Explanatory note

The future is closer to us than we think. It is very close - it cries, laughs, poses questions, makes you suffer, rejoice and live fruitfully. This future is our children...

They grow up quickly, but they will be able to live independently and fruitfully if we help them develop their abilities and talents today. Talented people are the main wealth of society. Each child is talented in his own way. Art is designed to help develop this quality in him. Working on artistic expression in a theater studio, acting on stage, meeting interesting people, actors, visiting the theater - all this will contribute to the formation of a creative personality, self-expression, acquisition of public behavior skills, resolving characterological conflicts, and relieving psychological stress.

The relevance of the program is determined by the need of society for the development of moral and aesthetic qualities of the human personality. It is through the means of theatrical activity that it is possible to form a socially active creative personality, capable of understanding universal human values, being proud of the achievements of national culture and art, capable of creative work and writing.

The pedagogical appropriateness of this course for students is determined by their age characteristics: diverse interests, curiosity, passion, initiative. This program is designed to expand the creative potential of the child,

enrich your vocabulary, form moral and aesthetic feelings

Regulatory documents ensuring the implementation of the program:

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

The main educational program of LLC MBOU "Polevskoy Lyceum";

Programs for the formation of universal educational activities;

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

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

Recommendations for equipping general education institutions with educational and training laboratory equipment necessary for the implementation of the Federal State Educational Standard for basic general education, organization of project activities, modeling and technical creativity of students (Recommendations of the Ministry of Education and Science of the Russian Federation dated November 24, 2011. No. MD-1552/03)

Sanitary and epidemiological rules and regulations SanPiN 2.4.2.2821-10 “Sanitary and epidemiological requirements for the conditions and organization of training in educational institutions”, registered with the Ministry of Justice of Russia on 03.03.2011, reg. No. 19993.

Goal: Formation of creative individuality of students

To create a favorable emotional atmosphere for students’ communication, their self-expression, self-realization, which allows them to “find themselves,” believe in themselves, overcome timidity and shyness

To develop the skills and abilities of stage behavior culture

To instill a love for theater as a multidimensional and multifaceted genre of art

Develop interest in performing arts, visual and auditory attention, memory, observation, resourcefulness and imagination, imagination, imaginative thinking, sense of rhythm and coordination of movement, speech breathing and diction

To cultivate goodwill and contact in relationships with peers, skills of collective creative activity, a responsible attitude towards the results of one’s work and the work of the entire team

Organizational conditions for program implementation

The program is compiled for 70 hours (2 hours per week), is designed for 1 year of study and is intended for 5th grade students. Children are accepted into the studio based on their interest, without presenting special requirements, at the request of their parents.

The program is implemented in accordance with the basic pedagogical principles:

the principle of consistency (implies continuity of knowledge, complexity in its assimilation)

the principle of differentiation (involves identifying and developing students’ inclinations and abilities in various areas)

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

the principle of collectivism (promotes the development of versatile abilities and the need to give them for the common joy and benefit)

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

the principle of creativity (implies maximum focus on the child’s creativity, on the development of his psychophysical sensations, emancipation of the individual)

The technological basis of the program consists of the following technologies:

group

• individual and problem-based learning

  pedagogy of cooperation

The following forms help implement these technologies:

Theoretical and practical classes

Individual, group, collective

Theater games

• Trainings

  Excursions to the theater

  Performances

  Holidays

Reproductive

Illustrative

Problem

Heuristic

Observation

Exercise

Promotion

Explanation

Personal example

Theoretical classes provide basic knowledge, reveal theoretical justifications for the most important topics, and use data from historical heritage and best practices in the field of theatrical art and life in general.

In practical classes, the presentation of theoretical principles is accompanied by a practical demonstration by the teacher himself, the basics of acting, speech and movement culture are given, and game, psychological and educational trainings are conducted. During classes, benevolent correction occurs. The teacher ensures that all participants try to complete the task as clearly and accurately as possible.

In individual lessons, work is carried out with children from 1 to 3 people.

