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ORDER of the Ministry of Health and Social Development of the Russian Federation dated 03/30/2011 251n ON APPROVAL OF THE UNIFIED QUALIFICATION DIRECTORY FOR THE POSITIONS OF MANAGERS ... Relevant in 2018

Mass performance director

Job responsibilities. Carries out directing and staging of mass performances, events, concert performances and programs in accordance with the work plan of the cultural and leisure organization. Develops concepts of mass cultural and entertainment programs of various subjects. Supervises the work of the director and production group for the creation of mass performances and holidays. Selects the necessary literary, musical material, the composition of the performers. Encourages participation in public events creative groups, public organizations, amateur art groups, conductors, choirmasters, choreographers, individual performers and other creative workers, conducts rehearsals with them. Provides coordination of actions of the experts participating in creation of mass representation. Takes part in the work of the methodological office of the cultural and leisure organization. Participates in the preparation of estimates for planned activities.

Must know: Laws and other regulations legal acts Russian Federation, regulating the activities of cultural and leisure organizations; the structure of the cultural and leisure organization; theory and practice of directing and acting; the basics of stage and musical design of productions, vocal, choral and choreographic art; the history of domestic and world theatrical, musical, circus, other types of arts and literature; modern and classical dramaturgy; modern achievements of domestic and foreign art; fundamentals of management, psychology of management, sociology of art, stage technology, economics and management of cultural and leisure organizations, labor legislation, copyright; internal labor regulations; rules on labor protection and fire safety.

Director of mass performances of the highest category - higher professional education (culture and art) and work experience in a position related to performing arts for at least 7 years or as a director of mass performances of category I for at least 3 years.

Director of mass performances of the 1st category - higher professional education (culture and art) and work experience in a position related to the performing arts for at least 5 years or as a director of mass performances of the 2nd category for at least 2 years.

Director of mass performances II category - higher professional education (culture and art) and work experience as a director of mass performances for at least 1 year.

Director of mass performances - higher professional education (culture and art) without presenting requirements for work experience or secondary vocational education (culture and art) and work experience in the direction professional activity at least 3 years.

Ministry of Culture of the Novosibirsk Region

SBEE SPO NSO "Novosibirsk Regional College of Culture and Arts"

Directing department

Course work

Directing theatrical performances

Specialization Staging theatrical performances

Novosibirsk 2015

Introduction

Chapter 1. Theatricalization - specificity, types and genres

1 The concept of theatricalization and theatrical performance

2 Types and features of theatrical performance

Chapter 1 Conclusions

Chapter 2

1 Specific features of directing theatrical performances

2 Use of spectacular space and mise-en-scene in the director's decision of theatricalization

3 Expressive means of directing a theatrical performance

Chapter 2 Conclusions

Conclusion

List of used literature

INTRODUCTION

Theatrical performances and mass celebrations in honor of significant dates for the whole country and important events in human life occupy an extensive place in our reality.

Theatrical performances and events - theatricalizations engender in people an identical, solemn mood that recreates a festive situation. It is known that a mass holiday is an extraordinary phenomenon, synthesizing reality and art, artistically shaping one or another real life event.

The art of a mass holiday, theatrical performance, action is the art of big ideas, purposefulness and civic pathos, which at the same time requires catchy imagery, associativity, an unusual, bold creative plan. Note that in order to better organize and also develop theatrical performances of all types and genres, it is absolutely necessary to realize the main patterns of this kind of art that really exist, since during almost the entire history of mankind, folk theatrical culture was created and developed. It is known that with regards to the theatrical celebration or theatricalization, it is, without fail, having an established type of holidays and at the same time a large, synthesizing form of theatrical performance.

In modern consciousness, theatrical performance is an unusually old and widespread institution associated with the activity of very diverse groups, in which individual phases of life are treated in a special way, require a different method of behavior than in ordinary times, require celebration.

The relevance of the study - theatrical performances are necessary for society, because. with their help, it is possible to show any event by theatricalization. At the moment, in connection with the modernization of the human community, computer technologies, 3D effects and other aspects of the present century have been added to the arsenal of expressive means of directing. It is necessary not only to stage this or that spectacle, but also to bring it as close as possible in the stage interpretation to the trends of modern times.

The purpose of the study is to study traditional and new aspects in the field of directing theatrical performances, to analyze their specifics.

Based on this goal, the following tasks can be defined:

.Give the concept: "theatricalization" and "theatrical performance."

.To study the features of directing theatrical performances.

.Consider the concepts of "spectacular space" and "mise-en-scene".

.To analyze the expressive means of directing theatrical performances.

.Summarize, draw conclusions.

The object of research is theatrical performances.

The subject of the research is the direction of theatrical performances.

This work consists of: an introduction, two chapters, conclusions on them, a conclusion and a list of references.

CHAPTER 1. THEATERIZATION - SPECIFICITY, TYPES AND GENRES

1 The concept of theatricalization and theatrical performance

Theatricalization:

) Work on the creation of an artistic image in the canvas of the dramaturgy of the theater with the direct participation of the majority of the audience.

) The essence of theatricalization as a creative method is the artistic comprehension of real events in the life of a country, a certain team or even an individual, in which these actions are just embodied in a catchy figurative form containing their artistic interpretation. Note that performances built on the basis of the theatricalization method are called theatrical.

In a theatrical performance, the main characters are real personalities, directly associated with the event around which the figurative solution of the theatrical action is built. It is known from directing practice that under theatrical action we are aware of a theatrical performance, holiday or ritual. Undoubtedly, it is worth mentioning that theatrical performance is a special method of satisfying the spiritual needs of society, a special kind of art.

The theatrical performance is always a child of everyday life, life realities, the need for their spiritualization and existence in a different emotional-figurative form. The practice of organizing theatrical shows that in this way, a theatrical performance is an organic combination of reality associated with everyday life, social relations, religious beliefs, ideological and political inclinations of people.

And the artistry contained in the emotional-figurative (artistic) material made by the method of transforming this reality.

Let us now note the corresponding individualities of the theatrical performance, which distinguish it from other types of artistic creativity.

The most important thing is that in the foundation of the scenario of the theatrical action there is always some material, which we call the documentary object of attention of the screenwriter.

The theatrical performance does not involve the creation of the psychology of fictional heroes (characters), but the creation of psychological situations in which real (documentary) forces operate and develop.

The theatrical performance is multifunctional and, in general, it solves the following problems: didactic (edifying), informational (cognitive), aesthetic, ethical, hedonistic (enjoyment) and communicative.

Theatrical performance is one-time and exclusive.

Theatrical performance is multiform: spatial and stylistic forms.

Forms of theatrical performance:

A theme evening is multi-genre in form, giving scope for creativity, initiative, and imagination. The well-known genres of thematic evenings include: evening-story, evening-report, evening-portrait, evening-rally, evening-ritual.

Literary - musical. Literary and musical composition has its own "score", which includes separate scores: poetic, musical, light and even color, and the more they are united and purposeful, the more successfully we will lead the viewer.

A ceremony is an established solemn procedure for doing something.

Express - theater (propaganda team or theater of variety journalism).

2 Types and features of theatrical performance

Theatrical action is the creative activity of people expressing their vital zeal through artistic, theatrical means, aimed at striving for vital, spiritual goals. A certain organic synthesis of reality associated with everyday life, social relations, religious claims, the ideological and political position of people, and artistry embedded in the emotional-figurative (artistic) material made by the method of transforming this reality.

Theatricalization is the organization within the framework of the event of material (documentary and artistic) and the audience (verbal, physical and artistic activation). According to the laws of dramaturgy, on the basis of a certain eventfulness that gives rise to the mental need of the collective community for the realization of a solemn situation.

Due to its own socio-pedagogical and artistic bifunctionality, theatricalization, therefore, acts both as an artistic interpretation and as a special organization of the behavior and deeds of a mass of people.

To dramatize material means, in general, to express its content by means of the theater, i.e. apply two laws of theater:

Organization of the stage act (visual disclosure of the dramatic conflict). The development of the act occurs along a through line.

Creation of an artistic image of a performance, presentation.

Director's theatricalization is a creative method of bringing the script to an artistic, as it were, figurative form of presentation, through a system of visual, expressive and allegorical means.

Certainly, and the fact that theatrical performance is one of the components of the spiritual and artistic culture both ethnicity and society.

When we say "theatricalization", we mean a phenomenon synthesized with the field of art, an appeal to the emotional-figurative sphere of human perception, artistic creativity or its elements with the introduction of the expressive means of theater art.

When we say "action", we mean the development of a certain reality in its contradictions, because these contradictions are the driving force, thanks to which reality, therefore, acquires its inherent dynamic and dialectical character, which is necessary for the creation of an act in a theatrical performance, a holiday. or rite.

One of the main features of directing a mass holiday is that it, as it were, directs life itself, artistically comprehended. One of the most important features of directing a mass holiday is that it, as it were, directs life itself, in an artistic sense. The director of a theatrical performance works, first of all, with a real collective hero and is therefore obliged to make extensive use of the mechanisms of social psychology. Psychological and pedagogical training of the director-organizer of theatrical performances is as important as artistic and creative training.

Features of theatrical performance.

Theatrical performance, holiday and ritual far from exhaust the ability to use theatrical action in different ways and for diverse purposes.

Here the exception is just the theatrical competition-game program, in which the theatrical performance and elements of the specific activation of the audience are finally mixed with their involvement in the stage action. Theatricalization can also be used not always, not in all, but only in special criteria that correlate one or another event in which a given audience is involved, with the image of this action created by the audience, with its artistic interpretation.

The given duality of theatrical functions is associated with at least some moments in people's lives, when it is required, therefore, to comprehend the unusual meaning of this or that action, to express and, in the end, to consolidate their feelings towards it. It must be said that in these criteria, the craving for artistic comprehension, for symbolic generalizing imagery, for organizing the activities of the masses according to the laws of the theater is especially strong. Hence, in such a way, theatricalization, in general, does not appear as an ordinary method of cultural and educational work, which can also be applied at all its levels, as a difficult creative method that has the deepest socio-psychological justification and is more closely in contact with art.

Of course, from the practice of directing, it is obvious that it is not enough just to create a special subject of theatricalization. It should be noted that, in the end, you need to be able to organize it. It is known that imagery is an important tool here, which is the main essence of theatricalization, which allows you to show this or that fact, event, episode in action. Naturally, the real imagery and the artistic one synthesized with it is the basis of theatricalization, which allows you to build an internal scenario logic and select the means of artistic expression.

It is figurativeness that gives life to theatricalization, creates a watershed between theatrical and non-theatrical forms of mass cultural and educational work.

