Scenography theater. Scenography or theatrical-decorative art - a special kind of artistic creativity

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Introduction

1. Concept of scenography

2. Modern Scenography

Conclusion

Literature

Introduction

In the modern theater, the virtuoso connecting variety of iconic means, the importance of the visual image of the performance - its "entertainment text" - steadily increases, as evidenced by theatrical practice, and theoretical concepts of playwrights and directors, starting from the first decades of the XX century. up to this day.

Metamorphoses that occurred in the world theater of the 20th century, related to the search in the field of drama, directorh (B.Brcht, P. Brooke, E. Grotovsky, J. Sopo, O. Epinge, R. Tamchon) called for life and new searches In Scenography (J. Io, A. Appia, K. von Apapen, R. Koltai, E.-g. Crag, J. Freedom). Modern scenography will no longer just decorate the scene, but seeks to create an environment of a dramatic situation, determine the meaning of the performance and highlight the director's concept. Similar processes are observed in the domestic theater, not only dramatic, but also musical, where the evolution of the image of a ballet performance is associated with the names of the famous composers (I.F.Stravinsky, S.C. Prokofiev, B.I. Tishchenko) of the choreographers (K.Yu . Goleyovsky, F.Vopukhova, Yu.N. Grigorovich, O.M. Vinogradova, N.N. Boyarchikova) and Scenogradov (V.V. Dmitriev, S. B. Virsaladze, V.Ya Levental, V. G. Sererovsky, V.A. Okuneva, R.N.Ivanova).

Changing the language and functions of scenography is associated not only with the evolution of theatrical art and its visual aesthetics, but also with the transformation of the problem of interpretation of the text and its stage incarnation. Scenography, along with the art of the actor and the director, became a way to visualize the dramatic text in the space-time of the performance, building the "Situations of saying" and the means of determining the meaning of the formulation. This is determined by our interest in this issue, which will be considered by us in this work.

1. Concept of scenography

In theater studies, reviews and in the practice of the theater, the term "scenography" was widely distributed, which are trying to designate one of the key moments of the theater work - the spatial solution of the performance.

It is known that the term develops into the concept in all the wealth of content only in the theory, where, in the process of becoming each line of this content enters the system, forming a number of auxiliary concepts. But it is true that the theory begins with the analysis of the nodal terms of conceptual meaning, spontaneously put forward by practice, since it is in them an intuitively predictively predicts the entire structure of the future theory.

Realizing the importance and significance of this initial stage in creating the theory of the spatial solution of the performance, we will try to analyze the main faces of the term "scenography", which prevailed in the context of the modern theater and the state of science about him.

Scenography can be interpreted primarily as a synonym for decoration art. The term "decoration art", literally denoting: "decorate, decorate something", is historically determined. Therefore, as some researchers believe, he, without answering the essence of modern art, only characterizes a certain period of development of the stage "design", based on "purely picturesque" machines of easel painting. Arriving in the twenties, the term "real design of the performance" reflected the aesthetic position of a certain theatrical direction and could not claim for some kind of versatility of use. That is why at present the term "scenography" was synonymous with "scenic art".

At first glance, the structure of the word scene-graphic itself suggests that it most fully reflects the specificity of the artist's activity in the theater. But at the same time, if you understand the "scenography" as a stage schedule (which, in our opinion, is quite natural by analogy with the use of the word "graphics" in art), then the question arises - is it only to decorate and costumes?

The value of the stage graphics in the structure of the performance is wider, since the development of the mice-resistant drawing of acting plastics in a certain spatial environment is primarily located on the stage. In addition, if the history of scenery art is created mainly on the study of the sketch material of artists, the story of the stage graphics should be focused on the entire spatial interpretation of the performance, on everything that forms the visual significance of theatrical image.

In a number of research works, the term "scenography" is interpreted as a certain stage of the development of theatrical art. In the most detailed form, this thought is expressed by V.I. Berezkin in the book "Theater of Joseph Freedom." In it, the author allocates in the historical genesis a number of stages of evolution and the last stage - from the beginning of the century to the present day - refers to the development of the proprietary source. "The separation of the scenography was expressed in the development of its specific means of expressiveness, its material - scenic space, time, light, movement." And then the author writes: "Scenography claimed itself as art, in a good sense of the word, the functional, subordinate to the general laws of a complex synthetic work - the performance and designed for the closest interaction with the actor, dramatic text, music. Through this consistency of actions and disclosed images of the performance" .

No less popular and derived from "Scenography" The term "scene". Through his creative workers involved in the organization of the scenic space of the performance, emphasize the specifics of their profession in the theater.

Earlier it was thought (such an opinion is now) that any professional artist, whether it is a painter-stovethrower or a schedule, is able to competently "arrange" a performance. This is true if the tasks of the artist to design a pretentively ready-made performance, i.e., to the administration to theatrical work, in its shaped system of additional (it means in something external and optional) visual strokes borrowed from such types of art such as painting. Graphics, etc. However, the theater, especially modern, nominates other requirements, otherwise the role of the theater artist in creating the artistic integrity of the performance, which in turn requires specialization, the focus on the theater.

