Theatricalization as a creative method of directing theatrical performances. Methodical work “theatricalization as a director’s method of mass performance and celebration Forms of theatricalization

Konovich Askold Arkadevich

THEATERIZED

HOLIDAYS AND RITES

IN THE USSR

For the proper and skillful organization and conduct of celebrations, you certainly need an artist of such a festival, a professional director and stage director, who knows how to stage the festival like no one else so that it produces a harmonious, organized and majestic spectacle. There is nowhere to escape from professional skill, and the new theater does not at all bring with it the death of virtuosity. The masses themselves cannot create at once and en masse, and for such creativity they put forward from their midst organizers and creators who guess and express the desires, emotions and instincts of the people. Only through them and by them, who have full professional skill and virtuosity, will a new theater be built, no matter what shapes and forms it takes.

From the lecture by A.V. Lunacharsky “How to build a new theater”

Introduction

Celebrating the New Year on the streets of Leningrad clearly and convincingly demonstrated the attitude of the masses towards the holidays and the ineradicable need for them. It was an impressive referendum that answered the question of whether holidays are needed today. Even the enthusiasm of holiday professionals did not anticipate such proportions.

The holiday turned out to be necessary precisely in our days, when the artificial opposition of individual educational influence to artistic and mass work, and often fair criticism of negative phenomena in the organization of holidays, have called into question the very idea of their vital necessity for each of us. An inexperienced person can really assume that a mass holiday neutralizes individuality and does not have a pedagogical impact on each individual person.

Polemicizing with such arguments, I would like to recall the wonderful words of Vladimir Mayakovsky:

I'm happy,

a particle of this force,

what are common

even tears from the eyes.

you can't take communion

great feeling

by name -

Each of us needs to feel like a part of a large social whole, and not retreat into the shell of individualism and consumerism. This is where such a powerful tool as wide holiday communication comes into the arena. The more significant and large-scale the event that brings to life the holiday, the wider, more socially active, and spiritually richer this communication is.

The poet Kirill Kovaldzhi in his poem “Consumers” very accurately managed to formulate the problem of a society of “consumer passion”, in which there is no need for communication, because “the goal is driven out by means”:

Townspeople,

convict slaves

functions, duty, mutual services,

we hurry to the sound of machines whinnying

in loneliness

mass circle.

Unfortunately, for many years this kind of “solitude in a mass circle” was presented as the standard of wide communication in a festive ritual event. The main thing here was the leadership role of the organizers, gathering huge masses of people, regardless of their actual needs in showing emotions about a particular event.

This book makes an attempt to comprehend holidays and rituals as a means of satisfying the spiritual needs of a person, with the goal of social and pedagogical programming of active communication, to consider their formation and development at all stages of the more than seventy-year history of our country.

Having arisen on the basis labor activity, holidays and rituals represent, first of all, permanent line its artistic comprehension, while reflecting in its content the influence of the base and superstructure. On every historical stage development of society, the content of holidays and rituals changed depending on the method of production of material goods and the level of development of the spiritual life of society.

In an antagonistic society, work and holiday opposed each other and were incompatible, which was associated with class stratification. There was a gap between the holiday and the life of society, a narrowing of its scope.

Socialist society presupposes harmony of work and holiday. V. I. Lenin, N. K. Krupskaya, A. V. Lunacharsky and other prominent figures of the Soviet state repeatedly emphasized the importance of the true democratization of holidays, the merging of the lines of official and popular holidays as part of state cultural construction and ideological activity. It is this understanding of the holiday that allows us to say that it is a form of manifestation of amateur cultural activity of the masses and determines its not only social and pedagogical, but also aesthetic essence. Holidays and rituals radically influence human consciousness, contribute to the formation of a worldview, spiritual development, transformation of everyday culture, and ethical views.

Despite such a prominent place in the spiritual life of society, there is not enough serious research on the problems of festive and ritual activities; this topic is poorly covered in the literature from philosophical, socio-psychological and pedagogical positions. The genesis of festive and ritual culture in our country is not an example of progressive development, which is reflected both in its direct scientific study and on the pages of periodicals.

During the years of the country's revolutionary formation, colored by the pathos of renewal and romance, a large amount of literature appeared in which the authors expressed their thoughts about the place of holidays and rituals in the spiritual life of a socialist society. The most interesting, sometimes controversial ideas about the formation of the Soviet holiday can be found in the works of P. Kerzhentsev, A. Piotrovsky, O. Tsekhnovitser, E. Ryumin, which we will try to analyze in this book.

It is with regret that we have to state that today there is practically no serious analysis of the influence of festive ritual culture on consciousness Soviet people, the formation of their worldview and beliefs during the years of the cult of personality and mass repression. No one has tried to measure, from an ideological standpoint, the enormous harm caused by the pompous, often far-fetched, costly holidays that swept the country in the 70s and early 80s, or to comprehend their role in the flourishing of stagnation. The publications of these years did not provide further development of the theory of mass holidays and were of a descriptive nature. All this allows us to talk about a certain underestimation of holidays and rituals as a complex social and cultural phenomenon, as well as a one-sided approach to their study, which breaks the organic connection between the socio-pedagogical and artistic-aesthetic sides. Much attention is paid in the book to understanding this problem in the context of modern trends in the development of holidays and rituals in the USSR.

Despite the fact that the experience gained in the study of festive and ritual culture in the USSR in the 70s turned out to be scattered without any system across various branches of knowledge, and was often of a bravura-accountable nature, which largely corresponded to the essence of the mass events themselves, it is necessary to highlight several generalizing ones works that appeared during these years.