The essence of the theatricalization method in modern leisure programs is the combination of sounds, colors, melody in space and time, revealing the image in different variations, carrying them through a single “through action”, which combines and subjugates all the components used according to the laws of the scenario.

Consequently, the theatricalization method appears not as one of the methods in cultural and leisure programs, used in all its variants, but as a complex creative method that is closest to the theater and has a deep socio-psychological justification. The monumentality of theatrical mass performances is determined by the following components:

· scale of the selected event;

· the scale of the selection of historical and heroic images;

· lack of psychological nuances in the acting;

· large plasticity of movements, monumentality of gestures;

· large drawing of mise-en-scenes;

· monumentality and imagery of scenery;

· associative "bridge of thought" of each episode with the viewer;

· the principle of sharp contrasts / in plastic, design, music, light;

· the use of allegorical means of expressiveness symbol, metaphor, allegory, synecdoche, litote;

· application of the latest means of technology and technical effects.

So, the directing of mass performances and holidays, based on the general foundation of directing, has its own specifics in scripting and directing processing with the help of theatricalization of real life episodes, subordinating them to the scripting and directing course and the obligatory inclusion of the audience in the action. In this theater of life, the mass is always a hero, and not just a spectator. The theatrical performance of coins can be both an independent work and integral part holiday. Summarizing the above, it can be emphasized that in theatricalization, as a special kind of art, the most important component of mass performance comes to the fore - the spectator, the collective hero.

Types of theatricality.

Theatricalization of the compiled either combined type- thematic selection and implementation of ready-made artistic images and different types art and synthesis among themselves by a screenwriting and directorial technique or a move. The compiled method is necessary in theatrical concerts, performances, etc.

The main task of the screenwriter in working with this method is precisely to determine, as is customary, the scenario-semantic basis of the entire program as a whole, episode or block, the compositional alignment of the entire scenario as a whole, the setting of the episode and block, and the entire scenario as a whole.

And indeed, in using this type of theatricalization, it is also important for the director to keep in mind the basic law of artistic necessity, which requires the justification for the appearance of the performance, its genre correspondence to the theme.

It should be noted that theatricalization of an unusual kind is the creation by the director of the latest artistic images, according to the scenario and director's plan. It is used here to create scripts of the documentary genre, which are based on the dramatization of the document. Undoubtedly, it is worth mentioning that the documentary series gives a modern journalistic sound if the fact is of value to society. The main requirements: topicality and relevance. At this point, we are talking about the synthesis of documentary and artistic materials, not only in the thematic selection of material, but also in an organic fusion according to the basic principle of the sensual development of thought and the creation of a scenario-semantic framework for each episode and scenario as a whole. The symbiosis of documentary and artistic materials lies not only in the thematic selection of material, but also in their organic fusion according to the most basic principle - the sensual development of thought.

Theatricalization of a mixed type - the introduction of the first and second types. It contains: compilation of the finished and the creation of the latest. I'd like to emphasize that it is built on the principle of thematic selection and bringing them into a composition with the help of a through screenwriting and director's move and introducing the author's own unusual vision and solution into this database. It is known that theatricalization contains a compilation of ready-made texts and numbers and the original creation of new texts and numbers. It is clear that theatricalization of a mixed type provides a lot of opportunities for the development of the director-organizer's imaginative thinking.

All the above types of theatricalization are first used to organize theatrical themed evenings and mass events, which also act either as an independent form of cultural enlightenment work, or as an integral part of a mass action, an agitation and propaganda company or other complex system of ideological educational work.

Theatricalization in the field of cultural and educational activities is developing along two main fronts. I must say that the first is connected with its recreational function (these are balls, masquerades, carnivals)

The second is connected with the transformation of life into an artistic value by creating an artistic image on its basis.

Decoration, paints, fireworks - this cannot yet be called theatrical. It is also necessary to find a capacious image - a generalization that sensually reveals the director's thought through expressive means. In theatricalization, as in a special kind of art, an important component comes to the fore - mass performance - the viewer, the collective hero.

He desires such a mass act that would force him, by associatively restoring in memory the facts and actions of his life, to be a participant in the performance, to be included in it.

Theatrical language.

The leading expressive means that create a special language of theatricalization are the sign, allegory and metaphor, with the help of which the director makes a full-blooded and multifaceted world of aesthetic values ​​in mass performances.

Creating a general performance, the director should strive, in general, to provoke the imagination of actors and spectators with enlarged stage signs that more fully reflect the essence of theatricalization.

A symbol translated from Greek means sign (sign, mark, brand, seal, password, number, dash, signal, motto, slogan, emblem, monogram, coat of arms, cipher, brand, label, imprint, scar, label, blind, typos , scar, etc.).

The Greek verb has the same root, meaning: “I compare”, “I consider”, “I conclude”, “I agree”. It is clear that the etymology of these Greek words indicates the coincidence of two planes of reality.

Initially /in ancient times/ this word meant a conditional material identification symbol, understandable only to a certain group of people. For example, the symbol of the fish was among the first Christians and served as a typical password in terms of the persecution of Christians by pagans. Analyzing the appearance of a sign in a figurative action, E. Tudorovskaya writes: “A person, as a member of a clan, was protected with the help of allegories, as required by the interests of the clan. For example, at a wedding it was impossible to pronounce the bride’s own name / the word “bride” itself is dummy and means “unknown” in order to confuse the spirit of the ancestral hearth, and not irritate it by introducing a stranger into the family.”

Allegory with its introduced connection from the very beginning was an artistic knowledge of the world. When inventing a fictitious word, it was necessary to understand the properties of the object and give its name a replacement that has some common features with the object, for example, a brave, dexterous fellow - a clear falcon. What properties should a substitute word have? It was supposed to be incomprehensible to hostile forces, but generally understandable to interested members of the genus.

So in the process of joint activity and communication of certain groups of people or entire societies, developed conventional signs behind which there were objects, thoughts or information.

Allegory (Greek "allegory") is a technique or type of figurativeness, the basis of which is allegory - the imprinting of a speculative idea in a specific life image.

Many allegorical images came to us from Greek or Roman mythology: Mars is an allegory of war, Themis is an allegory of justice; the snake wrapped around the bowl is a symbol of medicine.

This technique is especially actively used in fables and fairy tales: cunning is shown in the form of a fox, greed - in the guise of a wolf, deceit - in the form of a snake, stupidity - in the form of a donkey, etc.

In the minds of listeners, all parable images familiar from childhood are allegories-personifications; they are so firmly entrenched in our minds that they are perceived as alive.

Allegory is an allegory, an image of an abstract idea through a specific, clearly represented image. The connection between image and meaning is established in allegory by analogy (for example, the lion as the personification of strength, etc.). In contrast to the ambiguity of the symbol, the meaning of the allegory is characterized by unambiguous constant certainty and is not revealed directly in the artistic image, but only the interpretation of the explicit or hidden hints and indications contained in the image, that is, by subsuming the image under some concept.

Life, death, hope, anger, conscience, friendship, Asia, Europe, the World - any of these concepts can be represented with the help of allegory. This is the strength of allegory, that it is capable of embodying the concepts of mankind about justice, good, evil, and various moral qualities for many centuries.

Allegory has constantly played a prominent role in the direction of theatrical festivities of all times and peoples. It must be emphasized that the significance of allegory for directing, a real act, first of all, is that it constantly, in general, as a sign and a metaphor, implies two plans. The first plan is an artistic image, the second plan is allegorical, determined by the awareness of the situation, the historical situation, and associativity.

Association, in other words, the creation in the mind of a person of a semantic or sensual parallel to an ongoing phenomenon, an involuntary replacement of it with an already familiar synonym, forces the viewer to think about what is only stated, indicated. The assessment of what is happening largely depends on the level of intelligence, erudition and life experience. For example, the huge red banner in Okhlopkov's play "The Young Guard" is an allegory of the Motherland. Entering into interaction with the actions and struggle of the Young Guards, who give their lives, particles of their own red blood for the liberation of the Motherland, she finally makes a magnificent artistic image of the performance, bringing its sound to a realistic sign. Allegory was more characteristic of medieval art, art, Renaissance, Baroque, Classicism. The images of allegory were central to the festivities of the revolution in France. The baton of the use of allegorical means in the festivities of the French Revolution was taken over by Russian directors in theatrical performances of the twenties.

For example: “The Burning of the Hydra of the Counter-Revolution” is a general theatrical performance staged in 1918 in Voronezh. Director I.M. Tumanov at the Sixth World Festival of Youth and Students in Moscow lined up the gymnasts so that they turned the stadium field into a map of the world. And then the ominous shadow of the War in the form of an atomic bomb fell on the map. It should be noted that the word: "NO!", which appeared on the map, crosses out the silhouette of the bomb with dynamic lines.

In 1951, at a festival in Berlin, Tumanov subsequently used allegorical means of expression in his own mass pantomime to the music of A. Aleksandrov, The Holy War. The theme of the performance was the self-affirmation of the human races, their struggle for freedom and independence.

There are ten thousand gymnasts on the field, dressed in suits of snow-white, dark and yellowish colors. It began with the fact that the center of the field was occupied by actors in snow-white suits. Straightening their shoulders, spreading their legs, they imperiously stood on the ground. Around them are located, half-bent, yellowish, symbolizing the peoples of Asia, and on their knees - dark - not yet awakened Africa. But now the yellowish ones straightened their backs, some of the snow-white ones help them, the dark ones rise from their knees, the yellowish ones begin to move, the dark ones stand up to their full height. The conflict is escalating rapidly. The theme of love for freedom and equality of people of different skin colors, despite the fact that it was expressed by specific means of gymnastic exercises, has reached great, artistic expression. Indeed, this artistic image, metaphorical and allegorical according to the director's decision, reveals the most complex real phenomena by the method of their collision and comparison. It must be said that, nevertheless, it should be noted that in modern art, allegory is giving way to the most progressive symbolic images in terms of figurative and psychological terms.

The stage implementation of the metaphor gives the audience a chance to express the essence of either the main action of the episode, or the relationships that develop between the characters in a brighter and more visual way. The audience finally gets the opportunity to quickly and accurately find, construct their position in relation to what is happening, which in turn, in the end, is the first and necessary prerequisite for the formation of the audience active relationship to the received stage information.

So, a sign as a symbol that gives rise to an association is a fundamental expressive means of directing.

Experience makes it possible to outline several ways of using signs and associations that are appropriate in the director's work:

a) in solving presentation episodes;

b) at the climax of the performance;

c) in conclusion with the public of "probation conditions";

d) in decoration theatrical performance.

