The profession of a director belongs to the category of creative ones, and its essence lies in directing the creative process of creating a work - a film, a play, a circus performance, a variety show, etc.

The representative of this profession is responsible only for the creative side of the creation of the work. In this, the director differs from the producer, who raises money for the project, solves financial, technical, and organizational issues. However, there are masters who combine both roles and avoid possible conflicts of interest (commerce and creativity).

What are directors

Director

The director-producer is the main person who is responsible for everything that happens on the stage. film set or on stage. Actors, cameramen, sound engineers, screenwriters, decorators and other specialists are subordinate to him - he organizes them and is responsible for the final result. Therefore, the word "producer" is not always used in relation to him.

theater director

The tasks of the theater director include organizing and conducting all activities for staging the performance - from working on the text of the play, selecting performers and scenery to staging the work, synchronizing the actions of the actors and their compliance and storyline, and artistic design (both the author of the play and his own).

Film editor

The profession of an editing director (or film editing) hides an ordinary editor who combines the pieces of the shooting into one work (film, TV show, commercial, clip). Of course, this is not an ordinary technician who presses buttons on a computer, but a specialist who works side by side with the director, who knows all the subtleties and nuances of the future film and, in addition, is able to perform all technical functions.

The main task of the editing director is to make what the main director expects at the end.

Places of work

The position of director is provided for in many organizations producing entertainment and entertainment products:

• in film companies and film studios;
• in theaters and circuses;
• in major advertising agencies.

And some other organizations.

History of the profession

Before the advent of cinema, the director's profession belonged to the theatrical field. At all times there have been people who put on plays, performances and various shows. It could be playwrights, actors or someone else, but they were the progenitors of future directors.

The popularity of the theater, more complex productions around the second half of the 19th century, gave birth to the profession of director. The Meiningen Theater, directed by Ludwig Kroneck, can be considered the place of her birth.

Directors appeared in the cinema almost immediately with its appearance: in the documentary genre - the inventors of cinema themselves, the Lumiere brothers, in the game genre - Georges Méliès, in the animation genre - Emile Reynaud.

Over time, this activity became more diverse, not only film and theater directors appeared, but also circus directors, organizers of major public events, etc.

Director's Responsibilities

The list and volume of specific tasks and responsibilities of the director can vary greatly depending on the direction and specifics of the activity. For example, a film director does the following things:

• writes or selects a script;
• defines the general art style paintings;
• selects actors and directs them;
• supervises the work of decorators, costume designers, screenwriters, cameramen, editors, assistants and other specialists;
• supervises the installation procedure (sometimes participates in it).

For comparison, we describe some of the functions of a television director who creates programs and programs:

• creates scripts;
• accepts ready-made stories and programs;
• participates in the editing of television programs and promotional video materials;
• works live.

Requirements for a director

The basic requirements for a director are simple:

• higher specialized education;
• experience in a specific area of ​​directing: in film, theater, television, etc.

At the same time, "profile" specialists (editors, sound engineers, etc.) are sometimes required to know the relevant equipment and software.

How to become a director

Becoming a director, especially of a high level, is not so easy. To do this, you need to get a higher education in the specialty "director" - for example, graduate from the directing department of VGIK, the theater academy, the institute of culture or another specialized university.

Moreover, it is desirable to choose an educational institution immediately in the desired specialty: retrain, for example, from theater director very few succeed in being a film director in the course of a career.

Director salary

How much a director earns is a big question. Famous masters make millions, but they always run the risk that their next creation will fail and they will be in the red.

Apart from famous directors there are still a lot of unnamed specialists. Their incomes are usually not very high. The director's salary can range from 30 to 250 thousand rubles per month (depending on the employer and the level of projects).

theater director

Theater director- a person whose duties include staging a play. The director takes responsibility for the aesthetic side of the performance and its organization, the selection of performers, the interpretation of the text and the use of stage tools at his disposal. The appearance of the term is attributed to the first half of the 19th century, when a systematic practice of directing a performance arose.

History of the profession

Modern status

Patrice Pavy, in The Dictionary of the Theatre, notes that the evaluation of a director's work mostly comes down to questions of taste and ideology, not aesthetics. Therefore, it is worth stating that the director simply exists (which is especially noticeable when he is not at the height of his task). Moreover, the stage's need for a director is periodically disputed by other participants in theatrical creativity. The actor demands freedom from too tyrannical instructions; the stage designer wants to involve both the actors and the audience in his game device without an intermediary; the theatrical "collective" refuses to recognize the differences in the troupe, takes care of the performance itself and offers collective creativity; finally, the entrepreneur, the producer, demands to link art and commercial implementation.

Notes

see also

• directing art

Links

Wikimedia Foundation. 2010 .

