What is the scenery in a theatrical production. Scenery in the theater The main types of theatrical scenery

DECORATION

DECORATION

(Middle Ages - Latin, from Latin decor - decoration). Images and pictures painted in a special way and placed on the theater stage in order to give it the appearance of the place where the action should take place.

Dictionary of foreign words included in the Russian language. - Chudinov A.N., 1910 .

DECORATION

1) more or less spectacular decoration in the setting of any objects; 2) theatrical painted canvases on stands, depicting various objects on the stage that are necessary during the play (walls of rooms, houses, forest, sky, etc.); 3) a beautiful appearance, hiding behind a very unattractive essence of the case and designed to deceive inexperienced. of people.

Dictionary of foreign words included in the Russian language. - Pavlenkov F., 1907 .

DECORATION

1) furnishing decoration; 2) theater houses - canvases stretched over frames, painted according to the play; depict walls, forest, sky, clouds, mountains, etc.; they differ in that from a distance they give the impression of the objects themselves, and not of pictures, while close up and not in the evening lighting they seem to be completely unartistic painting.

A complete dictionary of foreign words that have come into use in the Russian language. - Popov M., 1907 .

DECORATION

medieval-lat., from lat. decor , decoration. Pictures put on the stage according to the action taking place on it.

Explanation of 25,000 foreign words that have come into use in the Russian language, with the meaning of their roots. - Mikhelson A.D., 1865 .

Decoration

(fr. decoration lat. decorare decorate)

1) artistic design of the performance by means of painting, architecture, graphics, lighting, staging equipment, cinema, etc.;

2) trans. smth. ostentatious, outwardly attractive, serving to cover up the shortcomings, unattractive essence of smth.

New dictionary of foreign words.- by EdwART,, 2009 .

Decoration

decorations, w. [ fr. decoration, lit. decoration]. 1. A picturesque or architectural depiction of the place and setting of a theatrical action, set on the stage (theatre). 2. trans., only units. What-n. ostentatious, outwardly attractive, serving to cover up the shortcomings, unattractive essence of something. (colloquial irony).

A large dictionary of foreign words. - Publishing house "IDDK", 2007 .

Decoration

And, and. (fr. decoration lat. decorare to decorate).
1. A pictorial or architectural depiction of the place and setting of a theatrical action that is placed on the stage. theatrical scenery.
decorative- pertaining to decorations.
2. trans. Something ostentatious, serving to cover up the shortcomings, the unattractive essence of something. His actions are only. his true intentions.
Change of scenery, change of scenery, scenery has changed- about a change in the situation, the conditions of something, the state of affairs, the general appearance of something. and so on.

Explanatory Dictionary of Foreign Words L. P. Krysina.- M: Russian language, 1998 .

See what "DECORATION" is in other dictionaries:

decoration- and, well. decoration f. 1. archit. Architectural, sculptural, pictorial, etc. decoration of a building. Sl. 18. The master will also be observed the drawing, or profile, given by the architect, so as not to lose even a small proportion, because in that there is the best building ... Historical Dictionary of Gallicisms of the Russian Language

- (from French decoratio decoration) in the broad sense of the word, any artistic decoration of an object or room. Hence the verb: decorate to produce artistic decoration, and the adjective decorative, ... ... Wikipedia

Cm … Synonym dictionary

- (from late Latin decoratio decoration), decoration of a stage, film set or pavilion, creating a visual image of a performance, film, using painting, graphics, architecture, lighting, stage technology, projection, cinema, etc. ... ... Modern Encyclopedia

- (from late Latin decoratio decoration) decoration of a stage, pavilion, film set, creating a visual image of a performance, film ... Big Encyclopedic Dictionary

DECORATION, scenery, wives. (French decoration, lit. decoration). 1. A picturesque or architectural depiction of the place and setting of a theatrical action, set on the stage (theatre). 2. trans., only units. Something ostentatious, outwardly ... ... Explanatory Dictionary of Ushakov

DECORATION, and, wives. A picturesque, three-dimensional or architectural image of the place and atmosphere of the stage action, installed on the stage, film set. | adj. decorative, oh, oh. Explanatory dictionary of Ozhegov. S.I. Ozhegov, N.Yu. Shvedova. 1949… … Explanatory dictionary of Ozhegov

female, lat. decorations, embellishments, furnishings; at the theatre: view, area of ​​performance Decorative, relating to the scenery. Decorator male. an artist who paints scenery, views from afar, decorations, decorations, furnishings. Dahl's Explanatory Dictionary. IN AND. Dal… Dahl's Explanatory Dictionary

In the broad sense of the word, any artistic decoration of an object or room. Hence the verb: decorate to produce artistic decoration, and the adjective decorative, applied in the language of architecture, as opposed to the term ... ... Encyclopedia of Brockhaus and Efron

Showcase. Jarg. business Deliberate increase in the amount of profits in the balance sheet to hide the poor financial condition of the enterprise. BS, 44 ... Big dictionary of Russian sayings

In order for the production to be successful, it is important not only to choose the right actors. The atmosphere on the stage is also created by the scenery. We can say that the scenery is as old as theatrical art, because even during the first productions, various props were used.

