Very important today is the ability of a person to give a critical assessment of something. In many areas, this can be done by writing a review that, in turn, has certain rules for creating. About how to write it, tells in our article.

Reviews like genre

The review is a genre of journalism, including scientific and artistic criticism. It is based on a critical assessment of the work of art, science, journalism (Kinoressentia, playback of performance, on a literary work, cartoon, scientific work ...).

What does the review need?

The purpose of reviewing is informed about the new product, give it a critical assessment, indicate the strengths and weaknesses of it. The review should attract the public attention to the subject under study and suggest that its attention is worth, and what - no.

Genre features

As a rule, the review is written in a journalistic style, is of a polemic character, it can also be for the essay genre, a literary-free article. It must be objective, so it does not allow the use of personal emotionality, coarse comparisons, the presentation of subjective thoughts. All judgments expressed should have clear arguments (examples from text, staging, style, copyright position, etc.). Writing the review provides for the use of the terms of art, to which the analyzed work belongs.

Review of the performance in the theater

Theatrical review is one of the popular theatrical criticism genres. Her goal is to evaluate the performance (and not play). To work on this critical article, it is necessary to analyze the production, to understand the creative idea of \u200b\u200bthe director, the concept of the director, which is embodied on the stage through various means of theatricalization: design scene, light, music, acting, Misanessen.

Review of the performance gives an objective assessment of the formulation. At the same time, the viewer examines the artistic text of the work, means of expressing the author's position (problematic, conflict, plot, composition, system of Perso-Press, etc.). The playback review is based on a deep and reasoned analysis, the quality of which depends on theoretical and professional training of the reviewer. In the process of writing the review, it is necessary to properly use theatrical terminology.

Stages of creating a review

The process of creating a review takes place in several stages:

1. Preparatory work (reading the play on which the performance was raised, the study of previous productions on it, the study of the creative path of the director, the place of this performance in the repertoire of the theater).
2. Viewing a performance.
3. Analysis of the formulation (including content, form, images, directorial finds, novelty of interpretation).
4. Direct writing of a critical article.

Structure of the review

In order to give a complete assessment of the formulation, you need to know how to write a review on the performance. This critical judgment has its own structure:

І. INTRODUCTION: Justification of the need to review this performance (a new production of the director, the Mika field around the creativity of Av-Torah, the relevance of the problem of the work of the work, etc.).

ІІ. The main part: interpretation and assessment of ideological and artistic peculiarities of production.

III. Conclusions about the artistic advantages of research-my production and its meaningless for theatrical and public life.

Review Plan (approximate)

In order to give a complete critical assessment of the formulation, it is necessary to take the basis for the performance. The presence of items and their alternateness is determined by the author.

1. The name of the performance, director, theater (basic information), date of production.
2. Data on the author of the play, director-director.
3. The plot line of the work, the main episodes (should argue the choice).
4. The creative idea of \u200b\u200bthe author and its implementation (author: theme, idea, problem; the features and difference of the director's plan from the text of the play).
5. Genre features of the production, composition of the performance.
6. Assessment of acting game.
7. The main problems raised by the author, their relevance.
8. Features of the directorial (unexpected use of theatricalization of theatricalization, features of scenography, musical accompaniment, special effects ...).
9. The overall impression of the player's reviewer (how much is inherent in the novelty of the directing interpretation, whether your expectations have justified relatively seen).

If you have any difficulties in your work, do not despair. Take advantage of the materials on how to write a play review (an example of its compilation is given in this article), and you significantly improve your reviewer skills.

1. Before writing a review on the performance, examine the material (play), which serves as the basis of the formulation in order for you during the viewing you have not followed the plot, and assessed the interpretation of the director's director.
2. Look at the performance yourself.
3. During the performance, make entries in the notebook so that when writing a review you have enough material for criticism.
4. Write a review at least one day after watching the performance. This will allow you to objectively approach the estimate of the production.
5. In the event that the performance did not like you personally, you will be able to find good moments in the viewed and interesting directorial findings.
6. If you write a review on the play by the play of the Classic playwright, point to the novelty of the work of the work by this director as opposed to others.
7. Do not forget that the performance is the work of a whole producer group (director-director, artist in the light, composer, ..), so pay attention to all components of the performance.
8. Be sure to give arguments.
9. Remember that any review on the performance is an example of a literate and logical presentation of the material, so follow the style, structure of the article and the absence of grammatical errors.

Main errors writing theatrical review

1. Using phrases of a subjective assessment: "Like" - "I don't like", "Impressed me," pleased the actor "...
2. Retelling the plot instead of the analysis of the performance.
3. Focus on details that do not carry a special semantic load.
4. Illiterate use of terms.

Sample Reviews on the Performance

In 1878, A. N. Ostrovsky wrote one of his most famous plays - "Dosperinant". After a while she was recognized as the best work of the playwright.

The first stage incarnation of the play took place on the scene of the Small Theater, but it did not make a proper impression. Over the years, the production has become more popular, and to this day she is hotly loved by the audience. The secret of restless interest lies, most likely, in the relevance of the problems raised in the dramaturgical material.

Recently, I visited the "Didnotection" in I plunged into the world of the magnificent unity of the director's plan, the mastery of actors and the exciting atmosphere of the performance. Being in the hall, I felt like a person.

The actress M. Magdalinina (role of Larisa) was especially impressed. She was able to create an image of a soft and sincere, sensual and romantic heroine. In her movements, ease and confidence were combined, and circles on stage were very successfully passed by the character of Larisa. The integrity of the image creation facilitated the beautiful melodic voice of the actress. I believe that she played his role just brilliantly.

I pleased with our skill of Russia Valery Potanin (the role of Karandyshev). His hero appeared in front of the audience unhappy and grill. It seemed the impression that he can "explode" at any minute. Permanent intolerance was traced, and sometimes even hatred for the parato. But at the moments of humiliation with other heroes, Karandyshev involuntarily became sorry. The image conveyed by Valery Potanin in the performance differs from my pencil presentation. In my imagination, it was a calm solid man who reacted sharply only in cases of injustice and resentment.

The role of Knurova played, in my opinion, very well, Honored Artist of Russia A. Gladnev. His hero gives the impression of a judicial person. His movements are thought out, impeccable, rosary. Only sometimes visible in the image of thoughtful, which creates the impression of a man-a sage, who has ever made a lot on his life path.

S. Karpov played in the performance of Pararty. He managed to convey rationality, calm and passion in dealing with Larisa. The only thing I would like to note is: the type of actor did not quite correspond to the appearance of my idea of \u200b\u200bthe hero.

Throughout the play, the audience had a wonderful actor playing Robinson. The image created by the actor was amazingly cheerful and cheerful. Thanks to the game of this actor, the director managed to spend through the entire performance of the motive of kindness and optimism.

