Theater as an art form. His artistic means

Introduction……………………………………………………………………….3

The essence and purpose of the theater……………………………………………...4
Specifics theatrical arts………………………………………...5
Types of theatrical art…………………………………………………………….....7
The birth of theatrical art. Theater development

4.1.Theater of the East................... ................................. ... ........................... .....................8

4.2. Theater of Africa.......................................................... .............................. ..............10

4.3. Theater of Europe

4.3.1. Ancient Greece………………………………………………………10

4.3.2. Middle Ages…………………………………………………………… …………..11
4.3.3. Russian theater………………………………………………………..13

Trends in the development of modern theater................................................................... ......14

Conclusion…………………………………………………………………….15
List of references………………………………………………………..... ..17

Introduction

Art exists and develops as a system of interconnected types, the diversity of which is due to the versatility of the real world displayed in the process of artistic creation.
In modern art history literature, a certain scheme and system of classification of arts has developed, although there is still no single one and they are all relative. The most common scheme is to divide it into three groups.
The first includes spatial or plastic arts. For this group of arts, spatial structure in revealing the artistic image is essential - Fine Arts, Decorative and Applied Arts, Architecture, Photography.
The second group includes temporary or dynamic types of art. In them, the composition unfolding over time - Music, Literature - acquires key importance.
The third group is represented by spatio-temporal types, which are also called synthetic or spectacular arts - Choreography, Literature, Theatrical Art, Cinematography.
In this work I will consider theatrical art, its types, specifics, and history.

The essence and purpose of theater

What kind of changes took place on earth - era followed era, one socio-economic formation replaced another, states, countries, empires, monarchies arose and disappeared, Atlantis disappeared in the depths of the ocean, the angry Vesuvius flooded the unfortunate Pompeii with hot lava, the sands for many centuries They brought the Troy glorified by Homer to the Hissarlik Hill, but nothing ever interrupted the eternal existence of the theater.
The most ancient creation of man, to this day it retains an unchanging attractive force, indestructible vitality, that miraculous elixir of youth, the secret of which was never discovered by the alchemists of the Middle Ages. In all previous eras, no matter how many you can count, there has always been an eternal need for theater in man. That need that once arose at the ancient Dionysian festivals of the Rhea grape in honor of the mythical deity of earthly fertility
People have always needed theater! Tens of thousands of spectators - almost the entire population of the city-republics - traveled to theatrical performances in Ancient Greece. To this day, majestic amphitheaters, dilapidated by time, built in times infinitely distant from us, serve as reminders of this.
How the fate of the theater has changed in the past! He experienced and survived everything until he found his permanent home - the theater building. his performances were given everywhere - in squares and fairs, on church porches, in the castle of a noble feudal lord, in a monastery monastery, in a gilded palace hall, in an inn, on the estate of a noble serf owner, in a church school, at a village festival...
Anything happened in his fate... He was cursed, hated, banned, subjected to persecution and mockery, punishment and persecution, excommunicated from the church, threatened with whips and gallows, all heavenly and earthly punishments. But in the fight against him, his enemies and persecutors fell - kings, monarchs, sovereigns, tsars, emperors, ignorant power-hungers.
No trials, no troubles and adversities have broken the eternal vitality of the theater. In ancient times, more than twenty centuries ago, the Greek comedian Aristophanes reflected on the innermost essence of the force that so imperiously draws a person to the theater. Why do people love theater, why do they value its masters so much?.. They love and appreciate, answered the first comedian of humanity, for truthful speeches, for good advice and for making the citizens of their native land smarter and better.
The school of life is the oldest, most amazing and emotional, the most festive, inspiring, great school unlike anything else - that’s what theater is!
Theater is a school of life. This is how they spoke about him from century to century. They spoke everywhere: in Russia, France, Italy, England, Germany, Spain...
Gogol called the theater the department of goodness.
Herzen recognized him as the highest authority for resolving vital issues.
Belinsky saw the whole world, the whole universe with all its diversity and splendor in the theater. He saw in him an autocratic ruler of feelings, capable of shaking all the strings of the soul, awakening a strong movement in minds and hearts, refreshing the soul with powerful impressions. He saw in the theater some kind of invincible, fantastic charm for society.
According to Voltaire, nothing tightens the bonds of friendship more closely than the theater.
The great German playwright Friedrich Schiller argued that “the theater has the most beaten path to the mind and heart” of a person.
"Mirror human life, an example of morals, an example of truth,” the immortal creator of “Don Quixote” Cervantes called the theater.

Specifics of theatrical art

A person turns to the theater as a reflection of his conscience, his soul - he recognizes himself, his time and his life in the theater. The theater opens up amazing opportunities for spiritual and moral self-knowledge.
And even though theater, by its aesthetic nature, is a conventional art, like other arts, what appears on stage before the viewer is not the real reality itself, but only its artistic reflection. But there is so much truth in that reflection that it is perceived in all its unconditionality, as the most authentic, true life. The viewer recognizes the ultimate reality of the existence of stage characters. The great Goethe exclaimed: “What could be more nature than Shakespeare’s people!”
Isn’t this where hidden the miraculous spiritual, emotional energy of the theater, the unique originality of its impact on our souls...
Have you ever seen a cheerful, infectiously laughing person at a symphony music concert?..
We can probably say with confidence: no, it wasn’t necessary!
Have you ever met a sobbing person in an art gallery who was unable to hold back bitter tears in front of the artist’s painting?..
No, we probably haven’t either!
And in the theater?..
And in the theater, in a lively community of people gathered for a stage performance, everything is possible: laughter and tears, grief and joy, undisguised indignation and wild delight, sadness and happiness, irony and mistrust, contempt and sympathy, guarded silence and loud approval - in a word, all the riches of emotional manifestations and shocks of the human soul.
Is this why such a direct, spiritually open perception of theatrical action is not comparable to anything?
It is incomparable with the writer’s creativity. His book is already a completed literary work, and it should be accepted as it is, as it came from the author’s pen, regardless of the fact, from century to century.
It is also incomparable with the artist’s work. His painting, his engraving or watercolor is also a completed creative process. The artist can exhibit them at an exhibition, in an art gallery, in an art museum, he can sell them and give them as a gift, or store them in his studio.
Unlike literature, painting, and sculpture, the viewer who comes to the theater becomes not a creator of what has already been created, but a direct participant in creativity. He is actively involved in the theater's lively and exciting process of creating a stage work - a performance. After all, the performance begins to live only from the very moment when. the theater curtain opens before the viewer and ceases to exist when the curtain closes, when the auditorium empties and the theater lights go out.
A good performance remains in the theater repertoire for a long time. But every time, with every new meeting with the viewer, he appears anew, is born anew. And then, as expected, he will be gone: the actors will go home, the scenery will be removed from the stage, the props and props will be taken away, and on the empty stage there will be nothing left of the performance that just so excited and touched the viewer.
But no matter how much time passed after that time, the day indicated on the theater poster did not arise, just as it had arisen more than once before. Between the stage and the auditorium a wonderful fire will ignite again! the fire of the relationship between soul and thought. And the intensity of this emotional, spiritual exchange will certainly affect both the actor’s performance and the entire atmosphere of the auditorium.
In the following days, weeks and months everything will happen again and again. But a constantly repeated performance will not be the same. Each time, depending on the current internal state of the audience, on the current mental state of the actors and on many other reasons and circumstances that can increase or decrease the emotional tone of creativity, it will be different in some way.
The same performance can be performed with a surprisingly warm, excited perception of the audience, with the festive inspiration of the actors, and the improvisational brilliance of their skill. And it can pass sadly, with unexpected indifference from the audience, without any uplift, as if someone had replaced the actors who only yesterday performed with such enthusiasm in the same performance, in the same roles.

