodonov).

References

1. Alefirenko, N.F. “Living” word: Problems of functional lexicology: monograph / N.F. Alefirenko. - M., 2009. - 344 p.

2. Vinogradov, S. “Theater is a sacrament without deception” / S. Vinogradov // Russian World.Yai Magazine about Russia and Russian civilization. - M., 2015. April, No. 1, p. 82-85.

3. Vygotsky, L. S. Psychology of art / L. S. Vygotsky. - M., 2001. - 211 p.

4. Interpretation of art texts. Textbook / Ed. E.R. Yadrovskaya. - St. Petersburg, 2011. -196 p.

5. Art and pedagogy. Reader. / Comp. M.A. Verb. - St. Petersburg: Education, 1995. - 293 p.

6. Issers, O.S. Speech influence: textbook. allowance / O.S. Issers. - 3rd ed., revised. - M., 2013. -240 p.

7. Lotman, Yu.M. The structure of literary text / Yu.M. Lotman. About art. - St. Petersburg, 1998. -288 p.

8. Petrushin, V.I. Psychology and pedagogy of artistic creativity: Textbook for universities / V.I. Petrushin. - 2nd ed. - M., 2008. - 490 p.

9. Radbil, T.B. Fundamentals of studying linguistic mentality: textbook. allowance / T.B. Radbil. - M., 2010. - 328 p.

10. Yakhontov, V.N. One actor theater / V.N. Yakhontov. - M., 1958. - 455 p.

THE EXPRESSIVE MEANS OF THEATRICAL PERFORMANCES AND FESTIVALS AND THEIR IMPACT ON THE SPECTATORS

T.K. Donskaya1-*, I.V. Goliusova2)

Belgorod state institute of arts and culture 1)e-mail: [email protected] 2)e-mail: [email protected]

The article is about the expressive means and socio-cultural functions of theatrical mass representations and holidays. The authors point out the opportunities of expressive means of theatrical performances and festivals from the point of view of their impact on thinking, consciousness, feelings, and behavior of spectator and listeners.

Keywords: art, language of art, the function of art, expressive means of theatrical performances and

The actor’s creativity comes from drama - its content, genre, style, etc. Drama represents the ideological and semantic basis of the art of acting. But there are known types of theater (for example, folk comedy of masks), where the actor does not have the full text of the play, but only his dramatic outline (script), designed for the art of acting improvisation.

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Expressive means of directing

1
Acting creativity

Acting art, the art of theatrical acting, creating stage images. The artistic specificity of the theater - the reflection of life in the form of a dramatic action taking place directly in front of the audience - can only be achieved through the art of acting. Its purpose is to influence the viewer, to evoke a response from him. Performing in front of the audience is the most important and final act of embodying the role, and each performance requires creative reproduction of this process.

The actor’s creativity comes from drama - its content, genre, style, etc. Drama represents the ideological and semantic basis of the art of acting. But there are known types of theater (for example, folk comedy of masks), where the actor does not have the full text of the play, but only his dramatic outline (script), designed for the art of acting improvisation.

The actor's image is convincing and aesthetically valuable not in itself, but to the extent that the main action of the drama develops through it and through it, its general meaning and ideological orientation are revealed. The performer of each role in the play is therefore closely connected with his partners, participating with them in the creation of the artistic whole that is the theatrical production. Drama sometimes places very difficult demands on the actor. He must perform them as an independent artist, acting at the same time on behalf of a specific character. By placing himself in the circumstances of the play and role, the actor solves the problem of creating a character based on stage transformation. At the same time, Acting is the only type of art in which the artist’s material is his own nature, his intellectual emotional apparatus and external data. The actor resorts to makeup, costume (in some types of theater - to the help of a mask); in his arsenal of artistic means is the skill of speech (in opera - vocal art). movement, gesture (in ballet - dance), facial expressions. The most important elements of acting are attention, imagination, emotional and motor memory, the ability to communicate on stage, a sense of rhythm, etc.

2 Mise-en-scene

Mise-en-scene (French mise en scène - placement on stage), the location of actors on stage at one point or another of the performance. One of the most important means of figuratively revealing the internal content of a play, mise-en-scène is an essential component of the director's concept of the play. The style and genre of the performance are expressed in the nature of the mise-en-scène. Through the system of mise-en-scène, the director gives the performance a certain plastic form. The process of selecting precise mise-en-scenes is associated with the work of the artist in the theater, who, together with the director, finds a certain spatial solution for the performance and creates the necessary conditions for stage action. Each mise-en-scène must be psychologically justified by the actors and arise naturally, naturally and organically.

