13 means of artistic expression of theatrical art. Expressive means of scenography

The main expressive means of stage art is action. The purpose of the action is to change, remake the object to which the action is directed. In the art of acting, the psychophysical actions that make up acting are very important. Actions can be internal (directed at oneself) and external (directed at a partner or at an object). Actions on stage are performed by actors. This is the main exponent of the art of acting. Everything in the theater is expressed through him. He speaks from the stage on behalf of the author, the director, the whole team, therefore the basic expressive means of acting are important in his work: word, voice, movement, plasticity. The word plays a huge role in the art of an actor. The word is the main exponent of thought. Competent expressive speech is capable of conveying the complexity of the spiritual appearance of modern man. A voice rich in expressiveness can convey different nuances. The word is an instrument of action. The expressiveness of stage movement is also very important in the work of an actor. Facial expressions, gesture. The nature of an actor is masterful control of his body. Through posture, gesture, and movement, an actor must be able to express inner content. Smoothness and continuity of movement create plasticity. A psychological gesture is very important, which must be strong-willed, active, clear, large-scale, and prominent. Auxiliary means of expression are makeup, wig, stickers, costume, which emphasize and complement the image by proximity or contrast. The expressive means of theater include: music, lighting, makeup, mise-en-scène. Atmosphere, decoration, composition, rhythm, etc. The impact of music on a person is extremely great due to its scenic properties. It is capable of reflecting a person’s feelings, phenomena of the outside world, social conflicts, heroic deeds, etc. This is the most powerful means of expression in theatre. Light is also one of the most powerful means of expressiveness in theatre. Light should interact with the texture of stage clothing and costumes. Light helps create a stage atmosphere. The atmosphere is formed by the actor and the proposed circumstances in which he finds himself. The main exponent of the atmosphere is the actor. The idea of ​​the performance is expressed through the atmosphere, the rhythms of stage life are expressed, and the characters of the characters and their relationships are associated with it. The mission of the atmosphere is to save the soul of the theater from mechanization. The costume should emphasize the image - this is a solution to the image, which reflects the person’s biography, character, nationality, and characteristic features of the time. It is very important that makeup is not just an external cosmetic product, but the internal psychological content of the image. Another very important expressive means of the theater is the artistic design, with the help of which the solution of the curtain, the possibility of a rotating stage, its raising, the use of hatches, etc. are considered. The interior must correspond to the character of the characters. The artist must be able to reveal the play figuratively. Thus, there are a lot of expressive means.

Concept, signs and means of theatricalization

The word "theatricalization" comes from the word "theater". Theatricalize club event means to liken it to a theatrical performance in which the synthesis of various expressive means is represented by stage (verbal) action, musical design, light, noise, props, props, costumes, elements of visual design, makeup, and dancing.

The same picture can be observed in complex club events. All of the above means are used in theme evenings, shows, performances, theatrical concerts, literary and musical compositions, concerts and performances.

Theatrical forms of cultural and leisure events have a number of signs.

1. Widespread use of theatrical expression. The fact is that the same means of expression (music, word, document, fact) in one case are used as an illustration for a narrative on a chosen topic (for example, music sounds like an illustration after a story about the composer’s work in a lecture, conversation), in another case they act as equal links in one chain. That is, in a club event, both the document and the artistic image carry equal meaning.

2. Organic combination of documentary and fiction material . But a club event that satisfies these two criteria cannot yet be considered completely theatrical if some part, episode, or fragment of it is subjected to “theatricalization.” For example, in the evening only the “meeting of guests” or a festive concert is theatricalized, in which numbers of different stage genres are used.

3. The main feature of a theatrical event is the compositional solution according to the laws of dramaturgy . The elements of the compositional solution are: - prologue, plot, chain of events, one of which is the climax, and denouement. The compositional structure of a theatrical event has a clearly developed system of episodes and fragments. In one form or another, there is conflict in a club event, but not as clearly expressed as in a theatrical performance. For example, in the holiday “Farewell to Winter” there is a conflict - the struggle of spring with winter.

Therefore, to prepare and conduct a theatrical club event is:

- build it compositionally, - achieve an organic unity of documentary and figurative material, - embody it with all the necessary means of theatrical expressiveness.

Means of "theatricalization".

1. Music. WITH musical works or fragments of them we meet in holidays, mass celebrations, carnivals, shows and other theatrical programs. Music can be a guide in time and space. It can create the desired emotional mood, both before and during the event, it can have independent meaning or serve as a backdrop to the stage action.

2. Movie– artistic and documentaries or their fragments, gaming, animated, serious and comedic, professional and amateur - can be used as an expressive means. The technique of appearing on stage from the screen of those about whom we are talking at a club evening is widely known.

3. Fiction. A literary work or its fragment plays a large role in the composition and can be a prologue, a plot, links between episodes, or a final part. This can be either poetic or prose material.

4. Artistic word– carries the main semantic load in a theatrical performance. It can be performed by one reader (leader) or by a group. The simplest example is reading poetry or prose accompanied by music. Reading can be accompanied by pantomime, dance, or film fragments.

5. Painter b is a necessary element of any theatrical performance, it contributes to the visibility and authenticity of what is happening at the event (portraits, elements of scenery - houses, streets, trees, prison cells, etc.). Painting “works” effectively when its display is accompanied by well-chosen music or artistic words.

6. Pantomime is an action without words. It can be accompanied by music, specially selected sounds symbolizing, for example, the beating of the heart, the rhythm of a working mechanism, etc. With the help of pantomime you can show a calm sea and an approaching storm, wind, or a blooming flower. It all depends on the imagination of the director and the skill of the performers. The costumes of pantomime participants are stylized or unified, but they can also be ordinary theatrical ones.

7. Dance. All types of dances are common in club practice. The possibilities of dance as an expressive means are not limited to only illustrating a particular idea or idea already expressed by other means. Dance can become a full-fledged plot element of the entire theatrical performance.

8. Theater arts– synthesizes music, dance, artistic expression in its own way, literary works, pantomime. In a club theatrical performance, not the entire performance is used, but its individual fragments. Therefore, we can talk about small theatrical forms - dramatizations of prose or poetic works, or even documents. Performances with dolls and techniques are successfully used shadow theater, excerpts from opera performances, operettas. The main thing is that this material fits organically into the context of the event.

9. Art and documentary photography. A successfully found photograph as part of a theatrical performance can be exposed for as long as the text, music or action requires.

10. The art of pop and circus is used as a means of emotional impact. The script includes funny eccentric numbers, jokes, humor, entertainers, magic tricks, comic dances, reprises, couplets, and parodies.

11. A game- is also a means by which a theatrical mass action is built. In this case, the game is considered not from the point of view of the essence of the theatrical event (holiday, theatrical competition), but from the point of view of its organization in the pedagogical aspect, especially when organizing children's theatrical events. Gaming activities can be part of leisure time or act as a specific form of mass work. In a mass event, the game is used as an effective means of involving people in a mass theatrical action, causing an emotional experience with its entertainment, creating the necessary festive mood. Theatrical play action can become an active part of any theatrical event and greatly contribute to its success.

Thus, all forms and genres of art are practically applicable in theatrical cultural and leisure events. Their selection depends on the screenwriter and the real capabilities of the leisure institution.

MINISTRY OF EDUCATION OF THE AUTONOMOUS REPUBLIC OF CRIMEA

CRIMEA STATE ENGINEERING AND PEDAGOGICAL UNIVERSITY

Faculty of Psychological and Pedagogical

Department of Primary Education Methods

Test

By discipline

Choreographic, stage and screen arts with teaching methods

Means of expression theatrical arts

Students Mikulskite S.I.

Simferopol

2007 - 2008 academic year year.

2. Basic means of expressiveness of theatrical art

Decoration

Theater costume

Noise design

Light on stage

Stage effects

Literature

1. The concept of decorative art as a means of expressiveness of theatrical art

Decorative art is one of the most important means of expressiveness in theatrical art; it is the art of creating a visual image of a performance through scenery and costumes, lighting and staging techniques. All these visual means of influence are organic components of a theatrical performance, contribute to the disclosure of its content, and give it a certain emotional sound. The development of decorative art is closely related to the development of theater and drama.

The most ancient folk rituals and games included elements of decorative art (costumes, masks, decorative curtains). IN ancient Greek theater already in the 5th century. BC e., in addition to the skena building, which served as an architectural backdrop for the actors’ performances, there were three-dimensional scenery, and then picturesque ones were introduced. The principles of Greek decorative art were adopted by the theater of Ancient Rome, where the curtain was first used.

During the Middle Ages, initially the role of a decorative background was played by the interior of the church, where the liturgical drama was played out. Already here the basic principle of simultaneous scenery, characteristic of medieval theater, is applied, when all scenes of action are shown simultaneously. This principle is further developed in the main genre of medieval theater - mystery. The greatest attention in all types of mystery scenes was given to the decoration of “paradise”, depicted in the form of a gazebo decorated with greenery, flowers and fruits, and “hell” in the form of the opening mouth of a dragon. Along with three-dimensional decorations, picturesque ones (image of a starry sky) were also used. Skilled artisans were involved in the design - painters, carvers, gilders; the first theater. The machinists were watchmakers. Ancient miniatures, engravings and drawings give an idea of ​​the various types and techniques of staging mysteries. In England, performances on pageants, which were a mobile two-story booth mounted on a cart, became most widespread. The performance took place on the upper floor, and the lower floor served as a place for the actors to change clothes. This circular or annular type of stage structure made it possible to use amphitheaters preserved from the ancient era to stage mysteries. The third type of design of the mysteries was the so-called system of pavilions (mystery performances of the 16th century in Lucerne, Switzerland, and Donaueschingen, Germany) - open houses scattered across the area in which the action of the mystery episodes unfolded. In the school theater of the 16th century. For the first time, the locations of action are located not along one line, but parallel to three sides of the stage.

The cult basis of theatrical performances in Asia led to the dominance over a number of centuries of conventional stage design, when individual symbolic details designated the scene of action. The lack of scenery was made up for by the presence in some cases of a decorative background, the richness and variety of costumes, make-up masks, the color of which was symbolic meaning. In the feudal-aristocratic musical theater masks, which developed in Japan in the 14th century, a canonical type of design was created: on the back wall of the stage, on an abstract golden background, a pine tree was depicted - a symbol of longevity; in front of the balustrade of the covered bridge, located in the depths of the platform on the left and intended for actors and musicians to enter the stage, images of three small pine trees were placed

At 15 - start. 16th centuries A new type of theater building and stage appears in Italy. Major artists and architects took part in the design of theatrical productions - Leonardo da Vinci, Raphael, A. Mantegna, F. Brunelleschi, etc. Perspective decorations, the invention of which is attributed (no later than 1505) to Bramante, were first used in Ferrara by the artist Pellegrino da Udine, and in Rome - B. Peruzzi. The scenery, depicting the view of the street going into the depths, was painted on canvases stretched over frames and consisted of a backdrop and three side plans on each side of the stage; Some parts of the scenery were made of wood (roofs of houses, balconies, balustrades, etc.). The required perspective reduction was achieved by raising the tablet steeply. Instead of simultaneous scenery, one common and unchanging scene of action was reproduced on the Renaissance stage for performances of certain genres. The largest Italian theater architect and decorator S. Serlio developed 3 types of scenery: temples, palaces, arches - for tragedies; a city square with private houses, shops, hotels - for comedies; forest landscape - for pastorals.