Ya. P. Belousov in his book “Holidays Old and New” (Alma-Ata, 1974) placed the main emphasis on revealing the causes and essence of the celebration. Of particular interest is the analysis of the formation and development of various aspects of the relationship between the general and the special, the new and the old in Soviet holidays.

I. G. Sharoev, in the textbooks “Theater of the Popular Masses” (Moscow, 1978) and “Dramaturgy of Mass Action” (Moscow, 1979), was the first to analyze in detail the script-director’s methodology for organizing various genres of mass action, including holidays in THE USSR. However, the main emphasis in covering the problems of theatricalization was still placed on performances and concerts.

A serious experience in the historical and theoretical study of the holiday is represented by A. I. Mazaev’s monograph “Holiday as a Social and Artistic Phenomenon” (M., 1978), which analyzes the social essence of the holiday, its place in the development of culture and art of our country. Without touching on the methodology of the screenplay and director's implementation, the author focuses on the aesthetic phenomenon of the holidays of the 20s and 30s in the USSR. It is important to note that he was largely able, against a broad background of aesthetic, cultural and social issues, to trace the evolution of the main forms and types of the Soviet holiday, their ritual and entertainment content.

Of great interest is the textbook by D. M. Genkin “Mass Holidays” (M., 1975), in which the author considers the holiday as a complex social and pedagogical phenomenon. It is from these positions that an understanding of the holiday situation is formed, the phenomenon of holiday communication and means of ideological and emotional influence are explored. Without absolutizing the meaning of rites and rituals in spiritual life, D. M. Genkin shows their role in the context of the holiday. His work made the first serious attempt at a methodological understanding of theatricalization, which is considered as an important pedagogical method organizing a holiday.

IN last years A number of publications appeared on the problems of the formation and development of the Soviet holiday. The textbook by I. G. Sharoev “Directing Variety and Mass Performances” (Moscow, 1986) and the textbook by V. A. Triadsky “Fundamentals of Directing Theatrical Performances” (Moscow, 1985) were published, in which much attention is paid to scriptwriting organizational problems of mass theatrical performance.

Let us also note the monograph by A. V. Benifand “Holiday: essence, history, modernity” (Krasnoyarsk, 1986), which philosophically comprehends the social functions of the holiday, the historical aspects of its formation and the possibility of improvement. This book, in our opinion, is far from indisputable. In particular, the proposed categorical-conceptual apparatus and classification of holidays raise questions. But the main thing that the author managed to achieve was to show the holiday as a social institution in a socialist society.

Our task is to focus on considering the holiday from the standpoint of the possibility of socio-pedagogical programming of the activities of the mass audience in the implementation of specific events. Since such a program, which requires the organizers to edit according to the laws of dramaturgy both documentary and artistic material and the real actions of the participants, is understood by us as a method of theatricalization, we will henceforth call the holiday built on it “theatrical.” In this publication, theatrical holidays and rituals are considered as an action organized according to the laws of dramaturgy, which has nothing to do with spontaneous-unconscious forms of collective behavior. This makes it possible to show the structure of the creative method of theatricalization, the process of its formation in the USSR.

Being an inextricable part of the social life of society, holidays commensurate with it the life of each person and act as a special type of socio-cultural activity of the masses, taking place in free time. The theatrical holiday is unusually diverse and involves several types of this activity, the leading among which is ritual.

Unfortunately, today there is a lot of confusion in relating the holiday to the ritual. These concepts are often identified or replaced with each other, and sometimes even opposed. In this book, the analysis of theatrical festive ritual activities is presented in a single complex, since holidays usually include rituals or their elements. In this context, the holiday is considered as a traditional form of socio-cultural activity, which is not reduced to ritual and ritual, because such an understanding will impoverish the interpretation of the holiday. One cannot but agree with N.M. Zakovich, who in his monograph “Soviet Ritualism and Spiritual Culture” (Kyiv, 1980) focuses on the figurative and sensory form of reflection of social relations both in the holiday and in the ritual. With this approach, the relationship between ceremony, rite and holiday is similar to the relationship between the individual, the special and the general, which means that the holiday always has a larger-scale character than the rite. It functions, as a rule, within the framework of a broad socio-ethnic community, and is based on events of an all-Union or regional nature.

However, emphasizing that the holiday has the character of a mass action, and the ritual is collective, one cannot help but dwell on the noticeable leveling of their boundaries that has been taking place in recent years. D. M. Genkin in textbook“Mass holidays” considers the ritual as a “personalized, personal holiday,” since the festive situation that brings to life the ritual is always born of a personal event, concerns primarily a specific individual, and through it, society as a whole. The coincidence of personal and public interests gives such rituals as the presentation of a certificate of maturity, seeing off young men to serve in the ranks Soviet army, dedication to the working class and others, a larger-scale sound. Because of this, the above rituals have become an organic part of such holiday campaigns as “Scarlet Sails”, Young Worker’s Day. This allowed I.V. Sukhanov to speak in the book “Customs, Traditions and Continuity of Generations” (Moscow, 1976) about labor actions isolated from the production process as a natural ritual of the holiday.

