Stage space and its solution. stage space stage space
Delusions were accompanied by a willingness to minimize
decorative design - in the middle of the century it became almost
a mandatory requirement, in any case, a sign of good
go tone. The most radical (as always and in everything) was the positive
Sun. Meyerhold: he replaced the decoration with a "construction" and
overall suits. As N. Volkov writes, “... Meyerhold
said that the theater should dissociate itself from the painter and the
Zykant, only the author, director and actor can merge. Thursday
the pivotal basis of the theater is the spectator ... If you depict graphic
ski data relationship, you get the so-called
"direct theater", where the author-director-actor form one
a chain towards which the viewer's attention rushes" (31).
A similar attitude to the decorative design of the performance
la, albeit not in such extreme forms, has not been outlived so far. His
supporters explain their rejection of intelligible stage design
desire for theatricality. Many objected to this.
Directing masters; in particular, A.D. Popov noted that
$ ...the return of the actor to the background of the canvas scenes and the release
him from any game details does not yet mark the victory of the ro-
manticism and theatricality on stage” (32). That is, from the discovery
that the assistant arts are not the main ones on the stage, it does not follow at all
no, they are not needed at all. And attempts to rid the theater of
decorations are echoes of the former hypertrophied soil
shades to the design of the scene, only “upside down”: they reflect
the idea of self-reliance and independence of the stage
nography.
In our time, this question has become completely clear: art
stage design plays a secondary role in relation to
to the art of acting. This position is by no means
"denies, but, on the contrary, assumes a certain influence, which
4 can and should have the design of the performance on the stage
| action. The measure and direction of this influence is determined by
|: the rage of action, in which the paramount, op-
the decisive role of the latter. The relationship between plastic
". The composition of the performance and its decorative design are very
; visible: the point of their closest contact is misan-
review. After all, mise-en-scene is nothing but a plastic form
“an action taken at any stage of its development in time and in
y. stage space. And if we accept the definition of directing as
art of plastic composition, then you can’t think of anything
better than the winged formula O.Ya. Remez, who said: "The mise-en-scene
- the language of the director" and to prove this definition, write
who put down a whole book.
The possibility of moving the actor in the stage space
| depends on how this space is organized by the stage
|! count. The width, length and height of the machines are naturally determined
I ut the duration and scale of movements, the breadth and depth of mi-
t zanscene and the speed of their turnover. Tilt angle of the stage
| ny makes its own demands on acting plasticity. Besides that-
First, the actor must take into account the perspective of the pictorial
1 and the texture of fake parts, so that the loss of the necessary
Distances do not destroy the illusion, do not expose before the audience
lem authentic proportions and true material of constructions and
hand-drawn decorations. For the director, the size and shape of the machines
and sites are “suggested circumstances” for creating a plan
stic composition. Thus it becomes obvious
direct connection between the architectural and constructive side of de-
corative design and plastic composition of the performance.
Influence on the plastic composition of the pictorial and color
the decisions of scenery and costumes are manifested more subtly. Gamma
colors chosen by the artist affects the atmosphere of the action
wiya; moreover, it is one of the means of creating the necessary atmosphere
spheres. The atmosphere, in turn, cannot but influence the selection
plastic means. Even the color ratio itself
costumes, scenery, stage clothes can have on the viewer
a certain emotional impact, which should be taken
swearing into account when arranging figures in mise-en-scenes.
The connection between the plastic composition of the spec-
takla with the furnishings of the stage - furniture, props
that and all other objects that actors use in
stage action. Their weight, their dimensions, material,
what they are made of, their authenticity or conventionality, all
this dictates the nature of the handling of these items. Wherein
requirements can be directly opposite: sometimes you need
overcome some qualities of the subject, hide them, and sometimes,
against, expose these qualities, emphasize them.
Even more obvious is the dependence of the physical behavior of a person
press on suits, the cut of which can fetter, limit
vat or, conversely, release the actor's plasticity.
Thus, the multifaceted relationship between the decorative
the design and plastic composition of the performance are not subject to
lives in doubt. HELL. Popov wrote: “The mise-en-scene of the body, supposedly
guiding the plastic composition of the figure of an individual actor, building
is in complete interdependence on the neighboring, associated with it
figures. And if there is none, there is only one actor on the stage, then in this
case, this one figure should "respond" to nearby
Volumes, whether it be a window, a door, a column, a tree or a staircase. In ru-
like a director who thinks plastically, the figure of an individual actor
tera is inevitably linked compositionally and rhythmically with ok-
environment, with architectural structures and
space” (33).
Scenography can provide the director and actors with invaluable
I need help in building the form of the performance, and maybe interfere
the formation of a holistic work, depending on whether
the extent to which the artist's intention is consonant with the director's intention. A
since in the relationship between stage action and decoration
tive design assigns a subordinate role to the second, then
it is obvious that in the creative community of the director and artist
ka the latter should direct the work of his imagination
for the overall purpose of the play. And yet the position
the artist in the theater cannot be called disenfranchised. Formation
style and genre of the performance does not follow the path of suppression, depersonalization
of the creative individualities of its creators, but along the way
their summation. This is a rather complicated process even when
when it comes to bringing the works of two artists into harmony,
operating with the same expressive means. In dan-
In the same case, a harmonic combination of two different
arts, two different types of creative thinking, two
different expressive means; therefore, here the question of their mutual
ny correspondence, which should as a result lead to the creation
giving the style and genre integrity of the work, especially
complex and cannot be exhausted by a simple statement of pre-
property rights of one and subordination of another. direct,
elementary subordination of the scenography of the performance to the utilitarian
the needs of stage action may not give the desired
result. By definition, A.D. Popova "... the design of the spec-
takla is an artistic image of the place
actions and at the same time a platform, pre-
providing rich opportunities for
implementation on it stage deist-
in and I" (34). Therefore, it would be more correct to say that subordination
Action design should occur as a result
addition of creative handwriting, as a result of the joint work of
powerful creative individuals. Hence,
you can only talk about the soil that is most favorable
clear for this cooperation, about those common positions that
give a single direction to the development of the creative thought of each of
the creators of the show. Building your plan on this common ground,
the stage designer can use many features of expressive
ny means of their art, without violating the genre and style
unity of the whole production.
One of the specific features of the artist's work in the theater
is his right to a much greater conventionality of the image,
than is possible in acting. So the consequence is sub-
the position of art-assistant becomes his grafted
Legia. After all, the stage space is conditional by definition.
laziness. And if we see on the stage not a well-built, but
marked by one or two details of the Capulet crypt, we have not yet
we refuse to call the play realistic. If,
dying, Romeo and Juliet will not act authentically, but
will only designate their death with one or two details, - we immediately
Let's call the performance conditional. At the same time, we essentially follow
general: in a "conditional" crypt, actors can exist organically,
but even the most realistic scenery will not convince the viewer of sub-
the validity of the action, if the actors do not convince him of this with their performance.
Moreover, in the absence of genuine action, even real
objects brought to the stage directly from life, you
look fake. Therefore, Stanislavsky said: “In a word,
it doesn’t matter - the scenery and the whole production are conditional, stylized
they are either real; all forms of outdoor stage production
should be welcomed, since they are applied with skill and to the place
that ... It is important that the scenery and furnishings of the stage and the post itself
The novelty of the play was convincing, so that they ... affirmed faith in
the truth of feelings and helped the main goal of creativity - to create
to the life of the human spirit a...” (35).