The formation of a modern theater artist, its increasing role in creating a performance can be traced in the history of the theater. The approval of the profession of the theater artist took place in a series of other theatrical professions, which was caused by the awareness in the genesis of this art of each of the faces of his artistic image. In particular, the formulation of the problem of the artistic integrity of the performance is associated with the direction, which in turn caused the need to concretize, the definiteness of the visual significance of theatrical work - the performance.

It should also be noted that the scenography for a long time was in some research vacuum. On the one hand, no one denied theatrical artists in the right to be called independent creators, the significance of theatrical scenery, the spatial solution of the performance as an integral part of the synthetic art of the theater was recognized by everyone. The names of the artists are honored next to the most prominent directors and in the theater program, and in studies of art historians, and in books dedicated to various periods in the development of scenic art. There are many works that consider specific stages of the history of theatrical and ornamental art, the features of the Shakespeare Scene, picturesque scenery, is much written about the influence of constructivism on the material structure of performances in the Russian and the World Theater of the 20s and 30s of the XX century. On the appearance of performances in various historical epochs wrote A.A. Anicist and A.K. Jivelegov, G.N. Boyadzhiev and S.S. Mokulsky, A.V. Bartoshevich and B.V. Alpers. There are many monographs and research devoted to the work of individual artists of the theater, both Russians and overseas.

Only quite recently, the gap in this area of \u200b\u200btheatrical science began to be filled. Editorial Urals Publishing House In collaboration with the State Institute of Art Consciousness, the first encyclopedia of theatrical and scenery art, the monograph of Viktor Berezkin, "Art of Scenography of the World Theater. From the sources until the middle of the XX century." This is a truly deep study that considers the history of theatrical scenery from nucleation (including the Pu-theatrical, industrial forms) before the period, when the basic principles of the modern theater were formed almost completely, in all their ideological and aesthetic manifold.

theater Scenography Dramaturgy Director

2. Modern Scenography

If we are trying to present a picture of modern world scenography in its full volume, it will be found that it consists of an outbound multitude of the most heterogeneous individual art decisions. Each master works in its own way and creates the most different design of the stage action - depending on the nature of the dramatic or musical work and from its directing reading, which is the methodological basis of the system of effective scenography.

Many performances entered the history of art precisely thanks to the most interesting solutions of the Scenograph. Often, theatrical sketches after decades remain a unique documentary evidence of a particular setting: after all, the decorations and costumes themselves are rare. In some cases, the drawings of the artist Scenograf - the only trace of the director's plan, whose project was never implemented.

The stylistics of Mikhail Larionov and Natalia Goncharova is associated with interest in folk forms of art. Proer deformation - an important plastic reception of neoprimitivism - has been brought to Goncharova to the limit of expressiveness. "The task of a costume is not to wear, but to materialize an imaginary character, its type, character," said the artist. Its sketches to the ballet "Bogatyri", based on Russian folklore, are not just spectacular decorative costumes, but expressive images of hashi, Ilya Muromets and other epic characters.

About the design of Aristarkh Lentulov Opera "Tales of Hoffmann" Igor Ilinsky wrote: "This performance is among those few phenomena, for which you can love the theater unless. Theater, in which you get impressions and aesthetic pleasure in general, as from symphonic music."

For the masters of avant-garde, it is characterized by the use of not only plastic techniques transferred to the theater from painting, but also an innovative approach to scenography as a whole. In the experiment, George Yakulov - the play "Zhirofla Zhiroflia" - the basis of the scenography was the moving design - the system of "kinetic machines". The main principle of the theatrical action Yakulov believed "the principle of permanent movement, a kaleidoscope forms and paints." In the costumes, he laid the idea of \u200b\u200bthe interpretation role, believing that the exact costly found the costume frees the actor from the need to "hang out and run on stage."

Alexander Exter in the design of the play "Romeo and Juliet" sought plastic synthesis of stylization and innovation. According to Abraha Epros, "she wanted it to be a cubedic cubism in a baroque baroque."

The standard of avant-garde theater experiment in Russia is the legendary performance "victory over the sun". In the formulation of the artist of Kazimir Malevich, Poet Alexei Tschechey and the musician Mikhail Matyushin, he combined the newest achievements of painting, music and poetry. Repeated the "victory over the Sun" opera set in 1920 in Vitebsk Pupil Malevich Vera Yermolaeva, whose plastic solution appealed to cubism and developed techniques from the first version of the performance. In 1920-1921, Lazar Lisitsky developed a project of the opera "victory over the Sun" as an electromechanical presentation: the actors replaced huge puppets, which should have been moved along the scene using the electromechanical installation. The process of managing puppet, as well as sound and light effects, was part of the scenography. The only testimony of the grand, but not implemented innovative design of Lisitsky remained albums of sketches.

An example of the fruitful cooperation of the artist and the director, equally oriented to the experiment, is the joint work of the love of Popova and Vsevolod Meyerhold over the play "Genuine Cardridge". This is a symbiosis of the constructivist aesthetics of design and innovative methods of directory. The utopian understanding of the role of the theater as a "exemplary organization of life and people" Popova embodied in the installation - a universal scenery for the "generless cuckold".

