Before the first bell, these ticket takers are on duty in the foyer and their task is to explain where the stalls, mezzanine or balcony are located, and from which side it is better to enter the hall. And then move to your workplace, indicate the desired row, sell the program, and seat the audience in their seats. If there are discrepancies and duplicate tickets, the ticket taker must invite the administrator on duty, and he will transfer people to empty but equivalent seats.
The ticket inspector should also be prepared to answer audience questions about the theater's repertoire.
“People often come up to us and say that they liked a certain performance, asking what else they can see at RAMT, for example, in the same genre,” says Yana. – If a person liked “Erast Fandorin”, we recommend him “Yin and Yang” - also a detective story based on Boris Akunin. And if the viewer is delighted with “ Scarlet Sails“, we recommend another performance of a melodramatic nature - “Tanya”. Girls really like him. Many people come up to us and say: “We remember you! You advised us and we came.” We already communicate with some viewers as if they were friends.
The usher also maintains discipline in the hall: he makes sure that spectators do not take photographs or record the performance on video, do not eat, talk or disturb the silence, do not spoil or dirty the seats (there are such “theater-goers” who walk to their seats in the wrong direction). aisle, but by stepping over the rows and stepping on the seats with your feet).
Before closing the hall after the performance, ticket attendants check its condition. One of the main problems we have to deal with is chewing gum.
“If there is chewing gum stuck to the chairs, we arm ourselves with a construction trowel and scrape it off,” says Nadya. “We also have rags that we use to wipe dust off the chairs.” If we find any breakdowns, we inform the administrator, and he, in turn, notifies furniture makers and other workshops. The security guards have a trouble log where all faults are recorded. The next day, the repairmen on duty look through it and fix the problems.
Controlling the behavior of spectators is a separate issue. The girls say that there are also cases when they bring alcoholic drinks into the hall, they are rude, and they behave disrespectfully even during the performance. And yet they believe that theater has enormous re-educational power.
“Once, schoolchildren came to the play “The Prince and the Pauper,” says Yana. I look at the three guys and think: there will definitely be problems with these - they sat separately, they will probably chat and eat. As a result, the whole class rustled chocolates, and these three enthusiastically watched the performance, their eyes huge with admiration.
And there were cases when young people came to the production of “And the Dawns Here Are Quiet...” who behaved provocatively before the performance, but left with tears in their eyes. And after “She Who Worked a Miracle,” many people cry—schoolchildren, women, and even men.
At the “gate”, “acceleration” and in the hall, ticket takers are on duty in turns - according to the schedule. That is, permanent posts are not assigned to anyone. But guys sometimes change with each other. For example, if someone loves a particular performance, they are given the opportunity to work in the hall. And someone, for example, needs to prepare for tomorrow’s exam (many RAMT ushers are students). Then it’s better for him to be on duty at the “gate” - here he can give lectures during the performance.
Ticket clerk is a temporary job...
The ticket attendant's working day begins one and a half hours before the performance. The attendants check their jobs,, if necessary, put numbers on the seats (if the performance is in a small format and the audience sits on benches or chairs), note in the programs the lineup playing today and change into work clothes - a white top, a dark bottom and a green vest with badge on the chest. Half an hour before the start of the performance, the chandeliers in the theater are lit, everyone takes their seats and the audience begins to enter.
The ticket attendants' work schedule can be very busy. For example, during school holidays they arrive at the theater at 10 am and leave at half past ten in the evening. It is also impossible for the entire service to go on vacation - even in the summer, when the RAMT troupe is on vacation. At this time, performances of touring theaters are taking place on our stage and ballet seasons are taking place.
The valet service is the place where the issue of staff turnover is most acute. And not because the work is difficult - all the guys love the theater and become attached to it. The fact is that the bulk of RAMT ticket takers are students. And for them this work is temporary. Nadezhda is completing her studies at the Moscow Medical Academy. Sechenov and plans to work in his specialty - as a pharmacist. Yana studied to become a lawyer, but realized that it was not for her, and now she wants to try herself in some other field. Therefore, sooner or later, the elegant ticket vests of girls and young people will change their owners. Maybe, dear readers, they are intended for you?
... but becoming a usher is not so easy
But is it so easy to get into the RAMT ushers service? What are the requirements for candidates for the position of ticket controller? We addressed these questions to the chief administrator of the theater, Anna Krasnik:
– The ticket attendant must be polite, tolerant, non-conflict, stress-resistant, have a neat appearance appearance, Anna told us. – When I hire him, I conduct a short interview - I ask the most simple questions about life. As a rule, it is immediately obvious what a person is like. If he behaves impudently in my office, then the audience will be openly rude. On the other hand, if a person is inhibited, this is also bad. We are very afraid of theater fans. We often hire based on recommendations – it is more likely that the person will be reliable.
Before becoming an usher in the full sense of the word, the candidate must undergo a two-month probation. As a rule, most succeed. For some – even very much so. There was, for example, a case when a young usher did not allow the director of RAMT into the hall, who did not show him either a ticket or an invitation.