However, this privilege of the assistant arts, their right to
a certain independence in the practical implementation of unified
performance composition principles, brings us back to the question of
the common ground on which the unity of elements arises,
putting on a show. An actor can use any, most
conditional image of an object on the stage, giving it something significant
value that it should have, but only if both he and the stage
Nographers put the same meaning into this image. But
if the actor and the artist have different points of view on
when and where the action takes place, the actor may feel
real and inappropriate the objects of the stage surrounding him
scenic environment, even if they are depicted to the utmost
realistically. Hence, the only possible ground on which
can be based on the joint creativity of the director, actor and
artist is the specificity of the proposed circumstances of the action
actions. And, therefore, the style and genre of decoration
performances are realized in the same process of selection of funds for
signs of their quality, quantity and uniformity, as well as style
vay and genre characteristics of the stage action as a whole.
Since the conventionality of stage design can
be largely offset by the actor's faith in the proposal
given circumstances and the authenticity of his actions, insofar as
creating conditions for this belief is the main goal of quantitative
and high-quality selection of means of decoration
performance. The measure of admissible conventionality is the necessary
a great deal of concrete and genuine in each subject of the stage
environment that allows the use of this item
in some definite and obvious sense. Yes, the mix-
tit against the background of cloths, meaning a wall, a conditional image
crucifixion made of thin wire is possible only in a performance, genre
whose stylistic decision presupposes a deliberate
attraction from the historical details taking place on stage
events in the name of focusing the viewer's attention on the philosophical,
the universal meaning of these events. The artist is obliged to
*; give that wireframe that obligatory share
Certainty, thanks to which the actor will be able to use it
Xia just like a crucifix, and not like a sword, an oar or a candlestick
com. In relation to the entire design of the performance as a whole, this
the compulsory share can be defined as the necessary
the stump of the concreteness of the spatial forms of the stage
novki. Any artistic convention can exist
only within certain limits. Stanislavsky
gave a precise definition of the rights and obligations of the artist in a very
simple definition: “A good decoration is one that is conveyed
there is no photographic accuracy of reality, no quarter
shooting gallery of Ivan Ivanovich, and the apartment of all people like Ivan
Ivanovich. A good decoration is one that characterizes the most
the conditions that created people like Ivan Ivanovich” (36).
The history of the theater has known many attempts to exceed in design
performance, this measure of conventionality and make the scenery speak
write the language of symbols and notation independently, in addition to
actor, who in this situation turned into one of the elemental
stage environment. Examples of such performances in practice
There is a lot of theater at the turn of the 19th-20th centuries. But, as noted
J. Gassner, “... symbolists who followed in the footsteps of Meter-
link and Krag, failed to establish their drama as
the only modern form of dramaturgy or performance
to make symbolist direction the only modern
theater direction. One reason for their failure is
that the theater cannot live in an atmosphere of ghostly and
vague and thrive on the soil of vagueness - this is pro-
against the very nature of the theatre. Drama and theater are among the most
more concrete arts” (37).
Nowadays, the rejection of concreteness in decorative design
performance is usually associated with the desire to bring the
keeping the classical play to the topic of the day, to give it a modern
new sound.
For this, in one case, they completely refuse any
signs of real conditions of place and time of action, leaving
"gppm human-
Lump on the bare ground, "and force him only by the strength of their
imagination to create for oneself a picture of the proposed circumstances
evidence. As a rule, such a picture is very vague, and
and therefore not transferable to the auditorium. Imagination
the actor’s perception, not finding any identification in the objects surrounding him
ry, is able to create only a familiar picture of his own
venous everyday life or a picture inspired by theatrical
traditions. However, in such "modernity" his actions are not
there will be nothing typical - neither for the hero he plays, nor
for himself, as a man of the twentieth century. Any abstraction
not only does not make the performance more modern, but on the contrary
- his events become irregular, random for
any era, both ours and the one to which the action belongs
plays.
In another case, trying to give a modern sound
classical play, bring into a concrete historical setting
novelty of the stage and in the costumes of the characters are distinctly modern
details. There are no words, such an introduction immediately and unambiguously
makes it clear to the viewer that the authors of the performance point to similarities
into the heroes of the play with some of our contemporaries. Actor
no need to work hard to prove it with your actions:
it is enough for Khlestakov to put on jeans, and for the Governor to take
hands briefcase with zippers. But the logic of images immediately enters
in conflict with these things. If the mayor writes
parker fountain pen, then he will not look for an auditor-
incognito, whose signs are unknown to him, but will order between
city conversation and find out all the details about the subject of interest
his face. The actor, however, has a way out: treat the fountain pen in such a way
as if it were a quill pen, and handle it accordingly.
But the very distinct definiteness of this subject, its historical
physical concreteness will not allow using it as a conditional
the image of a goose feather: for this, so to speak, he lacks
there are no conventions. Peter Brook writes about this: “Modern
ny suit, so often used, is a suit of very
a certain period, and the actors are not just
Some neutral creatures: Otelyao, Iago, etc., they become
fit "Hotel in a tuxedo", "Iago with a gun", etc. Dress up
actors in dressing gowns or overalls, and this only turns into more
one pictorial convention” (38). Thus, this way
to give the sound of the performance modernity does not justify itself.
The price of such "modern" readings becomes half
naya loss of any style by the performance. Here the playwright's style is not
accumulated, but suppressed; in artistic design
heterogeneous in their historical affiliation coexist
sti things; the physical behavior of the actor in the role does not match
the life of her "human spirit". The same applies to genre.
spectacle, which cannot be defined unless it is
razhen in the material elements of the decorative design
nia and costumes. Unless, of course, you count the lack of style and
genre as a special kind of art form. About the creators of such
performances G. Tovstonogov said that they “... brushing aside all history
rically-specific, artificially remove the typical from the typ-
peak circumstances” (39).
Having established the connection between the plastic composition of the performance and the decor
rational design of the stage space, one cannot but
wonder when this happens. The moment when
the ideological and artistic conception of the performance by the director is already
divided and allows you to compare the design idea with it, pre-
believes the existence of such and the artist. And if the search for common
positions start only from this moment, then they resemble
trying on a ready-made dress in a store, when a person chooses from
what is offered to him, making some compromises and hoping
yas to fit and finish to your liking. At the same time, the performance
may suffer certain artistic losses - after all,
villages clearance significantly affects the process of plastic
compositions. S. Eisenstein inspired his students that the director
ser is obliged to think about the design of the stage from his own
the beginning of work on dramatic material: analyzing
the actions of the characters in each episode of the play, to imagine,
how the action will unfold in the scene space: “In
Everything that we dismantled, we had to deal with not only the case
directing, but in the potency and deeds of the decorator - staging
walls, window and furniture placement, and even details such as
the texture of the suit ... This is not a capture of the positions of an alien on purpose
sti. These are the limits within which decora-
director. The director must be able to convey to the artist
distinct skeleton, skeleton, the amount of claims addressed to
Scenery.
The director is still working with the scenery. He set
what he needs in terms of expressiveness, and now for the cause
Gut take the artist and designer. The color settings are
must come from the director” (40).
