What is a scene. Stage arrangement

The main parts of the scene

The stage box is divided in vertical section into three main parts: the hold, the table and the grate (Fig. 2). Hold- this is a room located under the stage, therefore it is also called the lower stage. The hold contains mechanisms for driving a circle, lifting and lowering platforms and other equipment. The lower stage is used for the arrangement of hatches from the stage and for the implementation of various effects. The area of ​​the hold is usually equal to the area of ​​the main stage, minus the space reserved for the warehouse of soft decorations - the "safe". The height of the hold depends on the mechanization of the stage platform - the design of the turntable and lifting and lowering platforms. However, under any conditions, the height of the hold cannot be less than 1.9 m, counting from the floor to the lower planes of the upper structures.

Tablet- called the floor of the stage, a wooden flooring that serves as a place for the actors to play and install the decoration.

Grizzly - lattice ceiling of the stage. Blocks of decorative, individual, soffit lifts and other riding equipment are placed on the grates. At the level of the tablet, the front part of the stage is adjacent to the stage from the side of the auditorium, the back stage is the back stage, and from the sides are the so-called pockets.

Proscenium- this is a section of the stage that overlooks the auditorium beyond the curtain line. In modern theaters, the proscenium is often included in the volume of the stage box and is supplied with all the necessary set of mechanical equipment for changing the scenery. The front stage is used as a play area in front of the curtain in the immediate vicinity of the audience.

It can be played both separately from the main stage, and in combination with it.

The boundary between the main stage and its front part is Red line- the line along which the intermission curtain runs. Sometimes a part of the scene is called a red line, on

Which lowers the fire-retardant curtain, but due to the fact that in modern buildings this curtain is often carried over the barrier of the orchestra, it is more correct to consider the active zone as the beginning of the stage, that is, the zone located behind the main stage curtain. The entire area of ​​the stage is divided into conditional sections running parallel to the ramp. These areas are called stage plans. The countdown of the plans starts from the red line. First comes the zero plan, followed by the first, second, etc. to the back wall of the stage. Before the border separating one plane from the other, the wings and padugs, hanging in permanent places, served. Backstage is a soft or hard decoration, suspended from the sides of the stage and covering its side parts. Padugas are, in essence, the same wings, but suspended horizontally across the stage.

They serve to disguise spotlights - devices illuminating the scene from above - and the entire upper economy. The curtains and archways make up a series of arches suspended parallel to the ramp. The space of the stage, lying between these arches, determined the area of ​​each plan. In modern

Fig 2. The device of the stage-box:

1 - building portal; 2 - lighting gallery; 3 - working gallery; - transition bridge; 5 - grate bars; 6 - portal tower; 7 - fire-resistant curtain

In the theater, this concept has been preserved, but has received a broader meaning. Formally, the line of soffit batteries is considered the boundary of the scene plan. This is perhaps the only sign by which the stage space can be divided. The stage table, equipped with a rotating circle or lifting and lowering platforms, has lost the clear designation of parallel sections, therefore, in some theaters, plans are defined very conditionally and in different ways.

In addition, the stage area is divided into a play area and side backstage spaces. The play part is the middle part of the stage that lies within normal visibility from the auditorium. From the sides it is limited by the wings, and from the back by some background. This term is also used in a narrower sense, it denotes that part of the scene that is open to the audience in a given act or a given picture. In this case, it is more correct to talk about the playground, and not about the playable part of the scene. Everything outside the game scene belongs to auxiliary, utility spaces.

The stage communicates with the proscenium by means of a portal opening.

The architectural arch framing this hole is called portal of the scene. And the space enclosed within the portal arch - mirror of the stage. In theaters of the classical type, the stage mirror is slightly smaller than the size of the portal, since it is cut off from above with a special paduga - a harlequin. The harlequin serves to mask the sole of the fire retardant and road construction of the intermission curtains. In modern stage solutions, the harlequin is usually absent.

Special wings and archways located behind the portal arch can change the dimensions of the stage opening, forming the so-called stage working mirror or working portal.

On the sides of the stage there are additional reserve platforms called pockets. In contrast to the side spaces of the stage, the pockets are outside the stage box and therefore have a lowered height, approximately equal to the height of the portal. Pockets are used to prepare decorations collected on rolling platforms-fours. Since the most actively played area is the first floor plans, the pockets are placed in this area.

Aryerscene, or in other words, the back stage, like the pockets, is a separate enclosed space adjacent to the back of the main stage. It is separated from it by a capital wall with a wide arched opening. The structure and purpose of the rear scene is similar to the pockets. Its space is often used for the installation of projection equipment operating on the principle of keying, that is, projection "to the light". In some cases, when a particularly large depth of the stage space is required, the backstage area is included in the playing part and the scenery is installed on it.

¶That's why the backstage room is made high and equipped with lifting devices.

According to fire safety requirements, the rear-stage arch is insulated from the side of the main stage with a fire-resistant curtain.

The proportions of the main parts of the scene

Determining the proportion between the main parts of the scene is a matter of utmost importance. The quality of the scene itself, its suitability for professional work, depends on how correctly the relationships between the various parts of the stage space are determined. These data are developed in a centralized manner and serve as the main document for all designers. The published "Norms and specifications for the design of theater buildings" regulate the basic initial data of the scene and the building as a whole.

The starting point for determining the main dimensions of the scene is the dimensions of the portal opening. All linear dimensions of the stage and pockets - width, depth, length - are closely related to the width of the portal arch, just as all their heights are in direct proportion to the height of the portal opening (Fig. 3).

The width of the stage is twice the width of the portal, and the depth ranges from 1.5 to 1.8 times this value. The height from the plate to the grate in relation to the height of the portal is especially important. The threefold headroom ensures complete cleaning of the suspended decorations, minimal use of supports and sufficient disclosure of the stage space.

