The stage story of the comedy auditor. Stage action

Open literature lesson on the topic: "The creative and stage history of the creation of the comedy" The Inspector General "by Nikolai Gogol. 8th grade.

Lesson objectives:

 Repetition of well-known information about the life and work of N.V. Gogol

Acquaintance with the creative and stage history of the creation of comedy, development of students' perception of a literary work.

 Fostering love for the writer's creativity, moral qualities of students, familiarizing with art, theater.

Decoration, equipment

 Computer, multimedia projector, presentation, an excerpt from the play "The Inspector General", an excerpt from Leonid Parfenov's film "Bird-Gogol", illustrations for the comedy.

Lesson type introductory

Lesson type mixed (combination of different types of lesson - lesson-lecture, film lesson, etc.)

Methods informational, partial search, illustrative and explanatory, visual teaching methods.

Preliminary homework customized messages.

During the classes.

1. Teacher's word

In the previous lessons, we studied the works of Pushkin and Lermontov. And today we will get acquainted with the work of another writer. I invite you to watch a fragment of the film, and you yourself will try to determine the topic of our lesson.

(Video "Gogol" The Inspector General "beginning")

Yes, you are not mistaken. We will talk about N.V. Gogol and his famous comedy "The Inspector General". This comedy left an indelible mark on the history of drama and theater. The work was written almost two centuries ago, but still does not leave the stage.(Slide 1)

2. The teacher's story about some biographical data of NV Gogol.

Teacher. Nikolai Vasilievich Gogol often called himself a traveler and considered the road his home. But still, there are several places on earth that were dear to him.

Gogol cannot be imagined without Vasilyevka, without Dikanka, without Sorochinets, where he was born, without Petersburg, where he became a writer ...

Let's go on a journey through the pages of the life of the great writer, take a closer look at the living features of those places that remember him.(Slide 2)

N.V. Gogol was born in the town of Velyki Sorochintsy, Mirgorodsky district, Poltava province

Here Maria Ivanovna, the mother of Nikolai Vasilyevich, came to save the child, because her two previous children were born dead. The boy was unusually weak and thin, but he survived. Fearing for his life, the doctor watched little Nicholas for 6 weeks, and two months later the mother and child went to their native Vasilyevka. The doctor said about the newborn: "He will be a glorious son!" He, of course, meant life and health, but it turned out that the words acquired a different meaning, and the son of Maria Ivanovna and Vasily Afanasyevich became a glorious son of Russia.(Slide 3.4)

Gogol spent his childhood on the estate of his parents in Vasilyevka.(Slide 5)

The cultural center of the region was the Kibintsy, the estate of DP Troshchinsky (1754-1829), a distant relative of the Gogols; Gogol's father acted as his secretary. In Kibintsy there was a large library, there was a home theater, for which Father Gogol wrote comedies, being also its actor and conductor.(Slide 6)

In May 1821 he entered the gymnasium of higher sciences in Nizhyn. Here he is engaged in painting, participates in performances - as an artist-decorator and as an actor, and with particular success he plays comic roles.(Slide 7, 8)

After graduating from high school, Gogol dreams of public service, dreams of being a lawyer in order to eradicate the injustice that reigned around. In 1828 he went to St. Petersburg. In St. Petersburg, Gogol tries to find a place for service, but to no avail. At the same time, he begins to write. He tries himself both in the poetic genre and in the prose.(Slide 9, 10)

What works of Gogol do you know?

It was here, in St. Petersburg in 1835, that Gogol planned to write the famous comedy The Inspector General. This is a dramatic piece.(Slide 11)

What is a dramatic work for? (Production on the stage of the theater)

Why did Gogol decide to turn to the theater?

What facts from Gogol's biography speak of his interest in theater?

( Father, V.A. Gogol-Yanovsky, wrote comedies for the home theater, the wealthy nobleman Troitsky, in which Gogol played with his parents.

And Gogol also performed on stage at the gymnasium in Nizhyn. On a small stage, lyceum students loved to play comic and dramatic plays on holidays. Plays were played, both ready-made and independently written. Gogol and Prokopovich were the first authors and performers.)

Teacher. Bibliographers work in our class... The guys received an anticipatory task: to find interesting information about Gogol's attitude to the theater.