Of course, not every director is endowed with such a phenomenal
talent and such knowledge in various fields of art
va, which Sergei Eisenstein possessed. But then all the more,
design work should start as early as possible; A
so that the intentions of the director and the artist by the time they are compared
leniya turned out to be equally directed, they should come from
come from one general principle - the principle of concreteness
proposed circumstances. Only having met on this common
soil, the actor and the things around him on the stage can “negotiate
rush" about those further manifestations of the independence of each of
collaborating in the theater of the arts, which will not interfere, but
can them in achieving a common goal.
Returning to the question of the right of the artist of the performance to
dexterity of the image of the stage environment, it should be installed
to twist: any convention in scenography is only then not
; an obstacle for an actor when it corresponds to the general genre
vomu and stylistic decision of the performance. And for the selection of expressive
means in scenography, the same principles of the same
| relatedness, quality and quantity that form the genre and
[style of plastic composition in the art of directing.
Concepts of tempo and rhythm in art
The term "tempo-rhythm" entered the theatrical lexicon and became
designate one of the most important concepts of the theory and practice of stage
artistic art when it was recognized that expressive
action is the main means of this art. From the first to
The bottom of this term seems to be clear: action is a process,
having a certain time duration, and the tempo
is the speed of its flow, the time spent on the implementation
this process. And everything would be very simple if you could
but it was limited to the first half of the term: the pace is
the speed with which the actors play and on which the duration depends
the life of the performance. But the point is that the second half
term - rhythm - is also associated with temporal relationships, and
not everything is clear here. And although everyone knows that under the tempo
The rhythm of the performance is understood as its artistic organization during
time, the concept of rhythm still has no clear interpretation
niya. There can be only one explanation for this situation:
stage time is conditional.
To get closer to the definition of the term "rhythm"
in relation to the stage action, we will have to start with its origin
walking.
It can be assumed that this term, proposed by Sta-
Nislavsky, was perceived not as something completely new, but
just like a well-forgotten old one. This assumption is even more
fundamentally, that rhythm is a property of any movement, developed
tiya, therefore - an integral property of matter, all mat-
material existence. Art, being a reflection of natural
elements of the objectively existing material world, inevitably
reflects the forms of its organization. The construction of any artistic
of a natural work is inevitably subject to a certain
rhythm. However, the expressive means of various arts are so
are unlike one another, that the definitions of rhythm are specific
for every art form. In some species, the concept of rhythm is associated
but with the time factor - such are music, literature, all kinds of
theatrical art. Works of other types - paintings
Xi, sculptures, architectures - do not have the ability to move
movement, development in time, so the concept of rhythm in them is in no way
not related to real time, but based on space
military relations. Therefore, in the second case, it is always
only about rhythm, but not about tempo and not about tempo-rhythm; you can say
that in these arts the tempo is zero. In the arts, it is not
resonant, whose products have dynamics, g.e.
are a moving phenomenon, developing in time
I mean, tempo is always some real value. Besides,
and the concept of rhythm in them is inseparable from temporal relationships.
Stage art occupies a special position, having a special
benigns of both the first and second kind: his works
develop in time and exist in space.
Musical art, operating with means that
exist only in time and cannot exist outside of it,
has precise and unambiguous definitions of rhythm and
pace. And since a stage work is similar to a musical
ability of development in time, then to understand the concepts
stage rhythm and tempo, it is useful to correlate them with analogous
geeky concepts in music.
Tempo in music - the speed of musical performance
works, or the frequency of pulsation of metric shares. Rit-
moment in music is called an organized sequence
sounds of the same or different duration, i.e. identical
or different lengths of playing time. It is known that in music
ke adopted one specific unit for measuring time
sound, which can change its absolute value in
depending on the tempo of performance, remaining unchanged in its
the relative value of the division unit. Therefore, in
tempo time is in its absolute value, and in
the concept of rhythm - in a relative sense.
If a whole note conventionally accepted as a unit of duration
^ sounds for four seconds at an average performance tempo, then with
at a fast tempo, its sound lasts less, and at a slow tempo -
more than four seconds. However, half and a quarter in all
Three cases sound exactly "/? and Y * of the time it takes
whole note. That is, the relative values of the durations of the
lurk unchanged, and therefore the rhythmic structure of each
of this product is a constant value from the point of view of
the timing of its parts.
But the music would be extremely poor if all over
throughout the work, the same organization was preserved
durations, the same combination of them would be repeated (and
the repetition of elements is one of the signs of rhythm). And act-
consequently, the literal repetition of the same combinations of
does not often; usually the combinations vary, but at the same time
there is a certain uniformity between them, thanks to which
mu preserves the proportionality of all parts in their sum. Dos-
this proportionality is drawn with the help of a meter, organized
evoking musical sounds through their accentuation.
Metric fractions (accented and non-accented equivalents)
long stretches of playing time) are almost always located
are in the correct periodic order, i.e. metric accents
you repeat through the same number of beats. Follow-
Therefore, the meter is the force that measures between
a variety of combinations of durations in the rhythmic
figure of the work, brings them to a "common denominator".
Therefore, in music, meter and rhythm do not exist separately, but
make up one complex whole - the metro-rhythm, the primary
an element of which can be considered a measure, or a piece of music
kal product, starting with a strong beat and ending
looking forward to the next downbeat. Actually, the beats and
there are those equal-sized elements, from the repetition of which
there is a rhythmic unity of a musical work. If
consider the musical notation of a passage written in
the size of the Beat, it is clear that the cycles are equal, since the sum of the lengths
sequences in each measure is equal to three quarters (seconds
conversely), although each measure may contain different
nye durations (half, eighth, sixteenth in some
that combination). Such cycles are different in structure, but are equivalent.
We are by the meter (three-part meter, size %). Therefore they can
be equated to each other as metro-rhythmic elements,
from which the passage under consideration is constructed.
Thus, the musical rhythm is formed not literally
repeated repetition of durations in a certain order; and if
look for in the product of periodic repetition of commensurable
units, then it will rather be cycles, i.e. more complex elements
metro-rhythmic structure. Therefore, the concept of musical
rhythm in the broad sense of the word, applied to
throughout the work, encompasses a system of organizing part-
those of the work in its entirety, the system of correlation of these
parts - both large and small; and the possibility of their prop-
the rational relation is provided by a consistent
multiplicity of durations and periodicity of metric
cents. Strict definition of temporal duration
in this case, sounding concerns not only real sounds, but also pauses;
breaks between the sound of notes are measured by the same values
durations as the sounds themselves.
As you know, any piece of music can be
performed at different tempos. Duration of the beats
will change, but they will remain equal between
the battle. If the performer changes the tempo from some moment, then
this new tempo will again determine the equal time for sounding
each measure of the subsequent part of the work. In theory
one can imagine such a performance when the tempo is
with every measure, but practically this does not happen, because V
in this case, the harmony of the musical work will be violated,
the melody will be distorted, the rhythm will break up into spasmodic fragments.
Therefore, the pace is a constant value, if not for the entire production
conducting as a whole, then for its significant part. Within one-
his work can be acceleration and deceleration of the tempo, pre-
intended by the author or introduced by the performer, but they
come either gradually, or during the transition to a new part of the
news, after a pause.