Renaissance artists viewed the stage and auditorium as a single whole. This was manifested in the creation of the Olimpico theater in Vicenza, built according to the design of A. Palladio in 1584; In this building, V. Scamozzi built a magnificent permanent set depicting an “ideal city” and intended for staging tragedies.

The aristocratization of theater during the crisis of the Italian Renaissance led to the predominance of external showiness in theatrical productions. The relief decoration of S. Serlio gave way to a picturesque decoration in the Baroque style. The enchanting character of court opera and ballet performances at the end of the 16th and 17th centuries. led to the widespread use of theatrical mechanisms. The invention of thetelarii - triangular rotating prisms covered with painted canvas, attributed to the artist Buontalenti, made it possible to change the scenery in front of the public. A description of the design of such movable, perspective scenery can be found in the works of the German architect J. Furtenbach, who worked in Italy and introduced the technique of Italian theater in Germany, as well as by the architect N. Sabbatini in his treatise “On the Art of Building Stages and Machines” (1638). Improvements in perspective painting techniques have made it possible for decorators to create the impression of depth without the steep rise of the tablet. The actors were able to make full use of the stage space. In the beginning. 17th century backstage decorations invented by G. Aleotti appeared. Technical devices for flights, a hatch system, as well as side portal shields and a portal arch were introduced. All this led to the creation of the box stage.

The Italian system of backstage decorations has become widespread in all European countries. All R. 17th century In the Viennese court theater, baroque backstage scenery was introduced by the Italian theater architect L. Burnacini; in France, the famous Italian theater architect, decorator and driver G. Torelli ingeniously applied the achievements of a promising backstage stage in court productions of the opera and ballet type. The Spanish theater, which survived in the 16th century. primitive fair scene, assimilates the Italian system through Italian art. K. Lotti, who worked in the Spanish court theater (1631). For a long time, the city's public theaters in London retained the conventional stage area of ​​the Shakespearean era, divided into upper, lower and back stages, with a proscenium protruding into the auditorium and sparse decorative design. The stage of the English theater made it possible to quickly change scenes of action in their sequence. Prospective decoration of the Italian type was introduced in England in the 1st quarter. 17th century theater architect I. Jones in staging court performances. In Russia, perspective stage sets were used in 1672 in performances at the court of Tsar Alexei Mikhailovich.

In the era of classicism, the dramatic canon, which required the unity of place and time, approved a permanent and irreplaceable setting, devoid of specific historical characteristics (a throne room or a palace vestibule for tragedy, a city square or a room for comedy). All the variety of decorative and staging effects was concentrated in the 17th century. within the opera and ballet genre, and dramatic performances were distinguished by rigor and sparing design. In theaters in France and England, the presence of aristocratic spectators on the stage, located on the sides of the proscenium, limited the possibilities of decoration for performances. Further development of the art of opera led to the reform of the opera house. The rejection of symmetry and the introduction of angular perspective helped create the illusion of great depth in the scene through painting. The dynamism and emotional expressiveness of the decoration were achieved by the play of chiaroscuro, rhythmic diversity in the development of architectural motifs (endless enfilades of Baroque halls decorated with stucco ornaments, with repeating rows of columns, stairs, arches, statues), with the help of which the impression of the grandeur of architectural structures was created.

The intensification of the ideological struggle during the Enlightenment found expression in the struggle between different styles and in decorative art. Along with the intensification of the spectacular splendor of Baroque decoration and the appearance of scenery executed in the Rococo style, characteristic of the feudal-aristocratic trend, in the decorative art of this period there was a struggle for theater reform, for liberation from the abstract pomp of court art, for a more accurate national and historical description of the place actions. In this struggle, the educational theater turned to the heroic images of antiquity, which was expressed in the creation of scenery in the classic style. This direction received particular development in France in the work of decorators G. Servandoni, G. Dumont, P.A. Brunetti, who reproduced buildings of ancient architecture on stage. In 1759, Voltaire achieved the expulsion of spectators from the stage, freeing up additional space for scenery. In Italy, the transition from Baroque to Classicism found expression in the work of G. Piranesi.

Intensive development of theater in Russia in the 18th century. led to the flourishing of Russian decorative art, which used all the achievements of modern theatrical painting. In the 40s 18th century Major foreign artists were involved in the design of the performances - C. Bibbiena, P. and F. Gradipzi and others, among whom a prominent place belongs to Bibbiena’s talented follower G. Valeriani. In the 2nd half. 18th century Talented Russian decorators emerged, most of whom were serfs: I. Vishnyakov, the Volsky brothers, I. Firsov, S. Kalinin, G. Mukhin, K. Funtusov and others who worked in court and serf theaters. Since 1792, the outstanding theater artist and architect P. Gonzago worked in Russia. In his work, ideologically associated with the classicism of the Enlightenment, the severity and harmony of architectural forms, creating the impression of grandeur and monumentality, were combined with the complete illusion of reality.

At the end of the 18th century. In the European theater, in connection with the development of bourgeois drama, a pavilion set appeared (a closed room with three walls and a ceiling). The crisis of feudal ideology in the 17th and 18th centuries. found its reflection in the decorative art of Asian countries, causing a number of innovations. In Japan in the 18th century. buildings were being constructed for Kabuki theaters, the stage of which had a proscenium that stood out strongly into the audience and a curtain that moved horizontally. From the right and left sides of the stage to the back wall of the auditorium there were platforms (“hanamichi”, literally the path of flowers), on which the performance also unfolded (the right platform was subsequently abolished; nowadays only the left platform remains in Kabuki theaters). Kabuki theaters used three-dimensional scenery (gardens, house facades, etc.), specifically characterizing the location of the action; in 1758 a rotating stage was used for the first time, the turns of which were made by hand. Medieval traditions are preserved in many theaters in China, India, Indonesia and other countries, in which there is almost no scenery, and decoration is limited to costumes, masks and makeup.

French bourgeois revolution of the late 18th century. had a great impact on the art of theater. The expansion of the subject matter of drama has led to a number of shifts in decorative art. In the production of melodramas and pantomimes on the stages of the “boulevard theaters” of Paris, special attention was paid to design; high art theater drivers allowed them to demonstrate a variety of effects (shipwrecks, volcanic eruptions, thunderstorm scenes, etc.). In the decorative art of those years, the so-called praticables (three-dimensional design details depicting rocks, bridges, hills, etc.) were widely used. In the 1st quarter 19th century Pictorial panoramas, dioramas or neoramas, combined with innovations in stage lighting, became widespread (gas was introduced in theaters in the 1820s). An extensive program of reform of theatrical design was put forward by French romanticism, which set the task of historically specific characterization of scenes of action. Romantic playwrights took a direct part in the production of their plays, providing them with lengthy remarks and their own sketches. Performances with complex scenery and lavish costumes were created, striving to combine the accuracy of the coloring of place and time with spectacular beauty in the productions of multi-act operas and dramas on historical subjects. The increasing complexity of staging techniques led to the frequent use of curtains during breaks between acts of the performance. In 1849, electric lighting effects were used for the first time on the stage of the Paris Opera in a production of Meyerbeer's The Prophet.

In Russia in the 30-70s. 19th century A major decorator of the romantic style was A. Roller, an outstanding master of theatrical machines. The high technique of staging effects he developed was subsequently developed by such decorators as K.F. Valts, A.F. Geltser et al. New trends in decorative art in the 2nd half. 19th century were established under the influence of realistic classical Russian drama and acting. The fight against academic routine was started by decorators M.A. Shishkov and M.I. Bocharov. In 1867, in the play “The Death of Ivan the Terrible” A.K. Tolstoy (Alexandria Theatre) Shishkov for the first time managed to show on stage the life of pre-Petrine Rus' with historical specificity and accuracy. In contrast to the somewhat dry archaeology of Shishkov, Bocharov brought into his landscape decorations a truthful, emotional feeling of Russian nature, anticipating with his creativity the arrival of genuine painters on the stage. But the progressive quest of decorators of state-owned theaters was hampered by embellishment, idealization of stage spectacle, and the narrow specialization of artists divided into “landscape”, “architectural”, “costume”, etc.; in dramatic performances on modern themes, as a rule, prefabricated or “standard” standard scenery was used (“poor” or “rich” room, “forest”, “rural view”, etc.). In the 2nd half. 19th century Large decorative workshops were created to serve various European theaters (the workshops of Philastre and C. Cambon, A. Roubaud and F. Chaperon in France, Lütke-Meyer in Germany, etc.). During this period, bulky, ceremonial, eclectic-style decorations, in which art and creative imagination were replaced by handicraft, became widespread. On the development of decorative art in the 70-80s. A significant influence was exerted by the activities of the Meiningen Theater, whose tours in European countries demonstrated the integrity of the director's decision of the performances, high production culture, historical accuracy of scenery, costumes and accessories. The Meiningians gave the design of each performance an individual look, trying to violate the standards of pavilion and landscape decorations, the traditions of the Italian backstage-arch system. They made extensive use of the variety of tablet topography, filling the stage space with various architectural forms; they abundantly used praticables in the form of various platforms, stairs, volumetric columns, rocks and hills. On the visual side of the Meiningen productions (the design of which

mostly belonged to Duke George II) was clearly influenced by the German historical school of painting - P. Cornelius, W. Kaulbach, K. Piloty. At the same time, historical accuracy and verisimilitude, the “authenticity” of accessories at times acquired self-sufficient significance in the performances of the Meiningenites.

E. Zola performs in the late 70s. with criticism of abstract classicist, idealized romantic and self-effective enchanting scenery. He demanded an image on stage modern life, "the exact reproduction of the social environment" using scenery, which he compared to the descriptions in the novel. The symbolist theater, which arose in France in the 90s, fought against realistic art under the slogans of protest against theatrical routine and naturalism. Artists of the modernist camp M. Denis, P. Sérusier, A. Toulouse-Lautrec, E. Vuillard, E. Munch and others united around the Art Theater of P. Faure and the Creativity Theater of Lunier-Poe; they created simplified, stylized scenery, the impressionistic vagueness, emphasized primitivism and symbolism of which led theaters away from realistic image life.

