Director's explication of the script example. Director's explication of the play "The Snow Queen" by Evgeniy Shvarts

1. Motivation and justification for choosing the theme of the theatrical performance

This section indicates the motives for choosing the theme of the script, gives its justification, and reveals its socio-pedagogical significance for the predicted audience.

2. Ideological and thematic content of the script

2.1. Script theme. (Theme is the subject of the author’s artistic research.) The definition of the theme should be brief, specific and answer the questions: What? Where? When?

2.2. Script idea. (The idea is the main conclusion that follows from the script, containing the author’s moral attitude to the events depicted.)

2.3. Genre of the script. (Genre is the author’s ideological and evaluative mood in relation to the subject of artistic research, realized through a system of certain expressive means). The definition of genre in terms of production also includes the form of theatrical performance.

2.4. Conflict. (Conflict is a confrontation, a collision of the acting forces depicted in the work). The carriers of the conflict are identified, as well as their aspirations.

3. The actual content of the script.

3.1. The super task of presentation. (The ultimate goal of the presentation is the ultimate goal for the sake of which the setting is carried out, the idea is revealed).

3.2. Cross-cutting action or script-director's move.

3.3. Event sequence or episodic script construction.

3.3.1. Determined event series, if there is a clearly expressed plot in the script (An event is an effective fact that changes the stage tasks of the performers and puts them in updated proposed circumstances. An event series is a line of effective facts from the beginning to the end of a theatrical performance).

3.3.2. If there is no plot, then it is determined episodic construction script, then the artistic title of the episode and its content are written. An artistic name is given to each event or episode. The functional load is determined.

3.4. Stage tasks of performers events(when constructing a script episodicly, stage tasks are not determined). The stage task includes three elements:

Action (what am I doing?);

Purpose of the action (why am I doing it?);

Equipment (how do I do it?).

Action and purpose are conscious in nature, adaptations arise in the process of live communication with a partner. Therefore, when fixing a stage task in a production plan, only two of its elements are determined: action and goal. The number of stage tasks is determined by the number of main events.

3.5. The main mise-en-scène. (Mise-en-scène is the arrangement of the characters on the stage in certain physical relationships to each other and to the material environment around them). A system of symbols is determined and one or two main mise-en-scenes in each episode or event are graphically depicted.

3.6. Real heroes, their role and place in revealing the main idea of the performance.

3.7. Techniques for activating spectators (real, ceremonial and game actions).

4. Editing sheet or light and sound score of the performance.

The installation sheet in the form of a table consists of twelve columns:

1) number in order;

2) the episode, its name exactly matches the script and director’s plan;

3) the title of the issue and its nature, the author and name of the work are indicated;

4) performers are registered: soloists, groups;

5) who is entrusted with the accompaniment of this number, if the number is accompanied by a phonogram, then you need to give the serial number of the phonograms.

6) all texts performed on stage, heard on the radio are entered, and announcer’s texts are entered here;

7) the need for film material is recorded, indicating the nature of the tape and format;

8) it is indicated in what stage design the performance takes place;

9) the lighting design for each act is filled in, and staging effects are recorded here;

10) costumes for performers, all costume accessories;

11) props and props;

12) notes.

The light and sound score is made according to the following scheme:

5. Scenographic solution for the performance

5.1. A figurative solution to the presentation. (Figurative solution is a set of expressive means with which the director reveals his concept of the work, his artistic thought).

5.2. Layout of scenery. (Set layout is a drawing of the location of scenery, various structures, furniture and other elements of the material environment on the stage area). The stage area is viewed from above.

5.3. Sketch or layout of the stage design.

5.4. Costume sketches.

5.5. Sketches of posters, programs, invitation cards.

6. Plan for preparing a theatrical performance

The preparation plan should reflect the main stages of work on a theatrical performance: work on the script, table period, rehearsals in the enclosure, run-throughs, editing and dress rehearsals, premiere, work with the composer, artist, musicians and all support services.

7. Plan for a holiday or program for a theatrical performance.

8. Cost estimate(for a holiday) (see Appendix No. 9): rent and technical support; space design, participants in the theater and concert program; organizational and creative group; printing costs; fare; payroll accruals; unforeseen expenses, etc.

Related information.

"My brother was in America, and Coppola I gave him a piece of paper from the script (or he tore it out, I don’t know) with an explication of “The Godfather.” This is quite an interesting document.

It breaks into five graph. And at the top is the title, and not of the episode, because it can be long, but of the real, main thing in this piece of the episode. An episode may be seven minutes long, but there are a few central, peak moments that are important to you. That's why you call the episode in quotes "NO". Let's say the heroine or hero says this word in response to a key question. This is not the name of the object, but a statement of the essence. Moreover, you can split the episode into two pieces. One might be four minutes long and the other thirty seconds, but it's so important that you highlight it.

My explications are three times larger in volume than the script itself; they describe in great detail what I would like to receive. This is my message to the group.

In explication, the film is “shot” in laboratory conditions. Arriving at the site, you can find a completely different picture. Because there may be a situation when - that’s it, we won’t shoot today, because it’s raining, and there should be sun in this scene. "Because of which?!" - they ask you. That is, this scene may take place in the rain, but - a stuck shirt, wet shoes... The scene will go in a different direction, and, therefore, it is necessary to rearrange the accents of the actor’s movement. And so you, comparing what is with what was, decide whether this will change what you wanted. Maybe it will change, and maybe it will be for the better. Because all the same, the actor drags the picture behind him, its movement, the relationships of the characters. You can rape him as much as you want, but if you live in a living picture, then a good artist can always give a new intonation, and the scene can go in a different direction. And you again turn to the explication: is it good that she went the other way? Because it may be so, only for this moment it is wonderful, but for the whole it is a disaster. I had such a case on “Slave of Love”.

The point “possible mistakes” is important because when you, in these new conditions that were divinely created for you on the site, begin to follow the situation that has developed, you need to look at this point and understand that you are the same! - it says, for example: “In episode N... it is important not to get carried away by emotion.” Because the episode itself, in its dramatic path, is so emotional and strong that if you overwhelm what is happening in the episode from an emotional point of view, rise to too high a temperature level, you may not have enough for the “episode N...” that is on five episodes after that and rhymes with this episode.

Again, when you write all this, you are once again convinced of whether the script is strong or not. This is the first thing for which explication is needed.

Second. By creating an explanation, you deprive yourself of the difficult need to communicate with everyone who manages different departments of the group. Let's say it seems to me that the heroine should be dressed exactly like this. I don't mean the cut of the dress. But it seems to me that the shoes should be too tight for her. Or that she is wearing a cloak that is too wide and keeps getting tangled. Or, on the contrary, she likes him, and she flirts with this cloak all the time, wrapping herself in it, provoking him to ask where she got this cloak from, in order to answer that another person bought her this cloak. I don’t give advice on how to dress an actress, but I explain what I would like. Thus, I infiltrate everyone's area.

Another conversation is that the artist can tell me: “It seems to me that this should not be a raincoat, but a man’s shirt, which is buttoned on the other side, if she needs to tease him with the fact that she is wearing a different thing, revealing that she has a connection with someone else." To which I can say: “No, that’s rude. Because if your woman is wearing someone else’s shirt, then it immediately catches your eye.” And so on; This is where that internal work begins, which seems to eat up and straighten out a huge amount of extra time that you would spend if there were no explanation. Gritting your teeth, like taking castor oil, you must sit and write, and write... By doing this, not only do you not cut the wings of all the other creative departments that work with you, but on the contrary, you give them atmosphere, smell, color, sensations - what the viewer should experience from what he sees.”

Mikhalkov N.S., Reflection is stronger than a ray / Profession - cinematographer: Higher courses for screenwriters and directors for 40 years / Comp. P.D. Volkova, A.N. Gerasimov, V.I. Sumenova, Ekaterinburg, “U-factory”, 2004, p. 632-635.

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Director's explication of the play by Evgeniy Schwartz

"THE SNOW QUEEN"

1 . Factor of modernity

Evgeniy Schwartz's play "The Snow Queen" has always been, is and will be a modern play. There is a category of dramatic works. Which simply cannot be not relevant and not modern. In this case we are talking about “The Snow Queen”. Such concepts as:

· Friendship;

· Warm heart;

· Conscience;

· Humanity, etc.

