Theater directing. Theater director

Today's teenagers dream of fame and recognition; they want to work in the film industry and create their own large-scale video projects. Many people, including girls, no longer dream of being actresses. They believe that there are many more opportunities in the director's field. Before choosing a department at a cultural institute or theater school, you need to get a clear idea of ​​who the director is.

Freedom of expression

Most often, independent young people who think creatively, love and know how to express themselves, and are not afraid to experiment, enter the directing department. It’s so tempting to be the ideological inspirer of a theatrical production, play, performance, short or full-length film. Many find themselves filming commercials and video clips. Who is the director?

Great responsibility

Essentially, this is the artistic director of a theatrical production or television project. He is responsible for organizing the process from beginning to end. It would be useful for young schoolchildren to learn that in addition to broad powers, the director is responsible for the success of the event. If young people love to express themselves and have a lot of creative ideas, this alone may not be enough for success in the professional field. Organizational and leadership skills are also required here. This is why there are so many unclaimed directors and failed projects.

Project concept, concept development, dramaturgy

Work on a project begins with defining the concept and design. People with script writing skills often combine the work of director and screenwriter. However, for the best results, outside help is needed. That is why, once the concept is determined, the search for a good playwright begins. It’s easier for people who have been working in the field of theater or cinema for several years: they have developed a sufficient number of connections. Young directors are distinguished by their creativity and informal approach. They often resort to the help of their classmates at the theater institute.

Art group

What does a director do after he has decided on a concept and selected a screenwriter who meets his requirements to collaborate with? Recruitment for the production team begins. For example, if this is a theatrical production, in addition to the approved actors, the presence of a costume designer, choreographer, assistants and their assistants, light and sound specialists, and make-up artists is required.

If the production requires it, then the masters responsible for the stunts will be involved in the work. For a grandiose play, one director is not enough, so the artistic director hires an assistant. Then the entire assembled group begins rehearsal activities, after which performances follow. So, we found out who a theater director is. Now let's talk about film and television projects.

Film and television

To some extent, theatrical productions seem easier to perform. Today's youth are increasingly attracted to profitable film projects. However, in order to realize your plan, you need to find producers, because these days few people shoot with an amateur camera using non-professional actors. In addition to creating a concept, the film director must think through the shooting scenes in detail and calculate the estimate. And only then, based on the available finances, the selection of a film crew begins.

Unknown but ambitious actors are invited to low-budget projects. If the project has influential sponsors and producers, the director can offer work to well-known, well-established performers. Having a big acting name in the project is almost a win-win step. Despite the fact that the sought-after artist will have to pay a high fee for his work, audience interest compensates for the costs with box office receipts. It is clear from everything that a film director is a fairly responsible profession that requires risk. It is known that not every project pays off at the box office.

Required qualities and skills

The work of a production director seems tempting, however, it requires maximum dedication from a professional. Sometimes filming lasts 18 hours a day. Therefore, the director on set must be able to do not only his own job. While requiring actors to execute a scene accurately, he must also possess a considerable amount of performance skill. In essence, this person is the link and holds in his hands the threads of process control. He must understand the intricacies of light, know winning angles, and partly be a costume designer.

This person is directly involved in the selection of decorations. He does not deprive himself of stunt tricks, visual and technical effects, and sound recording. If necessary, the chief director can intervene and correct certain movements. As you can see, this profession requires you to be a jack of all trades and understand all the intricacies of cinema. That is why only a few achieve wide recognition.

Group work

Staging work takes a lot of energy. What does a director do if crew members refuse to follow certain instructions? This work requires both the skills of an educational psychologist and an experienced leader. In order to interact with people, the project manager must have a strong will and the ability to defend his own point of view. The director can be compared to a puppeteer, holding all the threads of controlling the process in his hands. However, this activity is much more difficult and unpredictable, because instead of dolls, the director has people, each of whom has a bright personality.

Conclusion

The article will be useful to future applicants to theater educational institutions and their parents. You learned who the director is, what his powers and scope of activity are. Undoubtedly, the advantages of the profession include creative prospects, working with unique and interesting personalities, as well as recognition in case of success. There are also a lot of disadvantages: directing takes up almost all of your free time, you can’t discount protracted creative crises and lack of money if the project fails. One way or another, this profession is one of the most difficult. When making a decision, this must be taken into account.

