How to create a creative studio atmosphere at home. Creating an atmosphere of creative community between adults and children at school. It’s amazing that the creative atmosphere in
CREATIVE ATMOSPHERE
When working with the method of effective analysis, it is especially important that students understand the fruitfulness of this method and create the necessary creative atmosphere for rehearsals. Sketch rehearsals may initially cause either embarrassment or exaggerated swagger in some comrades, and an ironic attitude in the observing comrades, rather than creative comradely interest. A poorly timed remark from the side, a laugh, or whispering can knock rehearsers out of the desired creative state for a long time and cause irreparable harm. The performer of an etude may lose faith in what he is doing, and having lost faith, he will inevitably follow the line of the image, along the line of the tune.
The deep interest of each of the participants in the exercise or sketch being performed - this is the creative atmosphere without which the path to art is impossible.
The entire complex creative process of creating an image by an actor is not only a rehearsal with a director and comrades. This process does not fit only within the framework of rehearsals. The actor preparing the role must be completely captivated by it throughout the entire work on the play.
Stanislavsky often used an expression that was extremely close in analogy to “being pregnant with a role.” An actor, like a mother carrying a child, carries an image within herself. Throughout the entire process of working on the role, he does not part with thoughts about it. He is at home, in the subway, on the street, and in any free time, looking for answers to the many questions posed to him by the playwright.
Each of us knows how often a favorite tune of a song haunts us relentlessly, sometimes it is impossible to get rid of it, and we sing it endlessly. It should be the same with a role. She must be relentlessly with the actor - he must be obsessed with her. And what enormous creative happiness an actor experiences when the still unclear features of a beloved hero, whom he must create, emerge in his consciousness, when he is illuminated, unexpectedly for himself, by a vision of new character traits, when the entire structure of thoughts and actions of the image he creates is revealed to him.
And when the actor came to the rehearsal and brought the result of this great internal work, the director and comrades need to treat the birth of this new person with special care and sensitivity. And this is only possible when there is a truly creative atmosphere at the rehearsal.
How many young actors can boast of such obsession with a role, such titanic work as the famous masters of our stage did when they created the roles that brought them recognition and fame?
And with what awe and admiration I think about those masters who, having already created unforgettable images in performances, continue to live in thoughts about them. I cannot resist citing one of the examples that is especially dear to me.
Many years ago I happened to be in Yalta, where O. L. Knipper-Chekhova was vacationing. I visited her. She lay in bed, haggard, pale, still recovering from a serious illness. I didn’t have time to enter when she told me: “You know, I was forbidden to read, so I lie there and keep thinking about Masha.”
I didn’t even immediately understand which Masha she was talking about. It turned out that she was talking about one of her brilliant roles, about Masha from “Three Sisters” by A.P. Chekhov. She told me about her as an infinitely close person, revealing her inner world with amazing depth and subtlety. She mentally lived through entire scenes, occasionally uttering individual lines. I left shocked by this creative memory of a great artist, shocked that Olga Leonardovna retained such a living, direct connection with the role she created.
Do I need to add anything to what has been said? If a created role leaves such a deep imprint in memory, then how one must love and cherish the role that is still being nurtured!
I cannot separate the love for the role, the creative obsession during the birth of the image from the creative atmosphere that surrounded the actor both in the process of creating and in the process of embodying the role. But if so far I have talked about the rehearsal atmosphere, then it is no less important to talk about the backstage atmosphere during the performance.
How familiar I am with the extraordinary excitement and excitement that accompanies every performance, and how, unfortunately, I am familiar with how many negative, directly contraindicated phenomena sometimes accompany a performance. We must strive to create a creative atmosphere, we must brush aside what hinders us in the creative process of creating a performance and bringing it to life.
Creative atmosphere is one of the powerful factors in our art, and we must remember that it is extremely difficult to create a working atmosphere. This cannot be done by one leader - only a team can create it. Unfortunately, anyone can destroy it. It is enough for one skeptical person to laugh at his seriously working comrades, and this microbe of disbelief begins to corrode a healthy organism.
Many examples can be cited from the practice of various theaters and, first of all, the theater, where the spirit of high demands on the entire creative atmosphere surrounding the actor reigned, the theater, where the system of psychotechnics of the actor’s creativity was first formulated, the theater created by our teachers K. S. Stanislavsky and Vl . I. Nemirovich-Danchenko.
Everyone knows how, through enormous energy and demands on themselves, on the actors, on all the technical departments, Stanislavsky and Nemirovich-Danchenko created that amazing atmosphere at the Art Theater, which has become the subject of study by theaters all over the world.