The musical rhythm depends on the tempo, since the real
duration changes depending on the tempo of the performance
niya. Rhythmic pattern when accelerating or slowing down the tempo,
remaining unchanged in structure, acquires a new character
t e r, if each note will sound longer (meaning more melodious,
softer) or shorter (meaning jerkier, drier). It is no coincidence that
this musical terms used to designate themes
pa, often also indicate the character, emotional connotation
the musical image offered by the composer, for example:
§gaue (hard), hundredth (calmly), "1" o (lively), etc. With another
hand, the rhythmic pattern in itself characterizes the music
image and thus predetermines the tempo. So rhythm and
tempo in music is mutually related and mutually determine, conditioned
pour each other.
In poetry, rhythm is an equally obligatory sign of artistic
noah form, as in music; perhaps this is due to their proximity
some kind of affinity coming from the ancient synthetic forms of creativity.
But the concept of tempo seems to go beyond attention, as
only it comes to poetry; And this is where it differs from music. All
the poetic image is similar to the musical image in that respect,
that he also does not have a visible spatial embodiment -
for it is impossible to consider rows of lines as such an incarnation, just as
consider musical notation to be the embodiment of a musical image. Verse-
the creative image materializes in the sound of the verse, which
lasts for a certain time; i.e., and the poetic image develops-
in time. Therefore, in a poetic work
rhythm is associated with temporal, but not spatial representations
assignments. But unlike the musical, in the poetic
time cannot be taken as a unit of duration of some kind
a precise amount of time. Therefore, the similarity of music
calic and poetic rhythms are very far from identity; But
to understand the term “rhythm” itself, it is useful to compare its meaning
chenie in music and versification.
It is easiest to establish a certain analogy with music
kal construction in classical Russian versification according to
Syllabo-tonic system. The elementary unit is long-
in this system, obviously, is a spruce g. which can be
equate (very conditionally!) to a quarter in music (duration
a quarter is conventionally equal to one second). The syllable is thus
can be considered the simplest rhythmic unit. But if in mu-
language, we have a whole system for calculating durations, finding
successively in relation to each other as one to
two, from 1 to 1/128, then in syllables we can distinguish, and then not
very definitely, only two varieties - long and short
cue, and this difference is not characteristic of all languages. In Russian
the same language, the temporary difference in the length of syllables cannot
taken into account, because there is no way to change it
measurements. Therefore, Russian versification since the reform
Trediakovsky-Lomonosov proceeded not from equivalence, but from
syllable stress. The stress is similar to the accent in music,
this syllables can be compared with metric shares - accent
trimmed and unaccented. Then the foot is grouped
ka syllables, including one stressed, and the rest unstressed
nye, can be equated to a musical measure. Location-
the number of stressed and unstressed syllables in the foot determines the meter, or
the size in which the poem is written. In silla-
Bo-tonic versification adopted two disyllabic and three
trisyllabic size.
If in a foot of two syllables the stress is on the first of them.
then the dicot size of the trochee is formed:
In the haze of invisibility
The spring month has sailed,
color garden breathes
Apple, cherry.
Two-syllable foot with stress on the second syllable - iambic:
Night marshmallow
Ether flows.
Noisy
Runs
Guadalquivir.
(A. Pushkin)
A foot of three syllables with an accent on the first syllable calls-
Xia dactyl:
Heavenly clouds, eternal wanderers!
Steppe azure, a chain of pearls ...
(MLermontov)
Amphibrach - a three-lobed foot with an emphasis on the second
rum syllable:
Thick nettles rustle under the window.
A green willow hung like a tent.
When stressed on the third syllable, a tripartite is formed.
foot anapaest:
Do not wait for me, apparently, freedom.
And prison days are like years;
And a window high above the ground
And there is a sentry at the door.
(M. Lermontov)
Thus, the foot in versification is a unit
meter, just as the beat is the unit of meter in music.
But the difference in their construction is quite noticeable: the musical beat
always begins with a strong beat, and in the foot the stressed syllable can
be in the middle and at the end. (In the latest theory of poetry,
addition, the concept of a tacto-metric system is introduced, where this
Irina Gorbenko
8 min.
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Video in theater: voyeurism, reality TV and security technology
Frank Castorf
In the 1990s, German director Frank Castorf, a rebel and provocateur, made video part of the performance, and the recordings that were broadcast to the audience were often provocative. Almost all of his productions have one or more large screens on stage. Castorf often turns to classics and turns them into reality shows. In what is happening on stage, there is outrageousness and clichés from pop culture, and the heroes of our time are recognizable in the characters.
For example, the action of the play "The Master and Margarita" based on Bulgakov's novel is transferred to a modern metropolis - with skyscrapers, cars and vibrant nightlife. Cameras follow the actors everywhere - when they go backstage, everything that happens to the hero is broadcast on the screen installed on the stage. Thus, the director provocateur makes the viewer peep - as in a real reality show. Sometimes pre-recorded recordings are displayed on the screens - what is left outside the pages of classical works.
Performance “To Moscow! To Moscow!” Directed by Frank Castorf, Volksbühne Theater (Berlin).
Source: Volksbühne, photo: Thomas Aurin
Katie Mitchell
British director Cathy Mitchell regularly uses video in her performances, working on the verge of theater and cinema. Mitchell uses the technique of displaying close-ups of characters on screen, thanks to which you can see not only a look or gesture, but even wrinkles or the smallest flaws. If we add to this the provocative nature of the theme, for example, in "The Yellow Wallpaper" (Schaubühne, Berlin), the director explores postpartum depression, we get an extremely intimate conversation between the hero and the viewer. The camera follows the characters everywhere – here the heroine is lying in bed with her husband, here she is taking a bath, here her fears are projected onto the wall with wallpaper – all this is shown on the screens in close-up. If the audience wants a reality show, they will get it, but with one condition - they will be shown the whole life of the heroine, and not a picture edited for television.
Performance "Yellow Wallpaper", directed by Cathy Mitchell, Schaubühne (Berlin).
Source: Schaubühne, photo by Stephen Cummiskey
Konstantin Bogomolov
Video and projections are frequent attributes of performances by director Konstantin Bogomolov and artist Larisa Lomakina. The authors use the possibilities of video for several purposes at once, including to demonstrate the life of the characters behind the scenes. In his Karamazovs, the appearance of the characters is preceded by their passage through a white corridor, a technique often used on television. The video also captures what is left behind the scenes of the performance - when the police come to arrest Mitya Karamazov, the screen shows how two heroes climb the stairs of a multi-storey building, ring the doorbell, and Bogomolov himself in a dressing gown opens it for them.
The play "The Karamazovs", director - Konstantin Bogomolov, Moscow Art Theater. A.P. Chekhov.
Source: Moscow Art Theatre. A.P. Chekhov, photo - Ekaterina Tsvetkova
Murad Merzuki
Despite the active use of new technologies in the theater, the possibilities of video and projections will not exhaust themselves for a long time. The theater of the future will be able to use motion sensors that will respond to the actions of the characters and give a "smart picture" or react with a projection. The French choreographer Murad Merzouki is working in this direction. Last year, the Territory festival presented his dance performance Pixel (“Pixel”). The production takes place in virtual space: the floor and wall behind the stage are a screen that displays a 3D image that allows you to create optical illusions - so, the dancers seem to float in the air.
Performance "PIXEL / Pixel", choreographer - Murad Merzouki, National Choreographic Center of Creteil and Val-de-Marne / Käfig Company (France).
