What is a scene in a play? Effect of high temperature
gr. theatron) – 1) a type of art, the peculiarity of which is the artistic reflection of life phenomena through dramatic action that arises in the process of actors playing in front of the audience; in the course of historical development, three main types of theater were identified, distinguished by specific features and means artistic expression– drama, opera and ballet; 2) a building where theatrical performances take place; 3) performance, performance.
Excellent definition
THEATER
from Greek theatron - place for spectacle, spectacle), - 1) type of art; 2) creative team, a troupe performing performances; 3) a special type of building intended for theatrical performances. Figurative reflection In reality, it occurs in theatrical art in the forms of dramatic action, stage acting, and performance performed by the participants in the performance in front of the audience. Theater is one of the most socially active acts, because the very specificity of theater requires spectator interest, emotional contact between the stage and the audience. The efforts of all the creators of the play, and above all the actors, are aimed at establishing a specific unity between the stage and the hall. creative process which takes place before the eyes of the audience, has the ability to have a comprehensive aesthetic impact on them, to evoke intellectual and emotional empathy. The nature of T. is synthetic (Synthetic arts). Based on its action-game specificity, it combines the means of painting, architecture, plastic organization of action (Plastic) with music, rhythm, and words. T. - collective action. The creativity of actors, set designer, composer, choreographer, costume and lighting designers, makeup artistry, etc. are subordinated in modern times. T. a single director's plan, serve the embodiment of the artist. the whole. T. is an event-based art depicting life in a state of conflict, movement, development. In this sense, theatrical art is always dramatic, whether this drama manifests itself at the level of tragedy, drama (as a genre) or comedy, whether it is revealed in a play or in a libretto, musical score (in ballet, opera, operetta), script (in T improvisation, pantomime). But with this common essence, despite the fact that various types of stage art are in constant interaction with each other, enriching them, giving rise to new varieties of stage productions, each of these types of stage art has its own artist. language, a system of visual and expressive means, aesthetic principles. Hence the originality of acting and directing. T. - claim, past continuous historical path development. In its origins, it goes back to hunting, agricultural and religious rituals of the communal clan system, mystery and carnival events (Carnival). containing elements of play, dialogue, dressing up, music, singing, dancing, and using a mask. The mythopoetic consciousness of distant eras determined both the tragic and the sharply comedic nature of folk games, from which, in close unity with the folk epic tradition (Epic), the identification of the primary forms of theatrical creativity as such began. U different nations this process proceeded in its own way. Rich and original T., unique in its ancient history. folk traditions, developed in the countries of the East (Japan, China, India). High artist and reached social significance T. Ancient. Greece (V-IV centuries BC), which had a huge influence on the later development of technology in Europe. countries, although the destruction of ancient civilization severed the threads of direct cultural continuity. During the Renaissance, the development of technology began among Europeans. peoples, as it were, anew, from the use of wandering actors (jugglers, shpilmans, buffoons, etc.), from theatrical religious performances of the Middle Ages (liturgical drama, mystery, miracle, morality), from area farces and comedies of improvisation (Italian commedia dellarte ). Literary drama, in plural. created on ancient samples, combining with folk tradition, determined the rapid flourishing of theater during the Renaissance, the emergence of major playwrights and professional theatrical figures(W. Shakespeare, Lope de Vega, J. B. Moliere, P. Corneille, J. Racine, etc.). The expansion of the substantive volumes of literature, dictated by the content of reality itself, stimulates the independent development of art. principles inherent in T. as a synthetic art. In the 16th century operatic theater appears, and at the end of the 17th and first half of the 18th centuries. ballet is formed as a special type of dance. Dramatic theater, focusing its attention on revealing the inner world of the individual and social and moral conflicts, gives rise to many new stage genres; its tendency towards democratization and the reproduction of art is noticeable. truth. Interacting with other artists, T. is sensitive to the general state of culture and plays an active role in the development of such artists. trends such as classicism, romanticism, realism, revealing important stages in the formation of aesthetic consciousness. According to the change from era to era in the understanding and comprehension of life's truth, the ways of expressing it in theatrical art also change. In modern T. the deep revelation of artistic thought, ideas, and the affirmation of a social and moral ideal are based not on the principle of naturalistic life-likeness, but on the content and power of the figurative language of the performance. Convention in modern times T. serves to expand the meaning of the performance. The language of stage metaphor, given by theater back in its origins, has widely entered into the practice of world theater in the 20th century. Its distinctive feature is the variety of schools and directions, directing systems, theories of stage art, and acting.
A phenomenon, a scene is part of an act (action) in dramatic work, which is characterized by a constant amount characters. The phenomenon is sometimes defined as the basic plot unit of stories, novels, and other genres of fiction.
