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Directing and staging plan for the play by M. Maeterlinck 'The Blue Bird'

Oct 02 2010

The play "The Blue Bird" was written at a time when G. Maeterlinck from a symbolist to a "theater of death" came to a different vision of the world - a romantic one. And the meaning of the play is to show mankind the philosophical meaning of being, the beauty of today's life and its greatness. The heroes of Maeterlinck, the little children of the forester Tiltil and, set off on a journey in search of the Blue Bird, which should give them health and. What makes them go in search, although they do not know exactly where to go? The fairy will be able to awaken in them both kindness and the desire to know the world. After all, they must definitely learn to see what is "not in sight."

And then it turns out that the whole world around, all objects have their own soul, their attitude towards people. Then the children go in search not by themselves, but in a circle of friends and enemies. Just as everyone always walks with life. Their journey lies the Land of Remembrance and the Palace of Night, the gardens of Bliss and the Realm of the Future. Children learn that they should pray for the dead, because "praying means remembering." The sacrament of death is as great as the sacrament of birth. And above all this is the old Time, which is impossible to let someone into the Earth sooner or later. And each carries with it some kind of action - good or bad. This is precisely the meaning of his birth - bringing something to the world. Wherever the children were, everywhere they saw birds that seemed blue, but none were that blue bird. And only when the children returned home again, the most similar turtledove, which belonged to Tyltil, turned out to be the most similar. And it is no coincidence that the journey itself ends in the very forester's hut from where they set off. Only now she seems different, better, because the children returned differently.

So the main thing is the readiness to go on a campaign for the truth, the desire for change, the desire for the ideal. This, according to Maeterlinck, is the meaning of life to understand why you came into the world, which is the meaning of the fact that you live, because it is eternal.

Maurice Maeterlinck was the man who created the symbolist "theater".

Now we can talk about the search for the Blue Bird by the heroes. It is clear that this extravaganza was preceded by a complex creative and spiritual path, if to replace him, where the Unknown leads everything, i.e. invisible and unknown fatal forces whose intentions are secret, unknown. After all, it was Death, to which all the faces that only waited listened.

And so the reader and the theater are offered, in which there is no sense of predictability, the heroes of which do not wait, but act and change, first of all, their spiritual world. Because of this, most of the characters are symbols of the spiritual activity of man, as such, the creative principle.

Thus, the Soul of Light goes in search of the Blue Bird of happiness of a family that no one would call prosperous, accompanied by the Souls of Fire, Water, Sugar and two creatures that have been accompanying a person on his path for a long time. The souls of children are not primitive and have learned a lot. The magic diamond helps children on their way. And that path is the most dangerous that a person goes through. This is the way of self-education. One by one the pictures change. From the impoverished woodcutter's hut we find ourselves in the luxurious chambers of the fairy, just to meet with the assets of the original people - fire, water, bread, sugar, the first native animals. First, as one should have expected, on the path of self-knowledge, we turn to our memories ... A terrible demonstration of the maternal fate of the poor for me completely removes the idyllic mood of the picture: seven dead children, one after another, go to the end.

Deepening further leads little people to horrors and dark impulses of the human psyche. The Bluebirds caught here cannot stand the light. The "forest" of personality did not go far from the "forest" of nature, which tried to condemn a person whom, nevertheless, he was unable to defeat. The opening of the cemetery's Diamond assures the boy and girl that there is no death.

Nevertheless, the light can also be eclipsed - there are different blessings behind the essence, and if the masks are torn off, they look like monsters. And only the joys of Understanding, Seeing, Not being afraid, just like Mother's Love, are true. The most tragic symbols are probably in the blue palace, where they are waiting for life, everything is in it in advance, unborn children ...

And so we return to the woodcutter's hut, without finding the Blue Bird. And something similar was already only at the beginning of his wanderings. He will give it to a neighbor girl, but he will not keep the Bird of Happiness.

Maybe because happiness cannot be chosen or received as a gift. You have to follow him. In vain, Tiltil addresses the audience: We ask you very much: if one of you finds him, then let him bring it to us, we need it in order to become happy in the future ...

Need a cheat sheet? Then save it - "The Blue Bird" by G. Maeterlinck is a play about the meaning of being. Literary writings!

1 option.

The play "The Blue Bird" was written at a time when G. Maeterlinck from a symbolist to a "theater of death" came to a different vision of the world - a romantic one. And the meaning of the play is to show mankind the philosophical meaning of being, the beauty of today's life and its greatness. The heroes of Maeterlinck, the little children of the forester Tiltil and Mytil, set off on a journey in search of the Blue Bird, which should give them health and happiness. What makes them go in search, although they do not know exactly where to go? The fairy will be able to awaken in them both kindness and the desire to know the world. After all, they must definitely learn to see what is "not in sight."

And then it turns out that the whole world around, all objects have their own soul, their attitude towards people. Then the children go in search not by themselves, but in a circle of friends and enemies. Just as every person always walks in life. Their journey lies the Land of Remembrance and the Palace of Night, the gardens of Bliss and the Realm of the Future. Children learn that they should pray for the dead, because "praying means remembering." The sacrament of death is as great as the sacrament of birth. And above all this is the old Time, which is impossible to let someone into the Earth sooner or later. And each carries with it some kind of action - good or bad. This is precisely the meaning of his birth - bringing something to the world. Wherever the children were, everywhere they saw birds that seemed blue, but none were that blue bird. And only when the children returned home again, the most similar turtledove, which belonged to Tyltil, turned out to be the most similar. And it is no coincidence that the journey itself ends in the very forester's hut from where they set off. Only now she seems different, better, because the children returned differently.

Maurice Maeterlinck was the man who created the symbolist "theater".

Now we can talk about the search for happiness by the heroes of The Blue Bird. It is clear that this extravaganza was preceded by a complex creative and spiritual path, if it is replaced by the Unknown, i.e. invisible and unknown fatal forces whose intentions are secret, unknown. After all, it was Death, to which all the faces that only waited listened.

And so the reader and the theater are offered a work in which there is no sense of predictability, the heroes of which do not wait, but act and change, first of all, their spiritual world. Because of this, most of the characters are symbols of the spiritual activity of man, as such, the creative principle.

Nevertheless, the light can also be eclipsed - there are different blessings behind the essence, and if the masks are torn off, they look like monsters. And only the joys of understanding, seeing, not being afraid, just like Mother's Love, are true. The most tragic symbols are probably in the blue palace, where they are waiting for life, everything is in it in advance, unborn children ...

And so we return to the woodcutter's hut, without finding the Blue bird. And something similar was already only at the beginning of his wanderings. He will give it to a neighbor girl, but he will not keep the Bird of Happiness.

Option 2.

By the beginning of the 20th century, Maeterlinck went beyond symbolism and became one of the creators of the Belgian progressive romantic and realistic drama.1 In 1908, the writer created one of his central works, The Blue Bird. This extravaganza, which tells about the journey of the woodcutter's children, accompanied by the souls of objects and phenomena, in search of a bird that can bring happiness to people, is filled with symbols and allegories.

Before proceeding directly to the analysis of the symbols in Maeterlinck's play, one should pay attention to the Russian translation of its title. We know the extravaganza as the "Blue Bird", however, just from the point of view of the symbolism of color, such a name is incorrect. Here is what Alexander Blok writes about this: “It is not at all pedantry on my part to find fault with the word blue and convey the French word Bleu with the word blue; in French, bleu means both blue and blue, just like Blau in German; but the point is that behind Maeterlinck's fairy tale play lies a long literary tradition. Maeterlinck was very much concerned with the German Novalis; he translated it and, as it were, rediscovered it for the French, his name is closely connected with symbolism; Maeterlinck is one of those to whom we owe the establishment of a close literary connection between the early romantics of the beginning of the century and the symbolists of the end of the century. Novalis is an early romantic, one of those few in whom the beginning of romanticism can be observed in its pure form, not complicated by later stratifications; he has not yet departed from his original path - and his main work is the unfinished novel about the Blue Flower. It is a well-established custom among us to call this magical fabulous flower blue and not blue, so there is no reason to call Maeterlinck's bird blue and not blue. By calling it blue, we break with tradition; but after all, every word is traditional, it is ambiguous, symbolic, it has deep roots; the last secrets of our consciousness lie precisely in the roots of language; therefore, we, artists, need to be careful about the word; it is easy to tear apart the ear of a sensitive reader or a theatrical spectator, immediately imposing on him a number of false associations. Let's be true to the word blue throughout the text of the play; because the flower is blue, the sky is blue, the moonlight is blue, the magical realm - (blue or azure - in Turgenev) and the haze in which the whole Maeterlinck fairy tale and every fairy tale that speaks of the unattainable is wrapped - blue, not blue.

To begin with, it should be said that the play contains not only symbolic images, but also allegorical ones, which should not be confused. In the abstract, I will talk about both the first and the second.

We observe the first symbolic detail in the tale at the very beginning, even before the children woke up. The strength of the light mysteriously changes in the room: “The scene is immersed in darkness for some time, then gradually increasing light begins to break through the cracks in the shutters. The lamp on the table lights up by itself. This action symbolizes the concept of "seeing in the true light." In the light in which Tiltil and Mitil will see the world after the diamond on the cap turns. In the light in which any person can see the world, looking at it with a pure heart. In this scene, the familiar contradiction between blindness and sight comes out, passes from a deep philosophical subtext into a dramatic plot. It is this motif that runs through the whole work and is central. In this regard, the opinion of I. D. Shkunaeva is interesting. She writes that there are two different types of transformations in Maeterlinck's play. One of them, close to fabulous, is the return of phenomena to themselves. Tiltil's magic diamond does not change the surrounding world, but brings the sign and essence into line. To do this, you only need to “open your eyes”, because the sign undoubtedly expresses the essence, it is easily read by sighted eyes. The transformation of people, phenomena and objects is a consequence of Tiltil's open view of the world. Widespread folk expressions that have retained all their metaphorical figurativeness - "to see in the true light" and "to look at the world with open eyes" - became the basis of the dramatic action of this play. However, what is required in order for the eyes to really open and the world to appear as it is, and not as it seems to poor eyesight? Let's pay attention to the mechanism of action of the magic diamond. And here we find a symbol: the traditional touch of a magic wand on an object became for Maeterlinck the touch of a diamond on the "special bump" on Tyltil's head. The consciousness of the hero changes - and then the world around him is transformed according to the laws of a fairy tale.3 "A big diamond, it returns vision."

Also, the central symbols of the play can be called the images of the children themselves and their poor relatives. They were typical representatives of the Belgian, and indeed of European society. At the beginning of the play, in the fairy palace, Tiltil and Mitil dress up as characters from fairy tales popular among the people. It is precisely because of their commonness as a guarantee of universality that they turned out to be a symbol of humanity. Immediately it is necessary to say why Maeterlinck chose children as the main characters. Researcher L.G. Andreev believes that it could not be an accident that the children had to go in search of the blue bird, to seek happiness in the meaning of life. How can one not recall the simplicity praised by Maeterlinck, those advantages of a naive, direct worldview, about which he wrote many times, Tyltil and Mitil for Maeterlinck are not only children who have experienced extraordinary adventures, but also the key with which you can open the gates truths and gates of heaven.4

Other characters of the extravaganza are also symbolic. Among all, it is worth highlighting the cat. Tiletta symbolizes evil, betrayal, hypocrisy. An insidious and dangerous enemy for children - such is her unexpected essence, her mysterious idea. The cat is friends with the Night: both of them guard the secrets of life. She is short with death; her old friends are Misfortunes. It is she who, in secret from the soul of Light, leads children into the forest to be torn to pieces by trees and animals. And here's what is important: children do not see the Cat in the "true light", they do not see it the way they see their other companions. Mytil loves Tiletta and protects her from Tilo's attacks. The cat is the only traveler whose soul, free under the rays of the diamond, did not fit in with its visible appearance. Bread, Fire, Milk, Sugar, Water and the Dog did not contain anything alien, they were direct proof of the identity of appearance and essence. The idea did not contradict the phenomenon, it only revealed and developed its invisible (“silent”) possibilities. So Bread symbolizes cowardice, conciliation. It has negative petty-bourgeois qualities. Sugar is sweet, the compliments made by him do not come from a pure heart, his manner of communicating is theatrical. Perhaps it symbolizes people from high society, close to power, trying in every possible way to please the rulers, just to "sit" in a good position. However, both Bread and Sugar have positive traits. They selflessly accompany children. Moreover, Bread also carries a cage, and Sugar breaks off his candy fingers and gives them to Mytyl, who so rarely eats sweets in ordinary life. The dog embodies exclusively positive aspects of character. He is devoted, ready to go to his death, saving children. However, the owners do not fully understand this. They constantly make remarks to the dog, drive away even when he tries to tell them the truth about the betrayal of the cat. And in the forest, Tyltil even agreed to the offer of trees to tie Tilo.

It is worth paying special attention to the central character of the play - the Soul of Light. Note that in The Blue Bird among the travelers there is only one Soul of Light - an allegorical image. But the Soul of Light is an exception. This is not just a companion of children, it is their "leader"; it in her figure personifies the symbol of light - the guide of the blind. The remaining allegorical characters of the play are encountered by children on their way to the Blue Bird: each of them in a naively naked form carries his own morality - or rather, his part of the general morality - each presents his own special concrete lesson. Meetings with these characters form the stages of spiritual and spiritual education of children: Night and Time, Bliss, the most fat of which symbolize wealth, property, greed, and Joy, symbolizing the everyday life of ordinary honest people, Ghosts and Diseases teach Tiltil and Mitil either in the form of a direct verbal edification, either by his own silent example, or by creating instructive situations for children from which a worldly lesson can be learned. Its task is to unwind the tangle of events passing from one time to another, changing space. But the role of a guide is also to inspire hope, not to let faith fade away.

Special mention should be made of the role of time in extravaganza, of its symbolism. Face to face, we meet with him in one of the last pictures of the extravaganza, however, even earlier it kept reminding us of itself. However, not only in the distant Kingdom of the Future, but also in the first scene of the play - in the lumberjack's hut - personified time already appears before us: "beautiful ladies" dancing to the sounds of lovely music are the "free" and "visible" hours of Tyltil's Life .