Many of the Russian avant-gardeists saw the current task not in the design of specific performances, and in the universal decoration of theatrical space based on plastic techniques of the artistic direction to which belonged. So, the student Malevich Ivan Kudryashev in the sketches of the design of the Orenburg Theater used the principles of suprematism. The desire for total reform theater led to the interest of the masters of the avant-garde to the architectural solution of the theater building itself. In projects, Alexei Babichev and George Miller embodied innovative principles of the organization of theatrical space.

In parallel with the avant-garde searches in theatrical art of the 1920s and 1930s, there was a traditional approach to scenography. This line is represented by masters not prone to extreme innovation, and artists who started creative activities at the turn of the XIX and XX centuries and remained faithful to their beliefs. For example, Boris Kustodiev and Ivan Bilibin collaborated with theaters that retained traditional staged methods.

If we consider a specific embodiment of stenograph art on stage, then as an example, the performance of "Thunderstorm" on the play by A.N. Ostrovsky on the scene of Mkhat.

The program is an explanatory text entitled "in an unsolved space". "Is it just simple?" - I wonder the name-name author. And answers myself as a question: "Well, how to be with" don't kill, don't fight, do not want your wife's wife, read your father and your mother? "No, it's not that today we want to give, in turn , clear and simple answers, but with the opposite sign, and the case is in the interest of passions, the thoughts of human in this mysterious territory of the most unsolved space of the human being - Russia. "

The last words in all their beautifulness and meaninglessness are materialized on the stage in the scenery of Levental: Going around Kalinovskaya Street, the stairs at the corners of the scene and the two fences, followed by the clouds on both sides and gloom the clouds. These fences, however, in the course of the performance, go and drive around, becoming the courtyard, then again the street, and then the bathhouse (without fail with a moonshine), where Tikhon's disassembly happening to Boris, whose faithful death is saved by wild, Kuligin and, it seems very familiar Shapkin.

You can also lead as an example, the premiere show of the play "Kajak" on the play by A. Tolstov on the scene of the Small Theater. This comedy Alexei Tolstoy on the stage of the Small Theater presented director Vitaly Ivanov. Speaking about the scenography of the performance, you can note the following: if it is not an entrepreneur with her eternal beds and a couple of chairs, and any little serious theater, he is ready to offer the public not just the elegant visual accompaniment, but also a certain image of a particular performance. The artist Alexander Glazunov is an experienced and talented master. And in small in general, any scenery can decorate separate applause. So in the "kavernka". Only in the second act, the curtain is swingled, as the hall is exploded by the Ovation from the unspecified beauty of the manor captivity. But the problem is that such an entourage is appropriate in almost any performance, there is no inspirence with today's interpretation of "linked", there is no vividly pronounced idea of \u200b\u200ba particular performance. As, however, and this director's idea itself is unlikely to be discovered. For a small, though, where the main person is an actor, not a director, this is forgiven, although again does not fit into a modern theatrical context.

You can also note the scenography of the theater artist Gottfried Pilts to Opera York Höller "Master and Margarita" (according to the novel M. Bulgakov). The premiere of the opera took place in Cologne in 1991. Scenography of the pyline is symbolic: it does not build on the scene of the scene, imitating the surrounding reality, be it landscape or interior, and does not dress the heroes at the appropriate time and nationality costumes, but creates a space that is modeled mainly by light and shadow. On the stage, deprived of "qualities", there are no characters without properties, but extremely modern people.

You can also consider the scenography of the ballet S. Prokofiev "Cinderella" (St. Petersburg Mariinsky Theater, artistic director V. Gergiev, authors of the decorations I. Utkin, E. monks)

It is logical to expect from the scenery to the Ballet Prokofiev "Cinderella" direct illustrating the plot - a cute tale of Charles Perso gives birth to the imagination of fabulous palace interiors with a partly childish, magnificent magic tint. But this only applies to the plot, as for the music of Sergey Prokofiev, then she is not so serene and magical. In the formulation of "Cinderella" the nature of the scenery may seem unexpected - sharp, structural, and sometimes even causing.

This nature of the scenography is caused primarily by the fact that it is carried out by architects, and not theatrical artists. Architects wanted to create exactly the Space "Cinderella", and not just a decoration for a fairy tale. And therefore, before the start of work, the music and the plot of thorough analysis. As a result of the search, which included even an attempt to write a libretto again, the authors decided that the action of the ballet was not at all in the Middle Ages and not even in the era of revival, but in the abstract XX century "in general." This decision, found or "heard" in Prokofiev's music and supported by Ballet's director Alexei Ratmansky and the artist in the light Gleb Felshta, determined the unusual style of structures and fabrics on the stage of the Mariinsky Theater. The same move allowed the author of the costumes, the architect Elena Markovskaya dress the heroes of "Cinderella" in some kind of clothes, somewhat vaguely indicating the entire period between the two world wars: whether it is the "advanced" twenties, a little bit dead by the court gloss, the "chic" Thirtieth, but with enhanced boom.