Media, entertainment in the form of films, shows, plays, theater productions and the like have become a part of our lives. Now we cannot even imagine how we would live and have fun if there were no television and theater. But someone comes up with all these productions and films, develops the script, and embodies what was planned in the actors’ performances. This is the profession we will talk about in this article.

In any movie, show or production, the profession “Director” appears. A certain job description is hidden under the mysterious name. Although a person who is far from the industry of filmmaking understands the director’s list of actions quite vaguely. Or perhaps it doesn’t represent him at all. So, what kind of profession is a director?

In fact, the director is the most important person in the film. It is on him that the acting, the presence and type of scenery, the quality of the film, the correctly selected cast, the composition of screenwriters, voice acting, special effects, and so on depend. The profession of "Director" involves continuous communication with and management of many people. Without him, there would be chaos and complete misunderstanding between people on the site.

Profession "Director": description

This profession is very complex, capacious, but also exciting. The director can be compared to the conductor of an orchestra. It is he who directs the actions of all the specialists who are on the set. His task is to achieve productivity in the interactions of people, to coordinate the sequence and necessity of performing different tasks, to convey to the creative staff what exactly is required from whom, and most importantly - in what time frame and in what form. The profession of "Director" is the most important in the field of cinema and theatrical productions. It is thanks to these people that truly exciting and fascinating masterpieces of world cinema and productions are presented to our attention.

History of the profession

The history of the “Director” profession is not as long as one might assume. It appeared only in the second half of the nineteenth century. Before this, there was no such position. It would seem, how did theaters function then? In those days, performances were staged either by the authors of the works themselves or by the acting troupe together. The need for directors arose with the increase in the number of theaters, as well as with the advent of the film industry.

Demand for the profession

The profession of "Film Director" is one of the most prestigious at the moment. Making your way to the big screens, working on films that will subsequently be seen by millions of people, is the cherished dream of many people who have connected their lives with directing. However, not everyone can really reach such heights. At the moment, a director can engage not only in film editing, but also accompany holidays and concerts of various sizes, stage plays in theaters, work with a group of animators, and so on. So, we can say that the demand is average. In big cinema there is almost none of it, and in very modest circles there is enough of it, but there are not enough people willing to work from time to time, and even for a small remuneration.

Human qualities

In order to get a good position in this profession, you must have a set of certain human qualities. The profession of “Film Editing and Theater Director” is exclusively creative. A candidate director must have an exceptional sense of beauty. Bring the actors' performance to a perfect level, feel the temporary components of the production, see what additional and main effects are needed, lighting, sequence of actions, and so on. The director must see the picture as a whole and at the same time in parts, so as not to lose sight of any important detail. In addition, communication skills must be well developed. Still, you will have to constantly work with a huge number of different people, explain to them their tasks, and find an approach to everyone.

Director's skills and abilities

You can learn the profession of director at colleges, academies, universities, cultural and cinematographic institutes. At least one of them in any city provides the opportunity to learn this craft. The profession of "Theater and Film Director" requires excellent knowledge of both foreign and national, both modern and historical. The director must understand genres and be able to correctly express his thoughts, both orally and in writing. Developed oratory and competent speech are important. No director can achieve anything in this matter without leadership data. Imagination, broad outlook, personal artistry, the ability to quickly make the most unexpected decisions - all this must be possessed by a director. The specifics of the profession require constant improvement of this data.

Director's responsibilities

This person is responsible for selecting the script, reading it, and correcting it. His tasks include collaborating with screenwriters and producers and finding funds for the film adaptation. director" and "film director" imply direct participation in the production and organization of a film adaptation or theatrical performance. These people select suitable candidates for a particular role, carry out preparatory work with them, explain the essence of the future role, the nuances of the game, and set the time for filming and rehearsals. At the final stage, the director’s responsibilities include checking the proper level at all stages of the work. He needs to make sure of the quality of the sound, lighting, music, scenery, work of stylists, etc. The director includes the most important co-operator of all representatives on the set. he is the organizer, manager and manager all rolled into one. His tasks include promoting his brainchild, advertising, selling to cinemas or theaters. Without his active participation, no one will ever hear about the new masterpiece.

