Theatrical scenery: types and features of creation. Types and features of theatrical scenery What are the scenery called on stage?

Continuing the journey through theater world, today we will get into the world of backstage and learn the meaning of words such as ramp, proscenium, scenery, and also get acquainted with their role in the play.

So, upon entering the hall, each spectator immediately turns his gaze to the stage.

Scene– this is: 1) the place where the theatrical performance takes place; 2) synonym for the word “phenomenon” – separate part action, act of a theatrical play, when the composition characters remains unchanged on stage.

Scene- from Greek. skene – booth, stage. In the early days of Greek theater, the skene was a cage or tent built behind the orchestra.

Skene, orchectra, theatron constitute the three fundamental scenographic elements of ancient Greek performance. The orchestra or playing area connected the stage and the audience. The skene developed in height to include the theologeon, or playground of gods and heroes, and on the surface along with the proscenium, the architectural façade, a precursor to the wall decorum that would later create the proscenium space. Throughout history, the meaning of the term “stage” has constantly expanded: scenery, playground, place of action, time period during an act, and, finally, in a metaphorical sense, a sudden and bright spectacular event (“to make a scene for someone”). But not all of us know that the stage is divided into several parts. It is customary to distinguish between the proscenium, rear stage, upper and lower stages. Let's try to understand these concepts.

Proscenium– the space of the stage between the curtain and the auditorium.

The proscenium is widely used as a playing area in opera and ballet performances. IN drama theaters the proscenium serves as the main setting for the small scenes in front of the closed curtain that link the scenes of the play. Some directors bring the main action to the forefront, expanding the stage area.

A low barrier separating the proscenium from the auditorium is called ramp. In addition, the ramp covers stage lighting devices from the auditorium side. This word is often used to describe the system of theatrical lighting equipment itself, which is placed behind this barrier and serves to illuminate the stage space from the front and below. To illuminate the stage from the front and above, spotlights are used - a row of lamps located on the sides of the stage.

backstage– the space behind the main stage area. The backstage is a continuation of the main scene, used to create an illusion great depth space, serves as a reserve room for setting up decorations. On the back stage there are furkas or a rotating rolling circle with pre-installed decorations. The top of the rear stage is equipped with grate bars with decorative lifts and lighting equipment. Under the floor of the rear stage there are warehouses for hanging decorations.

Upper stage- part of the stage box located above the stage mirror and limited at the top by a grate. It is equipped with working galleries and transition bridges, and is used to accommodate hanging decorations, overhead lighting devices, and various stage mechanisms.

Lower stage- part of the stage box below the tablet, where stage mechanisms, prompter and light control booths, lifting and lowering devices, and devices for stage effects are located.

And it turns out that the stage has a pocket! Side stage pocket– a room for a dynamic change of scenery using special rolling platforms. Side pockets are located on both sides of the stage. Their dimensions make it possible to completely fit the decoration on the furka, which occupies the entire playing area of ​​the stage. Typically, decorative storage areas are adjacent to the side pockets.

The “furka” called in the previous definition, along with “grid bars” and “bars”, is included in the technical equipment of the stage. Furka– part of stage equipment; a mobile platform on rollers, used to move parts of the decoration on the stage. The movement of the furnace is carried out by an electric motor, manually or using a cable, one end of which is located behind the scenes, and the other is attached to the side wall of the furka.

– lattice (wooden) flooring located above the stage area. It is used for installing blocks of stage mechanisms and is used for work related to the suspension of performance design elements. The grate is connected to the working galleries and the stage by stationary stairs.

Barbell– a metal pipe on cables in which the scenes and scenery parts are attached.

IN academic theaters all technical elements of the stage are hidden from the audience by a decorative frame, which includes a curtain, wings, backdrop and curtain.

Entering the hall before the start of the performance, the spectator sees curtain- a sheet of fabric suspended in the stage portal area and covering the stage from the auditorium. It is also called an “intermission-sliding” or “intermission” curtain.