It should be noted that the selection of actors would be carried out very well, their types, as well as vocal data contributed to the creation of amazing and attractive images of the performance.

The work of the costume screen and the performance grimer also deserves attention: all buttuff, costumes, makeup, wigs were created and chosen with knowledge.

The scenery fully corresponded to the ideological content of the performance. The fact that they did not change in the process of formulation also had ideological-semantic loads.

But, in my opinion, the light score of the performance was insufficiently thoughtful. In this case, the emphasis was placed on the rear spotlight, and this, in turn, distorted the vision of the audience the scene and had a negative impact on the game of actors.

In general, the impression of good setting. The synthesis of professionalism of the director of the director and the skill of the actors contributed to the fact that the famous play has played a new paint in my mind. In this, in my opinion, is one of the tasks of the theater: to attract the public attention to the problems that are always relevant, and to promote the viewer through the experiences becomes cleaner and wiser. I hope that the subsequent productions of this director will also produce an indelible impression on me.

Features of reviewing performances for children's audience

Review of the children's performance corresponds to all genre features of this critical article. When it is written it is important to take into account the only moment: the performance of the performance is usually designed for a certain age of children. Both the text of the play, and all art decisions on the stage must correspond to the specified age of children. Therefore, analyze the formulation for children is necessary, taking into account the age characteristics of the audience.

Review of the performance is a product of creativity. The reviewer must try to convey the spirit of the statement so that the viewer wanted or did not want to see it.

The process of creating his own play is very fascinating, but to make a deep impression on the audience and ensure that your creation is imprinted in their memory for a long time much more difficult, and it is even more tempting to achieve such an impact. Even if the performance really impressed the audience, it is necessary to force them to truly empathize from what is happening on the stage, well, and, of course, leave them something memorable about the evening. Theatrical program is just what you need. They have a tremendous influence on the theater lovers. It is not difficult to make an independent program, but for the spectators they will be entertaining during the performance, and at its ending will remain cute reminders of the play. Next I will present you a phased story, how to make theatrical program yourself.

Steps

Collect all the necessary information. Without the right information, you will receive only empty design pages, not a program. What information do we need?

• Who exacts what role
• Who should be thanked for help in organizing a performance
• Who is the director of the play
• Who is the author of the play
• (If required) who wrote music to the play
• (If required) who is a conductor orchestra
• Where and when there will be performances
• Who will present the play to the audience

1. Brainstorm. Each play has a topic. Depending on whether it will be western, a detective, or a revelation on the sacrificing life of hippie or stars, it is the subject of the play that will become the starting point when creating your program. (In the course of the story, I will give examples from your own designer development.)

   Choose design. For most, theatrical program with simple design is suitable for most uncooked plays. As a rule, this is a brochure of 4 pages, folded and placed on one sheet of glossy paper. On the one hand, the sheet will cover the front and rear, which will be the external parties program, and the list of actors involved in the play will be made to another. This side will be the contents of the program and will be inside. Such an option program will be a great output from the position if you have a modest budget. If your budget allows you, and you have a desire to report more facts about the performance, you can add the required number of pages at your discretion. (And I will introduce you to a fairly simple and simple design as an example.)

2. Down and Out trouble started. It is easier to proceeding if you have a lot of ideas, but this is not your case, and you would like to start with the most simple and easy to create a page to better understand and penetrate the process, during which you will have your original thoughts. Such a page can serve as the fourth side of the cover, which is also called the page for autographs.

   • So, open the computer program on graphic design. (For example: GIMP, Photoshop, Paintshop, etc.) and create a new page with parameters: 612 (width) x 792 (height). This is the standard size of the typographic sheet translated into the pixels. Make sure the background of the page is selected white.
   • You need a simple, compact, designed place design to place it at the bottom of the page. Open the new layer, make it transparent. So it will be convenient for you to maintain changes during the work.
   • Choose background. For background design, any color will suit, but if you need a volumetric look, it will be necessary to increase the shadensity of up to 70%. Such an image will not cut the eye and it will look more attractive and aesthetically.
   • Text. You would like to use a beautiful original font, and not, say, all the usual arial, but so that at the same time it remains well readable and not intrusive. See Tips on sites with free download templates (absolutely safe). Your program will automatically create a new level of text, but for this you first need to make this text to it. The text must be large, but do not take too much space, and it should be placed at the top of the page. It is assumed that viewers may ask the actors to leave them an autograph on this page. That is, it should be enough free space. If necessary, increase the gap between the letters until the word "autographs" fails to completely fill the upper line, the size of the letters does not change. (Increasing the gap between the letters, you can visually increase the letters into the width without changing them into the height. Very comfortable thing.)
   • If you wish, you can lower the program for small letters to write "The author of the design: Your Full Self.". But some designers, in whose row and I, prefer not to do this, for reasons of modesty.
   • Save the image in the format of your program you use. For example, the image GIMP 2.0 will be translated into format.xcf. Do not be afraid to save the image in the format of the program you use, if necessary, you can edit it late.
   • Once again, save the image, now in the format you selected (.jpg, .gif, .png, etc.).
   • Your first page is ready!

3. Page with cast. This, without exaggeration, one of the most complex pages. Initially, you may seem that everything is not so scary, but this is a deceptive impression. You can forget or confuse the name or surname of the actor or a character, or it is wrong to write them, Write to write other names. Some additional facts will constantly change in such a way that they will have to rule, and at this time you will need to try to leave as much free space as possible on the page. Be careful and careful, friends, here every little thing and item.