Over the years, the play “The Snow Queen” only acquires a more modern meaning, especially in our century - a century when, unfortunately, generally accepted and universal human values are losing their significance, and sometimes are simply being trampled into the dirt. Moreover, at the current stage of development of human society, for some reason the relations between the male and female sexes are becoming more rude and soulless. And Kai and Gerda are an example of a pure, childish relationship. The relationship between a girl and a boy, between a girl and a boy, between a woman and a man has always been and will be “at the forefront, regardless of time.”

Also in this play one can draw another analogy that corresponds to our time and our society - this is the line of “refusal of cold, but very rich goods” and the choice of “less rich, but warm human relations.” Kai did not stay with the Snow Queen, friendship, kindness, warmth win.

Based on all of the above, we can conclude that E. Schwartz’s play will always be modern as long as the world stands and people exist. After all, no one can cancel or ban simple human truths. This is not real!

2 . Subject

The triumph of sincere, immediate feeling over a cold and dispassionate mind.

3 . Idea

The triumph of friendship and love.

4 . Super task

There are no barriers to true friendship.

“What will our enemies do to us while our hearts are hot? Never mind!"

5 . Characteristics (evidential)

The storyteller is kind, pure in thoughts and soul, a humanist and altruist. Sometimes he can become helpless, as, for example, in the fight scene with the Snow Queen's Advisor. Persistent, purposeful, believes in the triumph of good.

Kai is smart, funny and kind. He becomes indifferent and cold-blooded only with the help of the Snow Queen's witchcraft. He is trusting, so he ends up with the Snow Queen. Loves Grandma and Gerda.

Gerda is smart, kind, brave, gentle, purposeful. Gerda is a true devoted friend; she goes through a lot of trials to help her friend out of trouble. She is not afraid of the Snow Queen. Endears everyone except the Advisor and the Snow Queen herself.

Grandmother loves her grandchildren very much. Worried about them. She is very kind and caring, which can be seen in her attitude towards her children - Gerda and Kai.

The advisor is smart, cruel, cold-blooded. I am ready to do anything for the sake of my career. He strictly carries out all the orders of the Snow Queen. The right hand of the Snow Queen.

The Snow Queen is a beautiful, smart, cold-blooded and lonely socialite “ice lady”. Loneliness gnaws at her, she needs someone from the human world to make her likeness out of him, and her choice falls on Kai. She likes Kai's boldness and some insolence. The Snow Queen cannot stand it when people argue or contradict her; she is accustomed to limitless and cold power. She doesn't feel sorry for anyone and doesn't regret anything. No wonder the Reindeer warns Gerda that the Snow Queen is very cruel and evil.

Raven is wise, kind and devoted to his Clara. He is very willing to help Gerda.

Crow - in principle, this is the same type as her beloved Raven Karl, plus a certain raven feminine charm. She also takes great pleasure in helping Gerda.

Prince Claus is a smart but simple boy. The Princess liked him and Elsa lets him live in the palace. He appreciates it. He is cultured, intelligent, and also kind. He just talks to the Princess, it doesn’t matter to him whether she is of royal blood or not. For him, she is just a girl, sweet, gentle and kind. Gerda is happy to help.

Princess Elsa is of royal blood, but at the same time, young Elsa is a little different from her companions on the throne. She is smart and she doesn’t like at all that she is not perceived as an ordinary girl, so she announces a grooms competition. The simple and kind nature of Princess Elsa is evidenced by the fact that her chosen one is an ordinary boy, and she is happy to help Gerda.

King - rather, the concept “King” is applicable to him. Although he is a sovereign, he often behaves not like an adult, but like a big child. A little childish and timid. At the same time, he is cunning and does not entirely honest things. He, through deception, pulls Gerda into his half. The King is a coward, he retreats in front of the Advisor, following his instructions.

The chieftain is an imperious, rude lady with a certain charm. She leads the robbers, and her status obliges her. He adores only his daughter, indulges her in everything and meets all her desires. She gives Gerda to the Little Robber.

The first robber is devoted to the Atamansha, carries out all her orders. He is not just a performer, he is also the chief assistant of the Atamansha, it is not for nothing that he is the first robber.

Little robber - this girl resembles a boy. Bold, bold, not afraid of anything in the world, not taking into account anyone’s opinion, she is used to everyone taking her into account. She knows that she is her mother’s favorite daughter. She is used to the fact that only she gets all the best, she simply takes from Gerda all the things that Princess Elsa gave her. At the same time, the Little Robber is very lonely, because she is surrounded only by robbers, and they have their own conversations and their own entertainment. Is this what a little girl needs? That’s why she is incredibly happy about Gerda and doesn’t even want to let her go.

Reindeer are smart, kind and freedom-loving. It is difficult for him to be captured by the Little Robber. He is proud and honest. The deer accompanies Gerda all the way to the Snow Queen's domain and warns Gerda about this. What awaits her next?

The guards are the devoted servants of His Majesty the King.

The King's lackeys are the devoted servants of His Majesty the King.

Robbers are loyal to the robber cause, they live by order of the Atamansha by robberies, they like to have fun after the “deed.”

6 . Cast selection

As for the choice of actors in this production, it is worth starting from the characteristics of the characters themselves, plus it is necessary to take into account the individuality of the performers.

It is advisable that children, and there are many of them in this play (Gerda, Kai, Princess Elsa, Prince Claus, The Little Robber), should be performed by children aged 12 to 14 years. This adolescence is still filled with childish naivety, faith in miracles and good fairy tales, and is filled with great vital energy.

For the role of the Snow Queen and the Advisor, it is desirable that the choice falls on actors who are calm and aristocratic in everyday life. With high culture, increased intelligence and some coldness in human relationships.

For the role of the Storyteller, we need a young man between 16 and 20 years old, energetic, with an open, attractive appearance, sweet and kind.

The choice of the remaining characters in the production is best done on the basis of some kind of casting, as is now fashionable. And based on individual character traits.

7 . Defining the characters' ultimate goal

Storyteller - help Gerda save Kai.

Kai - become the old good boy Kai.

Gerda - save Kai.

Grandma - create warmth and comfort.

Advisor - obey the Snow Queen, make a brilliant career at her court.

Snow Queen - keep Kai forever.

Raven - help Gerda.

Crow - help Gerda.

Prince Klaus - help Gerda.

Princess Elsa - help Gerda.

King - show his power, obey the Advisor.

Atamansha - control the robbers, indulge her daughter.

The first robber is to show his devotion to the Atamansha in every possible way.

Little robber - keep Gerda with her, then help Gerda.

Reindeer - break free. Help Gerda.

Guards - carry out the orders of the King.

The King's lackeys are to carry out the King's orders.

Robbers - obey the Atamansha.

8 . Cross-cutting action (main characters)

Storyteller - change appearance in order to help Gerda.

Kai - “to freeze” with the goal of then “melting”.

Gerda is to evaluate the heroes she meets along the way.

Grandmother - to take care and create comfort.

Advisor - pursue your goals.

The Snow Queen - having kidnapped Kai, tries to change the world for herself.

Raven - stay together with Clara.

Crow - stay together with Karl.

Prince Claus - assist Elsa in everything.

Princess Elsa - confront her father, the King.

The king uses deception and cunning to achieve his goals.

Atamansha - keep her robbers “in her fist”.

The first robber is afraid of the Little robber.

The little robber - sympathize with Gerda, but fight with herself.

Reindeer - endure the hardships of captivity in order to once again find yourself in the desired freedom.

9 . Reshdevelopment of the performance in time, rhythms and tempos

Tempo rhythm helps express feelings on stage; it is a direct, immediate, sometimes almost mechanical exciter of emotional memory, and therefore of inner experience itself; it also helps create an image.

Stanislavsky said: “Every human passion, state, experience has its own tempo-rhythm. Each fact and events certainly also occur in their corresponding tempo-rhythm.” “We think, dream, and feel sad to ourselves, too, in a certain tempo-rhythm; because in all these moments our life manifests itself. And where there is life, there is action, and where there is action, there is movement, and where there is movement, there is tempo, and where there is tempo, there is rhythm.”

The tempo - the rhythm of this production must be upbeat and exciting. All the settings are bright, laconic, emphasizing the “pulse” of the action taking place.

The whole action takes place cyclically in a circle, that is, he comes out from behind the scenes, from the hall, etc., and also disappears behind the scenes. And life goes on behind the scenes. The audience should have the impression of absolute unity.

All actions are not drawn out in time, are concise and complete. The total duration of the production is no more than 1 hour 30 minutes. That is, each action, and there are 4 of them in the play, lasts 30 minutes. The prologue and finale take 5 minutes each.

