Directing theatrical performances and celebrations. Director of theatrical performances and celebrations. Description of the profession Department of Directing Theatrical Performances and Celebrations

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on the topic: Directing theatrical performances and celebrations

Introduction

Conclusion

Bibliography

Introduction

For many millennia, humanity has created certain forms of artistic understanding of the world. The worldview passed from generation to generation through a system of spectacular symbolic images. Some of the spectacular forms, under the influence of social changes, were mobile transformed, accumulating the code of ethnic groups, mainly their cultural program. The need for people to be involved in the artistic process of exploring the world continues today. This is the condition for the existence of humanity. Among all the types and genres of art, which, as is known, are a form of understanding the living space of a person, the main place is occupied by spectacles. The long history of the existence of spectacles proves their vitality and requires further multifaceted understanding and research. Moreover, the concept of the development of culture and spirituality of the people also contains spectacle as the most important element.

Theatrical performances and celebrations educate each individual and the entire team, teaching them the ability to express feelings of solidarity among people. We can say that holidays reveal “human essential forces.” Holidays lift spirits, concentrate the creative energy of the masses, and express collective emotions. By accumulating human emotions, it reveals the true, ideal aspirations of people. In a theatrical performance, a holiday, each person is a performer and a spectator, a creator and participant in a special life with their own forms of collective behavior determined by customs, rituals, ceremonies and rites.

An important milestone in the history of the study of holidays were the books of D.M. Genkin “Mass holidays”, B.N. Petrova “Directing mass sports and artistic performances”, I.G. Sharoev “Directing variety and mass performances” and many others.

Interest in holidays on the part of various specialists emphasizes their significance and at the same time helps to identify their own aspect of the study. It lies in the need to actively introduce spectacle into a person’s living space. The perception of the holiday and human participation in it are closely related to the implementation of the artistic and creative side of this mass theater, especially with directing. An inadequate point of view on some important aspects of director's work, its practical and theoretical lack of understanding raise the problem of professionalization of theatrical performance and festival directing and other types and genres of mass theater.

1. Specific features of the dramaturgy of theatrical performances and holidays

Specificity, dramaturgy of theatrical performance and celebration in documentary. Dramaturgy, as a rule, is based on specific facts and their understanding. This does not mean that they are devoid of artistic fiction, that in the script of a holiday, theatrical concert, or mass spectacle there cannot be generalized images of heroes of the past, present, and future. Against. It is the combination of two lines - documentary journalism and artistic imagery - that gives the script scale, expressiveness and depth; they cannot be opposed to each other or mutually exclusive, as some playwrights and directors sometimes do. Documentary, of course, is not a feature of mass forms only. The script, based on documents, letters, diaries, is extremely common today in the theater, cinema, television and radio. However, documentary is most inherent in the mass spectacle that takes place in squares and parks of culture and recreation, on the streets.

To use specific facts, to use them as the basis for scenarios of mass spectacles - this means, first of all, to study and know well the life of a specific human community, draw themes and plots from it, and talk about real, life events. Without such vital material, any holiday is unthinkable. Of course, the degree of documentary in various mass spectacles can be different: from a theatrical performance or an evening-portrait based on the biography of the hero to a symbolic action in the square associated with a real event.

By its artistic nature, a mass theatrical festival is a high idea expressed in a bright, figurative form. It is imagery that makes a mass holiday a phenomenon of art, its mass form. The system of images in the documentary dramaturgy of a mass theatrical spectacle is not limited to such a symbolic, associative core image. In relation to it, it is also necessary to talk about the hero of the mass spectacle. Analysis of mass spectacles once again confirms that they are especially successful where the center of the theatrical performance is the vivid images of veterans and war heroes. Creating vivid images of real heroes against the general background of specific historical events is very important. Thanks to this, it becomes possible to feel more deeply the historical retrospective, to better understand the struggle of passions around certain achievements. The path of figurative decision in theatricalization always goes from the utmost specification of the characters of the script, especially in each of its episodes, to a generalized collective image of the script and director's development, the most adequate to the idea of a festive ritual action. Moreover, this imagery is suggested precisely by the real material, the life path of the heroes of the theatricalization, which form the basis of the script and director’s move. The dialectic of the general and the particular, the collective and the specific is extremely characteristic of theatricalization and constitutes its script core.

The essence of theatricalization puts forward the most important methodological requirement: in the development of scenarios, any, even the most universal, holiday, significant event, solemn date must be specified to the level of the community of people in which they are celebrated. This means that first of all it is necessary to accurately select the characters of the theatrical performance. Their destinies, their lives, their work activities should resonate with the event being celebrated and be in tune with it. It is in the display of such people, in the influence of the image of a contemporary, his bright positive example, that the educational essence of theatricalization lies, which must be used to the maximum. The search for a hero has always been the main task of a writer, playwright, artist, and determined the fate of future works of literature and art. If we want to raise the artistic level of theatricalization, then the search for a hero should be the law of its scriptwriting and directorial development.

The dramaturgy of theatrical performances and holidays separated from the dramaturgy of the theater. It arose after the use of theatrical techniques in art, which made it possible to convey a specific idea to the mass audience in artistic form. Regarding mass spectacles, the term theatricalization means an organic combination of material that is not theatrical, but vital, directly related to daily practice and everyday life, and artistic, figurative material. In the literature devoted to mass celebrations and theatrical performances, there is no uniform terminology, and this complicates the understanding of a number of problems associated with dramaturgy and directing theatrical performances and celebrations. When they talk about theatricalization, they always mean a phenomenon belonging to the field of art, associated with figurative solutions. They mean an appeal to the emotional sphere of human perception, since emotions are the most important principle, the most important quality of artistic creativity. Theatricalization presupposes the possibility of presenting this or that idea in artistic form and specifically through theatrical means. And when applied to performances such as election campaigning, thematic concerts, mass spectacles, and holidays, the word theatricalization can only mean an organic combination of non-theatrical, vital material, directly related to production practice and the life of people, and artistic, figurative material; this combination, this fusion of documentary and fiction is created with the aim of having a certain impact on the public. Such a combination of journalistic, documentary and artistic is necessary to achieve an aesthetic effect and influence on the public. In other words, “the artistic and figurative principle merges here with the utilitarian principle (didactic, agitational, propaganda) and is subordinate to it.”