Intermission-sliding (intermission) curtain is a permanent piece of stage equipment that covers its mirror. It opens before the start of the performance, closes and opens between acts.

Curtains are made of thick, dyed fabric with a thick lining, decorated with the theater emblem or wide fringe hemmed to the bottom of the curtain. The curtain allows you to make the process of changing the environment invisible, creating a feeling of time between actions. The intermission sliding curtain can be of several types. The most commonly used are Wagnerian and Italian.

Consists of two halves fixed at the top with overlays. Both wings of this curtain open using a mechanism that pulls the lower inner corners toward the edges of the stage, often leaving the bottom of the curtain visible to the audience.

Both parts Italian curtain move apart synchronously with the help of cables attached to them at a height of 2-3 meters and pulling the curtain to the upper corners of the proscenium. Above, above the stage, is located holly- a horizontal strip of fabric (sometimes acting as decoration), suspended on a rod and limiting the height of the stage, hiding the upper stage mechanisms, lighting fixtures, grate bars and upper spans above the scenery.

When the curtain opens, the viewer sees the side frame of the stage, made of strips of fabric arranged vertically - this is backstage.

The backstage is closed from the audience backdrop– painted or smooth background from soft fabric, suspended at the back of the stage.

The scenery of the performance is located on the stage.

Decoration(Latin “decoration”) – artistic decoration of an action on theater stage. Creates a visual image of action using painting and architecture.

Decoration should be useful, effective, functional. Among the main functions of scenery are the illustration and representation of elements supposed to exist in the dramatic universe, the free construction and modification of the scene, considered as a play mechanism.

Creating scenery and decorative design of a performance is an entire art called scenography. IN different times The meanings of this word have changed.

Scenography among the ancient Greeks was the art of theater design and picturesque decoration stemming from this technique. In the Renaissance, scenography was the name given to the technique of painting a backdrop on a canvas. In modern theater arts this word represents the science and art of organizing the stage and theatrical space. The set itself is the result of the work of the set designer.

This term is increasingly replacing the word “decoration” if there is a need to go beyond the concept of decoration. Scenography marks the desire to be writing in a three-plane space (to which we should also add a time dimension), and not just the art of decorating a canvas, which the theater was content with up to naturalism.

In the heyday of modern scenography, set designers were able to breathe life into space, revive time and the actor’s play in the total creative act, when it is difficult to identify the director, lighting designer, actor or musician.

The scenography (set design of the performance) includes props- objects of stage furnishings that actors use or manipulate during the course of the play, and props– specially made objects (sculptures, furniture, dishes, jewelry, weapons, etc.) used in theatrical performances instead of real things. Prop items are distinguished by their cheapness, durability, emphasized by the expressiveness of their external form. At the same time, prop makers usually refuse to reproduce visible to the viewer details.

The production of props is a large branch of theatrical technology, including work with paper pulps, cardboard, metal, synthetic materials and polymers, fabrics, varnishes, paints, mastics, etc. The range of prop products is no less diverse, requiring special knowledge in the field of stucco, cardboard , finishing and metalworking works, fabric painting, metal chasing.

Next time we will learn more about some theatrical professions, whose representatives not only create the performance itself, but also provide its technical support and work with the audience.

Definitions of the terms presented are taken from the websites.

A theatrical production is created from a huge number of important elements, including not only the play and the acting of the artists. No less important for the success of the performance are the decorations, the main role of which is to create space for the action taking place on stage. Theatrical scenery is an indispensable attribute of any production, which gives it a special charm.

What role do theatrical scenery play in theatrical and decorative art?

Theatrical and decorative arts, otherwise called scenography, is one of the specific types fine arts. Its main purpose is to visualize the environment in which the events in the play take place, and appearance actors. For this purpose, theatrical scenery and costumes of the characters are created. Equally important are design elements such as proper lighting and props. All these means are combined into a single whole, conveying the nature of the action and the intention of the entire performance. It can be said that the creation of theatrical scenery has the same ancient history, like the theater itself. Decoration very quickly became a permanent feature theatrical performances, and now we practically cannot imagine a performance on an empty stage.

