The concept of scenography. Modern scenography

As part of the program, students will master working with space in terms of its interaction with a person, visual drama and dynamic scenography. Students will gain skills in working with scenery, costume, using media and stage technologies, learn how to create projects for stage and exposition venues, performances, experimental and multimedia theater, installation art, quest theater, and also gain in-depth experience in implementing real projects, working with materials , interaction with creative co-authors.

During the course, students will touch upon performative practices and prepare several real projects in the format of immersive multimedia and contemporary musical theater. It will also go through the entire cycle of creating a project from an idea to a meeting with the audience.

For whom

The program is intended for students with various basic specializations (artists, architects, actors, performers, video artists, directors and contemporary art specialists) and those who want to master the specifics of working with space in different areas of performing arts.

Curator's message

What makes the program unique?

What makes the program unique?

The best masters

The program is taught by leading contemporary theater artists who have extensive experience in the field of scenography, theatrical productions, performance and use both traditional and modern means of expression in their decisions on organizing space.

Own theater studio

The spacious theater studio of the School introduces students to a wide range of possible areas of theater design, allows for readings and open screenings, stimulates creative experiments and the search for new scenographic solutions.

Most Interdisciplinary Program

Theatrical design includes such areas as costume design, illustration, architecture, interior design, computer graphics, motion design, interactive design, and animation. The creation of scenographic projects is carried out with the involvement of students from other programs: Design in an Interactive Environment (BHSAD), Illustration (BHSAD), Sound Engineering and Sound Design (MShK), Acting Skills (MShK), Makeup Artist "(MShK) and others.

Innovative theater solutions

The principles of artistic design of the performance used in the program correspond to the leading trends in world theatrical art - interactivity, simultaneity, multidimensionality.

Multimedia scenography

Scenography modeling, three-dimensional graphics, video installations, electronic scenery with multimedia screens, special lighting effects, LED costumes, structural elements, 3D mapping are mastered by students in modern computer classes, HP laboratories, stereo laboratories, digital and analog photography studios.

Notable speakers

The program includes meetings and master classes from leading stage designers, contemporary artists, directors, critics and theater theorists. At various times, the following speakers performed at the School: German Vinogradov, Vyacheslav Polunin, Yuri Kvyatkovsky, Andrei Bartenev, Vladimir Arefiev, Maria Tregubova, Ksenia Peretrukhina, Dmitry Brusnikin and many others.

Live productions

In the process of learning, students participate in the creation of productions, gaining experience working with various theater companies. As diploma works, students develop projects that are subsequently implemented at major theater and exhibition venues, such as the Boyar Chambers, the Stanislavsky Electrotheatre, the Moscow Drama Theater. Pushkin, Museum of Architecture. Shchusev.

Do-it-yourself theatrical constructions

The program studies stage materials, mechanisms, the arrangement of different types of scenes, lighting systems and scenery changes. And in the workshops of linocut and silk-screen printing, layout and prototyping, the Roland DG Printing Academy and tailoring workshops, students design sets, props and costumes.

Duration of training

Admission level

Cost of education

362,000 rubles per year (Payment in installments is possible)

Start date

Language of instruction

Learning Mode

TWO OR THREE EVENINGS ON WEEKDAYS AND ONE WEEKEND

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Program Structure

Contemporary theater
The course of lectures introduces the history of modern theatrical thinking, traces the connection between various theatrical phenomena and innovative solutions from the beginning of the 20th century to the present day.

The program introduces into the context of the actual theater, gives an understanding of different directions, theatrical forms, develops the ability of critical thinking, analysis of a stage work, the ability to apply criteria in one's practice.

Mastery of scenography
Acquaintance of students with the basics of theater design. Analysis of the methodology for creating scenography and artistic solutions for performances, dance, film works, installations, all the variety of areas that are part of the professional activity of a theater artist. This includes practical skills in working with a stage work: creating sketches, layouts, cuts, working with light, sound, implementing live projects, rehearsals.

Composition
The discipline is intended for the study of planar and spatial composition, and various expressive means. One part of the discipline is built on working with a real volume - the scene layout, the other - on the transfer of the impression achieved in the layout by means of graphics. In addition to purely compositional means (statics and dynamics, scale, tonal and color contrasts, texture and texture), the program includes work with the basics of drawing - the use of line and tone, light and shade, the transfer of space by means of graphics.

Theater production technology
Acquaintance with the technical side of the performance: work at various theater venues, the possibilities of stage equipment, norms and standards adopted in the theater. The set production section of the program includes the study of basic theatrical technologies, both traditional and the latest. Much attention is paid to the preparation of project documentation - sketches, drawings, technical descriptions.

History of Modern Dance

Fundamentals of directing and acting

Corporal ppractices

Newest technologies

science art

Modern Art

Sound Basics

Basics of Light

Dramaturgy

performance art

Graduation project consultations

Graduation projects defense

teachers

Admission conditions

To enter the program, you must fill out an application form on the website and successfully pass an interview in the selected stream.

Required documents

Application form
- Original or certified copy of education document
- 2 photos size 3x4
- Passport (to be presented when submitting documents)

Duration of study

1 year (2 academic semesters)

Cost of education

RUB 362,000 in year*

The standard form of payment for educational services is equal payments, twice a year. The School also operates its own installment payment program, which allows you to pay for tuition on a monthly basis.

Additional expenses of students during the period of study

During your training, you may need art supplies, stationery, project supplies, printing and copying services, and other services and supplies. Their list, the degree of obligation and the cost depends on the requirements of the program and the specifics of the training tasks.

An approximate list of art materials most commonly used by our students: sketchbook, A2 zip folder, soft and medium hard pencils, black bold pencil, sharpener, charcoal, eraser, kneaded eraser, colored markers, black markers, black ink, brushes synthetic, adhesive tape, scissors, a palette, a set of acrylic paints, an album for drawing, a set of capillary pens, liners, colored tape, glue stick, foam roller, A4 watercolor paper, A4 colored paper, dry pastels, colored stickers, craft paper, etc. d.