Hard and soft scenery

Decorations are of two types:

• tough.

Rigid structures are conditionally divided into flat and voluminous, but in fact there are much more varieties. The scenery can be played and used by the actors during the performance. For example, various stairs, fences, tables can be used during staging. Unplayed decorations simply serve as a static background and create an atmosphere, an entourage.

Rigid decorations are made mainly from wood and duralumin. For wooden structures, inexpensive but durable softwood is chosen. In some cases, it is appropriate to use light metals in the production of decorations.

Soft decorations are produced from fabrics, they can be smooth, draped, picturesque or contain applications. Velvet, canvas and tulle are the most popular materials on stage. Also today, synthetics and non-woven materials are used for the production of products. They are practical and create the desired effect.

There are many ways to create theatrical scenery, they have been developed over the centuries. Today, nothing fundamentally new is being created in scenography - everything has already been thought out in advance. However, new materials and technologies appear in the art of decoration.

The scenery on the stage, as a rule, is multi-layered. This is not only the background behind the actors, but also all the necessary equipment. The scenery even includes the curtain and backstage.

inventory requirements

Quality decorations meet several important requirements. It is important that they can be easily assembled and disassembled without losing the properties of the materials. There are products that are difficult to make, but ideally, decorations should be easy to manufacture. Then, in the event of a breakdown, the product can be quickly restored.

Decorations need to be stored, and it is desirable that they do not take up too much space. Therefore, among the important qualities of structures are portability and mobility. Also, the decorations should be light and durable. This is not always possible in the production of hard props. However, soft decorations meet these requirements by 100%. To make them even lighter, modern materials were used for decorations.

Decorations have been used on stage for many years. In addition, they can be temporarily placed in a warehouse and even transported to other cities. Therefore, such strict requirements are imposed on products.

If the design is not practical, then its operation will require regular expenses. The scenery will have to be repaired, disassembled, and transportation ordered under special conditions. It is possible that such equipment is used in theaters, but in rare cases when there is no alternative.

Practical decorations do not require extra costs and do not lose their properties for many years. In some cases, when manufacturing a product, it is worth overpaying and ordering a structure from more expensive materials if this will extend its service life. However, with the advent of synthetics and non-woven materials, theaters can no longer overpay for the production of scenery.

How the scenery is made

Decorations are created according to a preliminary sketch. Sketches are made by working through each of the scenes in detail. All the details are taken into account. The main scenery in the scenes is the background, after which there are objects for the entourage surrounding the participants in the action. The scenographer begins to work with ready-made sketches, he creates a preliminary layout. A model is not yet a decoration, it is only a model.

By creating a layout, you can determine how accurately the size of the product is determined. In some cases, adjustments have to be made. That is why the scenery is created only after the production of a trial layout. The design is applied by the artist, whose actions are monitored by the director.

After preparing the layout, the product is sent to a specialized workshop where decorations are produced. Here they create the final product - a product that will decorate the stage. The model that is sent for production is usually a smaller copy of the scenery. The masters are faced with the task of reproducing the design in an enlarged size. Soft theatrical scenery is sometimes no easier to create than hard ones - it all depends on the features of the product. Some decorations have many complex elements.

Since ancient times, it has been important decorative painting, constituting a special branch of art, in the history of which its development followed the movement of easel painting, painting paintings. It sometimes includes the same works that this latter delivers, if only they are executed on the walls and plafonds of a building mainly for an ornamental purpose (wall and plafond painting, frescoes); but its main element is ornaments in the strict sense of the word, that is, beautiful combinations of geometric lines and figures, as well as forms of the plant and animal kingdom, fantasized or unchanged (for example, wall painting in the houses of Pompeii, Moorish arabesques of the Alhambra, grotesques of the Raphael lodges in the Vatican and so on.). The motives of decorative painting changed depending on the historical course of culture and art among different peoples, on the taste and architectural style that prevailed at that time. The French came into use in the 19th century with the name decorative arts(fr. l'art decoratif) for various branches of handicraft industries that need the help of art, such as the manufacture of elegant furniture, carpets, lace, glass and pottery, jewelry, bronze, wallpaper and other luxury and comfort items - in a word, for everything that is customary among the Germans call Kleinkünste or Kunstgewerbe and in Russia applied art or art industry.