Types of theatrical art

VAUDEVILLE is a type of sitcom with verse songs and dances. Originated in France; from the beginning of the 19th century. received pan-European distribution. The best works are characterized by playful fun and a topical reflection of reality.
DRAMA is one of the leading genres of drama, starting from the Enlightenment, which depicts the world of a real person in his acutely conflicting, but not hopeless relationship with society or himself. In the 20th century The drama was distinguished by serious content, reflected various aspects of human life and society, and explored human psychology.
COMEDY is a type of drama in which the action and characters are interpreted in comic forms. Like tragedy, it was born in Ancient Greece from rituals that accompanied processions in honor of the god Dionysus. The comedy, soberly exploring human nature, ridiculed the vices and misconceptions of people. The best examples of this genre are distinguished by their uncompromising analysis, sharpness and courage in ridiculing the vices of society. Different countries have developed their own versions of comedy. The “scientific” comedy of Italian humanists and the Spanish comedy of Lope de Vega and Calderon, the English comedy of the Renaissance, the French classicist comedy of the Enlightenment, and the Russian realistic comedy are well known. According to the principle of organization of action, a comedy of characters, situations, and ideas is distinguished. According to the type of plots, comedies can be everyday and lyrical, and according to the nature of the comic - humorous, satirical.
MELODRAMA is a play with acute intrigue, exaggerated emotionality, a sharp contrast between good and evil, and a moral and instructive tendency. Originated at the end of the 17th century. in France, in Russia - in the 20s. XIX century
MIM is a comedy genre in ancient folk theater, short improvisational skits of a satirical and entertaining nature.
MYSTERY is a genre of medieval Western European religious theater. Mysteries were presented in city squares. Religious scenes alternated with interludes.
MONODRAMA - dramatic work, performed by one actor.
MORALITE - a genre of Western European theater of the 15th-16th centuries, an edifying allegorical drama, the characters of which personified various virtues and vices.
MUSICAL is a musical and stage work, mainly of a comedic nature, which uses the means of pop and everyday music, dramatic, choreographic and operatic arts; the genre was formed in the USA at the end of the 19th century.
PARODY - 1) a genre in the theater, on the stage, a conscious imitation for satirical, ironic and humorous purposes of an individual manner, style, stereotypes of speech and behavior; 2) a distorted likeness of something.
PASTORAL - an opera, pantomime or ballet, the plot of which is associated with an idealized depiction of pastoral life.
SOTI - comedy-satirical genre French theater XV-XVII centuries, a type of farce.
TRAGEDY (translated from Greek as “song of the goats”) is a type of drama imbued with the pathos of the tragic. In antiquity, it depicted the immediate life of characters in tragic events; action prevailed over story. During the Renaissance, unity of action, which was considered obligatory, was discarded in plays; the tragic was often combined with the comic. Subsequently, the tragedy is strictly regulated: again the unity of action, place and time prevails; There is a demarcation between the comic and the tragic. IN modern theater Pure tragedy is rare. The basis of the tragedy is made up of acute social conflicts, fundamental problems of existence, and clashes between the individual and fate and society. A tragic conflict is usually resolved by the death of the hero.
TRAGICOMEDY is a dramatic work that has the characteristics of both comedy and tragedy. It is based on a sense of the relativity of existing life criteria; The playwright sees the same phenomenon in both comic and tragic light, characteristic of the 20th century.
Farce - 1) a type of medieval Western European folk theater of everyday comedies of a satirical nature, which existed in the XIV-XVI centuries. Close to the German fastnachtspiel, Italian commedia dell'arte, etc.; 2) in the theater of the 19th-20th centuries. a comedy-vaudeville of light content with purely external comic techniques.
Extravaganza is a genre of theatrical performances in which stage effects are used for fantastic scenes. Originated in Italy in the 17th century.
FLIAKI - folk theatrical performances in Ancient Greece, especially widespread in the 3rd-4th centuries. BC. in the Greek colonies: short improvisational jokes-sketch from Everyday life about the merry adventures of gods and heroes.

Theater of the East

For the traditional theater of the East, the continuity of ceremonial and ritual actions is characteristic to the greatest extent. Only there, to this day, numerous forms of archaic traditional theaters - dramatic, puppet, musical - are carefully preserved; Moreover, they are preserved not as frozen museum exhibits, but as a living artistic movement that has its many fans.

This is equally true for the symbolic, semantically loaded, traditional theater of India (both its folk and courtly-aristocratic lines); Japanese theater (especially Noo, Kabuki, Joruri puppet theater); theater of China (in which musical, vocal and dance lines are traditionally strong). Theaters of this type are associated with all forms of Indonesian cult theater Wayang: wayang-kulit (shadow theater); wayang-golek (3-dimensional puppet theater); wayang topeng (mask theater); wayang-orang (live actor theater) and many others. etc. All these forms are preserved today in the living context of culture.

KABUKI. Scene from the play

With all the variety of forms and types of theater of the East (these also include the mystery Tibetan Tsam theater; the Balinese mimetic-plastic theater - Antonin Artaud wrote about it as a revelation; the Vietnamese Tuong theater, and many others), all of them undoubtedly have some general features. First of all, this is a high degree of semantic saturation of all its elements, and therefore the conventions of visual means. In a certain sense, this theater has always been addressed to a sophisticated, “dedicated” viewer, capable of reading the complex symbolic code of plasticity, gestures, and facial expressions. This preserves the traditions of ritual actions - dialogue with the gods. This path of development of the theater and the preservation of its traditional forms was undoubtedly favorably influenced by its traditionally high social status: practicing theater in the East has always been a respected and honorable matter. The sacredness of theatrical action helped maintain its closeness to religious rituals. In many ways, these features of the theater of the East were determined by its development under the auspices and within the framework of Buddhism (the theater of southeastern civilizations - and under the influence of Hinduism).

Theater of Africa

The development of traditional theatrical art in Africa followed a similar path. The ancient religious beliefs and ancient animistic cults that remained intact also determined the preservation of traditional ritual performances, rich in dances, plastic performances, songs, and the drum rhythms of marimba and tom-toms. These traditional performances take place in the open air and are timed to coincide with various significant events - harvesting, completion of field work, successful hunting, reconciliation of tribes, birth of a child, etc. African peoples belonging to the Muslim faith (Southern Nigeria, etc.) have a widely developed puppet theater, which, along with the area performances of maskharaboz improvisers, the art of pantomime and mask performances, is traditional for many Muslim countries.

Theater of Europe

Ancient Greece

The Greeks depicted forest gods as prisoners of Dionysus - satyrs. For authenticity, they dressed in goat skins and masks, and for greater persuasiveness they smeared their faces with wine grounds. The mummers acted out scenes from the myths about Dionysus in their faces - these were the first theatrical performances. Scenes from these performances have survived to this day in works of art of Ancient Greece. The performances were very popular with the ancient Greeks. Later, poets began to compose plays for the theater, and builders began to create special buildings for performances. Such buildings appeared in almost all cities of Greece. The famous Greek theaters were located in the open air on the hillsides and seated thousands of spectators.

This is what the famous Theater of Dionysus looks like in Athens

To make visiting the theater accessible to common people
the government in Athens gave them money to purchase entrance tickets. The participants in the performances were only men; they wore women's and men's masks and special shoes with thick soles to appear taller. By changing masks and costumes, they could play low kings in one performance.
There were two types of performances in the Greek Theater - tragedy and comedy. The heroes of myths were included in the tragedy, their exploits, suffering, and often death were depicted. The characters of the comedy, in addition to the heroes of myths, were famous contemporaries of the audience. Their presence emphasized the cheerful and mocking content.
They prepared very carefully for theatrical performances: they were held only a few times a year. In the mornings, on the days of the spring festival of the great Dionysius, the Athenians hurried to the theater. To be closer to art, from the night they took seats closer to the orchestra. One performance followed another, and so on all day, so the audience stocked up on bundles of food and drink.
At the spring festivals of the Great Dionysia, poets and actors not only delighted the people with their art, but also competed with each other in talent and skill. These theatrical performances became a mandatory part of public holidays. The selection of productions was carried out directly by the city authorities. At the end of the competition, the judges determined best productions and awarded the winners.
Masks were an integral part of performances. Masks for actors were made mainly from canvas, which was given the desired shape using plaster. Then it was painted, slits were made for the eyes and mouth, and a wig was attached on top. It is difficult to overestimate the importance of the mask in ancient theater. Masks initially had a cult significance, but in the theater they were necessary not because women’s roles were played by men, but also because the size of the Greek theater was enormous, as a result of which live facial expressions were completely invisible.
The productions of Aeschylus, Sophocles and Euripides attracted huge numbers of spectators, and the theater enjoyed incredible success. He made the audience laugh and cry, empathize, admire and dream, and this meant there was a continuation.