Decoration must create an image of the place and time to which the action in the play relates. Composition of theatrical scenery, their color scheme and other characteristics depend on many factors. In addition to content, these include the speed of changing the scene of action, the peculiarities of perception of objects on stage from the audience’s point of view, the possibilities and features of lighting, and much more.

Before the stage space is designed, it is necessary to create sketches of the theatrical scenery. It is at this stage that all the details of future decorations are worked out in order to achieve the greatest expressiveness and integrity. As for the masters of stage design, their sketches are considered not only as a basis for stage design, but also as an independent work of art, distinguished by the author's style and originality.

Theater scenery consists of many parts. These include framing elements, a curtain, objects on the stage, as well as backstage, background, etc. Theatrical scenery is created in several ways, in particular with the help of images and three-dimensional details. In Russian realism, pictorial elements are predominant. It is very important that planar elements and volumetric objects together create a holistic and vivid picture of the scene. In addition to the basic, traditional ways of depicting the environment, new and modern ones are emerging. Among them are projections, screens, draperies and much more. However, modern methods stage decorations have not replaced painting, which is present in one way or another in almost any scenery. The variety of forms of creating reality only allows specialists to choose the most suitable ones according to the content and style of the performance.

Costumes are no less important, thanks to which the images of the characters are created. The possibilities of the costume are very wide: it can tell about the hero’s social affiliation, his nationality, profession and some character traits. The style and color design of the costumes should be similar to the theatrical scenery. IN ballet performances they are also subject to a practical task, they must be comfortable and suitable for dance movements.

Main types of theatrical scenery

Highlight two types decorations for theatrical productions: hard and soft.

Hard scenery also divided into huge amount varieties. First of all, they are voluminous, semi-volumetric and flat. They also distinguish between staged scenery, with which the actors interact during the performance (pieces of furniture, stairs, trees, etc.), and non-staged scenery, which only serves as a background.

Theatrical scenery of this type is made mainly from coniferous wood. This material is characterized by a fairly low price, as well as wide possibilities in terms of processing for creating certain objects (painting, pasting, etc.). Metal structures are also used if necessary. For example, steel and duralumin pipes are widely used. They allow you to create contours complex drawings(both planar and volumetric), stairs and decorative machines. In this case, the use of metal is practically the only option for creating decoration. Among other things, metal objects are lighter in weight.

Soft decorations They are divided into pictorial, applique, draped and smooth.

The variety of materials used is very wide: almost all types of fabrics are used. Theatrical scenery is made from canvas, velvet and tulle. Synthetic and non-woven materials are also actively used.

The basic techniques and rules according to which theatrical scenery is created were developed at the dawn of this art. Nowadays, the basis of most rigid decorations is still the decorative frame, invented more than a century ago. With its help, a huge number of design elements are created, in particular walls and ceilings. The principles of sewing backdrops and drawstrings have also changed little.

There are many ways to create theatrical scenery, and it is not possible to describe each of them. The search for new methods of stage design does not stop to this day. Although, of course, all innovations are based on those principles and schemes that were developed and put into practice by the long history of the theater.

What types of theatrical scenery are there depending on the content?

  1. Narrative

Such theatrical scenery involves the artist creating a real space for the characters to act. Thanks to him, the stage becomes the place where the characters in the play live and act.

  1. Metaphorical

This type of scenery does not include specific pieces of furniture or the space surrounding the characters, but it helps to convey the spirit and character of the production. The specialist strives for this goal by creating plastic metaphors. There are different ways creating metaphorical settings and opportunities for them to interact with characters.

