Work on the decoration begins with drawing up a sketch. First, general sketches of the main scenes are prepared, where the set designer determines the appearance of the performance. Then the sequence of individual paintings is worked through. Finally, based on the general sketch, the artist builds a three-dimensional layout of the stage design, and also develops sketches individual parts design - backdrop, volumetric part, backstage decorations. The layout of individual elements and their future sizes and volumetric ratios are worked out on the layout.
Usually the artist works on the layout together with the director of the performance. Only after the director's image of the production is determined does the development of individual parts of the set begin. Simultaneously with the layout, a sketch of the backdrop and side panels are being developed. Large-scale copies are made with exact observance of all ratios. 
Based on them, real decorations are made in the decoration workshop. First, volumetric structures and a backdrop are built. As a rule, the artist arranges several viewings, parts of the scenery are mounted on stage to check the volumetric relationships and the choice of sizes. As a result of preliminary installations, changes are made. Sometimes you have to enlarge the backdrop design or introduce certain color details on it.
When the process of creating the main volumetric details is completed, the design of the scene begins. Carpets, curtains, chandeliers, and pieces of furniture are made according to the sketches of the decorative artist. On at this stage the set designer works with the costume designer. During preliminary installations, the color balance of all design elements is checked; at the final stage of preparation, the lighting designer begins to participate in the work.
He places stationary and mobile lights, highlighting some elements of the decoration and shading others.
The word “set” is most often used to refer to theater accessories that are intended to create the illusion of a place in which the action performed on stage takes place. Therefore, theatrical scenery for the most part represents either landscapes or perspective views of streets, squares and the inside of buildings. They are painted with paints on canvas.
The main components of every theatrical set are the curtain and the scenes. The first is hung at the back of the stage, extending across its entire width, and depicts everything that is on the reproduced landscape or perspective. in the background; the curtains are pieces of linen, narrower in comparison with the curtain, stretched over a wooden binding and cut out at one edge in the appropriate manner; they are placed on the sides of the stage in two, three or several rows, one after the other, and represent closer objects, e.g. trees, rocks, houses, pilasters and other parts of the scene. The decoration is complemented by subarcs - pieces of canvas stretched at the top across the entire stage and depicting pieces of the sky, upper branches of trees, ceiling vaults, etc., as well as praticables - various wooden stages and platforms disguised with painted canvas, placed on the stage and representing , e.g. stones, bridges, cliff spurs, hanging galleries, stairs, etc.
An artist engaged in the execution of theatrical scenery and called a decorator must have, in addition to the training necessary for a painter in general, some special knowledge: he must perfectly know the rules of linear and aerial perspective, master a very wide technique of writing, be able to adapt his color to fiery lighting, in which stage performances usually take place, and generally expect that the result of his work will be a picturesque setting of the play being performed, which not only does not harm it with its excessive simplicity or pretentiousness, but contributes to the strength and efficiency of the impression it makes on the viewer.
Having composed a sketch drawing of the scenery, the decorator makes a model for it, that is, a miniature semblance of a stage with cardboard curtains, curtains and other accessories, so that from this model one can judge in advance the effect of the future work. Having then begun the execution of the decoration itself, he stretches the canvas of the curtain in a horizontal position on the floor of his studio, transfers the sketch onto it in an enlarged form by dividing it into squares and, finally, begins to paint with paints. He does exactly the same when performing the scenes and other parts of the scenery. His palette is replaced by a box with cans of various paints diluted with glue; For writing, more or less large brushes made of bristles with long handles are used. While working, he interrupts it every now and then to go up to the gallery, arranged in the workshop at some height from the floor, and look from there at what is written. He usually does not work alone, but together with his students and assistants, to whom he entrusts the preparation and secondary parts of the work.
scenery performance sketch dramaturgy
Stage performances have been furnished with decorations since the ancient Greeks. As one of the oldest decorators known in history, one can point to Agafarch, who lived approximately 460-420. BC modern times decorative painting developed primarily in Italy, which brought the best masters to this area and other countries.