The encyclopedic explanation of mise-en-scène is not complete. It is not said that the mise-en-scène has not only a spatial, but also a temporal extent, that it is connected not only with the artist, but is in a special relationship with words and music.

Mise-en-scene - This is a plastic and sound image, in the center of which there is a living, active person. Color, light, noise and music are additional, and word and movement are its main components. The art of mise-en-scène lies in the director’s special ability to think in plastic images, when he seems to see all the actions of the play expressed plastically through the actors. Just as dance is the language of ballet, so the plastic expressiveness of a continuous chain of mise-en-scenes is the language of the director.

In the era of the despotic rule of the director in the theater... the director, developing the entire production plan in advance, outlined, taking into account, of course, the data of the participants in the performance, the general contours of the stage images and indicated to the actors all the mise-en-scenes. Currently, the creative work of the director must be done together with the work of the actors, without advancing or connecting it.

Mise-en-scene is the arrangement of actors on stage in relation to each other and their environment.

Mise-en-scene is always a picture of the characters' movements and actions. This is a plastic and sound image, in the center of which is a living person.

The mise-en-scene has its own mise-en-scene and tempo - rhythm. A good figurative mise-en-scène never arises on its own and cannot be an end in itself for the director; it is always a means of comprehensively solving a number of creative problems. This includes the disclosure of the end-to-end action, and the integrity of the assessment of images and the physical well-being of the characters and the atmosphere in which the action takes place. All this forms the mise-en-scène. Mise-en-scène is the most material means of a director’s creativity. Mise-en-scene - if it is accurate, then there is already an image. A well-built mise-en-scène can smooth out the shortcomings of an actor's skill and express it better than he did before the birth of this mise-en-scène.

When building a performance, it is necessary to remember that any change in the mise-en-scene means a turn of thought. Frequent transitions and movements of the performer fragment the thought, erasing the line of through action while speaking in his own way.

You need to be especially careful with the mise-en-scène when the performers are in the foreground. For here even the smallest movement is considered as a change of scenery. Strictness, a sense of proportion and taste are the advisers who can help a director out in this situation. As soon as the language of the mise-en-scène becomes an expression of the hero’s inner life, the ultimate task, it acquires richness and diversity.

Types of mise-en-scène:

We know planar, deep, mise-en-scenes, built horizontally, vertically, diagonally, frontally. The mise-en-scenes are rectilinear, parallel, cross, built in a spiral, symmetrical and asymmetrical.

Mise-en-scène is not a special stage in the director’s work, divorced from all his previous work with performers. Mise-en-scenes are born from those organic actions performed by the performers of the performance. Mise-en-scène is a means of embodiment and stage expression of the idea of ​​a play. Everything that was found by the performer along the lines of the truth of life finds its expression in a bright and expressive mise-en-scène.

Mise-en-scene is a broader concept. These are not only the transitions of characters and placements, but also all the actions of the actor, gestures and details of his behavior, this is also all the mise-en-scène.

Any well-thought-out mise-en-scène must meet the following requirements:

1. It should be a means of the most vivid and complete plastic expression of the main content of the episode, fixing and consolidating the main action of the performer, found in the previous stage of work on the play.

2.Must correctly identify the relationships between the characters, the struggle taking place in the play, as well as the inner life of each character at a given moment in his stage life.

3.Be truthful, natural, vital, and stage expressive.

The art of constructing bright, expressive, truthful mise-en-scenes also depends on the general cultural level of the director. From his artistic taste, from his knowledge of life, from his understanding of great works of painting and sculpture. They can serve as examples of mise-en-scène since they are based on a clear idea of ​​organic action.

So, the figurative and plastic solution of a theatrical performance is one of the most important tasks of directing, and mise-en-scène is one of the most powerful expressive means of directing.

3 Tempo rhythm

Before talking about the meaning of tempo and rhythm in performing arts and practical techniques for mastering them, it is necessary to clarify the concepts themselves, which are given different meanings. The terms tempo and rhythm, taken from the musical lexicon, have firmly entered stage practice and pedagogy to denote certain properties of human behavior.

Tempo is the degree of speed of an action performed. You can act slowly, moderately, quickly, etc., which will require different amounts of energy from us, but will not always have a significant impact on the internal state. Thus, an inexperienced director, wanting to raise the tone of the performance, forces the actors to speak and act faster, but such external mechanical acceleration does not yet give rise to internal activity.