I would like to talk about the backstage atmosphere during the play “The Cherry Orchard”, in which I played Charlotte for many years.
Despite the fact that the play begins with a big scene between Lopakhin, Dunyasha, and then Epikhodov, everyone involved in the “arrival” - that is, Ranevskaya, Gaev, Anya, Pishchik, Varya, Charlotte (and during my first performances these were O. L. Knipper-Chekhova, V. I. Kachalov, L. M. Koreneva) - sat on a bench before the curtain opened, waiting for their exit. After the words of Lopakhin - Leonidov: “It seems they are coming...” - the same prop man always walked from the opposite side of the stage, holding in his hands leather collars trimmed with bells, and rhythmically shook them, intensifying the sound of the bells, approaching us. As soon as the bells rang, everyone involved in the “arrival” went deep into the scene so that they could come out talking, bringing with them the excitement of the arrival.
Using the example of this scene, which the viewer perceived by ear, I learned for the rest of my life with what subtle means Stanislavsky ensured that the audience believed in the truth of what was happening. For the “old people” who played “The Cherry Orchard” for many, many years, this behind-the-scenes scene apparently became part of their flesh and blood. And each time she played with them in exactly the same way as if she were walking with the curtain open. Knppper-Chekhova, already behind the scenes, was in that amazingly elated state in which almost simultaneous laughter, tears, and the words seemed completely natural: “Children’s room, our children’s room...”
With extraordinary ease, achieved, of course, with enormous difficulty, all participants in the scene, after the very first sounds of the bells, joined in this amazing feeling of people who had arrived at their homeland, who had not slept at night, people who were chilly from the morning dampness of the spring air, excited by the joy of returning, and acute bitterness of loss, and a feeling of an absurdly shaped life.
I was also struck by the atmosphere that reigned on the “bench” even before the start of the “behind-the-scenes visit.” Knipper, Kachalov, Tarkhanov, Koreneva came, sat down, greeted each other, sometimes even exchanged phrases that had nothing to do with the performance, but at the same time they were no longer Knipper, not Kachalov, not Tarkhanov and Koreneva, but Ranevskaya, Gaev, Firs, Varya.
This ability to exist in the grain of an image was the enormous strength of the Art Theater. Unfortunately, our youth do not believe that the grain of the image - the subtlest restructuring of the entire nervous system - is not given so easily and simply and that it is impossible, chatting behind the scenes about God knows what, to immediately master the entire complex of the person being portrayed.
I remember another moment of waiting for the exit. The second act begins with the scene of Dunyasha, Yashkig Epphodov and Charlotte, then Charlotte leaves, but she has one more pass, so, after leaving the stage, I sat down on the “bench” again. A few minutes after Charlotte, Moskvin-Epikhodov left the stage. “I know what to do with my revolver,” he said in a tragic warning manner, and we heard how every time the audience greeted this phrase with homeric laughter. Then Moskvin walked along the bridge backstage, past us and further along the stage, to his restroom, with the same dejected, offended face. This slightly exaggerated seriousness was one of the aspects of Moskvin’s enormous comic talent. The prop man approached him, Moskvin gave him the guitar, but his face did not change. And every time I thought: when will he “erase” this amazing expression from his face? At what point do Epikhodov’s tragically stupid eyes, trying to comprehend an impossible task, become familiar Moscow eyes? And what makes Moskvin, after his scene, already behind the scenes, still be Epikhodov? Later I realized that this is art, when an artist, infected with the thoughts and feelings of the hero, is not so easy to shake off all this.
But such art does not come immediately. It requires enormous effort.
“The work of the theater! - wrote Vl. I. Nemirovich-Danchenko.- This is what we, people of the theater, love more than anything in the world. The work is persistent, persistent, multifaceted, filling all the backstage from top to bottom, from the grate above the stage to the hatch under the stage: the actor’s work on the role; what does this mean? This means - over yourself, over your data, nerves, memory, over your habits...”
It seems to me that these words have great meaning.