From Italian decorators to XVIII century Giovanni Servandoni, who worked for the Royal Opera in Paris, became especially famous. Then the championship in the area in question passed to the French. Among them, the theater painter Boke showed remarkable talent; the famous Watteau and Boucher did not hesitate to take time off from performing their paintings in order to write for the stage. Then Degotti, Siseri, the latter's students Sechan, Desplechin, Fescher and Cambon, Chaperon, Thierry, Rube and Cheret enjoyed great fame among French decorators. Outstanding decorators in Germany were Schinkel, Karl Gropius, the Italians Quaglio and J. Hoffmann. In Russia the needs imperial theaters satisfied at the beginning by visiting Italian decorators - Perezinotti, Quarenghi, Canopy, Gonzaga, and then, during the reign of Nicholas I, by German artists Andreas Roller, K. Wagner and others; Only in the second half of the 19th century did decorative painting embark on the path of independence in Russia thanks to such gifted masters as M. I. Bocharov and M. A. Shishkov, and the establishment of a special class at the Academy of Arts for the study of this branch of art.
Theatrical and decorative art (often also called scenography) is a type of fine art associated with artistic design theatrical performance, i.e. creation on theater stage the living environment in which the heroes of a dramatic or musical-dramatic work act, as well as the appearance of these heroes themselves. The main elements of theatrical and decorative art - scenery, lighting, props and props, costumes and makeup of actors - constitute a single artistic whole, expressing the meaning and character of the stage action, subordinated to the concept of the performance. Theatrical and decorative art is closely related to the development of the theater. Stage performances without elements of artistic design are an exception.
The basis of the artistic design of the performance is the scenery depicting the place and time of the action. The specific form of scenery (composition, color scheme, etc. is determined not only by the content of the action, but also by its external conditions (more or less rapid changes in the scene of action, the peculiarities of perception of the scenery from the auditorium, its combination with certain lighting, etc.) .The image embodied on the stage is initially created by the artist in a sketch or model. The path from the sketch to the model and stage design is associated with the search for the greatest expressiveness of the scenery and its artistic completeness in the work of the best. theater artists the sketch is important not only for the working plan of stage design, but also for an independent work of art.
Theatrical decoration includes stage framing, a special curtain (or curtains), visual design of the stage space of the stage, wings, background, etc. The ways of depicting the living environment on stage are varied. In the traditions of Russian realistic art, pictorial solutions predominate. In this case, written planar elements are usually combined with constructed ones (volumetric or semi-volumetric) into a holistic image, creating the illusion of a single spatial environment actions. But the basis of the decoration can also be figurative and expressive structures, projections, draperies, screens, etc., as well as a combination in various ways Images. The development of stage technology and the expansion of methods of depiction do not, however, negate the importance of painting as the basis of theatrical and decorative art in general. Selecting the image method in each special case determined by the specific content, genre and style of the work embodied on stage.
The costumes of the characters, created by the artist in unity with the scenery, characterize the social, national, and individual characteristics of the characters in the play. They correspond in color to the decorations (“fit” into big picture), and in a ballet performance they also have a special “dance” specificity (they must be comfortable and light and emphasize dance movements). With the help of lighting, not only a clear visibility (visibility, “readability”) of the scenery is achieved, but also depict different times years and days, illusions natural phenomena(snow, rain, etc.). Color lighting effects can create a feeling of a certain emotional atmosphere of stage action.
Theatrical and decorative art changes with development artistic culture generally. It depends on the dominant artistic style, on the type of dramaturgy, on the state of fine art, as well as on the arrangement of theatrical premises and stages, on lighting technology and many other specific historical conditions.
Theatrical and decorative art has reached a high level of development in Russia turn of XIX--XX centuries, when they came to the theater outstanding artists. They brought great pictorial culture to the design of performances, sought the artistic integrity of stage action, the organic participation of fine art in it, the unity of scenery, lighting and costumes with drama and music. These were artists who first worked at the Mamontov Opera (V. M. Vasnetsov, V. D. Polenov, M. A. Vrubel, etc.), then at the Moscow Art Theater (V. A. Simov, etc.), at the Imperial musical theaters (K. A. Korovin, A. Ya. Golovin), Diaghilev’s “Russian Seasons” (A. N. Benois, L. S. Bakst, N. K. Roerich, etc.).
A powerful stimulus for the development of theatrical and decorative art was provided by the creative pursuits of advanced directing (K. S. Stanislavsky, V. I. Nemirovich-Danchenko, V. E. Meyerhold, choreographers M. M. Fokin and A. A. Gorsky).
