Theater director. Functions of the director in the theater
The centuries-old history of the theater knows periods of dawn and decline, and has thousands of names of great artists. Hundreds of times people who know and love theater have tried to explain the magical art of the stage, to discover the secrets of its influence on people.
Each era left its own theory of theater. Many theatrical trends emerged. But no one other than Stanislavsky united the creative experience of outstanding actors of the 19th and 20th centuries into a single harmonious system, discovered the objective laws of human behavior on stage, or tried to find a conscious path to the actor’s subconscious. He is not only a great actor and thinker, but also a brilliant director. He created a certain theatrical direction.
The Stanislavsky system creates an artist, a director - creates performances
The system is as simple as anything ingenious. And unimaginably complex. Who knows and loves life. He will understand her. Who is talented will master it.
The laws of the system are born from practice and practice confirms it. Every artist must one day discover it within himself. And having discovered, develop and improve the laws of creativity.
In just one hundred years, the concept of the director has undergone a significant revolution. The director is a manager, manager. In the middle of the last century, the concept of a director did not imply anything more. The manager is like at a festival, otherwise he is the scriptwriter. The play was learned and performed by the actors. The director made sure that costume designers, props, make-up artists, lighting technicians, and workers served the artists well and on time.
The art of theater directing is an acquisition of the second half of the 19th century. There are some discrepancies about when and with whom “it all began.” Some theater scholars trace the history of directing to the Duke of Meiningen and his assistant L. Kroneck, others to A. Antoine and O. Brahm, while others begin the history of the new theatrical era with the founders of the Moscow Art Theater Stanislavsky and Nemirovich-Danchenko. However, the latest theater studies again push back the time of the birth of director's art by several decades and trace its history exactly from the middle of the last century, linking the emergence of director's theater in Europe with the activities of Charles Kean in the London Princess Theater (1850 - 1859) and Heinrich Laube in the Vienna Burgtheater (1849 - 1867) Of course, not only because it was Laube who really turned out to be the first in the history of theater to turn directing into an independent profession. He came to the Burgtheater, already a famous playwright, but, having headed the theater, he did not write any more plays, because he believed that the duties of a theater director and director could not be combined with any other activities. The point is not at all that until the middle of the 19th century directing as a profession did not exist at all. The point is different - in the specific revolution that took place in theatrical art at the turn of the 19th and 20th centuries. The acting theater became a director's theater. That's the whole point. Not just a new profession appeared, a fundamentally new type of art was born - the art of theater directing.
The entire middle and second half of the 19th century is the pre-director era in the theater. This is a time when there were already directors, but the art of directing did not yet exist. Directing was just receiving citizenship rights. The profession, the position of director, already really existed in the theater, was designated in the theatrical nomenclature, but the functions of directing still continued to be purely auxiliary.
At the turn of the century, the emergence of director's theater in Europe took contemporaries “by surprise.” The emergence of the director as the first creative person confused everything: traditions, hierarchy, the relationship of the artist with the public and criticism, the very structure of theatrical production. The invasion of directing into the performing arts was perceived as something seriously threatening the very nature of the theater; the figure of the theater director was seen as a dangerous destructive force. And the director’s stage, as often happens in new things, really wasn’t very convincing. In 1889, he tried his hand at directing, staging P. Gnedich’s one-act comedy “Burning Letters”, Konstantin Stanislavsky. The performances of the famous European theater have become a good school for aspiring actors and aspiring directors.
Theater of the 20th century is the era of great directors. What does it mean? This means that we live in the era of director's theater. Modern theater - theater 070998 is the leader of the theatrical process, heads and conducts the theatrical business, it is the director who today determines the creative face of the theater, its ideological orientation, repertoire policy, its artistic style, handwriting, method, organizational and creative structure, its aesthetic and ethical principles.
“What” and “how” in directing are the relationships between the director and the author (with his era, environment, social circumstances), the director and the actor, the director and the time in which he lives and stages this performance. The director is responsible for the logic of connecting all the artistic structures of the performance, and - this is perhaps the most important thing - for connecting theater with life.
The director must be able to read and understand the play, he must also be able to hear and understand life. Only with a subjective, purely individual approach of the director to the play is directorial creativity possible, the creation and birth of new independent content is possible. And this content will be filled with the director’s individuality, personal attitude both to the world of the play and to the world of life itself.
Based on the author’s super- and super-task, from the author’s entire world and the specific integral life of his play and relying on his own knowledge, his intimate, spiritual, human experience, the director creates an independent concept of the play and performance. Exactly this independence makes the director an artist, creator, interpreter. Finding the way, not getting lost in the magical labyrinth of connections created by nature itself and the specifics of theatrical creativity - this is the main task of all theater artists. The difficulties of an actor in this work are incommensurable with anything. The creation of a stage character, the mystery of the birth of a living person in the circumstances proposed by the author and director, that is, the connection of a human actor with the individuality of the author, the alien soul of the role, the director’s plan - what could be more complex, inexplicable, more mysterious?... And how necessary is the actor here? the hand of the director, the sensitive and intelligent hand of the director-teacher. The director of the actor and his assistant, who, in the words of Nemirovich-Danchenko, is able to “simultaneously follow the will of the actor and direct it.” The actor is the follower in this work, the leader is the director.