Middle Ages

After the fall of the Roman Empire, the ancient ancient civilization was practically wiped off the face of the earth. Along with civilization, ancient theaters also disappeared. Religion took the place of culture. But theatrical performance began to originate in ritual games. These games depicted the struggle between winter and summer. This theme was the main one at the May games, distributed in all countries of Western Europe.
In medieval Switzerland and Bavaria, the struggle between winter and spring was depicted by two village boys. One of them was wearing a fur coat, the other was wearing a shirt.
The Church, which condemned demonic carnivals and masquerades, itself contributed to the strengthening of theater in the life of Europeans. She allowed theatrical dialogues between biblical characters to be shown. This is how liturgical drama was born, but gradually folk, comic and everyday elements began to penetrate into it. In 1210, Pope Innocent III issued a decree banning the display of liturgical dramas in churches; until then, the display of theatrical evangelical episodes was carried out on the porch - this was the first form of transition from religious to secular theater.
In 1381 arose in Kleve special society which was called the Order of Fools. Such stupid societies arose under the influence of the spirit of masquerade; they parodied church rituals. By the 15th century, foolish societies had spread throughout Europe.
In the Middle Ages, new stage forms were born from clownish organizations - farce and sati (from the French - stupidity). The center of all these theatrical performances, which literally fell upon the medieval townspeople, was the mystery play, which was held on fair days. The fair began with a large morning prayer service and a solemn procession of all city residents. A huge stuffed devil was carried on a pole, biblical scenes were shown on carts, a huge bear played the harpsichord, St. Augustine walked on huge stilts. All this marched to the square, where the performance of the mystery began.
During the Renaissance, the theater approached its classical appearance. It was then that interest in the culture of antiquity aroused interest in ancient theater. In the middle of the 16th century in Italy, for the first time in Europe, professional actors took to the stage, and the principles of professional stage theater were developed. Tragedy, comedy, and pastoral have been revived. Opera was created. The first theater buildings were built.
The origins of the English Renaissance Theater can be traced back to amateur student productions at Oxford and Cambridge, where at the end of the 15th century early XVI plays have been staged in Latin for centuries. The pinnacle of the English Renaissance theater was the work of William Shakespeare. In Shakespeare's time, theater was considered a low-class entertainment, although actors were favored at court and invited to give performances there. Drama was not considered high art, and its authors were not respected.
Powerful people of the Renaissance tried to imprint themselves for centuries in marble, to perpetuate their names in defeats and victories. They had no idea that the art they so despised would make them immortal. And wouldn't it be better to say it in the words of Hamlet, the main character main tragedy of the great Shakespeare - “Most Honorable, see that the actors are well taken care of. You hear, be more courteous to them, because they - short review our time. It’s better to have a bad inscription on a tomb than a bad review during their lifetime.” And if theater is a brief overview of time, then this means only one thing, that there was a continuation...

Russian theater

Russian theater originated in ancient times. Its origins go back to folk art - rituals, holidays and games that used such means of expression as dialogue, dancing, acting and music. Such games instilled a taste for dramatic art. The term “theater” itself entered the Russian dictionary only in the 18th century. Previously, in the 17th century, the term "fun" was used, and at the end of the 17th century - "comedy". The Russian court theater appeared in Moscow under Tsar Alexei Mikhailovich. The quiet king loved entertainment, and the court nobility was very interested Western culture, so the first performances were staged and performed by foreigners. Later, they began to compulsorily attract and train Russian youths. They were paid their salaries irregularly, but, however, they did not skimp on scenery and costumes. The performances were distinguished by great pomp and were sometimes accompanied by playing musical instruments and dancing. After the death of Tsar Alexei Mikhailovich, the court theater was closed. Performances were resumed only under Peter I. In 1702, a public theater was created, designed for a mass audience. Especially for him, a building was built on Red Square in Moscow - the “Comedial Temple”, where performances by the German troupe of I. H. Kunst took place. The repertoire included foreign plays that were not successful with the public. The theater ceased to exist in 1706. The first permanent public theater in Russia was founded by decree of Empress Elizabeth Petrovna in 1756. Initially it was called "Russian theater for the presentation of tragedies and comedies." By that time, a permanent theater had already been created in Yaroslavl. Its founder was Fedor Volkov. Soon the Yaroslavl comedies became known at the court of the Empress. Elizaveta Petrovna, by special decree, summoned Volkov to St. Petersburg to head her theater. Since 1759, the theater received the status of a court theater, and since 1832 it began to be called Alexandrinsky.
Private theaters also flourished. Such theaters were maintained by noble nobles.
The abolition of serfdom in 1861 begins a new era in the history of Russia. In 1888, drama courses were opened, where the largest actors of the Maly Theater taught. The year 1898 marked the beginning of a new stage in the development of Russian and world stage art. This year the Moscow Art and Public Theater began its activities. In the spring of 1901, it began to be called the Moscow Art Theater (MAT).
etc.................

THEATER ARTS (Greek theatron - a place for spectacles) is an art form based on the artistic reflection of life, carried out through dramatic action performed by actors in front of the audience. The art of theater is secondary. The basis of stage art is drama, which in its theatrical embodiment acquires a new quality - stage presence, theatrical image. The development of theater is closely connected with the development of drama and drama, the expressive means of drama, monologue and dialogue. The main work of theatrical art is a performance, an artistically organized, spectacular and playful action. The performance is the result of the efforts of the creative team. At the same time, the performance is distinguished by figurative unity. The figurative structure of the performance is created by the unity of all elements of the play action, subordinated to a single artistic task - the “super task”, and a single stage goal that organizes the stage action in time and space, the “end-to-end action”.

The playful essence of theater has changed historically. Having arisen from ritual, the system of spectacular influence as a whole is preserved at all stages of the development of the theater; the transformation of the actor, using his psychophysical data to create the image of another person - the character, words and plasticity are the main conditions for involving the viewer in the action. Modern theater knows various forms of organizing play action. In a realistic, psychological theater of experience, the principle of reflecting life in the forms of life itself presupposes the principle of the “fourth wall,” as if separating the viewer from the stage and creating the illusion of reality. In the performance theater - " epic theater» game principle may not coincide with the truth of life circumstances and suggests a poetically generalized, metaphorical, figurative solution.

Theater is a collective art (see). In the process of historical evolution, the principle of the ensemble was established. In modern theater, the role of organizer of stage action and the creative efforts of the group belongs to the director, who is responsible for the stage interpretation of the dramatic basis. With the help of such visual and expressive means as mise-en-scène, tempo-rhythm, composition, the director creates an artistic image of the performance.

By its nature, the art of theater is synthetic (see). The nature of synthesis in the history of theatrical art changed, ballet emerged, and musical theater became independent. Modern theater tends to unite the most various types art. The organization of spectacular synthesis depends to a large extent on the participation of the composer, costume designer, lighting designer and, above all, the set designer. The material environment created by the means of a set designer can have various functions, but always, corresponding to the context of the whole, the bearer of psychological truth to the performer, it organizes the viewer’s attention.

The art of theater is designed for collective perception. The viewer, his reaction, is a component of the action. Theater does not exist without an immediate reaction from the audience. A performance that is rehearsed but not shown to the audience is not a work of art. It is the viewer who is given the right to differentiate between the meaning of the expressive device chosen by the performer and its use. The viewer of modern theater experiences the influence of many spectacular forms that expand his associations and change his preferences. The theater cannot ignore these changes in its development, increasing the role and significance of theatrical forms, strengthening the connection between the stage action and the audience.

The art of theater is a form of social consciousness, a means of artistic knowledge and education. The specificity of the theater lies in the reflection of significant conflicts and characters that affect the interests and needs of the modern audience. The originality of theater as an art form lies in this modernity, which makes it an important factor in education.

Theatrical art is one of the most complex, most effective and most ancient arts. The components of theatrical art include architecture, painting and sculpture (scenery), and music (it sounds not only in musical, but also often in dramatic performances), and choreography (again, not only in ballet, but also in drama ), and literature (the text on which a dramatic performance is based), and the art of acting, etc. Among all of the above, the art of acting is the main thing that determines the theater. The famous Soviet director A. Tairov wrote, “... in the history of the theater there were long periods when it existed without plays, when it did without any scenery, but there was not a single moment when the theater was without an actor.”