From the book The Philosophy of Andy Warhol by Andy Warhol From the book Cinema of Italy. Neorealism author Bogemsky Georgy DmitrievichRenzo Renzi. The atmosphere of 1940 The thoughts expressed by Fellini help to better understand “The Road” and participate with greater frankness in the ongoing discussion about neorealism and the ways of its development. All this cannot be discussed a priori, without reference to specific facts,
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From the book Music Journalism and Music Criticism: a textbook author Kurysheva Tatyana Aleksandrovnab) Moral Atmosphere 1 Christianity has never been opposed to the creation of a moral atmosphere in which people can point out each other's shortcomings and recognize that there is room for self-improvement. And without seeing much difference between adults and children,
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From the book Machines of Noisy Time [How Soviet montage became a method of unofficial culture] author Kukulin Ilya Vladimirovich From the author's bookThe Gap of Meaning as a Creative Force Trauma writing has been the subject of careful study by psychologists and philologists since the 1970s. Its constant signs are considered to be “repression” of the trauma itself, which is not mentioned in the text (or difficulty in talking about it), and
Spring is the time when nature wakes up from sleep and gives everyone, without exception, inspiration and strength for new achievements. Someone will object: “No, this is not about me, I’m not creating anything new!”. So, in most cases, if a person does nothing, then he simply does not have at hand what he would really like to work with.
Atmosphere of creativity is not just an exhibition and sale, but a bright event in the world of handicrafts. It gives visitors not only pleasant purchases - original works, art supplies - but also a lot of positive emotions.
The wonderful event took place from April 30 to April 2. There, people who would like to create something with their own hands could purchase everything they needed for creativity, from napkins for decoupage to expensive fabrics for sewing clothes.
The exhibition organization company has been engaged in project activities for more than five years. In addition to smiles and new ideas, they have many successful events to their credit. And each of them surprises with something and opens up new horizons and directions: decoupage, bead embroidery, soap making, lampwork, quilling and a huge number of other techniques. Special exhibitions are also held that will interest even the most fastidious craftswoman: “Oriental Collection”, “EcoSphere”, festivals “Creativity Without Borders”, WoolArtFest, “Picnic “Atmosphere of Creativity”.
Anzhelika Alikberova and Vladislav Chermyshentsev spent the day at this exhibition. The incredible atmosphere that reigned there can infect anyone with a thirst for creativity. And if a visitor still doubts his ability to do needlework, then in the master class area he can go to open lessons in a variety of areas. So, on the first day, the event was attended by teachers from the “University of Decoupage”, who have been working on this painstaking technique for several years. They willingly shared her secrets with the guests.
Correspondents Artifex I was able to talk with one of the organizers of the project, Elena Muradova, who told me what the “Atmosphere of Creativity” means to her personally.
Artifex: Tell us how the idea to create such a platform came about?
The idea was born from my preferences. I myself do decoupage, embroidery and various types of needlework. And at some point I realized that in Moscow there is no exhibition that unites diverse types of handmade. Currently, we want people who come to us to initially get into the “training”, that is, the master class area, try themselves in various types of needlework, and then be able to purchase the necessary materials. We have also now launched a series of meetings based on interests, “Atmospheric Gatherings.”
Artifex: Would you, as a person passionate about handicrafts, attend such an event?
Yes, I organize it, most likely, for myself and proceed from my ideas and wishes - from the design, to the list of participants, to the display at the stands.
Artifex: How are participants selected?
Usually a resume and photographs of materials are sent. If it is interesting and relevant, we are always happy to cooperate. There is an already established pool of participants: about 70% come constantly, trying to surprise with each exhibition, and 30% are new participants. There is a certain rotation going on with them. There are seasonal participants who present their areas - for example, felting - only in the fall.
Artifex: Tell us more about the ramifications of your exhibition, such as EcoSphere.
I personally did EcoSphere. We showed natural materials: wood, wool. This project took place once, and so far our team has no intention of resuming it. Now we are focusing on “Atmosphere”, in November the “Oriental Collection” will take place. The theme of this exhibition has not yet been revealed to Muscovites, but it beckons, it must be shown in all its glory. We try to present it in such a way that people are not afraid of Eastern culture, but are enriched by its treasures.
Artifex: What is your target audience?
These are women with children, a union of a child and a mother who could spend time together doing creativity.
Artifex: Would you like to reach more people to help them discover their talents?
We try to teach people, improve their skills so that they can then sell their work. There are several portals where craftswomen try to display something, but they fail. It requires a whole team of specialists, from photographers to the right brand. And for this you need diversified training.
Artifex: What can visitors who don’t do handicrafts find for themselves?
We have a whole yellow sector where the works of masters are presented. If a person is not ready to create something himself, he can purchase various products from them, knowing that they are made by hand. I think that if the purchased items are liked, then the person will definitely come to us to study.
Artifex: As a master, do you have “favorites” among the participants?
There are those who respond most quickly to customer needs. I always like it. They quickly catch the interests of visitors and satisfy them. Some participants “swing” more slowly, and we are trying to change this. Working with the buyer is a priority.
