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Director of mass performances

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

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

Qualification requirements.

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

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

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

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

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

Discipline 1: Theoretical aspects and specific features of RTPiP. 7. A variety of types of theatrical and festive events; the essence of the concepts “Theatrical Performance”, “Holiday”, “Spectacle”, “Show Program”. A variety of types of theatrical and festive events; the essence of the concepts “Theatrical Performance”, “Holiday”, “Spectacle”, “Show Program”. Spectacle – 1) forms of art that directly influence the visual and emotional perception of current events. The types of performing arts include: theater in all its types and genres, circus, street theaters, festivities, holidays, sports competitions, etc. 2) an incident, an event, an incident visible to the eyes, everything that we consider, what we look at, and also theatrical performance, theatre. (Dal V.I. Explanatory dictionary of the living Great Russian language vol. 1. - M. 195) Holiday - Dmitry Mikhailovich. Genkin. “A holiday is a complex form of mass work, including several simultaneously occurring events, united by a theme and idea, combining the active action of the participants with their perception of the spectacle. The pedagogical value of the holiday is to satisfy the interests of people with different cultural levels, raising it to a higher level.” Anatoly.Ivanovich. Chechetin. “A festival is a complex of cultural and artistic events, usually dispersed over a vast territory, and those present at it act both as spectators and as participants in the actions at the same time.” a multifaceted social phenomenon that reflects the historical, economic and artistic values ​​of the people. This is a collectivist phenomenon, which necessarily requires the presence and direct participation of a group of people and spiritual connections between them. a traditional celebration or fun organized by a people, class, one or another social group, team, family, associated with their achievements in the field of socio-political and labor activities, with achievements in the field of science, culture, art, education, and youth education. It is based on an event, several centers of action on one topic, and the viewer as a participant or observer. The most important form. It's theatrical in itself. The script is written in blocks (in which there are episodes). a complex of events of various types and entertainment forms of different genres; a multifunctional phenomenon reflecting the era, life of society and its culture; the oldest and most effective means of mass communication. (according to Chernyak Yu.M.). This is a complex form of mass leisure work, including several simultaneously occurring events, united by a theme and idea, combining the active action of the participants with their perception of the spectacle. It is a complex form that has the greatest social significance and whose main purpose is human communication. A special type of social and cultural life of people, which involves many spectacular forms operating simultaneously: a carnival procession, manifestation, performance or concert, rite or ritual, mass celebrations. Great Encyclopedia (edited by Yushakov S.N. etc. - St. Petersburg: Enlightenment 1896, a day established to honor God or a person, or remember important events with the suspension of daily activities. Great Encyclopedia (edited by Yuzhakov S.N.) Theatricalization – 1) Creation of an artistic image according to the laws of theater dramaturgy with the most active participation of the majority of the audience. 2) The essence of theatricalization as a creative method is the artistic understanding of real events in the life of a country, a specific group or even an individual, in which these events are embodied in a vivid figurative form containing their artistic interpretation. Performances based on the theatricalization method are called theatrical performances. Etc. The main characters are real personalities, directly related to the event around which the figurative solution of the theatrical performance is built. (according to Petrov B.N.) By theatrical performance we mean a theatrical performance, holiday or ritual. Theatrical performance is a special way of satisfying the spiritual needs of people, a special type of art. Theatrical performance is always a child of everyday life, the realities of life, the need for their spiritualization and existence in a different emotional and figurative form. Thus, a theatrical performance 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.

It should be noted the characteristic features of theatrical performance that distinguish it from other types of artistic creativity.

1. The script for a theatrical performance is always based on documentary material, which we call the documentary object of the screenwriter’s attention.

2. Theatrical performance does not imply the creation of the psychology of 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 tasks: didactic (edifying), informational (cognitive), aesthetic, ethical, hedonistic (pleasure) and communicative.

4. A 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. TP forms:

1. A theme evening is a multi-genre phenomenon in form, giving scope to creativity, initiative, and invention. The most common genres of thematic evenings include: story evening, report evening, portrait evening, rally evening, ritual evening.

2. Literary and musical composition. A literary and musical composition has its own “score,” which includes separate scores: poetic, musical, lighting, and even color. And the more united and focused they are, the more successfully we will lead the viewer.

4. Ceremony is an established solemn order for doing something.

5. Express - theater. (propaganda brigade or theater of pop journalism).

1) a bright pop performance, spectacle, display. Synthesis of all types of art.

2) a magnificent stage spectacle with the participation of popular performers variety shows, circus, ballet, etc.

8. The relationship between the concepts of “illustration” and “theatricalization”, imagery as the aesthetic basis of the director’s theatricalization of the festival. The relationship between the concepts of “illustration” and “theatricalization”, imagery as the aesthetic basis for the director’s theatricalization of the festival. Illustrations and theatricalization are ways of artistic solution to a theme; with their help, the TP is organized and dramaturgically built. These techniques allow you to artistically organize all the material, dramaturgically subordinating the means of expression used (music, poetry, dance, etc.). The method of illustration, like the method of theatricalization, does not imply a random, arbitrary assembly of poems, songs, dances and other expressive means, but organized dramaturgically in accordance with the theme of the event and the creative intent of its directors. In both cases, it is important to determine the extent and order of use of various expressive means that make up the material of the event. The purpose of the illustration technique is to enhance the perception of the content of the event by using various expressive means (documentary material, poetry, prose, music, etc.).