The rhythm of behavior is another matter. If it is said, for example, that “the performance is not in the right rhythm,” then this means not just speed, but the intensity of the actions and experiences of the actors, that is, the internal emotional intensity in which stage events take place. In addition, the concept of “rhythm” also includes rhythm, that is, one or another dimension of action, its organization in time and space. When we say that a person moves rhythmically, speaks, breathes, works, we mean a uniform, smooth alternation of moments of tension and relaxation, effort and rest, movement and stops. And vice versa, we can talk about the arrhythmia of a sick heart, the gait of a lame person, the confused speech of a stutterer, unrhythmic, poorly organized work, etc. Both, that is, rhythmicity and irregularity, are also included in the concept of rhythm and determine the dynamic nature of the action, its external and internal design.

Thus, the term “rhythm” means both the intensity and regularity of the action performed. With the same fast pace, actions can be completely different in character and, therefore, have different rhythms.

Tempo and rhythm are interrelated concepts, so Stanislavsky often merges them together, using the term tempo-rhythm. In many cases, they are directly dependent on each other: an active rhythm speeds up the process of action and, conversely, a reduced rhythm slows it down. Tempo-rhythm of the performance - according to K.S. Stanislavsky - synthesis of the tempo and rhythm of the performance; rise or fall, acceleration or deceleration, smooth flow or rapid development of stage action.

Rhythm and tempo are interconnected because they characterize one elemental unit of action taken over one elemental unit of stage time. Rhythm determines the tempo, but changes in tempo (while maintaining the structure of the rhythmic unit) entail changes in the nature of the rhythm. Therefore, both phenomena practically exist simultaneously, constituting together a single concept of tempo-rhythm.

The development of the tempo-rhythm of a performance is a wave-like process, where rises and falls are the sum of the tempo-rhythms of actions, episodes, and scenes. In general, the tempo and rhythm of the performance is an indicator of the intensity of its end-to-end action. K.S. Stanislavsky stated: “The tempo-rhythm of the entire play is the tempo-rhythm of its end-to-end action and subtext.”

The tempo-rhythm of a performance is a dynamic characteristic of its plastic composition. And as Stanislavsky said, “... The tempo-rhythm of a play and performance is not one, but a whole series of large and small complexes, varied and heterogeneous speeds and dimensions, harmoniously united into one large whole.

It is still a very common belief that there are two types of rhythm: internal and external. The idea of ​​internal rhythm is associated with the “life of the role’s human spirit,” and the idea of ​​external rhythm with “the life of its human body.” Meanwhile, science tells us that the life of the spirit and the life of the body are united in one process of action, where the first accounts for two parts, the second for the third. In a stage action, the first two stages take place in the consciousness of the actor, and the third is revealed in words or in movement - in the verbal or bodily (motor) manifestation of the action. How these three parts of the action relate to each other depends both on the objective proposed circumstances of the given action, and on the subjective properties of the individual, and in the case of a stage action, the personality of the actor. These properties are: the strength of the basic nervous processes (irritable and inhibitory), the balance of these processes among themselves and their mobility. Thus, when speaking about the first two stages of an actor’s action in a role, one must keep in mind not only the speed of the reaction, but also its strength and stability. Simply put, the character of a character is revealed not only in what actions he performs, but also in how quickly he evaluates each fact, each situation, as well as how strong and definite his feelings and intentions associated with the perception of the situation are. For it depends on these qualities what his response, expressed in word or movement, will be.

Thus, at any moment in the stage life of his character, an actor needs to: evaluate something, make a certain decision and implement this decision in action, verbal or motor.

The action is not verbal, but physical - we will call it motor - associated with movement in the stage space and is also carried out in stage time. This is already enough to confirm the dependence of motor action on the tempo-rhythm of the action as such. Since each role has some typical rhythms that are predominant for this role, they are manifested in both verbal and physical action. If someone is characterized by slow decisions, then they are expressed equally slowly both in words and in movements, and the speed of reaction characteristic of someone remains fast in both verbal and plastic expression.

And just as the tempo-rhythm of the stage life of each character in the play is formed from the tempo-rhythms of actions, so the tempo-rhythm of each segment of the end-to-end action of the play is formed from the tempo-rhythms of two or more participants in an episode or scene. If two or more people do the same thing, then the action of each of them is equal in time to the action of the other. If two people set out to convince a third person of something, they will persuade him, convince him, inspire him, prove him until this third person agrees with their arguments. And even though the persuaders presented their arguments not in unison, but one by one, their overall impact on the partner ends absolutely simultaneously - at the moment when he is convinced by them, and one way or another discovers this. On the other hand, the resistance of the persuaded also lasts exactly as long as the influence of the persuaders lasted: action and reaction are equal. Reaction is born in response to the influence, simultaneously with it - and at the same time ends with it, when their struggle leads to some result.

