What is scenery in a theatrical production. Topic: Methods of teaching scenography on the example of the topic: “Types and types of scenery

In theatrical performances, the viewer appreciates not only the director's skill or acting, but also the stage design. As a result, sets become an important part of almost any performance, and many theater artists are recognized as independent creators. There are many types of decorations, from screens and wings made of fabric and plywood to the most complex virtual images, which are created using HP computers and storage systems.

The history of development

The forerunners of modern scenery date back to ancient Greece. Painted boards were put forward from an extension called skena. The classical theater, consisting of a stage, wings and auditorium, appeared only in the 16th century in Italy. It was here that picturesque scenery made on canvas first appeared. A little later, such canvases were made changing.

Modern scenography uses the centuries-old experience of theaters in different countries. In the artist's arsenal there are many techniques that are used individually or in combination. Decorations can be classified as follows:

• curtain-arched;
• drawstring-movable;
• pavilion;
• volumetric;
• projection.

As a result, the illusion is created that the action takes place exactly where it is indicated in the play. At the same time, the peculiarity of theatrical art is such that accurate drawing of details is not required.

Virtual decoration of performances

Modern trends and trends are widely used in decoration. The most popular combination of active and passive stage design. Images created on a computer, real video are used as active scenery. In addition to externalities, the use of this method saves significant funds.

To create virtual scenery, projection equipment must be purchased. Professional systems are no longer separate computers, but server solutions (for example, an HP server). With their help, you can not only display the selected images, but also create them, process and store them.

Keywords: Stage decoration, what are the scenery, Virtual stage design, backstage-arched, backstage-movable, pavilion, volumetric, projection, Modern scenography, HP server, HP storage systems, Development history

Material from Uncyclopedia

Scenography is the art of creating a visual image of a performance by means of scenery, costumes, light, staging techniques (see Stage Technique). All these pictorial means are components of a theatrical performance, contribute to the disclosure of its content, impart a certain emotional sound to it. The development of scenography is closely related to the development of fine arts, architecture, drama, cinema.

Decoration- stage design, which recreates the setting of the performance, helping to reveal its ideological and artistic conception. In a modern theater, decorations are prepared using a variety of artistic and technical means - painting, graphics, sculpture, light, projection and laser technology, cinema, etc. Development history scenography identifies several types of scenery associated with the specific requirements of the theater, drama, aesthetics of a particular historical era, the level of its science and technology.

Scenic decoration was widely used in the 18th century. Beautiful and complex backdrops were painted, on which entire architectural ensembles or interior elements were often depicted, that is, a picturesque background of the performance was created.

At the end of the 18th - beginning of the 19th century. with the development of realistic theater, a departure from the purely decorative and spectacular tradition of design is outlined. Instead of the traditional background, depicting the scene, the stage began to recreate in detail a certain setting that was required in the course of the action. Appears pavilion- a room closed on three sides, consisting of wall-frames; its use has increased the possibilities of using a variety of mise-en-scenes in the performance.

One of the common types of decorations, developed in the 17th-19th centuries, is swing arm movable decoration, consisting of wings located at a certain distance one after the other from the portal into the depths of the stage. (The portal is the architectural frame of the stage, separating it from the auditorium.) The wings were made of various materials (fabric or wood) and various configurations - elements of landscape, architecture, etc.

Volumetric decoration is based on the use of volumetric parts in a system of flat walls. Ramps, practice, stairs and other volumetric elements allow you to diversify the layout of the stage space, change the depth and width of the stage box in accordance with specific requirements. An important role in the construction of a three-dimensional decoration is played by stage machinery - a revolving circle, a system of fly-bars, a mechanically driven truck - devices for moving parts of the decoration design on the stage.

Simultaneous decoration based on an open simultaneous display of all locations of the performance. This type of decoration was actively used in the medieval theater and the Renaissance theater. In our time, simultaneous scenery was often used in theaters in the 40s and 60s.

Spatial decoration is close to simultaneous in the way of organizing various locations into a single installation, but it is not limited to the stage box, but includes the auditorium and the architecture of the theater building in its visual system. Scenes in this type of set can be dispersed at various points throughout the theater complex.

In modern theatrical art, a wide variety of types of scenery and performance design techniques are used.