The documentary imagery of dramaturgy and directing of theatrical performances and celebrations gives rise to its own symbolism. Symbolic images become certain real historical buildings and monuments, real places of historical events, as if coming to life in people's memory. As a rule, they carry a certain associative and documentary load. More and more often, in festive performances, with the help of sound and light, buildings, streets, squares “come to life”, which “tell” their story to those gathered, becoming the central image of the scenario. It seems that at the present stage it is advisable to call the scripted dramaturgy of such performances a broad and quite accurate in terms of art history term dramaturgy of theatrical performances.

Theatrical performances are a multifaceted social phenomenon that reflects the life of each person and society as a whole. Being an integral part of social life, they commensurate the life of the individual with it and act as a special type of human activity, expressing the harmony of man and society or the desire for it. . The theatricalization of a real spectacular performance acts as its organization according to the laws of the theater. This is not an illustration of certain facts, documents, thoughts and ideas with excerpts from plays, songs, dances, poems, film fragments, as theatricalization is sometimes understood, but rather a synthesis of artistic fiction and reality, giving birth to a new, unique documentary-artistic action. The passion for “total” theatricalization, which appeared at the turn of the 1970s of the twentieth century, was born of a rather superficial understanding of the social needs of man, his attitude to the artistic and aesthetic criteria of organizing public leisure. Theatricalization of this kind, when music was played louder and more often, appropriately and inappropriately, poems were read with pathos, and performances by artists and amateur performances were interjected as an inserted divertissement - the most primitive way of organizing mass holidays, depriving them of social and pedagogical depth. . Subsequently, theatricalization took a leading place in entertainment culture. By organizing the emotional and artistic activities of workers, she contributed to the creation of an atmosphere of optimism and the rapid assimilation by individuals of the values of society.

Another distinctive feature of the dramaturgy of mass holidays is that they are built on the actions of a mass of people. A person in a situation of a mass festival should be a participant, not a spectator, therefore, in the script and director’s development, it is necessary to provide for ways to activate it, channels through which the active activity of each participant can develop during the spectacle. The desire to provide the largest possible group of people with the opportunity to act turns a mass spectacle into a complex of various cultural and artistic events. The specificity of dramaturgy and directing a mass spectacle, due to their active nature, lies in the fact that they represent not only and not so much the organization of action on the stage, but the organization of action by the audience, the mass of participants themselves. Very effective is the development of a theatrical action in which a mass of people or individual groups that are most characteristic of a given festive situation become the main, collective hero of the holiday.

Another effective possibility is to introduce elements of improvisational creative play into the mass spectacle, the psychological need for which is inherent in people of all ages. With the help of a game, as we noted above, you can prepare a person for perception, you can include him in a mass action, make him a participant in certain episodes. Elements of the game can be used especially successfully in processions, holidays, festivals, and folk festivals.

An important specific feature of the dramaturgy of a mass holiday is their synthetic, complex nature, in which synthesis is the universal method for creating any type of theatrical mass spectacle. Directing and dramaturgy often use a synthesis of various kinds of one-time actions, various types of action, a synthesis of document and art, and a variety of expressive means.

A mass celebration usually uses several different venues, which operate simultaneously or alternately. They host various types of events: performances by choirs, orchestras, sports and choreographic groups. Moreover, all this is not a mechanical unification of several different actions, but a single action, held together by one plan, subordinate to a single theme of a mass holiday, carefully developed in one scenario, which has found a single artistic and figurative embodiment. As for the synthesis of document and art, as well as various expressive means, then on the basis of the creative montage of these components, on the basis of a single author’s thought, a single storyline, a work of a completely new complex genre is created. The goal is to create an original artistic and journalistic work using documentary performances, ceremonies, poems, songs, fragments from plays and films. The art of composing this kind of compositions from a variety of artistic and documentary materials is a special kind of creative thinking and at the same time a synthetic method of organizing mass theatrical action.

Each mass theatrical action is distinguished by its individuality, a unique solution, since it occurs only once. That's why a lot of attention is paid to the script. In most cases, the work of creating the dramaturgy of the spectacle is carried out by the director himself. The scriptwriter and director of a mass spectacle is always a psychologist and teacher who solves, first of all, the problem of activating its participants in organizing not a performance, but a mass action in which artistic imagery acts as an effective incentive. By its artistic nature, a theatrical festive ritual performance embodies a high idea in a vivid figurative form. At the same time, the figurative solution, which is the essence of theatricalization and acts as a screenwriting and director's move, turns the spectacle into a specific way of processing social information. The script is a director’s selected literary development of a theatrical holiday action. A script is not just an organizational plan for a spectacle; it contains a concentrated and expressed figurative vision of a theme, an idea, and the ultimate goal of implementation. The script is a thorough literary contribution of the content of the future theatrical spectacle.

Regardless of the genre of the mass spectacle, as well as the complexity and scale of its implementation, several types of scenarios are distinguished:

A compilation script is a combination of fragments of different well-known dramatic plots.

Regardless of the genre of mass spectacle, the script includes:

Description of the scene (stage area, if there are many of them, then each one separately);

Statement of the content of the stage action;

A sequential presentation of all the actions that took place on the stage or stadium before the main action and what will happen after it;

Text for presenters, connections between numbers and episodes and monologues;

Lyrics for each artist;

Summary of the contents of all episodes;

Description of light, noise, film and sound effects;

Description and graphic representation of mise-en-scenes, especially mass ones, transitions and connections between them;

Development of artistic design;

Outline of proposed techniques to attract the viewer.

Writing a script for a mass spectacle involves determining:

Genre features of mass spectacle;

The main idea of the event;

The main dramatic “moves”;

Organic combination of artistic and documentary materials;

A combination of words, music, song, dance, visual arts, light, film material, plastic arts;

The general tempo of the spectacle;

Combining episodes into a single dramatic structure.

The theatrical holiday does not have a direct logical sequence of action. It provides for retreats, pauses, delays, repetitions, a transition from verbal to plastic numbers, from plastic to musical, from musical to verbal. Therefore, the plot should have a free dramatic structure, where pauses often become more important than its consistent development. Each such pause is necessary in order to enable the viewer to understand the content and logic of the plot situation in order to focus attention on it. Thus, in the dramaturgy of a theatrical mass spectacle created by the montage method, the nature of the conflict is different than in theatrical dramaturgy. There is a very peculiar development of action here, in which conflict arises not as a result of action and counteraction, but in the opposition of different numbers and episodes. And such components as dance, music, speech, cinema, painting in the drama of mass spectacles create a psychological justification, an aura of the hero’s behavior. Theatrical performances have an emotional impact on both the participant and the viewer.

