Theatricalization as the main method of holding holidays at the present stage. Abstract: Theatricalization as a creative method in directing festive forms Forms of theatricalization

Ministry of Culture of the Russian Federation

Kemerovo State University culture and arts

Theater Institute

Department of directing theatrical performances and holidays

Theoretical Foundations of Classical Directing and Actor's Skill

Test

Completed:

Pleshivtseva V.V.

student 2k., gr. RTPP - 091

Checked by: Ovcharuk

Tatyana Georgievna, senior pr.

Mezhdurechensk 2011

Plan:

1. The concept of "theatricalization".

2. Types of screenwriting and directing theatricalization.

3. Language of theatricalization.

1. The concept of theatricality.

directing- a kind of art creativity, allowing to create space-plastic, artistic-figurative solution ideological and thematic concept of a work of one of the "spectacular arts" with the help of its inherent expressive means. Distinguish directing drama, music. theater (opera, operetta, ballet), cinema, stage, circus, theatrical submission and mass holidays.

Theatrical action - creative activity people expressing their life aspirations by artistic, theatrical means, aimed at achieving a vital spiritual goal; this is an organic combination of reality associated with everyday life, social relations, religious beliefs, ideological and political inclinations of people, and artistry contained in the emotional-figurative (artistic) material created by transforming this reality.

Theatricalization- organization within the framework of the holiday of material (documentary and artistic) and the audience (verbal, physical and artistic activation) according to the laws of drama on the basis of specific events that give rise to the psychological need of the collective community in the implementation of the festive situation (A. A. Konovich).

Due to its socio-pedagogical and artistic bifunctionality, theatricalization acts both as an artistic adaptation and as a special organization of the behavior and actions of a mass of people.

To dramatize material means to express its content by means of the theater, i.e. use two laws of theater:

1. Organization of stage action (visible disclosure of a dramatic conflict). The development of the action occurs along a through line.

2. Creation of an artistic image of a performance, performance.

Director's theatricalization is a creative way of bringing the script to an artistic figurative form of presentation, through a system of visual, expressive and allegorical means (Vershkovsky).

There is no doubt that the theatrical performance is one of the components of the spiritual and artistic culture of both the ethnic group and society. When we say "theatricalization", we mean a phenomenon that belongs to the field of art, an appeal to the emotional-figurative sphere of human perception, artistic creativity or its elements using the expressive means of theatrical art. When we say "action", we mean the development of a certain reality in its contradictions, because these contradictions are the mover, thanks to which reality acquires its inherent dynamic and dialectical character, which is necessary to create action in a theatrical performance, holiday or ritual.

One of the most important features of directing a mass holiday is that it, as it were, directs life itself, artistically comprehended. The director of a mass theater works, first of all, with a real collective hero and, therefore, must widely use the mechanisms social psychology. Psychological and pedagogical training of the director-organizer of mass holidays is just as important as artistic and creative training.

Features of the theatrical performance:

1. The scenario of a theatrical performance is always based on documentary
mental material (documentary object of the screenwriter's attention).
2. Theatrical performance does not mean the creation of psychology
fictional heroes (characters), but the creation of a psychology of situations in which real (documentary) forces operate and develop
3. Theatrical action is multifunctional and solves the following tasks: didactic (edifying), informational (call), aesthetic, ethical, hedonistic (enjoyment) and communicative
4. Theatrical performance, as a rule, is one-time and exists
as if in a single copy.
5. A theatrical performance is distinguished by a variety of forms, spatial and stylistic.
The theatrical performance, holiday and ceremony are far from exhausting the possibilities of using theatrical performance in various ways and for various purposes.
If a theatrical performance is, first of all, a spectacle that takes place on a particular stage, which does not require
direct participation of the audience in it, then the holiday and ritual are theatrical performances in which those present themselves become active participants in what is happening. The exception is the theatrical competition and game program, which combines a theatrical performance and elements of direct activation of the audience with their involvement in the stage action.

Theatricalization can be applied not always, not in any, but only in special conditions, correlating this or that event, in which this audience is involved, with the image of this event created by the audience, with its artistic interpretation. Such a duality of theatrical functions is associated with any moments in people's lives when it is necessary to comprehend the unusual meaning of an event, to express and consolidate their feelings towards it. Under these conditions, the craving for artistic comprehension, for symbolic generalizing figurativeness, for organizing the activities of the masses according to the laws of the theater is especially strong. Thus, theatricalization appears not as an ordinary method of cultural and educational work that can be used at all its levels, but as a complex creative method that has a deep socio-psychological justification and is closest to art.

Of course, it is not enough just to see a special subject of theatricalization. You need to know how to organize it. Here the most important tool is imagery, which is the main essence theatricalization, which allows to show in action one or another fact, event, episode. Real imagery and artistic imagery, which is closely related to it, is the basis of theatricalization, which makes it possible to build an internal scenario logic and select means of artistic expression. It is figurativeness that gives life to theatricalization, creates a watershed between theatricalized and non-theatricalized forms of mass cultural and educational work.

The essence of the theatricalization method in modern leisure programs is the combination of sounds, colors, melody in space and time, revealing the image in different variations, carrying them through a single “through action”, which combines and subjugates all the components used according to the script laws.

Consequently, the theatricalization method appears not as one of the methods in cultural and leisure programs, used in all its variants, but as a complex creative method that is closest to the theater and has a deep socio-psychological justification.

The monumentality of theatrical mass performances is determined by the following components:

scale of the selected event;

scale of selection of historical and heroic images;

Lack of psychological nuances in the acting of actors;

large plasticity of movements, monumentality of gestures;

Large drawing of mise-en-scenes;

monumentality and imagery of scenery;

· associative "bridge of thought" of each episode with the viewer;

· the principle of sharp contrasts /in plastic, design, music, light/;

Use of allegorical means of expression /symbol, metaphor, allegory, synecdoche, litote/;

· Application of the latest means of technology and technical effects.

So, the directing of mass performances and holidays, based on the general foundation of directing, has its own specifics in scripting and directing processing with the help of theatricalization of real life episodes, subordinating them to the scripting and directing course and the obligatory inclusion of the audience in the action. In this theater of life, the mass is always a hero, and not just a spectator.

The theatrical performance of coins can be both an independent work and an integral part of the holiday.

Summarizing what has been said, it can be emphasized that in theatricalization, as a special kind of art, comes to the fore the most important the component of mass representation is the spectator, the collective hero.

