What is a scene in a play. High temperature action

gr. theatron) - 1) a kind of art, a feature of which is the artistic reflection of the phenomena of life through dramatic action, arising in the process of playing actors in front of the audience; in the course of historical development, three main types of theater were identified, differing in specific features and means artistic expressiveness- drama, opera and ballet; 2) the building where theatrical performances take place; 3) performance, performance.

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THEATER

from the Greek theatron - a place for spectacles, a spectacle), - 1) an art form; 2) creative team, a troupe giving performances; 3) a special type of building designed for theatrical performances. figurative reflection reality takes place in theatrical art in the form of dramatic action, stage play, performance performed by the participants of the performance in front of the audience. T. is one of the most socially active arts, because the very specificity of T. requires spectator interest, emotional contact between the stage and the public. The efforts of all the creators of the performance, and above all the actors, are aimed at establishing a specific unity between the stage and the audience. creative process to-rykh, flowing in front of the audience, has the ability to have a comprehensive aesthetic impact on them, to cause intellectual and emotional empathy. The nature of T. is synthetic (Synthetic Arts). On the basis of its action-playing specificity, it combines the means of painting, architecture, plastic organization of action (Plastics) with music, rhythm, and words. T. - collective action. Creativity of actors, stage designer, composer, choreographer, costume and lighting designers, make-up artist’s skills, etc. are subordinated to modern. T. a single director's idea, serve as the embodiment of the artist. whole. T. is an event-based claim, depicting life in a state of conflict, movement, and development. In this sense, theatrical art is always dramatic, whether this dramatism 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 different types of theater 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 figurative and expressive means, aesthetic principles. Hence the originality of acting, directing. T. - claim, past long historical path development. In its origins, it goes back to the hunting, agricultural and religious rites of the communal-tribal system, mystery and carnival activities (Carnival). containing elements of the game, dialogue, disguise, music, singing, dancing, using a mask. The mythopoetic consciousness of distant epochs determined both the tragic and comedic nature of folk games, from which, in close unity with the folklore epic tradition (Epos), the isolation of the primary forms of theatrical creativity as such began. At different peoples this process proceeded in its own way. Rich and original T., unique in its ancient. folk traditions, developed in the countries of the East (Japan, China, India). High artist. and public importance reached T. Ancient. Greece (V-IV centuries BC), which had a huge impact on the later development of T. in Europe. countries, although the destruction of ancient civilization cut off the threads of direct cultural continuity. During the Renaissance, the development of t. began among the Europeans. peoples, as it were, anew, from the art of wandering actors (jugglers, shpilmans, buffoons, etc.), from theatrical religious performances of the Middle Ages (liturgical drama, mystery, miracle, morality), from areal farces and improvisational comedy (Italian. commedia dellarte ). Literary drama, in pl. created on ancient samples, combined with folk tradition, determined the rapid flowering of theater in the Renaissance, the emergence of major playwrights and professional theatrical figures(W. Shakespeare, Lope de Vega, J. B. Molière, P. Corneille, J. Racine and others). The expansion of the meaningful volumes of theater, dictated by the content of reality itself, stimulates the independent development of the artist. the beginnings inherent in T. as a synthetic art. In the XVI century. opera theater appeared, and at the end of the 17th and first half of the 18th centuries. as a special kind of t. ballet is formed. Dramatic theater, focusing its attention on the disclosure of the inner world of the individual, social and moral conflicts, gives rise to many new stage genres; his tendency to democratization, to the reproduction of art is noticeable. truth. Interacting with other claims, T. is sensitive to the general state of culture, 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 epoch to epoch of understanding and comprehension of the truth of life, the ways of its expression in theatrical art also change. In modern T. deep disclosure of artistic thought, ideas, the assertion of a social and moral ideal are based not on the principle of naturalistic lifelikeness, but on the content and power of the figurative language of the performance. Conditionality in modern T. serves to expand the meaning of the performance. The language of stage metaphor, given by T. in its origins, has become widely used in the practice of world T. in the 20th century. Its distinctive feature is the variety of schools and directions, directing systems, theories of stage art, acting.