An actor in the theater is main artist, which creates what is called a stage image. More precisely, an actor in the theater is simultaneously an artist-creator, the material of creativity, and its result - an image. The art of an actor allows us to see with our own eyes not only the image in its final expression, but also the very process of its creation and formation. The actor creates an image from himself, and at the same time creates it in the presence of the viewer, before his eyes. This is perhaps the main specificity of the stage, theatrical image - and here is the source of the special and unique artistic pleasure that it gives to the viewer. The spectator in the theater, more than anywhere else in the arts, directly participates in the miracle of creation.

The art of theater, unlike other arts, is a living art. It arises only at the hour of meeting with the viewer. It is based on an indispensable emotional, spiritual contact between the stage and the audience. There is no such contact, which means there is no performance that lives according to its own aesthetic laws.

When reading a book, standing in front of a painting, the reader and viewer do not see the writer, the painter. And only in the theater does a person meet eye to eye with the creative artist, meet him at the moment of creativity. He guesses the emergence and movement of his heart, and lives with it all the vicissitudes of the events taking place on the stage.

The reader is alone, alone with treasured book, can experience exciting, happy moments. And the theater does not leave its audience alone. In the theater, everything is based on active emotional interaction between those who create a work of art on stage that evening and those for whom it is created.

The viewer comes to a theatrical performance not as an outside observer. He cannot help but express his attitude to what is happening on stage. An explosion of approving applause, cheerful laughter, tense, unbroken silence, a sigh of relief, silent indignation - the audience's participation in the process of stage action is manifested in a rich variety. A festive atmosphere arises in the theater when such complicity and empathy reach the highest intensity...

That's what it means magic theater arts. Art in which the beating of the human heart is heard, the subtlest movements of the soul and mind, which contains the whole world of human feelings and thoughts, hopes, dreams, desires, is sensitively captured.

Theater is a doubly collective art. The viewer perceives a theatrical production and stage action not alone, but collectively, “feeling the elbow of a neighbor,” which greatly enhances the impression and artistic infectiousness of what is happening on stage. At the same time, the impression itself comes not from one individual actor, but from a group of actors. Both on stage and in the auditorium, on both sides of the ramp, they live, feel and act - not individual individuals, but people, a society of people connected with each other for a time by common attention, purpose, common action.

To a large extent, this is what determines the enormous social and educational role of the theater. Art that is created and perceived together becomes a school in the true sense of the word. “The theater,” wrote the famous Spanish poet García Lorca, “is a school of tears and laughter, a free platform from which people can denounce outdated or false morality and explain, using living examples, the eternal laws of the human heart and human feeling.”

A person turns to the theater as a reflection of his conscience, his soul - he recognizes himself, his time and his life in the theater. The theater opens up amazing opportunities for spiritual and moral self-knowledge.

And even though theater, by its aesthetic nature, is a conventional art, like other arts, what appears on stage before the viewer is not the real reality itself, but only its artistic reflection. But there is so much in the reflection truth that it is perceived in all its unconditionality, as the most authentic, true life. The viewer recognizes the ultimate reality of the existence of stage characters. The great Goethe wrote: “What could be more nature than Shakespeare’s people!”

In the theater, in a lively community of people gathered for a stage performance, everything is possible: laughter and tears, grief and joy, undisguised indignation and wild delight, sadness and happiness, irony and mistrust, contempt and sympathy, guarded silence and loud approval - in a word , all the riches of emotional manifestations and shocks of the human soul.

Actor in the theater

Theatrical art is both truthful and conventional. True - despite its conventionality. As, indeed, any art. Types of art differ from each other in both the degree of truthfulness and the degree of conventionality, but without the very combination of truthfulness and conventionality, no art can exist.

What is unique about the work of a theater actor? Much in an actor’s performance in the theater not only brings him closer to the truth of life, but also takes him away from it. For example, the theater loves the expression of feelings “loud” and “talkative”. “The theater is not a living room,” wrote the great realist actor B.K. Coquelin. - One and a half thousand spectators gathered in the auditorium cannot be addressed as two or three comrades with whom you are sitting by the fireplace. If you don't raise your voice, no one will hear the words; If you don’t pronounce them clearly, you won’t be understood.”

Meanwhile, in reality, human emotions can be deeply hidden. Grief can be expressed in subtle trembling of the lips, movement of the facial muscles, etc. The actor knows this very well, but in his stage life he must take into account not only the psychological and everyday truth, but also the conditions of the stage, the perception capabilities of the audience. It is precisely in order for the character’s words and feelings to reach them that the actor must somewhat exaggerate the degree and form of their expression. This is required by the specifics of theatrical art.

For a theater actor, communication with the audience creates an important creative impulse. During the performance, invisible strong threads are stretched between them, through which invisible waves of sympathy and antipathy, sympathy, understanding, and delight are amazingly transmitted. This internally controls the actor’s performance and helps him create. It is known that every art deals with a certain material: for a painter it is paint and canvas, for a sculptor it is clay, marble, wood. For an actor, the only tool and material for creating an artistic image is himself - his gait, gestures, facial expressions, voice, and finally, his personality. So that every evening the audience worries about the fate of the hero and believes in him, the actor works a lot. Reads historical books, gets acquainted with the time in which his hero lived. After all, an actor needs to know everything about the person he is portraying: who this person is, what he wants and what he does to achieve his goal. He constantly watches people, notices features in their appearance, movements, and behavior. All this will be useful on stage. After all, he must act on behalf of the characters in plays or films, live their lives. He must speak with the voice of his hero, walk with his gait. Today the actor plays our contemporary, lives his joys and sorrows, worries and successes. Tomorrow he will be a medieval knight or a fairy-tale king.

As the wonderful director K. S. Stanislavsky said, an actor must “feel the pulse of life, always seek the truth, fighting untruth.” "Actor - public figure", he leads the audience, educates them, helps them realize their shortcomings and stand on Right way. When performing on stage, an actor improvises. Knowing the role by heart, he lives every moment as if for the first time, as if not suspecting what will happen in the next moment. Another feature of acting talent is needed here - spontaneity. If it is absent from the actor’s performance, we see on stage only rehearsed movements and hear memorized text. It is this quality that allows an actor to be a little “different” in the same role and in each performance to recreate, as if for the first time, the inner life of the character.

That’s why we, even knowing the play by heart, thank you every time talented actors we experience its events as if anew. Acting in an imaginary world, the actor believes in it as genuine. Belief in imaginary circumstances is the most important element of acting. It is akin to the sincere faith that children show in their games.

One of the most important “characters” of the performance is the spectator. Without it, playing on stage is just a rehearsal. An actor needs contact with the audience no less than with his partners. And therefore no two performances are identical. The actor creates in front of the viewer every time anew. The viewer changes, which means the performance changes in some way. Despite the fact that the work of an actor is called acting, it is hard work, from which even the greatest talent cannot exempt you. And the more this work, the less noticeable it is on stage and the more pleasure we get from the performance of the artists, from the entire performance.

Conclusion

Theater is a school of life. This is how they spoke about him from century to century. They spoke everywhere: in Russia, France, Italy, England, Germany, Spain...

Gogol called the theater the department of goodness.

Herzen recognized him as the highest authority for resolving vital issues.

Belinsky saw the whole world, the whole universe with all its diversity and splendor in the theater. He saw in him an autocratic ruler of feelings, capable of shaking all the strings of the soul, awakening a strong movement in minds and hearts, refreshing the soul with powerful impressions. He saw in the theater some kind of invincible, fantastic charm for society.

According to Voltaire, nothing tightens the bonds of friendship more closely than the theater.

The great German playwright Friedrich Schiller argued that “the theater has the most beaten path to the mind and heart” of a person.

The immortal creator of Don Quixote, Cervantes, called the theater “a mirror of human life, an example of morals, a model of truth.”