  1. Picturesque

This name does not mean visual characteristic theatrical scenery, but the fact that the main way of creating them is painting. For the most part, these will be flat decorations onto which the artist applies different images. Firstly, it may be an attempt to depict a real space (landscape or interior) without using three-dimensional elements. Secondly, it may be some kind of conventional background, one way or another suitable for the meaning and idea of ​​the performance. fine arts can help with minimal means, but at the same time convey the spirit of what is happening on stage as accurately as possible with the help of background images.

  1. Constructivist

Constructivist-type theatrical sets are very suitable for some modern performances. They do not depict the action space in the traditional sense, but only provide a certain structure for the actors. For example, there could be several platforms of different heights, between which characters will move using stairs.

  1. Architectural-spatial

In such sets, the most important element is the stage space. The structure installed on the stage treats it as a neutral background. In this case, the action is focused on the structure itself, which at the same time makes maximum use of the depth of the scene.

  1. Dynamic

In many ways, dynamic theatrical scenery is similar to architectural-spatial scenery, since in both cases the basis is movement. However, they highlight separate species design of the stage space, called dynamic, based on such a criterion as the function of movement. In the previous type of scenery, movement is intended to unfold a single installation in front of the viewer, but in this type it is understood that movement is the central means of expression on which the entire performance is based.

  1. Light

In general, light transforms any theatrical scenery, so mastery of this tool in scenography is very important. However, professionals understand that light can act not only as an auxiliary tool that helps to correctly present the design of the scene. In some cases, it can play one of the leading roles along with other design methods. This is how we can talk about “scenery”, the means of creating which is lighting equipment.

  1. Projection

Modern theaters use theatrical scenery created using special equipment. In this case, it is not the skill of the artist and architect that comes to the fore, but the quality of the projection equipment and screen. Their advantage is the ability to completely replace three-dimensional decoration.

  1. Gaming

This type of theatrical scenery arose a long time ago, when theater as an art form was in its infancy. The heroes of that time were traveling actors who showed their performances at various city venues. Naturally, they could not create a complete and complete stage design. The basis of the scenery were objects that were part of the plot action. The actors themselves brought them to the stage, changed them, improvised with objects, etc.

  1. Off-ramp

This is a unique subtype of play scenery designed for off-ramp performances. It is understood that the stage space is located in the auditorium. IN pure form This form of decoration is not used often. Various types scenic design intersect and interact, each time creating something original, so the primary properties of various means can be difficult to analyze. However, it is worth highlighting various shapes theatrical scenery to show the variety of stage design techniques.


Perhaps the most important influence on how audiences perceive dances is the location where they are performed. Religious dances usually take place in sacred buildings or on sacred ground, thereby maintaining their spiritual character. Most theatrical dances also take place in a special building or location, enhancing the audience's feeling that they have entered another world.


Most places create some kind of separation between the dancers and the audience to enhance this illusion. A theatrical stage with a proscenium, in which an arch separates the stage from the auditorium, creates a noticeable distance between the audience and the dancers. Performing on a stage where the dancers are surrounded by spectators on all sides likely reduces the distance and similar illusion. In dance varieties that are not traditionally performed in theatre, such as Afro-Caribbean dance, the distance between the audience and the dancers is very small. In them, the audience is often invited to participate in the dance.


The theatrical space not only influences the relationship between audience and dancers, but is also closely related to the style of choreography. Thus, in early court balls, the audience sat on three sides of the dancers, in close proximity to them, since they were important complex figures, demonstrated by the dancers, rather than their individual steps. However, when ballet was introduced into the theater, the dance had to be developed in such a way that it could be appreciated from a single, frontal point of view. This is one of the reasons why advanced scenes were emphasized and expanded, as they allowed the dancer to fully open up to the audience and, in particular, to move gracefully sideways without constantly looking at them in profile.


