The expressive means of the theater. B. Specificity of perception of expressive means of theater. Concept, signs and means of theatricalization

Maria Alexandrovna Kaliberova
"Expressive means of theatrical activity"

Characteristics theatrical games:

Literary or folklore basis of their content;

The presence of spectators

Two main groups theatrical games:

Dramatizations

Director's

In dramatization games, the child, playing a role as "Artist", independently creates an image with the help of a complex funds verbal and non-verbal expressiveness.

Types of dramatizations:

Games-imitation of images of animals, people, literary characters;

Role-based dialogues based on text;

Performances of works;

Staging performances based on one or several works;

Story-driven improvisation games (or several plots) without prior preparation.

In the director's game "Artists" are toys or their substitutes, and the child, organizing activities as"Screenwriter and director", manages "Artists". "Sounding" characters and commenting on the plot, he uses different means of verbal expression.

Types of directorial games:

Desktop;

Plane;

Volume;

Puppet (bibabo, finger, puppet);

Related publications:

Child development in theatrical activities“Theater is a magical world, it gives lessons in beauty, morality and ethics. And the richer they are, the more successful is the development of the spiritual world.

Magnetic table for use in theatrical activities as a teacher and in independent activities of children. Objectives and benefits: Create.

Seminar on theatrical activities Master class on theatrical activity of Irina Alexandrovna Gryakolova Purpose: Presentation of work experience in the development of creative abilities.

GCD for theatrical activities in the senior group. Topic: "Theater in the life of children." Program content: - to involve parents in joint activities; - encourage children to be actively involved.

"Zayushkina's hut" fairy tale-noise. Compiled by the musical director of MADOU d / s No. 1 st. Pavlovskaya Krasnodar Territory Shevchenko Ekaterina.

Ways and means of increasing the play activity of children Article on the topic: Ways and means of increasing the level of children's play activities For the development of play activities, it is required that children in.

Development of theatrical activities in preschool educational institutions Purpose: to arouse interest, desire for theatrical production. Objectives: 1. To enrich the development of coherent speech in the process of formulating an idea.

"First of all, it is necessary that the kindergarten gives more joy, so that the memories of it are associated with the idea of ​​something bright." N. K.

The creativity of the actor comes from the drama - its content, genre, style, etc. Drama is the ideological and semantic basis of the acting art But such types of theater are known (for example, the folk comedy of masks), where the actor does not have the full text of the play, but only his dramatic outline (script), designed for the art of acting improvisation.

Download:

Preview:

Expressive directing

1
Acting creativity

Acting, the art of theatrical performance, creating stage images. The artistic specificity of the theater - the reflection of life in the form of a dramatic action taking place directly in front of the audience - can be carried out only through the art of acting Its purpose is to influence the viewer, evoke a response from him. Performing in front of the audience is the most important and final act of the embodiment of the role, and each performance requires a creative reproduction of this process.

The creativity of the actor comes from the drama - its content, genre, style, etc. Drama is the ideological and semantic basis of the acting art But such types of theater are known (for example, the folk comedy of masks), where the actor does not have the full text of the play, but only his dramatic outline (script), designed for the art of acting improvisation.

The actor's image is convincing and aesthetically valuable not in itself, but to the extent that the main action of the drama develops through it and through it, its general meaning and ideological orientation are revealed. The performer of each role in the play is therefore closely connected with his partners, participating together with them in the creation of that artistic whole, which is a theatrical production. The drama presents the actor with very difficult requirements. He must perform them as an independent artist, acting at the same time on behalf of a certain character. Placing himself in the circumstances of the play and the role, the actor solves the problem of creating character on the basis of stage transformation. At the same time, acting is the only type of art in which the artist's material is his own nature, his intellectual emotional apparatus and external data. The actor resorts to the help of makeup, costume (in some types of theater - to the help of a mask); in the arsenal of his artistic means - mastery of speech (in opera - vocal art). movement, gesture (in ballet - dance), facial expressions. The most important elements of acting are attention, imagination, emotional and motor memory, the ability to stage communication, a sense of rhythm, etc.

2 Mise-en-scene

Mise-en-scene (French mise en scène - placement on stage), the arrangement of actors on the stage at one time or another of the performance. One of the most important means of figuratively revealing the inner content of the play, the mise-en-scene is an essential component of the director's concept of the play. The style and genre of performance find expression in the nature of the construction of the mise-en-scene. Through the mise-en-scène system, the director gives the performance a certain plastic form. The process of selecting exact mise-en-scenes is associated with the work of the artist in the theater, who, together with the director, finds a certain spatial solution for the performance and creates the necessary conditions for stage action. Each mise-en-scene should be psychologically justified by the actors, it should arise naturally, naturally and organically.

The encyclopedic explanation of the mise-en-scène is incomplete. It is not said that the mise-en-scene has not only spatial, but also temporal extension, that it is associated not only with the artist, but is in a special relationship with the word and music.

Mise-en-scene - it is a plastic and sound image, in the center of which there is a living, acting person. Color, light, noise and music are complementary, and word and movement are its main components. The art of mise-en-scène lies in the director's special ability to think in plastic images, when he, as it were, sees all the actions of the play expressed plastically through the actors. As dance is the language of ballet, so the plastic expressiveness of a continuous chain of mise-en-scenes is the language of the director.

In the era of the director's despotic domination in the theater ... the director, developing the entire production plan in advance, outlined, taking into account, of course, the data of the participants in the performance, the general outlines of the stage images and pointed out all the mise-en-scenes to the actors. At present, the creative work of the director should be done in conjunction with the work of the actors, without anticipating or linking it.

Mise-en-scene is the arrangement of actors on stage in relation to each other and their environment.

