For the implementation of the production, certain conditions are needed - the space of the auditorium and the stage. How these two spaces relate, how their form is determined, etc., determines the nature of the relationship between the actor and the audience, the conditions for perceiving the performance. These ratios are determined by the social and aesthetic requirements of the era, the creative characteristics of artistic trends, and other factors.
Spectator and stage spaces together make up theatrical space. At the heart of any form of theatrical space there are two principles for the location of actors and spectators in relation to each other: axial And center.
IN axial In this solution, the stage is located frontally in front of the audience, and they are, as it were, on the same axis with the performers. IN center– seats for spectators surround the stage from three or four sides.
Fundamental to all kinds of scenes is the way in which both spaces are combined. There can also be only two solutions here: either a clear separation of the volume of the stage and the auditorium, or their partial or complete merging into a single, undivided space. In other words, in one version, the auditorium and the stage are placed, as it were, in different rooms that are in contact with each other, in the other, both the hall and the stage are located in a single spatial volume.. These principles can be traced from the first theatrical structures in ancient Greece to modern buildings.
Classification of the main forms of the stage:
1 –box stage; 2–stage-arena; 3–spatial scene (a–open area, b–open area with a box stage); 4–ring stage (a–open, b–closed); 5–simulated scene (a–single platform, b–individual sites)
box scene- a closed stage space, bounded on all sides by walls, one of which has a wide opening facing the auditorium. Seats for spectators are located in front of the stage along its front within the normal visibility of the playing area. Refers to axial type of theater, with a sharp separation of both spaces.
arena stage- arbitrary in shape, but more often a round space around which spectator seats are located. The arena stage is a typical example center theater. The spaces of the stage and the hall are merged here.
spatial scene- this is one of the types of arena, belongs to the center type of the theater. Unlike the arena, its area is not surrounded by seats for spectators from all sides, but only partially, with a small angle of coverage. Depending on the solution, the spatial scene can be axial And center. In modern solutions, a spatial scene is often combined with a box scene. The arena and space stage are often referred to as open stages.
ring stage- a stage platform in the form of a movable or fixed ring, inside of which there are places for spectators. Most of this ring can be hidden from the audience by walls, and then the ring is used as one of the ways to mechanize the box stage. In its pure form, the ring stage is not separated from the auditorium, being in the same space with it. There are two types: closed and open, belongs to the category axial scenes.
Essence simulated scene consists in the simultaneous display of different scenes of action on one or more sites located in the auditorium. Various compositions of playgrounds and places for spectators do not allow us to attribute this scene to one or another type. In this solution of the theatrical space, the most complete fusion of the stage and spectator zones is achieved, the boundaries of which are sometimes difficult to determine.
The theatrical production designer, together with the director, creates in the performance not just a “place of action”, but theatrical circumstances in which a specific stage action takes place, the atmosphere in which it takes place.
The conflict in the play always manifests itself only in action. The design of the performance is involved in its development and. resolution. The conflict, expressed only by the design, is always illustrative, communicates a certain static effect to the action by its “formulation”, and exists in the performance independently. There are exceptions to this rule when such an open, pictorial conflict is required by a special genre of performance: poster, pamphlet, etc.
An obligatory condition for creating the design of a performance is for the artist movement and conflict - the basis of the expressiveness of any art. In art, as in life, there is no infinity and immobility. People simply do not perceive them.
For the perception of a theatrical performance, first of all, it is necessary to have a space in which the environment of the stage action is built, there are actors, and a space in which the audience is accommodated. These two zones are collectively called the theater space, and the zones are the spectator and stage zones.
Thus, from all of the above, we can conclude that the performance and its spatial design exist in the conditions of the spatial environment, time and rhythm.
In the theater, time is an indispensable component of the performance, only unlike other temporary arts, here it is calculated very accurately, and the director works with a stopwatch in his hands.
