Expressive means of theatrical art briefly. Expressive means of theatrical presentation
Concept, signs and means of theatricalization
The word "theatricalization" comes from the word "theater". Teathedralize The club event, means to like it to theatrical act, in which the synthesis of various expressive means is represented by the stage (verbal) action, musical design, light, noise, butafory, props, costumes, elements of the visual solution, jerma, dancing.
The same picture can be observed in complex club events. All of the above funds are used in the thematic evenings, shows, ideas, theatrical concerts, literary and musical compositions, performing concerts.
Theatrical forms of cultural and leisure events have near signs.
1. Widespread use of theatrical expressiveness. The fact is that the same expressive means (music, word, document, fact) are used in one case as an illustration for narrative on a selected topic (for example, music sounds like an illustration after a story about the work of the composer in the lecture, conversation), In another case, act as equal links of one chain. That is, in the club event and the document, and the artistic image is carried equal to the semantic load.
2. Organic combination of documentary and artistic material . But also satisfying these two signs, the club event cannot be considered quite theatrical, if some part of the theatricalization will be subjected to some part, episode, fragment. For example, in the evening, only the "meeting of guests" or a festive concert, which uses the numbers of different scenic genres.
3. The main feature of the theatrical event is a composite decision on the laws of drama . The elements of the composite solution are: - prologue, tie, chain of events, one of which is climax, and an omission. A composite construction of a theatrical event has a clearly developed system of episodes and fragments. In one form or another in the club event there is a conflict, but not as clearly pronounced as in the theater performance. For example, in the festival "Wires" - conflict - the struggle of spring with winter.
Consequently, to prepare and hold a theatrical club event, this is:
- to build it composite, - to achieve organic unity of documentary and figurative material, - to embody it with all the necessary means of theatrical expressiveness.
Funds of "theatricalization".
1. Music. We meet with musical works or their fragments on holidays, mass walking, carnivals, shows and other theatrical programs. Music can be a matter of time and space. It can create the desired emotional attitude, both before the start and during the event, can have an independent value or serve as a scenic action.
2. Movie- Artistic and documentaries or their fragments, game, animated, serious and comedy, professional and amateur - can be used as an expressive agent. It is widely known for receiving the appearance on the stage from the screen of those who are talking on the club evening.
3. Fiction. The literary work or his fragment plays a large role in the composition and may be a prologue, string, bundles between episodes, the final part. This can be both poetic and prose material.
4. Artistic word - Bashes the main semantic load in the theatrical representation. It can be executed by one reader (leading) or group. The simplest example is the reading of poems or prose accompanied by music. Reading may be accompanied by a pantomime, dance, film films.
5. Paintingit is a necessary element of any theatrical presentation, promotes visibility and accuracy of the event (portraits, elements of scenery - houses, streets, trees Prison chamber, etc.). Speecually "works" painting when its display is accompanied by successfully selected music or artistic word.
6. Pantomime - This is an action without words. It may be accompanied by music, specially selected sounds, symbolizing, for example, a knock of the heart, the rhythm of the working mechanism, etc. With the help of a pantomime, you can show a calm sea and an impending storm, the wind, blooming flower. It all depends on the fantasy of the director and skill of the performers. Pantomime participants costumes are stylized or unified, but can be conventional theatrical.
7. Dance. In club practice, all kinds of dances are common. The possibilities of dance, as an expressive means, are not limited to the illustrating of the one or thought already expressed by other means. Dance can become a full-fledged plot element of the entire theatrical action.
8. Theatrical art - According to its synthesis, music, dance, artistic word, literary works, pantomime. In the club theatrical representation, not the entire performance is used, but its individual fragments. Therefore, we can talk about small theatrical forms - stages of prosaic or poetic works, or even documents. The rooms are successfully used with dolls, shadow theater techniques, excerpts from opera performances, operetta. The main thing is that this material organically lay down in the context of the event.
9. Art and documentary photo. A well-found snapshot As part of the theatrical presentation, you can exhibit as much as you need in time of text, music or action.
10. The art of pop and circus is used as a means of emotional impact. Funny eccentric rooms, jokes, humor, configuration, tricks, comic dances, reprises, couples, parodies are introduced into the script.
11. The game - Also is a means of which theatrical mass action is built. In this case, the game is considered not from the point of view of the essence of the theatrical event (holiday, theatrical competition), and the stroks of view of its organization in a pedagogical aspect, especially when organizing children's theatrical events. Gaming activity can be part of leisure or act as a specific form of mass work. In the mass event, the game is used as an effective means of involving people in a mass theatrical action, causing an emotional experience with its entertainment, creates the necessary festive attitude. Theatrical gaming action can be an active part of any theatrical event and in many ways to promote its success.
Thus, all forms and genres of art are practically applicable in theatrical cultural and leisure events, their selection depends on the scenario and the real possibilities of a leisure institution.