One of the most important components of the performance design is stage light... The light on the stage is the "magician" who, completing the works of the artists and the staging part, transforms the scenery: the painted canvas turns into velvet and brocade, plywood and cardboard - into steel or granite, tin - into crystal, glass - into diamond, foil - in gold and silver. The light skillfully placed on the stage creates the impression of hot or cold, “sunny morning” or “winter evening”, “autumn darkness” or “clear bottomless sky”. Stage light is also designed to create stage effects. But the most important purpose of lighting on stage is to help create a certain atmosphere that is necessary in the course of the action. It can be neutral or, conversely, emotionally colored - festive, anxious, dull, carnival-dynamic.

The light on the stage is set at special light rehearsals, when the performance design is completely ready and assembled. This is done by the lighting department headed by the lighting designer, together with the production designer and director. All lighting equipment can be divided into directional and scattered light devices. Colored lighting is achieved with colored glass or plastic filters. The lighting equipment is located both inside the stage box and outside it, in the auditorium (the so-called portable). On stage, the equipment is attached to portals and galleries. In addition, portable devices are installed in the wings on tripods. Above the stage, in its entire width, there are soffits, into which a whole set of various lighting devices is mounted. The soffits are hidden from the audience by padugas, they are raised and lowered with the help of the grate system.

The light in the play can be very complex, with many changes in the course of the action. This complex economy is controlled by a regulator, to which the wires from all lighting fixtures converge. The work of the illuminator-regulator is greatly facilitated by the automatic regulator. In such a regulator there are several programs that are preset. Programs change during the show with a simple push of a button.

The creation of a light score for a performance is a very difficult and time-consuming business. Each new performance sets its own tasks for the artist and illuminators, and the search for accurate, expressive light requires imagination, experiment, and a creative approach.

Theatrical costume helps the actor to find the external appearance of the character, to reveal his inner world, to determine the historical, social and national characteristics of the environment in which the action takes place. A necessary addition to the costume is makeup and hair.

The set designer embodies a huge world of images in costumes - acute social, satirical, tragic, grotesque, etc. This is evidenced, in particular, by the excellent works of Russian artists in all types of theatrical art - ballet, opera house, drama theater.

Outstanding Russian artists V.D. Polenov, V.V. Vasnetsov, I.I. Levitan, K.A.Korovin, V.A. , poetry of fabulous images.

The remarkable skill of the artists of the "World of Art" (artistic association of the late 19th - early 20th centuries) - A. N. Benois, L. S. Bakst, N. K. Roerich, I. Ya. Bilibin, M. V. Dobuzhinsky played an important role in the production of opera and ballet performances, had a great influence on Western European theatrical art.

In the Russian theater in the 20-30s. set designers strive to create synthetic performances, use the spectacular motifs of harlequinade, tragedy, pantomime, circus, agitation theater. Scenography was intended to provide "a rhythmically and plastically necessary basis for the manifestation of acting", to convey "the rhythms of the creation of a new state."

The performances staged by V.E.Meyerhold, A. Ya. Tairov, E.B. art - V. Ye. Tatlin, A. I. Rodchenko and others.

The works of famous theater artists - I.M.Rabinovich, V.V.Dmitriev, B.I.Volkov, P.V. Williams, V.F. Ryndin, S. B. Virsaladze and others combine the traditions of Russian theatrical and decorative art with innovative discoveries of modern scenography.

Rental block

The requirements for decorations can be formulated as follows: strength, lightness, ease of manufacture, portability, quick assembly and disassembly, high artistic quality.

Theatrical scenery is divided into two types - hard and soft. Rigid decorations can be volumetric, semi-volumetric and flat. In addition, they are divided into playable and non-beaten. The playable design elements are those that are used by the actors during the action - these are decorating machines, stairs, railings, trees, cabinet doors, etc.

Soft decorations are scenic, applique, draped, and smooth.

The main material from which rigid decorations are made is coniferous wood. Wood is relatively cheap, easy to machine, paint, paste. But in some cases, wood is replaced by rolled metal of various profiles. The production of openwork planar and volumetric contours of a complex pattern, decoration machines with through spans, light stairs on thin bowstrings and many other decoration elements is often simply impossible without the use of thin-walled steel or duralumin pipes. Often, decorations made on a metal base are much lighter than wooden ones.

Soft decorations are sewn from a wide variety of materials - canvas, teak, tulle, velvet and many others. Synthetics, nonwovens, and technical fabrics are widely used here.

The practice of the theater has developed certain techniques and rules for making decorations, many of which have not lost their importance to this day. The standard decoration frame, developed over a hundred years ago, is still the basis for the constructive solution of almost all rigid decorations: pavilion walls, machine tools, ceilings, etc. masses) still does not lose its importance and is the technological base of fake production. The rules for sewing backdrops, curtains, rugs have also remained almost unchanged.

