Psychic games: "debriefing" in the theater. Theater for Mental Benefit The Role of Theater in Public Life
Mysterious darkness of the wings, exciting anticipation and meeting ... with exciting, somewhere insanely repulsive, somewhere insanely attractive characters. Theater and theatrical life captivates and captures, gives rise to new feelings and experiences. The role of theater in our life is invaluable.
However, not everyone shares our feelings about the role of theater in human life. Theater and everything connected with it attracts the owners of only two vectors. Let's not name them right away, but delve into the essence a little.
So, the first thing that the theater gives us is new visual experiences. Beautiful interiors take us now into the past century, now into the world of the future, and what about the actor standing alone on the stage in the beams of spotlights and reading a piercing monologue. How many new impressions for the eye. Paints, color, light, beautiful faces full of feelings ...
The second is, of course, the actual game. How is this or that production evaluated? Of course, here, too, some raiders are trying to make up - how many people are involved, what suits were bought, what scene was used. However, selling a theatrical performance on a wrapper wrapper is not very successful. For the theatrical spectator, the most important role of the theater is an outburst of feelings, deep feelings that the performance evokes. There are no feelings, no worries, no new thoughts after the performance - you will not want to go to it either.
The real role of the theater in culture is dramatic, since it often leads to a real visual catharsis - to tears. As the system-vector psychology of Yuri Burlan says, tears, cleansing tears outward, and not when you feel insanely sorry for yourself, this is one of the most useful actions for any (attention) visual person - that is, the owner of the visual vector.
When we cry, states change in us. For a visual person, tears are a change of states. Theater to help that.
The role of theater in raising children, especially the younger generation of spectators, can hardly be overestimated. Good theatrical performances are the best education of feelings and morality. Good performances raise questions of morality, the value of life.
But this is far from all in the theatrical business. The most best performances ask not only universal human questions, but also raise the question of the meaning of human life. Such theatrical performances are created, first of all, for sound-visual people (owners of both visual and sound vectors at the same time), and they are also created by sound-visual people.
After such performances, you leave not only with catharsis, but also with a feeling of contact with something very important. Your inner search awakens in you, and for a moment you can even feel this amazing feeling that everything in this life is not in vain, for some reason it was all created. At least because there are such wonderful people who make such wonderful productions.
As you might guess, the best actors who enhance the role of theater in human life are also owners of the visual vector and the sound-visual bundle of vectors. An actor with developed eyesight is not a pea jester, he is not a brightly painted and not very smart bird on stage, he is always a person who can convey genuine feelings to others, awaken all the brightest and show the most terrible in human nature.
The sound-visual actor is also volume. Such an actor can play relatively simple roles, but the very presence of sound will make them meaningful, deepen their content. The best actors are audiophiles. Such as Oleg Menshikov, Marlon Brando, Oleg Basilashvili and many, many others.
Can the role of theater in culture completely fill the voids of audiovisual people today? As for the new generation, of course not. Theater alone cannot. We must realize our properties in society, give away from ourselves in visual compassion and sound search for meaning.
The role of theater in our lives is to provide us with additional inspiration along the way. Fill with new thoughts, feelings, so that they grow into new actions. The role of theater in human life is to help our visual and sound-visual children develop so that they start their search from a conscious new level - felt and understood in the best lessons of the dramatic classics of the past and present. The role of theater in culture is to give us a piece of happiness on the darkest day of our lives.
The article was written using materials
Both psychotherapists and theater representatives have long wondered how theater affects the physical and mental health of people. In this regard, a new concept has recently emerged in medical and rehabilitation practice - transdramatherapy. It speaks of the deep influence of the theater on the soul of the spectator. After the performance, people come out a little different, as if refreshed and refined. If you have never been to the theater, we advise you to visit - this one www.sim-sim.ru will help you get detailed information about the concerts. By the way, this theater is also a conservatory where talented children study.
Stanislavsky system
Almost all of us are familiar with, or at least have heard the Stanislavsky system. But few people know that the theatrical figure, when creating a guide for the practice of directors and actors, used medical knowledge. In the Stanislavsky system, for the first time, problems were considered that relate to the conscious mastery of a person's subconscious creative potential, based on organic reincarnation into a role.
For the development of the system in theatrical circles, Stanislavsky turned to the works of the famous scientists Pavlov and Sechenov, dedicated to the higher nervous activity of man. He embodied his own method of work, which was called the method of physical actions. After a detailed study, the theatrical genius reunited the laws relating to psychotechnics and subsequently used them for theatrical practice.
The positive impact of theater on humanity
Ever since the time of Aristotle, who believes that compassion for the thoughts and actions of an actor allows a person to get rid of many problems and experiences, it has been said about the beneficial influence of theatrical art on humanity. For example, any spectator who bought theater tickets during the performance can and should achieve the main positive effect - the disclosure of the creative essence of personality and potential. One of the reasons for this is that all people are a little actors at heart.
