Perhaps the most important influence on how audiences perceive dances is the place where they are performed. Religious dances usually take place in sacred buildings or on sacred ground, thus maintaining their spiritual character. Most theatrical dances also take place in a special building or location, reinforcing the audience's sense that they have entered another world.

In most places, some sort of separation is created between the dancers and the audience to reinforce this illusion. Theater stage with a proscenium in which an arch separates the stage from auditorium, creates a noticeable distance between the audience and the dancers. Performing on a stage where the dancers are surrounded by spectators on all sides probably reduces the distance and similar illusion. In dances not traditionally performed in the theatre, such as Afro-Caribbean dance, there is very little distance between the audience and the dancers. In them, the audience is often invited to participate in the dance.

The theater space not only influences the relationship between the audience and the dancers, but is also closely related to the style of the choreography. Thus, in early court balls, the audience sat on three sides of the dancers, in close proximity to them, since the complex figures displayed by the dancers were important, and not their individual steps. However, when ballet was introduced into the theatre, the dance had to develop in such a way that it could be appreciated from a single, frontal point of view. This is one of the reasons the extended scenes were emphasized and extended, as they allowed the dancer to fully open up to the audience and, in particular, gracefully move sideways without constantly looking at them in profile.

Many contemporary choreographers wishing to present dance as part of everyday life and challenge the way people view it have used many non-theatrical locations to dispel the illusion or glamor of the performance. Choreographers such as Meredith Monk, Tricia Brown and Twyla Tharp who worked in the 1960s and 70s performed dances in parks, streets, museums and galleries, often without advertising or even without spectators. Thus, the dances had to "occur" among the people, and not in a special context. However, even the most amazing unusual place cannot completely dispel the sense of distance between dancer and audience, and between dance and ordinary life.

• and. lat. decorations, embellishments, furnishings; at the theatre: view, area of ​​performance Decorative, relating to the scenery. Decorator m. artist who paints scenery, views from afar, decorations, decorations, furnishings

UNHAPPINESS

• cf. the absence of someone's share, part, share. Chastless, who does not have a part, a share, a destiny. Disgrace someone, deprive a share, a part. Beschastnik m. beschastnitsa f. who does not have a share, a part

PARTIALLY

• adv. in parts, in part. Often adv. often, frequently, frequently. He happens to be with us often. Clean, part a few and stop. The drunk man parted his feet on the spot, but he sees that he does not take it, and sat down

ABSHNIT

• m. German. military department, compartment, cut; part of the fortification separated by a moat and a rampart, in which the ambush sits out, after the enemy takes the rest
• german military department, compartment, cut; part of the fortification separated by a moat and a rampart, in which the ambush sits out, after the enemy takes the rest
• (retreat, retrenchment) reserve defensive positions inside the main fortification or behind it, protected by their own shaft or other fence and separated by ditches from other parts of the fortress

ASET

• and. pitches. (settle?) barn top or flooring; dried, the part in which they put (planted) sheaves; planting. Lower part: pit
• part of the barn set aside for drying sheaves

STRAP

• a strip of fabric, often in the form of a roll, which goes from the front of the bodice over the shoulders to the back and connects it and the bodice shelves in women's clothing and underwear
• (strap) part women's clothing- a strip of matter thrown over the shoulder, supporting a skirt, shirt

The stage technique includes the architectural structure of the stage box, its equipment, as well as technical devices, which are sometimes made specifically for a particular performance.

Stage arrangement: 1 - auditorium, 2 - orchestra pit, 3 - proscenium, 4 - intermission curtain, 5 - spotlights, 6 - scenery, 7 - panorama, 8 - backdrop; 9 - scene board; 10 - rear stage; 11 - hold; 12 - supercurtain; 13 - grate; 14 - padugs.

The type of stage as we see it today originated in the 16th century. and since then it has been improved, but fundamentally not changed. Nowadays, with all the variety of theater buildings, the stage is, as a rule, a box closed on all sides. When the curtain moves apart, we see from the hall only a small part of the entire stage - the actual stage area on which the action takes place. This is the second floor of the stage, which in a modern theater has three floors. The first floor is hidden under the scene board. There are hatches available in the tablet.