Logistics support

Computer

Projector

MD and CD discs

Costumes, scenery necessary for creating theatrical productions

Costume elements for creating looks

Stage makeup

Expected results

By the end of the year of classes, students:

Have the concept:

About the theater and its types

About elementary technical means of the stage

About stage design

About the norms of behavior on stage and in the auditorium

Express your attitude to phenomena in life and on stage

Think figuratively

Focus attention

Feel yourself in the stage space

Acquire skills:

Communication with a partner

Elementary acting

Figurative perception of the surrounding world

Adequate and imaginative response to external stimuli

Collective creativity

Educational and thematic plan

Planned date

actual

Lesson topic

Number of hours

Notes

Introductory lesson. Getting to know the team, the studio program, rules of conduct, fire safety instructions

Fundamentals of theatrical culture (6 hours)

The concept of theater. Types of theater. The difference between theater and other forms of art. The birth of the theater.

The structure of the theater, main professions: actor, director, screenwriter, artist, make-up artist. Stage sketch “These theater professions...”

Stage design and technical means. Russian theater.

Culture of behavior on stage and in the auditorium

Excursion to the puppet theater.

Culture and technique of speech (14 hours)

Work on exercises that develop the chest resonator. Exercises “Breathe correctly” , "Steam Locomotive"

Work on the organs of articulation and familiarization with the norms of orthoepy. Speech gymnastics “Tongue Twisters”, “Monument to the Proverb”

Playful verbal riddles to develop attention and expand vocabulary. Game “Write an anonymous letter!

Working on diction. Games “Choose a Rhyme”, “Write a Fairy Tale”

Working on diction. Games “Write a story “Life of wonderful things”, “Write a story about one letter”

Working on diction and developing attentiveness. Games with words "Logorif", “Guess the word!”, “It flies, it doesn’t fly!”

Games with words that develop coherent figurative speech: “Write an acrostic poem”, “Write a metagram”, “Write an anagram”, “Solve an anagram”

Working with words and the ability to think outside the box. Game “New character in an old fairy tale”

Stage sketches for imagination: “Unusual recitation”, “Unusual hymn”

Mastering the proposed stage tasks. Game "Advertising Video"

Mastering the proposed stage tasks. Game "One Song Festival"

Mastering the proposed circumstances. Game "Movie Genres"

Mastering the stage space. Games "Onomatopoeia"

Working on the image. Game "Get into character."

Rhythmoplasty (10 hours)

Training rhythmic movements. Games "Gait", "Transformation"

Improving posture and gait. Rhythm game "I'm moving correctly"

Development of imagination and the ability to work in sharp drawing (“in a mask”). Games “Masks”, “Animation of objects”, “Imitation”, “Shadows”

Plastic exercises “Industrial gymnastics”, “Bodybuilding”

Working on the image. Analysis of facial expressions. Hairstyles and wigs. Games “Dating”, “Mirror”

Development of observation skills. Stage sketches “Two things at once”, “The pangs of creativity”.

Theater training. Games “Sound Engineer”, “Theater Director”

Playing with costume elements. Game “Get into Character”

Imitation of animal behavior. Game "Great Tamers"

Work on coordination of movements. Game "Queue". Exercises to develop flexibility

Theater play (39 hours)

Acquaintance with the scenario of fairy tales “Kolobok”, “Teremok”, “Golden Key”. Exchange of impressions.

Children's retelling of the plot of plays in order to identify the main theme, main events and the semantic essence of the characters' clashes.

The distribution of roles takes into account the wishes of the young artists and the compliance of each of them with the chosen role (external characteristics, diction). Expressive reading of fairy tales based on roles. Division into logical passages.

Discussion of scenery, costumes, stage effects, musical accompaniment.

Discussion of the proposed circumstances, characteristics of the behavior of each character on stage.Working on the image discussion of heroes, their characters, appearance.

Reproduction of individual events and episodes in action.

Practicing roles. Work on facial expressions during dialogue, logical stress.

Practicing roles. Work on facial expressions during dialogue, logical stress.

Individual training of main performers

Selection of music. Learning songs and dances

Collective production of scenery and costumes.

Rehearsal of the play "Kolobok"

Premiere of the play

Celebration of the first performance. Analysis of the speech.

Rehearsal of the play "Teremok"

Dress rehearsal. Stage design.

Preparation of posters, programs, tickets, preparation and verification of design

Premiere of the play

Analysis of the speech.

Rehearsal of the play "Golden Key"

Dress rehearsal. Stage design.

Preparation of posters, programs, tickets, preparation and verification of design

Premiere of the play

Analysis of the speech.