Getting into any theater, viewers involuntarily put themselves in the shoes of the heroes on the stage. Each person passes the case through himself, feels his own shortcomings and advantages of behavior. The main goal is to become aware of the surrounding world and oneself through theatrical actions. But here it is very important not to forget and not try on roles for yourself often, and even more so, not to go into character forever.
The pleasure of the theater
It is said that with regular theater attendance, it is possible to recover from depression, laziness and apathy. The secret of the theater lies in the fact that an acting performance gives positive emotions and thoughts that lower stress hormones in the human body and significantly improve the production of serotonin, which brings us joy and pleasure.
In a modern post-industrial society, where a person often lacks real feelings, worthwhile and eventful events. This is exactly what the theater was created for. An actor cannot hide behind routine and boredom on stage. When visiting theaters, you can get an unforgettable pleasure, improve yourself, to some extent cure your soul and put your thoughts in order, and this is worth a lot.
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What does theater mean in our life?
Theater is a place where people see themselves and understand something about themselves.
Grigory Revzin
Theater has its origins in antiquity and to this day, this kind of art, does not lose its relevance. We have all been to the theater at least once and watched performances, not even suspecting that in life we are the same actors. Yes, you heard right, life is a theater where dramas, comedies, tragedies are played every day ... This theater is improvised, and in general life is a continuous improvisation.
Majority modern people are skeptical about the theater. Perhaps this is due to the fact that they rarely attend theatrical performances, perhaps they prefer other genres of art. For example, now many people prefer to go to the movies. I fully respect their choice, but theater is something else. Theater is a "living art", a kind of live broadcast, where the actors have no room for error, there is no second, third, fourth take, it is a way of comprehending life, a way of understanding oneself.
Modern society often underestimates the impact of theater on people's lives. With all today's technologies, people have forgotten what real art means, and in a society where there is no true art, there will always be problems. The theater embodies all the good and all the bad that is in the social world, which is no less important, the theater is outside of politics. Theater develops imagination in people, a sense of beauty - that's all spiritual development person. This is a place where a person can look at himself as if from the outside, such a detachment from reality has a beneficial effect on the mental and emotional state of a person. Another very important point, the theater never imposes its own or the desired point of view, unlike television and the Internet, it always leaves the viewer the opportunity to decide everything for himself.
Whoever says anything, the theater has always lived, lives and will live. Remember, theater is not old-fashioned, for the reason that art is an integral part of our life, and life is eternal.
Did you know?
The first theatrical performance in Russian lasted 10 hours and went without intermission. In October 1672, by order of Tsar Alexei Mikhailovich, the first court theater was opened in the village of Preobrazhenskoye, and the first performance "Artaxerxes Action" was given. Future artists were selected from among the servants in shops and drinking establishments, and then trained. Play on biblical story about Esther and the king Artaxerxes was written by the pastor of the German settlement Gregory. To translate the play into Russian, it was handed out piece by piece to several interpreters from the Ambassador Prikaz. Each translator tried to the best of his talent, so the text of the play passed from prose to poetry and vice versa.
And yet, how can theater influence our psyche? What does it give to a person that even with the widespread development of cinema, its role does not weaken, but somewhere even intensifies? And is it generally useful to go to the theater? Does it make sense?
The importance of theater in personal development
Let's see what Kevin Brownie, anthropologist, art critic and filmmaker, has to say about this. At one of the conferences, he singled out 10 reasons why theater is so important in our life. Let us turn only to those that touch upon the topic of interest to us.
Theater helps us realize our humanity. Only by empathizing, observing everyday situations from the outside, we can realize what makes us human.
Regular theater attendance develops the ability to communicate, express our feelings and emotions, improve mutual understanding with the world and other people.
It gives an understanding of how our consciousness works, how the environment in which we find ourselves influences our thinking and our behavior.
The scaffold is brought to the center of everything - the human body, following the ancient Greek anthropocentrism, which changes the roles in our relationship with the technological process, makes us subordinate technology to us, and not obey it ourselves.
Expanding consciousness and acceptance of other people and cultures. It is difficult to say how much this can affect us, but for globalization and successful socialization, this is an important point. Modern world dictates its own rules, and we better follow them.
Theater is a great way to explore the world, human relationships, and analyze them. It acts as a kind of laboratory, a mirror of where we live and what we constantly encounter.
Performances develop creativity with the power of art, inspire new achievements and instill confidence in solving various problems.
The University of Arkansas has conducted research on how live performances can affect students in schools. All this was aimed at ensuring that the much-needed theater finally entered their practice. Due to the over-emphasis on the exact sciences, children lose many important things that will be more difficult to acquire in adulthood.