Literature
E. Zmoiro. Model of the scenery for the performance of the Central children's theater“Skates” based on the play by S. V. Mikhalkov. 1976.
The requirements for decorations can be formulated as follows: strength, lightness, ease of manufacture, portability, speed of assembly and disassembly, high artistic quality.
Theater scenery are divided into two types - hard and soft. Rigid decorations can be voluminous, semi-voluminous and flat. In addition, they are divided into playable and non-playable. Acted out design elements are those that are used by the actors during the action - these are decorative machines, stairs, railings, trees, cabinet doors, etc.
Soft decorations can be painted, applique, draped and smooth.
The main material from which rigid decorations are made is coniferous wood. Wood is relatively cheap, easy to machine, paint, and glue. But in some cases, wood is replaced by rolled metal of various profiles. The production of openwork planar and volumetric contours of complex patterns, decorative machines with through spans, light stairs on thin bowstrings and many other decorative elements is often simply impossible without the use of thin-walled steel or duralumin pipes. Often decorations made on a metal base are much lighter than wooden ones.
Soft decorations are made from the most different materials-- canvas, teak, tulle, velvet and many others. Synthetics, non-woven materials, and technical fabrics are widely used here.
The practice of the theater has developed certain techniques and rules for making scenery, many of which have not lost their significance to this day. The standard decorative frame, developed more than a hundred years ago, is still the basis for the constructive solution of almost all rigid decorations: walls of pavilions, machines, ceilings, etc. The classic method of making props from papier-mâché (despite all the advances in the use of plastic mass) still does not lose its importance and is the technological basis of fake production. The rules for sewing backdrops, drawstrings, and rugs also remained almost unchanged.
It is impossible to describe all the methods of producing theatrical scenery. This is always a creative search, always the development of special artistic and technological techniques. But no matter how diverse the design and technological solutions are, they are always based on the main principles that are valid for all theatrical production.
HARD SCENERY
Pavilion decorations consist of separate frames covered with canvas and are divided into solid, with openings, single and folding.
The process of making a pavilion begins with drawing chalk on the workshop floor of all its walls in life size"face" down. In the template drawing, lines of warehouses and joints of individual walls are drawn, window and door openings are marked, etc.
Then, along the lines of the drawing, the bars from which the frame is assembled are laid out and cut to size.
The connection is covered with liquid wood glue and punched through with two or three nails with the obligatory bending of the ends protruding to the front side. In addition, the corner joints are strengthened with plywood gussets, also using glue and nails. In order for the frame to be strong and rigid, additional bars are introduced into its design, called handbrake, mullion and brace.
The frames are tightened with canvas after preliminary installation of the pavilion in the workshop.
Log walls are imitated with relief frames covered with cardboard, plywood or thin boards. To make hewn log walls, thin slats with beveled edges are placed on a decorative frame and covered with canvas. A loose hemp rope is glued into the grooves, imitating caulk. At the same time, it closes the gaps between the slats, through which the light of lighting fixtures behind the scenes can be seen.
Imitation of logs is achieved well by packing appropriately profiled sheets of thermoplastic onto the frame.
The doors used in the theater differ from ordinary ones in a lighter design. Everything that decorates the doors is done only on the front side. Such doors are called one-way doors. Doors opening into the pavilion are extremely rare.
Windows are made attached, hinged and inserted. Hinged windows are those that are hung at the back of the opening and do not rest on the stage plank. This method, like the plug-in method, is used in the case of small sizes and small width of the box. Hanging large windows leads to loss of wall stability and makes it difficult to attach.
Arches found in pavilion architecture, depending on their size, can be solid, folding or collapsible.
Assemblies are flat scenery with a complex top contour. They are used to depict distant views of the landscape - forests, mountains, city houses, etc.
Ceilings used to cover pavilions are divided according to their design into soft and hard.
For ceilings, thick fabric is usually chosen white. Bleached teak imitates a bleached plaster ceiling well, and flannel-type pile fabrics create a softer textured surface.