2. Problems of directing: organizing and staging theatrical performances and celebrations

Directing theatrical performances and celebrations is very specific. Firstly, their working conditions of organization and conduct. So, for example, a stadium is different from a concert or theater hall, and the technical conditions for holding a mass spectacle in a city park are different from those of a stationary stage venue. The second difference is the artistic organization of space, since the work area is an important component in the overall dramatic structure of the mass spectacle. It is one thing to organize a space for a theatrical concert in a concert hall, another thing is to organize a space for celebrations in squares, streets, parks, and stadiums. If the space in a theater or concert hall is two-dimensional, and there is only one visible point in the theater, defined by the ramp, the location of the stage and the auditorium, then the stadium space is three-dimensional, and is viewed in a circle. In the stadium, the spectacle is perceived from all sides, so the action, and, consequently, the artistic design, its design is created taking into account these features.

Mass performances are always spectacles in large spaces: gigantic stages, huge auditoriums. Hence, as a consequence, the mass of spectators and performers. Hence the specificity of expressive means. In a mass spectacle, the viewer almost does not see the actor’s face, does not see his eyes, where neither the nuances of facial expressions nor the details of the plastic drawing of the role can be read. In addition to the significant size of the playing area and the distance of the spectators from the performers, there are also many distracting factors that are associated with the reality of the spectator’s environment. Let's not forget that mass performances are created in the open air. In large open-air spaces: stadiums, streets and squares, on water and in the air, it is no longer possible to concentrate the audience's attention using traditional means. Hence, there are other techniques, other ways of organizing the audience’s perception, and other means of expression. In mass performances, the viewer usually does not hear the “live” voice of the actor: a phonogram sounds. And, often, there is simply no text in it. And this is natural. Verbal expressive means should be kept to a minimum. After all, a mass performance is first and foremost a spectacle. A spectacle in the sense that it is the visual range, it is the visual means that dominate here. Moreover, we are talking not just about a spectacle, but about a spectacle that is certainly large-scale. On the square, the lonely figure of the actor can be the object of attention for only a few moments. A mise-en-scène that is extended in time certainly requires interaction between the soloist and the crowd, interaction that is plastically built on the contrasting movements of the crowd and the hero.

Mass performances are always theater of the masses. Large-scale dynamic compositions of hundreds, or even thousands of performers, large dolls and masks, panels of material, banners and various tablets, transport and other technical means, and pyrotechnic effects reign in the squares. This is the language of this art, determined by the nature of the gigantic stages of the theater of mass performances. In the art of mass performances, it is not primarily individual images of characters that are created, but the image of a collective hero - the masses or symbolic allegorical images. And this is one of the essential aesthetic properties of the theater of mass performances. The synchronized actions of a mass consisting of hundreds and sometimes thousands of performers in themselves are a powerful factor of emotional impact. And being artistically organized by the “visual direction” of mass performance, they become a special aesthetic phenomenon that constitutes the figurative essence of mass theater.

Staging a mass spectacle requires detailed, comprehensive preparation and joint efforts of all members of the production team. The spectacle is called a mass one, as a large number of participants take part in it.

Theatrical holidays that cover the entire city are particularly complex in their imagery. The streets themselves become semantic decorations, sometimes they are even temporarily renamed. The figurative dramaturgy of city-wide holidays is achieved with the help of columns of people and decorated equipment. Each column is like a “character” of a grandiose city theater, having its own theme, its own character. In front of the spectators standing on the sidewalk, the columns unfold like panoramic ribbons. Carnival processions of citywide significance are built on these principles.

The dramaturgy of a mass holiday is, first of all, the collision and development of large-scale visual images. Therefore, it is not surprising that artists of mass performances act in a number of cases as authors (or co-authors) of the script. Dramatic tasks are often solved by the scenographer not only at the “how” level (how to translate the author’s thought, the director’s concept into a visual image), but also at the “what” level (what exactly constitutes the essence of the conflict, what will be the impulse in the development of the action). The spatial and plastic course is usually born not on the basis of the script, but in the process of creating the dramaturgy of the performance and (in the best works) is inextricably linked with the scenario's course, with the essence of the main conflict of the performance. The traditional function of scenography - creating a playing space - is undoubtedly preserved in the theater of mass performances. Moreover, the tasks of organizing an artistic space take on a special meaning here. For the artist of a mass performance transforms the non-stage space of a stadium, square, or forest clearing into the playing space of a mass theater. The imaginative solution of non-artistic spaces is a very delicate problem that requires a special sense of the site. There are so many failures in the history and modern practice of mass performances for only one reason: the discrepancy between the means of expression and the real natural or architectural environment in which the spectacle is created.

Conclusion

Theatricalization is an integral component of the dramaturgy of theatrical performances and celebrations, which allows one to convey a certain idea in artistic form to the mass audience.

A holiday is a multifaceted social phenomenon that reflects the life of each person and society as a whole. Being an integral part of social life, they commensurate the life of the individual with it and act as a special type of human activity, expressing the harmony of man and society or the desire for it.

Each new scenario for a theatrical performance and celebration is a search for a new solution to the theme, new means of expression, new methods of emotional influence. The scenario of a mass theatrical festival is complex; it synthesizes the work of a playwright, director, artist, choreographer, and composer.

Montage is the main creative technique for forming and constructing the dramatic framework of theatrical mass spectacles.

The most important editing principles in the direction and dramaturgy of theatrical performances and celebrations are ideology, strict logic and consistency of plot construction, associative comparison of real facts and artistic episodes, internal rhythmic contrast.

An important specific feature of the dramaturgy and direction of a holiday and theatrical performance is their synthetic, complex nature, in which synthesis is a universal method for creating any type of theatrical mass spectacle.

dramaturgy theatrical celebration director's

Bibliography

1. Gavdis, S. I. Fundamentals of screenwriting: textbook. allowance / S.I. Gavdis. - Orel, 2005.

2. Genkin D.M. Mass holidays / D.M. Genkin. - Textbook for cultural institutions. - M.: Education, 1975.

3. Petrov N.V. Directing mass sports and artistic performances / N.V. Petrov. - L., 1987.

4. Silin A.D. Squares are our palettes / A.D. Silin. - M., 1982.

5. Silin A.D. Specifics of the director’s work when staging a mass theatrical performance in the open air and on non-traditional stages / A.D. Silin. - M., 1987.

