theater quiz
"All life is theater"
Prepared and conducted
teacher primary school
Shlyanchak N.A.
C.Red poppy
2019
Theater quiz "All life is theater"
Target:
- learning about the theater;
Familiarization with the theater, education, showing interest in this type of activity;
Broadening their horizons, deepening their knowledge in the field of literature and art.
Tasks:
Show ingenuity and resourcefulness during the quiz; cultivate a love for the theatre.
Universal learning activities:
Personal UUD
Awareness of life meanings and values; to formulate their own point of view on the proposed material or situation;
Regulatory UUD
Make a plan and sequence of your actions; correct (make additions), volitional self-regulation (ability to overcome obstacles).
Cognitive UUD
Statement of the problem, educational goal, work with information, modeling, structuring, reflection.
Lesson type: quiz.
Lesson progress
1.Updating knowledge. Motivation
S. Marshak. IN THE THEATER FOR CHILDREN.
To the people! To the people!
Wherever you look,
For every pass
There is a wave of guys.
Put them on chairs
And they ask you not to make noise,
But the noise stands like in a beehive,
Where did the bear go?
From a long well
Invisible to the eye -
The flute will laugh
Then the double bass will roar.
But suddenly the lights went out
Silence has come
And ahead of the ramp
The wall opened up.
And the children saw
Clouds over the sea
stretched networks,
The fisherman's hut.
The violin sang below
squeaky voice -
The fish spoke
On the seashore.
Everyone knew this tale -
About the golden fish
But it was quiet in the hall
Like it's empty.
He woke up, clapped,
When the fire was lit.
Knock your feet on the floor
Palm on palm.
And the curtain flutters
And the lights flicker
Applauds so loudly
Half a thousand guys.
They don't care about palms...
But the house is empty
And only the dressing room
Boiling still cauldron.
Noisy wave alive
Runs all over Moscow
Where is the wind and trams
And the sun is blue.
2. Goal setting.
- Hello teachers and children! Today we will talk about ... And about what, you decide for yourself. Look at the screen and guess the topic of our quiz.(Slide 1)
Have you been to the theatre?(slide 2)
Theatre (Greek main meaning - a place for spectacles, then - a spectacle) - form performing arts. Theater is a synthesis of all arts, it includes music, architecture, painting, cinematography, photography, etc. The main means of expression is an actor who, through action, using various theatrical techniques and forms of existence, conveys to the viewer the essence of what is happening on stage . In this case, the actor does not have to be a living person.
Theatre - this is very ancient art. Theater was born in Ancient Greece from the mysteries in honor of Dionysus. In those days, there were only two genres of plays - tragedy and comedy. They were written most often on mythological or historical subjects. All roles were played by men. Actors (initially there were only two of them on the stage, the third was introduced by Sophocles) performed in huge masks and on cothurni. There were no decorations. Women (excluding hetaerae) were not always and not everywhere allowed to perform, especially to comedy, and sat, as a rule, separately from men. In Greece, the profession of an actor was considered prestigious, and in Rome it was shameful (that's why Nero's performances so shocked his entourage).
In Russia, acting performances have also been known for a long time. At first they were associated with religious festivities or with pagan rites. But gradually the "baton" of acting passed to the laity. Russian medieval actors buffoons have been known since the 11th century. Among them were musicians, singers, dancers, pranksters, trainers of wild animals (primarily bears, Bear Fun). These were poor people who had no corner, no food, no clothes, and need forced them to engage in such a trade. Often they united and walked around Russia together, asking for alms, for which they showed their talents. They began to build light buildings in the city squares for their housing and for the reception of visitors-spectators - booths.
There are many types of theater. And today you will be connoisseurs of the theater.
3. Creative application and acquisition of knowledge in a new situation (problem tasks)
And now I suggest you plunge a little into the atmosphere of theatrical art. As you know, in the theater there are actors and spectators. And now I will ask everyone to choose their acting troupe, consisting of 6 actors.(team picks) . As you know, the work of actors is evaluated not only by the audience, but by strict critics. The teachers present will act as critics, who will evaluate your work and, based on the results of the quiz, will determine the winners. All competitions are evaluated on a five-point scale. Answers to questions are accepted by a raised hand.
And your first test.
1) Warm up
What types of theater can you name?
You have named only a small part of the types of theater, and there are also opera, drama, puppet, parody theater, ballet, operetta, pantomime, theater of the absurd, author's theater, children's theater, animal theater, theater of the disabled, musical, one-actor theater, song theater, poetry theater , dance theater, shadow theater, street theater, variety theater, theater of light and others.
2) What do I know about the theater? (Slides)
1. How does the aphorism end: “There are no small roles, there are small ...”?
BUT. Actors.
B. Dramatists.
B. Directors.
D. Spectators.
2. How does the title of one of A.N. Ostrovsky “Your people are ...”?
A. Let's sing.
B. Let's settle.
B. Let's get on.
G. Let's call.
3. How often called theater school at the State Academic Maly Theater?
A. Shavings.
B. Penek.
V. Sliver.
G. Fanerka.
(Shchepkinskoe school - named after Shchepkin M.S.)