Bibliographer 1 Once they composed a play from the Little Russian life, in which Gogol undertook to play the silent role of a decrepit old Little Russian. We learned the role and did a few rehearsals. The evening of the performance came, which was attended by many relatives of the lyceum students and outsiders. The play consisted of two acts; the first act went well, but Gogol did not appear in it, but had to appear in the second. The audience did not yet know Gogol. In the second act, a Little Russian hut is on the stage. There is a bench near the hut; there is no one on the stage.

Here is a decrepit old man in a simple casing, in a ram's hat and oiled boots. Leaning on a stick, he barely moves, grunts, giggles, coughs. Finally, he giggled and coughed such a choking, husky, senile cough, with an unexpected addition, that the whole audience thundered and burst into uncontrollable laughter. And the old man calmly got up from the bench and trudged off the stage, killing everyone with laughter.

Bibliographer 2. From that evening, the public learned and became interested in Gogol as a wonderful comedian. Another time, Gogol tries to play the role of an old curmudgeon. In this role, Gogol practiced for over a month, and the main task for him was to make the nose converge with the chin. For whole hours he sat in front of the mirror and bent his nose to his chin. Until he finally achieved what he wanted. He played the satirical role of the uncle, the miser, excellently, laughed at the audience and gave her great pleasure. Everyone thought then that Gogol would go on stage, because he had tremendous stage talent.

Teacher ... What interesting stories from the life of N. V. Gogol!

Yes, everyone thought then that Gogol would be an actor. But he had a great desire to write for the stage.Besides,according to Gogol, the theater was of great educational value. This is the pulpit from which a live lesson is read to a whole crowd at once.He dreamed of a comedy.

Comedy - one of the types of drama, depicting such life situations and characters that cause laughter.

Look at the slide, there are 2 masks here,which of them can be attributed to comedy, why? (laughs).

Why did Gogol decide to turn to comedy?

(laughter helps to expose the vices of society (vulgarity, obsequiousness, honor, bribery, lies, adventurism, indifference to official duty), a person is most afraid of laughter).(Slide 12)

3. The creative history of the creation of the comedy "The Inspector General". Fragment of the film "Bird - Gogol" by Leonid Parfenov.

What formed the basis for the creation of Nikolai Gogol's comedy?

4. The stage history of comedy.

Teacher. The plot is there, the comedy is ready in an amazingly short time, it took Gogol two months to create the play. The Inspector General was accepted for staging at the St. Petersburg Alexandrinsky Theater.

Biographer 3. Gogol took up directing work. Before the start of rehearsals, Gogol himself read the text to the actors, took care of the costumes, the scenery, and the manner of playing. His remarks are accurate, the requirements are specific. Gogol does not want the comedy to look like a funny little thing. Not to entertain the public, but to disturb it with caustic and sharp laughter, revealing the absurdities and ugliness of reality - this is Gogol's goal.(Slide 13)

The premiere was set for April 19, 1836. Gogol was very worried. Theater news lovers gathered at the posters and ticket offices. “Petersburg is a great theater lover. If you walk along Nevsky Prospekt on a fresh frosty morning ... stop by at this time in the canopy of the Alexandria Theater: you will be amazed at the stubborn patience with which the assembled people bury the ticket distributor, "Gogol wrote.

And finally, the first performance. The magnificent hall of the best theater in St. Petersburg is full. The boxes and the first rows of the parterre shine with the stars of dignitaries and the jewels of the ladies. In the royal box, Nicholas 1 with the heir, the future Alexander 2. Representatives of the democratic circle are crowded in the gallery. There are many acquaintances of Gogol in the theater: Zhukovsky, Krylov, Glinka.(Slide 14)

Annenkov described the first performance in the following way: “After the first act, bewilderment was written on all faces, as if no one knew how to think about the picture just presented. This bewilderment grew with each act. There was almost no applause, but intense attention, convulsive intensified following all shades of light, sometimes dead silence showed that what was happening on the stage terribly captured the hearts of the audience.