In theatre, benches are temporary platforms used to create platforms of various heights and shapes. According to their functions, machines are divided into play and work. Playing machines are those that are in full view of the audience and are part of the decoration of the performance. Workers are the machines standing behind the scenes or behind the scenery. They serve a purely service function, allowing actors to climb onto or descend from the gaming machine. According to the location of the flooring relative to the stage, the machines are divided into horizontal and ramp, i.e. inclined. And, finally, according to the manufacturing method - collapsible, non-collapsible and folding. Theater machines, despite all the variety of shapes and sizes, are built according to a single principle, which is based on a combination of frames supporting a wooden flooring. In its most general form, the machine is a rectangular frame assembled from wooden frames on which the flooring is laid in the form of separate panels
Stage stairs according to their design are divided into extension, cap and overhead. And according to their functions, just like machines, they differ into gaming and working ones.
Various types of railings and balustrades used on stage are decorative details design and at the same time protective fencing equipment.
Openwork “metal” gratings are made from thin-walled steel pipes, thick wire, and plywood. Flat thin ornaments are bent from parallel wires, the space between them is sealed with fabric.
The widespread use of movable platforms in the mounting solution of the performance is explained by their portability, mobility and simplicity of design. The shape of the temporary platforms, their number, and the nature of the movement are determined by the artistic and mounting design of the production.
The design of the furnace, the need for guides and the drive system are determined by the nature of the movement of the platforms. Stage furkas are divided into three types: rectilinear, curvilinear and rotational (circular) movement.
SOFT DECORATIONS
Soft decorations include frameless decorative elements made from soft, elastic materials - fabrics of natural and synthetic fibers, tulle, nets, synthetic films, etc. Soft decorations include: backstage, curtains, curtains, horizons, panoramas, picturesque and applique backdrops, tulle curtains, rugs. Techniques for sewing and processing soft decorations depend on their purpose, nature of use and required appearance.
The technique of execution and the choice of material for the scenes and arches, which have a visual function, depend on the specific task of the artist. This can be unpainted canvas, burlap, gauze gathered in a thick fold, painted or applique-covered canvases, rigid frames covered with fabrics, various kinds of meshes and intertwined cords, etc. and so on.
The intermission curtain belongs to the category of stage clothing. Heavy fabrics of the silk group - velvet and plush - are most often used to make curtains.
When using light transparent fabrics, a dense lining made of harsh calico, dyed in the color of the base material, is required.
Transparent backdrops - backdrops with translucent parts, illuminated from the back, are combined from fabrics of different densities. The main fabric is sewn from dense opaque fabric, in which, according to the sketch, cutouts of various sizes and shapes are made.
Sew-on applications can be flat or embossed. Using the application method, one achieves not only the effect of spatial depth and volume of details, but also bigger game individual elements, achieved by using fabrics of different textures.
The relief parts are made of foam rubber covered with fabric impregnated with a fire retardant compound. Ornaments are made by sewing cords, ropes, etc.
Rugs in the theater are canvases laid on the stage plank in order to disguise the flooring boards and give the stage floor specific color or invoice. For the manufacture of rugs, mainly bleached fabrics of great strength and dense weaving structure are used: double-thread, teak, tent, technical cloth, etc. For various imitations, canvas, pile baize fabrics, thin tarpaulins, semi-velvet, etc. are used.
The effect of earthen or snow cover is also achieved by applying soft relief stripes. Strips of gauze or canvas gathered into strands or small folds, the so-called “zhe-vanka”, sewn in parallel rows, can represent plowing or loosened earth. Irregularly shaped pillows covered with uneven layers of gauze and tulle—loose snow. The stone slabs have the same quilted rectangular pillows, and the cobblestone pavement has soft fabric hemispheres.
Chopped fibers of woven cotton or sisal rope and combed tufts of sponge are sewn or glued onto vegetable, “grass” rugs. The denser the fibers are sewn and the more often their rows are located, the more lush and dense the grass carpet, the more inconspicuous the base becomes. The rugs covering the machines are most often sewn in the form of covers.
THEATER PROPERTIES
Prop making is a broad branch of theater technology. From the entire mass of existing techniques and methods, we can single out the most important technological processes that underlie this production. These include: work with papier-mâché, metal, plastics, synthetic materials, mastics and pastes. Each of these processes can be applied independently or in combination with others in any type of product.
Papier-mâché method
Gluing paper products from a cast mold is one of the most common methods for making theatrical props. The process of working with papier-mâché is divided into four main stages. The first stage is modeling the model from clay. The second is molding the model with plaster mass. The third is an impression of the product using paper on a plaster mold. And finally, the fourth - mounting and painting of prints.