The powerful rise of Russian culture took place in the last quarter of the 19th century. theater and decorative art. In Russia in the 80-90s. The largest easel artists are involved in working in the theater - V.D. Polenov, V.M. Vasnetsov and A.M. Vasnetsov, I.I. Levitan, K.A. Korovin, V.A. Serov, M.A. Vrubel. Working since 1885 at the Moscow Private Russian Opera S.I. Mamontov, they introduced compositional techniques of modern realistic painting into the scenery and affirmed the principle of a holistic interpretation of the performance. In productions of operas by Tchaikovsky, Rimsky-Korsakov, Mussorgsky, these artists conveyed the originality of Russian history, the spiritual lyricism of the Russian landscape, the charm and poetry of fairy-tale images.

The subordination of the principles of stage design to the requirements of realistic direction was first achieved at the end of the 19th and 20th centuries. in the practice of the Moscow Art Theater. Instead of traditional backstage, pavilions and “prefabricated” scenery, usual for imperial theaters, each MAT performance had a special design that corresponded to the director’s plan. Expanding planning capabilities (processing the floor plane, showing unusual angles of residential premises), the desire to create the impression of a “lived-in” environment, and the psychological atmosphere of the action characterize the decorative art of the Moscow Art Theater.

Decorator of the Art Theater V.A. Simov was, according to K.S. Stanislavsky, “the founder of a new type of stage artists,” distinguished by a sense of life’s truth and inextricably linking their work with directing. The realistic reform of decorative art carried out by the Moscow Art Theater had a huge impact on world theater art. An important role in the technical re-equipment of the stage and in enriching the possibilities of decorative art was played by the use of a rotating stage, used for the first time in the European theater by K. Lautenschläger during the production of Mozart's opera Don Giovanni (1896, Residenz Theater, Munich).

In the 1900s The artists of the "World of Art" group - A.N. - begin their activities in the theater. Benoit, L.S. Bakst, M.V. Dobuzhinsky, N.K. Roerich, E.E. Lansere, I.Ya. Bilibin and others. The retrospectivism and stylization characteristic of these artists limited their creativity, but their high culture and skill, the desire for the integrity of the overall artistic concept of the performance played a positive role in the reform of opera and ballet decorative art not only in Russia, but also abroad. The tours of Russian opera and ballet, which began in Paris in 1908 and were repeated for a number of years, showed a high pictorial culture of scenery, the ability of artists to convey the style and character of art of different eras. The activities of Benois, Dobuzhinsky, B.M. Kustodiev, Roerich are also connected with the Moscow Art Theater, where the aestheticism characteristic of these artists was largely subordinated to the requirements of the realistic direction of K.S. Stanislavsky and V.I. Nemirovich-Danchenko. The largest Russian decorators K.A. Korovin and A.Ya. Golovin, who worked from the beginning. 20th century in the imperial theaters, made fundamental changes to the decorative art of the official stage. Korovin’s broad, free style of writing, the sense of living nature inherent in his stage images, integrity color range, which combines the scenery and costumes of the characters, had the greatest impact on the design of Russian operas and ballets - “Sadko”, “The Golden Cockerel”; “The Little Humpbacked Horse” by Ts. Pugni and others. Ceremonial decorativeness, clear delineation of forms, bold color combinations, overall harmony, and integrity of solution distinguish Golovin’s theatrical painting. Despite the fact that a number of the artist’s works are influenced by modernism, his work is based on great realistic skill, based on a deep study of life. Unlike Korovin, Golovin always emphasized in his sketches and decorations the theatrical nature of stage design, its individual components; he used portal frames decorated with ornaments, various applique and painted curtains, a proscenium, etc. In 1908-17, Golovin created designs for a number of performances, post. V.E. Meyerhold (including Moliere’s “Don Juan”, “Masquerade”),

The strengthening of anti-realistic movements in bourgeois art at the end of the 19th century and the beginning. 20 centuries, the refusal to disclose social ideas had a negative impact on the development of realistic decorative art in the West. Representatives of decadent movements proclaimed “conventionality” as the basic principle of art. A. Appiah (Switzerland) and G. Craig (England) waged a consistent struggle against realism. Putting forward the idea of ​​​​creating a “philosophical theater”, they depicted the “invisible” world of ideas with the help of abstract, timeless decoration (cubes, screens, platforms, stairs, etc.), and by changing the light they achieved a play of monumental spatial forms. Craig's own practice as a director and artist was limited to a few productions, but his theories subsequently influenced the work of a number of theater artists and directors in various countries. The principles of symbolist theater were reflected in the work of the Polish playwright, painter and theater designer S. Wyspiansky, who strived to create a monumental conventional performance; however, the implementation of national forms of folk art in decorations and spatial stage designs freed Wyspianski’s work from cold abstraction and made it more real. Organizer of the Munich Art Theater G. Fuchs together with the artist. F. Erler put forward a project for a “relief stage” (that is, a stage almost devoid of depth), where the figures of the actors are located on a plane in the form of a relief. Director M. Reinhardt (Germany) used a variety of design techniques in the theaters he directed: from carefully designed, almost illusionistic, picturesque and volumetric decorations associated with the use of a rotating stage circle, to generalized conventional fixed installations, from simplified stylized design “in cloth” to grandiose mass spectacles in the circus arena, where increasing emphasis was placed on purely external stage showmanship. Artists E. Stern, E. Orlik, E. Munch, E. Schutte, O. Messel, sculptor M. Kruse and others worked with Reinhardt.

At the end of the 10s and in the 20s. 20th century Expressionism, which initially developed in Germany, but widely captured the art of other countries, acquired predominant importance. Expressionist tendencies led to deepening contradictions in decorative art, to schematization, and a departure from realism. Using “shifts” and “bevels” of planes, non-objective or fragmentary decorations, sharp contrasts of light and shadow, the artists tried to create a world of subjective visions on stage. At the same time, some expressionist performances had a pronounced anti-imperialist orientation, and the scenery in them acquired features of acute social grotesque. The decorative art of this period is characterized by the artists' passion for technical experiments, the desire to destroy the box stage, expose the stage area, and staging techniques. Formalist movements - constructivism, cubism, futurism - led decorative art onto the path of self-sufficient technicalism. Artists of these movements, reproducing on stage “pure” geometric shapes, planes and volumes, abstract combinations of parts of mechanisms, sought to convey the “dynamism”, “pace and rhythm” of a modern industrial city, and sought to create on stage the illusion of the work of real machines (G. Severini, F. Depero, E. Prampolini - Italy; F. Leger - France, etc.).

In the decorative art of Western Europe and America, ser. 20th century there are no specific artistic directions and schools: artists strive to develop a broad manner that allows them to address various styles and techniques. Moreover, in many cases, the artists who design the performance do not so much convey the ideological content of the play, its character, and specific historical features, as they strive to create on its canvas an independent work of decorative art, which is the “fruit of the artist’s free imagination.” Hence the arbitrariness, abstractness of the design, and the break with reality in many performances. This is opposed by the practice of progressive directors and the creativity of artists who strive to preserve and develop realistic decorative art, relying on the classics, progressive modern drama and folk traditions.

Since the 10s 20th century Masters of easel arts are increasingly being attracted to work in the theater, and interest in decorative art as a type of creative artistic activity is growing. Since the 30s. The number of qualified professional theater artists with a good knowledge of production techniques is increasing. Stage technology is enriched with a variety of means; new synthetic materials, luminescent paints, photo and film projections, etc. are used. Among the various technical improvements of the 50s. 20th century highest value has application in the cyclorama theater (simultaneous projection of images from several film projection devices onto a wide semicircular screen), the development of complex lighting effects, etc.

In the 30s in creative practice Soviet theaters the principles of socialist realism are affirmed and developed. The most important and defining principles of decorative art are the requirements of life truth, historical specificity, and the ability to reflect the typical features of reality. The volumetric-spatial principle of scenery, which dominated many performances of the 20s, is enriched by the widespread use of painting.

2. Basic means of expressiveness of theatrical art:

Decoration (from Latin decoro - I decorate) is the design of a stage that recreates the material environment in which the actor acts. The set “is an artistic image of the scene of action and at the same time a platform that offers rich opportunities for performing stage action on it.” The scenery is created using a variety of expressive means used in modern theater - painting, graphics, architecture, the art of location planning, special texture of the scenery, lighting, stage technology, projection, cinema, etc. The main set systems:

1) rocker movable,

2) rocker-arch lifting,

3) pavilion,

4) volumetric

5) projection.

The emergence and development of each set system and its replacement by another were determined by the specific requirements of dramaturgy, theatrical aesthetics, corresponding to the history of the era, as well as the growth of science and technology.

Backstage mobile decoration. Backstage - parts of the scenery located on the sides of the stage at certain distances one after another (from the portal deep into the stage) and designed to close the backstage space from the viewer. The curtains were soft, hinged or rigid on frames; sometimes they had a figured outline depicting an architectural profile, the outline of a tree trunk, foliage. The change of hard scenes was carried out using special backstage machines - frames on wheels, which were located (in the 18th and 19th centuries) on each stage plan parallel to the ramp. These frames moved in passages specially cut out in the stage plank along rails laid along the floor of the first hold. In the first palace theaters, the set consisted of a backdrop, wings and ceiling arches, which were raised and lowered simultaneously with the change of wings. Clouds, tree branches with foliage, parts of lampshades, etc. were painted on the holly. Backstage decoration systems have been preserved to this day in the court theater in Drotningholm and in the theater of the former estate of Prince. N.B. Yusupov in Arkhangelskoye

The stage-arched lifting decoration originated in Italy in the 17th century. and became widespread in public theaters with high grates. This type of decoration is a canvas sewn in the form of an arch with tree trunks, branches with foliage, and architectural details painted (along the edges and along the top) (in compliance with the laws of linear and aerial perspective). Up to 75 of these backstage arches can be suspended on the stage, with a painted backdrop or horizon as the backdrop. A type of backstage-arch decoration is openwork decoration (written “forest” or “architectural” backstage arches, glued to special meshes or appliqued on tulle). Currently, backstage-arch decorations are used mainly in opera and ballet productions.

Pavilion decoration was first used in 1794. actor and director F.L. Shredder. The pavilion decoration depicts an enclosed space and consists of frame walls covered with canvas and painted to resemble wallpaper, boards, and tiles. The walls can be “solid” or have spans for windows and doors. The walls are connected to each other using throw ropes - overlaps, and are attached to the stage floor with slopes. The width of pavilion walls in a modern theater is no more than 2.2 m (otherwise, when transporting decorations, the wall will not fit through the door of a freight car). Behind the windows and doors of the pavilion decoration, backsplashes (parts of hanging decoration on frames) are usually placed, on which the corresponding landscape or architectural motif is depicted. The pavilion decoration is covered by a ceiling, which in most cases is suspended from the grate.