The largest theater director and teacher G. A. Tovstonogov showed great enthusiasm for staging theatrical performances and events at stadiums and concert halls.

directing theatrical performance

Chapter 1 Conclusions

It should be noted the characteristic features of the theatrical performance that distinguish it from other types of artistic creativity.

The scenario of a theatrical performance is always based on documentary material, which we call the documentary object of attention of the screenwriter.

Theatrical action does not mean the creation of the psychology of fictional heroes (characters), but the creation of the psychology of situations in which real (documentary) forces operate and develop.

The theatrical action is multifunctional and solves the following tasks: didactic (edifying), informational (cognitive), aesthetic, ethical, hedonistic (enjoyment) and communicative.

The theatrical performance, as a rule, is one-time and exists, as it were, in a single copy.

Theatrical action is distinguished by a variety of forms, spatial and stylistic. A theatrical performance, a holiday and a ritual far from exhaust the possibilities of using a theatrical performance in various versions and for various purposes.

If a theatrical performance is, first of all, a spectacle that takes place on a particular stage that does not require the direct participation of spectators, then a holiday and a ceremony are theatrical performances in which those present themselves become active participants in what is happening. The exception is the theatrical competitive game program, which combines a theatrical performance and elements of direct activation of the audience with their involvement in the stage action.

1 Specific features of directing theatrical performances

Directing is considered a kind of artistic creativity, which makes it possible to create a spatially plastic, artistically figurative solution of the ideological and thematic concept of a work of one of the “spectacular arts” with the help of expressive means inherent only to it.

There is the direction of drama, musical theatre, cinema, variety art, circus, theatrical performances and other mass events.

For the direction of theatrical performances, it is important that all components are taken into account and rethought.

If we are just talking about the specific features of directing, then specifically the amateurish approach, poor organization and complete misunderstanding of the public becomes the cornerstone, which, therefore, breaks all the plans and ideas of the director.

Note that even if the intention own idea was actually the smartest, was distinguished by creativity and a unique approach, the wrong staging will also destroy all plans.

Theatrical performances foresee a large number of artists, an abundance of numbers in them.

If we are talking about theatrical or circus performances, then for the sensation of the spectacle in the viewer, it is worth focusing on the dynamics of the act. Even if we are talking about the theater, it is not worth anything for a professional director to intrigue and how to interest the public, to attract their attention.

The direction of mass theatrical performances is one hundred percent aimed at the viewer, which means that it must be exciting and understandable to him. It's no secret that the public is becoming more and more demanding, and therefore finally needs a high-quality spectacle that will constantly also keep the audience in the dynamics. A dull performance will destroy the spectator's enthusiasm and make him bored. And to prevent this from happening, the numbers and principles of presentation must progress all the time. I must say that energetic numbers or, in the end, scenes should finally be replaced by measured and even peaceful ones. It must be emphasized that with all this there should not be procrastination and uniformity even in dynamic numbers and scenes, since the prolonged intensity of passions also loses its sharpness.

The fastidiousness of the public is also manifested in the fact that it frightens, amuses and delights with sharp turns in the storyline, spectacular exits and the appearance of characters or participants in performances. Undoubtedly, it is worth mentioning that artists or actors who constantly go out according to the same principle tire the audience. But if every time, the artist will just appear in a new way, unexpectedly and curiously, the audience will finally freeze in anticipation of a beautiful and exciting spectacle.

The artists themselves, their appearance, become another nuisance. It should be borne in mind that the costumes, age and appearance of the artists must strictly correspond to the plan. For example, if we are talking about Juliet, then the artist cannot be 40 years old, but a young woman is not required to perform the nurse. It is known that a similar principle is preserved in all concert numbers.

Colorful costumes and make-up should be in harmony with the roles performed by the artists. If, finally, there is dissonance, the audience will be disappointed, and theatrical performance will fail.

High-quality directing of theatrical performances and events is the key to success when holding mass events. It must be said that almost all theorists and practitioners draw an analogy between the direction of theatrical performances and a symphony. It must be emphasized that, just as for a symphony, mental and sensual depth, life's contradictions and complex tasks are appropriate, so a theatrical festival of a mass scale finally expresses important actions and stages in the life of a large number of people.

These types of expressive art are characterized by scale, ideological richness. And indeed, the original part of the symphony (exposition) implies the development and development of contrasting themes-images. Further, they seem to support the main composition of the work.

Also, the direction of theatrical events implies the implementation of the main idea of ​​​​a solemn action through a series of events.

It echoes the direction of the theatrical performance and such a colorful form of music as a theme with variations. In theatrical performance direction, the main theme also varies in various forms oh and views. Naturally, this is finally justified to some justified extent by the very specificity of theatrical performances. It must be said that if, for example, the viewer can finally perceive a literary and musical composition as a whole, then the individuality of the direction of a theatrical performance is its purposeful division into components. With all this, the viewer takes the action in parts, choosing moments that are more worthy of attention. For example, a concert requires the audience to focus on a particular stage.

A good theatrical performance, on the contrary, is characterized by a huge number of exciting centers dispersed in space. Whatever scenario is to be written, work on it begins with the formation of an idea. I must say that the scenario plan - the process of its formation can be conditionally divided into three steps.

First step. The definition of the theme, in the most general form (defines the holiday calendar). Definition - type of theatrical performance. Whether it will be a theatrical concert, a variety show or a themed evening, because the form of the celebration is determined by the festive traditions or the wishes of the customer. And, finally, the venue (stage of the palace of culture or: city square, banquet hall or forest glade) and future participants - spectators. It is not so little that the screenwriter's fantasy is included in the work.

Second phase. Concretization of the main elements of the plan. Creation of a scenario plan. A correctly and accurately named theme, like a compass, outlines the circle of material that the screenwriter needs to study. It is necessary to determine the subject of the image in a holiday, for example, International Women's Day. Let's put it this way: the life of the women of our city, and we will not be able to cope with the abundance of material, but as soon as we confine ourselves to a story about craftswomen who know the secrets of traditional Russian crafts (embroidery, lace-making, etc.), the idea will begin to take on visible outlines. Everything becomes clear: what literature to study, who will become a real hero, and what art groups will take part in the holiday.

There are two ways to deploy a theme. Diachronic.] (from Greek dia - through, through and chronos - time) and synchronous / (Greek syn - together and chronos - time).

And any contradiction involves at least two points of view. And these points of view are nothing but the basis of the future dramatic conflict (from Latin conflictus - clash).

Dramatic conflict is a clash of actors in the implementation of their life tasks. The author of the idea takes a certain side in the conflict. He makes some moral judgment about the subject of the image. And this judgment is usually called the idea (Greek idea - concept, representation) of the scenario.

As already noted, within the framework of one holiday, not only fragments of all types of arts from music to painting, from choreography to architecture, but also a document in various types from the performance of a real hero to newsreels. A combination of fiction, documentary and real, say, planting trees, a parade of equipment, etc. - main feature dramaturgy of festive action. Varied, multi-genre, multi-style material requires a certain way of combining, so the most important element of the plan is the scenario move. This is a technique that, on the basis of some constructive principle, organizes the material and gives it semantic and artistic integrity. The scenario in the imagination of the writer will begin to emerge only with the appearance of expressive means in each of the planned episodes.

The second stage of developing the idea of ​​​​the scenario ends with drawing up a plan. The scenario plan is a list of episodes with a brief description of their content, the definition of the main expressive means in the semantic and artistic context of the scenario. Third stage. Final design of the idea. Adjustment of the idea in the process of its implementation.

Installation and its main functions.

Installation and its main functions.

Editing is the main creative method of the director of mass spectacles.

Montage is an artistic way of organizing material. This term came from cinematography, introduced by cinematographer V. Pudovkin. Esenstein systematized. It must be emphasized that, according to the method of organizing the material, it is just sequential and parallel.

Types of montage: contrast, associative, retrospective. So, contrasting montage - the material is also connected in such a way as to collide ideas, positions, different points of view on the same event. It must be emphasized that it is extremely effective, often also used in stadium performances, propaganda teams, etc. Associative montage is based on associations that generate documentary and artistic fragments.

The creation of unity in the montage structure is not determined by external successively unfolding events. It also occurs, faster, through internal connections, following the logical or mental laws of synthesis, “assembly”, according to the principle of sharp and unexpected comparison, contrast, and this very comparison of individual parts gives each of them an effective meaning in the overall outline of the dramatic composition.

Montage is a volitional selection of the meaning inherent in the work. Therefore, the method of editing is in direct connection with the civil position of the creator, his ideological and artistic aspirations. It must be emphasized that the art of montage lies in the fact that its first step - dismemberment into separate elements - brings us to the second part - the combination of these parts, giving rise to a wonderfully new whole. In this perspective - the dialectical montage.

Montage is the art of dismemberment, the breaking up of a continuous act, the search for the newest dramatic principle interrupted, born by the structure of the act, as everyone knows, by the montage.

The montage dramatic structure based on interrupted action should not be understood as a set of separate, independently existing pieces and episodes.

In the scenario of a theatrical performance and variety performance, the montage of individual episodes and numbers must be combined into an inseparable, logically finally developing action.

2 Use of spectacular space and mise-en-scene in the director's decision of theatricalization

Mise-en-scene is usually called the placement of actors on the site in certain physical relations to each other and to the "material environment" surrounding them.

The mise-en-scene is designed to concentrate the action on the stage in order to achieve a central theatrical performance, to focus attention on an important event.

The composition of the mise-en-scene requires, in addition to special knowledge in the field of directing, knowledge of painting, architecture, the ability to think in plastic views, to embody observations from life in them.

The mise-en-scene must necessarily have a huge or the smallest extent in time. Everyone knows that when building a mise-en-scene, the director painstakingly thinks through the placement of actors in space in accordance with the general plan.

The director must create in advance almost all the main mise-en-scenes and general principles their construction is already in work with the artist on the scenography of the performance, because. layout, placement of scenery and "playing points" extremely predetermine almost everything in mise-en-scene.

The plan for the plastic solution of a theatrical spectacle in one or another place of the event, the artistic and imaginative organization of a large place requires especially painstaking development with the role of an artist. It is also possible that the decision of playgrounds, reference points of the action (machine tools and stage platforms on the field, running track, stands), the possibility of using air (helicopters, balloons, airplanes) - all this must also be foreseen by the director in the preparatory work with the artist .

In the plastic solution of mass episodes, a certain complexity is precisely the problem of a spatial solution, for example, of mass mise-en-scenes, taking into account the all-round view in the criteria of a stadium.