• Director
• Director Viktyuk

See what "Theatre Director" is in other dictionaries:

PRODUCER- (French from Latin regere to edit, direct). In theatrical troupes, the person in charge of staging plays, distributing roles between actors, etc. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. DIRECTOR person, ... ... Dictionary of foreign words of the Russian language

Director Viktyuk- Roman Grigorievich Viktyuk (born October 28, 1936 in Lvov) Soviet, Russian, Ukrainian theater director. National artist RF. People's Artist of Ukraine. Contents 1 Biography 2 Performance ... Wikipedia

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Repertoire of the Bolshoi Theater (Moscow)- This article provides an incomplete list of the repertoire of the Moscow Bolshoi Theater. It must be taken into account that at first the troupe of the Maly (Maly Theater opened on October 14, 1824) and the Bolshoi Theaters ( big theater opened a little later than Maly ... Wikipedia

Books

• Circus director. Essays on the history of circus directing in the 1940s-1980s, Makarov S.M. This book examines the art of domestic circus directors in the 40s-80s of the twentieth century. The main character of the monograph is Mark Solomonovich Mestechkin --- folk artist…

June 22, 1897 at two o'clock in the Moscow restaurant " Slavic Marketplace One "significant meeting" began. The younger participant in the meeting described the older one, who at that time approached his forties:

“... he was then a well-known playwright, in whom some saw Ostrovsky's successor. Judging by his testimonies at the rehearsal, he is a born actor who just happened to not specialize in this area ... [Besides, he] directed the school of the Moscow Philharmonic Society. Many young Russian artists passed through his hands on the imperial, private and provincial stages.

The elder also left a portrait of the younger, 34-year-old:

“On the theatrical field [he] was a completely new person. And even a special one ... An amateur, that is, not a member of any theatrical service, not associated with any theater either as an actor or as a director. From the theater, he has not yet made his profession ... "

On that summer day, two people spent 18 hours in conversation. They wanted to create their own theater - free, independent, artistic, opposed to the official stage. The eldest was Vladimir Ivanovich Nemirovich-Danchenko; junior - Konstantin Sergeevich Alekseev (on stage - Stanislavsky). A year later, they will open the Moscow Public Art Theater, which in the history of world stage art will become an emblem. new era era of director's theatre.

It is difficult for a modern viewer to imagine a theater without a director. Questions immediately arise: how then was the theatrical process organized in the pre-director's era? And who "invented" the theatrical performance?

The position of director existed in the Russian practice of the 19th century and, above all, on the imperial stage, but it was a technical (administrative) unit with an indistinct range of duties. The creator of theatrical performance in the era of pre-director theater was considered a playwright (author of a play)
and / or actor (author of the role).

FROM early XIX centuries, under the influence of various political, economic and socio-cultural reasons, the old theatrical system began to deform, the old well-established mechanisms failed, stopped working. And first of all, the unity of action in dramaturgy was destroyed, and in the art of acting, in connection with this, the hierarchy. This meant that instead of the story of one main character - and therefore, one actor-premier on the stage - there were several parallel developing stories and several main roles. The clear three-stage structure (premier actors, secondary and tertiary actors) was replaced by the idea of ​​an ensemble, soloing different actors at certain moments. Such a dramatic construction excluded the spontaneous "directing" of the actor-premier, who was more busy on the stage than others and, willy-nilly, became the "axis of action." There were now several competing centers in the play.

The playwright's right to authorship in the theatrical process was also shaken. The conflict situation was created by the new, growing role of the decorator. Playwrights did not want to give in: in particular, in the "new drama" new drama- a term that describes the work of innovative playwrights at the turn of the 19th-20th centuries: Anton Chekhov, Henrik Ibsen, August Strindberg and others. they significantly increased the remarks, direct authorial instructions, through which they tried to dictate the artistic will not only to the actors, but also to theatrical artists.

It is interesting that a similar process took place at the same time in another performing art - in music. The emergence of the director's theater can be compared with the appearance of a symphony orchestra and the role of a conductor in it. A small group of musicians, among whom there was always a “first”, was replaced by orchestras in which there are no main ones, but there are solo instruments at different times. The organizing conductor (such as Hans von Bülow or Anton Rubinstein) does not exist inside, but outside the orchestra. He is between listeners and musicians: facing the musicians, back to the audience. Essentially, this is the place and role of the theater director.

The director arose "out of his own" (playwrights or actors), but gradually became a separate independent figure. The functions of directing as a new profession did not take shape immediately. Although the process went quickly, it is still possible to distinguish several stages in it. Directing was born to solve organizational problems, and only later creative rights were added to them.

First of all, a generation of theater directors of a new type appeared (in many European languages, the director is still denoted by the phrase "theater director"). They no longer simply recruited a troupe ready to play whatever they had to, but had general program: they were looking for a certain repertoire, like-minded actors, a stationary building adapted for their purposes. An example of such a directorship is André Antoine and his Free Theater in Paris, founded in 1887.