Research has shown that performances develop the ability to understand and empathize. In the control group that read the original work or watched the movie based on the motives, this was not so pronounced, but it was nonetheless.
Researchers have noted the importance of observing action here and now. The option with recordings or films has some weight. But they never compare to the emotions that arise in real time.
Often people neglect comedies and musicals, considering this frivolity an unworthy show. However, it is these performances that affect mental health. The emotional background also returns to normal.
Scientists recommend paying attention to local independent and amateur theaters. First, they help people of all ages fulfill their dreams and play the roles they have dreamed of all their lives. Secondly, the smaller scale of the action makes it easier to see and hear, and the intimate atmosphere contributes to comfort and tranquility. Thirdly, you can always join the team and take part in one of the performances yourself, which will give an unforgettable experience and bring new emotions.
How does theater affect our psyche?
V Ancient Greece the theater was a real institution of psychological practice. Here you will find a great way of healing, and correction of the psyche with empathy, and anonymity, and universal artistic idea... Even then, everyone was well aware that the theater has a very strong influence on the personality. In modern psychoanalysis, this will be called the transfer from distress (stress, harmful and unpleasant, leading to pathology) to eustress (useful and pleasant stress, leading to recovery).
How does psychosocial rehabilitation work with theater?
Art critic Yuri G. Klimenko reflects on this issue in detail and practically.
1) It all starts with the process of co-creation between the actor and the viewer. This includes imagination, role-playing games, play freedom, separation of consciousness into I and not-I.
2) Then the transfer from distress to eustress begins, which is based on the mechanisms of psychological defense. This includes: aggression, projection, repression, fantasy, denial, suppression, conversion, etc.
3) And the last comes catharsis, which is the goal. It arises as a result of the cumulative impact of all of the above mechanisms, which appeared at different levels: emotional-behavioral, vegetative, cognitive and socio-psychological.
Recognition and work on yourself
Carl Gustav Jung, a well-known psychologist, a student of Freud, speaks of the role of the theater as a "mystical involvement" into which the personality is immersed. Here he feels himself not as a separate person, but as a people, a community. Jung also believed that the most powerful effect leading to the release of complexes will have that work of art that is objective and impersonal.
This "influence" happens approximately like this: the actor, by his play, induces the viewer to find in the character unconsciously what requires compensation at a conscious level.
Love or dislike for theater arises for a number of different reasons. Among the psychological, one is clearly in the lead. The viewer sees himself in the hero, recognizes his weak points, condemns his own behavior. And here it is very important that he finds the strength to rebel against his weaknesses, evaluate himself from the negative side. Then he can get rid of negative hero in yourself.
Psychologist Eric Berne believes that any communication is beneficial and useful for people, and the theater provides an excellent opportunity for him. Analyzing experimental data, he notes that the absence of emotional and sensory stimuli can lead to mental disorders. A person must organize his life on a high emotional level, and the theater can help him in this. After all, the latter is filled with acts of hidden communication.
Comedies and tragedies equally affect a person's emotional health, even though the former make us laugh and the latter make us sympathize.
Catharsis is not always the target of a tragedy. During the stage action, the viewer has his own performance in his head, which may not correspond to what is happening on the stage, either in terms of the plot or genre.
Comedy, despite the long outdated title of "low genre", has nothing to do with humiliation of a neighbor or ridicule of a person.
Theater is the same games we all play on a daily basis, according to Bern. One could say that the theater makes a person free, but in fact it makes him a slave. The viewer, coming to the theater, hopes that he will solve his problem. And he can really solve it if the person himself finds the courage not to be afraid of situations in which “his” character can be immersed, but to use them for healing.
Theatrical habits also follow from this. Someone can go to a favorite performance several times, because in it he will see already familiar games in which he takes part with pleasure, abandoning social role-playing behavior. There are only three ways to find freedom in the theater: involvement in the present, spontaneity and closeness.
If we transfer the psychological theory of emotions to the theater, we can see that the latter leads to sympathy and empathy. Empathizing, the viewer understands and justifies the character's actions as if they were their own. He can empathize not only with a positive (according to the plot) hero, but also with a negative one, investing in him his reasons and his motivation for certain actions.
Is the spectator a patient?
Nikolai Nikolaevich Evreinov, playwright, art critic, psychologist and philosopher, noted that the theater awakens the will to live in the viewer, powerfully forcing him to transform.
What is the beauty of theater as a psychological tool? In traditional treatment, a person is aware of himself as a patient - and this is always distress. But theater provides freedom, depersonalizes the patient and thus immerses him in eustress. Theater is able to influence everyday stress, displacing it, and this is its unique strength.