In the theater of modern times, three-dimensional decoration first appeared in the performances of the Meiningen Theater in 1870. In this theater, along with flat walls, three-dimensional parts began to be used: straight and inclined machines - ramps, stairs and other structures to depict terraces, hills, fortress walls. The designs of the machines are usually masked with painted canvases or fake reliefs (stones, tree roots, grass). To change parts of the volumetric scenery, rolling platforms on rollers (furki), a turntable and other types of stage technology are used. The volumetric set allowed the directors to build mise-en-scène on a “broken” stage plank and find a variety of constructive solutions, thanks to which the expressive possibilities of theatrical art unusually expanded.

Projection decoration was first used in 1908 in New York. It is based on the projection (on the screen) of color and black and white images drawn on transparencies. Projection is carried out using theater projectors. The screen can be a backdrop, a horizon, walls, or a floor. There are forward projection (the projector is in front of the screen) and back-light projection (the projector is behind the screen). The projection can be static (architectural, landscape and other motifs) and dynamic (movement of clouds, rain, snow). In the modern theater, which has new screen materials and projection equipment, projection decorations are widely used. Simplicity of manufacture and operation, ease and speed of changing pictures, durability, and the ability to achieve high artistic qualities make projection decorations one of the promising types of decorations for the modern theater.

2.2 Theater costume

Theatrical costume (from Italian costume, actually custom) - clothes, shoes, hats, jewelry and other items used by the actor to characterize the stage image he creates. A necessary addition to the costume is makeup and hairstyle. The costume helps the actor find the external appearance of the character, reveal the inner world of the stage character, determines the historical, socio-economic and national characteristics of the environment in which the action takes place, and creates (together with other design components) the visual image of the performance. The color of the costume should be closely related to the overall color scheme of the performance. Costume constitutes an entire area of ​​creativity for a theater artist, who embodies in costume a huge world of images - acutely social, satirical, grotesque, tragic.

The process of creating a costume from sketch to stage implementation consists of several stages:

1) selection of materials from which the suit will be made;

2) selection of samples for painting materials;

3) searching for a line: making cartridges from other materials and tattooing the material on a mannequin (or on an actor);

4) checking the costume on stage in different lighting;

5) “living in” the costume by the actor.

The history of the costume goes back to primitive society. In the games and rituals with which ancient man responded to various events in his life, hairstyle, makeup, and ritual costumes were of great importance; in them primitive people They put a lot of creativity and unique taste into it. Sometimes these costumes were fantastic, in other cases they resembled animals, birds or beasts. Since ancient times, costumes have existed in the classical theater of the East. In China, India, Japan and other countries, costumes are of a conventional, symbolic nature. So, for example, in the Chinese theater, the yellow color of the costume means belonging to the imperial family; the performers of the roles of officials and feudal lords wear black and green costumes; in Chinese classical opera, flags behind a warrior indicate the number of his regiments, and a black scarf on the face symbolizes the death of a stage character. Brightness, richness of colors, splendor of materials make the costume in the oriental theater one of the main decorations of the performance. As a rule, costumes are created for a specific performance, a particular actor; There are also traditional sets of costumes that are used by all troupes, regardless of repertoire. The costume in the European theater first appeared in Ancient Greece; it basically repeated the everyday costume of the ancient Greeks, but various conventional details were introduced into it that helped the viewer not only understand, but also better see what was happening on stage (the theater structures were of enormous size). Each costume had a special color (for example, the king’s costume was purple or saffron yellow), the actors wore masks that were clearly visible from a distance, and shoes on high stands - buskins. During the era of feudalism, the art of theater continued to live in the cheerful, topical, witty performances of wandering histrionic actors. The costume of the histrions (as well as that of the Russian buffoons) was close to the modern costume of the urban poor, but decorated with bright patches and comic details. Of the performances of the religious theater that arose during this period, the mystery play enjoyed the greatest success, the performances of which were especially luxurious. The procession of mummers in various costumes and makeup (fantastic characters from fairy tales and myths, all kinds of animals) that preceded the show of the mystery was distinguished by its bright colors. The main requirement for a costume in a mystery play is wealth and elegance (regardless of the role played). The costume was distinguished by convention: the saints were in white, Christ had gilded hair, the devils wore picturesque fantastic costumes. The costumes of the performers of edifying and allegorical morality dramas were much more modest. In the most lively and progressive genre of medieval theater - farce, which contained sharp criticism of feudal society, a modern caricatured characteristic costume and makeup appeared. During the Renaissance, commedia dell'arte actors used costumes to give witty, sometimes apt, evil characterizations to their heroes: the costume summarized the typical features of scholastic scholars and mischievous servants. In the 2nd half. 16th century in Spanish and English theaters, actors performed in costumes close to fashionable aristocratic costumes or (if the role required it) in clownish folk costumes. In the French theater, the costume followed the traditions of the Medieval farce.

Realistic tendencies in the field of costume appeared in Molière, who, when staging his plays dedicated to modern life, used modern costumes of people of different classes. During the Age of Enlightenment in England, the actor D. Garrick sought to free the costume from pretentiousness and meaningless stylization. He introduced a costume that matched the role being played, helping to reveal the character of the hero. In Italy in the 18th century. comedian C. Goldoni, gradually replacing typical commedia dell'arte masks with images in his plays real people , while at the same time retaining the appropriate costumes and makeup. In France, Voltaire, supported by the actress Clairon, strove for historical and ethnographic accuracy of costume on stage. She led the fight against the conventions of the costume of tragic heroines, against figurines, powdered wigs, and precious jewelry. The matter of costume reform in tragedy was advanced even further by the French actor A. Lequesne, who modified the stylized “Roman” costume, abandoned the traditional tunnel, and adopted oriental costume on stage. For Lequesne, the costume was a means of psychologically characterizing the image. Significant influence on the development of costume in the 2nd half. 19th century Provided activities in Germany. Meiningen Theater, whose performances were distinguished by high production culture and historical accuracy of costumes. At the same time, the authenticity of the costume acquired self-sufficient significance among the Meiningen people. E. Zola demanded an accurate reproduction of the social environment on stage. The largest theatrical figures of the early years strove for this. 20th century - A. Antoine (France), O. Brahm (Germany), who took an active part in the design of performances, attracting major artists to work in their theaters. Symbolist theater that emerged in the 90s. in France, under the slogans of protest against theatrical routine and naturalism, he fought against realistic art. Modernist artists created simplified, stylized sets and costumes and moved the theater away from a realistic depiction of life. The first Russian costume was created by buffoons. Their costume repeated the clothing of the urban lower classes and peasants (caftans, shirts, ordinary trousers, bast shoes) and was decorated with multi-colored sashes, rags, and bright embroidered caps. In what arose in the beginning. 16th century In the church theater, the performers of the roles of youths were dressed in white clothes (crowns with crosses on their heads), the actors portraying the Chaldeans - in short caftans and caps. Conventional costumes were also used in school theater performances; allegorical characters had their own emblems: Faith appeared with a cross, Hope with an anchor, Mars with a sword. The costumes of the kings were supplemented with the necessary attributes of royal dignity. The same principle distinguished the performances of the first professional theater in Russia in the 17th century, founded at the court of Tsar Alexei Mikhailovich, and the performances of the court theaters of Tsarevna Natalia Alekseevna and Tsarina Praskovya Fedorovna. Development of classicism in Russia in the 18th century. accompanied by the preservation of all the conventions of this direction in the costume. The actors performed in costumes that were a mixture of fashionable modern costume with elements of ancient costume (similar to the “Roman” costume in the West); those performing the roles of noble nobles or kings wore luxurious conventional costumes. In the beginning. 19th century fashionable modern costumes were used in performances of modern life;

Costumes in period plays were still far from historically accurate.

All R. 19th century in the performances of the Alexandrinsky Theater and the Maly Theater, there is a desire for historical accuracy in costume. The Moscow Art Theater achieved enormous success in this area at the end of the century. The great theater reformers Stanislavsky and Nemirovich-Danchenko, together with artists who worked at the Moscow Art Theater, achieved exact correspondence of the costume to the era and environment depicted in the play, to the character of the stage hero; In the Arts Theater, costume was of great importance for creating a stage image. In a number of Russian theaters early. 20th century the suit turned into authentic piece of art, expressing the intentions of the author, director, actor.

2.3 Noise design

Noise design is the reproduction of the sounds of surrounding life on stage. Together with scenery, props, and lighting, noise design forms a background that helps actors and spectators feel like they are in an environment corresponding to the action of the play, creates the right mood, and influences the rhythm and tempo of the performance. Firecrackers, shots, the rattling of iron sheets, the knocking and ringing of weapons behind the stage accompanied performances already in the 16th-18th centuries. Availability of sound equipment in Russian equipment theater buildings indicates that in Russia noise design was used already in the middle. 18th century

Modern noise design differs in the nature of sounds: sounds of nature (wind, rain, thunderstorm, birds); industrial noise (factory, construction); transport noise (cart, train, plane); battle noises (cavalry, shots, troop movements); household noises (clocks, glass clinking, creaks). The noise design can be naturalistic, realistic, romantic, fantastic, abstract-conventional, grotesque - depending on the style and decision of the performance. The sound design is carried out by the sound designer or the production department of the theatre. The performers are usually members of a special noise team, which also includes actors. Simple sound effects can be performed by stagehands, prop masters, etc. The equipment used for sound design in a modern theater consists of more than 100 devices of various sizes, complexity and purposes. These devices allow you to achieve a feeling of large space; using sound perspective, the illusion of the noise of an approaching and departing train or plane is created. Modern radio technology, especially stereophonic equipment, provides great opportunities for expanding the artistic range and quality of noise design, while at the same time organizationally and technically simplifying this part of the performance.

2.4 Lights on stage

Light on stage is one of the important artistic and production means. Light helps to reproduce the place and setting of the action, perspective, and create the necessary mood; Sometimes in modern performances light is almost the only means of decoration.

Different types of decoration require appropriate lighting techniques. Planar scenic decorations require general uniform lighting, which is created by general lighting devices (spotlights, ramps, portable devices). Performances with three-dimensional scenery require local (spotlight) lighting, which creates light contrasts that emphasize the volume of the design.

When using a mixed type of decoration, a mixed lighting system is used accordingly.

Theater lighting devices are manufactured with wide, medium and narrow light scattering angles, the latter are called spotlights and are used to illuminate individual areas of the stage and characters. Depending on the location, theater stage lighting equipment is divided into the following main types:

1) Overhead lighting equipment, which includes lighting fixtures (spotlights, spotlights) suspended above the playing part of the stage in several rows according to its plans.

2) Horizontal lighting equipment used to illuminate theater horizons.

3) Side lighting equipment, which usually includes spotlight-type devices installed on portal scenes and side lighting galleries

4) Remote lighting equipment, consisting of spotlights installed off stage in various parts of the auditorium. Remote lighting also includes a ramp.