The phenomenon, the scene is part of the act (action) in dramatic work, which is characterized by a constant number actors. The phenomenon is sometimes defined as the basic unit of plot in short stories, novels, and other genres of fiction.

The concept of a phenomenon in literature comes from the theater, where it is understood as short part performance that takes place in the same place of action with the same actors. The phenomenon is characterized by the structure of a finished work, with a plot, development of the action and an ending.

The word "phenomenon" to designate a separate part of a play is common in Russian dramaturgy 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 a part of the act, or action (Latin actus - action) - a section of a dramatic work. The division of a dramatic work into acts was introduced in the ancient Greek, and then in the 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 the acts into scenes allowed the actors to change costumes and prepare for their next role during cut-scenes. The structure of events in a theatrical performance was also used to change the scene by changing the background. After the end of the apparition, the curtain closed briefly, during which the scenery and stage props were changed to show a different location. For this reason, scenes in dramatic text are often introduced by location, such as scene 1, Vacation home; scene 2, garden.

Phenomenon in the structure of a dramatic work

The phenomenon contains a small separate fragment of the general narrative of a dramatic work. The same actors 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 make up a plot of 3 parts with the beginning, development, and end of the action.

playwrights and theater directors arbitrarily distribute acts into scenes (phenomena), and the acts of one play may have different amount 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 “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 is a short dialogue or event taking place in one place. For example, in the 6th scene of the second act of the tragedy by W. Shakespeare "Romeo and Juliet" the secret wedding of Romeo and Juliet is described.

The structure of a dramatic work is arranged in such a way that the flow of narration moves from scene to scene. Action and phenomenon (act and scene) as structural elements of a dramatic work have the following differences:

Action and appearance are parts of a play or theatrical performance. The main difference between them lies in their duration: the action is the 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 to be 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 constituent parts, but can only pass to another phenomenon, where the action and the general flow of the narrative continue.

The act and the scene are indicated in the text of a dramatic work in capital letters, but Roman numerals are used for the numbering of 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, the sequence of the narrative improves the transfer of its meaning by the actors and the understanding of the readers. Since the 18th century in the plays, phenomena were clearly recorded, which were indicated by a serial number and a list of actors.

In the theater of the XVIII-XIX 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 a play for the theater with the latest stage arrangement. Modern dramaturgy rarely adheres to the principle of dividing actions into phenomena.

The word phenomenon comes from the Latin scaena, scena, which means scene.

• Shatalina Anastasia Gennadievna

Keywords

SMALL STAGE / SMALL FORMAT THEATER / THEATER OF SMALL FORMS / THEATRICAL PERFORMANCE/ THEATER DIRECTOR / ACTOR PLAY / ART METHODS/ SMALL STAGE / SMALL-FORMAT THEATER / LIGHT ENTERTAINMENT THEATER / THEATER PRODUCTION / STAGE DIRECTOR / ACTING / METHODS OF ART CRITICISM

annotation scientific article on art and art history, author of scientific work - Shatalina Anastasia Gennadievna

There is a need to distinguish between such art history concepts as “small stage”, “ theater of small forms" 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 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 typologically similar to the small stage: the organization of space, the principle of productions, the role of the director and actor. WITH theater of small forms it has in common the ability to freely move around different stage venues. All three concepts are characterized by the spirit of the experiment. 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 the status of 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 arose in the late 20th and early 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.