The depth of the pockets, somewhat larger than the width of the portal, allows mounting decorations on the trucks, which, when fed to the playing part, completely fill the working opening of the mirror. As for the width of the side scenes, usually the playable area of ​​the stage does not exceed 5-6 m in depth, therefore

Rice. 3. The main proportions of the scene:

a- stage plan; b - vertical longitudinal section of the scene

¶Wider furrows don't make much sense. Accordingly, the width of the pocket is chosen, which is usually one third of the entire depth of the scene. And the height, as we have already said, is approximately equal to the height of the portal.

The dimensions of the rear stage are in direct proportion to the type of the rolling platform, which is located in it. If this is a simple decoration lorry, then the width of the rear stage is made 4-5 more wide than the width of the portal. m, and the depth can be equal to the width of the pocket. The height of the rear stage exceeds the height of the portal by 2-3 m. If a turntable is inscribed in the furka, then the area of ​​the rear scene should be significantly increased.

All of this information for determining the size of the scene is not strictly binding. They fix the main starting points and can be changed in the design process in one direction or another. The given standards are calculated for the stage-box of the usual type. Consequently, when creating a special form of the scene, these relations undergo certain changes, only the fundamental foundations laid down in the norms are preserved.

The refined dimensions of the stage depend on many reasons: the type of stage mechanization, the specific design of mechanisms, on the decision of the stage horizon, etc., etc. So, for example, the width of the stage depends on the nature of the drive of the rocket lifts, which are used to move the scenery vertically. ... If the rocket lifts are equipped with an electric drive, then the working galleries on which the winches are installed have the same width. If the galleries are free of drive mechanisms, then their width is significantly reduced. And the wider the gallery is, the wider the stage should be, since there is a need for sufficient space between the outer edge of the galleries and the edge of the circle to hang the wings. There are many such unexpected dependencies. The theater stage is a complex knot of interrelated and often mutually exclusive elements, which are not easy to reconcile.

The auxiliary equipment of the stage includes: galleries, walkways, portal wings and towers, grates. Galleries- these are kind of balconies running along the side and back walls of the stage. The purpose and function of galleries depends on their location. The first, lowest gallery is set at a height of 1-1.5 m from the upper edge of the portal. This gallery is called the lighting gallery, as its front handrail is usually equipped with spotlights that illuminate the stage with an overhead light. The uppermost gallery is 2-2.5 below the grate m. The rest divide the distance between the first and the last into equal parts. These are working galleries. The one with which the decor is controlled

¶National lifts is called the main working gallery. And the galleries, which are equipped with electric hoists and winches for various stage needs, are usually called "machine".

The rear galleries serve as a continuation of the lateral ones and are used to move from one side of the stage to the other, as well as to install radio-acoustic equipment, backlighting and various auxiliary works.

The supporting structures of the galleries are made of reinforced concrete or concrete-coated steel. For theaters of small capacity, a wooden flooring is possible, which is laid along the axis of the gallery. Free space is left between the stage wall and the gallery for the installation of guides and movement of the counterweights of the rocket lifts.

Each side gallery (Fig. 4) is fenced on both sides by strong steel railings, usually made of gas pipes. The outer fence must have a height of at least 1 m. To it are tied ropes of manual lifts, swing ropes, cables, etc. Therefore, special attention is paid to the strength of the fences. The railings of the galleries are designed for a horizontal load of at least 100 kg / running m with an overload factor of 1.2. Internal fencing (against the stage wall) is made with a height of 0.8 m. This fence not only prevents accidents, but also has a purely working function. Firstly, the worker rests on it when working with a manual lift, and secondly, a leading lifting rope is attached to the rail of the fence using slings (short pieces of rope embedded on the rail)

¶ while loading or unloading the counterweight. The high height of the handrail makes it difficult to balance the lift.

For safety reasons, all fences are sewn up to half their height with a metal mesh, and from below, to the flooring, dashboards with a height of 15 to 20 are attached cm. These boards prevent tiles or other objects from falling from the gallery floor onto the stage board. Usually counterweight tiles are laid along the inner side of the gallery. In order to strengthen this part of the flooring (in a wooden version) and so that accidentally dropped tiles do not break the floor, an additional thick board is applied along the entire gallery along its inner part.

The width of the working galleries depends on the type of rocket lift drive. With manual lifts, the gallery width is approximately 1.5 m, and with a machine - from 2 to 2.5 m. The fact is that, according to safety regulations, free passage in a straight line between the gallery fences and the extreme point of the equipment located on the gallery must be at least 0.8 m. And between the winch and the control panel at least 0.5 m.

The decorations hanging above the stage, moving them in the under-arm space pose a certain danger to the people working below. Therefore, the riding worker must necessarily see the place where he lowers the rod. Thus, when determining the width of the gallery, not only the size of the free passage along its floor is taken into account, but also the size of the viewing area of ​​the stage plate.

Lighting galleries differ from workers in that their external handrail is a road along the grooves of which lighting devices move on special carriages. On the outside of the gallery, there is a metal catcher mesh that protects people working on the stage from accidentally dropping frames, light filters, lamp fragments, etc.

The galleries running along the back wall of the stage have a simpler design. Since they are flush with the wall, no internal fencing is required. In order to save space, their width is reduced to 0.8 m.

Working galleries are interconnected by suspended transition bridges, crossing the scene space in the lateral direction. They serve to quickly move riding workers from one side of the stage to the other. In addition, bridges are necessary for a wide variety of auxiliary works (ropes are lowered from them for manual lifting of tall decorations, chandeliers, lampshades), as well as for the implementation of some stage effects.

The first walkways are laid along the portal wall of the stage. Their number can be equal to the number of gallery tiers. The next row is located near the center of the stage on

¶The height is not lower than the second gallery, and the following ones rise even higher to the level of the third tier. The further the bridge is from the portal, the higher it should be located. Otherwise, the bridges artificially cut the height of the stage viewed from the hall, depriving it of air and space.

Despite the fact that the transition bridges have a small width (0.5 m clean), they all occupy a certain space of the stage, deadening the area under it. In order to rationally use this space, soffit batteries are placed under the bridges. The total number of bridges on the stage of average size ranges from two to three, counting the portal ones.

