Rental block
The requirements for decorations can be formulated as follows: strength, lightness, ease of manufacture, portability, speed of assembly and disassembly, high artistic quality.
Theatrical scenery is divided into two types - hard and soft. Rigid decorations can be voluminous, semi-voluminous and flat. In addition, they are divided into playable and non-playable. Acted out design elements are those that are used by the actors during the action - these are decorative machines, stairs, railings, trees, cabinet doors, etc.
Soft decorations can be painted, applique, draped and smooth.
The main material from which rigid decorations are made is coniferous wood. Wood is relatively cheap, easy to machine, paint, and glue. But in some cases, wood is replaced by rolled metal of various profiles. Production of openwork planar and volumetric contours complex pattern, decorative machines with through spans, light stairs on thin bowstrings and many other decoration elements are often simply impossible without the use of thin-walled steel or duralumin pipes. Often decorations made on a metal base are much lighter than wooden ones.
Soft decorations are made from a variety of materials - canvas, teak, tulle, velvet and many others. Synthetics, non-woven materials, and technical fabrics are widely used here.
The practice of the theater has developed certain techniques and rules for making scenery, many of which have not lost their significance to this day. The standard decorative frame, developed more than a hundred years ago, is still the basis for the constructive solution of almost all rigid decorations: walls of pavilions, machines, ceilings, etc. The classic method of making props from papier-mâché (despite all the advances in the use of plastic mass) still does not lose its importance and is the technological basis of fake production. The rules for sewing backdrops, drawstrings, and rugs also remained almost unchanged.
It is impossible to describe all the methods of producing theatrical scenery. This is always a creative search, always the development of special artistic and technological techniques. But no matter how diverse the design and technological solutions are, they are always based on the main principles that are valid for all theatrical production.
HARD SCENERY
Pavilion decorations consist of separate frames covered with canvas and are divided into solid, with openings, single and folding.
The process of making a pavilion begins with drawing chalk on the workshop floor of all its walls in life size"face" down. In the template drawing, lines of warehouses and joints of individual walls are drawn, window and door openings are marked, etc.
Then, along the lines of the drawing, the bars from which the frame is assembled are laid out and cut to size.
The connection is covered with liquid wood glue and punched through with two or three nails with the obligatory bending of the ends protruding to the front side. In addition, the corner joints are strengthened with plywood gussets, also using glue and nails. In order for the frame to be strong and rigid, additional bars are introduced into its design, called handbrake, mullion and brace.
The frames are covered with canvas after preliminary installation of the pavilion in the workshop.
Log walls are imitated with relief frames covered with cardboard, plywood or thin boards. To make hewn log walls, thin slats with beveled edges are placed on a decorative frame and covered with canvas. A loose hemp rope is glued into the grooves, imitating caulk. At the same time, it closes the gaps between the slats, through which the light of lighting fixtures behind the scenes can be seen.
Imitation of logs is achieved well by packing appropriately profiled sheets of thermoplastic onto the frame.
The doors used in the theater differ from ordinary ones in a lighter design. Everything that decorates the doors is done only on the front side. Such doors are called one-way doors. Doors opening into the pavilion are extremely rare.
Windows are made attached, hinged and inserted. Hinged windows are those that are hung at the back of the opening and do not rest on the stage plank. This method, like the plug-in method, is used in the case of small sizes and small width of the box. Hanging large windows leads to loss of wall stability and makes it difficult to attach.
Arches found in pavilion architecture, depending on their size, can be solid, folding or collapsible.
The assemblies are flat decorations with a complex top contour. They are used for images long-term plans landscape - forests, mountains, city houses, etc.
The ceilings used to cover pavilions are divided according to their design into soft and hard.
For ceilings, thick fabric is usually chosen white. Bleached teak imitates a bleached plaster ceiling well, and flannel-type pile fabrics create a softer textured surface.