“As Nemirovich-Danchenko said: the director is a three-dimensional being”
1. Director and interpreter of the play
2. The director is a mirror reflecting the individual qualities of the actor (to be able to manipulate, to be a good teacher and psychologist)
3. Director and organizer of the performance.
“A theater director today is not a stage director, he is the author of a play,” writes G.A. Tovstonogov. - the director’s possibilities in interpreting the play today are limitless. His role and responsibility for creating the performance has increased many times over, even compared to the heyday of Stanislavsky’s directing work... There is no need to be afraid to admit this, just as there is no need to be afraid to recognize natural changes in art...”
The director is responsible both for the logic of connecting all the artistic structures of the performance, and - this is perhaps the most important thing - for connecting the theater.
K.S. Stanislavski paid great attention to ethical issues. It includes ethics as a decisive condition for life and the development of art. In “Notes on Artistic Ethics and Discipline,” he wrote that an artist must obey not only the ethical laws accepted in society, but also artistic ethics (“narrowly professional ethics of stage activity”). Another ethical norm in the theater is knowledge of the text, since an actor who gets confused in his words disturbs both his partners and the audience. Particularly noteworthy is the need for a certain relationship between the director and the actor. It is necessary to consciously, for one's own success, submit to the will of the director and other artistic directors of the performance.
The practical results achieved by Stanislavsky made his system the greatest achievement of theatrical culture, a generally recognized, scientifically based method of acting. The true material of directing, from Stanislavsky’s point of view, is not the body or psyche of the actor, but his creativity. This leads to ch. director functions:
1) evoke a creative process in the actor;
2) continuously support and direct it towards a specific goal in accordance with the general ideological and artistic concept of the performance;
3) coordinate the result of each actor’s creativity with the result of the creativity of the other performers to create a harmoniously integral unity of the performance.
In the theater, as in any collective work, a certain organization, an exemplary order is necessary in order for the external, organizational part of the performance to proceed correctly, without interruptions. Iron discipline serves as such an organization. But even more order, organization and discipline are required by the inner, creative side - it requires inner discipline and ethics. Without this, it will not be possible to carry out all the requirements of the “system” on stage.
Ethical education is one of the most important principles underlying the professional education of an actor. As a worker in theatrical art, he must feel his responsibility to the audience, to the theater group, to the author of the play, to his partner and to himself. A sense of responsibility helps to overcome selfishness and contribute through your creativity and behavior to strengthening the cohesion and unity of the team.
If an actor does not possess such qualities as integrity, truthfulness, directness, a sense of duty, moral responsibility for himself and for the team, then he has nowhere to get these qualities even when he is on stage. To create the inner life of an image, the actor has no other material than that contained in his own intellectual and emotional experience. The “small” person will not play a big role.
First of all, the director should take care of the education of the theater group. If he is helpless or mediocre in this regard, then he is not only a bad teacher, but also an inferior director. After all, a truly good performance can only grow in a good moral and creative atmosphere.
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.
Directing is the organization and creative direction of a performance. The director organizes the entire process of creating a performance and directs this work. The basis of the director’s creative work on the play is his concept, that is, the result of thinking about the content and stage interpretation of the work that he has chosen for production. The main task that modern theater sets for the director is the creative organization of the holistic ideological and artistic unity of the performance. The director cannot and should not be a dictator, whose creative arbitrariness determines the face of the performance. The director concentrates the creative will of the entire team. He must be able to guess the potential hidden capabilities of the team. He, together with the author, is responsible for the ideological orientation of the performance, for the truthfulness, accuracy and depth of reflection of reality in it. Working with an actor is the biggest part of the director's work in creating a performance. First of all, the director ensures that the actors understand everything in the work they are performing. The director's task is to build his idea of the performance. Carry out your interpretation of the author through acting. The functions of the director when creating a performance also include working with the set designer, organizing and preparing the process in the lighting workshop, and searching for musical material together with the composer. The director must have not only special knowledge, but also be a comprehensively educated person, have an “aesthetic sense” and taste. One of the main tasks of the director is to create on stage a harmonious composition of the performance, imbued with a single concept.
3. Stage sketch, composition method and work on it.
An etude is an independent search for an effective line of behavior in given (invented) circumstances. A stage sketch is an eventful, complete segment of the life of the character(s), created on the basis of the actor’s life experience and observations, processed by his creative imagination and presented or played, or shown in stage conditions. A stage sketch presupposes the presence of a director's plan aimed at realizing the ultimate goal. While working on a sketch, a series of events is determined and recorded, its “turning points” - the initial, central and main thing of the sketch is determined, as well as the goal of the character. The source or material for composing a sketch is the actor’s own event experience, his life event observations, the work of his creative imagination and consciousness, inspired by a super task - a certain idea, thought, theme that the actor or director wants to convey to the viewer with the help of a stage sketch. Any stage action can only be considered complete when it consists of 3 parts - beginning, middle and end, or preparation, event and ending." In the first stage - preparation - the proposed circumstances are organized, the figures of the heroes are arranged, their relationships are established, and the tempo rhythms are clarified. The second stage is the central part of the sketch. The most important event of the sketch takes place here. In the second part, there is a conflict between two interested parties, or one character struggles with the circumstances he finds himself in. The third stage shows the denouement of the struggle between the conflicting parties. The etude consolidates the actor’s initial skills in working on himself and leads to the next large section of the program, to work on the play and role. The sketch does not yet set the task of creating a typical character, of transforming into an image. Performers act on their own behalf, in life circumstances that are well known to them. The purpose of sketch work is not only to develop the professional qualities necessary for an actor, but it can have great educational value. Performers have to seriously think about the ideological content of their work. It is impossible to recognize as good a sketch that is technically executed impeccably, but does not contain any moral idea.
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
