1.1 The history of the emergence of pop art

The word "stage" (from the Latin strata) means - flooring, platform, hill, platform.

The most accurate definition of variety art as an art that unites various genres is given in the dictionary of D. N. Ushakov: “Variety is the art of small forms, the area of ​​spectacular musical performances on an open stage. actions, in artistic and expressive means, art, contributing to the vivid identification of the creative individuality of the performer, in topicality, acute social and political relevance of the topics touched upon, in the predominance of elements of humor, satire, journalism. "

The Soviet Encyclopedia defines the stage as deriving from the French estrade - an art form that includes small forms of dramatic and vocal art, music, choreography, circus, pantomime, etc. In concerts - individual finished numbers, united by an entertainer, a plot. It emerged as an independent art at the end of the 19th century.

There is also such a definition of stage:

Stage, permanent or temporary, for the artist's concert performances.

Pop art has its roots in the distant past, traced in the art of Ancient Egypt and Ancient Greece. Although stage music closely interacts with other arts, such as music, drama theater, choreography, literature, cinema, circus, pantomime, it is an independent and specific form of art. The basis of pop art is - "His Majesty number" - as N. Smirnov-Sokolsky said 1.

A piece is a small performance, by one or several artists, with its own plot, culmination and denouement. The specificity of the act is the direct communication of the artist with the audience, on his own behalf or from the character.

In the medieval art of wandering artists, booth theaters in Germany, buffoons in Russia, the theater of masks in Italy, etc. there was already a direct appeal of the artist to the audience, which allowed the subsequent to become a direct participant in the action. The short duration of the performance (no more than 15-20 minutes) requires the utmost concentration of expressive means, laconicism, dynamics. Variety numbers are classified according to the characteristics of four groups. The first species group should include conversational (or speech) numbers. Then there are musical, plastic-choreographic, mixed, "original" numbers.

The art of comedy was built on open contact with the public del- arte (masque) XVI- p.p. XVII century.

Performances were usually improvised based on typical plot scenes. Musical sound as interludes (inserts): songs, dances, instrumental or vocal numbers - was a direct source of the pop number.

In the 18th century, comic opera and vaudeville... Vaudeville was the name given to entertaining performances with music and jokes. Their main characters - ordinary people - have always defeated stupid and vicious aristocrats.

And by the middle of the 19th century, the genre was born operetta(literally small opera): a type of theatrical art that combines vocal and instrumental music, dance, ballet, elements of pop art, dialogues. As an independent genre, operetta appeared in France in 1850. Jacques Offenbach (1819-1880) became the "father" of French operetta, and operetta in general. Later the genre developed into the Italian "comedy of masks".

The stage is closely connected with everyday life, with folklore, with traditions. Moreover, they are being rethought, modernized, "pop-up". Various forms of variety art are used as an entertainment pastime.

This is no coincidence. In England, pubs (public institutions) appeared in the 18th century and became the prototypes of music halls (music hall). Pubs have become a place of entertainment for broad democratic strata of the population. Unlike aristocratic salons, where mainly classical music sounded, in pubs songs and dances were performed accompanied by a piano, comedians, mimes, acrobats performed, scenes from popular performances, consisting of imitations and parodies, were demonstrated. Somewhat later, in the first half of the 19th century, café-concerts became widespread, initially representing literary and artistic cafes, where poets, musicians, and actors performed with their improvisations. In various modifications, they spread throughout Europe and became known as cabaret (zucchini). Entertainment does not exclude the factor of spirituality; a civic position is especially important for a pop artist.

The easy adaptation of pop art to the audience is fraught with the danger of flirting with the public, concessions to bad taste. In order not to fall into the abyss of vulgarity and vulgarity, an artist needs true talent, taste and flair. The director formed the program from individual pop numbers, which was also a powerful expressive means. Free assembly connection of small forms, separated from various types of artistic creation and healed on its own, which led to the birth of colorful art variety show... Variety art is closely related to theater, circus, but unlike theater, it does not need organized dramatic action. The conditionality of the plot, the lack of development of the action (the main drama) are also characteristic of the big performance revue(from French - review). The individual parts of the revue are linked by a common performing and social idea. As a musical dramatic genre, the revue combines elements of cabaret, ballet and variety show. The revue performance is dominated by music, singing, and dance. Variety has its own modifications:

- variety shows from separate numbers

- variety show

- dance cabaret

- revue

In the 20th century, the revue became a lavish entertainment show. There were varieties of revues in the United States called show.

The musical stage included different genres of light music: songs, excerpts from operettas, musicals, variety shows in pop adaptation of instrumental works. In the 20th century, the stage was enriched by jazz and popular music.

Thus, pop art has come a long way, and today we can observe this genre in a different form and performance, which suggests that its development does not stand still.

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If in the chair in front of me there is some unreasonably tall man, it starts to seem to me as if I have a hard time hearing. In any case, such music ceases to be pop music for me. However, it also happens that what is happening on the stage is perfectly visible, however, despite this, it does not become a fact of pop art; after all, some artists and directors concentrate all their efforts on pleasing our ear, caring little about our eye. Especially often one encounters an underestimation of the spectacular side of pop art in musical genres, but the symptoms of the same disease can be observed in artistic reading and in entertainments.

- Well, - you will say, - again we are talking about long-known things, about the fact that many pop artists lack stage culture, that their numbers are sometimes devoid of plastic expressiveness and are visually monotonous.

Indeed, all these serious shortcomings, which have not yet been overcome by pop art, often appear in reviews, and problematic articles, and in creative discussions. To some extent, they will be touched upon in this article as well. However, I would like to pose the question more broadly. The point here, obviously, is not only the lack of skill as such. This disadvantage even touched upon those pop genres that are addressed only to sight. Acrobats, jugglers, illusionists (even the best of them, great masters of their craft) most often sin with the same visual monotony, lack of plastic culture. All varieties of the genre are reduced, as a rule, to the alternation within the number of approximately one circle of performed tricks and techniques. The stamps that are formed from year to year (for example, an acrobatic male couple, tall and small, working at a slow pace, performing power movements, or a melancholic juggler dressed in a tuxedo with a cigar and a hat, etc.) only reinforce, legitimize spectacular poverty pop genres. Traditions, once alive, become fetters for the development of art.