References

Agapova I.A. School theater. Creation, organization, plays for productions: grades 5-11. – M.: VAKO, 2006. – 272 p.

Belinskaya E.V. Fabulous trainings for preschoolers and primary schoolchildren. – St. Petersburg: Rech, 2006. – 125 p.

Buyalsky B.A. The art of expressive reading. M.: Education, 1986. –176 s.

Gurkov A.N. School theater. - Rostov n/d: Phoenix, 2005. – 320 p.

Karishnev-Lubotsky M.A. Theatrical performances for school-age children. - M.: Humanitarian Publishing House. VLADOS center, 2005. – 280 p.

Tkacheva E.M. Plays. - M.: VTsHT (“Repertoire for children’s and youth theaters”), 2008. – 176 p.

Churilova E.G. Methodology and organization of theatrical activities: Program and repertoire. - M.: Humanite. Ed. VLADOS Center, 2004. – 160 p.

program- y, w. program m., German Program gr. programma public announcement. 1. Contents or plan of what l. activities, work, etc.; a pre-developed set of actions and activities for the implementation of something. BAS 1. Plan... ... Historical Dictionary of Gallicisms of the Russian Language

This term has other meanings, see Teatralnaya (metro station). Coordinates: 55°45′28″ N. w. 37°37′07″ E. d. /  ... Wikipedia

- “Teatralnaya” Pravoberezhnaya line of the St. Petersburg metro ... Wikipedia

- (Greek, from pro before, forward, and grapho niche). A brief outline, outline, presentation, content of an essay, publication, book or magazine, teaching something. A statement of the beliefs of a party. Dictionary of foreign words,... ...

Y; and. [from Greek programma order, announcement] 1. Contents and detailed plan of upcoming activities, work, etc. Economic, social p. Life p. P. revival of agriculture. P. actions. Maximum program (general,... ... encyclopedic Dictionary

program- s; and. (from the Greek prógramma order, announcement) see also. program, software 1) Contents and detailed plan for upcoming activities, work, etc. Economic, social program/mm. Life program/mm… Dictionary of many expressions

National Theater Award "Golden Mask"- The Russian National Theater Award Golden Mask was established in 1993 by the Union of Theater Workers of the Russian Federation as a professional award for the best works of the season in all types of theatrical art (drama, opera, ballet, modern dance,... ... Encyclopedia of Newsmakers

This term has other meanings, see Galileo. Galileo Genre popular science entertainment program Director(s) Kirill Gavrilov, Elena Kaliberda Editor(s) Dmitry Samorodov Production Television format (... Wikipedia

Y, f. 1. Content and plan for upcoming activities, work, etc. Industry development program. □ Our country is implementing a grandiose program to improve the material well-being of the people. Kataev, Happiness of our youth. 2. Presentation of the main... ... Small academic dictionary

- (French affiche, from atficher to nail an ad). In a broad sense, any kind of announcement; in a narrower announcement about theatrical performances, concerts and all kinds of entertainment in general. Dictionary of foreign words included in Russian... ... Dictionary of foreign words of the Russian language

The logo of the GOGOLFEST festival is an annual multidisciplinary international festival of contemporary art, most of the events of which until 2010 took place in Kyiv in the premises ... Wikipedia

Books

• Theater pedagogy in primary school. Lesson-based developments. Methodological manual, Rogotneva Albina Viktorovna, Shchedova Tamara Leonidovna, Kochedykova Natalya Aleksandrovna. The manual contains materials and lesson scenarios using theatrical activities in the education and upbringing of schoolchildren for grades 1-4 of special (correctional) schools of the VIII type, as well as...
• Theater pedagogy in primary school. Lesson developments, Rogotneva Albina Viktorovna, Shchedova Tamara Leonidovna, Kochedykova Natalya Aleksandrovna. The manual contains materials and lesson scenarios using theatrical activities in the training and education of schoolchildren in grades 1-4 of special (correctional) schools, as well as integrated…

The document accompanies a person from the very first minutes of life. This is a unique human invention, which makes it possible to record all the knowledge accumulated by humanity (thoughts) on a material medium. The document covers all spheres of life, is obligatory for them and performs the most important functions - social, legal, financial, cultural, etc. The general theory of the document, which examines key issues - the characteristics, properties, components, functions of any document, represents documentology.