The concept of phenomenon in literature comes from theater, where it is understood as short part performance, which takes place in the same place of action with the same characters. The phenomenon is characterized by the structure of a finished work, with a beginning, development of action and an ending.
The word “phenomenon” to designate a separate part of a play is common in Russian drama as a synonym for the word “scene” in foreign plays; the term "action" replaces the word "act".
Origin
Act in prose - chapter The phenomenon is part of an act, or action (Latin actus - action) - a section of a dramatic work. The division of a dramatic work into acts was introduced in ancient Greek and then in Roman theater, in which the performance consisted of 5 acts.
In the ancient theater, the play was performed by several actors who played all the roles. Dividing acts into scenes allowed actors to change costumes and prepare for their next role during intervening scenes. The structure of events in a theatrical performance was also used to change the scene of action by changing the background. After the apparition ended, the curtain was closed briefly, during which time the scenery and props on stage were changed to show a different location. For this reason, scenes in dramatic text are often introduced by location, e.g. scene 1, Vacation home; scene 2, garden.
Phenomenon in the structure of a dramatic work
The phenomenon contains a small separate fragment of the overall narrative of a dramatic work. The same characters participate in the phenomenon and the action takes place in the same place and time. The act includes several scenes. In one-act plays, scenes form a plot of 3 parts with a beginning, development, and end of the action.
Playwrights and theater directors arbitrarily distribute acts into scenes (phenomena), and acts of one play may have different quantities scenes In the tragedy in five acts “Romeo and Juliet” (1597) by the great English playwright W. Shakespeare, the acts include a different number of scenes: act I - 5 scenes, act II - 6 scenes, act III - 5 scenes, act IV - 5 scenes, act V – 3 scenes. In the drama of the famous Russian playwright A. N. Ostrovsky in five acts “The Thunderstorm” (1860), there are 9 phenomena in the first act, 10 in the second, 5 in the third, 6 in the fourth, and 7 in the fifth.
Action and phenomenon
The phenomenon begins with the appearance of the characters and ends with their departure. It represents a short dialogue or event that takes place in one place. For example, in the 6th scene of the second act of William Shakespeare’s tragedy “Romeo and Juliet,” the secret wedding of Romeo and Juliet is described.
The structure of a dramatic work is designed in such a way that the flow of the narrative moves from scene to scene. Action and phenomenon (act and scene) as structural elements of a dramatic work have the following differences:
Action and phenomenon are parts of a play or theatrical performance. The main difference between them is their duration: the action is a long part of the play; phenomenon – a brief event or dialogue. The duration of the phenomena depends on their number in action: the more scenes, the shorter each of them. An act in a theatrical performance usually lasts from 30 to 90 minutes.
Action is considered the main tool for dividing a dramatic work and forming its structure. It is divided into several phenomena, and the phenomenon is not divided into its component parts, but can only move on to another phenomenon, where the action and the general flow of the narrative continue.
Act and scene are indicated in the text of a dramatic work in capital letters, but Roman numerals are used for numbering acts (ACT I), and Arabic numerals for scenes (SCENE 1).
The act was established by ancient playwrights as main element plays. The division of a dramatic work into scenes or phenomena is not necessary.
The meaning of the phenomenon in a dramatic work
In dramaturgy, the division of a work into acts and scenes plays a compositional role, since the ordering and sequence of the narrative improves the transmission of its meaning by actors and the understanding of readers. Since the 18th century In the plays, phenomena were clearly recorded, which were indicated by a serial number and a list of characters.
In the theater of the 18th-19th centuries. performances were divided into stages mainly for technical reasons: the number of events was determined by the design of the stage. The outstanding Russian writer L.N. Tolstoy divided the drama in 6 acts and 12 scenes “The Living Corpse” (1911) into a large number of phenomena, since he created the play for a theater with the latest stage design. Modern dramaturgy rarely adheres to the principle of dividing actions into phenomena.
The word phenomenon comes from the Latin scaena, scena, which means stage.
- Shatalina Anastasia Gennadievna
Keywords
SMALL STAGE / SMALL FORMAT THEATER / THEATER OF SMALL FORMS / THEATRICAL PERFORMANCE/ THEATER DIRECTOR / ACTING / ART HISTORICAL METHODS/ SMALL STAGE / SMALL-FORMAT THEATER / LIGHT ENTERTAINMENT THEATER / THEATER PRODUCTION / STAGE DIRECTOR / ACTING / METHODS OF ART CRITICISMannotation scientific article on art and art history, author of the scientific work - Shatalina Anastasia Gennadievna
There is a need to distinguish between such art historical concepts as “small stage”, “ small theater" And " small format theater", for which their main ones are revealed using the method comparative analysis criteria. The result of the study proves that these terms refer to different areas theatrical arts. The small stage mainly captures the features of the theatrical space. Theater of small forms is more of a genre concept. Small format theater typologically similar to the small stage: organization of space, principle of production, role of the director and actor. WITH theater of small forms What he has in common is the ability to move freely around different stage areas. All three concepts are characterized by an experimental spirit. Main difference small format theater from theater of small forms the opportunity to stage both full-fledged repertoire performances and small productions. It is distinguished from the small stage by its status as an independent economic unit, so the problem of the existence and survival of such theaters is relevant. As a result of the analysis, experimental theaters that emerged at the end of the 20th and beginning of the 21st centuries fit into the existing terminological paradigm.