I will cite as an example two jugglers - winners of the recent 3rd All-Russian Contest of Variety Artists. I. Kozhevnikov, who was awarded the second prize, is the type of juggler just described: a bowler hat, a cigar, a cane make up the palette of a piece performed flawlessly in skill. E. Shatov, winner of the first prize, works with a circus projectile - a perch, at the end of it is a narrow transparent tube with a diameter of a tennis ball. Keeping a balance on his head, Shatov tosses balls into the tube. Each time the perch grows, gradually reaching almost ten meters in height. With each new section of the Persha, the performance of the number becomes visually sharper, more expressive. Finally, the length of the perch becomes such that it does not fit into the height of the stage (even as high as in the Variety Theater). The juggler comes to the fore, balancing over the heads of the front row spectators. The ball soars upward, almost disappears against the background of the ceiling and ends up in the tube. This number, in addition to the extraordinary purity with which it is performed, is remarkable in that the visual scales, changing from time to time, are perceived by those sitting in the auditorium in a holistic unity. This makes the spectacular effect extraordinary. Moreover, this is a specifically pop entertainment. Imagine Shatov's number on a TV screen or in a movie! Let alone the fact that an element of unpredictability is excluded in a previously filmed television or film plot (because of this, the stage and circus will never become organic to the screen!) Shatov's number is his charm.

Shatov's art (to a much greater extent than, say, Kozhevnikov's number) loses if it were transferred to the sphere of another art. This is the first evidence of his true variety art. If such a transfer is easily accomplished without obvious losses, we can safely say that the work and its author are sinning against the laws of pop art. Especially revealing for the music and speech genres of the radio stage. Many of our pop singers and singers are best listened to on the radio, where they are freed from the need to look for the plastic equivalent of the melody being played. In front of the radio microphone, the singer, for whom the stage is a sheer torment, feels great. A pop singer by nature, on the contrary, experiences a certain inconvenience on the radio: he is constrained not only by the lack of contact with the audience, but also by the fact that many of the nuances of performance present in the visual side of the image will be absent from the sound. This entails, of course, a depletion of the effect. I remember the first recordings of Yves Montand's songs, brought by Sergei Obraztsov from Paris. The artist himself turned out to be much deeper, more significant when we saw him singing on the stage: the charm of the actor was added to the charm of music and words, creating the most expressive plastic of the human image. Stanislavsky liked to repeat: the viewer goes to the theater for the sake of subtext, he can read the text at home. Something similar can be said about the stage: the viewer wants to see the performance from the stage, he can learn the text (and even music) while staying at home. At least on the radio. Is it worth, for example, to go to a concert to hear Yuri Fedorishchev, who is doing his best to restore Paul Robson's performance of the Mississippi song? I think that in achieving his goal Fedorishchev would have been much more successful on the radio. Listening to "Mississippi" on the radio, we could marvel at how accurately the musical intonations of the Negro singer were captured, and at the same time we would not have the opportunity to notice the complete plastic inertia of Fedorishchev, which contradicts the original.

The directors of the program, in which I happened to hear Fedorishchev, tried to brighten up the visual monotony of his singing. During the performance of the French song “One Night”, before the verse, in which the civil theme begins - the theme of the struggle for peace, the light in the hall suddenly goes out, only the red illumination of the backdrop remains. In the most pathetic part of the song, which requires bright acting means, the viewer is forced to become only a listener, for all that he sees is a black motionless silhouette against a dim red background. Thus, directing, striving to diversify the number for spectators, renders the performer, and indeed the work as a whole, a truly "disservice". The amazing paucity of lighting techniques, which led to a shift in emphasis in the case described above, is one of the diseases of our stage. The system of lighting effects is built either on a straightforward illustrative principle (the theme of the struggle for peace is always associated with red, not otherwise!), Or on the principle of salon beauty (the desire to "present" the performer regardless of the artistic content of the number, its style) ... As a result, the most interesting lighting possibilities have not yet been exploited. The same can be said about a costume: it rarely serves to enhance the visual image. If there are good traditions in using the costume as a means to emphasize the origins of the role (say, a velvet jacket with a bow by N. Smirnov-Sokolsky or a mime costume by L. Yengibarov), then a simple and at the same time helping to reveal the image of the costume is extremely rare. Recently, I happened to witness how a badly chosen suit significantly weakened the impression made by the number. We are talking about Kapigolina Lazarenko: a bright red dress with large bustles bound the singer and clearly did not correspond to the gentle, lyrical song "Come Back".

Lighting, costume and mise-en-scène are the three whales that support the spectacular side of the stage performance. Each of these topics is worthy of a special discussion, to which my article, naturally, cannot pretend. Here I will only touch upon that side of a specific stage mise-en-scène that cannot be adequately reproduced on a TV and cinema screen. The stage has its own laws of space and time: close-up, foreshortening, editing in cinema (and television), which violate the unity of these categories, or rather their integrity, create a new space and a new time, which are not entirely suitable for the stage. The stage deals with a constant plan, since the distance from the performer to each of the spectators varies insignificantly, only as much as the actor can move into the depths of the stage. The same should be said about editing: it takes place on the stage (if only it happens) inside the whole, which is constantly present on the stage. This montage can be done either by lighting (a technique successfully used in the performances of the Moscow State University pop studio), or it takes place in the mind of the viewer. To put it simply, he singles out some parts in his perception of the visual image, while continuing to keep the whole in his field of vision.

In order not to seem unfounded, I will give an example. The play "Our Home is Your Home" by the Moscow State University pop studio. In this collective, a very interesting search for the expressiveness of the show is being conducted. At the same time, often lyric poetry or allegory, based on the associativity of connections, turns out to be the main element of the story. But it is important to note that both poetry and allegory turn in the studio's performances in the form of a figurative, visual storytelling (for example, painted geometric figures in one of the numbers help to reveal the satirical meaning of many important concepts). In a scene about the organization of youth leisure ("Youth Club"), four demagogues-screamers, erected, as if on a podium, on four massive pedestals, in turn utter scraps of phrases that together make up an amazing gibberish of windbag and bureaucracy. The viewer's attention is instantly transferred from one screamer to another: the speaker accompanies his words with a gesture (sometimes in a complex counterpoint with the word), the rest remain motionless at this time.I imagine this scene filmed in a film. Her text and mise-en-scène seemingly foreshadow the future montage with certainty. Each cue is a close-up. Machine-gun sequence of close-ups, replicas, gestures. But then there were two significant losses. First, the lack of accompaniment to each line: the frozen poses of the rest of the characters. And the second is the transformation of all lines into an alternation of phrases without transferring our attention from one character to another. Counterpoint, which becomes the authors' strongest weapon in this scene, inevitably disappears in the film.