Thus, all actions aimed simultaneously at one goal are equal in time to each other and equal to the action of resistance. Therefore, although each of them individually may have a different rhythmic structure from the others, they are quantitatively equal, due to which several different tempo-rhythms merge into one common tempo-rhythm of an episode, scene, performance.

The tempo-rhythm of the episode, which determines the duration of the pause, determines the number, speed, size and strength of the movements that make up the motor action, and therefore its figurative character (sharpness, sharpness, swiftness or softness, smoothness, etc.), and ultimately - mise-en-scène.

4 Atmosphere

The concept of atmosphere came to the theater from life. And in life it accompanies us every minute. The atmosphere is a deeply human phenomenon, and at its center there is a person who is biasedly peering into the world, acting, thinking, feeling, seeking. A complex set of relationships with the surrounding reality, the world of our thoughts, feelings, desires, moods, dreams, fantasies, without which our existence would be unthinkable, this is the atmosphere of life, without it our life would be bloodless, automatic, and a person would resemble robot

The atmosphere is like the material environment in which the actor’s image lives and exists. This includes sounds, noises, rhythms, lighting patterns, furniture, things, everything, everything...

“...atmosphere is a dynamic concept, not a static one, it changes depending on changes in proposed circumstances and events.”

“Atmosphere is the air of time and place in which people live, surrounded by a whole world of sounds and all kinds of things.” “Every business, place and time has its own atmosphere associated specifically with this business, place and time.”

It is necessary to find that emotional stimulus that will help to find an environment, an atmosphere that maximally expresses the process of the internal flow of “the life of the human spirit.” It is in this combination of the environment and the inner life of a person that the persuasiveness or unconvincingness of the plan will be revealed.

To do this, it is imperative to find the exact combination of what is happening with life, going before, after and parallel to the developing action, either in contrast with what is happening, or in unison. This combination, deliberately organized, creates the atmosphere.

Outside the atmosphere there can be no figurative solution. Atmosphere is an emotional coloring that is certainly present in the decision of every moment of the performance.

And finally, it is necessary to distinguish the background from the atmosphere of the performance, stage, piece. Atmosphere is also a concrete concept; it is made up of real proposed circumstances. The second plan consists of emotional shades, on the basis of which the real everyday atmosphere on stage should be built.

From all of the above, it follows that mise-en-scène, atmosphere and tempo-rhythm, being expressive means of directing, mutually constitute each other and are completely dependent on each other.

5 Composition

Composition (lat. сompositio - composition, connection) - this concept is relevant for all types of arts. It is understood as a significant relationship between the parts of a work of art. Dramatic composition can be defined as the way in which a dramatic work (in particular a text) is organized, as an organization of action in space and time. There may be many definitions, but in them we encounter two essentially different approaches. One examines the relationship between parts of a literary text, the other examines the actual sequence of events and characters’ actions. In theoretical terms, such a division makes sense, but in the practice of stage performance it is hardly possible to implement it.

The foundations of composition were laid in Aristotle's Poetics. In it, he names the parts of the tragedy, which should be used as formative (eide) and the constituent parts (kata to poson), into which the tragedy is divided according to volume (prologue, episody, exodus, choral part, and in it parod and stasim). Here we also find the same two approaches to the problem of composition. Sakhnovsky-Pankeev also pointed out this, saying that it is simultaneously possible to “study the composition of a play based on the formal features of the differences between parts (divisions) and analyze the construction based on the features of the dramatic action.” It seems to us that these two approaches are actually stages in the analysis of dramatic composition. The composition in drama simultaneously depends on the principle of construction of the action, and it depends on the type of conflict and its nature. In addition, the composition of the play depends on the principle of distribution and organization of the literary text between the characters, and the relationship of the plot to the plot.

With the development of dramaturgy, the initial division into the middle, beginning and end in the technique of dramaturgy became more complicated, and today these parts of a dramatic work have the following names: exposition, plot, development of action, climax, denouement and epilogue

The Prologue now acts as a Preface - this element is not directly related to the plot of the play. This is a place where the author can express his attitude, this is a demonstration of the author's ideas. It can also be the orientation of the presentation.

Epilogue - (epilogos) - part of the composition that produces a semantic completion of the work as a whole (and not the storyline). The epilogue can be considered a kind of afterword, a summary in which the author sums up the semantic results of the play. In dramaturgy it can be expressed as the final scene of the play, following the denouement.