Source: Territory Festival, photo: Laurent Philippe
5 Russian performances that are hard to imagine without video and projections
"Hamlet. Collage, Theater of Nations
Directed by Robert Lepage
In his first Russian performance Hamlet. Collage ”Lepage uses a cube scene that he invented in the early 90s. This cube has doors and pull-outs, but the scenery only comes to life when an image is projected onto it. It is amazing how the space, essentially consisting of three surfaces, turns either into a gloomy room of Hamlet, or into a luxurious dining room of the castle, or into a river in which Ophelia drowns.
Performance "Hamlet. Collage”, directed by Robert Lepage, Theater of Nations.
Source: Theater of Nations, photo - Sergey Petrov
"Dragon", Moscow Art Theatre. Chekhov
Directed by Konstantin Bogomolov
In The Dragon, cameras are installed on both sides of the stage that display close-ups on the screen above the stage - thus, even the audience sitting on the balcony sees the facial expressions of the characters, who often say one thing, while their facial expressions express another. In addition, the projections give light - sometimes bright white, sometimes red, sometimes pink. "Red color, fading, becomes pink" - this phrase appears on the wall after one of the scenes. The blood shed by the hero eventually fades and turns into a glamorous pink spot - again, not without the help of light projections.
The play "Dragon", director - Konstantin Bogomolov, Moscow Art Theater. A.P. Chekhov.
Continuing our journey through the theatrical world, today we will get into the world behind the scenes and find out the meaning of such words as ramp, proscenium, scenery, and also get acquainted with their role in the play.
So, entering the hall, each spectator immediately turns his gaze to the stage.
Scene is: 1) a place where a theatrical performance takes place; 2) a synonym for the word "phenomenon" - a separate part of the action, the act of a theatrical play, when the composition of the characters on the stage remains unchanged.
Scene- from the Greek. skene - booth, stage. In the early days of Greek theater, the skene was a cage or tent built behind the orchestra.
Skene, orchectra, theatron are the three fundamental scenographic elements of the ancient Greek performance. The orchestra or playground connected the stage and the audience. The skene developed in height, including the theologeon or playground of the gods and heroes, and on the surface, along with the proscenium, an architectural façade, a forerunner of the wall decorum that would later form the proscenium space. Throughout history, the meaning of the term "stage" has been constantly expanded: the scenery, the playground, the scene of action, the time period during the act, and, finally, in a metaphorical sense, a sudden and bright spectacular event ("setting someone a scene"). But not all of us know that the scene is divided into several parts. It is customary to distinguish between: proscenium, rear stage, upper and lower stages. Let's try to understand these concepts.
Proscenium- the space of the stage between the curtain and the auditorium.
As a playground, the proscenium is widely used in opera and ballet performances. In drama theaters, the proscenium serves as the main setting for small scenes in front of a closed curtain that tie the scenes of the play. Some directors bring the main action to the fore, expanding the stage area.
The low barrier separating the proscenium from the auditorium is called ramp. In addition, the ramp covers the stage lighting devices from the side of the auditorium. Often this word is also used to refer to the system of theatrical lighting equipment itself, which is placed behind this barrier and serves to illuminate the space of the stage from the front and from below. Spotlights are used to illuminate the stage from the front and from above - a row of lamps located on the sides of the stage.
backstage- the space behind the main stage. The backstage is a continuation of the main stage, used to create the illusion of a great depth of space, and serves as a reserve room for setting the scenery. Furks or a revolving rolling circle with pre-installed decorations are placed on the backstage. The top of the rear stage is equipped with grates with decorative risers and lighting equipment. Warehouses of mounted decorations are placed under the floor of the rear stage.
top stage- a part of the stage box located above the stage mirror and bounded from above by a grate. It is equipped with working galleries and walkways, and serves to accommodate hanging decorations, overhead lighting devices, and various stage mechanisms.
lower stage- a part of the stage box below the tablet, where stage mechanisms, prompter and light control booths, lifting and lowering devices, devices for stage effects are located.
And the stage, it turns out, has a pocket! Side stage pocket- a room for a dynamic change of scenery with the help of special rolling platforms. Side pockets are located on both sides of the stage. Their dimensions make it possible to completely fit on the furka the scenery that occupies the entire playing area of the stage. Usually decorative warehouses adjoin side pockets.
The “furka”, named in the previous definition, along with the “grids” and “shtankets”, is included in the technical equipment of the stage. furka- part of the stage equipment; a mobile platform on rollers, which serves to move parts of the decoration on the stage. The movement of the furca is carried out by an electric motor, manually or with the help of a cable, one end of which is behind the scenes, and the other is attached to the side wall of the furca.
- lattice (wooden) flooring, located above the stage. It serves to install blocks of stage mechanisms, is used for work related to the suspension of performance design elements. The grates communicate with the working galleries and the stage with stationary stairs.
Shtanket- a metal pipe on cables, in which the scenes, details of the scenery are attached.
In academic theaters, all the technical elements of the stage are hidden from the audience by a decorative frame, which includes a curtain, backstage, a backdrop and a border.
Entering the hall before the start of the performance, the viewer sees a curtain- a piece of fabric suspended in the area of the stage portal and covering the stage from the auditorium. It is also called "intermission-sliding" or "intermission" curtain.
Intermission-sliding (intermission) curtain is a permanent equipment of the stage, covering its mirror. Moves apart before the start of the performance, closes and opens between acts.
Curtains are sewn from dense dyed fabric with a dense lining, decorated with the emblem of the theater or a wide fringe, hemmed to the bottom of the curtain. The curtain allows you to make the process of changing the situation invisible, to create a feeling of a gap in time between actions. An intermission-sliding curtain can be of several types. The most commonly used Wagnerian and Italian.
Consists of two halves fixed at the top with overlays. Both wings of this curtain open by means of a mechanism that pulls the lower inner corners towards the edges of the stage, often leaving the bottom of the curtain visible to the audience.
Both parts Italian curtain they move apart synchronously with the help of cables attached to them at a height of 2-3 meters and pulling the curtain to the upper corners of the proscenium. Above, above the stage, is paduga- a horizontal strip of fabric (sometimes acting as scenery), suspended from a rod and limiting the height of the stage, hiding the upper mechanisms of the stage, lighting fixtures, grate and upper spans above the scenery.
When the curtain opens, the viewer sees the side frame of the stage, made of strips of fabric arranged vertically - this backstage.
Closes the backstage from the audience backdrop- a painted or smooth background made of soft fabric, suspended in the back of the stage.
The scenery of the performance is located on the stage.
Decoration(lat. "decoration") - the artistic design of the action on the theater stage. Creates a visual image of action by means of painting and architecture.
Decoration should be useful, efficient, functional. Among the main functions of the scenery are the illustration and depiction of elements supposedly existing in the dramatic universe, the free construction and change of the scene, considered as a game mechanism.
The creation of scenery and decorative design of the performance is a whole art, which is called scenography. The meaning of this word has changed over time.
The scenography of the ancient Greeks is the art of decorating the theater and the picturesque scenery resulting from this technique. During the Renaissance, scenography was the technique of painting a canvas backdrop. In modern theatrical art, this word represents the science and art of organizing the stage and theatrical space. Actually the scenery is the result of the work of the set designer.