But if a person regularly skips work hours, is constantly late and commits other gross violations of the work schedule, he is unlikely to stay in the ranks of RAMT ticket takers.
In conclusion, let us return to the famous “The theater begins with a hanger” and report another interesting fact. RAMT's wardrobe attendants also belong to the service of ushers. And therefore our initial statement turns out to be doubly true. Tickets are the people who greet the spectator first. They check your tickets, ask you to undress, take binoculars, and even put the flowers you brought in the water so that they don’t wilt during the performance. They help you find your way around the theater, find your seats, and... are the last to escort you home. Their service is one of the most responsible and necessary; they are the face of RAMT. And therefore, not only the theater, but also everyone who comes to work as an usher must understand all the responsibility that he takes for himself, putting on an elegant green vest with a badge on his chest.
There are many people who have at least once bought tickets not at the theater box office, but from those who were once called speculators, and are now called good resellers.
The paradox is that the most money coming from resellers today is great deals V best theaters cities to the most famous productions with popular actors to decent places of your choice. Your benefit is that you will get what you were looking for but could not find. The sellers' benefit, accordingly, will be calculated in monetary terms - interest that the seller accrues to himself. What made these people make ticket sales their profession?
We talked with one of the representatives of this caste, Igor, choosing the place of our conversation in a cafe not far from his place of work - Theater Square. Behind the mask of a talkative joker turned out to be an interesting and very extraordinary person, with his own merits, complexes and dreams. Our conversation was witnessed by a woman who eventually asked for Igor’s phone number. This is how another client was found - thanks to an interview for VD, who, by the way, was in my interlocutor’s pocket all this time.
–Igor, why did you decide to sell theater tickets?
- Because there was no choice. I started by working as a courier. I consider myself talented, brilliant, gifted. Alas, no one can give me a cut. And every diamond needs it. I could be everything: a diplomat, an artist, a painter, a guitarist. But I didn’t because I was lazy...
– Where do you get tickets?
– You have to buy tickets with your own money. There are 500 hucksters like me in Moscow. We know the market situation, we make the right purchases and that’s how we live. Every day is different for everyone. Five times a month I can earn a hundred dollars. On other days it’s less, one and a half thousand, one thousand, five hundred rubles. And sometimes, like today, there are only fifty... Anyone who wants to do this will succeed.
– Which theaters buy tickets most often?
- They’ll take any. It all depends on me, how I can present this or that proposal. You can wrap a brick in a nice wrapper and sell it, and it will look like candy. The most popular, of course, are Lenkom, Sovremennik, Bolshoi Theater, and Maly. People now go to the Maly Theater more often. I keep telling Viktor Pavlov: “Recommend me to Solomin for the main role.”
– How do you know Pavlov?
– In general, I know many artists, I’m a sociable person.
– Where do you meet them?
- On the street. A modest person is afraid to approach another person on the street. And I'm a little rude in this regard.
– Can you figure out who will definitely buy a ticket from you?
– I have my regular clients. One, for example, is a high-ranking official at Lukoil, the other at Nikoil. There is also a First Deputy Minister of Finance. He came up and asked for tickets. Then I didn't know who it was. And an ordinary person will come, we will serve him, we will give him tickets according to his level. It won't be expensive.
-How inexpensive?
-For example, I buy a ticket for four hundred rubles, but I can sell it for two or three times as much. Depending on the client. We vary prices. For it is said, according to your position and price.
– Do you have specific implementation points?
– I work at the Bolshoi Theater. But I meet people anywhere. I'm walking down the street, I see a man and I leave him my business card. The person already understands that it will be better if he buys something from me. Because I usually say: “If you don’t buy anything from me, then you’ll dream about me.” He begins to worry.
-How many people work next to you?
– In my opinion, there are 40–45 people. The competition is terrible. The people around me are good, though with their own jokes. Sometimes situations arise when two sellers clash over one buyer. In this case, I can move away, and someone can hit me in the face. There have been cases. But I love this profession. There is only one reason here - communication with people, sometimes very interesting, and freedom. Definite, of course. When I want, then I go to work. Complete Ostapism. Somehow you have to survive. If money was more important to me, I would be a multimillionaire. My misfortune is that I am not greedy. Seriously.
– Do you ever have problems with the police?
– Yes, any person has problems with the police. But I won’t say anything about this. I will only say that we resolve conflicts. I have friends who have been doing this for 20–25 years and have even been in prison.
-Aren't you tired of this life?
- Tired, of course. Can you offer me something else? Maybe a good position and portfolio? I would love to carry a briefcase. The most important thing is that in our country it is easier to be a huckster.
-Igor, do you like theater?
– My dad was a theater director, all this is familiar to me. I wouldn't mind having my own theater agency.
– Do you go to the theater yourself?