Sleep and dreaming are the external, objective, and internal, subjective time of the "journey" of children. In a dream, with the help of memory and imagination, the quality of time as a special category of reality is symbolically recreated - the unity and continuity of its flow. The fact that the present contains both the past and the future, and that its "composition" is the composition" of the personality itself, Maeterlinck writes a lot in his philosophical studies of the beginning of the century. The dialectical interconnection of the three sides of time is carried out in the bodily, mental and spiritual being of a person: Meterliik seeks to prove this idea both on the pages of his philosophical prose and with the help of the poetic images and symbols of the Blue Bird.6

Finally, it should be said about the main symbol of the extravaganza - about the Blue Bird itself. The play says that the heroes need the blue bird "in order to become happy in the future"... Here the symbol of the bird intersects with the image of time, with the Kingdom of the future. Alexander Blok expresses an interesting version of why the bird has become a symbol of happiness. “The bird always flies away, you can’t catch it. What else flies like a bird? Happiness flies. The bird is a symbol of happiness; and happiness, as you know, has long been out of the question; adults talk about business, about arranging life on a positive basis; but they never talk about happiness, miracles, and similar things; it is even rather indecent; because happiness flies like a bird; and it is unpleasant for adults to chase the constantly flying Bird and try to pour salt on its tail. Another matter - to the child; children can play with it; Seriousness and decency are not asked of them, after all.”7 One can immediately conclude that children also symbolize hope for future happiness. Although they did not find the bird during the journey, and the turtledove flew away at the end, they do not despair and are going to continue searching for the blue bird, that is, happiness.

The heroes of the philosophical play-tale "The Blue Bird" are images-symbols that embody the forces that dominate the earth. This is a person, plants, animals, the elements of Light, Fire and Water, Soul, Bread, Milk, Hours - all that the human world consists of. It turns out that a person lives on earth, not noticing anyone and nothing around, except for people like himself. It seems to her that only he is endowed with a soul, and all the secrets of the world are solved by him. But it's not. With the help of a magic stone that opens true vision, Tiltil and Mitil, the heroes of the play, see the world as it really is - spiritualized, beautiful (and sometimes scary), full of secrets still unknown to mankind. In this world, the past, present and future are close and interpenetrate each other: Tiltil and Mitil meet both their long-dead relatives and their unborn brother. It turns out that a person is responsible not only for himself, but also for all his ancestors and descendants, because his whole family is a single whole, one endless line.

The playwright makes children his heroes, because their consciousness is still flexible, they are most receptive to the secrets of the world, close to nature. They know how to sincerely love and rejoice, they have not yet been touched by the misfortune and vices that appear in the play in the images of Fat Beatitudes (for example, the Bliss of Being Rich, the Bliss of Doing Nothing, etc.)

The cosmogonic created by Maeterlinck unites all the forces and laws of the earth: from night terrors and wars to the brightest essence of the earth - Maternal love, Justice, Joy to Understand; children get to their ancestors and descendants, to the underworld of the Night and to the tops of the world, meet the Souls of plants and animals. They learn that there are a large number of forces in the world that help them, or vice versa - offended by people and seeking revenge on them (such as the souls of those trees and animals that a person destroys).

Maeterlinck gives an optimistic picture of the future in the play: those children who are waiting for their birth in the Kingdom of the Future will soon bring beautiful machines, flowers and fruits to the earth, overcome diseases, injustice and even death itself. However, even those who live on earth have a very important task: Tiltil and Mitil must find the Blue Bird - the bird of happiness - and bring it to earth. For this they know the world. But this world and the souls that inhabit it are within the people themselves. The action of the play begins and ends in the children's home. The journey into themselves took place in a dream, but, waking up, Tiltil and Mitil do not forget everything that happened to them, and now they look at the world around them in a new way: as the Soul of Light foresaw, their view of things has changed, and now it seems to them that only they woke up, and the rest of the people are sleeping, not seeing all the beauty and grace of the world.

“Inspires” in the play the world, the world surrounding a person, Maeterlinck shows that people need to “wake up”, look around and see all the beauty of the earth, the value of human love and kindness, the need to live in peace with their neighbors on earth and to know the world without destroying his.

It is impossible to see light, good and eternal in the Blue Bird. This is not here, you can not try to look. Positioning the story, likening it to a fairy tale, is too cruel to children. The answer to such a statement is very simple - in the book, death awaits the heroes on every corner, and the heroes themselves, by their actions, perform such deeds that make their hair stand on end. Everything can be justified by childish naivety and an easy view of the world, but for some reason there is absolutely no desire to do so. It is worth reading a little, as you can see the destructive impact of the plot.

At first glance, the reader is faced with the most ordinary children, whose imagination can lead them far from the understanding of adults. Playing with eating cakes is still normal, having unusual dreams is possible at any age, but Maeterlinck is fantastic, giving children the same dreams, where each of them sees the dream of the other, and together they make an amazing journey in search of a blue bird, needed as a medicine . It is not necessary to consider the blue bird like some kind of allegory, as well as other characters that travel with the main characters. Let bread remain bread, milk remain milk, the rest will also remain themselves: dog, light, sugar, fire, cat and water. The choice of such assistants is taken directly without any attempt to bind them to any state of affairs. If he was, then the solution had to be reported somewhere, but otherwise you can rack your brains over other books where the author does not go so deep into his fantasies.

The book is full of death. Why are all the assistants of the main characters doomed at the beginning of the journey, when they become aware of the sad news of their death immediately upon completion of the mission. Why this does not threaten the main characters, who are no different, is unclear. And so it turned out that someone helps the children move forward, fueled by altruism, while others do not want to complete the search as soon as possible, trying to delay their inevitable end as far as possible in time. The feeling of death intensifies at the moment when the protagonist boy - so courageous, and in the book a whiny effeminate creature - begins to look behind different doors, without fear releasing wars, illnesses and other misfortunes, wanting to find what he needs by any means. What Maeterlinck wanted to say here is also unclear. He thus showed human indiscretion, tied to excessive curiosity, capable of destroying the world? Why not. Without such a human trait, people would never have reached the heights to which they eventually soared, ahead of their brethren in the animal world.

It is also difficult to understand the author's intention due to the lack of a final version from him personally. This book is a free retelling of Leonid Yakhnin, which is why, of course, there are no author's digressions in the book, but only the impression of one outside observer, for whom the whole story is as distant as for all other readers who are forced to get acquainted with just such an interpretation of events. Of course, the book loses in many ways, but there is simply no other way out. The trouble with all plays is always the same - you have to think about the actions of the characters on your own, because the format of the narrative itself gives a lot of room for imagination, skipping motives and actions moving the plot, doomed to forever get stuck in words, not being able to find a different form of understanding everything and everything. Any reader can always, after reading this version of The Blue Bird, take a pen, plenty of white paper, and retell the story on their own, sharing their own thoughts. Who knows, maybe it will turn out better than Yakhnin's. Everyone has such a right. It is quite another matter whether it is necessary at all.

Additional tags: maeterlinck bluebird criticism, maeterlinck bluebird analysis, maeterlinck bluebird reviews, maeterlinck bluebird review, maeterlinck bluebird book, Maurice Maeterlinck, L'Oiseau bleu, The Blue Bird

Department of Culture of the Belgorod Region

Belgorod State Institute of Arts and Culture

Faculty of directing, acting and choreography

Department of Acting Arts

Graduation qualification (thesis) work:

Directing and staging plan for the play by M. Maeterlinck "The Blue Bird"

group 94TT students

Moshkina T.I.

Supervisor:

Art. teacher Mikhailova O.A.

Belgorod, 2012

1. The director's idea of the play based on the play by M. Maeterlinck "The Blue Bird"

1 Rationale for the choice of the play

2 Director's analysis of a dramatic work

2.2 About the play

2.3 The era of the work

3 Ideological and thematic analysis of the work

3.3 Conflict

Actual analysis of the play

1 The plot and architectonics of the play

3 Event structure of the work

4 Genre and genre and stylistic features of a dramatic work

5. Scheme-analysis about images

6. Dictionary of the play

The director's concept of the performance and the staging plan of M. Maeterlinck's play "The Blue Bird"

1 Super task

2 Through action

3.3 Event series

3.4 Main events of the production

5 Image system

6 Genre of the play

7 "Grain" of the performance

Creative production plan

1 Plastic solution and mise en staging of the play

2 Atmosphere and tempo of the production

3 Artistic figurative solution of the performance

4 Musical sound design of the performance

5 Lighting for the performance

6 Costume designs

7 Sketch of the artistic and figurative solution of the performance

List of used literature

Additional materials: schedule of work on the performance, statement for props and props, playbill of the performance, statement for costumes, topography, cost estimate, photo, video

. DIRECTOR'S CONCEPT OF THE PERFORMANCE BASED ON M. MATERLINK'S PLAY "THE BLUE BIRD"

.1 Rationale for selection

For staging the graduation performance, we chose the play by the Western European classic Maurice Maeterlinck "The Blue Bird". Of course, many other dramatic works appeared before our eyes, but the range of problems contained in this play gave a big scope for creative work and self-realization of the chosen profession.

From the very first pages it was clear - before us is an extraordinary, enchanting work. The play by Maurice Maeterlinck makes you think about many life problems. For example, about happiness. "And what is happiness?" Having visited the Gardens of Beatitudes together with the heroes, we were convinced that happiness is not wealth with its vulgar music and brightly decorated halls. This is something else, like, for example, Maternal Love, the Joy of Being Fair, the Joy of Being Kind... These Joys make a person really happy. But sometimes we don't see them. Maternal Love said: “You can’t see anything with your eyes closed…”. Because we are blind, we pass by our happiness and sometimes we don’t notice it, but it’s worth looking around ... Also, our heroes were absolutely unaware that the Blue Bird is an ordinary turtle dove living in their house. This journey helped Tiltil and Mitil to become kinder and better, and the Blue Bird taught us to see happiness always and in everything.

We are convinced that the future specialist director needs to know the psychological characteristics of the phenomena that make up the deviant behavior of adolescents, of which amateur theater groups mainly consist. In the conditions of the formation of a theater group at different stages of its development, the formation of the personality of the participants takes place simultaneously. Therefore, we can conclude that what is the level of the needs of the team, such is the scope of the needs of its members. In order to maintain this dependence in a positive quality, the team must have highly artistic works in its repertoire.

One cannot ignore the fact that if the author raises the issue of the scope of human needs, and calls the reader to spiritual perfection and self-actualization through the sublimation of needs, it cannot but meet the needs of any repertoire, both amateur and professional theater.

Such literature is very rare. Books with the work of Maurice Maeterlinck, and indeed Western European authors of this era, were published in small numbers. Literary critics explained that this is not because the reader does not want to think, compare and analyze, it is easier for him to let a love story or a detective story through him. And the works of the Symbolists require great emotional and intellectual costs. Symbolists help us to philosophize and open our eyes to the beauty that we so rarely notice in everyday life.

“In former times, the self-confidence of a genius, and sometimes a simple and honest talent, easily managed to create in front of us in the theater that deep background, that cloudy distance of peaks, those endless currents that, having neither name nor form, give us the opportunity to share in conversation with our images and seem to be a necessary condition for the flow of dramatic action to fill the banks, reaching its ideal level. In modern theater, however, this third character is almost always absent, mysterious, invisible, but omnipresent, which it would be fair to call a super-acting person and which, perhaps, is something other than the unconscious, but powerful, fused with conviction, the idea that the poet creates for himself. about the Universe, and which gives the work a more important meaning, something unknown that continues to live in it after the death of everything else and allows you to return to it forever, making its beauty inexhaustible.

But the consciousness of all this does not reach modern life. Will it return? Whether it is born from a new experimental idea of justice or from the indifference of nature, from one of those universal laws of matter or spirit that we are just beginning to see. In any case, to keep a place for this mystery, let's agree, if necessary, that it will emerge from the darkness, but let's not plant their ghosts together. Our expectation and her constantly unoccupied place in life are in themselves more significant than what we could put on her throne, guarded by our patience.

This is how the process is organized, this is how a person works. Each of us comes to Earth, to the earthly world, as a rule, with one main goal- personal spiritual evolution. Everything else is subordinate to this. Some people, as well as those who are called Spiritual Teachers or Masters, come here with a higher purpose - a mission or a messiah. There are very few of them. But even they must initially go through the path of liberation (disclosure) of consciousness and going beyond the limits created by the body and intellect. It is constructed in such a way that initially the Spiritual World is hidden from man. To feel and reveal it, you need to do a lot of work on yourself. The wisdom of the Universe is that the stronger the barriers, the more personal efforts you have to make to overcome them, the faster the evolution, the more valuable the result, both for yourself personally and for the entire Universe. This is the meaning of what is called spiritual blindness and the process of spiritual insight.

There are many factors that influence our sense of joy in life, but among them there are still leading factors. According to our own observation and as a result of studying this issue, we came to the conclusion that the goal, that is, the understanding of where and why we are moving, is very important for the feeling of completeness, interest and joy in life.

When a person does not have a goal, there is no picture that he wants to bring to life, if he moves by inertia, "where life will take", having no idea what he wants, then he will not know what the joy of achieving his goals, the joy of victories is. , the joy of overcoming oneself, the joy of growth and development, he will be alien to the feeling of control over his life, the feeling that he builds his own life. Such a person will always lack something, he will always be dissatisfied with something, sometimes even nothing bad seems to happen, but still his mood is not the best. Something is missing. The problem is that there is no purpose.

Our production is important today in order to draw the attention of the viewer to the problem of the meaningless existence of a person, when no goals and life priorities have been set in his life.