6. Silin A.D. Theater on the streets of the world / A.D. Silin // Decorative art. - 1990.

7. Tumanov I.M. Directing a mass celebration and theatrical concert / I.M. Tumanov. -L., 1974.

8. Chernyak Yu.M. Directing holidays and spectacles / Yu.M. Chernyak. - Mn.: Tetra Systems, 2004.

9. Chechetin A.I. History of mass folk festivals and performances: / A.I. Chechetin. - M.: IPCC, 1976.

10. Chechetin A.I. The art of theatrical performances / A.I. Chechetin. - M.: Sov. Russia, 1988.

11. Chechetin A.I. Fundamentals of dramaturgy of theatrical performances / A.I. Chechetin. - M.: Education, 1981.

12. Sharoev I.G. Dramaturgy of mass action / I.G. Sharoev. - M.: GITIS, 1979.

13. Sharoev I.G. Directing variety shows and mass performances / I.G. Sharoev. - M.: GITIS, 1992.

14. Sharoev I.G. Theater of the Popular Masses / I.G. Sharoev. - M.: GITIS, 1978.

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Director of mass performances

Job responsibilities. Carries out directing and production work for mass performances, events, concerts and programs in accordance with the work plan of the cultural and leisure organization. Develops concepts for mass cultural and entertainment programs on various topics. Supervises the work of the director and production group in creating mass performances and celebrations. Selects the necessary literary and musical material, and the cast of performers. Invites creative groups, public organizations, amateur artistic groups, conductors, choirmasters, choreographers, individual performers and other creative workers to participate in public events, and conducts rehearsals with them. Provides coordination of the actions of specialists involved in creating a mass presentation. Takes part in the work of the methodological office of a cultural and leisure organization. Participates in the preparation of estimates for planned events.

Must know: laws and other regulatory legal acts of the Russian Federation regulating the activities of cultural and leisure organizations, the structure of cultural and leisure organizations, the theory and practice of directing and acting, the fundamentals of stage and musical design of productions, vocal, choral and choreographic art, the history of domestic and world theater, musical, circus, other types of arts and literature, modern and classical drama, modern achievements of domestic and foreign art, fundamentals of management, management psychology, sociology of art, stage technology, economics and management of cultural and leisure organizations, labor legislation, copyright, internal rules labor regulations, labor protection and fire safety rules.

Qualification requirements.

Director of mass performances of the highest category - higher professional education (culture and art) and work experience in a position related to the performing arts for at least 7 years or as a director of mass performances of category I for at least 3 years.

Director of mass performances of category I - higher professional education (culture and art) and work experience in a position related to the performing arts for at least 5 years or as director of mass performances of category II for at least 2 years.

Director of mass performances of category II - higher professional education (culture and art) and work experience as a director of mass performances for at least 1 year.

Director of mass performances - higher professional education (culture and art) without presenting requirements for work experience or secondary vocational education (culture and art) and work experience in the field of professional activity of at least 3 years.

Vacancies for the position Director of mass performances in the all-Russian vacancy database

My name is Daria. And I will tell you about my favorite job, which I have been doing for eight years. My profession is director of theatrical performances and celebrations. It sounds clear. When you hear the word “director”, pictures of different films and TV series run through your head, you imagine an operator with a video camera, a film set and many actors playing their roles. I guess? Usually everyone sees this, but this happens in another profession - a film director. What do holiday directors do? In fact, this is a very non-standard work that combines several directions.

The director of theatrical events is always a creator, organizer and teacher

We see any celebration as a bright, exciting event. And we don’t think at all about how much time and effort goes into creating it. In fact, many different specialists work to bring the holiday to life: scriptwriters, costume designers, sound and lighting operators, props masters, make-up artists, stagehands, artists, accompanists, actors and others. And in order to bring them all together, to infect them with the idea of a holiday, to explain to everyone “what, when, where and where” - you need a competent organizer. This is the director.

Nowadays, holiday agencies often hire such organizers; they are also called event managers (from the English “event” - event). This profession is similar to director, but it requires less creative skills. And the director, first of all, is the creator, creator and embodiment of the idea of celebration. It is he who figures out how to arrange the artists at each moment of the performance, what to wear and who will wear it, what kind of scenery and lighting there will be, what music should be played, how the artists should communicate with the audience, and much, much more. The director conducts rehearsals, adjusts and modifies the event. And he builds all this based on the interests and needs of his viewer.

The director must be aware of what the people for whom he creates his performance want. And this is the real work. But it’s one thing to identify the viewer’s needs, and another thing to present everything beautifully and unobtrusively. To make such an interesting show that the viewer does not run away after the first 10 minutes, but gets involved, becomes an active participant and wants to tell his friends about it. Here the director acts as a kind of teacher for the viewer. After all, the most important thing in any holiday is to convey to the public not just an idea, but a certain pedagogical goal, and motivate them to take some important actions.

Pedagogy is especially evident in children's programs. We all remember such themed holidays from childhood as “Health Day”, “Lessons of Kindness”, “Road Safety” and others. What they didn’t teach us there... That’s where all the actors really are teachers for children (and usually both in the literal and figurative sense!). And the main teacher, including for leading actors, is the director of a children's party. I am telling you all this to say that the work of a director is complex and multifaceted, you can learn the profession, but it is not suitable for everyone.

Here are the qualities and skills a person who decides to become a professional holiday director should have:

Promote all your ideas with conviction
Be a bearer of common human culture and understand all types of art.
Be able to write holiday scripts and edit different parts of it.
Think in plastic images, be able to beautifully present on stage every word and phrase from the script, play it out and decorate it with scenery.
Be able to captivate and infect all performers of the performance with your idea, convey to them your pedagogical goal.
Master the basics of acting and stage speech.

You can study the profession at colleges and cultural institutes with the specialty “Director of theatrical performances.” The entrance exams are like this. Russian language and literature - according to the results of the Unified State Exam, plus a specialty - to demonstrate your creative skills on stage. You need to tell a fable, a piece of prose, a poem; perform a song and dance; show a mini-scene and play a game with the audience; pass an interview for directing. In fact, all this is not as scary as it seems! For a true creator, there are simply no barriers!

