Theatricalization as a method of leisure activities. Methodological work "theatricalization as a director's method of mass performance and celebration
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Theatricalization as a creative method
theatrical mass celebration
First, let's define the concept of "theatricalization". In dictionary theatrical terms we find: "Theatricalization is the introduction of elements of dramatic action into any work." According to A.A. Konovich "theatricalization is the organization within the framework of the holiday of material (documentary and artistic) and the audience (verbal, physical and artistic activation) according to the laws of drama on the basis of a specific eventfulness that gives rise to the psychological need of the collective community in the implementation of the festive situation."
The term "theatrical" is applicable to a concert, holiday, performance, ceremony, competitive game program. If a theatrical performance or a concert is, first of all, a spectacle that takes place on a particular stage that does not require the direct participation of the audience in it, 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.
Theatricalization of a real festive action acts as its organization according to the laws of the theater. This is not an illustration of certain facts, documents, thoughts and ideas with excerpts from performances, songs, dances, poems, film fragments, but a synthesis of fiction and reality, giving rise to a new, unique documentary and artistic action. Theatricalization of vital material helps to activate, involve the viewer in action, promotes purposeful perception.
To dramatize material means to express its content by means of the theater, i.e. use two laws of theater:
1. Organization of stage action (visible disclosure of a dramatic conflict). The development of the action occurs along a through line.
2. Creation of an artistic image of a performance, performance.
Director's theatricalization is a creative way of bringing the script to an artistic figurative form of presentation, through a system of visual, expressive and allegorical means (Vershkovsky).
Features of theatrical performance
1. The scenario of a theatrical performance is always based on documentary material.
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. A theatrical performance is distinguished by a variety of forms, spatial and stylistic.
Mass action always gravitates towards theatricalization. In it, the ideas that have a beneficial effect on society are really enclosed in an artistic form, i.e. first of all, they act not by reasoning, but by a living demonstration of life in images. The figurative solution of the theme is the essence of theatricalization. Enriching the mass holiday with figurativeness, theatricalization helps each participant to form associations that are close to his own life impressions, his experience, his attitude, and thereby activates, causes the need for action. The director of a mass holiday is always a psychologist and teacher, who primarily solves the problem of activating its participants, organizing not a performance, but a mass action in which artistic imagery acts as an effective incentive.
In theatricalization, as in a special kind of art, the most important component - the mass performance - the spectator, the collective hero, comes to the fore. He longs for such a mass action that would make him, associatively restoring in memory the facts and events of his own life, to be a participant in the performance, to be included in it.
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 script laws.
Types of theatricalization
1. Theatricalization of a compiled or combined type - thematic selection and use of ready-made artistic images and various types of art and their connection with each other by a screenplay and director's technique or move.
The compiled method is used in theatrical concerts, performances, etc. The main task of the screenwriter in working with this method is to determine the script and semantic core of the entire program as a whole, episode or block, the compositional alignment of the entire script as a whole, the editing of the episode and block, and the entire script as a whole. When using this type of theatricalization, it is important for the director to remember the main law of artistic expediency, which requires the justification of the appearance of the performance, its genre correspondence to the theme.
2. Theatricalization of the original type - the creation by the director of new artistic images, according to the script and director's intent. It is used to create scripts of the documentary genre, which are based on the dramatization of the document. The documentary series gives a modern journalistic sound, if the fact is of public value. Basic requirements: topicality and relevance. Here, a synthesis of documentary and artistic materials is created not only in the thematic selection of material, but also in an organic fusion according to the main principle of the emotional development of thought and the creation of a scenario-semantic core for each episode and the scenario as a whole. The synthesis of the documentary and the artistic should consist not only in the thematic selection of material, but also in their organic fusion according to the most important principle - the emotional development of thought.
This is a more complex form of creating a script, requiring organizational experience, the ability to select and mount finished material and finding a way for ready-made numbers, but also professional skill, the director's ability to stage a new number, according to the scenario plan, to organically combine artistic and documentary material into episodes. This is the most difficult type of theatricalization.
A staged document, a staged verse, a staged song - these are the main components of creating an artistic image of an episode.
3. Theatricalization of a mixed type - the use of the first and second types. Includes compiling the finished and creating a new one. It is built on the principle of thematic selection and bringing them into a composition with the help of a screenwriting and director's move and bringing into this basis its author's original vision and solution. Theatricalization of a mixed type opens up great opportunities for the development of the director-organizer's imaginative thinking.
Theatrical language
The leading expressive means that create a special language of theatricalization are the symbol, allegory and metaphor, with the help of which the director creates a full-blooded and multifaceted world of aesthetic values in mass performances.
Creating a mass performance, the director should strive to stimulate the imagination of actors and spectators with enlarged stage symbols that most fully reflect the essence of theatricalization.
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.
Metaphor is a very important means of emotional influence in directing. The construction of a metaphor is based on the principle of comparing an object with some other object on the basis of a common feature for them.
In colloquial language, we almost do not notice the use of metaphors, they have become habitual in communication (“life has passed by”, “time flies”). Metaphor is active in artistic creation. She promotes creative imagination, leads him through figurative thinking. For the director, the metaphor is valuable because it is used precisely as a means of constructing stage images.
The range of use of metaphor in performances is huge: from the external design to the figurative sound of the entire performance. Even more important is the metaphor for the direction of the mass theater as a theater of large social generalizations, dealing with artistic comprehension and design of everyday real life. It is a metaphor that can give a real fact an aspect of artistic comprehension, interpretation, and can help to recognize a real hero.
Use of a symbol, metaphor, allegory, etc. in theatricalization, this is an urgent need, born in the process of solving new tasks by the director, but at the same time it is just a technique, and any technique is good when it is not noticed. The spectator should perceive not the technique, not the form, but through the technique and the form - to understand the content and, perceiving it, should not at all notice the means that convey this content to his consciousness. It must be remembered that all means of allegory in directing must be inextricably linked with the life experience of his real audience, conditioned by this experience. Only the artist who lives the same life with his people, without breaking away from them, is capable of moving art forward. This is the basic principle of selecting allegorical expressive means for the director.
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MUNICIPAL STATE INSTITUTION
ADDITIONAL EDUCATION
"BERESLAV SCHOOL OF ARTS"
METHODOLOGICAL WORK
TOPIC
"Theatricalization as a director's method of mass performance and celebration"
I've done the work:
Theater teacher
Zaikin Sergey Igorevich
VOLGOGRAD, 2017
TABLE OF CONTENTS
INTRODUCTION……………………………………………………………...
CHAPTER 1. THEATERIZATION AND ILLUSTRATION IN THE THEATERIZATION SCENARIO……………………
Essence of theatricalization…………………………………………
Documents and facts in dramaturgy of theatrical performance………………………………………………….…
Dramaturgy of theatrical performance………………
Theatricalization in sports and art festivals…
CHAPTER 2
2.1. Game form as an element of theatrical performance………………………………………………………….
2.2. Activation of the audience, the director's work with a real hero
CONCLUSION………………………………………………………
INTRODUCTION
IN modern conditions the work of institutions engaged in the organization of leisure and raising the cultural level of various social groups is diverse. From the history of holding mass events, an idea is formed, and knowledge about their features is formed. The holiday has become an integral part of our life, a natural social phenomenon. The great founders of the Art Theater K. S. Stanislavsky and V. I. Nemirovich-Danchenko said more than once that the new era requires monumental forms, an increase in the scale of festivities. Mass performances and theatrical thematic concerts have become an integral part of them. In the life of every country, every nation there are special dates that make you think, remember the past, which are connected with plans and dreams for the future. In order to get in touch with what is very expensive and joyful, there is not enough one desire and emotional impulse; there is another desire - for the artistic design of the holiday, for the creation of a vivid figurative form. Documentation is an integral part in staging a theatrical performance and a holiday. This also expresses the state of people, the manifestation of the mood that leads to the streets and squares on holidays.
This is where the need arises for a director, screenwriter and artist who would be able to combine all the actions of people, their aesthetic needs into large, bright mass holidays, and arrange them in a highly artistic way. Mankind has always sought to express its feelings in various forms of art, to respond to events taking place in the world.
In the disclosed topic: "Theatricalization as a creative method" of the director of theatrical performances and holidays" on the subject of theoretical aspects and specific features of directing theatrical performances and holidays, all concepts and descriptions are interconnected and each of them plays an important role in staging a mass performance. Modern directors do not always understand the importance of revealing a stage action in a theatrical form. And basically they try to hide all theatrical approaches with videos and stage pictures. Not using the word and action in one incarnation. In this work, we will learn about this method, using the works of directors and theorists of classical direction.
On the last sheet term paper in the list of references, I will list all the books that I have viewed that are somehow related to theatrical performances. Here, in the introduction, I want to note the most appropriate and used source of information:
Chechetin A. I. Fundamentals of dramaturgy of theatrical performances: History and theory. A textbook for students of cultural institutions. --- M.: 1 Enlightenment, 1981. - 192 p.
A.A. Kanovich, Theatrical Feasts and Ceremonies in the USSR. M. Higher School, 1990. I.M. Tumanov "Direction of a mass holiday and a theatrical concert, M. 1976
In research and analysis given topic define the following:
Theoretical tasks
A) Let us analyze the genesis of theatricalization of mass performances and holidays andsports and artistic performances;
B) To study and find out the meaning of theatricalization in a theatrical performance and a mass holiday,the nature of his dramaturgy, and documentary;
C) Determining the boundaries of the perception of illustration and theatricalization in a theatrical performance and a holiday.
Object of study.
The object of study is theatricalization.
Subject of study
Theatricalization as a director's method of mass performance and celebration.
Research hypothesis
The process of working onscript and staging of theatrical performance and holiday
Research methods
A) Theoretical analysis of the literature
B) Study of definitions of theatricalization.
C) Historical excursion into the use of theatricalization in theatrical performance and mass celebration.
Relevance
The relevance of this topic lies in the fact thatToday, mass performances, open-air performances, theatrical concerts and spectacles have firmly entered our everyday life, have become an integral part of the Russian holiday, which always provides for a diverse set of political, cultural and artistic activities. The idea and essence of theatricalization is an aesthetic understanding of real events, in which these events are embodied in a vivid figurative form containing their artistic interpretation. Directing theatrical mass spectacles involves the ability to organize and stage the action, which must be expressed in a vivid theatrical form that reveals the main stage idea.
Literature review
Many famous directors wrote about theatricalization. For example, I.M. Tumanov believed: “The art of mass holidays is a huge force, and it must be treated with a sense of high responsibility. Among different types Theatrical art in mass forms, successes and failures are multiplied hundreds of times. Every director understands that if in the theater after the premiere he once again returns to work on the performance, then the mass action will come to life one day, and at the same time it should leave a deep and emotional vivid impression. And for this you need to know what theatricalization is and how to apply it.” (l.l) L. Chechetin wrote “The concept of “theatricalization” is quite broad and at the same time quite definite. Theatricalization has always presupposed and presupposes the possibility of presenting this or that idea in a figurative, artistic form and only by theatrical means, in the theatrical structure. (1.2) D.M. Genkin considered theatricalization as a dramatic organization of documentary material.
Theatricalization of a real festive action acts as its organization according to the laws of the theater. This is not an illustration of certain facts, documents, thoughts and ideas with excerpts from performances, songs, dances, poems, film fragments, as some cultural and educational workers sometimes understand theatricalization, namely, the synthesis of fiction and reality, giving rise to a new, unique documentary and artistic action, the pedagogical significance of which was emphasized by A. V. Lunacharsky, who argued that theatricalization of life material “is possible and applicable in work among adults precisely in a certain “pedagogical sense”, since it helps to activate, involve the viewer in action, promotes purposeful perception.”(Lunacharsky A.V. Art and youth. M., 1929, p. 10.)