The main expressive means of scenic art is the action. The purpose of the action is to change, redo the subject to which the action is directed. In the acting art, psychophysical actions are very important, of which the acting game is developing. Actions may be internal (aimed at themselves) and external (directed to a partner or subject). The scene actions are performed by actors. This is the main expressive of acting art. Everyone in the theater is expressed through it. He speaks from the scene on the person of the author, director, the whole team, therefore, the basic expressive means of acting skills are important in its work: the word, voice, movement, plastic. The word plays a huge role in the art of the actor. The word is the main expressant of thought. Competent expressive speech is able to convey the complexity of the spiritual appearance of a modern man. A rich expressive voice can convey different nuances. The word is an action instrument. The expressiveness of the stage movement is also very important in the work of the actor. Mimica, gesture. The nature of the actor is a virtuoso possession of its body. Through the pose, gesture, the movement actor should be able to express internal content. The smoothness and continuity of movement create plasticity. A psychological gesture is very important, which should be a volitional, active, clear, large-scale, relief. The auxiliary expressive means are make-up, wig, stickers, suit, which are emphasized and complemented by adjacency or contrast image. The expressive means of the theater include: music, light, makeup, Misanszen. Atmosphere, decoration, composition, rhythm, etc. The impact of music on a person is extremely large due to its stage properties. She is able to display senses of a person, the phenomena of the outside world, social conflicts, heroic actions, etc. This is the strongest expressive toathera. The light is also one of the strongest means of expressiveness of the theater. The light must interact with the texture of the scene, costumes. Light contributes to the creation of a stage atmosphere. The atmosphere is formed by the actor and the proposed circumstances in which he is. The main expressive of the atmosphere is an actor. Through the atmosphere, the idea of \u200b\u200bthe performance is expressed, the rhythms of stage life are expressed, the characters of acting persons and their relationship are connected with it. The mission of the atmosphere - save the soul of the theater from mechanization. The costume should emphasize the image of this image solution in which the human biography, character, nationality, characteristic features of time are displayed. It is very important that maker was not just an external cosmetic agent, but an internal psychological content of the image. Another very important expressive agent of the theater is decoration, with the help of which the curtain solution is considered, the possibility of a rotating scene, its raising, the use of hatches, etc. The interior must comply with the nature of the actors. The artist should be able to figure out the play. Thus, there are a lot of expressive tools.
full adaptation in society.
The demand for dance psy-hocoscience programs is very large. Lack of competent specialists, scientifically developed techniques
conducting classes in the middle, and the older age category inhibits the development of a network of cultural and recreation groups of dance and motor correction of people in the fitness clubs of our country.
Notes
1. Baskakov, V. Yu. (Red.-Cost.) Readings for physical oriented psychotherapy and psychotechnics / V. Yu. Baskakov (Red. Sost.). - M.: Meaning, 2000. - 165 p.
2. Gerasimova, I. A. Evolution of cognitive presets of creativity: dis. ... Dr. Ped. Sciences / I. A. Gerasimov. - M., 1998.
3. Jung, K. G. Alchemy Dreams: Per. from English / K. G. Jung. - SPb.: Timothy, 1997. - 352 p.
4. Chodorow, J. The Body AS Symbol: Dance / Movement in Analysis. / Joan chodorow; American Dance Therapy Association. - New York, 2008. - 13 p. - Published Online: 4 August 2008.
5. Lemieux, A. The CONTACT DUET AS A PARADIGM FOR CLIENT / THERAPIST INTERACTION / ADWOA LEMIEUX // Submitted in Partial Fulfillment of Therements of Arts In Dance / Movement Therapy / Naropa Institute Boulder. - Colorado, 1988. - 101 r.
6. O "Connor, Peter A. Understanding Jung, Understanding Your Self / Peter A. O" Connor. - NEW YORK: Paulist Press, 1985. - ISBN 0809127997.
7. Capello, Patricia P. Men in Dance / Movement Therapy / International Panel / Patricia P. Capello. - New York: American Dance Therapy Association 2011. - Published Online: 21 April 2011. - 10 p.
8. Sheila, J. Cultural Dance: An Opportunity to Encourage Physical Activity and Health In Communical Activity and Heila Jain and David R. Brown. - New York: American Journal of Health Education, JBLY / AUGUST 2001, Volume 32, No. 4-19 p.
Eatral receptions and means of expressiveness as elements of museum communications
V. V. Arzhanukhina
Moscow State University of Culture and Arts
The article for the first time considers theatrical means of expressiveness as a full component of modern museum communications. An overview of the historical aspect of the relationship between the museum and theatrical means and techniques is presented. Analyzed the exposition experience of various museums to attract expressiveness in the exposition of theatrical means. Keywords: museum communications, new exhibition forms, museum designer, decorative design.
For the first Time The Article Examines Theatrical Means of Expressiveness As a Fair Constituent of CONTEMPORARY MUSEUM COMMUNICATION. For the first time a Historical Aspect of Interrelation Between Museum And Theater Means and Methods is Surveyed. Exposure Experience of Different Museums on Application Of Theatrical Means of Expressiveness In The Exposition Is Analyzed.
Key Words: Museum Communication, The New Exhibition Forms, Museum Designer, Decorative Desing. 134 1997-0803 Bulletin Mguy 5 (49) September-October 2012 134-138
The range of theatrical expressive means and techniques was accumulated by centuries - simultaneously with the development of the theater itself. Today, their row is quite specified. These are scenery, costumes, butaforia, sound, light and special effects, and among theatrical techniques leads theatricalization. The theater approach has always been in demand and often applied in politics, and religion. Recall the costume mysteries of ancient Greece and the triumphal processions of the Romans. The Christian Church also took into service theatrical developments. In the century, the genre of the church drama ("Visit to the Tomb", "Game on Adam") even originated in medieval Europe), and in Russia, from the beginning of the XVI century, spiritual dramas are becoming popular ("walking on an emergency", "cave action"). Thus, theatrical remedies have long been proven by the communicators of various public institutions, thanks to their main dignity - the ability to attract attention. Understanding this came to museum practice.