In theatre, benches are temporary platforms used to create platforms of various heights and shapes. According to their functions, machines are divided into play and work. Playing machines are those that are in full view of the audience and are part of the decoration of the performance. Workers are the machines standing behind the scenes or behind the scenery. They serve a purely service function, allowing actors to climb onto or descend from the gaming machine. According to the location of the flooring relative to the stage, the machines are divided into horizontal and ramp, i.e. inclined. And, finally, according to the manufacturing method - collapsible, non-collapsible and folding. Theater machines, despite all the variety of shapes and sizes, are built according to a single principle, which is based on a combination of frames supporting a wooden flooring. In the most general view the machine is a rectangular frame assembled from wooden frames on which the flooring is laid in the form of separate panels
Stage stairs according to their design are divided into extension, cap and overhead. And according to their functions, just like machines, they differ into gaming and working ones.
Various types of railings and balustrades used on stage are decorative details design and at the same time protective fencing equipment.
Openwork “metal” gratings are made from thin-walled steel pipes, thick wire, and plywood. Flat thin ornaments are bent from parallel wires, the space between them is sealed with fabric.
The widespread use of movable platforms in the mounting solution of the performance is explained by their portability, mobility and simplicity of design. The shape of the temporary platforms, their number, and the nature of the movement are determined by the artistic and mounting design of the production.
The design of the furnace, the need for guides and the drive system are determined by the nature of the movement of the platforms. Stage furkas are divided into three types: rectilinear, curvilinear and rotational (circular) movement.
SOFT DECORATIONS
Soft decorations include frameless decorative elements made from soft, elastic materials - fabrics of natural and synthetic fibers, tulle, nets, synthetic films, etc. Soft decorations include: backstage, curtains, curtains, horizons, panoramas, picturesque and applique backdrops, tulle curtains, rugs. Techniques for sewing and processing soft decorations depend on their purpose, nature of use and required appearance.
The technique of execution and the choice of material for the scenes and arches, which have a visual function, depend on specific task artist. This can be unpainted canvas, burlap, gauze gathered in a thick fold, painted or applique-covered canvases, rigid frames covered with fabrics, various kinds of meshes and intertwined cords, etc., etc.
The intermission curtain belongs to the category of stage clothing. Heavy fabrics of the silk group - velvet and plush - are most often used to make curtains.
When using light transparent fabrics, a dense lining made of harsh calico, dyed in the color of the base material, is required.
Transparent backdrops - backdrops with translucent parts, illuminated from the back, are combined from fabrics of different densities. The main fabric is sewn from dense opaque fabric, in which, according to the sketch, cutouts of various sizes and shapes are made.
Sew-on applications can be flat or embossed. Using the appliqué method, one achieves not only the effect of spatial depth and volume of details, but also a greater play of individual elements, achieved by using fabrics of different textures.
The relief parts are made of foam rubber covered with fabric impregnated with a fire retardant compound. Ornaments are made by sewing cords, ropes, etc.
Rugs in the theater are canvases laid on the stage plank in order to disguise the flooring boards and give the stage floor specific color or invoice. For the manufacture of rugs, mainly bleached fabrics of great strength and dense weaving structure are used: double-thread, teak, tent, technical cloth, etc. For various imitations, canvas, pile baize fabrics, thin tarpaulins, semi-velvet, etc. are used.
The effect of earthen or snow cover is also achieved by applying soft relief stripes. Strips of gauze or canvas gathered into strands or small folds, the so-called “zhe-vanka”, sewn in parallel rows, can represent plowing or loosened earth. Irregular shape pillows covered with uneven layers of gauze and tulle - loose snow. The stone slabs are covered with the same quilted rectangular pillows, and the cobblestone pavement is covered with soft fabric hemispheres.
Chopped fibers of woven cotton or sisal rope and combed tufts of sponge are sewn or glued onto vegetable, “grass” rugs. The denser the fibers are sewn and the more often their rows are located, the more lush and dense the grass carpet, the more inconspicuous the base becomes. The rugs covering the machines are most often sewn in the form of covers.
THEATER PROPERTIES
Prop making is a broad branch of theater technology. From the entire mass of existing techniques and methods, we can single out the most important technological processes that underlie this production. These include: working with papier-mâché, metal, plastics, synthetic materials, mastics and pastes. Each of these processes can be applied independently or in combination with others in any type of product.
