The main means of expression in the theater is. Artistic (expressive) means of theater as an art form. The concept, signs and means of theatricalization
The main expressive means of performing arts is action. The purpose of an action is to change, alter the object to which the action is directed. In the art of acting, psychophysical actions are very important, which make up the acting game. Actions can be internal (directed at oneself) and external (directed at a partner or an object). The actions on the stage are performed by the actors. This is the main spokesman for acting. Everything in the theater is expressed through him. He speaks from the stage on behalf of the author, director, the whole team, therefore, the main expressive means of acting are important in his work: word, voice, movement, plastic. The word plays a huge role in the art of the actor. The word is the main expression of thought. A competent expressive speech is able to convey all the complexity of the spiritual image of a modern person. A voice rich in expressiveness can convey different nuances. The word is an instrument of action. The expressiveness of the stage movement is also very important in the work of an actor. Mimicry, gesture. The nature of an actor is masterly mastery of his body. Through posture, gesture, movement, the actor must be able to express the inner content. Smoothness and continuity of movement create plasticity. A psychological gesture is very important, which should be strong-willed, active, clear, large-scale, and embossed. Auxiliary expressive means are make-up, wig, stickers, costume, which emphasize and complement the image by contiguity or contrast. The expressive means of the theater include: music, light, make-up, mise-en-scene. Atmosphere, decoration, composition, rhythm, etc. The impact of music on a person is extremely great, thanks to its stage properties. She is able to display the feelings of a person, phenomena of the outside world, social conflicts, heroic deeds, etc. This is the strongest expressive means of the theater. Light is also one of the strongest means of expressiveness in theater. The light should interact with the texture of the stage clothes, costumes. Light contributes to the creation of a stage atmosphere. The atmosphere is formed by the actor and the proposed circumstances in which he finds himself. The main exponent of the atmosphere is the actor. The idea of the play is expressed through the atmosphere, the rhythms of stage life are expressed, the characters of the characters and their relationships are associated with it. The mission of the atmosphere is to save the soul of the theater from mechanization. The costume should emphasize the image, this decision of the image, which reflects the person's biography, character, nationality, characteristic features of the time. It is very important that make-up is not just an external cosmetic product, but an internal psychological content of the image. Another very important expressive means of the theater is the decoration, with the help of which the solution of the curtain, the possibility of a rotating stage, its lifting, the use of hatches, etc. are considered. The interior must match the character of the characters. The artist must be able to depict the play figuratively. Thus, there are a lot of expressive means.
MINISTRY OF EDUCATION OF THE AUTONOMOUS REPUBLIC OF CRIMEA
CRIMEAN STATE ENGINEERING AND PEDAGOGICAL UNIVERSITY
Faculty psychological and pedagogical
Department of Primary Education Methods
Test
By disciplineChoreographic, stage and screen arts with teaching methods
Means of expressiveness of theatrical art
Students Mikulskite S.I.
Simferopol
2007 - 2008 academic. year.
2. The main means of expressiveness of theatrical art
Decoration
Theatrical costume
Noise decoration
Stage light
Stage effects
Literature
1. The concept of decorative art as a means of expressiveness of theatrical art
Decoration art is one of the most important means of expressiveness of theatrical art; it is the art of creating a visual image of a performance through scenery and costumes, lighting and staging techniques. All these pictorial means of influence are organic components of a theatrical performance, contribute to the disclosure of its content, impart a certain emotional sound to it. The development of decorative art is closely linked with the development of theater and drama.
Elements of decorative art (costumes, masks, decorative curtains) were present in the most ancient folk rituals and games. In the ancient Greek theater already in the 5th century. BC BC, in addition to the skene building, which served as an architectural background for the acting, there were three-dimensional decorations, and then picturesque ones were introduced. The principles of Greek decorative art were assimilated by the theater of ancient Rome, where the curtain was used for the first time.