The full list will depend on the specifics of the project and the chosen method of its implementation.

Also, a project will be included in the curriculum, the result of which may be a show (performance or similar public action). The school will cover some of the project costs, but you should also plan for the cost of bringing your artistic vision to life on such a project.

*This offer is not an offer, the cost of services is subject to change. The cost of services and the conditions for their provision are specified in the contract.

Entrance tests

Any author's developments in such areas as design, graphics, painting, scenography, architecture, illustration and photography, presented in printed form or in photographs, are considered as a portfolio. The portfolio must include a project for the development of a scenographic solution (at least 3 sketches of scenography, a concept, a search process). In the absence of a scenography project, the applicant is invited to complete a creative task. Animated works and videos are provided as links or on flash media.

Career trajectory of graduates

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

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. Color lighting effects are able to create a feeling of a certain emotional atmosphere of a stage action.

Dolls by S. V. Obraztsov from his pop numbers: “Tyapaya (“Lullaby” by M. P. Mussorgsky) and the head of a doll on his finger (“We were sitting with you ...”).

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.

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).

E. Zmoiro. Scenery model for the performance of the Central Children's Theater "Skates" based on the play by S. V. Mikhalkov. 1976.

In Soviet theatrical and decorative art, the traditions of Russian theatrical and decorative classics were continued and developed. His innovation was due to new ideas, themes, images associated with the development of drama and the theater of socialist realism. The outstanding masters of this art were the artists F. Fedorovsky, V. Dmitriev, P. Williams, N. Akimov, N. Shifrin, B. Volkov, Yu. Pimenov, V. Ryndin, S. Virsaladze, A. Vasiliev and many others. Together with all other types of artistic creativity, theatrical and decorative art (through its connection with the theater and stage action) reflected all the diversity of the life of our country, the history of our society.

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.

The content of the article

SCENOGRAPHY, a type of artistic creativity that deals with the design of a performance and the creation of its visual-plastic image that exists in stage time and space. In the performance, the art of scenography includes everything that surrounds the actor (decoration), everything he deals with - plays, acts (material attributes) and everything that is on his figure (costume, makeup, mask, other elements of transformation). his appearance). At the same time, scenography can use as expressive means: firstly, what is created by nature, secondly, objects and textures of everyday life or production, and, thirdly, what is born as a result of the artist’s creative activity (from masks, costumes, material props to painting, graphics, stage space, light, dynamics, etc.)

Prehistory - prescenography.

The origins of scenography prescenography the action of the ritual-ceremonial pre-theater (both the most ancient, prehistoric, and folklore, preserved in its residual forms to this day). The “genetic code” was already manifested in the pre-scenography, the subsequent implementation of which determined the main stages of the historical development of the art of scenography from antiquity to the present day. This "genetic code" contains all three main functions that scenography is capable of performing in a performance: character, acting, and designating the scene. Character - involves the inclusion of scenography in the stage action as an independently significant material, plastic, pictorial or any other (by means of embodiment) character - an equal partner of the performers, and often the main acting "person". Game function - is expressed in the direct participation of scenography and its individual elements (costume, makeup, mask, material accessories) in the transformation of the actor's appearance and in his game. The function of designating the scene is to organize the environment in which the events of the performance take place.

character function was predominant at the stage of prescenography. At the center of ritual and ceremonial actions was an object that embodied the image of a deity or some higher power: various figures (including ancient sculptures), all kinds of idols, totems, stuffed animals (Maslenitsa. Carnival, etc.), different types of images (including the same wall drawings in ancient caves), trees and other plants (up to the modern Christmas tree), bonfires and other types of fire, as the embodiment of the image of the sun.

At the same time, the prescenography also performed two other functions - the organization of the scene and the game. The place of action of ritual actions and performances was of three types. The first type (generalized scene of action) is the most ancient, born of mythopoetic consciousness and carrying the semantic meaning of the universe (a square is a sign of the Earth, a circle is the sign of the Sun; different versions of the vertical model of the cosmos: a world tree, a mountain, a pillar, a ladder; a ritual ship, a boat , boat; finally, the temple, as an architectural image of the universe). The second type (a specific scene of action) is the environment of his life surrounding a person: natural, industrial, household: forest, glade, hills, mountains, road, street, peasant yard, the house itself and its interior - a light room. And the third type (pre-stage) was the incarnation of the other two: the stage could be any space, separated from the audience and becoming a place for playing.

Game scenography - Antiquity, Middle Ages.

From this moment, the theater itself begins, as an independent type of artistic creativity, and begins game scenography, as historically the first design system for his performances. At the same time, in the most ancient forms of theatrical performances, especially in ancient and oriental ones (which remained closest to the ritual ritual pre-theatre), scenographic characters continued to occupy a significant position, on the one hand, and generalized scenes of action, as images of the universe, on the other hand (for example, orchestra and proscenium in ancient Greek tragedy). An increase in the share of play scenography occurred as the historical movement of the theater from the mythopoetic to the secular. The Renaissance-born Italian commedia dell'arte and Shakespeare's theater were the peak of this movement. It was here that the performance design system, based on the play-action-manipulation of actors with elements of scenography, reached its culmination, after which for several centuries (up to the 20th century inclusive) it was replaced by a different design system - decorative art, the main function of which was to create an image places of action.

Decorative art - Renaissance and Modern times.

decorative art(whose elements existed earlier, for example, in the ancient theater and in the European medieval - simultaneous (simultaneously showing different scenes of action: from heaven to hell, located on the stage in a straight line frontally) the scenery of the areal mysteries), as a special system for the design of performances, was born in the Italian court theater of the late 15th-16th centuries, in the form of the so-called. decorative perspectives depicting (similar to the paintings of Renaissance painters) the world surrounding a person, as it were: the squares and cities of an ideal city or an ideal rural landscape. The author of one of the first such decorative perspectives was the great architect D. Bramante. The artists who created them were masters of a universal warehouse (at the same time architects, painters, and sculptors) - B. Peruzzi, Bastiano de Sangallo, B. Lanci, and finally S. Serlio, who in the treatise About the stage formulated three canonical types of perspective scenery (for tragedy, for comedy and for pastoral) and the main principle of their location in relation to the actors: the performers are in the foreground, the painted scenery is in depth, as a pictorial background. The architectural masterpiece of A. Palladio, the Olimpico Theater in Vincenzo (1580–1585), became the perfect embodiment of this Italian decorative system.