The technique of illustration has been known in practice for quite some time. Back in the 20-30s, it was skillfully used in organizing various forms of mass work. The task of all expressive means used in the structure of TP is to enhance its impact on the viewer, to transform information about this or that phenomenon or event into “aesthetic information,” that is, one that evokes a special feeling of experience, joy, and pleasure. The true essence of theatricalization is the creation of a single “end-to-end action” (aimed at achieving a super-task, a super-task - for the sake of what) in a TP, which would not only unite and subordinate all the components used (poetic, prose, musical, film fragments speeches), but would also create necessary conditions for the active, effective participation of all those present at this event. It is theatricalization that turns the viewer-listener, the viewer-observer into a viewer-participant, that is, an “actor” (he performs simple stage tasks determined by the plan of the organizer). Its pedagogical significance was highly appreciated by N.K. Krupskaya, emphasizing the possibility of using it to “influence” the emotional side of the event. Illustration is always static in nature, designed, first of all, to enhance the perception of content material, but theatricalization is effective, because its nature is the nature of the game. The game represents a powerful way to bring people together. Being the “seed” of theatricalization, the game makes this technique “possible and applicable in work among adults,” and not only. The organizer’s choice of illustrating or theatricalizing the dramatic material depends, quite significantly, on the correctly found harmonious relationship between the content and form of the event. Illustration and theatricalization as methods of dramatic organization of material, having different natures and specific features, are united in one thing - they are designed to activate the viewer to a greater or lesser extent, to create the necessary conditions for his participation in the event.

9. The originality of the director's concept of theatrical performances as the basis for literary and dramatic work on the script. The originality of the director's concept of theatrical performances as the basis for literary and dramatic work on the script. Whatever script is to be written, work on it begins with the formation of an idea. The idea of ​​the scenario - the process of its formation can be divided into three stages.

First stage. Definition of the theme, in the most general form (defines the holiday calendar). Definition - a type of theatrical performance. Will it be a theatrical concert, a variety show or a theme evening, because the form of the celebration is determined by holiday traditions or the wishes of the customer. And, finally, the venue (stage of the palace of culture or: city square, banquet hall or forest clearing) and future participants - spectators. It's not enough for the screenwriter's imagination to be included in the work.

Second stage. Specification of the main elements of the plan. Creating a scenario plan. A correctly and accurately named topic, like a compass, outlines the circle of material that the screenwriter needs to study. It is necessary to determine the subject of the image in the holiday, for example, International Women's Day. Let's put it this way: the life of the women of our city - and we will not be able to cope with the abundance of material, but once we limit ourselves to a story about craftswomen who master the secrets of traditional Russian crafts (embroidery, lace-making, etc.), the plan will begin to take on visible outlines. Everything becomes clear: what literature to study, who will become a real hero, and what artistic groups will take part in the holiday. There are two ways to deploy a theme. Diachronic.] (from the Greek dia - through, through and chronos - time) and synchronous / (Greek syn - together and chronos - time). When specifying a topic, the screenwriter, as a rule, is faced with a certain social and moral problem (from the Greek problema - task) - a contradiction that at the moment, under the given circumstances, is insoluble. And any contradiction requires at least two points of view. And these points of view are nothing more than the basis of a future dramatic conflict (from the Latin conflictus - clash).

Dramatic conflict- this is a clash between actors as they carry out their life tasks. The author of the plan takes a certain side in the conflict. He makes a certain moral judgment about the subject of the image. And this judgment is usually called the idea (Greek idea - concept, representation) of the script. As already noted, within the framework of one holiday there can be not only fragments of all types of arts from music to painting, from choreography to architecture, but also a document in various forms from the performance of a real hero to newsreels. A combination of fiction, documentary and reality, say, tree planting, equipment parade, etc. - the main feature of the dramaturgy of the festive action. Multi-type, multi-genre, multi-style material requires a certain way of combining, therefore the most important element of the plan is the script flow. This is a technique that, on the basis of some constructive principle, organizes the material and gives it semantic and artistic integrity. The scenario in the writer’s imagination will begin to emerge only with the appearance of expressive means in each of the intended episodes. The second stage of developing a script concept ends with drawing up a plan. The script plan is a list of episodes with a brief description of their content, a definition of the main means of expression in the semantic and artistic context of the script. Third stage. Final design of the plan. Adjustment of the plan during its implementation.

10. Installation and its main functions. Installation and its main functions. Montage is the main creative method of the director of mass entertainment. Montage is an artistic method of organizing material. The term came from cinematography and was introduced by Vs. Pudovkin. Systematized by Esenstein (graph). According to the method of organizing the material, there are sequential and parallel.