.2 Director's analysis of a dramatic work

Maeterlinck Maurice - Belgian playwright, poet, wrote in French. Born on August 29, 1862 in Flanders in the family of a notary. After graduating from college in Ghent, Maeterlinck studied law in Paris, then returned to Ghent, where he practiced advocacy, collaborated as a critic, essayist and poet in the magazines Young Belgium and Wallonia. In his student years he was influenced by the French playwright and novelist. Villa de l'Adana. A supporter of the theory of "pure art", an essayist prone to metamorphic reflections, a Symbolist poet, the young Maeterlinck was keenly interested in the latest natural scientific discoveries. Maeterlinck's idealistic conception, his symbolist poetics, were a protest against bourgeois positivism, against the petty-bourgeois lack of wings of naturalistic art. In 1889, a collection of poems by Maeterlinck "Greenhouses" was published. Like a hothouse plant, the soul of the lyrical hero is "pale from impotence, from white inaction", the poet is weighed down by immobility and stuffiness. In 1896 Maeterlinck's second and last collection of poetry, 12 Songs, was published, supplemented in 1900 with three poems (15 Songs). In 1889, Maeterlinck published the fairy tale play Princess Maulin, the plot of which was borrowed from the Brothers Grimm. The atmosphere of a nightmare reigns in the play; villainess - the queen destroys everyone - the king, prince, princess; a person appears as a submissive victim of fate. Similar motifs resound in Maeterlinck's last plays of this period. In the one-act plays Unbidden and Blind, a person becomes a victim of mysterious forces (death, loneliness); both man and these forces appear in a "pure form", impersonal, abstract, like bare symbols. The drama "Peléas and Melisandre" made Maeterlinck widely known outside of Belgium and France. It served as the basis for the creation of a musical work (C. Debussy, A. Schoenberg, J. Sibelius). The story about the heroine's tragic love for her husband's brother affirms the beauty of a deep feeling and its doom. The drama Aladdin and Palomides is close to this play. Based on the play "There, within" is the idea that grief is always somewhere nearby (1894). In The Death of Tentagil (1894), the theme of rebellion against a cruel fate is outlined. The boy Tentagil dies behind the iron door at the hands of the villain - the queen; the pleas of his sister Igrena are replaced by an outburst of her anger: she curses death; this rebellion is beautiful, but according to Maeterlinck it is meaningless (in this regard, Maeterlinck is one of the forerunners of the literature of existentialism). Maeterlinck's aesthetic views of this period are outlined in the article "The Tragedy of Everyday Life", included in his book of essays "The Treasure of the Humble". Maeterlinck considered the main task of the theater to be the reproduction of moments when a person communicates with the mysterious spheres of the spirit. Maeterlinck proceeded from symbolic premises, but objectively in his dramatic practice he sometimes came to realistic results, close, in particular, to some aspects of A.P. Chekhov. On the whole, the book "The Treasure of the Humble" is a detailed manifesto of symbolism, written by a consistent idealist; the material world for Maeterlinck is only a reflection of a certain spiritual world; the modern era, according to Maeterlinck, is characterized by the fact that the area of \u200b\u200bthe soul is expanding. Ariana and Bluebeard. The heroes of these dramas are not only victims. Selysette is active in her self-denial, in the name of the happiness of a loved one, she goes to a feat. Does not reconcile with the prohibitions of Ariana - and wins fate. Maeterlinck's early plays were dominated by innuendo; subtext and "silence" were more weighty than the characters' replies. In the dramaturgy of Maeterlinck - on an equal footing with symbolic devices - realistic colors begin to penetrate.

In 1898 Maeterlinck moved to France. In the same year, he published Wisdom and Destiny, which opens a series of philosophical essays on the problems of knowledge and ethics. With all the pessimism of this idealistic work, it calls on a person to courageously fulfill everyday duty.

The work of 1902 "The Secret Temple" is more major. Maeterlinck affirms the need to be active in the knowledge of the world, in social practice. By this time, the writer had become close to socialist circles, which explains the evolution of his work. The drama "Sister Beatrice" (1900) is directed against asceticism, sings of a full-blooded earthly life. The play "Monna Vanna" (1902). There, for the first time, a historical plot is used; the heroes - living people with bright characters - face the real social relations of Italy in the 15th century, the play affirms patriotism. The same ideas permeate the play "Joiselle" (1905) in a sharply satirical play written in the manner of an everyday drama - "The Miracle of St. Anthony" (1903) - the bourgeois - the heirs are escorted to the police of St. Anthony, who resurrected a wealthy relative. In the articles of this period, Maeterlinck speaks out against fatalism in life and art, and for social activity.

In 1908, Maeterlinck created his masterpiece - the drama "The Blue Bird". He transferred the right of the first production to K.S. Stanislavsky, and on September 30, 1908, the play was staged at the Moscow Art Theater. A funny and sad, wise and lyrical story about the adventures of a brother and sister looking for the Blue Bird - a symbol of happiness, full of faith in the kindness and strength of man, in his victory over the still unknown, but cognizable forces and laws of nature, over hunger, poverty, war. In 1908, a play was written to continue - the extravaganza "Betrothal", the main character of "The Blue Bird" in search of a bride goes to the Land of Unborn Children and the Land of Ancestors. After The Betrothal, a number of minor plays were written: The Burgomaster of Stilmond, 1919, Trouble Comes, 1925, Joan of Arc, 1945.

The tragedy experienced by Belgium in 1914, the crisis of the Belgian Social Democrats determined Maeterlinck's departure from social problems and a partial return to mysticism. During this period, philosophical essays and treatises were written: "The Life of Space" 1928, "In the Face of God" 1937, "Another World" 1942. Most of the plays written by Maeterlinck before 1918 were performed on the Russian stage. The Moscow Art Theater staged 3 one-act plays: "Unsolicited", "Blind", "There Inside". In 1905, Meyerhold staged The Death of Tentagil at the Moscow Art Theater Studio; in 1906 the theater of V.F. Komissarzhevskaya "Sister Beatrissa". A.A. Sulerzhitsky and Vakhtangov in Paris (Rezhan Theatre) "The Blue Bird". The greatest success with the Russian audience was the play "Monna Vanna" (1902-1904, the main role was played by Komissarzhevskaya).

Peru Maeterlinck owns books of a philosophical nature - "The Life of Bees" (1901); "The Mind of Flowers" (1907); "The Life of Terms" and "The Life of Ants". These books are dictated by the good will of the writer who seeks to teach people a "moral lesson" - a lesson in altruism and perseverance. In 1940, after the defeat of France, Maeterlinck left for the United States, returned in 1947, and in the same year wrote a book of memoirs Blue Bubbles (happy memories).

Maurice Maeterlinck Nobel Prize winner (1911), writer, playwright, who went down in the history of world literature due to the sound in the works of the humanistic mode and belief in the victory of man over dark forces.

In the monograph "Maurice Maeterlinck" (1975) he often referred to the fairy tale genre because the fairy tale is "the deepest and simplest expression of the collective consciousness, it appeals to human feelings" Maurice died on May 6 (5), 1949 from a heart attack. Since the writer was a convinced atheist during his lifetime, he was not buried according to church rites.

.2.2 About the play

In 1908, Maurice Maeterlinck created one of his central works, The Blue Bird. This extravaganza, which tells about the journey of the woodcutter's children, accompanied by the souls of objects and phenomena, in search of a bird that can bring happiness to people, is filled with symbols and allegories.

Maeterlinck is one of those to whom we owe the establishment of a close literary connection between the early romantics of the beginning of the century and the symbolists of the end of the century. The play contains not only symbolic images, but also allegorical ones.

In this regard, the opinion of the researcher I.D. Shkunaeva. She writes that there are two different types of transformations in Maeterlinck's play. One of them, close to fabulous, is the return of phenomena to themselves. Tiltil's magic diamond does not change the surrounding world, but brings the sign and essence into line. To do this, you only need to "open your eyes", because the sign, of course, expresses the essence, it is easily read by sighted eyes. The transformation of people, phenomena and objects is a consequence of Tiltil's open view of the world. Widespread folk expressions that have retained all their metaphorical figurativeness - "to see in the true light" and "to look at the world with open eyes" - became the basis of the dramatic action of this play.

Let's pay attention to the mechanism of action of the magic diamond. And here we find a symbol: the traditional touch of a magic wand on an object became for Maeterlinck the touch of a diamond on the "special bump" on Tyltil's head. The consciousness of the hero changes - and then the world around him is transformed according to the laws of a fairy tale.

Other characters of the extravaganza are also symbolic. Among all, it is worth highlighting the cat. Tiletta symbolizes evil, betrayal, hypocrisy. An insidious and dangerous enemy for children - such is her unexpected essence, her mysterious idea. The cat is friends with the Night: both of them guard the secrets of life. She is short with death; her old friends are Misfortunes. It is she who, in secret from the soul of Light, leads children into the forest to be torn to pieces by trees and animals. And here's what is important: children do not see the Cat in the "true light", they do not see it the way they see their other companions. Mytil loves Tiletta and protects her from Tilo's attacks. The cat is the only one of the travelers whose free soul under the rays of the diamond did not fit in with its visible appearance. Bread, Fire, Milk, Sugar, Water and the Dog did not contain anything alien, they were direct proof of the identity of appearance and essence. The idea did not contradict the phenomenon, it only revealed and developed its invisible (“silent”) possibilities. So Bread symbolizes cowardice, conciliation. It has negative petty-bourgeois qualities. Sugar is sweet, the compliments made by him do not come from a pure heart, his manner of communicating is theatrical. Perhaps it symbolizes people from high society, close to power, trying in every possible way to please the rulers, just to "sit" in a good position. However, both Bread and Sugar have positive traits. They selflessly accompany children. Moreover, Bread also carries a cage, and Sugar breaks off his candy fingers and gives them to Mytyl, who so rarely eats sweets in ordinary life. The dog embodies exclusively positive aspects of character. He is devoted, ready to go to his death, saving children. However, the owners do not fully understand this. They constantly make remarks to the dog, drive away even when he tries to tell them the truth about the betrayal of the cat. And in the forest, Tyltil even agreed to the offer of trees to tie Tilo.

It is worth paying special attention to the central character of the play - the Soul of Light. Note that in The Blue Bird among the travelers there is only the Soul of Light - an allegorical image. But the Soul of Light is an exception. This is not just a companion of children, it is their "leader"; it in her figure personifies the symbol of light - the guide of the blind. The remaining allegorical characters of the play are encountered by children on their way to the Blue Bird: each of them in a naive - naked form carries his own morality - or rather, his part of the general morality - each presents his own special concrete lesson. Meetings with these characters form the stages of spiritual and spiritual education of children: Night and Time, Bliss, the most fat of which symbolize wealth, property, greed, and Joy, symbolizing the everyday life of ordinary honest people, Ghosts and Diseases teach Tiltil and Mitil either in the form of a direct verbal edification, either by their own silent example, or by creating instructive situations for children from which a life lesson can be learned.

The Soul of Light drives the internal action of the play, as, obeying the fairy, it leads the children from stage to stage of their path. Its task is to unwind the tangle of events passing from one time to another, changing space. But the role of a guide is also to inspire hope, not to let faith fade away.

Special mention should be made of the role of time in extravaganza, of its symbolism. We meet him face to face in one of the last pictures of the extravaganza, however, even earlier it kept reminding us of ourselves. However, not only in the distant Kingdom of the Future, but also in the first scene of the play - in the lumberjack's hut - personified time already appears before us: "beautiful ladies" dancing to the sounds of lovely music are the "free" and "visible" hours of Tyltil's Life . Sleep and dreaming are the external, objective, and internal, subjective time of the "journey" of children.

In a dream, with the help of memory and imagination, the quality of time as a special category of reality is symbolically recreated - the unity and continuity of its flow.

The fact that the present contains both the past and the future, and that its "composition" is the composition" of the personality itself, Maeterlinck writes a lot in his philosophical studies of the beginning of the century. The dialectical interconnection of the three sides of time is carried out in the bodily, mental and spiritual being of a person: Maeterlinck seeks to prove this idea both on the pages of his philosophical prose and with the help of the poetic images and symbols of the Blue Bird.

The main symbol of the extravaganza is the Blue Bird. The play says that the heroes need the blue bird "in order to become happy in the future"... Here the symbol of the bird intersects with the image of time, with the Kingdom of the future. Alexander Blok expresses an interesting version of why the bird has become a symbol of happiness. “The bird always flies away, you can’t catch it. What else flies like a bird? Happiness flies. The bird is a symbol of happiness; and happiness, as you know, has long been out of the question; adults talk about business, about arranging life on a positive basis; but they never talk about happiness, miracles, and similar things; it is even rather indecent; because happiness flies like a bird; and it is unpleasant for adults to chase the constantly flying Bird and try to pour salt on its tail. Another matter - to the child; children can play with it; Seriousness and decency are not asked from them, after all.

We can immediately conclude that children also symbolize hope for future happiness. Although they did not find the bird during the journey, and the turtledove flew away at the end, they do not despair and are going to continue searching for the blue bird, that is, happiness.

.2.3 Epoch

Belgium is a state in Western Europe bordered in the west by France, in the north by the Netherlands, in the east by Germany and Luxembourg. In the northwest it is washed by the North Sea. Belgium is located at the crossroads of important transport routes linking many Western European countries. Area 30.5 thousand square meters. km. The population is about 9 thousand people. The capital is the city of Brussels. Administratively, the country is divided into 9 provinces.

Belgium has a constitutional monarchy. The current constitution was adopted in 1831, one of the oldest in Europe. The head of state, the king, who is formally endowed with broad powers: appoints and dismisses ministers, senior civil servants, senior officers of the army and navy, judges of all instances, also concludes international treaties, issues decrees on the most important issues, has the right to pardon, is the supreme commander in chief.

Legislative power is exercised by the Parliament, which consists of two chambers - the House of Representatives and the House of Senators. There are more than 200 deputies in the House of Representatives who are directly elected by the population according to the proportional system. Senators can also be the sons of the king (and in their absence, the principle of bloodliness applies), who have reached the age of 18. Senators have a high age limit (40 years) and a property qualification.

Executive power belongs to the government, which is formally responsible to parliament. The population of each province elects for 4 years a provincial council, the executive body of which - a permanent deputation - is headed by a governor (appointed by the king). In the communes, a communal council is elected for six years, its executive body is the college of elders, headed by the burgomaster, appointed by the central authorities.

The highest judicial body in Belgium is the Court of Cassation. There are courts of appeal in Ghent, Brussels and Liège. The whole country is divided into 26 judicial districts, each of which has a court of first instance. To deal with cases of the most serious crimes, a jury has been established in each province. The simplest cases are considered by justices of the peace, available in each judicial office. Commercial courts operate in the main cities of Belgium. All judges are appointed for life.

At the end of the 19th century and the beginning of the 20th, qualitative changes were noted in the Belgian economy, characteristic of the period of monopoly capitalism. At this time, monopolistic associations were created in industry, thus the degree of concentration of capital in Belgium in these years was higher than in many other European countries. Not only industrial products were exported, but also capital in general.

Since the 90s of the 19th century, the contradictions between the agrarian Flemish and industrial Walloon provinces of Belgium have become more and more aggravated, which is manifested in particular in the requirement to recognize the Flemish language as a state language on a par with French. The law of 1899 confirmed the “principle of bilingualism” declared by the constitution, after which state documents, inscriptions on postal and official stamps, coins, began to be given in both languages.