As well as galleries, bridges are equipped with side boards, solid fences with a height of at least one meter. With the help of metal rods, the supporting structures of the bridges are rigidly suspended from the lower chords of the stage floor trusses.

Grate made of wooden blocks with an approximate section of 6X6 cm. The bars are attached with screws to the floor beams of the stage perpendicular to the portal and at a distance of no more than 5 cm apart.

The grate is necessary for rocket lifts, the cables of which pass through it. In addition, the lattice cover allows you to install temporary blocks of individual lifts at any point, either manually or mechanically.

Safety regulations make special demands on the operation of grates. This is understandable - any, even the smallest, part that has fallen from a great height can lead to a serious accident. Therefore, persons who have undergone special instructions and have received permission from the stage driver are allowed to work on the grates. The hand tool is tied to the belt, and for small parts on the grates, a tarpaulin with a size of at least 1.5X1.5 is spread m. Those on the stage are warned of the work being carried out, and especially dangerous areas of the tablet are marked with a special fence.

Portal wings installed immediately behind the intermission curtain. Unlike conventional stage wings, they are mounted on a rigid frame. The portal wings form, as it were, the frame of the performance, so they are made movable. The simplest type of portal curtain is a wooden or metal frame covered with fabric. The wings are moved in different ways. In some cases, they move parallel to the ramp, in others, they rotate around their axis, in others, they move out like screens. The nature of the movement and the appearance of the backstage itself are determined based on the specific conditions of the scene.

¶ Portal towers They function as wings: they diaphragm the stage mirror and form a movable frame framing the stage picture, and at the same time they are a mobile light post. If the portal wings in many cases are installed almost close to the intermission curtain, then the portal towers are moved back a distance sufficient to exit according to the zero plan and arrange two or three rocket lifts. The magnitude of the turret travel is calculated so that in the extreme position the turret reaches the edge of the turntable and even extends its cantilever part a little further. In this case, when using a pavilion decoration, the tower covers the edge of the decoration walls.

In theatrical practice, there are two types of portal towers. The first type includes multi-storey, tower structures with a thickness of 0.8-0.9 m. Lighting equipment is located on each floor. The second type, the most common, is more like a reinforced link (Fig. 5). The frame of this tower is only 140 mm. Lighting bridges are attached to its inner side, located one above the other. The bridges occupy only the middle of the tower, leaving room for vertical staircases that run along both

¶ sides of the frame. A small thickness of the frame is optically more favorable and better disguises the ends of rigid decorations. But the luminous power of such a tower is much less than that of the first type.

The undercarriage of the portal towers consists of drive wheels and upper guide rollers. The driving wheels are located at the bottom of the tower. To accurately record the course, a guide rail is cut into the stage plate, and the running wheels are equipped with flanges. The tower is moved manually or using a simple drive. The tower drive consists of a chain of sprockets connected by an endless chain and a gear train with a handle. The drive sprockets are mounted on the travel wheels, and the idler sprocket is attached to the tower frame. Since the distance between the wheels is quite large - from two to three meters - an additional supporting sprocket is installed at the bottom to prevent the chain from sagging. The movement of the tower or the stage is carried out by rotating the handle.

The stability of the tower is ensured by two horizontal rollers located in the upper part of the frame. The rollers slide along a box-shaped road attached to fixed parts of the stage structure, most often to the bottom of the portal bridge.

The portal bridge, located at the level of the first gallery, and the portal towers form a single frame, which is interpreted as the second portal of the stage. At the same time, this frame is also a light portal, since the walkway performs the same functions as the lighting galleries and the towers themselves. For greater maneuverability during the installation of the light, the middle part of the bridge is made lifting and lowering. Thus, a movable structure is placed between the towers, carrying scattered and directional light devices.

From the outside of the tower and the wings are sheathed with dense fabric, the color and texture of which may vary. Some theaters sheathe the wings with the fabric of which the intermission curtain is made, others prefer more neutral facing, such as black velvet, etc. In addition to the main, permanent covering, the wings and towers are often covered with additional materials in accordance with the general coloristic and visual solution of the performance.

Fire retardant fire curtain compulsory for all theaters with a capacity of 800 or more. The main purpose of the curtain is to reliably protect the auditorium from fire and the penetration of poisonous gases generated during combustion.

In addition to fire resistance and tightness, the curtain must have increased strength, since during a fire on the stage, enormous pressure develops, which can squeeze it out into the audience. According to existing norms,

The heat curtain is calculated for a horizontal pressure from the stage side equal to 40 kg / m 2 at a frame temperature of at least 200 ° C. During a fire, the curtain is cooled by streams of water coming from a special pipe with spray heads located on the portal stage.

The curtain frame is made of steel beams and filled with non-combustible materials: asbestos cement, concrete on a metal mesh and some others.

Fireproof curtains are usually made of a lift-and-drop type. An exception is for curtains in theaters built in seismic areas where curtains can be retractable. The fact is that the lifting and lowering system provides not only a greater tightness of the stage overlap, but also greatly facilitates the device of an emergency non-motorized lowering.

The curtain is suspended on two or more ropes going to the winch drum, and the same number of ropes to which the counterweights are attached (Fig. 6). The curtain is always heavier than the counterweights. If the winch fails or current is interrupted, the curtain is pulled down by its own gravity. The curtain is braked during non-motorized descent by a mechanical limit switch installed on the winch.

The curtain movement is controlled from three points: the fire station, the stage table and the winch machine room. Under normal operating conditions, ascent and descent

Rice. 6. Fire curtain: a - curtain suspension diagram; b - the upper part of the curtain;

/ - a curtain; 2 - curtain blocks; 3 - grate blocks; 4 - counterweight; 5 - winch; 6 - stage portal wall; 7 - gutter; 8 - sand; 9 - visor; 10 - bump screen; 11 - pipe with water spray heads

¶Allowed only from the stage tablet, to avoid accident. The fire brigade must be able to see the entire course of the curtain. Simultaneously with the start of the curtain movement, sound and light signaling is switched on, warning people working on the stage.