2. Types of theatricalization.

1.Compiled or combined theatricalization- thematic selection and use of ready-made artistic images and various types of art and their connection with each other by a screenwriting and directing technique or move.
The compiled method is used in theatrical concerts, performances, etc. The main task of the screenwriter in working with this method is to determine the script and semantic core of the entire program as a whole, episode or block, the compositional alignment of the entire script as a whole, the editing of the episode and block, and the entire script as a whole. When using this type of theatricalization, it is important for the director to remember the main law of artistic expediency, which requires the justification of the appearance of the performance, its genre correspondence to the theme.

2. Theatricalization of the original look- the creation by the director of new artistic images, according to the script and director's plan. It is used to create scripts of the documentary genre, which are based on the dramatization of the document. The documentary series gives a modern journalistic sound, if the fact is of public value. Basic requirements: topicality and relevance. Here, a synthesis of documentary and artistic materials is created not only in the thematic selection of material, but also in an organic fusion according to the main principle emotional development thoughts and creation of the script and semantic core of each episode and the script as a whole. The synthesis of the documentary and the artistic should consist not only in the thematic selection of material, but also in their organic fusion according to the most important principle - the emotional development of thought. This is a more complex form of creating a script that requires organizational experience, the ability to select and assemble ready-made material and search for a move for ready-made numbers, but also professional skills, the director's ability to put on a new number, according to the scenario plan, to organically combine fiction and documentary material into episodes. This is the most complex view theatricalization.
A staged document, a staged verse, a staged song - these are the main components of creating an artistic image of an episode.

3. Mixed type theatricalization- the use of the first and second types. Includes compiling the finished and creating a new one. It is built on the principle of thematic selection and bringing them into a composition with the help of a through scenario and director's move and bringing into this basis its author's original vision and solution. Includes compilation of ready-made texts and numbers and original creation of ready-made texts and numbers. Theatricalization of a mixed type opens up great opportunities for the development of the director-organizer's imaginative thinking.
All three types of theatricalization are primarily used to organize theatrical themed evenings and mass performances, which act either as an independent form of cultural and educational work, or as an integral part of a mass holiday, propaganda campaign or other complex system of ideas. educational work.
Theatricalization in the field of cultural - educational activities develops along two main lines. The first is connected with its recreational function (these are balls, masquerades, carnivals;) The second is connected with the transformation of life into artistic value by creating an artistic image on its basis. Decoration, paints, fireworks are not yet theatrical. It is necessary to look for a capacious image - a generalization that emotionally reveals the director's thought through expressive means.
In theatricalization, as in a special kind of art, the most important component - the mass performance - the spectator, the collective hero, comes to the fore. He longs for such a mass action that would make him, by associatively setting in his memory the facts and events own life, to be a participant in the presentation, to be included in it.

3. Theatrical language

The leading expressive means that create a special language of theatricalization are the symbol, allegory and metaphor, with the help of which the director creates a full-blooded and multifaceted world of aesthetic values in mass performances.

Creating a mass performance, the director should strive to stimulate the imagination of actors and spectators with enlarged stage symbols that most fully reflect the essence of theatricalization.

Symbol translated from Greek means a sign (sign, label, brand, seal, password, number, dash, signal, motto, slogan, emblem, monogram, coat of arms, cipher, brand, label, imprint, scar, label, blind, typos

Scar and the like).

The Greek verb has the same name root, meaning: "I compare", "I consider", "I conclude", "I agree". The etymology of these Greek words indicates the coincidence of two planes of reality.

Initially /in ancient times/ this word meant a conditional material identification mark, understandable only to a certain group of people. For example, the sign of the fish was among the first Christians and served as a kind of password in the conditions of the persecution of Christians by pagans.

Analyzing the appearance of a symbol in a figurative action, "E. Tudorovskaya writes:" A person, as a member of the clan, was protected with the help of allegories, as required by the interests of the clan. For example, at a wedding it was impossible to say given name brides / the word "bride" itself is dummy and means "unknown" / in order to confuse the spirit of the ancestral hearth, and not to irritate it by introducing a stranger into the clan. Allegory with its introduced connection from the very beginning was an artistic knowledge of the world. When inventing a substitute word, it was necessary to clarify the properties of the object and give its name a replacement that had some common features with an object, for example, a brave, dexterous fellow - a clear falcon /. What properties should a substitute word have? It was supposed to be incomprehensible to hostile forces, but generally understandable to interested members of the genus.

So in progress joint activities and communication of certain groups of people or entire societies, conventional signs were developed, behind which were objects, thoughts or information.

Allegory (Greek "allegory") is a technique or type of figurativeness, the basis of which is allegory - the imprinting of a speculative idea in a specific life image.

Many allegorical images came to us from Greek or Roman mythology: Mars is an allegory of war, Themis is an allegory of justice; the snake wrapped around the bowl is a symbol of medicine. This technique is especially actively used in fables and fairy tales: cunning is shown in the form of a fox, greed - in the guise of a wolf, deceit - in the form of a snake, stupidity - in the form of a donkey, etc. In the minds of listeners, all parable images familiar from childhood, - these are allegories-personifications; they are so firmly entrenched in our minds that they are perceived as alive.

Allegory- allegory, the image of an abstract idea through a specific, clearly represented image. The connection between image and meaning is established in allegory by analogy (for example, the lion as the personification of strength, etc.). In contrast to the ambiguity of the symbol, the meaning of the allegory is characterized by unambiguous constant certainty and is not revealed directly in the artistic image, but only the interpretation of the explicit or hidden hints and indications contained in the image, that is, by subsuming the image under some concept.
Life, death, hope, malice, conscience, friendship, Asia, Europe, the World - any of these concepts can be represented with the help of an allegory. This is the power of allegory, that it is capable for many centuries to personify the concepts of mankind about justice, good, evil, various moral qualities.
Allegory has always played a significant role in directing mass festivities of all times and peoples. The significance of allegory for directing, real action, first of all, is that it always, however, as a symbol and metaphor, implies a two-dimensionality. The first plan is an artistic image, the second
plan - allegorical, determined by knowledge of the situation, historical situation, associativity.
Association, that is, the creation in the mind of a person of a semantic or emotional parallel to an ongoing phenomenon, an involuntary replacement of it with an already familiar synonym, makes the viewer think about what is only stated, indicated. The assessment of what is happening largely depends on the level of intelligence, erudition and life experience.

The giant scarlet banner in Okhlopkov's performance "The Young Guard" is an allegory of the Motherland. Entering into interaction with the actions and struggle of the Young Guards, who give their lives, particles of their scarlet blood for the liberation of the Motherland, she creates a magnificent artistic image of the performance, bringing its sound to a realistic symbol.

Allegory was most characteristic of medieval art, art.

Renaissance, Baroque, Classicism. Allegorical images occupied a leading place in the festivities french revolution.

The baton of the use of allegorical means in the festivities of the French Revolution was taken over by Soviet directors in the mass holidays of the 1920s.