List of used literature

1. Abalkin N. Stories about the theater. - M., 1981.

2. Bakhtin M. M. Questions of literature and aesthetics. – M., 1975

3. Kagarlitsky Yu. I. Theater for centuries. - M., 1987.

4. Lessky K. L. 100 great theaters of the world. - M., Veche, 2001.

6. Nemirovich-Danchenko Vl. I. The birth of the theater. - M., 1989.

7. Sorochkin B.Yu. Theater between past and future. - M., 1989.

8. Stanislavsky K. S. My life in art. - Collection op. in 8 volumes. M., 1954, vol. 1, p. 393-394.

9. Tairov A. Ya, Notes of the director. Articles. Conversations. Speeches. Letters. M., 1970, p. 79.

10. ABC of theatre: 50 short stories about the theatre. L.: Det. lit., 1986.

11. encyclopedic Dictionary young viewer. M.: Pedagogy, 1989.

CLASSIFICATION OF ART TYPES

Art (creative reflection, reproduction of reality in artistic images.) exists and develops as a system of interconnected species, the diversity of which is due to the versatility of the real world itself, displayed in the process of artistic creativity.

Types of art are historically established forms creative activity, possessing the ability to artistically realize the content of life and differ in the methods of its material embodiment (words in literature, sound in music, plastic and coloristic materials in the visual arts, etc.).

In modern art history literature, a certain scheme and system of classification of arts has developed, although there is still no single one and they are all relative. The most common scheme is to divide it into three groups.

The first includes spatial or plastic arts. For this group of arts, spatial structure in revealing the artistic image is essential - Fine Arts, Decorative and Applied Arts, Architecture, Photography.

The second group includes temporary or dynamic types of art. In them, the composition unfolding in time - Music, Literature - acquires key importance. The third group is represented by spatio-temporal types, which are also called synthetic or spectacular arts - Choreography, Literature, Theatrical art, Cinematography.

The existence of various types of art is due to the fact that none of them, by their own means, can give an artistic, comprehensive picture of the world. Such a picture can only be created by the entire artistic culture of humanity as a whole, consisting of individual types of art.

THEATER ARTS

Theater is an art form that artistically explores the world through dramatic action performed by a creative team.

The basis of theater is dramaturgy. The synthetic nature of theatrical art determines its collective nature: the performance combines the creative efforts of the playwright, director, artist, composer, choreographer, and actor.

Theatrical productions are divided into genres:

Tragedy;

Comedy;

Musical, etc.

The art of theater goes back to ancient times. Its most important elements already existed in primitive rituals, in totemic dances, in copying the habits of animals, etc.

Theater is a collective art (Zahava)

The first thing that stops our attention when we think about the specifics of theater is the essential fact that a work of theatrical art - a performance - is created not by one artist, as in most other arts, but by many participants in the creative process. Playwright, actors, director, make-up artist, decorator, musician, lighting designer, costume designer, etc. - everyone contributes their share of creative work to the common cause. Therefore, the true creator in theatrical art is not an individual, but a team - a creative ensemble. The team as a whole is the author of a completed work of theatrical art - a performance. The nature of theater requires that the entire performance be imbued with creative thought and living feeling. Every word of the play, every movement of the actor, every mise-en-scène created by the director must be saturated with them. All of these are manifestations of the life of that single, integral, living organism, which, having been born through the creative efforts of the entire theater group, receives the right to be called a genuine work of theatrical art - a performance. The creativity of each individual artist participating in the creation of the performance is nothing more than an expression of the ideological and creative aspirations of the entire team as a whole. Without a united, ideologically cohesive team, passionate about common creative tasks, there cannot be a full-fledged performance. Full theatrical creativity presupposes the presence of a team that has a common worldview, common ideological and artistic aspirations, the same for all its members creative method and subject to the strictest discipline. “Collective creativity,” wrote K. S. Stanislavsky, “on which our art is based, necessarily requires an ensemble, and those who violate it commit a crime not only against their comrades, but also against the very art they serve.” The task of educating an actor in the spirit of collectivism, arising from the very nature of theatrical art, merges with the task of communist education, which presupposes both the full development of a sense of devotion to the interests of the collective, and the most fierce struggle against all manifestations of bourgeois individualism.

Theater is a synthetic art. The actor is the bearer of the specificity of the theater

In the closest connection with the collective principle in theatrical art is another specific feature of the theater: its synthetic nature. Theater is a synthesis of many arts that interact with each other. These include literature, painting, architecture, music, vocal art, dance art, etc. Among these arts there is one that belongs only to the theater. This is the art of the actor. The actor is inseparable from the theater, and the theater is inseparable from the actor. That is why we can say that the actor is the bearer of the specificity of the theater. Synthesis of arts in theater - their organic compound in a performance - is possible only if each of these arts performs a specific theatrical function. When performing this theatrical function, a work of any art acquires a new theatrical quality for it. For theatrical painting is not the same as just painting, theatrical music is not the same as just music, etc. Only the art of acting is theatrical in nature. Of course, the significance of the play for the performance is incommensurate with the significance of the scenery. The scenery is intended to play a supporting role, while the play is the ideological and artistic foundation of the future performance. And yet, a play is not the same as a poem or a story, even if written in the form of dialogue. What is the most significant difference (in the sense that interests us) between a play and a poem, a set from a painting, a stage design from an architectural structure? A poem or a painting have an independent meaning. A poet or painter addresses the reader or viewer directly. The author of a play as a work of literature can also address his reader directly, but only outside the theater. In the theater, the playwright, the director, the decorator, and the musician speak to the audience through the actor or in connection with the actor. In fact, is the playwright’s word sounding on stage, which the author has not filled with life, made into his own word, perceived as living? Can a formally executed instruction from the director or a mise-en-scène proposed by the director but not experienced by the actor prove convincing to the viewer? Of course not! It may seem that the situation is different with decoration and music. Imagine that the performance begins, the curtain opens, and, although there is not a single actor on stage, the audience loudly applauds the magnificent scenery created by the artist. It turns out that the artist addresses the viewer completely directly, and not at all through the actor. But then the characters come out and a dialogue arises. And you begin to feel that, as the action unfolds, a dull irritation against the scenery that you just admired is gradually growing inside you. You feel that it distracts you from the stage action and prevents you from perceiving the acting. You begin to understand that there is some kind of connection between the set and the acting. internal conflict: either the actors do not behave as they should behave in the conditions associated with the given scenery, or the scenery incorrectly characterizes the scene. One does not agree with the other, there is no synthesis of arts, without which there is no theater. It often happens that the audience, having enthusiastically greeted this or that scenery at the beginning of the act, scolds it when the action is over. This means that the public positively assessed the artist’s work, regardless of this performance, as a work of art, but did not accept it as theatrical scenery, as an element of the performance. This means that the set did not fulfill its theatrical function. To fulfill its theatrical purpose, it must be reflected in the acting, in the behavior of the characters on stage. If the artist hangs a magnificent backdrop at the back of the stage, perfectly depicting the sea, and the actors behave on stage as is typical for people in a room, and not on the seashore, the backdrop will remain dead. Any part of the scenery, any object placed on the stage, but not animated by the attitude of the star expressed through action, remains dead and must be removed from the stage. Any sound that was heard at the will of the director or musician, but was not perceived by the actor in any way and was not reflected in his stage behavior, must fall silent, because it has not acquired theatrical quality. The actor imparts theatrical existence to everything that is on stage. Everything that is created in the theater with the expectation of receiving the fullness of one’s life through the actor is theatrical. Everything that claims to have independent meaning, to be self-sufficient, is anti-theatrical. This is the sign by which we distinguish a play from a poem or story, a set from a painting, a stage design from an architectural structure.

Theater is a collective art

Theatre-art is synthetic. Actor-bearer of the specificity of the theater

Action is the basic material of theatrical art

Drama is the leading component of theater

The creativity of an actor is the main material of director's art.

The viewer is the creative component of the ZAHAVA Theater!!!

THEATER(from the Greek theatron - place for spectacle, spectacle), the main type of entertainment art. The generic concept of theater is divided into types of theatrical art: drama theater, opera, ballet, pantomime theater, etc. The origin of the term is associated with the ancient Greek theater, where the seats in the auditorium were called this way (from the Greek verb “teaomai” - I look). However, today the meaning of this term is extremely diverse. It is additionally used in the following cases:

1. A theater is a building specially built or adapted for showing performances (“The theater is already full, the boxes are shining” by A.S. Pushkin).

2. An institution, an enterprise engaged in showing performances, as well as the entire team of its employees providing rental of theatrical performances (Mossovet Theater; tours of the Taganka Theater, etc.).

