Modern forms of visually spectacular arts. Kinds of art

4.1. Art concept

4.2. Spatial arts:

· architecture;

· sculpture;

· painting;

· photo.

4.3. Dynamic arts:

· literature;

· music..

4.4. Synthetic arts:

· theater;

· circus;

· movie;

· stage;

· choreography;

· TV.

4.1.Art is a form of social consciousness, a specific type of spiritual and practical exploration of the world. Art is one of the most important spheres of culture. It is impossible to imagine people's lives without it.

The beginnings of the artistic activity of mankind are noted in primitive society, long before the advent of science and philosophy. And yet the problem of the essence and specificity of art has not yet been completely resolved. What meaning is put into the concept of “art”. You can select 3 different meanings this word.

1. Art is mastery. – In this meaning, “art” appears as a skillfully, technically performed activity, the result of which is something artificial in comparison with the natural. The highest degree of skill and mastery in any field of activity. It is this meaning that follows from the ancient Greek word “techne” - art, skill.

2. Art is creativity according to the laws of beauty.

This kind of creativity belongs to to a wide circle activities:

· creation of useful things, machines;

· design and organization of public and personal life;

· culture of everyday behavior;

· communication between people, etc.

Art object– like science, philosophy – the world around us.

Piece of art- reality, life in its broadest social meaning.

3. Art – artistic creativity, the products of which are social, spiritual, aesthetic values.

Art influences the formation of personality, enriches its sensory-emotional and intellectual-mental potential.

Art improves Creative skills and human capabilities, encouraging him to act according to the laws of beauty.

The difference between art and science:

1. The object of science is truth, and the object of art is beauty.

2. Reflection of reality: in science - in the form of abstract concepts, in art - in the form of artistic images.

Art exists in its specific types, is activity model personality and reflection world in certain historical conditions, it class and politically oriented, national and international.

Art exists in its specific forms: architecture, sculpture, painting, theater, literature, music and etc.

4.2. Types of art are historically established, stable forms of creative activity that have the ability to be artistically realized. life content and differing in methods of material embodiment.

Each type of art has its own specific arsenal of visual means and techniques.

The types of art differ from each other:

subject of the image;

· use of various visual means.

Attempts to study the structure of the world of art were made in ancient times. First attempt is mythological classification of arts, which includes: tragedy, comedy, « technical art": architecture, medicine, geometry; " musical art": poetry, music, dance.

During the Renaissance, there was an exploration of the differences between the visual arts and poetry. L. da Vinci in “The Book of Painting” and Lessing in “Laoocon”, S. Batte in the treatise “Fine Arts” gave the first deep analysis of art.

At the beginning of the 19th century. Hegel, in The System of the Individual Arts, outlined the relationships between the five main arts - architecture, sculpture, painting, music and poetry; analyzed the patterns of division of poetic art into types: epic, lyrical and dramatic.

Since the 19th century. world aesthetic thought (Hegel, Schelling, Wagner, Scriabin, etc.) proved equivalence And necessity existence and development of all types of arts.

In aesthetic and art history literature, certain schemes and systems for classifying the arts have developed. The most common scheme is to divide it into three large groups:

1 group – spatial or plastic kinds of art:

· architecture;

· all genres of fine art;

· art photography.

Group 2 – temporary or dynamic types of art: literature and music.

Group 3: spatiotemporal views: theater, cinema, television, choreography, stage, circus.

In modern conditions, the artistic principle in various fields human activity. Sports festivals are increasingly turning into integral theatrical performances, and in certain sports (figure skating, rhythmic gymnastics) the skill of athletes is rising to the level of the present artistic creativity. The appearance, exposition, and advertising of various exhibitions and fairs represent aesthetically fulfilled artistic creativity.

Architecture(from the Greek. builder) is a type of art whose goal is to create structures that meet the utilitarian, spiritual and aesthetic needs of people.

Following the definition, it merges together benefit and beauty, technical and aesthetic principles.

Many people consider architecture to be historical art. After all, in order to shelter from bad weather, primitive man had to build himself some kind of housing, and this is its beginning.

In Ancient Egypt Huge tombs, pyramids, and temples with many columns were built. This architecture is characterized by: geometric clarity of forms, incompatible scales of buildings and people, monumentality that suppresses the individual.

Grandiose structures were created not to satisfy the real needs of the people, but for religious purposes, in the name of exalting the despotic power of the pharaoh.

In Ancient Greece architecture takes on a democratic appearance. Religious buildings lose their oppressive character. Thus, the Parthenon temple, with its beauty, affirms the beauty, freedom, and dignity of man. New types of public buildings and structures are emerging: theaters, stadiums, Skodas. Architectural structures are built on the humanistic principle of beauty, which was formulated by Aristotle: beauty should not be too big and not too small. Man is the measure of all things; in architecture there is a measure of the beauty and scale of the structure.

In the Middle Age dominates in architecture Gothic style . Gothic cathedrals expressed not only a religious impulse towards God, but also a passionate earthly dream of happiness.