4. What theater award exists in our country?
A. "Golden Bolt".
B. "The highlight of the season."
B. “Theatrical cog”
G. "Actor's hairpin."
(This is how the Union of Theater Workers of Russia called its award. It looks like a nail, only crystal.)
5. What was the American dancer Isadora Duncan called in the 1920s?
A. Great sandal.
B. Great shoe.
B. Great sandal.
G. Great pointe.
(Because she danced without shoes.)
6. What is the name of the part of the ballerina costume?
A. Kipa.
B. Pack.
B. Stack.
G. Puchok.
7. What is the name of an amateur comic and humorous performance?
A. Arbuznik.
B. Carrot.
V. Kapustnik.
G. Schisandra.
8. How it ends catchphrase: “Talents need help, mediocrity ...”?
A. And so it is in business.
B. They will break through on their own.
B. A sponsor will help.
G. And so good.
9. Complete the comic definition of opera: “Opera is when a person is killed, and he is still ...”
A. Walks
B. Sings
B. Breathe
G. Sits
3) "Understand me!".
I invite one representative from the team. You will be the director of the play. But unfortunately, you can only speak with verbs. Your task is to explain the content of the work for the production of the play. For example: went, scratched, broomed, baked, cooled, rolled, sang, deceived, left, rolled, sang, ate. What is this fairy tale?). That's right, it's Russian folk tale"Kolobok".
Assignments for directors.
1. Fairy tale "Alyonushka and brother Ivanushka"
2. Fairy tale "Masha and the Bears"
4) Quiz.
1 tour "Theater" (slides)
What according to Stanislavsky is a continuation of the hanger? (Theatre.)
The part of the auditorium closest to the buffet is... Which one? (Balcony.)
What advantage did the lady who had a theatrical box on the balcony have over the lady sitting in the stalls? (If the lady had a theatrical box on the balcony, she could wear a hat with feathers of any size. But those who sat in the stalls could not afford anything like that.)
Why do kangaroos never go to theaters?(Because it is customary in theaters to leave bags in the cloakroom.)
What is the name of the time for eating sweets in the theater buffet? (Intermission.)
The announcement that all tickets are sold is called… (Full house.)
Round 2 "Representatives of the theater" (identify the representatives of the theater from the pictures)
1. The team constituting creative staff theater is called… (Troup.) (photo of a group of actors)
2. "Sleeveless jacket" (Bezrukov Sergey.) (sleeveless jacket)
3. Which character in Tolstoy's fairy tale sold the ABC and bought a ticket to the theater? (Pinocchio.) (alphabet)
4.Actor and director who directed the largest puppet theater for 60 years.
(S.V. Obraztsov) (doll samples)
5. Great Russian ballerina. (Galina Ulanova) (Russian Lancer)
6. Surname of the famous trainer of the Moscow Cat Theater. (Kuklachev) (doll)
5.Fizminutka
Pantomime (invite the rival team to portray 1. “Joy”, 2. “Surprise”)
6. Application of knowledge and skills in a new situation
"Blitz Tournament"
1) What closes the stage from the audience? (curtain)
2) Colorful announcement about performances, concerts. (poster)
3) A person who tells the actor the words from his speech. (prompter)
4) What is the name of the first show in the theatre? (premiere)
5) What is the name of theatrical cosmetics? (makeup)
6) Stormy prolonged applause. (ovation)
7) Theater artist. (decorator)
8) dramatic work intended for the theatre. (play)
9) The theater room where the costumes are stored theater actors. (costume)
10) What are the names of products that only depict real objects,
used during theater performances. (props)
11) What is the name of the speech of one person? (monologue)
12) What is the name of the break in the play? (intermission)
13) How many warning bells are given before the start of the performance? (3)
14) Modern musical performance? (musical)
15) A theatrical performance in which they only dance and say nothing. (ballet)
16) What kind of theater causes the greatest delight among young spectators? (puppet)
17) Actor and director, 60 years in charge of the largest puppet theater.
(S.V. Obraztsov)
18) Theater of variety programs. (variety show)
19) What skills does the vaudeville genre require from artists? (sing and dance)
20) A scene in which the actor does not say a single word, but explains everything with the help ofgestures. (pantomime)
21) The most famous Italian opera house. ("La Scala")
22) What is the largest theater in St. Petersburg. ( Mariinskii Opera House)
23) What decorates the facade of the Bolshoi Theater? (4 horses harnessed to the chariot of Apollo, the patron god of art)
24) Who played all the roles in the theaters of Ancient Greece? (men)
25) Great Russian ballerina. (Galina Ulanova)
26) What were the names of the first professional artists in Russia? (buffoons)
27) Surname of the famous trainer of the Moscow Cat Theater. (Kuklachev)
28) The hero of the ballet by P.I. Tchaikovsky, who fought with the Mouse King. (Nutcracker)
29) Sad puppet friend Pinocchio. (Pierrot)
30) What book Pinocchio exchanged for a ticket to puppet show? (ABC)
7. Summing up.
While the judges are counting the points, I will tell you about some unusual theaters.