At the performance, the tsar laughed and applauded a lot, wanting to emphasize that the comedy is harmless and should not be taken seriously. He perfectly understood that his anger would prove to be another confirmation of the veracity of Gogol's satire. Coming out of the box, NikolayIsaid: “Well, the play! Everyone got it, but I got it more than everyone else! "

5. Parade of characters.

Teacher: Let's go to the premiere of Gogol's comedy "The Inspector General". The theater begins with a poster. On the slide we see the poster of the first performance of The Inspector General at the Alexandrinsky Theater.It's time to get acquainted with the characters of the comedy.

Attention: "parade" of heroes. (Slide 15-22)

(on the slides there are photographs of famous actors in roles from "The Inspector General" or drawings from a reader). Textbook p. 19-21

“Governor - Anton Antonovich Skvoznik-Dmukhonovsky. Already aged in the service and a very intelligent person in his own way. Although he is a bribe-taker, he behaves very respectably; rather serious; somewhat even reasonable; speaks neither loudly nor softly, neither more nor less. His every word is significant. His facial features are coarse and tough, like anyone who has begun a heavy service from the lowest ranks. The transition from fear to joy, from baseness to arrogance is quite quick, as in a person with roughly developed inclinations of the soul. He is dressed, as usual, in his uniform with buttonholes and boots with spurs. His hair is cropped and gray. "

“Anna Andreevna, his wife, a provincial coquette, not quite old yet, brought up half on novels and albums, half on the hassle of her pantry and girlish. Very curious andat case shows vanity. Sometimes it takes power over a husband just because he is not able to answer her; but this power extends only to trifles and consists in reprimands and ridicule. She changes into different dresses four times throughout the play. "Marya Antonovna - daughter of Anton Antonovich Skvoznik-Dmukhanovsky (Governor)

« Khlestakov, a young man of about twenty-three, thin, thin; somewhat silly and, as they say, without a king in his head, is one of those people who are called empty in the offices. Speaks and acts without any consideration. He is not able to stop constant attention on any thought. His speech is abrupt, and the words fly out of his mouth completely unexpectedly. Dressed in fashion. "

« Osip, servant , such as servants of a few elderly years usually are. Speaks seriously, looks somewhat downward, reasonableand loves to read lectures to himself for his master. His voice is always almost even, in conversation with the master takes on a stern, abrupt and somewhat even rude expression. He is smarter than his master and therefore more likely to guess, but does not like to talk a lot and is a cheat in silence. His suit is a gray or blue shabby coat. "

« Bobchinsky and Dobchinsky, both are short, short, very curious; are extremely similar to each other; both with small abdomens; both speak quicklyand they help tremendously with gestures and hands. Dobchinsky is a little taller and more serious than Bobchinsky, but Bobchinsky is more cheeky and livelier than Dobchinsky. "

« Lyapkin-Tyapkin, judge, a person who has read five or six books and is therefore somewhat free-thinking. The hunter is great at guessing, and therefore gives weight to each word. There is always a significant mine on the face. He speaks in a bass with an elongated stretch, wheeze and glanders - like an old clock that first hiss and then chimes. "

« Strawberries, trustee of charitable institutions , a very fat, clumsy and clumsy person, but with all that a sneak and a rogue. Very helpful and fussy. "

Teacher:

These are our main characters in the comedy "The Inspector General".

Exercise:

 Flip through the play "The Inspector General", determine how many acts (actions) in it and how many phenomena does each act consist of? (5 actions, each from 6 to 16 events)

 How many characters are there? Whom did we not name? (25 specific actions. Persons of different rank and position, many guests, merchantsAlready reading the posters makes it possible to assume that the comedy shows a broad picture of life, a kind of anatomy of a district town: here both the head of the administration - the mayor, and officials: the superintendent of schools, the judge, the trustee of charitable institutions, the chief of police; county doctor, police officials, city landowners and city ladies, and merchants, and burghers, and servants.)

After staging “The Inspector General” on stage, Gogol is full of dark thoughts. He was not satisfied with the acting in everything. He is depressed by the general misunderstanding. In these circumstances it is difficult for him to write, it is difficult to live. He decides to go abroad, to Italy. Informing Pogodin about this, he writes with pain: “A modern writer, a comic writer, a writer of morals must continue to be from his homeland. There is no glory for the prophet in the homeland. " But as soon as he leaves the borders of his homeland, the thought of her, great love for her with renewed vigor and acuteness arises in him: “Now there is a foreign land in front of me, a foreign land around me, but in my heart Russia, not an ugly Russia, but only beautiful Russia ”.