CHAPTER 1. THEATERIZATION ILLUSTRATION IN THE THEATERIZATION SCENARIO.
1.1 Essence of theatricalization
The concept of "theatricalization" is quite broad. Theatricalization always implies the possibility of presenting an idea in a figurative artistic form and only by theatrical means. Theatricalization means that the performance is created by means of theatrical art. Although this concept has its own characteristics, since a completely independent kind of theatrical art arises. And when they say that a performance or a holiday takes place with elements of theatricalization, and by the word "theatricalization" they mean illustrating any provisions, documents, facts, through the enlargement of texts, song, dance, artistic reading, film fragment, this does not refer to theatricalization, and to the illustration. The introduction of artistic illustration into the performance always gives positive results, but has nothing to do with theatricalization. Theatricalization cannot be “introduced”, “introduced” anywhere, since it, like any spectacular art, is connected with the effective modeling of the stage action, with its integral aesthetic creation. When they talk about theatricalization, they always mean a phenomenon that belongs to the field of art. Theatricalization is always associated with the overall decision of the performance. Theatricalization helps to more emotionally perceive the event taking place on the stage, that is, theatricalization is always artistic creativity.All theatrical performances and mass holidays have one distinctive feature. Such festivities are based on document and fact, local material, real heroes. The combination of documentary and artistic material into a single stage image - this is theatricality. An illustration may also be present, but it complements and strengthens the main action with various genres and types of art.
Theatrical principles:
Theatricalization is a creative method of creating a festive spectacle. There are two types of theatricalization: scripted and directed.
1) Scenario theatricalization is theatricalization of events from the life of real heroes, events of historical significance, facts, documents.
Principles of constructing a theatrical action in a script:
a) Formation of the plot of the scenario by events.
b) Associative combinations.
2) Director's theatricalization is a way of translating the script, a method of expressing the content of the festival. His themes, ideas in artistic and figurative action. Theatricalization involves the use of a system of expressive means, figurative and allegorical means (through metaphor, allegory, grotesque, symbol, reveals an event). Directing theatricalization also involves an active method of activating the audience.
A real holiday should be organized like anything else that tends to give a highly ethical impression.
For the holiday, the following elements are needed. First, the real upliftment of the masses, their real desire to respond wholeheartedly to the event that is being celebrated; secondly, a certain minimum of festive mood, which can hardly be found in times too hungry and too crushed by external dangers; thirdly, talented organizers are needed not only in the sense of, so to speak, the commander of the festival, reflecting on the general strategic plan, giving general directives, but in the sense of a whole staff of assistants capable of infiltrating the masses and leading them, moreover, leading not artificially, not in such a way so that the whole rational organization is glued like a plaster on the physiognomy of the people, and so that the natural impulse of the masses, on the one hand, and the full of enthusiasm, through and through sincere intention of the leaders, on the other, merge with each other.
Popular festivals must necessarily be divided into two essentially different acts.To a mass action in the proper sense of the word, which presupposes the movement of the masses from the suburbs towards some single center,
and if there are too many of them - to two or three centers, where some kind of central action is performed, such as an exalted symbolic ceremony. It may be a performance, grandiose, decorative, fireworks, satirical or solemn, it may be some kind of burning of hostile emblems, etc., accompanied by thunderous choral singing of coordinated and very many-voiced music, bearing the character of a celebration in the proper sense of the word.
During the processions themselves, not only the moving masses should be a fascinating spectacle for the motionless masses on the sidewalks, on the balconies, at the windows, but also vice versa.Gardens, streets should be varied. a spectacle for the moving masses by appropriately decorated arches, etc.
It would be good if the procession in the evening under torchlight or some other kind of artificial lighting was organized to a lesser extent and in somewhat smaller groups, which, for example, created several amazing chords during the Petrograd holidays: the procession of the united firefighters of all Petrograd in bright copper helmets and with flaming torches in hand.
Second act- it is a more intimate celebration either indoors, because every room must turn into a kind of revolutionary cabaret, or open: on platforms, on moving trucks, just on tables, barrels, etc.
Here, a fiery revolutionary speech, and the declaration of verses, and the performance of clowns with some kind of caricature of hostile forces, and some sharply dramatic sketch, and much more are possible.
It is necessary that any such improvisational stage in all its numbers should have a tendentious character. It's good if just unbridled spontaneous laughter and so on will be poured into it.
It is extremely pleasant if, in addition to the performers from professional artists, who must be scattered for this throughout the crowd on the streets and in all the small impromptu restaurants, or at least in the halls and nooks given over to popular fun, amateurs will be drawn into this, merry fellows or people who carry this or that pathos in their chests in order to say a sharp word, make a strong speech, some kind of funny trick, etc.
It goes without saying that those whom the French call barbers can also enter such barrels and tables - a person who seems to amuse the audience very much, but who actually pulls some outrageous rigmarole. In this case, the public can, without ceremony and with friendly laughter, pull off the unsuccessful artist, who must immediately be replaced by another.
To the greatest extent possible - ease. This is the main thing. True, such unconstrained fun at all times presupposed wine, which, as you know, is very conducive to raising the mood, but on the other hand, it is sometimes fraught with ugly consequences. Perhaps, without help, but also without harm from Dionysus, things will go a little grayer, but much more decently.
Considering the emergence and development of theatrical performances within the framework of large historical epochs, it is impossible not to see, first of all, the social and moral function that mass festivals and theatrical performances perform.
Since ancient times, folk rituals, performances and festivities have had two sides - cult elements and folklore elements.
But before proceeding to the study of the subject and its detailed theoretical understanding, it is necessary to establish the basic terminological concepts.
There is no common terminology in the literature on mass festivities and theatrical performances, and this complicates the understanding of a number of problems associated with the dramaturgy and direction of theatrical performances and festivities.
We say: a theatrical celebration, a concert, etc. This concept is quite broad, but also quite specific.. When they talk about theatricalization, they always mean phenomena belonging to the field of art, associated with a figurative solution. They mean appeals to the emotional sphere of human perception, since emotions are the most important principle, the most important quality is precisely artistic creativity. Due to the insufficient number of scientific theoretical developments in this area, the word theatricalization is treated too freely. You can find expressions like: “Theatrical skill”, “Theatrical thinking”, “Theatrical behavior”. In this case, the concept of theatricalization is completely detached from the sphere of art, and this is probably at the root.
Theatricalization implies the possibility of presenting an idea in an artistic form and precisely by theatrical means. And when applied to performances such as election campaigning, thematic concerts, mass festivities, the wordtheatricalization can only meanan organic combination of non-theatrical, vital, directly related to field trip and life of people of material and material of art, figurative; this combination, this fusion of documentary and fiction is created with the aim of a certain impact on the public. In other words, "the beginning of the artistic-figurative merges here together with the beginning of the utilitarian (didactic, agitational, propagandistic) and submits to it." It seems that the scenario dramaturgy of such performances at the present stage should be called a broad and fairly accurate term in terms of art history.dramaturgy of theatrical performances.
The path of figurative decision in theatricalization always goes from the ultimate specification of the characters of the script, especially in each of its episodes, to a generalized collective image of the script and director's development, the most adequate to the idea of a festive ritual action. Moreover, this imagery is prompted precisely by real material, life path heroes of theatricalization, which are the basis of the script and director's move. The dialectics of the general and the particular, the collective and the concretized are extremely characteristic of theatricalization and constitute its script core.
The essence of theatricalization puts forward the most important methodological requirement: in the scenario development, any, even the most universal, holiday is a significant event, a solemn date must be specified to the level of the community of people in which they are celebrated. And this means that, first of all, it is necessary to accurately select the heroes of theatricalization. Theatricalization is always situational, caused by certain social needs of the individual, which must be implemented by the organizers during the holiday. A person comes to a holiday driven by his attitude to the real event to which he is dedicated, and must necessarily show his active attitude to this event. And for this he needs to feel like one of the heroes of the participants. If, however, we offer a performance, a composition, and not a theatrical action to the people who come, then we will leave unsatisfied those needs that brought theatricalization to life. When choosing a real hero, it is necessary to take into account that the heroes cannot be fictional. Of great importance right choice hero, creating a vivid image, thanks to which the historical retrospective will be felt deeper. The work of a director and screenwriter with a real theatrical hero is unusually complex, it requires a well-thought-out artistic and pedagogical program, skill, and tact. After all, here you have to deal, firstly, each time with new people, their individuality, and Secondly, with characters who are not professional actors who often do not know how to speak in public, get lost when they appear as an object of attention to a large audience. At the same time, it is important for the organizers to take into account such personal qualities of a real hero as character traits, temperament, memory, the level of emotional and figurative reflection and preservation of socio-historical experience, switching attention, the ability to mobilize and, of course, speech features, language as a means of communication. The leading features of communication in the field of communication for a real hero are: the ability to "take" attention, competence, democracy, boldness of judgment, strong will, improvisation and quick reaction, emotionality. There are certain problems when working with a real hero. To eliminate them, it is necessary to expand the circle of real theatrical heroes, diversify the circle of invited guests, and preliminarily work out the hero’s speech.
1.2. Documents and facts in dramaturgy of theatrical performance
Documentary and socially active nature of the dramaturgy of theatrical performances .
A characteristic feature of the direction and dramaturgy of the theatrical performance and holiday is its documentary and publicistic nature. The action in a theatrical performance is built on the basis of life facts, historical materials and local material. The word "fact" comes from the Latin - done, accomplished, has several meanings: Fact is a synonym for the word - truth, event, result, significance and reliability of which is proven. Fact captures certain knowledge. The document comes from the Latin - proof, evidence. A document is a material recording medium with information recorded on it, intended for its transmission in time and space. Such documentary "material" carriers can be: paper, cinema, film, magnetic tape, etc. That is, media that can contain texts. Image, sound. Documents in the usual sense, this is a business paper that legally confirms some fact or right to something, that is, a document is evidence of a fact. Such fixation can be written evidence of the essence of what is happening, protocols, transcripts, decoys, resolutions, and so on. Documentary means non-fiction.
Documentary material can be:
Literary - documentary sources (memoirs, essays, journalistic articles).
Epistolary materials (diaries, letters, photographs, film documents recorded on film, speeches by famous people, and so on).
Genuine items (personal documents, weapons, helmets, banners, awards, and so on).
The use of historical, documentary and local material in the script will give it credibility, emotionality, content, and arouse the interest of the audience. In mass performances, not only documentary films, video materials, figures, facts are used, but also real, genuine heroes are included in the action. Direct participants in certain events to which the performance is dedicated. A real hero, a participant in some events, greatly enhances the emotional impact of the episode. The documentary nature of a theatrical performance is closely related to the choice of scene, and often the scene itself becomes the main character. In addition to natural, architectural features, a playground, the time of the day, historical associations caused by this place play a huge role. (Mamayev Kurgan, Soldier's field and so on). Therefore, real heroes, life events and authentic historical places can be attributed to documentary materials. The field of creative activity of the director of theatrical performances and holidays has no boundaries. Scenario life material is around us and can become the source of the idea of the festival. Despite the fact that the dramaturgy of a theatrical performance is based on documentary material and facts, this does not mean that it is devoid of fiction, that the script cannot contain generalized images of heroes. It is the combination of two documentary lines - journalism and artistic imagery - that gives the script scale, expressiveness and depth. They cannot be opposed to each other. In some cases, the line of artistic images does not connect with the documentary line, but passes in the background. In others, artistic and documentary material is synthesized within the framework of a single action.