A mise-en-scene is always a picture of the movements and actions of the characters. It is a plastic and sound image, in the center of which there is a living person.

The mise-en-scène has its own mise-en-scène and tempo - rhythm. A good figurative mise-en-scène never arises on its own and cannot be an end in itself for a director; it is always a means of comprehensively solving a number of creative problems. This includes the disclosure of cross-cutting action, and the integrity of the assessment of images and the physical well-being of the characters and the atmosphere in which the action takes place. All this forms the mise-en-scene. The mise-en-scene is the most material means of the director's creativity. Mise-en-scene - if it is accurate, then there is already an image. A well-built mise-en-scène can smooth over the shortcomings of the actor's skill and express it better than he did before the birth of this mise-en-scène.

When building a performance, it is necessary to remember that any change of mise-en-scene means a turn of thought. Frequent transitions and movements of the performer crush the thought, erasing the line of through action, speaking at this time in his own way.

You need to be especially careful with the mise-en-scène when the performers are in the foreground. For here even the smallest movement is counted as a change of mise-en-scène. Austerity, a sense of proportion and taste are those advisers who can help out a director in this situation. As soon as the language of the mise-en-scene becomes an expression of the hero's inner life, the super-task, it gains wealth and diversity.

Varieties of mise-en-scenes:

We know plane, depth, mise-en-scenes, built horizontally, vertically, diagonal, frontal. The mise-en-scenes are straight, parallel, cross, spiral, symmetrical and asymmetrical.

The mise-en-scene is not a special stage in the director's work, divorced from all his previous work with performers. Mise-en-scenes are born from those organic actions that the performers of the performance's actions do. The mise-en-scene is a means of embodiment and stage expression of the idea of ​​a play. Everything that was found by the performer along the line of the truth of life finds its expression in a bright and expressive mise-en-scène.

Mise-en-scene is a broader concept. This is not only the transitions of the characters and the placement, but also all the actions of the actor, gestures and details of his behavior, this is also all - a mise-en-scène.

Any well-thought-out mise-en-scène must meet the following requirements:

1. It should be a means of the most vivid and complete plastic expression of the main content of the episode, fixing and consolidating the main action of the performer, found in the previous stage of work on the play.

2. Should correctly identify the relationship of the characters, the struggle taking place in the play, as well as the inner life of each character at the moment of his stage life.

3. Be truthful, natural, vital, and scenic.

The art of constructing bright, expressive, truthful mise-en-scenes also depends on the general cultural level of the director. From his artistic taste, from his knowledge of life, from his understanding of the great works of painting and sculpture. They can serve as examples of mise-en-scène, since they are based on a clear idea of ​​organic action.

So, the figurative-plastic solution of a theatrical performance is one of the most important tasks of directing, and a mise-en-scene is one of the most powerful expressive means of directing.

3 Tempo Rhythm

Before talking about the meaning of tempo and rhythm in the performing arts and about the practical methods of mastering them, it is necessary to clarify the very concepts that are given different meanings. Taken from the musical vocabulary, the terms tempo and rhythm have become firmly established in stage practice and pedagogy to denote certain properties of human behavior.

Tempo is the degree to which an action is being performed. You can act slowly, moderately, quickly, etc., which will require different expenditures of energy from us, but will not always have a significant effect on the internal state. So, an inexperienced director, wanting to raise the tone of the performance, makes the actors speak and act faster, but such external mechanical acceleration does not give rise to internal activity.

The rhythm of behavior is another matter. If it is said, for example, that “the performance is going on in the wrong rhythm,” then this means not just speed, but the intensity of the actors' actions and experiences, that is, the inner emotional intensity in which stage events take place. In addition, the concept of "rhythm" includes rhythm, that is, one or another dimension of action, its organization in time and space. When we say that a person rhythmically moves, speaks, breathes, works, we mean a uniform, smooth alternation of moments of tension and relaxation, effort and rest, movement and stops. And vice versa, we can talk about the arrhythmia of a diseased heart, the gait of a lame man, confused speech of a stutterer, about irregular, poorly organized work, etc. its external and internal drawing.

Thus, the term "rhythm" means both the intensity and the regularity of the action being performed. At the same fast pace, actions can be completely different in character and, therefore, have different rhythms.

Tempo and rhythm are interrelated concepts, therefore Stanislavsky often merges them together, using the term tempo-rhythm. In many cases, they are directly dependent on each other: an active rhythm accelerates the process of performing an action, and, conversely, a reduced rhythm leads to its slowdown. The tempo-rhythm of the performance - according to K.S. Stanislavsky - a synthesis of the tempo and rhythm of the performance; rise or fall, acceleration or deceleration, smooth flow or rapid development of stage action.

Rhythm and tempo are related to each other, since they characterize one elementary unit of action taken during one elementary unit of stage time. The rhythm determines the tempo, but tempo changes (while maintaining the structure of the rhythmic unit) entail changes in the nature of the rhythm. Therefore, both phenomena practically exist simultaneously, making up together a single concept of tempo - rhythm.

The development of the tempo-rhythm of a performance is a wave-like process, where the ups and downs are the sum of the tempo-rhythms of actions, episodes, scenes. In general, the tempo of a performance is an indicator of the intensity of its end-to-end action. K.S. Stanislavsky stated: "The tempo-rhythm of the entire play is the tempo - the rhythm of its through action and subtext."

The tempo-rhythm of a performance is a dynamic characteristic of its plastic composition. And as Stanislavsky said, “... The tempo-rhythm of a play and a performance is not one, but a whole series of large and small complexes, various and heterogeneous speeds and dimensions, harmoniously combined into one large whole.