An important problem in the internal life of the country continues to be the implementation of the demand persistently put forward by the democratic forces of the country for universal suffrage. At this time, there were large manifestos and demonstrations of workers.

The nature of Belgium is characterized by flat terrain and a mild climate. The climate itself is temperate maritime, characterized by humid western and southwestern winds. In winter, cloudy weather prevails with frequent fogs.

In Low Belgium, natural vegetation is represented by an oak-birch forest. The river floodplains have rich meadow vegetation and the most fertile soils.

The forests are inhabited by: red deer, roe deer, wild boar, forest cat, marten, hare, numerous rodents. The fauna of birds of hunting and commercial species (pheasants, partridges) is diverse.

The first schools (church) appeared on the territory of Belgium in the early Middle Ages. At the end of the 18th century, private schools appeared. The system of public secular schools developed in the 19th century.

Since 1914, a law on the universal obligation to educate children from 6 to 14 years has been in force. Education is conducted in the native language (Flemish and French). In Belgium at the end of the 19th and beginning of the 20th century, there were both public and private schools, mostly belonging to the Catholic Church. Catholic schools outnumbered the state schools. In the struggle for supremacy in the field of education, the Catholic Church uses the ethnic differences of the Belgian population, the persistent traditions of the particularism of the provinces and communes, and the influence on believers. Often this struggle takes the form of "school wars", which are acutely political in nature.

The science of Belgium until 1830 was influenced by the features of the country's previous history: long-term fragmentation into separate territories (principalities, provinces), as a result of which science developed on a regional scale; unification of the Belgian and Dutch lands.

Since the 8th-9th centuries, Belgian science has been undergoing great changes and failure. A certain rise in science and education began only at the end of the 18th century. In 1773, Jesuit teachers were replaced by secular professors in general education schools. In 1817 the University of Ghent and Liège was founded; in 1826 the Brussels botanical garden was founded; in 1827 the Royal Observatory was opened in Brussels.

After the creation of the independent Belgian state in 1830 and under the influence of the needs of capitalist production, the intensive development of science began. Among the sciences, chemistry has received great development, and later on, biomedical sciences. In 1836 the Mining Institute was founded. Geology was based on J. Omalius, who was the first to develop geological maps of Belgium, and completed the work in 1849 by A. Dupont. The most prominent among the 19th century chemists were J. Stae and E. Selve.

The accession of the Congo and the exploitation of its wealth influenced the development of botany and zoology. The founders of zoology were M. de Seli; Benedin laid the foundations of cytology and embryological trends in Belgian biology. J. Berde in 1919 received Nobel Prize for work in the field of immunology; K. Heymans - for the regulation of respiration in animals and humans; 3. Buck - for the prevention of radiation injuries.

At the turn of the 19th-20th centuries, a number of important discoveries were made in the field of astronomy and astrophysics.

In philosophy, there is a strong influence of Catholic doctrines. Since the end of the 19th century, Levitic University has become an international center of philosophical neo-Thomism thanks to the activities of the cardinal. Founded from 1888 to 1889 Higher Institute philosophy (school of Thomas Aquinas).

Legal science actively developed in the 20-40s of the XIX century. Lawyers substantiate the specific form of the Belgian bourgeois state. Basically, formal-legal directions in this science as a whole predominate.

There are several academies of sciences in Belgium - in the field of literature, art, medicine, archeology and others. However, these institutions are not centers of scientific research, but perform the function of gathering scientific forces, encouraging (in the form of annual prizes) individual scientists, promoting and disseminating scientific knowledge by publishing journals, and organizing public lectures.

Due to the historical features of the territorial forms of Belgium, its state borders do not coincide with the borders of cultural historical regions.

The literature of the Belgian people developed in 2 languages: in the southern provinces in French, in the northern provinces in Flemish.

In the middle of the 19th century, real trends with elements of naturalism dominate. The following names and works are characteristic of this time:

F. Steven stigmatizes Napoleon III from a democratic standpoint;

Zh. Demulin writes the novel "Medyanitsa", which is imbued with a democratic spirit;

A.O. Blanca with the work "The Legend of Ulenspiegel" became the most scandalous writer of that time.

A deep hatred for Catholicism and the monarchy, a broad exposure of the feudal world, as well as a combination with national liberation pathos and folk humor were the leading moments in the creation of works of literature. The motives of loneliness are characteristic of the essayist O. Pirme.

From the beginning of the 80s. and literary life became more saturated with content.

Since the 90s, symbolism has become widespread in the literature of Belgium. The dramas of Maurice Maeterlinck are imbued with motifs of doom and loneliness (The Blind Ones, 1890), but his fairy tale play The Blue Bird (1908) is notable for its belief in man's victory over dark forces. The heroes of the novels The Dead Brunet (1892) and the poems The Kingdom of Silence live in an atmosphere of melancholy.

The bright symbolists of this period in the literature of Belgium were: A. Mokkel, C. Sun, O. Lerberg, A. Giraud and Zhilke. Religious themes are characteristic of the works of the poet Elskamp.

E. Verhaarn in the 90s overcame symbolistic subjectivism and, thereby, filled his works with a revolutionary mood, which made it possible to gain international fame for his books - "Octopus City" (1895), "Violent Forces" (1902), "Diverse radiance” and “Plays of the Dawns”.

At the beginning of the 20th century, the genre of the so-called "regional" or regional novel prevails. It depicts the life of different parts of Belgium. Outstanding personalities who have shown themselves in this genre: Destre, Dofor, Y. Kreis, Delatra, P. Notomba.

In the 1920s and 1930s, the social novel was characteristic of the work of F. Ellens, who was influenced by M. Gorky. The poetry of A. Egeispars contains revolutionary ideas, in turn, Vivier's lyrics are filled with humanistic pathos. The psychological dramas of F. Krommelink combine farce and tragedy.

Flemish literature until the beginning of the 18th century was part of the Dutch, and this lasted until the middle of the 19th century. At this time, democratic literature, close to critical realism, was developing. Literary figures - D. Slexa, A. Bergman, V. Leveling, A. Vazener attempt to create a social novel. Freedom-loving motives sound in the poems of J. de Geyter. The poetry of the Catholic priest G. Gezzel expresses a mystical-religious mood. P. de Mont, starting with realistic poetry, continued his work as a symbolist and became a supporter of "pure art".

At the beginning of the 20th century, decadent schools began to play a leading role. The realism of Streuvels' early work gave way to complete decadence; H. Teirlinck depicts the morbid psychology of individualist intellectuals (Johann Doke, 1917).

The poet and novelist V. Elshot (The Tanker, 1942), who cloaked imperialism and sang the joy of life in sonnets and ballads, stood on democratic positions. The initiator of Flemish expressionism, P. van Ostein, expressed in his poetry an anarchist revolt against capitalism. In the early 1930s, expressionism was opposed by: Gulanst, who later joined the reaction camp, M. Geisen, Walshap.

In the 19th century, its own Belgian art was formed, at the beginning in the form of classicism (architecture L. Roelandt, historical painter and master of realistic portrait F.J. Navez), and later - in a subjective rethinking of this form.

The revolution of 1830 contributed to the rapid transformation of Belgium into a developed capitalist country with acute social contradictions; this led to the complexity and contrasts of her artistic culture. The romantic school of the 19th century (Bappers, Halle) later degenerated into salon academism; but the Belgian romantics partly prepared the rapid development of democratic realism in the second half of the 19th century.

The subjects of architecture and fine arts of Belgium of this period met the needs of the majority of its population. Sculpture and painting by the realist C. Meunier are mainly devoted to the heroism of labor, the hard life of workers and peasants.

By the end of the 19th century, Belgium became the birthplace of the Art Nouveau style in architecture. For such creators as X. van de Velde, Worth was characterized by a free composition of public buildings and mansions, as well as artistic understanding of new structures and materials. The traditions of realism were combined with impressionistic fleeting observations by E. Klaus, Evenepul and Ensor.

In the Belgian art of the 20th century, narrow formal stylistic searches - G. Smet and A. Severeis - occupied a large place. Abstract art was characteristic of R. Magrete.

Subjective rethinking of national traditions was expressed in the dramatic expression of paintings by K. Permeke; in the sharp impulsiveness of painting and sculpture by R. Wouters; in the intimate lyrics of the primitivist E. Toytgat. The religious objectivity of the images is inherent in the portraits of I. Sisaler and the sculpture of C. Laple. The principles of social realism were embodied in the multifaceted work of F. Maserel, a fighter against imperialist wars and the enslavement of man, in the paintings of K. Poiser, P. Polyus and R. Samville. In the decorative art of the 20th century, products created in the Art Nouveau style by the New Art group (X. van de Walde, V. Horta) stand out. Ceramic sculpture made famous P. Kay, and carpets on the themes of the life and struggle of the Belgian people made great R. Semville and L. Deltour.

In the 19th century, mainly from the Flemish branch, the Antwerp school was formed, based on Flemish folklore and the German school of composers. It was headed by P. Benois, the author of operas, cantatas and symphonies, who in his work sought to fight for the national independence of the music of Belgium.

The second direction was called Walloon and focused on French musical culture, mainly opera and the work of S. Frank. Prominent representatives are O. Dupont, A. Uberti, Lepeu and Jongen Wröls. Among the works created in the genre of oratorios and cantatas, which have a long tradition, the works of P. Benois and E. Pschinel stand out. The impetus for the development of this genre, as well as various genres of cultural music, was the choral art, which has been popular in Belgium since ancient times.

At the turn of the 19th-20th centuries, a national vocal school was formed. Singers E. Dyck and Blauwart stand out. In symphonic music, the influence of Weber and F. Liszt is formed, and in opera - Wagner. From 1890 to 1900, the influence of Russian composers, mostly in the Mighty Handful, is manifested.

Major musicologists of the 19th century were Fetis and Gevaart, researchers of the Flemish folk song- F. Vandeys and Frenddenthal, medieval music - M. Kufferat. Among musicologists, Ch. Vandeborren stands out, who was world famous and, as a result of his work, became chairman of the Belgian Society for Musicology.

The theatrical culture of Belgium developed in the Flemish language. The origins of the theatrical art of the country - in the religious rites of the Middle Ages - contain elements of theatrical action. In the XIII-XV centuries, liturgical drama developed, mainly in Latin, as well as mysteries in French and Flemish.

At the beginning of the 15th century, theatrical life was activated in connection with the appearance in Ghent and Brussels of the so-called chamber-rhetors - an association of a guild type, whose members performed poems and plays composed by them.

In the 16th-17th centuries, theatrical art was hampered due to religious persecution and wars, which subsequently entailed a peculiarity in the themes of dramatic works.

On the eve of the Belgian Revolution, during the period of the rise of national self-awareness, E. Smith wrote tragedies, which later began to be considered classic plays of the era of the Great French Revolution.

After the formation of an independent state in 1830 and until the end of the 19th century, romanticism became widespread in drama (plays in French - Nudaye, Bogarst and Wacken). The active development of dramaturgy in the Flemish language began. Theaters were opened in Ghent, the National Theater in Antwerp, the National Stage (1883), the Royal Flemish Theater in Brussels, where plays by Hendrix and Gates were performed.

From the end of the 19th and the beginning of the 20th century, the development of the Belgian theater was greatly influenced by the work of symbolist playwrights Maurice Maeterlinck, S. van Lerberg and M. Dutern, whose works were staged by the House of Arts theater (founded in 1895).

With the growth of the labor movement in Belgium, the creation of a social drama - E. Verharn "Dawns" is associated. The crisis of theatrical culture in Europe began at the beginning of the 20th century and also affected the activities of the Belgian theaters, which experienced modernist influence.

1.3 Ideological and thematic analysis of the work

.3.1 Subject

Spiritual blindness and meaningless existence as a result of a person's refusal to fight for his dream.

1.3.2 Idea

Happiness is like a bird - it will fly away, you won't catch it!

1.3.3 Main conflict:

Between the desire to help, give another person a dream and cunning, self-interest.

Side conflict: fight against indifference

by whom and by whom: by what and by what:

Dog and Cat Loyalty and cunning

Tiltil and Night Kindness and indifference

Dog, Tiltil and Trees Loyalty, kindness and anger

Tiltil and the Cat Kindness and Cunning

Subject of struggle:

Dream

2. ACTIONAL ANALYSIS OF THE PLAY

.1 Plot

On Christmas Eve, the woodcutter's hut, in which two children live - the boy Tiltil and the girl Mitil - is visited by an old neighbor Berlengo, whose granddaughter is ill. In front of the children, she turns into the fairy Berulina, and at her request, the children go to a magical land in search of the Blue Bird, a symbol of happiness that should help the sick girl. Their journey is full of fantastic adventures, difficulties, experiences, but they find happiness not in a fairy tale, but under the roof of their home, where they return after an exciting journey.

.2 Plot and architectonics

Exposure:

From the words of Tyltil: "Mytil!"

Before the words of Mother Til: “Yes, I hear their breathing…”

Awakening children from the noise in the house opposite.

The appearance of the fairy Berilyuna in the woodcutter's house.

Notification of children by the Fairy about the upcoming journey.

Animation of objects and animals.

Acquaintance with Tiltil and Mytil with animated objects.

Sending children in search of the Blue Bird.

Tie:

From the words of the Cat: “Here! I know all the moves"

Until the words of Tyltil: "It was she who brought me here."

A visit to the land of memories.

Meeting with deceased grandparents.

Farewell to the dead

Betrayal Cats

Tiltil's acquaintance with diseases, horrors and wickedness

Bluebird Prey

Death of all caught birds

Tilo dispute with trees

Disappearance of Souls of Animals and Trees.

The appearance of children in the cemetery

The appearance of flowers on the graves

Trial of the Beatitudes

Action development:

From the words of Mother's love: "who is this?"

Before the words of the Soul of Light: "time will not see us"

Escape of Tiltil and the Soul of Light from the Kingdom of the Future

Climax:

From the words of the Soul of Light: "You will never guess where we are now"

Before the words of Tyltil: “Take it to your granddaughter as soon as possible”

Returning the children home

Waking up children from sleep

Interchange:

From the words of the Neighbor: "no, really?"

Before the words of Tyltil: "... become happy in the future ..."