The author of the first work on the theory of museum communications was the Canadian Musevied D.F. Cameron. It happened at the end of the 60s of the 20th century, but the practical search for communication solutions began much earlier. In the 2nd half of the XIX century, new exposition forms were presented on ethnographic and hand-industrial exhibitions. This contributed to the development of interdisciplinary bonds, which is natural, since "... the theory of communication, as well as musevia, turns out to be a sphere of interdisciplinary knowledge" (9). Most often, the organizers of the first Russian exhibitions appealed to the decoration design and butaforia. Today, the norm, when the artist or museum designer participates in the preparation of the exposition, - and some hundred years ago, which became artistic
takes by many museums categorically rejected. Sometimes it reached curiosities. Journalists who wrote about the All-Russian Ethnographic Exhibition of 1867, reproached the organizers in the fact that the decorative side prevails over scientific content (2). But when the exhibits of the exhibition became part of the Dashkovsky ethnographic museum - already without decorative entourage - contemporaries complained that the placement of the exposition on the scientific principle reduced its scientific and informative value (4).
For the first time, the decorative elements were widely used at the All-Russian ethnographic exhibition, held in Moscow in 1867. The exposition was dedicated to ethnic groups living in Russia and was genre scenes typical of one or another region. Sculptors and artists were invited to design the exhibition. Russian Division was presented in the form of a fair scene in the scenery of A.K. Savrasov - painter, with amazing reliability of a rustic landscape that works in the genre. At the Polytechnic Exhibition of 1872 in Moscow, existing decorations-pavilions appeared - reduced copies of monuments of national architecture. For example, a separate pavilion was built for the presentation of Turkestan. In the future, reduced copies of architectural buildings have become a favorite technique of designer artists. In 1914, at the All-Russian craft and factory exhibition, which was held at the Khodynsky field in Moscow, the central pavilion was stylized on the construction of the Moscow Kremlin (8). After 90 years, in 2004, during the Olympiad in Athens, the mocks of the Kremlin and the Bolshoi Theater decorated the area of \u200b\u200bMoscow, on which the photo exhibition was placed on the Russian capital.
I would like to emphasize that the layout is still not an exhibition, but theater find. Back in the middle of the XVI century, the Italian artist Sebastiano Serlio first recommended making a layout of the scene of the future performance. At the same time, there are museums in which the exposition consists exclusively from the layouts of architectural facilities (the Ethno-memorial complex "Map of Kazakhstan" Atameken "in Astana, Madrogs in Holland). It is natural that, obeying the laws of the theory of communication, the architectural layout, step by step by the border of the theater, did not stop in the museum, becoming a universal communication means. Recall all sorts of entertainment parks (Disneyland, Mini Siam in Thailand, etc.), as well as hotels. Meanwhile, they all have one progenitor - theatrical butafory.
The artists who worked for the theater were contributed to the development of a new genre. An artist K.A. is considered one of the innovators of the exposition case. Korovin. In 1896, the famous industrialist and patron S.I. Mammoth instructed him the execution of the Pavilion of the Far North at the All-Russian art and industrial exhibition in Nizhny Novgorod. The candidacy was not chosen by chance, because the artist was a participant in the journey in the Polar, organized by the same S.I. Mammoth. The role of Mamontov himself in the opening of the pavilion was not limited to financing, because he was, in modern language, and a director-innovator, and an enterprising producer, and even a museum designer. With the filing, Mammont Pavilion turned into a real mini-museum. Savva Ivanovich was the author of many ideas and Yaros defended his "production" projects to the organizers of the exhibition. Thus, the official organizers refused to include in the main staff of the exhibition (Mikula Selyaninovich and
"Princess of Gleza") invited S.I. Mammoth M.A. Vrubel. Then S.A. Mammoths for their money built a separate pavilion for these works. As Professor A.A. Aronov: "Savva Ivanovich Mamontov was the only unconfluous patron of the art of Vrubel" (1, p. 29). But back to the Pavilion of the Far North, entering which visitors seemed to be on one of the northern factories. This is how the artist itself describes the design: "I hide the skin of seals, wool shirts of the pomper. Among the naval ropes, gestures - the monstrous skin skins, the jaw of China. Samoyed Vasily, whom I also brought with myself ... changes the water in a galvanized box, in which there is a lively, the miley seal, brought from the ice ocean and nicknamed Vaska. " On the walls - thematic decorative panels, which "peacefully adjacent to photographs and natural exhibits, and this neighborhood emphasized the authenticity of the created covic images" (5, p. 92). Had experience in the theater and V.M. Vasnetsov, invited to the historical museum in the early 80s of the XIX century to decorate the exposition "monuments of the Stone period". As a result, the museum received a wonderful decorative panel "Stone Age", which French archaeologist Baron Joseph de Bai said that the "Lucky Journal" reads the "Speaker in the" Stone Age "a whole course of archeology. The decoration approach was adopted by the regional museums. So, at the end of the XIX century, an artificial rock was built in the Caucasian Museum in Tiflis for exposure about the alpine inhabitants. Attended by exposures and other groups of animals, as well as groups of Caucasian tribes (7, p. 20). In scientific circles, the composition was complained, but ordinary visitors were delighted.
The mobile exhibition of the Krasnoyarsk City Museum, which showed the "live paintings", illustrating the natural features of the edge and the life of Siberian Aborigines (10) with success. Despite the fact that the concept of an artistic image was perceived by the conservative public with perplexity, universal interest in such exposures has always been high. Thanks to the theater approach, innovative organizers managed to decide, in fact, the primary communication task - to attract as much spectator attention as possible, to interest even a celebratory visitor and make an understanding of expositions available to all sectors of society.