Why do you think Gogol was full of gloomy thoughts? (Gogol was not understood by the public, he was dissatisfied with the production of the play: “I was angry both with the audience, who did not understand me, and with myself, who was to blame for not being understood.” The comedy did not fit into the framework of an ordinary vaudeville, so Gogol was from the actors demanded naturalness and believability on stage)

Laughter is the only "honest, noble face in comedy" (if we have time)

Teacher: Today N. V. Gogol is one of the most popular writers. His work is in third place in the world after the Bible and the works of F.M.Dostoevsky. First of all, he is known to the general public as the author of the comedy "The Inspector General". It has been staged on the stage of various theaters hundreds of times. And today, if we look at the posters of various theaters of the country and the world, we will certainly see "The Inspector General". This is one of the most successful and popular performances today.

What is the secret of her immortality? Why are the problems raised by the author still relevant today? Will we not recognize the heroes of this century among the characters? What does the great satirist teach us? We have to answer these and other questions in the course of studying comedy.

6. Announcement of homework. (Slide 23)

1. Prepare a message: “Image of the Governor”, ​​“Image of Khlestakov” (according to the table).

Table "Characteristics of the image"

Appearance

Character

Speech

Deeds

The Alexandrinsky Theater on the first day of the production of The Inspector General was overcrowded. The privileged audience, accustomed to looking at theatrical performances as easy entertainment, was stunned by the deep truth of Gogol's comedy. Gogol's comedy "made a lot of noise" (as censor A. V. Nikitenko wrote in his diary) and caused widespread discussion in society. Reactionary circles viciously accused the author of slandering officials. Gogol invented "some kind of Russia and in it some kind of town, into which he dumped all the abominations that you rarely find on the surface of real Russia ..." wrote the reactionary Vigel.

Gogol's genius comedy was perceived in a completely different way by the leading public circles. VV Stasov recalled that all the young people of that time were delighted with the "Inspector General". "We then repeated by heart to each other, correcting and replenishing each other, whole scenes, long conversations from there." But most of the actors did not understand the depth and vitality of the comedy and played it like a stereotyped vaudeville, while reactionary criticism and government circles, irritated by the play, viciously attacked the author of the "stupid farce." Subsequently, Gogol in "Theatrical patrol" spoke with bitter irony about this attitude of the ruling circles, conveying the words of a certain "master": "To ridicule! But you can't joke with laughter. It means destroying all respect, that's what it means. But after that everyone will beat me up in the street, say: “Why, they are laughing at you; and you have the same rank, so here's a slap for you! "After all, that's what it means." His interlocutor replies to this: “Of course! This is a serious thing! they say: trinket, trifles, theatrical performance. No, these are not simple trinkets; strict attention must be paid to this. For such things and send to Siberia. Yes, if I had the power, the author would not have squealed from me. I would have planted him in such a place that he would not have seen the light of God. "

The writer was deeply shocked both by the performance of the play itself and by the attitude of the hostile privileged public towards it: “... The Inspector General has been played,” Gogol wrote about the first performance of the comedy, “and my soul is so vague, so strange .. I expected, I knew in advance how things would go, and with all that, a feeling of sad and annoyingly painful clothed me. "

Continuing our journey through the theatrical world, today we will get into the world of behind the scenes and learn the meaning of such words as ramp, proscenium, scenery, as well as get acquainted with their role in the play.

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

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

Scene- from the Greek. skene - booth, stage. In the early days of the Greek theater, the skene was a cage or tent attached to the back of the orchestra.

Skene, orchectra, theatron constitute the three fundamental scenographic elements of the ancient Greek performance. An orchestra or playground connected the stage and the audience. Skene developed in height, including the theologeon, or playground of gods and heroes, and on the surface together with the proscenium, the architectural façade, the forerunner of the wall decor, which would later create the proscenium space. Throughout history, the meaning of the term "scene" has been constantly expanding: decoration, playground, scene of action, time period during the act and, finally, in a metaphorical sense - a sudden and vivid spectacular event ("arrange a scene for someone"). But not all of us know that the scene is divided into several parts. It is customary to distinguish between: proscenium, backstage, upper and lower stage. Let's try to understand these concepts.