Now a little about where and how you can work as a director of theatrical performances and celebrations

1. Budgetary cultural institutions.

They exist in every city, especially for children, but we just don’t hear about them all. You can get a job as a teacher-organizer in a school or an additional education center, you can become a teacher of extracurricular work in a kindergarten, a director or artistic director in a palace of culture or a children's development center, an organizer in a recreation park, etc. The salary in such organizations is small, but there is stability, free training and an almost free work schedule. And there you, as a director of children's parties, will be able to fully realize the most imaginative ideas, limited, perhaps, only by the budget of the events.

2. Private companies for organizing holidays.

These are the same event agencies, wedding agencies, creative holiday companies. The salary there is many times higher, but it is more difficult to get there due to higher requirements, and there is much less scope for creativity (everything must be done strictly according to the customer’s wishes).

3. Creation of your own company for organizing holidays.

It all depends on you: work schedule, conditions, salary, growth opportunities and more. Of course, in addition to directing, you will have to constantly look for customers yourself. In our city, for example, about a hundred similar companies have already been created, so competition is very high.

4. Work as a freelance writer-director.

I advise all those for whom a pen and notepad are their best friends to delve into independent script development and become a holiday scriptwriter. There are few good playwrights now, and competent scriptwriters for theatrical programs are in great demand. You can work as a screenwriter to order.

The most difficult thing here is to find your customer, but with time and experience this will cease to be a problem. For example, while on maternity leave, I write children’s scripts to order via the Internet. My customers are holiday agencies from different cities of Russia, amateur interactive theaters and museums for children.

Sannikova L. I.

ARTISTIC IMAGE
IN THE SCENOGRAPHY

(tutorial)

Directing theatrical performances and celebrations

Graduate qualification (degree)

Bachelor

Bibliographic description:

Sannikova L. I.

Artistic image in scenography.

Editor – Kozlova R.P.

Approved by the Department of Directing Theatrical Performances

Protocol No._______________ “_______” ________________2012

Protocol No. ______________ "_______" ________________2012

The proposed publication is intended for students of secondary and higher educational institutions, as well as for everyone interested in the art of theater, the art of organizing theatrical performances and mass celebrations.

Introduction. 4

Chapter 1. Specifics of the artistic image in scenography. 6

Chapter 2. Types of decorations by constructive and expressive
qualities. Stage decoration techniques.. 14

Chapter 3. Fundamentals of composition theory. 28

Chapter 4. Color on stage. 49

Chapter 5. Perspective in scenography. 64

Chapter 6. Weight characteristics of the scene... 73

Conclusion. 87

Bibliography.. 88

Illustrations………………………………………………………. 91

Introduction

When we remember a concert or performance we liked, what comes first in our memory is not individual concert numbers or actors’ monologues, but the overall picture of the performance, which to a large extent is simply the background of the performance.

It is difficult to overestimate the importance of the scenographic image for creating a high-quality theatrical performance. A successfully found artistic environment will not only significantly enrich the impression of the performance and contribute to a sense of integrity from it, but will also help the actors to present their characters most vividly.

The profession of a director is unique in its versatility. Among the various personal qualities required for this most difficult profession, a special place is played by the director’s ability to build a space in which the performance exists that is adequate to artistic tasks. At each moment of action, the scene represents a separate picture, and it must be organized as harmoniously as a high-quality composition by an easel artist. The author’s main task is to help the director develop artistic thinking and promote the development of a sense of harmony in the visually perceived space.

Theater is a synthetic art. Scenography also requires universal knowledge. For high-quality assimilation of the material, knowledge of the history of decorative art, the theory of art, in that part of it that studies the features of the artistic image and the specifics of decorative art, a type of which is scenography, is necessary.

Knowledge of the psychology of visual perception is of particular importance in mastering the course, since the scene is a very large object for mastery by the human eye, and many features of its perception, invisible in ordinary life, become very important on the scale of the scene. Ignorance of these features may harm the expressiveness of the performance. The psychological work of color is no less important. Knowledge in this area allows us to give a scenographic image a special power, decorating it with a whole range of emotions and symbolic meanings.

In the richest range of expressive possibilities of stage decor, a special role, according to the author, is played by the perspective and weight characteristics of the stage. Perspective is not only a means that determines the scene of action in the depths of the picture, but also a quality that enriches the artistic image. In order for the scale of the stage to “help” build the expressiveness of the performance, it is very important to correctly understand the weight characteristics of the stage so that the “work” of the weight acts synchronously with the dramatic line of the performance and in no way discords with it, which may well happen if the director does not have this knowledge.

Scenography has a huge number of expressive means and, of course, not all of them are described in this manual, but the author and the publishing team hope that the book will help the director feel like an artist in constructing the stage space and more boldly look for new expressive means of scenography.

Chapter 1. Specifics of artistic
image in scenography

The artistic image is the criterion of art. It is in it that the magic of art is realized, it is the presence of an image that distinguishes art from craft. We must understand what is specific about the scenographic image. This is not a simple question, and first we recall the general provisions about the concept of artistic image.

Artistic image – that's a thought artist or sum his feelings , expressed not frontally, as for example in science, but allegorically , through metaphor.

Each art has its own range of expressive means of allegory. In literature these are allegories, metaphors; in music - rhythm, tempo, timbre of sounds; in painting - lines, tone, color, perspective, etc.

An artistic image, as a rule, consists of smaller images, structural components of one main image, which carries the idea of the work.

In literary criticism, it is customary to call characters artistic images, for example, the image of Eugene Onegin, the image of Tatyana Larina.

The artistic way of thinking has peculiarities , distinguishing it from thought in science and practice of life. The most important of them:

1. emotionality, i.e. the image always evokes a whole range of feelings;

2. individual character, i.e. the image always bears the stamp of the author’s inner world at the moment of creativity;

3. free attitude to fact, i.e. the image is free from documentary accuracy. The fact is that time changes society's attitude to the same facts. Art claims to speak a truth that is more permanent than the truth of a single day or event. Therefore, the artist sometimes retreats from specifics in order to say a deeper thought.

The artistic image has its own structure . It is built by the author. Let's list its main components:

· Contrasting different principles (elements).

Metaphor (allegory)

· Associativity (understatement that provides depth to the image)

· Typicality.

· Originality

· Relevance.

All of the above applies, of course, to the scenographic image. But he has his own specificity like every art form.

Scenography is a type of decorative art. It has its own characteristics, they are also characteristic of scenography.

1. Scenography, just like decorative art, in most cases, is an art expressive , not pictorial. What does it mean? All arts are divided into fine arts and expressive arts. Fine arts in their works narrate about something, talk about some events, facts. For example, a story, poem, play, historical picture, song always tells about something, describes events, facts, the appearance of characters, the environment: interiors, landscapes, psychological states and experiences of people. These arts quickly act on the intellectual side of the human psyche and only then on the emotional.