This term is increasingly being replaced by the word "decoration" if there is a need to go beyond the concept of decoration. Scenography marks the desire to be writing in a three-dimensional space (to which the temporal dimension should also be added), and not just the art of decorating the canvas, which the theater was content with up to naturalism.
In the heyday of modern scenography, decorators managed to breathe life into space, enliven time and the actor's performance in the total creative act, when it is difficult to isolate the director, lighting, actor or musician.
The scenography (decorative equipment of the performance) includes props- the objects of the stage setting that the actors use or manipulate during the course of the play, and props- specially made items (sculptures, furniture, dishes, jewelry, weapons, etc.) used in theatrical performances instead of real things. Props are notable for their cheapness, durability, emphasized expressiveness of the external form. At the same time, props usually refuse to reproduce details that are not visible to the viewer.
The manufacture of props is a large branch of theatrical technology, including work with paper pulp, cardboard, metal, synthetic materials and polymers, fabrics, varnishes, paints, mastics, etc. The range of props that require special knowledge in the field of stucco, cardboard , finishing and locksmith works, painting of fabrics, embossing on metal.
Next time we will learn more about some theatrical professions, whose representatives not only create the performance itself, but also provide its technical support, work with the audience.
The definitions of the terms presented are taken from the websites.
UDC 792.038.6
In the theatrical space, several types of spaces are contaminated, including the stage space, which establishes links between the addressee and the addressee and can carry a certain symbolic message. The authors in the article consider the periodic line of development of scenic spaces and identify some of the paradigms of the latter in modern times.
Key words: stage space, postmodernism, theatrical space
Damir D. Urazymbetov, Mikhail M. Pavlov The stage space as a semantic relationship codes
Several types of spaces including scenic one, which establishes the relation between the addresser and the addressee and may contain a certain symbolic message, are contaminated in theatrical spaces. In the article, the authors examine the periodic development line of scenic spaces and determine certain current paradigms of them. Keywords: acting space, postmodernism, theatrical space
To carry out any production intended for the viewer, certain conditions are necessary. First of all, this is the condition of the space where the artists and spectators will be. In places where theatricalization can be turned into a special reality - special buildings, premises, squares - there is space for spectators and space for artists (in the traditional sense, of course). Stage space is a framework for any action. In many respects, the reception of the viewer depends on what is the measure of the relationship between these spaces, what is their shape and other things. After all, in the end, all theatrical art exists for the sake of the viewer. The decision of the stage space is determined by social, aesthetic, creative requirements in the context of the era.
The development of stage space paradigms occurs throughout human "theatrical" history. Starting from the amphitheaters - the most democratic auditorium "halls", ancient Greek playwrights expressed their artistic and life aspirations. A proscenium, a curtain, appeared in the Theater of Ancient Rome, where stage design and acting rearrangements were now hidden from the audience. In the medieval theater, the vast space that connected performers and spectators in a liturgical drama turned into a small platform at the altar. Then the mystical theater returned its scale - the whole city, the central squares became the space for the game.
The well-known box stage with a curtain
arose in 1454 in Lille (France), the theater turns into a court one. A. Gvozdev divided the stage into two types of theater venues: court and folk (fair)2. Accordingly, the two types of stage space dictated different types of dramaturgy, acting and, of course, the audience.
The first experiences of "breaking" the horizontal flat stage space in the West as early as the 19th century. were presented by the experiments of the composer R. Wagner, the artist A. Appia, and others. Speaking about the space of the stage, R. Wagner dreamed of “landscape painting”, where the union of all arts would appear in the theater of the future era. He imagined it (stage space) as an art space where an artist, architect, director, with the help of paints, lines, lighting, etc., will be able to highlight artists, "live" artists, and not "copied" ones (simulacra). Dramatist and director Georg Fuchs in Munich (Kunstlertheater) created prati-cables - these are original "reliefs", additional parts of the material to the scenery, which allow you to highlight the actors, enhancing the effect of perspective. Therefore, the first and distant plans for the viewer look natural in their physical proportions3.
The box stage with backstage takes on its finished form in the 19th century. and practically unchanged, it exists in this state until the end of the 19th century. Then in the Moscow Art Theater the plane of the stage was destroyed and the first platforms of different heights appeared. Directors began to build mise-en-scenes at different levels, mastering vertical spatial coordinates4. The scenographic approach in the Russian theater was formed by the
D. D. Urazymbetov, M. M. Pavlov
taklami by K. Stanislavsky, V. Nemirovich-Danchenko, V. Meyerhold, E. Vakhtangov, A. Tairov, N. Okhlopkov and others. P. N. Okhlopkov experimented with theatrical space, unfolding the spectacle among the audience, creating several stages and applying the techniques of simultaneous simultaneous action.
At the end of XX - beginning of XXI century. innovative stage spaces appeared (transforming stages, ring stages, outdoor stage, etc.). The audience is also in the center of the stage action or around it, again, as in a medieval theater, becoming accomplices or observers.
Of course, the emergence of all innovative ways of producing scenes led to new scenographic and directorial discoveries in the era of postmodernism. The task of the director as an artist is as follows: to take paints and a brush (the space of the stage with its scenography and actors) and skillfully, competently combine them to get a “stage picture” (V. Meyerhold).
Therefore, we can say that the method of the director's work is close to the work of the architect, and the method of the actor's work coincides with the work of the sculptor. And the artists breathe life into the soulless scenery, “the power of a pedestal worthy of supporting this great statue of a living body bound by the rhythm”5. The body here is the stage space.
The whole technology of creating a scene as a materially perceived object, about the types of stage venues, about the mechanics of the scene plan, equipment, etc. modern stage” (2007) based on the book by V. Bazanov, from which one can conclude how significant the evolution of the stage space is due to technology. It is clear that technical audiovisual equipment also plays a significant role in the stage space of our time. It is very important that the physical component of the stage space itself be organic with light, sound, be “supported” by the director and artists, and the stage space be activated in the name of the ideological concept.
On large stadium venues, in contrast to chamber scenes, the viewer may not master all the action, especially if it takes place at different ends of the stadium according to the principle
cycle of simulated scenes. Thus, the boundary between the real and the imaginary is erased, and the stage space turns from symbolic or metaphorical into “metonymic space”6. Thus, it replaces the sign of the scene with only physical reality. And signs in one space are lost or replaced by their value in another.
From the foregoing, we can state that the typology of relationships in the stage space consists of two components: the ratio of the stage and the audience, the ratio of the director's and the audience's scores, which Yuri Davydov spoke about7; the second typology is based on how the interaction between the stage and the hall is built.
The spectator is not an active reflector of what is happening on the stage, but an active transducer. He is able to rigidly place his own accents and add new notes, rhythms, voices to the director's score, up to the complete unrecognizability of the author's text. A. Mikhailova emphasizes that “it is expedient to consider the problem of space at the level of the performance, in its system”9.
In the philistine, and sometimes in the scientific turn, sometimes there is confusion and a merger of the concepts of stage, theatrical / theatrical spaces. Sometimes the concept of stage space is also used as a synonym for stage space. There are also definitions of theatrical space - as a specific place of action; definitions of a culturological sense and as a philosophical category. Of course, they have a lot in common, but still there are certain differences.
What specific differences does the stage space have? At what point does it become stage? What is common between stage and theatrical space?