   • Make a list of all actors. You can clarify the names and surnames of all involved actors from the director, Assistant Director, or any other responsible person from the theater troupe. The most reasonable will ask them not only with names and surnames, but also indicating the executable roles of each. Do not be afraid to check the list from several people (errors will not rarely).
   • Open a graphic editor. Create a new image with dimensions: 612 x 792. Make sure the background has a white pattern. Create a new transparent layer.
   • Now proceed to the background design. He should not be too catchy, even if you want it, because this page is intended, first of all, to dating the audience with the acting staff, and all the attention should be riveted to them. However, if you decide still to make an attractive color background, reduce the shaded so that it is not brighter than the letters themselves. Now, for example, I am working on the development of a program for the play of a detective genre with a small cast (18 people), and I made a page with a list of actors, in the form of a newspaper, below which I posted an excerpt article on the search for a dangerous criminal to make the feeling of authenticity. When the composition of the actors is small, there is always enough space at the bottom of the page, which can be filled with its own designer idea.
   • Header. At the top of the page, preferably on the left side, add a header. It may be simple and simple, as, for example, "in the main roles", "acting persons", etc. If you are creative, and this approach does not suit you, especially if the topic of the performance allows you to combine the title with the topic of the play. For example, suspected (in a detective), gang (in the play about hippie), cowboys (in Western), stars (in the work of Hollywood actors). The size and font of the header may be the same in the pages for autographs and the page with thanks, so the pages will look more harmonious, but it is not necessary to adhere to this rule. (Note: Most likely, it will not be necessary to resort to receiving with an inter-abnormal distance, because in this case we need to achieve that the text will take a little more than half of the page width. If you do not like the distance between the letters, you can enlarge it. But watch it, So that the text of the header is not located in the entire width of the page! This moment is very important if the title is in width to the entire page, it will look somewhat strange.)
   • Next, we will deal with text under the heading. Create a new text layer, as a rule, the text is located just above the middle of the vertical sheet, or dropping one fourth page. But here the layout of the text is permissible to the entire width of the page. The font size of the text will be less than the font of the title, and probably the color will be different from the color of the header, not so bright and catchy. You can also use another color background. Heroes you can arrange in the order of their appearance in the play or in alphabetical order, the choice depends on you, but in any case they should be placed in some significant sequence. See also tips on editing text text with acting.
   • Now it's time to add actors' names. Choose alignment on the left edge, and making a small indent from the upper boundary of the page, place the text. List all the names of the heroes of the play, each recording on a separate line. And if you decide to arrange every hero opposite the name of the actor acting on its role, then you will need to create another text layer. Try to lay the text so that the name of one hero and actor performing his role fit on one line (you can format this parameter using the EXTRA function by adding it or removing it) if the text is still not accommodated exactly, make the center alignment, and Not at the left edge.
   • If you write the names of actors opposite the characters of the play without a dash or points, or other connecting signs, you will need to create a new layer after the list of heroes. The new layer should begin in the place where you started the previous layer. Install it closer to the center so that you have enough space to write long names. Make alignment on the right edge. Then enter the names of the actors in front of the characters that are fulfilled by them.
   • Check page. Browse the page to make sure there are no spelling errors, and then re-read again by checking the word for the word. Next, check all the characters are listed, and once again check if the actors are presented. Compare the page with the cast. I got with your pages sketch, do the same with the list of characters. Such a check may seem unnecessarily thoroughly, but it must be carried out. I had a case when I checked and rehearsed this page several times and was sure that it was all right. And then it turned out that I completely forgot to mention one hero of the play.
   • Save the page in the program format (for example, GIMP -: .xcf).
   • Save the page again in the format you need (.jpg, .gif, .png, etc.).
   • Print the acting page and show it to several people doing the performance. After that, ask the entire troupe to check your list of actors. The actors will rather notice a mistake or missed the letter in the name of the heroes, their last name or name, the names of their colleagues.
   • If everything is in order and no errors, the page with the acting is ready!

4. Page with thanks. Most of the work on creating the program has already been completed. It remains to finish with internal design - fill in the page with an expression of appreciation and gratitude.

   • First decide who you would like to express gratitude. Usually, thank the actors, choreographers, technical staff, director and director assistant, the theater on the stage, which is a performance, the owners of the building, where rehearsals were held (sometimes it is the same theater where the performance passes), and finally the audience come to the presentation . Perhaps you make any changes to the list of persons you will thank, depending on your specific case. But you must thank the actors, and (if appropriate) the leadership of the troupe. You must thank the people who solved the technical aspects of the organization's organization and installed equipment and other equipment, as well as decorators. Of course, the director of the play, and other people working with him in the team (Assistant Director, Director's Director, etc.) Persons who provided the troupe for rehearsals, and the leadership of the theater, where they put a play, as well as artists in costumes, or People granted you costumes. In the event that this is a musical, thank you for gratitude to the director's choreographers and the composer. And finally, the audience, because without their participation of the play would not take place either. What kind of performance without spectators?
   • Open a graphic editor and create a new drawing with dimensions: 612 x 792. Install a white background, and create a new transparent layer.
   • Create a text layer. If you want the entire program to look at approximately the same, select the same font and size as in previous pages (for autographs and with the list of actors). However, it is not necessarily. Create a string at the top of the page. To write, absolutely at your discretion, but in any case, about your text should look like this: "Thank you ...", "We would like to express gratitude ..." Or "express gratitude ...", etc. Make the width alignment, and it is desirable that the text fillets the page from the edge to the edge.
   • Adding thanks. The text you must have simple and easily readable, and take no more than one page. Watch that the program does not add a new layer when you add text so that it does not work out that you have created a new layer earlier than the text added.
   • Create a new transparent layer. Due to thanks, most likely, there will be free space. If so, then there is nothing to worry about. Develop the design of the pattern and place it under the text. Reduce the shadension of up to 70% so that the species becomes more enjoyable for visual perception.
   • In the case, if there is no free space below, you will have to go back to the first layer created at the very beginning. (No, this is not a typo, from the habit of printing the words "add a new transparent layer". For this there are reasons.) Ways to return to the previous layer in various programs may differ, but we hope that you are well versed in your chosen graphics program, Therefore, only let's say that you need to go to the previous layer. If you work in the program like GIMP, you will have to descend to the bottom layer, and then climb up text. In this program you can change the design without closing the window with the diotable text.
   • Design development. The design should cross the theme of the play. For example, clowns on the Pirates on the Pirates program will look ridiculous. Set the level of shaders to your taste. Remember only that the text should stand out on a general background.
   • Save the current page in the format in which your editor program works (for example, for GIMP is.xcf).
   • Then save the page again in the desired format (.jpg, .gif, .png, etc.).
   • Creating a grateful page completed!

5. First cover page. Perhaps the most difficult part in the process of creating a design program - the first cover page. The acting page is not simple, but after numerous checks and edits with its creation you can cope. But in the development of the first page, creativity and artistic taste is required, which can be a kind of hindrance and create additional difficulties. However, if the difficulties are only more fond of, then everything is in order.

