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Stage decorations. Scenery

Stage decorations. Scenery

13.02.2019

THEATER AND DECORATION ART

Theatrical and decorative art (often also called scenography) - view fine arts related to art theatrical performance, that is, the creation of theater stage the living environment in which the heroes of a dramatic or musical-dramatic work act, as well as the appearance of these heroes 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 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 theater artists the sketch is important not only for the working plan of stage design, but also for an 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.

Suits actors, created by the artist in unity with the scenery, characterize social, national, individual characteristics the heroes of the play. 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 are depicted, illusions natural phenomena(snow, rain, etc.). Lighting color effects are able to create a feeling of a certain emotional atmosphere of a stage action.

Theatrical and decorative art changes with development artistic culture generally. It depends on the dominant artistic style, on the type of dramaturgy, on the state of visual arts, as well as from the arrangement of theatrical premises and the stage, from the lighting technique and many other specific 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. 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, etc.), then in 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 and others). 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 are also involved in the creation of films, television plays, variety and circus performances. Spectacle arts perceived by millions of viewers, and therefore the role of the artist here is very responsible.

Why do people go to the theatre? To enjoy the wonderful acting, interesting plot performance and ... delightful scenery. Have you ever wondered who creates them and how much work it costs?

Set designers in the theater work tirelessly to translate the production designer's idea from flat sketches to three-dimensional scenery. From this article you will learn about the profession of a decorative artist.

History of the profession

Decorators appeared in ancient world. This is due to the needs of high society - clergymen, rulers - to surround themselves with a rich, refined interior made of unique and expensive materials that would capture the imagination of ambassadors of foreign delegations.

As old as the theatre. It has come a long way of formation and development. Theatrical scenery was originally primitive and crude. Now representatives of the profession create everything for the highly artistic design of the stage.

Briefly about the profession

The name of this profession comes from English word decorate, which means "to decorate" in translation.

Decorators are interior decorators and theater artists who, based on the sketches of other artists, create scenery for performances. One of their main tasks is the production of scenery that will create a unique look for the stage, which will reflect not only the tastes of the director, but also the spirit of the performance.

The stage designer is a kind of stage architect. He needs to understand its structure from the outside and from the inside. The artist needs to know how to make scenery for the stage with his own hands in order to control the process of work and monitor the competent embodiment of the creative idea.

Theater artists work closely with the director: they must always take into account the creative idea and implement it. However, passive incarnation is not enough. If the set designer has sufficient experience and talent, he can enrich and expand the director's idea. By joining forces, you can achieve incredible results.

Responsibilities

The responsibilities of the decorator include the management of workers in the workshop of the theater, as well as the personal implementation of the most complex paintings. In addition, the set designer takes part in the acceptance of sketches and models of scenery for performances and controls the artistic state of scenery for performances of the current repertoire. It provides leadership for restoration if theatrical scenery has fallen into disrepair. Works to preserve their original style and color. Stage decorations often require a lot of various materials, which are also kept by decorators.

Mass character and uniqueness of the profession

Often, a decorator is equated with similar professionals whose professions are related to creativity, for example, designers. However, this is not at all true. The activity of the set designer is aimed at making scenery for the stage that will help recreate the atmosphere of the work and help the actors play, while the design work is aimed at mass production.

The artist-decorator can not be attributed to the mass. Often the same specialist has been working in the same theater for decades.

IN major city where there are many theaters young specialist it is quite possible to find a place in the scenery shop and, thanks to perseverance and creative individuality become a workshop leader.

The decorator must...

Learn to draw and think creatively.
Know the basics of composition, drawing and painting.
Understand the laws of color science and the psychology of color.
Remember the history of styles and arts.
Know the traditions of interior design, both modern and historical, ethnic.
Take into account features visual perception viewer.
Navigate the market of modern decor materials.
Understand the device and equipment of the stage, its characteristics.

Personal qualities

Personal qualities that an artist-decorator should have:

The ability to analyze.
Creativity, resourcefulness and ingenuity.
Flexibility and curiosity.
Developed spatial imagination.
Artistic ability.
Performance and responsibility.
Attention and accuracy.

Education: where to get a profession?

The profession of a decorator can be obtained in specialized secondary art schools, architectural and art academies. You can improve your professional skills at various seminars, courses and master classes.