The stage platform is separated from the auditorium by stone portals. A "U"-shaped cutout in the portal wall, usually covered with a curtain, is called a stage mirror. The distance between the portals and their height determine the dimensions of the stage mirror. There are usually sliding portals behind stone portals. Moving, they, if necessary, narrow the stage mirror. Its height is reduced, when required, by a valance that can be lowered and raised. A valance is made of dense matter stretched over a rigid frame.

Immediately behind the portal at the top, in its entire width - in front of the main, intermission curtain - a soft harlequin is suspended, usually sewn from the same material as the curtain. At the top, behind the portal, a fire curtain made of reinforced concrete is also suspended, which falls in case of a fire and tightly separates the stage from the spectator part.

An additional curtain usually hangs behind the main curtain - a game curtain, or a super curtain. It is both sliding and lifting. Often a supercurtain is made specifically for a particular performance, and it appearance depends on the overall design decision.

To the right and left of the stage, behind the portals, there are so-called pockets - spacious rooms in which the scenery of performances of the theatrical repertoire is stored. The design for each next picture of the play is also mounted in the pockets and, with the help of special devices, it is advanced onto the stage. This ensures a quick change of scenery during the performance.

The pockets and side part of the stage in its entire depth are hidden from the audience by a row of backstage - large decorative rectangular panels that are hung vertically to the right and left of the stage. The backstage is closed with a solid panel - a back or a back (divided into two halves, which can, like a curtain, diverge in different directions).

The part of the stage behind the backdrop, in the depths, is called the rear stage. The area in front of the main curtain is the proscenium, or proscenium. Sometimes the rear stage in the performance is open to the viewer, and then you can see the horizon, which stretches along the back wall of the stage box and bends somewhat along the side walls. The horizon is also called the radius. AT modern theaters it is made of a special white plastic material that is pulled tight over a rigid frame. Such a horizon does not give wrinkles when illuminated and takes on any light and color well.

Each pair of scenes at the top is closed by a paduga - a narrow long panel suspended horizontally. Several plans of the ceiling make up that kind of "ceiling" above the stage, which we see from the hall.

Backstage, padugi, backdrops, braces - all this together makes up the stage clothes, usually the theater has several of its sets: black, white, colored, made of materials of various textures and densities. Stage clothes are often sewn specifically for this performance according to the sketches of the artist.

The part of the stage box from the "ceiling" of the ceiling to the real ceiling - this is the third floor of the stage. Usually in theatrical buildings the distance from the ceiling to the ceiling is 1.5-2 times higher than the height from the floor of the stage to the ceiling. In this case, the scenery raised up is completely hidden from the audience sitting in the hall.

High, just under the ceiling, there are grates - a wooden grate, to which the poles are attached to the cables - metal pipes or wooden bars. Stage clothing, lighting equipment, and design details are hung on the curtains. The weight of the curtains and the objects attached to them is balanced by a set of counterweights - to facilitate the lifting and lowering of the curtains. This whole system is called the lifting system. On the walls around the stage there are galleries connected by narrow bridges. In some theaters, a water fire curtain is mounted above the grate, under the very ceiling.

Techniques and mechanisms have been used in the theater since very ancient times. It is known, for example, that in ancient and medieval theaters at the end of a performance, as a rule, a “god” appeared from somewhere above and hovered over the stage on a special device. It was necessary to safely resolve all problems: to punish vice and reward virtue. This character was called in Latin - deus ex machina (God from the machine). In today's theatre, the technical devices of the stage are not called "machines", but the term "machinery" is still used - this is the collective name for the mechanisms with which the theater box is equipped. And the workers of the assembly shop, who install and change the scenery on the stage, are called fitters or stage machinists.

With the help of the lifting system, you can quickly change flat scenery, lifting one under the grate, lowering the other on the plate. For the same purpose, a circle is cut into the stage plan, or a rotating drum, the entire lower part of which is hidden in the hold. In the drum, special drop platforms are usually arranged - plungers. On them, the scenery is fed onto the stage from below, from the hold. In addition, such platforms, raised above the level of the stage to different heights, create the relief of the tablet necessary for this performance.

To supply the mounted scenery from pockets or from the rear stage, furks are sometimes used instead of a circle - movable platforms on small wheels. Furks move along specially installed, guiding "roads".

Theatrical technique has another function - the creation of stage effectsnecessary in the course of action.