Most famous universities

Almost all Russian directors are graduates of two famous Moscow universities. This is the All-Russian State Institute of Cinematography named after S.A. Gerasimova (VGIK) and These two universities have produced many creative and talented individuals. It's quite difficult to get there. And most likely, you will have to study on a paid basis. There are only 5-8 budget places available. But the prospects that these educational institutions give their students are worth the money they have to pay for education. Education and the fame of the place in which it was received is a very important moment in the career of a public person.

Pros and cons of being a director

The work of a director is quite labor-intensive and requires full dedication from a person. In order to get to a more or less enviable position, you will have to work a lot. Sometimes even for days on end. Look for opportunities, find and make useful contacts, keep in touch with many necessary people at the same time. In addition, you will have to invest a lot of emotions and your own feelings into the creative process and the process of conveying your point of view to the people around you. You will have to work a lot, for a long time, persistently and not always with good pay. In order to get a good project, you may have to go through several free competitions. But if the plan is realized, respect, position in society and the material side of the issue will not fail to please.

Salary expectations

You can start your career with Depending on the total cost of the project, the salary of assistants ranges from twenty thousand to forty. Directors and producers of various large-scale conferences and exhibitions, various presentations designed for a large number of participants, can receive a salary of seventy to two hundred thousand rubles per project.

It is quite difficult to estimate average salaries for this profession. Successful directors can earn millions for their films, and ordinary industry representatives involved in low-budget films and productions can really work for pennies. In the theater, the director can receive either a percentage of the proceeds for the entire performance or a clearly fixed salary. The salary usually in such cases ranges from thirty-five to fifty thousand rubles per month. The interest rate may be more favorable, but it does not promise stability.

The history of the emergence of the director's profession

In the course of various reforms and changes in political, cultural, social life, the well-established one began to falter and required restructuring. The destruction began with a breakdown in the harmony of dramatic action; the accepted hierarchy in the work of the troupe disintegrated. Previously, it was customary that the entire action was built around one of the characters, one person played the main role on stage throughout the entire play. There was a kind of pyramid of the troupe, the top of which were the premieres, the next step were those who played supporting roles, and even lower in this hierarchy were the tertiary performers.

But plays began to appear where the action covered more than one storyline, and there were several heroes, instead of one main one. The three-level hierarchy was replaced by an ensemble; first one or another performer came to the fore, depending on the development of the play. Such dramaturgy no longer allowed one actor to carry out spontaneous directing; roles were no longer created around which the entire action was revolved. During the course of the play several centers emerged. Playwrights were also losing their importance. At the same time, the role of decorators increased, which further deepened the conflict situation. The authors of the plays did not want to give up their positions; they tried to impose their opinions on the performers and artists through multiple stage directions and author’s instructions.

Initially, the director came from among actors and playwrights and only later became an autonomous figure. Although this process was quite rapid, the responsibilities of a representative of the new profession gradually changed and did not take shape immediately.

The tasks of the first directors of the Russian theater

1. Initially, he was required to resolve organizational issues.
2. Then the updated position of directors appeared - this is the recruitment of a troupe, the choice of repertoire, actors of a certain type, placement in suitable buildings.
3. Another area of ​​activity is organizing the creative process of working on a play.
4. Greater importance began to be given to the preparatory stage. It included: searching for materials, for example, for historical productions, reading a play, and rehearsing.
5. There was a need to unite the troupe around one person, submit to his will and maintain discipline. The director began to solve this problem.
6. His equally important responsibility was the function of educating the team in accordance with the repertoire and rules.
7. There is a need to educate the audience in new traditions and rules.
8. The expansion of functionality was especially expressed in, for example, the creation of complex mise-en-scenes. They could only appear with the assistance of the director, who saw the stage from the auditorium. Mise-en-scène, along with plastic arts and words, became the language of production.

When all this was concentrated in the hands of one person - the director, then he, and not the playwright or actor, became the author of the performance. His concept and composition became the basis; this made the performance itself more holistic.

In Europe, this position appeared in the second half of the 19th century. In Russia, this process proceeded at a slower pace, for which there were historical reasons. Russia was a young theatrical state. The development of this type of art in both capitals was slowed down by the monopoly law. According to it, only imperial theaters could operate in Moscow and St. Petersburg, while private enterprises existed in the provinces. The monopoly was abolished in 1882, this served as the basis for the emergence of private stage venues, but they found it difficult to compete with the existing ones, so they opened and closed, unable to withstand the competition.