10 . Genre of production, style of acting

A musical fantasy on the theme of a good old fairy tale by H. H. Andersen and a play by the wonderful playwright E. Schwartz.

The actors in this production must embody two styles of acting, these are: classical, traditional and naturally, taking into account the spirit and dynamics of the 21st century, use trends, the so-called “know-how”.

The viewer should feel a certain distance and at the same time, everything happens as in the famous 3D technology, i.e. not only scenography and other aspects of theatrical creativity, but the actors themselves are as close as possible and at the same time out of reach of the viewer. Elevated dynamics of the characters’ actions, bright expressive emotions, clear, clear-sounding text, I want to note, as if coming from the very depths of the human soul.

Everything is heartfelt, the task is to reach people’s hearts, but in no case in a pretentious way or with pathos, this is unnecessary. Brighter than in life, but without kitsch. It is necessary to have a fine sense of the boundaries of roles.

The advantage of this production is that. That it covers not only the stage, but the auditorium. Heroes appear from the doors of the hall, on the stage, in front of the stage, and so on.

11 . The solution of the performance in space, the nature of the mise-en-scene and layouts

Mise-en-scène is one of the director’s most important means for figuratively revealing content and at the same time an essential component of the ideological and artistic figurative solution of his director’s plan. Literally translated, “mise-en-scène” is “position on stage”, the placement of actors on stage in certain combinations with each other and the surrounding material environment at one or another moment of the performance (concert).

As for this production, both the traditional construction of mise-en-scène and new theatrical technologies should be used. And thus, in this production it is best to use the following mise-en-scène for the most advantageous visual perception:

1. Circular - clockwise motion dynamics. Counterclockwise - antidynamics of movement.

2. Semicircle - the ability to see each other, visually exists as an obstacle outside the space of the semicircle. Unification, unity.

3. Diagonal - from left to right enhances movement, the beginning of something. From right to left - slows down movement, the end of something generally doubles the volume.

4. Frontal - necessary for enlarging the plan - overwhelming in the foreground, balanced in the background, shadow in the third plan.

5. Vertical - the height of the platform increases the space.

6. Point - to create an atmosphere of chaos, confusion, to highlight the soloist.

7. Spiral - from the proscenium to the back of the stage, vertical - infinity. Horizontal - emotional intensity.

8. Symmetrical - peace, balance, confidence in the rightness.

9. Asymmetrical - (flux) - overweight.

10. Chess - visual increase in the number of actors.

11. Mise-en-scene screw - (corkscrew) - “pressing into the hall.”

12. Dotted line - movement - stop - movement - stop. This is about finding a solution.

13. Bas-relief - monumental - fixed immobility of the characters to reveal internal tension. Most often parallel to the ramp or stage line - in full face. Refers to mass staging in the back of the stage or directly on the proscenium. Freeze frame - moment of fixation.

The principle of in-depth construction of mise-en-scène:

The first plan (close-up) is the line of the proscenium to the curtain (proscenium). Here you can build mise-en-scène for one or two people. You can perceive it in parts, a sketch of some image.

2nd plan - from the curtain line to the 1st 2nd scenes.

Good for group settings. All types of mise-en-scène, except bas-relief, can be built in the background.

3rd plan - from the third line of the scenes to the backdrop. The general shot, rapid shots, freeze frames are good in the 3rd plan.

Perspective construction of the mise-en-scène:

1. Front - full face. Facing the hall reveals the entire human figure. His eyes, face. 4 cases:

Forced, the intended object of attention is in the hall.

When an artist wants his partners not to see his eyes, a physical action that turns the actor towards the audience, towards the light, etc. and here hide your eyes from your interlocutor.

Disadvantage. It's clear. There is no colorfulness in the pose.

Straightforwardness.

2. Half-face - for direct communication with partners, graphic movement diagonally.

3. Clean profile - the actors’ eyes and reactions are not visible, fossilized, static (unfavorable mise-en-scène).

4. Half-dorsal angle - completely focus the viewer's attention on the main object, for example, on the screen. The need to emphasize something significant (mysterious, ominous or enchanting). Understatement, intrigue, a certain modesty and simplicity.

5. Dorsal angle - back - curtain, point, completion, silence. A back and a proudly raised head, or a back and lowered arms and shoulders - disappointment. The dorsal angle best conveys overcoming fatigue, pain, and fear. It is believed that this is the epic point of an episode or scene; the person seems to merge with space.

Basic mstagingmusical performance

« The Snow Queen»

Act one.

The following settings were used in this action:

1. Diagonal - when the Snow Bunny appears.

WITHgentle queen

Storyteller,

Kai, Gerda, Grandma.

This mise-en-scène made it possible to indicate the characters’ first meeting with the Snow Queen; it enhanced the dynamics of the characters’ movement. Emphasized the semantic accents of the characters' characters.

2. Semicircle - at the words of the Snow Queen.

Grandmother

WITHToasian

KaiWITHgentle queenGerda

This mise-en-scène focuses attention on the Snow Queen as the central object of attention, adds volume, and emphasizes the commonality of the heroes and the loneliness of the Snow Queen.

The same mise-en-scène can be used in act four. The angry Snow Queen comes to Grandmother's house for Kai.

Act two.

In the action in the castle of the Princess, Prince and King, to give dynamics and the greatest expressiveness of what is happening in the proposed circumstances, the following mise-en-scène is built:

1. Point;

2. Circle and semicircle;

3. Bas-relief - monumental.

In the episode with the Advisor, Princess, Prince, King, Ravens and Storyteller - point.

Advisor

Princess, Prince, Gerda

Crows, Storyteller

King

The episode features a sword fight between the Storyteller and the Advisor.

Gerda

Princess and Prince

KingStoryteller

Crows

Advisor

In the episode - the defeat of the Storyteller: bas-relief - monumental (freeze frame), in order to emphasize the anxiety of the moment.

Heroes

AdvisorStoryteller

The choice of these mise-en-scènes is determined by the need to emphasize the semantic accents of the events taking place under the proposed circumstances. These mise-en-scenes clearly reflect the character of the characters, and the alarming notes of the stage action sound expressively and unforgettably (the Storyteller is defeated, the Advisor raises his sword over him).

The mise-en-scenes are built in 2nd and 3rd plans, foreshortening - front - full face, half front, clear profile. For example, the heroes in the fight scene between the Storyteller and the Advisor. The use of a wider range of perspective constructions gave the mise-en-scène the greatest expressiveness, anxiety and dynamics. character play acting production

Acts three and four.

For the course of these actions, the following mise-en-scenes were chosen as the main mise-en-scenes:

1. Spiral and horizontal - the moment of the robbery of Gerda’s carriage;

2. Symmetrical - Advisor, Chieftain;

3. Chess - final episode.

4. Frontal - confrontation between the heroes and the Snow Queen with the Advisor.

To build the mise-en-scène, the 1st plan was used, in the moments with the Reindeer, the Storyteller, Kai and Gerda, the Snow Queen. As well as mise-en-scène using a background shot - the Atamansha and the robbers.

Foreshortenings: front - full face, half-front, clear profile, half-dorsal and dorsal angles - the chieftain and the robbers, Kai and Gerda, the Snow Queen, the Advisor and the heroes.

In this case, the choice of plans and perspective constructions is dictated by the need to evoke in the audience a feeling of empathy for the heroes of the action taking place.

Correctly constructed, bright, expressive mise-en-scenes make it possible to make the musical performance “The Snow Queen” unforgettable, dynamic and evoking catharsis in people’s hearts.

The culmination of the action. Frontal mise-en-scene - during the confrontation between the Snow Queen, the Advisor and the heroes.

Crow

Grandmother

The Snow QueenPrincess

Storyteller

AdvisorLittle robber

Prince

Crow

This mise-en-scène emphasizes the confrontation between the Snow Queen, the Advisor and the heroes, and at this moment emphasizes the helplessness of the Snow Queen and the Advisor and the unity of the heroes.

In this episode, the mise-en-scène is built in a 2nd plan, the perspective construction is front - full face. In this case, all the mise-en-scenes are group, which allows the audience to see the facial expressions and expressions in the eyes of the performers.