Any art exists in a certain rhythm. Rhythm is most clearly manifested in music, poetry, dance, less definitely - in prose, painting, but rhythm always participates in the organization of a work of art, forcing the viewer, listener to subordinate his inner rhythm, his rhythmic state to the rhythm of a work of art, thereby connecting with it and surrendering to its influence.
In the theater, the problem of the rhythmic organization of the impact of the performance on the viewer is one of the most difficult: with the beginning of the performance, you need to instantly include a large number of people in the most diverse rhythmic states into a single rhythm of the stage action. Some, having bought a ticket a month before the performance, came to the theater on foot, internally prepared for the perception of a well-known play; another, on the last day of his business trip, accidentally bought a ticket from his hands and, out of breath, flew into the already dim hall, not even knowing what performance he would see. Naturally, in order to bring everyone to readiness for perception, active means and techniques are needed.
The perception of each type of art requires certain conditions. For the perception of painting, light is needed, and not darkness, which, in turn, is necessary for the perception of the movie; for the perception of music, silence is a prerequisite, and sculpture can only be perceived in the presence of a calm, even background.
The theatrical production designer, dealing with physical space (limited by specific dimensions), changing its proportions, scale in relation to the human figure, filling it with various objects, illuminating it in different ways, turns it into an artistic space corresponding to the artistic and figurative goals of the performance.
Whatever the nature of the theatrical space: arena, proscenium with an amphitheater, stage, tiered hall with a stage-box, it can only be of two kinds: real and illusory.
real space does not hide its true size. The viewer feels its depth, width, height, and everything in this space is necessarily proportionate to the human figure. If there is a small chair next to the actor, everyone understands that this is a high chair.
illusory space is usually created in the conditions of a box stage, when the artist, using the laws of perspective, various disguises and transformations of the true dimensions of the stage, and techniques for creating a sense of depth in the viewer, changes the perception of the real dimensions of the stage space, creating the illusion of endless fields, a boundless sea, a bottomless sky, far placed objects, etc. Compared to the actor, a small chair in these illusory conditions can already be perceived not as a child's chair, but as a normal chair, standing far away, in perspective reduction.
To create the design of the performance, the artist, in the conditions of space, time and rhythm offered to him, uses material borrowed from other plastic arts and successfully used in the theater: plane, volume, texture, color, light, the architecture of the theater building, various mechanisms and technical devices. The theater does not have its own single material, like sculpture or literature. The material of a theatrical artist is synthetic, flexibly changeable, and each time takes on a character in accordance with the objectives of a particular performance.
In a performance, movement can be depicted by an artist by changing color and light, moving a costume against a differently colored background, changing mise-en-scene positions, and so on. Very often movement is depicted simply by movement.
On the continuous movement of the turning circle, the center of which is the table of the party committee, the image of the play "Minutes of one meeting" based on the play by A. Gelman in the ABDT them. M. Gorky. The movement of the circle at the speed of the minute hand makes it possible to imperceptibly change the position of the characters sitting at the table in relation to the viewer, and in addition, the background moving at the same speed, depicting the walls of the party committee, creates the feeling of turning the room around the viewer and forms a figurative accent in the performance: hanging on the wall, the portrait of Lenin first, together with the moving wall, disappears from the viewer's field of vision, and in the finale, when the room makes a full turn, it appears again. Thanks to the rotation of the room, this disappearance and appearance of the portrait does not look like an intrusive metaphor.
An example of a theatrical solution to the conflict, when the action and design are inextricably merged into a single figurative whole, can be the already mentioned performance of the Kiev Theater. Lesia Ukrainka "On the wedding day".
The conflict-effective structure looks just as solid in the uniform design of D. Leader for the performances of Macbeth by W. Shakespeare and The Career of Arturo Ui by B. Brecht. The design for these performances is a crossroads of two streets of a modern city with poles, a web of wires and manhole covers of underground utilities on asphalt, from under which both witches in Macbeth and gangsters in Arturo Ui's Career rise to the surface from the underworld.