The stage director of a mass theatrical performance must, finally, possess the skill of "sculpting" imaginative mise-en-scenes in which a huge number of people take part. It is known that to build a mass mise-en-scene, and in the end, to make a general idea out of a whole series of them, alternation, connection, rhythmic contrast, color scheme, etc., is unrealistic without compositional knowledge and orientation, which is necessary for a director of any kind and genre of art. Please note that the ability to arrange huge masses implies a “sense of scale” or a “sense of monumentality”. The director must also be able to rhythmically accurately build a mass scene, i.e. applying the laws of musical drama, embodied plastically, skillfully organize the actual process of rehearsal. From how he builds rehearsals with the mass, almost everything ultimately depends on the creation of a mass act.

Mise-en-scène:

The proscenium is an enclosed orchestra pit.

The red line is where the active curtain goes, and the first row of backstage is the foreground. It must be emphasized that the middle of the proscenium and the foreground is an impeccable point for a lone figure (soloist). It is known that on the edge of the proscenium and in the foreground of the wings there are readers and phrasebooks.

The second plan is the exit of dancers and presenters. It is also possible that when the director uploads one side of the scene, a repulsive asymmetry is created for the viewer.

The first plan, therefore, gives tremendous freedom, the main plane of the actor's movement.

The second plan - makes it possible to take the human figure completely. It is also possible that the third plan - the general plan - is not bad for huge compositions or game pieces associated with large plasticity.

Spatial solution of theatrical performance.

A holiday is a complex of events that combines active action with the perception of a spectacle. The result of different knowledge, fixed in a one-time framework, is the sum of immediately occurring mass events.

We determine in the script, as usual, the proposed incidents, the composition of the artists, the way of life, the environment, and on this basis, an artistic image will be born, so to speak, according to:

) the themes of the script, the director must finally be able to create drawings of the whole action, be able to synthesize them;

) characterization of the site - the problem is to transform the socio-cultural place into an artistic one. The more global the venue, the greater the spectacle.

There are two laws: 1) take into account and apply the resource of the entire site (reservoirs, banks, rooms, columns, wall color, etc.)

) the given correspondence of the expressive means of the theme and the environment. Everyone knows that all the scenography on the site must be effective.

Changeable constancy - the design must contain the ability to develop, change (movement, change in light, etc. Functions: 1) organize the audience's attention; 2) to recreate the atmosphere through just the color; 3) organize the action by the method of scenography. Everything that is on the scene. The site must be complete. Indeed, the interaction of the dominant and the secondary, the whole and the parts. I'd like to emphasize that the whole composition must be "readable".

3 Expressive means of directing a theatrical performance

The expressive means of directing are:

Actor's work

Acting art, the art of theatrical play, the creation of scenic images. The artistic specificity of the theater - a reflection of life in the form of a dramatic act that is actually taking place before the eyes of the audience - can only be carried out by means of acting art. Its purpose is to influence the viewer, to evoke a response from him. We emphasize that the performance in front of the public is an important and final act of creating a role, and each performance, in general, requires a creative reproduction of this process.

The actor's creativity originates from drama - its content, genre, style, etc. Drama is the ideological and semantic basis of acting art. Such types of theater are widely known (for example, the comedy of masks), where the actor, as it were, does not have the full text of the play, but only its dramatic basis (scenario), designed for the art of improvisation of the actor.

The actor's image is convincing and aesthetically significant not in itself, but in the aspect in which the main action of the drama progresses through it and by means of it, its integral meaning and ideological orientation are clarified. I would very much like to emphasize that the performer of each role in the performance is therefore closely connected with his partners, participating together with them in the development of that artistic, unified, which, therefore, is a theatrical production. Few people know that the drama dictates sometimes very difficult requirements to the actor. It must be said that he must also do them as himself. and acting jointly with others on behalf of a particular character. It should be noted that by lowering himself into the proposed circumstances of the play and the role, the performer solves the problem of creating character on the basis, through organic stage reincarnation. Undoubtedly, it is worth mentioning that with all this acting is the only kind of art in which the material of the artist is his own nature, his intellectual sensory apparatus and external data. Of course, the actor resorts to the help of make-up, costume (in some types of theater - to the help of a mask); in the luggage of his artistic means - the skill of speech (in the opera - vocal art). movement, gesture (in ballet - dance), facial expressions. It is known that the important elements of acting creativity are attention, imagination, sensory and motor, in general, then, memory, the ability to stage communication, a sense of rhythm, etc.

Atmosphere

The concept of atmosphere came to the theater from life. Well, in life it accompanies us every minute. Atmosphere is a deeply human phenomenon, in the center of it is a person who is passionately peering into the world, working, thinking, feeling, searching. This difficult complex of relations with the surrounding reality, the world of our thoughts, emotions, desires, moods, desires, fantasies, without which our existence is unthinkable, all this is the atmosphere of life, without it our life would be bloodless, automatic, and a person would resemble a bot .

The atmosphere is like a material environment in which he lives, there is an actor's image. It includes sounds, noises, rhythms, the nature of lighting, furniture, things and more.

It is necessary to find that sensual stimulus that will give a chance to find an environment, an atmosphere that is very expressive of the process of the internal flow of the "life of the human spirit." In this synthesis of the environment and the inner life of a person, the affirmativeness or inconclusiveness of the plan will manifest itself.

To do this, it is imperative to look for a clear combination of what is happening with life going before, after and in parallel with the developing action, either in contrast to what is happening, or in unison. It is also possible that this combination, consciously organized, creates the atmosphere.

There is no figurative solution outside the atmosphere. And it is not even necessary to say that the atmosphere is a sensual coloring, which is necessarily present in the solution of each fragment of the performance.

And, in the end, it is necessary, finally, to distinguish the second plan from the atmosphere of the performance, stage, piece. I must say that the atmosphere is also a specific concept, it consists of real proposed events. It must be emphasized that the background is made up of sensual colors, on the basis of which the real, constantly speaking, everyday atmosphere on the stage must be built.

Composition

Composition (lat. сompositio - compilation, connection) - this concept is just relevant for all types of arts. Indeed, it is understood as an important correlation of parts of a work of art. Dramatic composition can finally be defined as a method by which a dramatic work (namely a text) is ordered, as an organization of an act in space and time. We understand that there may be a lot of definitions, but in them we meet two approaches that are different in their essence. One studies the ratio of fragments of a literary text, the other - specifically the warehouse of events, the actions of characters. In terms of theory, such a division also makes sense, but in the practice of stage activity it can hardly be fulfilled.

The bases of the composition were laid in Aristotle's Poetics. It must be said that in it he names the parts of the tragedy, which should finally be used as forming (eide) and the constituent parts (kata to poson), into which the tragedy is divided by volume (prologue, episody, exode, choral part, and in her parod and stasim). Here we find the same two approaches to the dilemma of composition. We see that these approaches, in fact, are steps in the analysis of dramatic composition. The composition in drama depends on the principle of construction of the act, and it depends on the type of conflict and its nature. In addition, the composition of the play depends on the principle of distribution and organization of the literary text between the characters, and the relationship of the plot to the plot.

With the development of dramaturgy, the initial division into the middle, the beginning and the end in the technique of dramaturgy has become more complicated, and today these parts of a dramatic work have the following names: exposition, plot, development of the action, climax, denouement and epilogue The prologue currently acts as a Preface - this element not specifically related to the plot of the play. This place, where the creator can just express his attitude, is a demonstration of the author's ideas. It can be the orientation of the presentation.

Epilogue - (epilogos) - a part of the composition, which, in general, then produces the semantic completion of the work as a whole (and not the storyline). The epilogue can be considered some kind of afterword, a summary in which the creator sums up the semantic results of the play. In dramaturgy, it can be expressed in the form of the final scene of the play, following the denouement.

The denouement is the completion of the main (plot) action of the play. The main content of this part of the composition is the resolution of the central conflict, the cessation of side conflicts, other contradictions that make up and complement the action of the play. The denouement is reasonably connected with the plot, which can be called the distance from one to another zone of the plot.

Climax - by common definition this is the peak of the play's action. In each play there is a certain limit, which marks a decisive turn in the course of events, after which the very nature of the struggle changes.

The development of the action is a wider part of the play, its main field of action and development. Here is actually one hundred percent of the entire plot of the play. This part consists of certain episodes, which almost all authors, therefore, break into acts, scenes, phenomena, actions.

The tie is an important element of the composition. Here are actions that violate the initial situation. And it is not even necessary to say that because in this part of the composition there is the beginning of the main conflict, here it takes on its visible outlines and unfolds as a struggle of characters, as an action.

An exposition (from Latin expositio - “statement”, “explanation”) is a part of a dramatic work, in which a description of the situation is given that precedes the beginning of the action.

One of the brightest expressive means is the musical arrangement of the performance. The atmosphere, tempo-rhythm and organic nature of the performance as a whole are directly dependent on the correctly selected musical composition in one or another part of the performance.

In the work on the musical design of the performance, the following stages can be noted:

· director's plan of musical design;

· composition of unique music or selection of ready-made musical numbers;

· rehearsal work to introduce music into the performance;

· music control during the performance.

As already mentioned, the production plan is formed by the director as a result of painstaking and deep work on the production. Undoubtedly, it is worth mentioning that it is clear that each director also sees the same play in his own way, interprets its super-task in his own way. And indeed, the individuality of the artistic thinking of the director and his culture, character, taste, in short, his creative feature, also matter. The director often develops, interprets the material, increases certain storylines, places semantic accents, and so on.

And, of course, music can finally provide significant assistance in this.

Music must enter into action as a natural and necessary element, help to reveal the idea of ​​the play, set off the images of the characters. Therefore, the director begins to find a musical solution only after the main moves of the dramaturgy of the play have been thought out.

Naturally, the director, in general, builds his own musical design plan, as a rule, on the inclusion of conditional music in the performance, because the plot music is already predetermined by the author's remarks. At the same time, the director can change the plot music in his own decision. It would be bad if we did not note that there are dramatic works that are inconceivable on stage without musical accompaniment. These are: vaudeville, musical comedies, fairy tales. Indeed, there are also those whose meaning and style will be expressed more vividly if conditional music is introduced into the performances.

The musical image of the performance is finally taking shape in the director's imagination gradually. The director's creative thought often follows a complex method, and in the process of working on a performance, when meeting with a composer, artist, sound engineer, actors, his musical plan can finally change. The general musical solution is certainly outlined by the director in advance. This allows the director to set certain tasks for the composer and sound engineer. It also happens that the director, not possessing the necessary musical knowledge, decides on the musical arrangement only after meeting with the composer. Thus, the main idea of ​​​​the musical design of the performance is born from the director during his work on the production and, in general, is fixed in production plan. And indeed, the musical solution of the performance is a purely creative task, and of course, the director also introduces music into the performance, in accordance with his view of its role in theatrical art. The directors, sensitive to the music, introduce it into the performance only in those places where it is really needed and carries a completely definite semantic load. Other directors saturate every act, every picture with music and noise. But excessive enthusiasm for music, as everyone knows, often leads to the fact that the music becomes annoying, distracts the viewer from the stage action, instead of reinforcing the scene, “muffles” it. Often the director's skill lies precisely in refusing music where it seems that its introduction might be justified. It is clear that the silence on the stage is also a sound coloring.