It is still widely believed that there are two types of rhythm: internal and external. The idea of ​​the inner rhythm is associated with the “life of the human spirit of the role”, and the idea of ​​the external rhythm with the “life of her human body”. Meanwhile, science tells us that the life of the spirit and the life of the body are united in one process of action, where the first has two parts, the second has the third. In a stage action, the first two stages take place in the consciousness of the actor, and the third is revealed in a word or in movement - in a verbal or bodily (motor) manifestation of the action. How these three parts of the action relate to each other depends both on the objective proposed circumstances of the given action, and on the subjective properties of the personality, and in the case of a stage action, the personality of the artist. These properties are: the strength of the main nervous processes (irritable and inhibitory), the balance of these processes with each other and their mobility. Thus, speaking about the first two stages of an actor's action in a role, one must bear in mind not only the speed of the reaction, but also its strength and stability. Simply put, the character of a character is revealed not only in what actions he performs, but also in how quickly he evaluates each fact, each situation, as well as how strong and definite his feelings and intentions related to the perception of the situation are. For it depends on these qualities what his response actions will be, expressed in word or movement.

Thus, the actor at any moment of the stage life of his hero needs to: evaluate something, make a decision and implement this decision in action, verbal or motor.

The action is not verbal, but bodily - we will call it motional - associated with movement in the stage space and is also carried out in stage time. This is already enough to confirm the dependence of the motor action on the tempo-rhythm of the action as such. Since in each role there are some typical rhythms prevailing for this role, in so far as they are manifested in both verbal and physical action. If someone is characterized by slow decisions, then they are expressed equally slowly both in words and in movements, and the speed of reaction characteristic of someone remains rapidity and ori verbal, and with plastic expression.

And just as the tempo-rhythm of the stage life of each character in the play is formed from the tempo-rhythms of actions, so the tempo-rhythm of each segment of the through action of the performance is formed from the tempo-rhythms of two or more participants in an episode or scene. If two or more people are doing one thing, then the action of each of them is equal in time to the action of the other. If two set out to convince a third person of something, they will persuade him, convince, inspire him, prove until this third person agrees with their arguments. And even if the persuading ones brought up their arguments not in chorus, but in turn, their general impact on the partner ends at the same time - at the moment when he is convinced by them, and one way or another will discover it. On the other hand, the resistance of the persuaded also lasts exactly as long as the influence of the persuading lasted: action and reaction are of equal magnitude. Resistance is born in response to the impact, simultaneously with it - and at the same time it ends when their struggle leads to any result.

Thus, all actions aimed simultaneously at one goal are equal in time to each other and are equal to the action of resistance. Therefore, although each of them individually may have a different rhythmic structure, they are quantitatively of the same size, due to which several different tempo-rhythms merge into one general tempo-rhythm of an episode, scene, performance.

The tempo-rhythm of the episode, which determines the duration of the pause, determines the number, speed, size and strength of movements that make up a motor action, and, consequently, its figurative nature (abruptness, sharpness, swiftness or - softness, smoothness, etc.), and ultimately a mise-en-scène.

4 Atmosphere

The concept of atmosphere came to the theater from life. And in life it accompanies us every minute. The atmosphere is a deeply human phenomenon, and in the center of it there is a person who is biasedly gazing into the world, acting, thinking, feeling, seeking. A complex complex of relationships with the surrounding reality, the world of our thoughts, feelings, desires, moods, dreams, fantasies, without which our existence would be unthinkable, this is the atmosphere of life, without it our life would be bled, automatic, and a person would resemble robot.

The atmosphere is, as it were, the material environment in which the actor's image lives, exists. This includes sounds, noises, rhythms, lighting patterns, furniture, things, everything, everything ...

"... the atmosphere is a dynamic concept, not a static one, it changes depending on the change of the proposed circumstances and events."

"The atmosphere is the air of time and place in which people live, surrounded by a whole world of sounds and all kinds of things." "Each business, place and time has its own atmosphere associated with this particular business, place and time."

It is necessary to find that emotional stimulant that will help to find the environment, the atmosphere that maximally expresses the process of the inner flow of the “life of the human spirit”. In this conjugation of the environment and the inner life of a person, the convincing or unconvincing of the plan will manifest itself.

To do this, it is imperative to find the exact combination of what is happening with life, going before, after and parallel to the developing action, either in contrast to what is happening, or in unison. This combination, deliberately organized, creates the atmosphere.

There can be no figurative solution outside the atmosphere. The atmosphere is an emotional coloring, which is certainly present in the solution of each moment of the performance.

And, finally, it is necessary to distinguish the background from the atmosphere of the play, stage, or piece. The atmosphere is also a concrete concept, it is formed from the real proposed circumstances. The second plan is of emotional shades, on the basis of which the real everyday atmosphere on the stage should be built.

From all of the above, it follows that the mise-en-scene, atmosphere and tempo-rhythm, being expressive means of directing, mutually constitute each other and are completely dependent on each other.

5 Composition

Composition (Latin сompositio - composition, connection) - this concept is relevant for all types of arts. It is understood as a significant ratio of parts of a work of art. Dramaturgical composition can be defined as a way by which a dramatic work (in particular a text) is ordered, as an organization of action in space and time. There can be many definitions, but in them we find two approaches that are different in their essence. One considers the ratio of parts of a literary text, the other - directly the warehouse of events, actions of characters. In theoretical terms, such a division makes sense, but in the practice of stage activities it is hardly possible to implement it.