To seal the overlap of the stage portal opening on the sides of the curtain and along the vertical walls of the portal, there are metal guides of a complex profile, which form a labyrinth lock between them. The top edge of the curtain ends with a steel beam. The vertical part of this beam protrudes beyond the frame towards the auditorium. When the curtain is lowered, it cuts into the sand or other non-combustible material that fills the gutter at the top of the portal. A resilient, non-combustible cushion is attached to the sole of the curtain. Under the curtain, in the same plane with it, there is a capital firewall wall. Between this wall, located in the hold, and the curtain, only the wooden flooring of the tablet is passed.

Safety rules prohibit putting decorations under the curtain, furniture - everything that can interfere with the instantaneous overlap of the stage. The projection of the curtain is applied with indelible paint on the stage board.

Decoration safes or, otherwise, warehouses for soft decorations, according to a long-standing tradition, are located in the hold on

Rice. 7. Safe with pull-out shelves:

a-transverse section; b- plan; 1 - swivel bracket; 2 - shelf; 3 - shelf extended into the span; 4 - rocket cargo lift

¶ in the background of the stage. The fire-resistant vault communicates with the stage with fireproof covers cut into the stage table and covered with wooden flooring on top. The length of the safe is slightly longer than the length of the railings, so that soft scenic decorations rolled into bars can be stored in it.

Transporting and stacking the rolls on the shelves is a very laborious and unsafe operation. Therefore, the mechanization of loading and unloading safes is of great importance. One of the interesting ways to mechanize safes is a system of movable shelves, designed and implemented for the first time at the Leningrad Academic Opera and Ballet Theater named after V.I. S. M. Kirov in 1954 (Fig. 7).

The shelves, 20 meters long, are mounted on swivel brackets. The two outer brackets are leading, as they are connected to the shelf by vertical pivots. When the shelf is moved to the middle of the safe, it shifts to the side, while moving along the longitudinal axis. The angles of rotation of the brackets and the hinge system are designed so that the effort of one person is sufficient to move a fully loaded shelf in the horizontal plane. The width of the shelf in relation to the overall width of the safe is calculated so that when pulled out into the span, it fills it entirely. Shelf "self-fencing" occurs due to adjacent sections located on each floor, and due to its own barriers. The rolled decorations are laid with a special electric-powered trousers-kettle hoist.

The mechanization of the shelves does not eliminate the need to fence the open safe hatch. Installation of a multi-meter rigid fence is a rather troublesome operation. Automatic

Rice. 8. Cassette safe:

1 - safe shaft; 2 - cassette; 3 - cover; 4 - stage tablet

¶System, reliably enclosing the hole in the tablet, formed when opening the safe covers, due to great technical difficulties, has not yet been created. The most convenient and reliable system in all respects is the cassette safe system (Fig. 8).

A cassette safe is essentially a lift-and-drop warehouse. A number of shelves are placed in a single frame, which is raised to the required height using spindle or squeeze devices. The closed design of the cassette does not require flatbed rails, which greatly simplifies the technique of loading and unloading shelves. Currently, cassette safes are becoming widespread.

σκηνή , letters. "Tent, marquee") - part of the theater, stage, place of the main theatrical action. In the ancient Greek theater, it was originally a tent, in which the actors were preparing for a performance, then it became part of the theatrical surroundings, depicting the facades of buildings, background plans (the theatrical action itself took place in the orchestra, and later in the request).

Modern theater usually uses a closed stage, which is called stage-box... Its main feature is the presence of a closed space, separated from the auditorium by a wall. Communication between the stage and the hall is carried out through a hole in the front wall of the stage. The resulting architectural arch is called stage portal(from lat. porta- gate, entrance), and the space enclosed inside the arch is called mirror stage.

On the horizontal section, the stage area consists, as a rule, of three parts: the proscenium, the stage, and the backstage - respectively, the front, main and rear parts of the stage. The rear scene, as a rule, adjoins the main box, like an extension, and serves to store the scenery, quickly change them using rolling platforms - truck, creating a variety of lighting and other effects. In addition, the scene is divided into game part- lying within sight of the hall, and side backstage spaces. There are also extensions on the sides, called pockets, and also usually equipped with rolling platforms.

In case of fire, a fire curtain should separate the stage from the hall.

see also

• Turntable (theater)
• Swivel ring

Links

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Synonyms:

See what "Scene" is in other dictionaries:

scene- s, w. lat. scène it. Szene, Paul. scena gr. skene tent, tent. 1. A special area where the performance takes place. ALS 1. Onegin With men from all sides Swore, then looked at the stage In great distraction, He turned away and ... Historical Dictionary of Russian Gallicisms

SCENE, scenes, wives. (Latin scena from Greek skene, lit. tent). 1. The place where the theatrical performance takes place. Stage equipment. The stage is separated from the auditorium by a curtain. || only units, trans. Theater, theatrical activities. Half a century on ... ... Ushakov's Explanatory Dictionary

- (Latin scena). 1) an elevated place in the theater where the play is performed. 2) the same as a phenomenon, part of an act of an opera or otherwise dramatic. representation. 3) the incident in reality or its image in the picture. Dictionary of foreign ... ... Dictionary of foreign words of the Russian language

See the case, theater to make a stage ... Dictionary of Russian synonyms and expressions similar in meaning. under. ed. N. Abramova, M .: Russian dictionaries, 1999. scene, case, theater; stage, scene, teacher, stage, picture, explanation, spectacle, ... ... Synonym dictionary

- (footnote) theater. Wed He has a phenomenal voice ... he also has an appearance suitable for scenes ... It seems that there is more? ... Tyap blunder and the ship will come out; take, put on a suit, and act at least in the "Prophet". P. Boborykin. To the detrimentѣ. ... ... Michelson's Big Explanatory Phraseological Dictionary (original spelling)

Female, French a phenomenon, an incident in faces, or its depiction in a painting; | part of a dramatic performance, an exit, an appearance; | the place where something happens, the field, with all the furnishings, especially. platform in the theater. Come on stage, go out, ... ... Dahl's Explanatory Dictionary