The theater program is considered as a type of document in accordance with the theoretical principles set out in detail in the work of Yuri Nikolaevich Stolyarov “Documentology: a textbook”.

Components of the theater program

Any science operates with a huge number of objects being studied, and therefore needs to organize these objects, i.e. in classification. Documentology is no exception, especially since, based on the definition of the concept “document,” it deals with an endless array of data that requires classification according to specific characteristics - components.

Each document in document management is considered in totality of the following components:

Nominative;

Semantic;

Signative;

Syntactic;

Perceptual;

Temporal;

Material;

Pragmatic.

One of the most important components of the document is nominative- from the Latin nomina - name, title. The term “program” consists of the Greek words: pro - before and grapho - I write. First I write about what should be performed in a concert, play, ballet, in other words, an announcement. A theatrical program contains a recording of an action that will take place in a theater. This is a kind of guide for the viewer who comes to the theater.

The nominative component is closely related to semantic, which expresses the information essence of the document. Semantics (from ancient Greek σημαντικός - denoting) is a branch of linguistics that studies the semantic meaning of language units. Why the theater program was created and what information it contains - the answer to these questions is connected precisely with the semantic component. Since its inception, the theater program has contained information about the performance: when and where the event specified in the program will take place. The program was an intermediary between the actors and the viewer; its content consisted of information about the author, director, set designer, artist, and actors creating the performance.

In relation to a theatrical program, we can say that its semantic meaning lies in the announcement and designation by name of the components of the theatrical action. From this point of view, the semantic component of the theatrical program echoes the nominative component, which also means announcement.

The traditional program for a dramatic play is a leaflet or small booklet and contains the title of the play and the name of its author; the name of the artistic director of the theater; surnames of the production team of the play - director, artist, composer, dance director, stage movement director, lighting designer, assistant director or artist, etc. If the performance uses special visual aids (masks, puppets, special makeup, vocal performances, tricks, etc.), then the program includes information about their authors. The following lists all the characters in the play and the performers. All the names of the authors of the play and actors are accompanied by their titles and titles (for example, “People’s Artist of the RSFSR”, “Laureate of the State Prize”, etc.). The program concludes with the name of the assistant director - the person responsible for the technical execution of the performance.

The program may also include additional information: premiere date; surnames of theater workers holding key positions (chief designer, assistant chief director for repertoire, head of the troupe, head of the musical department, head of the production department; head of technical departments: editing, costume, props, dressing room, etc.); information about the number of acts and duration of the performance, brief information about the history of the theater, the history of the production of this play, etc. Illustrated programs can be supplied with photographs or drawings (sketches of costumes, scenery, etc.).

Programs for ballet and opera performances include a libretto - a brief summary of the performance. The programs of circus performances and concerts contain the names of the production group of the entire stage action, a list of numbers and the names of the performers (indicating their ranks and titles).

Considering the theater program in the main aspects of the semantic component, it should be noted that from the point of view of content, the theater program represents the field of theatrical art, and more narrowly the theme of the performance (for example: history, war, love); from the point of view of the intended purpose - aesthetic empathy; from the point of view of the audience's purpose, it is intended for the audience who came to the theater.

The theatrical program is a written text, therefore, according to Signative(sign) component, it refers to a symbolic iconographic document, since it contains symbols - letters. The program text can be written in different languages, i.e. different sign systems are used in parallel. Thus, in modern theater programs the text can be in Russian and English. In the 18th century, programs for performances involving touring troupes contained text in Russian and Italian or German, depending on the troupe.

In the middle of the 19th century, new symbolic signs appeared in the program - professional theaters placed their emblems on the programs, which were symbols of the theater. Today, the theatrical programs of all theaters and concert halls contain their own emblems and are each decorated in its own color scheme. Thus, the programs of the Bolshoi Theater are ivory-colored, the Mariinsky Theater prints programs of light green color, the Musical Theater named after. Stanislavsky and Nemirovich-Danchenko - white and blue, etc. The programs of some theaters have the same cover design for all their performances (Bolshoi Theater, Stanislavsky and Nemirovich-Danchenko Musical Theater, Chekhov Moscow Art Theater). Others print their own cover for each performance, thematically related to the content of the performance. In the first case, the program can be considered as a symbol of the theater, in the second - as a symbol of the performance.