The foundations of composition were laid in Aristotle's Poetics. In it, he names the parts of the tragedy, which should be used as constituents (eide) and the constituent parts (kata to poson), into which the tragedy is divided by volume (prologue, episodic, exodus, choral part, and in it parod and stasim). Here we also find the same two approaches to the problem of composition. This was also pointed out by Sakhnovsky-Pankeev, saying that at the same time it is possible "to study the composition of a play on the basis of formal signs of differences in parts (subdivisions) and an analysis of the construction proceeding from the peculiarities of the dramatic action." It seems to us that these two approaches are actually stages in the analysis of dramatic composition. The composition in the drama simultaneously depends on the principle of constructing the action, and it depends on the type of conflict and its nature. In addition, the composition of the play depends on the principle of distribution and organization of the literary text between the characters, and the relationship of the plot to the plot.

With the development of drama, the initial division into the middle of the beginning and the end in the technique of drama has become more complicated, and today these parts of a dramatic work have the following names: exposition, opening, development of the action, climax, denouement and epilogue

The Prologue currently acts as a Preface - this element is not directly related to the plot of the play. This is the place where the author can express his attitude, this is the demonstration of the author's ideas. It can also be the orientation of the presentation.

Epilogue - (epilogos) - part of the composition that produces the semantic completion of the work as a whole (and not the storyline). The epilogue can be considered a kind of afterword, a summary in which the author sums up the semantic results of the play. In drama, it can be expressed in the form of a scene ending the play, following the denouement.

Denouement - here the main (plot) action of the play traditionally ends. The main content of this part of the composition is the resolution of the main conflict, the termination of collateral conflicts and other contradictions that constitute and complement the action of the play. The denouement is logically connected with the tie. The distance from one to the other is the plot area.

The culmination - by the general definition, is the pinnacle of the development of the play's action. In every play there is a certain milestone, which marks a decisive turn in the course of events, after which the very nature of the struggle changes.

The development of action is the most extensive part of the play, its main field of action and development. Almost the entire plot of the play is located here. This part consists of certain episodes, which many authors divide into acts, scenes, phenomena, actions.

The tie is the most important element of the composition. Events that violate the initial situation are located here. Therefore, in this part of the composition is the beginning of the main conflict, here it takes on its visible outlines and unfolds as a struggle of characters, as an action.

An exposition (from Lat. Expositio - "presentation", "explanation") is a part of a dramatic work, which characterizes the situation preceding the beginning of the action.

6 Music

One of the brightest expressive means is the musical arrangement of the performance. The atmosphere, tempo-rhythm and organic nature of the performance as a whole directly depend on the selected musical composition in one or another part of the performance.

In the work on the musical design of the performance, the following stages can be outlined:

the director's idea of ​​the musical arrangement;

composition of original music or selection of ready-made musical numbers;

rehearsal work on the introduction of music into the performance;

music guidance during the performance.

As already mentioned, the idea of ​​a production is formed by the director as a result of careful and deep work on the play. It is known that each director sees the same play in his own way, interprets its super task in his own way. The features of the director's artistic thinking and his culture, temperament, taste, in short, his creative individuality, also matter. The director often develops the author's material, enhances certain plot lines, places ideological accents, etc.

And, of course, music can be of great help in this. Music should enter into action as a natural and necessary element, help to reveal the idea of ​​the play, set off the images of the characters. Therefore, the director begins to look for a musical solution only after the main moves of the play's drama have been thought out. Naturally, the director builds his idea of ​​musical arrangement mainly on the inclusion of conditional music in the performance, since the plot is already predetermined by the author's remarks. At the same time, the director can change the plot music in his decision. There are dramatic works that are inconceivable on stage without musical accompaniment. These are vaudeville, musical comedies, fairy tales. But there are those whose meaning and style will be expressed more vividly if conditional music, music from the director is introduced into the performances.

The musical image of the performance is not immediately formed in the imagination of the director. The creative thought of a director often follows a difficult path, and in the process of working on a performance, when meeting with a composer, artist, sound engineer, actors, his musical idea may change. Often, the issue of entering individual musical numbers into a particular episode of a stage action is resolved only during the rehearsal process and cannot always be foreseen in advance. However, the general musical decision is necessarily outlined by the director in advance. This allows him to set certain tasks for the composer and sound engineer. It also happens that a director, not possessing the necessary musical knowledge, decides the musical arrangement only after meeting with a composer or a professional musician. Thus, the main idea of ​​the musical design of the play is born to the director during the period of his work on the play and is fixed in the staging plan. The musical solution of a performance is a purely creative task, and it is natural that the director introduces music into the performance, consistent with his view of the role in dramatic art. Some directors, subtly feeling the music, introduce it into the performance only in those places where it is really needed and has a very specific function. Other directors saturate every act, every picture with music and noise. However, excessive enthusiasm for music often leads to the fact that the music becomes intrusive, distracts the viewer from the stage action and, instead of strengthening the scene, "drowns out" it. Often, the skill of a director is precisely to abandon music where it seems that its introduction can be justified. It is known that the silence on the stage is also a sound coloration.

KS Stanislavsky in his book “My Life in Art” wrote: “I think that during the entire existence of the theater, I. A. Sats was the first to show an example of how to treat music in our dramatic art ... the subtleties of the general plan, he understood and felt no worse than us, where, that is, in what place in the play, for what, that is, to help the director, for the general mood of the play, or to help an actor who lacks known elements to convey individual places of the role, or in order to reveal the main idea of ​​the play, his music was needed. " In these words of Stanislavsky, in essence, the multifaceted role of the composer in the drama theater is defined. A theater composer is, as a rule, the head of the musical section of the theater, he is also the conductor of the theater orchestra. The director sometimes instructs the director of the musical department to compose the music for the performance, but in order not to create monotony in the methods of the musical solution of the performances, he often invites the composer from outside. This enriches the theater creatively, especially if there is a meeting with major composers. Many of the professional composers who constantly collaborate with drama theaters perfectly understand the peculiarities of theatrical music and are able to subordinate their creativity to the common cause of the theatrical collective.