- (Latin scaena, from the Greek skene), 1) the stage on which the performance takes place (theatrical, pop, concert, etc.). The oldest view of the European scene is the ancient Greek orchestra. A type of theatrical stage, similar to ... ... Modern encyclopedia

- (Latin scaena from Greek skene), 1) the platform on which the performance takes place (theatrical, pop, concert, etc.). 2) In a play, a performance, part of an action, an act. 3) In a broad sense, the same as theatre … Big Encyclopedic Dictionary

SCENE, s, wives. 1. A special area, on which the performance takes place (in 3 digits). Rotating c. Stage lighting. 2. transfer. Theater, theatrical activities. Stage actor. A life devoted to the stage. Leave the stage (also re .: leave the field ... ... Ozhegov's Explanatory Dictionary

See: Act of Appetite V.V. Vinogradov. History of Words, 2010 ... History of Words

scene- SCENE1, picture, out of date. phenomenon SCENA2, playground, stage, stage ... Dictionary-thesaurus of synonyms for Russian speech

Books

• Scene, Doroshevich V.M. , "In our new project you will find both books from the" golden fund "of classical Russian literature, and rare, almost forgotten, works of authors who have remained in the shadow of their great ... Category: Literary criticism. Prose. Poetry. Drama Series: Publisher: T8RUGRAM,
• Scene between earth and sky. Theatrical diaries of the XXI century, Tokareva Marina Evgenievna, Marina Tokareva - famous theater critic, columnist for "Novaya Gazeta", author of the book "Konstantin Raikin. Romance with the Theater." The scene between earth and sky "is dedicated to directing. Her, books, ... Category:

AVANLOZHA- seats in the auditorium, a room in front of the entrance to the box.

PROSCENIUM- the front of the stage (between the curtain and the ramp).

ACT- a finished part of a dramatic work or theatrical performance; the same as action.

ACTOR, actress - performer (performer) of roles.

AMPLUA- roles similar in nature, corresponding to the talent and external data of a particular actor.

AMPHITHEATER- 1) an antique construction for shows: an oval arena, around which places for spectators were located by ledges; 2) seats in the auditorium, located behind the parterre.

ENGAGEMENT- invitation of an actor for a certain period of time to participate in performances or concerts.

ANNOUNCEMENT- announcement of upcoming tours, performances, concerts.

ANTIGERO- a deliberately reduced, deheroized character in the play, occupying one of the main places.

INTERMISSION- a break between the actions (acts) of the performance, between the sections of the concert.

ENTREPRENEUR- owner, maintainer, tenant of a private theater.

ANTREPRISE- private theater.

FULL HOUSE- an announcement that all tickets (for the play, performance) are sold.

APOTHEOSIS- solemn final mass stage of a performance or a festive concert program.

ARIERSCENE- the part of the stage farthest from the auditorium.

BALAGAN- a theatrical performance of a comic character shown at fairs and festivals (in Russia since the 18th century).

BALCONY- seats in the auditorium, located amphitheater in different tiers.

MEZZANINE- the first tier of balconies above the parterre and amphitheater in the auditorium or concert hall.

BENEFIT- 1) a theatrical performance in honor of one actor; 2) a performance, the collection from which I received for the benefit of one or more actors, as well as other theater workers.

Benoir- theater boxes at sienna level or slightly lower on both sides of the stalls.

BERICAOBA- Georgian improvisational folk theater of masks. Existed from ancient times to the beginning of the XX century.

BURLESQUE- exaggerated comic portrayal on stage.

Booth- a theater worker in charge of props. It is made by a props artist.

PROPS- items specially made and used instead of real things in theatrical performances.

BUFFOON- the role of an actor using clownish techniques to perform the role.

BUFFOONERY- 1) performance with the use of clown techniques; 2) outwardly emphasized comic exaggeration, sometimes caricatures of characters.

VERTEP- Ukrainian folk puppet theater, which became widespread in the XVII-XIX centuries. The dolls, fixed on a wire inside a two-tiered box - a nativity scene, were set in motion by a clerk. Scenes based on biblical subjects. The satirical sideshows were accompanied by music.

GALLERY- the upper tier of the auditorium.

GASTION- an actor in Ancient Rome.

TOUR- performance of actors on the road in other theaters.

HERO- the main character in the play.

DRESS REHEARSAL- the last one before the performance, concert.

GRANDAM- the role of an actress playing the role of noble ladies.

GRANDCOKET- the role of an adult noble lady.

MAKEUP- 1) the art of changing the appearance of an actor (mainly the face) with the help of special paints, stickers, a wig, hairstyle, etc.; 2) paints and other makeup accessories.

GRIMER- a specialist in makeup for actors.

MAKEUP ROOM- room for make-up and dressing up of actors.

ACTION- the finished part of the play. Same as act.

DECLAMATION- clear expressive reading aloud.

DECORATION- decoration of the scene on the theatrical stage, creating the visual image of the performance.

JORURI- a kind of puppet theater in Japan. Joruri plays are performed on the stage of the kabuki theater.

DIVERTISSEMENT- a musical or dramatic performance from a number of separate numbers, usually given in addition to the performance.

DRAMATURGY- 1) dramatic art, theory of construction of dramatic works; 2) the totality of such works; 3) plot and compositional basis of a separate theatrical work.

THE VILLAIN- the role of an actor playing negative characters.

INGENUE- the role of an actress playing the role of a naive girl.

INTERMEDIA- a small piece performed between acts of a dramatic or opera performance; insert scene.

KABUKI- one of the types of classical theater in Japan. Includes music, dance, drama, formed in the 17th century. Since 1652, only men have performed in such troupes.

PAINTING- part of an act in a drama.

CLACA- a special group of people hired to create an artificial success or failure of a performance, an actor.

COCKET- the role of an actress acting as a beautiful girl.

GRIDES- the upper (invisible to the viewer) part of the stage for the installation of blocks, stage mechanisms and suspension of decoration elements.