   • Once again, review the topic. What can relate to this topic? For example, you are developing a program for a detective. What can be connected with this? Make a list with everything directly related to the plot of a detective play. At first, act by the method of brainstorming, and write down everything that will come to your mind. For example, as I will do it now, I will write down the following words - city, description of the criminal case, police, camera, felt hat, newspapers. Do you think I could add to this, at first glance an absurd list, also the word cow? And here is not. The first page of the cover should reflect the essence of the play, and the cow will not attend spectators for the idea that the play will be a detective genre.
   • Open the graphics program. Create a new image size: 612 x 792. Select a white background and create a new transparent layer.
   • Design. So, you have imbued with the topic, and are ready to create over the creation of the cover. Do not pull, immediately proceed to business. The design of the cover should be exquisite, beautiful and memorable. Let it be attracting views and breathtaking breathing at the same time! Here you can completely rely on your artistic vision and taste. I will not learn you how to do it. You can ask a friend's council, if desired, is not bad if it is an artist. The only thing, do not forget to leave a little free space for the necessary information.
   • Create a new text layer. You need to immediately make a title. On any cover there is always a name, and unlike previous pages, it does not necessarily be located at the top. The text of the name must be large, highlighted in bold, and certainly attract attention. After all, this is the name of the play! It should be the most vivid word in the entire program.
   • Create a new text layer. We will also add the necessary information to it. Here the background should be much easier than all previous pages, and the font is less than that of the headlines. In the new layer, the following information will be posted: "Director ...", "Screenwriter ...", "Starring ..".
   • You may also have to arrange additional information about the performance here, for example, such as the date and time of the performance, and the name of the theater where it will take place. Probably, such moments you should discuss with someone from the leadership involved in the performance of the performance, if you think that it will be better if you do not publish this data on the cover. Since this is a program, then such information is not at all mandatory.
   • Save the page in the editor format (for example, Gimp - .xcf).
   • Save the page re-in the format you need (.jpg, .gif, .png, etc.).
   • Well, the cover is ready!
6. If you use ready-made images: Use Getty Images. This is a secure way to get images of good quality. You can, of course, go down to theft of copyright images. But much more intelligent and safer use a special application, such as Getty Images. (Note: Google does not block images borrowed from other resources. Do not even hope for it.)
7. A little superstition personally from me: Do not say "Page with the acting" before the play.
8. If you use a more intricate name for the list of actors and your list is compiled without a special order and thoughtful sequence under such a heading can always be done note that this is a list of actors or executing roles.
9. If you are using drawing brushes in the editor: Use DeviantArt app. It is free, absolutely safe, and in it a huge amount of quality brushes. Just do not forget to unzip the brushes after downloading to the folder with the brushes of your editor program. ;]

Warnings

• The use of copyright materials without the consent of the author - illegally! Is it worth such a risk a stunning image on your theatrical program?

The document accompanies a person from the very first minutes of life. This unique invention of a person who makes it possible to fix all the knowledge accumulated by mankind (thoughts) on the material carrier. The document covers all spheres of being, is obligatory for them and performs the most important functions - social, legal, financial, cultural, etc. The general theory of the document, considering key questions - signs, properties that are components, the functions of any document represents documentology.

The theater program is considered as a type of document in accordance with theoretical provisions, detailed in the work of Yuri Nikolayevich Stolyarov "Documentology: Tutorial".

Components of the theater program

Any science operates the enormous amount of objects studied, so needs to order these objects, i.e. In classification. Documentology is no exception, especially since, based on the definition of the concept of "document", it is dealing with an infinite array of data requiring classification on specific features - components.

Each document in documentology is considered in the combination of the following components:

Nominative;

Semantive;

Signaling;

Syntactive;

Perceptive;

Temporal;

Material;

Pragmatic.

One of the most important components of the document is nominative - From Latin Nomina - name, name. The term "program" consists of Greek words: Pro - before and grapho - I write. I first write about what should be performed in a concert, play, ballet, in other words, the announcement. Theatrical program contains a record of the action that will occur in the theater. This is a kind of guide for the viewer who came to the theater.

The nominative component is closely interconnected with semantivewhich expresses the informational entity of the document. Semantics (from Dr. Greek. Σημαντικός - denoting) - section of linguistics, which studies the semantic value of the units of the language. For which the theater program is created and what information it contains - the answer to these questions is related to the semantive component. From the moment of its appearance, the theater program contained information about the view: when and where the event specified in the program will occur. The program was a mediator between the actors and the viewer, its content was information about the author, director, scerteograph, artist, actors creating a performance.

With regard to theatrical program, it can be said that its semantic value is to declare and designation by the names of the constituent theatrical action. From this point of view, the semantive component of the theater program echoes the nominative component, also meaning an announcement.

The traditional program of the dramatic performance is a leaflet or a small booklet and contains the name of the play and the surname of her author; The name of the artistic director of the theater; The names of the producer group of performances - director, artist, composer, dance stage, stage movement, artist in the light, assistant director or artist, etc. If special visual means (masks, dolls, special makes, vocal numbers, tricks, etc.) are used in the performance, then the program includes information and their authors. Next, all actors of the performance and role performants are listed. All the names of the authors of the performance and actors are accompanied by their titles and titles (for example, "People's Artist of the RSFSR", "Laureate of the State Prize", etc.). Concludes the program the name of the Assistant Director - a person responsible for the technical conduct of the performance.

Additional information can be included in the program: Premiere Date; The names of the theater workers who occupy key posts (chief artist, assistant to the main director on the repertoire, head of the troupe, head of the musical part, head of the producer; head of technical workshops: montituing, costume, requisition, dressing room, etc.); Information on the number of actions and duration of the performance, brief information about the history of the theater, the history of these plays, etc. Illustrated programs can be equipped with photos or drawings (sketches of suits, scenery, etc.).

Programs of ballet and opera performances include libretto - a summary of the performance. Circus representations and concert programs contain the names of the protrusion of the entire stage, the list of rooms and the surname of the performers (indicating their ranks and titles).

Considering theatrical program in the main aspects of the semantive component, it should be noted that from the point of view of the content theatrical program is a region of theatrical art, and more narrowly the performance (for example: History, War, Love); From the point of view of the target - aesthetic empathy; From the point of view of the audience, it is intended for the audience who came to the theater.

Theatrical program is a recorded text, therefore signal (sign) component It relates to a symbolic iconographic document, as it contains symbols - letters. The text of the program can be recorded in different languages, i.e. Different sign systems are used in parallel. So, in modern theatrical programs, the text can be in Russian and English. In the XYIII century, representation programs with the participation of touring troupe contained text in Russian and Italian or German, depending on the troupe.

In the middle of the XIX century, new symbolic signs appear in the program. Professional theaters are placed on programs their emblems that are the theater symbols. Today, theatrical programs of all theaters and concert halls contain their emblems and are drawn up each in their colors. So, the programs of the Bolshoi Theater have the color of ivory, the Mariinsky Theater prints the program of a salad color, the Music Theater. Stanislavsky and Nemirovich-Danchenko - White-blue, etc. Programs of some theaters have a constant design of the cover for all its performances (Bolshoi Theater, Music Theater. Stanislavsky and Nemirovich-Danchenko, MHT named after Chekhov). Others for each performance printed their cover, thematically associated with the content of the performance. In the first case, the program can be viewed as a symbol of the theater, in the second - as a symbol of the performance.

