How is theatrical scenery created? Types of scenery and the technique of their creation What is the role of theatrical scenery in the theatrical and decorative art.

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OGAPOU "Governor's College of Socio-Cultural Technologies and Innovations"

abstract

On the topic: "Decorations in the theater"

Completed work: 1st year student

Vorontsova Elena

The word "decoration" is most often used to denote the accessories of the theater, which have their purpose to produce the illusion of a place in which the action being played out on the stage takes place. Therefore, theatrical scenery for the most part represents either landscapes or perspective views of streets, squares and the interior of buildings. They are painted with paints on canvas.

The main components of each theatrical scenery are the curtain and curtains. 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 e.g. stones, bridges, cliff spurs, hanging galleries, stairs, etc.

An artist who is engaged in the execution of theatrical scenery and is called a decorator must have, in addition to the training required for a painter in general, some special knowledge: he needs to perfectly know the rules of linear and aerial perspective, to master a very wide writing technique, to be able to adapt his color to fiery lighting, in which stage performances usually take place, and in general to expect that as a result of his work a picturesque setting of the play being played will be obtained, not only not harming it with its excessive simplicity or pretentiousness, but contributing to the strength and validity of the impression it makes on the viewer.

Having compiled a sketch drawing of the decorations, the decorator makes a model for it, that is, a miniature semblance of a scene with a cardboard curtain, curtains and other accessories, so that by this model it would be possible to judge in advance about the effect of the future work. After that, starting to execute the scenery itself, he stretches the canvas of the curtain in a horizontal position on the floor of his workshop, translates the sketch drawing into it in an enlarged form by breaking it into squares and, finally, starts writing with paints. He does the same when performing the wings and other parts of the scenery. The palette is replaced by a box with cans of various paints diluted with glue; more or less large bristle brushes with long handles are used for writing. During his work, he continually interrupts her to go up to the gallery, arranged in the workshop at a certain height from the floor, and look from there at what he has written. He usually does not work alone, but together with his students and assistants, whom he entrusts with the preparation and secondary parts of the work.

decoration performance sketch drama

Stage performances were furnished with decorations even among the ancient Greeks. As one of the oldest decorators known in history, Agafarh, who lived around 460-420, can be pointed out. BC In modern times, decorative painting developed primarily in Italy, which brought the best masters in this area to other countries.

Of the Italian decorators in the 18th century, Giovanni Servandoni, who worked for the Royal Opera in Paris, was especially famous. Then the championship in this area passed to the French. Among them, the theater painter Boke showed remarkable talent; the famous Watteau and Boucher did not hesitate to break away from the execution of their paintings in order to write for the stage. Then, among the French decorators, Degotti, Ciceri, the latter's pupils Seshan, Desplechin, Fesher and Cambon, Chaperon, Thierry, Rube and Cheret, enjoyed great fame among the French decorators. Prominent decorators in Germany were Schinkel, Karl Gropius, and Quaglio Italians and I. Hoffmann. In Russia, the needs of the imperial theaters were met at first by visiting Italian decorators - Perezinotti, Quarenghi, Canopy, Gonzaga, and then, during the reign of Nicholas I, by German artists Andreas Roller, K. Wagner, and others; Only in the second half of the 19th century, decorative painting entered Russia on the path of independence thanks to such gifted masters as M.I.Bocharov and M.A.Shishkov, and the establishment of a special class at the Academy of Arts to study this branch of art.

Theatrical and decorative art (often also called scenography) is a type of visual art associated with the decoration of a theatrical performance, that is, the creation of a living environment on the theatrical stage in which the heroes of a dramatic or musical-dramatic work act, as well as the appearance of themselves these heroes. The main elements of theatrical and decorative art - scenery, lighting, props and props, costumes and make-up of actors - constitute a single artistic whole, expressing the meaning and character of the stage action, subordinate to the idea of the performance. Theatrical and decorative art is closely related to the development of theater. Stage performances without artistic elements are an exception.