The development of technology allows architects to carry out bold projects, introduce many technical innovations in theater buildings. The rising floor of the orchestra pit enlarges and brings the proscenium closer to the viewer. Folding portals and the rows of seats that move onto the stage instead of them continue the amphitheater of the auditorium and almost close it in a ring. The parterre is freed from the seats and rises to the level of the stage board - the stage is surrounded by spectators from almost all sides. There are other types of transformation of the auditorium and stage.

AT theatrical performances we appreciate not only the acting, but also the design of the stage. Therefore, scenery is an important part of any performance.

You can explain to a preschooler what a scenery is like this: "This is everything that is on the stage (not counting the actors) and shows the place where the performance takes place."

Scenery, as a rule, are landscapes, views of streets, squares, rooms from the inside. Decoration makers are called .

Main components soft theatrical scenery - backdrop, backstage and borders. Backdrop, like a background in the paintings, depicts everything that is in the background. backstage- narrow pieces of canvas - are placed on the sides of the stage in several rows and represent closer objects - trees, houses, rocks. BUT padugi- pieces of canvas stretched at the top and depicting the sky, the upper branches of trees, the ceilings of rooms, etc. All together, experts often call stage clothes.

The same applies to stage clothing (soft decorations).

Rigid, voluminous decorations can be played around during the action. Stairs, railings, trees, houses, columns are also called active scenery.

Recently, it has become fashionable to use light or virtual (synthesized on a computer) scenery.

The word "decoration" is most often used to refer to the accessories of the theater, whose purpose is to create the illusion of a place in which the action played out on the stage takes place. Therefore, theatrical scenery is for the most part either landscapes or perspective views of streets, squares and the interior of buildings. They are painted on canvas.

The main components of each theatrical scenery are the curtain and backstage. The first is hung in the depths of the stage, stretching across its entire width, and depicts everything that is in the background in the reproduced landscape or perspective; the wings are pieces of linen, narrower in comparison with the curtain, stretched over a wooden binding and cut out at one end in a proper way; they are placed on the sides of the stage in two, three or several rows, one after the other, and represent closer objects, for example. trees, rocks, houses, pilasters and other parts of the scene. The scenery is supplemented by subarcs - pieces of canvas stretched at the top across the entire stage and depicting pieces of the sky, upper branches of trees, ceiling vaults, etc. e.g. stones, bridges, cliffs, hanging galleries, stairs, etc.

An artist who is engaged in the execution of theatrical scenery and is called a decorator must possess, in addition to the training necessary for a painter in general, some special knowledge: he needs to perfectly know the rules of linear and aerial perspective, to master a very wide method of writing, to be able to adapt his coloring to fiery lighting, in which stage performances usually take place, and in general to count on the fact that as a result of his work a picturesque setting for the play being played is obtained, not only not harming it with its excessive simplicity or pretentiousness, but contributing to the strength and efficiency of the impression it makes on the viewer.

Having composed a sketch drawing of the scenery, the decorator makes a model for it, that is, a miniature likeness of the stage with a cardboard curtain, backstage and other accessories, so that this model can be used to judge in advance the effect of the future work. After that, proceeding to the execution of the scenery itself, he stretches the canvas of the curtain in a horizontal position on the floor of his workshop, transfers the drawing of the sketch to it in an enlarged form by breaking it into squares, and, finally, starts writing with paints. He does exactly the same when performing backstage and other parts of the scenery. The palette is replaced by a box with cans of various paints diluted with glue; for writing, more or less large brushes made of bristles with long handles are used. During work, he interrupts it every now and then in order to climb the gallery, arranged in the workshop at a certain height from the floor, and look from there at what was written. He usually does not work alone, but together with his students and assistants, to whom he entrusts preparation and secondary parts of the work.

scenery performance sketch dramaturgy

Stage performances were furnished with decorations by the ancient Greeks. As one of the oldest decorators known in history, one can point to Agafarch, who lived approximately in 460-420 years. BC modern times decorative painting developed primarily in Italy, which delivered the best craftsmen on this part and other countries.