Any document is created with the purpose of transmitting the information presented in it in space and time. The theatrical program is addressed to the viewer and, from the point of view of the viewer’s perception - perceptual component - refers to the anthropodocument. The sign system, with the help of which information is recorded in the program, was created by a person and is recognized by a person. To recognize signs, a person uses vision, which makes it possible to classify a theatrical program as a video document. However, with the development of computer technology, an electronic theatrical program appears - an electronic document or technical document, in contrast to a non-electronic program. These kinds of theatrical programs are posted on theater websites; they are a greatly simplified electronic version of a non-electronic program. The electronic program is absolutely devoid of aesthetic, artistic function, containing only information about the characters and performers.

Syntactic(from the Greek word “syntax” - composition, construction, order) the component of the document determines its construction, the relative position of its components.

By the beginning of the 20th century, the theater program had acquired an established form of text construction, which is used in all theaters and concert halls. This form is closely related to the semantic component and directly expresses the content of the document. The name of the program is usually highlighted in an unusual font and is located on the first page. This can be called the title page of a theater program. By analogy with the title of a book, the place of presentation and the year of publication are indicated at the bottom of the program. The name of the theater or concert organization is indicated in the header data, and the emblem is placed. On the spread of the program (second and third pages) the characters and performers are indicated in two columns. This part of the program is unchanged for all types of entertainment performances - drama theatre, ballet, opera, circus performance, classical or pop music concert, etc. If the program is supplemented with information about the director, actors, and the history of the production, then this information is located after the list of characters. The last page of the program contains release data - circulation, printing house; in the last decade of the 20th century, indications of the sponsors of the theater or production appeared.

Depending on the content of the theatrical performance, the theatrical program differs in the form of information presentation: color, illustrativeness of the program, the use of different fonts. The program for the performance of Dmitry Shostakovich's Sixth Symphony in besieged Leningrad (Fig. 1) is distinguished by the severity of its execution - the clear black and white font on the white sheet of the program is read as a symbol of the perseverance and courage of Leningraders during the war. Illustrations are unnecessary here; on the title page there is only D. Shostakovich’s dedication to his hometown - Leningrad. The syntactic component of the concert program conveys the content of the music being performed, thus expressing a close connection with the semantic component.

Fig.1. Program for the performance of Dmitry Shostakovich's Sixth Symphony in besieged Leningrad

The program of the performance of the Russian Academic Youth Theater “Yin and Yang” has a completely different character. It is full color, made in the tradition of oriental graphics (Fig. 2). The font style is reminiscent of hieroglyphs, introducing the viewer even before the action begins into the atmosphere of the performance, in which the intrigue is built around a Chinese relic.

Rice. 2. Program of the RAMT performance "Yin and Yang"

Theatrical programs for each performance of the Russian Academic Youth Theater - RAMT (Fig. 3) are unique in design (syntactic component) and reflect the content (semantic component) of the performance. Thus, in the play “A Draw Lasts a Moment,” a chess game in a Latvian ghetto between a prisoner and a warden puts the hero before a choice - to win and stay alive, but all the children will be destroyed, or to lose and die while saving the children. The program is made in the form of a chessboard, along which a crack has passed, displacing the black squares - this is how people's lives find themselves on a fault line. On the program for the play “Portrait” based on the work of Nikolai Vasilyevich Gogol, we see luxurious picture frames and the entire performance is built using a frame in which the hero encloses himself throughout the entire action in various ways. The program for Nikolai Erdman’s play “The Suicide” is made in a different color scheme, symbolizing the little man’s struggle with himself and the attempt to break out of the vicious circle into which he has driven himself - black pointing fingers on the program enclose the bent figure in a circle.

Fig.3. Programs for RAMT performances

The Theater of Music and Poetry, directed by Elena Kamburova, used Niko Pirosmani’s painting “Donkey Bridge” to create the atmosphere of the performance based on the songs of Bulat Okudzhava (Fig. 4). The viewer feels the aroma of Georgia and hears Georgian songs even before the start of the performance, just by looking at the program. We can say that the synactive component of the program (design) through the perceptual component (vision, internal hearing, smell) conveys the content to the viewer - the semantic component.