It is impossible to describe all the methods of production of theatrical scenery. It is always a creative search, always the development of special artistic and technological techniques. But no matter how varied the design and technological solutions are, they are always based on the main principles that are valid for all theatrical production.

HARD DECORATIONS

Pavilion decorations consist of separate frames covered with canvas and are divided into blind, with openings, single and folding.

The process of making the pavilion begins with chalk drawing all its life-size walls “face down” on the floor of the workshop. In the template drawing, lines of warehouses and joints of individual walls are drawn, window and door openings are marked, etc.

Then, along the lines of the drawing, the bars are laid out and cut to size, from which the frame is assembled.

The joint is covered with liquid carpentry glue and pierced with two or three nails with the obligatory bending of the ends protruding to the front side. In addition, corner joints are reinforced with a plywood kerchief, also using glue and nails. In order for the frame to be strong and rigid, additional bars are introduced into its structure, called handbrakes, middle braces and braces.

The frames are tightened with canvas after preliminary assembly of the pavilion in the workshop.

Log walls are imitated by embossed frames, sheathed with cardboard, plywood or thin boards. For the manufacture of hewn log walls, thin slats with beveled edges are stuffed onto the decorative frame, and pasted over with canvas. A loose hemp rope is glued into the grooves, imitating a caulk. At the same time, it closes the gaps between the slats, through which the light of the backstage lighting can be seen.

The imitation of logs works well when properly profiled thermoplastic sheets are stuffed onto the frame.

The doors used in the theater differ from the usual ones in their lighter construction. Everything that decorates the door is done only from the front side. Such doors are called one-way doors. Doors opening inside the pavilion are extremely rare.

Windows are made attached, hinged and plug-in. Hinged windows are those that are hung behind the opening and do not rest on the stage table. This method, as well as the plug-in, is used in the case of small sizes and small widths of the box. Hanging large-sized windows leads to loss of wall stability and complicates its fastening.

The arches found in the architecture of the pavilion, depending on their size, can be solid, folding and collapsible.

Assemblies are flat decorations with a complex top outline. They are used to depict distant views of the landscape - forests, mountains, city houses, etc.

The ceilings used to cover the pavilions are divided into soft and hard ceilings.

For ceilings, a dense white fabric is usually chosen. Bleached teak mimics a bleached stucco ceiling well, while pile fabrics such as bikes create a softer surface.

In the theater, stands are called temporary platforms for receiving platforms of various heights and shapes. According to their functions, the machines are divided into play and work machines. Play machines are those that are in full view of the audience and are part of the decoration of the performance. Workers are machines that stand behind the scenes or behind the scenery. They serve a purely service function, allowing the actors to climb on or off the playground. By the location of the flooring relative to the stage, the machines differ into horizontal and ramp, i.e. inclined. And, finally, according to the manufacturing method - into collapsible, non-collapsible and folding. Theatrical looms, despite all the variety of shapes and sizes, are built according to a single principle, which is based on a combination of frames carrying a wooden flooring. In the most general form, the machine is a rectangular frame assembled from wooden frames, on which the flooring is laid in the form of separate boards

By their design, stage staircases are divided into attached, overhead and overhead. And in terms of functions, as well as machines, they differ into play and work.

Various kinds of railings and balustrades used on the stage are decorative details of design and at the same time protective protective equipment.

Openwork "metal" gratings are made of thin-walled steel pipes, thick wire, plywood. Flat thin ornaments are bent from parallel wires, the space between them is sealed with fabric.

The widespread use of movable platforms in the assembly solution of the performance is explained by their portability, mobility and simplicity of design. The form of temporary sites, their number, the nature of the movement are determined by the artistic and assembly design of the production.

The design of the truck, the need for guides and the drive system are determined by the nature of the movement of the platforms. Stage fourships are divided into three types: rectilinear, curvilinear and rotational (circular) movement.

SOFT DECORATIONS

Soft decorations include frameless decorative elements made of soft, elastic materials - fabrics of natural and synthetic fibers, tulle, nets, synthetic films, etc. applique backdrops, tulle curtains, rugs. Techniques for sewing and processing soft decorations depend on their purpose, the nature of their use and the required appearance.

The technique of execution and the choice of material for the wings and frames, which carry a pictorial function, depend on the specific task of the artist. It can be an unpainted canvas, burlap, gauze gathered in a thick fold, painted or applique canvases, rigid frames covered with fabrics, various kinds of nets and weaves of cords, etc., etc.

The entr'ac curtain belongs to the category of stage clothing. For the manufacture of curtains, heavy fabrics of the silk group are most often used - velvet and plush.