The subsequent centuries of the evolution of decorative art are closely connected, on the one hand, with the development of the main artistic styles of world culture, and, on the other hand, with the internal process of development and technical equipment of the stage space.

Thus, the Baroque style became decisive in the decorative art of the 17th century. Now it has become an environment that surrounds them from all sides and is created in the entire space of the scene-box. At the same time, the types of scenes themselves have expanded significantly. The action was transferred to the underwater kingdoms and to the heavenly spheres. The scenery paintings expressed the baroque idea of ​​the infinity and infinity of the world, in which man is no longer the measure of all things (as it was in the Renaissance), but only a small particle of this world. Another feature of the scenery of the 17th century. - their dynamism and variability: on the stage (both on the "earth", and under the "water", and in the "heaven"), many of the most fantastic, mythological metamorphoses, events, transformations took place. Technically, instantaneous changes of some pictures by others were first made with the help of telarii (trihedral rotating prisms). Then rocker mechanisms and a whole system of theater machines were invented. Leading masters of decorative baroque of the 17th century. - B. Buontalenti, G. and A. Parigi, L. Furtenbach, I. Jones, L. Burnacini, G. Mauro, F. Santurini, C. Lotti, and finally G. Torelli, who implemented this Italian system of performance design in Paris, where at the same time another decorative style took shape - classicism.

His canon was close to the canon of Renaissance perspectives: the scenery again became the backdrop for the actors. She was, as a rule, single and irremovable. Instead of vertical baroque decorations directed to the sky, they are again horizontal. The idea of ​​the infinity of the world was opposed by the concept of a world that is closed, arranged rationally, according to the laws of reason, harmoniously harmonious, strictly symmetrical, proportionate to a person. Accordingly, the number of scenes has been reduced (compared to baroque). It again (as with Serlio) was reduced to three main plots, which, however, now acquired a slightly different character - more and more interior.

Since the authors of the classicist scenery were most often the same masters (Torelli, J. Buffequin, C. Vigarani, G. Berin), who at the same time, in other performances, were the authors of the baroque scenery, a natural interpenetration of these two styles took place, as a result of which new style formation: baroque classicism, which then, at the beginning of the 18th century. moved to the Classicist Baroque.

On this basis, the art of decorative baroque of the 18th century developed, which was most vividly represented throughout the century by outstanding Italian masters from the Galli Bibbiena family. The head of the Ferdinando family created images of “spiritual architecture” (A. Benois’s expression) on stage, the fantastic baroque compositions of which he deployed, however (unlike the artists of the baroque theater of the previous century) on the planes of a painted backdrop, backstage or curtain. Ferdinando's brother Francesco, and his sons Alessandro, Antonio and especially Giuseppe (who reached the true heights of virtuosity and power of compositions of the "triumphant baroque"), and, finally, the grandson Carlo worked in the same spirit. Other representatives of this direction of decorative art are F. Yuvarra, P. Righini and G. Valeriani, who brought the style of "triumphant baroque" to the Russian court scene, where for two decades (40s and 50s of the 18th century) he designed productions of the Italian opera seria.

Parallel to the decorative baroque in the art of designing performances of the 18th century. there were other stylistic trends: on the one hand, coming from the Rococo style, on the other, classicist. The latter were associated with the aesthetics of the Enlightenment, and their representatives G. Servandoni, G. Dumont, P. Brunetti and most of all P. di G. Gonzaga, an outstanding decorator already at the turn of the 19th century. and the author of a number of theoretical treatises written during his years in Russia. Following in many ways the experience of Bibbien, these artists made significant changes, primarily in the nature of decorative images: they painted, although idealized (in the spirit of classicism), but nevertheless, as it were, real motifs, strove (in the spirit of the aesthetics of the Enlightenment) to believable and natural. This orientation of the artists anticipated - especially in the work of Gonzago - the principles of the scenery of the romantic theater of the first half of the 19th century.

The leading position in decorative art was no longer occupied by Italian artists, but by German ones, whose leader was K.F. Schinkel (one of the last major artists of the universal type: an outstanding architect, skilled painter, sculptor, decorator); in other countries, prominent representatives of this trend were: in Poland - J. Smuglevich, in the Czech Republic, then in Vienna - J. Pleiser, in England - F. de Lowtherburg, D.I. Richards, the Grive family, D. Roberto, K. Stanfield; in France - C. Sisseri. In Russia, the experience of German romantic scenery was implemented by A. Roller, his students and followers, one of the most famous was K. Waltz, who was called "the magician and wizard of the stage."

The first characteristic quality of romantic decoration is its dynamism (in this respect it is a continuation of the baroque decoration of the 17th century at a new stage). One of the main objects of stage incarnation was the state of nature, most often catastrophic. And when these terrible elements played out their stage “roles”, lyrical landscapes opened before the audience, most often at night - with the moon peeking out from behind disturbing ragged clouds; or rocky, mountainous; or river, lake, sea. At the same time, nature in all its manifestations was embodied by artists not by depicting it on the plane of a theatrical backdrop, but with the help of purely stage machinery, light, movement and various other methods of “revitalizing” the entire three-dimensional volume of the stage space and its transformation. Romantic decorators turned the stage into an open, unrestricted world, capable of accommodating all the variety of all kinds of scenes. In this respect, Shakespeare was a model for them - they relied on him in the struggle against the classicist canon of the unity of place and time.