theatrical scenery

The word "decoration" is most often used to refer to the accessories of the theater, which have as their purpose to create the illusion of a place in which the action played out on the stage takes place. Therefore, theatrical scenery is for the most part either landscapes or perspective views of streets, squares and the interior of buildings. They are painted on canvas. The main components of each theatrical scenery - backdrop And backstage. The first is hung in the depths of the stage, stretching across its entire width, and depicts everything that is in the background in the reproduced landscape or perspective; the wings are pieces of linen, narrower in comparison with the curtain, stretched over a wooden binding and cut out at one end in a proper way; they are placed on the sides of the stage in two, three or several rows, one after the other, and represent closer objects, for example. trees, rocks, houses, pilasters and other parts of the scene. Decorations are complementary padugi- pieces of canvas stretched at the top across the entire stage and depicting pieces of the sky, the upper branches of trees, ceiling vaults, etc., as well as praticable- various wooden scaffolds and scaffolds disguised with a painted canvas, placed on the stage and representing, for example, stones, bridges, spurs of rocks, hanging galleries, stairs, etc.

An artist engaged in the performance of theatrical scenery and called decorator, must possess the overtraining necessary for a painter in general, some special knowledge: he must know perfectly the rules of linear and aerial perspective, master a very wide method of writing, be able to adapt his coloring to the fiery lighting in which stage performances usually take place, and generally calculate to ensure that as a result of his work a picturesque setting for the play being played is obtained, not only not harming it with its excessive simplicity or pretentiousness, but contributing to the strength and efficiency of the impression it makes on the viewer. Having composed a sketch drawing of decorations, the decorator makes for her layout, that is, a miniature likeness of a stage with a cardboard curtain, backstage and other accessories, so that this model can be used to judge in advance the effect of a future work. After that, proceeding to the execution of the scenery itself, he stretches the canvas of the curtain in a horizontal position on the floor of his workshop, transfers to it (with charcoal or a special kind of ink) the drawing of the sketch in an enlarged form by breaking it into squares, and, finally, starts writing with paints. He does exactly the same when performing backstage and other parts of the scenery. The palette is replaced by a box with cans of various paints diluted with glue; for writing, more or less large brushes made of bristles with long handles are used. During work, he interrupts it every now and then in order to climb the gallery, arranged in the workshop at a certain height from the floor, and look from there at what was written. He usually does not work alone, but together with his students and assistants, to whom he entrusts preparation and secondary parts of the work.

Stage performances were furnished with decorations by the ancient Greeks (scenography). As one of the oldest decorators known in history, one can point to Agatarch, who lived approximately in 460-420 years. BC In recent times, decorative painting has developed primarily in Italy, which brought the best masters in this part and other countries. Of the Italian decorators in the 18th century, Giovanni Servandoni, who worked for the Royal Opera in Paris, became especially famous. Then the championship in the area under consideration passed to the French. Among them, the theatrical painter Boke showed a remarkable talent; the famous Watteau and Boucher did not hesitate to break away from the performance of their paintings in order to write for the stage. Then, among the French decorators, Degotti, Ciceri, students of the last Sechan, Desplechin, Fescher and Cambon, Chaperon (English)Russian, Thierry , Rubet and Cheret . Outstanding decorators in Germany were Schinkel, Karl Gropius, the Italians Quaglio (Domenico, his brother Simon and son Angelo) and I. Hoffmann. In Russia, the needs of the imperial theaters were satisfied at the beginning by visiting Italian decorators - Peresinotti, Quarenghi, Canopy, Gonzaga, and then, in the reign of Nicholas I, German artists Andreas Roller, K. Wagner and others; only in the second half of the 19th century did decorative painting take the path of independence in Russia thanks to such gifted masters as M. I. Bocharov and M. A. Shishkov, and the establishment of a special class at the Academy of Arts for the study of this branch of art.