Artifex: What is the meaning of the “Atmosphere of Creativity”?
Its meaning is self-realization. Women who have acquired certain creative skills and are able to make beautiful work with their own hands in a short time are confident in themselves and have straighter backs.
Artifex: What mood would you like to wish your guests who are already leaving the exhibition?
Of course, satisfaction and inspiration. And also so that they want to quickly realize all their ideas and ideas at home.
“Atmosphere of Creativity” is a vibrant and, most importantly, accessible event. Here, any person - both those who have just begun to engage in creativity, and those who have already become an experienced craftsman - will definitely find something new for themselves.
Municipal educational institution
Secondary school No. 33
Educational psychologist:
Creating an atmosphere of creative collaboration between adults and children at school.
Changing the life of the school by creating a unique atmosphere of joint creative search is the task of a modern school. The joint process of initiative, initiative and creativity of students forms a thinking, talented person who loves the world around him and people. This is the only way to integrate a growing person into a common living space for everyone.
The teachers of our school skillfully use modern technologies in their work, aimed at revealing the creative potential of students, creating conditions for the success of each particular student. An important quality for personal development is success, especially in amateur performances and creativity. The main task of the school is to create conditions for the development of every child, including the development of gifted children.
Interest is also formed, of course, through extracurricular activities: electives and clubs, specialized classes, the purpose of which is to expand and deepen knowledge in the subject, develop abilities, instill interest and taste for independent studies in the subject, develop initiative and creativity of students. As a result of such work, a penchant for science should appear, which will determine the choice of a future profession.
At our school, students are provided with every opportunity to realize their personal creative potential - this is the path to the development of creative activity. A creatively active, strong personality, intellectually and morally developed – aesthetically fosters leadership qualities in teenagers. Being a creative leader at school is prestigious, relevant, and significant. With the participation of creativity and amateur performances, the life of a teenager becomes bright and memorable.
The formation of creative activity and self-realization contributes to
interaction between teacher and student, which presupposes a creative community of like-minded people.
The model of a graduate of our school was also built on the basis of existing developments and draft concepts for the development of the school.
1. A creative person, capable of self-development, maintaining an interest in understanding the world, people in all their diversity.
2. A free person, capable of self-determination in the reality around him, respecting the dignity and rights of other people, able to carry out joint activities with other people, aware of the need to preserve all life on Earth, knowing and loving his small and large homeland.
3. A person familiar with the spiritual culture of humanity, oriented in world events, capable of participating in interethnic communication, fluent in the languages of the world, knowledgeable of traditions and customs. Rules necessary in communicating with other people.
4. A person who has the skills and techniques of mental work, knows how to organize his activities, is economically and psychologically literate.
5. A person who takes good care of his health, values his life and those around him, has the skills to maintain his physical and psychological health, and self-care skills.
In his work, a teacher needs to understand both the various difficulties of his subject and the individual characteristics of his students. Children are the main active figure in the educational process. It is important to arouse students' interest in the subject.
Students' interest in a subject can be maintained in different ways: by considering problems, the solution of which involves insufficient student knowledge; historical excursions to the origins of the issues being studied; solving problems of practical content (using interdisciplinary connections); entertaining lesson elements.
It is impossible to instill interest in the discipline in children if the teacher himself is not passionate about his subject. Therefore, every teacher in our school is constantly learning. Improves his knowledge through advanced training courses, participation in federal, regional and municipal competitions. 12 teachers of our school are laureates and winners of regional and municipal competitions.
The system of working with gifted and talented children in our school implies combining the efforts of teachers, parents, and administration in order to create favorable conditions for the realization of the creative potential of school children. It is also important that a system of state and municipal support for gifted and talented children has been developed, which also motivates children to develop and realize their talents.
Giftedness is the result of a combination of three characteristics: above-average intellectual ability, creativity, and perseverance.
Criteria: academic giftedness (success in studies), intellectual giftedness, creative giftedness.
First of all, you need to be able to identify gifted children. They have a number of characteristics: they are inquisitive, persistent in searching for answers, often ask deep questions, prone to reflection, and have a good memory. The school has created a data bank of gifted and talented children. An information card is filled out for each child using the following form:
Individual gifted child card
Date of birth
Parents: education, place of work
Individual features:
Success: participation in olympiads, competitions, etc.
Interests, hobbies
Problems
Work with gifted children in our school is carried out from the first stage of education, in each parallel.
Having identified such children, the school must teach them to think and do everything possible to develop their abilities. Worked out at school activity system on organizing work with gifted and talented children at school No. 33.
1.Identification of gifted and talented children.
