Post scenography production and art. Modern scenography

As part of the program, students will master working with space from the point of view of its interaction with humans, visual dramaturgy and dynamic scenography. Students will gain skills in working with scenery, costume, using media and stage technologies, learn to create projects for stage and exhibition venues, performances, experimental and multimedia theater, installation art, quest theater, and will also gain in-depth experience in implementing real projects and working with materials , interactions with creative collaborators.

During the course, students will touch upon performative practices and prepare several real projects in the format of immersive multimedia and contemporary musical theater. We will also go through the entire cycle of creating a project from the idea to meeting with the audience.

For whom

The program is intended for students with various basic specializations (artists, architects, actors, performers, video artists, directors and contemporary art specialists) and who want to master the specifics of working with space in different areas of performance art.

Curator's message

What makes the program unique?

The best masters

The program is taught by leading artists of contemporary theater who have extensive experience in the field of scenography, theatrical productions, performance and use both traditional and modern means expressiveness.

Own theater studio

Spacious theatre studio The school introduces students to a wide range of possible directions theatrical design, allows for readings and open screenings, stimulates creative experiments and the search for new scenographic solutions.

Most Interdisciplinary Program

Theater design includes such areas as costume design, illustration, architecture, interior design, computer graphics, motion design, interactive design, animation. The creation of scenographic projects is carried out with the involvement of students from other programs: “Design in an interactive environment” (BVShD), “Illustration” (BVShD), “Sound engineering and sound design” (MSK), “Acting” (MSK), “Make-up artist” "(MShK) and others.

Innovative theater solutions

Principles used in the program decoration performances correspond to the leading trends of the world theatrical arts- interactivity, simultaneity, multidimensionality.

Multimedia scenography

Scenography modeling, three-dimensional graphics, video installations, electronic scenery with multimedia screens, lighting special effects, LED costumes, structural elements, 3D mapping are mastered by students in modern computer classes, HP laboratories, stereo laboratories, and digital and analogue photography studios.

Famous speakers

The program includes meetings and master classes from leading stage designers, contemporary artists, directors, critics and theater theorists. At different times the following speakers performed at the School: German Vinogradov, Vyacheslav Polunin, Yuri Kvyatkovsky, Andrey Bartenev, Vladimir Arefiev, Maria Tregubova, Ksenia Peretrukhina, Dmitry Brusnikin and many others.

Live performances

During the learning process, students participate in the creation of productions, gaining experience working with different theater companies. As theses students develop projects that are subsequently implemented at large theater and exhibition venues, such as the Boyar Chambers, the Stanislavsky Electrotheater, the Moscow Drama Theater. Pushkin, Museum of Architecture named after. Shchusev.

DIY theatrical designs

The program studies stage materials, mechanisms, stage design different types, lighting systems and scenery changes. And in the workshops of linocut and silk-screen printing, layout and prototyping, the Roland DG Printing Academy and tailoring workshops, students develop scenery, props and costumes.

Duration of training

Level for admission

Cost of education

362,000 rubles per year (Payment in installments is possible)

Start date

Language of instruction

Training mode

TWO OR THREE EVENINGS ON WEEKDAYS AND ONE WEEKEND

SUBMIT YOUR APPLICATION

Program structure

Modern theater
The course of lectures introduces the history of modern theatrical thinking, tracing the connection between various theatrical phenomena and innovative solutions from the beginning of the twentieth century to the present day.

The program introduces the context of contemporary theater, gives an understanding different directions, theatrical forms, develops the ability of critical thinking, analysis of a stage work, and the ability to apply criteria in one’s practice.

Mastery of scenography
Introducing students to the basics of theater design. Analysis of the methodology for creating scenography and artistic solutions for performances, dance, film works, installations, the whole variety of directions that are included in the field professional activity theater artist. This includes practical skills in working with a stage work: creating sketches, layouts, cut-ins, working with light, sound, implementing live projects, rehearsals.

Composition
The discipline is designed to study planar and spatial composition, and various means of expression. One part of the discipline is built on working with a real volume - the scene layout, the other - on conveying the impression achieved in the layout using graphics. In addition to purely compositional means (statics and dynamics, scale, tonal and color contrasts, texture and structure), the program includes work with the basics of drawing - the use of line and tone, chiaroscuro, and the transfer of space by means of graphics.

Theater production technology
Familiarity with the technical side of the performance: work at various theater venues, the capabilities of stage equipment, norms and standards accepted in the theater. The section of the program dedicated to set production includes the study of basic theatrical technologies, both traditional and new. Much attention is paid to the preparation of project documentation - sketches, drawings, technical descriptions.

History of Modern Dance

Fundamentals of Directing and Acting

Bodily ptactics

Newest technologies

Science art

Modern Art

Sound Basics

Light Basics

Dramaturgy

Performance art

Consultations on the diploma project

Defense of diploma projects

Teachers

Admission conditions

To enroll in the program, you must fill out an application form on the website and successfully pass an interview in the selected stream.

Required documents

Application form
- Original or certified copy of education document
- 2 photos size 3x4
- Passport (to be presented when submitting documents)

Duration of training

1 year (2 academic semesters)

Cost of education

RUB 362,000 in year*

The standard form of payment for educational services is equal payments, twice a year. The School also has its own installment payment program, which allows you to pay for tuition monthly.

Additional expenses for students during the study period

During your training, you may need art and office supplies, project supplies, printing and copying services, and other types of services and supplies. Their list, degree of compulsoryness and cost depend on the requirements of the program and the specifics of the training assignments.

Approximate list art materials, most often used by our students: sketchbook, A2 zip folder, soft and medium hard pencils, black greasy pencil, sharpener, charcoal, eraser, kneaded eraser, colored markers, black markers, black ink, synthetic brushes, tape, scissors, palette, set of acrylic paints, sketchbook, set of capillary pens, liners, colored tape, glue stick, foam roller, A4 watercolor paper, colored paper A4, dry pastel, colored stickers, craft paper, etc.

Full list will depend on the specifics of the project and the chosen method of its implementation.

The curriculum will also include a project that may result in a performance (play or similar public action). The school will partially cover the project costs, but you should also plan for the costs of implementing your project. artistic design within the framework of such a project.

*This offer is not an offer; the cost of services is subject to change. The cost of services and the conditions for their provision are specified in the contract.

Entrance tests

Any author's developments in such areas as design, graphics, painting, scenography, architecture, illustration and photography, presented in printed form or in photographs, are considered as a portfolio. The portfolio must include a project to develop a scenographic solution (minimum 3 sketches of scenography, concept, search process). In the absence of a scenography project, the applicant is asked to complete creative task. Animation works and videos are provided in the form of links or on flash media.