Starting the C20-30s of the 20th century, the museum's interest in theatrical means of expressiveness was sacing, it flared up with a new force. After the October Revolution of 1917, the leadership of the country was forced to attract all forms of public communications, including the museum, for agitation and propaganda. And now "museums-theaters" appeared, where they were acquainted with museum objects in the form of theatrical lectures at the plot of museum legends of the exhibits exhibited (ethnographic theater of the State Russian Museum). In the 60-70s of the 20th century, the new, now international, discussion on attracting new exposure forms and the value of a figurative approach (M. Madzen, D. Cameron, A.M. Overclocking, etc.). In the 70-80s of the 20th century, the problem of the role of the scenario was actively considered as a special form of design of the museum exposition (MB Gnodovsky, Yu.P. Pischulin, Yu.A. Reshetnikov, etc.). Scenic developments were not widely used in domestic museum, but the general recognition was approved: "For a person, an assessment of perceived information without emotional coloring
^ Socio-cultural activity
you can "(6, p. 97). During the period of restructuring the entire economic structure of the country, when an acute question about the need for commercial relations, began to reiterate effective ways to attract the attention of visitors and society as a whole. It was then that the theatrical means of expressiveness in museum communications have become popular more than ever (etc. Polyakov, N.V. Mausy, E.A. Rosenblums, etc.). Under the universal Natius, conservatives known in the museum world, such as A.B. Zaks, who proposed "to create an artistic image of historical reality" and with the help of a variety of forms to give the exposition "entertainment". The awareness of the fact that the museum exposition "does not teach, but awakens associations, gives rise to images, thoughts and feelings. "(3).
Nowadays, the role of the museum design is still great, and the newest technical achievements of theatrical scenery art with pleasure take museums for weapons. First of all, it is theatrical light and special effects that undoubtedly give exposure to spectacle and invisible dynamics. As, for example, in the exposition of Pushkin's fairy tales in the literary museum. A.S. Pushkin, where the decoration-transformer and competently chosen colored light transformed a small room into a fabulous Lukomorier. The program "Live Planet", prepared with the help of complex lighting equipment and laser installations in the State Darwinian Museum. But the undoubted favorite of modern museum communications is theatricalization. Theatrical excursions and costume holidays on the territory of museums have long become the norm, especially in the museums and estates. Invited artists become additional attributes of the space-time continuum of the museum. Good luck
the museum project with the elements of theatricalization was the annual days of the historical and cultural heritage of Moscow. To take part in them is honored for the honor of the leading metropolitan artists. By the way, the participation of the corneus in exposure projects is not innovation. Back in 1882, in the framework of the All-Russian industrial and art exhibition, the concert series gave a symphony orchestra under the control of A.G. Rubinstein, and to open a polytechnic exhibition dedicated to the 200th anniversary of Peter I (Moscow, 1872), he sent his new Cantatu. Tchaikovsky (8).
It is important to understand that theatricalization, as well, and all other means of expressiveness, are legitimate only when it does not replace the exposition, but shall that, making it more attractive to the visitor unbounded by scientific knowledge, that is, when the theatrical approach does not go beyond the subsidiary. Subject to this condition
theater facilities and techniques are ideal communications for the museum of any profile. First, they always attract attention, accessible to universal perception and their communication capabilities are tested by various public institutions and not one generation of viewers. Secondly, they are able to solve the problem of the internal panel of exposure, as purposefully created for external, not internal action. Thirdly, they are a priori do not claim the dominant position, initially being only a tool, not an end in itself. As in the theater, when all design elements should not demonstrate themselves, but to promote the maximum disclosure of performing arts. Fourthly, they are not a constant, which means that they are mobile and allow for infinite exposition interpretations. Museum workers can only find their faithful dosage.
Notes
1. Aronov, A. A. Golden Age of the Russian meditation / A. A. Aronov. - M.: Publishing house MGUK, 1995.
2. All-Russian Ethnographic Exhibition and Slavic Congress in May 1867 - M., 1867. - P. 3-9.
3. Zaks, A. B. Epoch of capitalism in the expositions of the State Historical Museum (1931-1957) / A. B. Zaks // Tradition and Search. Problems of the new exposition of GIm on the history of capitalism. - M., 1991.
P. 16-17. - (Trudy GIm. Vol. 77).
4. Ivanova, O. A. All-Russian Ethnographic Exhibition of 1867 / O. A. Ivanova // Materials for the work and history of ethnographic museums and exhibitions. - M., 1972. - S.99-142.
5. Kogan, D. Z. Konstantin Korovin / D. Z. Ivanova. - M.: Art, 1964.
6. Lobanova, V.S. On the role of architectural and artistic solution in improving the exhibition exhibition / V. S. Lobanova // Museum in the USSR. Vol. 20. - M., 1990.
7. Mausal, N. V. Exhibition as a universal form of exposure activities of domestic museums: dis. ... Cand. East. Science / N. V. Zausa. - M., 1997.
8. Moscow exhibition // My Moscow. - 2005. - № 6-7.
9. Samarina, N. G. Research work in the museum in the light of the theory of communication / N. G. Samarina // Research work at the Museum: [Reports at scientific and practical conferences of students, graduate students and teachers (Moscow, November 29 2002, November 28, 2003)].
M.: Mguyk, 2005. - P. 3.
10. The 25th anniversary of the Krasnoyarsk City Museum 1889-1914. - Krasnoyarsk, 1915. - P. 46-47.
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2. Fixed means of expressiveness of theatrical art:
Decoration (from lat. Decoro - decorate) - decor the scene, recreating the material environment in which the actor acts. Decoration "is an artistic image of the action site and at the same time a platform representing rich opportunities for the scenic action on it." The scenery is created using a variety of expressive agents used in the modern theater, painting, graphics, architecture, art planning, special texture of scenery, lighting, stage equipment, projection, cinema, etc. Basic scenery systems:
1) Moving Mobile,
2) snap-and-arched lifting
3) Pavilion,
4) Volumenny
5) projection.