Documentary local material is the basis, starting from which the scriptwriter-director creates a new artistic image.
With documentary as a specific feature of the dramaturgy of theatrical performances, another significant side is directly connected and follows from it - the active, agitational and propagandistic nature of dramaturgy.
If the theater requires sympathy, empathy from the viewer, thenthe dramaturgy of theatrical performances also requires assistance, active involvement in one or another action. This is determined by the propaganda and propaganda nature, as one of the main features of the dramaturgy of theatrical performances.
Consequently, the scenario of a theatrical performance or festival must also provide for ways to identify the activity of its spectators and participants.
The methods of activating the audience include direct appeals to the audience, the collective performance of songs, the implementation of civil rituals, processions, etc.
The successful implementation of the principle of documentary dramaturgy of theatrical performances, the successful mastering in the script of large-scale journalistic and artistic material close to people create the possibility of improvisation in such performances. This, in turn, will be the initiative of people, creates an atmosphere of creativity and easy communication, as it were, removes the barrier between the auditorium and the stage, participants and performers, and makes adjustments to the course of the performance itself.
As for the very foundations of the dramaturgy of theatrical performances, its theory, its most important categories, they, in turn, cannot be derived, understood and studied without knowing the foundations of the theory of drama, which has a long history and reflects the practice of world theater of all types and genres.
The dramaturgy of the theater allows the author to model the outline of the performance, often without resorting to concretization, which corresponds to the functions of the theater as an art of great social and artistic generalizations, collective images. Her characters cannot be fictional, they are always real people. The path of figurative decision in theatricalization always goes from the ultimate specification of the characters of the script, especially in each of its episodes, to a generalized collective image of the script and director's development, the most adequate to the idea of a festive ritual action. Moreover, this duty is prompted precisely by the real material, the life path of the heroes of theatricalization, which are the basis of the script and director's move. The dialectics of the general and the particular, the collective and the concretized is extremely characteristic of theatricalization and constitutes its script core.
Dramaturgy of theatrical performance
The main specific feature of the dramaturgy of theatrical performances is the manifestation of dramatic conflict through composition through montage. The screenwriter's task is to create the basis of a single, integral and original artistic publicistic work by combining documentary materials, publicistic speeches, ceremonies, actions with poetic works, music, songs, with plastic fragments from performances and films. Mounting serves to subordinate all this materiala common idea, a common idea.
It is known that the basis of all types and genres of theatrical performances and festivities isscenario, which, according to the unanimous recognition of theorists, has in common with the dramatic works of theater and cinema. The main unifying point here isdramatic conflict, for conflict is the basis of drama as an art form.
On the role of the document in the scenario of a mass theatrical performance.
It is not difficult to notice that in our days an artistically meaningful document has acquired great importance in various areas of modern literature. Suffice it to recall the enormous popularity of memoir literature among the reading people.
Indeed, one of modern features dramatic writing was the use of documentary material in it. Not only to give credibility to the described event, not only as a documentary confirmation of the author's thought, but also as a very common, very strong means of expression. As for the scenarios of mass theatrical performances, some experts generally believe that their obligatory expressive feature is the use of documentary material. Let us disagree with such a categorical statement. You can list a lot of mass performances, in which there was no documentary at all. At least the unforgettable theatrical mass events of the Opening and Closing of the Olympic Games in Moscow, created by I.M. Tumanov, or the romantic performance "Scarlet Sails" on the Neva, carried out by A. Orleansky, or "Russian Fair" by the author and director A. Silin. The lack of documentation did not in the least diminish their ideological, artistic, and civic significance. The issue of including documentary material in the fabric of the scenario of a mass theatrical performance depends on: Firstly, on the nature of the event underlying the scenario; secondly, from the author's and director's intent. At the same time, when answering specialists, it should be noted that a document, a fact, is by no means the only, much less the most important expressive means in a mass presentation scenario. Of course, the inclusion of documentary material in the fabric of the script is a powerful expressive tool. First of all, because the document (documentary fact, object) woven into the action significantly enhances the emotional impact on the viewer. And here we can remember what impression the newsreel footage included in the feature film makes on us. Mounted with the artistic fabric of the episode, any real fact does not remain just a document, but acquires (should acquire) figurativeness. Thus, such a technique deepens the author's and director's thought, reveals the attitude of the creator of the performance to what is happening on the stage. Causing certain associations among viewers, the document is often used to give credibility, credibility to what is happening in this moment action. When creating a script for a performance, the director-author tries, as far as possible, to use the so-called "local material". the documents and facts selected by him help viewers to understand the connection between the content of this performance and the life of the village, city, region where it is played out.
Conflict as a specific reflection of the essential contradictions of reality in the scenario of an agitational and artistic performance, literary and musical composition, a thematic concert or a mass theatrical festival, as well as in drama, it is a factor that determines both the theme, and the ideological meaning, and the most important task, and even, in final form of the work.
One of the most essential moments of the form of manifestation of the conflict in the drama, as you know, isplot as a system of events that have cause-and-effect relationships . In the plot and through the plot of dramaturgy, in the vast majority of cases, connections and contradictions between people and whole people are revealed. social groups, multilaterally reveal the depicted characters and circumstances.
The artistic embodiment of certain thoughts, feelings, facts and circumstances of a fluid and contradictory reality is carried out in the scenario of a theatrical performance, mainly with the help of a number of other means, not a plot.
Journalistic and documentary as specific features of the scenario of a theatrical performance, the need to embody the ideological and artistic intention to turn either to the speech of the characters, or to lyrical statements, or to the documentary nature of the material (letters, diaries, articles, etc.) are brought to the forecomposition. Composition becomes one of the main means by which and mainly through whichconflict situation- most often as an internal contrast with themes, as a certain combination and mood of episodes and numbers, creating an organic fusion of forms and artistic and expressive means, an alloy that reflects in its unity important, essential moments of a developing reality, most often as an internal contrast with themes, as a certain combination and construction episodes and numbers, creating an organic fusion of forms and artistic and expressive means, an fusion that reflects in its unity the important, essential moments of the developing reality.
In the scenario of a theatrical performance, in view of the weakening of the function of the plot, the composition takes on the role of the main organizer of the artistic and documentary material, its function becomes decisive. That is why in the process of creating a literary script, the most important moment of creativity ismounting material , compositional solution. In order to create something complete and dramatically built on the basis of carefully selected and processed materials, it is necessary to find, discover exactly that single structure, a combination of facts, scenes, events, documents and statements, which marks the emergence of a new, integral work.
In the figurative expression of the Irish playwright St. John Ervin, every finished work of art must be a living organism, so alive that when any part of it is cut off, the whole body begins to bleed.
The main specific feature of the theatrical performance scriptis the nature of identifying conflict through construction, through composition.
A screenwriter of a theatrical performance, working mainly on local documentary material, cannot begin creative work without getting acquainted with the specific material, without studying it. The creative process itself will not take place in this case. It all starts with the search for material for the script and with its study.Only in the process of studying facts, events, documents, biographies of people, it is possible to outline the theme of the future performance. You need to see the material with your own eyes, get used to it. At the same time, it must be remembered that the same theme can be expressed in different material.
When a theme is interpreted as a meaningful material selected by an artist, the theme is invariably associated with his idea, since the very selection of facts inevitably affects the author's worldview. The concept of an idea is connected, first of all, with the idea of a conclusion, of solving the issue that is posed in this work.
The theme and idea of a theatrical performance are interconnected, interdependent, determined in the process of comprehending the contradictions of a changing, moving reality, in the process of considering a dramatic conflict.
Practitioners and theorists are absolutely right when they distinguish three main components of the theatrical performance script, which undoubtedly correspond to the three most important stages of the working and creative processes. If the screenwriter can answer the questionabout whom or about what there will be a theatrical performance, he defined quite accurately, only hismaterial. If the screenwriter is clearwhat does he want to say this material - it is close to the definition of the topic. And if it's clearfor what the theme developswhat impact on the viewer, the screenwriter wants to achieve - we can formulateidea works.
When building a scenario for a theatrical performance, the author must pay attention Special attention on thefour essential elements: the introduction (exposition), the development of the action, the decisive moment (a turning point or climax) and the finale.
The compositional structure of a theatrical performance, completed within itself, is, in essence, divided into a number of cycles of action. Drama, as you know, consists of several such cycles, the name of which has historically changed: act, action, part. In the scenario of a theatrical performance, most often one-part, these thematically homogeneous cycles are usually called episodes. Each episode in a theatrical script breaks down into even smaller, relatively complete structures.
Compositional expansions or contractions of events, sharpening of the means of expression, tempo and speed of development of the action are determined both by the culmination of each cycle separately, and the culmination of the entire performance.
The director of a theatrical performance does not distort reality, but uses it to create a new reality. He selects the elements of reality in order to create from them a new reality that belongs to him alone. Therefore, the main technique of theatrical performance is the construction of a complete picture from separate pieces, elements; a technique in which you can discard everything superfluous, leaving only the most essential and significant. It is in the layout, in the compilation, in the installation, of individual numbers, documents, journalistic materials, music, plasticity that the skill of the screenwriter is most clearly manifested.
When creating a scenario for a theatrical performance, one cannot only record the results of labor victories or flaws are more important hide their origins. It is not enough to name and show the leaders of production - you need to reveal the images of these people by selecting the most important facts, their biographies, thoughtfully and expressively link these facts, creating a continuity of action.
In the scenario of a theatrical performance, everything intermediate, everything insignificant from the inevitable reality can be discarded and only bright, shocking, key points can be left. It is on this possibility that the essence of the impressive power of montage is built as the main technique in creating scenarios for theatrical performances.
Contrast is one of the most common artistic editing techniques.
Contrast as a montage technique is based on the convergence of opposite, contrasting in meaning elements of a work of art.
In the scenario of a theatrical performance, it is possible to contrast not only individual performances, but also individual episodes, parts of performances, as if forcing the viewer to continuously compare two facts, two phenomena, two actions, reinforcing one another, thereby achieving sharp expressiveness, ideological orientation and artistic integrity.
Editing in contrast - one of the strongest and most common methods of truly conflicting reflection of contradictory reality in a theatrical performance. Most often, conflict appears in the script as an internal contrast with themes, as a certain construction and combination: episodes and numbers, creating an organic fusion as a whole. It is the organic fusion of forms and artistic and expressive means that reflects the important, essential moments of the developing, changing reality.
As for such a type of theatrical performance as a propaganda-artistic performance, montage by contrast is here not only the leading technique, but also almost a specific feature of the species. It is precisely agitation that presupposes a sharp delimitation of phenomena according to the principle "for" and "against", which excludes the one-sidedness of their display, isolation from the dialectical struggle of opposites.
Parallelism- two thematic unrelated actions are connected together and run in parallel thanks to some thing, detail.
Simultaneity - installation reception; from the history of folk performances and festivities, the principle is knownsimultaneity, those. actions on several stages in parallel or simultaneously. In modern theatrical performances, the action often takes place simultaneously on the stage and on the screen, or on several screens at once, or in different parts of the stage and the auditorium, etc. In the structure of theatrical mass festivities, this technique is one of the most important.
keynote (“reminder”) is one of the main montage techniques and at the same time one of the features of the dramaturgy of theatrical performances. That is why they rightly compare the construction of a theatrical performance script withsuite construction. This is how most thematic concerts, literary and musical compositions, propaganda and artistic performances are built.