The penetration of rituals into the dramatic outline of mass action is so strong that their differentiation in the design and implementation of a particular holiday sometimes presents significant difficulties. But this does not give reason to believe that the holiday absorbs the ritual. In Russia, it was traditionally believed that a ritual can be contained in a holiday, but not merge with it, because it is an accepted way of performing ceremonial actions in conditions of freedom from everyday work, combined with fun and joy. I. Snegirev, in particular, wrote about this in his study “Russian Common Holidays and Superstitious Rituals” (M., 1837). One should fully agree with the idea expressed in the study of L. V. Benifand that the category “festive culture” in certain cases is broader than the category “ritual culture”. One concept does not replace the other, since ritual may well exist outside the festive culture. This means that it is possible to talk about “festive-ritual culture.”

The scenario of each holiday and ritual provides for a precisely structured system of actions deployed in time and space, revealing its ideological and tgmatic intent as the basis for the needs of a community of people in activities regarding a specific event. It is precisely this combination that emphasizes the holistic social formation-system that forms the festive and ritual calendar of various scales (all-Union, regional, specific work collective and individual). The need to develop such a calendar as the foundation for organizing mass art work is indisputable. In this regard, one should take into account the rich experience of Georgia and the Baltic republics, where for several years the Republican commissions for the promotion and introduction of new holidays and rituals have regularly published a detailed calendar-reference book, including folk holidays and rituals of both republican and regional scales.

This is the range of problems raised in this book. I would like to hope that it will attract the attention of a wide range of readers interested in the development and current state artistic and Maass work in our country, will be useful to students of universities of culture and arts studying the problems of mass theater, practical workers involved in organizing theatrical holidays and rituals.

The author is grateful to his mentor and friend, who provided constant support in the process of studying the chosen problem, Dr. pedagogical sciences, laureate of the State Prizes of the USSR and UzSSR, Professor D. M. Genkin, as well as his colleagues who took the trouble to familiarize themselves with the manuscript and expressed a number of valuable advice and comments in the process of preparing it for publication: People's Artist of the USSR, professor, head of the department of pop art of GITIS named after. A.V. Lunacharsky, First Secretary of the USSR Pop Art Workers Association I.G. Sharoev; People's Artist of the RSFSR, professor, laureate of State Prizes of the USSR and UzSSR, head of the department of directing mass performances and celebrations of the Leningrad State Institute of Cinematography named after. N. K. Krupskaya to B. N. Petrov; Honored Artist of the RSFSR, Associate Professor, laureate of the USSR State Prize, Head of the Department of Directing Theatrical Performances of the Moscow State Institute of Cinematography V. A. Triadsky; Doctor of Pedagogical Sciences, Professor, Head of the Department of Theory of Cultural and Educational Work of the Higher School of Culture V. E. Triodin; Doctor of Pedagogical Sciences, Professor, Deputy Director for scientific work Research Institute of Culture of the Ministry of Culture of the RSFSR and the USSR Academy of Sciences to A. S. Kargin; Candidate of Pedagogical Sciences, Associate Professor of Leningrad State Institute of Cinematography named after. N.K. Krupskaya G.M. Birzhenyuk. I would like to say special words of gratitude to the editorial staff of TASS photo chronicles and the Central State Archive of Film, Photo and Sound Documents of Leningrad, who helped in the selection of illustrative material.

CHAPTER FIRST

Theatricalization as creative method

Directing- a unique type of artistic creativity that allows you to create a spatial-plastic, artistic-imaginative solution to the ideological and thematic concept of a work of one of the “spectacular arts” using expressive means unique to it. A distinction is made between directing drama and music. theater (opera, operetta, ballet), cinema, stage, circus, theatrical performances and public holidays.

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

Theatricalization- organization within the framework of the holiday of real event material (documentary and artistic) and a mass audience (verbal, physical and artistic activation) according to the laws of dramaturgy on the basis of specific eventfulness, giving rise to the psychological need of the collective community to realize the festive situation (A.A. Konovich).

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

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

1. Organization of stage action (visible disclosure of dramatic conflict). The action develops along a through line.
2. Creation of an artistic image of a performance or performance.

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

It is also clear that theatrical performance is one of the components of the spiritual and artistic culture of both ethnicity and society. When we say “theatricalization,” we mean a phenomenon belonging to the field of art, an appeal to the emotional-imaginative 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, for these contradictions are the driving force through which reality acquires its inherent dynamic and dialectical character, necessary for creating action in a theatrical performance, holiday or ritual.

One of the most important features of directing a mass holiday is that it is, as it were, directing life itself, artistically comprehended. The director of a mass theater works, first of all, with a real collective hero and therefore must make extensive use of mechanisms social psychology. The psychological and pedagogical preparation of the director-organizer of mass celebrations is as important as artistic and creative preparation.

Organization: TSPU im. L.N. Tolstoy

Locality: Tula region, Tula

Annotation: The article is devoted to the description of the expression method creativity– theatricalization, which acts as a way of adaptation junior schoolchildren after kindergarten. The role of theatricalization in the classroom is described, the connection of this method with pedagogy and psychology is shown, and the principles of a lesson built on theatrical activity are identified. Particular attention is paid to the types and forms of theatricalization.

Keywords: theatricalization, creativity, pedagogical methods of teaching in primary school, principles of implementing the method in the classroom, primary school age.

School is new stage in the development of the child’s personality. Transition from senior to school age in junior school. Changing the familiar to the new. Leaving the comfort zone causes a feeling of anxiety in most adults, what can we say about a child. Therefore, it is not surprising that he experiences emotional discomfort associated with inaccurate ideas about the teacher’s requirements, the learning conditions, and the norms of behavior in the classroom.