FEDERAL AGENCY FOR CULTURE AND CINEMATOGRAPHY

ORYOL STATE INSTITUTE OF ARTS AND CULTURE

Department of Directing Theatrical Performances

SI. Gavdis

BASICS OF SCREENCREATING

Tutorial

for students of specialty 070209

"Directing theatrical performances and celebrations"

Recommended by the Educational and Methodological Association of Higher Educational Institutions of the Russian Federation for education in the field of folk artistic culture, socio-cultural activities and information resources as a teaching aid for students of higher educational institutions studying in the specialty 070209 - Directing theatrical performances and celebrations. Discipline OPD.F.05.01 - Theory of drama and the basics of screenwriting

BBK 85.34 UDC 793 G 123

Reviewers:

Zharkov A. D., Doctor of Pedagogical Sciences, Professor, Dean of the Faculty of Theater, Film and Television, Moscow State University of Culture and Culture;

Markov O.I., Honored Artist of Ingushetia, Doctor of Pedagogical Sciences, Professor, Dean of the Faculty of Theater Arts, Head of the Department of Directing at KGUKI;

Sklyar I. G., Honored Artist of the Komi Republic, Candidate of Philosophical Sciences, Associate Professor, Artistic Director of Moscow State University of Culture and Culture

Yakunina V.P., Candidate of Pedagogical Sciences, Professor of the Department of Social Work and Psgaological-Pedagogical Sciences of OGIK

Gavdis SI. Basics of screenwriting. A textbook for students of specialty 070209 “Directing theatrical performances and celebrations.” - Orel: OGIIK, Printing company "Kartush", 2005. - 242 p.

ISBN 5-9708-0019-8

The textbook was developed on the basis of the educational program 070209 “Directing theatrical performances and celebrations” in accordance with the content of the discipline “Drama Theory and Fundamentals of Screenwriting.”

The textbook is devoted to one of the current problems of screenwriting - the patterns of the creative process of working on the script of a theatrical performance and a holiday. The manual examines the features of screenwriting creativity, identifies types of holiday programs, and reveals general and specific features of the dramaturgy of mass theater. Using specific examples, the author not only analyzes theoretical approaches to dramaturgy, but also “living” screenwriting practice.

The manual is intended for students of arts and culture universities, specialty 070209 “Directing theatrical performances and celebrations”, practitioners in the field of organizing and staging mass events, as well as for everyone involved in and interested in screenwriting.

ISBN 5-9708-0019-8

Having received another order for the artistic organization of any festive event: New Year or Valentine's Day, the anniversary of a famous person or group, a birthday person or the Russian Maslenitsa holiday, a wedding celebration or the birth of a child, a street or city holiday, the opening of an art exhibition or trade center, a professional holiday or a company presentation, every time, despite many years of experience in organizing and conducting various kinds of events, some incomprehensible state of mind arises. On the one hand, there is joyful excitement, anticipation of something unusual, a premonition of some kind of discovery, on the other hand, there is a feeling of anxiety, responsibility, awareness of the importance of the task being accomplished, but there is always a desire to predict - what will happen this time? You want to quickly open that mysterious door behind which your future child is still hiding. But finding the key to this magical door is not so easy. This will require a lot of energy, creative experiences, a heap of read books, magazines, studied documents, revised photographs; new acquaintances and communication with previously unknown people, who during this time will become good acquaintances and friends. How many human stories you will have to listen to and experience, how many new and interesting things will open up during the period of working on the script! And how much “you” is needed for all this to become near and dear, the only thing that will help you express that innermost thing that has long been ripe and asking to come out, that which you cannot help but tell people about.

The creative process of working on a script for a theatrical performance is complex and requires dedication from the screenwriter. Even having studied the “technology” of creating a script, we cannot consider ourselves screenwriters, since it is impossible to teach how to write scripts if there is no talent, no talent, and even if they have them, we also cannot hope for “maybe,” since “only as a result of work can they become stronger.” and the natural abilities of a person develop, only work (practice) can develop and accumulate the effective power of inspiration, and reveal further prospects for creative work” (82).

At the same time, today we can, unfortunately, observe that almost everyone who is more or less educated “writes” scripts, discrediting both the profession and the art form itself. Hence, in our opinion, the attitude towards screenwriters and directors is, one might say, dismissive and the work is poorly paid. Here you don’t need to load cars or count numbers, you don’t need strength, you don’t need knowledge of higher mathematics: you composed a sequence of numbers, came up with a text for the host of the festive event, added speeches from respected people to them - and the script is ready. Then I selected the appropriate music - and, as they say, it was in the bag. This is how events are often held for show, in which there can be no talk of any drama, or any imagery. However, such “producing directors” do not take on staging a theatrical performance based on a playwright (although this can be observed, but less often), because they understand that only a professional director can do it. At the same time, preparing a theatrical performance or any other theatrical mass performance is supposedly a simple matter for them, despite the fact that not every theater director will undertake to do this, especially in the conditions of a non-traditional stage.