Any document is created with the aim of transferring information provided in it in space and in time. Theatrical program is addressed to the viewer and, in terms of perception, the viewer - perceptivecomponent - refers to the anthropodocum. The sign system, with which information is recorded in the program, created by a person and is recognized by a person. To recognize the characters, a person uses vision, which makes it possible to attribute the theater program to the video document. However, the development of computer technologies appears the theater program. Electronic - electronic document or techno-substituum, unlike non-electronic program. This kind of theatrical programs are posted on theaters sites, they represent a highly simplified electronic version of non-electronic program. The electronic program is absolutely devoid of aesthetic, artistic function, contains only information about actors and performers.

Syntactive (From the Greek word "syntax" - drawing up, constructing, order) The component of the document determines its construction, the interpordability of the components.

The theater program by the beginning of the 20th century has acquired a well-established form of building text, which is used in all theaters and concert halls. This form is closely related to the semantic component and directly expresses the content of the document. The name of the program is usually highlighted by an unusual font and is located on the first page. This can be called the title page of the theater program. By analogy with the title of the book at the bottom of the program, the place of submission and year is the output. The title data indicates the name of the theater or concert organization, the emblem is located. On the reversal of the program (second and third pages), actors and performers in two columns are indicated. This part of the program is unchanged for all species of spectacular representations - a dramatic theater, ballet, opera, circus performance, a concert of classical or pop music, etc. If the program is complemented by information about the director, actors, the history of the performance of the performance, then this information is located after the list of actors. The latest page of the program contains graduation data - a circulation, a printing house, in the last decade of the XX century, the directions of the theater or setting sponsors appeared.

Depending on the content of theatrical presentation, the theater program varies in the form of information presentation: chromaticity, illustrative of the program, the use of various fonts. The program of execution of the sixth symphony of Dmitry Shostakovich in Blocade Leningrad (Fig. 1) is characterized by the rigor of execution - a clear black and white font on a white sheet of the program is read as a symbol of the resistance and courage of Leningrads during the war. Illustrations here are superfluous, on the title page only dedication to D.Shostakovich native city - Leningrad. The syntactic component of the concert program transmits the content of the executable music, thus expressing close relationship with the semantic component.

Fig.1. Program of execution of the sixth symphony of Dmitry Shostakovich in Blocade Leningrad

Completely different character is the program of the play of the Russian Academic Youth Theater "Yin and Yan". It is full-color, performed in the tradition of oriental graphics (Fig. 2). The font style resembles the hieroglyphs, entering the viewer even before the start of action to the atmosphere of the performance, in which the intrigue is built around the Chinese relic.

Fig. 2. The program of the play RAMT "Yin and Yan"

Theatrical programs for each spectrum of the Russian academic youth theater - ram (Fig. 3) are unique on the design (syntactive component) and reflect the content (semantive component) of the performance. So, in the play "Drawing lasts a moment" a chess party in the Latvian ghetto between the prisoner and the overseer puts the hero before the choice - to win and stay alive, but all children will be destroyed, or lose and die, saving children. The program is made in the form of a chessboard, according to which a crack was held, shifting black squares - so the life of people turns out to be failed. On the program to the spectrum "Portrait" on the work of Nikolai Vasilyevich Gogol in front of us, the luxurious framework frames and the whole performance is built using a frame in which the hero makes itself throughout the action in various ways. The program to the Spetcluster Nikolai Erdman "Suician" was performed in another color scheme, symbolizing the struggle of a small man with himself and an attempt to escape from a vicious circle, in which he myself drove - the black fiction fingers on the program conclude a bent figure in a circle.

Fig.3. Programs for performances ramm

The Theater of Music and Poetry P / R Elena Camburova to create an atmosphere of the performance on the songs Bulat Okudzhava used the painting of Niko Pirosmani "Ishachy Bridge" (Fig. 4). The viewer feels the fragrance of Georgia and hears Georgian songs before the start of the performance, just looking at the program. It can be said that the syntactive component program (design) through perceptual (vision, internal hearing, smell) transfers the viewer content - the semissative component.

Fig.4. The spectral program "Drops of the Danish King" Theater of Music and Poetry P / R E. Camburova

The temporal component characterizes the theater program in a temporary relation. It allows you to fix information about a specific event that has occurred at a specific time in a particular place. During the theatrical presentation, the program provides the viewer with the information necessary for the viewer and interests it at the moment. In this case, for the viewer, the program is a relevant document. However, after the end of the presentation, the program loses its relevance, since the viewer no longer needs a guidebook, since the path has already been passed. We can say that the theater program comes on his birthday. On the other hand, the theatrical program acquires a historical, memorial function - reflects the fact of the performance, concert, which is invaluable information for the historians of the theater.

There are no strict patterns in the performance of performances in the theater, therefore the theater program is a sporadic document, which is published as needed and does not have a clear periodicity.

All the components listed above reflect the essence of the theater program from the point of view of information, determine its information function. Based on the definition of the concept of "Document", this information must be fixed on the material carrier, so it is necessary to consider material The constituent theater program.

The material for theatrical program is mainly used paper of various types. It can be thin matte or glossy paper, thin cardboard - matte or glossy, applied lacquer coating. At the end of the XYIII century, theatrical copies described the programs with calligraphic handwriting on Black for a special imperial name, which illustrates the III law of documentology on the conjugateness of information and carrier, the opportunity to place the same information on different carriers.

According to constructive form, the program can be performed in various versions. As a rule, a sheet, a diploma, is used. But there may be complex non-standard structural forms. Thus, the framework for the "Flowers for Elgernon" performs the program of non-standard asymmetric size with a neckline - Fig.5. The syntactive component of this program is also distinguished by an unusual description - the text is broken into parts and is located in different directions.

Fig. 5. Speak program "Flowers for Elgernon" RAMT

The theater was used non-standard design. Vakhtangov to the play of the "Shore of Women". The fate of women during the war is told in the play of the plastic language. The story of each heroine is voiced by the songs of Marlene Dietrich, in the cutout program we see her photo (Fig. 6).

Fig. 6. The program of the "Shore of Women" Theater. Vakhtangov

In the theater. Vakhtangov is a very interesting solution for the program to the spectrum on the novel by Pushkin "Eugene Onegin" (Fig. 7), where the design of the foot is used. The program is made in the form of a postal envelope, which includes a letter of Tatiana and business cards of all acting persons with an indication of the performers. The letter of Tatiana is made using the harmonic design. The postal envelope performs the function of the title page - we see the emblem of the theater, the name of the theater and the name of the performance. The style of text used in the program (syntactive screening) refers us in the XIX century, during A.S. Pushkin.

Fig.7. Programs to the spectral on Roman A.S. Pushkin "Evgeny Onegin"

Thus, in one program used four constructions - an envelope acts as the cover, the actors and performers are indicated on business cards, that is, the leaf, together they form a foot, and harmonic is used from the novel (letter of Tatiana).

One of the spectacular receptions of the design of the document is cutting down. Theater program. Vakhtangov to the spectrum "crazy day, or Figaro's marriage" uses such a method by placing the profile of the founder of Evgenia Vakhtangov theater on the first page of the cover (Fig. 8).