12 . Sound, noiseand lighting design (your own)

No.	Text, action	Light	Video	Noises, music	Notes
	Prologue- on the front stage is the Storyteller			Light magical Background music	Action before the curtain
		Play of light - scanners. Change of lighting backgrounds. There are guns on Kai and Gerda.		Song “Kai and Gerda” from the musical “The Snow Queen” (authors of the group “Lyceum” E. Perova, N. Makarevich, I. Ishkhanishvili)	Children run out of the hall doors
	Act one. The curtain opens. House of Grandmother, Gerda and Kai	Main stage light
	The door opens and a tall gray-haired man in a black frock coat enters the room. A large silver medal sparkles on the lapel of his coat. He lifts his head importantly and looks around.	The stage is in twilight		Door creaking, non-stop alarming musical theme	The advisor appears from the hall
	Gerda. Where does she live? Storyteller. In summer - far, far away, in the north. And in winter she flies on a black cloud high, high in the sky. Only late, late at night, when everyone is sleeping, does she rush through the streets of the city and look at the windows, and then the glass becomes covered with icy patterns and colors	Mirror ball, removing cold fill Cannons for the Storyteller and Heroes	There's a blizzard in the background
	The storyteller waves his hands and hits the glass with the slate board. The glass breaks. The lamp goes out. Music. Snow, turning white, flies into the broken window Storyteller. It's my fault! Now I'll turn on the light! The light flashes. Everyone screams. A beautiful woman stands in the middle of the room. She's in white from head to toe. She has a large white muff in her hands. On the chest, on a silver chain, a huge diamond sparkles	Complete darkness. Mirror ball, Strobe light. Blue cold fill	There's a blizzard in the background	Musical theme “The Snow Queen” by A. Morsin
	Woman. Keep quiet! Makes an imperative sign with his hand. The storyteller recoils	Change of backgrounds, light scanners, cannon for the Snow Queen and Storyteller		"Tango of the Snow Queen" Music. M. Minkov. Sl. V. Korostylev.	In the background - work with white transparent fabric
	Woman. Well, then kiss me goodbye. Gerda. No need, Kai. Kay. But I don’t want her to think that I’m afraid of the baronesses. He boldly approaches the baroness, rises on tiptoes and offers her his lips. Best wishes! Woman. Well done! Kisses Kai. Behind the stage the wind whistles and howls, snow knocks on the window. Laughs. Goodbye, gentlemen. See you soon, boy! Leaves quickly.	Blackout. Strobe flash. Cold background blue-violet color		Alarming melody Cold call
	Storyteller. And if not? Ah, I didn't expect this at all. What to do? What to do next? No, Snow Queen, I will not give you the boy! We will save him! Let's save! Let's save! The howl and whistle of the snowstorm outside the window intensifies sharply. Let's not be afraid! Howl, whistle, sing, pound on the windows - we will still fight with you, Snow Queen!			The sound of a strong snowstorm	At the end of the first act there is complete darkness
	Act two. Gerda appears			“Meeting” by A. Rybnikov	Gerda comes to the forefront before the curtain
	The curtain opens. Palace decoration. Gerda and the Ravens slowly move around the throne room	Night light fill, star projection (night)
	Gerda. Please tell me why this line was drawn? Crow. The king gave the prince half his kingdom. And the sovereign also carefully divided all the apartments of the palace in half. The right side is the prince and princess, the left is the royal side. It’s wiser for us to stay on the right side... Forward! Gerda. What kind of music is this? Crow. These are just the dreams of the ladies of the court. They dream that they are dancing at a ball. Dance of Phantom Dreams "Ladies of the Court"	Change of backgrounds, scanners.	On the background is the video series “Magic Dreams”	Quiet music.
	Dance "Dreams of Cavaliers"	Dynamic change of lighting backgrounds, flash panels, scanners	Video series "Hunting"	The rumble - the trampling of horses, distant shouts: “Atta him, attu-tu-tu! Hold it! Cut! Hit! Dynamic melody.
	Gerda. Does Kai really live here, in this terrible house? Crow. Let's go... Gerda. I'm coming.			The stomping and ringing of bells
	Gerda. I believe, but I will never go to prison. I need to find Kay. An advisor emerges from a secret door. The king shudders. *Advisor(looks into the lorgnette).*** With your permission, sir, I am amazed. She hasn't been captured yet	Reddish background (color of approaching danger)		Disturbing music	The advisor appears from a door designed to resemble the wall of a royal castle, unexpectedly
	Storyteller (grabs a pistol). Don't move, king, otherwise I'll shoot you. Be silent... And don't move, adviser. So. When I was eight years old, I made myself a puppet theater and wrote a play for it.	Changing yellow and red backgrounds, flickering flash panels		Disturbing music intensifies	It is important here to show the dynamics of the increasing action and increasing tension using all available expressive means.
	*Advisor(grabs his sword).* Call the guards, sir. The gun won't fire! The storyteller forgot to put gunpowder on the shelf. Storyteller(acting somewhat clumsily, he quickly takes the pistol under his arm, snatching it A drops his sword and again aims his left hand at the king).** No move, sir! What if the gun does fire... The storyteller fights with the advisor, aiming at the king. *Gerda(squeals).* Klaus, Elsa! Advisor. Yes, call the guards, sir! The gun is not loaded. King. And he says that he is charged. Advisor. He'll miss anyway. King. How can he not miss? Because then, you know, I will be killed. Advisor. OK! I can handle this clumsy man myself. Storyteller. Try it! Once! Yeah, that's the point. Advisor.** No, by. Fighting, they come to the very line. King with unexpected easeOhe jumps up and, stretching his leg across the border line, gives aAtripping the keeper. *Storyteller(falling).* King! You tripped me up! King.** Yeah!	Strobe, flash panels, guns		Dynamic melody for the sword fight scene	Sword fight scene.
	*King(to the guards).*** Sound the alarm. He leaves with big steps.	Flashes of light (alarm)		The sounds of trumpets and drums, whistles, shouts, the clang of weapons. The big bell is ringing
	Storyteller. You've lost, advisor. Advisor. The game is not over yet, writer!		A golden carriage is rushing along the road, with Gerda in it	Dynamic instrumental melody	Storyteller - on the proscenium
	Act three. Storyteller(appears in front of the curtain). Krible-krable-boom - everything is going great. The king and the councilor wanted to seize me. Another moment - and I would have had to sit in a dungeon and make up fairy tales about a prison rat and heavy chains.
	Storyteller. One minute! Listen!			A long, shrill, ominous whistle
	The storyteller leaves	Dynamic change of backgrounds, scanners, flash panels. Cannon on the Atamansha.		Song “Gang” (gr. “Disco Crash”)	Robbers appear from different sides: from behind the scenes, from the audience.
	*Advisor(very happy, hums).*** Two times two is four, everything is going well. Two times two is four, everything goes as it should!			The receding clatter of hooves
	Chieftain. Enough, my dear! Rejoice in the fact that I did not fulfill my daughter’s request and did not shoot you. Leave before it's too late.			Deep, low, melodic ringing
	Storyteller. They have been with me for a long time. When I followed the adviser in the city, I always changed clothes beyond recognition. The beard and nose remained in my pocket and served me wonderfully. I have a thousand thalers... Let's run! In the nearest village we will find horses...			The clatter of hooves
	*Storyteller(almost crying).*** Many years ago there lived a snow blockhead. He stood in the yard, just opposite the kitchen window. When the fire flared up in the stove, the snowy blockhead shuddered with excitement. And then one day he said... Poor girl! Poor Gerda! There is ice all around, the wind roars and roars. The Snow Queen wanders between the icy mountains... And Gerda, little Gerda is alone there... The little robber wipes her tears with the handle of her pistol. But there's no need to cry. No, don't! Honestly, it might still end wow... Honestly!	The light is dimming. Blue background		“Meeting” by A. Rybnikov Instrumental melody from the play “The Snow Queen”, composer Gelsyat Shaidulina
	Act four Gerda. Is this where the country of the Snow Queen begins? The deer nods its head. Then good bye. Thank you very much, deer. Gerda. So Kai is so close! Goodbye! Deer. Goodbye girl! Gerda is hiding.	Mirror ball, blue background		Instrumental melody from the play “The Snow Queen” (composer - Alexander Flyarkovsky) Song “Kai and Gerda” (gr. “Lyceum”)	Gerda runs through the auditorium
	The curtain opens. Hall in the Snow Queen's palace. The walls of the palace are made of snowflakes that spin and curl with terrible speed. Kai sits on a large ice throne. He is pale. In his hands he has a long ice stick. He is intently fingering the flat, pointed pieces of ice lying at the foot of the throne with a stick. Dance "In the Snow Queen's Castle"	Mirror ball, blue background, flash panels, scanners	In the background - snow, blizzard	Melody “In the Mirror Castle” by A. Morsin
	Gerda. Kai, Kai, I'm here! Kai continues his work. Kai! Answer me, Kai! There are so many rooms here that I got lost.				Gerda appears from the hall
	*Gerda(crying and hugging Ka* I). Don't say that, please don't say that. Let's go home, let's go! I can't leave you alone. And if I stay here, I’ll freeze to death, and I don’t want that! I don't like it here. Just remember: it’s already spring at home, the wheels are knocking, the leaves are blooming. The swallows have arrived and are making nests. The sky there is clear. Do you hear, Kai, the sky is clean, as if it had washed itself. Do you hear me, Kay? Well, laugh at me for saying such nonsense. After all, the sky doesn’t wash itself, Kai! Kai! Kai(uncertain).** You... you're bothering me.			“Meeting” by A. Rybnikov
	Gerda. Let's go! Nothing, nothing, go! Let's go... That's it. You will learn. The legs will separate. We will get there, we will get there, we will get there!			“Kai and Gerda” (gr. “Lyceum”)	They leave through the auditorium
	Storyteller. Once upon a time there were steps. There were many of them - a whole family, and all of them together were called: stairs. There were steps in a large house, between the first floor and the attic. The steps of the first floor stood proud before the steps of the second. But they had consolation - they didn’t put a penny on the steps of the third. Only the steps leading to the attic had no one to despise. “But we are closer to the sky,” they said. “We are so exalted!” But in general, the steps lived together and creaked together when someone climbed up. However, they called their creaking singing... “And they listen to us very willingly,” they assured. “We ourselves heard the doctor’s wife tell her husband: “When you stayed with the patient, I waited all night to see if the steps would finally creak!” Grandmother! Children! And let's listen to see if the steps finally creak. Do you hear? Someone is walking, and the steps sing underfoot. The steps of the fifth floor were already singing. These are good people walking, because under the feet of bad people the steps are grumbling like dogs. Getting closer, closer! They're coming here! Here! Grandma gets up. Everything is behind her. You hear? The steps are happy. They squeak like violins. We've arrived! I'm sure this is... The door swings open noisily, and the Snow Queen and the advisor enter the room.	Twilight Strobe, then mirror ball, blue background		Instrumental melody Instrumental melody by A. Morsin
	Advisor. Nonsense! Make way for the queen! Storyteller. No. They move in a chain, holding hands, towards the adviser and the queen. The Queen, standing at the window, waves her hand.	Blackout		The sound of broken glass, the howl of the wind
	Storyteller. And - crible-crable-boom - you came home. And your friends were waiting for you, and the roses bloomed at your arrival, and the adviser and the queen ran away, breaking the window. Everything is going great - we are with you, you are with us, and we are all together. What will our enemies do to us while our hearts are hot? Never mind! Just let them show themselves, and we will tell them: “Hey, you! Snip-snap-snurre..." *All(in unison)*** . Purre-bazelurre!..	Dynamic change of backgrounds, flash panels, scanners, mirror ball		Final song (A. Morsin)