Papier-mâché method
Gluing paper products from a cast mold is one of the most common methods for making theatrical props. The process of working with papier-mâché is divided into four main stages. The first stage is modeling the model from clay. The second is molding the model with plaster mass. The third is an impression of the product using paper on a plaster mold. And finally, the fourth - mounting and painting of prints.
The printing process consists of gluing the product with pieces of paper soaked in flour paste.
Paper prints can also be made directly from models or ready-made originals, pre-lubricated with Vaseline.
Cardboard works
As an independent ornamental material in theatrical production, cardboard occupies a rather modest place. It is mainly used to make items that do not require special strength and are very light in weight. These include decorative, hat and surprise boxes, some types of hats, and book spines.
Metal works
In the process of making theatrical props, many methods of processing various metals are used - knitting wire frames, stamping, metal-plastic, embossing, hammering, casting. The main materials used in prop production are: roofing iron, sheet brass and copper, tin, annealed knitting and steel wire, tin, aluminum, metal foil. Wire frames are used in the manufacture of sculptures and large props, bushes, trees, lampshades, etc.
Plastics and synthetic materials
Lightness, plasticity, unusual texture, ease of technological processing of synthetic materials and some types of plastics have ensured their widespread use in theatrical production. These include polystyrene foam and vinyl plastic, packaging polyvinyl chloride films, foaming polystyrenes, BF type adhesives and epoxy resins, PVA emulsions and latexes. Foams are divided into hard and soft. Rigid foam plastics are easy to saw, cut, sand and paint. Small objects, sculptures, capitals, and furniture decorations are cut out of them. Thin sheets of non-flammable PVC foam are used for textured decoration.
Qualimetry, quality management, certification and product competitiveness
Qualimetry was created and developed initially as an independent science. Measuring quality indicators. Formation of quality indicators. Formation of an expert commission
Scenario for the mediation procedure
Scenario of the mediation procedure. The example is taken from the book. Sample of mediation. The purpose of mediation is to conclude an agreement that should meet the interests of all its participants. Mediator.
Integration in industry markets. Types of integrations. The practice of acquisitions and mergers of companies in the industry market.
The concept and prerequisites for the development of integration, types of integration associations. Characteristics of types of integration associations. Mergers and acquisitions of firms in industry markets.
The requirements for decorations can be formulated as follows: strength, lightness, ease of manufacture, portability, speed of assembly and disassembly, high artistic quality.
Theatrical scenery is divided into two types - hard and soft. Rigid decorations can be voluminous, semi-voluminous and flat. In addition, they are divided into playable and non-playable. Acted out design elements are those that are used by the actors during the action - these are decorative machines, stairs, railings, trees, cabinet doors, etc.
Soft decorations can be painted, applique, draped and smooth.
The main material from which rigid decorations are made is coniferous wood. Wood is relatively cheap, easy to machine, paint, and glue. But in some cases, wood is replaced by rolled metal of various profiles. The production of openwork planar and volumetric contours of complex patterns, decorative machines with through spans, light stairs on thin bowstrings and many other decorative elements is often simply impossible without the use of thin-walled steel or duralumin pipes. Often decorations made on a metal base are much lighter than wooden ones.
Soft decorations are made from a variety of materials - canvas, teak, tulle, velvet and many others. Synthetics, non-woven materials, and technical fabrics are widely used here.
The practice of the theater has developed certain techniques and rules for making scenery, many of which have not lost their significance to this day. The standard decorative frame, developed more than a hundred years ago, is still the basis for the constructive solution of almost all rigid decorations: walls of pavilions, machines, ceilings, etc. The classic method of making props from papier-mâché (despite all the advances in the use of plastic mass) still does not lose its importance and is the technological basis of fake production. The rules for sewing backdrops, drawstrings, and rugs also remained almost unchanged.