Expressive arts do not tell a story about anything, they evoke in the viewer a range of feelings, experiences, and first act on emotions and only secondarily the intellectual beginning of the human psyche is included. This is how non-program music, still life, landscape, lyric poem, architectural structure, etc. are perceived.

Item decorative art (vase, carpet) does not inform us about anything, it evokes, at the first stage, only an emotional attitude, and after a more careful acquaintance we begin to draw some intellectual conclusions about the meaning of these works.

The set design, in most cases, does not tell us anything, it simply creates the emotional climate of the play, concert, or performance. But there are exceptions in both decorative art and scenography. For example, a vase may have a painting with a domestic scene. In scenography, the exception is the design of realistic performances, where the image carries a rather large narrative load, through props, props, lighting that imitates natural light.

2. Decorative art, being an expressive art, also carries one meaning or another. But content its special. It lies in the functionality of objects of art, the practical purpose of a particular thing. Moreover, functionality, as the semantic basis of decorative art, is primary, and the expressive side is unconditionally subordinate to it.

3. Scenography also has its own functionality, which is expressed in artistic tasks formulated by the director of a play, concert, performance, based on his understanding of the dramaturgy adopted for production. Therefore, the author of the artistic image is an artist Not maybe completely free in his creativity. He must express not his personal understanding of the dramatic basis, but the interpretation of the idea of the play that is dictated by the director. The relationship between director and artist varies. But the work can be successful only in two cases: when the artist, trusting the director, accepts his interpretation, and when the director and artist, discussing the content of the play together, come to a common decision on the meaning of the work.

An artist, embarking on a creative search for a scenographic image, must initially understand that here he cannot be completely free, as happens, for example, in easel painting, where the artist, in essence, is simultaneously a screenwriter, a director, an actor and a set designer. of your painting.

4. The above-mentioned feature of the scenographic image gives rise to the following. Decorative arts and scenography are background character. Decorative objects are not an image in the interior, like, for example, an easel painting that people come to look at specifically. Interior decoration is only a background designed to create a particular emotional atmosphere. For example, the decorative design of the Moscow metro during the Stalin period was intended to create the impression of a triumph of the ideology of that time. A pompous, solemn, joyful emotional structure was needed.

Scenography also creates only an atmosphere (“climate”), but this climate must precisely evoke the spectrum of feelings required by the content in the viewer. Therefore, the work of the set designer must be meticulous. There are no random colors, lines, spots, or objects on the stage. Everything is subordinated to artistic goals.

5. Decorative art serving architecture is of a monumental nature. This is expressed in large scale design. Here the problems of proportionality acquire special significance ( proportionality ).

In large rooms, a person does not feel comfortable, he seems small, pitiful, defenseless, and if there are hundreds, thousands of people in this room, he has a fear of getting lost in this crowd. These are all subconscious sensations, but decorative art mainly works with sensations. The artist is faced with the task of finding such proportions, distributing them in such a way as to soften these negative feelings and come to an optimal solution. In scenography this problem is also very relevant. It is further aggravated by the fact that in many theaters and palaces of culture, the stage mirror is not commensurate with the actor’s height. The actor looks lonely and pathetic in it. What if he needs to play a powerful personality? The stage space, simply by its size, will interfere with his role and creates the impression of smallness of his actions. The set designer must find such proportions in solving the image on stage in order to maximally help the actor level the power of the space and help reveal the character’s character.

6. Decorative art in its many manifestations synthetic . For example, the artistic design of a vase combines the efforts of a designer, who is responsible for the shape and size of the vase, and a painter, who paints it. Here we see a unification of mastery in the two arts.

The scenographic image is even more synthetic. This is explained by the close relationship with theater, one of the most synthetic arts. The art of scenography combines the efforts of an artist, an architect, a lighting designer, a clothing designer, a makeup artist, and even the skill of a director as the author of mise-en-scène. The scenographic image consists of the artistic work of light, structures (their proportions and shapes), the texture of various materials, the plasticity of the actors, the direction of the lines and their varieties, the nature of the costumes on stage and the makeup of the actors, the direction and speed of movements, the weight of all objects on the stage felt by the viewer, types of perspective depicted, features of the color used, etc. All this diverse number of elements and qualities must obey a single artistic concept and act in the same style and rhythm with the music.

The scenographic image is the most complex phenomenon in the decorative arts. Syntheticity is one of its main features.

7. The most important feature of the scenographic image, also resulting from its theatrical nature, is integrity in time and space . Scenography is an art that exists in three-dimensional space such as design, architecture, sculpture. The artist must build an aesthetic environment in this three-dimensional space that emotionally accurately conveys the idea of the performance and its genre. A play, a concert, any performance exists not only in space, but also in time; over time, the action develops, the drama intensifies, passions, climax, denouement are intensified. These are all different emotional states in the hall, and all of them must be justified scenographically. The image on stage during the action should change the artistic climate - create a feeling of life. The immobility of the scenographic vocabulary makes the performance “dead” and reduces the intensity of the drama. Therefore, the lighting, the nature of the mise-en-scenes, weight characteristics, the dynamics of actors and scenery, and the change or transformation of costumes are constantly changing. All these changes must be organically connected with the logic of dramatic action. At the same time, the scenographic image must be holistic both in space and time, so that the viewer is left with a single harmonious impression of the performance.

Scenography, like any other art form, has its own special set expressive means . As a visually perceptible art, scenography widely uses color with its enormous artistic potential. It has a very wide range of psychological effects on the viewer. This includes adjustment of the visible space, rich possibilities for working with the viewer’s emotions, an abundance of color symbolism, and even control of the viewer’s psychophysical state. When we talk about color in scenography, we mean not only the color of various painted surfaces on the stage, but also the color of lighting, the orderly selection of colors of fabrics, objects, costumes, makeup, etc.

The most important means of expression in scenography is light . Its role in creating a scenographic image can hardly be overestimated. It is light that largely creates the necessary psychological “climate” in the performance, illuminates the scene of action, depicts weather effects, corrects the actor’s appearance, and much more.

Perspective the most important means of expression in scenography. It allows you to model the stage space: expand it, deepen it, fragment it, distort it, etc. Today, science knows several types of perspective and each of them has its own expressive capabilities. Scenography uses them to enrich the impact on the viewer.