13 . Determination of the event series (specific analysis)

Ш Exposition (prologue): appearance and words of the Storyteller, song “Kai and Gerda” (gr. “Lyceum”), choreographic number.

Ш Plot: in Grandma’s house, Kai and Gerda are playing, the Advisor appears.

Ш Development of action:

Act one. The Advisor asks to sell a rose bush, the conflict between Kai and the Advisor, the Advisor leaves and runs into the Storyteller at the door, dialogue between the Storyteller and the Advisor, the Storyteller's story about the Snow Queen, glass breaks, the lights go out, the Snow Queen appears, the Snow Queen meets Grandma, Gerda and Kai , The Snow Queen asks to give her Kai, Gerda begs Grandmother not to give Kai, Grandmother refuses to give the Snow Queen. The Snow Queen tries to convince Kai, he refuses, the Storyteller supports him, the Snow Queen’s commanding gesture, “Tango of the Snow Queen” (music by M. Minkov, lyrics by V. Korostylev), the Snow Queen kisses Kai, then she leaves, Kai changes, he is rude to everyone, Gerda cries, Kai goes to bed, the Storyteller’s challenge to the Snow Queen, there is a strong snowstorm in the recording, curtain.

Act two. The instrumental melody “Meeting” by A. Rybnikov plays, Gerda comes out, Gerda’s meeting with the Raven, a dialogue about Kay, the Crow appears, a story about how the Princess chose her groom, Gerda and the Crows enter the palace, the appearance of the Prince and Princess, they play, meeting of the Princess, Prince and Gerda, Gerda's story about Kai, the Princess and Prince decide to help Gerda, then they leave, meeting of Gerda and the King, the King, by deception, pulls Gerda into his half, the King deceives Gerda by pretending to be her friend, the guards grab Gerda, the appearance of the Advisor , the appearance of the Storyteller, the Storyteller frees Gerda, the Storyteller scares the King with a pistol, the sword fight between the Advisor and the storyteller, the King is tripped up, the Storyteller falls, the King orders the guards to seize the Storyteller and Gerda, Gerda screams, the appearance of the Princess and the Prince, the appearance of Crows with news of the carriage, Gerda leaves, accompanied by the Princess, the Prince, dialogue between the Storyteller and the Advisor, the King enters with the news that Gerda has been captured, the guards introduce two “Gerdas” in turn, the Gerdas lower their muffs - these are the Prince and the Princess, the Storyteller rejoices, the Advisor is angry, a dynamic instrumental melody, blackout, in the background there is a video - a carriage is rushing along the road. A curtain.

Act three. Before the curtain, the Storyteller introduces the audience to further events, whistling, the song “Gang” (gr. “Disco Crash”), the choreographic group performs “Dance of the Robbers”, the Atamansha is the soloist in it. Next, the robbers are seated in their lair, the first robber introduces the Advisor, the dialogue between the Advisor and the Atamansha, the Advisor invites the Atamansha to rob the golden carriage in which Gerda is located. He declares that he only needs a girl. The Atamansha gives the signal for the robbery, the robbers are getting ready for business, a dynamic instrumental melody sounds, the Bearded Man enters, asks the Atamansha to take him with her, the Atamansha leaves him in the lair, the words of the Advisor. Dialogue between the Advisor and the Bearded Man, noise and screams, robbers enter, the first robber leads Gerda, Gerda begs the robbers to let her go, the robbers just laugh, the Little Robber runs in, she convinces her mother to give her Gerda, the Advisor is outraged, the Little Robber and Gerda leave, the robbers leave to split carriage, the Advisor offers the Bearded Man money to stab Gerda, he allegedly agrees, the Little Robber enters, she drives the Advisor away, the Bearded Man asks the Little Robber to say a few words to Gerda, the Little Robber drives the Bearded Man away, the Little Robber takes from Gerda the things given to her by the Princess, Gerda speaks of her intention to find Kai, the Little Robber declares that she will not go anywhere and will stay with her, the Little Robber shows Gerda the Reindeer, the Atamansha enters, dialogue between the Atamansha and her daughter, Gerda asks the Little Robber to talk with the Deer, she is against, the Bearded Man pulls Gerda by the dress, the Little Robber again chases the Bearded Man away, Gerda still persuades the Little Robber to talk to the Deer, she agrees, the Deer tells Gerda that he saw Kai with the Snow Queen, Gerda and the Deer beg the Little Robber to continue searching for Kai, she protests and forces everyone go to bed, dialogue between Gerda and the deer. The Bearded Man appears - this is the Storyteller, he frees Gerda and offers to escape, the robbers enter, discover the Storyteller, the Little Robber appears, she lets Gerda and the Deer go, the Storyteller remains with the Little Robber, she cries, the song “Kai and Gerda”, an instrumental melody from the play plays “The Snow Queen” (composer - Gelsyat Shaidulova), curtain.

Act four. An instrumental melody from the play “The Snow Queen” (composer - Alexander Flyarkovsky) sounds, in front of the curtain Gerda and Deer, Deer says goodbye to Gerda, she goes to save Kaya, the music of A. Morsin “Snow Waltz” sounds, fanfare sounds, the curtain opens, a choreographic performance is performed composition to music by A. Morsin “In the Castle of Mirrors”, on the throne - Kai puts the word “ETERNITY” out of pieces of ice, Gerda appears, she asks Kai to go home with her, he is indifferent to her, Gerda cries and hugs Kai, Kai remembers and leaves with Gerda, the song “Kai and Gerda” sounds. A curtain.