A piece of asphalt in the void of the stage, entangled with wires, surrounded by metal poles, studded like poisonous mushrooms with manhole covers - entrances to the underworld where evil lives - these are not domestic, but theatrical circumstances, not domestic, but theatrical environment of action.
A scaffold made of old gray boards with a bunch of freshly sawn inches and heaps of flowers is also a theatrical, and not a domestic scene of action, not a domestic, but a theatrical truth.
A tiny furka platform, all lined with antique furniture and stuffed with people so that the apple has nowhere to fall, leaving for the center of the semicircle of an empty stage in Meyerhold's The Inspector General, is also not a domestic, but a theatrical environment for the existence of actors on stage.
But the stage space itself is dead and expressionless. And as soon as you light a pocket flashlight and direct a thin beam at the tablet boards or turn on the blue spotlights half-heartedly, the scene comes to life: contrasts of dark and light, warm and cold appear. . .
Any theatrical production requires certain conditions. In the common space, not only actors are involved, but also the audience themselves. Wherever a theatrical action takes place, on the street, indoors or even on the water, there are two zones - the auditorium and the stage itself. They are in constant interaction with each other. The perception of the performance, as well as the contact of the actor with the audience, depends on how their form is determined. The shaping of space directly depends on the era: its aesthetic and social values, the artistic direction that is leading in a given period of time. The scenery, in particular, is influenced by eras. From the use of expensive baroque materials in compositions to such as profiled timber.
Types of stage space
Spectators and actors can be positioned in two main ways in relation to each other:
- axial - when the stage is located in front of the viewer, the actor is on the same axis, he can be observed frontally;
- beam - the audience is around the stage or the stage is built in such a way that the visual places are in the center, and all the action takes place around them.
The stage and the auditorium can be one volume, located in an integral space, flowing into each other. A clear division of volume is a division of the stage and the hall, which are located in different rooms, closely adjoining and interacting with each other.
There are scenes where the action is shown from different points of the auditorium - this is a simultaneous view.
For the implementation of a theatrical production, certain conditions are needed, a certain space in which the actors will act and the audience will be located. In every theatre, in a specially built building, on the square where traveling troupes perform, in the circus, on the stage, the spaces of the auditorium and the stage are laid everywhere. How these two spaces relate, how their form is determined, etc., determines the nature of the relationship between the actor and the viewer, the conditions for perceiving the performance. established at this stage of development. The relation of both spaces to each other, the ways of their combination are the subject of the history of the theatrical scene.
Spectator and stage spaces together make up the theater space. At the heart of any form of theatrical space there are two principles for the location of actors and spectators in relation to each other: axial and center. In the axial solution of the theater, the stage is located frontally in front of the audience and they are, as it were, on the same axis with the performers. In the center or, as they are also called, beam - seats for spectators surround the stage from three or four sides.
Fundamental to all kinds of scenes is the way in which both spaces are combined. There can also be only two solutions here: either a clear separation of the volume of the stage and the auditorium, or their partial or complete merging into a single, undivided space. In other words, in one variant the auditorium and the stage are placed, as it were, in different rooms that are in contact with each other, in the other, both the hall and the stage are located in a single spatial volume.
Depending on these solutions, it is possible to quite accurately classify various forms of the scene (Fig. 1).
A stage area bounded on all sides by walls, one of which has a wide opening facing the auditorium, is called a box stage. Seats for spectators are located in front of the stage along its front within the normal visibility of the playing area. Thus, the box stage belongs to the axial type of theatre, with a sharp separation of both spaces. The box stage is characterized by a closed stage space, and therefore it belongs to the category of closed stages. The stage, in which the dimensions of the portal opening coincide with the width and height of the auditorium, is a kind of box.
The stage-arena has an arbitrary shape, but more often a round platform, around which there are seats for spectators. The arena stage is a typical example of a center theater. The spaces of the stage and the hall are merged here.