For example: "Burning the Hydra of the Counter-Revolution" - a massive theatrical

performance staged in 1918 in Voronezh.

Director I.M. Tumanov, at the 6th World Festival of Youth and Students in Moscow, built the gymnasts so that they turned the stadium field into a map of the world.

And now the ominous shadow of the War in the form of an atomic bomb fell on the map. But the word

"NO!", which appeared on the map, crosses out the silhouette of the bomb with energetic lines.

In 1951, at a festival in Berlin, the same I.M. Tumanov in his mass

pantomime to music by A. Alexandrov " Holy war» used allegorical means of expression in the following way. The theme of the performance was the self-affirmation of the human races, their struggle for freedom and independence.

There are 10,000 gymnasts on the field, dressed in white, black and yellow suits.

colors. It began with the fact that the center of the field was occupied by whites. straightening my shoulders,

legs apart, they stood imperiously on the ground. Around them were

half-bent, yellow, symbolizing the peoples of Asia, and on their knees - black - not yet awakened Africa. But then the yellows straightened their backs, some of the whites helped them, the blacks got up from their knees, the yellows began to move, the blacks stood up to their full height. The conflict is developing rapidly. The freedom-loving theme of the equality of people of different skin colors, despite the fact that it was expressed by specific means of gymnastic exercises, has reached great artistic expression. This artistic image, metaphorical and allegorical by the director's decision, reveals the most complex life phenomena through their collision and comparison.

Still, it should be noted that in modern art, allegory is giving way to more developed symbolic images in terms of figurative and psychological terms.

Metaphor- a very important means of emotional impact in directing. The construction of a metaphor is based on the principle of comparing an object with some other object on the basis of a common feature for them. There are three types of metaphors:
metaphors of comparison, in which an object is directly compared with another object ("grove colonnade");
riddle metaphors in which an object is polished by another object (“beating hooves on frozen keys” - instead of “on cobblestones”);
metaphors in which the properties of other objects are attributed to an object (“poisonous look”, “life burned out”).
In colloquial language, we hardly notice the use of metaphors, they have become habitual in communication (“life has passed by”, “time flies”). AT artistic creativity the metaphor is active. She promotes creative imagination, leads him through figurative thinking. For the director, the metaphor is valuable because it is used precisely as a means of constructing stage images.
Any metaphor is designed for non-literal perception and requires the viewer to be able to understand and feel the figurative-emotional effect it creates. Here you need the ability to see the second plan of the metaphor, the hidden comparison contained in it. Because the novelty and unexpectedness of many metaphors, deep in meaning, more than once became an obstacle to their
correct perception - thus, short-sighted viewers and critics spiritually impoverished themselves.
The range of use of metaphor in performances is huge: from the external design to the figurative sound of the entire performance. Even more important is the metaphor for the direction of the mass theater as a theater of large social generalizations, dealing with artistic comprehension and design of everyday life. real life. It is a metaphor that can give a real fact
aspect of artistic comprehension, interpretation, can help to recognize the real hero. Ways of using metaphor in the language of theatricalization.
1. Design metaphors. The ways of creating an image through a metaphor in theatrical and decorative design of a performance are different. A thought, an idea can be expressed through planning, design, design, details, light, through their ratio and combination.
2. Metaphor of pantomime.
Pantomime is woven from signs. They represent the very material of her expressive language. When at first inexperienced mimes frantically rush around the stage, piling up movement upon movement, and the audience does not understand anything of what is happening, in this case the movements mean nothing, the viewer is not able to decipher the inner essence of the gesture. In those cases when we find ourselves captured by the content of the action, the entire classical "text" is a continuous chain of logical
lined up, almost in form, capacious and clear in content signs
3. Metaphor of mise-en-scene.
The metaphorical mise-en-scene requires a particularly careful development of plastic movements and verbal action in order to create a generalized artistic image of the director's thought.
4. Metaphor in acting.
Metaphor in acting continues to be an effective figurative means of the theater, and with its help the director of a mass performance can and must create images of great generalizations. However, despite this scale, it also has great importance inextricable connection with the life experience of a given social community participating in a mass
action. Only in this case can the metaphor be understood and able to have an emotional impact on the masses. The stage implementation of the metaphor allows the audience to express the essence of either the main event of the episode or the relationship that develops between the characters in a brighter and more visual way for the audience. The audience gets the opportunity to quickly and accurately determine and formulate its own position in relation to what is happening, which in turn is the first and necessary prerequisite for the formation of an active attitude of the audience to the stage information received.

So, a symbol as a sign that gives rise to an association is an important expressive means of directing.

Experience allows us to identify several ways of using symbols and associations that are characteristic of the work of the director:

a) in solving each episode of the performance;

b) at the climax of the performance;

c) in the conclusion with the viewer of the "conditional conditions";

d) in the artistic design of a theatrical mass performance.

The largest theater director and teacher G.A. Tovstonogov showed

great interest in staging theatrical performances and holidays in stadiums and concert halls. The figurative solution of most episodes in these performances clearly confirms Tovstonogov's thoughts about the main feature of modern style: “The art of external credibility is dying, its entire arsenal of expressive means must be scrapped. A theater of another poetic truth arises, requiring maximum purity, precision, and concreteness of expressive means. Any action should carry a huge semantic load, not an illustration. Then every detail on the stage

will turn into a realistic symbol"

There are three types of metaphors:

1. comparison metaphors in which an object is directly compared with another

object ("colonnade of the grove");

2. riddle metaphors, in which the object is polished by another object (“they beat the hooves on the frozen keys” - instead of “on the cobblestones”);

3. metaphors in which the properties of other objects are attributed to an object

(“poisonous look”, “life burned out”).

In colloquial language, we hardly notice the use of metaphors, they have become habitual in communication (“life has passed by”, “time flies”). Metaphor is active in artistic creation. It promotes creative imagination, leads it through figurative thinking. For the director, the metaphor is valuable in that it is used precisely as a means of

constructing scenes. “.And the most important thing is to be skillful in metaphors,

It is said in Aristotle's Poetics. Only this cannot be adopted from another;

this is a sign of talent, because making good metaphors means noticing

resemblance."

Any metaphor is designed for non-literal perception and requires the viewer to be able to understand and feel the figurative-emotional effect it creates. Here you need the ability to see the second plan of the metaphor, the hidden comparison contained in it. This makes the thought and imagination of the viewer work. Metaphor requires from us a spiritual effort, which in itself is beneficial.

SYNECDOCHE (Greek Συνεκδοχη connotation) - a stylistic device, the use of the name of the part instead of the whole, the particular instead of the general, or vice versa: “tiger livestock”, “horsehair mattress”.