5) Portable lighting equipment, consisting of devices of different types, installed on the stage for each action of the performance (depending on the requirements).

6) Various special lighting and projection devices. The theater also often uses a variety of special-purpose lighting devices (decorative chandeliers, candelabra, lamps, candles, lanterns, fires, torches), made according to the sketches of the artist designing the performance.

For artistic purposes (reproduction of real nature on stage), a color stage lighting system is used, consisting of light filters of various colors. Light filters can be glass or film. Color changes during the course of the performance are carried out: a) through a gradual transition from lighting devices with one color filter to devices with other colors; b) adding the colors of several simultaneously operating devices; c) changing light filters in lighting fixtures. Light projection is of great importance in the design of a performance. With its help, various dynamic projection effects are created (clouds, waves, rain, falling snow, fire, explosions, flashes, flying birds, airplanes, sailing ships) or static images that replace the picturesque details of the decoration (light projection decorations). The use of light projection unusually expands the role of light in the performance and enriches its artistic possibilities. Sometimes film projection is also used. Light can be a full-fledged artistic component of a performance only if there is a flexible system of centralized control over it. For this purpose, the power supply of all stage lighting equipment is divided into lines related to individual lighting devices or apparatus and individual colors of installed light filters. On the modern stage there are up to 200-300 lines. To control lighting, it is necessary to turn on, turn off and change the luminous flux, both in each individual line and in any combination of them. For this purpose, there are light control units, which are a necessary element of stage equipment. The luminous flux of lamps is regulated using autotransformers, thyratrons, magnetic amplifiers or semiconductor devices that change the current or voltage in the lighting circuit. To control the numerous stage lighting circuits, there are complex mechanical devices commonly called theater controls. The most widespread are electrical regulators with autotransformers or magnetic amplifiers. Currently, electrical multi-program regulators are becoming widespread; with their help, extraordinary flexibility in stage lighting control is achieved. The basic principle of such a system is that the regulatory installation allows for a preliminary set of light combinations for a number of scenes or moments of the performance with their subsequent reproduction on stage in any sequence and at any tempo. This is especially important when lighting complex modern multi-scene performances with great light dynamics and rapid changes.

2.5 Stage effects

Stage effects (from the Latin effectus - performance) - illusions of flights, passages, floods, fires, explosions, created with the help of special devices and devices. Stage effects were already used in ancient theater. In the era of the Roman Empire, individual stage effects were introduced into mime performances. The effects were rich in religious ideas of the 14th-16th centuries. So, for example, when staging mysteries, special “masters of miracles” were in charge of arranging numerous theatrical effects. In court and public theaters of the 16th-17th centuries. a type of magnificent performance with various stage effects based on the use of theatrical mechanisms was established. The skill of the driver and decorator, who created all sorts of apotheoses, flights and transformations, came to the fore in these performances. The traditions of such spectacular entertainment were repeatedly resurrected in the theater practice of subsequent centuries.

In modern theater, stage effects are divided into sound, light (light and film projection) and mechanical. With the help of sound (noise) effects, the sounds of surrounding life are reproduced on stage - sounds of nature (wind, rain, thunderstorm, birdsong), industrial noise (factory, construction site, etc.), transport noise (train, plane), battle noise (cavalry movement, shots), household noises (clocks, glass clinking, creaks).

Lighting effects include:

1) all types of simulations of natural lighting (day, morning, night, lighting observed under various natural phenomena- sunrise and sunset, clear and cloudy skies, thunderstorms, etc.);

2) creating illusions of pouring rain, moving clouds, the blazing glow of a fire, falling leaves, flowing water, etc.

To obtain effects of the 1st group, they usually use a three-color lighting system - white, red, blue, which gives almost any tonality with all the necessary transitions. An even richer and more flexible color palette (with nuances of various shades) is provided by a combination of four colors (yellow, red, blue, green), which corresponds to the basic spectral composition of white light. Methods for obtaining lighting effects of the 2nd group come down mainly to the use of light projection. According to the nature of the impressions received by the viewer, lighting effects are divided into stationary (motionless) and dynamic.

Types of stationary lighting effects

Lightning - is given by an instant flash of a voltaic arc, produced manually or automatically. IN last years High-intensity electronic photo flashes have become widespread.

Stars are simulated using a large number of flashlight bulbs, painted in different colors and having different glow intensities. The light bulbs and the electrical supply to them are mounted on a black-painted mesh, which is suspended from the rod of the flybar.

Moon - created by projecting a corresponding light image onto the horizon, as well as using a raised model that imitates the moon.

Lightning - a narrow zigzag slit is cut into the backdrop or panorama. Covered with translucent material, disguised as a general background, this gap is illuminated from behind at the right moment using powerful lamps or photo flashes; a sudden light zigzag gives the desired illusion. The lightning effect can also be achieved using a specially made lightning model, in which reflectors and lighting devices are mounted.

Rainbow - is created by the projection of a narrow beam of an arc spotlight, passed first through an optical prism (which decomposes white light into its component spectral colors), and then through a slide “mask” with an arc-shaped slit (the latter determines the nature of the projection image itself).

Fog - is achieved by using a large number of powerful lamp lens lanterns with narrow, slit-like nozzles that fit onto the outlet of the lanterns and provide a wide fan-shaped planar light distribution. The greatest effect when depicting creeping fog can be achieved by passing hot steam through a device containing so-called dry ice.

Types of dynamic lighting effects

Fiery explosions, a volcanic eruption - are obtained using a thin layer of water, enclosed between two parallel glass walls of a small narrow aquarium-type vessel, into which drops of red or black varnish are released from above using a simple pipette. Heavy drops falling into the water, slowly sinking to the bottom, spread widely in all directions, occupying more and more space and being projected on the screen upside down (i.e. from bottom to top), reproducing the nature of the desired phenomenon. The illusion of these effects is enhanced by a well-executed decorative background (image of a crater, the skeleton of a burning building, silhouettes of guns, etc.).

Waves - are carried out using projections with special devices (chromotropes) or double parallel transparencies, simultaneously moving in the opposite direction to each other, either up or down. An example of the most successful arrangement of waves by mechanical means: the required number of pairs of crankshafts are located on the right and left sides of the stage; between the connecting rods of the shafts from one side of the stage to the other there are ropes with applique-picturesque panels depicting the sea. “When the crankshafts rotate, some panels rise up, others go down, overlapping each other.

Snowfall is achieved by the so-called “mirror ball”, the surface of which is lined with small pieces of mirror. By directing a strong concentrated beam of light (emanating from a spotlight or lens lamp hidden from the public) at a certain angle onto this multifaceted spherical surface and causing it to rotate around its horizontal axis, an infinite number of small reflected “bunnies” are obtained, creating the impression of falling snow flakes. If during the performance “snow” falls on the actor’s shoulders or covers the ground, it is made from finely chopped pieces of white paper. Falling from special bags (which are placed on the transition bridges), the “snow” slowly circles in the spotlight, creating the desired effect.

The movement of the train is carried out using long transparency frames with corresponding images moving horizontally in front of the lens of the optical flashlight. For more flexible control of the light projection and directing it to the desired part of the scenery, a small movable mirror is often installed behind the lens on articulated devices, reflecting the image produced by the lantern.

Mechanical effects include various types of flights, failures, mills, carousels, ships, boats. Flight in the theater is usually called the dynamic movement of an artist (so-called standard flights) or props above the stage board.

Prop flights (both horizontal and diagonal) are carried out by moving the flight carriage along a cable track using laces and cables tied to the rings of the carriage. A horizontal cable is stretched between opposite working galleries above the stage mirror. The diagonal is strengthened between opposite and different level working galleries. When conducting a diagonal flight from top to bottom, the energy created by the gravity of the object is used. Flight diagonally from bottom to top is most often carried out due to the energy of free fall of the counterweight. Bags with sand and rings for the guide cable are used as counterweights. The weight of the bag should be higher than the weight of the prop product and the carriage. The counterweight is attached to a cable, the opposite end of which is attached to the flight carriage. Live flights are carried out on a cable or stationary track, as well as with the help of rubber shock absorbers. The flight device on a cable track consists of a horizontal cable track stretched between opposite sides of the stage, a flight carriage, a pulley block and two drives (one for moving the carriage along the road, the other for lifting and lowering the artist). When performing horizontal flight from one side of the stage to the other, the flight carriage is pre-installed behind the scenes. After this, the block with the flight cable is lowered down. Using carabiners, the cable is fastened to a special flight belt located under the artist’s suit. At the sign of the director leading the performance, the artist rises to the set height and, on command, “flies” to the opposite side. Backstage, he is lowered down to the tablet and released from the cable. Using a flight device on a cable track, skillfully using the simultaneous operation of both drives and the correct speed ratio, it is possible to carry out a wide variety of flights in a plane parallel to the portal arch - diagonal flights from bottom to top or top to bottom, from one side of the stage to the other, from backstage to center of the stage or from the stage to the backstage, etc.

The flight device with a rubber shock absorber is based on the principle of a pendulum, swinging and simultaneously descending and rising. The rubber shock absorber prevents jerking and ensures a smooth flight path. Such a device consists of two grate blocks, two deflecting drums (installed under the grate on both sides of the flight cable), a counterweight, and a flight cable. One end of this cable, attached to the top of the counterweight, goes around two grate blocks and through deflecting drums drops to the level of the tablet, where it is fastened to the artist’s belt. A shock-absorbing cord with a diameter of 14 mm is tied to the bottom of the counterweight, the second end is attached to the metal structure of the stage board. The flight is carried out using two ropes (25-40 mm in diameter). One of them is tied to the bottom of the counterweight and falls freely onto the tablet; the second, tied to the top of the counterweight, rises vertically, goes around the upper backstage block and freely lowers onto the tablet. For flight across the entire stage (through flight), the grate flight unit is installed in the center of the stage, for a short flight - closer to the drive device. Visually, flight using a device with a rubber shock absorber looks like free, rapid soaring. Before the viewer's eyes, the flight changes its direction by 180, and in the case of simultaneous use of several flight devices, the impression of endless takeoffs and landings is created from one side or the other of the stage. One through flight across the entire stage corresponds to another flight to the middle of the stage and back, a flight up - a flight down, a flight to the left - a flight to the right.

Make-up (French grime, from Old Italian grimo - wrinkled) is the art of changing the appearance of an actor, especially his face, with the help of makeup paints (the so-called makeup), plastic and hair stickers, a wig, hairstyle and other things in accordance with the requirements of the role being played. An actor's work on makeup is closely related to his work on his image. Make-up, as one of the means of creating an actor's image, is connected in its evolution with the development of drama and the struggle of aesthetic trends in art. The nature of the makeup depends on artistic features the play and its images, from the actor’s concept, the director’s concept and the style of the performance.

In the process of creating makeup, the costume matters, which affects the character and color scheme of the makeup. The expressiveness of the makeup largely depends on the lighting of the stage: the brighter it is, the softer the makeup is, and vice versa, low lighting requires harsher makeup.