Decorators Ilya Utkin and Eugene Monakhov traditionally belong to "wallets", participants and even leaders of the late 1970s - the beginning of the 1980s, in which the Russian project, "paper" architecture was able to speak their tongue, fantastic, free and at the same time - Smart and ironic. Inviting architects, "wallets" to the theater, the Directorate clearly counted for the "etching of the entire scene" in the form of backs, that is, on the same expected fabulousness, but with a tangible modern accent. Architects went further, trying to create their own world with a few, but strong techniques. Since these techniques are developing throughout the performance, we will try to consider them in the sequence in which they appear.

First curtain. In nature, he is, maybe the most "paper" from everything that is done in Cinderella. The curtain shows a dark night city with hundreds of luminous windows. The city is clearly big, high, the buildings go beyond the upper cloth. Architecture is vague, but you can see the arched form of windows and generalized frontoths. Either New York, or London the era of Art Deco. The Cinderella window is lit in one of the upper corners, which turns out, lives, like us, in the metropolis. Or lived relatively recently - after all, if the action takes place in the interwar period, the heroine belongs to the generation of our grandmothers. Gloomy such start.

The curtain opens and the main scene appears, on the sides of which two large structures with tiers and ladders are delivered. The backstone is neutral, and some lattice hangs over the middle space. According to the designs all the time someone climbs, in the middle of the scene dancing, the backdrop changes color. No etchings, everything is rigid, structurally, ironic. Postmodernism is obtained, but not on the theme of classics, but on the topic of Meyerhold and constructivism.

After some time, another design appears on the stage: there is a large metal circle with the needles between the two poles. This is a clock, towering above the scene and symbolically leading countdown for the heroine. This simple circle on the supports belongs to the same stylistry as the long-term structures on the scene - strong, "constructivist" (read - modernist) shape, defining the scene space and almost pulling the attention of the viewer from the part of the action on itself. It should be noted that at first Utkin and the monks designed hours in much more intricate, fabulous and baroque forms - with snakes, volitions. But in the final version, the clarity and stiffness were over.

But approximately in the middle of the performance, something completely new appears: a backdrop with a promising leaving giant vaulted gallery. This gallery suddenly consolidates the space, complicates the action and creates a gloomy and magnificent background for the Bala scene. The classics here is an anti-dustopic, the taste is bitter and not at all fabulous. The controversy is flanked by constructivist laddes, it is released from them. The clock change the position and turn into a chandelier, and the chandelier is alarmingly blinking, then threateningly spinning again in the form of hours, speeding up time. Then the hall disappears, replacing the misty trees of the park, over which clouds float, then the moon shines. Closer to the end

the watches disappear, the time is almost stopped, the happie-end is nearing, which is preparing an intermediate translucent curtain.

Scenographic moves in the performance are quite a lot, and they are provided with various combinations of few techniques: a chandelier-clock, gallery bed, structures on sides and backs. But this set is enough for permanent variations, accompanying everything, to change plans and spaces, not so much applied and illustrative, how many plot and almost independent. Nevertheless, the endless gallery with harsh and even predatory classic forms is the most memorable in the scenography of "Cinderella".

This hall is a kind of key to the decorations of the performance. Architects with all their might create a consistent fairy tale with lattice structures, formidable hours, which, like waswolf, turn into something else, with a flashing light of the backs, changing the color. However, "collects" an action one architecturally, order, a classically ordered space, somewhere who all over the scene. This path, this corridor with a lumen at the end could shine and impose a view of well-thought-out baroque or non-delicious forms. Instead, he suppresses the scene with its volumes ascended to an unusual, fabulous height. The grave flow of pylons somehow cancels and an inevitable happy end, and the sore thickens at the beginning.

You can also note the formulation of the Opera Ruslan and Lyudmila by the Mariinsky Theater in the scenography of the Belgian artist Thierry Bosque. This scene, recreated scenery and costumes on sketches of the cow and golovin to the famous Mariinsky spectrum of 1904, did hell. He not only spent six months in the workshop of the theater over the drawing details, but also personally drove the stores in Europe and New York, choosing fabrics for all costumes to "Ruslan". The riot of paints, represented by Tierry Bosque, broke the thunder of applause at the premiere in 1994. The Belgian spoke in this work with an excellent stylist: the scene breathes the pristine flavor of the Russian modern, reminding the Byzantine luxury chambers, and about the gloom of the epic oak.

Conclusion

Based on the foregoing in our work, we can draw the following conclusions:

First, at the current stage of the development of the theoretical thought of the science of the theater, the term "scenography" acquired the fundamental importance, without it it is already impossible to do; Moreover, it became the main one in all reasoning relating to the spatial solution of the performance. This term reflects the problems facing the visual significance of the theater image. The practical interests of developing theatrical art spontaneously nominated this term as a central concept, and its total multi-consciousness only confirms its need for further scientific development of the art of the theater.

