Types of scenographic solutions:

Narrative decoration- reproduces on stage a picture of real life. And with a greater or lesser degree of detail, generalization, conventionality, he tells about the environment surrounding the heroes of the play. The stage space is transformed by the artist into the real space of the place where the performance takes place. (Simov at Stanislavsky).

metaphorical the scenery offers the viewer a generalized image of the entire performance as a whole. Artists seek to reveal the play through a plastic metaphor. The metaphor in the theater carries a specific image and is expressed in the specific language of painting, light, and architecture. (Ryndin made a drum and a wavy line in Optimistic Tragedy).

picturesque scenery. In it, painting acts as the main means of artistic expression. The artist deals with a plane on which he paints different subjects - landscape, interior. On the back of the curtain plane is the idea of ​​the play. (Golovkin - "Masquerade" through the curtains).

Structural installation. Appeared in the 20s, directed against the picturesque. The stage space is seen as a place where you can build a structure intended for the actions of the actor. The design embodied the idea and image of the performance with plasticity and rhythm. The place of action has no independent meaning - it is revealed in interaction with the actors. The actors use their actions to justify conditional constructions of machine tools and ladders. Installation materials: wood, matting, plywood, metal. (Efros performance "Romeo and Juliet", the artist Durgin made an iron lattice - a cage of platforms, stairs. The space is decided vertically).

Architectural and spatial decoration designed to use the entire depth of the scene. The space of the stage is one of the main expressive means of the performance. (The plays of the poets of antiquity and Shakespeare were solved this way).

dynamic decoration based on movement. If for architectural and spatial scenery movement serves to unfold a single installation in front of the viewer, then in dynamic scenery, movement will be the main means containing the image of the performance. (1923 Meyerhold "Give Europe", the artist Shlepyanov made moving walls).

Light decoration. The functions of light are not limited to the task of highlighting a particular detail. Light in the hands of a good artist will become a decisive component that expresses the artistic image of the performance. (Artist Belov, Efremov's performance "Decembrists", 1967)

Projection the scenery is created with the help of equipment: set-top boxes, television equipment, filmoscopes, diascopes. (Film projection in the play "Weather for Tomorrow" by Volchek).

game decoration. Its roots go back centuries. There was no design as a whole, it was created by the objects necessary for the action, brought by the actors themselves and often arising in the order of improvisation. (Meyerhold "The Stranger" used bamboo poles; Zakharov in the play "Til" - 4 wooden benches and a ferris wheel).

off-ramp decoration. This is when the stage is taken out into the auditorium and surrounded by spectators. (Samara Youth Theater, performance "Bumbarash").

THEATER AND DECORATION ART

Theatrical and decorative art (often also called scenography) is a type of fine art associated with the artistic design of a theatrical performance, that is, the creation of a living environment on the theatrical stage in which the characters of a dramatic or musical-dramatic work act, as well as the appearance of these characters themselves. The main elements of theatrical and decorative art - scenery, lighting, props and props, costumes and make-up of actors - constitute a single artistic whole, expressing the meaning and nature of the stage action, subordinate to the concept of the performance. Theatrical and decorative art is closely connected with the development of the theatre. Stage performances without elements of artistic and visual design are an exception.

The basis of the artistic design of the performance is the scenery depicting the place and time of the action. The specific form of scenery (composition, color scheme, etc.) is determined not only by the content of the action, but also by its external conditions (more or less rapid changes in the scene of action, the peculiarities of the perception of the scenery from the auditorium, its combination with certain lighting, etc.). .).

The image embodied on the stage is initially created by the artist in a sketch or layout. The path from the sketch to the layout and design of the scene is connected with the search for the greatest expressiveness of the scenery and its artistic completeness. In the work of the best theatrical artists, the sketch is important not only as a working plan for stage design, but also as a relatively independent work of art.

A. N. Benois. scenery sketch

1953. Paper, gouache, watercolor, pencil.

A. N. Benois. scenery sketch
to the ballet by P. I. Tchaikovsky "The Sleeping Beauty".
1953. Paper, gouache, watercolor, pencil.