The printing process consists of gluing the product with pieces of paper soaked in flour paste.
Paper prints can also be made directly from models or ready-made originals, pre-lubricated with Vaseline.
Cardboard works
As an independent ornamental material in theatrical production, cardboard occupies a rather modest place. It is mainly used to make items that do not require special strength and are very light in weight. These include decorative, hat and surprise boxes, some types of hats, and book spines.
Metal works
In the process of making theatrical props, many methods of processing various metals are used - knitting wire frames, stamping, metal-plastic, embossing, hammering, casting. The main materials used in prop production are: roofing iron, sheet brass and copper, tin, annealed knitting and steel wire, tin, aluminum, metal foil. Wire frames are used in the manufacture of sculptures and large props, bushes, trees, lampshades, etc.
Plastics and synthetic materials
Lightness, plasticity, unusual texture, ease of technological processing of synthetic materials and some types of plastics have ensured their widespread use in theatrical production. These include polystyrene foam and vinyl plastic, packaging polyvinyl chloride films, foaming polystyrenes, BF type adhesives and epoxy resins, PVA emulsions and latexes. Foams are divided into hard and soft. Rigid foam plastics are easy to saw, cut, sand and paint. Small objects, sculptures, capitals, and furniture decorations are cut out of them. Thin sheets of non-flammable PVC foam are used for textured decoration.
Elastic foam, the so-called foam rubber, has a wider range of applications. It is used to make flowers, fruits, cakes, buns and other types of food products, parts of decorations, and costumes.
A theatrical production is created from a huge number of important elements, including not only the play and the acting of the artists. No less important for the success of the performance are the decorations, the main role of which is to create space for the action taking place on stage. Theatrical scenery is an indispensable attribute of any production, which gives it a special charm.
What role do theatrical scenery play in theatrical and decorative art?
Theatrical and decorative arts, otherwise called scenography, is one of the specific types of visual creativity. Its main purpose is to visualize the environment in which the events in the play take place and the appearance of the characters. For this purpose, theatrical scenery and costumes of the characters are created. Equally important are design elements such as proper lighting and props. All these means are combined into a single whole, conveying the nature of the action and the intention of the entire performance. We can say that the creation of theatrical scenery has the same ancient history as the theater itself. Decoration very quickly became a permanent attribute of theatrical performances, and now we can hardly imagine a performance on an empty stage.
Decoration must create an image of the place and time to which the action in the play relates. The composition of theatrical scenery, their color scheme and other characteristics depend on many factors. In addition to content, these include the speed of changing the scene of action, the peculiarities of the perception of objects on stage from the audience’s point of view, the possibilities and features of lighting, and much more.
Before the stage space is designed, it is necessary to create sketches of the theatrical scenery. It is at this stage that all the details of future decorations are worked out in order to achieve the greatest expressiveness and integrity. As for the masters of stage design, their sketches are considered not only as a basis for stage design, but also as an independent piece of art, distinguished by the author's style and originality.
Theater scenery consists of many parts. These include framing elements, a curtain, objects on the stage, as well as backstage, background, etc. Theatrical scenery is created in several ways, in particular with the help of images and three-dimensional details. In Russian realism, pictorial elements are predominant. It is very important that planar elements and volumetric objects together create a holistic and living picture places of action. In addition to the basic, traditional ways of depicting the environment, new and modern ones are emerging. Among them are projections, screens, draperies and much more. However, modern methods stage decorations have not replaced painting, which is present in one way or another in almost any scenery. The variety of forms of creating reality only allows specialists to choose the most suitable ones according to the content and style of the performance.
Costumes are no less important, thanks to which the images of the characters are created. The possibilities of the costume are very wide: it can tell about the hero’s social affiliation, his nationality, profession and some character traits. The style and color design of the costumes should be similar to the theatrical scenery. In ballet performances, they are also subject to a practical task: they must be comfortable and suitable for dance movements.
Main types of theatrical scenery
Highlight two kinds decorations for theatrical productions: hard and soft.
Hard scenery are also divided into a huge number of varieties. First of all, they are voluminous, semi-volumetric and flat. They also distinguish between staged scenery, with which the actors interact during the performance (pieces of furniture, stairs, trees, etc.), and non-staged scenery, which only serves as a background.