The stage space is “a space specifically perceived by the public on the stage or on stages or on fragments of scenes of various scenographies”10. It has a demarcated line between the beholder and the seen. This boundary is determined by the view and scene type. If the viewer crosses this boundary, he leaves his role as a viewer and becomes a participant in the event. “In this case, stage space and social space merge into one”11.
V. Bazanov calls the totality of spectator and stage spaces theatrical space. And in the theatrical space, according to P. Pavi, dramatic, stage, game, text and internal
Stage spaces as a semantic connection of codes
space. However, the author synonymizes the concept of scenographic and theatrical space, calling scenography “writing in a three-dimensional space”, adding a temporal dimension to it12. We can agree with the latter, given that today scenography in the hands of artists and directors sets itself the task of not just illustrating a dramatic text, but a semiotic task - “to establish the necessary correspondences and proportions between the space of the text and the space of the stage”13. An outstanding St. Petersburg stage designer and artist E. Kochergin said: "I translate the director's idea into the language of space." But sometimes the word of the artist takes precedence over the word of the director, as happened with the play The Nutcracker (2001) choreographed by Kirill Simonov at the Mariinsky Theatre. The scenery and costumes by M. Shemyakin played the leading role (of course, after the brilliant music), then there was the choreography. Scenography is an integral element of the stage space, it is an indicator of the processes in which physical and emotional-psychological energy evolves and develops. They walk on the same side, "holding hands." In most cases, along with the transformation of the scenography, the stage space is transformed. But often, instead of dramaturgy, controlled by the language that the artists embody, “visual dramaturgy” (H.-T. Lehman) reigns on the stage. This kind of dramaturgy is not always subordinated to the text of the screenwriter or playwright. It may differ from the director's/artist's intent and unfold in its own free logic of interpretation. However, “scenography ... presents itself as a kind of text, a stage poem, in which the human body becomes a metaphor, and the flow of its movements in a certain complex metaphorical sense becomes an inscription, a “letter”, and not a “dance” at all”14. Scenography can be a symbol, a metaphor, a sign, etc. The stage as a physical component in dialogue with the scenery, as it were, rediscovers its physical reality, its depth, becomes a newly created space. This dialogue demonstrates the figurative thinking of the artist, the play of details, rhythms, textures, proportions, volumes.
Speaking about the theatrical space, Yu. Lotman divides this concept into two parts: stage and audience. But they must be dialogic. Oppositions are formed from dialogues:
1) Existence - non-existence. When the curtain rises (the performance begins)
nie), the spectator part, as it were, ceases to exist. Instead of true reality comes the so-called illusory. In the theater, this is emphasized by highlighting only the stage, while the spectator part is “immersed” in darkness. But let's not forget the method of activating the viewer, which is especially widespread in the theater of mass forms.
2) Significant - insignificant. Recalling that in the stage space everything in it becomes symbolic, Yu. Lotman thus separates what was insignificant before immersion in the stage space and the significant, which began to perform certain functions, plunging into the stage atmosphere. For example, movement has become a gesture, a thing has become a detail.
K. Vozgrivtseva often calls the use of the term “theatrical space” “spontaneous and subjective”16. She brings out two approaches to the definition of theatrical space: 1) Theatrical space as a stage and an auditorium (this approach can be conditionally called scenographic); 2) Theatrical space is synonymous with theatrical culture17. When analyzing views on the theatrical space as a theatrical culture, we also take into account that, according to K. Vozgrivtseva, they were formed within the framework of criticism and journalism. Thus, in articles devoted to theatrical events, one can trace the contamination of theater phenomena - performances, tours, conferences, etc. into the term "theatrical space".
The theater includes an architectural structure, an organization, a team - creative and service personnel, and spectators. Elements of the theatrical structure: universities, agencies, criticism, magazines, etc. Therefore, it is inappropriate to approach the understanding of the theater only from the scenographic side, and “theatrical space is part of the cultural space”18.
Indeed, the theatrical space consists of spiritual values, visual images, real and represented forms, events; it is formed by the experience of the creator and the consumer. Only with the activation of the above theatrical space begins to move and live. With every attempt to play from the stage and the perception of this by the viewer, when discussing performances between the teacher and students at the theater university, the theater space is renewed. That is, the cause of existence and the objectification of the theater is man.
The complexity of the definition of the term "theatrical space" K. Vozgrivtseva assigns
D. D. Urazymbetov, M. M. Pavlov
also to the fact that “the theater building is both a material object and a container of illusion; the actor can act as an active subject and be part of the scenographic solution”19. Likewise, the spectator can either only be an observer, or draw parallels between himself and the role played on the stage. That is, we are dealing here with a multi-layered space: the space of the work, the space of the scene, the space of the location. M. Heidegger wrote: “We should learn to realize that things themselves are places, and not only belong to a certain place”20.
K. Vozgrivtseva, in our opinion, comes to the correct conclusion that “theatrical space is a mobile structure in which the appearance and interaction of elements of theatrical culture takes place; theatrical space arises as a result of the development, transformation of reality and oneself by a person with the help of the phenomena and institutions of theatrical culture (acting, reincarnation, criticism, directing, etc.)”21.
In general, space can contain not only a figurative function, but also be perceived sensually, cause intellectual activity, and sometimes, with its physiology, awaken medical problems of a psychological nature - agoraphobia, claustrophobia.
In the techniques of the "open" theater, when the viewer sees the whole "underground" staging and preparation for the performance, and much more, with the general desacralization of art, this phenomenon also befell theatrical art, which, outside of religious practice and folk culture, must look for means of expression, build a special relationship with the viewer. Although, based on the article by A. Mikhailova "Space for the game", where she describes the performance of V. Spesivtsev "Does it hurt?" (according to A. Aleksin's novel "Characters and Performers", 1974, theater-studio "Gaidar"), one can speak of an open and even postmodernist method of using space. Of course, we remember that the stage space in the postmodern theater can be "overloaded" or "empty", "nihilistic" or "grotesque"22.
Stage space can manifest itself in unexpected places and, of course, in natural settings. These can be water or near-water spaces, squares, stadiums, etc. The English director Peter Brook also recalled the stage space in the open air. He wrote how to invite him
whether to put on a play with a group of Iranian actors in Persepolis. His impression of the open space was very strong. It was not specially prepared, it was not stage. But that energy of the ruins, the rocks of Persepolis convinced him that the choice of a place for spectacles and holidays was also dictated by the choice of a center of special energy force, which was felt by all the participants in the performance. “After many years when our medium was wood, canvas, paints, a ramp, spotlights, here in ancient Iran the sun, moon, earth, sand, rocks, fire opened up a new world for us that will influence our work for many years to come”23 . In the conditions of open natural or street space, the artist, together with the decoration, creates the "environment", becoming an architect, landscape designer and, in the conditions of modern technologies, a design engineer. Immersion of the viewer in the appropriate space and atmosphere can begin with an invitation card (decorated in the style of the upcoming performance).
A vivid example of the transformation and design of the stage space can be the productions of one of the authors of this study, M. Pavlov, at the Na Millionnaya Theater of the St. Petersburg State Institute of Culture. Students of the Department of Directing of Theatrical Performances and Holidays participate in various performances of the theater of poetic performance ("The Bronze Horseman", "The Little Humpbacked Horse", "The Tale of Igor's Campaign", "The Twelve", "The Snow Maiden", "Snowfall", etc.). In them, the stage space and scenography are transformed in accordance with the author's intention, using the specific features of modern stage direction of theatrical performances.