You can often find inertia towards learning from a student. He completes all the tasks, maybe even solves everything quickly and correctly, but you “can’t get initiative” from him and such a child will forget the material received after a couple of lessons. The teacher cannot force the child to be attentive, active and independent in the lesson. He can only make serious learning interesting: ignite, attract, invite the child to new system relationships: educational cooperation, mutual understanding, self-affirmation. The teacher will be helped with this by: lessons - games, lessons - excursions, lessons - theatrical performances, lessons - improvisation, including theatrical games. All this contributes to acclimatization in new school uniforms children's activities.

The most effective ways, which visually and emotionally conveys knowledge and experience, are various forms of theatrical activity. The role tried on by the child helps to live the fictional situation for real, as in life. Theater helps a child to openly express himself in all areas of life. It’s not uncommon for theater to help reveal new facets in children that were hidden from the rest of society.

It is theatrical activity that is the bridge between the preschool world and school reality. She is that unquenchable source of development of the child’s feelings, experiences and emotional discoveries. Theatrical activities help the child to relax, convey his personal creative ideas, and gain satisfaction from the activity. Everything reveals the child’s personality, his individuality, and creative potential. The child has a chance to express his feelings, experiences, emotions, and resolve his internal conflicts. Theatrical activities solve many problems of pedagogy and psychology related to:

Art education and raising children;

Formation of aesthetic taste;

Moral education;

Development of memory, imagination, initiative, speech;

Development of communication skills;

Creating a positive emotional mood, relieving tension, solving conflict situations through theatrical play.

Lessons based on theatrical activities expand children's learning opportunities and allow them to hold the child's attention for a long time. This activity is based on the principles:

Constant feedback;

Dialogue of the educational process;

Optimization of development (active stimulation);

Emotional uplift;

Voluntary participation (freedom of choice);

Immersion in the problem;

Free space, harmonization of development.

Theatrical activity is one of the most effective methods of expressing creative abilities. Everyone can discover something of their own in it. However, in the theater one of the main aspects is delicacy in communication. If there is no harmony in dialogical speech in the classroom, it will be impossible to build a coherent and competent lesson. Therefore, the main thing for a teacher is to establish a connection between children, because sensitivity and delicacy in communication between students and in their behavior are those personality traits that require special pedagogical efforts to develop.

Today there is a largenumber of tools, techniques, methods for developing imagination in the classroom. Theatrical activities occupy an important place among them. After all, the quintessence of this method lies in the interweaving of sounds, colors, and melody, which help to reveal the image from different sides.

Theatricalization is a complex creative method that can manifest itself in various forms:

Games that imitate images of animals, people, literary characters;

Role-playing dialogues based on text;

Staging works;

Staging performances based on one or more works;

Improvisation games with playing out the plot without prior preparation.

Theatrical forms are also diverse:

Tabletop theater;

Picture Theater;

Puppet show;

Finger Theater;

Mimic Theatre;

Theater of plasticity and gesture, etc.

One of the most accessible, widespread and useful forms in schools for first-graders is finger theater.

Finger theater helps develop fine motor skills of the hands, which activates the activity of the child’s brain and psyche.

Koltsov M.M. writes: “The movements of the fingers, historically, during the development of mankind, turned out to be closely related to speech function. The development of hand and speech in people proceeded in parallel, that is, simultaneously. The development of a child’s speech is approximately the same. First, subtle movements of the fingers develop, then articulation of syllables appears. There is every reason to consider the hand as an organ of speech.”

Bekhterev V.M. and Koltsov M.M. in their studies they proved: the level of speech development is directly dependent on the degree of formation of fine movements of the fingers.

Therefore, regular exercises for the fingers promote the mobility and flexibility of children’s hands; the child’s stiffness of movements and nerve clamps disappear, which greatly facilitates the acquisition of writing skills by a first-grader. With the help of theatrical performances, finger exercises acquire a cheerful, joyful, easy character, children perform all the exercises without difficulty.

Currently there are a great manymeans, techniques, methods for developing imagination in the classroom. However, from all the variety given to us, we need to choose those that will be most effective when applied to primary schoolchildren.

Bibliography:

Adamovich, E.A. Reading in primary school/ E.A. Adamovich, V.I. Yakovleva. - M. - 1967. - P. 222.
Student adaptation: Methodical piggy bank// School psychologist. –2007. –No. 18. – P.27-38.
Buchkovskaya, I.V. Educational possibilities of theatrical play in the formation of communicative abilities of children of primary school age / I.V. Buchkovskaya // Perm Pedagogical Journal. – 2013. - No. 4. – P.2-7.

Zaplatnikova Valeria Sergeevna – student, Tula State Pedagogical University named after. L.N. Tolstoy, Russia.

Scientific supervisor: Vladimir Alekseevich Romanov –Doctor of Pedagogical Sciences, Professor, Professor of the Department of Pedagogy, Disciplines and Methods primary education , Russia.

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

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

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

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

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

2. Creation of an artistic image of a performance or 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

Features of the theatrical performance:

1. The script for a theatrical performance is always based on documentary
mental material (documentary object of attention of the screenwriter).
2. Theatrical performance does not imply the creation of psychology
fictional heroes (characters), but the creation of the psychology of situations in which real (documentary) forces operate and develop
3. Theatrical performance is multifunctional and solves the following problems: didactic (edifying), informational (vocal), aesthetic, ethical, hedonistic (pleasure) and communicative
4. Theatrical performance, as a rule, is one-time and exists
as if in a single copy.
5. Theatrical performance is distinguished by a variety of forms, spatial and stylistic.
Theatrical performance, holiday and ritual do not exhaust the possibilities of using theatrical performance in various variants and for various purposes.
If a theatrical performance is, first of all, a spectacle that takes place on one or another stage, which does not require
direct participation of spectators 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 - game program, which combines theatrical performance and elements of direct activation of the audience with their involvement in the stage action.