The sequence of applying makeup: first, the face is decorated with some details of the costume (hat, scarf, etc.), then the nose and other stickers are glued on, a wig is put on or a hairstyle is made from one’s own hair, a beard and mustache are glued on, and only at the end the makeup is applied with paints. The art of makeup is based on the actor's study of the structure of his face, its anatomy, the location of muscles, folds, bulges and depressions. The actor must know what changes occur in the face in old age, as well as the characteristic features and general tone of a young face. In addition to age-related makeups, in the theater, especially in recent years, so-called “national” makeups have become widespread, used in performances dedicated to the life of the peoples of the countries of the East (Asia, Africa), etc. When applying these makeups, it is necessary to take into account the shape and structure of the facial part , as well as horizontal and vertical profiles of representatives of a particular nationality. The horizontal profile is determined by the sharpness of the protrusions of the cheekbones, the vertical - by the protrusions of the jaw. Essentially important features in national makeup are: the shape of the nose, the thickness of the lips, the color of the eyes, the shape, color and length of the hair on the head, the shape of the beard, mustache, and skin color. At the same time, in these makeups it is necessary to take into account the individual characteristics of the character: age, social status, profession, era, etc.

The most important creative source for the actor and artist in determining the makeup for each role is observations of the surrounding life, the study of typical features of people’s appearance, their connections with the character and type of person, his internal state And so on. The art of makeup requires the ability to master the technique of makeup, the ability to use makeup paints, hair products (wig, beard, mustache), volumetric moldings and stickers. Makeup paints make it possible to use painterly techniques to change the actor’s face. The general tone, shadows, highlights that create the impression of depressions and bulges, strokes that form folds on the face, changing the shape and character of the eyes, eyebrows, lips, can give the actor’s face a completely different character. A hairstyle and a wig, changing a character's appearance, determine his historical and social affiliation and are also important for determining the character's character. To greatly change the shape of the face, which cannot be achieved with paints alone, 3D moldings and stickers are used. Changing the inactive parts of the face is achieved with the help of sticky colored adhesive patches. To thicken the cheeks, chin, and neck, stickers made of cotton wool, knitwear, gauze and flesh-colored crepe are used.

A mask (from Late Latin mascus, masca - mask) is a special overlay with some image (face, animal muzzle, head of a mythological creature, etc.), most often worn on the face. Masks are made from paper, papier-mâché and other materials. The use of masks began in ancient times in rituals (associated with labor processes, the cult of animals, burials, etc.). Later, masks came into use in the theater as an element of actor's makeup. In combination with a theatrical costume, a mask helps create a stage image. In the ancient theater, the mask was connected to a wig and pulled over the head, forming something like a helmet with holes for the eyes and mouth. To enhance the actor's voice, the helmet mask was equipped with metal resonators from the inside. There are costume masks, where the mask is inseparable from the costume, and masks that are held in the hands or placed on the fingers.

Literature

1. Barkov V.S., Lighting design of the performance, M., 1993. - 70 p.

2. Petrov A.A., Theater stage design, St. Petersburg, 1991. - 126 p.

3. Stanislavsky K.S., My life in art, Works, vol. 1, M., 1954, p. 113-125

The director's task is not so much to decipher the playwright's intention, but to be a co-author in the process artistic creativity. The expressive means of directing are mise-en-scène, atmosphere and tempo-rhythm.

Mise-en-scène (placement on stage) is an element of directing that involves thinking in plastic images. Mise-en-scene is the compositional organization of the stage space. It definitely comes from the director's idea. Its main feature is reality and dynamism. The mise-en-scene is built around the event; before the event the mise-en-scène is one, after - another. By constructing the central, key mise-en-scène, the director actually reveals the stages of the struggle and at the same time ensures that the mise-en-scène plastically and picturesquely expresses the idea of ​​the performance.

In a mass mise-en-scène, the behavior of each performer is subordinated to the central event and is built precisely from it in the form that corresponds to the director’s decision. The mass mise-en-scène is formed from the alternation of various scenes, their interrelation, rhythmic contrast, color scheme, etc. In “spectacular” directing, where mise-en-scenes can be deep and flat, built vertically and horizontally, in circles and spirals, symmetrical and asymmetrical, they are a process, a transition from one plastic form to another. Like a sculptor, he directs one plastic form into another. Like a sculptor, the director sculpts combinations of human figures on stage, creates a stream of continuously changing plastic forms in order to convey life in all the richness of its plastic manifestations.

In a theatrical performance, it is necessary to focus the viewer’s attention on the stage area, number, and in a mass festival, on the contrary, it is necessary to look for as many dispersed centers as possible. Particularly specific is the staging of stadium spectacles, where it is necessary to construct it taking into account views from four sides. An expressive solution to an action consists of a plastic combination of different points of view; in a vast space, the placement of playgrounds, reference points for action, the possibility of using air, etc. becomes essential. A different plastic solution is required by a street procession or a mass celebration in a square, where all exits are taken into account - streets, passages , driveways, etc. So, the figurative and plastic solution of a theatrical performance is one of the most important tasks of directing, and mise-en-scene is one of the most powerful expressive means of directing. The director's main attention is paid to the selective part, in which the actor is welcomed as one of the components of entertainment. And if the actor is alone on stage, then this alone is sometimes a specific director’s technique. Thus, the actor of a theatrical performance is required to strengthen the gesture, sharpen it and increase plastic expressiveness.

The next expressive means of directing is the cultural-psychological atmosphere, that is, the sign-symbolic environment in which the actor’s image lives (sounds, noises, rhythms, lighting, furniture, things, etc.). The atmosphere depends on the nature of events, on the place and time of action, being the cause and consequence of these events.

The special nature of the production design also implies the unusual nature of the scenery and props. Decorations, for example, can be stationary or, on the contrary, moving, mounted on cars, motorcycles, various types of trucks, etc. Sound and light play a huge role in creating atmosphere, with which you can express almost any idea. Naturally, they require an engineering solution, especially when it is necessary to create the so-called presence effect.

Fineness gains an expressive character through the use of colors, which determine the associativity of visual perception. It could be White color as a symbol of purity, freshness, splendor, red - as a sign of elation, activity, fire element or green - as an image of youth, spring, etc. It is especially important that the general stylistic texture invented by the production artist is in associative harmony with the director’s language and the features of the author’s concept. Thanks to its qualities - extreme brightness, emotionality, expressiveness - music is the bearer of several functions: first of all, it is a background; then this is an independently created image and, finally, this is the opportunity to participate in the conflict of action. If in a theatrical performance music plays an auxiliary role, then in a theatrical performance music becomes almost the main component of the performance that connects all episodes.

Thus, the atmosphere of life of the spectacle depends on the visual and musical forms created in accordance with the director’s plan; the spectacle itself is a synthetic cultural and aesthetic image of the action of the participants - spectators, consisting of different types of art, which is a specific feature of the performance.

The director's method of creating a spectacle is structural in nature; the staging of each performance is a polyphony of all parts of the spectacle, conditional in nature and unconditional in its expression. Another indispensable feature of a theatrical mass spectacle is the need for an acute change of tempo and rhythm within each episode and in the action itself as a whole.

Such an expressive means of directing as tempo - rhythm, absorbs the speed and frequency of repetition of scenes or events in time. Considering that rhythm can be external (physical) and internal (psychological), it is clear that mechanical rhythm acts on our inner life, on our feelings and experiences.

“rhythm” is a huge force that determines the organization of action; it is not something abstract. It follows deeply from the nature of the image, connected with its environment in which the thing is born; rhythm is the result of a conscious, deep organization that brings artistry to the thing.” Just like mise-en-scène and atmosphere, tempo-rhythm contributes to the realization of the author's intention. Therefore, one of the main problems of directing is finding the right rhythm, but it is necessary that it logically fit into the overall rhythm of the spectacle. Rhythm involves the development of action with breaks and gradualism; with a large number of dynamic events, you need to make stops that allow you to characterize the characters and comprehend the meaning of the events.

The characteristics of the tempo-rhythmic pattern of any theatrical performance are the duration of each episode and performance; rhythmicity and arrhythmia of time periods of consecutive episodes; contrast of episodes based on the director's decision and choice of expressive means; tempo as the number of actions per unit of time.

“The effectiveness of tempo-rhythm, that is, the creation of an emotional mood in the audience for the active perception of the performance, largely depends on the duration of the spectacle (no more than 1.5 - 2 hours), the variety and intensity of events.” If the director takes the right tempo-rhythm, then the viewer’s feelings and experiences are created by themselves (K.S. Stanislavsky)

From all of the above, it follows that mise-en-scène, atmosphere and tempo-rhythm, being expressive means of directing, mutually constitute each other and are completely dependent on each other.

If we compare different types of art, it should be noted important point: painting, literature, architecture, sculpture are perceived by the viewer, reader and other perceiving subject, only according to the results of the creative process. That is, first the artist carries out his creative activity, and then, over time, its results are presented to the audience. Here the creative process is, as it were, placed outside the brackets of public perception and is not assessed. Or rather, consideration of the creative process, its assessment, analysis, motivation, influence on society, etc. are the prerogative of the guild of critics, art historians, sociologists, that is, professional appraisers. The direct consumer of art carries out the act of consuming the result of creativity, without experiencing an urgent need to go into details associated with its birth.

It’s a different matter when it comes to the perception of those types of art that are classified as performing. As the very name of this group suggests, the viewer’s assessment of the results of the creative act is carried out directly at the moment of its execution. At the same time, the viewer unwittingly becomes not only an observer, but also an accomplice in the creative process, in which almost all of his abilities to perceive the world are involved. In this regard, theatrical art uses the maximum number of information channels. As you know, according to the type of basic representational system, people are divided into visual, auditory and kinesthetic learners. If music or vocal art only indirectly affects the viewer's visual representation (through his imagination), then the impact of theater is direct. Theater actively influences all three types of perception: the organs of vision and hearing allow the viewer to perceive the visual and auditory components of the discourse, and the kinesthetic component can be perceived thanks to the already mentioned phenomenon of empathy. It is this feature - the use of the maximum number of information channels - that allows the theater to influence the viewer much more actively and effectively compared to other forms of art. Each type of art, comprehending, thanks to its figurative specificity, certain spheres of objective reality, already due to this circumstance has its own patterns, inherent only to it. First of all, here we must note our special artistic re-creation of the world, characteristic only of this art, immanently embedded in the system of its visual and expressive means. What is characteristic of music is different from what is comprehended by poetry or painting. However, the limitation in direct reflection, characteristic of every art, actually turns into its polysemy, comprehension of the essence.