The second organizational task is to coordinate the theatrical process. The preparatory stage has become important for the theater (collection of material, especially for historical performances; rehearsals, including explanatory, "table" rehearsals). During the creation of the performance, it was necessary to unite the entire theatrical team under one command, observe discipline, and unquestioning obedience. It was on these foundations that another early European director's theater arose - the German troupe of the Duke of Meiningen, which in 1866 was headed by Ludwig Kroneck.

Another function is pedagogical, which consists in educating both actors and spectators in certain rules suitable for this particular theater.

The director's creative ability lies primarily in creating mise-en-scenes. Mise-en-scène is literally the location on the stage: the actors in relation to each other, to individual parts of the scenery, to the space of the stage, to the viewer. Complex, thoughtful mise-en-scene in the director's era became a new theatrical language along with word and plasticity (gesture, posture, facial expressions), and it could form only when someone appeared - the director - who saw the stage from the side of the auditorium.

And finally, when all these tasks and opportunities came together, the director announced himself as the author of the play - instead of the playwright and actor. From that moment on, it was the director's idea and the director's composition of the performance that became decisive and dominant. Then it became possible to speak about the integrity of the performance, subject to one artistic will.

The first European directors appeared in England in the 1850s and 60s, and in France and Germany in the 1870s and 80s. The peculiarity of the Russian situation was that, firstly, Russia was a young European theatrical power and all processes were going on here in a somewhat different rhythm compared to theatrical Europe. Secondly, the law on theatrical monopoly, issued by Ekaterina II, held back the energy of theater development in St. Petersburg and Moscow for almost a century. According to this decree, private theatrical enterprises were not allowed in the two capitals (unlike the provinces), and only imperial theaters could exist. The abolition of the state monopoly in 1882 released this energy and led to the emergence of private theaters in the capitals. However, it was difficult for these theaters to compete with the imperial stage. Private theaters of the 1880s-90s arose and soon closed, not having time to have a significant impact on St. Petersburg and Moscow theatrical life.

By the time the Moscow Art Theater was born, Moscow was looking forward to a new private theater. And the initial agreement and unanimity of the two dreamers, the founders of this theater, can be considered a miracle. Ahead they will still have the most difficult half-century relationship, often on the verge of a break, but Stanislavsky wrote about that “significant meeting”:

“The World Conference of Peoples does not discuss its important state issues with such accuracy with which we then discussed the foundations of the future business, questions of pure art, our artistic ideals, stage ethics, technique, organizational plans, projects for the future repertoire, our relationships” .

Nemirovich echoed him:

“The conversation began immediately with extraordinary sincerity. The general tone was captured without any hesitation. Our material was great. There was not a single place in the old theater that both of us would not have attacked with merciless criticism.<…>But more importantly, there was not a single part in the entire complex theatrical organism for which we did not have a ready-made positive plan - reform, reorganization, or even a complete revolution.<…>Our programs either merged or supplemented one another, but nowhere did they collide in contradictions.

Almost immediately, they agreed on a dual management of the theater. They also took into account the organizational gift of Stanislavsky, the authority of the Alekseev family in the Moscow philanthropic environment (it is he who will allow the creation of a society of shareholders to start theatrical activities), and the literary reputation of Nemirovich. In the practice of the Moscow Art Theater, Nemirovich will receive the right to a literary, and Stanislavsky - to a staged veto (that is, a ban). The basis of the troupe will be amateur actors from the Alekseevsky circle and young people from the class of Nemirovich in the Philharmonic Society of various editions: Ivan Moskvin, Olga Knipper, Vsevolod Meyerhold and others.

In this instantly formed program of the future theater (and in fact, in one of the beautiful utopias of the Silver Age), the “new directors” probably took into account all the components of the theatrical process. Something will be easily accomplished by them and immediately left behind, something will have to go for years and decades, and some provisions will remain an unattainable dream.

At first, after the word "artistic" in the theater's name, there was the word "publicly accessible", but it quickly disappeared, since the idea of ​​targeting, "one's own" spectator circle turned out to be more important. Not just another theater was created, but a common home, a strong theatrical family, which included the audience. In this idea of ​​a "commune" - a form of community life - the theatrical ideas of the Moscow Art Theater were correlated with the attitudes of the democratic intelligentsia.

From the very beginning, they tried to build relations within the troupe differently than on the official stage, based on social and creative equality. Nemirovich listed the shareholders of the Moscow Art Theater:

“... a tradesman of the city of Odessa, a wonderful actor; a wonderful actress, a peasant woman in the Saratov province, Butova; calligraphy teacher, charming Artyom; "Rurik" Count Orlov-Davydov, Prince Dolgorukov; Her Excellency of Jerusalem is our grande dame Raevskaya; honorary merchant, another merchant, Countess Panina, Prince Volkonsky, doctor Anton Chekhov.