Analysis of the student’s special successes and achievements;
Diagnosis of children's potential using psychotechniques from psychological services.
2.Psychological and pedagogical support for gifted students involves:
Creating a situation of success and confidence for the student through an individual approach;
Inclusion in the school curriculum of elective and optional courses for in-depth study of school curriculum subjects;
Formation and development of a school center for additional education of additional education;
Organization of research and design activities;
Organization and participation of gifted and talented children in intellectual games, creative competitions, subject Olympiads, scientific and practical conferences.
Thematic control of knowledge within the framework of educational activities;
-control over the participation of gifted and talented children in competitions at various levels.
4. Encouraging gifted children:
Publication in the media;
Letters of gratitude, certificates to children and parents from the school administration;
Scholarships;
Stand “The best students of the school”;
Support system for talented and gifted children at the municipal level.
5.Working with parents of gifted children:
Psychological support for parents of gifted children;
- joint practical activities of a gifted child and parents;
- support and encouragement of parents of gifted children at the municipal level;
6.Working with teachers:
Training seminars on working with gifted children;
Organization of search, research, experimental activities at school;
Providing an emotional positive background for learning.
Improving professional skills through course training and certification;
Creation of an individual program to develop the creative potential of a talented student
7. Interaction of the educational institution with other structures of society to create favorable conditions for the development of giftedness.
The diagram below reflects an integrated and comprehensive approach to unleashing the creative abilities of talented and gifted children.
Using various methods for identifying children’s talent and creativity, school No. 33 has developed a stable system for monitoring children’s giftedness. According to the results of monitoring in the school year, more than 45% of children have one or another talent. Many teachers in their classes use innovative pedagogical technology for this: “Portfolio” is a kind of analysis of the student’s special achievements and successes. The school center for additional education “Step into the Future,” which began its activities in the 2008 academic year, promotes the development of students’ talents and interests. 78% of children are enrolled in additional education. The center for additional education implements programs in the following areas: physical education and sports, intellectual and cognitive, artistic and aesthetic, tourism and local history, military-patriotic, social and pedagogical. A prerequisite for developing a sense of success in a child is ensuring his participation in various competitions, intellectual games, subject Olympiads, and scientific and practical conferences.
The school's team shows fairly good results, being among the top ten educational institutions over the past five years. For example, in the 2008/2010 academic year, the number of prize places in the city was 52, including 10 first places. 14 children became winners and prize-winners of the II municipal stage of the All-Russian Olympiad for schoolchildren in the 2008/2010 academic year. According to the results of the II municipal stage, 36 students from school No. 33 entered the top ten best Olympiad participants in general education institutions in the city of Tambov. The results of the participation of our schoolchildren in the III regional stage of the All-Russian Olympiad last year were successful: eleven prizes. In the ranking of general education institutions in Tambov, according to the indicators “Olympiad movement 2008/2009”, the school entered the top ten. The school takes part in creative competitions at the municipal, regional and federal levels. The school has also created a database of talented youth; there are 36 such children in our school. All of them are laureates and winners of competitions at various levels. These children are the pride of our school and the flower of the future nation.
Our school has something to be proud of in this regard: almost 100% of all students in specialized classes enter universities in their chosen specialties. Graduates (93.1%) - 2009 entered universities and colleges using the results of the Unified State Exam. The number of gold and silver medalists based on the results of 2009 is 12.7%.
For many children, the competition became a launching pad for choosing a future path in life. We can say that competitive competitions help the professional selection of its participants and winners.
Master class “Creating a creative atmosphere in classes in an institution of additional education for children”
Alekseev Andrey Ivanovich,
additional education teacher,
MBU DO "CDO "Perspective"
Stary Oskol, Belgorod region
The purpose of the master class: development of practical skills of additional education teachers, aimed at creating a creative atmosphere in the classroom.
Form of delivery: game trainings.
Master class plan
Introductory stage
-information block – 2 min.
-motivational block (theoretical part) – 5 min.
2. Main stage
- problem block (practical part) – 25 min.
Final stage
- reflexive block – 3 min.
Progress of the master class
Introductory stage
Information block
(Before the start of the master class, cards are distributed with the words: simulate a situation, hide, jump, count, imitate, observe)
- Good afternoon, dear friends! Before the start of the master class, you received cards with words, I will ask you to read them out loud.
(Read the words)
What action do you think unites all these concepts?
(During communication, teachers come to the idea that this is a game)
That's right - it's a game. The topic of my master class is: “Game technologies in the educational activities of additional education teachers.”