Fig.4. Program of the play "Drops of the Danish King" of the Theater of Music and Poetry under the direction of E. Kamburova

The temporal component characterizes the theatrical program in a temporal sense. It allows you to record information about a specific event that occurred at a specific time in a specific place. During a theatrical performance, the program provides the viewer with information that is necessary for the viewer and that interests him at that particular moment. In this case, the program is a relevant document for the viewer. However, after the end of the performance the program loses its relevance, since the viewer no longer needs a guide, since the path has already been completed. You could say that the theater program becomes obsolete on its birthday. On the other hand, the theater program acquires a historical, memorial function - it reflects the fact of the performance or concert that took place, which is invaluable information for theater historians.

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

All of the above components reflect the essence of a theatrical program from the point of view of information and determine its information function. Based on the definition of the concept “document,” this information must be recorded on a tangible medium, so it is necessary to consider material component of the theater program.

Paper of various types is mainly used as material for the theater program. It can be thin matte or glossy paper, thin cardboard - matte or glossy, or varnished. At the end of the 18th century, theater copyists painted programs with calligraphic handwriting on silk for members of the imperial family, which illustrates the Third Law of Documentology on the conjugation of information and media, the ability to place the same information on different media.

According to the design form, programs can be implemented in various versions. As a rule, a sheet of diploma is used. But there may also be complex non-standard structural forms. Thus, RAMT for the play “Flowers for Algernon” performed a program of non-standard asymmetrical size with a cutout - Fig. 5. The syntactic component of this program is also unusual - the text is torn into parts and located in different directions.

Rice. 5. Program of the play "Flowers for Algernon" RAMT

The theater named after them also used a non-standard design. Vakhtangov for the play “The Shore of Women”. The play tells in plastic language the fate of women during the war. The story of each heroine is voiced by the songs of Marlene Dietrich; in the cutout of the program we see her photograph (Fig. 6).

Rice. 6. Program of the play "The Shore of Women" of the Theater. Vakhtangov

At the theater. Vakhtangov has a very interesting solution for the program for the play based on Pushkin’s novel “Eugene Onegin” (Fig. 7), which uses a foot design. The program is made in the form of a postal envelope, in which is enclosed a letter from Tatyana and business cards of all characters indicating the performers. Tatiana's letter was made using the harmonica design. The postal envelope functions as a title page - we see the theater emblem, the name of the theater and the name of the performance. The stylistics of the text used in the program (syntactic component) sends us back to the 19th century, during the time of A.S. Pushkin.

Fig.7. Programs for the play based on the novel by A.S. Pushkin "Eugene Onegin"

Thus, four designs are used in one program - an envelope serves as the cover, the characters and performers are indicated on business cards, that is, a sheet, together they form a foot, and for an excerpt from the novel (Tatiana’s letter) a harmonica is used.

One of the effective methods of document design is cutting down. Theater program. Vakhtangov for the play “Crazy Day, or The Marriage of Figaro” uses this method, placing the profile of the theater founder Evgeny Vakhtangov on the first page of the cover (Fig. 8).

Fig.8. Theater program. Vakhtangov for the play “Crazy Day, or The Marriage of Figaro”

Pragmatic the component of the document is related to its existence in the external environment, indicating the relationship of the document with factors external to it. The theater program for the viewer who comes to the theater is a valuable document that carries the information required at the moment. In this regard, the program is inherently relevant, since it contains information about a specific performance. On the other hand, if the performance is not a premiere, that is, it has already taken place earlier, then there is no novelty in the program. In terms of its scope, a theater program can be considered as an artistic, informational document with aesthetic significance. According to the form of ownership, a theater program can be private (if it is an item in the collection of a private person), or collective (if the program is in the collection of a museum). According to the access mode, the program has unlimited access; any viewer who comes to the theater can purchase it.

Evolution of the theater program

The theater program has gone through all the stages of evolution characteristic of any other document.

The prototype of the theatrical program - oral announcements - existed in the pre-literate era. With the advent of writing in the ancient world, the theatrical program acquired the character of written and drawn announcements. The further development of writing and the appearance of the printing press in the era of Gutenberg marked the next stage of development - the emergence of a printing font program. Improvements in printing technologies, the invention of woodcuts and chromolithography made it possible to create illustrated theatrical programs, which over time led to the manifestation of a largely artistic function in this document. At the same time, the information function of the theatrical program remained the main one both for the direct participant in the theatrical performance and for subsequent generations of spectators. For the former, it represented a current document, while for the latter, the historical function came to the fore, allowing one to study and understand the history of the development of theatrical art.