The emergence, development of each system of decorations and the change of its other was determined by the specific requirements of drama, theatrical aesthetics, relevant to the history of the era, as well as the growth of science and technology.
Straw mobile scenery. Kulisi - parts of the scenery located on the scenes scenes after certain distances one after another (from the portal deep into the scene) and intended to close the backstage space from the viewer. The scenes were soft, mounted or tough on the framework; Sometimes they had a figured outline, depicting an architectural profile, outlines of the tree trunk, foliage. The change of rigid scenes was made with the help of special stuffing machines - frames on the wheels, which were (18 and 19 centuries) on each plan of the scene parallel to the ramp. These frames moved to the sections of the rails on the rails, laid across the first-grade floor, specially cut into the tablet. In the first palace theaters, the scenery consisted of a backdrop, the scene and the ceiling hollows, which rose and sank simultaneously with the change of Kulis. On Pardugas wrote clouds, branches of trees with foliage, parts of plafimons, etc. to this day, the scenery of the decorations in the court-speaking theater in Drochnyholm and in the theater of the former near Moscow estate were preserved. NB Yusupova in "Arkhangelsk"
The stitching scenery arose in Italy in the 17th century. And gained widespread in public theaters with high grates. This type of decoration is a canvas, stitched in the form of an arch with written (at the edges and top) trunks of trees, branches with foliage, architectural details (in compliance with the laws of linear and air perspective). On stage, up to 75 such scene arches can be suspended, the background for which the scattered back or the horizon is served. A variety of stitching scenery - Openwork scenery (siscript "Forest" or "architectural" scenery arches, lined on special grids or applied on Tyul). Currently, the arched scenery is used mainly in opera-ballet productions.
Pavilion scenery was first applied in 1794 it. Actor and director F.L. Schroeder. Pavilion scenery depicts a closed room and consists of wall-frames, tightened with canvas and painted wallpaper, boards, tiles. Walls can be "deaf" or have spans for windows, doors. Between themselves the walls are connected with the help of zakid rope - the chuck, and are attached to the floor of the scene by slopes. The width of the pavilion walls in the modern theater is not more than 2.2 m (otherwise, during the transport of decorations, the wall will not go to the door of the commercial car). The windows and doors of the pavilion scenery are usually put by zapinniki (parts of the suspension scenery on the frames), on which the corresponding landscape or architectural motive is depicted. Pavilion scenery is overlapped by the ceiling, which in most cases is suspended to grate.
In the theater of the New Time, the volumetric scenery first appeared in the performances of the Maneingen theater in 1870. In this theater, volumetric parts began to be used, along with flat walls: Live and oblique machines - ramps, stairs and other structures for the image terraces, hills, fortress walls. The designs of the machines are usually masked by picturesque canvas or bout-reliefs (stones, roots of the tree, grass). For changing parts of the volumetric scenery, rollers are used on the rollers (Furki), a swivel circle and other types of scene. The volumetric scenery allowed the directors to build misenessens on the "broken" scene tablet, find a variety of constructive solutions thanks to which expressive opportunities of theatrical art expanded unusually expanded.
The projection decoration was first applied in 1908 in New York. Based on the projection (on the screen) of non-ferrous and black and white images drawn on the diaposition. Projection is carried out using theatrical projectors. The screen can serve as a back, horizon, walls, floor. There are direct projection (the projector is in front of the screen) and the projection on the lumen (projector behind the screen). The projection can be static (architectural, landscape and other motives) and dynamic (movement of clouds, rain, snow). In a modern theater with new on-screen materials and projection equipment, projection decorations were widely used. Simplicity of manufacturing and operation, ease and speed of the change of paintings, durability, the ability to achieve high artistic qualities make projection scenery with one of the promising types of decorations of the modern theater.
2.2 Theatrical suit
Suit theatrical (from Ital. Costume, Actually Custom) - Clothes, shoes, hats, jewelry and other items used by the actor for the characteristics of the stage-created scenic image. The necessary addition to the costume - makeup and hairstyle. The costume helps the actor find the appearance of the character, reveal the inner world of the stage hero, determines the historical, socio-economic and national characteristic of the medium in which the action occurs, creates (together with the rest of the design components) the visual image of the performance. The color of the costume should be closely related to the general colorist idea solution. The costume constitutes a whole area of \u200b\u200bcreativity of the theater artist, embodying the huge world of images - witness, satirical, grotesk, tragic.
The process of creating a costume from a sketch to stage incarnation consists of several stages:
1) the choice of materials from which the costume will be made;
2) selection of materials for painting materials;
3) Line searches: Making patrons from other materials and a tack of material on a mannequin (or on actor);
4) checking suit on stage in various lighting;
5) "Sredit" costume actor.