And sometimes you can observe a different picture when, when placing an order for the next script, almost every manager considers it necessary to indicate to the director-screenwriter how he should perform the upcoming work, his professional responsibilities. And here we do not mean the wishes expressed by the customer (for example: about maintaining established traditions in the team; about what points in the activities of a particular team should be highlighted during the event; who should be talked about; who should be honored, etc.) , namely, instructions on how it should be. And more often than not, all this should be the same as it was last year and 10, 20, or even 50 years ago, or as it was with a neighbor. That’s why monotonous events are held according to a long-established pattern: high-ranking officials speak, then there is an awards ceremony, and then a concert. Sometimes you want to say to such customers: “If you know how it should be organized, why are you inviting a screenwriter or director? Do it yourself and don’t turn directors into some kind of “good fellows” who will only follow your instructions without using their creative potential and professional skills.”

Creating and conducting a mass theatrical performance, which requires its own dramaturgy, created on specific material, for a specific audience and often for an unconventional stage, is a complex matter.

So, what qualities should a screenwriter-director have (usually he acts in these guises as one person)? First of all, he must be a well-mannered, socially active person. To be a Personality, to be a Citizen of your country, to have your own view of the world, your own beliefs, your own opinion, to be brave, active, assertive in the pursuit of achieving your goal. A person who is indifferent to life, to the surrounding reality, to the problems that require resolution today, indifferent to the people among whom he lives, to friends, to relatives, to our little brothers, has no place in our profession. Intelligence and culture, along with high moral qualities, should characterize the personality of the screenwriter. And, of course, one cannot do here without creative thinking, imagination, fantasy, curiosity, the ability to see something that others will pass by, to discern in it something that will help transform this world, make it better, more perfect - without these qualities there cannot be screenwriter. And most importantly, you must love and respect the one for whom you are creating your action, holiday, performance. Wishing people good, peace, prosperity, lead them through created creative works, forcing them to empathize with others, rejoice and be sad, think and analyze, actively participate in traditional ceremonial, gaming and other activities, not forgetting that you are responsible for them. Remember the words of Antoine de Saint-Exupéry, who wrote in his story “The Little Prince”: “You are responsible for those you have tamed.” Likewise, every director of theatrical performances and holidays is responsible for his audience, his viewer, a participant in the festive action, for his spiritual world, for his mood, desires and thoughts.

The nature of the artistic and creative activity of future graduates of the specialty “Directing theatrical performances and events” places high demands on their professional training - knowledge, skills, abilities, general outlook, and level of culture.

A highly qualified specialist must be able to use his creativity to influence the solution of important problems of our time, know exactly what he wants to say to the audience, be deeply convinced of what he stands for, be able to keep up with the times, feeling its rhythm and character.

The starting point of the director’s creativity is the creation of a script, all parts of which must be subject to the law of end-to-end action and at the same time each part must have its own complete thought and internal development. Only under the condition of precise selection and skillful organization of different script material will the screenwriter be able to create a vivid theatrical performance and give it aesthetic and pedagogical value.

The creative process of working on a script involves not only mastering the “technology” of creating scripts, but also requires the general and professional development of the student’s personality, capable of expressing his civic position.

Logical and artistic thinking, feelings of harmony, proportionality, integrity in the perception of works of art, the surrounding reality, civic position, mastery of the editing method of creating a dynamic structure of theatrical performances - this is the foundation on which the screenwriter’s skill is based.

In this manual, we draw the attention of future directors of theatrical performances and holidays to the features of screenwriting, identify the types of modern holiday programs and their main characteristics, consider the script as a type of dramaturgy, and reveal the general and specific features of the dramaturgy of theatrical performances and holidays. We reveal the secrets of creating the artistic concept of famous works of literature and art, and trace the stages of the creative process of creating scripts for theatrical performances.

While working on the manual, we relied on the experience and works of famous talented writers, artists, researchers, theater workers, directors and scriptwriters of theatrical performances and holidays.

Thus, the author reveals the main characteristics of the essence of dramaturgy as the basis of the performing arts, referring to the research of Abramovich G.L., Alya D.N., Volkenshtein V.I., Zakhava B.E., Ershov P.M., Mitta A., Osovtsev S.M. ., Polamisheva A.M., Polyakova M.Ya., Tovstonogova G.A.

A significant role in understanding and revealing the specific features of the art of theatrical performances and holidays was played by the works of Genkin D.M., Konovich A.A., Orlov O.L., Petrova B.N., Silin A.D., Tikhomirov D.V. , Triadsky V.A., Tumanova I.M., Sharoeva I.G.

The works of Borev Yu.B., Novikov V.I., Paperny Z.S., Shklovsky E.A., Shorokhov E.V. helped the author to trace the patterns of the creative process.

The works of Alya D.N., Vershkovsky E.V., Zharkov D.M., Litvintseva G.D., Sarukhanov V.A., Chechetin A.I. were of great help in identifying the features of the work on creating the dramaturgy of theatrical performances and holidays.

A special role in the preparation of this manual was played by the works of Doctor of Pedagogical Sciences, Professor O.I. Markov. The methodology he created for working on a script formed the basis for the author’s analysis of the stages of the creative process of creating scripts for theatrical performances and celebrations.

While working on the manual, the author relied on his own many years of experience at a university as a teacher of “Screenwriting” and “Directing theatrical performances and celebrations”, personal creative practice in creating scripts, organizing and conducting various theatrical performances and celebrations in the institute, city and region on various stages.