It would be wrong to say that the discrepancy, the contra-point between the word and the image, is the property of pop art only. Both the theater stage and the screen know him. But the ways to achieve this effect are different. And on stage, they are very important. Here the counterpoint is nude, shown as a deliberate clash of opposites designed to spark a spark of laughter. I will cite as an example performers who constantly, from year to year, improve their use of this weapon of the stage. I mean the vocal quartet "Yur" (Y. Osintsev, Y. Makoveenko, Y. Bronstein, Y. Diktovich; director Boris Sichkin). In the song "Business Travel" the quartet sings, while the artists' hands turn into travel certificates (open palm) and school stamps (clenched fist), seals are put, money is given, etc. All this does not happen in the form of an illusion. -stations of the text, and in parallel to it, sometimes only coinciding, but mostly - being in the counterpoint series. As a result of the unexpected collision of words with gestures, a new, unexpected meaning arises. For example, business travelers traveling to different directions have no business, except for playing dominoes on the train. Hands, stirring the knuckles, "impose" on the text, which says that they are recklessly spent on counter business trips with their own money. From this, the gesture of the hands stirring imaginary bones in the air becomes very eloquent.

The last work of the quartet - "Television" - is by far his greatest creative success in using the means of visual expressiveness of the stage. Here already the members of the quartet perform equally as paroists, as readers, mimes and as dramatic actors. In addition, they demonstrate an outstanding choreographic skill: in a word, we are witnessing a synthetic genre in which words, music are closely intertwined with pantomime, dance, etc. Moreover, the freedom of combination and instantaneous transitions from one medium quality to another is as great as it can be only in pop art. During the performance, almost all genres that exist in
television. Their change, as well as the change in the means used by the artists, creates a very picturesque sight. The stage is undoubtedly one of the spectacular arts. But there are many performing arts: theater, cinema, circus, and now television, which also reveals significant aesthetic potential. What are the relationships within this group of arts? It seems that pop theater still remains within the framework of theatrical art, although it has many similarities with some other forms. Naturally, the theater (understood in the broad sense of the word) is constantly changing its boundaries, which in some way become already narrow for the stage. However, some qualities of pop art, despite significant evolution, remain unchanged. These include, first of all, the principle of the visual organization of the form of a variety show. And if we talk about the form, then the main thing in the modern stage (up to some musical genres) is the image.

In this article, it was not possible to consider all aspects of the topic. My task was more modest: to draw attention to some theoretical problems of pop art, which largely determine its position among other arts and explain the nature of the creative searches of our pop masters. Theoretical rules, as is known, remain the rules obligatory for everyone only until the day when a bright innovative artist comes and breaks the boundaries that seemed insurmountable even yesterday. Today we are witnessing synthetic genres of Est-Rada art: the canons of the past cannot withstand the pressure of new discoveries. It is important to note that the ongoing changes have on their banner a constantly changing, but basically unshakable principle of the stage as a show.

A. VARTANOV, candidate of art history

Soviet circus magazine. March 1964

The roots of the stage go back to the distant past, which can be traced in the art of Egypt, Greece, Rome; its elements are present in the performances of itinerant comedians-buffoons (Russia), shpielmans (Germany), jugglers (France), dandies (Poland), masqueraboses (Central Asia), etc.

Satire on urban life and customs, sharp jokes on political topics, a critical attitude to power, couplets, comic scenes, jokes, games, clown pantomime, juggling, musical eccentricity were the beginnings of future pop genres that were born in the noise of carnival and street entertainment.

The barkers who, with the help of jokes, witticisms, and funny couplets, sold any product in the squares and markets, later became the predecessors of the entertainer. All this was of a massive and intelligible nature, which was an indispensable condition for the existence of all pop genres. All medieval carnival entertainers did not play performances.

In Russia, the origins of pop genres manifested themselves in buffoonery, amusements and mass creativity of folk festivals. Their representatives are raucous grandfathers-jokers with an indispensable beard, who amused and beckoning the audience from the upper platform of the booth-raus, parsley, raeshniks, leaders of "scientists" bears, actors-buffoons, playing "sketches" and "reprise" among the crowd, playing pipes , psaltery, snuffling and amusing the people.

Variety art is characterized by such qualities as openness, laconicism, improvisation, conviviality, originality, and entertainment.

Developing as an art of festive leisure, the stage has always strived for uniqueness and diversity. The very feeling of festivity was created due to external entertainment, play of light, change of picturesque scenery, change in the shape of the stage, etc. Despite the fact that the variety of forms and genres is characteristic of the stage, it can be subdivided into three groups:

• - concert stage (formerly called "divertissement") unites all types of performances in variety concerts;
• - theatrical stage (chamber performances of the theater of miniatures, cabaret theaters, cafe-theaters or a large-scale concert revue, a music hall, with a large performing staff and first-class stage equipment);
• - festive stage (folk festivities, stadium holidays full of sports and concert numbers, as well as balls, carnivals, masquerades, festivals, etc.).

There are also such:

• 1. Variety theaters
• 2. Music halls

If the basis of a pop performance is a complete number, then the review, like any dramatic action, required the subordination of everything that happened on the stage to the plot. This, as a rule, was not organically combined and led to a weakening of one of the components of the presentation: either the number, or the characters, or the plot. This happened during the staging of "Miracles of the Twentieth Century" - the play fell apart into a number of independent, loosely connected episodes. Only the ballet ensemble and several first-class variety and circus numbers were successful with the audience. The ballet ensemble staged by Goleizovsky performed three numbers: "Hey, Hoot!", "Moscow in the Rain" and "30 English Girls". The performance of "The Snake" was especially effective. Among the circus acts the best were: Tea Alba and "Australian Lumberjacks" Jackson and Laurer. Alba simultaneously wrote different words on two boards with her right and left hands. The lumberjacks at the end of the room were racing to chop two thick logs. An excellent number of equilibrium on the wire was shown by the German Strodi. He performed somersaults on a wire. Of the Soviet artists, as always, Smirnov-Sokolsky and the chastushtes V. Glebova and M. Darskaya had great success. Among the circus acts, the number of Zoya and Martha Koch stood out on two parallel wires.

In September 1928, the opening of the Leningrad Music Hall took place.

• 3. Theater of miniatures - a theatrical collective working mainly on small forms: small plays, scenes, sketches, operas, operettas along with pop numbers (monologues, couplets, parodies, dances, songs). The repertoire is dominated by humor, satire, irony, and lyrics are not excluded. The troupe is small, the theater of one actor, two actors is possible. The performances, laconic in design, are designed for a relatively small audience, they represent a kind of mosaic canvas.
• 4. Conversational genres on stage - a conventional designation of genres associated mainly with the word: entertainer, interlude, scene, sketch, story, monologue, feuilleton, microminiature (staged anecdote), burime.

Entertainer - entertainer can be double, single, mass. Conversational genre, built according to the laws of "unity and struggle of opposites", that is, the transition from quantity to quality according to the satirical principle.

Variety monologue can be satirical, lyrical, humorous.

An interlude is a comic scene or a piece of music with a humorous content, which is performed as an independent number.