Simulation of various situations on the stage is an opportunity to combine in a moment of empathy the most different people who find their personal meaning in them. It turns out quite a group therapy, which keeps each "patient" incognito.
English psychologist Robert Burns developed the self-concept, which leads to the achievement of internal coherence. The viewer constantly compares his Self with what is happening on the stage, tries to integrate himself into this newly created theatrical world. Thus, he tries to avoid cognitive dissonance. To do this, you need to observe several simple conditions: accept everything that happens (be ready to co-create), adapt (obey the rules of the game), activate psychological protection (choose the rules that are acceptable to yourself), or reject the setting (not accept the rules of the game).
A drop of negative in a barrel of positive
Be that as it may, but theater is not always an extremely positive experience. Especially when it comes to the waiting period for the performance. Doctor Leonid Aleksandrovich Kitaev-Smyk singles out such spectator phobias as public disclosure of one's true self, fear of surviving catharsis, fear of failure of a favorite actor (author of a play, character), displeasure and wasted time.
However, even such negative stress bears fruit, namely, internal introspection. If you observe the activity of the thinking of the actor and the viewer during the production, you can notice "insights", which will be the very moments of self-reflection.
Carl Rogers, the leader of humanistic psychology, claims in his theory that a person cannot change events, but may well change his attitude towards them. And the performance in the theater encourages this, acting as a reality that will be uniquely perceived by each individual.
MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION
Federal State Budgetary Educational Institution
higher and professional education
Ryazan State University named after S.A. Yesenin "
Faculty of Sociology and Management
Department of Sociology
Specialty 040100 - "Sociology"
Theater as a means of education
Coursework of a 4th year student,
group 9910 Goryachevoy T.G.
Scientific adviser: Cand.
psychol. Sci. Tenyaeva O.V.
________________________
"____" ________________ 2013
Ryazan 2013
Introduction
Chapter 1. Influence of the process of theatrical creativity on personality education
Theater as a means of influencing the personality ……………………… ... 4
"Actor" as a profession and a socio-psychological phenomenon ... ..8
Education of spectators by theatrical means ................................................... 10
Chapter 2. The educational process in theater groups
2.1. Problems of education in theatrical collectives …………………… 20
2.2. The role of rehearsals in the educational process ………………………… ... 28
Conclusion
List of used literature
Application
Introduction
The relevance of the topic of the course work lies in the fact that in the early stages of human development, the theatrical principles of human behavior played a much greater role than in the eras close to us. Under pre-capitalist social relations, culture was, as it were, permeated with theatricality.
At the same time, theatrical behavior often appears on stage and in drama as the most important subject of depiction. In a number of works, episodes where the action takes place with the active participation of a wide range of people become pivotal.
This contributed to the emergence of such a type of creativity as the theatrical art, which in the early stages of its inception was not given such great importance as a means of education, which is nowadays devoted to numerous theoretical works of both psychologists and teachers and theater critics.
The purpose of the course work is to reveal the possibilities of theater and theatrical art in the educational process.
The objectives of the course work are as follows:
Expand the meaning of theatricality as an art of self-expression
Consider the educational process in a theatrical collective
Explore the role of theater as a means of education
Chapter 1. Influence of the process of theatrical creativity on personality education
1.1. Theater as a means of influencing personality
Theatrical art is declared to be the main and almost the only factor in the moral, aesthetic, and civic education of the individual. At the same time, its influence is often artificially pulled out of the general spiritual atmosphere in which a person rotates, the determining role of labor activity and social relations in the formation of the spiritual and, already, creative potential of the individual is ignored. The role of art in the process of personality formation can be defined as corrective, enriching, enhancing the moral, aesthetic and creative influence of labor and environmental conditions. Art in a certain sense and under certain conditions contributes to the resolution of emerging contradictions in the development of a creative personality, removes disharmonious factors, creates a certain artistic background. The role of the theatrical collective as the creator of original works of art or their interpreter is of relative value; the problem of its pedagogical orientation, the fulfillment of its social and pedagogical function, comes to the fore. What is the specificity of the theater as a subject of education, a means of all-round and harmonious development of the personality? First of all, it must be emphasized: art is not the only form of social consciousness that shapes the personality. The educational load is carried out by science, politics, ideology, morality, and law. But the impact of each of these forms public conscience is local in nature. Morality determines moral education, law - legal, ideology, politics - ideological and worldview. The theater, influencing the consciousness, the spiritual and emotional world of a person, (thereby forms his holistic appearance; actively promotes spiritual growth, fosters ideological and moral convictions, stimulates, socially transforming activities, increases political culture, culture of work and life. Aesthetic play, entertainment imperceptibly transfer the richness of the moral content of art into a personal property. A holistic relationship of a person to the world is formed, an imprint is imposed on all aspects of his life and work, on relationships, understanding of the purpose and meaning of life. Theater sharpens the mind, morally ennobles feelings, broadens his horizons. The process of “cathartic” "- the" cleansing "impact of art, of course, is complex and ambiguous. It is deeply rooted with the phenomena occurring in the psyche, the spiritual world of the individual; it is directly or indirectly influenced by factors of social life, which can both enhance and reduce the effectiveness of the process ...