Escape of the dove from the hands of a girl

Tiltil's request to return the departed bird

2.3 Event structure of the work

Awakening children from the noise in the house opposite

The appearance of the fairy Berilyuna in the woodcutter's house

Notification of children by the Fairy about the upcoming trip

Animation of objects and animals

Acquaintance with Tiltil and Mytil with animated objects

Sending children in search of the Blue Bird

Visit the land of memories

Meeting with deceased grandparents

Farewell to the dead

Meeting with the Night in her palace

Betrayal Cats

Tiltil's acquaintance with diseases, horrors and evil spirits

Overcoming the fear of evil

Bluebird Prey

Death of all caught birds

Conspiracy of the Cat with Trees against Tiltil

The appearance of Tyltil in the Kingdom of the Forest

Tilo dispute with trees

Tilo and Tiltyl's fight with trees

Appearance of Animal Souls in the Forest

Disappearance of Souls of Animals and Trees

Fairy's message about finding the Bluebird

The appearance of children in the cemetery

The appearance of flowers on the graves

The offer of the Soul of Light to visit the Gardens of Beatitudes

Appearance of animate objects and children in the Gardens of Beatitudes

Trial of the Beatitudes

Awareness of true values in life

Tiltil's meeting with Mother's love and joys

The appearance of the Soul of Light and Tiltil in the Kingdom of the Future

Tyltil's Acquaintance with the Child

Tiltil's understanding of the "opportunity to be born"

Arrival of Time in the Realm on the Ship of Dawn

Escape of Tiltil and the Soul of Light from the Kingdom of the Future

Returning the children home

Farewell to children with the souls of objects and animals

Waking up children from sleep

Appearance of the Neighbor in the lumberjack's house

Mother's request for a gift to Bluebird

Acquisition by the granddaughter of the Tiltil bird - the dove

Escape of the dove from the hands of a girl

2.4 Genre and genre and stylistic features of a dramatic work

An extravaganza is a play based on the effects of magic, miracle, vivid entertainment, including fictional heroes (characters) with supernatural powers - (fairy).

Extravaganza exists only under the condition of creating a miraculous or fantastic effect, which is opposite to the real and "believable" world, the world is controlled by other physical laws. “A miracle happens when, contrary to our expectations, events occur in which “one thing turns out to be a consequence of another” (Aristotle, Poetics). It is not limited only to bodies, but encompasses form, language, manner of narration. Conventionality reigns here, requiring one to believe in phenomena.

The extravaganza produces a complete inversion of these signs of reality and thus maintains a hidden contact with it, it does not necessarily testify, as is often claimed, to an idealistic and apolitical conception of the world that escapes our analysis; sometimes, on the contrary, it becomes an inverted picture of reality, and therefore a genuine source of realism, however, more often, the miraculous should only cause a euphoric and dream-like state that separates us from everyday life.

Fairy can take various forms in the theater of opera, ballet, pantomime or plays with fantastic intrigue using all sorts of visual techniques.

It was popular during the Baroque era in the 18th century, a time when convention and fantasy reigned. And at the end of the 18th century, during the performance of phantasmagoria, illusions of phantoms are created in dark halls. In the 19th century, extravaganza is combined with melodrama, opera, pantomime, and then with vaudeville in performances where songs, dances, music, staged effects, real heroes and supernatural forces create an ensemble. Extravaganza accompanies folk play. The direct heir to this form, in which the technique must produce costly fantastic effects, is cinema.

.5 Schema-analysis about patterns

		social status	Psychological picture	Appearance
Tiltil			Kind, generous person, always ready to help.	He is dressed in blue breeches, a light shirt and a waistcoat to match the breeches.
			Affectionate, kind, gentle girl.	Dressed in a brown skirt, a beige shirt and a vest to match the skirt.
	No age	fairy tale hero	Changeable character, possesses kindness and pity as well as severity and cruelty.	First she is dressed in an old black cloak, and then in a shiny dress.
Soul of Light		fairy tale hero	A bright, tender girl who wishes everyone warmth and light.	She is wearing a white long dress.
	No specific age	Animal	Cunning, deceitful, traitor.
	No specific age	Animal	Loyal, honest and friendly.
		fairy tale hero	Emotional, tearful and tender.	She is dressed in a soft blue dress with white inserts on the bottom and with a white and blue long cape.
		fairy tale hero	Kind, prudent, joker.	Dressed in bright red clothes with the addition of white.
	Infinity	fairy tale hero	Powerful and cruel.	Dressed in a black velvet dress and cloak.
		fairy tale hero	Emotional, burning, fiery	Dressed in bright red clothes with the addition of yellow and orange.
Soul of Time	Infinity	fairy tale hero	Kind, prudent, joker	Dressed in a dark gray hoodie, in the hands of a staff. Beard.

2.6 Vocabulary of the play

Ram- personifies the masculine principle, generative force, creative energy. Associated with the gods of the Sun and Sky. In the Zodiac, Aries symbolizes the renewing solar power of spring as the beginning of the year. The spiral of ram's horns is considered a symbol of thunder and can be associated with both the sun gods and the moon goddesses. On the other hand, the ram is the most common sacrificial animal. Among the Celts, this is a sign of fertility, a chthonic beginning and an attribute of the gods of war. In Christianity, the ram symbolizes Christ as a shepherd and as a sacrifice, which was anticipated by the ram that replaced Isaac on the altar. In Egypt, he personified creative power, solar energy, creative heat, renewing solar energy. Symbol of the god Amon-Ra. Ra, the mightiest of all created things.

Birch- a symbol of fertility and light. Protects from witches, drives away evil spirits, so lazy people and sleepwalkers were fed with birch porridge. Among the Scandinavians and Teutons, birch is dedicated to Thor, Donar and Frigga. In shamanism, the birch is the Cosmic Tree, and the shaman made seven or nine ascending notches on its trunk or birch pole, which symbolizes the ascent through the planetary spheres to the Highest Spirit.

Beech- a symbol of prosperity and deification.

Bull- the symbol represents the male principle, the solar regenerating power dedicated to all the heavenly gods, as well as fertility, male productive power, royal origin. In other cases, it symbolizes the earth and female natural strength. When the bull becomes lunar, the goddesses of the moon, Astarte and Europe, ride on it, and it means the taming of the masculine and bestial principles. A bull rider or bulls carrying a wagon are attributes of a solar warrior associated with the sky, storm and solar deities. The roar of the bull symbolizes thunder, rain and fertility. Being the embodiment of the productive male force, the bull is associated with the fertile forces of the sun, rain, storm, thunder and lightning, therefore, with both dry and wet elements. Heavenly deities very often appear in the form of a bull, and the goddesses are depicted with him as a spouse.

Water- the source and tomb of all things in the universe. A symbol of the unmanifested, primary matter. Any water is a symbol of the Great Mother and is associated with birth, the feminine principle, the womb of the universe, the waters of fertility and freshness, the source of life. The liquid twin of light. It is also compared with the continuous change of the material world, the unconscious, forgetfulness. Dissolves, destroys, cleanses, washes and restores. Associated with moisture and blood circulation, vitality as opposed to dryness and immobility of death. Brings back to life and gives new life, hence the baptism with water or blood in the rites of initiation - water and blood wash away the old life and sanctify the new.

ox- if an ox is associated with a bull, it symbolizes the solar principle and fertility. If it is understood as a castrated bull, then it loses the meaning of fertility and becomes a lunar symbol, personifying innate physical strength, patient work, prosperity and sacrifice. In China, the ox takes the place of the bull in the symbolism of spring, fertility and agriculture, and is the second of the twelve animals of the earthly branches.

Wolf- means earth, evil, devouring passion and rage. For alchemists, the wolf, together with the dog, symbolizes the dual nature of Mercury, philosophical mercury. Among the Aztecs, the howling wolf is the god of dance. In Celtic mythology, the wolf swallows the Heavenly Father (the sun), after which night falls. Among the Chinese, it symbolizes gluttony and greed. In Christianity, the wolf is evil, the devil, the destroyer of the flock, cruelty, cunning and heresy, as well as a man with a motionless neck, since it is believed that the wolf is not able to turn around.

Time- symbolizes creation and destruction. Generates everything that was, is and will be. In his movement destroys the world. It also represents a retreat from the truth and a return to its origins. It is a destructive force and, at the same time, a revealer of truth.

Elm- in Christianity symbolizes dignity. Its height and widely spread branches personify the source of strength and support, which is the Holy Scripture for believers.

Oak- means strength, protection, durability, courage, fidelity, a man, a human body. Often associated with the gods of thunder and thunder and is considered the emblem of the gods of Heaven and fertility, therefore it can also symbolize lightning and fire. In the Celtic epic, the oak is dedicated to Dagda the creator and is considered a holy tree. In China, masculine strength, as well as the weakness of strength that resists and therefore is broken by a hurricane, as opposed to the strength of weakness of a willow, which bows before a storm and therefore survives. In Christianity, it is a symbol of Christ, as a force that manifests itself in trouble, firmness in faith and virtue.

Soul- usually depicted as a flying bird. In Christian art, it sometimes looks like a naked child coming out of the mouth, which symbolizes the new birth. In Egypt, it is a bird with a human head and arms. In Greek and some other traditions, the soul leaves the body in the form of a snake.

Stars- means the presence of a deity, supremacy, eternal and undying, the highest achievement, an angel - the messenger of God, hope (shining in darkness), the eyes of the night. Stars are attributes of the Heavenly Queens, whose crowns often consist of stars. The morning or evening star is a symbol of Venus. The North Star marks the point in the sky around which the firmament and, accordingly, the Heavenly Gate rotates at night. In Hindu marriage rituals, the star is a symbol of constancy.

Willow- a charmed tree dedicated to the moon goddess. Weeping willow symbolizes grief, unhappy love. associated with funerals. In Buddhism, it represents meekness. The Chinese willow is a symbol of spring, femininity, meekness, grace and charm, artistic abilities, separation. Attribute Kuan-yin sprinkles with living water, using a willow twig. Moon tree. In Christianity, willow branches (willow branches) are carried as a symbol of palm branches on Palm (Palm) Sunday. In the Greco-Roman tradition, the willow is dedicated to Europe and is the emblem of Artemis. Among the Jews, the willow symbolizes sorrow - the sobbing of the Babylonian willows in exile.

Cypress- a phallic symbol, as well as the emblem of death and burial. Cypress was supposed to keep the body from decay, hence its use in cemeteries.

Goat- personifies courage, abundance of vitality, creative energy. It can change places in the sense of symbolism with a gazelle or an antelope. Living on the heights, he also personifies superiority. The goat means female productive power, fertility and abundance. In Christianity, the goat is the devil, the damned, the sinner, lust and inconstancy. In the Greco-Roman tradition, the goat signifies masculinity, creative energy, and lust.

Cow- symbolizes the Great Mother, all the goddesses of the Moon in their nourishing aspect, the productive power of the earth, plurality, childbearing, maternal instinct. The horns of a cow are the Moon in an incomplete phase. Representing both the moon and the deities of the earth, the cow is an animal both celestial and chthonic.

Rabbit- lunar animal. Like the hare, it lives on the moon and is associated with all kinds of lunar goddesses and Mother Earth. It also symbolizes fertility and lasciviousness, however, in the rites, clothing made from rabbit skins means obedience and humility before the Great Spirit. It is also a pre-Christian symbol of rebirth and renewal at the beginning of the spring equinox. Emblem of the Teutonic goddess of spring and dawn, Ostara or Eastra. Probably, the name of the Christian holiday of Easter comes from the name of this goddess.

Cat- having the ability to change the shape of the pupil, it symbolizes the changing power of the Sun, as well as the phases of the Moon and the magnificence of the night. It means also everything that is done furtively; desire and freedom. The black cat is lunar and personifies evil and death.

Lapis lazuli (azure children)- personifies divine favor, success. The Chinese have lapis lazuli - one of the seven precious stones. It symbolizes success and ability. In the Greco-Roman tradition, lapis lazuli means love and is the emblem of Aphrodite (Venus). In Sumerian culture, lapis lazuli was widely used in temples, where it symbolized the vault of heaven and its sacred power.

Linden- in European culture personifies female grace, beauty, happiness. Among the Greeks, it is the emblem of Baucis and conjugal love.

Bear- symbolizes the resurrection (the appearance in the spring from his winter lair with a bear cub), a new life, which means initiation and rituals associated with the transition.

Milk- is the food of the gods, the divine sustenance. As food for newborns, milk is widely used in initiation rites as a symbol of rebirth. It also means family blood ties and is a symbol of motherhood. In rituals, it means the drink of life.

Night- like darkness, night means pre-cosmic and prenatal darkness, preceding rebirth or initiation and enlightenment. It is also chaos, death, madness, destruction, a return to the womb state of the world. uncut blue bird

Fire- symbolizes transformation, purification, life-giving power of the Sun, renewal of life, fertilization, strength, power, energy, invisible energy in the process of implementation, sexual power, protection, defense, visibility, destruction, fusion, passion, prayers, change of one state to another, or transition into it, a way of transmitting messages or offerings to Heaven. The flame personifies spiritual power, transcendence and illumination, testifies to the presence of a deity or soul, pneuma, a breath of life; inspiration and enlightenment. Fire devours everything created and returns it to its original unity, personifies truth and knowledge, absorbing lies, ignorance, illusions and death and burning out impurity. Baptism by fire restores the original purity by burning off the dross, which is associated with the passage through the fire to gain paradise, which, since it was abandoned, is surrounded by a wall of fire and guarded by guards with fiery swords, personifying the impossibility of passage for people ignorant and unenlightened.

Rooster- a solar bird, an attribute of the solar gods, with the exception of Scandinavian and Celtic symbolism. Male principle, Bird of Glory, meaning superiority, courage, vigilance, dawn. Two beating roosters mean the battle of life. The black rooster is the servant of the devil. For Buddhists, a rooster, along with a pig and a snake, stand in the center of the wheel of samsara, where the rooster means carnal passion and pride.

Ivy means immortality and eternal life. In addition, it symbolizes rivalry, affection, dependence, friendship, permanent location. For Christians, it symbolizes eternal life, death and immortality, fidelity.

Light- symbolizes the manifestation of a deity, cosmic creation, logos, the universal principle contained in the phenomenon, the original intellect, life, truth, enlightenment, direct knowledge, incorporeal, nous, the source of good. The emission of light personifies the new life bestowed by the deity. First creation. Has the power to disperse evil and the forces of darkness. He is glory, joy, brilliance, illumination, is the result of supernatural forces, or transmits them.