3. A set of dramatic or stage works, structured according to one principle or another (Chekhov’s theater, Renaissance theater, Japanese theater, Mark Zakharov’s theater, etc.).

4. In an outdated meaning (preserved only in theatrical professional argot) - stage, stage (“Noble poverty is good only in the theater” by A.N. Ostrovsky).

5. In a figurative meaning - the place of any ongoing events (theater of military operations, anatomical theater).

Theatrical art has specific features that make its works unique, having no analogues in other genres and types of art.

First of all, this is the synthetic nature of the theater. His works easily include almost all other arts: literature, music, fine arts (painting, sculpture, graphics, etc.), vocals, choreography, etc.; and also use numerous achievements of a wide variety of sciences and fields of technology. For example, scientific developments in psychology formed the basis of acting and directing creativity, as well as research in the fields of semiotics, history, sociology, physiology and medicine (in particular, in teaching stage speech and stage movement). The development of various branches of technology provides an opportunity for improvement and transition to new level stage machinery; theater sound and noise management; lighting equipment; the emergence of new stage effects (for example, smoke on stage, etc.). To paraphrase the famous saying of Molière, we can say that the theater “takes its goodness where it finds it.”

Hence the next specific feature of theatrical art: the collectivity of the creative process. However, things are not so simple here. We are talking not only about the joint creativity of a large theater team (from cast performance to representatives of technical departments, whose coordinated work largely determines the “purity” of the performance). In any work of theatrical art there is another full-fledged and most important co-author - the viewer, whose perception corrects and transforms the performance, placing emphasis in different ways and sometimes radically changing the overall meaning and idea of ​​the performance. A theatrical performance without an audience is impossible - the very name of the theater is associated with seats for spectators. The audience's perception of the performance is serious creative work, regardless of whether the public is aware of it or not.

Hence the next feature of theatrical art - its immediacy: each performance exists only at the moment of its reproduction. This feature is inherent in all types of performing arts. However, there are some peculiarities here.

So, in the circus, when the artistry of the participants in the performance is required, the technical purity of the trick still becomes a fundamental factor: its violation poses a danger to the life of the circus performer, regardless of the presence or absence of spectators. In principle, there is perhaps only one circus artist in active collaboration with the audience - the clown. This is where the development of one of the types of theater began, theatrical clownery, which develops according to laws close to those of the circus, but still different: general theatrical ones.

With the development of audio recording technology, performing musical and vocal art has gained the ability to record and further reproduce it repeatedly, identical to the original one. But adequate video recording of a theatrical performance is impossible in principle: the action often develops simultaneously in different parts stage, which gives volume to what is happening and forms the range of tones and halftones of the stage atmosphere. With close-up shots, the nuances of general stage life remain behind the scenes; the general plans are too small and cannot convey all the details. It is no coincidence that only directorial, original television or cinematic versions of theatrical performances made in accordance with cross-cultural laws become creative successes. It's like with literary translation: dry recording of a theatrical performance on film is similar to interlinear recording: everything seems to be correct, but the magic of art disappears.

Any space that is not filled with anything can be called an empty stage. Man moves

in space, someone is looking at him, and this is already enough for a theatrical

action. However, when we talk about theater, we usually mean something else. Reds

curtains, spotlights, blank verse, laughter, darkness - all this is randomly mixed in

our consciousness and creates a vague image, which we in all cases designate

in a word. We say that cinema killed the theater, meaning the theater that

existed at the time of the advent of cinema, that is, a theater with a box office, a foyer, folding

chairs, ramps, changes of scenery, intermissions and music, as if the word itself

"theater" by definition means just that and almost nothing more.

I will try to break this word down in four ways and identify four different

meanings, so I will talk about the Inanimate Theater, the Sacred Theater, the Rough Theater

and about the Theater as such. Sometimes these four theaters exist in a neighborhood somewhere in

West End in London or near Times Square in New York. Sometimes they are separated by hundreds

miles, and sometimes this division is conditional, since two of them are combined into

one evening or one act. Sometimes for one moment all four theaters -

Sacred, Rough, Inanimate n Theater, as such, merge into one. P.Brooke"Empty space"

1. THEATRICALITY AND TRUTH Oscar Remez "The Craft of the Director"

If it is true that “theatricality” and “truth” are the essencemaincomponents of a dramatic performance, it is also trueANDthat the struggle of these two principles is the source of developmentexpressivemeans in theatrical art. This fight is easyguessed, when we survey the theater's past, and muchmore difficultis discovered when examining a living creativeprocessdeveloping before our eyes.

3. THE CYCLICALITY OF THEATER HISTORY

Comparing the well-known past and the emerging present, one can come to the conclusion about a special pattern of changes in theatrical directions, a special, strictly measured, cyclical nature of theatrical eras.

"Princess Turandot" was replaced by new criterion stage truth - a method of physical actions. The new theatrical tradition was continued in the works of M. Kedrov. At the same time and in the same direction, the theaters of A. Popov and A. Lobanov worked. Next, the increasingly strict and consistent stage “vitality” is replaced by the romantic theatricality of N. Okhlopkov. The synthesis of two principles, the pinnacle of the theater of the late 40s is “The Young Guard,” a performance by N. Okhlopkov, which most fully expressed reality by means of modern artistic language. In the mid-50s - new wave- the triumph of the method of effective analysis: the works of M. Knebel, the birth of Sovremennik, the performances of G. A. Tovstonogov.

As we see, each theatrical direction first develops, as it were, latently, often matures in the depths of the previous (and, as it turns out later, polar) direction, arises unexpectedly, develops in conflict with tradition and goes through a path determined by dialectics - ascension, completeness expressions, creative crisis. Each period of theatrical history has its leader. They follow him, imitate him, argue with him furiously, as a rule, from two sides - those who remain behind and those who are in front.

Of course, the path to ascent to theatrical synthesis is complex. Pivotal phenomena in theatrical art are not necessarily associated with the names of the directors mentioned here. The pedantic division of theater workers into “groups,” “trends,” and “camps” is hardly justified. Let's not forget - during the period of theatrical synthesis of the 20s, none other than K. S. Stanislavsky created performances in which the winning trend was expressed most fully and vividly - “A Warm Heart” (1926) and “The Marriage of Figaro” ( 1927). It was in these works that brilliant theatricality was combined with deep psychological development.

A continuation of this kind of tradition at the Art Theater was such a play as “The Pickwick Club” (1934), staged by director V. Ya. Stanitsyn.

One may get the idea that theater repeats itself, following one predetermined circle. A concept very close to this kind of understanding (with some shifting and unclear terminology) was proposed at one time by J. Gassner in the book “Form and Idea in the Modern Theater”.

However, the concept of a closed cyclical development of theaterwrong. An objective picture of the development of theatrical history -movement, accomplished in a spiralEssential, What's oneveryin its new round, the theater puts forward fundamentally newcriteria truth and theatricality, that the synthesis that crowns each of the cycles of development arises each time on a different basis. At the same time, the new theatricality cannot help but master (even despite controversy) previous experience, and this is a prerequisite inevitable in the future of dynamic equilibrium. Thus, the struggle between theatricality and truth becomes the content of the history of the director's means of expression, the source of the development of new, modern theatrical forms.

THEATER AS AN ART FORM

Like any other form of art (music, painting, literature), theater has its own special characteristics. This is a synthetic art: a theatrical work (performance) consists of the text of the play, the work of the director, actor, artist and composer. In opera and ballet, music plays a decisive role.

Theater is a collective art. A performance is the result of the activities of many people, not only those who appear on stage, but also those who sew costumes, make props, set up lighting, and greet the audience. It is not for nothing that there is a definition of “theatre workshop workers”: a performance is both creativity and production.

The theater offers its own way of understanding the world around us and, accordingly, its own set of artistic means. A performance is both a special action played out in the space of the stage and a special imaginative thinking, different from, say, music.

At the core theatrical performance there is a text, for example a play for a dramatic performance. Even in those stage productions where there is no word as such, text is sometimes necessary; in particular, ballet, and sometimes pantomime, has a script - a libretto. The process of working on a performance consists of transferring the dramatic text onto the stage - this is a kind of “translation” from one language to another. As a result, the literary word becomes a stage word.