Moscow Art Theater as the cradle of Russian directing

By the time the Moscow Art Theater appeared, the capital's public was already ready and was looking forward to the birth of the new temple of Melpomene. The historical one outlined the fundamental ideas of the existence of the new theater. During their famous conversation the following questions were discussed:

• stage ethics,
• technical side of things,
• process organization,
• repertoire,
• building relationships within the team and between two leaders.

On all counts, they already had a special plan for reforming the old complex stage body, and these ideas did not contradict, but only complemented each other. Dual leadership made it possible to use Stanislavsky's organizational talent - he was given the production part, and Nemirovich was responsible for the literary side of the process. The troupe included Moskvin, Knipper, Meyerhold and other amateur actors from the Alekseevsky circle and graduates of the Philharmonic Society. The new directors’ program for the future of the theater came together right away; not everything was accomplished at first; some things came easy; others took many years to achieve.

The ideal was a troupe without hierarchy, created on creative and social equality. The entire process of preparing and working on the play at the Moscow Art Theater was structured differently than was previously accepted. Much attention was paid to the preparatory stage of the production: reading the play, its analysis, multiple and dress rehearsals. The preparatory process also involved the education of the viewer: it was forbidden to walk around the hall during the action, enter after the third bell, or interrupt the action with applause.

Nemirovich paid great attention to the quality of dramaturgy in the repertoire. There was nothing random here, but there were no restrictions on style or theme. The first ten years in the repertoire could be traced in several directions:

• historical and everyday life (A. Tolstoy),

• intuitions and feelings (Chekhov),

• socio-political (Ibsen, Gorky),

• social and everyday (Hauptmann, L. Tolstoy),

• fantasy, symbolism (Ostrovsky, Maeterlinck).

The first was the play “Tsar Fyodor Ioannovich” by A. Tolstoy. The drama was in keeping with the stated goals of the new temple of Melpomene. Both directors drew inspiration from the tours of the Duke of Meiningen's troupe, from there they took the desire for historical authenticity, harmony in every element of the action, and careful study of crowd scenes. The production was successful, but Nemirovich said that the Moscow Art Theater was not born with this premiere, but much later, in a modest series of working days.

The following performances were announced in the repertoire:

• "Antigone" by Sophocles,

• "The Seagull" by Chekhov,

• "Hedda Gabler" by Ibsen,

• "The Merchant of Venice" by Shakespeare,

• "The Sunken Bell", "Hannele" by Hauptmann,

• Pisemsky’s “arbitrary people.”

It was “The Seagull” that marked the birth of a new stage venue. The premiere, which took place on December 17, 1898, was not noisy, the hall was half empty, but it was with this play that success began. This and others: “Uncle Vanya”, “Three Sisters”, “The Cherry Orchard” radically changed the dramatic art of the new century.

The Moscow Art Theater immediately became fashionable and beloved by the intelligentsia, who saw their ideals in its productions.

The role and significance of the Moscow Art Theater

The revolutionary ideas of Stanislavsky and Nemirovich were developed. By 1910, the director's theater was divided in two. The first is literary and psychological, separating the stage and the auditorium with an invisible wall. The second is with improvisation, similar in spirit to commedia dell'arte. At the same time, all kinds of performing arts of both directions existed; they mutually influenced and complemented each other.

Fifteen years since the significant meeting of Stanislavsky and Nemirovich-Danchenko:

• The Moscow Art Theater appeared, it developed its influence on the dramatic art of the early 20th century,
• a new creative profession of director was born,
• the author of the play has changed,
• the birth of a new profession helped the formation of the dramatic stage as an independent art,
• Directing, which grew out of the Moscow Art Theater experience, began to develop in different directions.

New theater directed by V.S. Meyerhold

After four seasons, Meyerhold, the leading actor of the troupe, will leave it, deciding to try himself in a new role as a director. First, he will create the “New Drama Partnership”, then he will try himself, working in a branch of the Moscow Art Theater. He will try to free himself from the excessive natural truth of the Meiningen school. His studio will embody the idea of ​​conventional dramatic art.

The theory and practical implementation of symbolist theater was reflected in the work of Maeterlinck. Based on this and developing the idea of ​​static performance, Meyerhold, at the end of 1906, staged the play “Balaganchik” at Komissarzhevskaya’s in St. Petersburg. There is no literary source in the booth theater. According to the dramatic plan, the actor becomes the center of improvisational action. The action is based on a script - a series of dramatic situations, but not with specific characters, but with masked images without individual features, where the stage space and the objective world are conventional. The performers had to study the techniques of past eras in order to use the techniques of grotesque and farce in the game.