Soviet psychologists, first of all L. Vygotsky, S. Rubinstein, B. Teplov, L. Yakobson, thoroughly and thoroughly analyzed and experimentally confirmed the influence of theater on personality development: mental, moral, aesthetic; revealed the nature of artistic abilities and a person's predisposition to theater arts as a form of activity. The main feature of the interaction of art with a person is a deep emotional, sensual basis of this process. However, the emotional intensity of the various activities is not the same. In scientific cognition, emotions are of a subordinate, background nature. Here thinking and consciousness are in the foreground. In art, artistic practice, emotions, emotional and sensory experience are dominant. On their basis, a conscious, ideological-figurative vision and understanding of the content of art arise. Emotional thinking, or thinking with emotions, which arose as a result of contact with art, has a direct outlet to a person's actions, their semantic and emotional content. Emotions, feelings, as you know, are not the end product of mental activity. They appear as a very specific result (with a certain convention of the term) of the influence of theatrical art, manifested in the form of certain actions or giving these actions an appropriate color. Influencing actions, motives of behavior, emotions acquire visible outlines and forms of manifestation. This feature of the emotional and psychological activity of an individual in the process of perception of theatrical art determines the intensity of its artistic, aesthetic and moral enrichment, the process of developing artistic and creative skills.
The originality of the results of creativity in a theatrical collective can be viewed from the point of view of artistic-aesthetic, and personal-subjective, that is, from the point of view of what it gives to a person as an artist and - to a person. Performing in a theatrical collective is associated with the process of creating aesthetic, spiritual values. One of them is deep moral "socialization, moral improvement of a person. This activity may consist in an independent solution or finding ways to solve various artistic and creative tasks. There is an active creation of the personality, the development of all its sides and spiritual and creative potential. Moreover, this potential is realized not only in the field of artistic practice, but also in the entire system of human relations with others. A creative approach to solving emerging problems becomes his natural habit, an essential feature. The effectiveness of creative activity can be determined by the formation with its help of a creative type of personality. This criterion is decisive for theatrical creativity, because this task is the most important of its functions.
Like any art, the theater has educational functions that are subject to implementation only in a theatrical creative team. Correctly organized pedagogical work allows the participants to more effectively solve the assigned tasks and achieve the desired result. Theater and theatrical performance art could not have come out of nowhere. The first stage in the development of theater and this type of art was the emergence of theatricality both in the person himself, and then in those works that he performed, the way of life that he defined for himself as the main criterion for existence and survival in difficult times. At present, the theater is already an independent unit, which in many respects differs from the first attempts to create theatrical or stage creativity, which has vast experience both in the formation of the repertoire and in the creation of its own audience. The educational impact of the theater was noticed in antiquity, but it was not given a special color, as this problem has found its relevance today and is now considered comprehensively as specialists in the field of culture and art
1.2. "Actor" as a profession and a socio-psychological phenomenon
An actor is a professional performer of various roles in theater, opera, ballet, as well as in the circus and on stage. Sometimes the word "actor" is associated with an artist, although its meaning is slightly broader. An artist is usually a person who has achieved a certain level of skill in any activity not related to theater or other performing arts.
Surely each of us at least once in our life thought about the career of an actor. Someone succeeds, but for someone it remains a dream.
Today, the profession of an actor plays an important role in the cultural life of every person. We all love to watch movies, visit theaters. Not everyone can become an actor, so professional actors are in great demand and have good fees. A professional actor must be able to work both independently and in a team, be responsible in his work, and also implement what the director intended.
In order to become an actor, it is necessary to have artistic skills, be inclined to be creative, and also have a stage presence. Professional actors are in great demand on theater stages and film sets. Often, daily fees range from 25 to 100 thousand rubles per shooting day.
The profession of an actor is very interesting, but at the same time difficult and responsible. So, the profession of stuntmen is often associated with a risk to life, therefore, it requires maximum care and concentration on the set or theater stage.
Today in our country, acting is taught in specialized educational institutions. To begin with, you will need to go through a preliminary audition, where they may require you to read out an excerpt from a poem or portray some number. Acting can be trained endlessly, since there is no limit to your perfection.
The specialty "Acting art" has one qualification - "actor of drama theater and cinema". And how much "theater" there will be, and how much "cinema" will depend on the university.