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Small-format theater: scene and term (to the problem of typology)
The subject of this article is related to the delimitation of such concepts of the study of art, as a small theater, a small forms’ theater and a small-format theater. The purpose of the research is to reveal the main criteria for these concepts. The method of comparative analysis was used to achieve this purpose. The result of the study shows that these terms refer to different areas of theater. The term “a small theater” basically refers to the characteristics of theatrical space. “A small forms’ theater” is rather a concept of genre. “A small-format theater” is typologically similar to the small theater in the organization of space, in the basic principle of productions, in the role of director and actors, but the small-format theater has a status of an independent economic entity. Therefore there is the actual risk for the existence and survival of this kind of theaters. The small-format theater is similar to the small forms’ theater having the common ability to move freely in different scenic platforms. The small-format theater differs from the small forms’ theater as it has an opportunity to stage repertoire performances as well as short plays. All the three concepts are characterized by the experimental spirit. The author for the first time attempts to include the Russian experimental theaters of the 20th 21st centuries into the present-day terminological paradigm.
Text of scientific work on the topic “Small format theater: phenomenon and term (on the issue of typology)”
A. G. Shatalina
Candidate degree candidate art history, Saratov Theater Institute (SGC named after L.V. Sobinov)
Email: [email protected],
SMALL FORMAT THEATER: PHENOMENON AND TERM (ON THE QUESTION OF TYPOLOGY)
There is a need to distinguish between such art historical concepts as “small stage”, “theatre of small forms” and “small format theatre”, for which their main criteria are revealed using the method of comparative analysis. The result of the study proves that these terms relate to different areas of theatrical art. The small stage mainly captures the features of the theatrical space. Theater of small forms is more of a genre concept. Small format theater is typologically similar to a small stage: the organization of space, the principle of production, the role of the director and actor. What it has in common with small-form theater is the ability to move freely around different stage areas. All three concepts are characterized by an experimental spirit. The main difference between a small-format theater and a theater of small forms is the ability to stage both full-fledged repertoire performances and small productions. It is distinguished from the small stage by its status as an independent economic unit, so the problem of the existence and survival of such theaters is relevant. As a result of the analysis, experimental theaters that emerged at the end of the 20th - beginning of the 21st century fit into the existing terminological paradigm.
Key words: small stage, small theater, small theater, theatrical production, theater director, actor’s play, art historical methods
For citation: Shatalina, A. G. Small format theater: phenomenon and term (on the issue of typology) / A. G. Shatalina // Bulletin of the Chelyabinsk State Academy of Culture and Arts. - 2016. -No. 3 (47). - pp. 137-141.
Theater is a phenomenon of art that affects - Theater as a performing art studies -
showing several aspects of humanity at once, by theorists and art historians,
activity, and therefore requiring comedians, philosophers; theatrical performance
complex study. It is part of the cultural as an interpretation of a literary work.
tours, reflecting in a special way the existence of the world, niya can be considered by philologists, cultural
person and culture. The specificity of theatrical tourologists, art historians, but at the same time
productions is connected with the very nature of the theater, my production is always a production
which is called upon to respond to changes, the process, therefore, falls into the field of view
occurring in the surrounding reality of various economic and management
sti. Its nature is dynamic, it is connected with Russian disciplines. However, do not forget
a constant search by directors and actors for what theater in general and performance in particular
new forms, techniques and means of expression - designed for the viewer and exist without him -
ness. By absorbing means they cannot express themselves. This means that the theater also
the art of various arts - fine arts, is in the sphere of interests of sociology and
musical, plastic, theater combined - psychology of perception. Thus, we study
combines them into a single syncretic whole, where the production of theater requires a synthetic approach,
the giving part is equal and equal. Diversity in which artistic and
the naturalness of theatrical art determined - creative, aesthetic, historical and cultural -
opens up the possibility of its research into systemic and socio-economic aspects.
topics from a variety of disciplines. Nevertheless, priority in the study of art
The vein-aesthetic features of small-format theaters belong to art criticism.