During the Renaissance style begins to develop baroque. Buildings built in this style differed pretentiousness, big amount stucco decorations, interior painting. The architecture of this time is characterized pathos, elation, contrast of forms. Examples of this style: the Palace of Versailles, the Winter Palace in St. Petersburg, the ensembles of Tsarskoye Selo (architect Rastrelli).

In the New Age (since the 18th century) styles emerge rococo (sink) And empire style. Character traits rococo: rich painting, large mirrors, creating the impression of lightness and intangibility of the walls.

In style empire style (empire) expressed monumentality and majesty, the aesthetic tastes of the big bourgeoisie are embodied (the Arc de Triomphe in Paris).

From the 16th to the 30s of the 20th century style has a three-century history classicism. Its signs: proportionality, proportionality, clarity, achieved by simple constructive and artistic means. These are different types of buildings: industrial, administrative, multi-storey residential buildings. All this required the architect to solve the following problems: creating a building that was convenient for use and had an aesthetically complete form.

In the 20th century begins to take on greater importance “architecture of small forms”: kiosks, trash cans, advertising stands, lamp posts, etc.

In the context of the global environmental crisis, artistic and meaningful "green architecture" those. "garden and park" culture.

In transformation subject environment is of great importance "architecture of monumental forms": roads, bridges, triumphal arches, television masts, etc. They are distinguished by the scale and complexity of the technical design.

Architecture is rightly called the chronicle of the world. After all, she speaks when the legends about the irretrievably departed people and their culture are already silent. Entire eras of human history are captured on the pages of this “stone book”.

art includes: painting, graphics, sculpture, art photography.

Painting is a type of fine art, works of which are created on a plane using paints and colored materials.

Painting happens:

monumental– large-scale paintings: paintings on walls, vaults, pillars, etc.

Its varieties:

mosaic – monumental painting, in which an image or ornamental motif is made of individual colored stones, marble, cubes of multi-colored glass paste - smalt, very tightly fitted to each other;

fresco– painting on wet plaster with paints diluted in lime mortar;

easel- painting that has independent meaning, paintings of various genres, painted on canvas (less often on cardboard, paper), most often with oil paints.

Main genres of painting:

· landscape – an image of nature;

· portrait;

· still life – image of natural objects: fruits, flowers, things, etc.;

· plot-thematic paintings - depictions of historical, battle and everyday scenes.

A miniature is a small-format painting made on paper, metal, ceramics, porcelain, or wood.

Graphics – monochromatic drawing. She comes in the form engravings(engraving is a printed impression of a relief design applied to a wooden or metal board), caricatures, lithographs (a method of flat printing on stone (limestone)).

Sculpture is a type of fine art that reproduces reality in a three-dimensional form.

Main materials used: stone, bronze, marble, wood.

Types of sculpture:

1. monumental - monuments, monuments.

2. easel – works of painting, sculpture and graphics that have independent significance.

3. sculpture of small forms - toys, medals, stone carvings.

Artistic photography- a relatively young art form. Today, photography is not just a copy of the external appearance of a phenomenon on film. An artist-photographer can create an artistic image by choosing an object, lighting, and a special position of the camera. At the end of the twentieth century. artistic photography has taken its special place among the fine arts.

Decorative and applied art is an ancient type of creative activity for creating household items designed to satisfy both practical and aesthetic needs of humans.

This art form is very ancient and was used to decorate objects. The artistic and figurative meaning of decorative and applied art is an ornament that becomes a sign of a certain national identity, by which we can easily recognize which nationality it belongs to: ancient Greek paintings on clay vases, Turkmen and Chinese carpets, Western Ukrainian, Russian stoves, etc. d. This type of art contributes to the improvement of object culture; the artistic design of a thing must be strictly consistent with its practical meaning.

4.3. Literature is a written form of art, one of its main types.

The term “literature”, starting from the 18th century, replaced the concept of “poetry”. "poetic art" The main expressive and visual means of literature is word. It reveals the plot, shows literary images in action, and also directly forms the author’s position and makes it accessible to the reader.

Being the most analytical of all types of art, literature, with the help of words, creates real living being and what is called “artistic reality.”

Types of literary works:

1. Epic - novels, stories, stories, essays.

2. Lyrics - poetic genres, elegy, sonnet, ode.

3. Drama - comedy, tragedy.

The history of world literature dates back to ancient times, folklore. The most ancient literary monuments are the Bible, The Tale of Bygone Years, and the Ramayana. They became the foundation of world culture.

Music is an art form that uses sound images as a means of embodying reality and human feelings.

What is striking about music is its ability to say a lot without saying a word, to express a lot without using visual images.

Music genres: opera, symphony, chamber music, instrumental, vocal-instrumental, etc.

Music can influence the most unprepared people, influence the growth of plants, heal diseases, change mood in the right direction. It is recommended to listen to works of world classics to reduce irritability, anxiety, and headaches. Music is both national and international, it knows no boundaries

Nowadays, in order to see inspiring works art, you don't have to go to the museum. The Internet has given people the ability to appreciate and enjoy art by providing an endless stream of masterpieces. However, finding something that excites you is a completely different matter. Need to reconsider different types arts such as artwork, sculptures, photographs and installations. But this is not at all easy and takes a lot of time. Therefore, today we will present to your attention some of the most popular trends in art in last years. From book sculptures to immersive installations, these are the trends that people continue to admire.