It is impossible to describe all the methods of producing theatrical scenery. This is always a creative search, always the development of special artistic and technological techniques. But no matter how diverse the design and technological solutions are, they are always based on the main principles that are valid for all theatrical production.
HARD SCENERY
Pavilion decorations consist of separate frames covered with canvas and are divided into solid, with openings, single and folding.
The process of making a pavilion begins with drawing chalk on the workshop floor of all of its life-size walls, face down. In the template drawing, lines of warehouses and joints of individual walls are drawn, window and door openings are marked, etc.
Then, along the lines of the drawing, the bars from which the frame is assembled are laid out and cut to size.
The connection is covered with liquid wood glue and punched through with two or three nails with the obligatory bending of the ends protruding to the front side. In addition, the corner joints are strengthened with plywood gussets, also using glue and nails. In order for the frame to be strong and rigid, additional bars are introduced into its design, called handbrake, mullion and brace.
The frames are covered with canvas after preliminary installation of the pavilion in the workshop.
Log walls are imitated with relief frames covered with cardboard, plywood or thin boards. To make hewn log walls, thin slats with beveled edges are placed on a decorative frame and covered with canvas. A loose hemp rope is glued into the grooves, imitating caulk. At the same time, it closes the gaps between the slats, through which the light of lighting fixtures behind the scenes can be seen.
Imitation of logs is achieved well by packing appropriately profiled sheets of thermoplastic onto the frame.
The doors used in the theater differ from ordinary ones in a lighter design. Everything that decorates the doors is done only on the front side. Such doors are called one-way doors. Doors opening into the pavilion are extremely rare.
Windows are made attached, hinged and inserted. Hinged windows are those that are hung at the back of the opening and do not rest on the stage plank. This method, like the plug-in method, is used in the case of small sizes and small width of the box. Hanging large windows leads to loss of wall stability and makes it difficult to attach.
Arches found in pavilion architecture, depending on their size, can be solid, folding or collapsible.
The assemblies are flat decorations with a complex top contour. They are used to depict distant views of the landscape - forests, mountains, city houses, etc.
The ceilings used to cover pavilions are divided according to their design into soft and hard.
For ceilings, thick white fabric is usually chosen. Bleached teak imitates a bleached plaster ceiling well, and flannel-type pile fabrics create a softer textured surface.
In theatre, benches are temporary platforms used to create platforms of various heights and shapes. According to their functions, machines are divided into play and work. Playing machines are those that are in full view of the audience and are part of the decoration of the performance. Workers are the machines standing behind the scenes or behind the scenery. They serve a purely service function, allowing actors to climb onto or descend from the gaming machine. According to the location of the flooring relative to the stage, the machines are divided into horizontal and ramp, i.e. inclined. And, finally, according to the manufacturing method - collapsible, non-collapsible and folding. Theater machines, despite all the variety of shapes and sizes, are built according to a single principle, which is based on a combination of frames supporting a wooden flooring. In its most general form, the machine is a rectangular frame assembled from wooden frames on which the flooring is laid in the form of separate panels
Stage stairs according to their design are divided into extension, cap and overhead. And according to their functions, just like machines, they differ into gaming and working ones.
Various types of railings and balustrades used on stage are decorative design details and at the same time protective fencing equipment.
Openwork “metal” gratings are made from thin-walled steel pipes, thick wire, and plywood. Flat thin ornaments are bent from parallel wires, the space between them is sealed with fabric.
The widespread use of movable platforms in the mounting solution of the performance is explained by their portability, mobility and simplicity of design. The shape of the temporary platforms, their number, and the nature of the movement are determined by the artistic and mounting design of the production.
The design of the furnace, the need for guides and the drive system are determined by the nature of the movement of the platforms. Stage furkas are divided into three types: rectilinear, curvilinear and rotational (circular) movement.
SOFT DECORATIONS
Soft decorations include frameless decorative elements made from soft, elastic materials - fabrics of natural and synthetic fibers, tulle, mesh, synthetic films, etc. Soft decorations include: backstage, curtains, curtains, horizons, panoramas, picturesque and applique backdrops, tulle curtains, rugs. Techniques for sewing and processing soft decorations depend on their purpose, nature of use and desired appearance.