1. In one of ancient theaters there was a special row for one-armed warriors. A row of bald-headed slaves was seated in front of them, hitting on their bald spots the former could applaud.
2. There is a so-called theater of cruelty. But do not think that they show torture and bullying. In it, just the whole performance is shown with gestures and inarticulate sounds.
3. In Sicily, to this day there is a puppet theater, the performance in which lasts ... a month! In ancient times, performances were also known that lasted for a year! True, during the day the audience went about their usual business, as they do now, and in the evenings they watched the continuation of the same play. Recent years eight hundred, one and the same theme is being developed - the struggle of the knight Roland with the Moors.
4. The Japanese kabuki theater, where all the roles, even female ones, are played by men, was founded by a woman. Her name was Okuni and she was a shrine attendant in the 17th century. She and other women then also played all the roles, including men's. However, soon the country's leadership did not like it, and women in the kabuki theater were replaced by young men, and later by mature men. In our time, traditions are no longer so strong, and in some troupes female roles women began to perform again.
Our strict critics - the judges announce the results.
(Summing up and awarding the winners).
8. Reflection
Today we have only lifted the veil of such a huge, diverse world as theater. It is impossible not to love the theater - it allows us to plunge into the world of beauty, being a reflection of our life, in fact, life itself. And as the great English playwright William Shakespeare said in the words of Jacques from the comedy "As You Like It"
The whole world is theater.
In it, women, men - all actors.
They have their own exits, departures,
And each one plays a role.
And I wish you that all the roles in your life are worthy of the title of a person.
1. "List of judging".
1 team2 team
1. Warm up "Name the Theatre"
2. "What do I know about the theater?"
3. "Understand me"
4. 1 round "Theater"
6. Pantomime
7. Round 3 "Blitz Tournament"
Total
1. "List of judging".
1 team2 team
1. Warm up "Name the Theatre"
2. "What do I know about the theater?"
3. "Understand me"
4. 1 round "Theater"
5. Round 2 "Representatives of the theater"
6. Pantomime
7. Round 3 "Blitz Tournament"
Total
The viewer is not a taste, the viewer is an experience
The spectator experience that is possible in the theater is not reducible to the experience of consuming other masses. media products. Speaking of the theatrical audience, the last thing to do is to refer to the concept of mass taste, to correlate theatrical production with this anonymous instance.
In a theater where “empathy” is possible, that is, physical simultaneous co-presence with a fantasy, fictional reality being played out (a rather banal and already well-known delimitation of the theater from other collective viewings), the viewer gets the opportunity to rehearse various social roles , the viewer is in various random communities, the viewer experiences various emotions of collective life. This experience as a whole is not repeated at other viewings. Perhaps this is what keeps the theater from disappearing.
The internal structure of the theater as a model of society
The history of the theater offers different forms of organizing the theatrical space, which entails the implementation in the viewer of experiences that are not reducible to everyday existence. Each form of theater draws attention to the quality of attention or social action that is important for a given social structure.
The most common theoretical knowledge relating to the viewer in the mass system. media offers us the assertion that the viewer uncritically perceives the conventions of reality offered to him by the channels of information transmission, in contrast to, say, literary (non-genre literature) conventions of reality or non-mass art, where they are deeply contrary to the everyday experience of the viewer/reader. The shock of disproportion launches the mechanism of perception of this or that text, forces the viewer/reader to rethink the conventions of their own perception of reality, the boundaries of their real world.
By analogy with the perception of literature and art, it can be said that various forms of theater activate in the viewer, in the participant, a special emotion and a special role that cannot be reduced to everyday experience.
In the history of the theater and in the topography of the existing today theatrical forms it is possible to identify different anthropological constructions of the viewer. The culture of the twentieth century is unique in that it can simultaneously practice different theatrical systems.
And it means that in reality the viewer is given the opportunity to combine his feelings, to try different social roles. Festivals or the life of theater cities can offer the viewer at the same time six or seven concepts of the social experience of a fantastic theatrical reality given in physical co-presence with him.
Here is an approximate description of the theater spaces that are simultaneously present in a large European city. I will highlight only the trends, the elements of these theatrical spaces can be combined in one performance. It is important to understand their origin and the audience role they generate.
The arrangement of Shakespeare's theater presupposes the experience of going to the theater close to table fun, to common people's recreation. Such an experience appeals to a violent, unrestrained, emotional life.
Theatrical forms of the new time (opera, then operetta), with the concept of a stage mirror, where on stage social conflicts are reduced or dramatized, where the action is addressed to a person with the ability not to have fun and play pranks, but to recognize himself as part of a complex society and correlate his conflicts with the stage version. And besides, in such a theatrical arrangement, not only the process of watching the performance becomes important, but also the demonstration of one's own prestige before the performance, the performance that those who came to the operetta play even before the performance. In a modern context, playing in an aristocratic or bourgeois society is possible in opera houses.
in the circus where main topic performances are training, the viewer experiences again and again his greatness and power over nature. Self-training, conquest of wild animals, admiration for human capabilities, up to the paranormal (in the art of illusionists).
The street theater, by its location, claims to mingle with real life bringing the passer-by closer to the viewer. This form of theater was embodied in the street theater festival in Edinburgh; it is rarely practiced in Russia.