Career trajectory of graduates

The art of scenography The art of scenography

A set designer is an artist who is involved in designing a performance and creating its visual and plastic image. Theater is the main job of a professional stage designer. The production designer in the theater not only embodies the director's plan, but also, together with him, comes up with what artistic means to convey the idea of the performance, its atmosphere and mood. Specifics of the work of a set designer: A set designer is a painter, graphic artist, architect, designer and technologist rolled into one. The set designer, as a rule, does not work alone on the design of the performance. He is assisted by installers, make-up and prop artists, a lighting designer, a costume designer, and a production designer. But in the theater, the set designer still controls the entire process of creating a performance and holds the position of chief artist.

The main task of the artist is to find new way reveal the meaning of the play more deeply. It is for this that the set designer receives his fee, and not for layouts and sketches. The production designer, reading a play that is being prepared for production, tries to feel the text, feel the atmosphere and mood. And after that, the set designer begins to look for images and discuss the material with the director. When implementing an idea, he must take into account everything: the background the scenes should be beautifully painted, the crown of the theater king should shine, and the fake apples should look appetizing... As a result, the set designer often becomes a co-author of the performance.

At the origins of history. Scenography as an art began to emerge in ancient society, which was still devoid of a stage as a special structure, and actors as a profession. Our ancestors had little folklore heritage, the creators of that time also composed parables, stories and epics. Costume performances were often made based on this material. In this way it was determined " genetic code", on which modern scenography is based. These are the three basic functions without which theatrical performance unthinkable: character-based, playful and determining the location of the action.

Pre-scenography and its characters. The term “pre-scenography” is used when we are talking about the times following the era of antiquity, within which theater was defined as a full-fledged art form. Cave people and ancient pagans already had considerable experience in stage activities, but the productions were fundamentally different from modern ones. The scenography of the performance at that time placed a certain character in the center of all events, who was the main character. At first these were rock paintings, circular images (which symbolized the Sun as a Deity), various stuffed animals and totems. The performance was not a social event, but a ritual in which the forces of nature were glorified, and deities and deceased ancestors were worshiped. Surprisingly, one of the ancient pagan performances is relevant even in modern times! If anyone hasn't guessed yet, we are talking about the tradition of putting christmas tree in the house, dress her up and dance around her. In fairness, we note that our ancestors always dressed up green Tree somewhat differently. Totems and talismans hung on the branches, as well as parts of animals that were sacrificed. Fortunately, the darkest moments of this tradition are in the past, and only the most beautiful ones have reached us. So, if you want to clearly imagine what the ancient scenography of the performance looked like, just go out to the central square of your city and admire the costumed round dances, dances, carols and other New Year’s rituals.

Development of the play function It can be said with complete confidence that in the era of antiquity, full-fledged scenography, or theatrical and decorative art, was born. The theater is gradually becoming a secular event, the script is no longer based only on rituals and worship of the gods, but also on far-fetched life situations, and only specially trained actors perform on stage. Accordingly, a new, playful scenography appears - a special type of theatrical art. The first sets are created, which bring the performances closer to reality, costumes and masks are sewn for the actors (make-up is still a long way off), the necessary lighting and minimal special effects are created. In this form, the theater passed not only through antiquity, but also through the Middle Ages.

The Renaissance is the era of the revival of the scenery of the 15th-16th centuries - not only the era of humanism, coming after the dark Middle Ages, but also the period during which scenography was thoroughly formed. This is the time in which the greatest artists, sculptors and architects, mainly Italian, worked. They became the authors of many elements of props, without which the current theater is unimaginable. It was decided to create a background for each performance, the same as the paintings of Leonardo da Vinci and Michelangelo. For the first time, Donato Bramante, the great architect who built the theatrical perspective, completed the task. In the foreground were actors in costumes, and in the background were backgrounds corresponding to the described scene. Later, Sebastiano Serlio, an architect-theorist, divided scenery into three types: comedy, tragedy and pastoral. After these practical and theoretical works, scenography, as art and production, is embodied in the Teatro Olimpico, which was built by the hands of Andrea Palladio in Vincenzo.

From the era of Classicism to Modern times By the beginning of the 17th century, scenography as an art and production occupied an important segment in the sphere of life of all European countries. There were entire factories that were engaged in the production of theatrical scenery, so they have long become dynamic and flexible. The stage could consist of several stages or levels. Tree branches, the moon or sun, clouds, and even the actors themselves, if the script required it, were placed on the ropes.

Until the first half of the 20th century, the theater and its decorations duplicated the main stylistic trends of current eras, until people decided to turn to antiquity. Of course, our contemporaries did not return to the original scenery; on the contrary, the technical equipment of any, even the simplest theater, became more and more advanced. But the productions, locations, characters - all this was often a description of bygone eras. Today you can watch a play about the life of the ancient people or about the achievements of society during the Renaissance. There are productions in avant-garde style, abstract and surreal, or we are shown maximum realism.

What is special about modern theater? Nowadays, it will not be enough to say that scenography is a special form of art, because this branch has come to the fore in the theater. In some ways it even overshadowed the importance acting(may the great Maestros forgive me) and received a new name - stage design. In large productions, a lot of money and effort are spent on assembling the scenery, decorating the stage and creating the necessary atmosphere. Leading designers and builders may be involved in the process, and all this effort is just for the sake of one performance. Stylists work similarly on the images of actors - costumes and makeup are carefully selected.

Lesson 3

Subject: Scenography and theatrical and decorative art as a special type artistic creativity.

Exercise. Creating a sketch of a decoration (in any technique) based on a photograph or painting depicting an interior or landscape.

Goals: find out what is the role of the image and the share of the use of pictorial and graphic expressive means when creating artistic image performance; introduce the artistic activities of the set designer; to form an idea of the expressive means of scenography; introduce students to types of stage design; develop the ability to determine the type of stage decoration; contribute to teaching schoolchildren the ability to justify their answers, illustrating them with examples; improve artistic and visual skills; contribute to the formation of a communicative culture; contribute to the formation of moral and aesthetic responsiveness to the beautiful and the ugly in life and art; determine the role of the theater artist in creating a performance to enhance its emotional and figurative structure; discuss and analyze photographs of theater models and sketches; establish a mandatory connection between the content of theatrical scenery and genre features performance; develop spatial composition skills; develop information culture, creative imagination, education of an emotional and sensual attitude towards works of musical and visual art; develop skills in creating scenery sketches.

Visual range: Illustrations on the topic.

During the classes

Organizing time.

Lesson topic message.

Slide number 1. Many of you have been to the theater and you probably know the feeling when the lights go out in the hall, the curtain rises, and everyone in the hall is overwhelmed by a feeling of magic and mystery. You don’t see the heroes of the play yet, but something else is already starting on stage, extraordinary life, a new world opens up.