The spatial stage is actually one of the types of the arena and also belongs to the center type of the theater. Unlike the arena, the area of the spatial stage is not surrounded by seats for spectators from all sides, but only partially, with a small angle of coverage. Depending on the solution, the spatial scene can be both axial and center. In modern solutions, in order to achieve greater versatility of the stage space, the space stage is often combined with the box stage. The arena and the space stage belong to the open type stages and are often referred to as open stages.
Rice. 1. The main forms of the stage: 1 - stage-box; 2- stage-arena; 3 - spatial scene (a - open area, b - open area with a box stage); 4 - circular stage (a - open, b - closed); 5 - simultaneous scene (a - a single platform, b - separate platforms)
There are two types of ring stage: closed and open. In principle, this is a stage platform, made in the form of a movable or fixed ring, inside which there are places for spectators. Most of this ring can be hidden from the audience by walls, and then the ring is used as one of the ways to mechanize the box stage. In its purest form, the ring stage is not separated from the auditorium, being in the same space with it. The ring scene belongs to the category of axial scenes.
The essence of the simulation scene is the simultaneous display of different scenes of action on one or more sites located in the auditorium. Various compositions of playgrounds and places for spectators do not allow us to attribute this scene to one or another type. One thing is certain, that in this solution of the theatrical space, the most complete fusion of the stage and spectator zones is achieved, the boundaries of which are sometimes difficult to determine.
All existing forms of theatrical space in one way or another vary the named principles of the mutual arrangement of the stage and seats for spectators. These principles can be traced from the first theatrical structures in ancient Greece to modern buildings.
The box stage is the basic stage of modern theater. Therefore, before proceeding to the presentation of the main stages in the development of theatrical architecture, it is necessary to dwell on its structure, equipment and technology for the design of the performance.
monumental art(lat. monumentum, from moneo - remind) - one of the plastic spatial fine and non-fine arts; this kind of them includes works of large format, created in accordance with the architectural or natural environment, compositional unity and interaction with which they themselves acquire ideological and figurative completeness, and communicate the same to the environment. Works of monumental art are created by masters of different creative professions and in different techniques. Monumental art includes monuments and memorial sculptural compositions, paintings and mosaic panels, decorative decoration of buildings, stained-glass windows.
The stage space of delusions was accompanied by a willingness to minimize decoration - in the middle of the century this became almost an optional requirement, in any case, a sign of good taste. The most radical (as always and in everything) was the position of Vs. Meyerhold: he replaced the scenery with "construction" and costumes with "overalls". As N. Volkov writes, “... Meyerhold said that the theater should dissociate itself from the painter and the musician, only the author, director and actor can merge. The fourth basis of the theater is the spectator... If we depict these relationships graphically, we get the so-called "direct theater", where the author-director-actor form one chain, towards which the viewer's attention rushes" (31).
Such an attitude to the decorative design of the performance, albeit not in such extreme forms, has not been outlived to this day. Its supporters explain their rejection of a coherent design of the stage by the desire for "theatricality". Many objected to this. directing masters; in particular, A.D. Popov noticed that $ ... the return of the actor to the background of the canvas scenes and his release from any game details does not yet signify the victory of romanticism and theatricality on the stage ”(32). That is, from the discovery that the assistant arts are not the main ones on the stage, it does not at all follow that they are not needed at all. And attempts to rid the theater of scenery are echoes of the former exaggerated reverence for stage design, only “upside down”: they reflect the idea of independence and independence of scenography.
In our time, this question has become completely clear: art
stage design plays a secondary role in relation to
to the art of acting. This position is by no means
"denies, but, on the contrary, assumes a certain influence, which
4 can and should have the design of the performance on the stage
| action. The measure and direction of this influence is determined by
|: the rage of action, in which the paramount, op-
the decisive role of the latter. The relationship between plastic
". The composition of the performance and its decorative design are very
; visible: the point of their closest contact is misan-
review. After all, mise-en-scene is nothing but a plastic form
“an action taken at any stage of its development in time and in
y. stage space. And if we accept the definition of directing as
art of plastic composition, then you can’t think of anything
better than the winged formula O.Ya. Remez, who said: "The mise-en-scene
The director's language" and to prove this definition, write
who put down a whole book.