Dog- personifies fidelity, vigilance, nobility. They say that dogs symbolize a conservative, vigilant, philosophical beginning in life, raising its rough neck, with a muzzle alternately black and golden, means a messenger scurrying back and forth between higher and underground forces. She guards the borders between that world and this one, the guardian of this transition, the guardian of the underworld, the servant of the dead.

Pine- symbolizes directness, vitality, fertility, strength of character, silence, solitude, phallic symbol. Being evergreen, symbolizes immortality. It was believed that it protects the body from decay, hence the manufacture of coffins from it and its presence in cemeteries; repels evil. Due to its shape, the pine cone is both a fiery and phallic symbol, representing male creative power, fertility and good luck.

Death- means the invisible aspect of life, omniscience, since the dead see everything. For those who live on earth, it precedes a spiritual rebirth. In initiation rites, the darkness of death is experienced before a new person is born, resurrection and reintegration occurs. it is also the replacement of one mode of existence with another, the reunification of the body with the earth, and the soul with the spirit.

Poplar- tree of waters. In China, its leaves, the upper and lower sides of which are of different colors, symbolize yin and yang, lunar and solar, and all other dualistic couples.

Dark- means the initial chaos, the source of the existing dualism, the embryonic state of the world. In essence, it is not evil, since it contains the basis of the light that arises from it, and in this sense it is simply unmanifested light, pre-cosmic, darkness that existed before birth, is to be both birth and initiation. Associated with transition states at death or upon initiation.

Fairy - a creature of a metaphysical nature, possessing inexplicable, supernatural abilities, leading a hidden lifestyle and at the same time having the ability to interfere in a person's daily life - under the guise of good intentions, often causing harm. The image of a fairy as an exquisitely attractive, as a rule, petite woman, was formed during the heyday of romanticism in Western literature and developed in the Victorian era. In a broad sense, “fairies” in Western European folklore usually mean the whole variety of related mythological creatures, often radically different from each other both in appearance and habits; supposedly friendly and bringing good luck, more often - crafty and vindictive, prone to evil jokes and abductions - first of all, babies.

3. DIRECTOR'S CONCEPT AND STUDY PLAN OF M. MATERLINK'S PLAY "THE BLUE BIRD"

.1 Super task

To convince the viewer that a dream is the main value for a person, and for the sake of a dream it is necessary to overcome all the obstacles and temptations that arise on the path of life. Each person is the master of his own destiny, and only he can decide what his life will be like.

3.2 Through action

A person's awareness of all the charm and value of life through mental pain, conflicts, quarrels and hardships.

3.3 Event series

1) Illness of the granddaughter of Berilyuna

2) The appearance of the fairy Berilyuna in the woodcutter's house.

) Notification of children by the Fairy about the upcoming trip.

) Sending children in search of the Blue Bird.

) Visiting the land of memories.

) Meeting with the Night in her palace.

) Betrayal of the Cat.

) Tiltil's acquaintance with diseases, horrors and wickedness

) Prey of the Bluebird.

) Death of all caught birds.

) The appearance of Tyltil in the Kingdom of the Forest.

) Appearance of animate objects and children in the Gardens of Beatitudes.

) Appearance of the Soul of Light and Tiltil in the Kingdom of the Future.

) Awakening children from sleep.

) Acquisition by the granddaughter of the Tiltil bird - the dove.

) Escape of a turtle dove from the hands of a girl.

3.4 Main events of the production

Source event- Illness of the granddaughter of Berilyuna.

main event- The appearance of the fairy Berilyuna in the woodcutter's house.

central event- Appearance of the Soul of Light and Tiltil in the Kingdom of the Future.

Final event- Acquisition by the granddaughter of the Tiltil bird - the dove.

Main event- Escape of the dove from the hands of the girl.

.5 Image system

Characters	super task	through action	Attitude towards conflict	The grain of the image
	Help Tiltil find the blue bird to help the girl	Care and attention	Leads the action
Tiltil	Find the blue bird		Leads the action
	Find the blue bird	self-sacrifice, mutual aid	Leads the action	A princess
Soul of Light	Help Tiltil find the blue bird	Support, attention and care	Leads the action
	Stop Tiltil from finding the blue bird	Cunning and lies	Conducts a counter-action
	Stay in the real world forever	Cunning and lies	Leads a counter-action
	Protect Tyltil throughout the journey	Support, attention and care	Leads the action
	Help find the bluebird	self-sacrifice, mutual aid	Leads the action

3.6 Genre of the play

.7 Seed of performance

.8 Dossier

Character		What does the hero say about himself?	What others say about him
Tiltil			Grandma Thiel. And you, Tyltil, grew up, got better! ..
			Grandfather Til (stroking Mityl on the head). And Mytil!.. Look at her!.. What hairs she has, what eyes!.. And how pleasant she smells!
	The door opens a little and let in an old woman in a green dress and a red cap. She is hunchbacked, lame, one-eyed, with a hooked nose, and walks with a stick. It is immediately clear that this is a Fairy.	Fairy (suddenly exploding). And I say that you do not see anything! .. Here, for example, how do I appear to you? .. What do you think I am? .. What are you? Answer!.. Now I'll check how well you see!.. Am I beautiful or ugly?.. Why don't you answer?.. Am I young or old? Blush or pale?.. Maybe I have a hump?..	TYLTYL. You look a bit like our neighbour, Madame Berlengo...
Soul of light	A lamp falls from the table, a flame instantly flickers out of it and turns into a luminous girl of incomparable beauty. The girl is wearing a long transparent dazzlingly bright veil. She stands motionless, as if in ecstasy.		TYLTYL. This is the queen! Mytil. This is the Mother of God! .. Fairy. No, children, this is the Soul of Light.
	At the lifting of the curtain Night in the form of a beautiful woman in a long black robe.	Night. No, my friend, understand: how can I give the keys to the first person I meet? .. I am the keeper of all the Secrets of Nature, I am responsible for them, I am strictly forbidden to open them to anyone, and especially to a child.
	A small woman with a cat mask, we will simply call her the Cat, - before approaching Mytil, she washes herself.	CAT (falling down on the marble steps in exhaustion). It's me, Mother Night! .. I'm completely exhausted!	Mytil. Hello, ma'am... (Fairy) Who is this?.. Fairy. It is not difficult to guess - the Soul of Tiletta extends its hand to you ... Kiss her! ..
	At that very moment, a little man with a bulldog mask - henceforth we will call him the Dog - rushes to Tyltil, strangles him in his arms, showers him with stormy and noisy caresses.	DOG (pushing the cat). And I!.. I want to kiss my little deity too!.. I want to kiss the girl!.. I want to kiss everyone!.. Let's have fun!	Tyltil (Fee). Who is this gentleman with a dog's head?.. Fairy. Didn't you recognize him?.. This is Tilo's Soul - you freed her...
	The sugar loaf that stood near the cupboard grows, expands and tears the wrapper. Out of the wrapper comes a sugary, fake creature	Sugar. (scurrying around the wrapper). I broke my wrap!	Fairy. Why, it's the Soul of the Sahara. Mytil. Does he have lollipops?.. Fairy. He has all his pockets full of lollipops, each of his fingers is also a lollipop.
	In the guise of a whiny girl with loose hair, in seemingly flowing clothes	Water. (trying in vain to enter the faucet). I can't enter the faucet!	TYLTYL. Who is this wet lady?.. Fairy. Don't be afraid - it's water that came out of the faucet.

4. CREATIVE STUDY PLAN

4.1 Plastic solution and mise en staging of the play

Mise-en-scene is a certain element in directing, which in general is a possible metaphor for the artistic realization of the creator's ideas.

Extravaganza is a special genre, one of the few that allows you to create, fantasize and create the supernatural, the miraculous on stage. This genre is characterized by appearance in all sorts of stage forms. We must also not forget about the laws dictated by the genre, since the nature of the construction and the manner of performance, the play of the actor in space depend on it.

It is important that the plastic solution helps the director convey to the viewer the problems inherent in the work, and thereby find ways to solve them.

The excerpt we have chosen for staging consists of a mass scene. Such scenes are more difficult to solve than single ones. Such mise-en-scenes are more capacious and require the site to be used in such a way that one can see and hear what is happening in the event. Mass should not be faceless. The director must be able to see everyone at once and be able to make full use of the stage. There should be more static in the masses without disturbing the compositional structure.

“... in mass scenes everything must be concrete and planned in advance,” Meyerhold argued.

In the first part, there is an atmosphere of restlessness when the little girl next door gets sick and needs the Blue Bird.

The atmosphere becomes unsettling when the Fairy comes to the lumberjack's house and asks Tiltil and Mytil to go after the blue bird.

In the scene of the Appearance of the Soul of Light and Tiltil in the Kingdom of the Future, the atmosphere becomes favorable, iridescent.

In the final scene, when the girl finds the Blue Bird, an atmosphere of lightness, kindness, and understanding reigns.

And in the main scene there is an atmosphere of sadness and sadness, when the turtledove flies away from the hands of the girl.

The correct solution of the mise-en-scene drawing will allow focusing on the symbolism of decorative and artistic design, give lyricism, create a picture of inverted reality and illusoryness, which the theater owns.

Many scenes in the performance will be solved in the form of dance, stage combat and retrospective, which will make it possible to emphasize their content more spectacularly. Mise-en-scene diagonal and circular in construction will prevail in the performance, but rapidly changing in character. The play is quite diverse in its content, and therefore the method of mise-en-scene will be of increased complexity. Work with music is of great importance, it is it that will create fabulousness and fantasticness of the action, help the actors in the proposed circumstances.

The plastic solution of the performance requires an accurate calculation and undoubtedly a logical explanation, so that the sophisticated spectator believes in the effects of a miracle and realizes the significance of symbolism in the theater today.

Work with music is of great importance, it is it that will create fabulousness and fantasticness of the action, help the actors in the proposed circumstances.

The plastic solution of the performance requires an accurate calculation and, undoubtedly, a logical explanation, so that the sophisticated spectator believes in the effects of a miracle and realizes the significance of symbolism in the theater today.

4.2 Atmosphere and tempo-rhythm of the performance

			atmosphere
The appearance of the fairy Berilyuna in the woodcutter's house.	growing	restless	confusion
Acquaintance with Tiltil and Mytil with animated objects.	rapid	excited	excitement
Meeting with deceased grandparents.	rapid	fluttering	restless
Meeting with the Night in her palace.		broken	anxious
Prey of the blue bird.	accelerated	excited	excitement, joy
Death of all caught birds.	accelerated	excited	sadness and depression
Fairy's message about the discovery of the Blue Bird.	rapid	moderate	hope and faith in the future
Appearance of the Soul of Light and Tiltil in the Kingdom of the Future.		excited	restless
Farewell to children with the souls of objects and animals.	rapid	broken	hopelessness
Appearance of the Neighbor in the lumberjack's house.	growing	Moderately intense	confusion
Acquisition by the granddaughter of the bird Tiltilya-dove.	rapid	moderately intense	friendly
Escape of the dove from the hands of a girl.	growing	moderate	bright sadness

.3 Artistic figurative solution of the performance

We decide on the scenographic design of the play "The Blue Bird" by Maurice Maeterlinck as a fairy-tale world, originating from a cozy house to a cold and gloomy future. The change of scene is carried out with the help of a theatrical circle, in the center of which a black screen is installed.

On the stage, all the scenery and props in the first scene are a small room where there are two small beds and two chairs on which the characters put their clothes, a table with a table lamp, a bench and a huge window. In the other corner there is a basket for a cat and a booth (house) for a dog. Peace and tranquility reigns around. All this will create a feeling of reliability and comfort.

The turn of the diamond by the main characters is carried out simultaneously with the turn of the circle, the scene of action changes.

The land of memories is a dark, cold place. On the left is a sign with the inscription "Land of memories." The screen works like a wall of a hut, on the right are two chairs, a wheelchair and a bird cage hanging on the wall.

The kingdom of the night is a dark place where everything is strewn with stars. In the middle of the stage, in front of a screen, there is a huge throne, in front of each stage there is a terrible door. This creates an atmosphere of horror, here the characters feel uncomfortable and try to leave quickly.

The forest is a wild, unidentified place where howls are constantly heard. There are trees in dark colors all over the stage.

The kingdom of the future is a huge castle, where everything is made of white and blue tones, there are columns along the edges, in the middle there are huge gates made of gilded metal.

We decide the color scheme of my performance as follows: in the Kingdom of the future - muted tones, in the rest there will be such shades as blue, cyan, brown, white, black, gold (yellow), red, green, orange.

The blue color symbolizes the color of the sky and the sea, a symbol of height and depth, constancy, devotion, justice, perfection and peace. In ancient Egypt, blue was used to represent truth. In Christianity, blue color symbolizes sincerity, prudence.

Blue, like white, is a divine color. Blue is associated with the gods. Like white, blue is the color of truth, fidelity, chastity and justice in the Christian tradition. Light blue is a symbol of the incomprehensible and wonderful.

Brown - symbolizes earthiness and fertility.

White is a divine color. A symbol of light, purity and truth. It is the color of joy and celebration. Controversial symbol. Combining light and life on the one hand, and old age, blindness and death on the other. White is the color of cleansing from sins, baptism and communion, the holidays of Christmas, Easter and Ascension.

Black color is a symbol of night, death, repentance, sin, silence and emptiness. Since black absorbs all other colors, it also expresses denial and despair, is opposed to white, and denotes a negative beginning. In the Christian tradition, black symbolizes grief, mourning and grief.

Golden (yellow) color - the color of gold, a symbol of the sun and divine power. In Greek mythology, yellow is the color of Apollo. In China, yellow is the color of the emperor.

Red symbolizes blood, fire, anger, war, revolution, strength and courage. In addition, red is the color of life. Prehistoric man sprinkled the object he wanted to revive with blood. In ancient Rome, red symbolized divinity.

Green is the color of spring, maturation, new growth, fertility, nature, freedom, joy, hope. Green often symbolizes continuity and immortality (e.g. "evergreen"). Green is a mixture of yellow and blue. Green links the natural and the supernatural.

In ancient times, orange was considered the color of earthly and heavenly love. The Greek muses were dressed in orange. The robe of the Roman god Bacchus was also orange. The Greek oracle was covered with an orange veil. Orange flowers were often brought to graves to appease the vengeful gods.