- Thanks to which we are immersed in this from the first moments beautiful world theatrical miracle?

Of course, the reasons for this phenomenon lie in the fact that artists working in the theater gradually move from working on stage design to working on the performance as a whole, one of the results of which is stage design.

Introductory conversation.

Theater artists manifest themselves not only in the usual functions of an artist - determining the shape, color, scale, lighting of objects on stage - but in the action of both these objects and the actors associated with these objects. Naturally, under such conditions it is completely impossible to consider the artist’s work on scenery and costumes separately from other functions. Theater artists must be diverse.

Learning new material.

Slide number 2. Scenography- this is a type of artistic creativity that deals with the design of a performance and the creation of its visual and plastic image that exists in stage time and space. In a performance, the art of scenography includes everything that surrounds the actor, everything he deals with: scenery, costumes, props, makeup, lighting.

Slide number 3. Various theater services are involved in creating a holistic image of the performance:

Slide number 4. carpentry and welding shop,

Slide No. 5-6. sewing and costume workshop,

Slide number 7. prop shop,

Slide number 8. light shop,

Slide number 9. make-up shop,

Slide number 10. assembly shop.

Slide number 11. The space of any theater where a performance is taking place can be divided into two parts: the auditorium and the stage. The auditorium of any theater must include a sufficient number of seats. The main comfortable seats are in the stalls and the slightly raised amphitheater that follows.

Parterre- the plane of the floor of the auditorium with seats for spectators, usually below stage level.

Amphitheater- a building consisting of stepped rows of seats.

Above the seats in the stalls and the amphitheater are the mezzanine boxes, and then there are 4 tiers with balconies and boxes, as can be seen in the image of the auditorium.

Lodge- in a traditional theater interior, a group of seats separated from neighboring ones by side partitions or barriers.

Slide number 12. – How is the stage set up? Scene- a platform where a theatrical performance takes place.

Theater stage - the main part of the theater building, a closed box (stage box), adjacent to the auditorium and connected to it by a portal opening.

Slide number 13. The stage is separated from the auditorium by a curtain. It makes it possible to hide preparations for the performance from the viewer; the opening of the curtain clearly marks the beginning of the performance, just as a clear ending of the action is achieved by closing it.

Theater curtain- a cloth covering the stage from the auditorium.

There are curtains: rising, sliding and approaching diagonally to the corners of the stage mirror (Greek curtain).

Orchestra pit - a special room for the orchestra in the theater, located in front of the stage. Located below the level of the stalls, the orchestra pit is separated from it by a small barrier.

Proscenium– the front part of the stage is slightly extended into the auditorium.

Soffit s is a metal fitting for hanging lighting fixtures above the stage, raised and lowered using an electric drive.

Backdrop - a painting on fabric that is hung stretched. The backdrop is the backdrop of the performance and is located behind other scenery.

- What is decoration?

Slide number 14.

Decoration- This is a pictorial or architectural image of the place and setting of a theatrical action installed on the stage.

There are two types of decorations: fine-picturesque and architectural-constructive.

Slide number 15. The basis of fine-picturesque scenery is a pictorial sketch - a two-dimensional work of painting. The breakdown of the sketch into plans, the transfer of its individual parts onto a number of planes located at different depths of the stage, is carried out as an inevitable means of ensuring that living three-dimensional actors can fit into the stage space.

Picturesque scenery these days has been preserved only in ballet performances, where a vast empty stage is needed, free for dancing.

Slide number 16. The nature of the stage architecture - those buildings that, by the decision of the artist and director, appear on stage for a given production - determine the nature of the future mise-en-scène - the movements of the actors. Like good architecture and monumental sculpture designed to be viewed from all sides, the architectural design of the stage could be viewed with equal effect from all seats in the auditorium.

I would like to draw your attention to the fact that the colorful imagery of the performance, the brightness of the theatrical performance - all this attracted the best painters to work on creating the scenery.

- Which one do you think? outstanding artists connected your creativity with the theater?

Slide number 17.A. Golovin. Kashcheevo kingdom. Set design for an opera I. Stravinsky “Firebird”.- What do you see on this scenery? How does it make you feel?

- With the help of what visual means does the artist achieve this?(The landscape in which the Firebird appears - the silent, bizarre kingdom of Kashcheevo - is painted as if with unearthly, “otherworldly” colors).

-What kind of music can sound against this background?(The music enhances the impression of fantastic colorfulness. The voices of a wizard and raging witches and gnomes seem to be heard in the orchestra)

Slide number 18.N. Roerich. Decoration for the ballet I. Stravinsky “The Rite of Spring”.(The image on the scenery reflects the real action of “spring growth.”)

Listen to the introduction to the ballet.

- Share your impressions.(The initial theme - a tune - is performed by a bassoon, whose outline resembles a stem, which constantly stretches and rushes upward. Just as the stem of a plant is constantly overgrown with leaves, the melodic line is constantly overgrown with echoes. The shepherd's pipe tunes gradually turn into a thick musical fabric in which Birds chirping can be heard.)

Slide number 19.A. Benoit. Set design for the ballet I. Stravinsky “Petrushka”.

(We see that the ballet takes place during Maslenitsa, a holiday that has always been widely celebrated in Rus'. Folk festivities, fairs, dances, a farcical grandfather amusing the crowd - everything is reflected in the scenery.)

Listening to an excerpt from the ballet.

-Did you get the feeling that musical instruments sound random, as if interrupting each other? Why? (The mood of the fair is conveyed, folk festival- screams, bustle, dancing).

Slide number 20.

N. Goncharova. Set design for an opera N. Rimsky-Korsakov “The Golden Cockerel”

Slide number 21.

I. Ya. Bilibin. Set design for an opera N. A. Rimsky-Korsakov “The Golden Cockerel”

(Note that the same scene is depicted by different artists, but the character of the plot remains the same.)

Slide number 22.

D. Stelletsky. Set design for an opera N. Rimsky-Korsakov “The Snow Maiden”.

The beginning of spring. Midnight. Spring is descending on Krasnaya Gorka. She once became the wife of the harsh old Frost, and since then the country of the Berendeys has been subject to severe winters and cold springs. Santa Claus comes out of the forest. At dawn, he must leave the earth, but he is worried about the fate of the Snow Maiden: Yarilo planned to destroy her, planting the fire of love in her heart.

The artist depicts some kind of sacrament: something is about to happen. The setting shows that the action takes place in the forest. The ground and tree branches are still covered with snow, the river is covered with ice, but the air is already filled with the spring breath of spring.

Listening to the Prologue from the opera.