The possibility of moving the actor in the stage space
| depends on how this space is organized by the stage
|! count. The width, length and height of the machines are naturally determined
I ut the duration and scale of movements, the breadth and depth of mi-
t zanscene and the speed of their turnover. Tilt angle of the stage
| ny makes its own demands on acting plasticity. Besides that-
First, the actor must take into account the perspective of the pictorial
1 and the texture of fake parts, so that the loss of the necessary
distances do not destroy the illusion, do not expose before the audience
lem authentic proportions and true material of constructions and
hand-drawn decorations. For the director, the size and shape of the machines
and sites are “suggested circumstances” for creating a plan
stic composition. Thus it becomes obvious
direct connection between the architectural and constructive side of de-
corative design and plastic composition of the performance.
Influence on the plastic composition of the pictorial and color
the decisions of scenery and costumes are manifested more subtly. Gamma
colors chosen by the artist affects the atmosphere of the action
wiya; moreover, it is one of the means of creating the necessary atmosphere
spheres. The atmosphere, in turn, cannot but influence the selection
plastic means. Even the color ratio itself
costumes, scenery, stage clothes can have on the viewer
a certain emotional impact, which should be taken
swearing into account when arranging figures in mise-en-scenes.
The connection between the plastic composition of the spec-
takla with the furnishings of the stage - furniture, props
that and all other objects that actors use in
stage action. Their weight, their dimensions, material,
what they are made of, their authenticity or conventionality, all
this dictates the nature of the handling of these items. Wherein
requirements can be directly opposite: sometimes you need
overcome some qualities of the subject, hide them, and sometimes,
against, expose these qualities, emphasize them.
Even more obvious is the dependence of the physical behavior of a person
press on suits, the cut of which can fetter, limit
vat or, conversely, release the actor's plasticity.
Thus, the multifaceted relationship between the decorative
the design and plastic composition of the performance are not subject to
lives in doubt. HELL. Popov wrote: “The mise-en-scene of the body, supposedly
guiding the plastic composition of the figure of an individual actor, building
is in complete interdependence on the neighboring, associated with it
figures. And if there is none, there is only one actor on the stage, then in this
case, this one figure should "respond" to nearby
volumes, whether it be a window, a door, a column, a tree or a staircase. In ru-
like a director who thinks plastically, the figure of an individual actor
tera is inevitably linked compositionally and rhythmically with ok-
environment, with architectural structures and
space” (33).
Scenography can provide the director and actors with invaluable
I need help in building the form of the performance, and maybe interfere
the formation of a holistic work, depending on whether
the extent to which the artist's intention is consonant with the director's intention. A
since in the relationship between stage action and decoration
tive design assigns a subordinate role to the second, then
it is obvious that in the creative community of the director and artist
ka the latter should direct the work of his imagination
for the overall purpose of the play. And yet the position
the artist in the theater cannot be called disenfranchised. Formation
style and genre of the performance does not follow the path of suppression, depersonalization
of the creative individualities of its creators, but along the way
their summation. This is a rather complicated process even when
when it comes to bringing the works of two artists into harmony,
operating with the same expressive means. In dan-
In the same case, a harmonic combination of two different
arts, two different types of creative thinking, two
different expressive means; therefore, here the question of their mutual
ny correspondence, which should as a result lead to the creation
giving the style and genre integrity of the work, especially
complex and cannot be exhausted by a simple statement of pre-
property rights of one and subordination of another. direct,
elementary subordination of the scenography of the performance to the utilitarian
the needs of stage action may not give the desired
result. By definition, A.D. Popova "... the design of the spec-
takla is an artistic image of the place
actions and at the same time a platform, pre-
providing rich opportunities for
implementation on it stage deist-
in and I" (34). Therefore, it would be more correct to say that subordination
action design should arise as a result
addition of creative handwriting, as a result of the joint work of
powerful creative individuals. Hence,
you can only talk about the soil that is most favorable
clear for this cooperation, about those common positions that
give a single direction to the development of the creative thought of each of
the creators of the show. Building your plan on this common ground,
the stage designer can use many features of expressive
ny means of their art, without violating the genre and style
unity of the whole production.