Theatrical scenery of this type is made mainly from coniferous wood. This material is characterized by a fairly low price, as well as wide possibilities in terms of processing for creating certain objects (painting, pasting, etc.). Metal structures are also used if necessary. For example, steel and duralumin pipes are widely used. They allow you to create contours complex drawings(both planar and volumetric), stairs and decorative machines. In this case, the use of metal is practically the only option for creating decoration. Among other things, metal objects are lighter in weight.
Soft decorations They are divided into pictorial, applique, draped and smooth.
The variety of materials used is very wide: almost all types of fabrics are used. Theatrical scenery is made from canvas, velvet and tulle. Synthetic and non-woven materials are also actively used.
The basic techniques and rules according to which theatrical scenery is created were developed at the dawn of this art. Nowadays, the basis of most rigid decorations is still the decorative frame, invented more than a century ago. With its help, a huge number of design elements are created, in particular walls and ceilings. The principles of sewing backdrops and drawstrings have also changed little.
There are many ways to create theatrical scenery, and it is not possible to describe each of them. The search for new methods of stage design does not stop to this day. Although, of course, all innovations are based on those principles and schemes that were developed and put into practice long history theater
What types of theatrical scenery are there depending on the content?
- Narrative
Such theatrical scenery involves the artist creating a real space for the characters to act. Thanks to him, the stage becomes the place where the characters in the play live and act.
- Metaphorical
This type of scenery does not include specific pieces of furniture or the space surrounding the characters, but it helps to convey the spirit and character of the production. The specialist strives for this goal by creating plastic metaphors. Exist different ways creating metaphorical settings and opportunities for them to interact with characters.
- Picturesque
This name does not mean the visual characteristics of theatrical scenery, but the fact that painting is the main method of creating them. For the most part, these will be flat decorations onto which the artist applies different images. Firstly, it may be an attempt to depict a real space (landscape or interior) without using three-dimensional elements. Secondly, it may be some kind of conventional background, one way or another suitable for the meaning and idea of the performance. Fine art can help with minimal means, but at the same time accurately convey the spirit of what is happening on stage with the help of background images.
- Constructivist
Constructivist-type theatrical scenery is very suitable for some modern performances. They do not depict the action space in the traditional sense, but only provide a certain structure for the actors. For example, these could be several sites different heights, between which the characters will move using stairs.
- Architectural-spatial
In such sets, the most important element is the stage space. The structure installed on the stage treats it as a neutral background. In this case, the action is focused on the structure itself, which at the same time makes maximum use of the depth of the scene.
- Dynamic
In many ways, dynamic theatrical scenery is similar to architectural-spatial scenery, since in both cases the basis is movement. However, they highlight separate species design of the stage space, called dynamic, based on such a criterion as the function of movement. In the previous type of scenery, movement is intended to unfold a single installation in front of the viewer, but in this type it is understood that movement is the central means of expression on which the entire performance is based.
- Light
In general, light transforms any theatrical scenery, so mastery of this tool in scenography is very important. However, professionals understand that light can act not only as an auxiliary tool that helps to correctly present the design of the scene. In some cases, it can play one of the leading roles along with other design methods. This is how we can talk about “scenery”, the means of creating which is lighting equipment.
- Projection
IN modern theaters theatrical scenery created using special equipment is used. In this case, it is not the skill of the artist and architect that comes to the fore, but the quality of the projection equipment and screen. Their advantage is the ability to completely replace three-dimensional decoration.
- Gaming
This type of theatrical scenery arose a long time ago, when theater as an art form was in its infancy. The heroes of that time were traveling actors who showed their performances at various city venues. Naturally, they could not create a complete and complete stage design. The basis of the scenery were objects that were part of the plot action. The actors themselves brought them to the stage, changed them, improvised with objects, etc.
- Off-ramp
This is a unique subspecies of play scenery designed for off-ramp performances. It is understood that the stage space is located in the auditorium. In its pure form, this form of decoration is not often used. Different kinds scenic design intersect and interact, each time creating something original, so the primary properties of various means can be difficult to analyze. However, it is worth highlighting various shapes theatrical scenery to show the variety of stage design techniques.