1. Sculptures and installations from books

2. Beautiful installations from umbrellas

3. Interactive street art

4. Creativity made from thousands of things

5. Epic Lego sculptures

6. Creativity in all the colors of the rainbow

7. Sets of little people

8. Thousands of LED light bulbs

9. Installations made from threads

10. Exciting interactive installations

Fine arts

Painting

Monumental painting, presented in the form of mosaics and frescoes, also belongs to a very ancient form of art.

Easel painting includes paintings of various genres, which are painted on canvas or paper using oil paint.

Genres of painting include:

• Portrait
• Historical genre
• Mythological genre
• Battle genre
• Everyday genre
• Scenery
• Marina
• Still life
• Animalistic genre

1. Graphic arts and its types

   • Engraving- a design applied to a flat surface of a material, covered with paint for imprinting on paper. Engraving materials include: metal (steel, zinc, copper), wood, plastic, cardboard.
   • Printmaking- this is an impression from an engraving board, which is easel work artistic graphics. Prints include engraving, lithography, silk-screen printing, and monotype.
   • Book graphics are part of the design of a book and serve as its decorative design and illustration.
   • Bookplate- a sign that indicates the owner of the book. The sign is located on inside binding or cover.
   • Poster– an image aimed at attracting general attention, which is created for educational or propaganda purposes.
   • Linocut- engraving on linoleum.
   • Woodcut– wood engraving.
   • Etching – metallic look engravings.
   • Computer graphics– images compiled on a computer, dynamically or statically.

2. Sculpture

   Definition 2

   An art form that originated in ancient times. The sculptures found consisted of clay, wood, stone and depicted people and animals quite similar to the originals.

   The sculpture is divided into a round one, which extends in space and onto the relief, in the form volumetric images on surface. Both in painting and sculpture there are easel and monumental forms.

   Monumental sculpture is intended for streets and squares and long-term use, therefore bronze, marble, and granite are used for this type of sculpture.

   Easel sculpture includes portraits, small genre groups, which are executed in wood, plaster and other materials.

   Arts and crafts

   The creators of works of decorative and applied art have $2$ main goals:

   • Creating things necessary for everyday life
   • Endowing a thing with certain artistic qualities

   Thus, objects and things related to everyday life should serve a person not only for practical purposes, but also decorate his life.

   Today, most works of decorative and applied art serve primarily an aesthetic function, but this was not always the case.

   Types of decorative and applied arts include:

   • Batik – hand-painted fabric.
   • Embroidery
   • Macrame
   • Knitting
   • Beading
   • Lace making
   • Tapestry
   • Ceramics
   • Mosaic
   • Artistic painting on wood, ceramics and metal
   • Stained glass
   • Origami
   • Graffiti

Non-fine arts

1. Architecture

   Definition 3

   Architecture is the art of designing and constructing buildings. Architectural structures can be presented in the form of separate buildings, as well as in the form of architectural ensembles. Ensembles can also develop historically.

   Architecture makes it possible to analyze technical achievements and art styles different eras. For example, the Egyptian pyramids, allowing one to judge the style of that period, temples Ancient Greece, Rome, etc.

2. Literature

   In the broadest sense of the word, literature can be considered the entire body of written texts.

   Types of literature include:

   • Art
   • Prose
   • Memoirs
   • Scientific and popular science
   • Reference
   • Training
   • Technical

   Depending on certain criteria literary works classified into one genre or another:

   Criteria.

   • Form – short story, opus, ode, sketch, story, story, play, novel, epic, epic, essay.
   • Content: comedy, tragedy, farce, parody, sideshow, drama.
   • Epic kind
   • Lyrical gender
   • Dramatic gender

3. Music

   Music is an art form that uses to embody artistic images sound and silence that are organized in time.

   Types of music:

   • Classical
   • Popular
   • Non-European
   • Ethnic
   • Variety
   • Vanguard
   • Alternative
   • Instrumental
   • Chamber
   • Sonata
   • Nocturne
   • Prelude

Note 1

Art forms also include:

• Cinema
• Theater
• Choreography

Let us turn to the interpretation of the main object of our study - namely the spectacle. Spectacle (from the Old Russian zrti, zryu - to see, I see. The verb zret' - to see had a participial form with the suffix -l- which gave the noun “spectacle” with the suffix -chu-e-) - that which is perceived with the help of a glance, that at which watching (phenomenon, incident, landscape, sports parades or competitions, interactive games). From the same root come the words “vision” and “spectator” - the one who perceives the spectacle.

In the field of art, the term “spectacle” is sometimes used as a synonym for the word “performance” - theatrical, concert and others. More often this word is used as an adjective - “entertainment enterprises”, “spectacular forms of art”. However, despite the etymology of the term, not all of its types perceived through vision are classified as performing arts. Painting or sculpture are considered fine arts. In this classification, the presence of the viewer, who is a full co-author of the spectacular art, becomes decisive.