In the second half of the 19th century. romantic scenery evolves first to recreate real historical scenes, only romantically colored and poetically generalized. Then - to the so-called "archaeological naturalism" (which was embodied first in the English productions of the 50s by Ch.Kin), then in the Russian theater (works by M.Shishkov, M.Bocharov, partly by P.Isakov under the authoritative patronage of V.Stasov) and, finally, to the creation on the stage of detailed decorative pictorial compositions on historical themes (productions of the Meiningen theater and performances by G. Ewing).

The next stage in the development of decorative art (directly following from the previous one, but based on completely different aesthetic principles) is naturalism. Unlike the romantics, who, as a rule, turned to creating paintings of the distant past on the stage, in the performances of naturalistic theater (A. Antoine - in France, O. Brahm - in Germany, D. Grain - in England, finally, K. Stanislavsky and artist V. Simov - in the first productions of the Moscow Art Theater) the scene was modern reality. On the stage, it was as if a “cut out of life” was recreated, as a completely real environment for the existence of the hero of the play.

The next step in this direction was taken in the productions of the Moscow Art Theater, primarily in Chekhov's, where Stanislavsky tried to psychologically "revive" the static "cut out of life", to give it the quality of variability over time, depending on the state of nature at different times of the day and at the same time on the internal characters' experiences. The theater began to look for ways (mainly with the help of a score of light) to create a stage "atmosphere" and stage "mood", new qualities of performance design that can be described as impressionistic. In a somewhat different way, the influence of impressionism was realized in the musical theater - in the scenery and costumes of K. Korovin, who, according to him, sought to create picturesque “music for the eyes” on the stage of the Bolshoi Theater, immerse the audience in the dynamic element of color, convey the sun, air, “color breathing » of the surrounding world.

Late 19th - early 20th century a period in the development of the decorative art of the world theater, when Russian masters occupied a leading position in it. Having come to the stage from the fine arts, they are first in Moscow, at the Mammoth Opera (V. Vasnetsov, V. Polenov, M. Vrubel, beginners Korovin and A. Golovin), then in St. Petersburg, where the World of Art society was created ( A. Benois, M. Dobuzhinsky, N. Roerich, L. Bakst and others), enriched the theater with the highest visual spectacle, and in the direction were neo-romantics, for whom the artistic heritage of past centuries was the main value. At the same time, the masters of the “World of Art” circle began stage searches related to the revival - based on modern plastic and theatrical culture (especially symbolism and modern styles) - pre-decorative ways of designing performances: on the one hand, playful (ballet costumes by L. Bakst, “ dancing" together with the actors, and in the dramatic experiments of Vs. Meyerhold - decorated by N. Sapunov, S. Sudeikin, K. Evseev, Yu. in the productions of the same Vs. Meyerhold, expressing the theme of the performance).

This experience of Malevich became a project facing the future. The stage ideas announced at the turn of the 19th and 20th centuries also had a design character. Swiss A. Appia and Englishman G. Crag, because although both of them managed to partially realize these ideas on the stage, nevertheless, they received their true and multifaceted development in the subsequent theatrical searches of artists of the 20th century. The essence of the discoveries of these outstanding masters was that they turned decorative art towards the creation of images of a generalized stage environment in the stage space. For Appia, this is the world at the earliest mythopoetic stage of its existence, when it was just beginning to emerge from chaos and acquire some harmonious universal pra-architectural forms, built as monumental platforms and pedestals for rhythmic movement on them - in an open luminous space - of the characters of musical dramas R. Wagner. In Crag, on the contrary, these are heavy monoliths of cubes and parallelepipeds, powerful walls, towers, pylons, pillars that surrounded the small figure of a man, opposed and threatened him, rising to the full height of the stage space and even higher, beyond the visibility of the audience. And if Appiah created an open primordial stage environment, then Craig, on the contrary, tightly closed, hopeless, in which the bloody stories of Shakespeare's tragedies were to be played out.

Effective scenography is the newest time.

First half of the 20th century world scenography developed under the strongest influence of modern avant-garde art movements (expressionism, cubo-futurism, constructivism, etc.), which stimulated, on the one hand, the development of the latest forms of creating specific places of action and the revival (following Appia and Craig) of the most ancient, generalized, and on the other hand, the activation and even coming to the fore of other functions of scenography: game and character.

Back in the mid-1900s, the artists N. Sapunov and E. Munch composed dramas by G. Ibsen for productions by Vs. Meyerhold and M. Reinhardt ( Hedda Gabler And Ghost) the first scenery, which, while remaining an image of interior scenes, at the same time became the embodiment of the emotional world of the main characters of these dramas. Then experiments in this direction were continued by N. Ulyanov and V. Egorov in symbolist performances by K. Stanislavsky ( drama of life And human life). The pinnacle of these searches was the scenery of M. Dobuzhinsky for the staging Nikolai Stavrogin in the Moscow Art Theater, which are considered a forerunner of psychological scenery, which, in turn, to a large extent absorbed the experience of the scenery art of the theater of expressionism. The essence of this direction was that the rooms, streets, city, landscapes depicted on the stage appeared expressively hyperbolized, often reduced to a symbolic sign, subject to all sorts of distortions of their real appearance, and these distortions conveyed the state of mind of the hero, most often overdramatized, on the verge of tragic grotesque. German artists (L. Sievert, Z. Klein, F. Shefler, E. Barlach) were the first to create such decorations, then they were followed by set designers from the Czech Republic (V. Hoffman), Poland (V. Drabik), Scandinavia and, especially, Russia. Here, a number of experiments of this kind were made in the 1910s by Yu. Annenkov, and in the 1920s by the artists of the Jewish theater (M. Shagal, N. Altman, I. Rabinovich, R. Falk), and in Petrograd-Leningrad - M. Levin and V. Dmitriev, who in the 1930s–1940s became the leading master of psychological decoration ( Anna Kar enina, Three sisters, Last victim at the Moscow Art Theater).