The history of the costume goes back to primitive society. In games and rites, which the ancient person responded to various events of his life, hairstyle, grim coloring, ritual costumes were of great importance; In them, primitive people invested a lot of fiction and peculiar taste. Sometimes these costumes were fantastic, in other cases resembled animals, birds or animals. Since ancient times, there are costumes in the classic theater of the East. In China, India, Japan and other countries, costumes are conditional, symbolic. For example, in the Chinese theater, the yellow color of the costume means belonging to the imperial surname, in the costumes of black and green colors are dressed performers of the roles of officials and feudalists; In the Chinese classic check box, the warrior's back point to the number of his regiments, a black handkerchief on the face symbolizes the death of a stage character. Brightness, wealth of paints, the magnificence of materials make a suit in the Eastern Theater one of the main decorations of the presentation. As a rule, costumes are created for a certain performance, a particular actor; There are also attached sets of costumes that use all the troupes independently of the repertoire. The costume in the European Theater first appeared in ancient Greece; He repeated mostly household suit of the ancient Greeks, but various conditional details were made in it, which helped the viewer not only to understand, but also to see what happens on stage (theatrical structures were huge sizes). Each costume had a special color (for example, the king costume is purple or saffron-yellow), the actors wore masks, well-visible from afar, and shoes on high stands - cats. In the era of feudalism, the art of the theater continued to live in cheerful, topical, witty ideas of stray actors-Gistrius. The costume of the historians (as well as Russian bumps) was close to the modern costume of the urban poor, but decorated with bright flap, comic details. From the ideas of the Religious Theater that arose during this period, the Mystery was most successful, the productions of which were especially fitted. Bright collapse was distinguished by a proceeding mystery procession of mystery in various costumes and grits (fantastic characters of fairy tales and myths, all sorts of animals). The main requirement for a suit in the mystery is wealth and elegacity (regardless of the executable role). The costume differed in convention: the saints were in white, Christ - with gold-plated hair, devils - in picturesque fantastic costumes. Significantly modest were the costumes of performers of edacy of allegoric dram morality. In the lively and progressive genre of the medieval theater - the farce, which contained a sharp criticism of the feudal society, a modern caricature characteristic suit and make-up appeared. In the era of the revival Actors of the Comedy del Arte by means of costumes gave a witty, sometimes laughed, the evil characteristic of their heroes: a typical feature of scholast scientists, mischievous servants were summarized. In the 2nd floor. 16th century In Spanish and English theaters, the actors performed in costumes close to fashionable aristocratic costumes or (if this was required by the role) in the judovo folk costumes. In the French theater, the costume repeated the traditions of medieval farce.
Realistic trends in the area of \u200b\u200bcostume manifested themselves at the Moliere, which, when setting up their plays, devoted to modern life, used modern costumes of people of different classes. In the Epoch of Enlightenment in England, the Actor D. Garrick sought to free the costume of stripping and meaningless stylization. He introduced a suit corresponding to an executable role that helps the disclosure of the character of the hero. In Italy in the 18th century Comediographer K. Goldeni, gradually replacing in his plays Typical masks of Comedy Del Artte images of real people, at the same time retained the appropriate costumes and makeups. In France, to the historical and ethnographic accuracy of the costume on the stage sought Voltaire, who supported the actress Cleron. She led the struggle against the convention of the costume of tragic heroines, against fijm, powdered wigs, precious jewelry. Even further, the work of the costume reform in the tragedy promoted French actor A. Lenen, who modified the stylized "Roman" costume, refused the traditional tunnel, approved an oriental suit on stage. The suit for Lena was a means of psychological characteristic of the image. Significant, influence on the development of costume in the 2nd floor. 19th century I had the activity of him. Maingen theater whose performances were distinguished by a high producer culture, historical accuracy of costumes. However, the authenticity of the costume acquired self-sufficient importance at Meyninger. The accurate reproduction of the social environment on the stage demanded E. Zola. The largest theatrical figures of NCH were striving for the same. 20 V.- A. Antoine (France), O. Bram (Germany), who took an active part in the design of performances, attracted to work in their theaters of the largest artists. Symbolist theater, which emerged in the 90s. In France, under the slogans of protest against theatrical routine and naturalism, carried out a struggle with realistic art. Artists-modernists created simplified stylized scenery and costumes, took the theater from a realistic image of life. The first Russian costume created the crumbs. Their suit repeated the clothes of urban lower and peasants (caftans, shirts, ordinary pants, lapties) and decorated with multi-colored pigs, flaps, bright embellished caps. In arising in the beginning. 16th century The church theater, performers of the castle roles, were dressed in white clothes (on the head of the crowns with crosses), the actors depicting Haldeyev - in short caftans and caps. Conditional suits were used in the play of the school theater; Allegoric characters had their emblems: faith appeared with a cross, hope - with anchor, Mars - with a sword. King's costumes were supplemented by the necessary attributes of royal dignity. The same principle distinguished the performances of the first professional theater in Russia, 17th century, founded at the court of Tsar Alexei Mikhailovich, the representations of the court theaters of Tsarevna Natalia Alekseevna and Tsaritsa Prasovia Fedorovna. The development of classicism in Russia in the 18th century. accompanied by the preservation of all the conventions of this direction and in a suit. The actors performed in costumes, which were a mixture of a fashionable modern suit with elements of an ancient costume (like the "Roman" costume in the West), performers of the roles of noble nobles or kings wore luxury conditional suits. In the beginning. 19th century Fashionable modern costumes were used in performances from modern life;
Costumes in historical plays were still far from historical accuracy.
All R. 19th century The performances of the Alexandria theater and the Small Theater are planned for the desire for historical accuracy in a suit. Huge success reaches in this area at the end of the century, the Moscow Art Theater. The Great Reformers of the Stanislavsky and Nemirovich-Danchenko Theater together with artists who worked at the Moscow Art Theater, achieved the exact compliance of the costume of the era and the environment shown in the play, the nature of the stage hero; In the art theater, the costume was of great importance for creating a stage image. In a number of Russian theaters and 20 V. The costume turned into a truly artistic work, expressing the ideas of the author, director, actor.