Motivational block
The famous teacher Janusz Korczak said that play is an opportunity to find oneself in society, oneself in humanity, oneself in the Universe.
We often encounter a situation where children come to classes and cannot get in the mood for creative work. The game becomes a kind of “switch” for the child’s psychology to master new material.
K.D. Ushinsky is considered the founder of game theory in Russian science. He contrasts the spontaneity of gaming activity with the idea of using games in the general education system.
The game is an eternal school of behavior. Let's look at children's games that copy everyday life situations. (Examples)
I want to offer trainings with which you can set children up for creativity and overcome psychological inertia.
Main stage
Trainings:
Transformation of an item
Workshop participants are invited to transform an ordinary ruler into different objects. Using different levels of associations.
Items not connected by a logical chain
A special arrangement of items that are not present in the classroom. Participants are asked to perform the exercise at different tempo rhythms.
Passing the “mask” around
All participants stand in a circle facing each other. The first one makes a grimace, fixes it with his muscles and then “takes it off” with his hand and “throws it” to his partner. He, in turn, is obliged to “catch” this grimace and fix the same expression on his face. Then he changes it to a new grimace and passes it on to another partner. Offer several levels of grimace expressiveness: start with sharp, grotesque facial expressions, then move on to less expressiveness and end the exercise with minimal expressive means. To catch not only the plasticity of the face, but also the subtext, the motivation of the expression, the tempo-rhythm of the partner, his plasticity, to achieve the inclusion of the whole body in the task. Discuss with students the difference in the impact on the psyche of facial expressions of sharp expressiveness and facial expressions with a minimum of expressive means. Combine high tempo rhythm and a minimum of expressive means.
Gestures in a circle
Work in a circle. One of the participants sends a gesture in a circle. Each participant repeats it. It is important, without stopping the exercise, to observe the exact sequence and pace of the transmission of gestures, their energy.
Gibberish
A couple is called, a situation is set, and they are asked to communicate in an invented language. Communication occurs with maximum emotional expressiveness.
Final stage
The Indians, the original inhabitants of America, had a method of listening to each other through a talking stick. Since our lesson began with a regular ruler, we will use the Indian method. And we will have a ruler that speaks. The one who has it in his hands is given the right to speak, and everyone else has the right to listen. Anyone who doesn't want to talk simply passes it on.
(The ruler is passed in a circle)
This is what we will talk about:
-How did you perceive our lesson?
-How did you feel?
-What difficulties did you encounter while completing the task?
-Have you learned anything new and unexpected?
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Attached files
The issue of creating an atmosphere is the most important vector of directing, regardless of its industry (theater, cinema, television, theatrical performances and holidays). The very concept of atmosphere has been examined by many researchers in the field of directing.
Thus, M. A. Chekhov in his book “On the Actor’s Technique” recognizes the atmosphere as having a dominant position in the stage hierarchy of elements, considering it the soul and heart of a theatrical work.
Research by A.D. Popov shows that “through the interaction of a person with surrounding people and the environment, a stage atmosphere arises. The nature of a person’s thinking, the tempo-rhythm of his life, and, finally, his psychophysical well-being contribute to the atmosphere of the time in which he lives...” At the same time, we must understand that in life everyone is accompanied by their own atmosphere, and it is not unambiguous; there is always a struggle of various motives in it, the so-called “struggle of atmospheres” - where people are carriers of different atmospheres, where our personal atmosphere can be subordinated to the public, etc. .d..
A.Ya. Zisya, in relation to atmosphere, argues that “the artistic vision of an object as a living, multifaceted whole creates a dense atmosphere of a work of art that resists the anatomization that may take place in theory.”
And E. Zola, artistically interpreting the concept of atmosphere, noted that it is “indefinable, but definable. We always feel it, feel it... It seems like an interesting performance (book, film, painting, piece of music), but something is missing. This absence of something important, this emptiness of the performance that irritates us, nullifies all the efforts of the actors, director, artist, composer. We call what is missing in different ways: the air of the performance, its special radiation, charm.”
Many practitioners in the field of directing argue that there is no more mysterious and elusive concept in directing technology than atmosphere. Other elements of theatrical and entertainment art can be determined and tested on site with varying degrees of accuracy. And the atmosphere is created gradually and consists of many elements specified by the author or composed by the director. This concept is almost impossible to define and put into verbal formulas. It eludes unambiguous straightforwardness and teases with its variability, inconstancy and instability. The right atmosphere and precisely chosen means of expressing it are always the result of a combination of creative efforts of the director, actor and artist. Everything should be expressed in it: the idea of the performance, the rhythms of stage life, the images of the characters and their relationships are associated with it.