Spectacular works of art exist only at the moment of their performance, and disappear forever with the end of the performance. Performance, concert, circus show, a theatrical festival cannot be repeated with precision: the immediate reaction of the audience forms a variety of semantic and emotional shades of each specific performance. Spectacular forms of art involve active spectatorship, which has a direct impact on the performance. In fact, without spectator participation, performing arts are impossible; in this case we can only talk about a rehearsal (the stage of preparing the spectacle).

Spectacular types of art include theater (drama, opera, ballet, puppetry, pantomime), circus, stage, mass and collective theatrical festivals. The only exception to general rule is the art of cinema and television, where spectacular works are recorded on film and then exist unchanged, regardless of the reactions and perceptions of the audience. However, this exception is quite understandable and natural: these very young forms of art arose and exist thanks to the development modern technologies, stipulating not only fundamentally new ways of creating them, but also fundamentally new type relationship with the viewer.

The concept itself, and with it the word “spectacle,” was formed only in the 5th century BC; with the development of cities, the division and specialization of labor, with the rise of the role of the trading bourgeoisie. From the moment they are set up for a “spectacle,” the actions gradually begin to adapt to the requirements of the viewer and become spectacular regardless of everything else. But if entertainment becomes new main characteristic, then, in any case, the basis of the phenomenon continues to be a certain action or what the Greeks called dromena - a participial adjective from the verb draomaj - I act. These dromena, surrounded by curious spectators, turned into theamata, that is, into a spectacle. The main feature of a theatrical spectacle is action: without action there is no theater.

In the broad sense of the word “spectacle” is a specific form of ideological, emotional, aesthetic communication. The range of spectacular phenomena is almost inexhaustible: sport competitions and games, public rituals and ceremonies, various kinds of celebrations and festive situations. Even this incomplete list gives reason to say:

about artistic spectacles, which include theater, cinema, stage, circus;

about phenomena of a spectacular type, including sporting events, exhibitions, shows and demonstrations of the achievements of science and technology, modern fashion, as well as life facts and events that attract attention.

Of course, such a division is very relative, since the analysis of modern reality reveals complex dependencies and connections between these types of spectacles. And, indeed, how strong have become the bonds of interaction and mutual influence of sport and art in figure skating or the performance of gymnasts: but for us such a difference is significant from the point of view of understanding that phenomena of the spectacular type are not connected by a single plot or even a theme, whereas artistic spectacles are created on the basis dramatic works(plays, scripts) and must be carefully prepared.

If the spectacles of both types are characterized by such common features, as effectiveness, collectivity, “deployment towards the viewer”, then only “spectacular arts” have signs of integrity and completeness, syntheticity and imagery. The most important characteristic of the performing arts is the effect of participation, empathy of the viewer with a pre-calculated result and taking into account the dependence of the perception of the spectacle on the convention system of a particular type of art, on the visual ability of the viewer, on the movement of the viewer’s attention. In this regard, it should be noted the importance of the director’s ability to focus the viewer’s attention on what is most important and significant in the spectacle and thereby stimulate and “forcefully direct the viewer’s involvement in the action.

Let's look at several encyclopedic publications that contain a definition of the term “spectacle”.

IN " Explanatory dictionary living Great Russian language" by V. Dahl, 1866 edition, "spectacle" is defined as "an incident, an event, an occurrence, visible with the eyes, everything that we consider, that we look at carefully." The second meaning of this term is “ theatrical performance, theater" .

In the “Encyclopedic Dictionary” of F. Brockhaus and I. Efron of 1894, there are many definitions for the word “spectacle”, one of which sounds like this: “Public spectacles and entertainment include: performances, concerts, balls and masquerades in all theaters, including imperial ones.” , and private, in circuses, clubs, gardens and in general in all kinds of public places, exhibitions and markets with music, private museums, literary and musical mornings and evenings, live paintings, horse races, races, races, menageries, shooting ranges, carousels, swing. If you delete from this list what is historically outdated, the remainder will be sufficient. It turns out that the spectacle is everything we consider, what we look at carefully.” Brockhaus and Efron, refusing theoretical definition spectacles, give only a listing of spectacular forms. A more detailed description of the holidays was given in the same dictionary, published in 1898. The compilers of the dictionary divided holidays into Old Testament, church and folk. The analysis of Old Testament and church holidays was done relatively superficially by the authors of the dictionary. Revealing the content of folk holidays, they essentially reflected the level of development of the historiography of the problem for that period. The compilers of the dictionary noted that researchers - their contemporaries - following Grimm, Afanasyev and Potebnya, considered folk holidays to be a reliving of half-forgotten pagan ideas, suggesting that the holidays of various saints replaced pagan holidays, and the “attributes of the old gods” were transferred to the saints. Brockhaus and Efron did not agree with this point of view. They noted: “This opinion can now be considered greatly shaken. If the Slavic and German Olympus ever existed, then they, in any case, did not have the completeness and harmony of the state religion of Greece and Rome, with their numerous borrowings from Eastern cults.”