The choice of the composer is the most important moment for the director in the work on the play, the success of the future performance largely depends on the successful or unsuccessful choice.

7 Light

Stage light is one of the most important artistic and staging means. light helps to reproduce the place and setting of the action, perspective, create the necessary mood, etc.; sometimes in modern times. in performances, light is almost the only means of decoration. Different types of decoration require appropriate lighting techniques. Performances decorated with volumetric decorations require local (spotlight) lighting, creating light contrasts, emphasizing the volumetric decoration. When using a mixed type of decoration, a mixed lighting system is used accordingly. Theater lighting fixtures are manufactured with wide, medium and narrow light scattering angles. Depending on the location, the lighting equipment of the theater stage is divided into the following main types: 1) Overhead lighting equipment, which includes lighting devices (spotlights, spotlights) suspended above the playing part of the stage in several rows according to its plans.

2) Equipment for horizontal lighting, used to illuminate theatrical horizons.

3) Side lighting equipment, which usually includes searchlight-type devices installed on portal wings, side lighting galleries, etc.

4) Remote lighting equipment, consisting of projectors installed outside the stage, in various parts of the auditorium. The ramp also belongs to the remote lighting.

5) Portable lighting equipment, consisting of devices of various types, installed on the stage for each action of the performance (depending on the requirements).

6) Various special lighting and projection devices. A variety of special-purpose lighting devices (decorative chandeliers, candelabra, lamps, candles, lanterns, bonfires, torches) are often used in the theater, made according to the sketches of the artist who decorates the performance. For artistic purposes (reproduction of real nature on the stage, etc.), a color scene illumination system is used, consisting of light filters of various colors. Light filters can be glass or film. Color changes in the course of the performance are carried out:

a) by gradual transition from lighting devices with the same color of light filters to devices with other colors;

b) adding the colors of several, simultaneously operating devices;

c) changing light filters in lighting fixtures.

Light projection is of great importance in the design of the performance. With its help, various dynamic projection effects are created (clouds, waves, rain, falling snow, fire, explosions, flashes, flying birds, airplanes, floating ships, etc.) or static images that replace the picturesque details of the decoration (the so-called light projection decorations) ... The use of light projection greatly expands the role of light in the performance and enriches its artistic possibilities. Film projection is sometimes also used. Light can be a full-fledged artistic component of a performance only if there is a flexible system of centralized control over it. For this purpose, the power supply of all lighting equipment of the stage is divided into lines related to individual lighting devices or apparatuses and individual colors of the installed light filters. On the modern stage, there are up to 200-300 lines. To control the lighting, it is necessary to turn on, turn off and change the luminous flux, both in each separate line, and in any combination of them.

Bibliography

1. Tovstonogov G.A. About the director's profession. M., 1967

2. Zakhava B.E. The skill of an actor and director. M., 1973.

3. Knebel M.O. School of directing Nemirovich-Danchenko. M., 1992.

4. Sharoev I.G. Directing pop and mass performances. M., 1992.

5. Shubina I.B. Organization of leisure and show programs. Rostov on Don, "Phoenix", 2003

6. Korogodsky Z. Ya. Director and actor. M., 1967

7. Barkov V. LIGHT, Lighting design of the performance, M., 1953;

8. Izvekov NP, Scene, Part 2 Light on the stage. L.-M., 1940. Al. B.

2. The main means of expressiveness of theatrical art

Decoration

Theatrical costume

Noise design

Stage light

Stage effects

Literature

1. The concept of decorative art as a means of expressiveness of theatrical art

Decoration art is one of the most important means of expressiveness of theatrical art; it is the art of creating a visual image of a performance through scenery and costumes, lighting and staging techniques. All these pictorial means of influence are organic components of a theatrical performance, contribute to the disclosure of its content, impart a certain emotional sound to it. The development of decorative art is closely linked with the development of theater and drama.

Elements of decorative art (costumes, masks, decorative curtains) were present in the most ancient folk rituals and games. In the ancient Greek theater already in the 5th century. BC e., in addition to the skene building, which served as an architectural background for the acting, there were three-dimensional decorations, and then picturesque ones were introduced. The principles of Greek decorative art were assimilated by the theater of ancient Rome, where the curtain was used for the first time.

During the Middle Ages, the interior of the church, where the liturgical drama was played out, initially played the role of a decorative background. Already here, the basic principle of simultaneous decoration, characteristic of medieval theater, is applied, when all scenes of action are shown simultaneously. This principle is further developed in the main genre of medieval theater - the mystery. The greatest attention in all types of the mystery scene was paid to the scenery of "paradise", depicted in the form of a gazebo decorated with greenery, flowers and fruits, and "hell" in the form of an opening mouth of a dragon. Along with the volumetric decorations, picturesque ones (the image of the starry sky) were also used. Skilled artisans were involved in the design - painters, carvers, gilders; the first theater. The watchmakers were the machinists. Antique miniatures, prints and drawings give an idea of ​​the different types and techniques for staging the mysteries. In England, the most widespread performances on pedzhentas, which were a mobile two-story booth mounted on a cart. On the upper floor, a performance was played, and the lower one served the actors for dressing up. Such a circular or circular type of arrangement of the stage platform made it possible to use amphitheaters preserved from the Antique era for staging the mysteries. The third type of decoration of the mysteries was the so-called system of pavilions (16th century mystery performances in Lucerne, Switzerland, and Donaueschingen, Germany) - open houses scattered over the area, in which the action of episodes of the mystery took place. In the school theater of the 16th century. For the first time, the location of the scenes of action is not found along one line, but parallel to the three sides of the stage. AAAAAAAAAAAAAAAAAAAAAAAAAAA