From ancient times important received decorative painting, constituting a special branch of art, in the history of which its development followed the movement of easel painting and picture painting. Sometimes the same works as this latter delivers are included in it, if only they are executed on the walls and ceilings of a building primarily for ornamental purposes (wall and ceiling paintings, frescoes); but its main element consists of ornaments in the strict sense of the word, that is, beautiful combinations of geometric lines and figures, as well as forms of the plant and animal kingdom, fantasized or unchanged (for example, wall paintings in the houses of Pompeii, Moorish arabesques of the Alhambra, grotesques of Raphael's boxes in the Vatican and so on.). The motives of decorative painting changed depending on the historical course of culture and art. different nations, from the taste and architectural style that prevailed in given time. The French came into use the name in the 19th century decorative arts(French l'art décoratif) for various branches of handicraft production that need the help of art, such as the production of elegant furniture, carpets, lace, glass and pottery, jewelry, bronze, wallpaper and other items of luxury and comfort - in a word, for everything that the Germans usually call Kleinkünste or Kunstgewerbe, and in Russia - applied arts or the art industry.
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Theater scenery
The word “scenery” is most often used to refer to theater accessories that are intended to create the illusion of a place in which the action performed on stage takes place. Therefore, theatrical scenery for the most part represents either landscapes or perspective views of streets, squares and the inside of buildings. They are painted with paints on canvas. The main components of every theatrical set are: backdrop And backstage. The first is hung at the back of the stage, extending across its entire width, and depicts everything that is in the background in the reproduced landscape or perspective; the curtains are pieces of linen, narrower in comparison with the curtain, stretched over a wooden binding and cut out at one edge in the appropriate manner; they are placed on the sides of the stage in two, three or several rows, one after the other, and represent closer objects, e.g. trees, rocks, houses, pilasters and other parts of the scene. The decorations are complemented by holly- pieces of canvas stretched across the entire stage at the top and depicting pieces of the sky, upper branches of trees, ceiling vaults, etc., as well as praticables- various wooden stages and platforms disguised with painted canvas, placed on the stage and representing, for example, stones, bridges, spurs of rocks, hanging galleries, stairs, etc.
An artist who creates theatrical scenery and is called decorator, must have the super-training necessary for a painter in general, some special knowledge: he needs to perfectly know the rules of linear and aerial perspective, master a very wide technique of writing, be able to adapt his coloring to the fiery lighting in which stage performances usually take place, and generally calculate to ensure that the result of his work is a picturesque setting of the play being performed, which not only does not harm it with its excessive simplicity or pretentiousness, but contributes to the strength and effectiveness of the impression it makes on the viewer. Having composed a sketch of the decorations, the decorator makes for her layout, that is, a miniature semblance of a stage with cardboard curtains, curtains and other accessories, so that from this model one can judge in advance the effect of the future work. Having then begun to execute the decoration itself, he stretches the canvas of the curtain in a horizontal position on the floor of his workshop, transfers onto it (with charcoal or a special kind of ink) an enlarged drawing of the sketch by dividing it into squares, and finally begins to paint with paints. He does exactly the same when performing the scenes and other parts of the scenery. His palette is replaced by a box with cans of various paints diluted with glue; For writing, more or less large brushes made of bristles with long handles are used. While working, he interrupts it every now and then to go up to the gallery, arranged in the workshop at some height from the floor, and look from there at what is written. He usually does not work alone, but together with his students and assistants, to whom he entrusts the preparation and secondary parts of the work.
Stage performances were furnished with scenery back in the ancient Greeks (scenography). As one of the oldest decorators known in history, one can point to Agatharchus, who lived approximately 460-420. BC. In modern times, decorative painting developed primarily in Italy, which brought the best masters to this area and other countries. Of the Italian decorators in the 18th century, Giovanni Servandoni, who worked for the Royal Opera in Paris, became especially famous. Then the championship in the area in question passed to the French. Among them, the theater painter Boke showed remarkable talent; the famous Watteau and Boucher did not hesitate to take time off from performing their paintings in order to write for the stage. Then among French decorators Degotti, Siseri, the latter's students Sechan, Desplechin, Fescher and Cambon, Chaperon enjoyed great fame (English) Russian, Thierry, Rube and Cheret. Outstanding decorators in Germany were Schinkel, Karl Gropius,