Scenery in cinema

Unlike theatrical scenery, which is created taking into account the characteristics of the stage and its limited view from the auditorium, the cinematic scenery is built to better match real objects, and often copies real interiors and landscapes. The scenery intended for filming in the pavilion is built taking into account the need to install camera lighting and the possible movement of trolleys and camera cranes. To simplify and speed up the construction of such decorations, in most cases, a fundus is used, consisting of a set of normalized elements assembled using clamps and light fasteners. In some cases, natural scenery can provide for full-fledged construction, occupying a significant part of the filming budget. In any case, the scenery for filming is made taking into account the peculiarities of the cinematic image and the possibility of simplifying complex elements shot in long shots. Most movie sets have a finish on one side that will be filmed from.

see also

Write a review on the article "Decoration"

Notes

Literature

• B. Konoplyov. Fundamentals of filmmaking. - 2nd ed. - M.: "Art", 1975. - 448 p.

Links

• www.krugosvet.ru/enc/kultura_i_obrazovanie/teatr_i_kino/DEKORATSIYA.html

An excerpt characterizing the scenery

There was no betrothal, and no one was announced about Bolkonsky's engagement to Natasha; Prince Andrew insisted on this. He said that since he was the cause of the delay, he must bear the full burden of it. He said that he had forever bound himself with his word, but that he did not want to bind Natasha and gave her complete freedom. If in six months she feels that she does not love him, she will be in her own right if she refuses him. It goes without saying that neither the parents nor Natasha wanted to hear about it; but Prince Andrei insisted on his own. Prince Andrei visited the Rostovs every day, but not like a groom treated Natasha: he told her you and only kissed her hand. Between Prince Andrei and Natasha, after the day of the proposal, completely different than before, close, simple relations were established. They didn't seem to know each other until now. Both he and she loved to remember how they looked at each other when they were still nothing, now they both felt like completely different beings: then pretended, now simple and sincere. At first, the family felt awkward in dealing with Prince Andrei; he seemed like a man from an alien world, and Natasha for a long time accustomed her family to Prince Andrei and proudly assured everyone that he only seemed so special, and that he was the same as everyone else, and that she was not afraid of him and that no one should be afraid his. After a few days, the family got used to him and did not hesitate to lead the old way of life with him, in which he took part. He knew how to talk about housekeeping with the count, and about outfits with the countess and Natasha, and about albums and canvases with Sonya. Sometimes the family Rostovs among themselves and under Prince Andrei were surprised at how all this happened and how obvious the omens of this were: both the arrival of Prince Andrei in Otradnoye, and their arrival in Petersburg, and the similarity between Natasha and Prince Andrei, which the nanny noticed on the first visit Prince Andrei, and the clash in 1805 between Andrei and Nikolai, and many other omens of what happened, were noticed at home.

Stage painting in the ancient theater.

Scenery was an essential part of the theatrical performance and its spatial design. The surviving plays clearly show that scenery in the theater undoubtedly existed, they were characterized by the same artistic convention that distinguished theatrical art in general.

Dramatic productions were agon, the conditions of which were supposed to imply some kind of initial equality. Since the plays were presented during the whole daylight hours without long breaks for a significant change of scenery, it was almost impossible to change the scene in the same drama; the difference in scenery even between the three tragedies should have been negligible. A generally accepted conditional background was created, which could be preserved not only for the tragedies presented, but, possibly, for comedies, which fit perfectly into the general artistic context. The scenery had to not only indicate the place of action and, in a sense, effectively set off the figures of the actors, but also be simple and well understood by the audience.

The origins of scenic painting (ancient Greek σκηνογραφία) date back to the time of Aeschylus. According to Vitruvius, the Samos artist Agatharchus painted scenery for Aeschylus' plays and also left a special essay on this: “For the first time in Athens, while Aeschylus was staging a tragedy, Agatharchus staged a scene and left a description of it” (VII, praef. 11, trans. F. A. Petrovsky). However, Aristotle attributes the first use of decorative painting to Sophocles (Poet., IV, p. 1449 a 17). Some researchers are trying to connect these two messages, in connection with which they attribute the activities of Agatharchus to the end of Aeschylus's life, when Sophocles already enjoyed the fame of a dramatic writer.