Sketch is a small scene where intrigue is rapidly developing, where the simplest plot is built on unexpected funny, sharp positions, turns, allowing a number of absurdities to arise in the course of the action, but where everything, as a rule, ends in a happy ending. 1-2 characters (but no more than three).

Miniature is the most popular conversational genre in the stage. On the stage today, a popular anecdote (unpublished, unpublished - from Greek) is a short topical oral story with an unexpected witty ending.

A pun is a joke based on the comic use of similar-sounding, but different-sounding words, playing on the sound similarity of equivalent words or combinations.

Reprise is the most common short conversation genre.

Verses are one of the most intelligible and popular varieties of the spoken genre. The coupletist seeks to ridicule this or that phenomenon and express an attitude towards it. Must have a sense of humor

Musical and conversational genres include a couplet, a ditty, a chansonette, and a musical feuilleton.

Parody widespread on the stage can be "colloquial", vocal, musical, dance. At one time, declamations, melodeclamations, litmontages, "Artistic reading" were adjacent to speech genres.

It is impossible to give an exactly fixed list of speech genres: unexpected syntheses of the word with music, dance, original genres (transformation, ventrology, etc.) give rise to new genre formations. Live practice continuously supplies all sorts of varieties, it is no coincidence that on old posters it was customary to add "in his genre" to the name of an actor.

Each of the above speech genres has its own characteristics, history, structure. The development of society, social conditions dictated the entrance to the forefront of one or another genre. Actually, only the entertainer born in the cabaret can be considered a "pop" genre. The rest came from the booth, the theater, from the pages of humorous and satirical magazines. Speech genres, unlike others, inclined to master foreign innovations, developed in line with the national tradition, in close connection with the theater, with humorous literature.

The development of speech genres is associated with the level of literature. Behind the actor's back is the author who "dies" in the performer. And yet, the intrinsic value of acting does not diminish the importance of the author, who largely determines the success of the act. The artists themselves often became the authors. The traditions of I. Gorbunov were taken up by pop storytellers - they themselves created their repertoire Smirnov-Sokolsky, Afonin, Nabatov and others. Actors who did not have literary talent turned for help to authors who wrote with a view to oral performance, taking into account the performer's mask. These authors, as a rule, remained "nameless". For many years, the press debated the question of whether a work written for performance on the stage can be considered literature. In the early 80s, the All-Union, and then the All-Russian Association of pop authors were created, which helped to legitimize this type of literary activity. The author's "namelessness" is a thing of the past, moreover, the authors themselves appeared on the stage. At the end of the 70s, the program "Behind the Scenes of Laughter" was released, composed like a concert, but exclusively from the performances of pop authors. If in previous years only individual writers (Averchenko, Ardov, Laskin) performed with their own programs, now this phenomenon has become widespread. The phenomenon of M. Zhvanetsky contributed a lot to the success. Having started in the 60s as the author of the Leningrad Theater of Miniatures, he, bypassing censorship, began to read his short monologues and dialogues at private evenings in the Houses of the Creative Intelligentsia, which, like Vysotsky's songs, spread throughout the country.

5. Jazz on the stage

The term "jazz" is usually understood as: 1) a kind of musical art based on improvisation and special rhythmic intensity, 2) orchestras and ensembles performing this music. The terms "jazz band", "jazz ensemble" (sometimes indicating the number of performers - jazz trio, jazz quartet, "jazz orchestra", "big band") are also used to denote collectives.

6. Song on the stage

Vocal (vocal-instrumental) miniature, which is widely used in concert practice. On the stage, it is often solved as a stage "play" miniature with the help of plastics, costume, light, mise-en-scène ("song theater"); the personality, characteristics of the talent and skill of the performer, who in a number of cases becomes the "co-author" of the composer, gains great importance.

The genres and forms of the song are varied: romance, ballad, folk song, verse, ditty, chansonette, etc .; The methods of performance are also varied: solo, ensemble (duets, choirs, vocal instrumental ensembles).

There is also a composer group among pop musicians. These are Antonov, Pugacheva, Gazmanov, Loza, Kuzmin, Dobrynin, Kornelyuk and others. The last song was predominantly a composer's song, the current one is "performing".

Many styles, manners and directions coexist - from sentimental kitsch and urban romance to punk rock and rap. Thus, today's song is a multi-colored and multi-style panel that includes dozens of directions, from domestic folklore imitations to grafts of African-American, European and Asian cultures.

7. Dance on the stage

This is a short dance number, solo or group, presented in group variety concerts, in variety shows, music halls, miniature theaters; accompanies and complements the program of vocalists, numbers of original and even speech genres. It was formed on the basis of folk, everyday (ballroom) dance, classical ballet, modern dance, sports gymnastics, acrobatics, on the crossing of all kinds of foreign influences and national traditions. The nature of dance plastics is dictated by modern rhythms, formed under the influence of related arts: music, theater, painting, circus, pantomime.

Folk dances were originally included in the performances of the capital's troupes. The repertoire included theatrical divertissement performances of rural, urban and military life, vocal and dance suites from Russian folk songs and dances.

In the 90s, stage dance sharply polarized, as if returning to the situation of the 20s. Dancing groups engaged in show business, such as "Erotic Dance" and others, rely on eroticism - performances in nightclubs dictate their own laws.

8. Dolls on the stage

Since ancient times, Russia has valued handicrafts, loved a toy, and respected a fun game with a doll. Petrushka dealt with a soldier, a policeman, a priest, and even with his death, he bravely brandished a cudgel, laid down on the spot those whom the people did not love, overthrew evil, and asserted popular morality.

Parsley makers wandered alone, sometimes together: a puppeteer and a musician, they themselves composed plays, they were actors, they themselves were directors - they tried to preserve the movements of the puppets, mise-en-scenes, puppet tricks. The puppeteers were persecuted.

There were other shows in which the puppets acted. On the roads of Russia one could find vans loaded with dolls on strings - puppets. And sometimes boxes with slots inside, along which the dolls were moved from below. Such boxes were called nativity scenes. Puppets mastered the art of imitation. They loved to portray singers, copied acrobats, gymnasts, clowns.

9. Parody on the stage

This is a number or performance based on an ironic imitation (imitation) of both the individual manner, style, characteristic features and stereotypes of the original, and entire trends and genres in art. The amplitude of the comic: from witty-satirical (derogatory) to humorous (friendly caricature) - is determined by the parodist's attitude to the original. Parody is rooted in ancient art, in Russia it has long been present in buffoonery games, farce performances.

10. Small theaters

Creation in Russia of cabaret theaters "The Bat", "Crooked Mirror", etc.