To analyze the theatrical space of the Russian province, it is necessary to distinguish between such concepts as small stage, theater of small forms and theater of small format, which belong to the same field of art, but have different content. They are often confused both in art criticism articles and in studies on theater theory.
“The small stage as a special option for structuring space in the theater in particular and theatrical space in general” acquired enormous importance in Russia in the 1970s as a counterweight to the official and official theater. It turned out to be a testing ground for innovative ideas and techniques. A substantive analysis of the small stage in Russia is given in the dissertations of I. Bulatova, K. Vozgrivtseva. As for its differences from the big theater, they lie, as has already been said, in the plane of organizing the theatrical space. A characteristic feature of a small stage is that there is a small distance between the stage and the viewer; there is not the distance that exists on a large one. This circumstance dictates a specific approach to theatrical production, the work of the set designer and decorator, to the acting and style of the performance. As I. Bulatova rightly notes: “The small stage works more like a branch of the big theater,” rather than an autonomous theater.
Small stage performances are, first of all, an experiment aimed at mastering new artistic and expressive means. K. I. Vozgrivtseva, in her dissertation research “The small stage in the theatrical space of Russia in the 20th - early 21st centuries,” defined the features of the small stage as follows: “elitism, the prevalence of dialogue over communication, the human component over the technical, the active personal principle over passive anonymity.” This provides an opportunity for development both for individual participants in a theatrical production - directors, actors, artists, and for the theater itself. Searching for a small stage
often transferred to the big stage. “The purpose of the small stage in this case is to form an interested audience around the theater group and attract new spectators to the theater.” This feature is also important for small-format theaters.
To understand the specifics of small-format theaters, the differences that exist between the large and small stages are significant, often fundamental, since they relate to the very essence or existence of theaters. As I. L. Bulatova aptly noted in her work, it is possible “... to identify the difference between the large and small stage from the point of view of studying the human personality: the small stage gravitates towards the study of man as a microcosm, the large stage - as a macrocosm” [Ibid.] . With this approach, on the one hand, the capabilities and role of the actor increase many times over: he is given greater freedom, he replaces the scenery and structures with his acting, plasticity, and emotions. On the other hand, dialogue with the viewer requires sincerity and naturalness; the theatricality and deliberateness of the acting look false. Trust arises between the actor and the viewer, which was previously the province of chamber productions. The evolution of theater in the twentieth century. I went exactly this way.
Productions on a small stage require a different approach not only from the actor, but also from the director. “The art of the director on the small stage also undergoes important changes and must undergo serious tests, since he must show the essence of the performance on the small stage with small possibilities, strive for that simplicity, which, cutting off all unnecessary, helps to understand and express the essence dramatic work“[Ibid.],” writes I. L. Bulatova. Thus, the director of a small stage should first of all take into account the small stage space in the production, which does not at all limit creative searches. Modern technical capabilities allow the director to change the configuration of the stage space, the location of the stage inside the auditorium, and also - which gives great opportunities
diversify the ways actors communicate with the audience - change the location of the audience's seats in the hall; all this significantly expands the capabilities of the small stage theater.
Theater of small forms has existed since the very beginning of theatrical art. This is rather a genre concept, since small forms imply small forms of drama and stage production (sketches, vaudeville, one-act comedies). Nowadays, theater of small forms is an actively developing phenomenon with specific features and great potential. Modern directors and actors are very willing to use this form to find new ways to develop theater. Festivals of small theaters are held, which attract mainly youth and student groups. This type is closest to avant-garde and post-avant-garde theater, since its polydramatic capabilities are tuned to the wave of experimentation.
Today, rapidly picking up pace, a new form of theater is actively developing, which we call “small-format theatre.” According to its main characteristics, small-format theater genetically goes back to the small stage and gravitates towards it structurally. These two forms of theater existence have many similarities: in the organization of the theatrical space, in the principles of production, and in the role of the director and actor.
Format is primarily a typographical term. In typography, it means “the size of a book, sheet, card” or “sample for copying.” In modern Russian reality, the word format has ceased to be used in a highly specialized context and has expanded its scope of use. Now the format can be files, meetings, conversations, events. Let's try to define what a format is in relation to theater... Based on the meaning of the term, we can identify key concepts: certain spatial boundaries of a phenomenon, a strict standard of something. Accordingly, the format in in a broad sense- this is a certain set of dimensions, techniques, conditions specified for the phenomenon and
defining its external characteristics. Let us emphasize once again that format is a spatial concept (length and height of paper, sheet size), therefore, in our opinion, it describes the structure of a particular theater. The structure includes the theater space, small or large stage, the number of people in the troupe, specifications productions and financial capabilities of the theater, features of the repertoire.