1. denouement of the action in the study
The denouement of the action is the final part of the plot, following after the climax. In the denouement of the action, it is usually found out how the relations between the warring parties have changed, what consequences the conflict had.
Often, in order to break the stereotype of what readers expect (“wedding” or “funeral”), writers generally omit the denouement of the action. For example, the lack of a denouement in the plot of the eighth chapter of "Eugene Onegin" makes the finale of the novel "open". Pushkin, as it were, invites readers to reflect on how Onegin's fate could have turned out, without prejudging the possible development of events. In addition, the character of the protagonist also remains "unfinished", capable of further development.
Sometimes the denouement of an action is the subsequent story of one or more characters. This is a narrative device that is used to communicate how the characters' lives have turned out after the completion of the main action. A brief "subsequent history" of the heroes of "The Captain's Daughter" by A.S. Pushkin can be found in the afterword written by the "publisher". This technique was quite often used by Russian novelists of the second half of the 19th century, in particular I.A. Goncharov in the novel Oblomov and I.S. Turgenev in the novel Fathers and Sons.
2. The place of the musical-noise rhythm in the etude.
The sound score is a guiding document that tells the sound engineer those moments in the course of the program when to turn on and turn off the phonogram. It is necessary for understanding the general musical accompaniment of the project and is a "draft" of the main musical theme, sound logo, etc.
The director begins to practically embody his idea of musical and noise design during the rehearsal period of work on the program. At the final stage of the rehearsal work, when all the musical and noise numbers are determined, that is, the replicas are set to turn on and off, sound plans and the sound level for each sound fragment, the sound engineer makes the final version of the sound score of the event.
The score is a document, following which the sound accompaniment of the project is carried out. She checks with the director's copy of the script, agrees with the head of the musical part and is approved by the director. After that, all changes and corrections to the score are made only with the permission of the director.
Genuine skill, the ability to master the expressive means of performing arts, along with other factors, depends on the level of musical culture. After all, music is one of the most important elements of the theatrical performance of almost any genre.
No book can replace the music itself. She can only guide
attention, to help understand the features of the musical form, to acquaint with the composer's intention. But without listening to music, all the knowledge acquired from the book will remain dead, scholastic. The more regularly and attentively the boat listens to music, the more he begins to hear in it. Listening and hearing are not the same thing. It happens that a piece of music at first seems difficult, inaccessible to perception. You should not rush to conclusions. With repeated listening, its figurative content will surely be revealed, and will become a source of aesthetic pleasure.
But in order to experience music emotionally, one must perceive the sound fabric itself. If a person reacts emotionally to music, but at the same time very little can distinguish, differentiate, "hear", then only an insignificant part of its expressive content will reach him.
According to the way music is used in action, it is divided into two main categories.
Subject music in a performance, depending on the conditions of its use, can carry a wide variety of functions. In some cases, it gives only an emotional or semantic characterization of a particular scene, without directly intruding into the dramaturgy. In other cases, story music can rise to be the most important dramatic factor.
Story music can:
· Describe the actors;
Indicate the place and time of action;
Create an atmosphere, mood of the stage action;
Tell about an action invisible to the viewer.
The listed functions, of course, do not exhaust all the variety of methods for using story music in dramatic performances.
It is much more difficult to introduce conditional music into a performance than story music. Its conventionality may come into conflict with the reality of life shown on the stage. Therefore, conventional music always requires a convincing inner justification. At the same time, the expressive possibilities of such music are very wide; a variety of orchestral, as well as vocal and choral means can be used for it.
Conditional music can:
Emotionally enhance dialogue and monologue,
Describe the actors
Emphasize the constructive and compositional construction of the performance,
aggravate the conflict.
