THEATER ARTS (Greek theatron - a place for spectacles) is an art form based on the artistic reflection of life, carried out through dramatic action performed by actors in front of the audience. The art of theater is secondary. The basis of stage art is drama, which in its theatrical embodiment acquires a new quality - stage presence, theatrical image. The development of theater is closely related to the development of drama and dramatic, expressive means drama monologue, dialogue. The main work of theatrical art is a performance, an artistically organized, spectacular and playful action. The performance is the result of the efforts of the creative team. At the same time, the performance is distinguished by figurative unity. The figurative structure of the performance is created by the unity of all elements of the play action, subordinated to a single artistic task - the “super task”, and a single stage goal that organizes the stage action in time and space, the “end-to-end action”.

The playful essence of theater has changed historically. Having arisen from ritual, the system of spectacular influence as a whole is preserved at all stages of the development of the theater; the transformation of the actor, using his psychophysical data to create the image of another person - the character, words and plasticity are the main conditions for involving the viewer in the action. Modern theater knows various forms of organizing play action. In a realistic, psychological theater of experience, the principle of reflecting life in the forms of life itself presupposes the principle of the “fourth wall,” as if separating the viewer from the stage and creating the illusion of reality. In the performance theatre, the “epic theatre,” the play principle may not coincide with the truth of life circumstances and presupposes a poetically generalized, metaphorical, figurative solution.

Theater is a collective art (see). In the process of historical evolution, the principle of the ensemble was established. IN modern theater The role of organizer of stage action and the creative efforts of the team belongs to the director, who is responsible for the stage interpretation of the dramatic basis. With the help of such visual and expressive means as mise-en-scène, tempo-rhythm, composition, the director creates an artistic image of the performance.

By its nature, the art of theater is synthetic (see). The nature of synthesis in the history of theatrical art changed, ballet emerged, and musical theater became independent. Modern theater tends to unite the most various types art. The organization of spectacular synthesis depends to a large extent on the participation of the composer, costume designer, lighting designer and, above all, the set designer. The material environment created by the means of a set designer can have various functions, but always, corresponding to the context of the whole, the bearer of psychological truth to the performer, it organizes the viewer’s attention.

The art of theater is designed for collective perception. The viewer, his reaction, is a component of the action. Theater does not exist without an immediate reaction from the audience. A performance that is rehearsed but not shown to the audience is not a work of art. It is the viewer who is given the right to differentiate between the meaning of the expressive device chosen by the performer and its use. The viewer of modern theater experiences the influence of many spectacular forms that expand his associations and change his preferences. The theater cannot ignore these changes in its development, increasing the role and significance theatrical forms, strengthening the connection between the stage action and the audience.

Theater art form public consciousness, a means of artistic knowledge and education. The specificity of the theater lies in the reflection of significant conflicts and characters that affect the interests and needs of the modern audience. The originality of theater as an art form lies in this modernity, which makes it an important factor in education.

2. Theater arts

Theatrical art is one of the most complex, most effective and most ancient arts. Moreover, it is heterogeneous, synthetic. The components of theatrical art include architecture, painting and sculpture (scenery), and music (it sounds not only in musical, but also often in dramatic performances), and choreography (again, not only in ballet, but also in drama ), and literature (the text on which a dramatic performance is based), and the art of acting, etc. Among all of the above, the art of acting is the main thing that determines the theater. The famous Soviet director A. Tairov wrote, “... in the history of the theater there were long periods when it existed without plays, when it did without any scenery, but there was not a single moment when the theater was without an actor” Tairov A. Ya , Notes from the director. Articles. Conversations. Speeches. Letters. M., 1970, p. 79. .

An actor in a theater is the main artist who creates what is called stage image. More precisely, an actor in the theater is at the same time an artist-creator, and the material of creativity, and its result - an image. The art of an actor allows us to see with our own eyes not only the image in its final expression, but also the very process of its creation and formation. The actor creates an image from himself, and at the same time creates it in the presence of the viewer, before his eyes. This is perhaps the main specificity of the stage, theatrical image - and here is the source of the special and unique artistic pleasure that it gives to the viewer. The spectator in the theater, more than anywhere else in the arts, directly participates in the miracle of creation.

The art of theater, unlike other arts, is a living art. It arises only at the hour of meeting with the viewer. It is based on an indispensable emotional, spiritual contact between the stage and the audience. Without this contact, it means there is no performance that lives according to its own aesthetic laws.