“Ideal human relationships” were dreamed of, removing all sorts of hierarchy: “Today you are Hamlet, tomorrow you are an extra.” New actor represented a model for the man of the future.

The changing relationship between the stage and auditorium space should have helped theater building in Kamergersky Lane, which was reconstructed by Fyodor Shekhtel. “The theater begins with a hanger” - this famous phrase of Stanislavsky is not at all anecdotal, as it might seem. A cloakroom appeared in the Moscow Art Theater, where all the spectators must hand over their outerwear. Not only obligatoriness - unusual in general for the European theater - but also democracy (equality of spectators), in which both a modest soldier's overcoat and a luxurious fur coat hung side by side in this wardrobe, without class analysis, caused surprise. Subdued light in the audience foyer, neutral olive color of the walls, austere curtain - everything is thought out and executed for cooperation, joint work of actors and spectators.

The actors are preparing for the performance for a long time and seriously: the "table" period - reading the play, analysis; multiple rehearsals on stage; dress rehearsal. But the audience is also being prepared for a meeting with a theatrical event, accustoming them - with the help of new strict rules that did not previously exist in the Russian theater - to the role of a "quiet witness": do not enter after the third call, do not move Xia around the hall, do not applaud and do not encore during the action, and so gave it, that is, do not interfere with the concentrated acting work. But there are other rules: for example, ladies in hats with large fields it is recommended to take off hats before entering the hall (this is already in order for the spectators to take into account the interests of each other).

Nemirovich-Danchenko dreamed of a "literary" theater. From the very first days, the Moscow Art Theater was concerned about the high level of dramaturgy in its repertoire. Nothing passing and random. At the same time, the literary program of the artists was not limited to any one stylistic or thematic direction. Stanislavsky in "My Life in Art" listed several lines that developed in the poster of the first decade of the Moscow Art Theater: the historical and everyday line (Aleksey Tolstoy), the line of intuition and feelings (Chekhov), the socio-political line (Gorky, Ibsen), the line of social -household (Hauptmann, "The Power of Darkness" by Leo Tolstoy), the line of fantasy and symbolism ("The Snow Maiden" by Ostrovsky, Maeterlinck).

In preparation for the opening of the Art public theater a year has gone with the sky-l-shim. During this time, they rented a theater room in the Hermitage Garden, gathered a troupe. They chose a play - the historical drama "Tsar Fyodor Ioan-no-Vitch" by Aleksey Tolstoy, finally allowed by the censors. The play responded to one of the primary tasks of the new theater - to become "the second Maining-gens" (the touring performances of the troupe of the Duke of Meiningen amazed both Nemirovich-Danchenko and Stanislavsky). The Meiningenians were imitated in historicism - the authenticity of the setting, in the elaboration of mass scenes, in the impeccable coherence of the elements of the performance.

The first performance of the Public Art Theater - "Tsar Fyodor Ioan-no-vich" - was played on October 14, 1898 (and it seemed symbolic that 74 years before that, the Maly Theater opened on the same day). However, Nemirovich-Danchenko recalled:

“... the new theater has not yet been born.<…>Fine external innovations did not blow up the deep essence of the theatre. There was success, the play made full collections, but there was no feeling that a new theater was born. He was to be born later, without pomp, in a much more modest environment.

Sophocles (“Antigone”), Shakespeare (“The Merchant of Venice”), Ibsen (“Hedda Gabler”), Pisemsky (“Self-governors”), Hauptmann (“The Sunken Bell” and “Gannele”) and Chekhov ("Gull"). Nemirovich ironically:

“... a whole fleet of battleships and dreadnoughts, heavy artillery - howitzers and mortars. Among them, Chekhov with his "Seagull" seemed like a small ship, five thousand tons, some kind of six-inch gun. Meanwhile…”

Meanwhile, it is “The Seagull” with its ordinariness, lack of historical showiness, exoticism, with everyday things (“zolaism”, that is, naturalism), with its speech pauses filled with sounds, with internal concentration and sparsely populated (in the play there are no winning mass scenes) The Art Theater owes its real birth.

On December 17, 1898, at the premiere of The Seagull, the theater was half empty. Chekhov's play did not make a full collection. And suddenly - unexpected success a performance that not only determined the future fate of Chekhov the playwright and the Art Theater, but also changed the theatrical art of the 20th century as a whole. Later, it was four Chekhov's dramas (from "The Seagull" to "The Cherry Orchard") that became the program basis of the artists, the laboratory where the most important discoveries in the field of directing psychological theater were made. "Uncle Vanya", which Chekhov almost gave to the Maly Theater. "Three Sisters" - the best, in Nemirovich's opinion, performance on the ensemble cast and "mise-en-scene" Stanislavsky. And finally, " The Cherry Orchard” is the brightest and most expressive symbol of the Art Theater. By the way, Chekhov was dissatisfied with the production of The Cherry Orchard. In this seemingly, at first glance, private episode, the future conflict between the two authors - the playwright and the director - was sharp and relevant to this day.