The first attempts to scientifically define spectacles appeared in turn of XIX-XX centuries. No cultural reference works were published at that time, but fundamental encyclopedic works were published that reflected the significant cultural experience of human activity. In particular, one of the most authoritative publications of that time was the Encyclopedic Dictionary of the Garnet Brothers. Reprinted several times, the dictionary traditionally paid attention to explaining the social and cultural essence of the holiday. It noted: “At the heart of the holiday lies a natural desire human body to relax after work, combining with a religious feeling, this desire leads to the establishment of holidays, that is, such days of rest, which at the same time are celebrated with a special worship. The religious aspect included in the concept of a holiday varies. Either holidays are associated with calendar moments of field work; Accordingly, holidays are associated with various deities and myths. Calendar holidays usually mixed with the cycle of agricultural work, are most common after the usual weekly rest days." This article emphasizes that as religion developed, it gradually merged with “naturalistic holidays,” and later they included holidays that were historical in nature.

Considering the history of the emergence of the term “spectacle”, it should be noted that in special reference and encyclopedic publications - “Theater Encyclopedia” of 1963, “Kinoslovar” of 1966, as well as in the “Bolshoi” Soviet encyclopedia» 1951 it is missing. In the first edition of the Great Soviet Encyclopedia in 1933, the concept of “spectacle” covered the category associated with the games and mass celebrations that were extremely popular in the 1920s, which, of course, is far from complete. Thus, the definition of the concept of “spectacle” disappeared - and not only from reference publications, but also from theoretical research.

The first reason for the “disappearance” of the concept of “spectacle” may be associated with the insignificant share of spectacles in the structure of leisure time. Back in the 18th century, some researchers (for example, Gottgold Ephraim Lessing, the great German thinker, critic, and writer) came to this conclusion based on a comparison of the attitudes of the ancients and their contemporaries to the spectacle. “Why does this difference in tastes occur,” wrote G. Lessing, “if not because the Greeks, during performances, were inspired by such strong, such extraordinary feelings that they could not wait for the moment when they would experience them again. We, on the contrary, take away such weak impressions from the theater that we rarely consider visiting it worth spending time and money. We almost all and almost always go to the theater out of curiosity, for the sake of fashion, out of boredom, for the sake of society, we want to look at others and show ourselves off, and only a few go with another purpose, and even then rarely.” It would seem that G. Lessing draws a line between the century of spectacles that are receding into the past and the century of their degeneration, that is, the 18th century. Perhaps, having in mind the 18th century, he was right. But it is quite obvious that this statement does not characterize the modern era and belongs to history. Interest in the spectacle, appearing at the end of the 19th century, intensifying at the turn of the century, strengthened and expanded throughout the 20th century.

In later encyclopedic publications and theater studies, the term “spectacle” appears again. Along with this concept, such terms as “holiday”, “mass spectacle”, “mass celebration”, “mass performance”, “square theatre”, “mass performance”, “street theater” are also used as synonyms.

“Explanatory Dictionary of the Russian Language” by S.I. Ozhegova breaks down the concept of “mass action” into: “mass - a completely large number of people, characteristic of a mass of people” and into “action - in the old days dramatic work» .

In the dictionary “Culture and Cultural Studies” (2003), there is also no definition of the concept of “spectacle”. But there is a formulation of the term “square theater”, which is defined as “various types of theatrical performances in squares and streets”, which in our case has important.

In the book by D.M. Genkin “Mass holidays” (1975) gives the following definition of the term “mass holiday”. By it, the author means an unusual phenomenon, synthesizing reality and art, artistically designing one or another real life event.

In the book by Yu.M. Chernyak “Directing holidays and spectacles” (2004) also has a definition of the term “mass holiday is a complex of events various types and spectacular forms of different genres; a multifunctional phenomenon reflecting the era, life of society and its culture; the oldest and most effective means of mass communication."

Having studied and analyzed various definitions of the term “mass spectacle”, we came to the conclusion that mass spectacle is a field of synthetic art constantly developing in many directions, occurring under open air, in which a large number of people take part, designed for a mass audience. As a rule, it has a festive character and is embodied in theatrical, carnival forms.

For more than a hundred years, experts have been striving to explore certain aspects of entertainment culture. Scientists, writers, publicists, cultural and artistic figures throughout this time have attempted to determine the essence of spectacles as a social and cultural phenomenon, and expressed their opinions on the place that holidays occupied and continue to occupy in the life of the state during its development. Until the end of the 19th century, spectacles, as a rule, were not distinguished as an independent action, but were considered in the context of other similar events - festivities, rituals, traditions, and customs. The holiday is as old as life on earth and forever young. Old holidays are disappearing and new ones are replacing them, displacing or transforming spectacular forms beyond recognition. Time moves the past away from us, erasing the acuteness of the sensation of what was once experienced in joy or sorrow. Of course, under certain conditions, it is possible to artificially recreate individual episodes, pictures and actions, ceremonies of any holiday, and you can decorate both the environment and the participants in the spectacles accordingly. Each specific holiday lives separately only once, and each time it reproduces the experience of the collective “holiday memory” of generations. The cells of this memory store the treasures of spiritual culture accumulated age-old wisdom. And we are left with only memories, eyewitness accounts, memoirs, brief information in the press, descriptions of this or that celebration, scattered archival documentation, at best - photographs and projects yellowed with time decoration, engravings and drawings, newsreel fragments: everything that already belongs to history.