It is a great torment for an actor to perform in front of an empty hall, without a single spectator. This state is equivalent for him to being in a space closed from the whole world. At the hour of the performance, the actor’s soul is directed towards the spectator, just as the spectator’s soul is directed towards the actor. The art of theater lives, breathes, excites and captivates the viewer in those happy moments when, through the invisible wires of high-voltage transmissions, there is an active exchange of two spiritual energies, mutually directed towards each other - from actor to viewer, from viewer to actor.

When reading a book, standing in front of a painting, the reader and viewer do not see the writer, the painter. And only in the theater does a person meet eye to eye with the creative artist, meet him at the moment of creativity. He guesses the emergence and movement of his heart, and lives with it all the vicissitudes of the events that took place on the stage.

A reader alone, alone with a treasured book, can experience exciting, happy moments. And the theater does not leave its audience alone. In the theater, everything is based on active emotional interaction between those who create a work of art on stage that evening and those for whom it is created.

The viewer comes to a theatrical performance not as an outside observer. He cannot help but express his attitude to what is happening on stage. An explosion of approving applause, cheerful laughter, tense, unbroken silence, a sigh of relief, silent indignation - the audience's participation in the process of stage action is manifested in a rich variety. A festive atmosphere arises in the theater when such complicity and empathy reach the highest intensity...

This is what his living art means. Art in which the beating of the human heart is heard, the subtlest movements of the soul and mind, which contains the whole world of human feelings and thoughts, hopes, dreams, desires, is sensitively captured.

Of course, when we think and talk about an actor, we understand how important not just an actor is for the theater, but an acting ensemble, unity, and creative interaction of actors. “Real theater,” Chaliapin wrote, “is not only individual creativity, but also collective action, requiring complete harmony of all parts.”

Theater is a doubly collective art. The viewer perceives a theatrical production and stage action not alone, but collectively, “feeling the elbow of a neighbor,” which greatly enhances the impression and artistic infectiousness of what is happening on stage. At the same time, the impression itself comes not from one individual actor, but from a group of actors. Both on the stage and in the auditorium, on both sides of the ramp, they live, feel and act - not individual individuals, but people, a society of people connected with each other for a time by common attention, purpose, common action.

To a large extent, this is what determines the enormous social and educational role of the theater. Art that is created and perceived together becomes a school in the true sense of the word. “The theater,” wrote the famous Spanish poet García Lorca, “is a school of tears and laughter, a free platform from which people can denounce outdated or false morality and explain, using living examples, the eternal laws of the human heart and human feeling.”

A person turns to the theater as a reflection of his conscience, his soul - he recognizes himself, his time and his life in the theater. The theater opens up amazing opportunities for spiritual and moral self-knowledge.

And even though theater, by its aesthetic nature, is a conventional art, like other arts, what appears on stage before the viewer is not the real reality itself, but only its artistic reflection. But there is so much truth in that reflection that it is perceived in all its unconditionality, as the most authentic, true life. The viewer recognizes ultimate reality the existence of stage characters. The great Goethe wrote: “What could be more nature than Shakespeare’s people!”

In the theater, in a lively community of people gathered for a stage performance, everything is possible: laughter and tears, grief and joy, undisguised indignation and wild delight, sadness and happiness, irony and mistrust, contempt and sympathy, wary silence and loud approval... in a word, all the riches of emotional manifestations and shocks of the human soul.

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Theatrical art is one of the most complex, most effective and most ancient arts. Moreover, it is heterogeneous, synthetic. The components of theatrical art include architecture, painting and sculpture (scenery), and music (it sounds not only in musical, but also often in dramatic performances), and choreography (again, not only in ballet, but also in drama ), and literature (the text on which a dramatic performance is based), and the art of acting, etc. Among all of the above, the art of acting is the main thing that determines the theater. The famous Soviet director A. Tairov wrote, “...in the history of the theater there were long periods when it existed without plays, when it did without any scenery, but there was not a single moment when the theater was without an actor.”