Based on the foregoing, we can try to answer the questions stated at the beginning of this work.
In the concrete perception by the audience of the scene there is its essence, being. The paradigm of stage space becomes the moment when the boundary between the seen and the beholder appears. That is, it should be a place where the artists and/or technological equipment and spectators/audience will be located. Proceeding from this, we call the stage space in which it is possible, but not necessary, to realize the phenomenon of theatricalization.
In the theatrical space, several types of spaces are contaminated, including textual, dramatic, stage
Stage spaces as a semantic connection of codes
and the scenographic as arising from the scenic.
The director's task is not only to interpret the dramatic text, translating it into intertext, but also to establish correspondences, proportions, semantic connection through codes between the addressee and addressee. It is very important that the stage space carry a symbolic message, opening up new physical, spiritual realities for the recipient, for a dialogue between the artist and the audience. So that the game and meaning become the main ones in the performance, the performance.
Stage space is not only a physical quantity, but also a psychological one, and it can be comprehended from these points of contact. That is, from the standpoint of how artists / actors perceive it plastically and psychologically, how the audience reacts and participates in the process of transmitting information. It is very important to remember that the stage space, existing according to physical laws, is intended for illusion. Stage space, codes and directing are closely interconnected.
Notes
1 Introduction to theater studies / comp. and resp. ed. Yu. M. Barboy. St. Petersburg: Publishing house of SPbGATI, 2011. S. 197-198.
2 Gvozdev A. About the change of theater systems // About the theater: a temporary record of the Department of History and Theory of Theater of the State Institute of Art History: a collection of articles. L.: Academia, 1926. S. 10.
3 Meyerhold V. E. Articles, letters, speeches, conversations. M.: Art, 1968. Part 1: 1891-1917. S. 152.
4 Mikhailova A. Space for the game: from the experience of the theater of the 70s. // Theater. 1983. No. 6. S. 117.
5 Meyerhold V. E. Decree. op. S. 156.
6 Leman H.-T. Post-dramatic theater / per. with him. N. Isaeva. M.: ABCdesigh, 2013. S. 248.
7 Davydov Yu. Social psychology and theater // Theatre. 1969. No. 12. S. 29.
8 Introduction to theater studies. S. 195.
9 Mikhailova A. Decree. op. S. 117.
10 Pavi P. Dictionary of the theatre: per. from fr. M.: Progress, 1991. S. 262.
12 Ibid. S. 337.
14 Leman H.-T. Decree. op. S. 152.
15 Lotman Yu. M. Semiotics of the scene // Lotman Yu. M. Articles on the semiotics of culture and art / comp. R. G. Grigorieva, foreword. S. M. Daniel. St. Petersburg: Akadem. project, 2002. P. 408. (Series "The World of Art").
16 Vozgrivtseva K.I. Theatrical space: kulturol. aspect // Izv. Ural. state university 2005. No. 35. S. 57.
18 Ibid. S. 59.
19 Vozgrivtseva K. I. Decree. op. S. 62.
20 Heidegger M. Art and space // Self-consciousness of culture and art of the 20th century: Western Europe and the USA. M.; SPb., 2000. S. 108.
21 Vozgrivtseva K. I. Decree. op. S. 60.
22 Leman, H.-T. Decree. op. S. 43.
23 Brook P. Threads of time: memories / trans. from English. M. Stron // Star. 2003. No. 2. URL: http: // magazines. russ. ru (date of access: 04/14/2015).
For the implementation of a theatrical production, certain conditions are needed, a certain space in which the actors will act and the audience will be located. In every theatre, in a specially constructed building, in the square where traveling troupes perform, in the circus, on the stage, the spaces of the auditorium and the stage are laid out everywhere. How these two spaces relate, how their form is determined, etc., determines the nature of the relationship between the actor and the viewer, the conditions for perceiving the performance. established at this stage of development. The relation of both spaces to each other, the ways of their combination are the subject of the history of the theatrical scene.
Spectator and stage spaces together make up the theater space. At the heart of any form of theatrical space there are two principles for the location of actors and spectators in relation to each other: axial and center. In the axial solution of the theater, the stage is located frontally in front of the audience and they are, as it were, on the same axis with the performers. In the center or, as they are also called, beam - seats for spectators surround the stage from three or four sides.
Fundamental to all kinds of scenes is the way in which both spaces are combined. There can also be only two solutions here: either a clear separation of the volume of the stage and the auditorium, or their partial or complete merging into a single, undivided space. In other words, in one version the auditorium and the stage are placed, as it were, in different rooms that are in contact with each other, in the other, both the hall and the stage are located in a single spatial volume.
Depending on these solutions, it is possible to quite accurately classify various forms of the scene (Fig. 1).
A stage area bounded on all sides by walls, one of which has a wide opening facing the auditorium, is called a box stage. Seats for spectators are located in front of the stage along its front within the normal visibility of the playing area. Thus, the box stage belongs to the axial type of theatre, with a sharp separation of both spaces. The box stage is characterized by a closed stage space, and therefore it belongs to the category of closed stages. The stage, in which the dimensions of the portal opening coincide with the width and height of the auditorium, is a kind of box.
The stage-arena has an arbitrary shape, but more often a round platform, around which there are seats for spectators. The arena stage is a typical example of a center theater. The spaces of the stage and the hall are merged here.
The spatial stage is actually one of the types of the arena and also belongs to the center type of the theater. Unlike the arena, the area of the spatial stage is not surrounded by seats for spectators from all sides, but only partially, with a small angle of coverage. Depending on the solution, the spatial scene can be both axial and center. In modern solutions, in order to achieve greater versatility of the stage space, the space stage is often combined with the box stage. The arena and the space stage belong to the open type stages and are often referred to as open stages.
Rice. 1. The main forms of the scene:
1 - scene-box; 2 - stage-arena; 3 - spatial scene (a - open area, b - open area with a box stage); 4 - ring stage (a - open, b - closed); 5 - simulated scene (a - a single platform, b - separate platforms)
There are two types of ring stage: closed and open. In principle, this is a stage platform, made in the form of a movable or fixed ring, inside which there are places for spectators. Most of this ring can be hidden from the audience by walls, and then the ring is used as one of the ways to mechanize the box stage. In its purest form, the ring stage is not separated from the auditorium, being in the same space with it. The ring scene belongs to the category of axial scenes.
The essence of the simulation scene is the simultaneous display of different scenes of action on one or more sites located in the auditorium. Various compositions of playgrounds and places for spectators do not allow us to attribute this scene to one or another type. One thing is certain, that in this solution of the theatrical space, the most complete fusion of the stage and spectator zones is achieved, the boundaries of which are sometimes difficult to determine.
All existing forms of theatrical space in one way or another vary the named principles of the mutual arrangement of the stage and seats for spectators. These principles can be traced from the first theatrical structures in ancient Greece to modern buildings.
The box stage is the basic stage of modern theater. Therefore, before proceeding to the presentation of the main stages in the development of theatrical architecture, it is necessary to dwell on its structure, equipment and technology for the design of the performance.