- Try to identify three main themes of the composition.(The opera begins with a small orchestral introduction, depicting the early arrival of spring. Next, the theme of Father Frost sounds. Its character is heavy, stern, restrained, as if “fettering.” Gradually, nature begins to come to life: the air is filled with the multi-voiced chirping of birds arriving from across the sea, from the hollow A lazily stretching goblin appears and announces the end of winter).

Slide No. 23-26. Consider the decoration famous artists to other musical performances.

Slide number 27.- So, what does a decorator do before starting work? Study of the work, script Selection of material on the topic Slide number 28. Making scenery sketches Slide number 29. Making a scenery layout Slide number 30. Execution of the scenery drawing Slide number 31. Making the base of the decoration according to the drawing Slide number 32. Decoration, decoration decoration Slide number 33. Installation of scenery on stage

Slide No. 34-49. Let's look at the design of the scenery for different performances.

Updating knowledge.

Today in class you will have to try yourself in the role of a decorative artist and try to make a sketch of the scenery for any performance of your choice.

But before you start work, let's look at the sequence of work on the decoration.

Slide No. 50-86.

Practical work.

Creating a sketch of a decoration (in any technique) based on a photograph or painting depicting an interior or landscape.

Lesson summary.

Homework.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

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Introduction

1. The concept of scenography

2. Modern scenography

Conclusion

Literature

Introduction

In modern theater, which masterfully combines a variety of symbolic means, the meaning visual image performance - its "spectacular text" - is steadily increasing, as evidenced by both theatrical practice and theoretical concepts of playwrights and directors, starting from the first decades of the 20th century. up to this day.

The metamorphoses that occurred in the world theater of the 20th century, associated with searches in the field of dramaturgy and directing (B. Brecht, P. Brook, E. Grotovsky, J. Copo, O. Krezhka, R. Planchon) gave rise to new searches in scenography (J. Ayo, A. Appiah, K. von Appen, R. Koltai, E.-G. Craig, J. Svoboda). Modern scenography no longer just decorates the stage, but strives to create the environment of a dramatic situation, determine the meaning of the performance and highlight the director's concept. Similar processes are observed in the domestic theater, not only dramatic, but also musical, where the evolution of the image of a ballet performance is associated with names famous composers(I.F. Stravinsky, S.S. Prokofiev, B.I. Tishchenko) choreographers (K.Ya. Goleizovsky, F.V. Lopukhov, Yu.N. Grigorovich, O.M. Vinogradov, N.N. Boyarchikov ) and set designers (V.V. Dmitrieva, S.B. Virsaladze, V.Ya. Levental, V.G. Serebrovsky, V.A. Okunev, R.N. Ivanov).

The change in the language and functions of scenography is associated not only with the evolution of theatrical art and its visual aesthetics, but also with the transformation of the problem of interpretation of the text and its stage embodiment. Scenography, along with the art of the actor and director, has become a way of visualizing the dramatic text in the space-time of the performance, building a “statement situation” and a means of determining the meaning of the production. This determines our interest in this issue, which we will consider in this work.

1. The concept of scenography

In theater studies, reviews and in theater practice, the term “scenography” has become widespread, which attempts to designate one of the key moments of a theatrical work - the spatial solution of the performance.

It is known that a term develops into a concept in all its richness of content only in theory, where, in the process of formation, each facet of this content enters the system, forming a number of auxiliary concepts. But it is also true that the theory begins with an analysis of the key terms of conceptual meaning, spontaneously put forward by practice, since it is in them that the entire structure of the future theory is intuitively predicted.

Understanding the importance and significance of this initial stage in the creation of a theory of the spatial solution of a performance, we will try to analyze the main facets of the content of the term “scenography”, which has developed in the context of modern theater and the state of science about it.

Scenography can be interpreted, first of all, as a synonym for decorative art. The term “decorative art”, literally meaning: “to decorate, decorate something”, is historically determined. Therefore, according to some researchers, it, without answering the essence contemporary art, only characterizes a certain period of development of stage “design”, based on “purely pictorial” techniques easel painting. Originating in the twenties, the term “material design of the performance” reflected the aesthetic position of a certain theatrical movement and could not lay claim to some universality of application. That is why the term “scenography” has now become synonymous with “decorative art”.

At first glance, the very structure of the word scenography suggests that it most fully reflects the specifics of the artist’s activity in the theater. But at the same time, if we understand “scenography” as stage graphics (which, in our opinion, is quite natural by analogy with the use of the word “graphics” in art), then the question arises: does it come down only to scenery and costumes?

The significance of stage graphics in the structure of the performance is broader, since what is depicted on stage is, first of all, the development of the mise-en-scene drawing of the actor’s plasticity in a certain spatial environment. In addition, if the history of decorative art is created mainly by studying the sketch material of artists, then the history of stage graphics should focus on the entire spatial interpretation of the performance, on everything that forms the visual significance of the theatrical image.

In a number research work the term "scenography" is interpreted as a certain stage in the development of theatrical art. This idea is expressed in the most detailed form by V.I. Berezkin in the book "Theater of Joseph Svoboda". In it, the author identifies a number of stages of evolution in historical genesis and the last stage - from the beginning of the century to the present day - relates to the development of scenography itself. “The isolation of scenography was expressed in the development of its own specific means of expression, its own material - stage space, time, light, movement.” And further the author writes: “Scenography asserted itself as an art, in in a good way words, functional, subject to the general laws of a complex synthetic work - a performance and designed for the closest interaction with the actor, dramatic text, music. Through this coordination of actions, the images of the performance are revealed."

No less popular is the term “scenographer,” derived from “scenography.” Through it, creative workers involved in organizing the stage space of the performance emphasize the specifics of their profession in the theater.

Previously it was believed (this opinion still exists) that any professional artist, be it an easel painter or a graphic artist, is capable of competently “designing” a performance. This is true if we reduce the artist’s tasks to the design of a meaningfully finished performance, that is, to the introduction into a theatrical work, into its figurative structure of additional (which means somewhat external and optional) visual touches borrowed from such forms of art as painting. graphics, etc. However, theatre, especially modern theater, puts forward other demands, differently assesses the role of the theater artist in creating the artistic integrity of the performance, which in turn requires specialization and focus on the theater.

The formation of a modern theater artist and his growing role in the creation of a performance can be traced in the history of the theater. The establishment of the profession of theater artist occurred in line with others theatrical professions, which was caused by the awareness in the genesis of this art of each of the facets of its artistic image. In particular, directing is associated with the formulation of the problem of the artistic integrity of the performance, which in turn caused the need to specify and define the visual significance of a theatrical work - a performance.