The text of the scientific work on the topic "Small format theater: phenomenon and term (to the question of typology)"

A. G. Shatalina

Candidate's Degree Applicant Art Criticism, Saratov Theater Institute (SGK named after L. V. Sobinov)

Email: [email protected],

SMALL FORMAT THEATER: PHENOMENON AND TERM (TO THE QUESTION OF TYPOLOGY)

There is a need to distinguish between such art history concepts as "small stage", "small theater" and "small format theater", for which their main criteria are revealed using the method of comparative analysis. The result of the study proves that these terms refer to different areas of theatrical art. The small stage mainly captures the features of the theatrical space. Theater of small forms is rather a genre concept. The small format theater is typologically similar to the small stage: the organization of space, the principle of productions, the role of the director and actor. With the theater of small forms, it has in common the ability to move freely around different stages. All three concepts are characterized by the spirit of the experiment. The main difference between a small format theater and a small theater is the ability to stage both full-fledged repertoire performances and small productions. It is distinguished from the small stage by the status of 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 arose in the late 20th - early 21st centuries fit into the existing terminological paradigm.

Key words: small stage, small format theater, small theater, theatrical performance, theater director, acting, art criticism methods

For citation: Shatalina, A. G. Small format theater: a phenomenon and a term (to the question of typology) / A. G. Shatalina // Bulletin of the Chelyabinsk State Academy of Culture and Arts. - 2016. - No. 3 (47). - S. 137-141.

The theater is a phenomenon of art, touch the theater as a stage art studies-

which at once several sides of the human being are theorists and historians of art, criticizing

activities, and therefore requiring comics, philosophers; theatrical performance

plex study. It is part of a cul-like interpretation of a literary work.

tours, reflecting the existence of the world in a special way, nia can be considered by philologists, culturists

man and culture. The specifics of theatrical turologists, 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 designed to respond to changes, the process, therefore, falls into the field of view

occurring in the surrounding reality of various economic and managerial

sti. Its nature is dynamic, it is connected with the Posky disciplines. However, do not forget

constant search by directors and actors that the theater in general and the performance in particular

new forms, techniques and means of expression - designed for the viewer and without him being

ness. Absorbing means, they cannot express. This means that the theater

sti of various arts - fine, is in the sphere of interests of sociology and

musical, plastic, theater combined - the psychology of perception. Thus, from

embodies them into a single syncretic whole, where the movement of the theater requires a synthetic approach,

the giving part is equivalent and equivalent. Differently in which artistic and

the naturalness of theatrical art having determined - creative, aesthetic, historical and cultural -

makes it possible to study it in systemic and socio-economic aspects.

topic of various disciplines. Nevertheless, the priority in the study of art

vein-aesthetic features of small format theaters belongs to art criticism.

To analyze the theatrical space of the Russian provinces, it is necessary to distinguish between such concepts as a small stage, a theater of small forms and a theater of a small format, which belong to the same field of art, but have different content. They are often confused both in art history articles and in studies on theater theory.

"The small stage as a special variant of structuring the space in the theater in particular and the theatrical space in general" acquired great importance in Russia in the 1970s as a counterbalance to the official and semi-official theatre. It turned out to be a testing ground for innovative ideas and techniques. A meaningful analysis of the small stage in Russia is given in the dissertations of I. Bulatova and K. Vozgrivtseva. As for its differences from the Bolshoi Theater, they lie, as already mentioned, in the plane of the organization of 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 no such distance as there is on a large one. This circumstance dictates a specific approach to the theatrical production, the work of the set designer and decorator, to the acting and the style of the play. As I. Bulatova rightly notes: “The small stage works more like a branch of the big theater”, and not an autonomous theater.

The performances of the small stage are, first of all, an experiment that aims to master new artistic and expressive means. K. I. Vozgrivtseva in her dissertation research “Small Stage in the Theater 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, active personal beginning 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. The search 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 the small format theater.

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, one can “... reveal the difference between a large and a small stage from the point of view of studying the human personality: a small stage tends to study a person as a microcosm, a large stage - as a macrocosm” [Ibid.] . With this approach, on the one hand, the possibilities and role of the actor increase many times over: he is given great freedom, he replaces the scenery and constructions with his acting, plasticity, and emotions. On the other hand, dialogue with the viewer requires sincerity and naturalness; theatricality and deliberate acting look fake. There is trust between the actor and the viewer, which was previously the lot of chamber productions. The evolution of theater in the twentieth century. went that route.