Considering the emergence and development of mass spectacles within large historical eras, one cannot help but see, first of all, the social and moral function that mass festivities perform. Since ancient times in folk rituals, there were two sides to the performances - cult elements and folklore elements. Historical aspect the spectacle allows us to understand the significance that the spectacle acquired at the turn of the nineteenth and twentieth centuries. History can explain, on the one hand, Special attention the public to the spectacle throughout the twentieth century, and on the other hand, close attention to the spectacle by researchers of this time. Historical excursions into the history of the spectacle are explained by the desire to emphasize the originality of the functioning of spectacles at the turn of the century, associated with the processes of urbanization. The escalation of spectacles is caused by socio-psychological processes of communication characteristic of the formation of urban culture in the late 19th - early 20th centuries.

Attempts to understand the spectacle have been made since the beginning of the twentieth century, most often within the framework of theater studies. One of the first theater researchers who touched upon important methodological problems in the study of spectacle was the famous theater historian, theater critic, journalist, and founder of the parody theater " false mirror» Alexander Rafailovich Kugel. But his focus on theater did not allow him to fully understand the nature of the spectacle. A. Kugel opposed the identification of the concepts of “theater” and “spectacle”, tried to identify their discrepancies, linking the first exclusively with artistic, and the second with non-artistic phenomena. While distinguishing these concepts, A. Kugel still recognizes a certain identity. “Undoubtedly, theater is also a “spectacle,” but only in the sense that the passions and feelings experienced on stage are communicated to us not only by the intonations of the voice and the speeches of the characters, but also by movements and facial expressions.” By associating the spectacle exclusively with plastic elements, A. Kugel feels the vulnerability of his definition: after all, the plastic side does not yet ensure artistry. This circumstance forces him to distinguish two meanings in the concept of “spectacle”: spectacle as a form of perception of art and spectacle as the totality of the visible, which, like the visible in general, is only a form real life. Thus, A. Kugel approaches the distinction of artistic and non-artistic spectacles. IN artistic type spectacle A. Kugel tries to historically determine its later differentiated forms, including theater. He believes that theater has long overcome the era of spectacle. At the same time, A. Kugel states that modern theater constantly trying to be a spectacle. It can be argued that A. Kugel himself never understood how theater differs from spectacle.

It will take some time, and Sun. Meyerhold will speak quite seriously about the need to revive the traditions of farce in the theater, about the revival of its techniques on the modern stage. Thus, theater practitioners did not accept A. Kugel’s position regarding the spectacle, the theorist’s negative attitude towards it as something secondary, inferior, not worthy of attention.

The problem turned out to be even more complicated in the 1920s, when the question of spectacular forms of theater and the influence of sports, stage and circus on theatrical forms again became acute. The close attention to the spectacle at the beginning of the twentieth century is explained by the fact that it was during this period that problems that continue to concern us for the first time arose. It is this period that is characterized by an increase in interest in the spectacle. This fact should be considered as a reaction to the degeneration of forms traditional culture, which were ritual and entertainment forms. Collapse of traditional game forms was a consequence of grandiose processes of urbanization that had no precedent in history

Spectacular universe in all its manifestations (mass performances, holidays, sports, circus, theater, variety show, music hall, variety shows, cinema, television) is not limited to artistic culture. Therefore, the primary and most general definition of spectacle will be any demonstration of human action in space and time, perceived collectively. This definition does not yet characterize the spectacle as a “form of perception of art” (A. Kugel), but it allows us to combine all its manifestations into a single system, even if it does not yet have artistic characteristics.

Another definition was proposed by the famous theatrical figure V. Vsevolodsky-Gerngross. He believed that, on the one hand, a spectacle is any object that is visually perceived, the “action” itself, and on the other hand, it is a theatrical performance. On this issue, the researcher does not disagree with either V. Dahl or A. Kugel. Deciphering the first definition, which is at the same time the definition of theater, he writes: “... by action (process), in contrast to ordinary, random human actions, we mean an organized complex of human actions, formally expressed either in sounds and movements, or even though in one of the elements." It is quite obvious that in this formulation by V. Vsevolodsky-Gerngross, the definition of spectacle is reduced to its second meaning, that is, to the “totality of the visible,” which does not exhaust this concept, especially if we recall the existence of differentiated spectacular forms that represent the “form of perception of art.”

The mass celebration belongs to the category of artistic spectacles. One of the first researchers of the nature and essence of holidays I.M. Snegirev in his work “Russian Common Holidays and Superstitious Rituals” wrote that one of the strongest means of bringing people closer together and one of the sources of knowledge about the life of each nation are its holidays. It was he who was the first to theoretically substantiate and formulate the definition of a holiday as “abolition”, freedom from everyday work, combined with fun and joy. A holiday is free time, a ritual, a significant action, an accepted way of performing ceremonial actions.