- No, I don’t go. You know, artists, as a rule, don’t go to the theater. I'm an artist. To go to the theater, you have to spend money, but I feel sorry for it. And all the time there is no time. I want to earn something. You choose: either you go to the theater, or you earn money for a piece of cheese. Do you know how difficult it is to earn money for the same suluguni?
– And yet, which theater would you recommend going to?
– “Mayakovka” is a good theater, the Taganka Theater, “Lenkom”. To an ordinary person can't get there. Many theaters are simply inaccessible from financial side. And the situation always depends on the director. In any theater, elite or ordinary.
– What would you like to tell the readers of VD?
– Take tickets from the hucksters. They are the same people. And they also want to be happy, needed, useful. I show off a little, but I’m really happy because someone needs me.
(sic, kapeldiner), translated as “servant of the chapel.” The ushers worked in theaters and cinemas. They checked tickets, helped spectators find their seats, cleaned seats, put covers on them, and often cleaned the hall.
The steward not only did his job, he was, so to speak, the soul of the hall. He was always aware of the program, could answer questions about the actors and films, tell something about productions and films, or help viewers solve their questions.
Theater attendant
In the past, it was the ushers who were responsible for caring for the theater's musical instruments. That's why a whole series design improvements musical instruments was created precisely by the ushers.
IN pre-revolutionary Russia ushers in theaters checked visitors, escorted them to the right places, and also monitored order in the hall.
The very presence of the attendant created a special atmosphere. Regular visitors knew the attendants by sight and greeted them as if they were good friends.
IN modern world The function of the usher is still preserved in some theaters, but new concerns have appeared in this position: for example, making sure that spectators do not use mobile phones during the performance.
Movie attendant
Later, cinema workers who performed approximately the same functions as in the theater began to be called ushers. At the dawn of its existence, the film industry was positioned as luxury entertainment, so the presence of an attendant in the hall was very important.
In the old large cinemas in the USA, each cinema hall had one or more of its own ushers.
In US movie theaters, ushers were once also responsible for separating audiences into “white” and “colored” sections, preventing them from mixing. And in the 50s, during the popularity of horror films, ushers sometimes had to dress up in monster costumes and entertain children.
The heyday of the era of ushers in movie theaters came in the 1920s, and this tradition was especially strong in the United States. But the economic crisis of the 1930s led to the fact that ushers began to be massively laid off, there were fewer and fewer of them, and today there are virtually no ushers in cinemas. Instead, there are ticket inspectors who only check whether spectators have tickets.
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.
Actor- a living connection between the author’s text, the director’s stage directions and the viewer’s perception. In the history of the theater, this difficult task has turned the actor either into a person adored and mystified, or into a creature despised by society with almost instinctive fear. For a long time, the term “actor” meant the character of a play; then - a role player, a stage craftsman, a comedian.
IN Western tradition the actor embodies the character, impersonating him, representing his physical presence on stage, maintaining a truly “physical” connection with the audience, which is called upon to feel the directly felt carnal, as well as the ephemeral and elusive side of his appearance. An actor, as is often said, is possessed by another being, transforming him. Hence the romantic myth of the actor “from God,” for whom there is no difference between the stage and life.
However, the actor can also show the distance separating him from the role. Here lies the old debate between supporters of the “sincere” actor, who experiences all the feelings of his character, and the actor who is able to pacify and portray them.
On our website in the “Guest Book” section, viewers are given a unique opportunity to ask questions to the actors of the theater. I.S. Turgenev, learn from them all the subtleties and secrets of the profession.
Intermission- the period of time between actions during which the game is interrupted and the audience can leave the hall. This “break” means the return of real social time, the destruction of illusion, the possibility of reflection. An intermission is necessary for a change of scenery, during a long pause, darkening or changes in front of the viewer.
In the court theater of the Renaissance, there was an intermission special meaning. It was at this time that spectators could show each other their luxurious toilets.
Intermission is a rest for the audience, but not at all for the action. The characters are expected to continue living their lives between acts.
The intermission is also a psychological necessity for the viewer, whose attention is difficult to hold without a break for more than two hours. In addition, returning to reality forces the viewer to think about what he saw, judge the theatrical work, generalize and systematize many impressions. This is the moment of awakening criticality. It is not surprising that epic dramaturgy contributes to the increase of such pauses in the performance, forcing the audience to “intervene” in moments of destruction of the illusion. Conversely, performances based on hypnotic influence and subject to a specific rhythm today often completely abandon such respites.
Intermission at OGAT named after. IS. Turgenev usually lasts 15 minutes. At this time, the public can visit the theater buffet, located on the second floor, as well as the Museum of the History of the Oryol Stage.
Role- the type of role an actor plays, corresponding to his age, appearance and style of acting. In particular, a distinction is made between comic and tragic roles.
Applause - a frank encounter between the spectator and the performer beyond the limits of fiction. In the strict sense, applause (hand clapping) is a fairly universal phenomenon. First of all, it testifies to the so-called physical reaction a viewer who, after forced immobility, releases his energy.