An invention of the nineteenth century, Cabaret is a theater in a cafe, a theater where, like in an operetta, society is ridiculed, where a reflection of politics, vices and habits of compatriots becomes a rest - the most unbearable form of theatrical art for the Russian audience. For several years now, humorous television programs such as Full House have been steadily replacing this theatrical genre. Several attempts were made to return the practice of cabaret to the real theatrical process, the Stend ab comedie festival was held in Moscow, initiatives for cabaret programs appear from time to time, but this direction has not yet received mass success.
And, finally, the most difficult to describe group of theater spaces. Theaters that call themselves avant-garde. Avant-garde art in the theater calls into question the conventions of well-known theatrical forms and tests the limits of spectator perception. These theatrical spaces are very important, they are laboratories where the spectator can feel again both for the first time the role of the spectator and how for the first time to feel the theater as an art.
Spaces of jubilation and spaces of sadness.
In addition to the image of the viewer (the viewer is laughing, the viewer is enjoying, the viewer is being tested, the viewer is the interlocutor) and the experience of experience that is not reducible to everyday life theatrical performance, different forms of theater offer to share solidarity on different grounds, for example, in the experience of a single emotion. The viewer, realized in the performance, acquires a dominant emotion: enjoying - shocked - tormented - provoked - approving - inspired. It is the experience of uniting with other people in emotion, more obvious than the virtual emotional experience when watching television programs, rarely anywhere else in life. modern society meets reflection. Emotional outbursts experienced among other people about theatrical events can compete with emotions about social rituals: minutes of silence, festive processions or emotions about consumer society events: holiday sales, new collections, jokes.
social experience theatrical spectator: spatial, role-playing, emotional, in contrast to the "quality of a theatrical production" rarely becomes a topic for theater critics, which is a pity, since such an approach would make it possible to present the viewer not as a passive instance of the consumer, but to see the events of perception, the viewer's sensations, the audience's participation - fascinating and important components of theatrical life.
We used to think that a psychologist is a consultant who has a heartfelt conversation with people in his office. He looks for the causes of a person's problems in his past or in the history of his family.
However, there are other psychologists who pay attention to the deeper individual differences of people associated with the characteristics of their nervous system. At the same time, in its practical work, like all other psychologists, they apply various techniques to help a person. These specialists are neuropsychologists. They can subtly combine their knowledge of the functioning of the cerebral hemispheres with art therapy. We asked a specialist in this field, candidate of psychological sciences Svetlana Yulianovna SHISKOVA, CEO psychological center"HOUSE", to talk about how you can solve the psychological problems of people, using knowledge in such different, at first glance, areas.
OUR ALL LIFE IS THEATER
- what it is different areas knowledge, may seem only at first glance, - explains the psychologist. – To understand what connects the work of the brain and art therapy, let us turn to the very beginnings – to the moment of a person’s birth. When a baby is born, it is very important that he scream. During the cry, his lungs straighten out and begin to work, the brain is enriched with oxygen. This cry performs another important function: it starts the work of the right hemisphere. Neuropsychologists like to say that a child is “born with two right hemispheres”: the left comes on later.
The right hemisphere is creative, it is responsible for the melody, for intuition. Parents coo melodiously with the newborn, and in response they receive a melodious coo. And when the baby begins to speak, pronounces the first words - his left hemisphere is included in the work, because the center of speech is located in it.
Now the number of children who begin to speak late, whose speech is impaired, has increased. Their right hemisphere is pulsating, the melody of speech is present, but there is no full-fledged speech: children express themselves in their own, "bird" language. That is, the left hemisphere is not fully included. Left hemisphere responsible for the sequence of words, the structure of speech, semantic constructions, for control. Between the hemispheres there is an interhemispheric connection, the impulse between them should pass evenly, but this does not happen.
The work of the hemispheres must be harmonious, and one must intervene in this area with great care. Today, techniques that “reveal the work of the right hemisphere” are very popular. People want to realize themselves more in creativity, and they resort to such methods. Once a client came to me, who was “opened to the right hemisphere,” continues S.Yu. Shishkov. – As a child, she wrote poetry, but did not become a poet. And thanks to this technique, rhymes began to be born again in her, poems flowed like a river, she only had time to write them down. When this woman came to the consultation, she brought with her a whole stack of scribbled sheets. I asked her to read some one small poem. She replied, "I can't do it, since there is only one poem written on all these sheets." Then I invited her to choose any passage from it and read it to me. The client thought for a long time, sorted through the sheets, but could not stop at anything. Making choices is a task of the left hemisphere. It turns out that due to the activation of the work of the right hemisphere, the creative process began in her, but the client could not give her work completeness, a certain form. That is, the work of the hemispheres turned out to be unbalanced. So these techniques should be used with great care.