The composer in the theater is usually the manager of the musical part of the theater and the conductor of the theater orchestra. It must be said that the director from time to time entrusts the director of the musical department with writing music for the performance, but in order not to create monotony in the methods of musical solution of performances, he often invites a composer from outside. It is also possible that this creatively enriches the theater, especially if there is a meeting with great composers. Of the professional composers who constantly collaborate with drama theaters, almost all of them have an unsurpassed understanding of the individualities of theatrical music and can subordinate their creativity to the common cause of the theater group.

The choice of the composer is the most important moment for the director in the work on the play, the successful or bad choice largely determines what the performance will be like.

The design of a theatrical performance includes: scenery, theatrical costumes, makeup, props, props, scenery, lighting and noise design, as well as musical design. No event scenario will be successful without the use of these expressive means. There is even such a thing as decorative art - the art of creating a visual image of an event by means of scenery and costumes, lighting and staging equipment. No matter how strange it may seem, but decorative art, as it were, contributes to the disclosure of the content and style of the presentation, increases its effect on the viewer. It must be emphasized that costumes, masks, scenery, etc., are elements of decorative art.

Lighting Effects: The use of light in a theatrical performance depends on the venue. If the performance is held in the open air, then, apart from natural light, we do not use anything. In an event held in the auditorium, where there is a stage, then we can actively apply lighting effects, provided, of course, that lighting equipment is available.

Stage lighting effects are effects that simulate day, morning, night and other natural lighting using a three-color lighting system; or creating the illusion of pouring rain, moving clouds, a blazing glow of a fire, falling leaves, flowing water, etc. with the introduction of light projection. There is such a way to design an event as a light projection. And at the moment - 3D - projection With the help of these methods, therefore, dynamic projection effects are created: clouds, waves, rain, falling snow, fire, explosions, flashes, flying birds, airplanes , sailing ships, etc. And static images that replace the picturesque details of the scenery design (light projection scenery).

According to the nature of impressions, lighting effects are divided into:

stationary: lightning, stars, moon, lightning, rainbow, fog;

dynamic: explosions, eruptions, waves, snowfall.

In the presence of such a projection-type lighting device as a "gun", it is possible to highlight individual actors, participants, or parts of the scenery.

Noise design: The noise design of a theatrical performance is the reproduction on the stage of the sounds of the surrounding life, corresponding to the scenario. Noise design is handled by a sound designer.

Noises are separated as follows:

sounds of nature: wind, rain, thunderstorm, birdsong, production noises: factory, construction site, etc.;

transport, trains, planes;

battle noises: cavalry movement, shots;

household noises: clocks, glass clinking, squeaks.

Musical and sound design: Musical and sound design is one of the most important components of a theatrical performance. Undoubtedly, it is worth mentioning that the presence of good sound equipment and a professional sound engineer at the console provide the opportunity to:

· the leader and all participants to speak into the microphone, without straining in an attempt to be heard;

· ensure the possibility of performances by artists (if any);

· fill pauses in the program with background music;

· organize the “sound canvas” of the program (musical beats, jingles, fanfares, sound linings for the voice):

· conduct the dance part of the program (if it is in the script) in accordance with the tastes of the guests, promptly responding to genre wishes and song orders

Other expressive means: Props - a synthesis of genuine or fake things that the actors need on stage during the action. From time to time, props complement the stage costume: an umbrella, a briefcase, etc.

Props are products depicting real objects that, for one reason or another, are difficult or impossible to use on stage. It should be emphasized that the props are a decorative design element of a performance, game program, etc.

Traditional props:

are not a clear copy of the originals;

should be durable, simple and not expensive;

differ in the emphasized expressiveness of the external form.

Theatrical costume - all kinds of clothing, shoes, hats, jewelry and other items that an actor uses for his own role. Please note that the theatrical costume is complemented by makeup and hair.

Grim - from Italian. - Grimo - wrinkled. It would be bad if we did not note that makeup - in a broad sense - is the art of transforming the appearance of an actor with the help of make-up paints, plastic and hair stickers, wigs, hairstyles, etc., in accordance with the requirements of the role being played. It is known that makeup - in the narrow sense - special cosmetics, as well as stickers, overlays, etc., used by actors. It should be noted that the make-up of the soul - in the system of Stanislavsky - is the concept of the process of stage reincarnation; correctly understood and grasped the essence of the character and typical character of the character.

All of the above expressive means contribute to the disclosure of the ideological content of the event, enhance the effect of the idea on the viewer.

Chapter 2 Conclusions

The principal specific feature of the direction of a theatrical performance and mass holidays is a synthetic, complete character, in which synthesis acts as a universal way of creating any type of theatrical mass action. Directing often uses a synthesis of various kinds of one-time actions, different types of action, a synthesis of a document and art, various means of expression. It would be bad if we didn’t note that with regards to the synthesis of document and art, as well as various expressive means, then on the basis of the creative installation of these components, on the basis of the author’s holistic thought, the storyline, a work of a completely new complex genre is created.

The art of composing this kind of compositions from various artistic and documentary material is a special kind of creative thinking and, at the same time, a synthetic way of organizing a theatrical performance.

With all the specific features of theatrical performances, the most important and decisive factor in it, as in any other form of art, is the civic position of the director, his personal attitude to the chosen topic, the ability to reflect in the holiday not only the facts and his attitude to them, but also their worldview, their ideological conviction and excitement.

The accuracy of introducing the entire contrast of the specific features of directing a theatrical performance and mass holidays, in general, then leads to the creation of a script, and then to its brightest embodiment.

CONCLUSION

An indifferent attitude to the surrounding reality, enthusiasm for the script material, curiosity for the ability to connect and organize, independence, artistic thinking of the director contribute to the creation of the artistic concept of the upcoming theatrical performance.

So, the director is obliged to act in alliance - thinker, painter and critic. The thinker is active, courageous, he just knows “what for”, he sees the goal and sets milestones. The painter is emotional, he is all about “how” to do it, he follows the milestones, he needs frames, otherwise he will blur. Everyone knows that a critic must be smarter than a thinker and more talented than an artist, he is not a creator, he is not active, he is merciless.

From this we conclude that in the process of creativity over the creation of a theatrical performance, the director must harmoniously coexist with all three of these positions.

Undoubtedly, it is worth mentioning that one of them is not enough. Everyone knows that only then the director of theatrical performances, in general, then makes the artistic world colored by his personality, his inimitable vision, his style of thinking, which opens it from different sides.

It is known that any document, life fact, phenomenon, real hero, place of events can finally become the basis, starting from which he makes his theatrical action, his own newest image.

Along with this, it must be understood that only a figurative solution turns documentary and journalistic material into a work of true art.

LIST OF USED LITERATURE

1. Andreychuk N.M. Basics professional excellence screenwriter of mass holidays. Barnaul, 2005

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Discipline 1: Theoretical aspects and specific features of RTPiP. 7. Variety of types of theatrical and festive performances; the essence of the concepts "Theatrical performance", "Holiday", "Spectacle", "Show program". Variety of types of theatrical and festive performances; the essence of the concepts "Theatrical performance", "Holiday", "Spectacle", "Show program". Spectacle - 1) art forms that directly affect the visual and emotional perception of events. The types of performing arts include: theater in all its forms and genres, circus, street theaters, festivities, holidays, sports, etc. also theatrical performance, theatre. (Dal V.I. Explanatory Dictionary of the Living Great Russian Language v.1. - M. 195) Holiday - Dmitry.Mikhailovich. Genkin. “A holiday is a complex form of mass work, which includes several events taking place simultaneously, united by a theme and idea, combining the active action of the participants with their perception of the spectacle. The pedagogical value of the holiday is to satisfy the interests of people with different cultural levels, raising it to a higher level.” Anatoly. Ivanovich. Chechetin. “A celebration is a complex of cultural and artistic events, usually spread over a vast territory, and those present at it act both as spectators and as participants in the actions at the same time.” a multifaceted social phenomenon that reflects the historical, economic and artistic values ​​of the people. This is a collectivist phenomenon, necessarily requiring the presence and direct participation of a group of people, spiritual ties between them. traditional celebration or fun organized by the people, class, this or that social group, collective, family, associated with their achievements in the field of socio-political and labor activities, with achievements in the field of science, culture, art, education, upbringing of youth. It is based on an event, several centers of action on one topic, the viewer as a participant or observer. The most important form. Theatricality itself. The script is written in blocks (episodes in them). a complex of events of various types and spectacular forms of various genres; a multifunctional phenomenon that reflects the era, the life of society and its culture; the most ancient and most effective means of mass communication. (according to Yu.M. Chernyak). This is a complex form of mass leisure work, which includes several simultaneously occurring events, united by a theme and idea, combining the active action of the participants with their perception of the spectacle. This is a complex form, which has the most important social significance and the main purpose of which is human communication. A special kind of social and cultural life of people, which involves many spectacular forms that operate simultaneously: a carnival procession, a manifestation, a performance or concert, a rite or ritual, mass celebrations. The Great Encyclopedia (edited by Yushakov S.N. etc. - St. Petersburg: Enlightenment 1896 is a day set to honor God or a person, or remembering important events with the suspension of daily activities. The Great Encyclopedia (edited by Yuzhakov S.N.) Theatricalization - 1) Creation of an artistic image according to the laws of theater drama with the most active participation of the majority of the audience. 2) The essence of theatricalization as a creative method is the artistic comprehension of real events in the life of a country, a particular team or even an individual, in which these events are embodied in a vivid figurative form containing their artistic interpretation. Performances built on the basis of the theatrical method are called theatrical. In etc. the main characters are real personalities directly related to the event around which the figurative solution of the theatrical performance is built. (according to Petrov B.N.) By a theatrical performance we mean a theatrical performance, holiday or ritual. Theatrical performance is a special way to meet the spiritual needs of people, special kind art. A theatrical performance is always a child of everyday life, life realities, the need for their spiritualization and existence in a different emotional-figurative form. Thus, a theatrical performance is an organic combination of reality associated with everyday life, social relations, religious beliefs, ideological and political inclinations of people, and artistry contained in emotional-figurative (artistic) material created by transforming this reality.