In performances according to Chekhov (in the "line of intuition and feeling") "the theater of the fourth wall" (that is, a theater clearly divided by an invisible imaginary plane into the stage and auditorium) studied theatrical psychology. Chekhov's pauses, the inconsistency of the words and actions of his characters revealed a gap between the external and the internal (the so-called psychological subtext). The audience's attention shifted from external events to the shades of the characters' experiences, to the subtle and complex ligature human relations. Both the characters on the stage and the audience in the hall were aimed at understanding the inner world of the “other”. The artistic integrity of the performance was created with the help of the atmosphere (that emotional authenticity that allowed contemporaries to define Chekhov's performances as "mood theatre").

Having barely emerged, the Moscow Art Theater became a favorite (and fashionable) theater of the intelligent public, who found in its performances a correspondence to their ideals, tastes, and aspirations. However, the theatrical process in the first fifteen years of the 20th century developed rapidly. Only four seasons will pass, and Nemirovich's favorite student, one of the leading actors of the Art Theater Vsevolod Meyerhold, will suddenly leave Stanislavsky and Nemirovich, open the New Drama Partnership in the province, trying himself not only as an actor, but also as a director . And three years later, in the summer of 1905, in the Studio on Povarskaya (a branch of the Moscow Art Theater), Meyerhold, invited by Stanislavsky, together with the artists Nikolai Sapunov and Sergei Sudeikin, begins to free himself “from the naturalistic fetters of the Mei-Ningen school ”, from the “unnecessary truth” (expression of Valery Bryusov) of their teachers. The theater-studio has become "a theater of search for new stage forms." And although the audience did not see the performances prepared in it, Meyerhold in this work for the first time approached the idea of ​​a theater of intentional convention - the opponent of psychological theater.

Having gone to the possible limit one of the paths of the "conditional theater" of the early 20th century - the symbolist "static theater", going back to the theory and practice of Maurice Maeterlinck, Meyerhold discovers the aesthetics of the booth theater. On the eve of the new year, 1907, he puts on the stage of the St. Petersburg theater of Vera Fedorovna Komissarzhevskaya "Balaganchik", the poster of which read: "The authors of the performance are Alexander Alexandrovich Blok and Vsevolod Meyerhold." For the first time, the director directly called himself "the author of the play."

The theory of the booth theater referred to those theatrical eras in which there was no rigid literary basis (written dramaturgy). The actor was the center of such a theatrical performance that created not a “life reality”, but an open “play of life” with improvisation based on a “scenario” - a sequence of dramatic situations, with a mask-image outlining types of behavior without specific individual characteristics ( “not one Harlequin, but all the Harlequins ever seen”), with the conventionality of the stage space and the objective world. “The public is waiting for you-thought, play, skill,” Meyerhold manifested in the program article “Balagan” in 1912. And this meant: the study of acting techniques (handicraft basics), past theatrical eras to extract techniques (tricks), mastering the grotesque - "the favorite trick of the farce."

By the beginning of the 1910s, two poles were clearly identified in the director's theater. On one is the psychological, literary "theater of the fourth wall." On the other, there is a playful, impromptu (in the spirit of commedia dell'arte) theater-booth. Between them (next to them), complementing and mutually influencing each other, there were various types of combinations of "life-like" and "conditional" theatrical art.

A little more than 15 years have passed since the legendary meeting at Slavianski Bazaar. During this time, not only did the Moscow Art Theater emerge and strengthen its position, which largely determined the theatrical art of the first half of the 20th century, but a new one was born. creative profession, which radically changed the theatrical language, there was a change in the author - the "owner" of the performance. The appearance of the director provoked the theater to define its own boundaries, to realize the independence of theatrical art. And the direction itself, rooted in the Moscow Art Theater experiments, went different ways, trying, experimenting in several directions at the same time.

Many years later, Mikhail Chekhov, in a lecture for American students "On the Five Great Russian Directors," tried to summarize the experience of early Russian stage direction, rich in names, discoveries, experiments - that part of the cultural heritage of the Silver Age, which became significant not only for the Russian, but also for the world stage. Mikhail Chekhov singled out five great director names: Konstantin Stanislavsky, Vsevolod Meyerhold, Evgeny Vakhtangov, Vladi-mir Nemirovich-Danchenko, Alexander Tairov - and gave a brief description of the work of each: Stanislavsky, with his fidelity to the “truth of inner life”, Meyerhold with his “demonic imagination” (“in everything he first of all saw evil”), Vakhtangov with his “juicy theatricality”, Nemirovich-Dan-chen-ko with his mathematical thinking, sense of structure and whole, Tai-ditch with its beauty as an end in itself. All of them, in the end, according to Chekhov, expanded the limits of the theater, opened up freedom in choosing creative method: "Comparing the extremes of Meyerhold and Stanislavsky with the theatricality of Vakhtangov, we eventually come to the conclusion: everything is permissible, everything is possible in the theater." Main lesson early director's theater: “Everything is compatible and compatible! Courage! Freedom! This is how Stanislavsky, Meyerhold, Tairov and others brought us up.”