Applause always performs the function of contact, which means: “I perceive and appreciate you.”
The habit of applauding actors dates back to antiquity. For this kind of activity, the ancient Greeks even came up with a small charming god - Krotos.
In the 17th century The habit of clapping the palms was widespread throughout Europe. In some cultures, the public shows their approval by shouting or whistling. The actors of the OGAT named after I.S. Turgenev ask their viewers in this sense not to deviate from Russian tradition and the laws of politeness.
It is debatable whether it is possible to applaud during a performance and thus break the illusion. After all, applause is an element of defamiliarization, the intrusion of reality into art.
Nowadays, audiences willingly applaud the actors, their witticisms, the scenery at the beginning of the action, and interrupt the progress of the performance. The more intellectual or “avant-garde” audience shows their enthusiasm only after the curtain closes, so as not to encourage individual acting or directorial discoveries, but to thank all the artists at once at the end of the performance, calling the director, the set designer, and even the author to the stage.
It happens that the applause is “staged” by the director.
At all times, theater entrepreneurs paid for the services of professional cliques in order to force the audience to favorably accept the performance. There is no such practice in Turgenev's theater. So be sure of the sincerity of the impulses of your neighbors on the stalls or amphitheater.
But the exits and exits of actors from the stage “at the end” can be staged: the actors seem to continue to play a role or act out a comic scene in order to make the audience laugh.
Don't forget that artists are given OGAT. For I.S. Turgenev, the opinion of the viewer is very important. Therefore, applause is the most precious reward for them!
backstage- 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.
Benefit - a performance given in honor of one of the actors or theater workers as an expression of recognition of the beneficiary's skill. Most often it is held in connection with various kinds of memorable events, anniversaries of artists.
Benefit performances at the Turgenev Theater are always very warm and generous with surprises meetings of old friends, among whom the audience has a special place of honor.
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.
Props - specially made objects (sculpture, furniture, dishes, jewelry, weapons, etc.) used in theatrical performances instead of real things. Prop items are distinguished by their low cost, 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 molding, cardboard , finishing and metalwork works, fabric painting, metal chasing...
Props academic theater named after I.S. Turgenev, they create real miracles from simple materials in their arsenal. Sometimes they even surpass in skill the famous fairy, who built a carriage out of a pumpkin for her equally famous goddaughter Cinderella. If you don't believe me, see for yourself. By the way, children's performances always turn out to be especially bright.
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.
Vaudeville - a comedy play with couplet songs and dances, as well as a genre of dramatic art.
This name arose in the 17th century as a mixture of two song genres.
At the end of the 15th century, songs called Val de Vire- literally “Vir valley” (Vir is a river in Normandy). In the 16th century, Paris developed voix de ville(“voices of the city”) - strophic songs with predominantly love content.
In the 17th century, urban common folk satirical songs appeared, performed with or without simple instrumental accompaniment. They got the name vaudeville.
In the second half XVII century in France, these songs began to be included in small theatrical plays, which then also became known as “vaudevilles.”
Makeup- the art of giving an actor the appearance necessary for the role.
Cosmetic makeup has been used in theater since the 16th century. Among its main functions is “improving nature.” This habitual use of make-up is especially welcome on the stage, since this art consists not so much in making a character look old as in making him look younger.
Some theatrical makeup traditions, such as in Chinese theater, are based on pure symbolic system correspondences of various colors to social characteristics: white - for the intelligentsia, red - for incorruptible heroes, blue - for the proud, silver - for the gods.
In addition, makeup is a kind of living costume of the actor, which competes with the mask due to the mobility of the face. Make-up exploits the defining ambiguity of theatrical performance: it is a mixture of naturalness and artificiality, thing and sign.
Without characterizing the character psychologically, he contributes to the creation of theatrical forms along with other components of the performance, and becomes an equal aesthetic element of the performance.
Decoration- creation on stage of a visual image of action using picturesque, visual, architectural means.
The very origin of the term (painting, ornamentation, decoration) indicates the mimetic and pictorial function of the decorative infrastructure.
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.
Drama- literary (dramatic), stage and cinematic genre. It became especially widespread in the literature of the 18th-21st centuries, gradually displacing another genre of drama - tragedy, contrasting it with predominantly everyday plots and a style closer to everyday reality. With the emergence of cinema, it also moved into this art form, becoming one of its most widespread genres.
Dramas usually specifically depict the private life of a person and his conflict with society. At the same time, the emphasis is often placed on universal human contradictions, embodied in the behavior and actions of specific characters.
Intrigue- the main situation of the drama around which the action develops.
Usher- a theater worker who checks tickets, escorts spectators to their seats and keeps order in the hall.
Grate bars- 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.
Comedy- from Greek komedia - a ritual song accompanying the procession in honor of the god Dionysus. Previously, this word meant any play, regardless of genre.