The technique of execution and the choice of material for the scenes and arches, which have a visual function, depend on the specific task of the artist. This can be unpainted canvas, burlap, gauze gathered in a thick fold, painted or applique-covered canvases, rigid frames covered with fabrics, various kinds of meshes and intertwined cords, etc. and so on.
The intermission curtain belongs to the category of stage clothing. Heavy fabrics of the silk group - velvet and plush - are most often used to make curtains.
When using light transparent fabrics, a dense lining made of harsh calico, dyed in the color of the base material, is required.
Transparent backdrops - backdrops with translucent parts, illuminated from the back, are combined from fabrics of different densities. The main fabric is sewn from dense opaque fabric, in which, according to the sketch, cutouts of various sizes and shapes are made.
Sew-on applications can be flat or embossed. Using the appliqué method, one achieves not only the effect of spatial depth and volume of details, but also a greater play of individual elements, achieved by using fabrics of different textures.
The relief parts are made of foam rubber covered with fabric impregnated with a fire retardant compound. Ornaments are made by sewing cords, ropes, etc.
In the theater, rugs are canvases laid on the stage plank in order to disguise the flooring boards and give the stage floor a certain color or texture. For the manufacture of rugs, mainly bleached fabrics of great strength and dense weaving structure are used: double-thread, teak, tent, technical cloth, etc. For various imitations, canvas, pile baize fabrics, thin tarpaulins, semi-velvet, etc. are used.
The effect of earthen or snow cover is also achieved by applying soft relief stripes. Strips of gauze or canvas gathered into strands or small folds, the so-called “zhe-vanka”, sewn in parallel rows, can represent plowing or loosened earth. Irregularly shaped pillows covered with uneven layers of gauze and tulle—loose snow. The stone slabs have the same quilted rectangular pillows, and the cobblestone pavement has soft fabric hemispheres.
Chopped fibers of woven cotton or sisal rope and combed tufts of sponge are sewn or glued onto vegetable, “grass” rugs. The denser the fibers are sewn and the more often their rows are located, the more lush and dense the grass carpet, the more inconspicuous the base becomes. The rugs covering the machines are most often sewn in the form of covers.
THEATER PROPERTIES
Prop making is a broad branch of theater technology. From the entire mass of existing techniques and methods, we can single out the most important technological processes that underlie this production. These include: working with papier-mâché, metal, plastics, synthetic materials, mastics and pastes. Each of these processes can be applied independently or in combination with others in any type of product.
Papier-mâché method
Gluing paper products from a cast mold is one of the most common methods for making theatrical props. The process of working with papier-mâché is divided into four main stages. The first stage is modeling the model from clay. The second is molding the model with plaster mass. The third is an impression of the product using paper on a plaster mold. And finally, the fourth - mounting and painting of prints.
The printing process consists of gluing the product with pieces of paper soaked in flour paste.
Paper prints can also be made directly from models or ready-made originals, pre-lubricated with Vaseline.
Cardboard works
As an independent ornamental material in theatrical production, cardboard occupies a rather modest place. It is mainly used to make items that do not require special strength and are very light in weight. These include decorative, hat and surprise boxes, some types of hats, and book spines.
Metal works
In the process of making theatrical props, many methods of processing various metals are used - knitting wire frames, stamping, metal-plastic, embossing, hammering, casting. The main materials used in prop production are: roofing iron, sheet brass and copper, tin, annealed knitting and steel wire, tin, aluminum, metal foil. Wire frames are used in the manufacture of sculptures and large props, bushes, trees, lampshades, etc.
Plastics and synthetic materials
Lightness, plasticity, unusual texture, ease of technological processing of synthetic materials and some types of plastics have ensured their widespread use in theatrical production. These include polystyrene foam and vinyl plastic, packaging polyvinyl chloride films, foaming polystyrenes, BF type adhesives and epoxy resins, PVA emulsions and latexes. Foams are divided into hard and soft. Rigid foam plastics are easy to saw, cut, sand and paint. Small objects, sculptures, capitals, and furniture decorations are cut out of them. Thin sheets of non-flammable PVC foam are used for textured decoration.