During the Middle Ages, the interior of the church, where the liturgical drama was played out, initially played the role of a decorative background. Already here, the basic principle of simultaneous decoration, characteristic of medieval theater, is applied, when all the scenes of action are shown simultaneously. This principle is further developed in the main genre of medieval theater - the mystery. The greatest attention in all types of the mystery scene was paid to the scenery of "paradise", depicted in the form of a gazebo decorated with greenery, flowers and fruits, and "hell" in the form of an opening mouth of a dragon. Along with volumetric decorations, picturesque ones (the image of the starry sky) were also used. Skilled artisans were involved in the design - painters, carvers, gilders; the first theater. The watchmakers were the machinists. Antique miniatures, prints and drawings give an idea of the different types and techniques for staging the mysteries. In England, the most widespread performances on pedzhents, which were a mobile two-story booth mounted on a cart. On the upper floor, a performance was played, and the lower one served the actors for dressing up. A similar circular or circular type of stage arrangement made it possible to use amphitheaters preserved from the Antique era for staging mysteries. The third type of decoration of the mysteries was the so-called system of pavilions (16th century mystery performances in Lucerne, Switzerland, and Donaueschingen, Germany) - open houses scattered over the area, in which the action of episodes of the mystery took place. In the school theater of the 16th century. For the first time, the location of the scenes of action is not found along one line, but parallel to the three sides of the stage.
The cult basis of theatrical performances in Asia led to the dominance of the conditional stage design for a number of centuries, when individual symbolic details indicated the scene of action. The lack of scenery was made up 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 took shape in Japan in the 14th century, a canonical type of decoration was created: on the back wall of the stage, against an abstract gold background, a pine tree was depicted - a symbol of longevity; in front of the balustrade of the covered bridge, located in the back of the platform on the left and intended for actors and musicians to enter the stage, there were images of three small pines
At 15 - early. 16th century in Italy a new type of theater building and stage appears. Major artists and architects, such as Leonardo da Vinci, Raphael, A. Mantegna, F. Brunellescia, took part in the design of theatrical performances. 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 a view of the street stretching 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 decorations were made of wood (roofs of houses, balconies, balustrades, etc.). The required perspective reduction was achieved by steeply lifting the tablet. Instead of a simultaneous set, the Renaissance stage was used to reproduce one common and unchanging setting for performances of certain genres. The largest Italian theatrical architect and decorator S. Serlio developed 3 types of decorations: temples, palaces, arches - for tragedies; city square with private houses, shops, hotels - for comedies; forest landscape - for pastorals.
Renaissance artists viewed the stage and auditorium as a whole. This was manifested in the creation of the Teatro Olimpico in Vicenza, designed by A. Palladio in 1584; in this t-re V. Scamozzi built a magnificent permanent set, depicting an "ideal city" and intended for staging tragedies.
The aristocracy of the theater during the crisis of the Italian Renaissance led to the predominance of external showiness in theatrical performances. The relief decoration by S. Serlio was replaced by the picturesque decoration in the Baroque style. The enchanting character of the court opera and ballet performance in the late 16th and 17th centuries. led to the widespread use of theatrical mechanisms. The invention of the telarii - three-sided 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 device of such movable perspective scenery is available in the works of the German architect I. Furtenbach, who worked in Italy and imposed the technique of the Italian theater in Germany, as well as in the architect N. Sabbatini in his treatise On the Art of Building Scenes and Machines (1638). Improvements in perspective painting techniques have enabled decorators to create the impression of depth without steeply lifting the tablet. The actors were able to make full use of the stage space. In the beginning. 17th century backstage scenery 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 scene.