According to tradition, comedy is determined by three criteria that are opposite to tragedy: the characters of the comedy are people of modest status, the denouement is necessarily happy, the final goal of the play is the laughter of the audience. Hence its ease of adaptation in any society, the endless variety of manifestations and the difficulty of constructing a coherent theory of comedy.
Comedy almost always comes to an optimistic conclusion (marriage, reconciliation, recognition). The viewer's laughter in it is sometimes the laughter of an accomplice, sometimes the laughter of superiority: it protects the viewer from tragic anxiety.
Any comic play is the double and antipode of the tragic mechanism. Tragedy plays on our deepest anxieties, comedy plays on defense mechanisms against these anxieties.
Both genres thus answer the same human question. The transition from tragic to comic is ensured by the degree of emotional participation of the audience. Ultimately, in comedy, all contradictions are resolved in a humorous or sarcastic tone, and the world finds its balance.
But the restoration of order and a happy ending must be preceded by a period of instability, after which an optimistic conclusion and final reconciliation opens.
Backstage- vertical stripes of fabric framing the stage.
Lodge- in a traditional theater interior, a group of seats separated from neighboring ones by side partitions or barriers.
Historically, a box was a small room with a separate entrance, in some cases leading through a small hallway, where you could leave your clothes or even spend time during intermission. This room was called the outer lodge. The boxes were located both at the level of the stalls (boxes of the benoir) and on higher tiers (the first of which, the most prestigious, was called the mezzanine).
Many theaters provided for privileged boxes - royal (royal, presidential), governor's, director's, which were at the disposal of the theater management. Other boxes were most often subscribed to by rich and noble connoisseurs for the entire season.
The advantage of the box was not only a separate entrance, but also the opportunity to observe the stage action without revealing oneself to a lesser extent.
Melodrama- originally a play in which the most acute dramatic moments were accompanied by music to express the emotions of a silent character.
Over time, melodrama becomes a new independent genre. By showing good and evil people in tragic or touching situations, melodrama tries to excite the viewer not so much with the significance of the text, but with stage effects.
It highlights the heroic, sentimental and tragic sides as much as possible, and multiplies the unexpected endings, recognitions and tragic comments of the heroes. The narrative structure is unshakable: love, betrayal that brings misfortune, the triumph of virtue, punishment and reward, persecution as the “core of intrigue.”
This form develops at a time when the production begins to impose spectacular effects and replace the harmonious text with unexpected endings.
The characters of melodrama, clearly divided into positive and negative, are deprived of the opportunity tragic choice. They are filled with good or bad feelings, they are not tormented by doubts, they are not torn apart by contradictions.
The situations of melodrama are often implausible, but clearly defined: complete despair or inexpressible happiness; the cruel fate of the hero, ending with a happy ending (in an optimistic melodrama), or a gloomy and tension-filled fate, as in a horror novel; social injustice or reward for virtue and civic valor.
Mise-en-scene - in the broad, generally accepted sense of the word - a set of means stage interpretation: decoration, lighting, music and acting.
In a narrow sense, this term denotes an activity consisting in bringing together various elements of stage interpretation into a certain time and space framework. dramatic work. Initially, the mise-en-scène expresses the classical concept theatrical work as a single harmonious whole, which is not reduced to a simple sum of materials or performing arts, but is a qualitatively new unit of a higher level. The mise-en-scene declares the subordination of each individual art or simply any sign to a single harmonious principle, a unifying idea.
From the very inception of the concept of mise-en-scène, the requirement for a unifying idea was accompanied by an awareness of the historicity of texts and staging, and an understanding that there is a whole sequence of “concretization” of the same work.
In a word, this is a transformation or, rather, a concretization of the text through the actor, through the stage space, embedded in the time period lived by the viewer.
Space, so to speak, is transferred to words: the text is memorized and recorded in the actor’s gestural space. The artist is looking for such movements, such poses that would best correspond to the spatial recording of the text. The words of dialogue, collected together in the text, now exist separately, they are inscribed in stage space and time, they can be seen and heard.
Mise-en-scène covers both the environment in which the actors exist and the psychological gestural solution of the role. Any mise-en-scène is an interpretation of the text through “action”; access to the play is possible for us only through such a director's reading.
Mise-en-scene always involves a phase of working with actors. The director directs the actors, explaining how they should look on stage in accordance with his idea of the role. He makes adjustments depending on the compatibility of their performance with the performance of other actors. He ensures that gestures, intonation and rhythm correspond in the smallest detail to the entire discourse of the mise-en-scène, so that they fit into a passage, a scene, or an entire performance.
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.
Opera - a genre of musical and dramatic art in which the content is embodied by means of musical dramaturgy, mainly through vocal music. Literary basis opera - libretto.
The word "orega" translated from Italian literally means work, composition. In this musical genre, poetry and dramatic art, vocal and instrumental music, facial expressions, dancing, painting, scenery and costumes.
Almost every opera begins with an overture - a symphonic introduction that generally introduces the listener to the content of the entire action.