Proportions They are also an interesting expressive means for creating the image of a performance. The specificity of the artistic work of proportions on stage lies in the comparison of the viewer’s self-perception of himself in space and the picture he sees. The size of objects on stage can be comfortable for perception, or they can cause various kinds of discomfort: suppress the viewer, compress, narrow the space of the stage, etc.

It is known that any performance rhythmically organized. Visual space should also be rhythmically structured. Rhythm has many expressive possibilities. Alternation of certain lines, colors, light and shade, various movements. The speed of these alternations and the number of elements listed create certain artistic effects.

To create a scenographic image, it is of great importance texture materials stage design. Velvet has one expressiveness, silk has another. Old wood on stage creates a special mood for the viewer, and metal in many ways creates the opposite. The choice of textures in scenography is practically unlimited. The only exceptions are flammable substances.

Any theatrical action is enriched dynamics . Dynamics, especially if the movement is carried out by the scenery, makes a very strong impression on the viewer.

The movement of actors on stage and their movements are an integral part of the scenographic image. The nature of the actors' movements must correlate with the lines of the stage decor and represent a single whole.

Mise-en-scene is the same part of the design as its other components, therefore its expressiveness in terms of style should organically fit into the surrounding scenographic space.

A very interesting means of expression is the one perceived by the viewer. weight objects on stage. Manipulating the balance or disequilibrium of the scene allows you to enhance or weaken the drama of the action.

Stage costume And makeup are an integral part of the overall scenographic image, with which they exist in the same style and which they enrich.

As you can see, the scenographic image has almost unlimited possibilities and the artistic result of staging a play very much depends on the quality of this image.

Self-test questions:

1. Describe the artistic image in art, its features and structure.

2. What are the features of scenography as a type of decorative art?

3. What means of expressiveness are used to create a scenographic image?

Chapter 2. Types of decorations by design
and expressive qualities.
Stage decoration techniques

Content Integrity

So, in order for the integrity of a work of art to arise, three conditions must be met.

The first condition presupposes the mandatory integrity of the content, that is, the meaning that this work of art carries.

Some believe that the meaning is concentrated in the name Topics works. However, this is not quite true. Of course, the title does not necessarily reflect the topic, and may not even coincide with it. For example, the dance “At the Well” marks the location of the action, and the theme is the birth of love between two young people. The theme is part of the meaning, but it is only the external side of the content. In order to convey its deeper essence, it is necessary to have ideas works. But the presence of an idea does not yet ensure the integrity of the content if there is no third, mandatory condition.

Meaning acquires unity and integrity provided that its purpose is unambiguous. The goals of any theatrical performance are usually formulated by the director in super task. In other types and genres of art, an artist or composer does not need to formulate a super task for himself; it is enough for him to clearly feel his intention. The director cannot get by with just this; he needs to precisely formulate the thought or idea that inspires him and, on this basis, identify a goal that is always focused on the moral potential of the viewer.

The director needs to determine what ethical standard can be developed and revealed in the viewer with the help of this “inspiring” idea.

Any person who goes on stage and addresses people, willy-nilly, becomes a teacher, he begins to influence their inner spiritual world and even change this world in one direction or another (the side of good or evil). There is no third. The ultimate task is a kind of moral control that helps the director not only to construct the content holistically, but also to protect himself from accidents that reduce the artistic quality of a given work.

Art can only be what is humanistic, what is done in the name of good. This has been the case at all times of its existence, and this requirement for art was formulated by the great Greek, Aristotle. But at all times, and especially in our days, there are forces that try to replace the high moral goals of art with base ones.

Everything vulgar, ambiguous and frankly immoral on our stages appears from an irresponsible attitude towards the “holy” tradition of humanistic theater: strict adherence to the ultimate task provides art with high moral goals.

For the integrity of the content, it is not enough to have a theme, an idea, and an overarching goal. More rigid is needed logical connection between them, which gives clarity to the content and helps to accurately convey its meaning to the viewer.

Integrity of form

We touch the form, then we feel it, experience it, it is what we see first, it arouses interest and, often, is more strongly remembered. The main task of the form is to reveal the content. It does not exist on its own, but is a means that must leave an unambiguous and holistic impression of a work of art, otherwise the viewer may become disoriented. Therefore, the integrity of form is the second most important condition that ensures the integrity of a work of art. The construction of a form is, in essence, the construction of the external side of a work of art, the side that is perceived by the eyes and ears of the viewer, and then by the heart and mind.

Law of Centrality

Art, as we know, reflects the world, and the laws of constructing a work of art cannot be independent of those laws according to which the world itself is built with all its diversity, from global galactic spaces to the microscopic worlds of the cell and the atom. The world is a system of systems living according to certain laws that are studied by the young science of synergetics.

Consider, for example, a galaxy. It consists of millions of stars and planets, forming individual formations, and all of them are important for the existence of the galaxy. But their degree of significance varies. Among all these elements, there is one without which the galaxy, as a single entity, cannot exist. This is the center of the galaxy, the most important, vital element of this system, ensuring its integrity.

If we take our planetary system, then, of course, the center that holds its integrity is the sun. The sun provides the main meaning and physical existence of the system as a single entity.

Any state lives a healthy life, like a harmonious system, when there is a strong center that subordinates all regions and “branches” of power. Even a herd exists as a herd as long as there is a leader.

So in the microcosm, the life of a cell and an atom is ensured by the nucleus. This law is characteristic of any system: be it a biological complex organism, or just its cell, a city transport system or the human nervous system. A work of art must also be a harmonious system. In every work of art there is a compositional center, which is the most expressive place in the composition, subordinating all other elements, as if setting the tone for them. This is where the main meaning of a work of art is concentrated.

In a theatrical performance the compositional center is the climax. Here the strongest passions are, here the truth is determined and revealed. In terms of the strength of emotions evoked in the viewer, the climax should have no rivals, otherwise the performance will not have integrity. Therefore, the scenographic image at the moment of climax should be the most memorable and contrasting. Not only the acting at this moment, but also their costume should reveal the truth. Here everything is called by its proper name, everything is defined, here the conflict is concentrated, carrying the idea of representation. In directing, the climax is the highest point of conflict tension

There is action on the stage in time. Each scene is a small independent part of a large organism, and there must also be order within this part. At each moment of action, the compositional center will be that actor, that detail of the scenography that is currently leading the action. This means that at this time the actor should not have rivals not only in terms of expressiveness of acting and movement, but also in costume, lighting, etc. If the initiative of action passes to another character, the other actor becomes the compositional center, and his appearance should become the visual center. The mise-en-scene should change so that the first actor no longer focuses the viewer's attention on himself. For this purpose, a transformation can also occur in the costume, so that the stage space looks holistic, so that it is easier for the viewer to understand the content, and it is easier for the actor to convey the meaning of the role to the viewer. You can not change the costume, but use light to extinguish the attention of the audience, or position the actor so that the costume does not contrast with the background.