Performances 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 is also undergoing important changes and must pass serious tests, since he must show the essence of the performance on the small stage with small opportunities, strive for that simplicity, which, cutting off everything superfluous, helps to know 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 by no means limits 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

to diversify the ways of communication between the actors and the audience - to change the location of the audience seats in the hall; all this significantly expands the possibilities of the theater of the small stage.

The theater of small forms has existed since the very beginning of theatrical art. It is rather a genre concept, since small forms mean small forms of dramaturgy and stage production (sketch, vaudeville, one-act comedies). Today, the 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 the theater. Festivals of theaters of small forms are held, which mainly attract youth and student groups. This type is closest to the avant-garde and post-avant-garde theater, since its polydramatic possibilities are tuned to the wave of experiment.

Today, rapidly gaining momentum, a new form of theater is actively developing, which we called "small format theater". According to its main characteristics, the small format theater genetically goes back to the small stage and gravitates toward it structurally. These two forms of existence of the theater have a lot in common: both in the organization of the theatrical space, and in the principles of productions, and in the role of the director and actor.

Format is primarily a typographic term. In typography, it means "the size of a book, sheet, card" or "copy sample". In modern Russian reality, the word format has ceased to be used in a highly specialized context, has expanded the scope of use. Now the format can be for files, meetings, conversations, events. Let's try to define what format is in relation to the theater... Based on the meaning of the term, we can identify key concepts: certain spatial boundaries of the phenomenon, a strict standard for something. Accordingly, the format broad sense- this is a certain set of dimensions, techniques, conditions, given for the phenomenon and

defining its outward appearance. We emphasize once again that the format is a spatial concept (the length and height of the paper, the size of the sheet), 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 possibilities 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 (mostly actors with professional education). The ideological inspirer, and often the organizer of the theater and its artistic director is the director. Some theaters in the state have several people service personnel(stage workers, costume designer, illuminator), although very often actors who are not involved in the performance act in this role.

In terms of genre, the productions of small format theaters 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 performances. The scenery is most often mobile and economical, designed for both stationary and traveling performances. Like the theater of small forms, the small-format theater is able to move around different stages without much loss. Theatrical productions can be shown separately or in combined concerts and festive performances. The theater of small format is formed primarily around the director, who selects like-minded people for himself, therefore, the spirit of innovation and experiment also makes it related to the theater of small forms.

The main difference between small format theaters and a small stage is that they are an independent economic unit, and therefore the problem of survival of such theaters is relevant. "The fate of theaters ma-

logo format 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), repertoire (there should be performances for both an adult audience and for children; the issues raised in the performances) and, finally, the economic side of the issue.

Special meaning small format theaters for the development of the theater has yet to be studied, and not in isolation, but in the richest context theater culture XX - early XXI centuries. This will make it possible to realize the small format theater as an integral cultural phenomenon. We have taken only the first steps in the direction of such a study.

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11. Shatalina, A. G. Socio-economic risks of the provincial theater: the survival of small format theaters [Electronic resource] / A. G. Shatalina // Modern problems of science and education. - 2015. - No. 2. - Access mode: http://www.science-education.ru/129-22234. - Date of access: 04/02/2016.

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. " 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 citing: 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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3. Bazanov V. 1990. Stsena XX century. Leningrad: Iskusstvo. 238p. (In Russ.).

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5. Vozgrivtseva K. 2006. Malaya stsena v teatral "nom prostranstve Rossii XX - nachala XXI vekov: kul" turologicheskiy aspect. Ekaterinburg. 19 p.m. (In Russ.).

6. Zlotnikova T. 2012. Theater in a provincial city: the artistic, moral, socio-economic aspects of transformation. Provinsial "nyy idealism . Yaroslavl": Yaroslavl State Pedagogical University named after K. D. Ushinsky. P. 25-42. (In Russ.).