Secondly, under the term "scenography" it is necessary to understand the aggregate of the spatial definiteness of the theater work. And this is not only what the artist performance complains on stage: scenery, costumes, etc., - but also all that forms the spatial body of the performance, under the laws of visual perception. On the one hand, these are plastic casting opportunities, without which the spatial composition of the theater work is impossible - the actor has its module (even if there is currently not on the stage of the actor, then the viewer knows how it should be in this environment) . On the other hand, these are the technical capabilities of the scene and the architectural space of the theater. In theatrical creativity, as in any other form of art, an important role is played by the technique, which must meet the dynamic possibilities of the human body, and the architecture of both the building as a whole and the scene itself, which has a decisive effect on the figurative system of the performance.

Thirdly, the significance of "scenography" in the understanding of the theater work put forward this term as a central in the theory of the spatial solution of the performance, the need for which is obvious. The theory of scenography should be aware of theoretical level of scenic graphics as the necessary moment of artistic integrity of the work of the theater. It should formulate the methodological principles of new scenographic science. The theory of the spatial solution of the performance, using the concept of "scenography" as a central, should develop a categorical apparatus, which will help to fully determine the relationship within the scenography itself and its effect in the structure of the performance to other determining moments of theatrical work.

LITERATURE

1. Berezkin V.I. Theater of Joseph Freedom. - M., 1973

2. Berezkin V.I. Art of scenography of the world theater. The second half of the twentieth century. M., 2001.

3. Berezkin V.I. Art of scenography of the world theater. Masters. M., 2002.

4. Ilya Utkin - Scenography to Ballet S. Prokofiev "Cinderella" / http://www.ilyautkin.ru/postroyki/stsenografiya/zolushka_image/pressa/zolushka_v-mmii.htm

5. Vasilyeva. A.A. Rhythm in the scenography of Russian ballet performances of the twentieth century: author. diss. on the sister Scientific step. Cand. Art history. SPB: Asterion, 2003

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Theatrical-decorative art (it is often called scenography) - a type of visual creativity associated with the decoration of the theater performance, that is, the creation on the theater scene of the living environment, in which the heroes of the dramatic or musical and dramatic work are acting, as well as the appearance of these themselves Heroes. The main elements of theatrical and ornamental art - scenery, lighting, butaforia and props, costumes and makeup actors are a single artistic integer, expressing the meaning and character of the stage action, subordinate to the idea of \u200b\u200bthe performance. Theatrical-decorative art is closely related to the development of the theater. Scenic representations without elements of artistic and visual design are an exception.

The basis of the performance of the performance is a scenery depicting the place and time of action. A specific form of scenery (composition, colorastic system of IT. D. is due not only to the content of action, but also by its external conditions (more or less quick changes in the place of action, the peculiarities of the perception of the scenery from the auditorium, combining it with certain lighting, etc.) .

The image embodied on the scene is originally created by the artist in a sketch or layout. The path from the sketch to the layout and design of the scene is associated with the search for the greatest expressiveness of the scenery and its artistic completeness. In the work of the best theater artists, the sketch has the importance of not only the work plan of the stage design, but also relative to an independent artistic work.

A. M. Vasnetsov. Sketch of the scenery to Opera N. A. Rimsky-Korsakov "Tale of the invisible Grada and Virgin Fevronia." 1906.

Theatrical scenery includes the framing of the scene, a special curtain (or curtains), a visual solution of the scene scene, the scene, the back plan, etc. Methods of the image of the living medium on the stage are diverse. In the traditions of Russian realistic art, scenic solutions are dominated. At the same time, the written plane elements are usually combined with (volumetric or semi-compounds) into a holistic image that creates the illusion of a single spatial environment. But the basis of the scenery can be both figurative-expressive designs, projections, drapery, screen, etc., as well as a combination of various ways of image. The development of the scene technique and the expansion of the image methods do not cancel, however, the values \u200b\u200bof painting as the basis of theatrical and decorative art as a whole. The choice of image method in each individual case is determined by a specific content, genre and the style of the work embodied on the scene.

Costumes of the acting persons created by the artist in unity with scenery characterize the social, national, individual features of the heroes of the performance. They relate to color with scenery ("fit" into the overall picture), and in a ballet performance also have a special "dance" specificity (must be comfortable and easy and emphasized dance movements).

With the help of lighting, clear visibility (reviewability, readability) decorations, but also depicts different seasons and days, illusion of natural phenomena (snow, rain, etc.). The color effects of lighting are capable of creating a sense of a certain emotional atmosphere of stage action.

Dolls S. V. Exemplary from its pop numbers: "Trepaua (" Lullaby "M. P. Mussorgsky) and the head of the doll on the finger (" We sat with you ... ").

Theatrical-decorative art changes with the development of artistic culture as a whole. It depends on the dominant artistic style, on the type of drama, from the state of the visual art, as well as from the device of theatrical premises and scenes, from the lighting technology and many other specific historical conditions.