At the same time, decorative art mastered the types of specific places of action. This is, firstly, the “environment” (a common space for both actors and spectators, not separated by any ramp, sometimes completely real, such as, for example, a factory floor in Gas masks at S. Eisenstein, or organized by the art of artists A. Roller - for the productions of M. Reinhardt in the premises of the Berlin circus, the London Olympic Hall, in the Salzburg church, etc., and J. Stoffer and B. Knoblok - for the performances of N. Okhlopkov at the Moscow Realistic Theatre); in the second half of the 20th century. the design of the theatrical space as an "environment" became the main principle of the work of the architect E. Guravsky in the "poor theater" E. Grotovsky, and then in a variety of options (including natural, natural, street, industrial - factory shops, stations and etc.) has become widely used in all countries. Secondly, a single installation built on the stage, depicting the “house-dwelling” of the heroes of the play with its different rooms, which were shown simultaneously (thus, reminiscent of the simultaneous scenery of medieval mysteries in the square). Thirdly, the scenery paintings, on the contrary, dynamically replaced each other with the help of the turn of the stage circle or the movement of the furoque platforms. Finally, throughout almost the entire 20th century. The World of Art tradition of stylization and retrospectivism remained viable and very fruitful - the re-creation on the stage of the cultural environment of past historical eras and artistic cultures - as specific and real habitats for the heroes of a particular play. (In this spirit continued to work - already outside of Russia - the senior World of Art, and in Moscow and Leningrad - such different masters as F. Fedorovsky, P. Williams, V. Khodasevich and others; from foreign artists this direction was followed by the British H. Stevenson , R.Whistler, J.Beuys, S.Messel, Motley, J.Piper; Poles V.Dashevsky, T.Roshkovskaya, J.Kosinski, O.Axer, K.Frych; Frenchmen K.Berard and Cassander).

In the process of revival of the most ancient, generalized places of action, following the projects of Appia, the most significant contribution was made by the artists of the Moscow Chamber Theater: A. Exter, A. Vesnin, G. Yakulov, brothers V. and G. Stenberg, V. Ryndin. They embodied the idea of ​​A. Tairov that the main design element is the plasticity of the stage, which, according to the director, is “that flexible and obedient keyboard, with the help of which he (actor - V.B.) could most fully reveal your creative will. In the performances of this theater, generalized images appeared, embodying the quintessence of the historical era and its artistic style: Antiquity ( Famira Kifared And Phaedra) and Ancient Judea ( Salome), Gothic Middle Ages ( Annunciation And Holy And oanna) and Italian Baroque ( Princess Brambilla), Russian 19th century ( Storm) and modern urbanism ( Human, which was Thursday). Other artists of the Russian theater (K.Malevich, A.Lavinsky and V.Khrakovsky, N.Altman) followed the same direction in the 1920s when they created “the whole universe” on the stage, the whole globe as a scene Mystery Buff, or I. Rabinovich, when he composed "the whole of Hellas" staged Lysistrata), as well as artists in other European countries (the German expressionist E. Pirhan in the performances directed by L. Jessner or H. Hekrot in a series of productions in the 1920s of operas by G. Handel) and in America (the famous project of the architect N. Bel-Geddes for stage version Divine Comedy).

The initiative in the process of activating the game and character functions also belonged to the artists of the Russian theater (in the 1920s, as well as in the 1910s, they continued to occupy a leading position in world scenography). A whole series of performances was created in which the rethought principles of the game design of commedia dell'arte and Italian carnival culture were used (I. Nivinsky in Princess Turandot, G.Yakulov Princess Brambilla, V.Dmitriev Pulcinella), Jewish folk action Purimspiel(I.Rabinovich in sorceress), Russian lubok (B. Kustodiev in Lefty, V.Dmitriev Bike about Fox, Rooster, Cat and Ram), finally, circus performances, as the most ancient and most stable tradition of game scenography (Yu. Annenkov in First distillery, V. Khodasevich in circus comedies staged by S. Radlov , G. Kozintsev in getting married, S. Eisenstein in Sage). In the 1930s, this series was continued by the works of A. Tyshler in the gypsy theater "Romen", and on the other hand, the productions of N. Okhlopkov in the design of B. G. Knoblok, V. Gitsevich, V. Koretsky, and above all aristocrats. The visual image of all these performances was built on a varied play of actors with a costume, material accessories and a stage platform, which were solved by artists in various styles: from world art to cubo-futuristic. As one of the options for this kind of scenography, theatrical constructivism appeared in his first and main work - staging Magnanimous cuckold Vs. Meyerhold and L. Popova, where a single constructivist setting became a "device for the game." At the same time, in this performance (as well as in other productions by Meyerhold), the acting scenography acquired the modern quality of functional scenography, each element of which is due to its expedient necessity for the stage action. Having been developed and rethought in the German political theater of E. Piskator, and then in the epic theater of B. Brecht, and finally in the Czech Theatregraph - the light theater of E. Burian - M. Kourzhil, the principle of functional scenography became one of the basic principles of the work of artists in the theater of the second half of the 20th century, where it began to be understood widely and, in a certain sense, universally: as the design of a stage action equally in all three ways inherent in the "genetic code" - game, character and organization of the stage environment. A new system has been effective scenography, which took over the functions of both historically previous systems (game and decoration).