I would like to dwell on one more feature of the work of our brain, - says S.Yu. Shishkov. – Depending on which hemisphere a person is leading, it is possible to determine which psychological type, or psychotype, he belongs to. The "left hemisphere" type is characterized by an optimistic, positive perception of what is happening. For example, such a person looks out the window and thinks: “How wonderful that the winter is so warm, it’s dry around”; snow fell - “great, it’s time to go skiing”; it became cold - "well, winter is supposed to be cold." And the right hemisphere is more associated with negative emotions, with a negative assessment of the world around us. The “right hemispheric type” looks out the window, behind which is a warm winter, and thinks that there is still no snow, there is dirt on the street, and longing gnaws at him. Snow fell - also bad, because it became cold. That is, the right hemisphere pulls depression, suffering. Many creative masterpieces are just born in moments of suffering: in the throes of love, in experiences of disorder or the meaninglessness of life. When a person is cheerful and cheerful, creations that touch the soul are not created: a person experiences the fullness of life, enjoys his existence, he is already happy, the psychologist emphasizes.
People have long understood that art helps to change the internal state of a person. Psychologists have included creative activities in their arsenal of therapeutic work and called them art therapy. At psychotherapeutic sessions, adults and children today draw, sculpt, sing, do pantomime.
– I am especially interested in theater in this sense. It combines all the arts, simultaneously influencing the viewer with the help of image, sound, color, movement, word and melody, - says S.Yu. Shishkov. - In the theater, everyone finds their own symbolism, and, depending on their inner mood, perceives what they see positively or negatively. Therefore, a psychologist who uses theater therapy in his work needs to take into account the emotional state of a person and his psychotype. If the client has a tendency to depression, it is better to recommend to him theatrical performances that will inspire him, and not immerse him in the tragic circumstances of the fate of the characters. Sometimes it's good to go outside drama theatre, but to the ballet, where there is no need to delve into a specific text. Just listen to beautiful music and enjoy the plasticity of the dance.
Actor, spectator, director
For the first time, a person acts as an actor as a child. When guests come to the house, the parents put him on a chair and ask the adults to read a rhyme. He finds himself on a small stage in front of the audience, everyone's attention is drawn to him.
– Psychologists are often visited by adults who feel unhappy because they do not feel that they were able to find themselves, to realize their potential in society. And the question arises how to help them unlock the potential that was originally laid in them, - says S.Yu. Shishkov. - An art therapist may advise one to acquire the skill of more emotional, more confident speech - that is, to learn oratory. Sometimes this is enough. Others are better off doing theater studio, go on the amateur stage and try to work with the audience. When there is interaction with the audience, a person begins to realize that he is being listened to, understood. He gains confidence in himself.
Sometimes parents bring their children to a psychologist, worrying that the child is shy, restrained, has low self-esteem. He has creative potential, but he cannot reveal it, express himself in society. Classes in a theater circle help such a child feel self-confidence. The role of the artist performs a psychotherapeutic function.
What is special about the role of an actor? He has space for creativity, but it is limited by the given text and the concept of the performance that the director has developed. But in the theater there is another role - the role of the spectator.
For modern children, the problem of communication is relevant. Small children, preschoolers, younger schoolchildren, teenagers want to communicate, but they have little real communication. This is the generation of the internet. They sit in networks, correspond there with friends. But such interaction is very different from real communication. When people communicate "live", then one person speaks and the other listens to him. The ability to empathize, sympathize, rejoice, the ability to support another - comes from the ability to listen. And virtual communication does not develop such a skill. Here it can play important role theatre. In the theater, the child becomes a spectator, an observer, and in this role he develops the ability to listen. He learns to empathize and sympathize, learns to accept information, analyze it and communicate about it with other people.
It is believed that every person must go to the theater, that it is important to take children there. But theater is useful only in certain doses. Sometimes I recommend going to performances no more than once a season, so that each visit to the theater becomes an event, and the person himself does not turn into a passive consumer of art.
Women love to go to the theatre. As a neuropsychologist, I understand why women are fans of the theater, while men, most often, are not,” says S.Yu. Shishkov. - Active men are directors themselves, so they don’t like going to the theater, where they are forced to passively perceive other people’s scripts. And if they go there, they do it more for the sake of their beloved woman than for their own pleasure - so they still act according to their own scenario. Well, if the performance to which the woman brought them turns out to be interesting, somehow resonates in the soul - even better, there will be something to talk about after the theater.
So we move on to the third theatrical role - the role of the director. He is the creator: he conceives a concept, selects performers, achieves the implementation of his ideas, and the viewer sees the results of his work on stage. The director is a creative person, his right hemisphere works intensively. But the work of the left hemisphere helps him to realize his idea, to get a product as a result. That is, again, the work of the hemispheres must be harmonized.
theater space
- They say that the theater begins with a hanger. Indeed, the theater is a special space. This perception of the theater can be compared with the contemplation of a painting in a museum. Each painting has a frame. It limits a certain figurative space. The artists themselves understand how important it is to choose the right frame for the picture. An ascetically simple frame is suitable for one, and a gilded one, richly decorated with carvings, is needed for the other. Even the icons are framed so that when we look at the icon, we feel that we are entering another world. When we enter a special space, we are immersed in a special state - in fact, we reincarnate.