For example, the expression: "so much goals cattle" is usually defined as an indisputable synecdoche: head instead of a whole animal, but a completely analogous expression "so much bayonets”, in the sense of a soldier, used as the first in reckoning, is often cited as an example of metonymy on the grounds that there is a relation of a tool to an agent. So, Pushkin's "All flags will visit us” is interpreted in one article as a synecdoche: flags, instead of ships, and as a metonymy: flags instead of " merchants different states." Obviously, all this fluctuation and inconsistency of terminology is due to the fact that they proceed from attempts to accurately establish the subject that stands behind a given expression, which almost always presents great fundamental difficulties due to the very nature of verbal (in particular, poetic) allegory. Fundamentally, however, the synecdocheic process of thought is essentially different from the metonymic. Metonymy is, as it were, a concise description, consisting in the fact that an element essential for a given case, for a given view, is singled out from the content of thought. Synecdoche, on the other hand, expresses one of signs of an object, names a part of an object instead of its whole (pars pro toto), moreover, the part is named, and the whole is only connoted; thought focuses on that of the features of the object, on that part of the whole, which either catches the eye, or for some reason is important, characteristic, convenient for given case. In other words, thought carried over from the whole to its part, and therefore in synecdoche (as in metaphor) it is easier than in metonymy to talk about portable the meaning of the image. The separation of the expression and the expressed, direct and figurative meaning appears more clearly in it, because in metonymy the relation of an object to its given expression is, approximately, the relation of the content of a thought to its concise description, in synecdoche - the relation of the whole to not only separated from it, but also isolated, thus, its parts. This part can stand in different relations to the whole. A simple quantitative ratio gives the most indisputable synecdoches of the type singular instead of the plural, about which there is no disagreement among theorists. (For example, in Gogol: “everything is sleeping - 7 and man, and beast, and bird). But relations of a different order can be revealed in synecdoche without making it yet a metonymy. Proceeding from such a distinction between both phenomena, it is easier to avoid hesitation - since they are generally surmountable to the end - in the definitions tropical nature of this or that expression, such as those discussed above. “So many bayonets”, “All the flags”, etc. will then turn out to be a synecdoche, regardless of the point of view on implied subject, for whatever is meant by flags- whether it’s just ships, merchant ships, etc. - this expression indicates only one of the signs, one of the parts of the merged content of thought, which as a whole implied. Other examples of synecdoche: "hearth", "corner", "shelter" in the sense at home(“near the hearth”, “in the native corner”, “hospitable shelter”), “rhinoceros” (the name of the animal according to one of its parts, conspicuous), “Hey, beard!”, “Patched” (by Gogol about Plyushkin ); "live to gray hair" vm. to old age, “to the grave”, “summer” in the sense of the year (“how old”), “bread and salt”, “red” (ten rubles), etc.

An example of the use of synecdoche is the figurative words of M.A. Sholokhov about the character of a Russian person. Using the word man and his own name Ivan, the writer means the whole people: “The symbolic Russian Ivan is this: a man dressed in a gray overcoat who, without hesitation, gave the last piece of bread and front-line thirty grams of sugar to a child orphaned in the terrible days of the war, a man who selflessly covered his comrade with his body, saving him from imminent death, a man who, gritting his teeth, endured and will endure all the hardships and hardships, going on a feat in the name of the Motherland.

Synecdoche can become one of the means of humor. A.P. Chekhov convincingly used it to achieve this goal. One of his stories tells about musicians: one of them played the double bass, the other - the flute. "The double bass drank tea with a bite, and the flute slept with fire, the double bass without fire."

LITOTES(from the Greek λιτότης - simplicity) - 1) a stylistic figure, the definition of a concept or object by negating the opposite. Such, for example, are everyday L.: "he is not stupid", instead of "he is smart", "it is well written" instead of "it is well written". Examples of poetic L.:

I do not value high-profile rights,
From which not one is dizzy.

(A. Pushkin)

Believe: I listened not without participation,
I eagerly caught every sound.

(N. Nekrasov)

Rifle fire between the rocks
Not a few rabid curses
Took a lot of lives.

(D. Minaev, translated from Byron's Childe Harold)

Oh, I did not live badly in this world!

(N. Zabolotsky)

2) A stylistic figure of underestimation of the subject, which has another name - reverse hyperbole, for example, in the fairy tale "Thumb Boy" or "Thumb Girl" (cf. also the expression "the sky seemed like a sheepskin"). In this sense, L. is used in the verses of N. Nekrasov:

And marching importantly, in serenity,
A man is leading a horse by the bridle
In big boots, in a sheepskin coat,
In big mittens ... and himself with a fingernail!

In A. Griboedov's comedy "Woe from Wit" Molchalin says:

Your Pomeranian, lovely Pomeranian, is no more than a thimble.
I stroked all of it; like silk wool.

On the L. of the second meaning (reverse hyperbole), A. Pleshcheev’s poem “My Lizochek”, set to music by P. Tchaikovsky, is built:

My Lizochek is so small
So small
What from a lilac leaf
He made an umbrella for the shade
And walked.
My Lizochek is so small
So small
What of mosquito wings
I made two shirt-fronts
And - in starch ...

Use of a symbol, metaphor, allegory, etc. in theatricalization, this is an urgent need, born in the process of solving new problems by the director, but at the same time it is just a technique, and any technique is good when it is not noticed. The spectator should perceive not the technique, not the form, but through the technique and the form - to understand the content and, perceiving it, should not at all notice the means that convey this content to his consciousness. It must be remembered that all means of allegory in directing must be inextricably linked with the life experience of his real audience, conditioned by this experience. Only the artist who lives the same life with his people, without breaking away from them, is capable of moving art forward. This is the basic principle of selecting allegorical expressive means for the director.

List of sources used

1. Dramaturgy of theatrical performances. - M.-1979.

2. Vershkovsky E.V. Directing club mass performances, L. G. I. K., 1977.

3. Konovich A.A. Theatrical holidays and rituals in the USSR, Moscow, 1990

4. Tikhomirov "Conversations about directing theatrical performances" 1977

5. Sharoev N.G. "Direction of mass theatrical performances" 1980

6. M. Petrovsky

7. Tumanov I.M. "Direction of a mass holiday and a theatrical concert", M, 1970

8. http://www.playwright.ru

An important reserve for the restructuring of ideological, political and educational work is the strengthening of the emotional impact of its forms, the removal of pomposity, ceremonial hype and verbal chatter that has been inherent in it for many years. The essence of such a formulation of the question lies in the fact that the truth is firmly assimilated when it is experienced, and not just taught.

In this regard, the role of theatricalization increases as a creative, socio-pedagogical method of ideological, political and educational work, the peculiarity of which is the artistic comprehension of this or that event in the life of the state, labor collective, individual.