The Italian backstage decoration system has spread throughout Europe. All R. 17th century In the Viennese court theater, the baroque backstage scenery was introduced by the Italian theater architect L. Burnacini; in France, the famous Italian theater architect, decorator and machinist G. Torelli with ingenuity applied the achievements of the promising backstage scene in court opera and ballet productions. The Spanish theater, which preserved as early as the 16th century. primitive fairground scene, assimilates the Italian system through the Italian thin. K. Lotti, who worked in the Spanish court theater (1631). For a long time, the city's public theaters in London have retained the conditional stage area of the Shakespearean era with a division into upper, lower and back stages, with a proscenium protruding into the auditorium and meager decorative design. The stage of the English theater made it possible to quickly carry out the change of scenes in their sequence. The perspective decoration of the Italian type was introduced in England in the 1st quarter. 17th century theatrical architect I. Jones in the production of court performances. In Russia, perspective stage scenery was used in 1672 in performances at the court of Tsar Alexei Mikhailovich.
In the era of classicism, the dramatic canon, which demanded the unity of place and time, established a permanent and irreplaceable set, devoid of any concrete historical characteristics (throne room or the vestibule of a palace for a tragedy, a city square or a room for a comedy). The whole variety of decorative and staging effects was concentrated in the 17th century. within the bounds of the opera and ballet genre, and dramatic performances were distinguished by severity and stinginess of design. In the theaters of France and England, the presence on the stage of aristocratic spectators, located on the sides of the proscenium, limited the possibilities of decorating performances. The further development of operatic art led to the reform of the operatic. The rejection of symmetry, the introduction of angular perspective helped to create by means of painting the illusion of a great depth of the scene. The dynamism and emotional expressiveness of the scenery was achieved by the play of light and shade, rhythmic diversity in the development of architectural motifs (endless enfilades of baroque halls decorated with stucco ornaments, with repeating rows of columns, stairs, arches, statues), with the help of which the impression of the grandeur of architectural structures was created.
The aggravation of the ideological struggle during the Age of Enlightenment found expression in the struggle of various styles and in decorative art. Along with the strengthening of the spectacular splendor of the Baroque scenery and the appearance of decorations performed in the Rococo style, characteristic of the feudal-aristocratic trend, in the decorative art of this period there was a struggle for the reform of the theater, for liberation from the abstract splendor of court art, for a more accurate national and historical description of the place. actions. In this struggle, the enlightenment theater turned to the heroic images of antiquity, which found expression in the creation of the scenery of the classicist style. This trend was especially developed in France in the work of decorators G. Servandoni, G. Dumont, P.A. Brunetti, who reproduced buildings of ancient architecture on stage. In 1759 Voltaire achieved the expulsion of spectators from the stage, freeing up additional space for decorations. In Italy, the transition from Baroque to Classicism found expression in the work of G. Piranesi.
The concept, signs and means of theatricalization
The word "theatricalization" comes from the word "theater". To dramatize a club event means to liken it to a theatrical action, in which the synthesis of various expressive means is represented by stage (verbal) action, musical design, light, noise, props, props, costumes, elements of a visual solution, make-up, dances.
The same picture can be seen in complex club events. All of the above means are used in thematic evenings, shows, performances, theatrical concerts, literary and musical compositions, concerts and performances.
Theatrical forms of cultural and leisure activities have a number of signs.
1. Extensive use of means of theatrical expression. The fact is that the same expressive means (music, word, document, fact) in one case are used as an illustration for a narration on a chosen topic (for example, music sounds like an illustration after a story about the composer's work in a lecture, conversation), in the other case, they act as equal links of the same chain. That is, in a club event, both the document and the artistic image carry an equal semantic load.
2. An organic combination of documentary and fictional material ... But even one that satisfies these two characteristics, a club event cannot yet be considered completely theatrical, if some part, episode, or fragment of it is subjected to “theatricalization”. For example, in the evening, only a “meeting of guests” or a festive concert is theatrical, in which numbers of different stage genres are used.
3. The main feature of the theatrical event is the compositional solution according to the laws of drama ... The elements of the compositional solution are: - prologue, opening, chain of events, one of which is the culmination, and the denouement. The compositional construction of the theatrical event has a clearly developed system of episodes and fragments. There is a conflict in one form or another in a club event, but not as clearly expressed as in a theatrical performance. For example, in the holiday "Farewell to Winter" - a conflict - the struggle between spring and winter.