Many contemporary choreographers who wish to present dance as part of ordinary life and to challenge the way people view it, used many non-theatrical venues to dispel the illusion or glamor of the performance. Choreographers such as Meredith Monk, Tricia Brown and Twyla Tharp, who worked in the 1960s and 70s, performed dances in parks, streets, museums and galleries, often without advertising or even spectators. Thus, dances had to "happen" among people and not in a specific context. However, even the most amazing and unusual place cannot completely dispel the sense of distance between dancer and audience, or between dance and ordinary life.

Stage setup.

Source: “What is what? Reference dictionary for young man» Peter Monastyrsky

Backstage. The back of the stage, which serves as a backup room for storing scenery.

Grate bars. Upper part, located above the scene board. The main element of the grate is the flooring of beams mounted at an appropriate distance from each other. This position allows them to raise or lower the scenery and other elements of the ongoing performance. Blocks for moving cables, lighting fixtures and everything that needs to be hidden from the eyes of spectators are installed above and below the grate.

Tablet. Floor in stage box. It is placed in such a way that there are no cracks in it. This is related to health protection and foot safety. In drama theaters, the tablet is made with mortise turntables and concentric rings. This “small mechanization” allows you to solve additional creative problems.

Circle ring. One of the most important elements of machinery on stage is a circle embedded in the tablet and rotating flush with the stationary part of the tablet. In the last three or four decades, a ring has also appeared in stage machinery. It can rotate with the circle if it is secured with appropriate fasteners. If necessary, it can rotate independently of the circle. This complex mechanic helps solve many scenographic ideas of the artist and director. Especially when the circle, say, moves clockwise, and the ring moves counterclockwise. If these tools are used correctly, additional video effects may occur.

Proscenium. Part of the stage, slightly extended into the auditorium. In drama theaters it serves as the setting for small scenes in front of a closed curtain, which are the connecting link between the main scenes of the play.

"Pocket". Convenient service spaces on both sides of the stage box, where, firstly, elements of the stage design of performances of the current repertoire can be stored, and secondly, moving trucks can be mounted on which the necessary scenery is assembled for delivery to the stage, so that the next one can be played against their background episode. Thus, while the left furka is involved in the performance, the right one is loaded for the next episode. This technology ensures the dynamics of changing the “scene of action”.

Backstage. In the theater, part of the hanging scenery, part of the “stage clothing”. Located on the sides of the stage box, parallel or at an angle to the portal, they limit the playing space, mask the scenery standing on the sides of the stage, cover the side spaces of the stage, hiding technical equipment, lighting equipment and artists ready to perform. The curtains make what is behind them invisible.

Stage portal. Cutouts in the front wall of the stage separating it from the auditorium, the left and right portals form the so-called stage mirror. In addition to the permanent stone ones on the stage, there are two movable ones, with their help the stage can be reduced in size.

Stage mirror. Reception in the architectural portal separating the stage box from the auditorium.

Decoration. Nowadays, when deciding decoration of a performance, it is preferable to talk about scenography rather than decoration. For as long as the theater has existed, decorations for performances have been mandatory. integral part only as a characteristic of the scene. This was required, firstly, by the purpose of the performance, in which the actors told the plot. Secondly, the author's remarks were obliged to format them according to the prompt of the location of the action. But since the figure of the director appeared in the theater, everything began to change towards creating the image of the performance, its emotional interpretation... The theater ceased to be a straightforward spectacle, it began to speak in allegories and allusions. In this case, elementary decoration could no longer be useful: it could not provide any interesting union stage and audience. In the new conditions, scenography became necessary, which over time began to increasingly win the hearts of both the audience and the greatest artists and creators of the performance.

Stage clothes. Framing the stage box, consisting of wings, arches, and backdrop. The pads are fixed above the tablet on horizontal rods. They “hide” the entire household located at the top; the valance is also a canopy, but it is located closer to the viewer and covers the radiator and the first soffit. Rugs cover a plank wooden floor that is not very attractive in appearance; in every serious theater there are several such sets, depending on the circumstances. As a rule, stage clothing is quite expensive.