Theatrical scenery includes the framing of the stage, a special curtain (or curtains), a pictorial solution of the stage space of the stage, backstage, background, etc. The ways of depicting the living environment on the stage are diverse. In the traditions of Russian realistic art, pictorial solutions prevail. At the same time, written planar elements are usually combined with built ones (volumetric or semi-volumetric) into an integral image that creates the illusion of a single spatial environment of action. But the basis of the scenery can also be figurative and expressive constructions, projections, draperies, screens, etc., as well as a combination of various image methods. The development of stage technique and the expansion of representational methods do not, however, cancel the significance of painting as the basis of theatrical and decorative art in general. The choice of image method in each individual case is determined by the specific content, genre and style of the work embodied on the stage.

The costumes of the actors, created by the artist in unity with the scenery, characterize the social, national, and individual characteristics of the heroes of the performance. They correspond in color with the scenery (“fit” into the overall picture), and in a ballet performance they also have a special “dance” specificity (they must be comfortable and light and emphasize dance movements).

With the help of lighting, not only a clear visibility (visibility, “readability”) of the scenery is achieved, but also various seasons and days, illusions of natural phenomena (snow, rain, etc.) are depicted. Lighting color effects are able to create a feeling of a certain emotional atmosphere of a stage action.

Theatrical and decorative art changes with the development of artistic culture as a whole. It depends on the dominant artistic style, on the type of dramaturgy, on the state of the fine arts, as well as on the arrangement of theater premises and stage, on lighting techniques, and many other concrete historical conditions.

A. M. Vasnetsov. Set design for the opera by N. A. Rimsky-Korsakov

1906.

A. M. Vasnetsov. Set design for the opera by N. A. Rimsky-Korsakov
The Tale of the Invisible City of Kitezh and the Maiden Fevronia.
1906.

Theatrical and decorative art in Russia reached a high level of development at the turn of the 19th-20th centuries, when outstanding artists came to the theater. They brought a great pictorial culture to the design of performances, achieved the artistic integrity of the stage action, the organic participation of fine art in it, the unity of scenery, lighting and costumes with dramaturgy and music. These were artists who first worked at the Mammoth Opera (V. M. Vasnetsov, V. D. Polenov, M. A. Vrubel and others), then at the Moscow Art Theater (V. A. Simov and others), in the imperial musical theaters (K. A. Korovin, A. Ya. Golovin), Diaghilev's "Russian Seasons" (A. N. Benois, L. S. Bakst, N. K. Roerich, etc.). A powerful stimulus for the development of theatrical and decorative art was given by the creative quest of advanced stage direction (K. S. Stanislavsky, V. I. Nemirovich-Danchenko, V. E. Meyerhold, choreographers M. M. Fokin and A. A. Gorsky).

Artists also participate in the creation of films, television plays, variety and circus performances. Spectacular arts are perceived by millions of viewers, and therefore the role of the artist is very responsible here.

Since ancient times, it has been important decorative painting, constituting a special branch of art, in the history of which its development followed the movement of easel painting, painting paintings. It sometimes includes the same works that this latter delivers, if only they are executed on the walls and plafonds of a building mainly for an ornamental purpose (wall and plafond painting, frescoes); but its main element is ornaments in the strict sense of the word, that is, beautiful combinations of geometric lines and figures, as well as forms of the plant and animal kingdom, fantasized or unchanged (for example, wall painting in the houses of Pompeii, Moorish arabesques of the Alhambra, grotesques of the Raphael lodges in the Vatican and so on.). The motives of decorative painting changed depending on the historical course of culture and art among different peoples, on the taste and architectural style that prevailed at that time. The French came into use in the 19th century with the name decorative arts(fr. l'art decoratif) for various branches of handicraft industries that need the help of art, such as the manufacture of elegant furniture, carpets, lace, glass and pottery, jewelry, bronze, wallpaper and other luxury and comfort items - in a word, for everything that is customary among the Germans call Kleinkünste or Kunstgewerbe and in Russia applied art or art industry.

theatrical scenery

The word "decoration" is most often used to refer to the accessories of the theater, which have as their purpose to create the illusion of a place in which the action played out on the stage takes place. Therefore, theatrical scenery is for the most part either landscapes or perspective views of streets, squares and the interior of buildings. They are painted on canvas. The main components of each theatrical scenery - backdrop And backstage. The first is hung in the depths of the stage, stretching across its entire width, and depicts everything that is in the background in the reproduced landscape or perspective; the wings are pieces of linen, narrower in comparison with the curtain, stretched over a wooden binding and cut out at one end in a proper way; they are placed on the sides of the stage in two, three or several rows, one after the other, and represent closer objects, for example. trees, rocks, houses, pilasters and other parts of the scene. Decorations are complementary padugi- pieces of canvas stretched at the top across the entire stage and depicting pieces of the sky, the upper branches of trees, ceiling vaults, etc., as well as praticable- various wooden scaffolds and scaffolds disguised with a painted canvas, placed on the stage and representing, for example, stones, bridges, spurs of rocks, hanging galleries, stairs, etc.