Theatricalization can not always be used, not in any, but only in special conditions that correlate this or that event in which a given audience is involved, with the image of this event created by the audience, with its artistic interpretation. This duality of the functions of theatricalization is associated with any moments in people’s lives when they need to comprehend the extraordinary meaning of an event, express and consolidate their feelings in relation to it. Under these conditions, the craving for artistic comprehension, for symbolic generalizing imagery, 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 social and psychological justification and is closest to art.

Of course, it is not enough just to see a special subject of theatricalization. You need to be able to organize it. The most important tool here is imagery, component of the main essence theatricalization, which allows you to show this or that fact, event, episode in action. Real imagery and closely related artistic imagery are the basis of theatricalization, allowing one to build an internal script logic and select means of artistic expression. It is imagery that gives theatricality life, creates a divide between theatrical and non-theatrical forms of mass cultural and educational work.

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

Types of theatricalization.

1.Theatricalization of a compiled or combined form– thematic selection and use of ready-made artistic images and various types of art and connecting them with each other using a screenwriting and director’s technique or course.
The compiled method is used in theatrical concerts, performances, etc. The main task of the screenwriter when working with this method is to determine the script-semantic core of the entire program as a whole, episode or block, the compositional structure of the entire script as a whole, 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 act, its genre correspondence to the theme.

2. Theatricalization of the original form– 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 has social 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-semantic core of each episode and the script as a whole. The synthesis of documentary and fiction should consist not only in the thematic selection of material, but also in their organic merging according to the most important principle - the emotional development of thought. This is a more complex form of creating a script, requiring organizational experience, the ability to select and edit ready-made material and find a move for ready-made numbers, but also professional skill, the director’s ability to stage a new number, according to the script, and organically combine fiction and documentary material into episodes. This is the most complex look theatricalization.
A dramatized document, a dramatized verse, a dramatized song - these are the main components of creating an artistic image of an episode.

3. Mixed theater performance– use of the first and second types. Includes compiling existing ones and creating new ones. It is built on the principle of thematic selection and combining them into a composition using a cross-cutting scriptwriting and director's move and introducing into this basis the author's original vision and solution. Includes the compilation of ready-made texts and numbers and the original creation of ready-made texts and numbers. Mixed-type theatricalization opens up great opportunities for the development of imaginative thinking of the director and organizer.
All three types of theatricalization are primarily used to organize theatrical theme 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 ideological system. educational work.
Theatricalization in the field of cultural - educational activities, is developing in two main directions. The first is associated with its recreational function (these are balls, masquerades, carnivals;) The second is associated with the transformation of life into artistic value by creating an artistic image based on it. Decoration, colors, fireworks are not yet theatrical. You need to look for a capacious image - a generalization that emotionally reveals the director’s thought through expressive means.
In theatricalization as a special form of art, the most important component of mass performance comes to the fore - the spectator, the collective hero. He craves such a mass action that would force him, associatively arranging facts and events in his memory own life, to be a participant in the performance, to be included in it.

2c. Hero in drama and theatrical performances.

The hero of a dramatic work is always a son of his time, and from this point of view, the choice of a hero for a dramatic work is also of a historical nature, determined by historical and social circumstances. At the dawn of Soviet drama, finding a positive and negative character was easy for authors. A negative hero was anyone who clung to yesterday - representatives of the tsarist apparatus, nobles, landowners, merchants, White generals, officers, sometimes even soldiers, but, in any case, everyone who fought against the young Soviet power. Accordingly, it was easy to find a positive hero in the ranks of revolutionaries, party leaders, heroes civil war. Today, in a period of comparative peacetime, the task of finding a hero is much more difficult, because social conflicts are not expressed as clearly as they were expressed during the years of revolution and civil war, or later, during the Great Patriotic War.

A “positive” hero also lies in the fact that in drama, as in literature in general, in a number of cases the hero with whom we sympathize is not an example to follow, a model of behavior and life position. We sincerely sympathize with them as victims of a society living according to the laws of animal morality, but we naturally reject their way of struggling with their lack of rights and humiliation. The main thing is that in life there are no absolutely positive or absolutely negative people. Thus, in life, a “positive” person would have no reason or opportunity to turn out to be “negative” and vice versa—art would lose its meaning.

The hero of a dramatic work, in contrast to the hero of prose, whom the author usually describes in detail and comprehensively, characterizes himself, in the words of L. M. Gorky, “autonomously,” by his actions, without the help of the author’s description. This does not mean that remarks cannot be given brief characteristics heroes. But we must not forget that stage directions are written for the director and performer. The spectator in the theater will not hear them. Work with real characters should be structured in such a way that people gradually develop a sense of the necessity and organic nature of the actions, mise-en-scenes, texts that are offered to them, as if this is their proposed plan. In practice, a common mistake of screenwriters and directors is the transformation the hero of a theatrical performance into an actor, often such heroes are made participants in play scenes, forced to read poetry, sing, dance, etc., putting him in an awkward position. The essence of theatricalization is that the real hero does not act on stage, but acts naturally and carried specific information that the screenwriter is called upon to emphasize and strengthen with artistic means. The director’s task is to create an atmosphere of naturalness, simplicity, and the absence of falsehood. Preliminary work on the hero's performance is necessary, the absence of falsehood. A trusting atmosphere at rehearsals helps the hero fit into the theatrical action and build a logic of behavior.