In Russian theater school actors work according to the Stanislavsky system. K.S. Stanislavsky taught the actors the technique of reincarnation, so that the actor would not play, but live the life of the hero on stage. He also helps us, the audience, to enter this special state and experience it. And the space of the theater helps to tune in a certain way and prepare for reincarnation. As Stanislavsky wrote, “the audience goes to the theater for entertainment and imperceptibly leaves it enriched with new thoughts, sensations and requests thanks to the spiritual communication of authors and artists from the stage with it.”
We've been doing research to see if there are any changes in the brains of artists when they're playing on stage. We filmed their encephalogram before and after the performance. And they found an amazing thing. When an artist works according to the Stanislavsky system, after the performance, the work of the right and left hemispheres perfectly harmonizes, on the electroencephalogram a symmetrical picture resembling a butterfly is obtained.
And it would be useful to learn this technique of reincarnation not only for actors, but for every person. After all, each of us wants to convey certain information to others, wants to be understood correctly.
However, work on the Stanislavsky system has its own difficulties. Actors, reincarnating in different roles, each time after the curtain falls on the stage, must return back to their "I". Unfortunately, this does not always happen, the experiences of one role are superimposed on others, and the actor's own personality is lost. Therefore, in the theater it is important not to play too much. K.S. Stanislavsky understood this feature of the life of the theater and reminded the actors of it. Talented actors, no matter what role they play, always remain themselves, retaining their personal "I".
It is this feature of theatrical life that must be borne in mind when choosing classes for a child of adolescence. At this time, he is in the process of searching for himself, and it is difficult for him, acting, to find his own "I". At this age, it is more useful for a teenager to attend sports sections, and not a theater studio.
How to introduce a child to the theater?
– It is very important to listen to your child when you start to cultural development. Each child is individual, and for a start it may be enough for someone to enter the theatrical space, where a special atmosphere reigns, to see the stage with its heavy velvet curtain, to watch five minutes of the action, - explains the psychologist.
it a big problem when an immature person is given all sorts of benefits. Out of good intentions, parents show their children the best: they take them to theaters, travel with them around the world, but when there comes a satiation with the brightest impressions, a satiation with the brightest spiritual values and material wealth, then only the bottom of society remains unknown to a teenager. He begins to explore it, collecting the basest and lowest sensations. Therefore, it is much easier for a psychologist to conduct psychotherapy with troubled teenager, who did not receive something in his life, because he still has a lot of unknown, bright things ahead of him than to work with those who were overfed by “this bright one”, and moral and spiritual values \u200b\u200bfailed to be laid.
In order for children to get involved in the theater, it is imperative to talk to them. Having gone to the theater, to the cinema, having watched a television production with them, it is very important to discuss it later. And if a child has his own vision of the performance, you need to teach him not to be afraid to express his opinion. Children really want to talk with their parents, and not listen to their instructions.
The child watched a play or a film, he was fascinated by vivid images, an easy life, his right hemisphere begins to pulsate: “I want to live the same way!” Parents should teach their children to think, to ask questions, to bring thoughts to their logical conclusion. To actively engage the left hemisphere ...
Women have their own theater
- The perception of sound in men and women is different. When a woman is not understood, she starts screaming. At the same time, the sound of her voice becomes thinner and higher, the speed of speech increases. This sound affects male brain in a destructive way.
Some mothers complain about their teenage sons: "You talk to him, you talk - like peas against the wall." That is, a woman screams at her child-boy, but he does not react to her words. The boy became a teenager, his brain matured. If he passes the frequency of his mother's cry through the brain, then his brain will fail into epi-readiness and into epilepsy. Therefore - as wisely provided by nature! – His brain shuts down. The wave has passed, the flow of words has gone, and the brain is turned on again. So the teenager has a protective reaction.
Therefore, by the way, men do not always like opera, because long-term perception of high notes requires great tension from them. If a man and a teenager do not like the opera, you should not force them to go there. Better go to the concert, listen good music. And the woman will watch the opera with her friend.
Life is like a game
– Each person is unique: he is the creator, the viewer, and the performer. And it is important that during the course of life these roles change in a person. You can’t watch others all the time or play a role in someone else’s performance. For example, a woman marries, and in the family the husband becomes a director, and she becomes a performer. She wants to be in tune all the time, to please her husband. Over time, she wakes up with the feeling that she has very much dissolved in her husband as a person, has lost herself, - notes S.Yu. Shishkov. – And when such clients come to me, they complain about family relationships, I tell them: “Let's start with a hanger - remember how you met, what family script Then they started writing. It happens that the woman was awkward, she stumbled, the man supported her - and they met. He was attracted by the scenario where he cares, looks after, and the other scenario does not suit him. And over time, a woman becomes self-confident and no longer needs guardianship. Or, for example, there was a party, the woman was cheerful, bright, and he paid attention to her - she charged him with her energy, gave him the strength to live with her positive attitude. But such a scenario did not imply sadness and longing on her part: he himself was often depressed. And now she is in trouble, she walks gloomy, and her husband is unhappy with this.
A woman should remember the moment when mutual sympathy arose, understand how she attracted her beloved man, what performance he once got to. He had some expectations, she had others, and it is important not to break the family system, but to develop it in a different way. If one spouse changes, he must help the partner change. Theater therapy can be used to work with marital relationships, to resuscitate relationships in a couple that have reached an impasse.