The development of computer technology has led to the emergence of a theatrical program - an electronic document. This type of program completely loses its artistic function, the lifespan of such a document is reduced to several days, since the next day after the performance the document disappears from the electronic medium - the theater website. The informational component, as well as the artistic one, remains only in the non-electronic version of the program.

Over time, the memorial function of the theater program becomes increasingly important, and it becomes a museum document, a collectible. Collections of such documents are kept in museums of theatrical art, in particular in the State Central Theater Museum named after. A. A. Bakhrushin in Moscow and in the St. Petersburg State Museum of Theater and Musical Art.

The theater program is represented in the collections of the Russian State Library, the Russian National Library, and the Russian State Library of Arts, unfortunately, very little. These are theatrical programs of the late 19th - early 20th centuries. Later programs that are of interest from the point of view of synactive (artistic performance) and semantic (theater repertoire, actors) components do not deservedly attract the attention of library acquisition departments, thereby depriving the reader of the opportunity to study the history of the theater.

Bibliography

1. Stolyarov Yu.N. Documentology: textbook / Yu.N. Stolyarov; Moscow State University of Culture and Arts; Oryol State Institute of Arts and Culture. - Orel: Horizon, 2013.-370 p.

About the author

Elena Ottovna Zakharyants, studying at VBC,

FOREWORD— seats in the auditorium, the room in front of the entrance to the box.

PROSCENIUM- the front of the stage (between the curtain and the ramp).

ACT- a completed part of a dramatic work or theatrical performance; same as action.

ACTOR, actress - performer (performer) of roles.

ROLE- roles similar in nature, corresponding to the talent and external data of a particular actor.

AMPHITHEATER- 1) an ancient structure for spectacles: an oval arena, around which there were seats for spectators on ledges; 2) seats in the auditorium located behind the stalls.

ENGAGEMENT- inviting an actor for a certain period of time to participate in performances or concerts.

ANNOUNCEMENT— announcement of upcoming tours, performances, concerts.

ANTIHERO- a deliberately reduced, deheroized character in the play, occupying one of the main places.

INTERMISSION- a break between actions (acts) of a performance, between sections of a concert.

ENTREPRENEUR- owner, keeper, tenant of a private theater.

ENTREPRISE- private theater.

FULL HOUSE- an announcement that all tickets (for a performance, performance) have been sold.

APOTHEOSIS- the solemn final crowd scene of a performance or festive concert program.

EARTHSCENE- the part of the stage farthest from the auditorium.

BALAGAN- a theatrical performance of a comic nature, shown at fairs and folk festivals (in Russia since the 18th century).

BALCONY— seats in the auditorium, located in an amphitheater in different tiers.

MEZZANINE- the first tier of balconies above the stalls and amphitheater in an auditorium or concert hall.

BENEFIT— 1) a theatrical performance in honor of one actor; 2) a performance, the proceeds from which went to the benefit of one or more actors, as well as other theater workers.

BENOIR— theater boxes at the level of the sienna or slightly lower on both sides of the stalls.

BERICAOBA- Georgian improvisational folk theater of masks. Existed from ancient times until the beginning of the 20th century.

BURLESQUE- an exaggerated comic image on stage.

BUTAFOR- theater worker in charge of props. It is made by a prop artist.

PROPS- objects specially made and used instead of real things in theatrical productions.

BUFFOON- the role of an actor who uses buffoonery to perform a role.

BUFFOONERY- 1) performance using clown techniques; 2) emphasized outwardly comic exaggeration, sometimes caricature of characters.

VERTEP- Ukrainian folk puppet theater, which became widespread in the 17th-19th centuries. The dolls, mounted on a wire inside a two-tier box - a nativity scene, were set in motion by the nativity scene maker. Scenes based on biblical stories. Satirical interludes were accompanied by music.

GALLERY- upper tier of the auditorium.

GASTION- actor in ancient Rome.

TOUR— performances by actors on location in other theaters.

HERO- the main character in the play.

DRESS REHEARSAL- the last one before a performance or concert.

GRANDAM- the role of an actress playing the role of noble ladies.

GRANDCOQUET- the role of an adult noble lady.

MAKEUP- 1) the art of changing the appearance of an actor (mainly the face) using special paints, stickers, a wig, hairstyle, etc.; 2) paints and other makeup supplies.