COMEDIAN- the role of an actor performing comedic roles.

CONFIDANT- an actor playing the role of an approximate protagonist.

COURNES- a kind of sandals with very thick soles from ancient Greek and Roman actors to increase height.

CLASSES- flat parts of the scenery (soft, stretched over frames), located on the sides of the stage.

LYRICIST- the role of an actor playing lyrical characters.

ACTOR- the name of the actor in Ancient Russia.

LODGE- a group of seats in the auditorium (around the parterre and on tiers), separated by partitions or barriers.

PUPPET- a theatrical puppet, which the puppeteer sets in motion with the help of threads.

MIZANSCENE- the location of the actors on the stage at one point or another in the performance. The art of mise-en-scène is one of the most important elements of directing.

MIME- a pantomime actor.

MIMIKA- one of the important elements of an actor's art, the expressive movement of the muscles of the face.

MONOLOGUE- the actor's speech, addressed to the audience or to himself.

MUSIC HALL- a kind of pop theater, combining pop, circus, dance and musical genres. The first music halls appeared in Great Britain in the middle of the 19th century.

FOLK THEATER- 1) theater, existing among the people, organically associated with oral folk art; 2) professional theater of the second half of the 19th century, whose activities were addressed to a wide audience; 3) non-professional amateur theater (appeared in Russia in the middle of the 19th century).

NOU- one of the types of traditional Japanese theater. Includes music, dance, drama. Characteristic features: conventionality of the scenery, the main characters are in masks, the costume is devoid of everyday concreteness.

PADUGA- a strip of curtain at the top of the stage.

PANTOMIME- a kind of performing arts in which an artistic image is created without the help of words, by means of expressive movement, gesture, facial expressions.

PARTNER- the plane of the floor of the auditorium with seating for spectators, usually below the stage level.

PELGENT- a mobile stage in the form of a large carriage in a medieval theater. It was used when staging mysteries, miracles, processions.

PETIMETER- the image of a dandy in a satirical comedy.

PARSLEY- the main character of Russian folk puppet shows; known from the first half of the 17th century.

SCHEDULE- a synonym for the word "scene".

STATEMENT- the creative process of creating a performance; the same as the performance.

PREMIERE (PREMIERE)- actor, actress, occupying a leading position in the troupe, playing the main roles.

PREMIERE- the first (or one of the first) public paid screening of a new performance.

DIVA- an actress performing the main roles.

SIMPLETON- the role of an actor playing an innocent person.

RAMP- lighting equipment on the stage floor along its front edge, hidden from the public by the side.

REVUE- pop or theatrical performance, consisting of several numbers, united by one theme.

DIRECTOR- the director of performances, based on his own idea, creates a new stage reality, combining the work of actors, an artist, a composer.

RESONER- the role of an actor expressing moral judgments.

PROPS- items used in theatrical performances.

REHEARSAL- the main form of preparation of theatrical performance.

REPERTOIRE- a set of works performed in the theater.

REPLICA- a short statement uttered by one actor in response to the words of another.

SKENA- a room for changing clothes and going out of theater actors in Ancient Greece.

SOLOIST- the leading actor in the play.

SOFFIT- part of the lighting equipment in the theater, lamps of diffused light, illuminating the stage from the front and from above.

PLAY- theatrical performance. It is created on the basis of a dramatic or musical stage work in accordance with the director's intention by the joint efforts of actors, an artist, etc.

STATIST- the actor of the crowd, performing the role without words.

SOUBRETTE- the role of a resourceful servant.

PROMPTER- a theater worker, who monitors the progress of rehearsals and the performance according to the text of the play and, if necessary, prompts the actors for the words of the role.

THEATRE- a kind of art, the specific means of expression of which is the stage action that arises in the process of an actor playing in front of an audience.

PUPPET THEATRE- a kind of theatrical show in which puppets act, controlled by actors-puppeteers.

THEATER MINIATURE- the kind of theater in which works of the so-called small forms (one-act plays, parodies, scenes, sketches) are staged.

SHADOW PLAY- a kind of theatrical performance based on the use of flat puppets, which are located between the light source and the screen or are superimposed on it.

TELARIA- devices for changing scenery in ancient theaters in Western Europe.

TRAVESTY- the role of an actress playing the role of adolescents.

TRAGEDIAN~ the role of an actor performing tragic roles.

TROUPE- the cast of the theater.

HOLD- room under the stage.

FAT- the role of an actor playing spectacular, narcissistic and limited people (mostly young).

FIGURANT- an actor playing a role without words; the same as the extra.

THE FINAL- the final part of the performance.

FURKI- devices for moving the scenery on the stage.

Etoile- an actress of the entertainment genre.

ETUDE- in modern theater pedagogy, an exercise for the development and improvement of acting technique.

TIER- one of the middle or upper floors in the auditorium.

Scene space

If we had the opportunity to look at the theater building under construction, which they did not have time to cover with a roof, then, looking downward, we could see the individual components of the spectacular space in the plan.

Proscenium. This section of the stage, facing the auditorium in front of the curtain, is used for acting in the immediate vicinity of the audience. The proscenium enables the director to use a “close-up”, to create the effect of a “wall”, a living curtain, to bring the actor into direct communication with the viewer, to pull him out of the world of optical illusions. The proscenium also has its drawbacks: a shallow depth, the absence of elements of mechanization both from below and from above, the presence of a background neutral with respect to the plot when the curtain is closed. Although these disadvantages easily turn into advantages. Here are some tips: you should make two or three collapsible machines with removable flooring, with the help of which, if necessary, you can move into the auditorium to the required depth by building small lightweight platforms on rollers (trucks), you can place elements of transforming decorations on them (small mechanization ).

Game part or scene itself. This is the site on which the action takes place and the scenery is mounted. It has no exact boundaries, since the scenery can also go behind the scenes. Therefore, it is customary to consider the projection of the side working platforms as the boundary of the stage, and the line of contact of the stage tablet with the backdrop as the back part. The playable part of the scene is divided into plans, which are determined by the wings or rows of spotlights. The boundary between the proscenium and the first plan of the stage is Red line- the line along which the curtain runs.