The curtain opens - the scenery of the first act, the Little Robber and the Storyteller appear, then the Raven, the Prince and Princess enter, the Grandmother confuses them with Kai and Gerda, the Storyteller tells a fairy tale about the steps.

Ш Climax: defeat and disappearance of the Snow Queen.

Ш Denouement: the appearance of Kai and Gerda.

Ш Epilogue (final): final words of the storyteller and heroes. Final song.

Conclusion

And thus, from everything stated above, we can safely say that Evgeniy Schwartz’s play “The Snow Queen” is relevant and modern in the present time. The theme - indifference, friendship, the theme of confrontation between good and evil forces will always remain the focus of stage productions.

The good old fairy tale of the great Danish writer H.H. Andersen “The Snow Queen” has always been liked by audiences of all ages. In principle, the fairy tale seems to be intended for a children's audience, but believe me. It is also necessary for adults, who sometimes, unfortunately, forget and lose sight of simple and eternal human values.

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The rehearsal process in the development of a performance

Pushkin was on good terms with the actress.

In Russia, as in a number of other European civilized countries, the directors' functions were sometimes taken on by the authors of plays. It is no coincidence that the genius of Russian literature Nikolai Vasilyevich Gogol (1809-1852) wrote special explanations for his brilliant “The Inspector General”. In them, the great playwright tried to talk about how he conceived the characters and costumes of the heroes and what details actors should pay attention to when creating a particular role.

Director's concerns also worried the great Russian playwright Alexander Nikolaevich Ostrovsky (1823-1886), who created for the Russian theater a realistic repertoire of a democratic nature that truthfully reflected the people's moral ideals. It was in the everyday life of the “middle class” that he showed both its vices and its beauty: kindness, loyalty, selflessness. Creating a repertoire for the national Russian theater was a task Ostrovsky set himself quite consciously. Ostrovsky’s dramaturgy illuminated Russian life from historical times (“The Snow Maiden”) to the most vibrant, contemporary dramatist topic of the day.

The first serious directing appeared at the end of the 19th century with the emergence of the Moscow Art Theater (1898), which was headed by Konstantin Sergeevich Stanislavsky (real name Alekseev, 1863-1938) and Vladimir Ivanovich Nemirovich-Danchenko (1858-1943). World culture will remember Konstantin Sergeevich Stanislavsky for as long as it exists. He was a brilliant director.
Stanislavsky was born into a merchant family that lived not in order to accumulate more capital, but in order to live interestingly, with dignity, and intelligently on earth. The parents of the future director adored and idolized the theater. Their son Kostya also began to adore and idolize the theater from an early age. From the age of fourteen he began performing on the stage of a home theater, then developed into a gifted, wonderful actor and participated with great success in performances of professional theaters in Moscow.

Stanislavsky's deeply spiritual performance shocked the audience. He was also unusually handsome; the audience remembered him from the first time as tall, flexible, and musical. By the way, a bright, unusual appearance is important for an actor and is not the last in line after talent. Stanislavsky thought a lot about how actors can become inspired creators not by chance, but every time a performance is given.

In the end, Konstantin Sergeevich created a teaching (system), which he called “the art of experiencing.” This became an event of global significance, the same as Newton's Law of Universal Gravitation or the discovery of America by Columbus. Until now, Stanislavsky’s system has not become outdated; it is constantly winning more and more admirers and successors. Behind the powerful figure of Stanislavsky the director, a number of brilliant directors appeared in Russia, such as V. E. Meyerhold, E. B. Vakhtangov, N. P. Okhlopkov, G. A. Tovstonogov, Yu. A. Zavadsky, O. N. Efremov, V. N. Pluchek, M. A. Zakharov and many, many others. . .
The director does not just relax in the hall and during rehearsals. He not only controls which performer should go where, what he should do, how to sneeze, and where to make his speech louder or quieter. The director has his own plan for each play he nurtures. The director's plan always includes an original interpretation of the play, his own understanding and vision of the characters in the dramatic work, careful thinking and solution of the mise-en-scène.

But the main creative task of the director at all times and in all countries is the following: to create a performance that would make the audience worry, that would be modern, in tune with their thoughts, moods, and life. Only then will the performance begin to influence the personality and character of everyone sitting in the hall, and only then will it become a memorable phenomenon of art.

Theatrical performance. Director's explication

1. Motivation and justification for choosing the theme of the theatrical performance

This section indicates the motives for choosing the theme of the script, gives its justification, and reveals its socio-pedagogical significance for the predicted audience.

2. Ideological and thematic content of the script

2.1. Script theme. (Theme is the subject of the author’s artistic research.) The definition of the theme should be brief, specific and answer the questions: What? Where? When?

2.2. Script idea. (The idea is the main conclusion that follows from the script, containing the author’s moral attitude to the events depicted.)

2.4. Conflict. (Conflict is a confrontation, a collision of the acting forces depicted in the work). The carriers of the conflict are identified, as well as their aspirations.

3. The actual content of the script.

3.1. The super task of presentation. (The ultimate goal of the presentation is the ultimate goal for the sake of which the setting is carried out, the idea is revealed).

3.2. Cross-cutting action or script-director's move.

3.3. Event sequence or episodic script construction.

3.4. Stage tasks of performers events(when constructing a script episodicly, stage tasks are not determined). The stage task includes three elements:

- action (what am I doing?);

- purpose of the action (why am I doing it?);

— devices (how do I make them?).

3.6. Real heroes, their role and place in revealing the main idea of the performance.

3.7. Techniques for activating spectators (real, ceremonial and game actions).

4. Editing sheet or light and sound score of the performance.

The installation sheet in the form of a table consists of twelve columns:

1) number in order;

2) the episode, its name exactly matches the script and director’s plan;

3) the title of the issue and its nature, the author and name of the work are indicated;

4) performers are registered: soloists, groups;

5) who is entrusted with the accompaniment of this number, if the number is accompanied by a phonogram, then you need to give the serial number of the phonograms.

6) all texts performed on stage, heard on the radio are entered, and announcer’s texts are entered here;

7) the need for film material is recorded, indicating the nature of the tape and format;

8) it is indicated in what stage design the performance takes place;

9) the lighting design for each act is filled in, and staging effects are recorded here;

10) costumes for performers, all costume accessories;

11) props and props;

12) notes.

The light and sound score is made according to the following scheme:

5. Scenographic solution for the performance

5.1. A figurative solution to the presentation. (Figurative solution is a set of expressive means with which the director reveals his concept of the work, his artistic thought).

5.2. Layout of scenery. (Set layout is a drawing of the location of scenery, various structures, furniture and other elements of the material environment on the stage area).

BASIC PRINCIPLES OF THEATER

The stage area is viewed from above.

5.3. Sketch or layout of the stage design.

5.4. Costume sketches.

5.5. Sketches of posters, programs, invitation cards.

6. Plan for preparing a theatrical performance

7. Plan for a holiday or program for a theatrical performance.

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SIMPLE SENTENCE

LESSON #19

Subject. Secondary members of the sentence

Goal: to restore in students’ memory the studied material about the secondary members of a sentence; improve the ability to identify minor members in a sentence, determine their type, methods of expression; develop logical thinking; cultivate a culture of speech. 76

Equipment: textbook, handouts and teaching materials, table.

DURING THE CLASSES

The mind grows by what it feeds.

D. Holland

I. ANNOUNCEMENT OF THE TOPIC AND OBJECTIVES OF THE LESSON

II. MOTIVATION OF STUDENTS' LEARNING ACTIVITIES

Reading the epigraph and working with it.

III. UPDATED BACKGROUND KNOWLEDGE OF STUDENTS

1. Checking homework.

(Students read proverbs prepared at home and explain the placement of dashes in them.)

2. Work using cards.

(Two students work at the blackboard.)

Card 1

Perform a full parsing of the sentence. Determine how the subject is expressed, indicate the type of predicate.

In the western part of the taiga the climate is warmer.

Card 2

Perform a full parsing of the sentence.

Determine how the subject is expressed, indicate the type of predicate.

Bread, filled with solar and earthly power, looks at us appetizingly.

3. Vocabulary dictation with grammar task.

Write down the phrases and determine the type of connection in them.

Using phrases, make three sentences - simple, complete and common.

Parse the sentence.