Parterre(fr. parterre- on the ground) - the lower floor of the auditorium in a theater with seats for the public in the space from the stage or from the orchestra to the opposite wall or to the amphitheater.
The ancestor of the stalls was the bench for senators in the theaters of Ancient Rome. In the 17th century, after the appearance of the tiered theater building, the stalls also changed, taking on more modern look. The stalls were intended for the lower class, so for a long time there were no seats - the stalls spectators had to watch the performance while standing. Seating in the stalls appeared at the beginning of the 17th century in private indoor theaters in England. Then the seats were arranged as needed.
Nowadays, seats are most often arranged in rows that rise from the stage to the amphitheater and are parallel to the edge of the stage. The seats are separated by passages to exit the stalls.
Ramp- a system of diffused light lighting fixtures installed on a tablet along the front edge of the proscenium and designed to illuminate the stage space from the front and below. Hidden from spectators by a low side.
Director- a person whose duties include staging a play. The director takes responsibility for the aesthetic side of the performance and its organization, selection of performers, interpretation of the text and use stage aids at his disposal. The appearance of this term is usually attributed to the first half of the 19th century.
In the history of the theater there are many more or less legitimate predecessors of the director.
IN ancient Greek theater The role of didaskal (from didiskalos - “teacher”) was often played by the author of the performance himself, performing the duties of the organizer.
In the Middle Ages, the director of the theater troupe was responsible for the ideological and aesthetic aspects of the production of mysteries. In the Renaissance and Baroque eras, performances were often organized by the architect and decorator in accordance with their own plans.
In the 18th century great actors take up the baton. And only with the flourishing of realistic theater the function of the director passes to professionals and turns into an independent art.
Props- objects of stage furnishings (excluding scenery and costumes) that actors use or manipulate during the course of the play.
Repertoire- a set of plays performed by one theater during one season or some period of time; selection of plays of the same style or the same era; the totality of roles that one actor is able to play, the range of his acting capabilities, his role.
Rehearsal- work on learning text and stage acting, performed by actors under the direction of the director.
This activity of preparing the performance occupies the entire troupe and takes the most various shapes.
Rehearsals happen in a new and creative way every time.
Role - a combination of text and performance by the same actor. The distribution of roles is made, as a rule, by the director, depending on the characteristics of the performers and the possibilities of their use in the play.
The role then becomes the actor itself (the role of a villain, traitor, etc.), created by the actor. When the role does not correspond to the role of the artist, they speak of a mixed role.
In any play there are so-called main and secondary roles. The attitude towards the role is formed either according to the principle of imitation and identification (the embodiment of the character by the actor), or, on the contrary, according to the principle of difference and defamiliarization.
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: a set, a playground, a place of action, a time period during an act, and, finally, in a metaphorical sense, a sudden and bright spectacular event (“to make a scene for someone”).
The Turgenev Theater has a special, very reverent attitude towards the stage. This is a place where the path to the uninitiated is closed. Stepping on it, the servants of the Turgenev House seem to take a vow to play from the heart, to give all facets of their talent to the public.
But spectators also have a unique opportunity to visit the stage by purchasing a ticket to the play “Love’s Beautiful Star”: seats for the public are equipped right on the stage, which gives the production a special intimacy and intimacy.
Scenography- among the ancient Greeks - the art of theater design and picturesque decoration stemming from this technique.
In the Renaissance, scenography is a technique that consists of painting a backdrop on a canvas.
IN modern sense words are the science and art of organizing the stage and theatrical space. Metonymically: the scenery itself, 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 thus marks the desire to be writing in a three-plane space (to which a temporal dimension should also be added), and not just the art of painting 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.
Theater(Greek θέατρον - main meaning - a place for spectacles, then - spectacle, from θεάομαι - I look, I see) - a form of performing art.
Theater is a synthesis of all arts, it includes music, architecture, painting, cinema, photography, etc. The main means of expression is the actor, who through action, using various theatrical techniques and forms of existence, conveys to the viewer the essence of what is happening on stage .
In this case, the actor does not have to be a living person. This could be a doll or some object controlled by a person.
Theater is considered the most powerful means of influencing people, because, seeing what is happening on stage, the viewer associates himself with one or another character. Through catharsis (purification through suffering), changes occur within him.
The main theater workers: directors, actors, make-up artists, cloakroom attendants, lighting technicians, ticket takers, choreographers, artists, stage workers.
Theater arts- a combination of words containing all the contradictions of the theater: is this art autonomous, along with its laws and aesthetic specificity, or is it only the cumulative result (synthesis, conglomerate or combination) of several arts (painting, poetry, architecture, music, dance and gesture)? In the history of aesthetics, there are both points of view.