It should be noted the characteristic features of the theatrical performance that distinguish it from other types of artistic creativity.

1. The scenario of a theatrical performance is always based on documentary material, which we call the documentary object of attention of the screenwriter.

2. Theatrical action does not mean the creation of the psychology of fictional heroes (characters), but the creation of the psychology of situations in which real (documentary) forces operate and develop.

3. Theatrical action is multifunctional and solves the following tasks: didactic (edifying), informational (cognitive), aesthetic, ethical, hedonistic (enjoyment) and communicative.

4. Theatrical action, as a rule, is one-time and exists, as it were, in a single copy.

5. Theatrical action is distinguished by a variety of forms, spatial and stylistic. TP forms:

1. Thematic evening is a multi-genre phenomenon in form, giving scope for creativity, initiative, invention. The most common genres of thematic evenings include: evening-story, evening-report, evening-portrait, evening-rally, evening-ritual.

2. Literary and musical composition. A literary and musical composition has its own "score", which includes separate scores: poetic, musical, light and even color. And the more they are united and purposeful, the more successfully we will lead the viewer.

4. Ceremony - the established solemn procedure for doing something.

5. Express - theater. (propaganda team or theater of variety journalism).

1) a bright variety show, spectacle, display. Synthesis of all kinds of art.

2) a lavish stage spectacle featuring popular performers stage, circus, ballet, etc.

8. The relationship between the concepts of "illustration" and "theatricalization", imagery as an aesthetic basis for the director's theatricalization of the festival. Correlation between the concepts of "illustration" and "theatricalization", figurativeness as an aesthetic basis for the director's theatricalization of the festival. Illustrations and theatricalization are ways of artistic solution of a theme; with their help, TP is organized and dramaturgically built. These techniques make it possible to artistically organize all the material, dramaturgically subordinating the means of expression used (music, poetry, dance, etc.). The method of illustration, as well as the method of theatricalization, involves not a random, arbitrary installation of poems, songs, dances and other expressive means, but dramaturgically organized in accordance with the theme of the event and the creative plan of its directors. In both cases, it is important to determine the measure and order of using various expressive means that make up the material of the event. The task of illustrating is to enhance the perception of the content of the event by attracting various expressive means (documentary material, poetry, prose, music, etc.).

The technique of illustration has long been known to practice. Back in the 1920s and 1930s, it was skillfully used in organizing various forms of mass work. The task of all expressive means used in the structure of TP is to enhance its impact on the viewer, to turn information about this or that phenomenon or event into “aesthetic information”, that is, one that evokes a special feeling of experience, joy, pleasure. The true essence of theatricalization is in the creation of a single “cross-cutting action” (aimed at achieving the super-task, the super-task for what) in the TP, which would not only unite and subjugate all the components used (poetry, prose, musical performances, film fragments), but would also create necessary conditions for the active effective participation of all those present at this event. It is theatricalization that turns the spectator-listener, the spectator-observer into a spectator-participant, that is, an "actor" (he performs simple stage tasks determined by the organizer's intention). Its pedagogical significance was highly appreciated by N. K. Krupskaya, emphasizing the possibility of using it to "influence" the emotional side of the event. Illustration is always static in nature, designed primarily to enhance the perception of meaningful material, while theatricalization is effective, because its nature is the nature of the game. The game is a powerful beginning to bring people together. Being the "seed" of theatricalization, the game makes this technique "possible and applicable in work among adults", and not only. The choice by the organizer of the reception of illustration or theatricalization of dramatic material depends, and very tangibly, on the correctly found harmonic relationship between the content and form of the event. Illustration and theatricalization as methods of dramatic organization of the material, having a different nature and specific features, are united in one thing - they are designed to activate the viewer to a greater or lesser extent, to create the necessary conditions for his participation in the event.

9. The originality of the director's idea of ​​theatrical performances as the basis for literary and dramatic work on the script. The originality of the director's idea of ​​theatrical performances as the basis for literary and dramatic work on the script. Whatever scenario is to be written, work on it begins with the formation of an idea. The idea of ​​the scenario - the process of its formation can be conditionally divided into three stages.

First step. The definition of the theme, in the most general form (defines the holiday calendar). Definition - type of theatrical performance. Whether it will be a theatrical concert, a variety show or a themed evening, because the form of the celebration is determined by the festive traditions or the wishes of the customer. And, finally, the venue (stage of the palace of culture or: city square, banquet hall or forest glade) and future participants - spectators. It is not so little that the screenwriter's fantasy is included in the work.

Second phase. Concretization of the main elements of the plan. Creation of a scenario plan. A correctly and accurately named theme, like a compass, outlines the circle of material that the screenwriter needs to study. It is necessary to determine the subject of the image in a holiday, for example, International Women's Day. Let's put it this way: the life of the women of our city, and we will not be able to cope with the abundance of material, but as soon as we confine ourselves to a story about craftswomen who know the secrets of traditional Russian crafts (embroidery, lace-making, etc.), the idea will begin to take on visible outlines. Everything becomes clear: what kind of literature to study, and who will become a real hero, and what art groups will take part in the holiday. There are two ways to deploy a theme. Diachronic.] (from Greek dia - through, through and chronos - time) and synchronous / (Greek syn - together and chronos - time). Specifying the topic, the screenwriter, as a rule, is faced with a certain social and moral problem (from the Greek problema - task) - a contradiction that at the moment, under the given circumstances, is unresolvable. And any contradiction involves at least two points of view. And these points of view are nothing but the basis of the future dramatic conflict (from Latin conflictus - clash).

Dramaturgical conflict- this is a clash of actors in the implementation of their vital tasks. The author of the idea takes a certain side in the conflict. He makes some moral judgment about the subject of the image. And this judgment is usually called the idea (Greek idea - concept, representation) of the scenario. As already noted, within the framework of one holiday, not only fragments of all types of arts from music to painting, from choreography to architecture, but also a document in various forms, from a performance of a real hero to newsreels, can be present. A combination of fiction, documentary and real, say, planting trees, a parade of equipment, etc. - the main feature of the dramaturgy of the festive action. Varied, multi-genre, multi-style material requires a certain way of combining, so the most important element of the plan is the scenario move. This is a technique that, on the basis of some constructive principle, organizes the material and gives it semantic and artistic integrity. The scenario in the imagination of the writer will begin to emerge only with the appearance of expressive means in each of the planned episodes. The second stage of developing the idea of ​​​​the scenario ends with drawing up a plan. The scenario plan is a list of episodes with a brief description of their content, the definition of the main expressive means in the semantic and artistic context of the scenario. Third stage. Final design of the idea. Adjustment of the idea in the process of its implementation.

10. Installation and its main functions. Installation and its main functions. Editing is the main creative method of the director of mass spectacles. Montage is an artistic method of organizing material. The term came from cinematography, Vs. Pudovkin. Systematized by Esenstein (graph). According to the way the material is organized, it can be sequential and parallel.

FEDERAL AGENCY FOR CULTURE AND CINEMATOGRAPHY

OREL STATE INSTITUTE OF ARTS AND CULTURE

Department of directing theatrical performances

SI. Gavdis

BASICS OF SCREENWORK

Tutorial

for students of specialty 070209

"Director of theatrical performances and holidays"

Recommended by the Educational and Methodological Association of Higher Educational Institutions of the Russian Federation for Education in the Field of Folk Art Culture, Social and Cultural Activities and Information Resources as a teaching aid for students of higher educational institutions studying in the specialty 070209 - Directing theatrical performances and holidays. Discipline OPD.F.05.01 - Theory of drama and the basics of screenwriting

BBK 85.34 UDC 793 G 123

Reviewers:

Zharkov A. D., Doctor of Pedagogical Sciences, Professor, Dean of the Faculty of Theatre, Film and Television of MGUKI;

Markov OI, Honored Art Worker of Ingushetia, Doctor of Pedagogical Sciences, Professor, Dean of the Faculty of Theatrical Arts, Head of the Department of Stage Direction of KGUKI;

Sklyar I. G., Honored Art Worker of the Komi Republic, Candidate of Philosophical Sciences, Associate Professor, Artistic Director of MGUKI

Yakunina V.P., candidate of pedagogical sciences, professor of the department social work and Psgaological and Pedagogical Sciences OGIIK

Gavdis SI. Screenwriting basics. Textbook for students of the specialty 070209 "Direction of theatrical performances and holidays." - Eagle: OGIIK, Printing company "Kartush", 2005. - 242 p.

ISBN 5-9708-0019-8

The manual was developed on the basis of the educational program 070209 "Director of theatrical performances and holidays" in accordance with the content of the discipline "Drama theory and the basics of screenwriting".

The textbook is devoted to one of the urgent problems of screenwriting - the patterns of the creative process of working on the script of theatrical performance and holiday. The manual examines the features of scriptwriting, identifies varieties of holiday programs, reveals the general and specific features of the dramaturgy of the mass theater. The author, using specific examples, not only analyzes theoretical approaches to dramaturgy, but also "live" scenario practice.

The manual is intended for students of universities of arts and culture of the specialty 070209 "Direction of theatrical performances and holidays", practitioners in the field of organizing and staging mass actions, as well as for everyone involved and interested in scriptwriting.

ISBN 5-9708-0019-8

Having received another order for the artistic organization of any festive event: the New Year or St. Valentine's Day, the anniversary of a famous person or team, the birthday day or the Russian Maslenitsa holiday, a wedding celebration or the birth of a child, a street or city holiday, the opening of an art exhibition or a shopping center, professional holiday or company presentation, every time, despite many years of experience in organizing and holding various kinds of events, some kind of incomprehensible state of mind arises. On the one hand, this is a joyful excitement, the expectation of something unusual, a premonition of some kind of discovery, on the other hand, a feeling of anxiety, responsibility, awareness of the importance of the work being done, but there is always a desire to predict what will happen this time? I would like to quickly open that mysterious door behind which your future brainchild is still hiding. But finding the key to this magical door is not so easy. This will require a lot of energy, creative experiences, a pile of books read, magazines, studied documents, revised photographs; new acquaintances and communication with previously unknown people who during this time will become good friends and acquaintances. How many human stories will have to be heard and experienced, how many new and interesting things will be revealed during the period of work on the script! And how much “you” is needed for all this to become close and dear, the only thing that will help you express that innermost thing that has long matured and asks to come out, something that you cannot but tell people about.

The creative process of working on the scenario of a theatrical performance is complex and requires dedication from the screenwriter. Even having studied the “technology” of creating a screenplay, we cannot consider ourselves screenwriters, since it is impossible to teach how to write screenplays if there is no talent, no talent, and if they are available, it is also impossible to hope for “maybe”, since “only as a result of labor can and develop the natural abilities of a person, only labor (practice) can develop and accumulate the effective power of inspiration, reveal future prospects for creative work” (82).