7. Mamedov E. 2001. Teatry "malykh form" Chekhii shestidesyatykh godov. Moscow. 24p. (In Russ.).

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9. Renn O. 1999. Three decades of risk research: accomplishments and new horizons. Questions analiza riska. Vol. 1. P. 80-89. (In Russ.).

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11. Shatalina A. 2015. Socio-economic risks of a provincial theatre: 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, a young man in a sports jacket is standing and yelling heart-rendingly: “Aliens!” - grotesquely stretching syllables. He yells for quite a long time, about seven minutes, madly stepping on the spot or throwing himself from side to side. Pedestrians bypass it, cross to the other side of the street, turn around, stare for a long time. The man keeps yelling, "Aliens!" - so that it is obvious that he himself managed to believe that the landing of an extraterrestrial happened. He is slowly overtaken by a man with a flag depicting an aardvark. Then thirty more people come up.

This is an intervention performance. "Implicit Impacts" commissioner 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 the disgust of modern man from 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 breathtaking video that was filmed by a passerby who stumbled upon “Implicit Influences” in the courtyard of his house approximately in the middle of the performance and was so interested that without a ticket with the camera turned on, he followed the route to the end, filming and wondering aloud endlessly. The video caught the actress in the trash can, and the actor on the roof of the five-story building, and even the conversation of the commissioner of the performance with the police.

This performance is tightly 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 in St. Petersburg, the actress, along with the director, was 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 start point of the performance is known, where the audience and performers gather in a group, but the group's path and the end point depend on a random choice of tokens that are distributed to the audience, and then randomly withdrawn from them one at a time.

Where did it come from?

Strictly speaking, there has never been a period in the history of the theater when performances were performed only and exclusively in special theater buildings. Putting the audience in chairs in front of a box stage or blackbox and turning off the lights is a relatively recent idea. But since this idea has become a mainstream way of presenting theater over the past couple of centuries, it is natural that directors and artists appear who resist this format of shows. In short, since the mid-seventies of the last century, the European and partly American theater had a lingering love with the art of performance.

The question "why is this necessary?" though naive, but absolutely legitimate. First, because why not? Secondly, for a variety of spectator impressions. Thirdly, for the implementation of civil and political goal the exit of the theater to the streets and, in general, to the surrounding reality.

If either one or two percent of the population goes to theaters, then the theater should go out from where it takes place and come to the audience on its own.

In addition, the theater is still the object of constant (and fair) reproaches for being cut off from reality. Finally, fourthly, the theater goes out into the streets and into non-theatrical spaces because these spaces in themselves are excellent material for modern theater. The performance itself is usually 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 Talk" Vladimir Kuznetsov and Konstantin Uchitel, based on the text by Brecht in the waiting room of the Finland 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 forms a different state than it would be in a conventional theater building.

It so happened that the most replicated format of this kind of theater was the so-called promenade performances, which, to be precise, should be singled out in a separate category. This format implies that a group of spectators walk or use transport for a certain distance - mainly in an urban environment, but it also happens on the premises of the theater.

Behind last years there was one performance-leader of this type - "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: arranged almost like a franchise, it adapts quite easily to different cities, and in Russia it exists in Moscow, St. Petersburg and Perm.

A group of 50 people starts their route at 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 pipes around the perimeter of the roof begins to smoke.

In Russia, in a short time, a whole bunch of clones of "Remote X" appeared. Starting with pretty good ones, like Tobolsk "Listen Tobolsk", Petersburg "Another city", continuing strange, like Krasnoyarsk "YU" or "Where", ending with frankly monstrous examples like "Voices of the City" going in several Russian cities at once.

Promenade performances do not always involve listening to an audio track along the way. For example, a performance "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 the participants through the non-obvious locations of Rostov-on-Don, one way or another telling about the cult figures of the Rostov artistic avant-garde of the 80s of the last century.

Location of the play "Magic Land"

You can move in such performances not only with your feet, but also by transport. Even the pedestrian "Remote X" has a "stage" in which participants must take public transport and pass one stop or station.