1. Origin of the theater
The endless wealth of forms and theatrical traditions that have developed throughout history, the possibility of one, even the most general, definition theatrical arts. The etymology of the Greek word theatron, meaning a place where spectators gathered to watch a performance, only partially conveys one of the components of this art. Indeed, art intended primarily for visual perception, a kind of institutionalized contemplation, the theater, however, was often reduced to the art of drama, a literary genre, the spectacular side of which, since the time of Aristotle, was considered as an accessory, inevitably dependent on the text. The variety of theatrical forms and dramatic genres corresponds to the variety of material, social and aesthetic conditions of the theatrical business: what, for example, is common between a primitive ritual, a boulevard play, a medieval mystery or a performance created in the Indian or Chinese tradition?
Sociologists and anthropologists find it difficult to identify the totality of reasons that determine a person’s need for theater. But independently of each other, and sometimes unanimously, they pointed to a desire to imitate; taste for play, both among children and adults, the original ceremonial function; the need to tell stories and laugh with impunity at this or that state of society; the pleasure experienced by an actor during transformation. The origin of the theater apparently had a ritual or religious basis and the individual, among a group of persons, himself participated in the ceremony before entrusting the task to an actor or priest. The theater only gradually moved away from its magical or religious essence and, in order to challenge society, it had to become sufficiently strong and independent: hence the difficulties that arose in its history, which characterize the attitude towards authority and law. U modern theater there is nothing in common with the cult source, with the exception of some experiments in returning to myth or ceremony, which, following the experiments of Artaud, are searching for the primordial purity of theatrical action, and its forms are so diverse that it fully corresponds to numerous new aesthetic and social functions. The development of theater is closely connected with the evolution of social and technological consciousness: is this why from time to time they predict its inevitable death due to the dominance of funds? mass media and mass art.
2. Western tradition
If the question of the essence and specificity of theatrical art has always contained something idealistic and metaphysical, very far from the real practice of the theater, then we can at least list some features of this art that are characteristic of our Western tradition from Ancient Greece to the present time. The concept of “art” differs from the concepts of “craft”, “technique” or “rite”: the theater, even if it has at its disposal a variety of technical means (acting, scenography, etc.) and a certain number of traditional and immutable actions, goes beyond the framework of each of these constituent parts. Each time he represents an action (or a mimetic representation of some action) thanks to the actors embodying characters or showing them to the public gathered at the same time in one place, more or less equipped. The text (or action), the body of the actor, the stage, the spectator - this is the necessary chain of any theatrical communication. Each link in this chain takes very different forms. Sometimes the text is not respected and is replaced by a non-literary style of play, even if it is a specific, intended text; the actor’s body loses its function as a human presence when the stage director turns it into a surmarionette or when it is replaced by an object or stage mechanism provided for by the scenography; the stage is not necessarily equipped in a building specially built for theatrical performances: a city square, a hangar, etc. perfect for theatrical activities; the spectator cannot be completely excluded without transforming the art of theater into a dramatic game in which everyone participates, as in a ritual that does not need an outside glance for its execution, or into a “sectarian activity” completely isolated and without a critical outlet for society...
A theatrical performance involves a whole complex of directives, advice, orders contained in the theatrical score, text and stage directions.
There is nothing rigid or final about the distinction between genres and their hierarchy. Thus, modern theatrical art categorically denies the division into three parts: drama/lyrics/epic. The tragedy-comedy polarity, which is noted in the double tradition of genres - “noble” (tragedy, high comedy) and “vulgar” (farce, spectacle) - also loses its meaning as social relations develop.
3. Theater in the arts system
Most theorists agree that theatrical art has all the artistic and technological means available in a given era. Craig, for example, gives the following (almost tautological) definition: “The art of theater is neither the art of acting, nor a theatrical play, nor a stage image, nor a dance... It is the totality of the elements that make up these various areas. It is composed of movement, which is the meaning of acting, words, which form the body of the play, of line and color, which give birth to the soul of stage decoration, of rhythm, which determines the essence of dance.”
On the question of the relationship between these various arts there is no unanimity.
For other theorists, the combination of different arts is impossible; V best case scenario you can build an unstructured conglomerate; it is important to establish a hierarchy between means and connect them to achieve desired result and according to the taste of the director. The hierarchy proposed by Appiah - actor, space, light, painting - is just one of the countless possibilities of aesthetics.
Another group of theorists sees two sides of the same coin in the concepts of Wagner and Appiah, while criticizing the concept of theatrical art as Gesamtkunstwerk or total theater and replacing it with theatrical work (Brecht). The performing arts exist and have meaning only in their diversity and contradictions. The staging makes the scene resist the text, the music resist the linguistic meaning, the body language resist the music or the text, and so on.
4. Specificity and boundaries of theatrical art
A brief review of theoretical works on theater proves that no theory is able to reduce theatrical art to the necessary and satisfying components. It is impossible to limit this art to an arsenal of technical means. The practice aims to endlessly expand the horizon of the stage: showing slides or films, turning the theater to sculpture, dance or the art of pantomime, political propaganda or an event. Thus, the program of studying theater arts ramifies indefinitely.