The high level of development has reached theatrical and decoration art in Russia at the turn of the XIX-XX centuries, when outstanding artists came to the theater. In the design of performances, they brought a large picturesque culture, sought artistic integrity of the scenic action, organic participation in it of visual arts, unity of scenery, lighting and costumes with drama and music. These were artists who first worked in the Mammoth Opera (V. M. Vasnetsov, V. D. Polenov, M. A. Vrubel, etc.), then at the Moscow Art Theater (V. A. Simov, etc.), in the imperial Music theaters (K. A. Korovin, A. Ya. Golovin), Dyagilevsky "Russian seasons" (A. N. Benua, L. S. Bakst, N. K. Roerich, etc.). A powerful stimulus for the development of theatrical and ornamental art was given creative quest for advanced director (K. S. Stanislavsky, V. I. Nemirovich-Danchenko, V. E. Meyerhold, Balletmisters M. M. Fokin and A. A. Gorsky).

E. Zmuro. The layout of the scenery to the spectral of the central children's theater "Skates" on the play S. V. Mikhalkov. 1976.

In the Soviet theatrical and ornamental arts, the traditions of the Russian theater and scenery classics were continued and developed. Its innovation was due to new ideas, themes, images related to the development of dramaturgy and theater of socialist realism. Artists F. Fedorovsky, V. Dmitriev, P. Villama, N. Akimov, N. Schifrin, B. Volkov, Yu. Pimenov, V. Romadin, S. Virsaladze, A. Vasilyev and many others. Together with all other types of artistic creativity, theatrical-decorative art (through connection with the theater and scenic action) displaced all the variety of life of our country, the history of our society.

Artists also participate in the creation of movies, telecons, pop and circus representations. The spectacular arts are perceived by millions of viewers, and therefore the role of the artist is very responsible here.

Art of Scenography Art of Scenography

The scene is an artist involved in the design of the performance and creating its image-plastic image. Theater is the main work of professional scenography. The director's artist in the theater not only embodies the director's plan, but, together with him, he comes up with what artistic means to transfer the idea of \u200b\u200bthe performance, its atmosphere and mood. Scenographic work: Scenographer is a painter, schedule, architect, designer and technologist in one person. Over the design of the performance, the scene, as a rule, does not work alone. It is helped by installers, fashionships and butafors, light artist, artist in a suit, artist-technologist. But in the theater, still the scene controls the entire process of creating a performance and holds the position of chief artist.

The main task of the artist is to find a new way to deeper the meaning of the play. It was for this that the scene receives his fee, and not for layouts and sketches. Artist-director, reading the play, preparing for the production, tries to feel the text, feel the atmosphere and mood. And after that, the scene begins to seek images, discuss the material with the director. The embodiment of the idea, he must take into account all: the rear background of the scene should be perfectly painted, the crown of theatrical king is shine, and the butthofan apples look appetizing ... As a result, the scene often becomes a co-author of the performance.

At the origins of history. Scenography as art began to be born in ancient society, which has yet been devoid of scenes as a special design, and actors - as professions. Our ancestors had a small folklore heritage, the creators of that time also composed parables, stories and epics. According to this material, such costume produced was often made. In this way, the "Genetic Code" was defined, which establishes modern scenography. These are three base functions, without which theatrical formulation is unthinkable: a character, game and defining a place of action.

Pre -izovography and its characters. The term "preyogramography" is used, if we are talking about the times following the occurrence of an antiquity era, within which the theater was defined as a full type of art. Cave people, the ancient pagans have already had a considerable experience in scenic activity, only the formulations were fundamentally different from modern. The then scenography of the performance in the center of all events was placed on a certain character who was the main operating "face." Initially, these were rock paintings, circular images (which symbolized the sun as a deity), various stuffed and totems. The performance was not a secular event, but the ritual, in which the forces of nature came, there was worship of the deities and who had replaced the ancestors. Surprisingly, one of the ancient pagan performances is relevant even at this time! If anyone has not guess, we are talking about the tradition to put a New Year tree in the house, dress it and drive away the dances. For the sake of justice, we note that our ancestors dressed forever green tree are somewhat different. Totems and talismans were hanging on the branches, as well as parts of animals that were sacrificed. Fortunately, the most gloomy moments of this tradition remained in the past, and we reached us only the finest. So, if you want to clearly imagine how the ancient scenography of the performance looked like, just go to the central square of your city and admire the costume dance, dances, carols and other New Year rituals.

The development of a gaming function can be said with complete confidence that there is already full-fledged scenography in the era of antiquity, or theatrical-decorative art. The theater is gradually becoming a secular event, the scenario is based on not only rituals and worship of the gods, but also fiscal life situations, and exclusively specially trained actors speak on the stage. Accordingly, a new, gaming scenography appears - a special kind of theatrical art. The first sceneries are created, which bring the performances to reality, the actors are sewing costumes and masks (even far from the makeup), the necessary lighting and minimum special effects are created. In this form, the theater was held not only through antiquity, but through the Middle Ages.