Both "Crooked Mirror" and "The Bat" were professionally strong acting teams, the level of theatrical culture of which was undoubtedly higher than in numerous miniature theaters (Petrovsky stood out more than others from Moscow, directed by D.G. Gutman , Mamonovsky, cultivating decadent art, where Alexander Vertinsky made his debut during the First World War, Nikolsky - artist and director A.P. Petrovsky.Among St. Petersburg - Troitsky A.M. Fokina - director V.R. V.O.Toporkov successfully performed as an entertainer, later an artist of the artistic theater.).

The stage has taken an important place in the mass culture of Russia, and the events of recent decades show that stage, as the most popular form of art, plays an important role in public life, becoming a popular means of expressing cultural demands and value orientations of various strata of society. In view of the fact that the stage is one of the most socially responsive and mobile forms of art, the study of this phenomenon will help to better understand the spiritual processes taking place in society.

At the beginning of the last century, the gramophone business in Russia was gaining strength - the number of factories and plants producing records grew, their quality improved, and the repertoire expanded. In fact, a new industry emerged, unlike any other known industry. It is tightly intertwined problems of a technical and creative, commercial and legal nature. Composers, poets, singers, orchestras and choirs, coupletists and storytellers took part in the recording of the records, organized by gramophone dealers. The atmosphere of the studios resembled the backstage of a theater with all theatrical attributes. Famous singers - proud and unapproachable, who know their own worth - were offered contracts with the courtesy inherent in any manufacturer-entrepreneur, anticipating success with the public and a good collection. The stars of the second magnitude and half-starved guest performers were greeted in a different way. Passions boiled and intrigues were seething near the megaphone - such was the seamy side of the gramophone case.
Collecting records began to come into fashion: in the houses of wealthy citizens there were music libraries of a hundred or more numbers.

The most common term, which appeared long before the emergence of the concept of variety art, is "variety show", but not as the name of a concert institution, but as a designation of a whole variety of art. If we turn to the history of the emergence of the concept of "variety show", then its origins can be found in the programs of entertainment numbers, shown in the conditions of cafes and restaurants in the industrial regions of England at the end of the 18th century. The word "variety show" itself, translated from French, means variety, variegation. This term began to unite all artistic forms of entertainment. Indeed, it is precisely the diversity that characterizes the performances of artists at fairs, in music halls, in concert cafes, in cabaret theaters, although, as it will be possible to establish as a result of further analysis, this is not at all the main and distinctive in this field of art.

At the beginning of the 20th century, all kinds of small theaters opened in Russia, and against this background, another concept began to be used - stage, which denoted entertaining concert performances in open areas. Today, as a general concept that unites all varieties of art of easily perceived genres, one should accept the concept of "pop art" (or in abbreviated form), which has been used in Russian art history for a hundred years.
Already in the first decade of the XX century. the term "stage" begins to flicker in the press not only in the then generally accepted sense - "a platform, an elevation, for example, for music" - but also broadly, including all actors, writers, and poets entering this "platform". On the pages of the authoritative magazine "Golden Fleece" in 1908, an article "Estrada" was published. Its author shrewdly saw the antinomy that arises before everyone who goes on the stage:

a) the stage is necessary for the development and maintenance of abilities, and for the formation of the personality of the artist;

b) the stage is harmful for both.

The author saw "perniciousness" in the actors' striving for success at any cost, aligning with the tastes of the mass public, turning art into a means of enrichment, a source of life's benefits. Indeed, similar phenomena are inherent in the modern stage, therefore in our work we introduce such a concept as "variety art", that is, playing for the audience, the desire to capture the attention of the viewer at any cost, which in the absence of true talent, taste and sense of proportion among performers leads to the perniciousness that the author of the above article referred to. Other articles appeared that considered the stage as a phenomenon of a new urban culture. After all, it was during this period in the city that a person's dependence on natural conditions (first of all, on the change of seasons) gradually weakened, which leads to the oblivion of calendar and ritual folklore, to a shift in the timing of holidays, their desemantization and deritualization, to their transition to the form of "ceremonial ", According to P.G. Bogatyrev, to the decisive prevalence of verbal forms over non-verbal ones. In the same years (1980-1890) in Russia the emergence of mass culture takes place, which, in turn, reproduces many generic properties of traditional folklore, which are characterized by the social-adaptive meaning of works, their predominant anonymity, the dominance of the stereotype in their poetics; the secondary nature of plot motivations in narrative texts, etc. However, mass culture sharply differs from traditional folklore by its ideological “polycentricity”, increased ability to thematic and aesthetic internationalization of its products and to its “streaming” reproduction in the form of identical copies unthinkable for oral creativity.
In general, in Russia, the urban stage of the late 19th - early 20th centuries is characterized by dependence on the audience to which it is oriented. Accordingly, the range of pop forms - from "salon" to the most "democratic" - is extremely wide and differed both in the nature of the "stage" and the type of performers, not to mention the repertoire. And yet, it can be concluded that the term "stage" at the beginning of the 20th century was still used purely functional: as "pop repertoire", or "pop singing", etc., that is, not only as a definition of a site where the action takes place, but also as an element of a musically entertaining show.

As a result of the need arising after October to nationalize "all kinds of stage" and small private enterprises, many single actors, as well as small, often family groups, etc., the concept of stage was established as a designation of a separate art. Over the course of decades in Soviet Russia, and then in the USSR, systems for managing this art will be developed and changed, various associations and complex multi-stage forms of independent subordination will be created. In Soviet aesthetics, the question of the independence of pop art remained controversial. Various kinds of regulations, companies regulated pop practice. "Struggle" against satire, Russian and Gypsy romance, against jazz, rock, tap dance and others artificially straightened the line of the stage development, affected the evolution of genres, on the fate of individual artists.

In 1934, the Great Soviet Encyclopedia published an article dedicated to the fact that stage is an area of ​​small art forms, but at the same time the issue of the genre composition of stage was not touched upon. Thus, attention was paid not so much to the aesthetic as to the morphological content of this term. These formulations are not accidental, they reflect the picture of the searches of the 30-40s, when the scope of the stage expanded almost limitlessly. During these years, as E. Gershuni writes, "the stage loudly made a claim for equality with the" big "art ...". First of all, this is due to the emergence in Soviet Russia of the forerunner of contemporary art, PR, the social technology of mass management. In fact, a mass entertainer (usually a local trade union activist) took under ideological control not only holidays, but also everyday life. Of course, not a single holiday took place without a pop concert. It should be noted that the entertainer himself, in everyday life, as a rule, had a pop feeling. After all, he always needs to be in the spotlight, to entertain and amuse the audience.

In the course of the development of Soviet art, the content of the term "stage" continued to change. The concept of pop art appeared, which was defined as “an art form that unites the so-called. small forms of drama, dramatic and vocal art, music, choreography, circus ”.