Russian directing of the Silver Age

He brought to the world five great directors on the world stage, each of whom left his own unique mark on art. M. Chekhov described them as follows:

• Konstantin Stanislavsky - with devotion to the truth of inner life,
• Vladimir Nemirovich-Danchenko - with precision of thinking, a sense of structure and integrity,
• Vsevolod Meyerhold - with a demonic imagination to see evil in everything,
• Evgeny Vakhtangov - with rich theatricality,
• Alexander Tairov - with a desire for beauty.

These directors expanded the boundaries of dramatic art, pointed out the possibility of choice in the creative method of creating a performance, and convinced that on stage everything is acceptable and everything is possible. And they themselves remained in Russian theatrical history as the great masters of Russian director's theater, becoming the founders of many, many subsequent trends and schools.

In Ushakov's explanatory dictionary of the Russian language we find the following definition. Director(from French régisseur - actor manager, and Lat. Rego - manage) - artistic director of a theatrical or cinematic production, combining all the work on preparing the performance.

The profession of a director is a profession of the twentieth century. Although since ancient times the theater has been managed: someone has always been at the head of the organization of its creative life. Thus, in the ancient Greek theater there is such a figure as joreg- a wealthy citizen who, subject to his exemption from taxes, carried out a theatrical production at his own expense. However, his responsibilities included not only material support for the stage action. Khoreg selected the choir (one of the main characters in the ancient Greek theater) and found a teacher to work with it - the horodidaskala, as well as musicians - a flutist who accompanied the choir, and a lyre player who accompanied the singing of the actors themselves with his playing, organized rehearsals, ordered scenery and props.

In the 18th and 19th centuries, the functions of the director were not so much artistic and creative as administrative and technical in nature and differed little from the duties of the current assistant director. Creative functions, which constitute the main content of modern directing art, used to be taken on by one of the most authoritative participants in the overall work - the author of the play, the first actor, artist or entrepreneur. But such random, “unofficial” direction rarely brought the task of creating the ideological and artistic unity of the performance to the end: discord between its individual elements, to one degree or another, turned out to be inevitable. The same thing happened in those cases when the team, without a single leader, tried to achieve the creative organization of the performance through the collective efforts of all participants. Previously, one had to put up with this out of necessity, being satisfied with the most insignificant successes along the way.

This was the case until the moment when the Moscow Art Theater began its triumphal march in Russia and in the world theater space under the leadership of amateur actor K.S. Stanislavsky and writer V.I. Nemirovich-Danchenko. This happened in 1898, and if earlier plays were staged, now they began to be created. From that time on, the director came to the theater and, in fact, took all the power there.

Today, no one will agree to recognize a performance as a full-fledged work of art, despite the excellent performance of individual roles and magnificent scenery, if it as a whole is devoid of stylistic unity and general ideological purposefulness (what Stanislavsky called the performance’s ultimate task). And this cannot be achieved without a director. Therefore, simultaneously with the growth of ideological and aesthetic requirements for the performance, the very concept of directing art expanded and deepened and its role in the complex complex of various components of the theater continuously increased.

Speaking about the need to achieve unity of all elements of the performance, K.S. Stanislavsky wrote: “This large, united and well-armed army simultaneously influences a whole crowd of theater spectators with a common friendly onslaught, forcing thousands of human hearts to beat at once, in unison.” Who should train, unite and arm this army in order to then throw it into the attack? Of course, the director! It is designed to unite the efforts of everyone, directing them towards a common goal - the ultimate goal of the performance. In other words, directing in the theater is the creative organization of all elements of the performance with the aim of creating a harmoniously integral work of art.

A theater director is, first of all, an interpreter and interpreter of dramaturgy, the author of an artistic stage composition. Interpretation is a special cognitive activity aimed not so much at acquiring knowledge from ignorance, but at translating previously existing meanings (scientific, ideological, artistic) into another language. Interpretations and interpretations of works of art combine intuitive and rational, emotional and intellectual, cognitive and creative principles.