However, despite the growing role of theatricalization and the place occupied by theatrical forms in the festive ritual action, it can be stated that its theory has been poorly developed. Today there is no common understanding of the essence of theatricalization, its definition and functions, its place in all areas of ideological work, its possibilities, boundaries and principles of use have not been explored. In turn, the lack of development of theoretical issues of theatricalization has a negative impact on the activities of practitioners.

The most common mistake of practitioners, due to a purely empirical approach to theatricalization, is its understanding as the introduction of artistic material (a film fragment, a scene from a play, a song, music, dance, a concert number) into a festive ritual action. Thus, it falls on a par with artistic illustration, representing, in essence, only its more complex variety.

Another common mistake in practice is the mechanical approach to theatricalization, understanding it as universal method inherent in all artistic and mass work. This leads to an exorbitant and unreasonable expansion of the boundaries of its use. It is the approach to theatricalization as a comprehensive universal method, inherent in all mass artistic work, that leads to the emergence of falseness, anti-artism. A situation arises when a festive ritual action comes into conflict with the method of theatricalization thoughtlessly used in relation to it, making it primitive.

The passion for “total” theatricalization that appeared at the turn of the 70s was born from a rather superficial understanding of social needs. Soviet man, his relationship to the artistic and aesthetic criteria for the organization of public leisure. Theatricalization of this kind, when the music sounded louder and more often, poems were read out of place and out of place with pathos, performances of artists and amateur art performances were wedged in insert divertissement - the most primitive way of organizing mass holidays, depriving them of socio-pedagogical depth. Unfortunately, this path became the basis of mass artistic work during the years of stagnation. It was during these years, when studying public opinion about theatrical holidays and rituals, that the author repeatedly recorded a negative attitude towards them based on “extreme loudness”, “impossibility of active participation”.

It seems that today the time has come, taking into account the accumulated experience, to once again seriously consider the features of the method of theatricalization. And first of all, it should be understood that theatricalization can not always be applied, not in any, but only in special conditions that correlate one or another really celebrated event in which a specific audience is involved, both with the image of this event created by it, and with his artistic interpretation.

Such a duality of the theatrical function, synthesizing real and artistic activity, is associated with specific moments in people's lives that require understanding of the unusual meaning of this or that event, expression and consolidation of their feelings in relation to it. Under these conditions, there is a particularly strong desire for artistic intensification of the action, for symbolic generalizing imagery, for organizing the activities of the masses according to the laws of the theater. Thus, theatricalization appears not as an ordinary method of pedagogical influence on the masses, which can be used always and everywhere, but as a complex creative method that has a deep socio-psychological justification and is closest to art. Due to its socio-pedagogical and artistic bifunctionality, theatricalization acts both as an artistic processing of life material and as a special organization of the behavior and actions of a mass of people.

The screenwriter and director of a mass action is always a psychologist and teacher, who primarily solves the problem of activating its participants, organizing not a performance, but a mass action in which artistic imagery acts as an effective stimulus. By its artistic nature, the theatrical festive and ritual action embodies a lofty idea in a vivid figurative form. At the same time, the figurative solution, which is the essence of theatricalization and acts as a scenario and director's move, turns the holiday into a specific way of processing social information.

However, it would be wrong to reduce theatricalization mainly to artistic comprehension, in particular, to the creation by the organizers of a mass holiday of artistic images that reflect significant, valuable life events and facts for a person. Here lies the danger of reducing a mass holiday to a spectacle. The aesthetic value of the event stimulates the social activity of the individual and makes it possible to turn any festive ritual action about this event into an organized manifestation of amateur performance by a mass of its participants.

So, the mechanical interpretation of theatricalization as the introduction of artistry and documentary into this or that form of mass action is connected with the understanding of this method only as a specific way of processing and organizing material in isolation from the organization of the activity of the mass itself. On the contrary, the organization of the theatrical action of the masses, not supported by an appropriate scenario artistic and journalistic basis, deprives this action of a real basis.

The correctness of understanding the method of theatricalization as the basis of mass artistic work is confirmed by the entire history of the development of our state. He wrote about the pedagogical significance of theatricalization at the dawn Soviet power A. V. Lunacharsky, who argued that theatricalization of life material “is possible and applicable in work among adults precisely in a certain “pedagogical sense”, since it helps to activate, involve the viewer in action, promotes purposeful perception” 1 . In a note that precedes the scenario of a mass action at the celebration of the Third International, A. V. Lunacharsky, analyzing this scenario of K. A. Mardzhanov, sets out, in essence, his understanding of theatricalization. In his opinion, the script favorably differs from many others in that it is not the action of individual actors, not a specially learned pantomime, not the formal movements of a colorfully dressed mass, but, namely, a mass action, scripted and artistically designed. 2 .

Analysis of the works of P. M. Kerzhentsev, A. I. Piotrovsky, G. A. Avlov 3 and others shows that theatricalization was considered by them not only as special way artistic organization of agitation and propaganda material, but mainly as a way of organizing the masses' own activities with the help of artistic means. The idea that the vigorous activity of the masses is the fundamental moment of theatricalization as a specific, different from the theater method of political and educational work, was shared by most theoreticians and practitioners of the 20s.

However, even in those years, they sometimes tried to make the method of theatricalization universal, to turn it into an end in itself and a groundless game, since they used it in relation to any life situation, any mass form. Thus, the line between life and the theater was blurred, which is especially noticeable in the concept of N. N. Evreinov, who believed that “only insofar as life becomes a theater for a person,“ a theater for oneself ”, only insofar as it is a truly living, active, personal life » 4 . In these views one can see the proletarian ideas of replacing the theater with proletarian art isolated from life.

In the future, theatricalization took a leading place in the festive action. Organizing the emotional and artistic activity of the working people, it contributed to the creation of an atmosphere of optimism, the quickest assimilation of society's values by the individual, and the formation of collectivism.

An important stage in the development of a scientific understanding of the method of theatricalization was the discussion of theorists and practitioners that unfolded on the pages of the journal "Cultural and Educational Work" in the late 70s, the results of which were summed up by the author of this book. 5 , as well as a comprehensive analysis of the problem in a number of scientific research 6 . One of the results of this was the conclusion that the main educational goal of theatricalization is to create, on the basis of emotional reaction on certain phenomena, events of social life of the stereotype of their perception. These social emotionally colored figurative stereotypes are capable of exerting a certain influence on people's consciousness. They are the simplest elements of social class psychology and are extremely important, as they give the public consciousness emotional strength, enthusiasm, actively form feelings of solidarity and internationalism, sympathy for the oppressed, rejection of negative phenomena that exist in our lives.