Denouement - here the main (plot) action of the play traditionally ends. The main content of this part of the composition is the resolution of the main conflict, the cessation of side conflicts, and other contradictions that constitute and complement the action of the play. The denouement is logically connected with the plot. The distance from one to the other is the plot zone.

Climax - by general definition, this is the pinnacle of development of the play's action. In every play there is a certain milestone that marks a decisive turn in the course of events, after which the very nature of the struggle changes.

The development of action is the most extensive part of the play, its main field of action and development. Almost the entire plot of the play is located here. This part consists of certain episodes, which many authors break down into acts, scenes, phenomena, and actions.

The plot is the most important element of the composition. Events that violate the initial situation are located here. Therefore, in this part of the composition there is the beginning of the main conflict; here it takes on its visible outlines and unfolds as a struggle between the characters, as an action.

Exposition (from Latin expositio - “presentation”, “explanation”) is a part of a dramatic work that characterizes the situation preceding the start of the action.

6 Music

One of the most striking means of expression is the musical design of the performance. The atmosphere, tempo-rhythm and organic nature of the performance as a whole directly depend on the selected musical composition in one or another part of the performance.

In the work on the musical design of the performance, the following stages can be outlined:

director's idea of ​​musical design;

composing original music or selecting ready-made musical numbers;

rehearsal work on introducing music into the performance;

directing the music during the performance.

As already mentioned, the director develops the idea for the production as a result of careful and in-depth work on the play. It is known that each director sees the same play in his own way and interprets its ultimate task in his own way. The characteristics of the director’s artistic thinking and his culture, temperament, taste, and, in short, his creative individuality also matter. The director often develops the author's material, strengthens certain storylines, places ideological accents, etc.

And, of course, music can provide significant assistance in this. Music should enter into the action as a natural and necessary element, help reveal the idea of ​​the play, and highlight the images of the characters. Therefore, the director begins to look for a musical solution only after the main moves of the play’s dramaturgy have been thought out. Naturally, the director bases his idea of ​​the musical design mainly on the inclusion of conventional music in the performance, since the plot music is already predetermined by the author's stage directions. At the same time, the director can also change the story music in his decision. There are dramatic works that are inconceivable on stage without musical accompaniment. These are vaudevilles, musical comedies, fairy tales. But there are also those whose meaning and style will be expressed more clearly if conventional music, music from the director, is introduced into the performances.

The musical image of the performance does not immediately take shape in the director’s imagination. The creative thought of the director often follows a complex path, and in the process of working on the play, when meeting with the composer, artist, sound engineer, and actors, his musical plan may change. Often the issue of introducing individual musical numbers into a particular episode of stage action is decided only during the rehearsal process and cannot always be foreseen in advance. However, the general musical solution is necessarily outlined by the director in advance. This allows him to set certain tasks for the composer and sound engineer. It also happens that the director, not having the necessary musical knowledge, decides on the musical design only after meeting with the composer or professional musician. Thus, the main idea for the musical design of the play is born to the director during the period of his work on the play and is fixed in the production plan. The musical solution of a performance is a purely creative task, and it is natural that the director introduces music into the performance, consistent with his view of its role in dramatic art. Some directors, having a keen sense of music, introduce it into the performance only in those places where it is really necessary and has a very specific function. Other directors saturate every act, every picture with music and noise. However, excessive enthusiasm for music often leads to the fact that the music becomes intrusive, distracts the viewer from the stage action and, instead of enhancing the scene, “drowns” it. Often the director's skill lies precisely in abandoning music where it seems that its introduction could be justified. It is known that silence on stage is also a sound coloration.

K. S. Stanislavsky in his book “My Life in Art” wrote: “I think that in the entire existence of the theater I. A. Sats for the first time set an example of how to treat music in our dramatic art... Initiated in everything the subtleties of the general concept, he understood and felt no worse than us, where, that is, in what exact place of the play, for what, that is, to help the director, for the general mood of the play, or to help the actor, who lacks certain elements to convey individual roles, or in order to reveal the main idea of ​​the play, his music was needed.” These words of Stanislavsky essentially define the multifaceted role of the composer in the dramatic theater. A theater composer is, as a rule, the head of the musical part of the theater, and he is also the conductor of the theater orchestra. The director sometimes entrusts the writing of music for a performance to the head of the musical department, but in order to avoid monotony in the methods of musical solutions for performances, he often invites an outside composer. This creatively enriches the theater, especially if there is a meeting with major composers. Among the professional composers who constantly collaborate with drama theaters, many perfectly understand the peculiarities of theatrical music and know how to subordinate their creativity to the common cause of the theater group.