Therefore, to prepare and conduct a theatrical club event, it is:
- to build it compositionally, - to achieve the organic unity of documentary and figurative material, - to embody it with all the necessary means of theatrical expressiveness.
Means of "theatricalization".
1. Music. We meet musical works or their fragments at holidays, mass celebrations, carnivals, shows and other theatrical programs. Music can be a reference point in time and space. It can create the desired emotional mood, both before the start and during the event, it can have an independent meaning or serve as a background for stage action.
2. Cinema- feature films and documentaries or their fragments, fiction, animation, serious and comedy, professional and amateur - can be used as an expressive means. The technique of appearing on the stage from the screen of those about whom we are talking about at a club evening is widely known.
3. Fiction. A literary work or its fragment plays an important role in the composition and can be a prologue, a set, links between episodes, a final part. It can be both poetic and prosaic material.
4. Artistic word- carries the main semantic load in the theatrical performance. It can be sung by one reader (presenter) or by a group. The simplest example is reading poetry or prose accompanied by music. Reading can be accompanied by a pantomime, dance, film clips.
5. Painting l is a necessary element of any theatrical performance, contributes to the clarity and reliability of what is happening at the event (portraits, decoration elements - houses, streets, trees, prison cell, etc.). Painting effectively "works" when its display is accompanied by well-chosen music or artistic words.
6. Pantomime Is action without words. It can be accompanied by music, specially selected sounds, symbolizing, for example, the beating of a heart, the rhythm of a working mechanism, etc. With the help of pantomime, you can show a calm sea and an impending storm, wind, a blossoming flower. It all depends on the director's imagination and the skill of the performers. The costumes of the participants in the pantomime are stylized or unified, but they can also be ordinary theatrical ones.
7. Dance. All types of dances are common in club practice. The possibilities of dance, as an expressive means, are not limited only to illustrating a particular thought or thought already expressed by other means. Dance can become a full-fledged plot element of the entire theatrical performance.
8. Theatrical art- in his own way synthesizes music, dance, artistic word, literary works, pantomime. In the club theatrical performance, not the whole performance is used, but its individual fragments. Therefore, we can talk about small theatrical forms - staging of prose or poetry, or even documents. Numbers with puppets, techniques of shadow theater, excerpts from opera performances, operettas are successfully used. The main thing is that this material organically fits into the context of the event.
9. Artistic and documentary photography. A successfully found picture within the framework of a theatrical performance can be exposed as long as the text, music or action needs in time.
10. Variety and circus art is used as a means of emotional impact. Funny eccentric numbers, jokes, humor, entertainments, magic tricks, comic dances, reprises, couplets, parodies are introduced into the script.
11. The game- is also a means by which a theatrical mass action is built. In this case, the game is considered not from the point of view of the essence of the theatrical event (holiday, theatrical competition), but from the point of view of its organization in the pedagogical aspect, especially when organizing children's theatrical events. Playful activities can be part of leisure activities or act as a specific form of mass work. In a mass event, the game is used as an effective means of involving people in a mass theatrical action, causing an emotional experience with its spectacularity, and creates the necessary festive mood. Theatrical play action can become an active part of any theatrical event and greatly contribute to its success.
Thus, all forms and genres of art are practically applicable in theatrical cultural and leisure activities. Their selection depends on the scriptwriter and the real possibilities of the leisure institution.
The modern viewer is brought up on the impressions generated by visual culture, the dynamism of which is a kind of evolution of the imagination that forms new ideas about the forms and methods of interaction with artistic culture.
For the theater, the actual tasks today are: innovative directorial ideas, the synthesis of types of arts and the penetration of modern computer technologies into the theater, which require updating the appearance of the performance and its scenographic solutions.
Describe the typological methods of using metaphor in the system of expressive means in scenography, necessary for a director and an artist to create a theatrical performance.