The Russian recording industry began to develop in 1901. In fact, it was not entirely Russian, but rather a French industry in Russia: the "Pathé Marconi" company opened its branch in Russia, began to churn out records. Just as in Europe the first recorded singer was Enrique Caruso, in Russia the first was also a world-famous opera singer - Fyodor Chaliapin. And the first Russian records, as well as in Europe, were with classical music.

The musical picture of pre-revolutionary Russia was complete. Academic music and pop music coexisted organically in one cultural space, where pop music developed in the general mainstream of romance lyrics (reflecting its diversity and evolution) and dance culture of its time. A special place was occupied by the folklore part of the stage - Pyatnitsky's choir, performers of folk songs - L. Dolina, epics - Krivopolenova and Prozorovskaya. After the defeat of the first revolution (1905), songs of prison, hard labor and exile were popular. In the genre of topical verse and musical parody, artists performed in different roles: "tailcoats" - for a fashionable audience, "lapotniki" - for peasants, "artists of a ragged genre" - under the city bottom. Popular dance rhythms penetrated the minds of people with the suggestion of salon and city brass bands, which specialized in the performance of dance music. Tango, foxtrots, shimmy, two-step were learned in salons and studios. The first performances of A. Vertinsky in the genre of musical and poetic novellas date back to 1915.

The heyday of the Russian stage took place against the background of the unprecedented growth of the new "mass media", like gramophone records. Between 1900 and 1907, 500 thousand gramophones were sold, and the annual circulation of records reached 20 million pieces. Along with light music, they also featured a lot of classics (Chaliapin, Caruso).
Popular choirs of D. Agrenev-Slavyansky, I. Yukhov and others compete with soloists, performing songs in the "Russian style" ("The sun rises and sets", "Ukhar the merchant", etc.). Orchestras competed with Russian choirs. balalaika players, horn players, guslars.

In the 10s, the first truly folklore performers became famous, such as the ensemble of M. Pyatnitsky. In theaters and cabarets in St. Petersburg and Moscow, artists appear with the "intimate" manner of French chansonniers (A. Vertinsky). By the end of the 19th century, there was a clear division of the song into "Philharmonic" (classical romance) and "Variety" proper (gypsy romance, old romance, mood songs). At the beginning of the 20th century, mass songs were spread, which were sung at political gatherings and demonstrations. This song is destined for a number of decades to become the leading variety of Soviet song pop.

After 1917, the situation began to change. The ideological state is a phenomenon that has not yet been fully understood and studied. The revolution was spiritually based on an idea that was forcibly implanted in society, depriving people of the right to choose, making this choice for them. But a person is so constructed that his consciousness, in spite of everything, resists what is imposed on him, even from the best intentions. The state decided that it “needed” a classic, “needed” a Soviet song, “needed” folklore. And unconsciously, even the masterpieces of classical music began to be perceived as part of the state ideological machine aimed at neutralizing the individual, dissolving a separate “I” in a monolithic “we”.

Pop music in our country is the least ideologized part of the musical process. Unwittingly, she became the only outlet for Soviet people, something like a breath of freedom. This music in the minds of an ordinary person did not carry anything edifying, appealing to natural feelings, not suppressing, not moralizing, but simply communicating with a person in his language.

Among the set of specific features of pop art, the most significant for the viewer are simplicity and accessibility, artistic clarity. A frequent visitor to pop programs is always disposed to the fact that the performer will establish a strong and natural contact with him from the first minutes.

A pianist, violinist or vocalist can count on the fact that gradually, from passage to passage, as the pieces are played, they will be able to win over the audience. “The entertainer makes immediate, sincere, open contact. A viewer's polite observation of what is happening on the stage is tantamount to failure ”34.

In the history of the development of pop art, there are many examples of the loss of ease of perception, leading to a violation of open and sincere contact with the audience, which cost whole genres dearly. This applies primarily to this type of pop art, which is jazz music. In the pre-war decades, jazz in our country (and not only here - similar processes can be observed abroad, in its homeland in the USA) was very closely associated with light music, with mass song. Our popular singers, including Leonid Utesov, performed their famous songs accompanied by jazz ensembles. Jazz instrumental music (A. Tsfasman, V. Knushevitsky) was also built on melodies and rhythms that were accessible to the ear of an ordinary listener.

Gradually, jazz music became more complex, borrowing in harmony and in melodic-rhythmic constructions the achievements of modern symphony. Starting from the “be-bop” style in the post-war years and up to the modern “fusion”, jazz develops in the mainstream of “serious” music, focusing on the prepared listener, using the understanding and love of not everyone, as it was before. Today, a specific feature of jazz art is that the close connection of jazz with song and "light" music has weakened, if not broken.

The specific features of pop art - accessibility and simplicity - are closely related to another specificity - its mass character 35. Today, one cannot but reckon with the fact that the overwhelming majority of viewers are familiar with the work of his best masters only through "correspondence" meetings. “Even without accurate sociological data, it is safe to say that at least 90 percent of the public, who love and know the repertoire of Alla Pugacheva or Valery Leontyev, have never been to their performances in the concert hall. For them, a TV screen is an immense auditorium ”36.

TV variety art Is a special subject of research worthy of special attention. The process of social regulation of the modern audience cannot be fully understood without taking into account the processes taking place in television entertainment broadcasting 37.

Many authors writing about the problems of television entertainment programs lament the lack of such programs. Literaturnaya Gazeta, which conducted a questionnaire among young people about attitudes towards television, noted that “the audience's suggestions (“ What programs for young people, in your opinion, could appear on TV? ”) Are clearly subordinated to two spirits - the spirit of entertainment and the spirit of cognition ". At the same time, the stage is required by 91 percent (!!) of viewers! And even those who like the current pop programs: they just don't need more - they need more ”38.

It must be said that the quantitative estimates of television pop art are not entirely correct. Researchers take into account only specially pop programs, while in many other programs all artistic "inserts" (and there are many of them) are actually musical pop numbers. Today, two trends in pop art can be noted: the emergence of special entertainment programs - such as "The Last Hero", where, along with a narrow circle of pop "stars", unknown performers from the "Star Factory" participate in the programs. Among the specific features of pop art, fashion should be distinguished. Fashion can be for one genre or another, for a performer, even for external methods of presenting a performance, for the appearance of an artist in a pop program. It is very difficult to establish the patterns of fashion development, all the more difficult it is to prepare a work “on request” that will gain universal popularity and will “set the tone”.

Considerable harm to the aesthetic education of the population (especially young people) is caused by the thoughtless exploitation of the popularity of some pop programs by the administrators of concert organizations. The press cited numerous facts about how individual directors of the philharmonic societies "promote" show programs to the detriment of symphony or chamber concerts. As a result, in many cities previously famous for concert traditions, now all venues have been completely surrendered to the power of show business 39.