Among the great variety of experiments in the second half of the 20th century. (French researcher D. Bablé described this process as kaleidoscopic), which were carried out in theaters of different countries, using both the latest discoveries of the post-war wave of the plastic avant-garde, and all kinds of advances in technology and technology (especially in the field of stage lighting and kinetics), two most significant trends can be distinguished . The first one is characterized by the assimilation of a new content level by scenography, when the images created by the artist began to visibly embody the main themes and motives of the play in the performance: the root circumstances of the dramatic conflict, the forces opposing the hero, his inner spiritual world, etc. In this new quality, the set design became the most important, and sometimes the defining character of the performance. So it was in a number of performances by D. Borovsky, D. Leader, E. Kochergin, S. Barkhin, I. Blumbergs, A. Freibergs, G. Gunia and other artists of the Soviet theater of the late 1960s - the first half of the 1970s, when this trend has reached its climax. And then a trend of the opposite nature came to the fore, which manifested itself in the works of masters, primarily of the Western theater, and occupied a leading position in the theater of the late 20th and early 21st centuries. The direction born of this trend (its most prominent representatives are J. Svoboda, V. Minks, A. Mantei, E. Wonder, J. Bari, R. Koltai) can be denoted by the phrase stage design, considering at the same time that the same phrase in the English-language literature generally defines all types of performance design - both decorative, and acting, and character). The main task of the artist here is the design of the space for the stage action and the material-material-light support of each moment of this action. At the same time, in its initial state, the space can often look completely neutral in relation to the play and the style of its author, and not contain any real signs of the time and place of the events taking place in it. All the realities of the stage action, its place and time appear before the viewer only in the course of the performance, when, as it were, from “nothing”, its artistic image is born.

If we try to present the picture of modern world scenography in its full scope, then it contains not only these two tendencies, but it consists of an inexhaustible multitude of the most diverse individual artistic decisions. Each master works in his own way and creates the most varied design of a stage action - depending on the nature of the dramatic or musical work and on its director's reading, which is the methodological basis of the system of effective scenography.

Viktor Berezkin

Literature:

Paul. Die Theater decoration des Classizismus. Berlin, 1925
Paul. Die Theater decoration des Barock. Berlin, 1925
Mariani Valerio. Storia della Scenografia Italiana. Firenze, 1930
Ricci Corrado. La scenografia Italiana. Milano, 1939
Janos. Baroque and Romantic Stage Design. New York, 1950
F.Ya.Syrkina. Russian theatrical and decorative art of the 2nd half of the 19th century. M., 1956
Denis. Eathetique generale du decou de theater de 1870 and 1914. Paris, 1963
Zenobiusz. Kierunki scenografii wspolezesnej. Warzawa, 1970
M. Zaklady teoreticke scenografie.1.dil.Uvodni uvahy. Prague, 1970
M.N. Pozharskaya. Russian theatrical and decorative art of the late 19th - early 20th century. M., 1970
S. A Short History of Scene Design in Great Britain. Oxford, 1973
M.V. Davydov. Essays on the history of Russian theatrical and decorative art of the 18th - early 20th centuries. M., 1974
Denis. Les Revolutions Scenes du XX siecle. Paris, 1975
F.Ya.Syrkina, E.M.Kostina. Russian theatrical and decorative art. M., 1978
Ptackova Vera. Ceska scenografie XX century. Prague, 1982
Strzelecki Zenobiusz. Wspolczesna scenografie polska. Warzawa, 1983
R.I.Vlasova. Russian theatrical and decorative art of the early twentieth century. The legacy of the St. Petersburg masters. L., 1984
Die Maler and das Theater in 20. Jahrhundert. Frankfurt, 1986
Berezkin V.I. The art of scenography of the world theater. From the beginnings to the middle of the twentieth century. M., 1997
Berezkin V.I. The art of scenography of the world theater. Second half of the 20th century. M., 2001
Berezkin V.I. The art of scenography of the world theater. Masters. M., 2002



The question of the origins of the art of scenography, as well as any other type of artistic creativity, is the first of those that we have to answer. Without an answer to this question, it is difficult to imagine the patterns of the entire subsequent historical development of scenography. Only knowing the structure and genetic code of the “grain” can we imagine what kind of “tree” of this art is, and in what direction it grows, we can mentally cover it entirely: from the ancient root system hidden in the depths to the endlessly branching modern “crown” , giving more and more new "shoots". However, before looking for the origins and considering them, we must clearly define the origins of what we are interested in. For the question of the origins was raised, for example, in books on decorative art (the second system of designing a performance): historians of this art looked for features in ancient forms of scenography that they could interpret as the primary elements of decorative design. In this work, we will be interested not only in the origins of each of the three performance design systems (play, scenery, action), but above all in the art of scenography as a whole, as a special, specific type of artistic creativity. The art of scenography, as it was formed as a result of a long historical evolution, as we know and understand it today, covers the entire material and material part, the visible image of the performance. It includes everything that surrounds the actor, and everything that is in his hands (props) and on him (costume, makeup, mask, other elements of the transformation of his appearance). Covering the entire material and material part of the visible image of the performance.

The art of scenography covers the entire material and material part, the visible image of the performance. It includes everything that surrounds the actor, and everything that is in his hands (props) and on him (costume, makeup, mask, other elements of the transformation of his appearance). Covering the entire material and material part of the visual image of the performance, the art of scenography uses the most diverse means of expression, which can include everything that is created by nature and human hands. Man-made includes both the real object world and the world of art (masks, costumes, things), decorative and pictorial (painting, graphics, sculpture), and specifically theatrical (stage space, stage light, stage dynamics, etc.). ). At the same time, the art of scenography can, as all the experience of its historical existence known to us, perform three main functions in a performance: play, designate the scene and character, both individually and in their most diverse combinations. The game function implies the direct participation of scenography and its individual elements (costume, makeup, mask, thing) in the transformation of the appearance; actor and in his game. The character function presupposes the diverse inclusion of scenography) in the stage action - including r as a kind of its material-material, plastic, pictorial, any other "character", embodying in the context of the performance one or another of its ideological and artistic motive, theme, circumstances, forces of dramatic conflict, etc., etc.

Costume: firstly, a means of playing transformation (disguise) of an actor; secondly, the everyday clothes of the character, characterizing his social, material, social position, his tastes, habits; thirdly, a certain attire composed by the artist, which contains a significant semantic and figurative significance, having an independent symbolic meaning - a garment that the performers wear as a special kind of generalized plastic image of the character.

The mask: firstly, just like the costume, it is a means of playing transformation (disguise, disguise) of the actor; secondly (in the form of make-up elements) - a way to give a natural everyday character; thirdly, a separate, independent actor, embodying some transpersonal, inhuman images.