AT explanatory dictionary Russian language Ushakov we find the following definition. Producer(from the French .. régisseur - the manager of the actors, and the Latin. Rego - I manage) - artistic director theatrical or cinematographic production, which unites all the work on the preparation of the performance.

The profession of a director is a profession of the 20th century. Although the theater has been managed since ancient times: someone always stood at the head of its organization. creative life. So, in the ancient Greek theater there is such a figure as choreg- a wealthy citizen who, subject to his exemption from paying taxes, carried out a theatrical production at his own expense. However, his duties included not only material support stage action. Choreg selected the choir (one of the main actors in the ancient Greek theater) and found a teacher to work with him - horodiskala, as well as musicians - a flutist who accompanied the choir, and a kifared who accompanied the singing of the actors themselves with his game, organized rehearsals, ordered scenery and props.

In the 18th and 19th centuries, the director's functions were not so much artistic and creative as administrative and technical in nature and differed little from the duties of the current assistant director. The creative functions that make up the main content of modern directing art used to be taken over by one of the most authoritative participants in the overall work - the author of the play, the first actor, artist or entrepreneur. But such an accidental, "unofficial" stage direction rarely brought the task of creating the ideological and artistic unity of the performance to the end: inconsistency between its individual elements to one degree or another turned out to be inevitable. The same thing happened in those cases when the team, not having a sole leader, itself tried to achieve a creative organization of the performance through the collective efforts of all participants. Previously, of necessity, one had to put up with this, being satisfied with the most insignificant successes along the way.

So it was until the moment when in Russia and in the world theatrical space began its triumphal procession of the Moscow art theater under the guidance of amateur actor K.S. Stanislavsky and writer V.I. Nemirovich-Danchenko. This happened in 1898, and if earlier performances were staged, now they are being created. From that time on, a director came to the theater and, in fact, took all the power there.

Today, no one will agree to recognize the performance as a full-fledged work of art, despite the excellent performance of individual roles and magnificent scenery, if it is generally devoid of stylistic unity and general ideological purposefulness (what Stanislavsky called the performance's super-task). And this is impossible to achieve without a director. Therefore, simultaneously with the growth of ideological and aesthetic requirements for the performance, the very concept of directing art was expanded and deepened, and its role in the complex complex of various components of the theater was continuously increasing.

Speaking about the need to achieve the unity of all elements of the performance, K.S. Stanislavsky wrote: "This large, cohesive and well-armed army acts simultaneously with a common friendly onslaught on a whole crowd of theater spectators, forcing thousands of human hearts to beat at once, in unison." Who is to train, rally and equip this army, then to throw it on the attack? Of course, the director! It is called upon to unite the efforts of all, directing them towards common purpose- to the supreme task of the performance. In other words, directing art in the theater is the creative organization of all elements of the performance in order to create a harmoniously holistic work of art.

The director in the theater is, first of all, an interpreter and interpreter of dramaturgy, the author of an artistic stage composition. Interpretation is special cognitive activity, aimed not so much at acquiring knowledge from ignorance, as the translation of previously existing meanings (scientific, philosophical, artistic) into another language. Interpretations and interpretations of works of art combine intuitive and rational, emotional and intellectual, cognitive and creative principles.

It is the director, being the interpreter of the idea of ​​a dramatic work, who determines the concept of its production decision. In the director's arsenal - a variety of means artistic expressiveness. The performance, according to the apt expression of V.E. Khalizev, is not a stage interlinear to literary work, but a valuable artistic reality.

Directing is the art of the author, and today we often say not Lenkom, but the Mark Zakharov Theater, not Sovremennik, but the Galina Volchek Theater, not the Taganka Theater, but the Yuri Lyubimov Theater. Directing is a personal art. He is mainly interested in what is consonant with him as a creative individual in the play. The best thing distinguishing feature A truly creative, and not a rationally illustrative stage interpretation of a dramatic work is characterized by the words of the remarkable Soviet theater director Anatoly Vasilievich Efros: "I can only stage it the way I feel myself."

The task of the director is to infect with his ideals, values, philosophy of life the viewer who came to his performance. However, one should also listen to the thoughts of the outstanding Soviet film director G.A. Kozintsev (“Hamlet”, “King Lear”, etc.), who warned that “not getting ahead with your own assessments of what is happening is the most difficult thing in directing. The simplest thing is to make assessments ... It's quite good to do without conclusions at all. Let people judge. My business is to convince: it could be so, and not “I think so about it.”