Ministry of Culture Russian Federation

Kemerovo State University culture and arts

Theater Institute

Department of Directing Theatrical Performances and Celebrations

Theoretical basis classical directing and acting skills

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 script-director's theatricalization.

3.The language of theatricalization.

1. The concept of "theatricalization".

Directing- a unique type of art creativity, allowing you to create spatially plastic, artistic and figurative solution ideological and thematic concept of a work of one of the “spectacular arts” with the help of only its inherent expressive means. A distinction is made between directing drama and music. theater (opera, operetta, ballet), cinema, stage, circus, theatrical presentation and mass holidays.

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

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

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

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

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

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

Features of the theatrical performance:

1. The script for a theatrical performance is always based on documentary
mental material (documentary object of attention of the screenwriter).
2. Theatrical performance does not imply the creation of psychology
fictional heroes (characters), but the creation of the psychology of situations in which real (documentary) forces operate and develop
3. Theatrical performance is multifunctional and solves the following problems: didactic (edifying), informational (vocal), aesthetic, ethical, hedonistic (pleasure) and communicative
4. Theatrical performance, as a rule, is one-time and exists
as if in a single copy.
5. Theatrical performance is distinguished by a variety of forms, spatial and stylistic.
Theatrical performance, holiday and ritual do not exhaust the possibilities of using theatrical performance in various variants and for various purposes.
If a theatrical performance is, first of all, a spectacle that takes place on one or another stage, which does not require
direct participation of spectators 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 theatrical performance and elements of direct activation of the audience with their involvement in the stage action.

Consequently, the method of theatricalization 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 theater and has a deep socio-psychological justification.

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

· the scale of the selected event;

· scale of selection of historical and heroic images;

· lack of psychological nuances in the acting;

· large plastic movements, monumental gestures;

· large drawing of mise-en-scène;

· 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, litotes/;

· use of the latest technology and technical effects.

So, directing mass performances and celebrations, based on the general foundation of directing, has its own specifics in the script and director's processing through the theatricalization of real life episodes, their subordination to the script and director's course and the mandatory inclusion of the audience in the action. In this theater of life, the masses are always the hero, and not just a spectator.

Theatrical presentation 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 form of art, it comes to the fore the most important The component of mass performance is the spectator, the collective hero.

2. Types of theatricalization.

2. Theatricalization of the original form– 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 has social 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 of the emotional development of thought and the creation of a script-semantic core of each episode and the script as a whole. The synthesis of documentary and fiction should consist not only in the thematic selection of material, but also in their organic merging according to the most important principle - the emotional development of thought. This is a more complex form of creating a script, requiring organizational experience, the ability to select and edit ready-made material and find a move for ready-made numbers, but also professional skill, the director’s ability to stage a new number, according to the script, and organically combine fiction and documentary material into episodes. This is the most difficult type of theatricalization.
A dramatized document, a dramatized verse, a dramatized song - these are the main components of creating an artistic image of an episode.

3. Mixed theater performance– use of the first and second types. Includes compiling existing ones and creating new ones. It is built on the principle of thematic selection and combining them into a composition using a cross-cutting scriptwriting and director's move and introducing into this basis the author's original vision and solution. Includes the compilation of ready-made texts and numbers and the original creation of ready-made texts and numbers. Mixed-type theatricalization opens up great opportunities for the development of imaginative thinking of the director and organizer.
All three types of theatricalization are primarily used to organize theatrical theme 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 ideological educational work.
Theatricalization in the field of cultural and educational activities is developing in two main directions. The first is associated with its recreational function (these are balls, masquerades, carnivals;) The second is associated with the transformation of life into artistic value by creating an artistic image based on it. Decoration, colors, fireworks are not yet theatrical. You need to look for a capacious image - a generalization that emotionally reveals the director’s thought through expressive means.
In theatricalization as a special form of art, the most important component of mass performance comes to the fore - the spectator, the collective hero. He longs for such a mass action that would force him, by associatively recalling the facts and events of his own life, to be a participant in the performance, to be included in it.

3. Theatrical language

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

When 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 theatrical performance.

Symbol translated from Greek language means a sign (attribute, label, stamp, seal, password, number, dash, signal, motto, slogan, emblem, monogram, coat of arms, code, stamp, label, imprint, scar, label, blind, typo

Scar and the like).

The root of the same name has a Greek verb 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 conventional material identification mark, understandable only to a certain group of people. For example, the sign of fish was among the first Christians and served as a kind of password in the conditions of persecution of Christians by pagans.

Analyzing the emergence of a symbol in 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 forbidden to say given name brides / the word “bride” itself is fictitious and means “unknown” / in order to confuse the spirit of the family hearth, and not to irritate it by introducing a stranger into the family. Allegory with its introduced connection has been an artistic knowledge of the world from the very beginning. When coming up with a substitute word, it was necessary to understand the properties of the object and give its name a replacement that had some common features with a subject, for example, a brave, dexterous fellow - a clear falcon/. What properties should the substitute word have? It had to be incomprehensible to hostile forces, but generally understandable to interested members of the clan."

So, in the process of joint activity and communication of certain groups of people or entire societies, conventional signs were developed, behind which stood objects, thoughts or information.