The cult basis of theatrical performances in Asia led to the dominance of the conditional stage design for a number of centuries, when individual symbolic details indicated the scene. The lack of scenery was made up for by the presence in some cases of a decorative background, the richness and variety of costumes, make-up masks, the color of which had a symbolic meaning. In the feudal-aristocratic musical theater of masks, which took shape in Japan in the 14th century, a canonical type of decoration was created: on the back wall of the stage, against an abstract gold background, a pine tree was depicted - a symbol of longevity; in front of the balustrade of the covered bridge, located in the depths of the platform on the left and intended for actors and musicians to enter the stage, images of three small pines were placed

At 15 - early. 16th century in Italy a new type of theater building and stage appears. The most prominent artists and architects, such as Leonardo da Vinci, Raphael, A. Mantegna, F. Brunellescia, and others, took part in the design of theatrical performances. in Rome - B. Peruzzi. The scenery, depicting a view of the street stretching into the depths, was painted on canvases stretched over frames, and consisted of a backdrop and three side plans on each side of the stage; some parts of the decorations were made of wood (roofs of houses, balconies, balustrades, etc.). The required perspective reduction was achieved by steeply lifting the tablet. Instead of a simultaneous set, the Renaissance stage was used to reproduce one common and unchanging setting for performances of certain genres. The largest Italian theater architect and decorator S. Serlio developed 3 types of decorations: temples, palaces, arches - for tragedies; city ​​square with private houses, shops, hotels - for comedies; forest landscape - for pastorals.

Renaissance artists viewed the stage and auditorium as a whole. This was manifested in the creation of the Teatro Olimpico in Vicenza, designed by A. Palladio in 1584; in this t-re V. Scamozzi built a magnificent permanent set, depicting an "ideal city" and intended for staging tragedies.

The aristocracy of the theater during the crisis of the Italian Renaissance led to the predominance of external showiness in theatrical performances. The relief decoration by S. Serlio was replaced by the picturesque decoration in the Baroque style. The enchanting character of the court opera and ballet performance in the late 16th and 17th centuries. led to the widespread use of theatrical mechanisms. The invention of the telaria - three-sided rotating prisms covered with painted canvas, attributed to the artist Buontalenti, made it possible to change the scenery in front of the public. A description of the device of such movable perspective scenery is available in the works of the German architect I. Furtenbach, who worked in Italy and imposed the technique of the Italian theater in Germany, as well as in the architect N. Sabbatini in his treatise On the Art of Building Scenes and Machines (1638). Improvements in perspective painting techniques have enabled decorators to create the impression of depth without steeply lifting the tablet. The actors could make full use of the stage space. In the beginning. 17th century backstage scenery invented by G. Aleotti appeared. Technical devices for flights, a hatch system, as well as side portal shields and a portal arch were introduced. All this led to the creation of the box scene.

The Italian backstage decoration system has spread throughout Europe. All R. 17th century In the Viennese court theater, the baroque backstage scenery was introduced by the Italian theater architect L. Burnacini; in France, the famous Italian theater architect, decorator and machinist G. Torelli with ingenuity applied the achievements of the promising backstage scene in court performances of the opera and ballet type. The Spanish theater, which preserved as early as the 16th century. primitive fairground scene, assimilates the Italian system through the Italian thin. K. Lotti, who worked in the Spanish court theater (1631). For a long time, the city's public theaters in London have retained the conditional stage area of ​​the Shakespearean era with a division into upper, lower and back stages, with a proscenium protruding into the auditorium and meager decorative design. The stage of the English theater made it possible to quickly carry out the change of scenes in their sequence. The perspective decoration of the Italian type was introduced in England in the 1st quarter. 17th century theatrical architect I. Jones in the production of court performances. In Russia, backstage perspective decorations were used in 1672 in performances at the court of Tsar Alexei Mikhailovich.

The goal for the teacher: ensuring perception, comprehension and primary consolidation of new material

Objective for children: to understand new material through research activities

Teacher: Guys, here you are, having come to an art exhibition and, looking at the picture close in front of your eyes, you see some oil strokes or some strokes. But, if you move away from the canvas for a certain distance, then before your eyes there is a panorama of life with moving people, green trees, houses, sunset sky, etc. This is how the artist expresses his vision. How does he paint a picture?

can we name them? Do they express something?

What is the topic of our lesson?

There are also a lot of expressive means in the theater. From the era of the Greek theater to the present day, expressive means have gone through a path of significant changes.
Let's define together what is a means of expression?
Expressive means - a technique, a way of external manifestation, reflecting the internal state of something. In this case, a person, a character. The play consists of expressive means, and primarily acting.

What expressive means can you name?

Well done, they named a lot of expressive means.

Now answer me the question, why do we need expressive means in the theater for an actor? And for the viewer?

(For an actor - in order to clearly explain everything, to convey the meaning of the play.

For the viewer - so that the performance is interesting, colorful, memorable, so that the viewer can understand everything, to awaken bright, wonderful feelings)

Let's imagine that we are in a theater workshop. And today we will work on some expressive means that help not only the actor to influence the viewer, but are also needed by any person for more effective communication.

Let's start by doing articulatory gymnastics, but not usual. Now we are going to act out an articulatory tale. I will tell and you will show. The required actions will be displayed on the screen. Ready? Let's start then.

In one forest there lived a little Piglet.

And at the other end of the forest lived his friend - Winnie the Pooh.

Winnie the Pooh and Piglet were friends.