Most often, the reminder is complex, it involves all means of artistic expression.
Thus, only a few of the most common methods of artistic montage are named and characterized here. In practice, there are much more of them, or rather, there is no limit to their number, as there is none, and there can be no limit to creative searches and discoveries.
The very practice of developing theatrical performances in our country forms one or another of their specific types. Some of these species are in the process of becoming, shaping, asserting themselves in life; others, clearly defined by specific parameters, are differentiated into genre and other varieties.
“There is a need to single out theatrical performances as a separate kind of art, which has specifics both in terms of the correlation of functions and tasks, and in artistic imagery. And in this sense, theatrical performance is the most accurate concept. On the one hand, it means theater in the broadest sense of the word, and basically corresponds to the concept of gender. On the other hand, the evolution of theatrical performances also testifies to a certain, really existing movement towards specific and genre divisions. This ancient and always new kind of art, thanks to its close connection with life, has many points of contact with professional theatrical art. But, as already mentioned, it is characterized by diverse special features ”(Chechetin A.I. Fundamentals of dramaturgy of theatrical performances: History and theory. A textbook for students of cultural ints. - M .: Education, 1981. - 192 p.) (Mutual influence these two close spheres of theatrical activity is one of the most important problems that have arisen at the intersection of aesthetics and art history.In this regard, the desire of professional theater directors to “destroy” the boundaries between actors and the audience, and create not only aesthetic, but also moral and ethical contacts is a fact significant.)
Theatricalization means, first of all, that a performance or a holiday has a single artistic and scenic image, namely, a plot move (movement - technique). The move-reception can be external and internal, associative, making it possible not only to unite individual numbers and episodes of the performance through the through action, but also to be able to reveal it through the stage action. For example, the director introduces acting tasks and mise-en-scene into those performances that, due to the genre and traditions, do not require them. This form of presentation is characterized by a role-playing personified form of the leader, turning him into some kind of a certain actor, a certain character endowed with character, the characteristic and behavior of which depends on the plot course. The move-reception in a theatrical performance is expressed through decorative and artistic design, scenography, musical and scenario material. Theatricalization always requires staging decisions, staging costs.Scenography - This is a specially created design that defines the image of the entire presentation. The stage atmosphere is created with the help of background music, lighting effects and other elements that create an artistic image of the performance. It is theatricalization that makes it possible to reveal the content of the performance more deeply and intelligibly. It must be remembered that theatricalization should not violate the meaning and character of the chosen performances.
Artistic visualization:
In creating a visual image of the performance, the main role is played by the stage environment, which is created by decorative means to indicate the scene of action.
Decorative - artistic design not only visibly, figuratively, reflects the features and environment of the scene, but also creates an artistic - emotional atmosphere.
Decorative - artistic design, enables the director to find a plastic solution to the performance (using cubes of ramps, curtains, backdrops, shadow theater).
The director must be able to use the specific features of the stage. Find an artistic organizational and spatial solution, create a figurative sense of the scale of the event. Theatricalization involves artistic comprehension of real events, documents and facts.
Theatricalization in sports and art holidays
Performances built on the basis of the theatrical method are called theatrical. They can be different in scale, uniting as participants from several tens to several thousand people. It can be a theatrical procession dedicated to an important event in the life of the city, a theatrical wedding, a theatrical holiday of the labor collective or the anniversary of a famous person, etc. Theatrical and mass sports and art performances have both common features so, and specific, which allow us to distinguish between these genres. At first glance, what these genres have in common is the use of various art forms to create a colorful spectacle. This, of course, is true, but this is not the main thing. It is important that in this and other cases there are:
b) the embodiment of this idea in the scenario and director's idea using the expressive means inherent in the genres;
c) the use as participants of both professionals (musicians, artists, singers, etc.) and non-professionals who undergo special training in order to take part in the performance. In both cases, despite the many conventions (declarations, paraphernalia, etc.), the audience must clearly understand the main idea of the performance, and a vivid figurative solution to the topic should evoke associations of the ongoing action with their life impressions and experience, evoke they have an emotional response, to provide educative actions.
If in a mass sports and artistic performance the main character is the mass, in which individual people are almost indistinguishable, then in the theatrical performance the main characters are real personalities, directly connected with the event around which the figurative solution of the theatrical performance is built. Theatricalization as a creative method is quite often used in mass sports and art performances, but only within the limits of the given possibilities of the genre. These possibilities are limited to the main character of the presentation - the mass. Therefore, the theme taken for staging and the depth of the solution of the events reflected in it should always be adequate to the capabilities of the hero-mass. It should be remembered that mass sports and artistic performances are close to monumental art and require a very large-scale figurative disclosure of the topic. Their stage platform, the stadium, is also large-scale, which, according to the laws of the genre, must be filled with participants, who form drawings that flow into each other in accordance with the design of the composition. Most a prime example jubilee celebrations of cities, regions of the republics, which became very popular in our country in the 70-80s, can serve here. These celebrations attracted a huge number of spectators and were usually held in the central stadiums. Drama and directing were given new tasks related to artistic expression, such as historical facts as well as contemporary events. This is how mass sports and art theatrical performances appeared at the stadium. They were mainly devoted to the anniversaries of cities, for example, the 1500th anniversary of Kyiv (1882), the 2000th anniversary of Tashkent (1983), etc. Both the mass hero and real heroes acted quite logically in them at the same time, who, based on personal experience, could tell something special about the history of the city of the anniversary, its inhabitants, traditions, achievements, etc. At the same time, the influence of the specifics of mass sports and art performances on the nature of theatricalization was clearly revealed here, namely: the idea of the performance was expressed primarily in the action of the participants, that is, with minimal use of the word. For example, the history of the cities of Kyiv and Tashkent in the holidays mentioned above was shown with the help of sports and choreographic compositions, which can rightly be called mass one-act ballets. At the closing of the 1980 Olympiad, theatricalization was presented not only in the processing of a documented fact, but was reflected in a specific process for a mass and sports festival - a reception - a “background tribune”. At the end of the holiday, a crying Olympic bear appeared on one of the stands. This was done with the help of several thousand performers located on the south stand and lining up various compositions with multi-colored flags.
2.1. Game form as an element of theatrical performance
One of the forms of improvisation is a game form, the inclusion of game elements in a theatrical performance.
The psychological need to play is inherent in people of all ages. Participants in the mass action without special training are included in the game improvisation, in certain ceremonials that meet the creative intent of the scriptwriter.
But the use of a game situation is a very delicate matter, requiring a special pedagogical and artistic tact from the organizers of a mass presentation. In the game episodes of the performance, especially if it is designed for the participation of adults, there should be a real basis for the action that has already taken place at one time or could happen, close and interesting to the participants in the theatrical performance. At the same time, the game can be an effective method of involving people in a theatrical mass festive action. A game is always an action in which the players are involved. However, while experiencing direct experiences associated with participation in the game, enjoying its very process and results, the participants also experience emotional experiences caused, in particular, by the entertainment of the game action. This game action itself in the conditions of a mass holiday can act for some as a direct active activity, for others in the form of a spectacle.
The game can be a method of involving a person in a more active mass action. corresponding to his aspiration in this or that holiday. Celebrating a significant historical event, a person, as it were, relives it again, identifying himself to some extent with the heroes of the event, recreating them in his memory and in a playful theatrical action. In this case, the game gives a person the opportunity to personify, imitate the positive example of heroes. The theatrical game, in a certain sense, acts as a resonator that enhances the experiences of the individual and somewhat transforms them, creating a much-needed emotional, festive mood.
The theatrical play action can be an extremely important, active part of any mass holiday and contribute to its success in many ways.
It is characteristic that in the 1920s this kind of action was one of the branches of the development of the proletarian mass holiday, received the name of stage games and achieved a certain success, as evidenced, for example, by the grandiose mass game “World October” held in Moscow on August 12, 1928 .
Game action at the present time, firstly, should not so much repeat to the smallest detail a real historical event or illustrate it, but rather remind, evoke appropriate associations. Secondly, this game action is theatrical, that is, it is organized with the help of completely different artistic means, and it cannot be regarded as a real repetition of the corresponding actions and situations.
The game always appears before us as an imaginary creative activity, which, however, has a real basis in the past. The content of the game, according to G. V. Plekhanov, is ultimately determined by the practical activity that historically precedes it.(See Plekhanov G.V. Literature and aesthetics, vol. 1.M., 1938, p58). For a person, labor occupies the main place in determining the content of the game. This theoretical position also plays a very important historical significance, especially when using game situations in cultural and educational work with adults, where real historical associations are absolutely necessary, because otherwise the game may not receive sympathy and real support from the audience. At mass holidays, one can sometimes become a witness to such groundless games that cause a feeling of falsehood, putting the participants in a mass action in an awkward position.
So, the dramatic processing of life material, theatricalization of real action and the game are the most important pedagogical methods for organizing a mass holiday.
Almost all varieties of folk festivals have always had and have a theatrical character or include elements of theatrical performances. This is determined by the ritual and spectacular forms of festive culture, the festive life of the people.
The festivities reflected both material and spiritual results of human life. They peculiarly expressed a certain level of social consciousness, the worldview of people, showed features of morality, aesthetic tastes, etc. In other words, any holiday, as a socially artistic phenomenon, is a necessary element of a person's life, one of the manifestations of his social being.
The word holiday comes from the ancient Slavic -holiday , which means: rest, idleness, laziness. This is where it comes fromidle meaning lazy, empty, useless, etc.
A number of meanings of the term "holiday" is revealed when comparing it with the word triumph, which is close in meaning. This word comes from bargaining (torgovishche, marketplace), denoting the process of exchange, "mastering", "grasping", one product and letting go, selling another.
Purchase and sale always took place in public, in places of significant congestion of people, and furnished with all sorts of ceremonies and rituals. Amusements and festive festivities were arranged on the market squares.
Subsequently, the word triumph lost its direct connection with trade and the fair and began to denote the celebration of an event, the expression of delight, joy, pleasant remembrance and glorification.
Composition of the scenario of the mass theatrical performance.
Speaking about the dramaturgy of a theatrical festival, directors and theorists unanimously single out in itthree critical moments single action:exposition (as the opening of the festival), culmination and final .
As for the conceptscollision or action development , then in the festival this moment, unlike theatrical performances of other types of a more local nature, is dispersed in a common mosaic of components. Some experts see a certain similarity in the construction of a mass theatrical festival with the composition of such a musical form as a symphony. The content of the symphony, as you know, is the contradictions. The mass theatrical celebration reflects important events in the life of a large community of people, and sometimes on a national and global scale. Both arts are characterized by ideological aspiration, scale, and generalization. And it seems that a comparison of the compositional structures of these two different forms reflection of reality is quite legitimate.
In the first part of the symphony - and the expositions - the main contrasting themes - images are developed in development, and then the themes of these images are reinforced, support the main scheme of the composition of the symphony. The development of a theme also helps the screenwriter of a theatrical mass festival to convey the general, i.e., the main idea, through the particular.
As a result of studying the topic, the following conclusions can be drawn:The word theatricalization can only mean an organic combination of non-theatrical, vital material, directly related to production practice and the life of people, and artistic, figurative material; this combination, this fusion of documentary and fiction is created with the aim of a certain impact on the public.
2.2 Ways to activate the audience.
The task of the screenwriter and director of a mass theatrical festival is not only to organize the material, but also to organize the audience.