A small format theater is a theater that performs on a small stage and has a hall with a capacity of 30 to 200 people. The composition of the troupe ranges from 2 to 20 people (mainly actors with professional education). The ideological inspirer, and often the organizer of the theater and its artistic director, is the director. Some theaters have several people on staff service personnel(stage workers, costume designer, lighting designer), although very often this role is played by actors who are not involved in the play.
In terms of genre, small format theater productions depend on their artistic direction: dramatic, musical and poetic, puppet, illusion. In other words, small-format theaters can stage both full-fledged repertoire performances and small improvisational productions. The scenery is most often mobile and economical, designed for both inpatient and outdoor performances. Like small-format theatre, small-format theater is capable of moving across different stage venues without much loss. Theatrical productions can be shown separately or in group concerts and festive performances. Small-format theater is formed primarily around a director who selects like-minded people, so it also has in common with small-format theater the spirit of innovation and experimentation.
The main difference between small-format theaters and a small stage is that they are an independent economic unit, and therefore the problem of the survival of such theaters is relevant. “The fate of theaters
logo format already depends on several external factors: the position of the theater management, the composition of the troupe (different age categories, mood and relationships in the team), the repertoire (there should be performances for both adult audiences and children; the issues raised in the performances) and, finally, the economic side of the issue.”
Special meaning small format theaters for the development of theater have yet to be studied, and not in isolation, but in a rich context theatrical culture XX - early XXI centuries. This will make it possible to understand small-format theater as an integral cultural phenomenon. We have taken only the first steps towards such a study.
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Received 04/18/2016 A. Shatalina
competitor of a scientific degree of Candidate of Art Criticism, Saratov theatrical institute (The Sobinov Saratov State Conservatory)
Email: [email protected]
SMALL-FORMAT THEATER: SCENE AND TERM (TO THE PROBLEM OF TYPOLOGY)
Abstract. The subject of this article is related to the delimitation of such concepts of the study of art, as a small theater, a small forms " theater and a small-format theater. The purpose of the research is to reveal the main criteria for these concepts . The method of comparative analysis was used to achieve this purpose. The result of the study shows that these terms refer to different areas of theater. The term "a small theater" basically refers to the characteristics of theatrical space. ""A small forms "theater" is rather a concept of genre. ""A small-format theater" is typologically similar to the small theater in the organization of space, in the basic principle of productions, in the
role of director and actors, but the small-format theater has a status of an independent economic entity. Therefore there is the actual risk for the existence and survival of this kind of theaters. The small-format theater is similar to the small forms" theater having the common ability to move freely in different scenic platforms. The small-format theater differs from the small forms" theater as it has an opportunity to stage repertoire performances as well as short plays. All the three concepts are characterized by the experimental spirit. The author for the first time attempts to include the Russian experimental theaters of the 20th - 21st centuries into the present-day terminological paradigm.
Keywords: small stage, small-format theatre, light entertainment theatre, theater production, stage director, acting, methods of art criticism
For reference: Shatalina A. 2016. Small-format theater: scene and term (to the problem of typology). Herald of the Chelyabinsk State Academy of Culture and Arts. No 3 (47): 137-141.
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11. Shatalina A. 2015. Socio-economic risks of a provincial theater: the survival of theaters of small format. Sovremennye problemy nauki i obrazovaniya. No. 2. Available from: http://www.science-education.ru/129-22234 (accessed: 04/02/2016). (In Russ.).
The situation is as follows: at a busy intersection near the center of Moscow there is a young man in a sports jacket and heart-rendingly yelling: “Aliens!” - grotesquely stretching out the syllables. He screams for quite a long time, about seven minutes, madly stepping on the spot or rushing from side to side. Pedestrians walk around it, cross to the other side of the street, turn around, and stare for a long time. The man continues to yell: “Aliens!” - so that it is obvious that he himself managed to believe that an extraterrestrial landing had happened. He is slowly overtaken by a man holding a flag with an aardvark on it. Then another thirty people join in.
This is an intervention performance "Implicit influences" Commissar Vsevolod Lisovsky - throughout the entire route he carries a flag with an aardvark, and at the end he conducts a choir of his performers who sing obscene chant, vividly conveying modern man’s disgust with all seasons and ending with the refrain: “All year round - ***** [nonsense].” One of the general ideas of this performance is the consideration that such a theater includes spectators against their will, turning them into participants.
There is a fascinating video taken by a random passer-by who came across “Implicit Influences” in the courtyard of his house about halfway through the performance and became so interested that without a ticket, with his camera turned on, he followed the route to the end, filming and endlessly wondering out loud. The video captured an actress in a trash can, an actor on the roof of a five-story building, and even a conversation between the play’s commissioner and the police.