Give an interpretation of the words “congress”, “conference”.

The talent of the director, rehearsal of the play, stage art, amaze the audience, prepare for the conference, congress of biologists, festive illumination, carnival night, hurricane wind, embodied plan, diligently execute, the majority of those present, the election commission.

IV. LEARNING NEW MATERIAL

1. Working with the textbook.

(Students study theoretical material from the textbook, answering questions.)

Questions for students

3) What is the subject?

4) What is a predicate? What types of predicates do you know?

5) What are the secondary members of the sentence?

6) What is a supplement?

7) What is the definition?

8) What is a circumstance?

2. Teacher’s explanation based on the diagram.

Minor members of a sentence explain the main or other minor members of a sentence. They are divided according to their grammatical meanings into additions, definitions and circumstances.

Theater director

These meanings are recognized by the questions. For example, in the sentence Hunters carefully walk around the wolves lying in the thicket: (are they walking around whom?) wolves - addition; (go around how?) carefully - circumstance; (what wolves?) lying down - definition; (lying where?) in the thicket - circumstance.

V. CONSTRUCTION OF LEARNED MATERIAL

1. Teamwork.

Write down the sentences. Parse them.

2) The sweetish smell of water lilies is mixed with the smell of water.

3) Twenty years is an absolutely insignificant period in the life of a people.

4) That night little Dimka could not sleep for a long time.

2. Practical work.

Using phrases from the dictation, make one simple sentence with an addition, one simple sentence with a definition and one simple sentence with a circumstance.

Parse these sentences.

3. Linguistic task.

Read the sentences.

Make diagrams of the first, sixth and seventh sentences.

Solve the problem.

Students from different faculties of the Pedagogical University organized a pop quartet. Mikhail plays the saxophone in it. The pianist studies at the Faculty of Physics. The drummer's name is not Valery, and the student's name is not Leonid. Mikhail studies at the Faculty of History. Andrey is not a pianist or a biologist. Valery is not studying at the Faculty of Physics, and the drummer is not studying at the Faculty of History, and Leonid does not play the double bass.

What instrument does Valery play and what faculty does he study at?

(Answer: Valery plays the double bass and studies at the Faculty of Biology.)

VI. SUMMARY OF THE LESSON

1. Assessing students' educational achievements.

2. Final conversation.

1) What groups are the members of the sentence divided into?

2) What are the main members of the sentence?

3) What are the minor members of sentences?

4) What is a supplement?

5) What is the definition?

6) What is a circumstance?

Conclusion. A sentence has main and minor members. The main members are the subject and the predicate, the secondary ones are the addition, definition, circumstance.

VII. HOMEWORK

1. Learn theoretical material.

2. Complete the exercise from the textbook (teacher’s choice).

3. High-level task: using common sentences, write a miniature essay “Who I want to be.”

SOCIOLOGY

1. An idea that was adopted by social scientists from the natural sciences is the idea that... ( that social development is subject to the laws of determinism )

2. The conflictological direction in sociology was developed by... ( R. Durrendorf )

3. The standard of comparison in the experiment is the _____ group. ( control )

4. Two types of expert survey are... ( Delphi method And Forecast scenario method )

5. The ideal types of social action in M. Weber’s theory include... ( affective action And purposeful action )

6. The fleeting nature and short duration of existence are essential signs of social... ( contact )

7. Social deviation is defined as... ( deviation from generally accepted behavioral norms )

8. At the group level, social stereotypes perform the following two functions ( The function of forming and maintaining group ideology And The function of creating and maintaining a positive “We-image”)

9. Society is viewed like an English park, where the structure and positions in... ( within the framework of the structural-functionalist paradigm )

10. According to E. Durkheim, the following two features are characteristic of pre-industrial society... ( The individual merges with others like him in the same collective type e and The individual has no individuality of his own )

11. For the first time he introduced the term “social institution” into scientific circulation... (G. Spencer )

12. The type of marriage when the future husband or wife is chosen only from among representatives of their group (ethnic, territorial, etc.) is called _____. ( endogamous )

13. The United Nations stands... ( governing body of the world community And organization representing the world community )

14. Factors in the globalization process include... ( distribution of electronic communications And formation of global technologies )

15. Oppose the modern world order... ( anti-globalists And extremists )

16. According to experts, the most capacious markets in the near future will be in countries... ( BRIC (Brazil, Russia, India, China )

17. A specific feature of the primary group is that... ( relationships between group members are informal )

18. What distinguishes a small social group from a large one is... ( stability and duration of operation )

19. Being present at the concert of the satirist M. Zadornov, a person is a member... (audience )

20. Are the following judgments true: A) The presentation of a certificate of honor is an example of a formal sanction; B) Presenting a certificate of honor is an example of a positive sanction. ( Both statements are correct )

THEATER REHEARSAL

The basis of social inequality in R. Durrendorf’s theory of conflict is the struggle for... ( power )

22. In modern sociology, the following two professional groups are not classified as “blue collar” workers: ( top managers And show business stars )

24. Types of social mobility include __________ mobility. ( intergenerational )

25. Social revolution…( represents a fundamental change in the social system as a whole )

26. The development of society goes from the primitive communal system through slavery, feudalism and capitalism to communism, believed .... (K. Marx )

27. A type of culture characterized by the production of cultural values and samples, which, due to their exclusivity, are designed and accessible mainly to a narrow circle of people, is called ... ( elite culture )

28. The physical factors of social change include(s)… ( natural disasters )

29. The set of traits that distinguish one individual from another is called... ( individuality )

30. The process of personal socialization excludes... ( isolation of the individual )

31. The concepts of “social status” and “social role” are in the following relationship ( social role is the expected behavior determined by the social status of the individual )

32. The most important economic condition for the formation and consideration by the government of public opinion is ___ ( market)

How to write a director's explication

(c) Evgeniy Belov
http://tvkinoradio.ru
Brief instructions for compiling a director's explication with tips and illustrative examples

What is explication?

Explication format

As a rule, all explications are written in free form, but there is a certain list of points that it is desirable to reflect in the final text.

1. What is the story of your film?

This is the most important question, which can be divided into several components: the main idea, how the action will develop, what is the driving story, what is the dramaturgy of the picture, what is its main task, what is the main conflict. In fact, this is the key description of your concept (Andrei Tarkovsky talks well about assessing the concept of his film in “Directing Lessons”).

2. What genre is the film made in?

Fantastic tragicomedy, sentimental detective story, docudrama or the usual rom-com - very often the genre plays a decisive role in the producer’s decision to take on your work.

3. Where does the film take place?

DISTRIBUTION OF ROLES. ORGANIZATION OF REHEARSALS

The same goes for interiors, you need to have a clear idea of what will work for your story and what is best avoided. Up to understanding what color the wallpaper will be in the main character’s room, how many windows, what kind of light and what kind of furniture is in his home. It would not be amiss to indicate the time of the film - day or night, winter or summer, as well as any specific weather conditions (heavy rain, clear sun, sunset, etc.)

Materials for the film “Elena” by Andrey Zvyagintsev - Vladimir House, Natura

Sketch by Alena Shkermontova for the film “Return” by Andrei Zvyagintsev

4. What is the style of your film?

Name reference films that are similar in spirit to your film and provide a few frames as examples. What will your future creation look like: ideal in composition and naive in spirit paintings by Wes Anderson, acidic in picture and frank in content films of Gaspar Noe, or pseudo-documentary and ironic works of Ulrich Seidl? Maybe you generally focus on paintings by famous artists? What mood will the viewer leave with after watching your film (for example, with a feeling of happiness or with light sadness)?

From the explication for the film “Elena” by Andrei Zvyagintsev - Edward Hopper’s painting “Hotel Room”, 1931.

5. Visual design of your film (intersects with the previous point)

Describe the atmosphere of the picture:

color scheme (cold or warm range, b/w or color, natural or acidic color, and so on;
type of camera (DSLR, Red, Alexa or even GoPro, what kind of optics it will be);
camera movement (handheld, tripod, steadicam, rails or crane);
working with light (absolutely natural lighting, as in “The Revenant” by Alejandro González Inarritu, or filming in a laboratory in the light of fluorescent lamps);
features of framing and composition (perfectly constructed picture or deliberate violation with displacement of objects);
features of editing (intra-frame, torn or parallel, nature of transitions).

It wouldn’t hurt to describe what your heroes will be wearing. Especially if their clothing affects the overall color perception of the picture. Here you can also indicate the cameramen and production designers whom you would like to invite to your shooting.