It should also be noted that the scenography for a long time was in a kind of research vacuum. On the one hand, no one denied theater artists the right to be called independent creators; the importance of theatrical scenery and the spatial design of the performance as an integral component of the synthetic art of theater was recognized by everyone. The names of theater artists occupy a place of honor next to the most prominent directors and in theater program, and in studies by art historians, and in books devoted to various periods in the development of performing arts. There are many works examining specific stages in the history of theatrical and decorative art, features of the Shakespearean stage, picturesque scenery, and much has been written about the influence of constructivism on the material structure of performances in Russian and world theater of the 20s and 30s of the XX century. About the appearance of performances in various historical eras wrote A.A. Anikst and A.K. Dzhivelegov, G.N. Boyadzhiev and S.S. Mokulsky, A.V. Bartoshevich and B.V. Alpers. There are many monographs and studies devoted to the work of individual theater artists, both Russian and foreign.

Only recently has the gap in this area of theater science begun to be filled. The publishing house "Editorial URSS" in collaboration with the State Institute of Art Studies published the first encyclopedia of theatrical and decorative art, the monograph by Viktor Berezkin "The Art of Scenography of the World Theater. From the Origins to the Middle of the 20th Century." This is a truly in-depth study, examining the history of theatrical decoration from its inception (including its proto-theatrical, rudimentary forms) to the period when the basic principles of modern theater were formed almost completely, in all its ideological and aesthetic diversity.

theater scenography dramaturgy directing

2. Modern scenography

If we try to imagine the picture of modern world scenography in its entirety, we will find that it consists of an incomprehensible variety of the most heterogeneous individual artistic solutions. Each master works in his own way and creates very different designs for stage action - depending on the nature of the dramatic or piece of music and from his director’s reading, which is methodological basis effective scenography systems.

Many performances have gone down in art history thanks to the most interesting decisions of the set designer. Often, theatrical sketches, decades later, remain unique documentary evidence of a particular production: after all, the scenery and costumes themselves are rarely preserved. In a number of cases, the set designer's drawings are the only trace of the director's plan, whose project was never realized.

The style of Mikhail Larionov and Natalia Goncharova is associated with an interest in folk forms art. Deliberate deformation - an important plastic technique of neo-primitivism - is taken by Goncharova to the limit of expressiveness. “The task of a costume is not to dress, but to materialize an imaginary character, his type, character,” the artist asserted. Her sketches for the ballet "Bogatyrs", based on Russian folklore, are not just spectacular decorative costumes, but expressive images of Khansha, Ilya Muromets and other epic characters.

About Aristarkh Lentulov’s design of the opera “The Tales of Hoffmann,” Igor Ilyinsky wrote: “This performance is one of those few phenomena for which one can selflessly love the theater. That theater in which you receive impressions and aesthetic pleasure as a whole, as from symphonic music.”

Avant-garde masters are characterized by the use of not only plastic techniques transferred to the theater from painting, but also an innovative approach to scenography in general. In Georgy Yakulov's experiment - the play "Girofle-Girofle" - the basis of the scenography was a movable structure - a system of "kinetic machines". Yakulov believed that the main principle of theatrical performance was “the principle of constant movement, a kaleidoscope of shapes and colors.” In costumes, he laid down the idea of interpreting the role, believing that a precisely found costume frees the actor from the need to “hang around and run around the stage.”

Alexandra Exter, in the design of the play “Romeo and Juliet,” achieved a plastic synthesis of stylization and innovation. As Abram Efros put it, “she wanted it to be the most cubist cubism in the most baroque baroque.”

The standard of avant-garde theatrical experiment in Russia is the legendary play “Victory over the Sun.” Staged by artist Kazimir Malevich, poet Alexei Kruchenykh and musician Mikhail Matyushin, he combined latest achievements painting, music and poetry. The opera “Victory over the Sun” was staged again in 1920 in Vitebsk by Malevich’s student Vera Ermolaeva, whose plastic solution appealed to cubism and developed techniques from the first version of the play. In 1920-1921, Lazar Lissitzky developed a project for staging the opera “Victory over the Sun” as an electromechanical performance: the actors were replaced by huge puppets, which were supposed to move around the stage using an electromechanical installation. Part of the scenography was the process of controlling the puppets, as well as sound and light effects. The only evidence Lissitzky's grandiose but unrealized innovative plan remained in sketchbooks.

An example of fruitful collaboration between an artist and a director, equally oriented toward experimentation, is collaboration Lyubov Popova and Vsevolod Meyerhold on the play "The Generous Cuckold". This is a symbiosis of constructivist design aesthetics and innovative directing techniques. Popova embodied the utopian understanding of the role of theater as an “exemplary organization of life and people” in the installation - a universal setting for “The Generous Cuckold.”

Many of the Russian avant-garde artists saw the urgent task not in the design of specific performances, but in the universal decoration of the theatrical space based on the plastic techniques of that artistic direction to which they belonged. Thus, Malevich’s student Ivan Kudryashev used the principles of Suprematism in his design sketches for the Orenburg Theater. The desire for a total reform of the theater also determined the interest of avant-garde masters in the architectural design of the theater building itself. The projects of Alexey Babichev and Georgy Miller embody innovative principles of organizing theatrical space.

In parallel with the avant-garde searches in theatrical art of the 1920-1930s, there was also a traditional approach to scenography. This line is represented by masters who are not inclined to extreme innovation, and artists who started creative activity even at the turn of the 19th and 20th centuries and remained true to their convictions. For example, Boris Kustodiev and Ivan Bilibin collaborated with theaters that maintained traditional production methods.

If we consider the specific embodiment of stenographic art on stage, then as an example we can cite the play “The Thunderstorm” based on the play by A.N. Ostrovsky on the stage of the Moscow Art Theater.

In the program, the explanatory text is entitled “In an Unsolved Space.” “Is it really that simple?” - asks the nameless author. And he answers himself with the same question: “Well, what about “do not kill, do not steal, do not covet your neighbor’s wife, honor your father and mother?” No, the point is not that today we want to give, in turn , clear and simple answers, but with the opposite sign, and the point is interest in passions, human thoughts in this mysterious territory of the most unsolved space of human existence - Russia."

The last words, in all their beauty and meaninglessness, are materialized on stage in Leventhal’s set: the footbridges of Kalinovskaya Street going nowhere, stairs at the corners of the stage and two fences, behind which clouds float or darken on both sides. These fences, however, move in and out during the course of the play, becoming either a courtyard, then a street again, or even a bathhouse (certainly with moonshine), where a showdown between Tikhon and Boris takes place, who is saved from certain death by Dikoy, Kuligin and, it seems, the inevitable Shapkin.