There are main stages in the process of activating the audience.
First step covers the time before the holiday, i.e. the process of its preparation and wide information, gradually drawing people into the orbit of the future theatrical action. The pedagogical task at this stage is to reveal the social significance of the holiday, to arouse people's interest and attention to what is happening, to create around it an atmosphere of excitement, readiness for perception. At the same time, the social moment of the significance of the event, which will form the basis of theatricalization, comes to the fore. It is he who determines the degree of activity of future participants, which is expressed in the creation of various kinds of initiative groups for the preparation and collection of materials. The scope of preparation for the event is determined by its scale - from local to general collective. As for artistic activity, at the first stage it is limited to preparatory work in groups of amateur art. A very important activity in this phase isInforming about the upcoming holiday .
The information company creates public opinion and a certain social and moral atmosphere around the event that becomes the subject of theatricalization. The degree of participation in the preparatory activity at the first stage gives grounds for differentiating the level of socio-artistic activity of the masses and makes it possible to distinguish among the participantsfollowing groups :
initiators and organizers of a mass holiday with a pronounced social activity.
Participants of the mass holiday, actively approving its ideological and thematic content and showing readiness to participate.
Passive spectators with no pronounced willingness to participate.
The activity strategy of the organizers of the theatrical performance in relation to these groups should correspond to their transition to a higher level of activity during the event.
Second phase The activation process covers the actual holding of the holiday, i.e., the implementation of the scenario, which includes such main compositional parts as a prologue, a chain of episodes, a culmination and a finale. Accordingly, the manifestations of activity are differentiated.
In the prologue, this is, first of all, the awakening of those gathered to the concentration of attention and the emergence of more or less similar emotions through socio-psychological interaction, which is one of the manifestations of activity. During the episodes - the growth of emotions and readiness to respond to information, the motivation for theatrical action as a result of emotional stress. Finally, in the culmination - direct active participation in theatrical action as a result of the emotional shock of the audience.
At this stage, the artistic side prevails over the social, being at the same time in harmony with it. The main means of activation are:
Scenario and director's decision;
Imagery;
Components of the ideological and emotional impact, stimulating the inner mood;
Readiness for a joint response and collective actions of the participants of the theatrical celebration.
According to the level of social and artistic activity of the masses, two groups can be distinguished in the festive audience - participants and spectators.
The pedagogical task is to turn the audience into participants in theatrical action.
Third stage the process of activation of the participants of the holiday refers to the time after the theatrical action, when the activity stimulated by it, manifests itself in the finale of the event itself, makes itself felt in the subsequent social activities masses, especially in relation to work, in its moral and ethical assessment and comprehension.
Satisfaction arising from the feeling of belonging to what is happening, pride in the deeds in which a particle of one's own work has been invested, unity with the active mass of participants in the holiday.
An analysis of public opinion shows that socio-cultural activity, as a result of the exact pedagogical impact of theatricalization, also manifests itself in the willingness to be involved in the next holiday, but already in the role of a more active participant, and not a spectator.
Conclusions.
The main techniqueactivation of the mass audience in the process of pedagogically programmed theatrical action are:
Verbal activation , giving participants the opportunity to express themselves through the word;
physical activation, stimulating the mass to move, move and other physical actions;
artistic activation, stimulating the emotional sphere of the participants and causing their amateur performances.
The art of a theatrical holiday has an unusually large charge of effectiveness, it involves active contact with the viewer, looking for effective ways to influence emotions.
Other methods of activating the audience include:
Methods of addressing the audience;
Collective performance of songs;
Implementation of rituals;
Roll calls, reports,
game form;
collective marches.
GAME FORM awakens initiative in people, creates an atmosphere of creativity and easy communication, as if removing the barrier between the auditorium and the stage, participants and performers. Participants of mass action without special training are included in the game improvisation.
COLLECTIVE EXITS AND PROCESSIONS The real action in the form of various kinds of collective passages of theatrical heroes fundamentally changes the form and mood of the festive event, activates the audience, and adjusts to the desired perception.
A collective exit can be both a prologue, actively involved in what is happening, and a culmination, a manifestation the highest degree the enthusiasm of the people gathered at the festival.
COLLECTIVE REPORTS, SPEECHES, ROLL CALLS
A collective performance can take the form of a story about any events of a whole group of people involved in them.
Collective rapports create an atmosphere of mass character, celebration, labor upsurge.
CERIMONIAL ACTION.
An integral part is the bright decoration of the streets, demonstration squares, rallies and parades. Associated with the dates of the holiday calendar.
It is very important that the mass action is not boilerplate. The following conditions must be taken into account:
Reliance on life experience and the interests of the masses.
Interaction of information-logical and emotional-figurative impact.
Reliance on the amateur performance of the participants of the mass holiday.
Director's work with a real hero
Theatricalization, which is an artistic comprehension of a real event in labor and social life, is becoming more and more significant in society, because it makes it possible to convey a special mood, make significant dates and landmark moments of our life bright, impressive, express respect for the heroes of war and labor, show in figurative form the baton of generations of the people.
The dramaturgy of theatricalization performs a specific social function of artistic comprehension and presentation of a real event or fact.
Heroes cannot be fictional - they are always real people .
Here it is of great importancechoosing the right hero , which would be the most typical, corresponded to the essence of this or that event underlying theatricalization. At the same time, the typicality of the heroes of theatricalization will be based on their inclusion in the circle of such associations among the gathered people, which would make them need to “try on” the fate of these heroes for themselves.
An analysis of the holidays confirms that they are especially successful where bright images of war veterans and advanced youth are in the center of theatricalization.
Creating vivid images of real heroes against the general background of specific historical events is very important. . Thanks to this, it becomes possible to deeply feel the historical retrospective.
The path of figurative decision in theatricalization always goes from the ultimate concretization of the characters of the script to a generalized collective model of scenario development. Moreover, this imagery is suggested preciselyreal material, the life path of theatrical heroes , which are the basis of the screenplay and director's move.
The dialectic of general and particular, collective and concretized nature for theatricalization, constitutes its scenario core.
So, it is necessary to accurately select the heroes of theatricalization. Their destinies, their life, labor activity should echo the celebrated event, be consonant with it.
It is in the demonstration of such people that the educational essence of theatricalization lies.
What are the main requirements when choosing a real hero of a theatrical holiday?
First of all, it should always be a specific person - a participant in an event.
The work of the director and screenwriter with a real hero theatricalization of the plot,
Requires an artistic-pedagogical program, skills and tact.
You have to deal with new people.
They are not professional actors.
Screenwriting and directing with the characters should be built in such a way that people have a sense of the need for action, mise-en-scenes, texts that are offered to them, as if their own plan.
At the same time, it is important for organizers to considerpersonal qualities of a real hero .
Character traits, temperament, memory level of emotionally-figurative reflection and preservation of historical experience, the ability to mobilize, speech features, language as a means of communication.
The leading features of communication in the field of communication for a real hero are :
Ability to grab attention
Competence,
democracy,
Courage of judgment, strong will,
Improvisation and quick reaction
Emotionality.
The ability of the director to emphasize in a real hero the features that reveal the common situational mood of the hero with the participants of the holiday, which dispose the audience to joint action.
Thinking over how to present a real hero in the most advantageous way, it is necessary to rely on the specific personal qualities of each person, based on documentary material.
Based on specific conversations, group interviews, familiarity with the material, the entire text is created in advance by a real hero, and then edited by the organizers.
Reproductive and creative activity is possible, based on the theses of the performance and the strict framework of the action drawn up in advance with the screenwriter.
The most effective is the creative and initiative method of working with a real hero, which involves improvisation on a previously discussed topic within a certain time frame.
functional line the actions of a real hero in theatricalization presupposes a clear understanding by the organizers of the tasks assigned to him in the context of the script and director's intention.
A real hero can vividly and figuratively connect episodes, give dynamics to a theatrical action, personify an idea, and focus attention on specific events.
Hence the setting of specific tasks for a real hero:
Recall the events experienced, organize the prospect. And everything is important - how a person is dressed, how he behaves.
Sometimes in practice, a common mistake of directors is an attempt to turn the hero of a theatrical action into an actor. As a result, instead of internal excitement, the participants of the holiday have a feeling of falseness.
The essence of theatricalization lies precisely in the fact that the real hero does not play on the stage, but draws a line of natural action close to him, carries specific information.
However, in itself, the appearance of a real hero or a story about him in the faces does not yet create the necessary imagery. It is necessary that the hero inspire confidence, be close to the community of the participants of the holiday, recognizable, which is achieved with the help of artistic figurative generalization.
The documentary material of the script, connected with the life of the real hero of the future theatrical production, is not an end in itself, but the basis for a figurative solution and subsequent editing of episodes.
The director and screenwriter of the theatrical action do a lot of preliminary work on the search and selection of real heroes .
This work should dictate the search for a figurative solution and the selection of expressive means of theatricalization.
The problem of choosing a real holiday hero is a very important aspect of organizing a theatrical performance.
In the meantime, a number of methodological points must be kept in mind.
It is necessary to expand the circle of real heroes of theatricalization. In order to avoid clichés, it is necessary to diversify the circle of invited heroes with each event.
Preliminary work of the screenwriter on the performance of the hero.
There is a wrong point of view that it should not be, because it is poetic in relation to the personality of the speaker. But given the trusting atmosphere of collective preparation for a theatrical action, such work is quite organic, helping the hero to fit into this action, to build the point of his behavior.
Conclusion
Artistic creativity throughout its historical development and formation has accumulated rich experience, which is currently necessary for the education and full development of the individual.
The theme of the theatrical performance is too diverse and concerns all spheres of human activity, covers all historical eras, reflects all the troubles and misfortunes not only of the masses, but also of individual characters. The mass theatrical performance is so vast in scope and artistic expression that it is impossible to imagine and trace its barrier.
The problem of personality development and education by means of staging theatrical performances and mass holidays has now become one of the urgent problems among the leaders of folk groups and creative groups, as modern youth is trying to take an example from Western samples of momentary culture, which often even contradicts all moral and social attitudes society, and only folk culture is able to show who we really are, who our ancestors are and listen to ourselves. The method of theatricalization in directing theatrical performances and holidays is able to encourage young people to preserve traditions and study national culture. We can trace this on the example of such wonderful events that took place in our city as the thematic concert “Day of Unity of Russia”, the festival “World of the Caucasus”, the theatrical performance “The Fire of Our Memory” and the festival “All-Russian Student Spring” plays an important role in uniting our generation. ", as well as other large-scale events.
The professional training of specialists in the field of directing cannot ignore the aesthetic and moral education, which is reflected in the works of folk art, folk art, theatrical performances and public holidays.
Scenario material should be selected in such a way that this impact on the audience is large-scale and effective, and, therefore, this requires skills and abilities in the field of dramaturgy and screenwriting.
The tasks and goals I set were achieved. The activities of the director of theatrical performances and holidays are wide and exciting. Theatrical holidays have a very short life. Therefore, high demands are made and will be made on the director of this art form. Working in this area, it is necessary to be able to mobilize all knowledge and all organizational skills. For the development of this genre, it is necessary to master its complex directing. The quality and artistic level of a theatrical performance and a holiday depends on the quality of the level of professional training of the director.
One of the Soviet directors said: "You can't make an aquarium out of fish soup." Today, this phrase is relevant, our society needs freshness of ideas, we need to find something new, modern to reveal traditional topics.
For the preparation of the director of "theatrical performances and holidays, it is necessary to carry out practical and theoretical activities, thus the preparation will be more professional."