In this manual, the author systematized the collected and studied material and sought in a fairly clear, accessible form to consider the features of screenwriting creativity, the general and special features of screenplay dramaturgy, and to consistently trace the creative process of creating scripts for theatrical performances.

We hope that this manual will help students - future directors of theatrical performances and celebrations - to comprehend all the complexities of screenwriting, which is an important component of their professional activities.

Chapter 1. Fundamentals of script culture for directors of theatrical performances and celebrations

A screenwriter can create a high-quality script for a theatrical performance or a holiday only if there is a script culture, the formation process of which is discussed in detail in his manual by O.I. Markov. Script culture as an artistic and pedagogical phenomenon is “a complex of special theoretical knowledge and practical skills of an integrative nature, necessary for the professional and artistic regulation of educational processes in society” (38, 17). Thus, the basis of the script culture of directors of theatrical performances and celebrations is a complex of professional characteristics of the director’s personality, determined by “the specifics of script and director creativity, historically formed under the influence of the integration of trends in the art system” (38, 14).

1. Features of screenwriting

However, what is art? What is its essence and purpose? Based on the interpretations of this concept by such famous thinkers as Aristotle, Hegel, Belinsky, Chernyshevsky and others, art is, first of all, a special form of cognition, comprehension, evaluation and interpretation of the surrounding world. According to this interpretation, the main meaning of art is to reproduce certain aspects of the reality around us in order to better understand them in order to comprehend the truth. The main difference between art and other spheres of social cognition and activity is that it “satisfies the universal human need - the perception of the surrounding reality in developed forms of human sensibility” (81, 118).

L.I. Novikova, comparing art with other types of aesthetic practice, came to the conclusion that the meaning of art consists, first of all, “in the knowledge, interpretation and aesthetic assessment of reality through its artistic and figurative reproduction, in the development on this basis of aesthetic needs and abilities. Therefore, as a product of art, a work of art has independent ideological and artistic value” (43, 14). Thus, we see that the creative process, on the one hand, is directly dependent on social reality, violation of the laws of which leads to irreparable losses. On the other hand, at the heart of this process is the subject - the artist, carrying out a subjective search.

Therefore, art, as G.A. argued. Tovstonogov is an endless process and always searching, moving. The creation of another work of art for an artist, screenwriter, director is always the discovery of something new, hitherto unknown, which surprises and excites not only the artist himself, but also those for whom it is intended, which makes one think, reflect, and draw conclusions. Art is creativity, and creativity is always a mystery that exists, but which no one can solve, since this is a purely personal, individual process.

At the same time, L.A. Dmitriev in his book “Secrets of Creativity” outlined all the laws of dramatic creativity in one phrase:

“To write a full-fledged dramatic work, you need a fresh theme, a wonderful idea, an original concept, an intense conflict, a clear plot, a sharp plot, vivid characters, capacious dialogue, purity of the genre, precise composition, an author’s credo and an artistic image.” And this is beyond doubt. However, solving these problems is not easy. According to Doctor of Philology, professor of RATI, academician and one of the founders of the Independent Academy of Aesthetics and Liberal Arts Mark Yakovlevich Polyakov, “a work of art is a complex aesthetic formation, consisting of three main plans: 1) a certain material system (sounds, words, colors, etc.) depending on the type of art); 2) the complex content (semantic) field implemented by this system; 3) ideological-emotional system (i.e., a chain of ideas that generate a certain supra-textual “model of life”)” (50, 62). And all these three main layers of aesthetic information, in his opinion, create the unity of the objective and subjective, merging into the organic integrity of a specific work of art. In art theory, the creative process is divided into three stages:

cognition and creative processing of impressions and knowledge of reality;

the emergence of an artistic concept;

implementation of a plan, its embodiment in a work of art;

All these stages make up the creative process of creating scripts for various theatrical performances and mass celebrations, since screenwriting, like the creativity of an artist of any direction, represents a specific type of artistic thinking.

The artistic type of thinking is determined by the following qualities:

worldview, attitude, worldview;

artistic ability;

natural talent with its sensory and aesthetic perception of the world.

To be a creative person means to have certain spiritual data, special emotional sensitivity, observation, imagination, fantasy. A true artist differs from other people, first of all, in his ability to see. To see what others do not notice, to be able to extract from each situation the most essential thing, its grain, its atmosphere. “Not all people are attentive to color, although everything around us has color; not everyone is attentive to sound, although everyone is surrounded by sounds; not everyone is attentive to the word, although everyone uses it; not everyone is interested in action, although there are no inactive people. For the consumer, “material of art” in itself does not represent any value - that’s why it is material. A specialist appreciates and studies it because he needs it - from it he creates something that can be appreciated by others” (27, 287). A true artist perceives and evaluates the world around him in his own way, and sees a universal human meaning in particular phenomena. So, according to R. Gamzatov, “in one drop of rain the flood sleeps”, according to O. Khayyam - “in the grain is the whole harvest”, according to the motto at Shakespeare’s Globe Theater - “the whole world plays a comedy...” Such an ability to see is determined by the corresponding need and proper equipment, and the single embryo of both is called abilities, talent, talent” (27.550), says P.M. Ershov in his book “The Art of Interpretation”, discussing the director’s creativity.