However, for all their emotional strength and educational possibilities, socio-aesthetic stereotypes are only one of the elements of social class psychology, which takes its place in the complex of ideological influence. The most important socio-political requirement for the use of stereotypes in education is precisely the combination of emotional and figurative influence, which is actualized in the scenario and director's intention, with a deeper ideological reflection of reality on a meaningful event basis. The gap between the emotional-figurative and informational-content is a breeding ground for manipulation - the antipode of theatricalization, which is widespread in the bourgeois world.

The most clear interpretation of manipulation was received in the theory of stereotypes by W. Lippmann, who proved the special role of "emotional and irrational factors that deeply penetrated the process of forming public opinion" 7 . According to U. Lippman, with the help of a stereotype, one can evoke a predetermined reaction to this or that information. At the same time, it is not the content of the information that matters, but the fact itself - an information signal that simultaneously serves as a signal for the desired reaction. The concept of illusory stereotypes reduces the art of propaganda to the ability to pick up and arrange facts in such a way that they exacerbate emotion to highest degree intensity, causing the desired response behavior without an argument. This is precisely the goal pursued by the theory of "manipulation".

Criticizing the bourgeois theories of "stereotyping" and "manipulation", we should not forget that capitalist propaganda has accumulated a large methodological experience of "introducing", "binding" ideology, which also requires serious critical analysis, especially since this experience has a lot bordering on theatricalization. , and even this term is used by bourgeois propaganda. So, one of the theorists of the “new left” T. Rozzak accurately noted that “the rejection of conventional politics in favor of theatricalization is needed again for politics, but one that does not look like politics in appearance and which is therefore more difficult to resist by means of ordinary mental and social protection" 8 .

In modern capitalist society, a noticeable phenomenon has been the transformation of real social and political life into theatrical forms. According to the researcher of the bourgeois mass culture A. I. Kukarkina, “Such theatricalization as a peculiar way of denying the values of empirical and rational knowledge of reality was found in the USA for last years many concrete manifestations, whether it be a speech by a presidential candidate or the conventions of the Republican and Democratic parties" 9 . In these two events in the political life of the United States, the most obvious is the widespread use of emotional and artistic means of psychological influence on a person. And the stronger the scope of the political struggle and the need to put pressure on the individual, the more vivid, colorful theatrical action - the "political show" its organizers are trying to build. The most important stimulators of a person's unconscious involvement in politics are here the flag, music, slogan, social character, and in particular the president. Screensaver songs, game scenes, carnival games, processions through the streets and squares are widely used.

Such a theatrical action is by no means meaningless, as it might seem at first glance. It carries an active propaganda charge. Involving the audience, it would seem, in a simple carnival game, the theatrical action involves them in politics. At the same time, the action turns into a spectacle, and politics itself, with the help of theatricalization, is presented as a fun entertainment.

We see that manipulation is a method of socio-psychological influence on the masses. In contrast, theatricalization is the socio-artistic activity of the masses themselves. Of course, in a theatrical celebration there is always an organizational principle. It is planned, like any pedagogical action, but the program of the organizers is not an end in itself, but a stimulus for the amateur activity of the masses. It is a stimulus, and not the essence, as in manipulation. As for the actual socio-artistic activity of the participants in a theatrical festival, it is not a spontaneous action under the influence of external stimuli, but a conscious activity caused by the content of one or another real event.

Unfortunately, the gap between the emotional-figurative and information-content beginning of theatricalization has become a breeding ground for manipulation in our country since the late 1930s. During these years, the audience was often regarded as a passive object of mass propaganda. At the same time, the psychological and physiological aspects of the process of perception were carefully taken into account, in which the subconscious side of human mental activity was highlighted. It was on her that the propaganda emphasis was made. Thus, from a means of expressing the social needs of the individual, theatricalization sometimes turned into a means of attacking the individual, which made it possible to manipulate the consciousness of the masses. That is why it is necessary to understand well that the term "theatricalization" is not adequate to the same term denoting the manipulation of the masses with the help of theatrical means.

We see that understanding the method of theatricalization in modern world extremely wide. However, the educational effect of its use depends entirely on whose hands this method is in, for what purpose it is used. This is what I want to draw the attention of readers.

Page 1

Considering theatricalization as one of the most effective channels for the implementation and creative development socio-artistic activity of the masses, it is necessary to keep in mind two most important methodological positions.

Firstly, being a component of the spiritual world of the individual, the totality of its psychological parts, the orientation of interests, attitudes and volitional qualities, this activity is always manifested in activities that directly depend on the essential qualities of the individual. In this sense, activity acts as the most important indicator of the spiritual world, the criterion of any educational action. Secondly, noting the direct and feedback relationship between the spiritual essence of the individual and its activity, one cannot consider the latter statically, as the sum of certain actions and deeds. Any kind of activity, including social and artistic, which is the essence of theatricalization, can only be studied in dynamics. The dynamic approach helps to identify the internal springs of activity, to trace their interaction, i.e. provide a basis for the methodology. Such a dynamic approach allows us to consider a theatrical action as an ideological process of activating its participants, helping to turn each person present from a passive observer into an interested person, then into a person who needs to join the action, and, finally, participating in it.

Long-term observations and analysis of the experience of holding theatrical holidays allows us to determine the main stages in the process of activating their participants and the levels of social and artistic activity of the audience corresponding to them.

The first stage covers the time before the holiday, i.e. the process of its preparation and wide information, gradually drawing people into the orbit of the future theatrical action. The pedagogical task at this stage is to reveal the social significance of the holiday, to excite people's interest and attention to what is happening, to create around it an atmosphere of excitement, readiness for perception. At the same time, the social moment of the significance of the event, which will form the basis of theatricalization, comes to the fore. A very important active moment of this stage is informing about the future holiday. The information campaign creates public opinion and a certain social and moral atmosphere around the event that becomes the subject of theatricalization.

The second stage of the activation process covers the actual holding of the holiday, i.e. the implementation of the scenario, which includes such main compositional parts as the prologue, the purpose of the episodes, the climax and the finale. Accordingly, the manifestations of activity are differentiated.

At this stage, the artistic side prevails over the social, being at the same time in harmony with it. According to the level of socio-artistic activity of the masses, two groups can be distinguished in the festive audience - participants and spectators. The pedagogical task is to turn the audience into participants in theatrical action.

The third stage of the process of activation of the participants of the holiday refers to the time after the theatrical action, when the activity stimulated by it, which manifested itself in the finale of the event itself, makes itself felt in the subsequent social activity of the masses, especially in relation to work, in its moral and ethical assessment and comprehension.