No matter how bright and elegant the scenographic solution is, it is only a background. And if some decorative details stand out too much, they will interfere with the precise execution of the action. For example, the emblem at the top of the stage should not be brighter and more expressive than the singer’s costume, which at the moment should be the compositional center and focus the attention of the audience on itself. In those moments when the announcer’s voice utters lofty words about the theme of the concert, a ray of light can be directed at the emblem, then its primacy will be justified. Directors often use this technique to recharge a scene. Sometimes a tragicomic situation arises when using a screen on stage. The glowing screen is the strongest rival to everyone who appears on the stage. The image on the screen should either be the center of attention, then the actor becomes only a commentator and goes into the “shadow,” or the background, but not duplicating the actor, but developing his theme. For example, an actor sings about the Motherland, the screen can show its landscapes. In this case, it is necessary to accurately calculate so that the lighting of the actor, his costume, and the mise-en-scène contrast with the glow and size of the screen.

The clear manifestation of the compositional center on stage is often hampered by incorrect lighting. Sometimes a minor lighting effect, intended only to create a particular atmosphere on stage, begins to attract excessive attention from the audience. For example, a moving figurative laser beam on stage distracts the audience from a singer in a dark suit, blending into the background of the scenery. The director must agree with each performer on the eve of the concert about the color and style of his costume in accordance with the decorative environment and lighting of the concert. When the singer goes on stage, he, of course, should become the compositional center, focusing the viewer’s attention on himself, and all the elements of scenography and lighting should only help him lead the artistic thought, and not challenge it.

Contrast

The third condition for ensuring the integrity of the artistic form is contrast, opposition of the most important elements. Just as in physics, oppositely charged elements attract, forming one whole, so in art, opposition helps to create the unity of the composition.

The dramatic fabric of a theatrical performance is based, as is known, on the conflict that permeates the action throughout. At the heart of the conflict is the confrontation between two hostile forces. A spectacular image is also only complete when it contains such a confrontation. It is expressed primarily in the graphic design of the image, in the contradiction between multidirectional lines.

In Fig. 1 we see the simplest expression of rhythmic organization and centricity, subordinating rhythm. But the viewer is still left with a feeling of incompleteness and unreliability of this structure. It is perceived as insufficiently holistic and threatens to “fall apart”

There can be a contrast between straight and rounded lines (Fig. 4).

These patterns are easy to trace in works of fine art. Graphic contrast should be present both on the stage and in the drawing of the details of the scenery, and in the plasticity of the actors, which is living graphics on the stage. The most characteristic plastic movements of characters representing antagonistic forces should be in opposite directions. Random identical poses or unidirectional gestures can disorient the viewer and destroy the integrity of the overall stage image.

Color also helps create the necessary contrast. The color richness of the world is combined into several color zones that combine similar color tones. But the groups themselves are not at all similar to each other and are considered contrasts. The strongest contrasts are created by complementary colors.

Using complementary colors in one composition helps to pull it together. In painting, such opposition is achieved by linking warm and cold tones into one system, which are most often complementary colors. Nature itself helps the artist in this. It is known that sunlight has a yellow color, so the illuminated side of each object is painted with the addition of warm tones. The air that envelops our planet is blue, although we do not register this with our consciousness. Therefore, the shadow side of each object is always cold, distant objects also seem cold to us, since there is a large mass of air between us and them, and they are seen through this blue mass, and nearby ones look warmer, here the air space is minimal. The artist can only create a rhythmic order of warm and cold throughout the entire space of the composition. These patterns are completely transferred to the stage space, even in the case where the action is conditional and symbolic, the colors or tones are contrasting, necessary to ensure integrity.

Perhaps the greatest importance in organizing opposition on stage is played by light. Even if the scenographic solution is perfect and the light is not adjusted, the integrity of the picture (action) will be destroyed. Light and shadow on the stage provide much of the visual conflict, since the painting cannot compete with the light in brightness. Proper coverage of the show is the most important task. Without being resolved, it will “kill” everything good that was intended by the actors, director and artist.

So, we have examined three patterns that ensure the integrity of form, that is, everything that we perceive visually.

The third condition that must be met in order for a work of art to have full harmonic harmony is the subordination of form to content.

Subordination of form to content

Form, as we know, is secondary. It can become understandable only after the nature of the content and purpose of the work of art becomes known. It is impossible to understand what shape a house may have if you do not know exactly what this house is intended for.

A scenographic image cannot appear before the script. Previously, the definition of artistic tasks was based on this scenario. The content of art is our entire life, in all its manifestations and contradictions. Every branch of science, technology and every other human practice, both material and spiritual. Therefore, creating a classification of the content of art is not easy. This is not our task. However, we need to somehow decide on the question of what form we should find for specific content, since one work cannot reflect the entire complexity of this world. Therefore, to begin with, let’s conditionally divide all the content into two large groups. First we will combine positive views artists for this world. In these works, the main categories of aesthetics will prevail beautiful And sublime. The artist understands that the world is not perfect, but he focuses his attention on the best in this world, and he takes everything bad and problematic into the background. The dominant side is the positive side of life. Consider Leonardo da Vinci's painting "Madonna Litta". The categories of aesthetics, the beautiful and the sublime, “work” very actively here. We are talking about the Christian ideals of love and goodness. We look at this work with tenderness, tenderness, and delight. However, the picture evokes not only admiration, but also slight sadness, because at the same time there is also a hidden tragedy at work here. Leonardo does not focus attention on it, but does not ignore the dramatic future and present of this world. If the positive dominates in the content of a work of art, then the form should be pleasant to the touch, harmonious, and proportionate. In the painting “Madonna Litta” Leonardo finds a perfectly harmonious form, proportionate proportions of the painting, and harmonious color combinations.

But there is such content in art when the artist acts as a fighter against evil, when he focuses the viewer’s attention on some socially important problems that are painful for society. The artist, like a doctor, reveals ulcers in relationships between people.

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