The same "Rimini Protokoll" has another transport performance Cargo X- Russian version exists in Moscow. 50 spectators are put into 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 truckers - tell different stories from their work into microphones.

Report of 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 the Century / End of the Circle" Alexandra Vartanova and "Worm" Vsevolod Lisovsky. Both of them take place in a long bus following a circular route. In Vartanov's performance, the participants ride, looking at Moscow with an audio background compiled from huge amount fragments of radio programs, news, iconic performances and popular songs, from the 90s to the most relevant modern times.

In Lisovsky's Worm, live actors (some of them climb out of a coffin placed 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 "Fires of the Urals" was staged. Exploring the space of the center of culture and arts "Verkh-Isetsky", 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 Ciceri from Switzerland. The textual basis for the performance was the libretto of Nikolai Kharitonov, a writer and journalist for the Ural Rabochiy newspaper, written by him in 1932.

This is important and case in point for the Russian theatrical landscape: the creators here explore in detail not only the places where the performance is held, 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" "Tree Growth Time". The work of director Regina Sattarova and playwright Mikhail Durnenkov begins as a tour of the urban landscape, continues as a lecture on the natural environment, but deceives the audience's expectations, forcing them to follow a couple of young people.

In May of this year, a performance was shown within the same laboratory "House" directed by Vera Popova with music by composer Vladimir Rannev. The hero of the performance 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, the victims of an ugly attitude, became the material for the performance. From the dilapidated balconies of high-rise buildings, the actors tell the life stories of their characters here - sometimes nostalgic, sometimes tragic. A hand-drawn video projection and photo chronicles are projected onto the facade of the house. Shows of this Kazan laboratory were held above a car wash, in a warehouse hangar, near a construction change house.

And the performance "Inquiry" director 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 was supposed 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 orders of the actors to pass a bowl of water and read the text; The performance was suspended, but soon resumed.

Such performances in Russia are held everywhere, 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, the word in fiction etc.). stage image It is embodied in actions performed by an actor in a performance (at a rehearsal, a concert). The specificity of the stage art of an actor is determined by the nature of dramatization as a means of embodiment. artistic image. The experiences of the actor playing the role are transmitted through the movement. Each movement is conditioned by its purpose; it expresses the process of a person's inner mental life, but it is carried out bodily, physically, with the help of certain muscular movements. Thus, in D. comes to light inner world person (worldview, thoughts, will, feelings, etc.). In the art of the dramatic actor, a large place is occupied by the so-called verbal actions, with the help of which he seeks to arouse certain impulses and feelings in his partner. In dramaturgy, D. is understood as the development of events. D. is also called the finished part of the play, performance (see. Act).

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• - 1) - a system of events in a literary work that determines the movement of its plot ...

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  Lermontov Encyclopedia

• - purposeful activity, implemented in the external or internal plan; unit of activity...

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• - a balcony in the auditorium is a single seat located above the large middle Tsar's box, between the boxes of the 3rd tier ...
• - cm....

  encyclopedic Dictionary Brockhaus and Euphron

• Encyclopedic Dictionary of Brockhaus and Euphron

• - in a piece of music, the repetition of its main part, as well as the name of the repetition sign. Reprise - the resumption on stage of a theatrical play...

  Encyclopedic Dictionary of Brockhaus and Euphron

• - The combination of poetry, music and dance in the ancient, especially liturgical lyrics 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 the other, or even ...

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• - Construction in the theatre, 1) a frame for three-dimensional parts of decorative installations. 2) Buildings invisible to the viewer, which are machines made of folding frames and shields covering them from above ...
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"Action (in the theater)" in books

Chapter One Volitional Actions (activity, action, fractional action; movements: locomotor, working, semantic, illustrative and pantomime)

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47. Effect of high temperature. General action

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49. Effect of low temperature. General action

From the book Forensic Medicine the author Levin D G

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