In order to identify the specifics of interaction (co-creation) between actor and spectator, which is characteristic specifically for plastic theater, it is necessary to take into account not only the types of information channels, but also the zone of spectator perception to which they are mainly addressed. As noted in the first chapter, for plastic theater such a specific zone is a zone that can be characterized as intercultural or precultural. This is the zone of consciousness that, being common to all humanity, serves as the foundation on which all national, religious or other macrocultures are built.

Intuitive searches and discoveries of the theater of all previous centuries led to the accumulation of quite a rich experience of influencing the audience's psyche. This includes the use of suggestive influence methods and appeal to its archetypal components. Since the mid-twentieth century, the study of mental phenomena, the structure of the psyche and the introduction into circulation of such a concept as an archetype made it possible to realize that these searches can be put on the rails of a strict methodology. This was facilitated by research in philosophy, psychology and cultural studies. Since the end of the twentieth century. These areas have been supplemented by a branch of science such as neurolinguistic programming. Theoretical research and practical developments of Terri-Lee Still, Steven Heller, Virginia Satir, Bandler, Grinder and other researchers gave the theater such a tool as manipulating the consciousness of the public at the level of instant formation of motivations and assessments of what is happening on stage in an explicit or implicit form.

Speaking of means artistic expression plastic theater, it is necessary to take into account the following extremely important point: neither the actor’s voice, nor his movement, nor the scenery, nor the musical or lighting accompaniment are the exclusive property of the plastic theater. All these elements are used by other types of performing arts to varying degrees and proportions. That is, according to this principle, it is impossible to distinguish plastic theater as an independent structural unit. However, it is necessary to take into account the following: the viewer’s perception of theatrical discourse occurs differently in different types of performing arts. And, considering the means of artistic expression of plastic theater, in essence we must consider precisely the difference in communication between the viewer and the stage, characteristic of it or another type of performing art, paying special attention to which areas of the viewer’s psyche are involved in the communicative exchange.

As mentioned above, plastic theater, turning to the subconscious of the viewer, uses all available means. These means can be divided into two main complexes - auditory and visual. Auditory includes the actor’s voice (with all its capabilities in the field of volume, intonation, monotony, rhythm, etc.), music, sound effects of a natural or artificial nature, rhythmic and sound methods of influencing the audience and some other elements that will be discussed below. The visual complex includes everything that the viewer sees. These are the bodies of the actors in all their expressive capacity, the design of the stage decorations, their scale, location on the stage in relation to the actors and auditorium, rhythmicity or chaos, etc., which is included in the concept of “proxemics”. In addition, from the point of view of visual perception, the color and light solution of the stage space plays an important role. Its illumination, possible active light-rhythmic effect on the viewer and other technical and design aspects can have significant influence on how the audience will perceive the action taking place on stage and at what level (conscious or subconscious) this process will occur. The interaction of expressive means of visual and auditory complexes in plastic theater can be deliberately structured in such a way as to have a suggestive effect on both the audience and the performer, which can create a chain cumulative effect. An analogue in electronics can be the phenomenon of resonance in circuits with positive feedback, when two interconnected elements, when simultaneously influencing each other, generate an effect that they are not capable of separately.

Speaking about the expressive means of stage art, it is necessary to note the important point that distinguishes it from other types: we are talking about the fact that the direct implementer of the impact on the viewer is the actor, while both the author and director, stage designer, composer, and other participants. However, the viewer's attention is primarily drawn to the actor. The term “actor” itself is based on the concept of “action”. That is, the actor is the essence of the doer. And the viewer is absorbed, first of all, in the action, that is, his attention is concentrated on the actor. Undoubtedly, the actions of actors are subject to the author's plan, the director's idea, and many other components of a single theatrical process, so the choice of the actor's means of expression is not his sole decision. But awareness of this fact at the moment of perception of the stage action is on the periphery of the spectator’s consciousness. However, despite the fact that this fact is not clearly conscious, this does not deny that the means of expression in the hands of the director, choreographer, composer, artist and other members of the creative team have less weight and have less influence than the expressive means of the actor . That is, when considering the specifics of the impact of the expressive means of plastic theater on the viewer, it is necessary to consider the entire complex of expressive means, regardless of whether they belong to the area of ​​the actor or someone else in the creative group.

Speaking about the actor's ability to influence the viewer, we can distinguish two main zones, one of which includes the capabilities of the body, and the other the vocal capabilities. Both of these zones, as already noted, intersect, on the one hand, with the proxemic components of the performance as a whole, and, on the other hand, with all the elements of the performance related to the auditory component. Let's consider both of these zones from the point of view of comparing their functioning in plastic theater and in other types of performing arts.

It is obvious that any stage art cannot do without the use of gesture, however, the role, functions and proportion of gesture in the process of transmitting meanings from the stage to the viewer in different types of art varies significantly. Moses Kagan considers gestures, coupled with facial expressions, body movements and glances, to be the primary form of acting. According to the researcher, this form originated in the process of hunting, and was preserved in ancient Greek culture under the name orchestics. In the process of development, dance, which has a non-figurative character, emerged from such a syncretic art, and the other pole became the acting art without words, visual or mimetic in nature. In the book “Morphology of Art” he writes: “The artistic language of this art is based on the reproduction of real forms of human life behavior, his everyday movements, gestures, facial expressions, that is, it has a pictorial character.” Gordon Craig takes the same position: “The art of the Theater arose from action - movement - dance... Drama is not intended for reading, but for watching on the stage, so it needs gestures... The forefather of playwrights was a dancer... The first playwright understood what they do not understand still modern. He knew that if he and his comrades spoke in front of the public, the audience would become more eager to watch what was being done than to listen to what was said. He knew that the eye is drawn more quickly and powerfully to the scene than the other senses, that sight is unquestionably the keenest sense in the human body."

Ballet, pantomime, and plastic theater are built on the basis of gesture (body movement). And drama and opera, as spatial arts in which actors participate, also cannot do without gesture. Even in the musical performing arts, the artist’s movements have an impact on the audience’s perception: it is not for nothing that musicians are in full view of the audience and the most prestigious places in concert halls are those from which the viewer can clearly see how the musician plays. However, the gestures themselves, their purpose, and the way they are read and deciphered by the viewer are not the same. What all these types of art have in common is that the gesture carries information that is in one way or another correlated with the narrative outline of the work. Regardless of whether the actor pronounces the words or not, “... a gesture reveals a secret, reveals innermost thoughts... Psychoanalysts reveal the omissions of their patients by observing them during a conversation... A gesture has the property of making the secret obvious.” This function of gesture is common to any type of performing arts. However, there are differences and there are many more of them. If in drama a gesture is necessarily associated with the spoken (or intended to be pronounced) word, then in non-verbal arts - ballet and pantomime - the movements of the actor’s body are valuable in themselves, since they are not supported by the word and are not in any relationship with it. In plastic theater, a gesture can sometimes be in some kind of opposition with the spoken word, but its weight is immeasurably greater. “If you deprive a dramatic performance of the word, one of the main tools of expressiveness, then it is obvious that it must be replaced by something that can replace it as a carrier of meaning, which will become decisive in the style of the performance. Experimenters of the 20th century found the very equivalent that according to "The degree of semantic richness was not only not inferior to the word, but sometimes even surpassed it. This component became the actor's plasticity, and the theater, using it as the main visual means, finally received its final name plastic theater in the second half of the century."

As noted above, the beginning of the twentieth century was characterized by the search for new means of artistic expression in all areas of the performing arts. In the field of drama, the most prominent figures in this sense were Meyerhold, Fokin, Tairov and M. Chekhov. The outstanding merit of the latter is his development of the theory of psychological gesture (here we observe some similarities with the concept of stylization in pantomime, which we will consider below). Chekhov called a psychological gesture the ideal embodiment of a gesture that denoted one or another state that exists in the soul... He saw its difference from a naturalistic gesture in the fact that people perform it not in the physical sphere, but in the mental, ideal. Therefore, a “psychological” gesture, or an ideal prototype of a simple, everyday gesture, is devoid of individual differences inherent in physical gestures, and relates to a naturalistic gesture as the general to the particular. In order for an actor to master a psychological gesture, developing the body through gymnastics, dancing, fencing, etc. is not enough. It is necessary to perform psychophysical exercises, when we mean the psychological aspect of each physical exercise, that is, a kind of filling of the body. Chekhov created a classification of gestures: in his opinion, there are gestures of opening, repulsion, compression, and closing. Each of them has its own gradation. Although Chekhov was a great practical actor, his theory is based not only on his own acting experience. One of his teachers was Rudolf Steiner, extremely popular among Russian cultural figures. It was from Steiner that Chekhov found confirmation of his intuitive feelings, in particular, his thoughts about the actor’s plasticity, interest in which was an organic embodiment of Chekhov’s artistic worldview.

Back in the first half of the twentieth century, Antonin Artaud declared his position in relation to the physical expressiveness of the actor: “The point is to find a new physical language based on signs, not words.” And in the second half of the twentieth century, Jerzy Grotowski, who paid great attention to the plastic culture of the actor, clearly formulated those requirements for the gesture, for the movement of the actor, for the work of his body, which are absolutely necessary for plastic theater. He believed that in order to master the art of an actor, it is necessary to look for morphemes of a theatrical score (just as notes serve as morphemes of a musical score). Moreover, such morphemes, in his opinion, are not external gestures or vocal notes, but something else that lies deeper and is not based on consciousness or logic. In his work “Theater and Ritual” he writes: “We believe that morphemes are impulses rising from the depths of the body towards what is outside... We are talking here about a certain sphere, which, by analogy with a hidden inner thought, I would define as a hidden internal existence, as something that embraces all the motivating motives of the inner depths of the body and the depths of the soul... There is an impulse that strives “outward,” and a gesture is only its completion, the final point.” And also his statement: “The actor should no longer use his body to illustrate the movement of the soul; he should perform this movement with the help of his body.”

Thus, we see that when comparing the role of a gesture and the ways of its influence on the viewer in dramatic and plastic theater, we can first of all highlight two main differences: in semantic content and in functioning, regarding the area of ​​consciousness to which it is addressed.

If we compare the gesture in pantomime and in the plastic theater, then it should be noted that in both there (and in ballet) the type of gesture that I. Rutberg writes about is used: “... the most comprehensive type of gesture-sign is a gesture born of direct , this very moment born of an emotional message: “...It is not the interesting gesture with which a person shows that he wants to sleep, but the one that betrays his drowsiness." These signs are the main material of pantomime, the most important material of mime drama, so directly characterize a person’s individuality" .