The choice of a composer is the most important moment for the director when working on a play; the success of the future performance largely depends on a successful or unsuccessful choice.

7 Light

Light on stage is one of the important artistic and production means. light helps to reproduce the place and setting of the action, perspective, create the necessary mood, etc.; sometimes in modern In performances, light is almost the only means of decoration. Different types of decoration require appropriate lighting techniques. Performances with three-dimensional scenery require local (spotlight) lighting, which creates light contrasts that emphasize the volume of the design. When using a mixed type of decoration, a mixed lighting system is used accordingly. Theater lighting fixtures are manufactured with wide, medium and narrow light dispersion angles. Depending on the location, theater stage lighting equipment is divided into the following main types: 1) Overhead lighting equipment, which includes lighting fixtures (spotlights, spotlights) suspended above the playing part of the stage in several rows according to its plans.

2) Horizontal lighting equipment used to illuminate theater horizons.

3) Side lighting equipment, which usually includes spotlight-type devices installed on portal scenes, side lighting galleries, etc.

4) Remote lighting equipment, consisting of spotlights installed off stage in various parts of the auditorium. Remote lighting also includes a ramp.

5) Portable lighting equipment, consisting of devices of different types, installed on the stage for each action of the performance (depending on the requirements).

6) Various special lighting and projection devices. The theater also often uses a variety of special-purpose lighting devices (decorative chandeliers, candelabra, lamps, candles, lanterns, fires, torches), made according to the sketches of the artist designing the performance. For artistic purposes (reproduction of real nature on stage, etc.), a color stage lighting system is used, consisting of light filters of various colors. Light filters can be glass or film. Color changes during the performance are carried out:

a) through a gradual transition from lighting devices that have the same filter colors to devices with other colors;

b) adding the colors of several simultaneously operating devices;

c) changing light filters in lighting fixtures.

Light projection is of great importance in the design of a performance. With its help, various dynamic projection effects are created (clouds, waves, rain, falling snow, fire, explosions, flashes, flying birds, airplanes, sailing ships, etc.) or static images that replace the picturesque details of the decoration (the so-called light projection decorations) . The use of light projection unusually expands the role of light in the performance and enriches its artistic possibilities. Sometimes film projection is also used. Light can be a full-fledged artistic component of a performance only if there is a flexible system of centralized control over it. For this purpose, the power supply of all stage lighting equipment is divided into lines related to individual lighting devices or apparatus and individual colors of installed light filters. On the modern stage there are up to 200-300 lines. To control lighting, it is necessary to turn on, turn off and change the luminous flux, both in each individual line and in any combination of them.

References

1. Tovstonogov G.A. About the profession of a director. M., 1967

2. Zakhava B.E. The skill of the actor and director. M., 1973

3. Knebel M.O. Nemirovich-Danchenko School of Directing. M., 1992

4. Sharoev I.G. Directing stage and mass performances. M., 1992

5. Shubina I.B. Organization of leisure and show programs. Rostov-on-Don, “Phoenix”, 2003.

6. Korogodsky Z.Ya. Director and actor. M., 1967

7. Barkov V. LIGHT, Light design of the performance, M., 1953;

8. Izvekov N.P., Stage, part 2 Light on the stage. L.-M., 1940. Al. B.

Theater (Greek th e atron - a place for spectacle) is an art form in which reality is reflected through stage action performed by actors in front of the audience.

Theatrical art is part of the national spiritual culture, a mirror of public consciousness and the life of the people.

The art of the stage was born in ancient times and at different times it was called upon to entertain, educate, or preach. The possibilities of the theater are great, so kings and princes, emperors and ministers, revolutionaries and conservatives sought to put theatrical art into their service.

Each era imposed its own tasks on the theater. In the Middle Ages, for example, the stage space was thought of as a model of the universe, where the mystery of creation had to be acted out and repeated. During the Renaissance, theater was increasingly tasked with correcting vices. During the Enlightenment, stage art was highly valued as “purifying morals” and encouraging virtue. In times of tyranny and censorship, the theater became not only a pulpit, but also a platform. During the revolutions of the 20th century, the slogan “Art is a weapon” appeared (it was popular in the 20s of the 20th century). And the theater began to perform another task - propaganda.

The final work of the theater is a performance based on dramaturgy.

Like any other form of art, theater has its own special signs.

1. This is art synthetic: a theatrical work (performance) consists of the text of the play, the work of the director, actor, artist and composer. (In opera and ballet, music plays a decisive role). It combines an effective and spectacular principle and combines the expressive means of other arts: literature, music, painting, architecture, dance, etc.