When using light transparent fabrics, a dense lining of harsh coarse calico, painted in the color of the main material, is required.

Transparent backdrops - backs with translucent parts, backlit, are combined from fabrics of different density. The main canvas is sewn from a dense opaque fabric, in which, according to the sketch, cutouts of various sizes and shapes are made.

Sew-on applications can be flat and embossed. The application method is used to achieve not only the effect of spatial depth and volume of details, but also a greater play of individual elements, achieved by using fabrics of different textures.

The embossed parts are made of foam rubber, pasted over with a fabric impregnated with a fire retardant compound. Ornaments are made with a patch of cords, ropes, etc.

Doormats in the theater are canvases laid on a stage tablet in order to disguise the flooring boards, to give the stage floor a certain color or texture. For the manufacture of rugs, mainly bleached fabrics of high strength and dense weaving structure are used: double-thread, teak, tent, technical cloth, etc. For various imitations, canvas, pile fabrics, thin tarpaulins, semi-velvet, etc. are used.

The effect of an earthen or snow cover is also achieved by patching soft reliefs. Stripes of gauze or canvas gathered in bundles or a small fold of gauze or canvas, the so-called "zhe-vanka", sewn in parallel rows, can represent plowing or loosened soil. Irregularly shaped pillows trimmed with uneven layers of gauze and tulle - loose snow. The stone slabs are of the same quilted rectangular pillows, and the cobblestone pavement is made of soft cloth hemispheres.

Chopped fibers of unbraided cotton or sisal rope are sewn or glued onto vegetable, "grassy" rugs, combed bunches of bast. The denser the fibers are sewn and the more often their rows are located, the thicker and thicker the grass carpet, the more imperceptible the base becomes. Rugs covering looms are most often sewn in the form of covers.

THEATER BOTTOM

Props making is a vast branch of theater technology. From the whole mass of existing techniques and methods, the most important technological processes that underlie this production can be distinguished. These include: work with papier-mâché, metal, plastics, synthetic materials, mastics and pastes. Each of these processes can be applied alone or in combination with others in any kind of product.

Papier-mâché method

Gluing paper products on a molded shape is one of the most common methods of making theater props. The papier-mâché process is divided into four main stages. The first stage is modeling clay model. The second is the molding of the model with a plaster mass. The third is an imprint of the product with paper in a plaster form. And, finally, the fourth - mount and print painting.

The printing process consists of gluing the product with pieces of paper soaked in flour paste.

Paper prints can also be made directly from models or finished originals, pre-lubricated with petroleum jelly.

Cardboarding works

As an independent ornamental material in theatrical production, cardboard occupies a rather modest place. It is mainly used for making items that do not require special strength and are very light in weight. These include decorative, hat and surprise boxes, some types of hats, book spines.

Metal works

In the process of making theatrical props, many methods of processing various metals are used - knitting of wire frames, stamping, metal-plastic, embossing, punching, casting. The main materials used in fake production are: roofing iron, sheet brass and copper, sheet metal, annealed knitting and steel wire, tin, aluminum, metal foil. Wire frames are used in the manufacture of sculptures and large props, bushes, trees, lampshades, etc.

Plastics and synthetic materials

Lightness, plasticity, unusual texture, simplicity of technological processing of synthetic materials and some types of plastics ensured their widespread introduction into theatrical production. These include polystyrene and vinyl plastics, PVC packaging films, expandable polystyrene, BF adhesives and epoxy resins, PVA emulsions and latexes. Foams are classified as hard and soft. Rigid foams are easy to saw, cut, grind and paint. Small objects, sculptures, capitals, ornaments for furniture are cut out of them. Thin sheets of non-combustible PVC foam are used for textured processing of decorations.

Qualimetry, quality management, certification and product competitiveness

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The work on the decoration begins with drawing up a sketch. First, general sketches of the main scenes are prepared, where the stage designer determines the appearance of the performance. Then a sequence of individual pictures is worked out. Finally, on the basis of the general sketch, the artist builds a volumetric layout of the stage decoration, and also develops sketches of individual parts of the decoration - the backdrop, the volumetric part, the backstage decorations. On the layout, the arrangement of individual elements and their future sizes and volumetric ratios are worked out.

Usually, the artist works on the layout together with the director of the performance. Only after the director's image of the production is determined, the study of individual parts of the scenery begins. Simultaneously with the layout, a sketch of the backdrop and the curtain canvases is being worked out. Large-scale copies are made with exact observance of all ratios.