At the same time, the possibility of realizing talent is determined only by work, since abilities that are not multiplied by work are fruitless. And only labor gives social value to any natural talent. Therefore, there is no need to rely on the proverb that says that people are born poets. It is only partly true, since a person who is born a poet must still become one. And this is unthinkable without hard everyday work. Therefore, the future screenwriter needs to cultivate the need to constantly work on himself. And only when reading, observing, analyzing, composing becomes an ordinary activity for him, a vital necessity, and his consciousness and heart every minute rejoice at what he has learned, seen and invented, the result will not be long in coming. It must be remembered that a work of art is a complex aesthetic ideological and artistic phenomenon. And to understand that we have before us a work of art means, first of all, to understand and feel that it can only be as it is: both as a whole and in each of its particles.

Considering drama in the system of artistic communication, member of the Union of Writers and the Union of Theater Workers M.Ya. Polyakov says that “the system of relationships between a work of art and reality is motivated by the subjective position of the writer and the internal laws of artistic creativity. ...A work as a kind of ideological and artistic complex, as a message carried out through linguistic material, firstly, covers certain phenomena of reality (objective moment) and, secondly, expresses the writer’s attitude towards it (subjective moment)” (50 , 61). Therefore, talking about the art of theater, K.S. Stanislavsky argued that theater, reflecting life, does not mechanically copy it, but provides an artistic synthesis of life processes and phenomena. However, for this to happen, “the artist must have his own position, his own point of view, but always socially significant, philosophical, ethical, aesthetic, the depth of which is born of his ideology. Therefore, we must see the world from the height of the social and ethical ideal. This is the height from which the artist looks at the phenomena of reality. The more significant this ideal is, the greater universal significance the artist’s work acquires” (54, 59).

Thus, we see that a true artist must have moral health and a responsive heart, since true art arises only on a solid foundation of moral ethical beliefs and values. Its goal is the affirmation of goodness, the affirmation of humanism. At one time, Leo Tolstoy wrote: “People who are little sensitive to art think that a work of art is one whole, because everything is built on the same premise or describes the life of one person. It's not fair. This is only how it seems to a superficial observer: the cement that binds every work of art into one whole and therefore produces the illusion of a reflection of life is not the unity of persons and positions, but the unity of the original moral attitude of the author to the subject” (67, 18).

Continuing the thought of Lev Nikolaevich Tolstoy, Mark Yakovlevich Polyakov argues that the meaning of a work of art is in the author’s attitude to the phenomena of reality he depicts. And he proves this idea using the example of M. Bulgakov’s play “Running,” where we find not only a depiction of the course of specific events, the personal destinies of the characters, but also a special understanding of what lies beyond the specific situations of the drama. “The ideological and emotional substructure of drama is based on a grandiose metaphor” (50, 60).

Thus, in art, the moral principles of a creative person are inseparable from professional excellence. I.S. Turgenev, in a letter to L.N. Tolstoy wrote: “Every person should, without ceasing to be a person, be a specialist; “specialism excludes amateurism... and to be an amateur means to be powerless.”

Konstantin Sergeevich Stanislavsky did not recognize the professional education of an artist outside of his ethical education. Therefore, the soul of his “system” is the doctrine of artistic ethics. A.D. paid great attention to ethics in the work of the actor and director. Popov. For him, ethics takes on the meaning of “the most necessary hygiene of the creative process.” In this regard, the goal of modern theater pedagogy is “the education of an artist for whom art is not only a profession and skill, but also his civic service, his moral duty” (54, 54).

Consequently, to be a screenwriter means to be not just a creative person, but to be an artist-citizen who has clearly defined for himself the super-super task of his creativity, which includes a life goal, a worldview, spiritual content, and an understanding of his social mission. It is the super-super task of the screenwriter that will help the author to go beyond the limits of sensual and intuitive creativity and will require its comprehension from philosophical and civil positions, and will also determine the light of the idea that will appear in the script-director's plan of the holiday action being developed. It is necessary to strive for the script of a theatrical performance, like the artistic fabric of any work of art, to represent an integrity similar to a living organism. However, this requires not just “technique”, but, so to speak, the “whole” artist is needed. And here it is appropriate to recall the statement of the great director and teacher Konstantin Sergeevich Stanislavsky: “Every step, every movement during creativity must be enlivened and justified by our feeling. Everything that is not experienced... remains dead” (59, 259). Here, for example, is what Ya.I wrote. Polonsky about what it means to bring the form of a lyric poem to the elegance possible for it: “This, believe me, is nothing more than finishing and bringing to the elegance possible in human nature one’s own, this or that, feeling... Working on a poem for being a poet is the same as working on your soul.”

The creation of a work of art involves not only work on understanding the surrounding and the author’s own life, work on constructing the work, but also work on “his soul.” And when for the artist these are not three different types of activity, but a single creative process, then life, contained within the created work, like a small universe, will reflect and manifest within itself the universe, the fullness of human life, the entire integrity of being. Such a work becomes “an irreplaceable form of introducing into this big world the education of true humanity, the formation of a holistic, comprehensively developed personality” (79).