The basis of the performance's decoration is the decoration depicting the place and time of the action. The specific form of the decoration (composition, color scheme, etc. is determined not only by the content of the action, but also by its external conditions (more or less rapid changes in the scene of the action, the peculiarities of the perception of the scenery from the auditorium, its combination with certain lighting, etc.) .The image embodied on the stage is initially created by the artist in a sketch or layout. The path from sketch to layout and stage design is associated with the search for the greatest expressiveness of the scenery and its artistic completeness. In the work of the best theater artists, a sketch is important not only for the working plan of the stage design, but and a relatively independent work of art.

Theatrical decoration includes stage framing, a special curtain (or curtains), a pictorial solution of the stage space of the stage, curtains, background, etc. The ways of depicting the living environment on the stage are diverse. Painterly solutions prevail in the traditions of Russian realistic art. In this case, the written plane elements are usually combined with the constructed ones (volumetric or semi-volumetric) into a holistic image, which creates the illusion of a single spatial environment of action. But the basis of the decoration can also be figurative and expressive constructions, projections, draperies, screens, etc., as well as a combination of various methods of image. The development of stage technique and the expansion of methods of depiction, however, do not negate the importance of painting as the basis of theatrical and decorative art in general. The choice of image method in each individual case is determined by the specific content, genre and style of the work embodied on the stage.

The costumes of the actors, created by the artist in unity with the scenery, characterize the social, national, individual characteristics of the heroes of the play. They correlate in color with the decorations ("fit" into the overall picture), and in a ballet performance they also have a special "dance" specificity (they should be comfortable and light and emphasize dance movements). With the help of lighting, not only clear visibility is achieved (visibility, " readability ") of the scenery, but also depicts different seasons and days, illusions of natural phenomena (snow, rain, etc.). The color effects of lighting are able to create a sense of a certain emotional atmosphere of the stage action.

Theatrical and decorative art changes with the development of artistic culture in general. It depends on the prevailing artistic style, on the type of drama, on the state of the visual arts, as well as on the arrangement of theatrical premises and stage, on the lighting technique and many other specific historical conditions.

Theatrical and decorative art reached a high level of development in Russia at the turn of the 19th - 20th centuries, when outstanding artists came to the theater. They brought a great pictorial culture to the design of the performances, achieved the artistic integrity of the stage action, the organic participation of fine arts in it, the unity of scenery, lighting and costumes with drama and music. These were artists who first worked at the Mamontov Opera (V.M. Vasnetsov, V.D. Polenov, M.A.Vrubel, etc.), then at the Moscow Art Theater (V.A. musical theaters (K. A. Korovin, A. Ya. Golovin), Diaghilev's "Russian seasons" (A. N. Benois, L. S. Bakst, N. K. Roerich, etc.).

A powerful stimulus for the development of theatrical and decorative art was given by the creative quest of advanced direction (K.S. Stanislavsky, V. I. Nemirovich-Danchenko, V. E. Meyerhold, choreographers M. M. Fokin and A. A. Gorsky).

Literature

E. Zmoiro. Model of the scenery for the performance of the Central Children's Theater "Skates" based on the play by S. V. Mikhalkov. 1976.

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Theatrical decoration

The word "decoration" is most often used to designate the accessories of the theater, which have their purpose to produce 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 with paints on canvas. The main components of each theatrical scenery - backdrop 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 padugi- pieces of canvas stretched at the top across the entire scene and depicting pieces of the sky, upper branches of trees, ceiling vaults, etc., as well as praticables- various wooden scaffoldings and walkways disguised with painted canvas, placed on the stage and representing, for example, stones, bridges, cliff spurs, hanging galleries, stairs, etc.