Each work requires its own special atmosphere, which should emphasize the main idea and action on stage. The search for atmosphere depends on the genre of the director’s product. Knowledge of life, era, and traditions plays a big role in creating the atmosphere. All this creates the color and unified style of the work. Thus, the atmosphere is one of the main directions in the director’s plan and is created with a general production solution.
At the same time, the formation of atmosphere is a complex dynamic process that lies on the shoulders of the director, the goal of which is to create a single, harmoniously integral work of art, the creation of which, as a rule, involves not only all the expressive means of directing, but also the efforts of the entire creative team. Thus, the atmosphere is a volumetric indicator that determines the internal atmosphere - “creative” (the mood of the performers, the creative team as a whole) and the external atmosphere - stage (expressive means of directing - decorative design, music, light, sound, video, electronic and digital staging technologies, etc.).
The issue of forming an internal, so-called “creative” atmosphere was once dealt with by M. Chekhov, K.S. Stanislavsky, V.I Nemirovich-Danchenko, G. Tovstonogov, A. Popov and many other luminaries in the field of directing.
Creative atmosphere- this is one of the powerful factors in art, and creating a working atmosphere is extremely difficult. This cannot be done by one leader - only a team can create it. Unfortunately, anyone can destroy it.
The atmosphere is a deeply human phenomenon, and at its center there is a person who is biasedly peering into the world, acting, thinking, feeling, searching. A complex set of relationships with the surrounding reality, the world of our thoughts, feelings, desires, moods, dreams, fantasies, without which our existence would be unthinkable, this is the atmosphere of life, without it our life would be bloodless, automatic, and a person would resemble robot
At the same time, the entire complex creative process of creating an image by an actor is not only a rehearsal with the director and the troupe. This process does not fit only within the framework of rehearsals. The actor preparing the role must be completely captivated by it throughout the entire work on the work.
Atmosphere belongs to the sensory sphere, just like art. But this does not mean that if a performance or performance is saturated with the individual feelings of the artists, then it has an atmosphere. Individual actors with their feelings are nothing more than part of the whole. They must be united and harmonized, and the unifying principle in this case is the atmosphere of the performance.
A truly good work of art can only grow in a good moral and creative atmosphere. This means that in order to create a good work, that is, to fulfill his direct directorial function, the director is obliged to care about creating a good atmosphere in the team no less than, say, about the good quality of the mise-en-scène or scenery. In a team where the moral and creative atmosphere is at the proper level, work on performances proceeds faster and produces better results.
The formation of a creative atmosphere in directing theatrical performances and holidays is based on the same bases. And this process can only be realized as a result of the purposeful, purposeful action of the performers in the proposed circumstances and the general atmosphere of the holiday that infects both the audience and the participants - everyone’s feeling of joy from involvement in creativity, from meeting the audience, from participating in the festive action and etc.
At the same time, the performer’s internal mood is born:
As a result of his purposeful, purposeful action in the proposed circumstances.
His passion for the performance he is performing.
Confidential, faithful communication with the audience.
The general atmosphere of the holiday, which infects both spectators and performers - some with a sense of the joy of creativity, others with involvement in creativity.
The internal creative atmosphere is expressed in the direction of theatrical performances and holidays through the tempo of a number, episode, block; psychophysical well-being of performers, their behavior on stage; the pace and rhythm in which the action takes place.
As for the external “stage” atmosphere, it was and is a fundamental, natural, integral property and quality of the Russian theater of experience. This is the most contagious, emotional and spiritually active, essential component of the action, as such, realizing its artistic meaning. Its search and detailed, live construction should become one of the main tasks of the director from the very first days of rehearsals.
Stage atmosphere depends on the nature of the events unfolding before us, on the place and time of action. The atmosphere is not only generated by major events - it is both the cause and effect of these events.
So, A.D. Popov argued that the correctly found atmosphere and precisely decided means of expressing it in stage action are always the fruit of a combination of creative efforts of the director, actor and artist... everything should be expressed by it: the idea of the performance, the rhythms of stage life, the images of the characters, their relationships are associated with it .
The formation of a stage atmosphere in directing theatrical performances and holidays, unlike theater directing, is a no less complex and multi-stage process. The stage atmosphere in a given subject area is created and expressed by: design, music, light, sounds, noises and other production means.
When creating the stage setting of a number, episode, or entire performance, the director must remember that each era, each time, each event has its own special atmosphere. The atmosphere of the times of the Civil and Patriotic Wars is not the same; The atmosphere of the post-war years is not similar to the atmosphere of our days. Every city, every village, every family also has its own atmosphere, which depends on the social, public, everyday life, natural features, location, etc.