Fig.8. Theater program. Vakhtangov to the spectral "Mad Day, or Figaro Marriage"

Pragmative The component of the document is related to its existence in the external environment, indicates the relationship between the document with the factors in relation to it. The theater program for the viewer who came to the theater is a valuable document carrying the information required at the moment. In this regard, the program is inherent in relevance, as it enters into itself information about a particular performance. On the other hand, if the performance is not premier, that is, it has already taken place before, there is no novelty in the program. On the scope of application, theatrical program can be viewed as an artistic, information document with aesthetic significance. In the form of ownership, the theater program can be private (if it is the subject of the collection of a private person), collective (if the program is in the museum collection). According to the access mode, the program has unlimited access, any viewer who has come to the theater can purchase it.

Evolution of the theater program

The theater program passed all the stages of evolution, characteristic of any other document.

The prototype of the theater program - oral announcements - existed in the complementary era. With the advent of writing in the ancient world, the theater program has acquired the character of written and hand drawn announcements. Further development of writing and the appearance of a printing machine in the Epoch of Gutenberg marked the next stage of development - the appearance of a printed font program. Improving printing technologies, the invention of xylography and chromolithography made it possible to create illustrated theater programs that over time he led to a manifestation in this document to a large degree of artistic function. At the same time, the information function of the theater program remained the main thing for the direct member of theatrical presentation and for the subsequent generations of viewers. For the first, it represented the current document, while for the second to the fore the historical function was performed, allowing to study and understand the history of the development of theatrical art.

The development of computer technologies led to the appearance of the theater program - an electronic document. This type of program completely loses the artistic function, the life of such a document is reduced to several days, since the day after the performance disappears from electronic media - theater site. Information component, as well as artistic, remains only in a non-electronic version of the program.

Over time, the memorial function of theatrical program is becoming increasingly important, and it becomes a museum document, collecting item. The meeting of such documents is kept in the museum of theatrical art, in particular in the State Central Theater Museum. A. A. Bakhrushina in Moscow and at the St. Petersburg State Museum of Theater and Music Arts.

Theatrical program is presented in the Funds of the Russian State Library, the Russian National Library, the Russian State Library of Art, unfortunately, is very small. These are theatrical programs of the end of the XIX - early XX century. Later programs of interest from the point of view of syntactive (artistic performance) and semantive (repertoire of theaters, actors) of the components undeservedly do not attract the attention of the departments of the recruitment of libraries, thereby damping the reader the possibility of studying the history of the theater.

Bibliography

1. Stolyarov Yu.N. Documentology: Tutorial / Yu.N. Joiners; Moscow State University of Culture and Arts; Orlovsky State Institute of Arts and Culture. - Orel: horizon, 2013.-370 p.

About the author

Elena Ottn Zakhanganz, training of the chairs,

Shadow Theater in kindergarten with their own hands

Theater shadows do it yourself. Master class with step-by-step photos

Master Class. Making a methodological manual with your own hands

Theme lesson: Master Class. Shadow Theater.
Author: Sukhovekaya Oksana Aleksandrovna, teacher of the speech therapy group of the child development center - kindergarten № 300 "Ryabinushka", Novosibirsk.

Description of material: In this master class you will get acquainted with how to make a shadow theater. Shadow Theater - will help children in a fascinating form to get acquainted with the theater, to express their imagination, develop speech activity. This methodological manual will be useful for children of younger and senior preschool age, as well as for children of school age, teachers and parents. The manual can be used both in individual work and in group. And the master class will help this allowance to prepare.

Material: To create the theater, we will need:
- Shirma is ready (or it can be made independently, I will not stop in detail);
- Fabric: White (can be used by traction), colored on the scenes;
- threads in tone tissue;
- Tape Vilkro (Lipa)
- cocktail tubes;
- Barbecue sticks (large);
- holnitenes (rivets);
- fastenings for electrical wires;
- Sewing hooks.

Tools for work:
- a hammer;
- nails;
- stationery knife (cutter);
- punch for a belt;
- scissors;
- press for chalks;
- Shilo;
- glue gun;
- line;
- pencil pen;
- super-glue "moment";
- sewing machine.
The result of the master class helps:
Stimulate children and their initiative in theatrical activity.
Develop fantasy, creative ability to develop an articulation apparatus. To form in children a persistent interest in theatrical activity, the desire to participate in general actions, encourage children to actively interact, communicate, teaches to be able to communicate with peers and adults in various situations, develop speech and the ability to actively build a dialogue. Develop game behavior, aesthetic feelings, the ability to creatively relate to any cause.

"The theater is a magical world.
He gives the lessons of beauty, morality
and simply.
And what they are richer, the more successful
the development of the spiritual world
Children ... "
(BMPlov)

"Magic edge!" "So once called the theater Great Russian poet A.S. Pushkin. The feelings of the Great Poet share adults, and children in touching with this amazing view of art.

A special role belongs to the theater in solving the tasks related to the education and development of a child preschooler. Through theatrical and gaming creativity, we can develop emotional responsiveness in children, intellectuality, develop the communicative skills of children, artistry, speech activity.

In the daily life of a kindergarten, teachers use different types of theaters: bobbump, finger, desktop, flat (flannelhephoph or magnetic board), puppet, theater book, mask theater, etc.

I want to tell and show how to make a complex and at the same time a very interesting shadow theater.

The Theater of Shadows is an ancient theater. From time immemorial, showing shadow paintings in India, China, on Java and in Turkey on the street at night at the light of the oil lamp.

PropsThis Theater is required for this theater: light source (for example, headlamp lamp, table lamp, filmoskop), shirma with white screen, dolls silhouettes on chopsticks.

At the first stage of work for the manufacture of silhouettes, we need the following: stationery knife (cutter), scissors, hole punch for belt, press for champs, holnitenes (rivets)

Silhouettes can be prepared on a computer or draw yourself. I found the ideas of silhouettes on the Internet, printed on a printer on ordinary sheets A4

Then printed silhouettes stick on black paper. I immediately prepared the silhouettes of characters and scenery.

Now these silhouettes need to be cut. Small inner parts cut with the help of a stationery knife, silhouettes themselves cut out with scissors.

So that the silhouettes are not bent, I have been illuminated. If there is no such possibility, you can use a dense cardboard for stringency figures.

The next step is already illuminated bilateral silhouettes cut.

Since I really wanted the characters (silhouettes) to have moving elements (for example, could go) I did individual elements for silhouettes: hands, paws, legs.
To bring them in motion, the details must be copp in a certain way. Wire is suitable for bonding, and threads with knots on the tips. But I wanted some grace, or something. Therefore, I combined the parts with the help of belt holes and holnites (rivets).