The first thing the audience sees after the curtain opens (or rises) is the stage space in which the scenery is placed. They indicate the place of action, historical time, and reflect the national color. With the help of spatial constructions, you can even convey the mood of the characters (for example, in an episode of the hero’s suffering, plunge the scene into darkness or cover its backdrop with black). During the action, with the help of a special technique, the scenery is changed: day is turned into night, winter into summer, the street into a room. This technique developed along with the scientific thought of mankind. Lifting mechanisms, shields and hatches, which in ancient times were operated manually, are now raised and lowered electronically. Candles and gas lamps have been replaced by electric lamps; Lasers are also often used.

Even in antiquity, two types of stage and auditorium were formed: a box stage and an amphitheater stage. The box stage provides tiers and stalls, and the amphitheater stage is surrounded by spectators on three sides. Now both types are used in the world. Modern technology makes it possible to change the theatrical space - to arrange a platform in the middle of the auditorium, seat the viewer on the stage, and perform the performance in the hall. Great importance has always been attached to the theater building. Theaters were usually built in the central square of the city; architects wanted the buildings to be beautiful and attract attention. Coming to the theater, the viewer detaches himself from everyday life, as if rising above reality. Therefore, it is no coincidence that a staircase decorated with mirrors often leads into the hall.

Music helps enhance the emotional impact of a dramatic performance. Sometimes it sounds not only during the action, but also during the intermission - to maintain the interest of the public. The main person in the play is the actor. The viewer sees in front of him a person who has mysteriously turned into an artistic image - a unique work of art. Of course, the work of art is not the performer himself, but his role. She is the creation of an actor, created by voice, nerves and something intangible - spirit, soul. In order for the action on stage to be perceived as integral, it is necessary to organize it thoughtfully and consistently. These duties in modern theater are performed by the director. Of course, a lot depends on the talent of the actors in the play, but nevertheless they are subordinate to the will of the leader - the director. People, like many centuries ago, come to the theater. The text of the plays sounds from the stage, transformed by the forces and feelings of the performers. The artists conduct their own dialogue - and not only verbal. This is a conversation of gestures, postures, glances and facial expressions. The imagination of the decorative artist, with the help of color, light, and architectural structures on the stage, makes the stage space “speak.” And everything together is enclosed within the strict framework of the director’s plan, which gives the heterogeneous elements completeness and integrity.

The viewer consciously (and sometimes unconsciously, as if against his will) evaluates the acting and direction, the compliance of the solution of the theatrical space with the general design. But the main thing is that he, the viewer, becomes familiar with art, unlike others, created here and now. By comprehending the meaning of the performance, he comprehends the meaning of life. The history of the theater continues.

TYPES OF THEATER

The first theatrical performances included speech and singing, dance and movement. Music and gestures enhanced the meaning of words, and dances sometimes became independent “measures.” Such actions were distinguished by syncretism (from the Greek “syncretismos” - “connection”), i.e. this degree of unity components(music and words in the first place) that the viewer could not isolate them in his mind and evaluate each form separately. Gradually, the public learned to distinguish between the elements of the performance, and over time, the types of theater we know developed from them. Syncretism gave way to synthesis - intentional combination different forms.

The most common and popular type is dramatic t theater Main means of expression- word (it is no coincidence that this theater is sometimes called conversational). The meaning of the events taking place on stage, the characters of the characters are revealed with the help of words that form a text (it can be prosaic or poetic). Another type of theatrical art is opera (see the article “Music of Italy” in the “Music” section). In opera, the conventions of theater are especially obvious - after all, in life, people do not sing to talk about their feelings. The main thing in opera is music. However, the score (music notation) must be presented and performed on stage: the content of the work will be fully revealed only in the stage space. Such a performance requires special skill from the performers: they must not only be able to sing, but also have acting skills. With the help of sounds, the actor and singer is able to express the most complex feelings. Impact musical performance- with a strong cast of singers, a good orchestra, and professional direction - it can be powerful, even intoxicating. It subjugates the viewer, takes him into the world of divine sounds.

In the 16th century based on courtiers and folk dances began to take shape ballet theater. The word “ballet” itself comes from the Late Latin ballare - “to dance”. In the ballet, the events and relationships of the characters are told through movements and dances that the artists perform to music composed based on the libretto. At the end of the 20th century. Plotless performances created to the music of symphonic works became widespread. A choreographer puts on such performances. “Horea” translated from ancient Greek means “dance”, and “grapho” means “writing”. Consequently, the choreographer “writes the performance” with the help of dance, builds plastic compositions in accordance with the music and plot.

In ballet performances, as a rule, soloists are occupied, as well as luminaries - this is what in the Russian theater they called the main artist of the corps de ballet, who danced on the first line, closer to the audience. Participants in crowd scenes are called corps de ballet. Story operettas dates back just over a century and a half. In science, there are two points of view on operetta. Some scientists consider it an independent form of theatrical art, others - a genre (the same can be said about the musical).

The first performances, mainly of comic content, appeared in the second half of the 19th century. at the Paris theater "Buff Parisien." The plots of operettas are usually comedic, spoken dialogues alternate with singing and dancing. Sometimes musical numbers are not related to the plot, they are interludes (see the article "Jacques Offenbach, Johann Strauss and light music second half of the 19th century" in the "Music" section).

At the end of the 19th century, the United States musical. This is a stage work (both comic and dramatic in plot), which uses forms of pop art, drama theater, ballet and opera, everyday dance. In an operetta, musical fragments can be inserted; in a musical, they can be inserted. never, they are “dissolved” in action. Musical is an art for everyone. The plots are usually simple, and the melodies often become hits. The history of the musical began in 1866 - then the musical dramatic performance “The Black Dodger” (in another translation “The Villain Fraud”) was shown in New York. The success was stunning and unexpected. However, the musical took its full place among other types of theatrical art only in the 20s. XX century. Similar performances began to appear first in the USA, and after World War II - on the stages of England, Austria, and France. The most successful musicals have been filmed (Cabaret, The Umbrellas of Cherbourg, The Sound of Music).

Most ancient look theatrical performances - pantomime (from the Greek “pantbmimos” - “reproducing everything by imitation”). This art originated in antiquity. Modern pantomime is performances without words: these are either short numbers or an extensive stage action with a plot. In the 19th century, the art of pantomime was glorified by the English clown Joseph Grimaldi (1778-1837) and the French Pierrot Jean Gaspard Debureau (1796-1846). The tradition was continued by Etienne Decroux (1898-1985) and Jean Louis Barrault (10/19/1994). Decroux founded the school of so-called pure pantomime - to do on stage “only what other art cannot do.” Supporters of such ideas believed that a gesture is truer and brighter than a word. The traditions of Barrault and Decroux were continued by the famous French mime Marcel Marceau (born in 1923). In Moscow, Heinrich Mackevicius organized the Plastic Drama Theater, whose repertoire includes complex and profound performances on mythological and biblical themes.

In the last quarter of the 19th century. throughout Europe, but primarily in France, began to be created cabaret theaters , which combined the forms of theater, stage, and restaurant singing. The most famous and popular were " Black cat" in Paris, "Eleven Executioners" in Munich, "To All Lost" in Berlin, " false mirror" In Petersburg.

People of art gathered in the café, and this created a special atmosphere. The space for such performances could be the most unusual, but most often the basement was chosen - as something ordinary, but at the same time mysterious, a little forbidden, underground. With cabaret performances ( short skits, parodies or songs) both the public and the performers were associated with a special experience - a feeling of unfettered freedom. The sense of mystery was usually enhanced by the fact that such performances were given late, sometimes at night. To this day, real cabarets can be found in different cities around the world.

A special type of theatrical performance - puppet show. It appeared in Europe in the era of antiquity. In ancient Greece and Rome, home performances were performed. Since that time, the theater has, of course, changed, but the main thing remains - only dolls participate in such performances. However, in last years puppets often “share” the stage with actors.

Each nation has its own puppet heroes, in some ways similar and in some ways different. But they all have one thing in common: on stage they joke, play mischief, and make fun of people’s shortcomings. The dolls differ from each other, both in “appearance” and in design. The most common dolls are those controlled by threads, hand dolls and cane dolls. Representation puppet theater require special equipment and a special stage. At first it was just a box with holes made at the bottom (or top). In the Middle Ages, performances were held in the square - then a curtain was stretched between two pillars, behind which the puppeteers were hiding. In the 19th century performances began to take place in specially built rooms.