2.3 Noise decoration
Noise design - playback on the scene of sounds of the surrounding life. Together with decorations, butafory, the noise decoration is a background that helps actors and viewers feel in an environment corresponding to the action of the play, creates the right mood, affects the rhythm and the tempo of the performance. Petardians, shots, loses of the iron sheet, a knock and ringing of weapons behind the scenes were accompanied by performances already in 16-18 centuries. The presence of sound equipment in the equipment of Russian theatrical buildings indicates that there are already no noise design in Russia in Russia. 18 V.
Modern noisy design varies in the characters of sounds: the sounds of nature (wind, rain, thunderstorm, birds); Production noises (factory, construction); Transport noise (carts, train, aircraft); Battle noise (cavalry, shots, movement of troops); Household noises (clock, ringing glass, screensing). The noise design can be naturalistic, realistic, romantic, fantastic, abstract conditional, groteskov - depending on the style and solving the performance. Noise design is engaged in the sound operation or produced part of the theater. The performers are usually members of a special noise brigade, which includes actors. Uncomplicated sound effects can perform work scenes, details, etc. The equipment used for noise design in the modern theater consists of more than 100 devices of various sizes, complexity and destination. These devices allow you to achieve the feeling of large space; Using the sound perspective, the illusion of the noise of an approaching and removing train, an airplane is created. Modern radio engineering, especially stereo equipment, gives great opportunities for expanding the artistic range and the quality of noise design, at the same time organizationally and technically simplifies this part of the performance.
2.4 light on stage
Light on stage is one of the important artistic and staged funds. The light helps to reproduce the place and environment, perspective, create a necessary mood; Sometimes in modern performances, light is almost the only means of design.
Various types of decorative design require appropriate lighting techniques. Plane scenic scenery requires general uniform lighting, which is created by light light lighting devices (sofa, ramp, portable devices). The performances decorated with volumetric decorations require local (projector) lighting, creating light contrasts, emphasizing the volume of design.
When using a mixed form of decorative design, a mixed lighting system is applied accordingly.
Theatrical lighting devices are made with a wide, medium and narrow light scattering angle, the latter are called searchlights and serve to illuminate individual sections of the scene and actors. Depending on the location, the lighting equipment of the theater scene is divided into the following main types:
1) The equipment of the upper light to which the lighting devices belong (sofets, spotlights) suspended above the game part of the scene in several rows according to its plans.
2) Equipment of horizontal lighting, which serves to illuminate theatrical horizons.
3) Side lighting equipment to which usually include spotlights type installed on portal sides, side lighting galleries
4) Entry lighting equipment consisting of spotlights installed outside the scene in various parts of the visual hall. Remote light also includes ramp.
5) Portable lighting equipment consisting of devices of different types installed on the scene for each action of the performance (depending on the requirements).
6) various special lighting and projection devices. The theater often uses a variety of special-purpose lighting devices (decorative chandeliers, candelabra, lamps, candles, lights, fires, torches), made according to the sketches of the artist, drawing up the performance.
For artistic purposes (reproduction on the stage of real nature), a color lighting system of a scene consisting of light filters of various colors is applied. Light filters can be glass or film. Color changes in the course of the performance are carried out: a) by gradually transition from lighting devices having some filter colors on devices with other colors; b) the addition of colors of several, simultaneously active devices; c) shift light filters in lighting devices. Of great importance in the design of the performance has a light projection. With it, various dynamic projection effects are created (clouds, waves, rain, falling snow, fire, explosions, flashes, flying birds, airplanes floating ships) or static images that replace picturesque details of decorative design (light decorations). The use of a light projection is extremely expanding the role of light in the performance and enriches its artistic possibilities. Sometimes film production also applies. The light can be a full-fledged artistic component of the performance only if there is a flexible system of centralized management. To this end, the power supply of all lighting equipment scene is divided into lines related to individual lighting devices or devices and individual colors of installed light filters. There is up to 200-300 lines on the modern scene. To control the lighting, you must turn on, turn off and change the light stream, both in each individual line and in any combination of them. For this purpose, there are light-adjusting settings that are the necessary element of the scene equipment. The light flow control of the lamps occurs using autotransformers, tiratrons, magnetic amplifiers or semiconductor devices, changing current and voltage in the light chain. To control numerous chains of scene illumination, there are complex mechanical devices, called usually theatrical regulators. Electrical regulators with autotransformers or with magnetic amplifiers received the greatest distribution. Currently, electric multi-program regulators are obtained; With their help, an extraordinary flexibility of the scene lighting is achieved. The main principle of such a system is that the regulating unit allows a preliminary set of light combinations for a number of pictures or moments of the performance with their subsequent playback on the scene in any sequence and in any pace. This is particularly important when illuminating complex modern multi-road performances with high light dynamics and quickly as follows.
2.5 Scenic effects
Scenic effects (from lat. Effectus- execution) - illusions of flights, floats, flooding, fires, explosions created using special devices and fixtures. Stage effects were already applied in the ancient theater. In the era of the Roman Empire, individual scenic effects are introduced into the representation of mimes. Effects were saturated with religious representations of 14-16 centuries. For example, when setting a mystery device with numerous theater effects, special "wonderful masters" was engaged. In court and public theaters of 16-17 centuries. The type of lush performance with a variety of scenic effects based on the use of theater mechanisms has been established. The skill of the driver and the decorator, which created all sorts of apotheosis, flights and transformation was put on the fore in these performances. The traditions of such spectacular entertainment have repeatedly resurrected in the practice of the theater of subsequent centuries.
In the modern theater, scenic effects are divided into sound, light (light-level) and mechanical. With the help of sound (noise) effects on the scene, the sounds of the surrounding life are reproduced - the sounds of nature (wind, rain, thunderstorm, bird singing), production noises (factory, construction, etc.), transport noises (train, aircraft), battle noises (Cavalry movement, shots), household noises (clock, ringing glass, screenshots).