PaviP. Dictionary of theatre. Publisher: Progress, 1991.
Theater curtain- a cloth covering the stage from the auditorium. 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.
Tragedy(Ancient Greek tragōdía, literally “goat song”) - a genre of fiction based on the development of events, which, as a rule, is inevitable and necessarily leads to a catastrophic outcome for the characters, often filled with pathos; a type of drama that is the opposite of comedy.
The tragedy is marked by stern seriousness, depicts reality in the most pointed way, as a clot of internal contradictions, reveals the deepest conflicts of reality in an extremely intense and rich form that takes on meaning artistic symbol. It is no coincidence that most tragedies are written in verse.
The concept of "tragedy" is associated with the singing of satyrs (in Greek mythology goat-footed creatures), images of which were used in religious rites ancient Greece in honor of the god Dionysus.
Farce- a comedy of light content with purely external comic techniques.
In the Middle Ages, farce was also called the form folk theater and literature, widespread in the XIV-XVI centuries in Western European countries. Having matured within the mystery, farce gained its independence in the 15th century, and in the next century it became the dominant genre in theater and literature. The techniques of farcical buffoonery were preserved in circus clowning. In modern Russian, a farce is usually called profanation, an imitation of a process, for example a trial.
The main element of the farce was the unconscious political satire, but a casual and carefree depiction of urban life with all its scandalous incidents, obscenity, rudeness and fun. The French farce often varied the theme of a scandal between spouses.
Foyer- a room in a theatre, cinema, circus, intended for spectators to stay while waiting for a show, performance, performance, as well as for the public to relax during intermission.
The foyer of the State Academic Theater of Theater named after I.S. Turgenev attracts not only with its winter garden, a variety of photographs telling about the most memorable productions, but also with the unique project “Theater in the Foyer”, in which performances are staged for young spectators.
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.
In preparation "Theater Dictionary" materials from Internet resources were used, as well as “Theater Dictionary” by P. Pavi (Publisher: Progress, 1991)
Advantages:
Lots of free time;
The opportunity to watch all the performances in the theater and all the films in the cinema.
Flaws:
Small salary.
Required skills:
Tear off the paper;
Well-developed leg muscles to withstand standing all day;
Patience.
Inventory:
A pocket or bag for storing ticket stubs torn from them.
Checking tickets is not the most prestigious job that exists on the labor market, but it is still possible as an option. Nowadays this profession is dissonantly called “ticket attendant,” but previously the attendant at the theater, checking entrance tickets and keeping order in the hall, was called an usher. And it was, I must say, a rather prestigious profession.
But times and morals change, but professions remain, some lose their previous value, change, acquire new features. Today ticket collectors work in circuses, theaters, cinemas, and clubs.
Working as an usher in a theater is more suitable for pensioners who, in principle, have money, but just don’t want to sit at home, but want to communicate with people. And just by working as ticket takers, they fully realize their need for communication.
The functions of the ticket takers are very simple: stand at the entrance to the hall, check the tickets of those who came to the performance, tear off the part of the ticket with the word “control” (for reporting), and not let ticketless people in. Usually there are several ticket takers, their number is determined by the number entrance doors into the room. As a rule, there are two ticket takers at each door. However, there are certain difficulties in this work. The main difficulty is related to the fact that you have to work full time (and in the theater it starts at 10:00 a.m. and ends at 22:00 p.m., and in the cinema, all day long), standing almost in one place. And you need to have very comfortable shoes so that your feet don’t get so tired.
In addition, the responsibilities of the ushers include maintaining order in the hall during a session or performance, so that no one walks around the hall, gets up from their seats, or speaks loudly; assist visitors in finding a place; answer their questions.
The salary leaves much to be desired and averages 1,200 rubles per month.
IN lately A new specialty has emerged, the so-called ticket takers, who check tickets to nightclubs. Their task is to check tickets upon entering nightclub. They also need to keep order during the disco and, whenever possible, resolve conflict situations with visitors. Everyone can work: both boys and girls. But clubs, to be completely sure of the safety of the club and its visitors, try to hire young people who are athletically built and have developed muscles. Some nightclubs have so-called face control. The security guard's task is not to allow dubious individuals into the club, regardless of whether they have tickets. This often leads to litigation, which is often aggravated by the visitor’s drunken state. Especially for such cases, the charter of any nightclub or entertainment complex must include the following provisions: “The administration has the right to refuse a visit without giving reasons,” and also “The administration has the right to remove any visitor from the club premises at any time without giving reasons.”
The working day (or rather, night) of a face control employee lasts from 20.00 to 4.00-6.00 in the morning. Due to some danger of such work, the salary is, of course, higher than that of a grandmother who checks tickets at the theater and communicates with the intelligent public. It averages 7,000–9,000 rubles.
So, if you are interested in cinema, theater or circus, you can become an usher there. Good luck!
You can't do this if...
You cannot stand on your feet for a long time.