I broke out smooth holes in the bonded places, picking up the diameter so that the rivets do not fly out and had a free move. Previously, in places of fastening, the shill has a point, leveling the paws so that they do not flush in the future. Then the press for chalks joined the rivets (this press approached the size to rivets).

Now you need to fix on the figures of the sticks for which they will keep their puppetes. It is important for me that the theater is compact. Therefore, I will be removable sticks. Wands for which silhouettes will drive are sticks for barbecue. Wooden, rounded shapes .. We select to these wands in the size of a cocktail tube with corrugation. It is very important that sticks in the tubes do not hang out, but sat very tightly. And we need to consolidate \u003d - glue-gun.

I cut off the cutters from the tube with the corrugation (accordion), leaving the alpoked tips of 1.5 cm

Using the adhesive gun fix the tubule on the silhouettes. There are two fastening options: horizontal (with corrugated) see Wolf; Vertical (just a piece of tube 2 cm) see the piglet.

To understand in the future, which fasteners will be comfortable for you, insert sticks in the tube.

Try to tell the silhouettes, play by them. I basically liked both fasteners. At the same time, I understood, for what silhouettes I will use only vertical mount, and for which I use the horizontal.

Silhouettes are ready. Now we will deal with decorations. We have already prepared the foundation when the silhouettes of scenery on black paper were pasted, cut out, were divided and cut out again. Now we need to strengthen the silhouettes and at the same time make the fastening system to Shirma. Silhouettes glue sticks for barbecue on glue gun in a pointed end of a book.

Something to fully take advantage of our prepared silhouettes, we will be ready to read the screen. To my happiness, we had such a shirma on our group.

Major structural changes We will enter inside the screen

We need easy tools:

On the lower layer of the window, place places for plastic mounts.

Bill plastic fasteners with nails (these mounts are usually used in electricians, to fix wires to the walls), at the same time, followed how to enter chopsticks from decorations. Fastenings must be fixed hard, do not hang out, otherwise all our scenery will not be located correctly.

On the top bar window with the help of super-glue "Moment" fasten the sewing hooks. We need them to place such scenery on them as clouds, sun, month, birds. Under hooks secure ribbon Wilkro (Lipa). It is better to fix on the furniture slapper, so as not to break away.

On the lower bar above the fasteners for the scenery, also fix the Vilkro tape.

From the outside, all this even looks interesting. The versatility of the manipulation carried out is that all these fasteners can be used not only for the shadow theater, but also for playing any other puppet performance.

On Vilkro's tape, we will clipped the white screen. The screen will make a white-colored biazi cut. With a centimeter tape with the width and height of the window. (instead of fabric you can use tracing, unfortunately, it is less reliable)

Call a piece of rectangular shape, carefully treat the edge. To the top and bottom of the Vilkro tape - the second half.

Now the screen can be placed on the screen. It will stay on Vilkro tape in a stretched state.

I appeared externally shirma now boring. Therefore, I decided to transform it. Curtain curtains will decorate our theater.

Solly lambrequin from a narrow rectangular fabric strip. Labreken will close the upper window crossbar.

From the rectangles with the treated edges will be a curtain of two parts. Both parts on the sides can be collected. You can make a removable phillu, so that the curtain can completely close the window or be open unhindered.
The self-adhesive film is to the tone to our curtain, I pasted the lower part of the screen.

For comparison: what was and what happened

Our theater is almost ready to show the performance. It remains to establish the necessary light and invite the actors with the audience.

In order for the audience to see the performance, we will need two light sources. Common naked lanterns will perform as a light source. They are safe and easy to use.

Explanatory note

The future is closer to us than it is customary to think. It is very close - crying, laughs, puts questions, makes it suffer, rejoice and fruitfully live. This is the future - our children ...

They grow quickly, but they will be able to live on their own and fruitfully if we today will help develop from abilities and talents. Talented people are the main wealth of society. Each child is talented in its own way. Art is designed to help develop this quality in it. Work on the artistic word in the theater studio, stage game, meetings with interesting people, actors, visit theater - all this will contribute to the formation of a creative person, self-expression, acquisition of public behavior skills, the solution of characterological conflicts, the removal of psychological tension.

The relevance of the program is due to the needs of society in the development of the moral, aesthetic qualities of a person's personality. It is possible to form a socially active creative personality that is able to understand the universal values, be proud of the achievements of domestic culture and art capable of creative work, writing.

The pedagogical feasibility of this course for students is due to their age characteristics: versatile interests, curiosity, passionism, initiative. This program is designed to expand the creative potential of the child,

enrich vocabulary, form moral and aesthetic feelings

Regulatory documents ensuring the implementation of the program:

Federal State Educational Standard of the General General Education, approved by the Order of the Ministry of Education and Science of the Russian Federation of December 17, 2010 No. 1897;

The main educational program of the MBOU Polevskaya Lyceum LLC;

Programs for the formation of universal training actions;

Order of the Ministry of Education and Science of Russia No. 576 of June 8, 2015"On Amendments to a federal list of textbooks recommended for use in the implementation of educational programs of primary general, basic general, secondary general education, approved by the Order of the Ministry of Education and Science of the Russian Federation of March 31, 2014 No. 253"

Order of the Ministry of Education and Science of the Russian Federation (Ministry of Education and Science of Russia)march 31, 2014 No. 253 Moscow

Recommendations for equipping educational institutions by educational and educational and laboratory equipment necessary for the implementation of the FGE of the main general education, the organization of project activities, modeling and technical creativity of students (recommendations of the Ministry of Education and Science of the Russian Federation of November 24, 2011. No. MD-1552/03)

Sanitary and epidemiological rules and standards of SanPiN 2.4.2.2821-10 "Sanitary and epidemiological requirements for the conditions and organization of training in general education institutions", registered in the Ministry of Justice of Russia 03.03.2011, Reg.№19993.

Purpose: Formation of creative personality students

Create a favorable emotional atmosphere of communication of students, self-expression, self-realization, allowing "to find yourself" to believe in their strength, overcome timidity and shyness

Form the skills and skills of the scenic culture of behavior

Instilling love for the theater as a multidimensional and multipoint of art genre

Develop interest in scenic art, visual and auditory attention, memory, observation, resourcefulness and fantasy, imagination, figurative thinking, rhythm feeling and coordination, speech breathing and diction

To bring up goodwill and contact in relationships with peers, skills of collective creative activities, responsible attitude to the results of their work and work of the whole team

Organizational conditions for implementing the program

The program is drawn up for 70 hours (2 hours per week), designed for 1 year of study and is intended for students in grades. Children are accepted into the studio for interest, without the presentation of special requirements, according to parents.