Of the Italian decorators in the 18th century, Giovanni Servandoni, who worked for the Royal Opera in Paris, became especially famous. Then the championship in the area under consideration passed to the French. Among them, the theatrical painter Boke showed a remarkable talent; the famous Watteau and Boucher did not hesitate to break away from the performance of their paintings in order to write for the stage. Then, among the French decorators, Degotti, Ciceri, the students of the last Sechan, Desplechin, Fescher and Cambon, Chaperon, Thierry, Rube and Cheret enjoyed loud fame. Outstanding decorators in Germany were Schinkel, Karl Gropius, the Italians Quaglio and I. Hoffmann. In Russia, the needs of the imperial theaters were satisfied at the beginning by visiting Italian decorators - Perezinotti, Quarenghi, Canopy, Gonzaga, and then, in the reign of Nicholas I, German artists Andreas Roller, K. Wagner and others; Only in the second half of the 19th century did decorative painting take the path of independence in Russia thanks to such gifted masters as M. I. Bocharov and M. A. Shishkov, and the establishment of a special class at the Academy of Arts for the study of this branch of art.

Theatrical and decorative art (often also called scenography) - view fine arts related to art theatrical performance, i.e., the creation on theater stage the living environment in which the heroes of a dramatic or musical-dramatic work act, as well as the appearance of these heroes themselves. The main elements of theatrical and decorative art - scenery, lighting, props and props, costumes and make-up of actors - constitute a single artistic whole that expresses the meaning and character stage action, subject to the idea of ​​the performance. Theatrical and decorative art is closely connected with the development of the theatre. Stage performances without elements of artistic and visual design are an exception.

The basis of the artistic design of the performance is the scenery depicting the place and time of the action. The specific form of scenery (composition, color scheme, etc.) is determined not only by the content of the action, but also by its external conditions (more or less rapid changes in the scene, the peculiarities of the perception of the scenery from the auditorium, its combination with certain lighting, etc.) "The image embodied on the stage is initially created by the artist in a sketch or layout. The path from a sketch to a layout and stage design is associated with the search for the greatest expressiveness of the scenery and its artistic completeness. In the work of the best theater artists, a sketch is important not only for the working plan of stage design, but and relatively independent work of art.

Theatrical scenery includes the framing of the stage, a special curtain (or curtains), a pictorial solution of the stage space of the stage, backstage, background, etc. The ways of depicting the living environment on the stage are diverse. In the traditions of Russian realistic art, pictorial solutions prevail. At the same time, the written planar elements are usually combined with the built ones (volumetric or semi-volumetric) in holistic image, creating the illusion of a single spatial environment of action. But the basis of the scenery can also be figurative and expressive structures, projections, draperies, screens, etc., as well as a combination various ways Images. The development of stage technique and the expansion of representational methods do not, however, cancel the significance of painting as the basis of theatrical and decorative art in general. The choice of image method in each individual case is determined by the specific content, genre and style of the work embodied on the stage.

Suits actors, created by the artist in unity with the scenery, characterize the social, national, individual characteristics of the heroes of the performance. They correlate in color with the scenery (“fit” into the overall picture), and in a ballet performance they also have a special “dance” specificity (they must be comfortable and light and emphasize dance movements). With the help of lighting, not only a clear visibility is achieved (visibility, “ readability”) of scenery, but also depicts various seasons and days, illusions of natural phenomena (snow, rain, etc.). color effects lighting can create a feeling of a certain emotional atmosphere of the stage action.

Theatrical and decorative art changes with development artistic culture generally. It depends on the dominant artistic style, on the type of dramaturgy, on the state visual arts, as well as from the arrangement of theatrical premises and the stage, from the lighting technique and many other specific historical conditions.

Theatrical and decorative art in Russia reached a high level of development at the turn of the 19th-20th centuries, when outstanding artists came to the theater. In the design of performances, they brought a great pictorial culture, achieved artistic integrity stage action, the organic participation of fine arts in it, the unity of scenery, lighting and costumes with dramaturgy and music. These were artists who first worked at the Mammoth Opera (V. M. Vasnetsov, V. D. Polenov, M. A. Vrubel, etc.), then in the Moscow Art Theater(V. A. Simov and others), in imperial musical theaters(K. A. Korovin, A. Ya. Golovin), Diaghilev's "Russian Seasons" (A. N. Benois, L. S. Bakst, N. K. Roerich and others).

A powerful stimulus for the development of theatrical and decorative art was given by the creative search for advanced stage direction (K. S. Stanislavsky, V. I. Nemirovich-Danchenko, V. E. Meyerhold, choreographers M. M. Fokin and A. A. Gorsky).

Literature

E. Zmoiro. Scenery model for the performance of the Central children's theater"Skates" based on the play by S. V. Mikhalkov. 1976.