Renaissance - the era of the revival of the decorations of the XV-XVI century - not only the era of humanism, going after the gloomy Middle Ages, but also the period for which it was thoroughly formed by the scenography. This is the time in which the greatest artists, sculptors and architects, mainly Italian. They have become the authors of many elements of Butaforia, without which the current theater is unimaginable. It was decided to create the background for each performance, the same as the paintings by Leonardo da Vinci and Michelangelo. For the first time, Donato Bramante coped with the task - the great architect, which built theatrical perspective. In the foreground, actors in costumes were performed, and on the second - the backgrounds corresponding to the specified place of action. Later Sebastian Serylio, the architect-theorpet distributed the scenery into three types: for comedy, tragedy and for pastoral. After these practical and theoretical works, scenography, like art and production, embodied in the Olympico Theater, which was built by the hands of Andrea Palladio in Vincenzo.

From the era of classicism to the new time by the beginning of the XVII century, scenography as art and production occupied an important segment in the field of life of all European countries. There were whole factories that were engaged in the manufacture of theater decorations, so they have long become dynamic and plastic. The scene could consist of several layers or levels. On the ropes placed branches of trees, moon or sun, clouds, and even the actors themselves, if the script required.

Up until the first half of the 20th century, the theater and its scenery dubbed the main stylistic trends of the current era, while people did not decide to appeal to the old days. Of course, our contemporaries did not return to pristine decorations, on the contrary, the technical equipment of anyone, even the simplest theater, became more and more perfect. But productions, places of action, heroes - all this was often a description of the old eras. Today, you can see the performance about the life of the ancient people or the achievements of the Society of the Renaissance period. There are performances in avant-garde style, abstract and surreal, or we demonstrate maximum realism.

What is special in the modern theater? In today's years, it will not say a little that the scenography is a special kind of art, because this industry reached the theater to the fore. In some way, she even eclipsed the importance of the acting game (and the great maestro will be forgiven) and received a new name - stage design. In large productions on the assembly of decorations, the design of the scene and the creation of the necessary atmosphere is spent a lot of means and strength. In the process, leading designers and builders can take part, and all these efforts are only for the sake of one performance. Similarly, stylists work and above the actors are carefully selected costumes and makeups.

A. M. Vasnetsov. Sketch of the scenery to Opera N. A. Rimsky-Korsakov "Tale of the invisible Grada and Virgin Fevronia." 1906.

Dolls S. V. Exemplary from its pop numbers: "Trepaua (" Lullaby "M. P. Mussorgsky) and the head of the doll on the finger (" We sat with you ... ").

E. Zmuro. The layout of the scenery to the spectral of the central children's theater "Skates" on the play S. V. Mikhalkov. 1976.

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Art of scenography

The practical interests of developing art spontaneously put forward scenography as a basic basis for planning and developing artistic performances, animated programs, exhibition events, etc., its total multivalism only confirms the need for further development of scenographic activities.

Therefore, the importance of scenography in the understanding and perception of artistic design and to realize the spatial decision on the idea of \u200b\u200bthe author is obvious.

Scenography should include stage design as the necessary moment of artistic integrity of any productions, it should formulate the principles of activity of actors and participants of the performance, performances during its holding. The spatial solution of each event should respond to the selected subject and the actions of the participants in the structure of the speech as a whole.

In the very general definition scenograph - This is the kind of artistic activity, which is based on the design of the performance, speeches, creating a fine image, which is perceived by the audience and participants as a whole, existing in stage form, time and space.

Scenography is the science of artistic and technical means to create and carry out a performance. All artistic and decoration and technical means that are used in the implementation of the stage program or event are considered scenography as elements that create an artistic form of presentation.

In practical terms, the scenography is the creation of a visual representation by designing the place of decorations, lighting, production technique, as well as through the creation of costumes of actors in the spirit of the script. In fact, the performance of the performance and the creation of the right perception in the audience and participants depends on how organically the elements of the presentation in the process of scenography are selected.

Scenography means the creation of a visual image by decorations, costumes, lighting and produc. Special entertainment, complex effects require the work of the scenic mechanisms that can change the scenery behind the curtain or in front of the public.

Scenography appeared in ancient Greece, perhaps comes from the term "scanner", which at one time was understood as the "painting of the scene", that is, the use of "picturesque prospects" in the design of the scene.

At first glance, the structure of the word scenography hints at the specificity of the artist's work. But if you understand the scenography only as decoration, the question arises - whether the scenography is reduced only to the scenery and costumes of actors.

However, the value of the scenography in the structure of the performance and representation is wider, since the development of actors' actions in a certain spatial environment in the framework of the speech is primarily depicted on decorations. That is, in fact, the scenography is a term, the content of which is much wider than the direct meaning of the word. The content of scenography in the design structure means not only an image on scenery and costumes, but also the staged activities of actors. Moreover, all this is carried out within the framework of the presentation topic.

In addition, if the scenery is created, mainly on the study of the material of various artists, illustrators, etc., then the scenography as a whole should focus on the entire spatial interpretation of the performance, on everything that forms the visual significance of the protrusion. The simplest example of the presentation is the Christmas tree. For example, the sudden appearance of a cell phone near Santa Claus on the New Year holiday will destroy the created image. However, if you furnish it as a joke and adapt the program to modern features, it will be perceived by the audience adequately and will not create an unpleasant impression.

Types of scenography

Scenography can be three types:

detailed set design,
laconic scenography;
minimum set design.