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

As a playground, the proscenium is widely used in opera and ballet performances. In drama theaters, the front stage serves as the main setting for the small scenes in front of the closed curtain that link the scenes of the performance. Some directors bring the main action to the fore, expanding the stage.

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

Arierescene- the space behind the main stage. The rear scene is a continuation of the main scene, it is used to create the illusion of a great depth of space, it serves as a reserve room for setting the scenery. On the backstage, there are wagons or a rotating rolling circle with pre-installed decorations. The top of the rear stage is equipped with grates with decorative rises and lighting equipment. Warehouses for hanging decorations are placed under the backstage floor.

Upper stage- a part of the stage box located above the stage mirror and bounded from above by a grate. It is equipped with working galleries and walkways, and serves to accommodate hanging decorations, overhead lighting devices, and various stage mechanisms.

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

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

Named in the previous definition "furka", along with "grates" and "barrels", is included in the technical equipment of the stage. Furka- part of the stage equipment; a mobile platform on casters, used to move parts of the decoration design on the stage. The movement of the truck is carried out by an electric motor, manually or with the help of a cable, one end of which is located behind the curtains, and the other is attached to the side wall of the truck.

- lattice (wooden) flooring located above the stage. It serves to install blocks of stage mechanisms, is used for work related to the suspension of elements of the performance design. The grates are connected with the working galleries and the stage by stationary stairs.

Shtanket- a metal pipe on cables, in which the wings are attached, details of the scenery.

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

Entering the hall before the start of the performance, the viewer sees a curtain- a cloth of cloth suspended in the area of ​​the stage portal and covering the stage from the auditorium. It is also called "intermission-sliding" or "intermission" curtain.

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

The curtains are sewn from dense dyed fabric on a dense lining, decorated with the theater emblem or wide fringes sewn to the bottom of the curtain. The curtain allows you to make the process of changing the situation invisible, to create a feeling of a gap in time between actions. The intermission-sliding curtain can be of several types. The most commonly used are Wagnerian and Italian.

Consists of two halves pinned at the top with overlays. Both wings of this curtain are opened by a mechanism that pulls the lower inner corners to the edges of the stage, often leaving the lower part of the curtain visible to the audience.

Both parts italian curtain they move apart synchronously with the help of cables attached to them at a height of 2-3 meters and pulling the curtain to the upper corners of the proscenium. Above, above the stage, is paduga- a horizontal strip of fabric (sometimes acting as a decoration), suspended from a bar and limiting the height of the stage, hiding the upper stage mechanisms, lighting devices, grate bars and upper spans over the decorations.

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

Closes the backstage from the audience backdrop- a painted or smooth background made of soft fabric, suspended at the back of the stage.

Scenery of the performance is located on the stage.

Decoration(lat. "decoration") - the decoration of the action on the theatrical stage. Creates a visual mode of action by means of painting and architecture.

The decoration should be useful, efficient and functional. Among the main functions of the decoration are the illustration and depiction of elements supposedly existing in the dramatic universe, the free construction and change of the scene, considered as a play mechanism.

The creation of scenery and decoration for a performance is a whole art called scenography. At different times, the meanings of this word have changed.

Scenography among the ancient Greeks was the art of theater design and pictorial scenery resulting from this technique. In the Renaissance, scenography was the technique of painting the backdrop canvas. In contemporary theatrical art, this word represents the science and art of organizing the stage and theatrical space. The set itself is the result of the set designer's work.

This term is increasingly being replaced by the word "decoration" if there is a need to go beyond the concept of decoration. Scenography signifies the desire to be writing in a three-dimensional space (to which one should also add a temporal dimension), and not just the art of painting the canvas, which the theater was content with up to naturalism.

During the heyday of modern scenography, decorators managed to breathe life into space, revive the time and play of an actor in a joint creative act, when it is difficult to isolate a director, illuminator, actor or musician.

The set design (decoration equipment of the performance) includes props- the items of the stage setting that the actors use or manipulate during the course of the play, and props- specially made items (sculptures, furniture, dishes, jewelry, weapons, etc.) used in theatrical performances instead of real things. Props are notable for their cheapness, durability, emphasized by the expressiveness of their external form. In this case, props usually refuse to reproduce details that are not visible to the viewer.