The main methods of activating a mass audience in the process of a pedagogically programmed theatrical action are:

§ verbal activation, giving participants the opportunity to express themselves through the word;

§ physical activation that encourages the masses to move and other physical actions;

§ artistic activation, stimulating the emotional sphere of the participants and causing their amateur performances.

An analysis of public opinion shows that socio-cultural activity, as a result of the exact pedagogical impact of theatricalization, also manifests itself in the readiness to be involved in the next holiday, but in the role of a more active participant, and not a spectator.

The behavior of (people) participants in a mass holiday is actively influenced by the public mood, which generates a kind of psychological climate and promotes awareness. Each of his involvement in the common celebration. The public mood is a moderate emotion, which preserves the energy of nervous processes for the entire period of the celebration. It is in this that the mechanism of the major state is manifested, without which there is no full-fledged holiday.

The importance of a mass holiday as a pedagogical system lies in the fact that by combining various forms of cultural and educational work, it becomes a means of knowing reality, contributes to the development and manifestation of a socially justified ideological and moral position in relation to the most significant issues of society, forms a public mood, influences on the minds of the participants.

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Another common mistake in practice is the mechanical approach to theatricalization, understanding it as a universal method inherent in all mass artistic work. This leads to an exorbitant and unreasonable expansion of the boundaries of its use. It is the approach to theatricalization as a comprehensive universal method, inherent in all mass artistic work, that leads to the emergence of falseness, anti-artism. A situation arises when a festive ritual action comes into conflict with the method of theatricalization thoughtlessly used in relation to it, making it primitive.

The passion for “total” theatricalization that appeared at the turn of the 1970s was born from a rather superficial understanding of the social needs of Soviet people, their attitude to the artistic and aesthetic criteria for organizing public leisure. Theatricalization of this kind, when the music sounded louder and more often, poems were read out of place and out of place with pathos, performances of artists and amateur art performances were wedged in insert divertissement - the most primitive way of organizing mass holidays, depriving them of socio-pedagogical depth. Unfortunately, this path became the basis of mass artistic work during the years of stagnation. It was during these years, when studying public opinion about theatrical holidays and rituals, that the author repeatedly recorded a negative attitude towards them based on “extreme loudness”, “impossibility of active participation”.

The correctness of understanding the method of theatricalization as the basis of mass artistic work is confirmed by the entire history of the development of our state. A. V. Lunacharsky wrote about the pedagogical significance of theatricalization at the dawn of Soviet power, arguing that theatricalization of life material “is possible and applicable in work among adults precisely in a certain “pedagogical sense”, since it helps to activate, involve the viewer in action, promotes purposeful perception" 1 . In a note that precedes the scenario of a mass action at the celebration of the Third International, A. V. Lunacharsky, analyzing this scenario of K. A. Mardzhanov, sets out, in essence, his understanding of theatricalization. In his opinion, the script favorably differs from many others in that it is not the action of individual actors, not a specially learned pantomime, not the formal movements of a colorfully dressed mass, but, namely, a mass action, scripted and artistically designed. 2 .

Analysis of the works of P. M. Kerzhentsev, A. I. Piotrovsky, G. A. Avlov 3 and others shows that theatricalization was considered by them not only as a special way of artistic organization of agitation and propaganda material, but mainly as a way of organizing the masses' own activities with the help of artistic means. The idea that the vigorous activity of the masses is the fundamental moment of theatricalization as a specific, different from the theater method of political and educational work, was shared by most theoreticians and practitioners of the 20s.

An important stage in the development of a scientific understanding of the method of theatricalization was the discussion of theorists and practitioners that unfolded on the pages of the journal "Cultural and Educational Work" in the late 70s, the results of which were summed up by the author of this book. 5 , as well as a comprehensive analysis of the problem in a number of scientific studies 6 . One of the results of this was the conclusion that the main educational goal of theatricalization is the creation, on the basis of an emotional reaction to certain phenomena, events of social life, of a stereotype of their perception. These social emotionally colored figurative stereotypes are capable of exerting a certain influence on people's consciousness. They are the simplest elements of social class psychology and are extremely important, as they give the public consciousness emotional strength, enthusiasm, actively form feelings of solidarity and internationalism, sympathy for the oppressed, rejection of negative phenomena that exist in our lives.

The most clear interpretation of manipulation was received in the theory of stereotypes by W. Lippmann, who proved the special role of "emotional and irrational factors that deeply penetrated the process of forming public opinion" 7 . According to U. Lippman, with the help of a stereotype, one can evoke a predetermined reaction to this or that information. At the same time, it is not the content of the information that matters, but the fact itself - an information signal that simultaneously serves as a signal for the desired reaction. The concept of illusory stereotypes reduces the art of propaganda to the ability to pick up and arrange facts in such a way that they exacerbate emotion to the highest degree of intensity, causing the desired response behavior without argument. This is precisely the goal pursued by the theory of "manipulation".

In modern capitalist society, a noticeable phenomenon has been the transformation of real social and political life into theatrical forms. According to A. I. Kukarkin, a researcher of bourgeois mass culture, “such theatricalization as a kind of denial of the values of empirical and rational knowledge of reality has found many concrete manifestations in the United States in recent years, whether it is a speech by a presidential candidate or congresses of the Republican and Democratic parties” 9 . In these two events in the political life of the United States, the most obvious is the widespread use of emotional and artistic means of psychological influence on a person. And the stronger the scope of the political struggle and the need to put pressure on the individual, the more vivid, colorful theatrical action - the "political show" its organizers are trying to build. The most important stimulators of a person's unconscious involvement in politics are here the flag, music, slogan, social character, and in particular the president. Screensaver songs, game scenes, carnival games, processions through the streets and squares are widely used.

We see that the understanding of the method of theatricalization in the modern world is extremely broad. However, the educational effect of its use depends entirely on whose hands this method is in, for what purpose it is used. This is what I want to draw the attention of readers.

To date, interest in theatricalization is very high, but there is still no common understanding of the essence of theatricalization, its definition and functions, an unexplored place in all areas of leisure and its limits of possibility. The most common mistake is an empirical approach to theatricalization to understanding it as an element of artistry. Such a mechanical approach to the theatricalization of understanding it as a universal method is inherent in all leisure mass work leads to an exorbitant and unreasonable expansion of the boundaries of its use. It...

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Lecture number 7.

The concept of theatricality.

Theatricalization - artistically pedagogical method, the essence of which is to show, revitalize, artistic comprehension of a particular fact, document, event.