How does a decorator work?

So, where does the work of a theater decorator begin? As with any director and actor - from reading the script, because the scenery in the future is designed precisely on its basis.

The decorator needs to understand the ideological message of the work, get to know the characters, feel historical era, in which the action takes place, as well as to feel its rhythm, dynamics and interweaving of the plot. This is where the work begins: the set designer presents the performance as if it were already underway on the stage. Imagination at this stage is a very important part, as it works to clarify the concept of the future production.

The first condition for the further competent work of a theater artist is a clear idea of the production and the possible nature of it. artistic solution. Then there is a discussion of the concept with the director. In most cases, the interaction of these two people determines the success of the play.

After discussion with the director, sketches and layouts of the future design of the scene are developed, as well as thinking over the artistic design as a whole. It must be remembered here that the stage is not just a part of the hall that needs to be forced. This is space for acting, which is filled with its emotions and has its own expressive power. The artist creates a layout of the scenery, forming the "style of the performance", working through the design.

Further, coordinating the layout with the director and making amendments, the set designer proceeds directly to the creation of scenery. This is a period of painstaking work on the details, the selection of the necessary material, texture and shade.

The color scheme of the scene should not be by itself: it is coordinated with the director, costume designers and lighting designers. In addition, each work of world classics requires its own color palette.

At first glance, it may seem that there are too many trifles in the work of a theater decorator, but it is precisely from them that a holistic image of the entire performance is formed. It is they who help the viewer to enter the atmosphere of the production, and the actors - in their roles.

“Work for the actor” is one of the main commandments of the decorator. The artistic design of the production works to ensure that the actors build the plasticity of their character, find the most advantageous part of the stage for each moment of the performance.

The colors of the spotlights that can be seen during the production process can be very diverse. The colors of electric lighting should be correctly integrated into the overall design of the performance.

All this time we have been talking about the theater decorator. But this profession is no less important in the musical theater and in the circus. A colorful and vibrant performance in the arena is not created without the participation of the artist. In creating any performances, productions and concerts, one cannot do without the help of an artist-decorator.

Stage painting in the ancient theater.

Scenery was an essential part of the theatrical performance and its spatial design. The surviving plays clearly show that scenery in the theater undoubtedly existed, they were characterized by the same artistic convention that distinguished theatrical art in general.

Dramatic productions were agon, the conditions of which were supposed to assume some kind of initial equality. Since the plays were presented during the whole daylight hours without long breaks for a significant change of scenery, it was almost impossible to change the scene in the same drama; the difference in scenery even between the three tragedies should have been negligible. A generally accepted conditional background was created, which could be preserved not only for the tragedies presented, but, possibly, for comedies, which fit perfectly into the general artistic context. The scenery had to not only indicate the place of action and, in a sense, effectively set off the figures of the actors, but also be simple and well understood by the audience.

The origins of scenic painting (ancient Greek σκηνογραφία) date back to the time of Aeschylus. According to Vitruvius, the Samos artist Agatharchus painted scenery for Aeschylus' plays and also left a special essay on this: “For the first time in Athens, while Aeschylus was staging a tragedy, Agatharchus staged a scene and left a description of it” (VII, praef. 11, trans. F. A. Petrovsky). However, Aristotle attributes the first use of decorative painting to Sophocles (Poet., IV, p. 1449 a 17). Some researchers are trying to connect these two messages, in connection with which they attribute the activities of Agatharchus to the end of Aeschylus's life, when Sophocles already enjoyed the fame of a dramatic writer.