An artist engaged in the performance of theatrical scenery and called decorator, must possess the super-training necessary for a painter in general, some special knowledge: he must know perfectly the rules of linear and aerial perspective, master a very wide method of writing, be able to adapt his coloring to the fiery lighting in which stage performances usually take place, and generally calculate to ensure that as a result of his work a picturesque setting for the play being played is obtained, not only not harming it with its excessive simplicity or pretentiousness, but contributing to the strength and efficiency of the impression it makes on the viewer. Having composed a sketch drawing of decorations, the decorator makes for her layout, that is, a miniature likeness of a stage with a cardboard curtain, backstage and other accessories, so that this model can be used to judge in advance the effect of a future work. After that, proceeding to the execution of the scenery itself, he stretches the canvas of the curtain in a horizontal position on the floor of his workshop, transfers to it (with charcoal or a special kind of ink) the drawing of the sketch in an enlarged form by breaking it into squares, and, finally, starts writing with paints. He does exactly the same when performing backstage and other parts of the scenery. The palette is replaced by a box with cans of various paints diluted with glue; for writing, more or less large brushes made of bristles with long handles are used. During work, he interrupts it every now and then in order to climb the gallery, arranged in the workshop at a certain height from the floor, and look from there at what was written. He usually does not work alone, but together with his students and assistants, to whom he entrusts preparation and secondary parts of the work.

Stage performances were furnished with decorations by the ancient Greeks (scenography). As one of the oldest decorators known in history, one can point to Agatarch, who lived approximately in 460-420 years. BC In recent times, decorative painting has developed primarily in Italy, which brought the best masters in this part and other countries. Of the Italian decorators in the 18th century, Giovanni Servandoni, who worked for the Royal Opera in Paris, became especially famous. Then the championship in the area under consideration passed to the French. Among them, the theatrical painter Boke showed a remarkable talent; the famous Watteau and Boucher did not hesitate to break away from the performance of their paintings in order to write for the stage. Then, among the French decorators, Degotti, Ciceri, students of the last Sechan, Desplechin, Fescher and Cambon, Chaperon (English)Russian, Thierry , Rubet and Cheret . Outstanding decorators in Germany were Schinkel, Karl Gropius, the Italians Quaglio (Domenico, his brother Simon and son Angelo) and I. Hoffmann. In Russia, the needs of the imperial theaters were satisfied at the beginning by visiting Italian decorators - Peresinotti, Quarenghi, Canopy, Gonzaga, and then, in the reign of Nicholas I, German artists Andreas Roller, K. Wagner and others; only in the second half of the 19th century did decorative painting take the path of independence in Russia thanks to such gifted masters as M. I. Bocharov and M. A. Shishkov, and the establishment of a special class at the Academy of Arts for the study of this branch of art.

Scenery in cinema

Unlike theatrical scenery, which is created taking into account the characteristics of the stage and its limited view from the auditorium, the cinematic scenery is built to better match real objects, and often copies real interiors and landscapes. The scenery intended for filming in the pavilion is built taking into account the need to install camera lighting and the possible movement of trolleys and camera cranes. To simplify and speed up the construction of such decorations, in most cases, a fundus is used, consisting of a set of normalized elements assembled using clamps and light fasteners. In some cases, natural scenery can provide for full-fledged construction, occupying a significant part of the filming budget. In any case, the scenery for filming is made taking into account the peculiarities of the cinematic image and the possibility of simplifying complex elements shot in long shots. Most movie sets have a finish on one side that will be filmed from.

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Notes

Literature

• B. Konoplev. Fundamentals of filmmaking. - 2nd ed. - M.: "Art", 1975. - 448 p.