Today, it is especially necessary that young directors feel personally responsible for everything that they will create. The fate of pop art and the direction of theatrical performances and spectacles depends on which direction the director's shift chooses.
LIST OF USED SOURCES AND LITERATURE
1. Lunacharsky A. V. Art and youth. M., 1929, p. 10.
2. A.A. Kanovich "Theatrical holidays and rituals in the USSR" M. Higher school, 1990.
3. A. I. Chechetin "Fundamentals of dramaturgy of theatrical performances" M. Education, 1981.
4. A. I. Chechetin "Direction of mass spectacles" / collection of articles /. M. WTO 1964.
5. B. N. Glan “The holiday is always with us” M, STD 1988. I. M. Tumanov “Direction of a mass holiday and a theatrical concert, M. M. 1976.”
6. D. V. Tikhomirov "Conversations about directing theatrical performances" M. 1977.
7. D. M. Genkin "Mass holidays" M. 1975.
8. I. Sharoev "Direction of pop and mass performances" M. Education, 1975.
9. Genkin D. M. "Organization and methods of mass art work" M. 1987.
10. Genkin D. M., Konovich A. A. "Mass theatrical holidays and performances" M. 1985
11. Glan B. N. "Theatrical holidays and spectacles" M. 1964-1972.,
"Art", 1976.
12. Smirnova E. I. "Theory and methods of organizing amateur creativity of workers in cultural and educational institutions" M. 1983
13. Tumanov I. M. "Direction of a mass holiday and a theatrical holiday" M. 1976
14. Frolova G. I. “Organization and methods of club work with children: textbook. Manuals for students of int culture” M. Prosveshchenie. 1986- 160 p.
15. Tsarev M. I. Avt. Attached. And ed. - comp. Glan B. N. "Theatrical holidays and spectacles" M.1964-T29,1972 "Art" 1976.
16. Chechetin A. I. "Dramaturgy of theatrical performances" M.1979.
17. Chechetin A. I. “Fundamentals of dramaturgy of theatrical performances: history and theory. A textbook for students of cultural institutions” M. Prosveshchenie.
An important reserve for the restructuring of ideological, political and educational work is the strengthening of the emotional impact of its forms, the removal of pomposity, ceremonial hype and verbal chatter that has been inherent in it for many years. The essence of such a formulation of the question lies in the fact that the truth is firmly assimilated when it is experienced, and not just taught.
In this regard, the role of theatricalization increases as a creative, socio-pedagogical method of ideological, political and educational work, the peculiarity of which is artistic comprehension this or that event in the life of the state, labor collective, individual.
However, despite the growing role of theatricalization and the place occupied by theatrical forms in the festive and ritual action, it can be stated that its theory has been poorly developed. Today there is no common understanding of the essence of theatricalization, its definition and functions, its place in all areas of ideological work, its possibilities, boundaries and principles of use have not been explored. In turn, the lack of development of theoretical issues of theatricalization has a negative impact on the activities of practitioners.
The most common mistake of practitioners, due to a purely empirical approach to theatricalization, is its understanding as the introduction of artistic material (film fragment, scene from a play, song, music, dance, concert number) into a festive ritual action. Thus, it falls on a par with artistic illustration, representing, in essence, only its more complex variety.
Another common mistake in practice is the mechanical approach to theatricalization, understanding it as a universal method inherent in all mass artistic work. This leads to an exorbitant and unreasonable expansion of the boundaries of its use. It is the approach to theatricalization as a comprehensive universal method, inherent in all mass artistic work, that leads to the emergence of falsehood, anti-artism. A situation arises when a festive ritual action comes into conflict with the method of theatricalization thoughtlessly used in relation to it, making it primitive.
The passion for “total” theatricalization that appeared at the turn of the 1970s was born from a rather superficial understanding of the social needs of Soviet people, their attitude to the artistic and aesthetic criteria for organizing public leisure. Theatricalization of this kind, when the music sounded louder and more often, poems were read out of place and out of place with pathos, performances of artists and amateur art performances were wedged in insert divertissement - the most primitive way of organizing mass holidays, depriving them of socio-pedagogical depth. Unfortunately, this path became the basis of mass artistic work during the years of stagnation. It was during these years, when studying public opinion about theatrical holidays and rituals, that the author repeatedly recorded a negative attitude towards them based on “extreme loudness”, “impossibility of active participation”.
It seems that today the time has come, taking into account the accumulated experience, to once again seriously consider the features of the method of theatricalization. And first of all, it should be understood that theatricalization can not always be applied, not in any, but only in special conditions that correlate one or another really celebrated event in which a specific audience is involved, both with the image of this event created by it, and with his artistic interpretation.
Such a duality of the theatrical function, synthesizing real and artistic activity, is associated with specific moments in people's lives that require comprehension of the unusual meaning of this or that event, expression and consolidation of their feelings in relation to it. Under these conditions, the desire for artistic intensification of action, for symbolic generalizing imagery, for organizing the activities of the masses according to the laws of the theater is especially strong. Thus, theatricalization appears not as an ordinary method of pedagogical influence on the masses, which can be used always and everywhere, but as a complex creative method that has a deep socio-psychological justification and is closest to art. Due to its socio-pedagogical and artistic bifunctionality, theatricalization acts both as an artistic processing of life material and as a special organization of the behavior and actions of a mass of people.
The screenwriter and director of a mass action is always a psychologist and teacher, who primarily solves the problem of activating its participants, organizing not a performance, but a mass action in which artistic imagery acts as an effective stimulus. By its artistic nature, the theatrical festive and ritual action embodies a lofty idea in a vivid figurative form. At the same time, the figurative solution, which is the essence of theatricalization and acts as a scenario and director's move, turns the holiday into a specific way of processing social information.
However, it would be wrong to reduce theatricalization mainly to artistic comprehension, in particular, to the creation by the organizers of a mass holiday of artistic images that reflect significant, valuable life events and facts for a person. Here lies the danger of reducing a mass holiday to a spectacle. The aesthetic value of the event stimulates the social activity of the individual and makes it possible to turn any festive ritual action about this event into an organized manifestation of amateur performance by a mass of its participants.
So, the mechanical interpretation of theatricalization as the introduction of artistry and documentary into this or that form of mass action is connected with the understanding of this method only as a specific way of processing and organizing material in isolation from the organization of the activity of the mass itself. On the contrary, the organization of the theatrical action of the masses, not supported by an appropriate scenario artistic and journalistic basis, deprives this action of a real basis.
The correctness of understanding the method of theatricalization as the basis of mass artistic work is confirmed by the entire history of the development of our state. A. V. Lunacharsky wrote about the pedagogical significance of theatricalization at the dawn of Soviet power, arguing that theatricalization of life material “is possible and applicable in work among adults precisely in a certain “pedagogical sense”, since it helps to activate, involve the viewer in action, contributes to a purposeful perception" 1 . In a note that precedes the scenario of mass action at the celebration of the Third International, A. V. Lunacharsky, analyzing this scenario of K. A. Mardzhanov, sets out, in essence, his understanding of theatricalization. In his opinion, the script favorably differs from many others in that it is not the action of individual actors, not a specially learned pantomime, not the formal movements of a colorfully dressed mass, but, namely, a mass action, scripted and artistically designed. 2 .
Analysis of the works of P. M. Kerzhentsev, A. I. Piotrovsky, G. A. Avlov 3 and others shows that theatricalization was considered by them not only as a special way of artistic organization of agitation and propaganda material, but mainly as a way of organizing the masses' own activities with the help of artistic means. The idea that the vigorous activity of the masses is the fundamental moment of theatricalization as a specific method of political and educational work different from the theater was shared by most theorists and practitioners of the 1920s.
However, already in those years, they sometimes tried to make the method of theatricalization universal, to turn it into an end in itself and a groundless game, since they used it in relation to any life situation, any mass form. Thus, the line between life and the theater was blurred, which is especially noticeable in the concept of N. N. Evreinov, who believed that “only insofar as life becomes a theater for a person,“ a theater for oneself ”, only insofar as it is a truly living, active, personal life » 4 . In these views one can see the proletarian ideas of replacing the theater with proletarian art isolated from life.
In the future, theatricalization took a leading place in the festive action. By organizing the emotional and artistic activity of the working people, it contributed to the creation of an atmosphere of optimism, the quickest assimilation of society's values by the individual, and the formation of collectivism.
An important stage in the development of a scientific understanding of the method of theatricalization was the discussion of theorists and practitioners that unfolded on the pages of the journal "Cultural and Educational Work" in the late 70s, the results of which were summed up by the author of this book. 5 , as well as a comprehensive analysis of the problem in a number of scientific studies 6 . One of the results of this was the conclusion that the main educational goal of theatricalization is the creation, on the basis of an emotional reaction to certain phenomena, events of social life, of a stereotype of their perception. These social emotionally colored figurative stereotypes are capable of exerting a certain influence on people's consciousness. They are the simplest elements of social class psychology and are extremely important, as they give the public consciousness emotional strength, enthusiasm, actively form feelings of solidarity and internationalism, sympathy for the oppressed, rejection of negative phenomena that exist in our lives.
However, for all their emotional strength and educational possibilities, socio-aesthetic stereotypes are only one of the elements of social class psychology, which takes its place in the complex of ideological influence. The most important socio-political requirement for the use of stereotypes in education lies precisely in the combination of emotional and figurative influence, which is actualized in the scenario and director's intention, with a deeper ideological reflection of reality on a meaningful event basis. The gap between the emotional-figurative and information-content is a breeding ground for manipulation - the antipode of theatricalization, which is widespread in the bourgeois world.
The most clear interpretation of manipulation was received in the theory of stereotypes by W. Lippmann, who proved the special role of “emotional and irrational factors that deeply penetrated into the process of forming public opinion” 7 . According to U. Lippman, with the help of a stereotype, one can evoke a predetermined reaction to this or that information. At the same time, it is not the content of the information that is of primary importance, but the fact itself - an information signal that simultaneously serves as a signal for the desired reaction. The concept of illusory stereotypes reduces the art of propaganda to the ability to select and arrange facts in such a way that they exacerbate emotion to the highest degree of intensity, causing the desired response behavior without argument. This is precisely the goal pursued by the theory of "manipulation".
Criticizing the bourgeois theories of "stereotyping" and "manipulation", we should not forget that capitalist propaganda has accumulated a large methodological experience of "introducing", "binding" ideology, which also requires serious critical analysis, especially since this experience has a lot bordering on theatrical , and even this term is used by bourgeois propaganda. Thus, one of the theorists of the "new left" T. Rozzak accurately noted that "the rejection of conventional politics in favor of theatricalization is needed again for politics, but one that does not outwardly look like politics and which is therefore more difficult to resist by means of ordinary mental and social protection" 8 .
In modern capitalist society, a noticeable phenomenon has been the transformation of real social and political life into theatrical forms. According to A. I. Kukarkin, a researcher of bourgeois mass culture, “such theatricalization as a peculiar way of denying the values of empirical and rational knowledge of reality has found many concrete manifestations in the United States in recent years, whether it is a speech by a presidential candidate or congresses of the Republican and Democratic parties” 9 . In these two events in the political life of the United States, the most obvious is the widespread use of emotional and artistic means of psychological influence on a person. And the stronger the scope of the political struggle and the need to put pressure on the individual, the more vivid, colorful theatrical action - the "political show" its organizers are trying to build. The most important stimulators of a person's unconscious involvement in politics are here the flag, music, slogan, social character, and in particular the president. Screensaver songs, game scenes, carnival games, processions through the streets and squares are widely used.