6. Sound design and musical solution

7. Cast

Photo tests for the film “Elena” by Andrey Zvyagintsev - Nadezhda Markina

Explication volume

There is no fixed number of pages for explications; it all depends on the conditions. At some competitions or pitchings, I may require you to fit everything on one or two pages, but for some, 5-10 sheets will not be enough. At one of his master classes, Nikita Mikhalkov said that his explications are usually three times larger in volume than the script, since he describes in detail everything that he would like to receive during filming. The main task of the explication, in his opinion, is to constantly refer to it, to check with the plan if something goes wrong. Check whether the scene will work in new conditions (for example, instead of the sun it’s raining) and whether this does not contradict the general concept of the film.

Examples of director's explications:

Director's explication of scene 17 from the film "Burnt by the Sun 2" by Nikita Mikhalkov.

Director's explication of the short story "Cupid of the First Class" (dir. Sergei Burov), included in the Disney almanac "Happiness is...".

As a special bonus - the director's explication of the never staged opera "Die Walküre" by Lars von Trier.

Other types of explications

As mentioned at the very beginning of the article, there are other types of explications, which are developed by the remaining members of the film crew. As a rule, they intersect with the director's explication. So, for example, the director of photography, based on the storyboard, makes his cameraman's explication, in which he describes in literary and schematic form the visual design of the film (tonality, coloristic decision, type of shooting, angle, change of plans, lighting, composition). This is especially important if visual effects are planned for the film; even at the pre-visualization stage, equipment and optics are tested, distances, backgrounds and sizes of objects are measured. You can read more about creating a camera explication, working with the dramaturgy of light and color solutions in the book “Profession - Cameraman” (M.M. Volynets, 2008).

Example of operator explication
The production designer creates his own visual explication, accompanying it with sketches of costumes, scenery, and so on. He must convey in his explication the composition of the entire work, the relationship between objects and episodes, and show the logic of their development. The artist’s task is to emphasize the dramaturgy of the scenes, reveal their artistic meaning and achieve stylistic consistency. You can read more about this in the book by L.B. Klyueva “Problems of style in screen arts.”

Sketch by Andrei Ponkratov for the film “Leviathan” by Andrei Zvyagintsev - Living room in Nikolai’s House

The sound director and composer can provide the director with their own sound explications, which, like the camera's, are created on the basis of the storyboard and individual scenes. The sound engineer clarifies for the sound engineer the nature of the noise objects that need to be recorded, in which frames they should sound and where they should be recorded (or taken from the sound library). The composer in his explication indicates the place and time of the audio composition, its nature and the composition of the orchestra.

Sound explication for the film “Time, Forward!” Mikhail Schweitzer.

Sound explication for the film “Time Forward”

Specific event basis and local material in the structure of the TP and P scenario.

Event development is the most important part of the director's plan. An event is the basic structural unit of stage life, an indivisible atom of an effective process. Action is the basic law of dramaturgy.

Stanislavsky wrote about the method of so-called “intelligence with the mind” and “intelligence with the body.” This technique is based on the ability of theater artists to perceive reality in an eventful way. At the stage of “intelligence”, the director forms an idea of how the performance will develop - from the initial event, through the main, central, final - to the main event. The chain of events selected by the director at the “intelligence” stage is the path to the production decision of the play.

Stanislavsky proposed to identify in the analysis the most important events that determine the process of movement of the performance.

— the initial event — the emergence of a conflict;

- the main event - its essence;

— the main event is the resolution of the conflict.

Tovstonogov believed that the play in its development is based on five such events:

1. The initial event is the emotional “beginning” of the performance. It begins outside the performance and ends before the eyes of the spectator; reflects the original proposed circumstance.

2. The main event - here the struggle for the end-to-end action begins, the leading proposed circumstance of the play comes into force.

3. The central event is the climactic peak of the struggle in the play through the end-to-end action.

4. The final event - here the struggle for end-to-end action ends, the leading proposed circumstance is exhausted.

5. The main event is the very last event of the performance, containing the “grain” of the super task; the idea of the work becomes clear in it; here the fate of the original proposed circumstance is decided (it either changes or remains the same).

An event is a complex, long-term continuous process, which, in addition to its physical existence, also has a mental one. An event can change the hero’s goal, his line of behavior, and be a catalyst for action.

There is a kind of scheme by which you can trace the process of unfolding an event: 1) perception; 2) assessment; 3) direct action. Or in other words - as Stanislavsky said: “I saw - I got scared - I ran.”

Event series as a reflection of end-to-end action

An event is the basic structural unit of stage life, an indivisible part of an effective process. Just as substances are formed from particles, a series of events is formed from events. As Tovstonogov noted in “Conversations with Colleagues”: “Events are strung on the core of the conflict, forming a kind of kebab.”

Performance rehearsals: where to start, how to conduct them?

A skewer, or a rod on which pieces are strung - events - through action (as well as counter-action). End-to-end action is a path of struggle aimed at achieving a super task, and counter-action is the force that resists solving the problem.

An event is always a process that is happening now, before our eyes in time and space. Each event can have only one action and one counteraction. Thus, an event is the sum of circumstances with one action.

When an action becomes accomplished—it exhausts itself in time and space—the event also ends; the next action begins - the next stage of stage life, and therefore a new event is born. Both the director and the actor need to be able to think event-wise and procedurally. Mastering this way of thinking contributes to the “construction” of cross-cutting action.

The event structure of the play is the main core of the method of effective analysis. The event contains both an objective and a subjective side, therefore the plot, based on the individual point of view of the artist, brings us closer to the ultimate goal of the play, the cross-cutting action, the understanding of its main conflict, the initial and leading proposed circumstances. However, not every event in the play is part of its overall action. The end-to-end action begins only in the main event and ends in the final one. In the main event of the play, its super task is clarified, the fate of the original proposed circumstance is decided, and this is the very last event of the play.

The entire performance should be based on one large-scale event - for example, a holiday. This large-scale event is the foundation of the performance. Its ideological and thematic concept directly determines the nature and content of the events included in the script.

The script is always divided into episodes or blocks. Each episode is a plot device in the development of the overall action, which, in accordance with the idea of the script author, contains a certain meaning. Each episode is to some extent independent, autonomous relative to other blocks. It has its own internal structure. Each block, in order to be considered implemented within the script, must have a beginning, development, and denouement. The change of episodes is accompanied by a change - a change of scenery, switching of lights, the appearance of a new character, a change in musical accompaniment, etc. - some new solution. In other words, the script must develop and evolve from block to block. Episodes must undergo changes that are subordinate to the general concept, the style of the entire performance, and its main genre characteristics.

The appearance of each new episode should become an event.The event, first of all, is designed to interest the viewer, switch attention in time and always keep it in an active state. Each subsequent event should be an order of magnitude higher in emotional intensity than the previous one, and so on until the maximum emotional point of presentation. The entire series of events is built exactly according to this principle.

When developing a scenario, it is necessary to remember such concepts as pre-event and post-event series. Pre-event series - the circumstances preceding the event, the proposed circumstances, and post-event series, accordingly, the circumstances following the event. On stage, nothing appears out of nowhere - it is always conditioned by previous events, nothing disappears into nowhere - for this there is a post-event series. The latter includes in addition the function of a catalyst, namely, a post-event series, giving new proposed circumstances for another event within the framework of the plan.

A theatrical performance is almost always staged on the occasion of some historical and socially significant major event. The structure of a theatrical concert is built according to the laws of dramaturgy, dictated by the internal spring of the development of the original event or events.

Events have dual spatial and temporal characteristics. Let's consider duality in the temporal aspect. This means that the real event that was the basis (or is an element) of the holiday has already happened in the past. Those. having certain "historical roots" in the past, the event unfolds in the present - on the stage. The duality of the event in the spatial sense lies in the division of the real space - in which the event took place in fact, and the scenic space - the space of this holiday . Thus, two nuances must be observed. The first concerns the elimination of temporal duality. It is necessary to match costumes, dances, songs, manner of speaking, household items, etc., i.e. elements of the era in which the event occurred. And the second nuance concerns spatial ambivalence. This or that space in which this or that event takes place must be reflected in the director’s decision and in the scenography.

TICKET No. 10

The finale in the scenario of a theatrical performance and celebration. Its significance for incarnation

Ideological and artistic concept and for the composition of the script.

Allegorical means of expression in the script of a holiday, theatrical performance.