The actor in the theater is the main artist who creates what is called the stage image. More precisely, an actor in the theater is at the same time an artist-creator, and the material of creativity, and its result - an image. The art of an actor allows us to see with our own eyes not only the image in its final expression, but also the very process of its creation and formation. The actor creates an image from himself, and at the same time creates it in the presence of the viewer, before his eyes. This is perhaps the main specificity of the stage, theatrical image - and here is the source of the special and unique artistic pleasure that it gives to the viewer. The spectator in the theater, more than anywhere else in the arts, directly participates in the miracle of creation.

The art of theater, unlike other arts, is a living art. It arises only at the hour of meeting with the viewer. It is based on an indispensable emotional, spiritual contact between the stage and the audience. Without this contact, it means there is no performance that lives according to its own aesthetic laws.

It is a great torment for an actor to perform in front of an empty hall, without a single spectator. This state is equivalent for him to being in a space closed from the whole world. At the hour of the performance, the actor’s soul is directed towards the spectator, just as the spectator’s soul is directed towards the actor. The art of theater lives, breathes, excites and captivates the viewer in those happy moments when, through the invisible wires of high-voltage transmissions, there is an active exchange of two spiritual energies, mutually directed towards each other - from actor to viewer, from viewer to actor.

When reading a book, standing in front of a painting, the reader and viewer do not see the writer, the painter. And only in the theater does a person meet eye to eye with the creative artist, meet him at the moment of creativity. He guesses the emergence and movement of his heart, and lives with it all the vicissitudes of the events that took place on the stage.

A reader alone, alone with a treasured book, can experience exciting, happy moments. And the theater does not leave its audience alone. In the theater, everything is based on active emotional interaction between those who create a work of art on stage that evening and those for whom it is created.

The viewer comes to a theatrical performance not as an outside observer. He cannot help but express his attitude to what is happening on stage. An explosion of approving applause, cheerful laughter, tense, unbroken silence, a sigh of relief, silent indignation - the audience's participation in the process of stage action is manifested in a rich variety. A festive atmosphere arises in the theater when such complicity and empathy reach the highest intensity...

This is what his living art means. Art in which the beating of the human heart is heard, the subtlest movements of the soul and mind, which contains the whole world of human feelings and thoughts, hopes, dreams, desires, is sensitively captured.

Of course, when we think and talk about an actor, we understand how important not just an actor is for the theater, but an acting ensemble, unity, and creative interaction of actors. “Real theater,” Chaliapin wrote, “is not only individual creativity, but also collective action, requiring complete harmony of all parts.”

Theater is a doubly collective art. The viewer perceives a theatrical production and stage action not alone, but collectively, “feeling the elbow of a neighbor,” which greatly enhances the impression and artistic infectiousness of what is happening on stage. At the same time, the impression itself comes not from one individual actor, but from a group of actors. Both on the stage and in the auditorium, on both sides of the ramp, they live, feel and act - not individual individuals, but people, a society of people connected with each other for a time by common attention, purpose, common action.

To a large extent, this is what determines the enormous social and educational role of the theater. Art that is created and perceived together becomes a school in the true sense of the word. “The theater,” wrote the famous Spanish poet García Lorca, “is a school of tears and laughter, a free platform from which people can denounce outdated or false morality and explain, using living examples, the eternal laws of the human heart and human feeling.”

A person turns to the theater as a reflection of his conscience, his soul - he recognizes himself, his time and his life in the theater. The theater opens up amazing opportunities for spiritual and moral self-knowledge.

And even though theater, by its aesthetic nature, is a conventional art, like other arts, what appears on stage before the viewer is not the real reality itself, but only its artistic reflection. But there is so much truth in that reflection that it is perceived in all its unconditionality, as the most authentic, true life. The viewer recognizes the ultimate reality of the existence of stage characters. The great Goethe wrote: “What could be more nature than Shakespeare’s people!”

In the theater, in a lively community of people gathered for a stage performance, everything is possible: laughter and tears, grief and joy, undisguised indignation and wild delight, sadness and happiness, irony and mistrust, contempt and sympathy, wary silence and loud approval... in a word, all the riches of emotional manifestations and shocks of the human soul.

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TheaterHowviewart,Andhisindigenousdifferencefromothersspeciesarts

theater art suite

Like any other form of art (music, painting, literature), theater has its own special characteristics. This is a synthetic art: a theatrical work (performance) consists of the text of the play, the work of the director, actor, artist and composer. In opera and ballet a vital role belongs to music.