Theatrical set designer called decorator, must have the overtraining necessary for a painter in general, some special knowledge: he needs to perfectly know the rules of linear and aerial perspective, master a very wide writing technique, be able to adapt his color to the fiery lighting, in which stage performances usually take place, and generally count so that as a result of his work, a picturesque setting of the play being played is obtained, not only not harming it with its excessive simplicity or pretentiousness, but contributing to the strength and validity of the impression it makes on the viewer. Having compiled a sketch drawing of the decorations, the decorator makes for her layout, that is, a miniature semblance of a scene with a cardboard curtain, curtains and other accessories, so that by this model it was possible to judge in advance about the effect of the future work. After starting to execute the scenery itself, he stretches the canvas of the curtain in a horizontal position on the floor of his workshop, transfers onto it (with coal or a special kind of ink) the sketch drawing in an enlarged form by breaking it into squares and, finally, starts writing with paints. He does the same when performing the wings and other parts of the scenery. The palette is replaced by a box with cans of various paints diluted with glue; more or less large bristle brushes with long handles are used for writing. During his work, he continually interrupts her to go up to the gallery, arranged in the workshop at a certain height from the floor, and look from there at what he has written. He usually does not work alone, but together with his students and assistants, whom he entrusts with the preparation and secondary parts of the work.

Stage performances were furnished with decorations even among the ancient Greeks (scenography). As one of the oldest decorators known in history, you can point to Agatar, who lived around 460-420. BC In modern times, decorative painting developed primarily in Italy, which brought the best masters in this area to other countries. Of the Italian decorators in the 18th century, Giovanni Servandoni, who worked for the Royal Opera in Paris, was especially famous. Then the championship in this area passed to the French. Among them, the theater painter Boke showed remarkable talent; the famous Watteau and Boucher did not hesitate to break away from the execution of their paintings in order to write for the stage. Then, among the French decorators, Degotti, Ciceri, the students of the latter Seshan, Desplechin, Fesher and Cambon, Chaperon were loudly famous (English) Russian, Thierry, Rube and Cher. Prominent decorators in Germany were Schinkel, Karl Gropius,

THEATER AND DECORATION ARTS

Theatrical and decorative art (often also called scenography) is a type of visual art associated with the decoration of a theatrical performance, that is, the creation of a living environment on the theatrical stage in which the heroes of a dramatic or musical-dramatic work act, as well as the appearance of these heroes themselves. The main elements of theatrical and decorative art - scenery, lighting, props and props, costumes and make-up of actors - constitute a single artistic whole, expressing the meaning and character of the stage action, subordinate to the idea of the performance. Theatrical and decorative art is closely related to the development of theater. Stage performances without artistic elements are an exception.

The basis of the performance's decoration is the decoration depicting the place and time of the action. The specific form of decoration (composition, color scheme, etc.) is determined not only by the content of the action, but also by its external conditions (more or less rapid changes in the scene, the peculiarities of the perception of the scenery from the auditorium, its combination with certain lighting, etc.) .).

The image embodied on the stage is initially created by the artist in a sketch or model. The path from sketch to layout and stage design is associated with the search for the greatest expressiveness of the scenery and its artistic completeness. In the work of the best theater artists, a sketch is important not only for a working plan for stage design, but also for a relatively independent work of art.

A. N. Benois. Scenery sketch

1953. Paper, gouache, watercolor, pencil.

A. N. Benois. Scenery sketch
to PI Tchaikovsky's ballet "The Sleeping Beauty".
1953. Paper, gouache, watercolor, pencil.

The costumes of the actors, created by the artist in unity with the scenery, characterize the social, national, individual characteristics of the heroes of the play. They correspond in color to the scenery (“fit” into the overall picture), and in a ballet performance they also have a special “dance” specificity (they should be comfortable and light and emphasize dance movements).

With the help of lighting, not only a clear visibility (visibility, "readability") of the scenery is achieved, but also various seasons and days, illusions of natural phenomena (snow, rain, etc.) are depicted. The color effects of lighting are able to create a sense of a certain emotional atmosphere of the stage action.

A.M. Vasnetsov. Set design for the opera by N.A.Rimsky-Korsakov

1906.

A.M. Vasnetsov. Set design for the opera by N.A.Rimsky-Korsakov
"The Legend of the Invisible City of Kitezh and the Maiden Fevronia."
1906.