At the same time, today we can, unfortunately, observe that almost everyone who is more or less educated “writes” scripts, discrediting both the profession and the art form itself. Hence, in our opinion, the attitude towards screenwriters-directors is, one might say, dismissive and low-paid work. Here, you don’t need to load wagons or count numbers, you don’t need strength, knowledge of higher mathematics is not required: I compiled a sequence of numbers, came up with a text for the hosts of the festive event, added speeches by respected people to them - and the script is ready. Then he picked up the right music - and the matter, as they say, is "in the bag." This is how events are often held for show, in which there can be no talk of any dramaturgy, or any imagery. However, such “stage directors” do not undertake to stage a theatrical performance based on a playwright’s play (although this can be observed, but less often), since they understand that only a professional director can do it. At the same time, preparing a theatrical performance or any other theatrical mass action is allegedly a simple matter for them, despite the fact that not every theater director undertakes to do this, especially in an unconventional stage setting.

And sometimes you can observe another picture, when, when placing an order for the next script, almost every manager considers it necessary to indicate to the screenwriter how he should perform the upcoming work, his professional duties. And here we do not mean the wishes expressed by the customer (for example: about maintaining established traditions in the team; about what moments in the activities of a particular team should be highlighted during the event; who should be told about; who should be praised, etc.) , namely instructions as it should be. And more often all this should be the same as last year and 10, 20, or even 50 years ago, or as it was with a neighbor. Therefore, monotonous events are held according to someone long established scheme: the high authorities perform, then there is an award, and then a concert. Sometimes I want to say to such customers: “If you know how it should be organized, why are you inviting a screenwriter, director? Do it yourself and don't turn the directors into some kind of "brave fellows" who will only follow your instructions without using their creative potential and professional skills.

The creation and holding of a mass theatrical performance that requires its own drama, created on specific material, for a specific audience and often for an unconventional stage, is a complex matter.

So, what qualities should a screenwriter-director have (usually he acts in these roles in one person)? First of all, he must be a well-mannered, socially active person. To be a Personality, to be a Citizen of one's country, to have one's own view of the world, one's own beliefs, one's own opinion, to be bold, active, assertive in striving to achieve the goal. A person who is indifferent to life, to the surrounding reality, to the problems that require resolution today, indifferent to the people among whom he lives, to friends, relatives, loved ones, to our smaller brothers, has no place in our profession. Intelligence, culture, along with high moral qualities, should characterize the personality of the screenwriter. And, of course, one cannot do here without creative thinking, imagination, fantasy, curiosity, the ability to see what others will pass by, to discern in it what will help transform this world, make it better, more perfect - without these qualities there can be no screenwriter. And most importantly - you need to love, respect the one for whom you create your action, holiday, performance. Wishing people goodness, peace, prosperity, leading them through the created creative works, forcing them to empathize with others, rejoice and grieve, think and analyze, actively participate in traditional ceremonial, game and other activities, not forgetting that you are responsible for them. Remember the words of Antoine de Saint-Exupery, who wrote in his story "The Little Prince": "You are responsible for those whom you have tamed." So every director of theatrical performances and holidays is responsible for his audience, his viewer, participant in the festive action, for his spiritual world, for his mood, desires and thoughts.

The nature of the artistic and creative activity of future graduates of the specialty "Direction of theatrical performances and holidays" makes high demands on their professional training - knowledge, skills, abilities, general outlook, level of culture.

A highly qualified specialist should be able to influence the solution of important problems of our time with his creativity, know exactly what he wants to say to the audience, be deeply convinced of what he stands for, be able to keep up with the times, feeling its rhythm and character.

The starting point of the director's creativity is the creation of a script, all parts of which must be subject to the law of through action, and at the same time, each part must have its own complete thought and internal development. Only under the condition of accurate selection and skillful organization of diverse scenario material will the screenwriter be able to create a vivid theatrical performance and give it aesthetic and pedagogical value.

The creative process of working on a script involves not only mastering the "technology" of creating scripts, but also requires the general and professional development of the student's personality, capable of expressing his civic position.

Logical and artistic thinking, feelings of harmony, proportionality, integrity in the perception of works of art, the surrounding reality, citizenship, mastery of the montage method of creating a dynamic structure of theatrical performances - this is the foundation on which the scriptwriter's skill is based.

In this manual, we draw the attention of future directors of theatrical performances and holidays to the features of scriptwriting, identify the varieties of modern holiday programs and their main characteristics, consider the script as a kind of dramaturgy, reveal the general and specific features of the dramaturgy of theatrical performances and holidays. We reveal the secrets of creating the artistic concept of famous works of literature and art, we trace the stages of the creative process in creating scripts for theatrical performances.

Working on the manual, we relied on the experience and work of well-known talented writers, artists, researchers, theatrical figures, directors and scriptwriters of theatrical performances and holidays.

So, the author reveals the main characteristics of the essence of dramaturgy as the basis of the performing arts, referring to the studies of Abramovich G.L., Alya D.N., Volkenstein V.I., Zakhava B.E., Ershov P.M., Mitta A., Osovtsev SM ., Polamisheva A.M., Polyakova M.Ya., Tovstonogova G.A.

A significant role in understanding and revealing the specific features of the art of theatrical performances and holidays was played by the works of Genkin D.M., Konovich A.A., Orlov O.L., Petrov B.N., Silin A.D., Tikhomirov D.V. , Triadsky V.A., Tumanova I.M., Sharoeva I.G.

The works of Borev Yu.B., Novikov V.I., Paperny Z.S., Shklovsky E.A., Shorokhov E.V. helped the author to trace the patterns of the creative process.

The works of Al D.N., Vershkovsky E.V., Zharkov D.M., Litvintseva G.D., Sarukhanov V.A., Chechetin A.I.

A special role in the preparation of this manual was played by the works of the Doctor of Pedagogical Sciences, Professor Markov O.I. The methodology he created for working on the script formed the basis of the author's analysis of the stages of the creative process of creating scripts for theatrical performances and holidays.

Working on the manual, the author relied on his own many years of experience at the university as a teacher of "Screenwriting" and "Direction of theatrical performances and holidays", personal creative practice in creating scripts, organizing and holding various theatrical performances and holidays in the institute, city and region on various stages.

In this manual, the author systematized the collected and studied material and sought in a fairly clear, accessible form to consider the features of screenwriting, general and special features of screenplay dramaturgy and consistently trace the creative process of creating scenarios for theatrical performances.

We hope that this manual will help students - future directors of theatrical performances and holidays - to comprehend all the complexities of scriptwriting, which is an important part of their professional activities.

Chapter 1

A screenwriter can create a high-quality scenario for a theatrical performance or a holiday only if there is a scenario culture, the process of formation of which is considered in detail in his manual by O.I. Markov. Scenario culture as an artistic and pedagogical phenomenon is “a complex of special theoretical knowledge and practical skills of an integration nature necessary for the professional and artistic regulation of educational processes in society” (38, 17). Thus, the script culture of directors of theatrical performances and holidays is based on a complex of professional characteristics of the director’s personality, due to “the specifics of script and director’s creativity, historically formed under the influence of the integration of trends in the art system” (38, 14).

1. Features of screenwriting

However, what is art? What is its essence and purpose? Based on the interpretation of this concept by such well-known thinkers as Aristotle, Hegel, Belinsky, Chernyshevsky and others, art is, first of all, a special form of knowledge, understanding, evaluation and interpretation of the surrounding world. According to this interpretation, the main meaning of art is the reproduction of certain aspects of the reality around us in order to better understand them in order to comprehend the truth. The main difference between art and other areas of social cognition and activity is that it "satisfies the universal human need - the perception of the surrounding reality in the developed forms of human sensibility" (81, 118).

L.I. Novikova, comparing art with other types of aesthetic practice, came to the conclusion that the meaning of art consists, first of all, “in the knowledge, interpretation and aesthetic assessment of reality through its artistic and imaginative reproduction, in the development of aesthetic needs and abilities on this basis. Therefore, as a product of art, a work of art has an independent ideological and artistic value” (43, 14). Thus, we see that the process of creativity, on the one hand, is directly dependent on social reality, the violation of the laws of which leads to irreparable losses. On the other hand, at the heart of this process is the subject - the artist, carrying out a subjective search.

Therefore, art, as G.A. Tovstonogov is an endless process and always searching, moving. Creating another work of art for an artist, screenwriter, director is always the discovery of something new, still unknown, which surprises and excites not only the artist himself, but also those for whom it is intended, which makes you think, reflect, draw conclusions. Art is creativity, and creativity is always a mystery that exists, but which no one can unravel, since this is a purely personal, individual process.

However, L.A. Dmitriev in his book "Secrets of Creativity" outlined all the laws of dramatic creativity in one phrase:

“To write a full-fledged dramatic work, you need a fresh theme, a great idea, an original idea, intense conflict, a clear plot, a sharp plot, vivid characters, capacious dialogue, purity of genre, accurate composition, an author's credo and artistic image.” And this is beyond doubt. However, these tasks are not easy to solve. According to the doctor of philology, professor of RATI, academician and one of the founders of the Independent Academy of Aesthetics and Liberal Arts Mark Yakovlevich Polyakov, “a work of art is a complex aesthetic formation, consisting of three main planes: 1) a certain material system (sounds, words, colors, in depending on the type of art); 2) the complex content (semantic) field implemented by this system; 3) an ideological-emotional system (i.e., a chain of ideas that generate a certain overtext “model of life”)” (50, 62). And all these three main layers of aesthetic information, in his opinion, create the unity of the objective and the subjective, merging into the organic integrity of a particular work of art. In art theory, the creative process is divided into three stages:

cognition and creative processing of impressions and knowledge of reality;

the emergence of an artistic concept;

realization of the idea, its embodiment in a work of art;

All these stages make up the creative process of creating scenarios for various theatrical performances and mass holidays, since scenario creativity, like the creativity of an artist of any direction, is a specific type of artistic thinking.

The artistic type of thinking is determined by the following qualities:

worldview, worldview, worldview;

artistic ability;

natural talent with its sensual and aesthetic perception of the world.