One day Piglet decided to go to visit a friend. He left the house, closed - opened the door.

Piglet was very cowardly, so he looked to see if someone was hiding in the bushes.

And then he looked up at the sky to see if it was going to rain.

Everything was in order, and Piglet ran merrily along the path.

A fungus grew near the path.

Suddenly a big, big horse came out from behind the bushes.
Piglet sat down on it and galloped off.

And Winnie the Pooh was painting the fence at this time.

At this time Piglet galloped up.

While Winnie the Pooh was painting, a strong wind rose. The teddy bear got terribly dirty and became very shaggy. Of course, in this form, he could not meet his friend.

So he ran to wash.

And Winnie the Pooh needed to comb.

When friends met, they first chatted.

Then the friends decided to play ball.

Evening came. The friends said goodbye. Piglet got on his horse and galloped home.

“Theatrical warm-up”.

One, two, three, four, five -
Do you want to play? (Yes)

Then tell me friends
How can you change yourself?
To be like a fox?
Or a wolf, or a goat,
Or to the prince, to the Yaga,
Or the frog in the pond?

I have handkerchiefs on my table. I suggest that you take the scarves and use them to try to portray the following characters:

Old grandmother

Sick with toothache

Babu Yagu

Well done! Coped with the task.

And without a suit, children can be
Turn into, say, the wind
Or in the rain, or in a thunderstorm,
Or a butterfly, a wasp?
What will help here, friends?

What are facial expressions and pantomime?

(Mimicry is a facial expression. Pantomime is a body movement, without words)

Here's the news! I almost fell off the porch!
Everyone has a facial expression!
I think in fright, but what do I express in my face?
Probably courage, probably intelligence!
What if I'm not boom-boom in facial expressions?

And let's, guys, check if you own facial expressions.

There is, no doubt, a different mood,
I'll call it, try to show it to me.

Show with facial expressions:

sadness, joy, surprise, grief, fear, delight, horror, ate a lemon

And now the time has come
Communicate with gestures, friends!
I tell you the word,
In response, I expect gestures from you.

“Come here”, “hello”, “bye”, “quiet”, “no”, “oh, tired”,

“I think”, “no”, “yes”, “now you will get it”.

Well done!

Mimicry and pantomime are expressive means that any artist should possess, i.e. be able to control your body.

And with the help of what can we express our thoughts and feelings out loud? That's right, with the help of speech. It is very important in what voice we speak. Why do you think? By the voice we can understand: an evil person or kind, sad or cheerful, scared or offended. Lowering or raising our voice, the pronunciation that expresses our feelings is called intonation.

I suggest you watch the video "Meeting with a Writer", and then we will discuss it.

Do you understand what the next book will be about? Why? Did you like the actors' play in this plot? What was their speech?

Summing up your reasoning, we can conclude: In order to be listened to and understood, you need to be able to tell clearly, expressively, and sometimes emotionally.

Let's see how an actor's speech conveys the emotional mood of his character. But before that, let's prepare our voice for work.

MINISTRY OF EDUCATION OF THE AUTONOMOUS REPUBLIC OF CRIMEA

CRIMEAN STATE ENGINEERING AND PEDAGOGICAL UNIVERSITY

Faculty psychological and pedagogical

Department of Primary Education Methods

Test

Choreographic, stage and screen arts with teaching methods

Means of expressiveness of theatrical art

Students Mikulskite S.I.

Simferopol

2007 - 2008 academic. year.

2. The main means of expressiveness of theatrical art

Decoration

Theatrical costume

Noise design

Stage light

Stage effects

Literature

1. The concept of decorative art as a means of expressiveness of theatrical art

Decoration art is one of the most important means of expressiveness of theatrical art; it is the art of creating a visual image of a performance through scenery and costumes, lighting and staging techniques. All these pictorial means of influence are organic components of a theatrical performance, contribute to the disclosure of its content, impart a certain emotional sound to it. The development of decorative art is closely linked with the development of theater and drama.

Elements of decorative art (costumes, masks, decorative curtains) were present in the most ancient folk rituals and games. In the ancient Greek theater already in the 5th century. BC e., in addition to the skene building, which served as an architectural background for the acting, there were three-dimensional decorations, and then picturesque ones were introduced. The principles of Greek decorative art were assimilated by the theater of ancient Rome, where the curtain was used for the first time.

During the Middle Ages, the interior of the church, where the liturgical drama was played out, initially played the role of a decorative background. Already here, the basic principle of simultaneous decoration, characteristic of medieval theater, is applied, when all scenes of action are shown simultaneously. This principle is further developed in the main genre of medieval theater - the mystery. The greatest attention in all types of the mystery scene was paid to the scenery of "paradise", depicted in the form of a gazebo decorated with greenery, flowers and fruits, and "hell" in the form of an opening mouth of a dragon. Along with the volumetric decorations, picturesque ones (the image of the starry sky) were also used. Skilled artisans were involved in the design - painters, carvers, gilders; the first theater. The watchmakers were the machinists. Antique miniatures, prints and drawings give an idea of ​​the different types and techniques for staging the mysteries. In England, the most widespread performances on pedzhentas, which were a mobile two-story booth mounted on a cart. On the upper floor, a performance was played, and the lower one served the actors for dressing up. Such a circular or circular type of arrangement of the stage platform made it possible to use amphitheaters preserved from the Antique era for staging the mysteries. The third type of decoration of the mysteries was the so-called system of pavilions (16th century mystery performances in Lucerne, Switzerland, and Donaueschingen, Germany) - open houses scattered over the area, in which the action of episodes of the mystery took place. In the school theater of the 16th century. For the first time, the location of the scenes of action is not found along one line, but parallel to the three sides of the stage.