Links

• www.krugosvet.ru/enc/kultura_i_obrazovanie/teatr_i_kino/DEKORATSIYA.html

An excerpt characterizing the scenery

- Mom, Bolkonsky has arrived! - she said. - Mom, this is terrible, this is unbearable! “I don’t want to… suffer!” What should I do?…
The countess had not yet had time to answer her, when Prince Andrei entered the drawing room with an anxious and serious face. As soon as he saw Natasha, his face lit up. He kissed the hand of the countess and Natasha and sat down beside the sofa.
“For a long time we have not had pleasure ...” the countess began, but Prince Andrei interrupted her, answering her question and obviously in a hurry to say what he needed.
- I have not been with you all this time, because I was with my father: I needed to talk to him about a very important matter. I just got back last night,” he said, looking at Natasha. “I need to talk to you, Countess,” he added after a moment's silence.
The Countess sighed heavily and lowered her eyes.
“I am at your service,” she said.
Natasha knew that she had to leave, but she could not do it: something was squeezing her throat, and she looked impolitely, directly, with open eyes at Prince Andrei.
"Now? This minute!… No, it can't be!” she thought.
He looked at her again, and this look convinced her that she had not been mistaken. - Yes, now, this very minute her fate was being decided.
“Come, Natasha, I will call you,” said the countess in a whisper.
Natasha looked with frightened, pleading eyes at Prince Andrei and at her mother, and went out.
“I have come, Countess, to ask for the hand of your daughter,” said Prince Andrei. The countess's face flushed, but she said nothing.
“Your suggestion…” the Countess began sedately. He remained silent, looking into her eyes. - Your offer ... (she was embarrassed) we are pleased, and ... I accept your offer, I'm glad. And my husband ... I hope ... but it will depend on her ...
- I will tell her when I have your consent ... do you give it to me? - said Prince Andrew.
“Yes,” said the Countess, and held out her hand to him, and with a mixture of aloofness and tenderness pressed her lips to his forehead as he leaned over her hand. She wanted to love him like a son; but she felt that he was a stranger and a terrible person for her. “I'm sure my husband will agree,” said the countess, “but your father ...
- My father, to whom I informed my plans, made it an indispensable condition for consent that the wedding should not be earlier than a year. And this is what I wanted to tell you, - said Prince Andrei.
- It is true that Natasha is still young, but so long.
“It could not be otherwise,” Prince Andrei said with a sigh.
“I will send it to you,” said the countess, and left the room.
“Lord, have mercy on us,” she repeated, looking for her daughter. Sonya said that Natasha was in the bedroom. Natasha sat on her bed, pale, with dry eyes, looked at the icons and, quickly making the sign of the cross, whispered something. Seeing her mother, she jumped up and rushed to her.
- What? Mom?… What?
- Go, go to him. He asks for your hand, - the countess said coldly, as it seemed to Natasha ... - Go ... go, - the mother said with sadness and reproach after the fleeing daughter, and sighed heavily.
Natasha did not remember how she entered the living room. When she entered the door and saw him, she stopped. “Is this stranger really become my everything now?” she asked herself and instantly answered: “Yes, everything: he alone is now dearer to me than everything in the world.” Prince Andrei went up to her, lowering his eyes.
“I fell in love with you from the moment I saw you. Can I hope?
He looked at her, and the earnest passion of her countenance struck him. Her face said: “Why ask? Why doubt that which is impossible not to know? Why talk when you can’t express what you feel in words.
She approached him and stopped. He took her hand and kissed it.
– Do you love me?
“Yes, yes,” Natasha said as if with annoyance, sighed loudly, another time, more and more often, and sobbed.
– About what? What's wrong with you?
“Oh, I’m so happy,” she answered, smiled through her tears, leaned closer to him, thought for a second, as if asking herself if it was possible, and kissed him.
Prince Andrei held her hands, looked into her eyes, and did not find in his soul the former love for her. Something suddenly turned in his soul: there was no former poetic and mysterious charm of desire, but there was pity for her feminine and childish weakness, there was fear of her devotion and gullibility, a heavy and at the same time joyful consciousness of the duty that bound him forever with her. The real feeling, although it was not as light and poetic as the former, was more serious and stronger.
“Did maman tell you that it couldn’t be before a year?” - said Prince Andrei, continuing to look into her eyes. “Is it really me, that child girl (everyone said so about me) thought Natasha, is it possible that from now on I am a wife, equal to this strange, sweet, intelligent person, respected even by my father. Is that really true! Is it really true that now it is no longer possible to joke with life, now I am big, now responsibility for all my deeds and words lies on me? Yes, what did he ask me?
“No,” she answered, but she did not understand what he was asking.
“Forgive me,” said Prince Andrei, “but you are so young, and I have already experienced so much life. I'm scared for you. You don't know yourself.
Natasha listened with concentrated attention, trying to understand the meaning of his words, but did not understand.
“No matter how hard this year will be for me, postponing my happiness,” continued Prince Andrei, “during this period you will believe yourself. I ask you to make my happiness in a year; but you are free: our engagement will remain a secret, and if you are convinced that you do not love me, or would love ... - said Prince Andrei with an unnatural smile.
Why are you saying this? Natasha interrupted him. “You know that from the very day you first came to Otradnoye, I fell in love with you,” she said, firmly convinced that she was telling the truth.
- In a year you will recognize yourself ...
- A whole year! - Natasha suddenly said, now only realizing that the wedding was postponed for a year. - Why is it a year? Why a year? ... - Prince Andrei began to explain to her the reasons for this delay. Natasha didn't listen to him.
- And it can not be otherwise? she asked. Prince Andrei did not answer, but his face expressed the impossibility of changing this decision.
- It's horrible! No, it's terrible, terrible! Natasha suddenly spoke up and sobbed again. “I’ll die waiting for a year: it’s impossible, it’s terrible. - She looked into the face of her fiancé and saw on him an expression of compassion and bewilderment.
“No, no, I’ll do everything,” she said, suddenly stopping her tears, “I’m so happy!” The father and mother entered the room and blessed the bride and groom.
From that day on, Prince Andrei began to go to the Rostovs as a groom.