Theater is a collective art. A performance is the result of the activities of many people, not only those who appear on stage, but also those who sew costumes, make props, set up lighting, and greet the audience. It is not for nothing that there is a definition of “theatre workshop workers”: a performance is both creativity and production.

The theater offers own way knowledge of the surrounding world and, accordingly, one’s own set of artistic means. A performance is both a special action played out in the space of the stage and a special imaginative thinking, different from, say, music.

Theater, like no other art form, has the greatest “capacity”. It absorbs the ability of literature to recreate life in words in its external and internal manifestations, but this word is not narrative, but living-sounding, directly effective. Moreover, unlike literature, theater recreates reality not in the mind of the reader, but as objectively existing pictures of life (performance) located in space. And in this respect, theater comes closer to painting. But theatrical performance is in continuous motion, it develops over time - and in this way it is close to music. Immersion in the world of the viewer’s experiences is akin to the state experienced by a music listener, immersed in his own world of subjective perception of sounds.

Of course, theater in no way replaces other forms of art. The specificity of theater is that it carries the “properties” of literature, painting and music through the image of the living acting person. This direct human material for other types of art is only the starting point of creativity. For the theater, “nature” serves not only as material, but is also preserved in its immediate liveliness.

The art of theater has an amazing ability to merge with life. Although the stage performance takes place on the other side of the stage, in moments of highest tension it blurs the line between art and life and is perceived by the audience as reality itself. The attractive power of theater lies in the fact that “life on stage” freely asserts itself in the imagination of the viewer.

This psychological turn occurs because theater is not just endowed with the features of reality, but in itself reveals an artistically created reality. Theatrical reality, creating the impression of reality, has its own special laws. The truth of the theater cannot be measured by the criteria of real-life verisimilitude. A person cannot bear the psychological load that the hero of a drama takes upon himself in life, because in the theater there is an extreme condensation of entire cycles of events. My inner life The hero of the play is often experienced as a bundle of passions and a high concentration of thoughts. And all this is taken for granted by the audience. “Incredible” according to the standards of objective reality is not at all a sign of unreliability in art. In the theater, “truth” and “untruth” have different criteria and are determined by the law of imaginative thinking. “Art is experienced as reality in the fullness of our mental “mechanisms,” but at the same time it is assessed in its specific quality of a hand-made playful “not real,” as children say, an illusory doubling of reality.”

A theater visitor becomes a theater spectator when he perceives this double aspect of the stage action, not only seeing a vitally concrete act in front of him, but also understanding the inner meaning of this act. What is happening on stage is felt both as the truth of life and as its figurative recreation. At the same time, it is important to note that the viewer, without losing his sense of the real, begins to live in the world of the theater. The relationship between real and theatrical reality is quite complex. There are three phases in this process:

1. The reality of objectively shown reality, transformed by the playwright’s imagination into a dramatic work.

2. A dramatic work embodied by the theater (director, actors) into stage life - a performance.

3. Stage life, perceived by the audience and becoming part of their experiences, merging with the life of the audience and, thus, returning to reality again.

The basic law of the theater - the internal participation of the audience in the events taking place on stage - presupposes the stimulation of imagination, independent, internal creativity in each of the spectators. This captivity in the action distinguishes the viewer from the indifferent observer who is also found in theater halls. The spectator, unlike the actor, the active artist, is a contemplating artist.

The active imagination of spectators is not at all some special spiritual property of selected art lovers. Of course, the developed artistic taste is of great importance, but this is a question of the development of those emotional principles that are inherent in every person.

The consciousness of artistic reality in the process of perception is deeper, the more fully the viewer is immersed in the sphere of experience, the more multi-layered art enters the human soul. It is at this junction of two spheres - unconscious experience and conscious perception of art that imagination exists. It is inherent in the human psyche initially, organically, accessible to every person and can be significantly developed during the accumulation of aesthetic experience.

Aesthetic perception is the creativity of the viewer, and it can reach great intensity. The richer the nature of the viewer himself, the more developed his aesthetic sense, the more complete his artistic experience, the more active his imagination and the richer his theatrical impressions.

The aesthetics of perception is largely focused on the ideal viewer. In reality, the conscious process of cultivating a theatrical culture will probably advance the viewer towards acquiring knowledge about art and mastering certain perceptual skills.