This performance is closely linked with the police: the owners of parking lots, gas stations or other private spaces where the performance stops for a while often call or threaten to call the police, and at one of the performances of the play in St. Petersburg, the actress and the director were even detained to clarify the circumstances: the girl stood on the balcony of the Gostiny Dvor and hysterically read poetic text. A simple person could easily mistake the scene for preparation for a spectacular suicide. The route of “Implicit Influences” is always different: the starting point of the performance is known, where spectators and performers gather in a group, but the path of the group and the end point depend on the random selection of tokens, which are distributed to the audience, and then randomly taken from them one at a time.
Where did this come from?
Strictly speaking, there has never been a period in the history of theater when performances were performed only and exclusively in special theater buildings. Sitting the audience in chairs in front of a box stage or blackbox and dimming the lights is a relatively recent idea. But since this idea has become a mainstream way of presenting theater over the last couple of centuries, it is natural that directors and artists appear who resist this format of screenings. In short, since the mid-seventies of the last century, European and partly American theater have had a protracted love affair with the art of performance.
The question “why is this needed?” Although naive, he is absolutely legitimate. Firstly, because why not? Secondly, to diversify the viewing experience. Thirdly, for the implementation of civil and political purpose the theater's entry into the streets and, in general, into the surrounding reality.
If either one or two percent of the population goes to theaters, then the theater must leave where it takes place and independently come to the audience.
In addition, the theater is still the object of constant (and fair) reproaches for being out of touch with reality. Finally, fourthly, the theater goes out into the streets and into non-theatrical spaces because these spaces themselves are excellent material for modern theater. The performance itself is, as a rule, an event; in the case of a theater in an unexpected space, the environment in which the performance takes place also becomes an event.
A few examples
Performance "Conversations of refugees""Refugee Conversations" Vladimir Kuznetsov and Konstantin Uchitel, staged based on Brecht's text in the waiting room of the Finlyandsky Station. Why here? Because the station is a hub of movement, which is what the play is about.
"Tibetan Book of the Dead" Vasya Berezina in the abandoned depot of the Kursk railway station. Why here? The atmosphere of the building adds something important to the text about death, which creates a different state than it would be in the building of an ordinary theater.
It so happened that the most widely replicated format of this kind of theater were the so-called promenade performances, which, to be precise, should be separated into a separate category. This format implies that a group of spectators walks or uses transport for some distance - mainly in an urban environment, but sometimes also in theater premises.
Behind last years one performance-leader of this type appeared - "Remote X" all the same “Rimini Protokoll”. The X in the title is replaced by the name of the city where the performance takes place: organized almost like a franchise, it is quite easily adapted to different cities, and in Russia it exists in Moscow, St. Petersburg and Perm.
A group of 50 people begins their route to a cemetery, where a computer voice in headphones suggests thinking about death, and then goes through a supermarket, a church, rides a tram or subway, arranges an impromptu rally and ends the route on the roof of a high-rise building, where the final note from the pre-set smoke begins to flow from pipes around the perimeter of the roof.
In Russia, a whole bunch of “Remote X” clones appeared in a short time. Starting with pretty good ones, like Tobolsk "Listen to Tobolsk", St. Petersburg "Another city", continuing strange, like Krasnoyarsk "YU" or "Where Childhood", ending with frankly monstrous examples like "Voices of the City", running in several Russian cities at once.
Promenade performances do not always involve listening to an audio track along the way. For example, a play "Wonderland" the already mentioned Vsevolod Lisovsky in the Rostov theater “18+” was made without any headphones, but with six live actors who, based on the book of the same name by Maxim Belozor, guide participants through non-obvious locations of Rostov-on-Don, one way or another telling about the cult figures of Rostov artistic avant-garde of the 80s of the last century.
Location of the play "Magic Country" You can move around in such performances not only with your feet, but also with transport. Even the pedestrian-only "Remote X" has a "scene" where participants must take public transportation and travel through one stop or station.
The same “Rimini Protokoll” has another transport show "Cargo X"- the Russian version exists in Moscow. 50 spectators are placed in a specially prepared cargo truck with a transparent side wall and driven along the route; at the same time, the driver and his replacement - real truck drivers - tell different stories from their work into microphones.
Report from the TV channel “Culture”:
The performance in the Cargo X truck reached Moscow
At the Moscow festival “Territory” last year, two “transport” performances were shown side by side: "End of a Century / End of a Circle" Alexandra Vartanova and "Worm" Vsevolod Lisovsky. Both of these take place on a long bus traveling on a circular route. In Vartanov's performance, the participants ride, looking at Moscow with an audio background compiled from huge amount fragments of radio broadcasts, news, iconic performances and popular songs, from the 90s to the most current times.