It is important to teach the person himself to understand what performance he is currently playing, what stage he is entering, to teach him to change scenarios, change his roles. If a person plays the role of a leader at work, it is not necessary to act in the same role at home. Having changed the space, it may be worth changing the roles.
The person who wants life to unfold according to his scenario all the time needs to remember that there is someone from above, a more important director than him. You can’t always tell other people what to do, you have to learn and be a performer yourself.
Theater therapy is also good for working with children. The first elements of theater therapy arise when we start playing with dolls with a child, he builds a plot and voices his toy. A play space appears, a prototype of the theater. An emotional contact is established with the toy. That's why psychologists always say: play with children. With the help of such a game, the need for interaction with others and the need for emotional comfort are satisfied and developed.
Finally, the theater helps a person to understand himself.
I will tell you one parable in conclusion. The sage during his wanderings approaches the castle. The castle is guarded. The guard consistently asks the wise man: “Who are you?”, “Where are you going?”, “Why do you need this?”.
The sage was so struck by these questions that he said to this guard: “Come to my service. Your job will be that every day you will ask me these questions: “Who are you? Where are you going and why?"
Interview conducted by Olga ZHIGARKOVA
The question of the spectator is the most important issue of theatrical management: the economic situation of the theater and its financial result largely depend on it. It is clear that any theater dreams of 100% occupancy of the auditorium. But does a full house always mean a benefit for the theatre? At what cost is it achieved? Is the loss of tomorrow's audience behind today's success? How to establish "reproduction" of your audience? What strategy is needed to strengthen the position of the theater in the public mentality, in order to survive in a sea of multiplying forms of cultural leisure?
The role of the spectator in the theatre, the philharmonic in no way can be reduced to the role of the consumer, although the subject of consumption here occupies the highest scale of all kinds of goods - these are the so-called cultural goods. Spectator in this case(as opposed to, for example, a spectator in a cinema or in a museum of painting and sculpture) is creator art. It "acts as a necessary condition for its "realization", one hundred transformations into human reality, into a phenomenon of social consciousness and social being" . Entering into auditorium, he enters into a community called "audience", becomes part of a collective perceiving body, which forms and imposes on the actors the "audience score of the performance" by its reaction. Every time, from performance to performance, this score will be different, unique, and therefore the performance will be different every time. This, in fact, is the whole essence of the theater, the secret of its viability and, in the language of management, its competitive advantage over other arts.
The great director of the Russian theater Georgy Tovstonogov once remarked that the theater is as talented as its audience. It is worth thinking about this phrase. If the role of the spectator is so great, how much does the theater need its own? not random - the viewer, how painstakingly should he grow, educate, and engage in the formation of his audience? What is the difference between a casual spectator and a theatergoer?
Any art models reality and at the same time uses only its inherent methods of modeling. To understand, to decipher these methods means to master the language of this art form. The better the viewer (listener, reader) knows this language, the more prepared he is - the more information, more impressions and more meaning he is able to take out of the experience of communicating with this art. “When knowledge of the language of art is not enough, the individual in the process of perception finds for himself such elements of the language that are accessible to him, although the main content of the work may remain hidden for him. If he encounters few understandable signs, elements of the language, he is bored, uninterested, he evaluates the work of art as bad, unsuccessful, or looks for something in the text of the work that resembles the signs he knows, and from them he constructs a kind of quasi-language, which he perceives, sometimes attributing to the work of art a meaning that is not inherent in it. with the so-called complex arts, for example classical music, this is often found in the perception of popular, mass-demand art forms.
It is obvious that a trained spectator - a theatergoer - is one who has experience in communicating with theatrical art, i.e. one who has visited the theater not once or twice, but visits it regularly and has a spiritual need for this. A theatergoer is a person who is interested in any information about the theater, about performances. He reads critical articles, listens to radio programs about the theater, comparing the opinion of a critic, a publicist with his own experience and judgment.
On a note
The task of forming the audience of the theater is to educate theatergoers who are able to form a powerful backbone of the theater audience. This task can be viewed in terms of different levels problem solving:
at the country level: joining theatrical art as such, the expansion of the actualized theater audience throughout the country;
at the regional level: expanding the updated audience of specific theaters in the region, involving all segments of the region's population in it;
at the level of upbringing and education: an increase in the proportion of trained, "theatrically literate" spectators who are able to fully understand the language of performing arts;
at the organizational level: the formation of the audience of a particular performance, its numerical and qualitative composition.
To solve the problem of audience formation, it is useful to have statistical data that allow you to see the real composition of the theatrical audience. Since the 1960s in our country sociological research is carried out from time to time in order to reveal the structure of the theatrical audience and draw up its "general sociological portrait". A sociological portrait contains such data as the composition of the public according to gender, age characteristics, but to the level of education, professional characteristics, etc.