Elastic foam, the so-called foam rubber, has a wider range of applications. It is used to make flowers, fruits, cakes, buns and other types of food products, parts of decorations, and costumes.
IN theatrical productions the viewer appreciates not only the director’s skill or acting, but also the design of the stage. As a result, scenery becomes an important part of almost any performance, and many theater artists recognized as independent creators. There are many types of decorations, from screens and curtains made of fabric and plywood, to complex virtual images created using HP computers and storage systems.
History of development
The predecessors of modern decorations appeared in Ancient Greece. Painted boards extended from an extension called a skene. Classic theater consisting of a stage, backstage and auditorium, appeared only in the 16th century in Italy. It was here that paintings made on canvas first appeared. A little later, such canvases were made interchangeable.
Modern scenography uses the centuries-old experience of theaters different countries. The artist has many techniques in his arsenal, which are used separately or in combination. The scenery can be classified as follows:
- rocker-arched;
- rocker-movable;
- pavilion;
- volumetric;
- projection.
As a result, the illusion is created that the action takes place exactly where indicated in the play. At the same time, the peculiarity of theatrical art is such that precise drawing of details is not required.
Virtual production design
Modern trends and trends are widely used in decoration. The most popular combination of active and passive stage design. Images created on a computer are used as active decorations. real video. In addition to external effects, using this method allows you to save significant money.
For creating virtual scenery projection equipment must be purchased. Professional systems are no longer individual computers, but server solutions (for example, an HP server). With their help, you can not only display selected images, but also create, process and store them.
Keywords: Stage design, what types of scenery there are, Virtual stage design, stage-arched, stage-movable, pavilion, volumetric, projection, Modern scenography, HP server, HP storage systems, History of development
Continuing our journey through the theatrical world, today we will find ourselves in the world of backstage and learn the meaning of words such as ramp, proscenium, scenery, and also get acquainted with 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 it happens theatrical performance; 2) synonym for the word “phenomenon” – separate part action, act of a theatrical play, when the composition characters remains unchanged on stage.
Scene- from Greek. skene – booth, stage. In the early days of Greek theater, the skene was a cage or tent built behind the orchestra.
Skene, orchectra, theatron constitute the three fundamental scenographic elements of ancient Greek performance. The orchestra or playing area connected the stage and the audience. The skene developed in height to include the theologeon, or playground of gods and heroes, and on the surface along with the proscenium, the architectural façade, a precursor to the wall decorum that would later create the proscenium space. Throughout history, the meaning of the term “stage” has constantly expanded: scenery, playground, place of action, time period during an act, and, finally, in a metaphorical sense, a sudden and bright spectacular event (“to make a scene for someone”). But not all of us know that the stage is divided into several parts. It is customary to distinguish between the proscenium, rear stage, upper and lower stages. 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 playing area 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 play. Some directors bring the main action to the forefront, expanding the stage area.
A low barrier separating the proscenium from the auditorium is called ramp. In addition, the ramp covers stage lighting devices from the auditorium side. This word is often used to describe the system of theatrical lighting equipment itself, which is placed behind this barrier and serves to illuminate the stage space from the front and below. To illuminate the stage from the front and above, spotlights are used - a row of lamps located on the sides of the stage.
backstage– the space behind the main stage area. The rear stage is a continuation of the main stage, used to create the illusion of great depth of space, and serves as a backup room for setting up scenery. On the back stage there are furkas or a rotating rolling circle with pre-installed decorations. The top of the rear stage is equipped with grate bars with decorative lifts and lighting equipment. Under the floor of the rear stage there are warehouses for hanging decorations.
Upper stage- part of the stage box located above the stage mirror and limited at the top by a grate. It is equipped with working galleries and transition bridges, and is used to accommodate hanging decorations, overhead lighting devices, and various stage mechanisms.
Lower stage- part of the stage box below the tablet, where stage mechanisms, prompter and light control booths, lifting and lowering devices, and devices for stage effects are located.