The play part of the stage makes it possible to concentrate the main equipment for stage effects and stunts, lighting, lifting and lowering platforms, a turntable, riding equipment, rods, individual lifts, flight devices, etc. It can be used to create a variety of backstage effects. The disadvantages of the playable part of the scene include distance from the viewer and limited view by the portal wall.

Here are some helpful tips. With a small depth and width of the stage, several machines of different heights, steps or ramps (inclined machines) should be installed. They will not only visually, but also objectively enlarge the scene. You can diaphragm the space with hard or soft curtains, bringing them closer to the horizon, which will create the illusion of greater depth, as well as illuminate the backdrop with diffused light, highlight the curtains. In the absence of mechanization of the scene, it is easy to create it. In the conditions of an amateur home theater, furniture casters, ball bearings, wheels from children's cars and designers are suitable for this. Installed on rollers, small overhead turntables, step-ladders, steps, chairs, screens will completely replace the expensive and rarely used complex structures of large theaters.

Rear scene or back scene. It is a separate enclosed space adjacent to the back of the stage. Serves for mounting decoration, installation of lighting and projection equipment, working through the light.

The rear stage can serve as an additional playground when a particularly deep stage space is required. Can be used to create a “zoom in” reception. For this, the actor, surrounded by decorations or without them, is placed on a truck and taken to the foregrounds. The rear scene can be used to create expressive means of shadow theater.

The disadvantages of the rear scene include: deterioration of visual and acoustic characteristics at a great distance from the audience.

It can be advised to fix the stage backdrop, leaving 80-100 cm between it and the back wall, or to make the backdrop from several separate stripes, which will provide more maneuverability to the spectacle with a little odor for the actors' exits in the middle and on the sides. Doors, openings, niches in the back wall can be used as a backstage. For rear projection (shadow theater), you can use a box tightened on one side with a translucent fabric with lamps installed in it. It is easily apertured with opaque material, creating whimsical light silhouettes.

Pockets. These are additional platforms on the sides of the stage, which serve for the preparation of decorations assembled on rolling platforms - forks, which, as a rule, are located in the area of ​​the foregrounds of the stage.

Pockets greatly expand your mounting options when changing scenery during a show. It is very bad if the pockets, like the rear scene, are used as storage for various trash. We advise you to use the pockets as intended, thereby multiplying the palette of expressive means of space. The absence of pockets is compensated by the existing doors and passages. Do not forget to pre-cover them with dense curtains from random noise, light, drafts. Make folding platforms (similar to solar panels).

Now, after a brief analysis of the structure of the stage, according to the plan, we will mentally remove one of the side walls of the spectacular structure and see what parts the stage box consists of vertically.

Hold. This is the space below the stage that matches the dimensions of the stage tablet. The hold is a universal space for creating various kinds of effects using the equipment located in it (lifting and lowering platforms, hatches, a mechanism for rotating a rotating stage table, a rotating ring). The hold makes it possible, imperceptibly for the audience, to bring water to the fountains on the stage, to highlight the scenery from below, to make the unexpected appearance or disappearance of actors and decorations through the hatches-holes. At the same time, the hold is an unnecessary resonator, amplifying the sounds of footsteps on the stage and the creak of the floorboards. In order to extinguish the acoustic effect of the hold, a rug should be used, which, moreover, aestheticizes the unpainted stage plan. If there is no special device for descent into the hold, it is necessary to make steps or lay bags filled with foam rubber on the floor in the hold. On them, during the performance, you can jump through the hatch.

Upper stage or grates. This is the space that is located above the walls and ends with the ceiling of the stage. As a rule, the top of the stage ends with a grate made of wooden beams, on which various blocks and transmission mechanisms are mounted. The upper stage has several galleries. The first is the lighting one, on which the lighting devices are located, the second and third are the workers, which serve to fix various decorations and other works.

On the back wall there is a working platform for attaching a backdrop, horizon, panorama. The grates significantly increase the possibilities of forming space by means of decoration both vertically and horizontally, both in depth and in width.

Unfortunately, all the rocketry equipment is oriented parallel to the stage mirror, which impoverishes the aspect ratio of the suspended design elements. In the absence of an upper stage (grate bars) and with a low height of the entertainment space, the ceiling should be painted with black velvety paint, the suspended structure from the netting mesh stretched over the frame should be fixed, which will make it possible to do without a rocketry for placing suspended decoration elements on the stage, including clothes scenes. Make portable blocks that can be attached to a suspended structure and use them as custom set climbers.

If you need effects such as falling snow, pouring water, crumbling leaves, falling “clouds” of balls, you can make all kinds of tippers filled with shredded foil, polyethylene, foam or balloons of various sizes on your own. As such tipping devices, boxes with an offset center of gravity, umbrellas, tubes, nets, etc. can be used.

Continuing our journey through the theatrical world, today we will get into the world of behind the scenes and learn the meaning of words such as ramp, proscenium, scenery, and also get to know their role in the play.

So, upon entering the hall, each spectator immediately turns his gaze to the stage.

Scene- this is: 1) the place where the theatrical performance takes place; 2) a synonym for the word "phenomenon" - a separate part of an action, an act of a theatrical play, when the composition of the actors on the stage remains unchanged.

Scene- from the Greek. skene - booth, stage. In the early days of the Greek theater, the skene was a cage or tent attached to the back of the orchestra.

Skene, orchectra, theatron constitute the three fundamental scenographic elements of the ancient Greek performance. An orchestra or playground connected the stage and the audience. Skene developed in height, including the theologeon, or playground of gods and heroes, and on the surface together with the proscenium, an architectural façade, the precursor to the wall decor that would later create the proscenium space. Throughout history, the meaning of the term "scene" has been constantly expanding: decoration, playground, scene of action, time period during the act and, finally, in a metaphorical sense - a sudden and vivid spectacular event ("arrange a scene for someone"). But not all of us know that the scene is divided into several parts. It is customary to distinguish between: proscenium, backstage, upper and lower stage. Let's try to understand these concepts.