Initially, the wall of the skene with doors facing the proskenium was used only for the exit of the actor. There were almost no painted scenery in the early tragedies of Aeschylus: in "The Petitioners" only the altar and images or symbols of the gods are mentioned, in "Prometheus" - only the rock to which the titan is chained. In other surviving plays, the main scenery is indicated more or less clearly. So, for example, in Aeschylus' Persians, Agamemnon and Choephors, the action takes place in front of the palace (most often it was the facade of the palace that was depicted in dramas), at the beginning of The Eumenides - in front of the temple. In Sophocles in Antigone, Oedipus Rex, Electra and The Trachinians, the scenery is a palace, in Philoctetes it is a cave, in Oedipus in Colon it is a wooded area with a sacred site. In the plays of Euripides, the action usually takes place in front of a palace, sometimes in front of a temple or a village house ("Electra"), and in the satyr drama "Cyclops" - in front of a cave. At the same time, the same scenery could be used to represent a different scene of action: if in the first of the tragedies of Aeschylus's trilogy "Oresteia", in "Agamemnon", the facade of the skene represented the palace of Agamemnon, then in "Eumenides" he depicted the temple with the same success Apollo at Delphi, and then the temple of Athena at Athens, and in this latter case, apparently, only the statue of the deity changed. In general, sculptural and architectural decorations (statues of the gods or one god in front of the palace, altars, tombs, etc.) were quite often used along with the painted ones. So, in "Hippolytus" by Euripides, two statues stood in front of the facade of the palace - Artemis and Aphrodite. Hippolyte, entering the stage, crowned only the statue of Artemis, and his disrespect for Aphrodite was immediately visible to the public.

In the middle of the 5th century BC e. painted scenery, drawn on boards or dense matter, leaned or hung on the wall of the proskene, which was originally wooden. And later, when the proskenium took the form of a stone colonnade, the decorations were placed in the gaps between the columns. However, even then, the characteristic feature of the painting was the simplicity and conventionality of images, as evidenced by the Roman architect Vitruvius, in whom we find the most detailed information about the scenery in the Greek theater: “Scenes are of three kinds: firstly, the so-called tragic, secondly - comic, and thirdly - satirical. Their scenery is dissimilar and heterogeneous: tragic depict columns, pediments, statues and other royal objects; comic ones represent private buildings, balconies and images of a row of windows, in imitation of what happens in ordinary houses; while the satirical ones are decorated with trees, caves, mountains and other features of the rural landscape” (V, 6, 9). Noteworthy in this testimony of Vitruvius is an indication of the principle of depicting a part instead of the whole: instead of a building, only its elements are depicted (instead of a palace - columns, pediments; instead of a private building - a series of windows).

DECORATION(a term derived from the Latin word decorare - to decorate, the French analogue of decor, Spanish - decorado, German - Buhnenbild, English - set), one of the ways to design performances in a modern theater. The main function of the scenery in the play is to create an image of the scene.

Historically, decorative art developed in the Renaissance, in the Italian court theater (), but its elements were present in the ancient tragedies of ancient Greece. The Renaissance was preceded by the scenery of the areal mystery performances, which recreated the canonical scenes of the main plot of Christian mythology (paradise, Nazareth, temple, Jerusalem, palace, dungeon, sea, purgatory, hell), located along one line (horizontally or in a circle) and shown viewers all at once. In Italian palace performances of the 16th century. “decorative perspectives” were used to depict typical scenes of tragedy, comedy and pastoral. They were located in the depths of the stage and served as a picturesque backdrop for the actors. These scenery were static. When it became necessary to show the change of scenes, they first began to use telaria (trihedral, and sometimes pentahedral, prisms. These designs were known in the ancient theater), which, turning, could show three, five or more different scenery pictures. Then rocker mechanisms were invented ( cm. STAGES), which made it possible to multiply the number of changing scenes. The next step was the appearance of the stile-arched scenery. It made it possible to create in the space of the stage-box the impression of the depth of the natural landscape, architectural landscape or interior depicted by the artist. From the end of the 18th century to recreate the interior environment, the so-called. pavilion decoration (three walls painted on canvas frames, cut through with door and window openings and supplemented by a ceiling), and in the romantic theater of the 19th century. - a picturesque and three-dimensional scenery, consisting of painted and three-dimensional design elements and in this way conveying a greater impression of the reality of the picture of the scene created on the stage. Finally, in the 20th century, thanks to new technology, it became possible to depict scenery virtually - using projection, and then a laser. On the other hand, stage designers are increasingly using authentic things (pieces of furniture, tools, various household accessories, etc.) and natural textures (wood, earth, sand, water, iron, etc.) to create a sense of the maximum reality of the stage environment. ).

No matter how the decoration is created, it always remains an illusory image. Any attempts to overcome this illusory nature led to the rejection of scenery in general and to the staging of performances either in the surrounding real environment, or in the space of an empty stage, designed for theatrical performance. And although such scenes are known much earlier than the scenery, they are of great interest to modern masters. Nevertheless, the scenery continues to be necessary for the theater at the present time, it gives the artist the opportunity to solve complex creative problems and please the audience, because it reveals to them the image of the real life environment of the heroes of the play or immerses them in the world of fantasy, imagination, beauty.

Viktor Berezkin