It is the director, being the interpreter of the idea of ​​a dramatic work, who determines the concept of its production solution. The director's arsenal includes a variety of means of artistic expression. The performance, as V.E. Khalizev aptly put it, is not a scenic interlinear addition to a literary work, but a valuable artistic reality in its own right.

Directing is an author's art, and today we more often say not “Lenkom”, but the theater of Mark Zakharov, not “Sovremennik”, but the theater of Galina Volchek, not “Theater on Taganka”, but the theater of Yuri Lyubimov. Directing is a personal art. He is mainly interested in what is consonant with him as a creative individual in the play. The distinguishing feature of a truly creative, rather than rationally illustrative, stage interpretation of a dramatic work is best characterized by the words of the remarkable Soviet theater director Anatoly Vasilyevich Efros: “I can only stage it the way I feel.”

The director’s task is to infect the viewer who comes to his performance with his ideals, values, and philosophy of life. However, one should also listen to the thoughts of the outstanding Soviet film director G.A. Kozintsev (“Hamlet”, “King Lear”, etc.), who warned that “not coming forward with your assessments of what is happening is the most difficult thing in directing. The simplest thing is to make assessments... It’s quite good to avoid drawing conclusions at all. Let people judge. My job is to convince: it could be, and not “that’s how I think about it.”

The director, according to the typology of V.I. Nemirovich-Danchenko, is also a mirror, reflecting the individual qualities of the actor and the facets of his creative talent. In an acting performance in a play, as a rule, all the elements of acting technique are present. But in relation to each performance separately, the director is faced with the question: which of these elements should be brought to the fore in this performance, so that, grasping them as links in one unbreakable chain, he can pull out the entire chain. So, for example, in one performance the most important thing may be the internal concentration of the actor and the stinginess of expressive means, in another - naivety and speed of reactions, in the third - simplicity and spontaneity combined with vivid everyday characteristics, in the fourth - emotional passion and external expression, in fifth, on the contrary, restraint of feelings. The variety here has no limits; the only important thing is that each time exactly what is needed for a given play is established. The ability to find the right solution to a performance through a precisely found manner of acting and the ability to practically implement this solution when working with actors determines the professional qualifications of the director.

Directing and pedagogy are so closely related that it is sometimes difficult to draw a line between them, to find the point where one profession ends and another begins. The director, as a sensitive educator, must be able to discern the true acting talent and reveal it. K.S. Stanislavsky accurately noticed that for the organic cultivation of a role, no less, and in other cases much longer, time is needed than for the creation and cultivation of a living person. During this period, the director participates in the creative process in the role of a midwife or obstetrician.”

And finally, the third “hypostasis” of the director is his organizational work, namely, building the rehearsal process, which includes his entire creative team - from the actor to the stagehand. The director’s tasks in this context are to convince, practically organize, captivate, infecting the team with his plan, ultimate task, and faith in the success of the future stage action.

Summarizing the essence of the director's profession, let us turn to the thoughts of G.A. Tovstonogov, who wrote: “The director is always compared to a source of creative energy, the rays from which diverge in all directions: to the actor, to the playwright, to the viewer. The director is the point of intersection of time, poetic ideas and the art of the actor, that is, the viewer, the author and the actor. This is a prism that brings together all the components of theatrical art into one focus. Collecting all the rays refracting them, the prism becomes the source of the rainbow."

The system of K.S. Stanislavsky arose as a generalization of his creative and pedagogical experience and the experience of his theatrical predecessors and contemporaries, outstanding figures of world stage art. It, being a practical guide for the director and actor, became a theoretical expression of that realistic direction in stage art, which Stanislavsky called the art of experience, requiring not imitation, but genuine experience at the moment of creativity on stage, creating anew at each performance a living process according to a pre-thought-out logic life image.

Thanks to the discoveries of K.S. Stanislavsky, the creative principles of stage art were revealed much more fully in the active completion of a play - the transformation of its text into a director's score. “We recreate the works of playwrights,” wrote K.S. Stanislavsky, “we reveal in them what is hidden under the words, we put our own subtext into someone else’s text... we create, as the final result of our creativity, a truly productive action, closely connected with the innermost intention plays."