Proscenium- the space of the stage between the curtain and the auditorium.

The proscenium is widely used as a playground in opera and ballet performances. In drama theaters, the proscenium serves as the main setting for the small scenes in front of the closed curtain that link the scenes of the performance. Some directors bring the main action to the fore, expanding the stage.

The low barrier separating the proscenium from the auditorium is called ramp... In addition, the ramp covers the stage lighting devices from the side of the auditorium. Often this word also refers to the very system of theatrical lighting equipment, which is placed behind this barrier and serves to illuminate the stage space from the front and from below. To illuminate the stage from the front and from above, spotlights are used - a row of lamps located on the sides of the stage.

Aryerscene- the space behind the main stage. The rear scene is a continuation of the main scene, it is used to create the illusion of a great depth of space, it serves as a reserve room for setting the scenery. On the backstage, there are wagons or a rotating rolling circle with pre-installed decorations. The top of the rear stage is equipped with grates with decorative rises and lighting equipment. Warehouses for hanging decorations are placed under the backstage floor.

Upper stage- a part of the stage box located above the stage mirror and bounded from above by a grate. It is equipped with working galleries and walkways, serves to accommodate hanging decorations, overhead lighting devices, and various stage mechanisms.

Lower stage- part of the stage box below the tablet, where the stage mechanisms, prompter and light control booths, lifting and lowering devices, devices for stage effects are located.

And the stage, it turns out, has a pocket! Side stage pocket- a room for a dynamic change of scenery using special rolling platforms. Side pockets are located on both sides of the stage. Their dimensions make it possible to completely fit the scenery on the truck, which occupies the entire playing area of ​​the stage. Usually, decorative warehouses are adjacent to the side pockets.

Named in the previous definition "furka", along with "grates" and "barrels", is included in the technical equipment of the stage. Furka- part of the stage equipment; a mobile platform on rollers used to move parts of the decoration on the stage. The movement of the truck is carried out by an electric motor, manually or with the help of a cable, one end of which is located behind the curtains, and the other is attached to the side wall of the truck.

- lattice (wooden) flooring located above the stage. It serves to install blocks of stage mechanisms, is used for work related to the suspension of elements of the performance design. The grates are connected with the working galleries and the stage by stationary stairs.

Shtanket- a metal pipe on cables, in which the wings are attached, details of the scenery.

In academic theaters, all the technical elements of the stage are hidden from the audience by a decorative frame, which includes a curtain, curtains, a backdrop and a backdrop.

Entering the hall before the start of the performance, the viewer sees a curtain- a cloth of cloth, suspended in the area of ​​the stage portal and covering the stage from the auditorium. It is also called "intermission-sliding" or "intermission" curtain.

Intermission-sliding (intermission) curtain is a permanent equipment of the stage, covering its mirror. It moves apart before the start of the performance, closes and opens between acts.

The curtains are sewn from a dense dyed fabric on a dense lining, decorated with the theater emblem or wide fringes sewn to the bottom of the curtain. The curtain allows you to make the process of changing the situation invisible, to create a feeling of a gap in time between actions. The intermission-sliding curtain can be of several types. The most commonly used are Wagnerian and Italian.

Consists of two halves pinned at the top with overlays. Both wings of this curtain are opened by a mechanism that pulls the lower inner corners to the edges of the stage, often leaving the lower part of the curtain visible to the audience.

Both parts italian curtain they move apart synchronously with the help of cables attached to them at a height of 2-3 meters and pulling the curtain to the upper corners of the proscenium. Above, above the stage, is paduga- a horizontal strip of fabric (sometimes acting as a decoration), suspended from a bar and limiting the height of the stage, hiding the upper stage mechanisms, lighting devices, grate bars and upper spans over the decorations.

When the curtain opens, the viewer sees the side framing of the stage, made of strips of fabric arranged vertically - this is backstage.

Closes the backstage from the audience backdrop- a painted or smooth background made of soft fabric, suspended at the back of the stage.

Scenery of the performance is located on the stage.

Decoration(lat. "decoration") - the decoration of the action on the theatrical stage. Creates a visual mode of action by means of painting and architecture.

The decoration should be useful, efficient and functional. Among the main functions of decoration are the illustration and depiction of elements supposedly existing in the dramatic universe, the free construction and change of the scene, considered as a play mechanism.

The creation of scenery and decoration of a performance is a whole art called scenography. At different times, the meanings of this word have changed.

Scenography among the ancient Greeks was the art of theater design and pictorial decoration resulting from this technique. In the Renaissance, scenography was the technique of painting the backdrop canvas. In contemporary theatrical art, this word represents the science and art of organizing the stage and theatrical space. The set itself is the result of the set designer's work.

This term is increasingly replaced by the word "decoration" if there is a need to go beyond the concept of decoration. Scenography signifies the desire to be writing in a three-dimensional space (to which one should also add a temporal dimension), and not just the art of painting on canvas, which the theater was content with up to naturalism.

During the heyday of modern scenography, decorators managed to breathe life into space, revive the time and play of an actor in a joint creative act, when it is difficult to isolate a director, illuminator, actor or musician.

The scenography (decoration equipment of the performance) includes props- items of the stage environment that the actors use or manipulate during the course of the play, and props- specially made items (sculptures, furniture, dishes, jewelry, weapons, etc.) used in theatrical performances instead of real things. Props are notable for their cheapness, durability, emphasized by the expressiveness of their external form. In this case, props usually refuse to reproduce details that are not visible to the viewer.

The production of props is a large branch of theatrical technology, including work with paper pulp, cardboard, metal, synthetic materials and polymers, fabrics, varnishes, paints, mastics, etc. , finishing and locksmith works, fabric painting, metal embossing.

Next time we will learn more about some theatrical professions, whose representatives not only create the performance itself, but also provide its technical support, work with the audience.

The definitions of the terms presented are taken from the sites.