The only state university that trains film actors is the All-Russian State Institute of Cinematography. S.A. Gerasimova (VGIK). If your goal is a theater stage, then the choice of universities is wider. In Moscow, theater actors are trained in four state universities. But in the last decade, commercial universities have actively taken up the training of theater and film actors.
It is very difficult to enter the specialty "Acting", and it is practically impossible to enter the budget department. Future actors come to Moscow from all over the country. The average competition for admission is 20 people per place.
1.3. Educating the audience with theatrical means
Each art, with its special means of influence, can and should contribute to common system aesthetic education of schoolchildren. Theater, like no other art form, has the greatest "capacity". It absorbs the ability of literature to recreate life in its external and internal manifestations in words, but this word is not narrative, but vivid-sounding, immediately effective. At the same time, unlike literature, theater recreates reality not in the mind of the reader, but as objectively existing pictures of life (performance) located in space. And in this respect, the theater comes close to painting. But theatrical performance is in constant motion, it develops in time - and this is how it is close to music. Immersion in the world of the viewer's experience is akin to the state experienced by a music listener, immersed in his own world of subjective perception of sounds.
Of course, theater in no way replaces other forms of art. The specificity of the theater is that it carries the "properties" of literature, painting and music through the image of a living, acting person. This direct human material for other forms of art is only the starting point of creativity. For the theater, "nature" serves not only as material, but is also preserved in its immediate liveliness. As the philosopher GG Shpet noted: “An actor creates from himself in a double sense: 1) like any artist, from his creative imagination; and 2) specifically having in its own person the material from which the artistic image is created ”(1).
The art of theater has an amazing ability to merge with life. The stage performance, although it takes place on the other side of the ramp, in moments of highest tension blurs the line between art and life and is perceived by the audience as reality itself. The attractive force of the theater lies in the fact that "life on stage" freely asserts itself in the imagination of the viewer.
Such a psychological turn occurs because the theater is not simply endowed with the features of reality, but in itself is an artistically created reality. Theatrical reality, creating the impression of reality, has its own special laws. The truth of the theater cannot be measured by the criteria of verisimilitude. The psychological burden that the hero of the drama takes upon himself cannot be endured by a person in life, because in the theater there is an extreme condensation of whole cycles of events. The hero of the play often experiences his inner life as a bunch of passions and a high concentration of thoughts. And all this is taken by the audience for granted. According to the norms of objective reality, the “incredible” is not at all a sign of the unreliable in art. In the theater, "truth" and "untruth" have different criteria and are determined by the law of figurative thinking. “Art is experienced as reality by the entirety of our mental“ mechanisms ”, but at the same time it is evaluated in its specific quality as a hand-made game“ not real, ”as children say, illusory doubling of reality” (2).
A theater visitor becomes a theatrical spectator when he perceives this double aspect of the stage action, not only seeing a concrete act in front of him, but also understanding the inner meaning of this act. What is happening on the stage is felt at the same time as the truth of life and as its figurative recreation. It is important to note that the viewer, without losing the sense of the real, begins to live in the world of theater. The relationship between real and theatrical reality is rather complicated. In this process, three phases can be distinguished: 1. The reality of objectively shown reality, transformed by the playwright's imagination into a dramatic work. 2. A dramatic work embodied by the theater (director, actors) into stage life - a performance. 3. Stage life, perceived by the audience and becoming part of their experiences, merged with the life of the audience and, thus, again returned to reality.
But the "return" is not analogous to the original source, now it is enriched spiritually and aesthetically. “A work of art is created in order for it to live - to live almost in the literal sense of the word, that is, entered, like the experienced events of real life, into the spiritual experience of each person and all mankind ”(3).
The crossing of two types of active imagination - the actor's and the audience's - gives rise to what is called the "magic of the theater." The advantage of theatrical art lies in the fact that it embodies the imaginary into living action unfolding on the stage with clarity and concreteness. In other arts, the imaginary world either appears in human representations, as in literature and music, or is captured in stone or on canvas, as in sculpture or painting. In the theater, the viewer sees the imaginary. “Every performance contains some physical and objective elements that are accessible to any spectator” (4).
Stage art by its nature presupposes not passive, but active enthusiasm for the audience, for in no other art there is such a dependence of the creative process on its perception, as in the theater. GD Gachev has spectators, “like the inhabitants of heaven, like a thousand-eyed Argus<...>ignite the action on stage<...>because the world of the stage and by itself arises, appears, but to the same extent it is the work of the viewer ”(5).
The main law of the theater - the internal participation of the audience in the events taking place on the stage - presupposes the excitement of the imagination, independent, internal creativity of each of the spectators. This capture of the action differs the viewer from the indifferent observer who also meets in theater halls. The viewer, in contrast to the actor, an active artist, is a contemplative artist.