The cult basis of theatrical performances in Asia led to the dominance of the conditional stage design for a number of centuries, when individual symbolic details indicated the scene. The lack of scenery was made up for by the presence in some cases of a decorative background, the richness and variety of costumes, make-up masks, the color of which had a symbolic meaning. In the feudal-aristocratic musical theater of masks, which took shape in Japan in the 14th century, a canonical type of decoration was created: on the back wall of the stage, against an abstract gold background, a pine tree was depicted - a symbol of longevity; in front of the balustrade of the covered bridge, located in the depths of the platform on the left and intended for actors and musicians to enter the stage, images of three small pines were placed

At 15 - early. 16th century in Italy a new type of theater building and stage appears. The most prominent artists and architects, such as Leonardo da Vinci, Raphael, A. Mantegna, F. Brunellescia, and others, took part in the design of theatrical performances. in Rome - B. Peruzzi. The scenery, depicting a view of the street stretching into the depths, was painted on canvases stretched over frames, and consisted of a backdrop and three side plans on each side of the stage; some parts of the decorations were made of wood (roofs of houses, balconies, balustrades, etc.). The required perspective reduction was achieved by steeply lifting the tablet. Instead of a simultaneous set, the Renaissance stage was used to reproduce one common and unchanging setting for performances of certain genres. The largest Italian theater architect and decorator S. Serlio developed 3 types of decorations: temples, palaces, arches - for tragedies; city ​​square with private houses, shops, hotels - for comedies; forest landscape - for pastorals.

Renaissance artists viewed the stage and auditorium as a whole. This was manifested in the creation of the Teatro Olimpico in Vicenza, designed by A. Palladio in 1584; in this t-re V. Scamozzi built a magnificent permanent set, depicting an "ideal city" and intended for staging tragedies.

The aristocracy of the theater during the crisis of the Italian Renaissance led to the predominance of external showiness in theatrical performances. The relief decoration by S. Serlio was replaced by the picturesque decoration in the Baroque style. The enchanting character of the court opera and ballet performance in the late 16th and 17th centuries. led to the widespread use of theatrical mechanisms. The invention of the telaria - three-sided rotating prisms covered with painted canvas, attributed to the artist Buontalenti, made it possible to change the scenery in front of the public. A description of the device of such movable perspective scenery is available in the works of the German architect I. Furtenbach, who worked in Italy and imposed the technique of the Italian theater in Germany, as well as in the architect N. Sabbatini in his treatise On the Art of Building Scenes and Machines (1638). Improvements in perspective painting techniques have enabled decorators to create the impression of depth without steeply lifting the tablet. The actors could make full use of the stage space. In the beginning. 17th century backstage scenery invented by G. Aleotti appeared. Technical devices for flights, a hatch system, as well as side portal shields and a portal arch were introduced. All this led to the creation of the box scene.

The Italian backstage decoration system has spread throughout Europe. All R. 17th century In the Viennese court theater, the baroque backstage scenery was introduced by the Italian theater architect L. Burnacini; in France, the famous Italian theater architect, decorator and machinist G. Torelli with ingenuity applied the achievements of the promising backstage scene in court performances of the opera and ballet type. The Spanish theater, which preserved as early as the 16th century. primitive fairground scene, assimilates the Italian system through the Italian thin. K. Lotti, who worked in the Spanish court theater (1631). For a long time, the city's public theaters in London have retained the conditional stage area of ​​the Shakespearean era with a division into upper, lower and back stages, with a proscenium protruding into the auditorium and meager decorative design. The stage of the English theater made it possible to quickly carry out the change of scenes in their sequence. The perspective decoration of the Italian type was introduced in England in the 1st quarter. 17th century theatrical architect I. Jones in the production of court performances. In Russia, backstage perspective decorations were used in 1672 in performances at the court of Tsar Alexei Mikhailovich.

In the era of classicism, the dramatic canon, which demanded the unity of place and time, established a permanent and irreplaceable set, devoid of any concrete historical characteristics (throne room or the vestibule of a palace for a tragedy, a city square or a room for a comedy). The whole variety of decorative and staging effects was concentrated in the 17th century. within the bounds of the opera and ballet genre, and dramatic performances were distinguished by severity and stinginess of design. In the theaters of France and England, the presence on the stage of aristocratic spectators, located on the sides of the proscenium, limited the possibilities of decorating performances. The further development of operatic art led to the reform of the operatic. The rejection of symmetry, the introduction of angular perspective helped to create by means of painting the illusion of a great depth of the scene. The dynamism and emotional expressiveness of the scenery was achieved by the play of light and shade, rhythmic diversity in the development of architectural motifs (endless enfilades of baroque halls decorated with stucco ornaments, with repeating rows of columns, stairs, arches, statues), with the help of which the impression of the grandeur of architectural structures was created.

The aggravation of the ideological struggle during the Age of Enlightenment found expression in the struggle of various styles and in decorative art. Along with the strengthening of the spectacular splendor of the Baroque scenery and the appearance of decorations performed in the Rococo style, characteristic of the feudal-aristocratic trend, in the decorative art of this period there was a struggle for the reform of the theater, for liberation from the abstract splendor of court art, for a more accurate national and historical description of the place. actions. In this struggle, the enlightenment theater turned to the heroic images of antiquity, which found expression in the creation of the scenery of the classicist style. This trend was especially developed in France in the work of decorators G. Servandoni, G. Dumont, P.A. Brunetti, who reproduced buildings of ancient architecture on stage. In 1759 Voltaire achieved the expulsion of spectators from the stage, freeing up additional space for decorations. In Italy, the transition from Baroque to Classicism found expression in the work of G. Piranesi.