The director, according to the typology of V.I. Nemirovich-Danchenko, is also a mirror reflecting the individual qualities of the actor and the facets of his creative talent. As a rule, all the elements of acting technique are present in the acting performance in the performance. But in relation to each performance separately, the director faces the question: which of these elements should be brought to the fore in this performance, so that, grasping them as links of one inextricable chain, pull out the entire chain. So, for example, in one performance, the most important thing may be the actor’s inner concentration and stinginess. means of expression, in the other - naivety and quickness of reactions, in the third - simplicity and spontaneity combined with a bright everyday characteristic, in the fourth - emotional passion and external expression, in the fifth, on the contrary, restraint of feelings. The variety here has no limits, it is only important that each time exactly what is needed for a given play is precisely established. The ability to find the right solution to the performance through a precisely found manner of acting and the ability to practically implement this solution in working with actors determine the professional qualifications of the director.

Directing and pedagogy are so closely related that it is sometimes difficult to draw a line between them, to find the point where one profession ends and another begins. The director, as a sensitive educator, must be able to discern the true acting talent, to reveal it. K.S. Stanislavsky accurately noted that for the organic cultivation of a role, no less, and in other cases much longer, time is needed than for the creation and cultivation of a living person. In this period, the director participates in creativity in the role of a midwife or an obstetrician.

And, finally, the third "hypostasis" of the director is his organizational work, namely the alignment of the rehearsal process, which includes his entire creative team - from the actor to the stagehand. The tasks of the director in this context are to convince, practically organize, carry away with him, infecting the team with his plan, the most important task, faith in the success of the future stage action.

Summarizing the essence of the director's profession, let us turn to the thoughts of G.A. Tovstonogov, who wrote: “The director is always compared with a source of creative energy, the rays from which diverge in all directions: to the actor, to the playwright, to the viewer. The director is the point of intersection of time, the poetic idea and the art of the actor, i.e. the spectator, the author and the actor. This is a prism that gathers all the components of theatrical art into one focus. Gathering all the rays refracting them, the prism becomes the source of the rainbow."

The system of K.S. Stanislavsky arose as a generalization of his creative and pedagogical experience and the experience of his theatrical predecessors and contemporaries, outstanding figures of the world stage art. She, being a practical guide for the director and actor, has become a theoretical expression of that realistic trend in stage art, which Stanislavsky called the art of experience, which requires not imitation, but genuine experience at the moment of creativity on stage, creating anew at each performance a living process according to pre-thought-out logic. image life.

Thanks to the discoveries of K.S. Stanislavsky, the creative and creative beginnings of theatrics were much more fully revealed in the active completion of the play - the transformation of its text into a director's score. “We recreate the works of playwrights,” wrote K.S. Stanislavsky, “we reveal in them what is hidden under the words, we put our subtext into someone else’s text ... we create in end result our creativity is a truly productive action, closely connected with the innermost intention of the play.

K.S. Stanislavsky in his works "The work of the actor on himself" and "The work of the actor on the role" reveals the essence of the various elements of stage creativity, the study of which is necessary for the most clear understanding of the method of effective analysis of the play and role. But concepts through action and supertask are the most commonly used. K.S.Stanislavsky himself wrote the following about the super-task and through action: “The super-task and through action are the main essence of life, artery, nerve, pulse of the play. The super-task (desire), through action (aspiration) and its fulfillment (action) create a creative process of experiencing ... Let us agree for the future to call this main, main, all-encompassing goal, attracting to itself all tasks without exception, causing the creative desire of the engines of mental life and elements of well-being of the actor-role, the super-task of the writer's work”; without the subjective experiences of the creator, it is dry, dead. It is necessary to look for responses in the soul of the artist, so that both the most important task and the role become alive, trembling, shining with all the colors of genuine human life.

“We are loved in those plays,” Stanislavsky argued, “where we have a clear, interesting super-task and a through action that is well connected to it. Super-task and through action - that's the main thing in art.

The supertask has a remarkable feature. The same truly defined super-task, obligatory for all, will awaken in each performer his own individual responses in the soul. The task of the director is to clearly, clearly and understandably formulate it, since the definition of the most important task gives meaning and direction to the work of everything. creative team. The Russian film director Alexander Mitta spoke very figuratively about the need for a clear formulation of the super-task by the director (regardless of the type of art): “Forget capricious sighs: oh, I feel it, but I can’t put it into words! Employees should be inspired by the idea, but how will they understand their part of the overall task if the director crawls through the script like a bug on the wallpaper, not seeing his perspective, not knowing the course he is leading his ship.

The path to the realization of the super-task - through action - this is that real, concrete struggle taking place before the eyes of the audience, as a result of which the super-task is affirmed. For an artist, through action, according to K.S. Stanislavsky, is a direct continuation of the lines of aspiration of the engines of mental life, originating from the mind, will and feeling of the creative artist. If there were no through action, all the pieces and tasks of the play, all the proposed circumstances, communication, adaptations, moments of truth and faith, and so on, would vegetate apart from each other, without any hope of coming to life.