You can also cite as an example the premiere performance of the play “Killer Whale” based on the play by A. Tolstov on the stage of the Maly Theater. This comedy by Alexei Tolstoy was presented on the stage of the Maly Theater by director Vitaly Ivanov. Speaking about the scenography of the performance, we can note the following: if this is not an enterprise with its eternal beds and a couple of chairs, but any more or less serious theater, then it is ready to offer the public not just an elegant visual accompaniment of the action, but also a certain image of a specific performance. The artist Alexander Glazunov is an experienced and talented master. And in Maly, in general, any decoration is capable of earning individual applause. So it is in "Kasatka". As soon as the curtain opens in the second act, the hall explodes with applause from the indescribable beauty of the estate plein air. But the problem is that such an environment is appropriate in almost any performance, it does not have an inextricable connection with today’s interpretation of “Killer Whale”, there is no clearly expressed idea of a specific performance. As, however, this director’s idea itself is unlikely to be found here. For Maly, however, where the main character is an actor and not a director, this is excusable, although again it does not fit into the modern theatrical context.

You can also note the scenography by theater designer Gottfried Pilz for York Höller's opera "The Master and Margarita" (based on the novel by M. Bulgakov). The opera premiered in Cologne in 1991. Pilz's scenography is symbolic in nature: he does not build scenery on stage that imitates the surrounding reality, be it a landscape or an interior, and does not dress the characters in costumes appropriate to the time and nationality, but creates a space that is modeled primarily by light and shadow. On a stage devoid of “qualities”, it is not characters without qualities who act, but extremely modern people.

You can also consider the scenography of S. Prokofiev’s ballet “Cinderella” (St. Petersburg Mariinsky Theater, artistic director V. Gergiev, set designers I. Utkin, E. Monakhov)

It is logical to expect from the scenery for Prokofiev's ballet "Cinderella" a direct illustration of the plot - Charles Perrault's sweet fairy tale gives birth to fairy-tale palace interiors with a partly childish, lush and magical touch. But this only applies to the plot; as for Sergei Prokofiev’s music, it is not at all so serene and magical. In a production of Cinderella, the nature of the scenery may seem unexpected - sharp, structural, and sometimes even provocative.

This nature of scenography is due primarily to the fact that it was carried out by architects, and not by theater artists. The architects wanted to create exactly the space of “Cinderella”, and not just a decoration for a fairy tale. And therefore, before starting work, we subjected the music and plot to a thorough analysis. As a result of the search, which even included an attempt to write the libretto anew, the authors decided that the ballet takes place not in the Middle Ages or even in the Renaissance, but in the abstract 20th century “in general.” This solution, found or “heard” in Prokofiev’s music and supported by ballet director Alexei Ratmansky and lighting designer Gleb Felshtinsky, determined the unusual style of structures and fabrics on the stage of the Mariinsky Theater. The same move allowed the designer of the costumes, the architect Elena Markovskaya, to dress the heroes of “Cinderella” in certain clothes that somewhat vaguely indicate the entire period between the two world wars: either these are the “advanced” twenties, slightly flavored with court gloss, or “chic” ones. the thirties, but with increased bohemianism.

Decorators Ilya Utkin and Evgeny Monakhov are traditionally considered to be among the "papermen", participants and even leaders of the movement of the late 1970s - early 1980s, in which Russian design, "paper" architecture turned out to be able to speak its own language, fantastic, free and at the same time - smart and ironic. Inviting “paper money” architects to the theater, the management clearly hoped to receive “etchings of the entire stage” in the form of backdrops, that is, the same expected fabulousness, but with a tangible modern accent. Architects went further, trying to create their own world using few but powerful techniques. Since these techniques develop throughout the play, we will try to consider them in the sequence in which they appear.

First the curtain. By its nature, it is perhaps the most “papery” of everything that was done in “Cinderella”. The curtain depicts a dark night city with hundreds of glowing windows. The city is clearly large, tall, its buildings extend beyond the top edge of the fabric. The architecture is vague, but you can notice the arched shape of the windows and generalized pediments. Either New York or London of the Art Deco era. In one of the upper corners the window of Cinderella glows, who, it turns out, lives, like us, in a metropolis. Or she lived relatively recently - after all, if the action takes place in the interwar period, then the heroine belongs to the generation of our grandmothers. Such a gloomy start.

The curtain opens and the main stage appears, flanked by two large structures with tiers and ladders. The backdrop is neutral, and there is some kind of lattice hanging over the middle space. Someone is constantly climbing the structures, people are dancing in the middle of the stage, the backdrop changes color. No etchings, everything is rigid, structural, ironic. Postmodernism turns out, but not on the theme of the classics, but on the theme of Meyerhold and constructivism.

After some time, another structure appears on the stage: a large metal circle with knitting needles is suspended between two pillars. This is a clock towering above the stage and symbolically counting down time for the heroine. This simple circle on supports belongs to the same style as the tiered structures on the sides of the stage - a strong, "constructivist" (read - modernist) form that defines the space of the stage and almost draws the viewer's attention from the details of the action to itself. It should be noted that at first Utkin and Monakhov designed watches in much more intricate, fairy-tale and baroque forms - with curls and volutes. But in the final version, clarity and rigidity prevailed.

But about halfway through the performance, something completely new appears: a backdrop with a gigantic vaulted gallery that looks promisingly receding. This gallery suddenly enlarges the space, complicates the action and creates a dark and majestic backdrop for the ball scene. The classic here is dystopian, its taste is bitter and not at all fairytale. The gallery is either flanked by constructivist staircases or platforms, and then cleared of them. The clock changes position and turns into a chandelier, and the chandelier blinks alarmingly, then spins menacingly again in the form of a clock, speeding up time. Then the hall disappears, replaced by the foggy trees of the park, above which clouds float or the moon shines. Closer to the end

The clock also disappears, time almost stops, a happy ending is approaching, which is preceded by an intermediate translucent curtain.

There are quite a lot of scenographic moves in the performance, and they are provided various combinations a few techniques: a chandelier-clock, a hall-gallery, structures on the sides and backdrops. But this set is enough for constant variations that accompany the entire action, for changing plans and spaces, not so much applied and illustrative as plot and almost independent. And yet, the most memorable thing in the set design of “Cinderella” is precisely the endless gallery with harsh and even predatory classical forms.

This hall is a kind of key to the scenery of the performance. The architects do their best to create a modern fairy tale with lattice structures, menacing clocks that, like a werewolf, turn into something else, with flickering lights that change color. However, the action is “assembled” by one architectural, orderly, classically ordered space that leads the eye somewhere away from the stage. This path, this corridor with a clearing at the end, could shine and seduce the eye with elaborate Baroque or neo-Renaissance forms. Instead, he overwhelms the stage with his volumes, elevated to an unusual, fabulous height. The heavy tread of the pylons somehow cancels both the inevitable happy ending and the sorrowful troubles at the beginning.