All this can be safely attributed to the work of the scriptwriter of theatrical performances and holidays, the end product of whose creative activity is the creation of such dramaturgy of the festive action, which at the time of its stage embodiment will create a special artistic world of the celebrated event. A world that is close and interesting to a specific audience, creating all the conditions for its easy communication. A world of unique creative atmosphere, involving everyone gathered in what is happening, turning spectators into active participants in the festive action. A world that evokes a deep emotional impression associated with a specific holiday event. A world that absorbs an artistically organized, pedagogically programmed mass action, which is a special, extremely complex phenomenon of art.

Thus, screenwriting, in addition to special natural abilities, requires the screenwriter to have intelligence, high culture, life experience, developed imagination, mastery of the complex art of composition, and the ability to think in images. And, most importantly, the ability to subordinate all parts of a stage work to a single ideological and artistic solution, which arose in accordance with the author’s vision of the problem being raised and is consistent with a certain unity in his soul, in the people around him, in the world.

However, for this to happen, for the creative process of creating scripts for theatrical performances to have a high-quality result, it is necessary to know the laws of artistic creativity, to understand the features and requirements for the dramaturgy of theatrical performances. The screenwriter, first of all, must:

study the laws of classical dramaturgy;

identify the varieties and features of the dramaturgy of theatrical performances and holidays;

study the types and nature of script material and means of expression for multi-genre theatrical performances;

learn the “technology” of working on scripts;

be able to find and formulate a topic, identify a problem, determine the ultimate task and the author’s concept of the future scenario of a theatrical performance;

learn the essence and stages of creating a script and director's concept for a theatrical performance;

understand the essence of the screenwriting and director's move;

know the principles of selecting script material;

understand the principles of building conflict in scenarios of theatrical performances and holidays;

master the laws of composition;

study and master the techniques of editing episodes;

master the techniques of dramaturgizing documentary and local material;

be able to organically introduce artistic material into the fabric of the future script;

learn to subordinate the meaning and purpose of a particular number to the super-task of the entire script as a whole;

understand the principles of correlation between numbers of various genres and scenes from dramatic or musical performances;

learn to assemble a single whole from disparate pieces of script material, combining sometimes incompatible things, colliding different, sometimes opposite, phenomena;

learn to think not only in smoothly developing continuous action, but also in a sequence of separate, independent pieces, numbers, adding and connecting them into a single dynamically developing assembly structure;

learn to find a vivid form of expression for a documentary fact or historical event;

learn to express your thoughts in a bright and clear visual way;

Be able to make a literary recording of the script, etc. At the same time, fully comprehend the creative process of creation

scripts for theatrical performances and holidays, in our opinion, is possible only through personal trial and error during the independent creative process of working on scripts for various theatrical programs. And despite the fact that this process will always take place differently, each time the screenwriter will discover some new truths for himself and acquire a certain skill in specific stages and nuances of this complex, mysterious and at the same time interesting matter. The development and improvement of a screenwriter occurs with every creative process.

And if you are trying to master the art of theatrical performances and celebrations, then master it to the end.

Self-test questions;

What is the essence and purpose of art?

Name the personal qualities that determine the artistic type of thinking.

Name the main stages of the creative process.

What are the features of screenwriting?

List the requirements for a work of art.

What knowledge, skills and abilities should a screenwriter have?

Name the main components of the script culture of the director of theatrical performances and celebrations.

Literature:

Vershkovsky E.V. Directing mass club performances. -L.: LGIK, 1977.

Genkin D.M. Theatrical forms of mass club work. -L.: LGIK, 1972.

Litvintseva G.D. Screenwriting skills. Method, manual for editors and methodologists of the NMC. - M.: VNMTSNT and KPR im. Krupskaya, 1989.

Markov I.O. Script culture of directors of theatrical performances and celebrations. A textbook for teachers, graduate students and students of universities of culture and art. - Krasnodar: Publishing house. KSU-KI, 2004. - 408 p.

Sklyar I.G. Aesthetics of an actor’s stage creativity: Monograph. - M.: MGUKI, 2004. - 101 p.

Chechetin A.I. The art of theatrical performances. - M., 1988.

When directing mass performances, it is extremely important that all details are taken into account and thought out. If we talk about pitfalls, then it is the amateurish approach, poor organization and complete misunderstanding of the public that becomes the cobblestone on which all the director’s plans and ideas are broken. Even if the idea was practically ingenious, characterized by creativity and a unique approach, incorrect production will ruin all plans.

What are the pitfalls in directing mass performances?

Mass performances include a large number of artists, a variety of performances and their ideas. If we talk about theatrical or circus productions, then for the success of the spectacle with the public, it is worth focusing on the dynamics of the action.

Even if we are talking about theater, it costs nothing for a professional director to interest and intrigue the audience, to attract their attention.

Directing mass performances is completely focused on the viewer, which means it should be interesting and understandable to him. The public is becoming more and more demanding, and therefore needs a high-quality spectacle that will constantly keep them in suspense. A monotonous performance will kill the viewer's interest and make him bored. To prevent this from happening, numbers and presentation principles must constantly change. Energetic numbers or scenes should be replaced by calm and even peaceful ones. At the same time, there should be no monotony and constancy even in dynamic numbers and scenes, since the prolonged intensity of passions loses its sharpness.