Metaphor issues are considered by modern scientific schools. It is relevant to consider the problem of metaphor in the language of the tetra and the language of the scene, in the context of the polysemic representations of the authors of the concepts. Which are represented by both theorists and practitioners of contemporary theater and stage design.
In 1931-1941. In the works of the structuralists of the Prague Linguistic Circle, examples of the application of general theoretical postulates of semiotics to the phenomenon of theater appeared for the first time. The founders of the new direction were O. Zikh, J. Mukarzhovsky, P.G. Bogatyrev. In subsequent years, R. Barth developed the semiotic concept of the extra-linguistic language of art, formulated the concept of the system of signs and the structure of myth. A. Ubersfeld in his book "On the Theater" presents an analytical concept of the concept of a sign in the theater, where he summarizes private studies of the semiotic theory of theater.
The integration concept of the representatives of the Polish semiological school considering the versatility of the theatrical sign is presented in a review of the modern theory of drama by the Dutch researcher Aloysius Van Kestern.
In the work of G.G. Pocheptsov's "History of Russian semiotics before and after 1917" examines the communicative nature of theatrical processes, semiotic multilingualism, characteristic of the theater.
The problem we are considering: metaphor as a means of expression in scenography includes three components:
· The value of semiotic knowledge in art;
The use of metaphor in directing theatrical performances
The peculiarities of the state of scientific knowledge in the information age ensure the outstripping rates of development of the integration branches of knowledge. In the humanities cycle of sciences, semiotics from the point of view of information saturation occupies a leading position. One of the targeted purposes of this science is to form the basis for classical knowledge based on empirical experience.
Semiotic analysis of contemporary theatrical art considers stage action as a special language of the theater, which expresses a number of conventions in relation to art and reality, and is a source of semantic information transmission. The language of the theater and the language of the stage in a cultural and creative environment is a component of the communication process system. The increasing complexity of the methodology of the theatrical environment leads to the need to search for new structural features of the stage composition.
The director and theatrical artist create in the performances a full-blooded and multifaceted world of aesthetic values, in which the symbol, metaphor, and allegory are the leading means of expression that create a special language of theatricalization. The poetic, documentary and philosophical sound of such representations requires their creators to know the patterns of using allegorical expressive means and their differences from each other.
The concept of a symbol is endowed with a huge variety of meanings that are potentially present in every symbolic image. A symbol can also be included in a metaphorical construction, but it is not necessary for him. The formal difference between a symbol and a metaphor is that a metaphor is created, as it were, "before our eyes": we see exactly which words, concepts are compared, what their meanings come together to give rise to a new one.
The use of symbols and associations in solving each episode of the performance should carry a huge semantic load, and not be just an illustration. Then every detail on the stage turns into a realistic symbol that helps the director's poetic comprehension of real life material and the creation on its basis of a figurative-metaphorical structure that requires maximum purity, accuracy, and concreteness of expressive means.
An expressive means of emotional impact is a metaphor, the construction principle of which consists of comparing an object with any other object on the basis of a common feature for them.
There are three types of metaphors:
Comparison metaphors in which an object is directly compared to another object;
Riddle metaphors in which an object is "disguised" as another object;
Metaphors in which properties of other objects are attributed to an object.
The director and the artist can use metaphor as a means of constructing stage images. Any metaphor is designed for non-literal perception and requires the viewer to understand and feel the figurative-emotional effect it creates. Back at the end of the 19th century, the French poet and playwright Alfred Jarry (grotesque puppet drama King I Kill) began to translate the verbal metaphor into the plastic language of the stage in order to create a figurative structure, a poetic deepening of thought, allowing the director to bring the performance's solution to a philosophical generalization.
In modern scenography, it is possible to define the following typological methods of using metaphor in the language of theatricalization:
Metaphor of decoration, which includes: layout, construction, decoration, details, light. Their ratios can express the basic semantics of the performance.
The metaphor of pantomime, where the material of the expressive language is the sign. The content of the action, the entire classical "text" is a continuous chain of signs logically arranged in form, capacious and clear in content. The metaphor of pantomime becomes a generalizing artistic image if its action is based on - struggle, dynamics, figurative plasticity, monumentality.