Paduga. A strip of fabric in the same color as the stage box is suspended horizontally from the top of the stage box. It also blocks the viewers’ view of the “technical dirt located under the grates (soffits, lighting, other design elements).

Valance. A frill is a lace border that runs along the edge of something. Fixed on a rod.

Barbell. A part of the stage mechanism is a bar from the left to the right bridge, lowering and raising the elements of scenery attached to it, driven by hands or a motor.

Backdrop. Big painting, which can be the background for the performance. It should be recalled that the backdrop does not have to be picturesque. It can sometimes simply be part of the scene's clothing. This means that it can be neutral in the same color as the wings and pads.

Soffit. A battery of lights, assembled in a certain programmed sequence, aimed down at the tablet or at the backdrop or at the auditorium, or at different parts of the stage box.

Ramp. A long, low barrier along the proscenium that hides lighting fixtures aimed at the stage from the audience.

Proscenium. Stage space in front of the curtain. The proscenium is also an additional area that can be used for interludes, screensavers between paintings, and for communication with the audience.

Curtain. The curtain that separates the stage from the auditorium, after each action the curtain, so that after the intermission it rises again. In addition to the main curtain, large theaters also have a super-curtain hanging on the first rod and a fire curtain, which is lowered after each performance to isolate the stage from the auditorium. Every day before the start of the performance, the fire curtain rises and hangs there, at the top, in combat readiness, in case of fire.

Decoration

Since ancient times, it has gained importance decorative painting, constituting a special branch of art, in the history of which its development followed the movement of easel painting and picture painting. Sometimes the same works as this one delivers are included in it, if only they were executed on the walls and ceilings of a building primarily for ornamental purposes (wall and ceiling paintings, frescoes); but its main element consists of ornaments in the strict sense of the word, that is, beautiful combinations of geometric lines and figures, as well as forms of the plant and animal kingdom, fantasized or unchanged (for example, wall paintings in the houses of Pompeii, Moorish arabesques of the Alhambra, grotesques of Raphael's boxes in the Vatican etc.). Motives decorative painting changed depending on the historical course of culture and art different nations, from the taste and architectural style that prevailed in given time. The French came into use the name in the 19th century decorative arts (fr. l'art décoratif) for various branches of handicraft production that need the help of art, such as the production of elegant furniture, carpets, lace, glass and pottery, jewelry, bronze, wallpaper and other items of luxury and comfort - in a word, for everything that is customary among the Germans call Kleinkünste or Kunstgewerbe, and in Russia - applied arts or the art industry.

Theater scenery

The word “scenery” is most often used to refer to theater accessories that are intended to create the illusion of a place in which the action performed on stage takes place. Therefore, theatrical scenery for the most part represents either landscapes or perspective views of streets, squares and the inside of buildings. They are painted with paints on canvas. The main components of every theatrical set are: veil And backstage. The first is hung at the back of the stage, extending across its entire width, and depicts everything that is in the background in the reproduced landscape or perspective; the curtains are pieces of linen, narrower in comparison with the curtain, stretched over a wooden binding and cut out at one edge in the appropriate manner; they are placed on the sides of the stage in two, three or several rows, one after the other, and represent closer objects, e.g. trees, rocks, houses, pilasters and other parts of the scene. The decorations are complemented by subarcs- pieces of canvas stretched across the entire stage at the top and depicting pieces of the sky, upper branches of trees, ceiling vaults, etc., as well as praticables- various wooden platforms and platforms disguised with painted canvas, placed on the stage and representing, for example, stones, bridges, spurs of rocks, hanging galleries, stairs, etc.