MAKE-UP MAKER- a specialist who does makeup for actors.

MAKE-UP ROOM— a room for making up and changing clothes for actors.

ACTION- the finished part of the performance. Same as the act.

DECLAMATION- clear, expressive reading aloud.

DECORATION- artistic design of the scene of action on the theater stage, creating a visual image of the performance.

JORURI- a type of puppet theater in Japan. Joruri plays are performed on the stage of the kabuki theater.

DIVERTISSEMENT- a musical or dramatic performance of a number of separate acts, usually given in addition to the play.

DRAMATURGY- 1) dramatic art, the theory of constructing dramatic works; 2) the totality of such works; 3) the plot and compositional basis of a separate theatrical work.

THE VILLAIN- the role of an actor playing negative characters.

INGENUE- the role of an actress playing the role of a naive girl.

INTERMEDIA- a short play performed between acts of a dramatic or operatic performance; insert scene.

KABUKI- one of the types of classical theater in Japan. Includes music, dance, drama, developed in the 17th century. Since 1652, only men have performed in such troupes.

PAINTING- part of an act in a drama.

KLAKA- a special group of people hired to create artificial success or failure of a performance or actor.

COQUETTE- the role of an actress who plays the role of a beautiful girl.

GRIDES— the upper (invisible to the viewer) part of the stage for installing blocks, stage mechanisms and hanging scenery elements.

COMEDIAN- the role of an actor performing comedic roles.

CONFIDANT- an actor playing the role of a close protagonist.

COTURNES- a type of sandal with very thick soles worn by ancient Greek and Roman actors to increase height.

BACKSTAGE- flat parts of the scenery (soft, stretched over frames), located on the sides of the stage.

LYRICIST- the role of an actor playing lyrical characters.

ACTOR- the name of an actor in Ancient Rus'.

LODGE- a group of seats in the auditorium (around the stalls and on tiers), separated by partitions or barriers.

PUPPET- a theatrical puppet that the puppeteer sets in motion using threads.

MIS-EN-SCENE- the location of the actors on stage at one point or another of the performance. The art of mise-en-scène is one of the most important elements of directing.

MIME- pantomime actor.

FAMILY- one of the important elements of the actor’s art, expressive movement of the facial muscles.

MONOLOGUE- an actor’s speech addressed to listeners or himself.

MUSIC HALL- a type of pop theater that combines pop, circus, dance and music genres. The first music halls arose in Great Britain in the mid-nineteenth century.

PEOPLE'S THEATER- 1) theater existing among the people, organically connected with oral folk art; 2) professional theater of the second half of the 19th century, whose activities were addressed to a wide audience; 3) non-professional amateur theater (appeared in Russia in the mid-19th century).

NOO- one of the types of traditional Japanese theater. Includes music, dance, drama. Characteristic features: conventional scenery, the main characters are in masks, the costume is devoid of everyday concreteness.

PADUGA- a strip of curtain along the top of the stage area.

PANTOMIME- a type of stage art in which an artistic image is created without the help of words, by means of expressive movement, gesture, and facial expressions.

PARTER- the plane of the floor of the auditorium with seats for spectators, usually below stage level.

PELZHENT- a mobile stage in the form of a large cart in a medieval theater. It was used in staging mysteries, miracles, and processions.

PETIMETER- the image of a dandy in a satirical comedy.

PARSLEY- the main character of Russian folk puppet shows; known since the first half of the 17th century.

SCAFFOLD- a synonym for the word "scene".

STAGE— the creative process of creating a performance; the same as the performance.

PRIME (PREMIERE)- actor, actress, occupying a leading position in the troupe, playing the main roles.

PREMIERE— the first (or one of the first) public paid showing of a new performance.

DIVA- actress playing leading roles.

SIMPLETON- the role of an actor playing a simple-minded person.

RAMP- lighting equipment on the stage floor along its front edge, hidden from the public by the side.

REVUE- a variety or theatrical performance consisting of several numbers united by one theme.

DIRECTOR- director of performances, based on his own plan, creates a new stage reality, combining the work of actors, artist, composer.

REASONER- the role of an actor expressing moralizing judgments.

PROPS- items used in theatrical productions.

REHEARSAL- the main form of preparing a theatrical performance.

REPERTOIRE- a set of works performed in the theater.