A metaphor of mise-en-scène, which requires careful development of plastic movements and verbal action to create a generalized artistic image.
A metaphor in acting, which is a figurative means of theatrical expressiveness. The director creates images of great generalizations, Individualized images are filled with grotesque.
The use of metaphor in theater scenography is necessary for the director and artist to solve new problems. Through the method and form, the viewer should perceive the content and, perceiving it, should not notice the means that convey this content to his consciousness and form an active attitude to the stage information received.
In modern theatrical life, the viewer may find itself in a state of misunderstanding with its rich diversity and multivariate character. Means of allegory, both in directing and in scenography, should be inextricably linked with the “life experience” of the theatrical spectator, be conditioned by this experience, be understandable and contribute to further artistic, intellectual development and evolution of the worldview.
The results of the study make it possible to further study focus on the problem - "compositional organization of the scene."
Technical means as an element of scenography.
SCENOGRAPHY - the art of creating a visual image of a spectacular performance through decorations, costumes, light and color, props, props and staging techniques. All artistic, decorative and technical means that are used by club institutions in the implementation of the scriptwriting and directing concept of a particular program, events, are considered by scenography as elements that create a single artistic form of this program. Scenography, developing the concept of the event as a whole, as it were, unites within its framework all the main components, from which an integral form is created: the action of the participants and the play of the performers, as well as the script-director's solution, artistic and decorative, lighting, sound solutions. It is not only about solving the stage area, but also about the entire space: stage, auditorium, foyer, club building and approaches to it. At the same time, all available means are guided by the solution of the main task - the creation of an artistically integral event with an optimal environment within the classroom interpersonal communication. Thus, the main elements of scenography are: artistic and decorative solution of the interior and stage space, stage technique, lighting, sound solutions and, of course, costumes. The main feature of club scenography, its difference from theater scenography is not in creating a stage environment for actors, but in achieving optimal conditions for the life of people who have gathered together, who are both participants and spectators of the event. This means that a requirement of functional expediency is imposed on any means of expression, that is, with what script-director function it is introduced into a given event. If we proceed from the fact that any cultural event goes through three main stages of creation (scenario-direction-performance), then the complex use of TS involves, first of all, their use either directly as means of artistic expression at each of these stages, or as means of optimizing the action ... Each stage has its own expressive means, and the creative worker must clearly understand the capabilities of the TS in them. Detail in any event with which real participants and performers interact is the most important element of the external form of every creative performance. Depending on the genre of the event and the degree of its theatricality, the details can be real objects taken from life, or fake ones that only vaguely resemble them. This determines the quality of the detail. It can exist directly or be indirectly presented in the form of a slide, holography, film reel, photography, etc. Technical means of fixing a fact have a number of advantages over others. First, they have a large so-called "information capacity" (for example, a slide portrait in color provides instant information about a person in several parameters at once: age, appearance, mood, character, etc.). Secondly, TS have the same ability to transmit both rational and emotional information. This is important in the sense that the means of fixing a fact, once in the script, become at the same time a means of influencing the audience, which is always more interested in “watching the facts” than listening to a story about them. Therefore, already at the stage of collecting and selecting factual material for a future plot, using means of fixation, the material is given the necessary color, a different interpretation. Thus, TS increase the efficiency and quality of recording a fact, the efficiency of collecting material; TS allows you to record facts from different angles; against a different background, highlighting the most characteristic, the most significant for us, that is, they allow already at the stage of collecting facts to convey the author's vision of the material, to show local material from an unusual angle of view. The audiovisual nature of the vehicle significantly expands the possibilities of using the so-called "recognition effect" for this purpose. After all, the characters and circumstances in the visual and auditory perception of the audience appear as they are known, "as in life." And the more factual material is recognized on the screen or on the air under the conditions of a mass event, the more interest this material is, the weaker the critical attitude to the idea - which that material carries or motivates. The process of finding a successful scenario is of exceptional importance in the plot-compositional processing of the material, that is, the way of telling the story, presenting the plot that passes through the entire theatrical event, is the basis of its entire structure. He has a significant impact on almost all elements of theatricalization, and often even performs the function of the plot itself. The transformation of some kind of light and sound technical effect in the context of the development of a theatrical action can perform the function of a kind of scenario move (technique) that passes through the entire event and determines its compositional structure, or act as a generalized image.