K.S. Stanislavsky in his works “The Actor’s Work on Himself” and “The Actor’s Work on the Role” reveals the essence of the various elements of stage creativity, the study of which is necessary for the clearest understanding of the method of effective analysis of the play and the role. But concepts end-to-end action and super task are the most frequently used. K.S. Stanislavsky himself wrote the following about the super-task and the cross-cutting action: “The super-task and the cross-cutting action are the main vital essence, the artery, the nerve, the pulse of the play. The super task (wanting), the end-to-end action (desire) and its implementation (action) create a creative process of experiencing... Let us agree for the future to call this basic, main, all-encompassing goal, which attracts to itself all tasks without exception, causing the creative desire of the engines of the psychic life and elements of well-being of the artist-role, the ultimate task of the writer’s work”; without the subjective experiences of the creator, it is dry, dead. It is necessary to look for responses in the artist’s soul so that both the ultimate task and the role become alive, vibrant, shining with all the colors of true human life.”

“We are loved in those plays,” Stanislavsky asserted, “where we have a clear, interesting super-task and a well-detailed through-action. The ultimate goal and end-to-end action are the main things in art.”

The supertask has a wonderful feature. One and the same correctly defined super-task, obligatory for everyone, will awaken in each performer his own individual responses in the soul. The director’s task is to formulate it clearly, clearly and understandably, since the definition of the super task gives meaning and direction to the work of the entire creative team. Russian film director Alexander Mitta expressed himself very figuratively about the need for a clear formulation of the ultimate goal by the director (regardless of the type of art): “Forget capricious sighs: ah, I feel it, but I can’t express it in words! Employees must be inspired by the idea, but how will they understand their part of the overall task if the director crawls through the script like a bug on wallpaper, not seeing its perspective, not knowing the course with which he is steering his ship.”

The path to realizing the ultimate goal - end-to-end action - this is that real, concrete struggle taking place before the eyes of the audience, as a result of which the super task is affirmed. For an artist, the end-to-end action, according to K.S. Stanislavsky, is a direct continuation of the lines of aspiration of the engines of mental life, originating from the mind, will and feelings of the creative artist. If there were no cross-cutting action, all the pieces and tasks of the play, all the proposed circumstances, communication, adaptations, moments of truth and faith, etc., would languish separately from each other, without any hope of coming to life.

An outstanding film director who was also noted for his work in the theater, S.M. Eisenstein characterized the essence of directorial creativity this way: “From cue to cue in a written play, one must be able to establish a single process of action. Expand a dry line of a task into a varied, polysyllabic and rhythmically united action. This is the first thing a director who aspires to construct stage action, and not to recitatives from rolls of roles, should be able to do.”

However, directing in cultural and leisure activities is an independent area of ​​directing art with its own goals, objectives, principles and techniques. These features are determined by the general content and content of cultural and leisure activities. It is no coincidence that we find the following in I.M. Tumanov: “Components such as song, dance, and pictorial (plastic) composition replace in the mass imagination the psychological justification for the behavior of heroes. The emotionality characteristic of this genre involves instantly switching viewers from one object to another without detail or psychological motivation. In other words, dramaturgy and direction of mass action should be structured in such a way as to find in the external form of presenting the material an internal image that corresponds to its idea, rhythm, and breathing.”

Self-test questions

1. Describe the professional activity of a director in theatrical art.

2. How V.I. Nemirovich-Danchenko defined three functions of the director?

3. What did K.S. Stanislavsky understand by super-task and end-to-end action?

Literature

1. Kozintsev, G.M. Collected works in 5 volumes. T.5 / Kozintsev G.M. – L. Art, 1986. – 622 p.

2. Basics Stanislavsky system / textbook. allowance; comp. N.V. Kiseleva, V.A. Frolov. – Rostov n/d: Phoenix, 2000. – 102 p.

3. Stanislavsky, K.S. My life in art / K.S. Stanislavsky. – M.: Art, 1983. – 610 p.

4. Stanislavsky, K.S. An actor's work on himself. / K.S.Stanislavsky. – M.: Art, 1956. – 387 p.

5. Tovstonogov, G.A. Mirror of the stage: Articles. Recordings of rehearsals. Book 1 / G.A. Tovstonogov. – L.: Art, 1980. – 311 p.

Specializations: Drama Director; Musical theater director; Circus director; Variety director Forms of study: full-time, part-time, correspondence Exams: literature (major), Russian language, history / social studies (at the choice of the university), foreign language (at the discretion of the university)
Professional exam or creative exam or interview at the discretion of the university

Who to work with

Prospects