Emphasizing the difference between pantomime and mimodrama, which is essentially closest to plastic theater, Rutberg, however, notes the similar role of gesture, which is inherent in both directions. What's the difference? The Dictionary of Foreign Words gives the following definition of pantomime: “Pantomime is a type of stage art in which, to convey content, create artistic image plastically expressive body movements, gestures, facial expressions are used; sometimes accompanied by music, rhythmic accompaniment, etc. "As is known, in pantomime the word is excluded from the means of actor's expressiveness, therefore the gesture must completely replace it. Plastic theater, not being a categorically non-verbal art form, also involves the use of the word with which the gesture interacts and complements it. In addition, as already shown in the first chapter, in pantomime the gesture is more discursive, clearly readable and intended to evoke an illusion in the viewer objective world created on stage by a mime actor. That is, it is more focused on logical perception than in the plastic theater. There is a significant difference between a gesture in pantomime and in plastic theater, which is that in the pantomime of Decroux, Barrault and Marceau the gesture is clearly practiced and memorized. However, this should not be understood to mean that the gesture in pantomime is formulaic. According to Marcel Marceau, “It’s all about stylization, about building a style. Real stylization more deeply expresses the essence of a phenomenon than life, than academic art that claims to know life.” But the stylization underlying pantomime largely lacks the element of spontaneity. The very concept of stylization contains a clearly fixed form into which the movements of the mime actor are cast, having a variety of motivations behind them. Jean-Louis Barrault described his search for stylization together with Etienne Decroux: “I improvised, and he selected, classified, remembered, swept away. And we all started over. So it took us three weeks to calculate the famous step on the spot: loss of balance, counterbalances, breathing, isolating energy."

As already noted in the first chapter, Ilya Rutberg cites the following laws by which movement in pantomime is built:

· Pantomime strives for maximum generalization of content.

· Such a generalization is achieved through the stylization of the form of movement, taken from real life and recognizable from life experience.

· Ways of stylization should be sought, first of all, in the utmost expediency and precision of each movement.

Grotowski, in his search for the actor's plastic expressiveness, initially also followed this path, but it was precisely this stylization, characteristic of classical pantomime, that did not suit him. He clearly outlines the difference between the work of a mime actor and a plastic theater actor on bodily expressiveness: “In the beginning, when, under the influence of Delsarte, we were engaged in so-called plastic exercises, we were looking for a means to differentiate the reactions coming from us to others and from others to us. This is not gave any significant results.In the end, having gone through the experience of various plastic exercises according to the well-known systems of Delsarte, Dalcroze and others, we, moving step by step, discovered for ourselves the so-called plastic exercises, as a kind of coniunctiko oppositorium(conjugation of contradictions - lat.) between structure and spontaneity. Here, in the movements of the body, details are recorded that can be called forms. The first point is to secure a certain number of parts and achieve their accuracy. Then find individual impulses that could be embodied in these details and, being embodied, change them. Change, but not destroy." This is precisely the main difference between gesture in classical pantomime and plastic theater.

Plastic theatre, unlike pantomime, deliberately declares its rejection of some rigidly fixed style. A similar difference can be seen in the difference between plastic theater and dramatic theater. Drama, in its means of physical expression, is much more rigidly tied to any one style. Some researchers have a sharply negative attitude towards this feature of plastic theater. "The deliberate, emphasized conventionality of plastic means, devoid of any sign of a specific style or, conversely, containing a sign of a mixture of all possible styles, claiming to have independent artistic value "anti-style", that is, style as the absence of stylistic certainty. This principle of stylization is characteristic of many directions of avant-garde theatre, including those of its varieties that call themselves “plastic". Indeed, often the lack of school, the proper level of acting skill and any intelligible direction is covered up by speculative manifestations of pseudo-avant-garde. The harmonious unity of the actor’s internal and external technique is the basis of creative process. “We will call a plastically expressive actor only one who knows how to use natural abilities and technique acquired as a result of training to most clearly reveal the essence of the role... We do not say: “Look how well the actor plays, but moves poorly.” If he doesn't move well, he's probably not playing his role well. Likewise, we cannot say: “Look how poorly the actor plays, but moves well,” since in this case the actor’s plasticity is apparently absolutely unrelated to the role.”

However, the absence of a strict attachment to any one style is not a manifestation of unprofessionalism or technical unpreparedness, but an attempt to break out of the framework of those rigidly fixed means of acting expression that were born and brought to perfection by other forms of art. Pantomime style technique, acting techniques drama theater or ballet dancing, which are the basis of acting technique in the corresponding types of art, for the plastic theater actor are only those steps, starting from which he builds his specific manner of communication with the audience. And in various works, various creators take various techniques as the basis for this manner, combining them, synthesizing something new, and not at all trying to master the heights already achieved by someone. For Grotowski or Carmello Bene, the skill of a dramatic actor was taken as a basis, Mackevicius relied mainly on pantomime, and Pina Bausch and Alla Sigalova on dance. That is why it is not always possible to draw a clear line between plastic theater and those types of art that are taken as the starting point in each specific case.

When comparing the functions and fullness of the actor's movement in dance and in plastic theater, it is necessary to note several points. Firstly, in dance, unlike plastic theater, the role of music as a meaning-forming component is much more important. Based on this, the connection between music and movement is built in these two directions in different ways. In dance, unlike plastic theater, there is almost always a very strict correlation between movement and music. Moreover, this correlation is almost always one-sided, so we are essentially talking about the dependence of the movement on the musical accompaniment. As noted above, both music and dance (as a sequence of movements of an actor) have very similar characteristics - rhythm, dynamics, amplitude, composition, harmony or dissonance, pattern, discreteness or continuity, etc. And almost always in dance, the characteristics of the dancer’s movement are subordinated to the corresponding characteristics of the music. The exception is those cases when music and movement contrast each other according to any of the given characteristics (for example, to create a comic effect). Moreover, if we consider such a form of dance as classical ballet, then it is generally inappropriate to apply the term “musical accompaniment” to music, since first the composer writes the music and only then the choreographer builds the entire movement pattern of the dancers, which visualizes the idea as clearly and clearly as possible for the viewer. embedded in music. It must be remembered that this process is carried out within the fairly strict framework of the tradition that has developed over centuries of development and formation of the art of ballet and is subject to the coding rules that were developed through the joint efforts of both choreographers and composers. That is, in the art of ballet, the dancer’s movement is tied to the plot indirectly through music. In those types of dance art where the plot or semantic content of the dance is absent or does not play a significant role, the nature of the movement is still strictly tied to the nature of the music. In plastic theater, however, the priorities are diametrically opposed: the main meaning-creating element is movement. It would be an exaggeration to say that music here performs only a service or auxiliary function, but it no longer plays the dominant role. In plastic theater, the characteristics of the actors’ movements come to the fore, and the music is selected or written in accordance with the movement pattern of the role or the entire performance.

The aesthetics of gesture is also formed in different ways in dance and plastic theater: traditionally choreographically structured movement is distinguished by the desire for “beauty.” This is largely explained by the above-mentioned dependence on music. Gesture and movement in plastic theater can be unaesthetic or even anti-aesthetic, from the point of view of dance aesthetics, if the situation requires it. "The desire to penetrate into the unconscious of a person, interest in the irrational forces that control his actions, for the outstanding dancer of expressionist dance, student of von Laban, Marie Wigman (1886 - 1973) means a rejection of beautiful movements, interest in the ugly and scary. Her dance style (constant falling to the ground, kneeling, squatting, crawling, convulsive movements, shudders) testified to a new type of plasticity on stage. Not stylized, harmonious movements, but movements suggested, in the words of Mikhail Yampolsky (who in one of the chapters of the book “The Demon and the Labyrinth " speaks about the basics of facial expressions and plasticity of expressionist theater in general) " with the inorganic physicality of the "hysterical woman." The basis of this distinction is the fact that the art of dance addresses the human capacity for aesthetic judgment of taste, which is formed in a social environment and in accordance with some cultural paradigm. And plastic theater, plastic theater, turns to deeper structures of consciousness, for which the beauty and harmony of gesture recede into the background, and the main thing is the ability of gesture to actively and accurately influence certain zones of the pre-cultural in the spectator’s psyche. Because of this, when choosing a gesture in plastic theater, the main criterion is its functionality and semantic content, which can quite strictly determine the degree of its “beautifulness” or “ugliness.”

Another important difference in the perception of gesture in dance and plastic theater is that the scale in a plastic theater performance does not always consist only of music. These can be everyday sounds or their combinations; sound accompaniment provided by the artists themselves during the performance, but not music in the traditional sense of the word; sounds that have no analogues in real life, synthesized using modern electronic technology (below we will dwell in more detail on the functional significance of these elements in plastic theater). In this regard, the interaction of the movement of actors in a plastic theater with music or other sound may be perceived by the viewer not as something interdependent, but as the existence of two parallel phenomena. Moreover, the video sequence and the audio sequence can either emphasize each other or exist in opposition. The combination of movement with certain sounds that are not music can give rise to new meanings that are not directly implied either in the movement or in the sound accompaniment. This is another feature that distinguishes the perception of actors’ movements in dance and plastic theater.

All the facts given concerned the movement of actors on stage. However, plastic theater, due to the fact that it is not fundamentally non-verbal, can operate with the voice in non-verbal forms and with words. And here one can also trace a significant difference between how the actor’s voice is perceived in plastic theater and drama (or opera). First of all, it should be noted that the word, which does not play a dominant role in plastic theater, often performs only an auxiliary function. Intonation, the emotional coloring of the spoken text, is much more important than its verbal and narrative content. For this reason, manifestations such as screams, groans, wheezing or other sounds of actors that are not articulate speech can contribute to the realization of the stage plan much more than clearly perceived text. Conscious work in this direction was carried out by Bob Wilson, who in his productions "... does not completely abandon the word. Often it sounds and is present, transformed into some acoustic material and devoid of the "burdensome burden of meaning." Wilson's favorite technique is minimizing speech, reducing the text to phrases, phrases, obsessively repeated, and then cut down to a word, a word - to a sound, a sob, a whisper, a rustle... They, repeatedly amplified and reproduced at various points in space, along with the words, make up the score of the performance."

An important trend of the twentieth century was that searches in the field of combining movement with voice were undertaken by dancers and choreographers themselves. In the ballet "Flames of Paris" the dancers sing "La Marseillaise". In the ballet "Corsair" Lyubov Vasilievna Geltser "...appeared in a man's suit, caricaturing the Corsair's rough gait. She twirled her mustache, blew the muster signal and suddenly shouted in a completely pirate-like manner: “Aboard!” It came out so naturally that the audience accepted the word "Gelzer. By the way, today Maya Plisetskaya is inclined to argue that in the future ballet will become a synthesis of word and dance." Pina Bausch's dance theater actors don't just speak from the stage, they engage the audience in dialogue. There are many examples like these that can be cited, which once again speaks to the tendency towards a conscious blurring of the boundaries between individual types of performing arts.

Summarizing this section, we can summarize the following: it cannot be argued that the set of expressive means of plastic theater differs to any significant extent from similar sets of drama, pantomime or dance. However, what is fundamentally important is that the impact of these means on the viewer occurs differently, due to their initial focus on other zones of viewer perception.