Naturally, each event also has its own unique atmosphere. That is why, even at the stage of studying materials related to one or another date to which a mass action is dedicated, there is also a process of comprehending the conditions in which this event took place, which leads to the director’s feeling of an atmosphere associated with it (the event).
The process of creating the right stage atmosphere is, first of all, the search and conscious selection of means that most accurately express it: light and color palette, household details, music, noises, sounds, etc. Since the means expressing the stage atmosphere are very diverse, then the correctly found atmosphere and precisely resolved expressive means of directing are a complex of creative efforts of the director, actor and other members of the directing and production team. Each of them, through a sense of personal involvement, contributes to the practical implementation of mass action. And it is as a result of their joint work that a visible image of mass action is born.
Image- this is the result and the ideal form of reflection of the director's intention. And the imagery itself is figurativeness, brightness, endowment with images. It should be noted that the image found by the director cannot be reduced to any single rule or condition, because it lies in the wealth of artistic individualities that are the director’s styles, their uniqueness. In theatrical performances and holidays, the specificity of the image is that it is determined by a specific event, with which it is connected and represents an artistic understanding, a generalization of a real fact, which influences the masses precisely through the power of an artistic generalization of reality.
There are symbolic imagery, historical imagery and personified imagery.
Symbolic imagery– a set of artistic images of symbolic meaning. It is used to express the idea of mass action:
As a principle of construction (having found an image that is adequate to the idea, the director reveals the effective course of constructing the entire performance - a move-technique);
As a driving force (the symbol becomes the plot core of the entire performance);
To enhance the emotional background of the perception of real life material.
Symbolic imagery involves the search for a conventional sign system that is associated among the participants in a theatrical performance with an idea in content and equivalent to it in form.
Historical imagery- this is a living, visual representation of events that are based on analogies in the past that are close to the viewer. This also includes folklore sources, based on folk traditional foundations, using allegorical and mythological characters, costumes, artistic and sports competitions.
Personified imagery gives you the opportunity to test yourself as an individual in various roles, imitating selected heroes. Sometimes, according to the plans of the holiday organizers, within the framework of such imagery, objects “come to life”, which are given the character of animated characters in a theatrical performance.
At the same time, creating a stage atmosphere is the path not only to a holistic image of stage action, but also to its stylistic unity, which correlates with the director’s intent of the performance and determines the entire palette of expressive means of directing.
The main differentiations of reflecting the spectrum of expressive means of directing, with the help of which the stage atmosphere is created in a theatrical performance and celebration, are:
One of the most effective means of expression, creating a true and, above all, catchy, bright festive stage atmosphere of the performance. After all, a decorative solution that corresponds to a certain time creates an environment in which precise signs of the time are present.
2) Musical arrangement.
Musical and noise design creates on stage the exact atmosphere of a particular historical time, evokes in the audience associations associated with a certain era, a certain time, a certain event. The main techniques for using music in theatrical performances and mass celebrations can be considered:
The leitmotif of the entire performance, helping to develop the action, uniting all episodes with one musical theme, immersing them in a certain musical environment.
As a characteristic of a character (a certain melody that appears when a character appears, becomes his personal musical characteristic, revealing some of his internal qualities.
As a revelation of the internal state of the characters in an event taking place on stage. Or as a contrast that exposes the hero's true goal.
As a screensaver, as a link between numbers, episodes, blocks.
Sounds and noises play an important role in creating a stage atmosphere. A correctly heard sound on stage (the creaking of a door, the howling of the wind, the sound of rain, the clatter of carriage wheels, etc.) carries an effective emotional charge and gives physical authenticity to the stage action and the environment in which it occurs.
3) Lighting design.
When working on a lighting solution, the director must remember that every change in light, every transfer of light, every lighting effect must carry a certain meaning that is understandable to the viewer and serve to identify the content of a number, episode in a theatrical performance and celebration.
However, the director of theatrical performances and celebrations must remember: any staging techniques (mise-en-scène, lighting, cinema, music, decoration) must serve the main thing - the creation of such an emotional environment on stage that will help the participants to perform their act most expressively, and the audience to perceive them not only with the mind but also with the heart. The main task of the director of theatrical performances is to create a festive field of energy environment - to fill the empty space, create an atmosphere in which everything will live: everything that creates the atmosphere (scenery, music, light, etc.) and everything that is created by the atmosphere (a holistic image performances, people).