a) Text . Theatrical performance is based on text... This is a piece for a dramatic performance, in ballet it is a libretto. The process of working on a play is to transfer the dramatic text to the stage. As a result, the literary word becomes a stage word.
b) Stage space . The first thing that the viewer sees after opening (raising) the curtain is stage space in which are located Scenery... They indicate the place of action, historical time, reflect the national flavor. With the help of spatial constructions, even the mood of the characters can be conveyed (for example, in an episode of the hero's suffering, plunge the scene into darkness or tighten its backdrop with black).
c) Stage and auditorium . Since antiquity, two types of stage and auditorium have been formed: stage-box and stage-amphitheater The stage-box provides tiers and a parterre, and the stage-amphitheater is surrounded by spectators from three sides. There are two types in use in the world today.
d) Theater building . For a long time, theaters were built on the central squares of cities. The architects wanted the buildings to be beautiful and to attract attention. Coming to the theater, the viewer abandons everyday life, as it were, rises above reality. Therefore, it is no coincidence that a staircase decorated with mirrors often leads to the hall.
e) Music . To enhance the emotional impact of a dramatic performance helps music... Sometimes it sounds not only during the action, but also during the intermission to keep the audience interested.
f) Actor . The main face of the performance is actor, which creates an artistic image of a variety of characters. The dialogue of actors is not only words, but also a conversation of gestures, postures, glances and facial expressions. The concept of actor and artist is different. Actor is a real estate, a profession. The word artist (eng. Art - art) indicates belonging not to a certain 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 the stage to be perceived as a whole, it is necessary to organize it thoughtfully and consistently. These responsibilities are fulfilled director. The director is the main organizer and director of the 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. Director - stage director, teacher and educator of the actor.
Depending on the advantages of certain means of stage expressiveness, the following are distinguished types of theater
1. Drama theater. The main means of expression is the word (it is no coincidence that this theater is sometimes called colloquial). The meaning of the events taking place on the stage, the characters of the characters are revealed with the help of words that are added to the text (prosaic or poetic).
2. Opera(originated at the turn of the 16th - 17th centuries in Florence). In opera, the convention of the theater is especially obvious (in life, people do not sing to talk about their feelings). The main thing in opera is music.
3. Ballet theater(formed in the 16th century on the basis of court and folk dances). The very word "ballet" comes from the late Latin ballare - to dance. In the ballet, the events and relationships of the characters are told about the movements and dances that the artists perform to music composed on the basis of libretto (Italian libretto is a literary text of an opera or a script for ballet and pantomime, which sets out the content - the sequence of actions on the stage).
INTERMEDIATEtypes of theaters.
4. Operetta(appeared in France in the second half of the 19th century). The plots are usually comedic, conversational dialogues alternate with singing and dancing. Sometimes musical numbers are not connected with the plot and are interludes.
5. Musical(appeared at the end of the 19th century in the USA). This is a stage work (both comic and dramatic in terms of the plot), which uses forms of pop art, dramatic theater, ballet and opera, and everyday dance. The musical is art for everyone. The plots are usually simple, and the melodies often become hits.
6. Pantomime. The most ancient type of theatrical performances, which originated in antiquity (Greek "pantomimos" - everything reproduces by imitation). Modern pantomime is performances without words: these are either short numbers, or a detailed stage action with a plot. Supporters of this type of theater believe that a gesture is truer and brighter than a word.