Although it is easy to see that this circle has been expanded at the expense of young talented musicians and singers who satisfy the most diverse tastes of a wide audience.

As an example, we can recall the creativity of the excellent jazz ensemble "Arsenal" under the direction of A. Kozlov: in search of a more lasting contact with the audience, these artists went on a bold and unexpected theatricalization of their performances, creating a new genre structure in pop art that excites the imagination of the audience-listener ... By starting the experiment, the musicians certainly risked that jazz improvisation fans would reject their performance. Everything was determined by the aesthetic category of measure and artistic taste - such seemingly ephemeral, difficult to measure concepts.

All this suggests that pop art, despite its widespread distribution, has its own specific features. Theoretical comprehension of this art shows that in any creativity a gap between ideal and reality, desire and fact, intention and implementation, is inevitable, and the analysis of this circumstance is of fundamental importance for understanding the prospects of artistic development of reality. As I.G. Sharoev, “the interaction of various types of arts in our time acquires a multi-valued character, and the dynamics of violations of their boundaries is growing. Today, the classification of types and genres is becoming an extremely difficult matter, because the types and genres are so connected with each other, intricately intertwined, that the designation of their boundaries is often rather arbitrary ”40.

This process leads to the emergence and establishment of new genres in various types of art, it is especially noticeable on the stage, which has always been very sensitive to new trends. This is how new genres and forms, unusually diverse and mobile, were established: rock opera, zong opera, rock mass, rock suite and others, where elements of opera and ballet, dramatic and pop arts are present.

One of the specific features of the type of art we are analyzing is the unification of various genres, their diversity.

“Pop art, by its nature, unites diverse genre characteristics of other types of art, the commonality of which lies in easy adaptability to various conditions of public demonstration, in the short duration of action, in the concentration of its artistic expressive means, contributing to the vivid identification of the performer's creative individuality, and in the field of genres related with a living word - in the topicality, acute socio-political relevance of the topics touched upon, in the predominance of elements of humor, satire and journalism ”41.

The next specific feature of pop art is that a variety of genres and backgrounds dictate both the temporal and spatial embodiment of the idea, meaning in a separate number, which forms the basis of pop performance.

It includes individual finished performances by one or more artists and lasts only 3-5 minutes.

When creating a performance, performers may or may not seek the help of a director, playwright, artist, composer, choreographer, while they themselves decide its content side. The expressive means of the number obey his idea, and in this respect everything should be in complete harmony: costume, make-up, decoration, demeanor on stage.

The combination of various numbers makes up a variety program, where all types of performing arts are concentrated: singers, jugglers, feuilletonists, performers of scenes, trainers, magicians, coupletists, acrobats, dancers, musicians, demonstrators of psychological experiments, trapeze artists and horse riders perform. This breadth of possibilities makes pop art diverse, vibrant, original, with its own specific features.

Usually, the numbers in a pop concert are united by an entertainer or a plot basis. Then on stage - a variety review, which is diverse both in themes and in structure.

Another specificity of pop art is that its artists almost always communicate directly with the public. K.S. Stanislavsky formulated the law of the scene, according to which the actor acts in conditions of "public loneliness". “While playing in the play, realizing that hundreds of spectators are watching him, the actor at the same time needs to be able to forget about them. The actor should not imitate the one he portrays, but become him, live an almost real life of the stage person in the circumstances suggested by the play and the performance ”42.

This is how an entertainer, a couplet player or a singer speaks directly to the audience. The audience turns out to be a partner of the artists, and it reacts vividly to what is happening on the stage, gives remarks and passes notes to the performers. Even during the dialogue, the artists address not only each other, but also the audience.

As noted by A.V. Lunacharsky: "... in its liveliness, if possible, respond immediately to topical events, in its political acuteness, the stage has great advantages over theater, cinema, serious literature" heavier than a light-winged and stinging, like a wasp, a pop song or a couplet chronicle "43.

The above-mentioned qualitative features of pop art served as a criterion in the selection of various phenomena that characterize his creative experience.

In the course of its development, pop styles changed many times. Understanding the style means getting into the hidden mechanisms of technology. After all, not only any pop genre, but even a separate intonation, a random gesture are important here. These are metaphors that tie the threads of life that weave in everyday life into a complex knot of art. Only, unlike other arts, pop metaphors are casts of not long, not extended periods of time; here the count goes not for years, but for months, days and even minutes. Variety is a chronicle cursive writing of contemporary events.

Of course, a historical segment of a quarter of a century is a huge period for any art. But neither in literature, nor even in theater and cinema, time has not made such dramatic changes as in pop art. And it's not even the point that the new idols ousted the old ones both from the stage and from the memory of the audience, but in another, more important one. The changes affected the very essence of this species, the internal structure of its forms and genres.

Even in the 60s, pop art did not know, for example, any gala performances of a kind of "song theater" deployed around one "star" with a corps de ballet and a magnificent spectacular entourage, which is now created by A. Pugacheva, V. Leontiev, S. Rotaru , L. Vaikule, or vocal and instrumental ensembles of the 70s or rock groups of the 80s.

The programs of jazz orchestras have disappeared from the stage of the modern stage, not because the founders and idols - L. Utesov, B. Rensky, E. Rosner - have passed away. Their successors failed to extend the life of jazz. The genre itself died - the theatrical divertissement, which was recreated with the accompaniment and with the participation of jazz musicians.

Numerous varieties of miniature theaters - from the "theater of two actors" - M. Mironova and A. Menaker, L. Mirov and M. Novitsky, or A. Raikin's theater to a huge number of student pop groups of the late 50s - early 60s - one after another, for various reasons, disappeared or transformed beyond recognition, such as the Hermitage Theater, the brainchild of Vl. Polyakova. The last theater of miniatures died out with the death of A. Raikin. Their place was taken by R. Kartsev and V. Ilchenko, M. Zhvanetsky, as well as "Theaters of one actor" - G. Khazanov, E. Petrosyan, E. Shifrin, V. Vinokura ...

Theatrical pop programs in some form have survived to this day, but they have become very different from the previous ones.

The number as a unit of measurement in some programs has grown to the size of an episode, which is quite natural, since pop art has mastered new venues - arenas of Sports Palaces, stadiums. Large spaces required the enlargement of all elements of pop art and the technology of creating and reproducing new forms of pop programs.

In recent years, large-scale variety shows have increasingly replaced chamber performances. A pop concert, which until recently was the main form of pop art, like a performance in a theater, a film in cinematography, has been pushed aside to the periphery of spectacular practice. And the pop concert itself has changed beyond recognition.

In historical retrospect, the basis of the concert was determined by the principle of diversity, according to which the number of one genre was replaced by another: the reader - a juggler, an illusionist - an accordion player, guitarist, etc.