On their basis, real decorations are made in the decoration shop. First, three-dimensional structures and a backdrop are built. As a rule, the artist arranges several views, parts of the scenery are mounted on the stage to check the volumetric relationships and the choice of sizes. Changes are made as a result of preliminary mountings. Sometimes it is necessary to enlarge the pattern of the backdrop or to introduce certain color details on it.

When the process of creating the main volumetric parts is completed, the stage design begins. Carpets, curtains, chandeliers, pieces of furniture are made according to the sketches of the decorator. At this stage, the set designer works with the costume designer. During preliminary assemblies, the ratio of the color scheme of all design elements is checked; at the final stage of preparation, the lighting designer also begins to participate in the work.

He arranges stationary and mobile light, highlighting some decoration elements and shading others.

Decoration

Since ancient times, it has gained great importance decorative painting, constituting a special branch of art, in the history of which its development followed the movement of easel painting, painting of pictures. It sometimes includes the same works that this latter delivers, if only they are performed on the walls and plafonds of the building mainly for ornamental purposes (wall and plafond painting, frescoes); but mainly its element is made up of ornaments in the strict sense of the word, that is, beautiful combinations of geometric lines and figures, as well as forms of the plant and animal kingdom, fantasized or unchanged (for example, wall paintings in the houses of Pompeii, Moorish arabesques of the Alhambra, grotesques of the Raphael Lodges in the Vatican etc.). The motives of decorative painting changed depending on the historical course of culture and art among different peoples, on the taste and architectural style that prevailed at a given time. The French came into use in the 19th century the name decorative arts(fr. l'art décoratif) for various branches of handicraft industries that need the help of art, such as the manufacture of fine furniture, carpets, lace, glass and pottery, jewelry, bronze, wallpaper and other luxury and comfort items - in a word, for everything that is customary for the Germans called Kleinkünste or Kunstgewerbe, and in Russia - applied art or art industry.

Theatrical decoration

The word "decoration" is most often used to designate the accessories of the theater, which have their purpose to create the illusion of a place in which the action takes place on the stage. Therefore, theatrical scenery for the most part represents either landscapes or perspective views of streets, squares and the interior of buildings. They are painted on canvas. The main components of each theatrical scenery - veil and backstage. The first is hung in the back of the stage, stretching across its entire width, and depicts everything that is in the background in the reproduced landscape or perspective; the wings are pieces of linen, narrower in comparison with the curtain, stretched over a wooden binding and cut from one edge in a proper way; they are placed on the sides of the stage in two, three and several rows, one after the other, and represent closer objects, for example. trees, rocks, houses, pilasters and other parts of the scene. The decoration is complemented by arcs- pieces of canvas stretched at the top across the entire scene and depicting pieces of the sky, upper branches of trees, ceiling arches, etc., as well as praticables- various wooden scaffolds and walkways disguised with painted canvas, placed on the stage and representing, for example, stones, bridges, cliff spurs, hanging galleries, stairs, etc.

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See what "Decoration" is in other dictionaries:

decoration- and, w. décoration f. 1.architect. Architectural, sculptural, picturesque and other decoration of the building. Sl. 18. The master will also be observed a drawing, or a profile, given by the architect, so as not to lose a small proportion, because that is the best building ... Historical Dictionary of Russian Gallicisms Big Encyclopedic Dictionary

DECORATION, decorations, wives. (French decoration, letters. decoration). 1. A picturesque or architectural image of the place and setting of theatrical action, installed on the stage (theater.). 2. transfer., Only units. Something ostentatious, outwardly ... ... Ushakov's Explanatory Dictionary

DECORATION, and, wives. A scenic, three-dimensional or architectural image of the place and setting of the stage action installed on the stage, shooting site. | adj. decorative, oh, oh. Ozhegov's Explanatory Dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949 ... ... Ozhegov's Explanatory Dictionary

Women's, lat. decorations, ornaments, furnishings; at the theater: view, location of performance Scenery, related to scenery. Decorator husband. an artist who paints scenery, views from a distance, decorations, decorations, furnishings. Dahl's Explanatory Dictionary. IN AND. Dahl ... Dahl's Explanatory Dictionary

In the broadest sense of the word, any artistic decoration of an object or room. Hence the verb: to decorate to produce an artistic decoration, and the adjective decorative, used in the language of architecture, as opposed to the term ... ... Encyclopedia of Brockhaus and Efron

Showcase. Zharg. business Deliberate increase in the size of profits in the balance sheet to hide the poor financial condition of the company. BS, 44 ... A large dictionary of Russian sayings