7. Cabaret theaters(appeared at the end of the 19th century throughout Europe) is a combination of theater, variety art and restaurant singing. the basement is like something extraordinary, a little forbidden, underground. Cabaret performances (short scenes, parodies or songs) both for the public and for the performers had a special experience - a feeling of unrestrained freedom.
8. Puppet theater. A special kind of theatrical performance. It appeared in Europe in the period of antiquity. In ancient Greece and Rome, home performances were played. Only puppets or puppets in puppeteers (actors) participate in the performances. The most common dolls are guided with threads, gloves and reeds.
A special form of puppet theater is the theater of puppets, wooden puppets.
9. A special kind of theater - Children's theater. One of the first performances for children was the work of the Moscow Art Theater. In 1908 Stanislavsky staged a fairy tale play The Blue Bird. This production determined the path of development of the performing arts for children - such a theater must be understandable to a child, but by no means primitive.
Variety theater.
11. Theater of miniatures Is a community of artists who prefer small art forms (monologue, verse, sketch). The repertoire of the theater consists of small one-act plays and theatrical performances of comedy and satirical genres, which are characterized by grotesque and parody trends.
12. Plastic theater- theater, which uses the expressive means of drama, dance, pantomime, circus, stage and actor's plasticity. Formed in the 30s. XX century. Further, dance is actively included in the plasticity of this theater, which determined the emergence of a new direction in Russia - dance theater or choreoplastic theater.
The director solves the creative and technical tasks of the performance, directs and creates the stage world. Director(from him - to manage) - the one who manages, leads. In French, he is a master of mise-en-scène.
Mise-en-scene(fr. - staging on stage) is the arrangement of actors on the stage at each moment of the performance. The alternation of mise-en-scenes in the order in which the piece prescribes gives rise to the stage action. Sometimes another term is used - director. The process of working on a play involves translation, transposition of a literary text into a special language of the stage. The director reproduces, i.e. puts the play on stage with the help of actors, a decorator, a composer, etc., whose actions and creativity are subordinated to his director's intention.
Stanislavsky Konstantin Sergeevich- Russian theater director, actor and teacher, theater reformer. The creator of the famous acting system, which has been extremely popular in Russia and in the world for 100 years.
In 1898, together with Vladimir Ivanovich Nemirovich-Danchenko, he founded the Moscow Art Theater (MHT), which was later renamed the Moscow Art Academic Theater (MHAT).
The main thing in stage ethics of the actor- teaching about art, which is designed to educate, ennoble the viewer. General ethics include: an actor's citizenship and patriotism, humanism, generosity and hard work. Ethics is a teaching about creative discipline, it is artistic moral norms under which an actor is formed and without which collective creativity is impossible.
The well-known statements of K.S. Stanislavsky:
"I do not believe!"
"Love art in yourself, not yourself in art"
"There are no small roles, there are little artists."
"Cough up before entering the theater, and once you enter it, do not let spit in all corners any more."
Books by K.S. Stanislavsky:
My life in art
The work of the actor on himself
Stanislavsky system- the highest achievement of theatrical culture, which had a huge impact on the performing arts of the world. In KS Stanislavsky's system, the theory and practice of the "art of experiencing" has found a comprehensive expression.
The art of an actor is the art of creating a stage image, a type of performing art. The material for creating the image is the natural data of the actor: speech, body, movements, facial expressions, emotionality, observation, imagination, memory, etc.
Task Stanislavsky's systems - mastering normal human well-being and behavior, which allows one to think, act and feel on stage according to the same laws by which every person thinks, acts and feels in real life. To achieve this, the actor needs to work on improving his internal and external technology.
Task internal techniques are the mastery of the actor's well-being: attention, muscular freedom, faith in the proposed circumstances, assessment of a fact, a sense of rhythm, willingness to act, communication.
Task external techniques: to make the body of the actor compliant with the inner impulse, the development of voice, plastic culture, a sense of rhythm.
The main sections Stanislavsky systems:
work of the actor on himself
the work of the actor on the role
ethics(teaching about creative discipline)
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