In the synthetic theater of modern times, the traditional relationship between the dominant principles - truth and fiction - appears in a kind of indissoluble unity. This synthesis occurs both as an act of experience (perception of the truth of life) and as an act of aesthetic pleasure (perception of the poetry of the theater). Then the viewer becomes not only psychological participant action, that is, a person who “absorbs” the fate of the hero and enriches himself spiritually, but also a creator who performs a creative action in his imagination, simultaneously with what is happening on stage. This last point is extremely important, and aesthetic education he occupies the main place of the audience.

Of course, each viewer may have his own idea of ​​the ideal performance. But in all cases it is based on a certain “program” of requirements for art. This kind of “knowledge” presupposes a certain maturity of spectator culture.

Spectator culture largely depends on the nature of the art that is offered to the viewer. The more complex the task assigned to him - aesthetic, ethical, philosophical - the more intense the thought, the sharper the emotions, the more subtle the manifestation of the viewer's taste. For what we call the culture of a reader, listener, or viewer is directly related to the development of a person’s very personality, depends on his spiritual growth and affects his further spiritual growth.

The significance of the task that the theater poses to the viewer in psychological terms lies in the fact that the artistic image, given in all its complexity and inconsistency, is perceived by the viewer first as a real, objectively existing character, and then, as he gets used to the image and reflects on it actions, reveals (as if independently) its inner essence, its general meaning.

In terms of aesthetics, the complexity of the task lies in the fact that the viewer perceives stage imagery not only according to the criteria of truth, but also knows how (learned) to decipher its poetic metaphorical meaning.

So, the specificity of theatrical art is a living person, as a directly experiencing hero and as a directly creating artist, and the most important law of theater is direct impact at the viewer.

The “effect of the theater”, its clarity, are determined not only by the dignity of the creativity itself, but also by the dignity and aesthetic culture of the auditorium. However, the awakening of the artist in the viewer occurs only if the viewer is able to perceive in its entirety the content inherent in the performance, if he is able to expand his aesthetic range and learn to see something new in art, if, while remaining true to his favorite artistic style, he does not turn out to be deaf to others creative directions, if he is able to see a new interpretation of a classic work and is able to separate the director’s plan from its implementation by the actors... There are many more such “ifs” that could be named. Consequently, in order for the viewer to become involved in creativity, so that the artist in him awakens, at the current stage of development of our theater there is a need for a general increase artistic culture viewer.

A theatrical performance is based on a text, such as a play for a dramatic performance. Even in those stage productions where there is no word as such, text is sometimes necessary; in particular, ballet, and sometimes pantomime, has a script - a libretto. The process of working on a performance consists of transferring the dramatic text onto the stage - this is a kind of “translation” from one language to another. As a result, the literary word becomes a stage word.

The first thing the audience sees after the curtain opens (or rises) is the stage space in which the scenery is placed. They indicate the location of the action historical time, reflect National character. With the help of spatial constructions, you can even convey the mood of the characters (for example, in an episode of the hero’s suffering, plunge the scene into darkness or cover its backdrop with black). During the action, with the help of a special technique, the scenery is changed: day is turned into night, winter into summer, the street into a room. This technique developed along with the scientific thought of mankind. Lifting mechanisms, shields and hatches, which in ancient times were operated manually, are now raised and lowered electronically. Candles and gas lamps have been replaced by electric lamps; Lasers are also often used.

Even in antiquity, two types of stage and auditorium were formed: a box stage and an amphitheater stage. The box stage provides tiers and stalls, and the amphitheater stage is surrounded by spectators on three sides. Now both types are used in the world. Modern technology makes it possible to change the theatrical space - to arrange a platform in the middle of the auditorium, seat the viewer on the stage, and perform the performance in the hall. Great importance has always been attached to the theater building. Theaters were usually built in the central square of the city; architects wanted the buildings to be beautiful and attract attention. Coming to the theater, the viewer detaches himself from everyday life, as if rising above reality. Therefore, it is no coincidence that a staircase decorated with mirrors often leads into the hall.