The implementation of the program is carried out in accordance with the main pedagogical principles:

the principle of systemism (involves the continuity of knowledge, the complexity in their assimilation)

the principle of differentiation (suggests the identification and development of students and abilities in various directions)

the principle of fascination (takes into account age and individual characteristics of students)

the principle of collectivism (contributes to the development of versatile abilities and the need to give them on overall joy and benefits)

the principle of interdisciplinary integration (literature and music lessons, literature and painting, visual art and technology, vocals and rhythm)

the principle of creativity (implies the maximum orientation for the work of the child, on the development of his psychophysical sensations, the liberation of personality)

The technological basis of the program is the following technologies:

group

• individual and problematic training

  pedagogy cooperation

The following forms help the implementation of these technologies:

Theoretical and practical classes

Individual, group, collective

Theater games

• Trainings

  Excursions to Theater.

  Performances

  Holidays

Reproductive

Illustrative

Problem

Heuristic

Observation

The exercise

Promotion

Explanation

Personal example

Theoretical classes are given the main knowledge, the theoretical substantiations are revealed by the most important topics, these historical heritage and best practices in the field of theatrical art and life in general are used.

In practical classes, the presentation of theoretical provisions is accompanied by a practical show by the teacher himself, the basics of acting skills, culture of speech and movements are given, playing, psychological and training trainings are held. During classes, a friendly correction occurs. The teacher seeks all the participants to try to make the task as bright and accurately and accurately.

On individual classes, work is carried out with children in an amount of from 1 to 3 people.

Material and technical support

A computer

Projector

MD and SDBs

Costumes, scenery needed to work on the creation of theatrical performances

Elements of costumes for creating images

Stage Grim

Expected results

By the end of the year, students studying:

Have a concept:

About the theater and its types

About elementary technical scene

About design scene

On the standards of behavior on stage and in the auditorium

Express your attitude to phenomena in life and on stage

Figuratively thinking

Concentrate attention

Scented

Acquire skills:

Communication with partner

Elementary acting skill

Figurative perception of the surrounding world

Adequate and figurative response to external stimuli

Collective creativity

Educational and thematic plan

Date planned

actual

Theme lesson

Number of hours

Notes

Introductory occupation. Acquaintance with the team, studio program, rules of behavior, with fire safety instructions

Fundamentals of theatrical Culture (6 hours)

The concept of the theater. Types of theater. The difference of the theater from other types of art. Theater's origin.

Structure of the theater, main professions: actor, director, screenwriter, artist, make-up. Stage etude "So these professions of the theater ..."

Design and technical means of the scene. Russian theater.

Culture of behavior on stage and in the auditorium

Excursion to the theater of dolls.

Culture and Speech Technology (14 hours)

Work on exercises, developing chest resonator. Exercises "I breathe right" , "Steam locomotive"

Work on articulation authorities and acquaintance with orthoepia standards. Speech gymnastics "Certains", "Monument to Proverb"

Joking verbal riddles on the development of attention, expanding the vocabulary stock. Game "Sochini Anonymous!

Work on diction. Games "pick up rhyme", "Sochini Fairy Tale"

Work on diction. Games "Sochini Story" Life of Wonderful Things "," Sochini Story about one letter "

Work on diction and development of care. Games with the words "Logody", "Guess the word!", "Flies, does not fly!"

Games with words that develop a coherent speech: "Sochine acrostich", "Sochini Metagram", "Sochin Anagram", "Razing Anagram"

Working with the word and ability to think non-standard. The game "New character at the old fairy tale"

Stage Etudes on Imagination: "Unusual Declamation", "Unusual Hymn"

Mastering the proposed stage tasks. Game "Advertising Roller"

Mastering the proposed stage tasks. The game "Festival of the same song"

The development of the proposed circumstances. Game "Certs"

Mastering the scenic space. Games "Sound-Press"

Work in the way. The game "Enter the image."

Rhythmoplasty (10 hours)

Training rhythm movements. Gait games, "Transformation"

Improvement of posture and gait. Rhythmic game "I'm moving correctly"

Development of imagination and ability to work in a sharp figure ("in the mask"). Games "Masks", "Revival of items", "Imitation", "Shadows"

Plastic exercises "Production gymnastics", "Bodybuilding"

Work in the way. Analysis of facial features. Hairstyles and wigs. Games "Familiarity", "Mirror"

Development of observation. Stage etudes "Two cases at the same time", "flour of creativity."

Theatrical training. Games "Sound operator", "Theater director"

Foaming of costume elements. Game "Enter the image"

Imitation of animal behavior. Great Temperators game

Work on coordination of movements. The game "Queue." Exercises for flexibility

Theater game (39 hours)

Acquaintance with the scenario of the fairy tales "Kolobok", "Teremok", "Golden Key". Exchange Impressions.

The retelling of the plot of the Pieces in order to identify the main theme, the main events and the semantic essence of the clashes of heroes.

Distribution of roles taking into account the wishes of young artists and the correspondence of each of them chosen role (external data, diction). Expressive reading of fairy tales by roles. Division to logical passages.

Discussion of decorations, costumes, scenic effects, musical accompaniment.

Discussion of the proposed circumstances, the peculiarities of the behavior of each character on the scene. Work in the way discussion of heroes, their characters, appearance.

Reproduction in the action of individual events and episodes.

Terminating roles. Work on the facial expression with dialogue, logical stress.

Terminating roles. Work on the facial expression with dialogue, logical stress.

Individual preparation of the main performers

Selection of music. Learning songs and dance

Collective making of scenery, costumes.

Rehearsal of the play "Kolobok"

Premiere of play

Holiday of the first performance. Analysis of the speech.

Rehearsal of the play "Teremok"

Dress rehearsal. Design scene.

Preparation of posters, programs, tickets, preparation and checking

Premiere of play

Analysis of the speech.

Rehearsal performance "Golden Key"

Dress rehearsal. Design scene.

Preparation of posters, programs, tickets, preparation and checking

Premiere of play

Analysis of the speech.

References

Agapova I.A. School theater. Creation, organization, plays for production: 5-11 classes. - M.: Vako, 2006. - 272 p.

Belinskaya E.V. Fabulous trainings for preschoolers and younger students. - SPb.: Speech, 2006. - 125 p.

Buyaly B.A. Art of expressive reading. M.: Enlightenment, 1986. -176 p.

Gurkov A.N. School theater. - Rostov N / D: Phoenix, 2005. - 320 p.

Karishnev-Lupotsky M.A. Theatrical ideas for school-age children. - M.: Humanitar.Isd. Vlados Center, 2005. - 280 s.

Tkacheva E.M. Pieces. - M.: VDCHT ("Repertoire for children's and youth theaters"), 2008. - 176 p.

Churilova E.G. Methods and organization of theatrical activity: Program and repertoire. - M.: Humanit. Ed. Center Vlados, 2004. - 160 s.