And it turns out that the stage 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 decoration on the furka, which occupies the entire playing area of the stage. Typically, decorative storage areas are adjacent to the side pockets.
The “furka” called in the previous definition, along with “grid bars” and “bars”, is included in the technical equipment of the stage. Furka– part of stage equipment; a mobile platform on rollers, used to move parts of the decoration on the stage. The movement of the furnace is carried out by an electric motor, manually or using a cable, one end of which is located behind the scenes, and the other is attached to the side wall of the furka.
– lattice (wooden) flooring located above the stage area. It is used for installing blocks of stage mechanisms and is used for work related to the suspension of performance design elements. The grate is connected to the working galleries and the stage by stationary stairs.
Barbell– a metal pipe on cables in which the scenes and scenery parts are attached.
IN academic theaters all technical elements of the stage are hidden from the audience by a decorative frame, which includes a curtain, wings, backdrop and curtain.
Entering the hall before the start of the performance, the viewer sees a curtain– a sheet of fabric suspended in the stage portal area and covering the stage from the auditorium. It is also called an “intermission-sliding” or “intermission” curtain.
Intermission-sliding (intermission) curtain is a permanent piece of stage equipment that covers its mirror. It opens before the start of the performance, closes and opens between acts.
Curtains are made of thick, dyed fabric with a thick lining, decorated with the theater emblem or wide fringe hemmed to the bottom of the curtain. The curtain allows you to make the process of changing the environment invisible, creating a feeling of time between actions. The intermission sliding curtain can be of several types. The most commonly used are Wagnerian and Italian.
Consists of two halves fixed at the top with overlays. Both wings of this curtain are opened using a mechanism that pulls the lower internal corners to the edges of the stage, often leaving the bottom of the curtain visible to the audience.
Both parts Italian curtain 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 located holly- a horizontal strip of fabric (sometimes acting as decoration), suspended on a rod and limiting the height of the stage, hiding the upper stage mechanisms, lighting fixtures, grate bars and upper spans above the scenery.
When the curtain opens, the viewer sees the side frame of the stage, made of strips of fabric arranged vertically - this is backstage.
The backstage is closed from the audience backdrop– a painted or smooth background made of soft fabric, suspended at the back of the stage.
The scenery of the performance is located on the stage.
Decoration(Latin for “decoration”) – decoration actions on the theater stage. Creates a visual image of action using painting and architecture.
Decoration should be useful, effective, functional. Among the main functions of scenery are the illustration and representation of elements supposed to exist in the dramatic universe, the free construction and modification of the scene, considered as a play mechanism.
Creating scenery and decorative design of a performance is an entire art called scenography. IN different times The meanings of this word have changed.
Scenography among the ancient Greeks was the art of theater design and picturesque decoration stemming from this technique. In the Renaissance, scenography was the name given to the technique of painting a backdrop on a canvas. In modern theater arts this word represents the science and art of organizing the stage and theatrical space. The set itself is the result of the work of the set designer.
This term is increasingly replacing the word “decoration” if there is a need to go beyond the concept of decoration. Scenography marks the desire to be writing in a three-plane space (to which we should also add a time dimension), and not just the art of decorating a canvas, which the theater was content with up to naturalism.
In the heyday of modern scenography, set designers were able to breathe life into space, revive time and the actor’s play in the total creative act, when it is difficult to isolate the director, lighting designer, actor or musician.
The scenography (set design of the performance) includes props- objects of stage furniture that actors use or manipulate during the course of the play, and props– specially made objects (sculptures, furniture, dishes, jewelry, weapons, etc.) used in theatrical performances instead of the real thing. Prop items are distinguished by their low cost, durability, emphasized by the expressiveness of their external form. At the same time, prop makers usually refuse to reproduce visible to the viewer details.
The production of props is a large branch of theatrical technology, including work with paper pulps, cardboard, metal, synthetic materials and polymers, fabrics, varnishes, paints, mastics, etc. The range of prop products is no less diverse, requiring special knowledge in the field of molding, cardboard , finishing and metalworking works, fabric painting, metal chasing.