Considering the history of the formation of the concept of “spectacle”, it is necessary to mention the studies of Western authors A. Banffy and R. Demarcy, since in them, in addition to the aesthetic approach, they also outlined sociological, socio-psychological approaches.

The theory of the Italian researcher A. Banfi should be attributed to attempts to define the spectacle based on its connections with society, determine its social functions and build a typology of spectacles. Firstly, A. Banfi quite rightly connects the spectacle with the collective nature of its perception, moreover, he defines the spectacle through this feature. For him, the spectacle is identical to the participation of the group in the performance. For example, he writes that “collectivity is a spectacle in itself.” This judgment indicates that A. Banffy approaches the spectacle as a sociologist and sees in it, first of all, a manifestation of sociality. The classification of spectacle following these considerations indicates that A. Banfi makes collectivity a condition of the first type of spectacle, including folk festivals, carnivals, fairs, dances, and sports competitions. This type, according to A. Banfi, is a symbol of free “social organicity”. The second type of spectacle is functional in relation to society, woven into it, and has utilitarian functions. A. Banfi includes weddings, funerals, confirmations, religious ceremonies, political and military ceremonies as the second type of spectacle.

The third type of spectacle, according to A. Banffy, is associated with the actual aesthetic forms of the spectacle, when the element of the performance, acquiring independence and intrinsic value, is separated from the collective ceremony, and its participants are divided into active and passive. The author discovers the origins of this type of spectacle in Greek tragedy and sees its manifestation in theater and cinema.

Consistently, A. Banfi distinguishes the spectacle as an independent cultural phenomenon, which persists despite the differentiation of artistic culture, “being interpreted differently in a religious rite, a political ceremony, in artistic depiction", and sometimes acquiring "the meaning of universal spectacular event, transgressing the boundaries of any constitutional scheme, creating a typical aura of sociality around more heterogeneous events.” A. Banfi also does not avoid the problem social functions spectacle, rightly arguing that it is a phenomenon that not only accompanies, but also “regulates social life.”

Thus, the awareness of A. Banffy’s sociological approach to the spectacle is directly dependent on identifying the very nature of the spectacle. This approach allowed A. Banfi to define spectacle through collectivity, even to identify these concepts and thereby contribute to the study of spectacle.

Each component of a spectacular action is addressed to the viewer, subordinated to the organization of his attention, his impressions. Speech (word), plastic (gesture), material environment, dynamic, mechanical effects constitute a system of influence deployed on the viewer. That’s right: not in front of the viewer, not for the viewer, but at the viewer. This terminological nuance emphasizes the focus of the spectacle, each of its elements, on perception and evaluation by an actively acting collectivity. The concept of “viewer-oriented” allows us to identify a certain basis for unifying spectacles according to their most common characteristic and approaching the definition of the specifics of diverse phenomena of the spectacular type. Finally, “focused on the viewer” makes it possible to clarify the concepts of “spectacle” and “entertainment”. The development of spectacular forms of the broadest possible scope makes it possible to use the concept of “entertainment” to mean a system of expressive-dynamic effects and techniques for involving the viewer in an action with a pre-calculated result. It can be assumed that by resorting to forcibly involving the viewer in the action, the director aims to increase the stock of “forced suggestibility” of the spectacle. Its creator, stimulating the viewer, gives the spectacle itself the necessary impetus to focus attention on what seems most important and significant. Stimulating the audience's attention in itself is quite acceptable. But this function of the spectacle sometimes turns into its opposite, and instead of involving the viewer, there may be a breakdown of internal connections between the action and aesthetic experience.

Let us now turn to R. Demarcy. This researcher is least interested in the classification of spectacular forms and the definition of the boundaries of the spectacle. Including in the spectacle everything that has to do with “audiovisual communications”, “means of leisure”, R. DeMarcy focuses on the analysis of the most representative of these forms - theater and cinema, although he also concerns variety shows, operettas, various kinds shows, advertisements. R. Demarcy logically approaches the identification of a special plane - the sociology of the spectacle. But when the need arises to analyze various forms of spectacle, he retreats, not seeing this as a problem for the theory of spectacle. As a result, one of the main methodological issues of the sociology of spectacle, related to the typology and interaction of spectacles, turns out to be not resolved by him, and the unification of various spectacular forms is mechanical.

In the history of spectacle theories, attempts are known to penetrate into the patterns of interaction between spectacles and the public using reconstruction historical stages functioning of spectacles. Returning to the theater of the past, the outstanding Soviet historian Robert Yuryevich Vipper, essentially analyzing various shapes spectacles in which the opposition characteristic of later theatrical forms appears in its pure form. Therefore, he always has to use the expressions “theatrical spectacle”, “spectacle”, which is completely natural, because he is talking about rituals, holidays, mass performances (for example, about Eskimo tournaments and Roman Saturnalia). Listing the social functions of theater as competition, “inducing horror,” raising feelings, distraction, he, in fact, means the social functions of spectacle.

Pointing to the ability of spectacle to provoke a competitive element, R. Vipper argues that theater is capable of eliminating all kinds of conflicts and clashes in real life. It seems to transfer real conflicts into an ideal sphere.