An outstanding film director, who was also noted for his work in the theater, S.M. Eisenstein described the essence of directorial creativity as follows: “From line to line in a written play, one must be able to establish a single process of action. Expand the dry line of the task into a diverse, polysyllabic and rhythmically fused action. This is the first thing a director who claims to build a stage action, and not recitatives according to rolls of roles, should be able to do.

However, directing in cultural and leisure activities is an independent area of ​​directing art with its own goals, objectives, principles and techniques. These features are due to the general content and content and content of cultural and leisure activities. It is no coincidence that we find the following in I.M. Tumanov: “Such components as song, dance, live-picture (plastic) composition replace the psychological justification for the behavior of heroes in the mass representation. The emotionality inherent in this genre implies an instant switching of viewers from one object to another without detailing and psychological motivations. In other words, the dramaturgy and direction of a mass action should be built in such a way that in the external form of presenting the material, one can find an internal image that corresponds to its idea, rhythm, and breath.

Questions for self-examination

1. Describe the professional activities of the director in theatrical art.

2. As V.I. Nemirovich-Danchenko defined three functions of a director?

3. What did K.S.Stanislavsky mean by a super-task and through action?

Literature

1. Kozintsev, G.M. Collected works in 5 volumes. V.5 / Kozintsev G.M. - L. Art, 1986. - 622 p.

2. Basics Stanislavsky systems / textbook. allowance; comp. N.V. Kiseleva, V.A. Frolov. - Rostov n / D: Phoenix, 2000. - 102 p.

3. Stanislavsky, K.S. My life in art / K.S. Stanislavsky. - M.: Art, 1983. - 610s.

4. Stanislavsky, K.S. An actor's work on himself. / K.S.Stanislavsky. - M.: Art, 1956. - 387 p.

5. Tovstonogov, G.A. Mirror of the stage: Articles. Recordings of rehearsals. Book 1 / G.A. Tovstonogov. - L .: Art, 1980. - 311 p.

Directing is the organization and creative direction of the performance. The director organizes the entire process of creating a performance and directs this work. The creative work of the director on the performance is based on his idea, that is, the result of thinking over the content and stage interpretation of the work that he has chosen for staging. The main task that the modern theater sets before the director is the creative organization of the holistic ideological and artistic unity of the performance. The director cannot and should not be a dictator whose creative arbitrariness determines the face of the performance. The director concentrates the creative will of the entire team. He must be able to guess the potential hidden possibilities of the team. He, together with the author, is responsible for the ideological orientation of the performance, for the truthfulness, accuracy and depth of reflection of reality in it. Working with the actor is the biggest part of the director's work on the creation of the play. First of all, the director makes sure that the actors understand everything in the work they are performing. The task of the director is to build his idea of ​​the play. Conduct your interpretation of the author through acting. When creating a performance, the director's functions also include working with a set designer, organizing and preparing the process in the lighting workshop, searching for musical material together with the composer. The director must have not only special knowledge, but also be a comprehensively educated person, have an "aesthetic feeling" and taste. One of the main tasks of the director is to create on the stage a harmonious composition of the performance, imbued with a single concept.

3. Stage sketch, composition technique and work on it.

An etude is an independent search for an effective line of behavior in given (invented) circumstances. A stage sketch is an eventful, completed segment of the life of the character(s), created on the basis of life experience and observations of the actor, reworked by his creative imagination and presented or acted or shown in scene conditions. A stage sketch presupposes the presence of a director's intention aimed at the realization of a super-task. In the work on the etude, the series of events is determined and fixed, its “turning points” - the initial, central and main etude is determined, as well as the goal of the character. The source or material for composing an etude is the actor's own event experience, his life event observations, the work of his creative imagination and consciousness, inspired by a super-task - a certain idea, thought, theme that an actor or director wants to convey to the viewer with the help of a stage etude. Any stage action can only be considered complete when it consists of 3 parts - beginning, middle and end, or preparation, event and end. In the first stage - preparation - the proposed circumstances are organized, the figures of the heroes are placed, their relationships are established, the tempo-rhythms are specified. The second stage is the central part of the study. Here the most important event of the etude takes place. In the second part, there is a conflict between two interested parties, or one character struggles with the circumstances with which he is. The third stage shows the denouement of the struggle of the conflicting parties. The etude reinforces the actor's initial skills of working on himself and leads to the next major section of the program, to work on the play and the role. In the study, the task is not yet set to create a typical character, to transform into an image. Performers act on their own behalf, in life circumstances well known to them. The purpose of etude work is not only to develop the professional qualities necessary for an actor, but it can be of great educational value. Performers have to seriously think about the ideological content of their work. It is impossible to recognize as a good etude that is technically executed impeccably, but does not contain any moral idea.