Light effects include:
1) all types of imitation of natural lighting (daytime, morning, night, lighting, observed with a variety of natural phenomena - sunrise and sunset, clear and cloud sky, thunderstorm, etc.);
2) the creation of illusions of the flowing rain, moving clouds, having a fire glow, falling leaves, flowing water, etc.
To obtain the effects of the 1st group, usually use a three-color lighting system - white, red, blue, giving almost any tonality with all the necessary transitions. An even richer and flexible color palette (with a nuunting of all sorts of shades) gives a combination of four colors (yellow, red, blue, green), corresponding to the main spectral composition of white light. Methods for obtaining the light effects of the 2nd group are mainly reduced to the use of light efficiency. By the nature of the impressions of the viewer, the light effects are divided into stationary (motionless) and dynamic.
Inpatient light effects
Zarnitsa - Gives an instant outbreak of a volt arc produced by manual or automatic way. In recent years, the spread received electronic photographs of great intensity.
Stars - imitate using a large number of light bulbs from a pocket lamp, painted in different colors and having different intensity of the glow. Light bulbs and power supply to them are mounted on a black-colored grid, which is suspended to the rod bruk.
The moon is created by projection on the horizon of the corresponding light image, as well as with the help of a mock-up mock-up mock.
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Theater (Greek Th e. atron is a place for spectacle) - a type of art in which reality is reflected through a stage action that actors are carried out in front of the audience.
Theatrical art is part of the national spiritual culture, a mirror of the public consciousness and life of the people.
The art of the scene was born in deep antiquity and at different times it was intended to entertain, they bring up, then preach. The possibilities of the theater are great, therefore theatrical arts sought to put on their service kings and princes, emperors and ministers, revolutionaries and conservatives.
Each era imposed its tasks to the theater. In the Middle Ages, for example, the scenic space thought as a model of the Universe, where he should have played, repeat the sacrament of creation. In the era of the Renaissance on the theater, the tasks of correction of defects became increasingly. In the Epoch of Enlightenment, the art of the scene was evaluated very high - as "cleansing morals" and encouraging virtue. In times of tyranny and censorship, the theater became not only an office, but also the tribune. During the revolutions of the twentieth century, the Slogan "Art - Weapons" appeared (was popular in the 20th of the 20th century.). And the theater began to fulfill another task - propaganda.
The final work of the theater is a performance that is based on drama.
As any other type of art, the theater has its own special features.
1. It's art synthetic: Theatrical work (performance) develops from the text of the play, the work of the director, the actor, the artist and the composer. (In Opera and Ballet, a decisive role belongs to music). It combines an effective and spectacular principle and combines expressive means of other arts: literature, music, painting, architecture, dance, etc.
2. Art collective. The performance is the result of the activities of many people, not only those who appear on the stage, but also those who sew costumes, master the subjects of the props, sets the light, meets the audience. Theater is creativity and production.
Therefore, it is possible to define that the theater is a synthetic and collective type of art in which the stage action is carried out by actors.
3. Theater uses set of arts.
a) Text.Theatrical view is based on text. This is a play for a dramatic performance, in ballet is a libretto. The process of working on the performance consists in the transfer of drama text to the scene. As a result, the literary word becomes a word scenic.
b) Stage space. The first thing that see the viewer after the opening (raising) of the curtain is Scenic spacein which placed scenery. They indicate a place of action, historical time, reflect the national flavor. With the help of spatial buildings, it is possible to convey even the mood of characters (for example, in the episode of the hero's suffering, immerse the scene into the darkness or tighten its backdrop of black).
c) Scene and auditorium. Two types of scenes and the auditorium were formed with antiquity: a scene-box and an amphitheater scene. The box provides for tiers and parter, and the scene-amphitheater viewers surround from three sides. Now there are two types in the world.
d) Theatrical building. Since a long time, theaters have been built on the central squares of cities. Architects sought the buildings to be beautiful, attracted attention. Coming to the theater, the viewer is replete from everyday life, as if rising over reality. Therefore, it is not by chance that the staircase is often decorated with mirrors.
e) Music. Strengthen the emotional impact of a dramatic performance helps music. Sometimes it sounds not only during the action, but also in the intermission to support the interest of the public.
f) Actor. The main face of the play - actor. Creates an artistic image of a variety of characters. The viewer sees a person in front of himself, the mysterious way to turn into an artistic image - a peculiar work of art. Of course, the work of art is not the performer himself, but its role. She is the creation of an actor, created by voice, nerves and something elusive - spirit, soul. The actor dialogue is not only words, but also the conversation of gestures, poses, views and facial expressions. The concepts of the actor and the artist vary. The actor is the estimate, profession. The word artist (eng. ART - art) indicates affiliation not to a certain profession, but to art in general, it emphasizes the high quality of skill. The artist is an artist regardless of whether he plays in the theater or works in another area (cinema).
g) Producer. So that the action on the scene is perceived as an integer, it is necessary to organize it and consistently. These responsibilities are performed producer.The director is the main organizer and head of theatrical statement. Cooperates with the artist (creator of the visual image of the performance), with the composer (the creator of the emotional atmosphere of the performance, his musical and sound solution), the balletmaster (the creator of the plastic expressiveness of the performance) and others. The director is the director, teacher and teacher of the actor.
All that was created by the playwright, the actor, the artist, the composer is concluded in the strict framework of the director's plan, which gives the heterogeneous elements to completeness and integrity.