Next time we'll learn more about some theatrical professions, whose representatives not only create the performance itself, but also provide its technical support and work with the audience.
Definitions of the terms presented are taken from the websites.
Type of lesson: lecture-practical lesson, using illustrations.
Purpose of the lesson:
To acquaint students with the types of decorations and give an idea of the application of acquired skills in practice.
Tasks:
Teach the rules of stage space design;
Master the basics of making decorations in the context of a performance, familiarize yourself with decoration techniques (texture, material, manufacturing methods, etc.).
Lecture outline:
1. The concept of decoration, its purpose.
2. The concept of decoration. Decoration techniques.
3. Types and types of decorations.
4. The purpose of scenery in artistic action.
Marking absent students,
Checking the audience's readiness to perform practical task- the ability to record drawings, diagrams and plans demonstrated by the teacher.
Check of knowledge:
After issue theoretical material on this topic - a written survey in the form of a test.
The final test for a topic is passing practical work- plans and layout of the stage design.
Practical lesson plan:
1. measure the stage area and record the dimensions of the stage,
2. come up with and sketch a sketch of the scenery for one of the episodes of the work by K.I. Chukovsky "Cockroach" according to the obtained dimensions.
3. make a model for the invented decoration.
Control and reporting form:
1. Delivery of theoretical material through written test work in the form of an essay,
2. Submission of practical material - layout, sketches, design layout plan,
3. Protecting your idea.
Main points
Decoration- this is a pictorial or architectural image of the place and setting of a theatrical performance installed on the stage.
Decorate- to give something a beautiful appearance to its external decoration.
Main types of decorations - Soft decorations;
- Hard scenery;
Soft decorations – backdrops, arches, backdrops, horizons, rugs.
Curtains - main intermission (sliding, lifting and lowering), figured, spectacular, curtain-holding.
Rigid decorations - folding machines, prefabricated machines, lockers, stairs, railings, beams, rectilinear, circular (axial) furnaces, teleri, screens, columns, etc.
Banner decorations- for example: you can depict a palace of any style, sea, sky, space, portraits, etc. Banner decorations:
On the eyelets
With pockets
On metal structures Light dynamic decorations - scenery into which light is charged, lighting effects.
Decoration “black square” - Decor - black clothes scenes, the place and time of action is indicated by individual details: a lantern in the actor’s hand means the onset of dusk, a long staff - the road, a throne - the Royal Castle and so on.
Decoration-attraction - the stage space contains objects that can actively influence the viewer without visible technology of execution. The scenery can be self-destructive or self-repairing, suddenly disappearing or appearing, self-moving, transforming, etc. Such were the grandiose structures on stages and in temples, which, before the viewer’s eyes, could unexpectedly open up in the form of flower petals, revealing large groups of actors, or split into pieces, as happened in shipwreck episodes.
Decoration - still life - the decoration is a beautiful packaging of some simple plot.
Decoration-portrait - a type of performance design for which the historical accuracy of scenery, costumes and props is important.
Poster decoration – design-allegory, to similar expressive means can include heraldic signs, ornaments, emblems, allegories, symbolic objects (crown, cross, banner, etc.).
Decoration machine - is implemented through a set of objects - from props to a three-dimensional structure with stairs and various architectural elements, i.e. everything that can help plastically express the essence of a phenomenon.
Purpose of scenery in art. action.
Decorations help:
Create appearance environment in which they live and act characters of the work,
To reveal an understanding of the content of the action - the essence of the era, historical events, characters, relationships,
Create artistic image performance, production, assuming a compositional and visual solution of the stage space,
Express psychological condition actors, dramatic conflict and the idea of the performance.
1. Bazanov V.V. Techniques for making decorations.
2. Litvinov G.V. Scenography. Artistic and decorative design. - Ch., 2010
3. Litvinov G.V. Scenography of theatrical performances and holidays. - Ch., 2003
4. Ponsov A.D. Design and technology for manufacturing theatrical scenery.