The combination of these colors is not accidental, they are like one whole and at the same time they are opposite to each other, each color in different scenes symbolizes the relationship between the characters and their habitats.

Tyltil is dressed in blue and blue clothes, which symbolizes his fidelity, chastity and justice.

Mytyl is dressed in beige-brown clothes, which symbolizes her earthiness and fertility.

The soul of light is dressed in white, which symbolizes the divine color. A symbol of light, purity and truth. It is the color of joy and celebration.

The fairy is dressed in yellow and gold tones and symbolizes the symbol of the sun and divine power.

The night is dressed in black tones, which symbolizes its denial and despair.

The water is dressed in light blue tones, which symbolizes the incomprehensible and wonderful.

The cat dressed in black with white accents symbolizes denial and despair, is opposed to white, and denotes a negative beginning, but combines light and life.

The dog is dressed in orange tones and symbolizes earthly and heavenly love.

Sugar is dressed in red and white tones, which symbolizes strength and courage, purity and truth.

4.4 Musical and noise design of the performance

Starting point		Starting point for change	In addition to the program
The light is gaining	№1 Christmas Songs - We wish you a Merry Christmas	Tyltil: "Mytil!"	The track enters and gradually fades away.
	#2 Dead Silence - Mysterious Music	Fairy: "Do you have a Singing Grass or a Blue Bird?"	The track enters abruptly and gradually fades away.
	No. 3 Danny Elfman - Alice's Theme (OST "Alice In Wonderland")		The track enters gradually and ends abruptly.
The appearance of the cat in the realm of night	#4 Dead silence - scary music	Cat: "Only the Dog is against us, but you can't get rid of him!"	The track gradually enters and abruptly ends.
Tyltil turns the key and carefully opens the door. Ghosts immediately jump out from behind the door.	№5 Jean Michel Jaret - Ethnicolor	TYLTYL (shocked). “I don’t know, something terrible!.. There were some eyeless monsters sitting there…”	The music comes on and off abruptly.
Soul of Light: "Look - Children run from everywhere..."	No. 6 Children's classic - track 4	TYLTYL (coming up to the Azure Child and holding out his hand). "Hello!"	The track comes in gradually and fades out.
The girl presses Tyltil's turtledove to her chest.	№7 Beautiful melody - Calm music.	TYLTYL: "It's great that everything worked out."	The track is muted, enters gradually and fades away.

4.5 Lighting for the performance

Starting point	Program	Starting point for change	Program	In addition to the program
The beginning of the performance	Proscenium lights up, muted	Mytil: "No, and you?"	The scene lights up.
Knock on the door. Tyltil is frightened: "who is this?"	The light is dimmed, the entrance on the right is highlighted by a beam.	Fairy enters	The scene lights up.	The whole scene lights up. The action takes place on the stage.
Fairy: "Now turn the diamond... One turn, another..."	The light is dimmed, the rays begin to play all over the stage.	Fairy: "Turn the diamond! .. From left to right! .."	The rays stop playing.	The whole scene lights up.
Tyltil: - "Here is a tree!"	The lights are dimmed	Tiltil: - “Look, the fog is rising ... Now we will see what is behind it” ...	The light is gradually gaining.	The whole scene lights up.
Tyltil turns the key and carefully opens the door.	Blackout.	Five or six Ghosts immediately jump out from behind the door.	The light begins to pulsate.	The light remains dimmed.
Tyltil puts the key in the keyhole. At the other end of the hall, a scream of horror breaks out from the fugitives.	Blackout.	Suddenly, a marvelous, endless, inexplicably, fabulously beautiful garden opens up - the garden of dreams.	A blue light appears.	Light starts to play rays.
Tyltil: “Caught, caught! .. Look how many! .. There are thousands of them! .. Here they are! .. Look!”	The whole scene lights up.	TYLTYL: “Who killed them?.. What an unfortunate me!”	Blackout.	Light is gathering.
Have you heard?.. The hour of our separation has struck... Farewell!	The whole scene lights up.	Tiltil turns the diamond and all souls turn into objects.	Dimming, the light begins to play with rays.	Light is gathering.
The Neighbor enters and leads by the hand a fair-haired Girl of extraordinary beauty.	The whole scene lights up.	The bird flies away from the hands of the girl.	Blackout.	The light is turned off.

LIST OF USED LITERATURE

1. Andreev A.L., The world of art and the world of politics. - M.: Knowledge, 1990. - 6 p.

2. Andreev L.G., One Hundred Years of Belgian Literature. - M.: Moscow University Publishing House, 1967. - 344 p.

Aronson O.V., Unfinished controversy: Meyerhold's biomechanics or Stanislavsky's psychotechnics? - Russian anthropological school. Proceedings. Issue. 4/1. - RGGU. - M., 2007. - 423 p.

4. Arto A., Theater and its double / A. Arto; per. from fr. and comment. S. Isaeva. - M., 1993. - 245 p.

5. Bakhtin M.M., Theatrical life, - Moscow, Labyrinth, - 1988. - 59 p.

6. Bakhtin M.M., Aesthetics of verbal creativity. - M.: Art, 1986.

7. Blok A.A., About Maeterlinck's "Blue Bird", - Moscow, Labyrinth, - 1920.

8. Great Soviet Encyclopedia. In 30 vols. T. 28 / ch. ed. A.M. Prokhorov. - M.: Council, encycl., 1978. - 616 p.

Vakhtangov Evgeny. Documents and certificates: In 2 volumes / Ed. V. V. Ivanov. - M.: Indrik, 2011. T. 1 - 519 p.; T. 2 - 686 p.

10. Gadamer G.-G., The relevance of the beautiful. - M., 1991.

11. GITIS: life and fate of theatrical pedagogy / comp. V.M. Turchin. - M.: GITIS, 2003. - 424 p.

Gorchakov N., Directing lessons of K. S. Stanislavsky / Editor Volkov N. D. - Art, 1952. - 574 p.

Gurevich P.S., Culturology: textbook / P.S. Gurevich. - M.: Gardariki. 2000. - 280 p.

14. Dmitrievsky V.N., Fundamentals of the sociology of the theater: history, theory, practice: textbook. allowance / V.N. Dmitrievsky; GITIS; rec.: G.G. Dadamyan, L.A. Gorodetskaya. - M.: GITIS, 2004. - 116 p.

Zakhava B.E., The skill of an actor and director, textbook. manual for cultural institutions, theater, and cultural-clearance uch-shch / B.E. Zahava. - M.: Enlightenment, 1973. - 320 p.

16. Zingerman B., Essays on the history of the drama of the XX century. - M., 1979.

17. Ivanov V.V., Biblical dreams of Stanislavsky // Ivanov V.V. Russian seasons of the Habima theater. - M.: "ART", 1999. - 147 p.

History of foreign literature of the late XIX - early XX century / Under. ed. prof. L.G. Andreeva. - M.: Higher. School, 1978. - 129 p.

Korman B.O., Selected Works on Theory and History of Literature. - Izhevsk, 1992.

Lukov Vl.A., Stanislavsky Konstantin Sergeevich. - Electronic encyclopedia "The World of Shakespeare".

21. Maeterlinck M., Dramas, poems, prose. - Samara: Window. - 2000.

Maeterlinck M., Plays. - St. Petersburg. - 2000. - S. 39.

Maeterlinck M., Blue bird. - Moscow, 1988. - 64 p.

Mitropolsky A., (Lang) and V. Bryusov: Russian Symbolists, 1893. - P.318.

Maurice Maeterlinck in Russia of the Silver Age, - M .: Rudomino, 2001. - 147 p.

26. Popov A.D., Director's performance. Moscow, 1972. - 180 p.

Ragozina K.O., Three seasons before the Blue Bird. Head of Ph.D. thesis. Literary Institute. Gorky. 1998. - 192 p.

Ragozina K.O., "The Death of Tentagil" at the theater in Russia. Head of Ph.D. thesis. Literary Institute. Gorky. 1998. -147p.

Ricoeur P., Conflict of Interpretations: Essays on Hermeneutics. - M., 1995.

Symbolism. Edited. Ikarova S.P. - Moscow: Phoenix. 2000.

Stanislavsky K.S., Sobr. cit.: In 8 volumes - M.: Art, Vol. 1. My life in art. 1954. - 133 p.

32. Solovyov VL, Russian Symbolists. Collected works. - T. 6. - St. Petersburg. - 1912. - S. 192.

One Hundred Years of Belgian Literature. - M.: Moscow University Publishing House, 1967.

Stolovich L.N., I.I. Lapshin and K.S. Stanislavsky. Issues of Philosophy - No. 10.1999. 165-170 p.

Talanov A.V., K.S. Stanislavsky. - M.: Children's literature, 1965. - 176 p.

Heidegger M., Being and time. - M., 1997.

Khalizev V.E., Interpretation and literary criticism // Problems of the theory of literary criticism. - M., 1980.

Shkunaeva ID, Belgian drama from Maeterlinck to the present day. Essays. - M.: Art, 1973. - 146 p.

Shkunaeva I.D., The Early Theater of Maurice Maeterlinck // The Maeterlinck Theater at the Beginning of the 20th Century, 1973. - 144 p.

Encyclopedia of symbolism: painting, graphics and sculpture. J. Kassu. - M, - 156 p.

Encyclopedia of Psychoanalysis. Moscow Enlightenment 1998. - 69 p.

Efros N.E., Moscow Art Theatre. 1898-1923.

APPENDIX 1 Schedule of rehearsal work on the production of Maurice Maeterlinck's play "The Blue Bird"

		the date of the	Location	characters
Work at the table.
	Reading an excerpt with the team, discussing it, assigning roles.		MOU secondary school No. 41
			MOU secondary school No. 41
	Reading an excerpt by roles, general analysis and setting tasks for actors in events.		MOU secondary school No. 41
Work in the enclosure by the method of effective analysis
			MOU secondary school No. 41	Tiltyl, Mytil, Fairy
	Analysis and search for the psychophysical well-being of the actors in the first events.		MOU secondary school No. 41	Tiltyl, Mytil, Fairy
	Analysis of the play by the method of effective analysis in the first events.		MOU secondary school No. 41	Tiltyl, Mytil, Fairy
	The search for psychophysical well-being in the scene: "The appearance of the fairy Berilyuna in the woodcutter's house."		MOU secondary school No. 41	Tiltyl, Mytil, Fairy
	Analysis and search for psychophysical well-being in the following scene: "Sending children in search of the Blue Bird."		MOU secondary school No. 41
	Analysis and search for psychophysical well-being in the following scene: "Meeting the Night in her palace."		MOU secondary school No. 41
	Analysis and search for psychophysical well-being in the following scene: "Death of the caught birds."		MOU secondary school No. 41
	Analysis and search for psychophysical well-being in the following scene: "The acquisition by the granddaughter of the Tiltil bird - the dove."		MOU secondary school No. 41
	Analysis and search for psychophysical well-being in the following scene: "Escape of a bird from the hands of a girl."		MOU secondary school No. 41	Neighbor, granddaughter, Tiltil, Mitil
	Selection of musical and noise design.		MOU secondary school No. 41
	Work with the artist on the production of scenery, costumes and props.		MOU secondary school No. 41
Stage work
	Rehearsal of the first event.		MOU secondary school No. 41 Assembly hall	1 event. "The Appearance of the Fairy Berilyuna in the Woodcutter's House".
	Connection of the first and rehearsal of the second event.		MOU secondary school No. 41 Assembly hall	2 event. "Sending the Children in Search of the Blue Bird".
	Rehearsal 3 events.		MOU secondary school No. 41 Assembly hall	3 event "Death of all caught birds".
	Rehearsal of the next 2 events.		MOU secondary school No. 41 Assembly hall	4 event "Meeting with the Night in her palace." 5th event "Acquisition by the granddaughter of the Tiltil bird - turtledove."
	The connection of all events, the search for atmosphere and plasticity of the picture.		MOU secondary school No. 41 Assembly hall	All events
	Refinement of the mise-en-scene of the drawing and the tempo-rhythm in some scenes.		MOU secondary school No. 41 Assembly hall	All events
The final stage of work.
	Black run.		MOU secondary school No. 41 Assembly hall
	Assembly rehearsals. Installation of decorative and artistic design.
	Assembly rehearsal. Input of musical and noise design.		MOU secondary school No. 41 Assembly hall
	Assembly rehearsal.		MOU secondary school No. 41 Assembly hall
	Light installation. Run with all components.		MOU secondary school No. 41 Assembly hall
	General run.		MOU secondary school No. 41 Assembly hall
	Delivery of the performance.		MOU secondary school No. 41 Assembly hall
	Performance premiere.		MOU secondary school No. 41 Assembly hall

APPENDIX 2

Extract for props, costumes and props

Character		Behind the scenes
Tiltil	Bed, bird in a cage		Green beret with a diamond, silver cage.
	Bed, candlestick.
			Green beret with diamond, magic wand.
Soul of Light	A ray of light
	cat basket

	Sugar bag

	Throne, five doors	Extras depicting ghosts with black fabrics	Door keys

APPENDIX 3

Checkout for costumes

Tiltil: a boy in a suit

Components of the costume:

Vest;

Shirt;

Hat with a diamond.

Suit material:

1. Vest - blue crepe;

2. Shirt - blue cotton;

Breeches - blue crepe;

Beretka - green wool.

Shoes: black boots.

Hairstyle: short hair.

Mytil: little girl in a suit.

Components of the costume:

1. Vest;

2. Shirt;

Suit material:

1. vest - brown crepe;

2. shirt - beige cotton;

Skirt - brown crepe.

Shoes: yellow leather shoes.

Hairstyle: wavy curls.

Fairy: a woman in a raincoat and a beautiful dress.

Components of the suit

2. dress;

costume material:

1. raincoat - black burlap;

2. the inside of the cloak - gold beads and sequins;

Dress - gold beads and sequins.

footwear: leather shoes of golden color.

hairstyle: long wavy curls in front and a bun in the back.

Soul of Light: a beautiful, young girl in a white dress.

Components of the costume:

1. Beanie;

2. Dress;

Cape.

Suit material:

1. Cap - knitted from woolen threads of white color;

2. dress - white crepe;

Cape - white crepe.

Shoes: white ballerinas.

Hairstyle: long straight hair.

Cat: the girl is not tall.