You can also note the production of the opera "Ruslan and Lyudmila" Mariinsky Theater in the scenography of the Belgian artist Thierry Bosquet. This set designer, who recreated the scenery and costumes based on sketches by Korovin and Golovin for the famous Mariinsky performance of 1904, did a hell of a job. He not only spent six months in the theater workshops drawing out details, but also personally traveled to stores in Europe and New York, choosing fabrics for all the costumes for “Ruslan.” The riot of colors presented by Thierry Bosquet drew thunderous applause at the premiere in 1994. The Belgian acted as an excellent stylist in this work: the scene breathes the pristine flavor of Russian Art Nouveau, reminiscent of both the Byzantine luxury of the chambers and the gloom of the epic oak forests.

CONCLUSION

Based on all of the above in our work, we can draw the following conclusions:

Firstly, at the present stage of development of theoretical thought in the science of theater, the term “scenography” has acquired fundamental meaning, it is no longer possible to do without it; moreover, it became fundamental in all discussions concerning the spatial solution of the performance. This term reflects the problems facing the visual significance of the theatrical image. The practical interests of the developing theatrical art spontaneously put forward this term as central concept, and its total ambiguity only confirms its necessity in the further scientific development of the art of theater.

Secondly, the term “scenography” must be understood as the totality of the spatial definition of a theatrical work. And this is not only what the artist of the play puts together on stage: scenery, costumes, etc., but also everything that forms the spatial body of the performance, built according to the laws of visual perception. On the one hand, these are plastic possibilities cast, without which the spatial composition of a theatrical work is generally impossible - the actor is its module (even if in this moment If there is no actor on stage, the viewer still knows what he should be like in this environment). On the other hand, these are the technical capabilities of the stage and the architectural space of the theater. In theatrical creativity, as in no other form of art, an important role is played by technology, which must meet the dynamic capabilities of the human body, and the architecture of both the building as a whole and the stage itself, which has a decisive influence on the figurative structure of the performance.

Thirdly, the significance of “scenography” in the understanding of a theatrical work puts forward this term as central to the theory of the spatial solution of the performance, the need for which is obvious. The theory of scenography must understand at the theoretical level stage graphics as a necessary moment of the artistic integrity of a theater work. It must formulate the methodological principles of the new science of scenography. The theory of the spatial solution of the performance, using the concept of “scenography” as the central one, should develop a categorical apparatus that will help more fully determine the relationships within the scenography itself and its influence in the structure of the performance on other defining moments of the theatrical work.

LITERATURE

1. Berezkin V.I. Josef Svoboda Theater. - M., 1973

2. Berezkin V.I. The art of scenography of the world theater. Second half of the twentieth century. M., 2001

3. Berezkin V.I. The art of scenography of the world theater. Masters. M., 2002

4. Ilya Utkin - Scenography for S. Prokofiev’s ballet “Cinderella” / http://www.ilyautkin.ru/postroyki/Stsenografiya/Zolushka_image/pressa/Zolushka_V-MMII.htm

5. Vasilyeva. A.A. Rhythm in the scenography of Russian ballet performances of the twentieth century: Author's abstract. diss. for the job application scientist step. Ph.D. art history St. Petersburg: Asterion, 2003

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Help from the current dictionary

Going to the theater is an excursion to another world, another dimension. Why do we reason this way? The blame for everything is scenography - a special type of creativity that deals with the design of a performance, creating a separate time and space within its framework. Scenography includes everything that is around the actors and the actors themselves. These are background decorations, props and various objects with which interaction occurs, costumes, masks and makeup. To accurately recreate the setting and time in which the main action takes place, living attributes (flowers, animals), and real household items (genuine furniture, paintings), and the creations of artists, that is, masks, outfits, picturesque imitations of streets and rooms are used. .

At the origins of history

Scenography as an art began to emerge in ancient society, which was still deprived of a stage as a special structure, and actors as a profession. Our ancestors had a small folklore heritage; the creators of that time also composed parables, stories and epics. Costume performances were often made based on this material. In this way, the “genetic code” on which modern scenography is based was determined. These are three basic functions, without which a theatrical production is unthinkable: character, play, and determining the location of the action.

Pre-scenography and its characters

The term “pre-scenography” is used when we are talking about the times following the era of antiquity, within which theater was defined as a full-fledged art form. Cave people and ancient pagans already had considerable experience in stage activities, but the productions were fundamentally different from modern ones. The scenography of the performance at that time placed a certain character in the center of all events, who was the main character. At first these were rock paintings, circular images (which symbolized the Sun as a Deity), various stuffed animals and totems. The performance was not a ritual in which the forces of nature were glorified, and deities and deceased ancestors were worshiped.

Surprisingly, one of the ancient pagan performances is relevant even in modern times! If anyone hasn’t guessed it yet, we are talking about the tradition of putting up a New Year tree in the house, decorating it and dancing around it. To be fair, we note that our ancestors dressed up the evergreen tree a little differently. Totems and talismans hung on the branches, as well as parts of animals that were sacrificed. Fortunately, the darkest moments of this tradition are in the past, and only the most beautiful ones have reached us. So, if you want to clearly imagine what the ancient scenography of the performance looked like, just go out to the central square of your city and admire the costumed round dances, dances, carols and other New Year’s rituals.

Game function development

We can say with complete confidence that in the era of antiquity, full-fledged scenography, or theatrical and decorative art, was born. The theater is gradually becoming a secular event, the script is no longer based only on rituals and worship of the gods, but also on far-fetched life situations, and only specially trained actors perform on stage. Accordingly, a new, playful scenography appears - a special type of theatrical art. The first sets are created, which bring the performances closer to reality, costumes and masks are sewn for the actors (make-up is still a long way off), the necessary lighting and minimal special effects are created. In this form, the theater passed not only through antiquity, but also through the Middle Ages.

Renaissance - era of renaissance of decorations

The XV-XVI centuries are not only the era of humanism, coming after the dark Middle Ages, but also the period during which scenography was thoroughly formed. This is the time in which the greatest artists, sculptors and architects, mainly Italian, worked. They became the authors of many elements of props, without which the current theater is unimaginable. It was decided to create a background for each performance, the same as the paintings of da Vinci and Michelangelo. For the first time, Donato Bramante, the great architect who built the theatrical perspective, completed the task. In the foreground were actors in costumes, and in the background were backgrounds corresponding to the described scene. Later, Sebastiano Serlio, an architect-theorist, divided scenery into three types: comedy, tragedy and pastoral. After these practical and theoretical works, scenography, as art and production, is embodied in the Teatro Olimpico, which was built by the hands of Andrea Palladio in Vincenzo.