To be a creative person means to have certain spiritual data, special, emotional susceptibility, observation, imagination, fantasy. A true artist differs from other people, first of all, by the ability to see. To see what others do not notice, to be able to take out the most essential from each situation, its grain, its atmosphere. “Not all people are attentive to color, although everything around us has color; not everyone is attentive to sound, although everyone is surrounded by sounds; not everyone is attentive to the word, although everyone uses it; not everyone is interested in action, although there are no idle people. For the consumer, the "material of art" in itself does not represent any price - that's why it is the material. He is appreciated and studied by a specialist, because he needs him - from him he creates something that can be appreciated by others ”(27, 287). A true artist perceives and evaluates the world around him in his own way, sees a universal meaning in private phenomena. So, according to R. Gamzatov, “the flood sleeps in one drop of rain”, according to O. Khayyam - “the whole harvest is in the grain”, according to the motto at the Shakespearean theater “Globe” - “the whole world plays a comedy ...” Such an ability to see due to the corresponding need and proper armament, and the single embryo of both is called abilities, talent, talent ”(27,550), states P.M. Ershov in his book The Art of Interpretation, discussing directorial creativity.

At the same time, the possibility of realizing a talent is determined only by labor, since abilities that are not multiplied by labor are fruitless. And only labor gives social value to any natural talent. Therefore, one should not rely on the proverb that says that poets are born. It is only partly true, since a person who was born a poet still has to become one. And this is unthinkable without hard everyday work. Therefore, the future screenwriter needs to cultivate in himself the need for constant work on himself. And only when reading, observing, analyzing, composing becomes for him a common occupation, a vital necessity, and the consciousness and heart will every minute rejoice in what he has learned, seen and invented by him, the result will not be long in coming. At the same time, it must be remembered that a work of art is a complex aesthetic ideological and artistic phenomenon. And to understand that we have before us a work of art means, first of all, to understand and feel that it can only be the way it is: both as a whole and in each of its particles.

Considering the drama in the system of artistic communication, a member of the Union of Writers and the Union of Theater Workers M.Ya. Polyakov says that “the system of relationships between a work of art and reality is motivated by the subjective position of the writer and the internal laws of artistic creation. ... A work as a kind of ideological and artistic complex, as a message realized through linguistic material, firstly, covers certain phenomena of reality (objective moment) and, secondly, expresses the attitude of the writer towards it (subjective moment) ”(50 , 61). Therefore, speaking about the art of the theater, K.S. Stanislavsky, argued that the theater, reflecting life, does not mechanically copy it, but gives an artistic synthesis of life processes and phenomena. However, for this to happen, “the artist must have his own position, his own point of view, but always socially significant, philosophical, ethical, aesthetic, the depth of which is born from his ideological nature. Therefore, it is necessary to see the world from the height of the socio-ethical ideal. This is the height from which the artist looks at the phenomena of reality. The more significant this ideal, the greater the universal significance of the artist's work" (54, 59).

Thus, we see that a true artist must have moral health and a responsive heart, since true art arises only on a solid foundation of moral ethical convictions and values. Its goal is the affirmation of goodness, the affirmation of humanism. At one time, Leo Tolstoy wrote: “People who are little sensitive to art think that a work of art is one whole, because everything is built on the same plot or the life of one person is described. It's not fair. It only seems so to a superficial observer: the cement that binds every work of art into a single whole and therefore produces the illusion of a reflection of life is not a unity of persons and positions, but the unity of the author’s original moral attitude to the subject” (67, 18).

Continuing the thought of Leo Nikolayevich Tolstoy, Mark Yakovlevich Polyakov argues that the meaning of a work of art is in relation to the author's attitude to the phenomena of reality he depicts. And he proves this idea on the example of M. Bulgakov's play "Running", where we find not only the image of the course of specific events, the personal destinies of the characters, but also a special understanding of what lies beyond the specific situations of the drama. “At the heart of the ideological and emotional substructure of the drama is a grandiose metaphor” (50, 60).

Thus, in art, the moral principles of a creative person are inseparable from professional skill. I.S. Turgenev, in a letter to L.N. Tolstoy wrote: “Every person should, without ceasing to be a person, be a specialist; specialism excludes dilettantism... and to be an amateur means to be powerless.”

Konstantin Sergeevich Stanislavsky did not recognize the professional education of an artist outside of his ethical education. Therefore, the soul of his "system" is the doctrine of artistic ethics. Much attention was paid to ethics in the work of the actor and director by A.D. Popov. For him, ethics acquires the meaning of "the most necessary hygiene of the creative process." In this regard, the goal of modern theater pedagogy is "the education of an artist, for whom art is not only a profession and skill, but also his civic service, his moral duty" (54, 54).

Therefore, to be a screenwriter means to be not just a creative person, but to be an artist-citizen who has clearly defined for himself the super-super-task of his work, which includes both a life goal, and a worldview, and a spiritual content, and an understanding of his social mission. It is the super-super-task of the screenwriter that will help the author to go beyond the limits of sensual and intuitive creativity and will require its comprehension from philosophical and civic positions, and will also determine the light of the idea that will manifest itself in the scenario and director's plan of the festive action being developed. It is necessary to strive so that the scenario of a theatrical performance, like the artistic fabric of any work of art, is an integrity, similar to a living organism. However, this requires not just “technique”, but, if I may say so, the “whole” artist is needed. And here it is appropriate to recall the statement of the great director and teacher Konstantin Sergeevich Stanislavsky: “Every step, every movement during creativity must be animated and justified by our feeling. Everything that is not experienced ... remains dead ”(59, 259). Here, for example, is what Ya.I. Polonsky about what it means to bring the form of a lyric poem to its possible grace: “This, believe me, is nothing more than finishing and bringing to the grace possible in human nature one’s own, this or that, feeling ... To work on a verse for a poet is the same as working on your soul.

The creation of a work of art includes not only work on understanding the environment and own life author, work on the construction of the work, but also work on “his soul”, And when for the artist these are not three different types of activity, but a single creative process, then the life contained inside the created work, like a small universe, will reflect and manifest in itself the universe, the fullness of human life, the whole integrity of being. Such a work becomes “an irreplaceable form of familiarization with this big world education of true humanity, the formation of an integral, comprehensively developed personality” (79).

All this can be safely attributed to the work of the scriptwriter of theatrical performances and holidays, the end product of whose creative activity is the creation of such a dramaturgy of the festive action, which at the time of its stage embodiment will create a special artistic world of the celebrated event. A world that is close and interesting to a specific audience, creating all the conditions for its easy communication. The world of a unique creative atmosphere, involving all those gathered in what is happening, turning the audience into active participants in the festive action. A world that causes a deep emotional impression associated with a specific festive event. A world that incorporates an artistically organized, pedagogically programmed mass action, which is a special, extremely complex phenomenon of art.

Thus, scriptwriting, in addition to special natural data, requires the screenwriter to have intelligence, high culture, life experience, developed imagination, mastery of the complex art of composition, and the ability to think in images. And, most importantly, the ability to subordinate all parts of the stage work to a single ideological and artistic solution, which arose in accordance with the author's vision of the problem raised and is consistent with a certain unity in his soul, in the people around him, in the world.

However, for this to happen, in order for the creative process of creating scripts for theatrical performances to have a qualitative result, it is necessary to know the laws of artistic creativity, to understand the features and requirements for the dramaturgy of theatrical performances. The writer must first of all:

study the laws of classical dramaturgy;

identify the varieties and features of the dramaturgy of theatrical performances and holidays;

to study the types and nature of the scenario material and means of expression of different genre theatrical performances;

learn the "technology" of working on scenarios;

be able to find and formulate a topic, identify a problem, determine the most important task and the author's concept of the future scenario of a theatrical performance;

to know the essence and stages of creating a scenario and director's idea of ​​a theatrical performance;

understand the essence of the script and director's move;

know the principles of screenwriting selection;

understand the principles of building a conflict in the scenarios of theatrical performances and holidays;

master the laws of composition;

learn and master the techniques of editing episodes;

master the techniques of dramatization of documentary, local material;

be able to organically introduce artistic material into the fabric of the future script;

learn to subordinate the meaning and purpose of a particular issue to the super-task of the entire scenario as a whole;

comprehend the principles of the correlation of numbers of various genres with scenes from dramatic or musical performances;

to learn how to assemble a single whole from disparate pieces of scenario material, combining sometimes incompatible, pushing different, sometimes opposite, phenomena;

to learn to think not only as a smoothly developing continuous action, but also as a sequence of separate, independent pieces, numbers, adding up, combining them into a single dynamically developing assembly structure;

learn to find a vivid form of expression for a documentary fact, a historical event;

learn to express your thoughts in a bright and clear visual way;

Be able to make a literary record of the script, etc. At the same time, to fully comprehend the creative process of creating

scripts for theatrical performances and holidays, in our opinion, is possible only through personal trial and error in the course of an independent creative process of working on scripts for various theatrical programs. And despite the fact that this process will always take place in different ways, each time the screenwriter will discover some new truths and acquire a certain skill in the specific stages and nuances of this complex, mysterious and at the same time interesting business. Formation, improvement of the screenwriter occurs with each creative process.

And if you are trying to master the art of theatrical performances and holidays, then master it to the end.

Questions for self-examination;

What is the essence and purpose of art?

name personal qualities defining artistic type of thinking.

List the main steps in the creative process.

What are the characteristics of screenwriting?

List the requirements for a work of art.

What knowledge, skills and abilities should a screenwriter have?

What are the main components of the scenario culture of the director of theatrical performances and holidays.

Literature:

Vershkovsky E.V. Directing mass club performances. -L.: LGIK, 1977.

Genkin D.M. Theatrical forms of mass work of the club. -L.: LGIK, 1972.

Litvintseva G.D. Screenwriting skill. Method, a guide for editors and methodologists of the NMC. - M.: VNMTsNT and KPR im. Krupskaya, 1989.

Markov I.O. Scenario culture of directors of theatrical performances and holidays. Textbook for teachers, graduate students and students of universities of culture and arts. - Krasnodar: Ed. KSU-KI, 2004. - 408 p.

Sklyar I.G. Aesthetics of the stage creativity of the actor: Monograph. - M.: MGUKI, 2004. - 101s.

Chechetin A.I. The art of theatrical performances. - M., 1988.

Creative people with organizational skills can realize themselves in the profession of "Director of theatrical performances and holidays." To become sought-after specialists, students learn the basics of directing, acting, stage speech and movement, the rules for using light and music during a performance. In addition to practical knowledge during their studies, they provide knowledge on the history and theory of the theater, performances, mass holidays. As a result, graduates can create scripts for various shows and performances. At the same time, in order to achieve the desired effect and involve the viewer as much as possible in what is happening, it is necessary to take into account not only the goal and the cast, but also the working conditions. For example, outdoor, indoor and studio productions are fundamentally different and require different methods and approaches to implement the same idea. At the same time, the director must be able to organize the work of not only his own team, but also to establish interaction with people responsible for lighting, sound, costumes, etc. *

* Kit academic disciplines and learning bias