Comparison contemporary research with research in the 1960s and 1970s. shows that the indicator by gender is the least subject to change: women predominate in the theatrical audience, they make up 70%. But there is also a strong trend towards age: the older the audience, the less it shows interest in the theater. 1970s data coincide with the data of the 2000s: 65-70% of the theater audience are spectators under 40 years old. Viewers from 40 to 50 years old make up 17%, from 50 to 60 - 11%, over 60 - 5%. In terms of education as a whole, the picture also does not change. As before, the theater in the cultural leisure of people plays the greater role, the higher the level of education. On a professional basis, the fact remains unchanged that the main backbone of the audience is the intelligentsia, and mostly humanitarian.
For a leader who understands that "survival" at any cost is the path to the degradation of the theater as an art and culture in general, it is important to take care to have a sociological portrait of your own public. But only sociological statistics are not enough - you need to go to contact with your audience in all available forms. It can be:
marketing research, including surveys, interviews to identify the needs, interests, disappointments and hopes of each group of viewers;
the creation of "clubs of friends", in which the creative workers of the theater can communicate directly with their regular spectators; it is very important to arrange such meetings immediately after the performance;
inviting theater critics and joint discussions with critics, spectators, actors and directors of theater performances: this will help expand the cultural horizons of all those present, the audience will comprehend the language of the theater, and identify new goals for the creative team;
the creation of a "theater school" for children and adolescents, which will contribute not only to the reproduction of the audience, but to the reproduction of a competent, prepared audience, a spectator-creator striving for truly high art. The range of methods here depends only on the imagination and pedagogical potential of specialists: from an elementary acquaintance with the ethics of behavior in the theater, from an amateur performance to some kind of integral project involving music, painting and theater, involving the philharmonic society, club, museum.
Attention to children and adolescents is a strategically important area of theater activity, regardless of its specifics (Youth Theater, drama, musical, puppet theater). The habit of theater, the need for performing arts are laid from childhood. Studies clearly show that if a person has never been to the theater as a child, teenager, he will not come there in the future. This direction of the theater's activity should also be embodied in its repertoire policy: the repertoire should include plays addressed to young viewer. This is not at all the repertoire policy that is limited to the New Year campaign, when it is rolled two or even three times during New Year holidays the same production, and after these holidays, no one remembers the children. This is especially important for those theaters that are the only ones in the city where there is neither a Youth Theater nor a puppet theater.
- Davydov Yu. N. Social Psychology and theater // Theater. 1969. No. 12. S. 27.
Have you ever wondered if the theater is interested in having spectators come to it. At first glance, it seems to be yes - after all, tickets, some kind of money. But you will estimate sometimes - and the money is not the same to fight for them, and it would be easier if no one came. This may manifest itself in different ways. Somewhere they will simply ask: "How, do you want to go to this performance ?!" (this happens quite often), somewhere the regime and customs of the ticket office do not allow not only planning something in advance, but generally striving to get there.
In some, mostly old and well-deserved theaters, the cashier is still sure that there is no one more important than him. Perhaps this is so. For example, recently there was such a stage (Mossovet Theatre). A woman, standing in line, turns to the cashier: "I'm from Sergiev Posad, yesterday I called your administrator, ordered 40 tickets for a performance in the stalls. He said to come today." And the cashier answered her: “Why did you call the administrator? You have to call the cashier. I don’t have so many tickets, do what you want.” Then they also told me: "Come tomorrow, today the tickets for this performance have already run out" (the performance was ten days later). And it is useless to say something - it has been tested for years.
In another respected theater - Sovremennik - twice in the last three months - the same picture. The time is 18.30, there seem to be tickets (or maybe not - you can’t determine), someone calls the cashier on the phone (or she calls), the conversation lasts about ten minutes, while no one, of course, is served. Someone timidly asks: "Is it a long time ago?" - there is nothing to answer.
A separate story is advance ticket sales. How many tickets will go to the box office, where the rest will be sold, is a mystery. How to buy good tickets to some theaters is not known at all. Perhaps this is a kind of business - both for the theater and for someone else. And not necessarily these are theaters in which the halls are packed. Another scene. On the first day of pre-sale, a man walks up to the box office and discovers that there are no tickets for what he wanted to see. Surprised. Immediately, the woman at the box office offers him tickets at a slightly different price. To his surprise, he answers: "What do you want? Saturday is for cult dealers. They come and buy tickets on demand." I wanted to add - and then they actively offer "at every corner." But it seems that this is beneficial to everyone - including the theater.
In the Mayakovsky Theater in advance sale - only the most expensive tickets. For "something simpler" you have to come before the performance.
Of course, this is not about all theaters. This does not apply to the Chekhov Moscow Art Theater, Youth Theater, O. Tabakov Theater. There may not be tickets before the show (and that's good!), but in advance - no problem.
And in the theaters themselves, the audience is treated differently. Usually it is very pleasing when, about half an hour after the start, latecomers are shown to their places in the center of the hall. And the collective trips of children to non-children's performances - can you forget it. Well, especially in frost or rain, when they let you into the theater 10 minutes before the start. It is very pleasing when the buffet sells popcorn - at the beginning of each action, the audience has something to do. Yes, not much else.
I don’t want to, yes, obviously, and it makes no sense to whine. There is a choice: if you don't want to go to this theatre, don't go. And you're not going.