Such a theatrical action is by no means meaningless, as it might seem at first glance. It carries an active propaganda charge. Involving the audience, it would seem, in a simple carnival game, the theatrical action involves them in politics. At the same time, the action turns into a spectacle, and politics itself, with the help of theatricalization, is presented as a fun entertainment.
We see that manipulation is a method of socio-psychological influence on the masses. In contrast, theatricalization is the socio-artistic activity of the masses themselves. Of course, in a theatrical celebration there is always an organizational principle. It is planned, like any pedagogical action, but the program of the organizers is not an end in itself, but a stimulus for the amateur activity of the masses. It is a stimulus, and not the essence, as in manipulation. As for the actual socio-artistic activity of the participants in a theatrical festival, it is not a spontaneous action under the influence of external stimuli, but a conscious activity caused by the content of one or another real event.
Unfortunately, the gap between the emotional-figurative and information-content beginning of theatricalization has become a breeding ground for manipulation in our country since the late 1930s. During these years, the audience was often regarded as a passive object of mass propaganda. At the same time, the psychological and physiological aspects of the process of perception were carefully taken into account, in which the subconscious side of human mental activity was highlighted. It was on her that the propaganda emphasis was made. Thus, from a means of expressing the social needs of the individual, theatricalization sometimes turned into a means of attacking the individual, which made it possible to manipulate the consciousness of the masses. That is why it is necessary to understand well that the term "theatricalization" is not adequate to the same term denoting the manipulation of the masses with the help of theatrical means.
We see that the understanding of the method of theatricalization in the modern world is extremely broad. However, the educational effect of its use depends entirely on in whose hands this method is, for what purpose it is used. This is what I want to draw the attention of readers.
Despite the growing role of theatricalization and the place occupied by theatrical forms in the festive and ritual action, today there is no common understanding of the essence of theatricalization, its definition and functions, its place in all areas of work, possibilities, boundaries and principles of use have not been explored. In turn, the lack of development of theoretical issues of theatricalization negatively affects the activities of practitioners, therefore, today research on the application of the theatricalization method in various fields of activity in modern conditions of "being" is relevant.
The statement of A.A. Konovich that “... the most common mistake of practitioners, due to a purely empirical approach to theatricalization, is its understanding as the introduction of artistic material (a film fragment, a scene from a play, a song, music, dance, a concert number) into a festive ritual action. Thus, it falls on a par with artistic illustration, representing, in essence, only its more complex variety.
O.D. Dashkovskaya gives the following interpretation of the theatricalization method and components technological process: “... the organization of a single action on the basis of a dramatic (scenario) and director's plan, subordinating all the components of the ongoing event to itself.
The essence of the method- in connecting the movement of light, sound, objects, people in time and space. This is a complex creative method that combines the organizational, methodological and psychological components of the technological process. Its nature is bifunctional, as it combines the socio-pedagogical and artistic aspects of influencing the audience into that utilitarian artistic form in which a fictional reality becomes life for a person participating in the event during the leisure program.
The main task of theatrical- creation of a spectacularly active (interactive) situation, in which the participant of the event is imbued with a general mood and, carried away by a single impulse, performs collective actions.
I.V. Prokofieva emphasizes that “theatricalization as an artistic phenomenon has deep roots that are inherent in both folk and professional traditions of art development. Undoubtedly the origins of this phenomenon, which is now called theatricalization, lie in a cult action, a rite: this is the cult of Dionysus in Ancient Greece and the theatricalization of the Christian cult, originally necessary to make it more spectacular<…>In them, the word, music, movement, dramatic action, the surrounding space are elements of the whole, interdependent and complementary.
In modern life, the role of theatricalization in various fields, including pedagogy, is constantly increasing, but its theory has not been sufficiently developed. There is no common understanding of the essence, functions, place and meaning, the boundaries of possibilities and principles of use are not defined.
The concept of "theatricalization" is often associated with cultural and educational work. It is understood as "the introduction of artistic elements (music, dance, dramatic action) into the holiday, the organization of activities according to the laws of the theater", as "a complex creative method that has a deep socio-psychological justification and is closest to the art of the theater" . At the same time, “... theatricalization, - the researcher I.V. Prokofiev - can be associated with dramatic action or autonomous, because, unlike dramatization, it is aimed not only at the text structure: staging dialogues, creating dramatic tension and conflicts between characters, the dynamics of the action. It does not necessarily have conflicts, a scenario, a system of roles.”
F.T. Begisheva draws attention to the fact that the modern understanding of theatricalization is taking shape in the context of the formation of a new type of thinking, in the conditions of modern virtual-screen communication, when she herself becomes the bearer of both aesthetic and artistic social environment. “... The emergence of non-traditional forms of functioning of art with the obligatory participation of the audience, when the imitation of reality (mimesis) was replaced by a game of reality, actualizes the position on a radical rethinking of the problem of the formation of aesthetic practice.<…>The trinity of aesthetic, non-aesthetic and ethical landmarks should be considered at the intersection of art and everyday life, rational and irrational, virtual and real. It is ratio, not preference, that is the main criterion of modern thinking.
Directing technology has turned into a model for studying the patterns of interpersonal relationships, coming to the rescue teachers and psychologists are far from the theatrical sphere.
So N.I. Nikonova, as a result of the analysis of psychological and pedagogical literature, came to the conclusion that “scientific understanding of the term “theatricalization” at the end of the twentieth century allows us to consider socio-playing, interactive methods in the context of theatrical technology as a special technique of action based on the system of K.S. Stanislavsky, on the "theory of actions" and "parameters of interactions" of P.M. Ershov. The author comes to the conclusion: "These techniques are interpreted and "adapted" to the study of any subject, contribute to both children's and pedagogical creativity" Thus, applicable to literary lessons, the researcher proposes to consider theatrical technique in three contexts:
- 1) as a gaming tool;
- 2) as a component of theatrical pedagogy;
- 3) as a kind of theatrical technology".
Researcher E.V. Migunova also emphasizes the special significance of theatrical activities in relation to children's educational institutions: “Love for the theater becomes not only a vivid childhood memory, but also a feeling of a holiday spent together with peers, parents and teachers in an unusual magical world”<>Theatrical activities with children not only develop the mental functions of the child's personality, artistic abilities, but also the universal universal ability to interpersonal interaction creativity in any field. In addition, for a child, a theatrical performance is a good opportunity to become a hero at least for a while, to believe in himself, to hear the first applause in his life” [ibid., p.10]. In addition, the author also notes one important problem - “... the level of training of children mastering theatrical culture directly depends on the level of training of the leader, his ability to scientifically, systematically and consistently build the educational process [ibid., p.24].
N.Ya. Makarova, studying the level of teacher training, in particular the use of theatricalization as a source of tolerant attitude, experimentally created a special course "Theatricalization in the practice of tolerance pedagogy", where the developed model of theatricalization represents an intentional, within the framework of psychodramatic exercises, arbitrary reproduction of a certain scenario, which is based on climactic scenes from a previously watched performance. “Theatricalization is the dramatization of reality by means of art. Dramatization is theatricalization, but without the presence of an artistic and figurative beginning ... The game is at the intersection of theatricalization and dramatization. A game is a situation where "dramatization is reduced to certain rules, agreements, includes an element of predictability".
Researcher O.A. Mikhaleva emphasizes: “Theatricalization is necessary so that the teacher, remaining himself, effectively carries out the intended pedagogical action, knows how to do ... in order to successfully create a pedagogical act not on the approximate expectation of a miracle, but on the basis of a calculated pedagogical technique. The author emphasizes, “... this makes it possible to consider pedagogical technology in theatricalization as a “qualitative understanding of the pedagogical activity, as a systematically organized, technologized social sphere” .
The researcher S.K. Borisov, analyzing the specifics of theatrical performance dramaturgy, proposes to distinguish between two aspects of theatricalization:
- 1. Scenario theatricalization: a creative way of turning life, documentary material into an artistic script.
- 2. Director's theatricalization: a creative way to bring the script to an artistic figurative form of presentation through a system of pictorial, expressive and allegorical means.
Studying the cultural potential and the phenomenon of folklore theater - performances, the researcher V.G. Pushkarev comes to the conclusion that this species mass holiday “combines traditions and innovations, preserving and developing the ethno-cultural heritage, concentrating the experience of interpenetration of different cultures. Reflecting the folk aesthetics of pleasure from the spectacle, the folklore theater-action has the properties of demonstrativeness, fullness of the semantic action of some “transforming”, for active perception by other “transforming”, the possibility of “dialogue”; traditionalism in the forms of performance, attributes and time of organization of performances carried out during the period of folk calendar holidays; improvisation in details, situationality of the game; positivity, life-affirmation; festivity in the creation of game reality; communication, development of the system of "messages", mythological in content and playful in form .
L.I. Futlik and R.P. Kozlova in the terminological dictionary “Direction of a mass theatrical performance give an expanded interpretation of the types and methods of theatricalization, distinguish three types of theatricalization: "compilation, original, mixed". Let's dwell on this material in more detail. According to the authors:
1). Theatricalization of Compiled or Combined kind- thematic selection and use of ready-made artistic images and various types of art and their connection with each other by a screenplay and director's technique or move. The compiled method is used in theatrical concerts, performances, etc. The main task of the screenwriter in working with this method is to determine the script and semantic core of the entire program as a whole, episode or block, the compositional alignment of the entire script as a whole, the editing of the episode and block, and the entire script as a whole.
2). Theatricalization of the original look- the most difficult type of theatricalization. Creation of new artistic images, according to the script and director's intent. It is used to create scripts of the documentary genre, which are based on the dramatization of the document. The documentary series gives a modern journalistic sound, if the fact is of public value. Primary requirements: Topicality and relevance. Here, a synthesis of documentary and artistic materials is created not only in the thematic selection of material, but also in an organic fusion according to the main principle of the emotional development of thought and the creation of a scenario-semantic core for each episode and the scenario as a whole. This is a more complex form of creating a script that requires organizational experience, the ability to select and assemble ready-made material and search for a move for ready-made numbers, but also professional skills, the director's ability to put on a new number, according to the scenario plan, to organically combine fiction and documentary material into episodes.
3). Mixed type theatricalization- use of 1 and 2 types. Includes compiling the finished and creating a new one. It is built on the principle of thematic selection and bringing them into a composition with the help of a screenwriting and director's move and bringing into this basis its author's original vision and solution. Includes compilation of ready-made texts and numbers and original creation of ready-made texts and numbers.
Director of theatrical performances and holidays A.A. Rubb, discussing the specifics of theatricalization in a concert (a theatrical concert), emphasizes that "theatricalization" means that such a concert, first of all, has a single artistic stage image, to create which the expressive means inherent in the theater, theatrical action, are used. Namely: the plot move, stage action, mise-en-scene, role-playing personification of the hosts, scenography. stage atmosphere. “It is theatricalization that makes it possible to reveal the content of the concert more deeply and intelligibly, to enhance its perception and emotional impact on the audience. For theatricalization serves to strengthen their ideological and artistic content; helps, not hinders performers; creates the conditions for the most vivid expression of the thought of the number ".
Professor of the Department of Directing and Mastery of the Actor of the Oryol Institute of Arts and Culture (OGIIK) A.Yu. Titov, considering the mechanisms of theatricalization in "open" theatrical systems, proposes to distinguish between the mechanisms of the categories "theatricality" and "theatricality". The researcher notes that aspects of a clear definition of boundaries and spheres of action are related to the issues of the genesis (origin) of spectacular culture, artistic creativity and art.