Allegory (Greek “allegory”) is a technique or type of imagery, 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 - an allegory of war, Themis - an allegory of justice; the snake wrapped around the bowl serves as 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 form 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 are - these are allegories-personifications; they are so firmly entrenched in our consciousness that they are perceived as alive.

Allegory- allegory, depiction of an abstract idea through a specific, clearly represented image. The connection between image and meaning is established in allegory by analogy (for example, a lion as the personification of strength, etc.). In contrast to the polysemy of a symbol, the meaning of an allegory is characterized by an unambiguous, constant certainty and is revealed not directly in the artistic image, but only through the interpretation of explicit or hidden hints and indications contained in the image, that is, by subsuming the image under some concept.”
Life, death, hope, anger, conscience, friendship, Asia, Europe, the World - any of these concepts can be represented using allegory. The power of the allegory lies in the fact that it is capable of personifying humanity’s concepts of justice, good, evil, and various moral qualities for many centuries.
Allegory has always played a prominent role in the staging of mass festivals of all times and peoples. The significance of allegory for directing and real action is, first of all, that it always, however, as a symbol and metaphor, presupposes a two-dimensionality. The first plan is an artistic image, the second
the plan is allegorical, determined by knowledge of the situation, historical situation, and associativity.
Association, that is, the creation in a person’s mind of a semantic or emotional parallel to an ongoing phenomenon, its involuntary replacement with an already familiar synonym, forces the viewer to speculate on what is only stated or 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 play “Young Guard” is an allegory of the Motherland. Interacting with the actions and struggle of the Young Guards, who gave 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 using allegorical means in the celebrations of the French Revolution was taken up by Soviet directors in the mass celebrations of the 20s.

For example: “Burning of the Hydra of Counter-Revolution” - a mass theatrical

performance staged in 1918 in Voronezh.

Director I.M. At the 6th World Festival of Youth and Students in Moscow, Tumanov arranged the gymnasts in such a way that they turned the stadium field into a map of the world.

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

“NO!”, which appears 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 self-empowerment human races, their struggle for freedom and independence.

On the field there are 10 thousand gymnasts dressed in white, black and yellow suits

colors. It started with the whites occupying the center of the field. Straightening my shoulders,

with their legs spread, they stood imperiously on the ground. They settled around them,

half-bent, yellow, symbolizing the peoples of Asia, and on their knees - black - Africa that has not yet awakened. But now the yellow ones straighten their backs, some of the whites help them, the blacks rise from their knees, the yellows begin to move, the blacks stand up to their full height. The conflict is developing rapidly. The freedom-loving theme of equality of people of different skin colors, despite the fact that it was expressed by specific means of gymnastic exercises, achieved enormous artistic expressiveness. This artistic image, metaphorical and allegorical according to the director's decision, reveals the most complex life phenomena through their collision and comparison.

Still, it is necessary to note that in modern art allegory gives way to more figuratively and psychologically developed symbolic images.

Metaphor- a very important means of emotional influence 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. There are three types of metaphors:
metaphors of comparison, in which an object is directly compared with another object (“colonnade of a grove”);
metaphors of a riddle in which an object is polished by another object (“they beat their hooves on the frozen keys” - instead of “on the cobblestones”);
metaphors in which the properties of other objects are attributed to an object (“poisonous gaze”, “life burned out”).
In spoken language, we almost do not notice the use of metaphors; they have become familiar in communication (“life has passed by”, “time flies”). IN artistic creativity the metaphor is active. It promotes creative imagination and guides it through imaginative thinking. For a director, 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 and emotional effect it creates. Here you need the ability to see the background of the metaphor, the hidden comparison contained in it. Because the novelty and surprise of many deeply meaningful metaphors more than once became an obstacle to their
correct perception - thereby short-sighted viewers and critics spiritually impoverished themselves.
The range of use of metaphor in performances is enormous: from external design to the figurative sound of the entire performance. The metaphor is even more important for directing mass theater as a theater of great social generalizations, dealing with the artistic understanding and design of everyday life. real life. It is a metaphor that can give a real fact
the aspect of artistic comprehension, interpretation, can help recognize the real hero. Ways of using metaphor in the language of theatricalization.
1. Design metaphors. The ways of creating an image through metaphor in the theatrical set design of a performance are different. A thought, an idea can be expressed through layout, design, design, details, light, through their relationship 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 rush feverishly around the stage, piling movement on 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 logic
signs built almost in form, capacious and clear in content
3. Metaphor of mise-en-scène.
Metaphorical mise-en-scène requires particularly careful development of plastic movements and verbal action 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 theater, and with its help the director of a mass performance can and should create images of great generalizations. However, despite this scale, it also has great importance an inextricable connection with the life experience of a given social community participating in mass
action. Only in this case can the metaphor be understandable and capable of having 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 relationships developing between the characters more clearly and clearly for the audience. The audience gets the opportunity to quickly and accurately determine and formulate their own position in relation to what is happening, which in turn is the first and necessary prerequisite for the formation of an active attitude in the audience to the received stage information.

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 to use symbols and associations characteristic of the director’s work:

a) in resolving each episode of the performance;

b) at the culmination of the performance;

c) in conclusion with the viewer of “conditional conditions”;

d) in the artistic design of theatrical mass performances.