Initially, the wall of the skene with doors facing the proskenium was used only for the exit of the actor. There were almost no painted scenery in the early tragedies of Aeschylus: in "The Petitioners" only the altar and images or symbols of the gods are mentioned, in "Prometheus" - only the rock to which the titan is chained. In other surviving plays, the main scenery is indicated more or less clearly. So, for example, in Aeschylus' Persians, Agamemnon and Choephors, the action takes place in front of the palace (most often it was the facade of the palace that was depicted in dramas), at the beginning of The Eumenides - in front of the temple. In Sophocles in Antigone, Oedipus Rex, Electra and The Trachinians, the scenery is a palace, in Philoctetes it is a cave, in Oedipus in Colon it is a wooded area with a sacred site. In the plays of Euripides, the action usually takes place in front of a palace, sometimes in front of a temple or country house("Electra"), and in the satyr drama "Cyclops" - in front of the cave. At the same time, the same scenery could be used to represent a different scene of action: if in the first of the tragedies of Aeschylus's trilogy "Oresteia", in "Agamemnon", the facade of the skene represented the palace of Agamemnon, then in "Eumenides" he depicted the temple with the same success Apollo at Delphi, and then the temple of Athena at Athens, and in this latter case, apparently, only the statue of the deity changed. In general, sculptural and architectural decorations (statues of the gods or one god in front of the palace, altars, tombs, etc.) were quite often used along with the painted ones. So, in "Hippolytus" by Euripides, two statues stood in front of the facade of the palace - Artemis and Aphrodite. Hippolyte, entering the stage, crowned only the statue of Artemis, and his disrespect for Aphrodite was immediately visible to the public.

In the middle of the 5th century BC e. painted scenery, drawn on boards or dense matter, leaned or hung on the wall of the proskene, which was originally wooden. And later, when the proskenium took the form of a stone colonnade, the decorations were placed in the gaps between the columns. However, even then, the characteristic feature of the painting was the simplicity and conventionality of images, as evidenced by the Roman architect Vitruvius, in whom we find the most detailed information about the scenery in Greek theater: “Scenes are of three kinds: firstly, the so-called tragic, secondly, comically, and thirdly, satirical. Their scenery is dissimilar and heterogeneous: tragic depict columns, pediments, statues and other royal objects; comic ones represent private buildings, balconies and images of a row of windows, in imitation of what happens in ordinary houses; and satirical ones are decorated with trees, caves, mountains and other features rural landscape» (V, 6, 9). Noteworthy in this testimony of Vitruvius is an indication of the principle of depicting a part instead of the whole: instead of a building, only its elements are depicted (instead of a palace - columns, pediments; instead of a private building - a series of windows).

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OGAPOU "Governor's College of Social and Cultural Technologies and Innovations"

Essay

On the topic: "Scenery in the theater"

Work completed: 1st year student

Vorontsova Elena

The word "decoration" is most often used to refer to the accessories of the theater, whose purpose is 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 are the curtain 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. The scenery is supplemented by subarcs - pieces of canvas stretched at the top across the entire stage and depicting pieces of the sky, upper branches of trees, ceiling vaults, etc. e.g. stones, bridges, cliffs, hanging galleries, stairs, etc.

performance artist theatrical scenery and called a decorator, must possess, in addition to the training necessary for a painter in general, some special knowledge: he must know perfectly the rules of linear and aerial perspective, to master a very wide method of writing, to be able to adapt his coloring to the fiery lighting in which stage performances usually take place, and in general to count on the fact 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.

Composing sketch drawing scenery, the decorator makes a model for it, that is, a miniature likeness of the stage with a cardboard curtain, backstage and other accessories, so that this model can be used to judge in advance the effect of the 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 the drawing of the sketch to it 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.

scenery performance sketch dramaturgy

Stage performances were furnished with decorations by the ancient Greeks. As one of the oldest decorators known in history, one can point to Agafarch, who lived approximately in 460-420 years. BC In recent times, decorative painting has developed primarily in Italy, which delivered the best craftsmen on this part and other countries.

From Italian decorators V XVIII century Giovanni Servandoni, who worked for Royal Opera in Paris. 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, the students of the last Sechan, Desplechin, Fescher and Cambon, Chaperon, Thierry, Rube and Cheret enjoyed loud fame. Outstanding decorators in Germany were Schinkel, Karl Gropius, the Italians Quaglio and I. Hoffmann. In Russia, the needs of the imperial theaters were satisfied at the beginning by visiting Italian decorators - Perezinotti, 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.

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 themselves 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 idea 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 sketch to layout and stage design is associated with the search for the greatest expressiveness of the scenery and its artistic completeness. In the work of the best theater artists, the sketch is important not only for the working plan of stage design, but and relatively independent work of art.

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 correlate 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 is achieved (visibility, “ readability”) of scenery, but also depicts various seasons and days, illusions of natural phenomena (snow, rain, etc.). 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.

Theatrical and decorative art in Russia has reached a high level of development. turn of the XIX--XX 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).

Literature

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

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