The author sees that theatrical genesis, as an earlier archaic section of culture, should be developed in the field of cosmogonic myth (the origin of man, stars and planets, binary duality, totemic myths (personification and personification) and calendar (dying-rebirth). Genesis of theatricality- heroic myths with a ritual-ceremonial complex of initiation (initiations), with the crime of the hero, his exile and return (purification). If in the classical beginning the ancient Greek theater maintained a balance of both (the ancient choir was the embodiment of generic ideas of the general cosmogony, which it “theatricalized” around the sacrificial stone of the orchestra), and later the playing of medieval mysteries (miracles and morality carried the rudiments of theatricality (humanity) , then the Renaissance drama singled out its hero, reviving the genre of tragedy (Tragedy is “the isolation of the individual from the choir” (V.I. Ivanov). Further processes of isolation of the individual from society led to the emergence of “closed” forms of theatricality, separated by the “fourth wall” According to Titov, “the heyday of the “closed” form falls on the period of “intimacy” of the “naturalistic period” of the Moscow Art Theater (productions of dramas by A.P. Chekhov).” Thus, a stable standard of theatricality was formed, closed to the “box” of the stage.
It is the symbolist theater that takes the path of returning to the bosom of theatrical culture the origins of the cosmogonic myth (Vs. Meyerhold, N. Evreinov, G. Kozintsev, S. Radlov, S. Eisenstein, N. Okhlopkov).
Shakespeare's "The whole world is a theater" (that is, the theatrical convention is far from being a metaphor, but a global understanding of what is happening in decorative decoration), which has become a "talk of the town", returns openness to the theater, removes the tragedy of isolated and closed theatricality, opening the masks of convention and transforming life on the feast of being (“Princess Turandot” by E. B. Vakhtangov).
Titov comes to the conclusion: "The theatrical tradition is associated with the dynamic psychotechniques of cyclic rhythmization, the theatrical tradition is conditioned by the static mental organization of the actor's expressive apparatus."
Stage director, art historian T.Yu. Smirnyagina emphasizes that “..in the combination of “facts of life” (real heroes, real historical events, documentary material) and “facts of art” (figurative reconstruction of the facts of life through a system of allegorical means of art), a new mythological paradigm of “theatricalization of life” is formed, based solely on the ideals of the most ancient codes of the Man's worldview.
In development theatricalization in the art of the director the leading role belongs to the receivers K.S. Stanislavsky - Meyerhold, Vakhtangov, M. Chekhov. Meyerhold's biomechanics is a psychophysical complex of internal justification of theatrical forms behavioral existence: from the fair, farce to the stage step of the theater of classicism. The search for conditional methods in stage productions that contribute to the search for external methods of shaping and interaction (relationship) "stage-hall" develops into ways " creative method organization(in the concept of G. Krag's superpuppet, in "Stanislavsky's system", in Meyerhold's biomechanics, in Brecht's "epic theater", in search of metatheatricality by E. Grotovsky and P. Bruck)" .
Thus, there are many approaches to the concept of "theatricalization". Modern researchers and practitioners unanimously come to conclusions about the complexity and multidimensionality of this phenomenon, constructing through different models game theatrical creativity visual representations of the studied phenomena, objects and objects.
In this way:
- - theatricalization as an artistic phenomenon has deep roots that are inherent in both folk and professional traditions of art development;
- - theatricalization has a single artistic stage image, for the creation of which the expressive means inherent in the theater, theatrical action are used;
- - theatrical genesis, is considered in the context of the genesis of theatricality;
- theatricalization as an artistic method exists in three forms compilation, original and mixed
- -scenario theatricalization- a creative way of turning life, documentary material into an artistic scenario;
- -director's theatricalization- a creative method of bringing the script to an artistic figurative form of presentation through a system of pictorial, expressive and allegorical means;
- -theatrical technology interpreted and "adapted" to learning any subject;
- - theatricalization how a form of socio-cultural identification of society contributes to the formation of a model of tolerant behavior;
- - theatricalization as a form of pedagogical technology, considered in three contexts: as a game tool; as a component of theatrical pedagogy; as a type of theatrical technology.
Ministry of Culture of the Russian Federation
Kemerovo State University of Culture and Arts
Theater Institute
Department of directing theatrical performances and holidays
Theoretical Foundations of Classical Directing and Actor's Skill
Test
Completed:
Pleshivtseva V.V.
student 2k., gr. RTPP - 091
Checked by: Ovcharuk
Tatyana Georgievna, senior pr.
Mezhdurechensk 2011
Plan:
The concept of theatricality.
Types of script-director theatricalization.
Theatrical language.
The concept of theatricality.
directing- a kind of artistic creativity, allowing to create space-plastic, artistic-figurative solution ideological and thematic design of the work of one of the "spectacular arts" with the help of its inherent expressive means. Distinguish directing drama, music. theater (opera, operetta, ballet), cinema, stage, circus, theatrical submission and mass holidays.
Theatrical action - creative activity people expressing their life aspirations by artistic, theatrical means, aimed at achieving a vital spiritual goal; this is an organic combination of reality associated with everyday life, social relations, religious beliefs, ideological and political inclinations of people, and artistry contained in the emotional-figurative (artistic) material created by transforming this reality.
Theatricalization- organization within the framework of the holiday of material (documentary and artistic) and the audience (verbal, physical and artistic activation) according to the laws of drama on the basis of a specific eventfulness that gives rise to the psychological need of the collective community in the implementation of the festive situation (A. A. Konovich).
Due to its socio-pedagogical and artistic bifunctionality, theatricalization acts simultaneously as an artistic processing, and as a special organization of the behavior and actions of a mass of people.
To dramatize material means to express its content by means of the theater, i.e. use two laws of theater:
1. Organization of the stage action (visible disclosure of the dramatic conflict). The development of the action occurs along a through line.
2. Creation of an artistic image of a performance, performance.
Director's theatricalization is a creative way of bringing the script to an artistic figurative form of presentation, through a system of visual, expressive and allegorical means (Vershkovsky).
There is no doubt that the theatrical performance is one of the components of the spiritual and artistic culture of both the ethnic group and society. When we say "theatricalization", we mean a phenomenon that belongs to the field of art, an appeal to the emotional-figurative sphere of human perception, artistic creativity or its elements using the expressive means of theatrical art. When we say "action", we mean the development of a certain reality in its contradictions, because these contradictions are the mover, thanks to which reality acquires its inherent dynamic and dialectical character, which is necessary to create action in a theatrical performance, holiday or ritual.
One of the most important features of directing a mass holiday is that it, as it were, directs life itself, artistically comprehended. The director of the mass theater works, first of all, with a real collective hero and, therefore, must widely use the mechanisms of social psychology. Psychological and pedagogical training of the director-organizer of mass holidays is just as important as artistic and creative training.
Features of the theatrical performance:
1. The scenario of a theatrical performance is always based on documentary
mental material (documentary object of the screenwriter's attention).
2. Theatrical performance does not mean the creation of psychology
fictional heroes (characters), but the creation of a psychology of situations in which real (documentary) forces operate and develop
3. Theatrical performance is multifunctional and solves the following tasks: didactic (edifying), informational (call), aesthetic, ethical, hedonistic (enjoyment) and communicative
4. Theatrical performance, as a rule, is one-time and exists
as if in a single copy.
5. A theatrical performance 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, which does not require
direct participation of the audience in it, then the holiday and ritual are theatrical performances in which those present themselves become active participants in what is happening. The exception is the theatrical competition and game program, which combines a theatrical performance and elements of direct activation of the audience with their involvement in the stage action.
Theatricalization can be applied not always, not in any, but only in special conditions, correlating this or that event, in which this audience is involved, with the image of this event created by the audience, with its artistic interpretation. Such a duality of theatrical functions is associated with any moments in people's lives when it is necessary to comprehend the unusual meaning of an event, to express and consolidate their feelings towards it. Under these conditions, the craving for artistic comprehension, for symbolic generalizing figurativeness, for organizing the activities of the masses according to the laws of the theater is especially strong. Thus, theatricalization appears not as an ordinary method of cultural and educational work that can be used at all its levels, but as a complex creative method that has a deep socio-psychological justification and is closest to art.
Of course, it is not enough just to see a special subject of theatricalization. You need to know how to organize it. Here the most important tool is imagery, which is the main essence theatricalization, which allows to show in action one or another fact, event, episode. Real imagery and artistic imagery, which is closely related to it, is the basis of theatricalization, which makes it possible to build an internal scenario logic and select means of artistic expression. It is figurativeness that gives life to theatricalization, creates a watershed between theatricalized and non-theatricalized 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 script laws.
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 expression /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.
Theatrical performance of coins can be both an independent work and integral part holiday.
Summarizing what has been said, it can be emphasized that in theatricalization, as a special kind of art, comes to the fore the most importantthe component of mass representation is the spectator, the collective hero.
2. Types of theatricalization.
1.Compiled or combined theatricalization- thematic selection and use of ready-made artistic images and various types of art and their connection with each other by a screenplay and director's technique or move.
The compiled method is used in theatrical concerts, performances, etc. The main task of the screenwriter in working with this method is to determine the script and semantic core of the entire program as a whole, episode or block, the compositional alignment of the entire script as a whole, the editing of the episode and block, and the entire script as a whole. When using this type of theatricalization, it is important for the director to remember the main law of artistic expediency, which requires the justification of the appearance of the performance, its genre correspondence to the theme.
2. Theatricalization of the original look- the creation by the director of new artistic images, according to the script and director's plan. It is used to create scripts of the documentary genre, which are based on the dramatization of the document. The documentary series gives a modern journalistic sound, if the fact is of public value. Basic requirements: topicality and relevance. Here, a synthesis of documentary and artistic materials is created not only in the thematic selection of material, but also in an organic fusion according to the main principle of the emotional development of thought and the creation of a scenario-semantic core for each episode and the scenario as a whole. The synthesis of the documentary and the artistic should consist not only in the thematic selection of material, but also in their organic fusion according to the most important principle - the emotional development of thought. This is a more complex form of creating a script that requires organizational experience, the ability to select and assemble ready-made material and search for a move for ready-made numbers, but also professional skills, the director's ability to put on a new number, according to the scenario plan, to organically combine fiction and documentary material into episodes. This is the most difficult type of theatricalization.
A staged document, a staged verse, a staged song - these are the main components of creating an artistic image of an episode.
3. Mixed type theatricalization- the use of the first and second types. Includes compiling the finished and creating a new one. It is built on the principle of thematic selection and bringing them into a composition with the help of a screenwriting and director's move and bringing into this basis its author's original vision and solution. Includes compilation of ready-made texts and numbers and original creation of ready-made texts and numbers. Theatricalization of a mixed type opens up great opportunities for the development of the director-organizer's imaginative thinking.
All three types of theatricalization are primarily used to organize theatrical themed evenings and mass performances, which act either as an independent form of cultural and educational work, or as an integral part of a mass holiday, propaganda campaign or other complex system of ideological educational work.
Theatricalization in the field of cultural and educational activities is developing in two main directions. 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 are not yet theatrical. It is necessary to look for a capacious image - a generalization that emotionally reveals the director's thought through expressive means.
In theatricalization, as in a special kind of art, the most important component - the mass performance - the spectator, the collective hero, comes to the fore. He longs for such a mass action that would make him, associatively putting in memory the facts and events of his own life, to be a participant in the performance, to be included in it.