Keep up with the times

Modern people instantly associate theater with the word “art,” but residents of the Renaissance were just getting used to this innovation. It was from those times that performances began to follow the style dictated by artists and sculptors, and they also inherited the main trends in philosophy and ideology. Since we have considered the Renaissance, we move on to the Italian Baroque and its features. Following the new ideology, theatrical scenography ceases to be two-dimensional (actors in the foreground, scenery in the background). Now the artists are surrounded by props on all sides, and the action itself can take place not only within the framework of comedy, tragedy or pastoral, but in the most incredible “worlds” (under water, earth, in the sky, in the clouds, etc.).

From the era of Classicism to Modern times

By the beginning of the 17th century, scenography as an art and production occupied an important segment in the sphere of life of all European countries. There were entire factories that were engaged in the production of theatrical scenery, so they have long become dynamic and flexible. The stage could consist of several stages or levels. Tree branches, the moon or sun, clouds, and even the actors themselves, if the script required it, were placed on the ropes. An important find XVIII century became a curtain, the system of operation of which was also painstakingly designed by the designers. All these achievements were collected into a single whole, improved and grew along with technical progress.

Due to the fact that scenography is a special type and not just the production of scenery and various theatrical tricks, it was modified and stylistically adapted to each era. Like music or sculpture, it embodied the Rococo style and classicism, absorbing the main characteristics of romanticism, and later realism. Until the first half of the 20th century, the theater and its decorations duplicated the main stylistic trends of current eras, until people decided to turn to antiquity. Of course, our contemporaries did not return to the original scenery; on the contrary, the technical equipment of any, even the simplest theater, became more and more advanced. But the productions, locations, characters - all this was often a description of bygone eras. Today you can watch a play about the life of the ancient people or about the achievements of society during the Renaissance. There are productions in avant-garde style, abstract and surreal, or we are shown maximum realism.

What is special about modern theater?

Nowadays, it will not be enough to say that scenography is a special form of art, because this branch has come to the fore in the theater. In some way, it even eclipsed the importance of acting (may the great Maestros forgive me) and received a new name - stage design. In large productions, a lot of money and effort are spent on assembling the scenery, decorating the stage and creating the necessary atmosphere. Leading designers and builders may be involved in the process, and all this effort is just for the sake of one performance. Stylists work similarly on the images of actors - costumes and makeup are carefully selected.

Types of scenography

You can see how far modern theater has stepped forward by the number of workers who work on creating the scenery for each individual performance. If previously, to create the right atmosphere, they invited, so to speak, a universal professional who would a short time brought into reality the costumes, props and background of the production, now this task has been divided into many industries. This is how they appeared different kinds scenographic art, and what they are and who works on them, we will now understand.

Spatial framework of the performance. In other words, it is the basis of any production that requires the presence of one or more backgrounds, scenery, as well as stages and auxiliary devices (ladders, ropes, safety mats, etc.). It's easy to guess what goes to architects and planners.
The appearance of everything that makes up the performance. Here all responsibility lies with the production designer and make-up artists. Costumes are sewn, life is breathed into the props, the stage is designed and the necessary spatio-temporal atmosphere is created.
The third type of scenography is directing. She is responsible for the mise-en-scène drawing, adjusting the placement of actors and scenery in various scenes of the play and coordinating all movements.

A modern person can say that the number of workers in the theater, as well as the very quality and realism of all the scenery, are definitely inferior to those in cinema. But in fairness, we note that this work is also colossal. And it is unlikely that our ancestors, who were content with the director, architect, stage manager and costume designer rolled into one, suspected that over the centuries their efforts would develop into something beautiful.

Theater is the work of professionals

You can learn the art of creating performances at theater universities, but this specialty is not intended for applicants who have just graduated from school. The faculty of scenography includes people who already have practical experience in the theater or film industry, or they are representatives artistic professions. The selection criteria are such that a person who does not have a certain creative background behind him simply will not be able to pass the entrance exams and, most importantly, he will not join the course, because it is assumed that all students are already familiar with the basics. We can say that within the framework of training, scenography is a narrow specialization that expands the capabilities of any representative of the field of art, or, on the contrary, directs those who are in search of their “I” in the right direction.

Course subjects

There is nothing superfluous at the Faculty of Scenography, but the list of disciplines is still quite extensive. Teachers argue that this is a necessity, thanks to which graduates will have a full range of knowledge and will be able to cope with further work in this field in a non-standard and unique way. Among the items we list the following:

History of the theater.
History of styles.
History of dance.
Basics of light.
Basics of sound.
Installation Basics.
Directing and acting.
Modern Art.
Theater design.
Costume and makeup technology.

It is also worth noting that the faculty takes into account the interests of students as much as possible. Many students already have jobs in theater or cinema, or are pursuing other majors at the same time. Therefore, classes are held in the evenings, or are postponed to weekends.

Contact with architecture

From the outside it seems that it belongs to the exact sciences and only remotely touches the field of art. But graduates of construction universities often end up in the scenography department, and here’s why. The fact is that in the theater it is almost impossible to do without an architect. Only he can competently design the stage, taking into account the mass and size of the stage, actors, scenery and furniture. What is important is that he will do all this in strict accordance with the artistic idea. Architects in the theater also often play the role of designers, design the stage and pay attention to Special attention every small detail.

Note to applicants

To become a student of the Faculty of Scenography, you do not need to prepare for tests or detailed written answers. Since the specialty is exclusively creative, the entrance exams, or, as they like to say here, the interview, will be relaxed. It is important to provide the commission members with a portfolio demonstrating your experience in one of the creative fields.

You should also prepare for impromptu questioning. Teachers will want to know what inspires you, why you decided to join their department, how you see your future in the field of stage design, and whether you are ready to face the questions that matter most in theatre.

Third required condition receipts - a creative task. It is necessary to create a sketch of the scenography of some work, poem or epic. Performance technique of this assignment choose absolutely any one, it doesn’t matter at all. Your creativity and ability to present material will be assessed. The individuality of your work will also play a role, so it’s better to work on its exclusivity and become the author of a brilliant idea. The work is accompanied by sources of inspiration, as well as a short story about why you decided to depict this particular production and what exactly inspired you.

Graduate Prospects

Having received the coveted diploma, you can become a representative of one of the following professions:

Production designer.
Costume designer.
Event designer.
Set designer for fashion shows and concerts.
Set designer for exhibitions and other museum events.
Work in the field of contemporary art - artist, designer, etc.

As you can see, having this education, you can get a position not only in the theater. It all depends on your creative skills, imagination and tastes.

Undoubtedly, theater is an art with scope and chic. It is not to everyone’s taste, but only falls into the hearts of true connoisseurs of beauty. It is imbued with the spirit of the past and that is why it creates an incredible atmosphere of holiday and celebration.