The most common mistake is an empirical approach to theatricalization, to understanding it as an element of artistry. In this case, the involvement of artistic material (song, music, film fragments, dance, concert number) in one or another mass form of leisure is considered theatricalization. So they fall on a par with the illustration, representing in essence only its more complex variety. Such a mechanical approach to theatricalization, understanding it as a universal method, inherent in all leisure-mass work, leads to an exorbitant and unreasonable expansion of the boundaries of its use. This is the second mistake, common in practice, leads to falsehood, a false situation, anti-artistic, when one or another form of mass work comes into conflict with the method of theatricalization thoughtlessly used in relation to it. There was a passion for "theatrical" theatricalization, the desire to theatricalize everything. Theatricalization of this kind deprives the event of its social and pedagogical depth “where there is excessive loudness”, “pomp”, “the impossibility of active participation”.

Theatricalization should simultaneously act as a method of real and playful activity of the masses, organizing artistically according to the laws of the theater, both the content of the event being held and the very activity of its participants. Theatricalization may not always be applicable, not in any, but only in special conditions that correlate one or another really celebrated event in which this audience is involved. With the image created by the audience of this past or ongoing event, with its artistic interpretation. Such a dual function of theatricalization, synthesizing real and artistic activity, is associated with special moments in people's lives when it is necessary to comprehend the unusual meaning of an event, to express and consolidate one's feelings towards it. Under these conditions, the craving for artistic comprehension, for symbolic generalizing figurativeness, for organizing activities in accordance with the laws of the theater is especially strong. Theatricalization is the most complex creative method, which has a deep social and psychological justification and is closest to art. It is theatricalization as a specific creative method, due to the duality of the function, that contributes to the transformation of a mass holiday, performance, concert into a biofunctional ulitarian-artistic one. A form of art in which “their first and main function (i.e., the force that calls to life is a didactic, pedagogical, informational, propagandistic, agitational, artistic meaning and aesthetic pleasure” function is applied here ... to this aesthetic, vital -practical, communicative function.

Due to its socio-pedagogical and artistic biofunctionality, theatricalization acts simultaneously as a social artistic processing of life material, and a special organization of the behavior and actions of the masses of people.

Mass action always gravitates towards theatricalization.

The figurative solution of the theme is the essence of theatricalization as a special, like theatre, organization of a mass holiday. I.M. Tumanov pointed out that by enriching mass holiday, figurativeness, theatricalization helps the emergence in each of its participants of associations that are close to his own, his worldview and thereby activates, causes the need for action. The psychological and pedagogical aspect of theatricalization as a creative method is very important, the director of a mass action is always a psychologist and teacher, who primarily solves the problems of activating its participants, organizing not a performance, but a mass action in which artistic imagery acts as an effective stimulus.

By its artistic nature, the theatrical script embodies the idea in a vivid figurative form. At the same time, the figurative solution is the essence of theatricalization, and acting as a figurative scenario and director's move, it turns the script into a specific way of processing social information.

Yu.P. Lyubimov quite rightly notes that the search for such a move is specific to the screenwriter and director of mass action. But it would be wrong to reduce theatricalization to artistic comprehension, and here lies the danger of reducing the mass form to a spectacle. The aesthetic value of the event stimulates the social activity of the individual and makes it possible to turn any action related to this event into an organized manifestation of the initiative of its participants. Theatrical forms are communicative formations of culture in which irradiation took place, on the one hand, from artistic activity, on the other hand, in this case, the energy coming from the artistic, value-oriented and communicative activities of people. The close proximity of this or that type of activity to art leaves an imprint on the entire phenomenon as a whole, creating the artistry of specific types of mass action.

Ritual actions are formed on the line of crossing art and people's lives. VE Propp, exploring Russian folk holidays, shows that they represent a kind of artistic comprehension, continuation, artistic model of everyday work, are both a fact of labor and art.

As complex method theatricalization implies not only a special theatricalization of the organization. The cultural initiative of the masses, but also the organization of the material. These are two inextricably linked sides of the same process, in which a special organization of the material is achieved through its dramatic processing, and a special organization of the masses through the artistic design of its real actions, as well as through the situation.

The very phenomenon of the game is excessively complex and polyfunctional. Developing historically together with human society, the game acquired various forms, content and structure at various stages of social evolution and became the subject of research by many sciences. G.V. Plekhanov “Letters without an address” gave a deep understanding of the origin of the game. A.V.Lunacharsky, A.S.Makrenko psychologists, teachers: E.Arkin, L.Vygodsky, A.Blonsky, L.Bohgovich, A.Zaporozhets, A.Leontiev, Elkoni D., A.Usova, R.Fradkina , S. Shmakov, G. Shchedrovsky and other scientists.

Play is viewed as a form of simulation social relations, as one of the most important means of mastering various life situations, as a possible way of teaching a type of behavior, to educating the structure of emotions.

Also, researchers consider the game as one of the levels of leisure (E.V. Sokolov), as a type of aesthetic activity (B.D. Porygin, V.A. Razumny, V.I. Ustimchenko).

K. Reipzoter, an American scientist, defines the game from the point of view of leisure in the following way:

“This is a kind of behavior, individual or collective, including any kind of activity that gives pleasure, is performed voluntarily, without subsequent reward and is possible for a person of any age. Play is a specific activity defined in this moment the physical condition and social attitude of the performer, corresponding to the life of groups or the group of which the performer is a member.

1964 Tokyo. I International Leisure Congress. American scientists I. Scarf considered the game as part of the process of education and training, the conversation was about children's play, but, nevertheless, the spirit of the game is an essential part of the world of an adult.

The game, as a special form of organization of human life, must bear its place in the development of theatricalization as a game activity in interaction with art.

The nature of a collective theatrical game is such that in the process of it, a person most acutely feels the relationship between the game action that is close to him. Theatricalization synthesizes these two components. Game relations are very high for a theatrical action, closely related to the social activity of the individual, since they provide an opportunity not onlyto empathize with certain relationships, but also to actively manifest them, to "test" oneself as a person in different roles.

Celebrating a significant event in history, a person, as it were, relives it again, identifying himself to some extent with the heroes of the event, recreating it in his memory and in a playful theatrical action. The game enables a person to personify, imitating the heroes chosen as a positive example, - the emerging game situation puts him in the position of a participant, and not a spectator of a theatrical mass action.

The game action, firstly, should not illustrate or repeat the real action to the smallest detail, but remind it, evoke appropriate associations, and secondly, these game actions are theatricalized, that is, they are organized using completely different artistic means and cannot be treated as real repetition of relevant actions and situations. Theatricalization today acts as the leading specific method of organizing emotional collective life, within the framework of leisure.

Theatricalization contributes to the creation of a major tone of life, the fastest assimilation by the individual of the norms and values of society.

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10100.		The concept of commodity science	40.48KB
	Commodity science as a scientific discipline appeared and was formed together with the development of commodity production. Commodity research explores the reasons that characterize the quality of products, consumer characteristics of products, develops ways to measure qualities and evaluate the value of product properties.