Music helps enhance the emotional impact of a dramatic performance. Sometimes it sounds not only during the action, but also during the intermission - to maintain the interest of the public. The main person in the play is the actor. The viewer sees in front of him a person who has mysteriously turned into an artistic image - a unique work of art. Of course, the work of art is not the performer himself, but his role. She is the creation of an actor, created by voice, nerves and something intangible - spirit, soul. In order for the action on stage to be perceived as integral, it is necessary to organize it thoughtfully and consistently. These duties in modern theater are performed by the director. Of course, a lot depends on the talent of the actors in the play, but nevertheless they are subordinate to the will of the leader - the director. People, like many centuries ago, come to the theater. The text of the plays sounds from the stage, transformed by the forces and feelings of the performers. The artists conduct their own dialogue - and not only verbal. This is a conversation of gestures, postures, glances and facial expressions. The imagination of the decorative artist, with the help of color, light, and architectural structures on the stage, makes the stage space “speak.” And everything together is enclosed within the strict framework of the director’s plan, which gives the heterogeneous elements completeness and integrity.

The viewer consciously (and sometimes unconsciously, as if against his will) evaluates the acting and direction, the compliance of the solution of the theatrical space with the general design. But the main thing is that he, the viewer, becomes familiar with art, unlike others, created here and now. By comprehending the meaning of the performance, he comprehends the meaning of life.

Conceptchoreographicworks(sceneorsuite)

Suite (from the French Suite - “row”, “sequence”) is a cyclic musical form, consisting of several independent contrasting parts, united by a common concept.

It is a multi-part cycle consisting of independent, contrasting plays, united by a common artistic idea. Sometimes, instead of the name “suite,” composers used another, also common, “partita.”

The suite is distinguished from the sonata and symphony by the greater independence of the parts, less strictness, and the regularity of their relationships. The term "suite" was introduced in the second half of the 17th century. French composers. The suites of the 17th-18th centuries were dance; orchestral non-dance suites appeared in the 19th century (the most famous are “Scheherazade” by N. A. Rimsky-Korsakov, “Pictures at an Exhibition” by M. P. Mussorgsky).

In Germany, at the end of the 17th century, the exact sequence of parts was formed:

The suite is characterized by pictorial representation and a close connection with song and dance. Suites are often composed of music written for ballets, operas, and theatrical productions. There are also two special types of suite - vocal and choral.

The predecessor of the suite can be considered a paired combination of dances common at the end of the Renaissance - slow, important (for example, pavane) and more lively (for example, galliard). Later this cycle became four-part. German composer Johann Jacob Froberger (1616-1667) created a model of an instrumental dance suite: an allemande in a moderate tempo and bipartite size - an exquisite chime - a gigue - a measured sarabande.

Historically, the first was the ancient dance suite, which was written for one instrument or orchestra. Originally there were two dances: the stately pavane and the fast galliard. They were played one after another - this is how the first examples of ancient music arose. instrumental suite, which became most widespread in the 2nd half of the 17th century. - 1st half of the 18th century. In its classical form, it was established in the work of the Austrian composer I. Ya. Froberger. It was based on four different dances: allemande, chime, sarabande, and gigue. Gradually, composers began to include other dances in the suite, and their choice varied freely. These could be: minuet, passacaglia, polonaise, chaconne, rigaudon, etc. Sometimes non-dance pieces were also included in the suite - arias, preludes, overtures, toccatas. Thus, total number The number of rooms in the suite was not regulated. The more important were the means that united individual plays into a single cycle, for example, contrasts of tempo, meter, and rhythm.

The suite as a genre developed under the influence of opera and ballet. It featured new dances and song parts in the spirit of the aria; suites appeared, consisting of orchestral fragments of musical and theatrical works. An important element of the suite was the French overture - an introductory movement consisting of a slow, solemn beginning and a fast fugue conclusion. In some cases, the term "overture" replaced the term "suite" in the titles of works; other synonyms were the terms “ordr” (“order”) by F. Couperin and “partita” by J. S. Bach.

The true pinnacle of development of the genre was achieved in the work of J. S. Bach. The composer fills the music of his numerous suites (keyboard, violin, cello, orchestral) with such a soulful feeling, makes these pieces so diverse and deep in mood, organizes them into such a harmonious whole that he rethinks the genre and opens up new ones. expressive possibilities, contained in simple dance forms, as well as in the very basis of the suite cycle (“Chaconne” from the partita in D minor).

In the mid-1700s, the suite merged with the sonata, and the term itself ceased to be used, although the structure of the suite continued to live in such genres as serenade, divertissement and others. The designation “suite” began to appear again at the end of the 19th century, often implying, as before, a collection of instrumental fragments from an opera (suite from Carmen by J. Bizet), from a ballet (suite from The Nutcracker by P.I. Tchaikovsky), from music to dramatic play(Peer Gynt suite from E. Grieg's music to Ibsen's drama). Some composers composed independent program suites - among them, for example, N.A. Rimsky-Korsakov's Scheherazade based on oriental fairy tales.