The second function of theatrical spectacle, according to R. Vipper, is to strengthen morality through the demonstration of retribution for a person who has broken the law. Here R. Vipper means the educational function of the spectacle or regulation social behavior. In a society where there is no strong public authority, where violence is not restrained, there is a need for special secret unions, for example, knightly or Masonic orders and lodges, which to some extent serve as a court. With the help of theatricalization, such orders can, for a certain period, keep members of society in fear and obedience. Over time, these functions move to theatrical spectacles and cease to be an instrument of punishment.

The third function of the spectacle according to R. Vipper is the ability to promote what he calls “elevation of feelings”: “...dramatic magic has a special, contagious power if it acts immediately on a mass of people: the state of one is transmitted to another, and the enthusiasm of individuals mutually increases . Everywhere among the most uncultured peoples we find large expressive dances with pantomimes, which serve to excite strong common feelings.” The spectacle can serve not only as a means of resolving conflicts, but also to “ignite the audience,” that is, to provoke conflicts. This ability of the theater arises as a consequence of its ability to excite the senses.

Highlighting the fourth function, associated with a person’s need for a change of mood, for laughter and rest, which today is called compensatory, R. Wipper writes: “A person cannot endure a continuously painful or shy mood. There is some saving power within us that opens up the possibility of a break, a distraction. Then the person abruptly breaks off, as if turning to face the enemy who sits in his heart and wears away his life. The best way out for this outburst of cheerfulness turns out to be ridicule, a caricature of the very condition from which he wants to get rid of. To throw off moral oppression, a person laughs at himself.” As an example of self-parody, R. Vipper cites the custom of the medieval church, when after the service, jesters appeared in the temple and parodied the service.

Thus, turning to the origins of the theater, to the initial forms of spectacle, R. Wipper finds that each of the main social functions is associated with “strong and acute human needs.”

Let us pay attention to the competitive function of spectacle highlighted by R. Vipper - an important aspect of any spectacular communication. In ancient times, the spectacle was not perceived outside of this competition. Moreover, it did not have that emancipation from others social phenomena which it has today. It is known that the theater, for example, existed as part of the spectacular element, a national holiday, within the framework of which it was perceived. The essence of the spectacle consisted of various kinds of competitions, including sports (say, in paired chariots, running, discus and javelin throwing, wrestling, fist fighting). The theatrical performance was also a manifestation of, albeit a special - stage, but still a competition.

IN modern development In spectacles, we observe a tendency to strengthen their connections with the viewer, which presupposes his creative complicity. Such dependence is a prerequisite and condition for the existence and development of spectacles, which largely determines their role in the harmonious development of the individual, in the formation of his creative abilities.

As the analysis of historiography has shown, researchers substantiate in different ways the reasons for the emergence of spectacles as a cultural phenomenon. Many adhere to a simplified approach to the analysis of the cultural aspects of spectacles, believing that spectacles as a cultural phenomenon were a consequence of people’s desire to relax after intense workdays, a kind of protection against physical and moral fatigue. We can only partially agree with this statement.

How diverse real world, so numerous are the types of art. Each type of activity has an artistic form of display and various ways of transforming life into it: in literature this is the word, in music - sound, color and plasticity in fine arts, movement in choreography, etc.

Three groups for full picture peace

There is no single classification of arts; there are many of them, and they are all relative. The most common scheme is divided into three groups. The first is space and plasticity. Fine and decorative arts, architecture and photography. This is, one might say, forever. The second includes dynamic, that is, temporary forms of art, in which the main thing is composition unfolded in time: music, literature. The third group is synthetic, spectacular types, also spatiotemporal: choreography, theater, cinema. Only the main types of art are listed here. Why do humanity have so many different types? Not one of them, on their own, will be able to convey a comprehensive picture of the world, the entire artistic culture as a whole. Only all together.

Main types of art: characteristics

Architecture (from Greek - “builder”) is a type of monumental art. These are structures and buildings for human life, for utilitarian and spiritual needs. Fine art represents a whole group of subtypes of artistic creativity: painting, graphics, sculpture. Decorative and applied arts most often have a national character of creativity, which can include products made of metal, clay, wood, stone, bone, and fabric. That is, embroidery, painting, chasing, carving, etc. Literature is materialized through the word and is divided into fiction, historical, educational, reference, and scientific. The main genres are lyrics, drama, epic, novel, story, etc. Music makes up a huge part of the universe of sound images. It is also divided into many genera, types and genres. These are only the most important types of art.

The main directions of our time

Modern types of art do not require a new classification scheme. Within the same types, genera and genres, other directions, trends and schools appear. For example, sand animation or body art, graffiti or art installations - these are the same, with all their novelty and distinctive features, do not go beyond, and for them long-defined types of art continue to exist. Who knows, maybe these applied hobbies will one day rise to a separate level. It is still difficult to judge what drives modernity: the search for alternative worlds, outrageousness, or simply an expression of the discomfort of the surrounding life. Morally risky food is probably necessary. The main formula of creativity has been preserved: imagination - the illusions of life, equal to itself. The greatest sin of an artist is mediocrity, and it’s not scary that a breakthrough into the unknown has not happened yet. Let's wait.