There was no betrothal, and no one was announced about Bolkonsky's engagement to Natasha; Prince Andrew insisted on this. He said that since he was the cause of the delay, he must bear the full burden of it. He said that he had forever bound himself with his word, but that he did not want to bind Natasha and gave her complete freedom. If in six months she feels that she does not love him, she will be in her own right if she refuses him. It goes without saying that neither the parents nor Natasha wanted to hear about it; but Prince Andrei insisted on his own. Prince Andrei visited the Rostovs every day, but not like a groom treated Natasha: he told her you and only kissed her hand. Between Prince Andrei and Natasha, after the day of the proposal, completely different than before, close, simple relations were established. They didn't seem to know each other until now. Both he and she loved to remember how they looked at each other when they were still nothing, now they both felt like completely different beings: then pretended, now simple and sincere. At first, the family felt awkward in dealing with Prince Andrei; he seemed like a man from an alien world, and Natasha for a long time accustomed her family to Prince Andrei and proudly assured everyone that he only seemed so special, and that he was the same as everyone else, and that she was not afraid of him and that no one should be afraid his. After a few days, the family got used to him and did not hesitate to lead the old way of life with him, in which he took part. He knew how to talk about housekeeping with the count, and about outfits with the countess and Natasha, and about albums and canvases with Sonya. Sometimes the family Rostovs among themselves and under Prince Andrei were surprised at how all this happened and how obvious the omens of this were: both the arrival of Prince Andrei in Otradnoye, and their arrival in Petersburg, and the similarity between Natasha and Prince Andrei, which the nanny noticed on the first visit Prince Andrei, and the clash in 1805 between Andrei and Nikolai, and many other omens of what happened, were noticed at home.

DECORATION(a term derived from the Latin word decorare - to decorate, the French analogue of decor, Spanish - decorado, German - Buhnenbild, English - set), one of the ways to design performances in a modern theater. The main function of the scenery in the play is to create an image of the scene.