The production of props is a large branch of theatrical technology, including work with paper pulp, cardboard, metal, synthetic materials and polymers, fabrics, varnishes, paints, mastics, etc. , finishing and locksmith works, fabric painting, metal embossing.

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

The definitions of the presented terms are taken from the sites.

Stage arrangement.

Source: “What is what? Directory-dictionary for a young man "Peter Monastyrsky

Aryerscene. The back of the stage serves as a back-up room for storing the scenery.

Grizzlies. The upper part, located above the stage board. The main element of the grate is the flooring of the beams, mounted at an appropriate distance from each other. This position allows them to raise or lower the scenery and other elements of the running performance. Above and below the grates, blocks for moving cables, lighting devices and everything that needs to be hidden from the eyes of the audience are installed.

Tablet. Floor in a stage box. It is laid in such a way that there are no cracks in it. This is related to health protection, with the safety of the feet. In drama theaters, the tablet is made with cut-in turntables and concentric rings. This "small mechanization" allows you to solve additional creative problems.

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

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

"Pocket". Convenient service rooms on both sides of the stage box, where, firstly, elements of the stage design of the performances of the current repertoire can be stored, and secondly, moving trucks can be mounted, on which the necessary decorations are assembled to serve on the stage, so that the next one can be played against their background. episode. Thus, while the left truck is in play, the right one is loaded for the next episode. This technology provides the dynamics of changing the "scene".

Backstage. In the theater there is a part of the suspended decoration, part of the "stage clothes". Located on the sides of the stage box, parallel or at an angle to the portal, they limit the playing space, mask the scenery standing on the sides of the stage, cover the side spaces of the stage, hiding the technical equipment, lighting equipment and artists ready to go. The wings make what is behind them invisible.

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

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

Decoration. Nowadays, when deciding on the decoration of a performance, it is preferable to talk about scenography, rather than about decoration. As long as the theater has existed, the scenery for performances has been an obligatory component only as a characteristic of the scene. This was obliged, firstly, the purpose of the performance, in which the actors told the plot. Secondly, the author's remarks obliged them to form them according to the prompting of the scene. But since the director's figure appeared in the theater, everything began to change towards the creation of the image of the performance, its emotional interpretation ... The theater ceased to be a straightforward spectacle, it began to speak with allegories, hints. In this case, the elementary decoration could no longer be useful: it could not provide any interesting union between the stage and the audience. In the new conditions, scenography has already become necessary, which over time began to more and more win the hearts of both the audience and the greatest artists-creators of the play.

Stage clothes. Framing the stage box, consisting of wings, padugs, backdrop. Padugs are fixed above the tablet on horizontal rods. They "hide" the entire economy located at the top, the overhead view is also a padug, but it is located closer to the viewer and covers the radiator and the first soffit. Rugs cover the wooden floor, which is not very attractive in appearance; in every serious theater there are several such sets, depending on the circumstances. As a rule, stage clothes are quite expensive.

Paduga. A strip of fabric in the same color as the curtain, suspended horizontally at the top of the stage box. It also blocks the viewers' gaze “the technical dirt located under the grates (spotlights, lights, other design elements).

Valance. Ruffle, lace edging along the edge of something. Fixed on the rail.

Shtanket. A detail of the stage mechanism - a bar from the left to the right bridge, lowering and raising the elements of the scenery tied to it, which are set in motion by hands or a motor.

Backdrop. A large pictorial canvas that can be a background for a performance. It should be remembered that the backdrop does not have to be picturesque. It can sometimes be just a part of the stage clothes. This means that it can be neutral in the same color as the wings and padugs.

Soffit. A battery of luminaires, assembled in a specific programmed sequence, directed downward at a tablet or backdrop or at the auditorium, or at different parts of the stage box.

Ramp. A long, low barrier along the proscenium, hiding the lights aimed at the stage from the audience.

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

A curtain. The curtain that separates the stage from the auditorium, after each action the curtain to rise again after the intermission. In addition to the main curtain, in large theaters there is also a super-curtain hanging on the first rail and a fire curtain, which is lowered after each performance to block the stage from the auditorium. Every day before the start of the performance, the fire curtain rises and hangs there, upstairs, on alert, in case of fire.