2. Art collective. A performance is the result of the activities of many people, not only those who appear on stage, but also those who sew costumes, make props, set up lighting, and greet the audience. Theater is both creativity and production.

Therefore, we can define that theater is a synthetic and collective art form in which stage action is performed by actors.

3. Theater uses set of art tools.

a) Text. The basis of theatrical performance is text. This is a play for a dramatic performance; in a ballet it is a libretto. The process of working on a performance consists of transferring the dramatic text to the stage. As a result, the literary word becomes a stage word.

b) Stage space. The first thing the viewer sees after the curtain opens (raises) is stage space, which houses scenery. They indicate the place of action, historical time, and reflect the national color. With the help of spatial constructions, you can even convey the mood of the characters (for example, in an episode of the hero’s suffering, plunge the scene into darkness or cover its backdrop with black).

c) Stage and auditorium. Since antiquity, two types of stage and auditorium have been formed: the box stage and the amphitheater stage. The box stage has tiers and stalls, and the amphitheater stage is surrounded by spectators on three sides. There are currently two types used in the world.

d) Theater building. Since ancient times, theaters have been built in the central squares of cities. Architects strived for buildings to be beautiful and attract attention. Coming to the theater, the viewer is detached from everyday life, as if rising above reality. Therefore, it is no coincidence that a staircase decorated with mirrors often leads into the hall.

e) Music. Helps enhance the emotional impact of a dramatic performance music. Sometimes it is played not only during the action, but also during the intermission to maintain the interest of the audience.

f) Actor. The main character of the play is actor. Creates an artistic image of a variety of characters. The viewer sees in front of him a person who has mysteriously turned into an artistic image - a unique work of art. Of course, the work of art is not the performer himself, but his role. She is the creation of an actor, created by voice, nerves and something elusive - spirit, soul. The dialogue of actors is not only words, but also a conversation of gestures, postures, glances and facial expressions. The concepts of actor and artist are different. Actor is a craft, a profession. The word artist (English: art) indicates belonging not to a specific profession, but to art in general; it emphasizes the high quality of craftsmanship. An artist is an artist, regardless of whether he plays in the theater or works in another field (cinema).

g) Director. In order for the action on stage to be perceived as a whole, it is necessary to organize it thoughtfully and consistently. These duties are performed by director. The director is the main organizer and leader of a theatrical production. Collaborates with the artist (creator of the visual image of the performance), with the composer (creator of the emotional atmosphere of the performance, its musical and sound solution), choreographer (creator of the plastic expressiveness of the performance) and others. The director is a stage director, teacher and teacher of the actor.

Everything that is created by a playwright, actor, artist, composer is placed within the strict framework of the director’s plan, which gives completeness and integrity to the heterogeneous elements.

2. Basic means of expressiveness of theatrical art

Decoration

Theater costume

Noise design

Light on stage

Stage effects

Literature

1. The concept of decorative art as a means of expressiveness of theatrical art

Decorative art is one of the most important means of expressiveness in theatrical art; it is the art of creating a visual image of a performance through scenery and costumes, lighting and staging techniques. All these visual means of influence are organic components of a theatrical performance, contribute to the disclosure of its content, and give it a certain emotional sound. The development of decorative art is closely related to the development of theater and drama.

The most ancient folk rituals and games included elements of decorative art (costumes, masks, decorative curtains). In the ancient Greek theater already in the 5th century. BC e., in addition to the skena building, which served as an architectural backdrop for the actors’ performances, there were three-dimensional scenery, and then picturesque ones were introduced. The principles of Greek decorative art were adopted by the theater of Ancient Rome, where the curtain was first used.

During the Middle Ages, initially the role of a decorative background was played by the interior of the church, where the liturgical drama was played out. Already here the basic principle of simultaneous scenery, characteristic of medieval theater, is applied, when all scenes of action are shown simultaneously. This principle is further developed in the main genre of medieval theater - mystery. The greatest attention in all types of mystery scenes was given to the decoration of “paradise”, depicted in the form of a gazebo decorated with greenery, flowers and fruits, and “hell” in the form of the opening mouth of a dragon. Along with three-dimensional decorations, picturesque ones (image of a starry sky) were also used. Skilled artisans were involved in the design - painters, carvers, gilders; the first theater. The machinists were watchmakers. Ancient miniatures, engravings and drawings give an idea of ​​the various types and techniques of staging mysteries. In England, performances on pageants, which were a mobile two-story booth mounted on a cart, became most widespread. The performance took place on the upper floor, and the lower floor served as a place for the actors to change clothes. This circular or annular type of stage structure made it possible to use amphitheaters preserved from the ancient era to stage mysteries. The third type of design of the mysteries was the so-called system of pavilions (mystery performances of the 16th century in Lucerne, Switzerland, and Donaueschingen, Germany) - open houses scattered across the area in which the action of the mystery episodes unfolded. In the school theater of the 16th century. For the first time, the locations of action are located not along one line, but parallel to three sides of the stage. AAAAAAAAAAAAAAAAAAAAAAAA