Types of scenography

Detailed set design Includes full design of the venue of the performance in accordance with its program, costume participants, a detailed script, coordinated actions of all actors at each stage and the complete absence of external influences during the speech period. Such methods are used to make serious thematic performances with full compliance with entouge.

Laconic set design Means the general design of the venue of the performance is not attention to the details, weakly detailed costumes of actors, a common scenario with the main replicas of actors. Mostly performances and performances of this level are organized in corporate and social events.

Minimum set design It implies the performance of actors without costumes, without registration of the venue. In fact, the minimum set design is a performance on the harvested scene for musical accompaniment. Such an approach is used in the simplest performances and performances, such as animation programs conducted according to the leading scheme - actors - viewers - contests - prizes.

In general, in the sphere of socio-cultural service and tourism, the term Scenography was widespread. Often this term denote one of the key moments of animation programs - the spatial solution of the event.

Modern set design

In part, this term is limited in its content, because there is no unified theoretical base in this direction. Despite the fact that this component of theatrical art exists from the very moment the origin of the theater and performances, the scenography cannot boast of any detailed developed theoretical concept. On the contrary, applied aspects of the scenography are developed in detail and in detail.

Modern scenography includes a system of elements that ensure the effectiveness of the performance and performances.

Despite this, many are meant by scenography exclusively decorative art. This is rooted incorrectly. The term "decorative art", literally denotes "decorated, decorate something" and refers to the theater techniques to decorations. Actually, theatrical techniques of scenography and marked the beginning of the scenography in all other areas related to ideas and performances. For example, the entertainment service borrowed theatrical methods and approaches to design events. However, decorative art is only part of theatrical scenography, and not its full content.

Therefore, scenography is not only decoration of the venue of the play, performances, ideas or a different event, since, in fact, it does not respond to its essence, but only characterizes a certain reception of the preparation of the venue. Scenography includes aesthetic position of a certain topic, within which a performance is carried out or performance. Consequently, the universality of the use of scenography is very conditional, since what should include scenography depends on the concept of the performance.

The design of the director forces actors and viewers to take into account the spatial and thematic certainty of the performance. Therefore, the classical surrounding of the environment changes, due to which the feeling of viewers and participants in involvement in action becomes possible. This is the key to the success of any performance and performances, which provides scenography.

The approval of the new tasks and opportunities facing the modern theater and acting skills may be due to the expansion of the possibilities of scenography. It is necessary to develop the visual significance of artistic images, the integrity of the presentation and production, as well as the interactivity of communication of actors and participants with the audience.

If there is a space created by scenography, where the action of the artistic formulation is unfolding, it already affects the image and perception of the audience and participants. Since artistic activities are very characteristic and different from, for example, actors' actors in the cinema, then the scenography should help the actors to realize their executive skills.

Therefore, the scenography has a pronounced dependence on the artistic context of the formulation, due to the characteristic features of the organized performance. As a result, the development of scenography is carried out due to the fact that with each new artistic formulation of scenography, new tasks are given, and each time they become more complex and complex.

In practice, a separate position of Scenographer in the activities of theatrical, circus and other artistic groups is allocated only in major institutions of culture and socio-cultural service. Also, the position of Scenograf is in large enterprises involved in the organization of holidays and events, including in large hotels, sanatoriums, etc. The scene in this case is a kind of propulsional technologist, an architect, designer and engineer of submissions and events.

In small creative teams, their members and actors themselves are performed. Their tasks include the design of the space allocated to conduct a performance, and the creation of a holistic artistic image of the designed formulation.

Maximum what is being done outside the art group is made of decorations. At the same time, any professional artist is able to perform decorations decoration, if the purpose and tasks of the design are clearly supplied. However, the artist will not be able to transfer the spirit of decorations, simply embodying the ideas in the form of art decorations. Therefore, the scenography is not only in the decorative design of space. However, new requirements are constantly nominated to the scenography, each time it is different to regard the role of the artist in creating the artistic integrity of the new formulation, which in turn requires the artist of a certain specialization, a focus on such activities.

One of the main elements of postname artistic performances and ideas is the scenography and scenographic preparation. The role of scenography in creating an artistic image of the formulation is very large, since the spatial solution is created at the expense of scenography technologies and the presentation in order to create the right perception of the artistic image in the audience.

Scenography is to use art and hardware for performances, performances, ideas, speeches and other events. From the point of view of practical implementation, the scenography represents the creation of a bright visual image, which is perceived by the audience and participants.

For this, artistic decorations, lighting and production vehicles of the animation program are used. In addition, the scenography refers to the creation of costumes of actors, which must correspond to the artistic plan of production.

Scenography is based on the principle of compliance of the concept of formulation. In this case, the methodology and toolkit of the scenography are adapted to create individual elements that constitute a generally integrated creative intention, and artistic integrity is the essence and main purpose of scenography.

Scenography theater. Scenography or theatrical-decorative art - a special kind of artistic creativity

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Spatial Plastic \u003d Fine - Graphics, Painting, Sculpture

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All the themes of this section:

Art of scenography

Types of scenography

Modern set design