Historically, decorative art developed in the Renaissance, in the Italian court theater (), but its elements were present in the ancient tragedies of Ancient Greece. The Renaissance was preceded by the scenery of areal mystery performances, which recreated the canonical scenes of the main plot of Christian mythology (paradise, Nazareth, temple, Jerusalem, palace, dungeon, sea, purgatory, hell), located along one line (horizontally or in a circle) and shown viewers all at once. In Italian palace performances of the 16th century. “decorative perspectives” were used to depict typical scenes of tragedy, comedy and pastoral. They were located in the depths of the stage and served as a picturesque backdrop for the actors. These scenery were static. When it became necessary to show the change of scenes, they first began to use telaria (trihedral, and sometimes pentahedral, prisms. These designs were known in the ancient theater), which, turning, could show three, five or more different scenery pictures. Then rocker mechanisms were invented ( cm. STAGES), which made it possible to multiply the number of changing scenes. The next step was the appearance of the stile-arched scenery. It made it possible to create in the space of the stage-box the impression of the depth of the natural landscape, architectural landscape or interior depicted by the artist. From the end of the 18th century to recreate the interior environment, the so-called. pavilion decoration (three walls painted on canvas frames, cut through with door and window openings and supplemented by a ceiling), and in the romantic theater of the 19th century. - a picturesque and three-dimensional scenery, consisting of painted and three-dimensional design elements and in this way conveying a greater impression of the reality of the picture of the scene created on the stage. Finally, in the 20th century, thanks to new technology, it became possible to depict scenery virtually - using projection, and then a laser. On the other hand, stage designers are increasingly using authentic things (pieces of furniture, tools, various household accessories, etc.) and natural textures (wood, earth, sand, water, iron, etc.) to create a sense of the maximum reality of the stage environment. ).

No matter how the decoration is created, it always remains an illusory image. Any attempts to overcome this illusory nature led to the abandonment of the scenery in general and to the staging of performances either in the surrounding real environment, or in the space of an empty stage, designed for theatrical performance. And although such scenes are known much earlier than the scenery, they are of great interest to modern masters. Nevertheless, the scenery continues to be necessary for the theater at the present time, it gives the artist the opportunity to solve complex creative problems and please the audience, because it reveals to them the image of the real life environment of the heroes of the play or immerses them in the world of fantasy, imagination, beauty.

Viktor Berezkin

Continuing our journey through the theatrical world, today we will get into the world behind the scenes and find out the meaning of such words as ramp, proscenium, scenery, and also get acquainted with their role in the play.

So, entering the hall, each spectator immediately turns his gaze to the stage.

Scene is: 1) a place where a theatrical performance takes place; 2) a synonym for the word "phenomenon" - a separate part of the action, the act of a theatrical play, when the composition of the characters on the stage remains unchanged.

Scene- from the Greek. skene - booth, stage. In the early days of Greek theater, the skene was a cage or tent built behind the orchestra.

Skene, orchectra, theatron are the three fundamental scenographic elements of the ancient Greek performance. The orchestra or playground connected the stage and the audience. The skene developed in height, including the theologeon or playground of the gods and heroes, and on the surface, along with the proscenium, an architectural façade, a forerunner of the wall decorum that would later form the proscenium space. Throughout history, the meaning of the term "stage" has constantly expanded: the scenery, the playground, the scene of action, the time period during the act, and, finally, in a metaphorical sense, a sudden and bright spectacular event ("setting someone a scene"). But not all of us know that the scene is divided into several parts. It is customary to distinguish between: proscenium, rear stage, upper and lower stages. Let's try to understand these concepts.

Proscenium- the space of the stage between the curtain and the auditorium.

As a playground, the proscenium is widely used in opera and ballet performances. In drama theaters, the proscenium serves as the main setting for small scenes in front of a closed curtain that tie the scenes of the play. Some directors bring the main action to the fore, expanding the stage area.

The low barrier separating the proscenium from the auditorium is called ramp. In addition, the ramp covers the stage lighting devices from the side of the auditorium. Often this word is also used to refer to the system of theatrical lighting equipment itself, which is placed behind this barrier and serves to illuminate the space of the stage from the front and from below. Spotlights are used to illuminate the stage from the front and from above - a row of lamps located on the sides of the stage.

backstage- the space behind the main stage. The backstage is a continuation of the main stage, used to create the illusion of a great depth of space, and serves as a reserve room for setting the scenery. Furks or a revolving rolling circle with pre-installed decorations are placed on the backstage. The top of the rear stage is equipped with grates with decorative risers and lighting equipment. Warehouses of mounted decorations are placed under the floor of the rear stage.

top stage- a part of the stage box, located above the stage mirror and bounded from above by a grate. It is equipped with working galleries and walkways, and serves to accommodate hanging decorations, overhead lighting devices, and various stage mechanisms.

lower stage- a part of the stage box below the tablet, where stage mechanisms, prompter and light control booths, lifting and lowering devices, devices for stage effects are located.

And the stage, it turns out, has a pocket! Side stage pocket- a room for a dynamic change of scenery with the help of special rolling platforms. Side pockets are located on both sides of the stage. Their dimensions make it possible to completely fit on the furka the scenery that occupies the entire playing area of ​​the stage. Usually decorative warehouses adjoin side pockets.