Theatrical and decorative art reached a high level of development in Russia at the turn of the 19th-20th centuries, when outstanding artists came to the theater. They brought a great pictorial culture to the design of the performances, achieved the artistic integrity of the stage action, the organic participation of fine arts in it, the unity of scenery, lighting and costumes with drama and music. These were artists who first worked at the Mamontov Opera (V.M. Vasnetsov, V.D. Polenov, M.A.Vrubel, etc.), then at the Moscow Art Theater (V.A. musical theaters (K. A. Korovin, A. Ya. Golovin), Diaghilev's "Russian seasons" (A. N. Benois, L. S. Bakst, N. K. Roerich, etc.). A powerful stimulus for the development of theatrical and decorative art was given by the creative quest of advanced direction (K.S. Stanislavsky, V. I. Nemirovich-Danchenko, V. E. Meyerhold, choreographers M. M. Fokin and A. A. Gorsky).

Artists also participate in the creation of films, television shows, variety and circus performances. The spectacular arts are perceived by millions of viewers, and therefore the role of the artist is very important here.

In order for a production to be successful, it is important not only to choose the right actors. The scenery also creates the atmosphere on the stage. We can say that the scenery is as old as the theater art, because even at the first stage, different props were used.

Hard and soft decorations

Decorations are of two types:

tough.

Rigid structures are conventionally divided into flat and voluminous, but in fact there are many more varieties. Decorations can be acted out and used by the actors during the performance. For example, various stairs, fences, tables can be used while setting. Decorations that are not played out simply serve as a static background and create an atmosphere and entourage.

Hard decorations are made mainly of wood and duralumin. For wooden structures, inexpensive but durable coniferous wood is chosen. In some cases, it is appropriate to use light metals in the production of decorations.

Soft decorations are produced from fabrics, they can be smooth, draped, painted or contain applications. Velvet, canvas and tulle are the most popular materials on stage. Also today, synthetics and non-woven materials are used for the production of products. They are practical and create the desired effect.

There are many ways to create theatrical sets and have been developed over the centuries. Today, nothing fundamentally new is being created in scenography - everything has already been invented in advance. However, new materials and technologies appear in the art of decoration.

Stage decorations are usually multi-layered. This is not only the background behind the actors, but all the necessary equipment. Even the curtain and backstage are included in the decorations.

Inventory requirements

Quality decorations meet several important requirements. It is important that they can be easily assembled and disassembled without loss of material properties. There are products that are difficult to make, but ideally the decorations should be easy to manufacture. Then, in the event of a breakdown, the product can be quickly restored.

Decorations need to be stored and preferably not take up too much space. Therefore, among the important qualities of structures are portability and mobility. Also, the decorations should be lightweight and durable. This is not always possible when producing hard props. However, soft decorations meet these requirements 100%. To make them even easier, modern materials were used for the decorations.

Decorations have been used on stage for many years. In addition, they can be temporarily placed in a warehouse and even transported to other cities. Therefore, such strict requirements are imposed on the products.

If the design is not practical, then its operation will require regular costs. The decorations will have to be repaired, disassembled, ordered transportation under special conditions. It is possible that such equipment is used in theaters, but in rare cases when there is no alternative.

Practical decorations do not require extra costs and do not lose their properties for many years. In some cases, during the manufacture of a product, it is worth overpaying and ordering a design from more expensive materials, if this will extend its service life. However, with the advent of synthetics and nonwovens, theaters may no longer overpay when making sets.

How the scenery is created

Decorations are created according to a preliminary sketch. Sketches are made by working out in detail each of the scenes. In this case, all the details are taken into account. The main decoration in the scenes is the background, after which there are objects for the entourage that surround the participants in the action. The set designer starts working with ready-made sketches, he creates a preliminary layout. A model is not a decoration yet, it is only a model.

After creating a layout, you can determine how accurately the size of the product is determined. In some cases, adjustments have to be made. That is why the scenery is created only after the production of a test model. The drawing is applied to the structure by the artist, whose actions are followed by the director.

After preparing the layout, the product is sent to a specialized workshop, where the decorations are produced. The final product is created here - a product that will decorate the stage. The dummy that is sent for production is usually a miniature copy of the set. The task of the craftsmen is to reproduce the design in an enlarged size. Soft theatrical decorations are sometimes no easier to create than hard ones - it all depends on the characteristics of the product. Some decorations have many complex elements.

Stage painting in the ancient theater.