An artist who creates theatrical scenery and is called decorator, must have, in addition to the training necessary for a painter in general, some special knowledge: he needs to perfectly know the rules of linear and aerial perspective, master a very wide technique of writing, be able to adapt his coloring to the fiery lighting in which stage performances usually take place, and in general to count on the fact that the result of his work will be a picturesque setting of the play being performed, which not only does not harm it with its excessive simplicity or pretentiousness, but contributes to the strength and effectiveness of the impression it makes on the viewer. Having composed a sketch of the decorations, the decorator makes for her layout, that is, a miniature semblance of a stage with cardboard curtains, curtains and other accessories, so that from this model one can judge in advance the effect of the future work. Having then begun the execution of the decoration itself, he stretches the canvas of the curtain in horizontal position on the floor of his studio, transfers onto it (charcoal or a special kind of ink) an enlarged drawing of the sketch by dividing it into squares and, finally, begins to write with paints. He does exactly the same when performing the scenes and other parts of the scenery. His palette is replaced by a box with cans of various paints diluted with glue; For writing, more or less large brushes made of bristles with long handles are used. While working, he interrupts it every now and then to go up to the gallery, arranged in the workshop at some height from the floor, and look from there at what is written. He usually does not work alone, but together with his students and assistants, to whom he entrusts the preparation and secondary parts of the work.

Stage performances were furnished with scenery back in the ancient Greeks (scenography). As one of the oldest decorators known in history, one can point to Agafarch, who lived approximately 460-420. BC modern times decorative painting developed primarily in Italy, which delivered the best masters for this part and other countries. Of the Italian decorators in the 18th century, Giovanni Servandoni, who worked for the Royal Opera in Paris, became especially famous. Then the championship in the area in question passed to the French. Among them, the theater painter Boke showed remarkable talent; the famous Watteau and Boucher did not hesitate to take time off from performing their paintings in order to write for the stage. Then Degotti, Siseri, the latter's students Sechan, Desplechin, Fescher and Cambon, Chaperon, Thierry, Rube and Cheret enjoyed great fame among French decorators. Outstanding decorators in Germany were Schinkel, Karl Gropius, the Italians Quaglio (Domenico, his brother Simon and son Angelo) and J. Hoffmann. In Russia, the needs of the imperial theaters were initially met by visiting Italian decorators - Perezinotti, Quarenghi, Kanopi, Gonzaga, and then, during the reign of Nicholas I, German artists Andreas Roller, K. Wagner and others; Only in the second half of the 19th century did decorative painting embark on the path of independence in Russia thanks to such gifted masters as M. I. Bocharov and M. A. Shishkov, and the establishment of a special class at the Academy of Arts for the study of this branch of art.


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Synonyms:

See what “Decoration” is in other dictionaries:

    decoration- and, f. decoration f. 1. architect. Architectural, sculptural, pictorial, etc. decoration of a building. Sl. 18. The master will also observe the drawing or profile given by the architect, so as not to lose even the slightest proportion, for this is the best thing for the building... Historical Dictionary of Gallicisms of the Russian Language

    - (middle age lat., from lat. decor decoration). Images and paintings painted in a special way and placed on the theater stage in order to give it the appearance of the place where the action should take place. Dictionary foreign words, included in ... ... Dictionary of foreign words of the Russian language Ushakov's Explanatory Dictionary

    DECORATION, and, women. A picturesque, three-dimensional or architectural image of the place and setting of a stage action installed on a stage or film set. | adj. decorative, oh, oh. Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949... ... Ozhegov's Explanatory Dictionary

    Female, lat. decorations, decorations, furnishings; at the theater: view, location of the performance Decorative, related to the scenery. Male decorator an artist who paints scenery, views from a distance, decorations, furnishings, furnishings. Dahl's Explanatory Dictionary. V.I. Dal... Dahl's Explanatory Dictionary

    IN broad meaning words, any artistic decoration of an object or room. Hence the verb: to decorate, to produce artistic decoration, and the adjective decorative, used in the language of architecture, as opposed to the term... ... Encyclopedia of Brockhaus and Efron

    Showcase. Jarg. business Deliberately increasing profits on the balance sheet to hide bad things. financial condition enterprises. BS, 44... Big dictionary Russian sayings