In Lisovsky's "The Worm", live actors (some of them climb out of a coffin installed opposite the doors) move around the bus and talk about the biological structure of the worm, interspersing all this with philosophical texts.
In Yekaterinburg, as part of the fourth Ural Biennale Last year the oratorio “Lights of the Urals” was staged. Exploring the space of the Verkh-Isetsky center of culture and arts, located next to one of large factories, the creative team tells the story of the formation of the industrial Urals - the emergence of the first factories and industrial centers. The music for the oratorio was written by two composers: Dmitry Remezov from Russia and Carlo Chicheri from Switzerland. The textual basis for the performance was the libretto of the writer and journalist of the Ural Worker newspaper Nikolai Kharitonov, written by him in 1932.
This is important and illustrative example for the Russian theatrical landscape: the creators here explore in detail not only the places where the performance is performed, but also the stories of the people who lived and worked here.
In Kazan there is a creative laboratory “Ugol”, which is engaged in experiments in the field of modern theater. This summer their performance will be brought to the St. Petersburg festival “Access Point” "Time for Trees to Grow". The work of director Regina Sattarova and playwright Mikhail Durnenkov begins as a tour of the urban landscape, continues as a lecture about the surrounding nature, but deceives the audience's expectations, forcing them to follow a couple of young people.
In May of this year, the play was shown within the same laboratory "House" directed by Vera Popova with music by composer Vladimir Rannev. The hero of the play was the Mergasovsky House - the first multi-storey building in Kazan, built in 1928, in which representatives of high-ranking nomenklatura and cultural figures lived until the 60s. In the early 80s, the house was declared unsafe, and then scandals with resettlement began: residents from the center were almost forcibly sent to the outskirts.
Mergasovsky house The stories of the former residents of this house, a cultural monument, victims of ugly treatment, became material for the performance. From the dilapidated balconies of a high-rise building, the actors tell the stories of their characters' lives here - sometimes nostalgic, sometimes tragic. A hand-drawn video projection and photo chronicles are projected onto the façade of the house. The shows of this Kazan laboratory took place above a car wash, in a warehouse hangar, near a construction shed.
And the performance "Inquiry" directed by Mikhail Tychinin from the Khabarovsk Youth Theater generally took place (first in Khabarovsk, and then in St. Petersburg and Moscow as part of the “Golden Mask”) in a dark, cold garage, where the text of the documentary play by Peter Weiss had to be read by the audience themselves. At the Moscow screening of this performance, there was an audience riot: one of the participants refused to follow the actors’ orders to pass a bowl of water and read the text; the performance was suspended, but soon continued.
Such performances in Russia are held everywhere, starting from the theater buildings themselves, continuing with squares, streets, rooftops, supermarkets, shopping centers, parking lots, gas stations, ending with bars, museums and churches.
Action in the theater, a means of expression in acting (just as sound is a means of expression in music, color in painting, words in fiction etc.). Stage image embodied in actions performed by an actor in a performance (at a rehearsal, concert). The specificity of the actor’s stage art is determined by the nature of acting as a means of embodiment. artistic image. The experiences of the actor playing the role are conveyed through D. Each D. is determined by its purpose; it expresses the process of a person’s inner mental life, but is carried out bodily, physically, with the help of certain muscular movements. Thus, in D. it is revealed inner world person (worldview, thoughts, will, feelings, etc.). In the art of a dramatic actor, a large place is occupied by the so-called verbal dialogues, with the help of which he strives to evoke certain impulses and feelings in his partner. In dramaturgy, drama refers to the development of events. D. is also called the finished part of a play or performance (see. Act).
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Moscow (encyclopedia)
- - Theater School named after M.S. Shchepkina at the Maly Theater, one of the oldest theater higher educational institutions, trains artists drama theater and cinema. Leads the story from Moscow...
Moscow (encyclopedia)
- - physical a quantity that has the dimension of the product of energy and time and is one of the creatures. characteristics of the movement of the system. For mechanical...
Physical encyclopedia
- - functionality expressed definite integral from a function whose stationary values determine the actual motion of a mechanical...
Mathematical Encyclopedia
- - a physical quantity that has the dimension of energy over time...
Beginnings modern Natural Science
- - 1) - a system of events in a literary work that determines the movement of its plot...
Terminological dictionary-thesaurus on literary criticism
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Lermontov Encyclopedia
- - purposeful activity, implemented externally or internally; unit of activity...
Great psychological encyclopedia
- - a balcony in the auditorium refers to single seats located above the large middle Royal box, between the boxes of the 3rd tier...
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encyclopedic Dictionary Brockhaus and Euphron
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Encyclopedic Dictionary of Brockhaus and Euphron
- - in a musical piece, the repetition of its main part, as well as the name of the repetition sign. Reprise - the resumption of a theatrical play on stage...