Scenery was an essential part of theatrical performance and its spatial design. The surviving plays clearly show that the scenery in the theater undoubtedly existed, they were characterized by the same artistic convention that distinguished the theatrical art in general.

Dramatic performances were agon, the conditions of which were supposed to presuppose some initial equality. Since the plays were performed all day long without long breaks for a significant change of scenery, changing the scene in the same drama was almost impossible; the difference in scenery even between the three tragedies should have been negligible. A generally accepted conditional background was created, which could persist not only for the tragedies presented, but, possibly, for comedies, which fit quite well into the general artistic context. The scenery was supposed not only to indicate the place of action and, in a sense, effectively set off the figures of the actors, but also to be simple and well understood by the audience.

The origins of stage painting (ancient Greek σκηνογραφία) date back to the time of Aeschylus. According to Vitruvius, the Samoan artist Agatarchus wrote the scenery for Aeschylus' plays and also left a special composition about it: “For the first time in Athens, while Aeschylus was staging a tragedy, Agatarchus made a scene and left a description of it” (VII, praef. 11, trans.F.A. Petrovsky). However, Aristotle attributes the first use of decorative painting to Sophocles (Poet. IV, p. 1449 a 17). Some researchers try to combine these two messages, in connection with which they attribute the activity of Agatharchus to the end of Aeschylus's life, when Sophocles also enjoyed the fame of a dramatic writer.

Initially, the wall of the skene with the doors overlooking the entrance was used only for the exit of the actor. There were almost no painted decorations in the early tragedies of Aeschylus: in "The Petitioners" only the altar and images or symbols of the gods are mentioned, in "Prometheus" - only the rock to which the titan is chained. In other surviving plays, the basic scenery is indicated more or less definitely. So, for example, in Aeschylus's "Persians", "Agamemnon" and "Hoeforah" the action takes place in front of the palace (most often in the dramas it was the facade of the palace that was depicted), at the beginning of "Eumenides" - in front of the temple. For Sophocles, in Antigone, Oedipus the King, Elektra and The Trachines, the scenery is a palace; in Philoktete, a cave; in Oedipus at Colon, a wooded area with a sacred site. In the plays of Euripides, the action usually takes place in front of the palace, sometimes in front of a temple or a village house ("Electra"), and in the satire drama "Cyclops" - in front of a cave. At the same time, one and the same decoration could be used to represent a different scene: if in the first of the tragedies of the Aeschylus trilogy "Oresteia", in "Agamemnon", the facade of the skene represented the palace of Agamemnon, then in the "Eumenides" he portrayed a temple with the same success Apollo in Delphi, and then the temple of Athena in Athens, and in this last case, apparently, only the statue of the deity changed. In general, sculptural and architectural decorations (statues of gods or one god in front of a palace, altars, tombs, etc.) were often used along with painted ones. So, in "Hippolytus" Euripides in front of the facade of the palace there were two statues - Artemis and Aphrodite. Hippolytus, entering the stage, crowned only the statue of Artemis, and his disrespect for Aphrodite was immediately visible to the public.

In the middle of the 5th century. BC e. painted decorations, painted on boards or dense matter, leaned against or hung against the wall of the projection, which was at first made of wood. And later, when the proscenium took the form of a stone colonnade, the decorations were placed in the intervals between the columns. However, even then the simplicity and conventionality of the images remained a characteristic feature of the painting, as evidenced by the Roman architect Vitruvius, from whom we find the most detailed information about the decorations in the Greek theater: “Scenes are of three kinds: first, the so-called tragic, and second, comic, thirdly - satirical. Their decorations are dissimilar and heterogeneous: tragic ones depict columns, pediments, statues and other regal objects; comic ones represent private buildings, balconies and images of a row of windows, in imitation of what happens in ordinary houses; and the satirical ones are decorated with trees, caves, mountains and other features of the rural landscape ”(V, 6, 9). Remarkable in this testimony of Vitruvius is an indication of the principle of depicting a part instead of a whole: instead of a building, only its elements are depicted (instead of a palace, columns, pediments; instead of a private building, a row of windows).