The cult basis of theatrical performances in Asia led to the dominance over a number of centuries of conventional stage design, when individual symbolic details designated the scene of action. The lack of scenery was compensated for by the presence in some cases of a decorative background, the richness and variety of costumes, make-up masks, the color of which had a symbolic meaning. In the feudal-aristocratic musical theater of masks, which developed in Japan in the 14th century, a canonical type of design was created: on the back wall of the stage, on an abstract golden background, a pine tree was depicted - a symbol of longevity; in front of the balustrade of the covered bridge, located in the depths of the platform on the left and intended for actors and musicians to enter the stage, images of three small pine trees were placed

At 15 - start. 16th centuries A new type of theater building and stage appears in Italy. Major artists and architects took part in the design of theatrical productions - Leonardo da Vinci, Raphael, A. Mantegna, F. Brunelleschi, etc. Perspective decorations, the invention of which is attributed (no later than 1505) to Bramante, were first used in Ferrara by the artist Pellegrino da Udine, and in Rome - B. Peruzzi. The scenery, depicting the view of the street going into the depths, was painted on canvases stretched over frames and consisted of a backdrop and three side plans on each side of the stage; Some parts of the scenery were made of wood (roofs of houses, balconies, balustrades, etc.). The required perspective reduction was achieved by raising the tablet steeply. Instead of simultaneous scenery, one common and unchanging scene of action was reproduced on the Renaissance stage for performances of certain genres. The largest Italian theater architect and decorator S. Serlio developed 3 types of scenery: temples, palaces, arches - for tragedies; a city square with private houses, shops, hotels - for comedies; forest landscape - for pastorals.

Renaissance artists viewed the stage and auditorium as a single whole. This was manifested in the creation of the Olimpico theater in Vicenza, built according to the design of A. Palladio in 1584; In this building, V. Scamozzi built a magnificent permanent set depicting an “ideal city” and intended for staging tragedies.

The aristocratization of theater during the crisis of the Italian Renaissance led to the predominance of external showiness in theatrical productions. The relief decoration of S. Serlio gave way to a picturesque decoration in the Baroque style. The enchanting character of court opera and ballet performances at the end of the 16th and 17th centuries. led to the widespread use of theatrical mechanisms. The invention of thetelarii - triangular rotating prisms covered with painted canvas, attributed to the artist Buontalenti, made it possible to change the scenery in front of the public. A description of the design of such movable, perspective sets is available in the works of the German architect I. Furtenbach, who worked in Italy and introduced the technology of the Italian theater in Germany, as well as by the architect N. Sabbatini in his treatise “On the Art of Building Stages and Machines” (1638). Improvements in perspective painting techniques have made it possible for decorators to create the impression of depth without the steep rise of the tablet. The actors were able to make full use of the stage space. In the beginning 17th century backstage decorations invented by G. Aleotti appeared. Technical devices for flights, a hatch system, as well as side portal shields and a portal arch were introduced. All this led to the creation of the box stage.

The Italian system of backstage decorations has become widespread in all European countries. In mid. 17th century In the Viennese court theater, baroque backstage scenery was introduced by the Italian theater architect L. Burnacini; in France, the famous Italian theater architect, decorator and driver G. Torelli ingeniously applied the achievements of a promising backstage stage in court productions of the opera and ballet type. The Spanish theater, which survived in the 16th century. primitive fair scene, assimilates the Italian system through Italian art. K. Lotti, who worked in the Spanish court theater (1631). For a long time, the city's public theaters in London retained the conventional stage area of ​​the Shakespearean era, divided into upper, lower and back stages, with a proscenium extending into the auditorium and sparse decorative design. The stage of the English theater made it possible to quickly change scenes of action in their sequence. Prospective decoration of the Italian type was introduced in England in the 1st quarter. 17th century theater architect I. Jones in staging court performances. In Russia, perspective stage sets were used in 1672 in performances at the court of Tsar Alexei Mikhailovich.