Space: firstly, this is a place for playing, both natural (in nature, in the square, in a hut, etc.) and specially constructed (stage stage); secondly, the scene of the play is a generalized (for example, mythopoetic images of the universe, the universe, or a plastic embodiment of an entire historical era, style, etc.) or a real, concrete (room, house, palace, city, village, etc.). d.); thirdly, it is an effective means of creating a scenographic image of a character type.

This also applies to scenography. And it existed long before the theater and, therefore, before its own formation as a special art form.

"Decorative art" is a more accurate concept in relation to arts and crafts, because. characterizes the manufactured object by its artistic features and captures the field of architectural interior design (decorative and design art). D.-p.i. serves the everyday needs of a person and at the same time satisfies a person in his aesthetic needs. Even in primitive art, ornamental decorations are known that were associated with labor activity and magical rites. With the advent of machine production, artists began to use the possibility of drawing a pattern on fabric, as well as in woodcarving, etc.

"Decorative art" with the development of industrial production began to more satisfy the mass demand associated with the emergence of design. Here, the design of the architectural interior is noted - murals, decorative sculpture, reliefs, plafonds, etc. The fine arts, which are expressed in the form of mosaics, panels, tapestries, carpets, etc., are also referred to as varieties of this trend. This also includes the decoration of the person himself - clothes (Costume) and jewelry.

"Theatrics" - (from Latin - theater stage, stage; from Greek - tent, tent) refers to the field of theatrical creativity, i.e. the field of creating a performance and the necessary professional skills. Any theatrical action is carried out with the help of all means of theatrical expression, which are directly related to space and time in art. This includes the work of the director, illuminator, costume designer, decorator, acting, music, etc.

In aesthetics - naturalism of the XIX century. scenery is a background canvas, most often representing an illusory perspective and placing the stage scene in a given Wednesday. This is a rather narrow understanding of the term. Hence the attempts of critics to expand the meaning of the term, to replace it with others: scenography, figurativeness, stage arrangement, play or stage object space, etc.

Literature:

1. Akimov N.P. Theatrical legacy. –M., 1980.
2. Alpers V. Theatrical essays. - M., 1977.
3. Berezkin V.I. The art of scenography of the world theater. In two books. M.: "Editorial URSS", 1997.
4. Essays on the history of the European theater. - Pg., 1923.

5. Pavi P. Dictionary of the theater: Per. from fr. – M.: Progress, 1991. – 504 p.: ill.

1. Pozharskaya M. Russian theatrical and decorative art. - M., 1978.
2. Stanislavsky K.S. My life in art. - M., 1962.
3. Tairov A.Ya. History of the theater in Russia. - M., 1989.
4. Takrov A.Ya. About the theatre. - M., 1983.
5. Aesthetics: Dictionary / Ed. A.A. Belyaeva and others - M .: Politizdat, 1989.

Lesson 3

Subject: Scenography and theatrical and decorative art as a special kind of artistic creativity.

Exercise. Creation of a scenery sketch (in any technique) based on a photograph or painting depicting an interior or landscape.

Goals: find out what is the role of the image and the proportion of the use of pictorial and graphic means of expression in creating the artistic image of the performance; to acquaint with the artistic activity of the stage designer; form an idea of ​​the expressive means of scenography; introduce students to the types of stage design; to form the ability to determine the type of stage decoration; to promote teaching students the ability to justify their answers, illustrating them with examples; improve the skills of artistic and visual activity; contribute to the formation of a communicative culture; contribute to the formation of moral and aesthetic responsiveness to the beautiful and the ugly in life and art; determine the role of the theater artist in creating a performance to enhance its emotional and figurative structure; discuss and analyze photographs of theater models and sketches; establish a mandatory connection between the content of theatrical scenery and the genre features of the performance; develop spatial composition skills; to develop information culture, creative imagination, education of emotional and sensual attitude to works of musical and visual arts; develop skills in sketching scenery.

Visual range: Illustrations on the topic.

During the classes

Organizing time. The topic of the lesson.

Slide number 1. Many of you have been to the theater and you probably know the feeling when the lights go out in the hall, the curtain rises, and everyone in the hall is engulfed in a sense of magic and mystery. You still don’t see the heroes of the performance, but some other, extraordinary life is already beginning on the stage, a new world is opening up.

- Thanks to what, from the first moments, we are immersed in this wonderful world of theatrical miracle?

Of course, the reasons for this phenomenon lie in the fact that artists working in the theater are gradually moving from working on stage design to working on the performance as a whole, one of the results of which is stage design.

Introductory conversation.

Theater artists manifest themselves not only in the usual functions of the artist - determining the shape, color, scale, lighting of objects on the stage - but in the action of both these objects and the actors associated with these objects. Naturally, under such conditions, it is absolutely impossible to consider the work of the artist on the scenery and costumes separately from other functions. Theater artists should be diverse.

Learning new material.

Slide number 2. Scenography- This is a type of artistic creativity that deals with the design of the performance and the creation of its visual-plastic image that exists in stage time and space. In a performance, the art of scenography includes everything that surrounds the actor, everything he deals with: scenery, costumes, props, make-up, light.

Slide number 3. A variety of theater services are involved in creating a holistic image of the performance:

Slide number 4. carpentry shop,

Slide number 5-6. tailor shop,

Slide number 7. prop shop,

Slide number 8. light shop,

Slide number 9. make-up shop,

Slide number 10. assembly shop.

Slide number 11. The space of any theater where a performance is taking place can be conditionally divided into 2 parts: the auditorium and the stage. The auditorium of any theater should include a sufficient number of seats. The main comfortable seats are in the stalls and the slightly raised amphitheater following it.

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

Amphitheater- a building, which is a step-like towering rows of seats.

Above the audience seats in the stalls and the amphitheater rise the mezzanine boxes, and then there are 4 tiers with balconies and boxes, as can be seen in the image of the auditorium.