Over the past quarter of a century, performers of musical feuilletons, couplets, sketches, interludes, miniatures, readers, storytellers, instrumentalists, etc. have somehow imperceptibly dropped out of the combined pop concert.

Individual stage performance requires high self-control. To ensure a high level of activity of a screenwriter, director, performer, a detailed system of daily creative control is important, because you can engage in entertainment only when you own the philosophical category of “measure”.

Stanislavsky wrote: “Let's not say that theater is a school. No, theater is entertainment. It is not profitable for us to lose this important element from our hands. Let people always go to the theater to have fun. But then they came, we closed the doors behind them (...) and we can pour into their souls whatever we want ”44. This is entirely related to the functioning of pop art. In a pop concert, when there is a wonderful decoration, amazing performers, brilliant, sparkling lighting, everything activates, stuns the viewer.

It should be noted here that a specific feature of pop art is the openness of performance. The pop performer is not separated from the audience by either a curtain or a ramp; He does everything in front of the audience openly, everything is close to the audience, where performers can both see and hear the audience, and come into direct contact with it.

The result of the specific features of pop art discussed above is only its inherent perceptual and communicative process, in which the close rapprochement of the performer with the public gives rise to a completely special system of communication, more precisely, communication. During a performance, a pop performer turns attentive audience-listeners into active partners, allowing them a lot in terms of response. A variety performer himself can do much more than is envisaged in a classical concert or theatrical performance. This performer takes the position of maximum confidence and openness in relation to the public.

In a word, the main difference between pop art lies in the specificity of the perceptual and communicative process, easily perceived by the public, helping to create unique works.

The perceptual and communicative process in pop art, despite the breadth of its genre palette and the influence of many social and cultural factors, is distinguished by the internal dynamics of creativity.

The genres of art include many musical and poetic works of the so-called love lyrics, which carry a touching penetration to the stage: they are characterized by entertainment, humor.

The answer should be sought in the same place, that is, in the system of relationships between the two sides - performing and spectator, as well as in the performer's own life position, in the perceptual-communicative process. The love lyrics, embodied in the pop program, presuppose a very high degree of the performer's trust in the public, which allows a kind of confession to arise when a person needs to tell someone something rather intimate - about his happiness or his grief.

A specific feature of pop art is efficiency, the ability to respond to the "hot" topics of the day, to form and strengthen the viewer's positive emotional tone according to the principle: in the morning - in the newspaper, in the evening - in a verse.

It is no coincidence that all socially acute situations stimulated the emergence, first of all, of new works of small forms, which, in turn, served as a source of strength and inspiration for the audience.

Therefore, the most important feature of pop art is social orientation. Along with this, the stage developed as an art of festive leisure, which led to a variety of pop genres, to the unusual perception of them, responding to the desires of a person to fill his festive leisure, his rest with new impressions, artistic discoveries, and positive emotions. It is these qualities that distinguish the holiday from everyday life. Brightness and originality have served and still serve to attract the attention of the audience to each number, since the pop program, even if it is short in duration, necessarily contains a moment of competition among the numbers, because each of them has to defend his right to a benevolent attitude from the audience.

The audience at a pop concert or performance expects from each number, from each episode, necessarily some kind of novelty, an unexpected turn in the plot, in performing techniques. “The viewers who come to the pop performance usually think that they know everything in advance - now the prologue will be played, then the entertainer will appear on the stage, but we must strive to“ disappoint ”them in a good sense, please (and more than once) a funny surprise, "blow up" the measured course of the program "45.

Entering the stage in front of the audience, tuned in to a festive spectacle, the performer needs to satisfy their desires, to reveal all their individual possibilities, to prove themselves as a “jack of all trades”. To do this, you should constantly update your repertoire, find a new turn in solving the number, taking into account the specifics of the perceptual and communicative process of pop art, inventing a witty beginning, culmination and ending of the performance. Therefore, the renewal of well-known genres occurs due to the creation of an unexpected artistic image, the nature of its execution.

The most productive and artistically convincing attempts have always been to complicate the pop genre in which the performer usually performs. At one time, a theatrical jazz orchestra led by Leonid Utesov appeared on the stage. The performances of the reciters began to turn into "theaters of one actor", the singers-soloists danced, the process of the birth of completely new, previously unknown genres was observed.

A specific feature of pop art is a festive atmosphere, which corresponds to the nature of the creative process itself. Singing and dramatic art gave life to theatrical singing, which added to itself the art of dance (dance with small amplitudes of movements), and modern pop singing has become an even more complex art in structure.

Today, pop numbers are very common, where one performer sings and dances, and delivers a monologue, acts as a parodist. Pop instrumental musicians are able to play several different instruments, thereby generating additional interest in their performance.

Consequently, a pop performer, unlike an artist of an academic plan, can perfectly master many professional skills that are "at the junction" of several types of art, but not forget about this state. In this case, the performer both entertains and captivates the audience, evoking positive emotions not only by the content of the work, but also by his “festivity”, taking into account the specifics of the perceptual-communicative process of pop art.

The feeling of festivity can also be created due to purely external entertainment. Most often found in revue performances of the music hall, the play of light, the change of picturesque backdrops, the change in the shape of the stage before the eyes of the audience evokes a joyful upsurge in the audience, a good mood.

Yes, many genres of pop art attract with ease and brevity of perception due to the well-known simplification of the structure of the work, the facilitation of its content and form. But this cannot be considered a departure to petty topics. The chosen (touched upon) topic can be very large and significant. But from the fact that she appears in the work, freed from the complex interweaving of other topics, the work will be perceived more easily. Another way of assimilating the content is to select those topics that do not pretend to be large scale and depth, but are personal, corporate, and may be of interest to a certain circle of people.

Hence the concept of "variety" is interpreted as a specific language of expressive means, belonging only to this type of art.

Variety is a characteristic of the technique and artistry of a performer performing on the stage.

A pop performer is first of all a master in one of the genres, and only then can demonstrate his talent in various genres of pop art.

Consequently, a specific feature of pop art is its multi-genre nature, which unites music, dance, singing, conversation, circus, etc. Despite the multi-genre, each performer has his own artistic characteristics and expressive means, the open stage (stage), which the actor enters, dictates its own conditions: direct contact with the audience, "openness" of skill, the ability to instant reincarnation, etc. The main "brick" a pop program, or concert, is a number - a short performance (by one or several performers), built according to the laws of drama. Short films presuppose the utmost concentration of expressive means, "attraction", the use of the grotesque, buffoonery, eccentrics. Of particular importance are the presence of a bright individuality, an image successfully found by the actor (sometimes a mask), and internal energy.

These, in our opinion, are the main specific features of contemporary pop art.