The active imagination of the audience is not at all some special spiritual property of the chosen art lovers. Of course, the developed artistic taste is of great importance, but this is a question of the development of those emotional principles that are inherent in every person. “Artistic taste opens the reader, listener, viewer the path from the external form to the internal form and from it to the content of the work. For this path to be successfully traversed, the participation of imagination and memory, emotional and intellectual forces of the psyche, will and attention, and finally, faith and love, that is, the same integral mental complex of mental forces that carry out the creative act, is necessary ”(6).
The consciousness of artistic reality in the process of perception is the deeper, the more fully the viewer plunges into the sphere of experience, the more multilayered art enters into the human soul. It is at this junction of two spheres - unconscious experience and conscious perception of art and imagination. It is inherent in the human psyche initially, organically, accessible to every person and can be significantly developed in the course of the accumulation of aesthetic experience.
Aesthetic perception is the creativity of the viewer, and it can reach great intensity. The richer the nature of the spectator himself, the more developed his aesthetic feeling, the more complete his artistic experience, the more active his imagination and the richer his theatrical impressions.
The aesthetics of perception is largely geared towards the ideal viewer. In reality, the conscious process of educating theatrical culture may move the viewer towards acquiring knowledge about art and mastering certain perception skills. An educated viewer may well: - know the theater in its own laws; - know the theater in its modern processes; - know the theater in its historical development.
At the same time, one should be aware that the knowledge mechanically folded in the viewer's head is not a guarantee of full-fledged perception. The process of the formation of spectator culture to a certain extent possesses the properties of a “black box”, in which quantitative moments do not always add up straightforwardly into certain qualitative phenomena. Theater is an amazing art. If only because over the past century, he was predicted inevitable death several times. He was threatened by the Great Mute, who had acquired speech - it seemed that sound films would take away all spectators from the theater. Then the threat came from television, when the spectacle came directly to the house, later they began to fear the powerfully spread of video and the Internet.
However, if we focus on the general trends in the existence of theatrical art in the world, then it is not surprising that in early XXI century the theater not only preserved itself, but began to clearly emphasize the non-mass character and, in a certain sense, “elitism” of its art. But in the same sense, we can talk about the elitism of the fine arts or classical music if we compare the multimillion-dollar audiences that collect popular performers, with a limited audience at the conservatory.
In the synthetic theater of modern times, the traditional correlation of the dominant principles - truth and fiction - appears in a kind of indissoluble unity. This synthesis takes place both as an act of experience (perception of the truth of life) and as an act of aesthetic pleasure (perception of theater poetry). Then the viewer becomes not only a psychological participant in the action, that is, a person who "absorbs" the fate of the hero and spiritually enriches himself, but also a creator who performs a creative action in his imagination, simultaneously with what is happening on the stage. This last point is extremely important, and it occupies the main place in the aesthetic education of the audience.
Of course, every viewer can have their own idea of the ideal performance. But in all cases it is based on a certain "program" of requirements for art. This kind of "knowledge" presupposes a certain maturity of the audience's culture.
Spectator culture to a large extent depends on the nature of the art that is offered to the viewer. The more difficult the task set before him - aesthetic, ethical, philosophical, the more the thought is strained, the more acute is the experience, the more subtle is the manifestation of the viewer's taste. For what we call the culture of the reader, listener, viewer is directly related to the development of a person's personality itself, depends on his spiritual growth and affects his further spiritual growth.
The significance of the task that the theater sets before the viewer from a psychological point of view is that the artistic image given in all its complexity and contradictoriness is perceived by the viewer first as a real, objectively existing character, and then, as he gets used to the image and reflects on it actions, reveals (as if independently) its inner essence, its generalizing meaning.
In terms of aesthetics, the complexity of the task lies in the fact that the viewer perceives the stage imagery not only according to the criteria of truth, but also knows how (has learned) to decipher its poetic metaphorical meaning. So, the specificity of theatrical art is a living person, as a directly experiencing hero and as a directly creating artist-artist, and the most important law of theater is a direct impact on the viewer. The "theater effect", its clarity are determined not only by the dignity of the creativity itself, but also by the dignity, the aesthetic culture of the audience. The theater practitioners themselves (directors and actors) most often write and speak about the viewer as an obligatory co-creator of the play: “There is no theatrical performance without the participation of the public, and the play has a chance of success only if the viewer“ loses ”the game himself, that is . accepts its rules and plays the role of a person empathizing or self-rejecting ”(7).