A special form of puppet theater is the theater of puppets, wooden puppets. Special scripts were written for the puppet theater. The history of world puppet theater knows many famous names. The performances of S. V. Obraztsov enjoyed enormous success. Revaz Levanovich Gabriadze (born 1936), a Georgian puppeteer and playwright, offers new solutions in his fantasies.

ORIGIN OF THE THEATER.

Theater is a “disappearing” art, difficult to describe. The performance leaves a trace in the memory of the audience and very few material, material traces. That is why the science of theater - theater studies - arose late, at the end of the 19th century. At the same time, two theories of the origin of theater appeared. According to the first, the art of Siena (both Western and Eastern) developed from rituals and magical rituals. In such actions there was always a game, participants often used masks and special costumes. A person “played” (portrayed, for example, a deity) in order to influence the world around him - people, nature, gods. Over time, some rituals turned into secular games and began to serve for entertainment; Later, the participants in such games separated from the spectators.

Another theory connects the origin of European theater with the growth of individual self-awareness. Man has a need to express himself through spectacular art, which has a powerful emotional impact.

"PLAY LIKE AN ADULT, JUST BETTER"

The idea that special theaters need to be created for children arose a long time ago. One of the first "children's" productions was the work of Moskovsky Art Theater. In 1908, K. S. Stanislavsky staged the play “The Blue Bird,” a fairy tale by the Belgian playwright Maurice Maeterlinck, and since then famous performance does not leave the scene of the Moscow Art Theater named after M. Gorky. This production determined the path of development of performing arts for children - such theater must be understandable to a child, but in no case primitive or one-dimensional.

In Russia, children's theaters began to appear after October 1917. Already in 1918, the First Children's Theater of the Moscow Council opened in Moscow. The organizer and director was N. I. Sats, the performances were designed by wonderful artists V. A. Favorsky and I. S. Efimov, the famous choreographer K. Ya. Goleizovsky worked here. Natalya Ilyinichna Sats (1903-1993) all her creative life dedicated to theater for children. In 1921-1937 she was the artistic director of the Moscow Theater for Children (now the Central Children's Theater). Her latest brainchild is the Moscow Children's Musical Theater (named after N.I. Sats). In February 1922, the first spectators were received by the Theater of Young Spectators in Leningrad. One of its founders and permanent leader was director Alexander Alexandrovich Bryaniev (1883-1961). He believed that in the theater it was necessary to unite artists who could think like teachers, and teachers who could perceive life like artists.

Such outstanding directors as G. A. Tovstonogov and M. O. Knebel worked in children's theaters, and I. V. Ilyinsky, N. K. Cherkasov, O. N. Efremov, R. A. Bykov, B. P. Chirkov. Sometimes performances became events in public life, for example, the production of the play “My Friend, Kolka” (directed by A. V. Efros). Nowadays, the oldest domestic children's theaters (Russian Youth Theater and Theater for Young Spectators in Moscow) are headed, respectively, by A.V. Borodin and G.Ya. Yanovskaya - directors with interesting and original thinking.

In the first theaters there were mainly dramatizations of fairy tales. Gradually, playwrights appeared who wrote specifically for children. Writer Alexandra Yakovlevna Brushtein (1884-1968) is the author of the popular plays “To Be Continued” (1933) and “Blue and Pink” (1936), popular in their time. The works of Evgeniy Lvovich Schwartz (1896-1958) have become classics in the repertoire of children's theaters. His plays are fairy tales - " The Snow Queen"(1938), "Two Maples" (1953), "The Naked King" (1934), "Shadow" (1940), etc. - have been shown in theaters for decades. Schwartz's plays combine fantasy and truthfulness in the portrayal of characters. Viktor Sergeevich Rozov (born in 1913) talentedly spoke about the inner world of teenagers in the plays “Her Friends” (1949), “Page of Life” (1953), “In Good Hour” ( 1954), “In Search of Joy” (1957) determined the repertoire of children's theaters in the 50s and 60s, some of them continue to this day.

Modern directors turn to very different works. Fairy tales are played for the little ones, plays dedicated to the life of young people are played for teenagers; Theater posters also include classics, domestic and foreign. Thus, in the repertoire of the Moscow Theater for Young Spectators, the play “Pinocchio in the Land of Fools” (a dramatization of the fairy tale by A. N. Tolstoy), an ironic performance based on the poem “Goodbye, America” by S. Ya. Marshak and “The Thunderstorm” based on the play by A. N. coexist peacefully . Ostrovsky. Theaters for children and youth have been created in many countries of the world. In 1965, the International Association was established in Paris, which helps their formation. International festivals of children's theaters are held.

SERGEY VLADIMIROVICH OBPA3TSOB

An amazing person of a unique profession, puppeteer, writer, playwright - all this is Sergei Vladimirovich Obraztsov (1901 - 1992). His name is popular both in our country and abroad. The artist’s creativity and life are widely reflected in books and articles. His performances live today in the theater, which rightfully bears the name of Obraztsov.

Such wonderful productions as "At the Command of the Pike" (1936), " Magic lamp Aladina" (1940), "The Divine Comedy" (1961), "An Extraordinary Concert" (1968), "Don Juan82" and others, serve as decoration of the repertoire Central Theater dolls to this day. Obraztsov, an excellent storyteller, a witty and observant artist, left a most interesting literary legacy in his books “An Actor with a Puppet”, “My Profession”, “Relay of Arts”, “On the Steps of Memory”, “My Kunstkamera”, etc.

Obraztsov’s childhood was spent in an intelligent Moscow family: his father was a travel engineer, scientist, and later an academician, his mother was a teacher, a teacher of the Russian language. Abilities for drawing, painting and graphics, training with artists Abram Efimovich Arkhipov (1862-1930) and Vladimir Andreevich Favorsky (1886-1964), singing lessons, acting classes in Musical theater under the direction of V.I. Nemirovich Danchenko, playing small character roles at the stage of the Moscow Art Theater, communicating with K.S. Stanislavsky, observing the habits of animals, birds, fish - all this went into the creative piggy bank. The apartment of the famous master was filled with shelves of aquariums with a wide variety of fish. The room was filled with the hubbub of unusual birds.

It all started in childhood with a mother’s gift - a small Bibabo doll, which marked the beginning of a whole series of different versions of dolls, which are called glove dolls. They are worn on the hand like gloves and have been known since the time of the comedies about Petrushka. Similar dolls existed in China, India, and Ancient Greece and had names.

Music became a constant companion to Obraztsov’s performances. A portable screen with internal pockets, an accompanist - and now a one-man theater is ready! The artist's inclinations helped Obraztsov create a puppet image. This could be the Titular Councilor in the dramatization of the romance by A. S. Dargomyzhsky, drinking a huge bottle out of grief, or the Negro and the Old Woman in the romance “We sat with you by the sleeping river,” or funny monkey dolls performing the romance “A Minute,” imitating A. N. Vertinsky.

Obraztsov constantly strived to learn. Failures or miscalculations became the reason for new discoveries and searches. The breadth of erudition in his profession was reinforced by acquaintance with a variety of puppet shows during foreign tours. Thus, in England Obraztsov met the Punch doll, in Germany - with Hans Wurst, in Czechoslovakia - with Kasparek, etc. It is characteristic that, while highly appreciating the art of his colleagues, he wanted to remain true to his originality. The scope and variety of personal repertoire could not but lead to the creation of the theater. One after another, new performances are born, transporting viewers either into a fairy tale or into the atmosphere of a pop concert. A large group of actors, Obraztsov’s students, took part in the play “An Extraordinary Concert”. A “gypsy choir” sounded here, an operetta duet was performed, and there was a funny entertainer (the puppet was voiced by actor Zinovy ​​Efimovich Gerdt, 1916-1998). This performance has been performed countless times and has been seen by audiences in many countries. The choir, orchestra, and design brought the puppet theater closer to acting, but the specificity of the puppet theater remained. Funny little people evoked laughter and empathy from the audience of the most different ages. At the end of the performance, the puppeteers came out from behind the screens, and the main director Sergei Obraztsov, the soul of the theater, appeared.

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