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

great interest in staging theatrical performances and celebrations 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 verisimilitude is dying, its entire arsenal of expressive means must be scrapped. A theater of a different poetic truth emerges, requiring maximum purity, accuracy, and specificity of expressive means. Any action must carry a huge semantic load, not an illustration. Then every detail is on stage

will turn into a realistic symbol"

There are three types of metaphors:

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

object (“colonnade of the grove”);

2. riddle metaphors, in which an object is polished by another object (“they beat their 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 spoken language, we almost do not notice the use of metaphors; they have become familiar in communication (“life has passed by”, “time flies”). In artistic creativity, metaphor is active. It promotes creative imagination and guides it through imaginative thinking. For a director, metaphor is valuable because it is used precisely as a means

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

It is said in Aristotle's Poetics. Only this cannot be learned 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 and emotional effect it creates. Here you need the ability to see the background of the metaphor, the hidden comparison contained in it. This makes the viewer’s thought and imagination work. Metaphor requires spiritual effort from us, which in itself is beneficial.

SYNECDOCHE (Greek Συνεκδοχη co-implying) - a stylistic device, the use of the name of a part instead of the whole, a particular instead of a 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 similar expression “so much bayonets", in the sense of soldiers, used like the first in calculation, is often cited as an example of metonymy on the grounds that there is a relation between an instrument and an agent. Thus, Pushkin’s “Everything flags will come to 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 instability and confusion of terminology is due to the fact that they proceed from attempts to accurately establish the object that stands behind a given expression, which almost always presents great fundamental difficulties due to the very nature of verbal (in particular, poetic) allegory. At its core, however, the synecdochic process of thought differs significantly from the metonymic. Metonymy is a kind of condensed description, consisting in the fact that from the content of a thought the essential for this case, for a given view, an element. Synecdoche, on the contrary, expresses one of attributes of an object, names a part of an object instead of its whole (pars pro toto), and the part is named, but the whole is only implied; thought focuses on that of the attributes of an object, on that part of the whole that either catches the eye, or for some reason is important, characteristic, convenient for given case. In other words, the thought transferred from the whole to a part of it, and therefore in synecdoche (as in metaphor) it is easier than in metonymy to talk about portable sense 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 compressed description, in synecdoche - the relation of the whole to not only what is isolated from it, but also isolated, thereby, its parts. This part can stand in different relationships to the whole. A simple quantitative relation gives the most indisputable synecdoche 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 a metonymy. Based on this distinction between both phenomena, it is easier to avoid fluctuations - since they are generally completely surmountable - in the definitions tropical the nature of this or that expression, such as those discussed above. “So many bayonets”, “All the flags”, etc. will then turn out to be synecdoche, regardless of the point of view on co-implied subject, for, no matter what is meant by flags- are they just ships, are they merchant ships, etc. - this expression indicates only one of the signs, one of the parts of the fused content of thought, which as a whole implied. Other examples of synecdoche: “hearth”, “corner”, “shelter” in the sense Houses(“at the native hearth”, “in the native corner”, “hospitable shelter”), “rhinoceros” (the name of the animal based on one of its parts that catches the eye), “Hey, beard!”, “Patched” (by Gogol about Plyushkin ); “live to see gray hair” vm. until old age, “until the grave”, “summer” in the sense of the year (“how many years”), “bread and salt”, “little red” (ten-ruble note), etc.

An example of the use of synecdoche is the figurative words of M.A. Sholokhov about the character of a Russian person. By 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 thirty grams of front-line 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 hardships and hardships, going to the 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 talks about musicians: one of them played the double bass, the other played the flute. “The double bass drank tea with a bite, and the flute slept with the fire, the double bass without the fire.”

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

I don’t value loud rights dearly,
Which makes more than one head spin.

(A. Pushkin)

Believe me: I listened not without sympathy,
I greedily caught every sound.

(N. Nekrasov)

Rifle fire between the rocks
Quite a few furious curses,
He tore out quite a few lives.

(D. Minaev, translation from “Childe Harold” by Byron)

Oh, I didn’t live badly in this world!

(N. Zabolotsky)

2) A stylistic figure of understatement of an object, which has another name - reverse hyperbole, for example in the fairy tale “Tom Thumb” or “Thumbelina Girl” (cf. also the expression “the sky seemed like a sheepskin”). In this sense, L. is used in the poems of N. Nekrasov:

And walking importantly, in decorous calm,
A man leads a horse by the bridle
In big boots, in a short sheepskin coat,
In big mittens... and he's as small as a fingernail!

In A. Griboyedov’s comedy “Woe from Wit” Molchalin says:

Your Pomeranian, your lovely Pomeranian, is no bigger than a thimble.
I stroked him all over; like silk wool.

The poem “My Lizochek” by A. Pleshcheev, set to music by P. Tchaikovsky, is based on a second meaning (reverse hyperbole):

My Lizochek is so small,
So small
What from a lilac leaf
He made an umbrella for shade
And he walked.
My Lizochek is so small,
So small
What from the wings of a mosquito
I made two shirtfronts for myself
And - into starch...

Use of symbol, metaphor, allegory, etc. in theatrical production, this is an urgent need that arises 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 viewer should not perceive the technique, not the form, but through the technique and form - 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 its real audience, and determined by this experience. Only the artist who lives one life with his people, without breaking away from them, is capable of moving art forward. This is the basic principle of selecting allegorical means of expression 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, M„ 1990

4. Tikhomirov “Conversations about directing theatrical performances” 1977

5. Sharoev N.G. “Directing mass theatrical performances” 1980

6. M. Petrovsky

7. Tumanov I.M. “Directing a mass celebration and theatrical concert”, M, 1970