However, the awakening of the artist in the viewer occurs only if the viewer is able to perceive in its entirety the content inherent in the play, if he is able to expand his aesthetic range and learn to see new things in art, if, while remaining true to his favorite artistic style, he does not turn out to be deaf and to other creative directions, if he is able to see a new reading of a classic work and is able to separate the director's intention from its implementation by the actors ... There are many more such “ifs” to name. Therefore, in order for the viewer to become involved in creativity, in order for the artist to awaken in him, at the current stage of the development of our theater, a general increase in the artistic culture of the viewer is necessary.
Modern pedagogy also considers the possibilities of theater as a real means of artistic education of schoolchildren. Theater at all times has been a school for a talented spectator. Today, in the conditions of the developing electronic culture, the expansion of the media, "entertainment consumer goods" (Z. Ya. Korogodsky), it is necessary to look for means that will help to resist this process. Of course, a multimillion-dollar audience of video screenings and a modest theater audience are quantitatively incomparable, but it is the theatrical spectator, brought up in communication with living art, according to psychologists, sociologists and art historians, who is the most educated and talented.
We also note that the artistic searches of modern theater naturally presuppose the presence of a competent spectator who is attracted to the theater by something more than acquaintance with an unknown plot or the opportunity to spend their free time pleasantly. The differentiation of spectators into separate “experts” and a mass “disposable” audience is based on the emerging division within theatrical art itself into performances created by the original artistic language and mass show performances available to any spectator. Modern theater, as practice shows, is becoming a self-sufficient creative organism, a part of the phenomenon that in the history of culture was called "art for art." In this process, the viewer from the “third creator of the play” (KS Stanislavsky) turns into a secondary component, often on the periphery of the theater itself. Thus, if today the theater in its creative activity has practically abandoned the educational function, then the modern school took care of the development of interest in art, the opposition of spirituality and mass culture.
It was the school that began to include theater in the most diverse forms of educational and extracurricular activities. Not only specialized schools with humanitarian or aesthetic directions (gymnasiums and lyceums), but also ordinary general education schools began to introduce into their curriculum not only theater circles and electives, but also theater lessons (for all the complexity of ideas about what a theater lesson at school is ). A large number of programs have appeared, primarily author's, which most often consider the acquaintance of schoolchildren with the theatrical art in an adapted version of professional theatrical education.
An integral part of a theater lesson, an elective, and theatricalization as a means of developing a child's personality has become a component of theatrical culture, which, according to the teachers involved in this work, most often consists in acquainting schoolchildren with theater as an art form, in studying the history of domestic and foreign theater, in mastering the elements of acting and staging performances in which children play.
The active intrusion from an early age into the children's consciousness of a huge mass of spectacular impressions that cinema and television carry does not pass without leaving a trace. The theater today certainly appeals to the television generation of young viewers. The specificity of the television viewer influences the viewer's existence in the theater hall. The ability to interrupt a program or film while watching at home, stop, “exit” from viewing and “enter” again when it pleases, form a kind of discrete perception that is seriously tested in the theater. The need for a long immersion in the integral process of communication with art is faced with the inability of young viewers to slowly exist in this communication. The process is further complicated by the commitment of many contemporary directors to the creation of monumental works lasting four and five hours, sometimes with only one intermission. Such performances literally test the "strength" of the audience's interest in theatrical art. The modern youth audience is largely educated popular culture and focused on it. Using the theatrical term, we can say that all the "attachments" of young people to art generally proceed from this "mass" upbringing. Therefore, even the cultivation of an attitude towards attending the theater as a certain rite, adherence to certain rules and traditions, encounters specific difficulties. The youth audience at the youth theater performance shows the "syndrome" of a rock concert at the stadium: as soon as the lights go out in the hall, young spectators whistle, roar and stamp their feet. Often, as conceived by the director, many performances begin in silence, and the youth hall immediately asserts itself and offers dialogue, feedback - like at a concert, not understanding and not accepting the conditions of a theatrical performance.
At the same time, in the history of the theater, you can find many examples when the theater consciously raised the viewer in the direction necessary for him, the theater. The Moscow Art Theater, for example, not only fought against ladies' hats in the hall, but also weaned the audience off the applause for the actors to come out in the middle of the action and from the music during the intermission.
Of course, the point is not only in the education of external culture (not to be late for the beginning of the performance or not to leave before the end). Is there a contradiction in the fact that the modern young viewer, who grew up surrounded by the media, computers, infected with the "comic mind", is offered a leisurely communication with art that has remained in the cage of classical values? Dialogue presupposes acceptance of the language of communication - acceptance and comprehension. In comprehension, it is important to have a leisurely existence, reading, deciphering meanings (in scenography, in mise-en-scène, in subtext) and, of course, getting pleasure from this process. Modern theater gravitates not towards simplicity and clarity of artistic and expressive means, but towards meaningfulness, multi-layered performance, which requires a viewer endowed to a certain extent with the qualities of an artist and creator.