Components of the costume:

1. turtleneck;

2. leggings;

Gloves;

Hat with cat ears.

costume material:

1. turtleneck - black velvet;

2. leggings - black velvet;

Gloves - black velvet;

Jabot - white silk;

Cap with ears - black velvet.

shoes: black shoes.

hairstyle: hair is hidden under a hat.

Dog: a young man of thin build.

Components of the costume:

1. turtleneck;

2. flared trousers;

Gloves;

Hat with dog ears.

costume material:

1. turtleneck - red plush;

2. flared trousers - red plush;

Gloves - red plush;

Hat with ears - brown plush.

footwear: brown leather boots.

hairstyle: short haircut.

Sugar: a young man of a dense physique.

Components of the costume:

2. wide jacket with an elastic band at the bottom;

Flared trousers.

costume material:

1. hat - red and white crepe;

2. wide jacket with an elastic band at the bottom - red and white crepe;

Flared trousers - red and white crepe.

shoes: black shoes.

Water: A young girl of thin build.

Components of the costume:

1. dress;

2. long cape.

costume material:

1. dress - blue crepe;

2. long cape - blue crepe.

footwear: white ballerinas.

hairstyle: straight flowing hair.

Night: a woman of middle age, obese physique.

Components of the costume:

1. dress;

costume material:

1. dress - black velvet, beads and sequins;

2. raincoat - black velvet.

Shoes: Black low heel shoes.

hairstyle: high bouffant for long hair.

APPENDIX 4

Cost estimate

Beads

	Sets, props and costumes	Number of props, scenery and costumes (in meters)


	Candlestick
	magic wand
	cat basket
	Booth (house)

	Sugar package





	Sackcloth



Total: 28.000 rub.

APPENDIX 5

Topography

Tiltil

Soul of Light

Blue bird

Girl

Hero Movement Indicators

Event: Illness of the granddaughter of Berilyuna

Event: The appearance of the Soul of Light and Tiltil in the Kingdom of the Future

Event: Escape of the dove from the hands of a girl

Biography

Maurice Maeterlinck was born on August 29, 1862 in Ghent, the son of a wealthy lawyer. Since childhood, he was interested in literature and poetry, but his parents insisted on a legal education. Having received a law degree in 1885, Maurice goes to Paris to improve his law. Six months spent in Paris, he devotes entirely to literature.
Returning to Ghent, Maeterlinck works as a lawyer and continues his studies in literature. He began to publish in Parisian publications, receiving laudatory reviews from critics. The play-tale "Princess Malene" was considered a masterpiece by the influential French critic Mirbeau, and he compared its author with Shakespeare. Inspired by praise, Maeterlinck leaves the practice of law and devotes himself entirely to literature.
Prone to metaphor and symbolism, Maeterlinck writes mostly fairy tales and plays, where the characters speak little, in short, meaningful phrases, where much remains in the subtext. He is especially good at plays for puppets – unlike live actors, puppets can play a symbol, convey the archetype of his characters.
In 1895, Maurice met Georgette Leblanc, an actress and singer, who becomes his companion, secretary and impresario, protects him from strangers. In 1896 they leave for Paris. During these years, Maeterlinck wrote metaphysical essays and treatises, which were included in the collections Treasure of the Humble, Wisdom and Fate, and The Life of Bees, which draws an analogy between the activity of a bee and human behavior.
The playwright's most popular play, The Blue Bird, was first staged by Stanislavsky in Moscow in 1908; subsequently, she was successfully presented on the stages of London, New York, Paris, gaining popularity not only for her fabulous fantasy, but also for her allegoricalness.
In 1911, Maeterlinck was awarded the Nobel Prize "for his many-sided literary activity, especially for dramatic works, marked by a wealth of imagination and poetic fantasy."
During the First World War, Maeterlinck tried to enlist in the Belgian Civil Guard, but was not accepted due to his age. During this time, his relationship with Leblanc soured, and they separated after the war. In 1919 he married Rene Daon, an actress who played in The Blue Bird.
In the last years of his life, Maeterlinck wrote more articles than plays; From 1927 to 1942, 12 volumes of his writings were published, the most interesting of which is The Life of Termites, an allegorical condemnation of communism and totalitarianism.
Maeterlinck died on May 6 (according to some sources - May 5), 1949 from a heart attack.

Symbolism

Symbolism (fr. Symbolisme) is one of the largest trends in art (in literature, music and painting), which arose in France in the 1870s and 80s. and reached its greatest development at the turn of the 19th and 20th centuries, primarily in France itself, Belgium and Russia. The Symbolists radically changed not only various types of art, but also the very attitude towards it. Their experimental nature, desire for innovation, cosmopolitanism and a wide range of influences have become a model for most contemporary art movements. Symbolists used symbolism, understatement, hints, mystery, mystery.
The term "symbolism" in art was first coined by the French poet Jean Moréas in the manifesto of the same name - "Le Symbolisme" - published on September 18, 1886 in the newspaper "Le Figaro". By that time, there was another, already stable term "decadentism", which was scornfully called the new forms in the poetry of their criticism. "Symbolism" was the first theoretical attempt by the decadents themselves, so no sharp distinctions, let alone aesthetic confrontation, were established between decadence and symbolism. However, it should be noted that in Russia in the 1890s, after the first Russian decadent writings, these terms began to be contrasted: they saw ideals and spirituality in symbolism and, accordingly, manifested it in this way, and in decadence - lack of will, immorality and passion only for external form. In their works, the Symbolists tried to reflect the life of every soul - full of experiences, obscure, vague moods, subtle feelings, fleeting impressions. Symbolist poets were innovators of poetic verse, filling it with new, vivid and expressive images, and sometimes, trying to achieve an original form, they went into a play of words and sounds considered senseless by their critics. Roughly speaking, we can say that symbolism distinguishes between two worlds: the world of things and the world of ideas. The symbol becomes a kind of conventional sign that connects these worlds in the sense it generates. Every symbol has two sides - the signified and the signifier. This second side is turned to the unreal world. Art is the key to the mystery.
The concept and image of the Mystery, the mysterious, the mystical, is manifested both in romanticism and in symbolism. However, romanticism, as a rule, proceeds from the fact that “the knowledge of the world is the knowledge of oneself, for man is the greatest mystery, the source of analogies for the Universe” (Novalis). Symbolists have a different understanding of the world: in their opinion, true Being, “true-existing” or Mystery, is an absolute, objective principle, to which both Beauty and the world Spirit belong. Unlike other trends in art that use elements of their characteristic symbolism, symbolism considers the expression of "unattainable", sometimes mystical, Ideas, images of Eternity and Beauty, the goal and content of its art, and the symbol, fixed in the element of artistic speech and based in its image into a polysemantic poetic word - the main, and sometimes the only possible artistic means.
The most striking change introduced by symbolism concerns the form of the artistic embodiment of its poetics. In the context of symbolism, a work of any kind of art begins to play precisely with poetic meanings, poetry becomes a form of thinking. Prose and drama begin to sound like poetry, the visual arts paint its images, and with music, the connection of poetry becomes simply all-encompassing. Poetic images-symbols, as if rising above reality, giving a poetic associative array, are embodied by symbolist poets in a sound-written, musical form, and the sound of the poem itself is no less, if not more important for expressing the meaning of a symbol. Summarizing, we can say that the method of symbolism involves the embodiment of the main ideas of the work in the many-valued and many-sided associative aesthetics of symbols, i.e. such images, the meaning of which is comprehensible through their direct expression by a unit of artistic (poetic, musical, pictorial, dramatic) speech, as well as through its certain properties (the sound of a poetic word, the color scheme of a pictorial image, the interval and rhythmic features of a musical motive, timbre colors etc.). The main content of a symbolic work is the eternal Ideas expressed in the figurativeness of symbols, i.e. generalized ideas about a person and his life, the highest Meaning, comprehended only in a symbol, as well as Beauty embodied in it.

Analysis of the play "The Blue Bird".

Maeterlinck is the most prominent representative of Belgian symbolism. By the beginning of the 20th century, Maeterlinck went beyond symbolism and became one of the creators of the Belgian progressive romantic and realistic drama. 1 In 1908, the writer creates one of his central works - "The Blue Bird". This extravaganza, which tells about the journey of the woodcutter's children, accompanied by the souls of objects and phenomena, in search of a bird that can bring happiness to people, is filled with symbols and allegories.
Maeterlinck is one of those to whom we owe the establishment of a close literary connection between the early romantics of the beginning of the century and the symbolists of the end of the century.
To begin with, it should be said that the play contains not only symbolic images, but also allegorical ones, which should not be confused.
We observe the first symbolic detail in the tale at the very beginning, even before the children woke up. The strength of the light mysteriously changes in the room: “The scene is immersed in darkness for some time, then gradually increasing light begins to break through the cracks in the shutters. The lamp on the table lights up by itself. This action symbolizes the concept of "seeing in the true light." In the light in which Tiltil and Mitil will see the world after the diamond on the cap turns. In the light in which any person can see the world, looking at it with a pure heart. In this scene, the familiar contradiction between blindness and sight comes out, passes from a deep philosophical subtext into a dramatic plot. It is this motif that runs through the whole work and is central. In this regard, the opinion of I. D. Shkunaeva is interesting. She writes that there are two different types of transformations in Maeterlinck's play. One of them, close to fabulous, is the return of phenomena to themselves. Tiltil's magic diamond does not change the surrounding world, but brings the sign and essence into line. To do this, you only need to “open your eyes”, because the sign undoubtedly expresses the essence, it is easily read by sighted eyes. The transformation of people, phenomena and objects is a consequence of Tiltil's open view of the world. Widespread folk expressions that have retained all their metaphorical figurativeness - "to see in the true light" and "to look at the world with open eyes" - became the basis of the dramatic action of this play.
However, what is required in order for the eyes to really open and the world to appear as it is, and not as it seems to poor eyesight?
Let's pay attention to the mechanism of action of the magic diamond. And here we find a symbol: the traditional touch of a magic wand on an object became in Maeterlinck the touch of a diamond on the "special bump" on Tyltil's head. . The consciousness of the hero changes - and then the world around him is transformed according to the laws of a fairy tale. 2 "Big diamond, it brings back sight."
Also, the central symbols of the play can be called the images of the children themselves and their poor relatives. They were typical representatives of the Belgian, and indeed of European society. At the beginning of the play, in the fairy palace, Tiltil and Mitil dress up as characters from fairy tales popular among the people. It is precisely because of their commonness as a guarantee of universality that they turned out to be a symbol of humanity. Immediately it is necessary to say why Maeterlinck chose children as the main characters. Researcher L. G. Andreev believes that it could not be an accident that the children had to go in search of the blue bird, to seek happiness in the meaning of life. How can one not recall the simplicity praised by Maeterlinck, those advantages of a naive, direct worldview, about which he wrote many times, Tyltil and Mitil for Maeterlinck are not only children who have experienced extraordinary adventures, but also the key with which you can open the gates truth and the gates of heaven. 3
Other characters of the extravaganza are also symbolic. Among all, it is worth highlighting the cat. Tiletta symbolizes evil, betrayal, hypocrisy. An insidious and dangerous enemy for children - such is her unexpected essence, her mysterious idea. The cat is friends with the Night: both of them guard the secrets of life. She is short with death; her old friends are Misfortunes. It is she who, in secret from the soul of Light, leads children into the forest to be torn to pieces by trees and animals. And here's what is important: children do not see the Cat in the "true light", they do not see it the way they see their other companions. Mytil loves Tiletta and protects her from Tilo's attacks. The cat is the only traveler whose soul, free under the rays of the diamond, did not fit in with its visible appearance. Bread, Fire, Milk, Sugar, Water and the Dog did not contain anything alien, they were direct proof of the identity of appearance and essence. The idea did not contradict the phenomenon, it only revealed and developed its invisible (“silent”) possibilities. So Bread symbolizes cowardice, conciliation. It has negative petty-bourgeois qualities. Sugar is sweet, the compliments made by him do not come from a pure heart, his manner of communicating is theatrical. Perhaps it symbolizes people from high society, close to power, trying in every possible way to please the rulers, just to "sit" in a good position. However, both Bread and Sugar have positive traits. They selflessly accompany children. Moreover, Bread also carries a cage, and Sugar breaks off his candy fingers and gives them to Mytyl, who so rarely eats sweets in ordinary life. The dog embodies exclusively positive aspects of character. He is devoted, ready to go to his death, saving children. However, the owners do not fully understand this. They constantly make remarks to the dog, drive away even when he tries to tell them the truth about the betrayal of the cat. And in the forest, Tyltil even agreed to the offer of trees to tie Tilo.
It is worth paying special attention to the central character of the play - the Soul of Light. Note that in The Blue Bird among the travelers there is only one Soul of Light - an allegorical image. But the Soul of Light is an exception. This is not just a companion of children, it is their "leader"; it in her figure personifies the symbol of light - the guide of the blind. The remaining allegorical characters of the play are encountered by children on their way to the Blue Bird: each of them in a naively naked form carries his own morality - or rather, his part of the general morality - each presents his own special concrete lesson. Meetings with these characters form the stages of spiritual and spiritual education of children: Night and Time, Bliss, the most fat of which symbolize wealth, property, greed, and Joy, symbolizing the everyday life of ordinary honest people, Ghosts and Diseases teach Tiltil and Mitil either in the form of a direct verbal edification, either by their own silent example, or by creating instructive situations for children from which a life lesson can be learned. 4 The Soul of Light moves the inner action of the play, as, obeying the fairy, it leads the children from stage to stage of their path. Its task is to unwind the tangle of events passing from one time to another, changing space. But the role of a guide is also to inspire hope, not to let faith fade away.
Special mention should be made of the role of time in extravaganza, of its symbolism. Face to face, we meet with him in one of the last pictures of the extravaganza, however, even earlier it kept reminding us of itself. However, not only in the distant Kingdom of the Future, but also in the first scene of the play - in the lumberjack's hut - personified time already appears before us: "beautiful ladies" dancing to the sounds of lovely music are the "free" and "visible" hours of Tyltil's Life .
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Directing and staging plan for the play by M. Maeterlinck 'The Blue Bird'

APPENDIX 1

Schedule of rehearsal work on the production of Maurice Maeterlinck's play "The Blue Bird"

Extract for props, costumes and props

APPENDIX 3

Analysis of the play "The Blue Bird".

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