Composers of the 19th and 20th centuries, while preserving the main features of the genre - cyclical construction, contrast of parts, etc., give them a different figurative interpretation. Danceability is no longer a mandatory feature. The suite uses a wide variety of musical material, and its content is often determined by the program. At the same time, dance music is not expelled from the suite; on the contrary, new, modern dance, for example, “Doll Cake Walk” in C. Debussy’s suite “Children’s Corner”. Suites appeared, composed of music to theatrical productions(“Peer Gynt” by E. Grieg), ballets (“The Nutcracker” and “The Sleeping Beauty” by P. I. Tchaikovsky, “Romeo and Juliet” by S. S. Prokofiev), operas (“The Tale of Tsar Saltan” by N. A. Rimsky-Korsakov). In the middle of the 20th century. suites are also composed of music for films (Hamlet by D. D. Shostakovich).

In the vocal-symphonic suites, along with music, the word also sounds (Prokofiev's Winter Fire). Sometimes some composers vocal loops called vocal suites (“Six poems by M. Tsvetaeva” by Shostakovich).

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1. Gachev G. D. Content artistic forms. Epic. Lyrics. Theater. M., 2008

2. Kagan. M.S. Aesthetics as a philosophical science. University course of lectures. St. Petersburg, 2007.

3. Sosnova M.L. The art of the actor. M. Academic Avenue; Trixta, 2007..

4. Shpet G. G. Theater as an art//Questions of Philosophy, 1989, No. 11.

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1. Theater as an art form has a synthetic nature. Theatrical performances include expressive possibilities, means of almost all types of art (literature, music, visual arts, choreography, etc.). In this case, none of the art forms will play a leading role. Nowadays, the synthetic nature of the theater is achieved through the use of developments modern science and technology (psychology, semiotics, technology).

2. Theater – collective creative process. We are talking not only about the joint creativity of the troupe members, but we are talking about the interaction and co-authorship of the viewer. The audience's perception can correct and modify the performance. The performance is not possible without an audience. Spectator perception is serious, creative, intellectual work, even if the viewer himself does not realize it.

3. Theater exists as a momentary performance. Each performance exists only at the moment of its reproduction. Due to this, an understanding of the idea of ​​historicity in the perception of theater is ensured. It is in the theater that the viewer has direct access and involvement in the work. Regardless of what era the actors are playing.

4. theatrical work is not preserved due to immediacy, it exists only in the current moment. Any transfer to film makes it possible only to record the action. At the same time, the magic of art disappears.

5. Theater is subordinated, like any type of art, to a certain artistic time; events on stage (the birth of a work) take place simultaneously with the act of perception by the viewer. In the theater there is a so-called stage time - during which the performance takes place. Currently the performance is on 2.5-3 hours, but some productions require a duration of 5-10 hours. Sometimes it takes several days.

6. The main bearer of the theatrical idea and action is the actor. The actor's image is created within the framework of the idea laid down by the play, its interpretation by the director, but, despite this, the actor remains an artist who independently embodies living images on stage.

7. Theater as an art form is dependent on interpretation. The problem of interpretation arises in relation not so much to the texts of modern drama, but to the texts of the classics. Interpretation in the theater - a variant of a new reading famous work, in which one can trace the philosophical, political, moral position of the author.

In the theater, through interpretation, it becomes possible to correlate the problems of the current day with the historical facts of the past day.

In the analysis of theatrical interpretation, an important role is played by the understanding of the director’s attitudes, his worldview, as well as the clarification of certain eternal problems concerning the essence of man. The viewer, perceiving a classic work in the theater, enters into a dialogue not so much with the author, but with the director, who allows him to reveal the essence of the conflicts modern society. But at the same time, the viewer is in dialogue with the era in which the work was created. Directors turn to classical works, interpret them, because the conflict in them cannot be resolved, it is eternal. The director is in a state of “interpretive appeal” (U. Eco). Interpretation in the theater is possible, it is possible at the level of the playwright, at the level of the director, actor, spectator, theater critics(Anatoly Smenlyansky, A.V. Protashevich).

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