Lodge- in a traditional theatrical interior, a group of seats separated from neighboring ones by side partitions or barriers.

slide number 12. – How is the stage set up? Scene- a platform where a theatrical performance takes place.

theater stage - the main part of the theater building, a closed box (stage box), adjacent to the auditorium and connected to it by a portal opening.

slide number 13. The stage is separated from the auditorium by a curtain. It allows you to hide from the viewer the preparations for the performance, the opening of the curtain clearly marks the beginning of the performance, as well as a clear ending of the action is achieved by closing it.

theater curtain- a cloth covering the stage from the auditorium.

Curtains are: rising, moving apart and approaching diagonally to the corners of the stage mirror (Greek curtain).

Orchestra pit - a special room for the orchestra in the theater, located in front of the stage. Located below the level of the stalls, the orchestra pit is separated from it by a small barrier.

Proscenium- the front part of the stage is somewhat extended into the auditorium.

Soffit s are metal fittings for hanging lighting fixtures above the stage, raised and lowered with an electric drive.

Backdrop - a painting on fabric, which is suspended in a stretched form. The backdrop is the backdrop for the design of the performance and is located behind other scenery.

- What is decoration?

Slide number 14.

Decoration- this is a pictorial or architectural image of the place and setting of the theatrical action installed on the stage.

There are two types of scenery: pictorial and architectural and constructive.

Slide number 15. The basis of pictorial scenery is a picturesque sketch - a two-dimensional work of painting. The breakdown of the sketch into plans, the transfer of its individual parts to a number of planes located at different depths of the stage, are made as an inevitable means for living three-dimensional actors to fit in the stage space.

The picturesque scenery today has been preserved only in ballet performances, where a vast empty stage is needed, free for dancing.

Slide number 16. The nature of the stage architecture - those buildings that, according to the decision of the artist and director, appear on the stage for a given production, determine the nature of future mise-en-scenes - the movements of the actors. Like good architecture and monumental sculpture, designed to be viewed from all sides, the architectural and constructive design of the stage could be viewed with the same effect from all places in the auditorium.

I want to draw your attention to the fact that the colorful imagery of the performance, the brightness of the theatrical performance - all this attracted the best painters to work on creating scenery.

- What do you think, which of the outstanding artists connected their work with the theater?

slide number 17.A. Golovin. Kashcheevo kingdom. Sketch of the scenery for the opera I. Stravinsky "Firebird".- What do you see on this scenery? What feelings does it evoke in you?

- With the help of what visual means does the artist achieve this?(The landscape in which the Firebird appears - the silent, bizarre kingdom of Kashcheyevo - is painted as if with unearthly, "otherworldly" colors).

-What kind of music can sound on this background?(Music enhances the impression of fantastic brilliance. The voices of the wizard and the raging witches and gnomes seem to be heard in the orchestra)

slide number 18.N. Roerich. Decoration for the ballet I. Stravinsky "The Rite of Spring".(The image on the scenery reflects the actual action of "spring growth".)

Listen to the introduction to the ballet.

- Share your impressions.(The initial theme - a tune - is performed by a bassoon, in its outline resembling a stalk that constantly stretches, rushes up. Just as the stem of a plant is constantly overgrown with leaves, the melodic line is constantly overgrown with undertones. Shepherd's flute tunes gradually turn into a thick musical fabric in which bird chirping is heard.)

slide number 19.A. Benois. Sketch of the scenery for the ballet I. Stravinsky "Petrushka".

(We see that the action of the ballet takes place during Maslenitsa, a holiday that has always been widely celebrated in Rus'. Folk festivals, fairs, dances, a farcical grandfather amusing the crowd - everything is reflected in the scenery.)

Listening to an excerpt from the ballet.

- Do you have the feeling that musical instruments sound randomly, as if interrupting each other? Why? (The mood of the fair, festivities is conveyed - screams, fuss, dances).

slide number 20.

N. Goncharova. Sketch of the scenery for the opera N. Rimsky-Korsakov "The Golden Cockerel"

slide number 21.

I. Ya. Bilibin. Sketch of the scenery for the opera N. A. Rimsky-Korsakov "The Golden Cockerel"

(Note that the same scene is depicted by different artists, but the character of the plot is preserved.)

slide number 22.

D. Stelletsky. Sketch of the scenery for the opera N. Rimsky-Korsakov "The Snow Maiden".

The beginning of spring. Midnight. Spring-Red descends to the Red Hill. Once she became the wife of the stern old Frost, and since then the country of the Berendeys has been subject to severe winters and cold springs. Santa Claus comes out of the forest. At dawn, he must leave the earth, but he is worried about the fate of the Snow Maiden: Yarilo planned to destroy her, planting a fire of love in her heart.

The artist depicts some kind of mystery: something is about to happen. The scenery shows that the action takes place in the forest. The ground and tree branches are still covered with snow, the river is covered with ice, but the air is already filled with the spring breath of spring.

Listening to the Prologue from the opera.

- Try to identify three main themes of the composition.(The opera begins with a small orchestral introduction depicting the early arrival of spring. Then the theme of Santa Claus sounds. Her character is heavy, stern, restrained, as if “fettering”. Gradually, nature begins to come to life: the air is filled with the discordant chirping of birds flying from the sea, from a hollow the lazily stretching goblin appears and heralds the end of winter).

Slide number 23-26. Consider the design of scenery by famous artists for other musical performances.

slide number 27.- So, what does a decorator do before starting work? Studying a work, scriptSelecting material on a topic slide number 28. Making scenery sketches slide number 29. Making a scenery layout slide number 30. Making a scenery drawing slide number 31. Making the basis of the scenery according to the drawing slide number 32. decorating, decorating slide number 33. Installation of scenery on the stage

Slide number 34-49. Consider the design of scenery for different performances.

Knowledge update.

Today in the lesson you will have to try yourself in the role of a decorator and try to sketch the scenery for any performance of your choice.

But before you get started, let's see the sequence of work on the decoration.

Slide number 50-86.

Practical work.

Creation of a scenery sketch (in any technique) based on a photograph or painting depicting an interior or landscape.

Summary of the lesson.

Homework.