The “furka”, named in the previous definition, along with the “grids” and “shtankets”, is included in the technical equipment of the stage. furka- part of the stage equipment; a mobile platform on rollers, which serves to move parts of the decoration on the stage. The movement of the furca is carried out by an electric motor, manually or with the help of a cable, one end of which is behind the scenes, and the other is attached to the side wall of the furca.

- lattice (wooden) flooring, located above the stage. It serves to install blocks of stage mechanisms, is used for work related to the suspension of performance design elements. The grates communicate with the working galleries and the stage with stationary stairs.

Shtanket- a metal pipe on cables, in which the scenes, details of the scenery are attached.

In academic theaters, all the technical elements of the stage are hidden from the audience by a decorative frame, which includes a curtain, backstage, a backdrop and a border.

Entering the hall before the start of the performance, the viewer sees a curtain- a piece of fabric suspended in the area of ​​the stage portal and covering the stage from the auditorium. It is also called "intermission-sliding" or "intermission" curtain.

Intermission-sliding (intermission) curtain is a permanent equipment of the stage, covering its mirror. Moves apart before the start of the performance, closes and opens between acts.

Curtains are sewn from dense dyed fabric with a dense lining, decorated with the emblem of the theater or a wide fringe, hemmed to the bottom of the curtain. The curtain allows you to make the process of changing the situation invisible, to create a feeling of a gap in time between actions. An intermission-sliding curtain can be of several types. The most commonly used Wagnerian and Italian.

Consists of two halves fixed at the top with overlays. Both wings of this curtain open by means of a mechanism that pulls the lower inner corners towards the edges of the stage, often leaving the bottom of the curtain visible to the audience.

Both parts Italian curtain they move apart synchronously with the help of cables attached to them at a height of 2-3 meters and pulling the curtain to the upper corners of the proscenium. Above, above the stage, is paduga- a horizontal strip of fabric (sometimes acting as scenery), suspended from a rod and limiting the height of the stage, hiding the upper mechanisms of the stage, lighting fixtures, grate and upper spans above the scenery.

When the curtain opens, the viewer sees the side frame of the stage, made of strips of fabric arranged vertically - this backstage.

Closes the backstage from the audience backdrop- a painted or smooth background made of soft fabric, suspended in the back of the stage.

The scenery of the performance is located on the stage.

Decoration(lat. "decoration") - the artistic design of the action on the theater stage. Creates a visual image of action by means of painting and architecture.

Decoration should be useful, efficient, functional. Among the main functions of the scenery are the illustration and depiction of elements supposedly existing in the dramatic universe, the free construction and change of the scene, considered as a game mechanism.

The creation of scenery and decorative design of the performance is a whole art, which is called scenography. The meaning of this word has changed over time.

The scenography of the ancient Greeks is the art of decorating the theater and the picturesque scenery resulting from this technique. During the Renaissance, scenography was the technique of painting a canvas backdrop. In modern theatrical art, this word represents the science and art of organizing the stage and theatrical space. Actually the scenery is the result of the work of the set designer.

This term is increasingly being replaced by the word "decoration" if there is a need to go beyond the concept of decoration. Scenography marks the desire to be writing in a three-dimensional space (to which the temporal dimension should also be added), and not just the art of decorating the canvas, which the theater was content with up to naturalism.

In the heyday of modern scenography, decorators managed to breathe life into space, enliven time and the actor's performance in the total creative act, when it is difficult to isolate the director, lighting, actor or musician.

The scenography (decorative equipment of the performance) includes props- the objects of the stage setting that the actors use or manipulate during the course of the play, and props- specially made items (sculptures, furniture, dishes, jewelry, weapons, etc.) used in theatrical performances instead of real things. Props are notable for their cheapness, durability, emphasized expressiveness of the external form. At the same time, props usually refuse to reproduce details that are not visible to the viewer.

The manufacture of props is a large branch of theatrical technology, including work with paper pulp, cardboard, metal, synthetic materials and polymers, fabrics, varnishes, paints, mastics, etc. The range of props that require special knowledge in the field of stucco, cardboard , finishing and locksmith works, painting of fabrics, embossing on metal.

Next time we will learn more about some theatrical professions, whose representatives not only create the performance itself, but also provide its technical support, work with the audience.

The definitions of the terms presented are taken from the websites.