Encyclopedic Dictionary of Brockhaus and Euphron
- - The combination of poetry, music and dance in the ancient, especially liturgical lyric poetry of the Greeks required performers in the form of a certain number of people who knew each of the three named arts of one or another, or even...
Encyclopedic Dictionary of Brockhaus and Euphron
- - Construction in the theater, 1) frame for volumetric parts of set installations. 2) Buildings invisible to the viewer, which are machines made of folding frames and shields covering them on top...
- - The hold in the theater, the lower part of the stage, located under the stage area...
Great Soviet Encyclopedia
- - adj., number of synonyms: 1 played...
Synonym dictionary
"Action (in the theater)" in books
Chapter one VOLITIONAL ACTIONS (activity, action, fractional action; movements: locomotor, working, semantic, illustrative and pantomimic)
From the book Basics of Stage Movement by Koch I EIn the theatre
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About the theater
From the book Say “che-ee-iz!”: How modern Americans live by Baskin AdaAbout the theater I fell in love with small American theaters. They are usually entrepreneurial, that is, they gather a troupe for three to four weeks. The artists perform the same performance every evening. And then they go to their permanent workplaces - some to the office, some to the store, some to the cafe. And to whom
Action (in theatre)
From the book Great Soviet Encyclopedia (DE) by the author TSBIn the theatre
From the book Etiquette. A complete set of rules for social and business communication. How to behave in familiar and unusual situations author Belousova TatyanaIn the theater If you want to help the theater, become not an actress, but an audience member. Tallulah Bankhead Sometimes the least fun you get in the theater is from a play. More than once I saw an audience that was more interesting than the actors, and heard dialogue in the foyer that was superior to what I heard from the stage. Oscar
ABOUT THE THEATER
From the book by George Bernard Shaw. Aphorisms by Shaw BernardABOUT THE THEATER Theater plays no less important role than the church in the Middle Ages, and much more important than the church in our time. Theater is a place that brings people together. The theatrical continuity, from Aeschylus to myself, is as steady and sacred as the younger one.
Klangbogen (“Ringing Rainbow”, Klangbogen), summer music festival. Sale of tickets at the Theater am Vienna. Tel. 58830-661. Osterklang (“Easter bell”, Osterklang), spring music festival. Ticket sales at the Theater am Vienna, tel. 58830660, or at Stadiongasse 9, 1st district, tel. 5
From the book Vienna. Guide author Striegler EvelynKlangbogen (“Ringing Rainbow”, Klangbogen), summer music festival. Sale of tickets at the Theater am Vienna. Tel. 58830-661. Osterklang (“Easter bell”, Osterklang), spring music festival. Ticket sales at the Theater am Vienna, tel. 58830660, or at Stadiongasse 9, 1st district, tel. 58885.
47. Effect of high temperature. General action
author Levin D G47. Effect of high temperature. General effect Overheating and heat stroke Prolonged exposure of a person to high ambient temperatures leads to general overheating of the body, a sharp manifestation of which is heat stroke. It often occurs
48. Effect of low temperature. Local action
From the book Forensic Medicine author Levin D G48. Effect of low temperature. Local action Local action of low temperature on any part of the body causes tissue damage - frostbite. Usually those areas that are less well supplied with blood are affected - fingers, ears, tip of the nose. Frostbite
49. Effect of low temperature. General action
From the book Forensic Medicine author Levin D G49. Effect of low temperature. General effect Cooling of the body occurs due to the long-term influence of reduced ambient temperature on the entire surface of the body. It can lead to death. The body first responds to the effect of low temperature
39. Toxic effect of chemicals. Conditions determining the toxic effect of toxic substances
From the book Forensic Medicine [Crib] author Batalina V V39. Toxic effect of chemicals. Conditions that determine the toxic effect of toxic substances Toxicology is the science of poisons and poisoning. There are forensic, industrial, food, and military toxicology. Forensic toxicology considers
In the theatre
From the book The City Where They Shot at Home author Afroimov Ilya LvovichAt the theater A black car with a loudspeaker was moving slowly down the street. “Tomorrow the curfew is lifted,” the announcer choked. - An evening of unity between Russian and German youth will take place at the city theater. The best artistic forces perform. On the theater building
From the book Quick Decisions Don't Lead to Success [Understand what your brain wants and do the opposite] by Salvo David DeePart VI. Action, only action
About the theater
From the book Everyday Life of an American Family by Baskin AdaAbout the theater I fell in love with small American theaters. They are usually entrepreneurial, that is, they gather a troupe for three to four weeks. The artists perform the same performance every evening. And then they go to their permanent workplaces - some to the office, some to the store, some to the cafe. And to whom