The fastidiousness of the public also manifests itself in frightening, delighting and surprising them with unexpected turns of events, spectacular exits and appearances of characters or participants in performances. Artists or actors who constantly perform according to the same principle tire the audience. They are not interested in waiting for a new “star” to appear. But if every time the artist appears in a new, unexpected and interesting way, the audience will freeze in anticipation of a beautiful and exciting spectacle.

Another pitfall can be the artists themselves and their appearance. It should be taken into account that the costumes, age and appearance of the artists must strictly correspond to the idea. If we are talking about Juliet, then the actress may be 40 years old, but the nurse should not be played by a young girl. A similar principle is maintained in all concert numbers.

Bright costumes and makeup should be in harmony with the roles performed by the artists. If there is dissonance, only the viewer will be disappointed, and the mass production will fail.

Directing like a symphony

High-quality direction of theatrical performances and celebrations is the key to success when holding mass events. Many theorists and practitioners draw an analogy between directing theatrical performances and a symphony. Just as a symphony is characterized by mental and emotional depth, life contradictions and complex problems, so a theatrical festival on a mass scale expresses the most important events and stages in the life of a huge number of people.

These types of expressive art are characterized by scale and ideological richness. The initial part of the symphony (exposition) involves the development and development of contrasting themes and images. They further support the main composition of the work. .

Also, directing public events involves carrying out the main idea of ​​​​the festive action through a series of events

Such a bright form of music as a theme with variations also resonates with the direction of a theatrical concert. When directing a holiday, the main theme also varies in all sorts of shapes and forms. Of course, this is due to a certain extent to the very specifics of folk festivals. After all, if, for example, the viewer can perceive a literary and musical composition as a single whole, then the peculiarity of directing a mass holiday is its purposeful division into components. At the same time, the viewer perceives the action in parts, choosing the most interesting moments for himself. For example, a concert requires focusing the audience's attention on a specific stage. A good mass holiday, on the contrary, is characterized by a large number of entertainment centers dispersed in space.

The Department of Directing Theatrical Performances and Celebrations is the leading and first in the country in training specialists in the field of mass theatrical forms.

The personnel potential of the department is a highly qualified team of specialists of various basic education, practitioners, theorists and historians of directing theatrical performances and celebrations with a professionally oriented set of modern skills.

On the basis of the department, unique creative conditions have been created aimed at the creation, implementation and dissemination of new educational technologies to provide the sphere of directing theatrical performances and holidays with competitive personnel. The creative laboratory is equipped with modern audio-visual equipment based on the developed infrastructure of the Department's Educational Theater.

The educational process is in close connection with the innovative concert and entertainment venues of St. Petersburg, as well as with Russian and foreign universities, thereby providing a professional environment not only in preparing students in the bachelor's degree program, but also in the master's degree program.

The training of masters in directing theatrical performances and celebrations is aimed at professionalizing directors of mass forms in the field of methodological work and research activities.

The department retains its leading position in the country in the field of organizing educational programs for teachers of cultural universities.

The activities of the department involve multi-stage professional work:

Stage 1 - career guidance work- work with applicants through their visits to creative shows of the department, Open Days and through training in preparatory courses that are held in anticipation of enrollment for the academic year;

Stage 2 - educational activities and all types of practices— participation of students in various events of a city, regional and international scale;

Stage 3 - feedback— partnership activities of the department with graduates and cultural and art institutions and their involvement in the current scientific and creative projects of the department;

Stage 4 — practical and methodological activities focused on the graduate’s professional field— carrying out research and graduate creative qualification works commissioned by employers and programs for advanced training and retraining of personnel in the field of culture and art.

Today, the staff of the department is represented by the largest specialists in the field of directing theatrical performances and holidays, art history and cultural studies, including Professor A. I. Berezin, Professor M. M. Pavlov, Doctor of Cultural Studies, Professor E. Ya. Kalnitskaya, Doctor of Philosophy, Professor O. I. Marchenko, Candidate of Art History, Associate Professor A. F. Nekrylova, Candidate of Art History, Associate Professor T. V. Astafieva. Associate Professor I. I. Teleeva, Associate Professor M. N. Tytyuk, Candidate of Pedagogical Sciences, Associate Professor V. F. Kudashov, Candidate of Art History, Associate Professor E. A. Slesar, Senior Lecturer A. V. Andreev, Senior Lecturer L. V. Umyastovskaya , senior lecturer L. L. Korneva.

Combining practical activities with scientific and methodological work, they continue to pass on their rich professional experience to students and undergraduates. Today, the teaching staff of the department is represented by young, bright practical directors and screenwriters (D. D. Sokolov, E. V. Sokolova, I. G. Deshko, Yu. P. Moiseenko, A. N. Popov, P. V. Demyanov, E. S. Katkova, A. E. Tovpenets, A. A. Kibardin, etc.), whose creative works constitute the color of the modern festive culture of St. Petersburg, Russia and abroad.