Проблеми формування режисерського задуму сучасного естрадного номера

Abstract

У статті досліджено процес формування режисерського задуму сучасного естрадного номера. Розглянуто особливості взаємодії творчих прийомів естрадного мистецтва і засобів виразності театрального мистецтва. Охарактеризовано специфіку дії естрадного виконавця у “відкритому” сценічному просторі, яка відбувається за активною участю всіх присутніх глядачів.

В статье исследован процесс формирования режиссёрского замысла современного эстрадного номера. Рассмотрена специфика взаимодействия творческих приёмов эстрадного искусства и средств выразительности театрального искусства. Охарактеризована специфика действия эстрадного исполнителя в “открытом” сценическом пространстве, которое происходит при активном участии всех присутствующих зрителей.

Beginning of the XXI century is characterized by the active pressing of information processes which are connected with culture structuring in general. Revealing of the first tendencies of global development is typical of this period. Technology of influence on public and individual consciousness and subconsciousness by the means of artistic information is becoming important for the study of art, the main position in which is occupied by the art of directing that is perceived as a high level of the art of transformation of creative material in a space-time synthesis of arts. Creative information is becoming more and more dominant within the framework of an applied aspect of the real being of art in society and its impact on anthroposociocultural situation in modern circumstances of globalization. In this process, director’s artistic plan is a priori becoming a primary source of all creative activity of the director of dramatized variety turns. Variety art is an art of a variety turn, the dramaturgy of which needs maximum concentration for minimum scenic time, and events in the turn is very often based not on anecdotal, but on trick side. In keeping with this approach, trick and attraction are aimed directly at the audience and its emotional perception. This article is devoted to the process of the formation of director’s plan of a modern variety turn. Peculiarities of the integrity of variety performance and means of theatrical art expression are studied. Acting principles of a performer in an open are characterized. Director’s plan is a creative process, the result of which is a shaping of understanding and perception of social realm that creates strong discourse and civic position, emotions, plastic-spatial and tonal vision of performance in a unified stylistic and genre manner. According to our reckoning, it is more important to use all arsenal of means of artistic performance. But, for the origination of this demand, it is necessary to create the dramaturgy of a variety turn. Taking into account all these conditions, character, theme, act, actions and conflict will appear. In this case we would be able to call performer an actor. We want to make it a point, that dramaturgy of a variety turn, director’s artistic plan and the art of acting turn technological performance into the category of a dramatized variety turn. So, it is impossible to create full artistic image without theatricalization. However, adding of the elements of theatricalization must not interfere with the main means of artistic expression of a variety turn, its trick basis. It is crucially important to reach a balance between theatrical and variety, and this it the most difficult director’s mission. The combination of variety turns with the elements of a traditional theatre is one of the factors that lead to appearing of new genres, where theatrical methods are combined with variety art tricks. Very often it leads to unexpected synthetic mixes. We think that psychological authenticity must be the basis of inner life of a variety art actor. Only in such circumstances, trick stops being formal. Performer acts in an open, thus not being limited by the surrounding inside or outside. The experience of modern stage enables us to state, that the unity of theatrical dramaturgy of a variety turn, a show of the art of acting with virtuosity of trick-performing is the leading tendency. It can be observed in circus performances, especially in juggling, where traditional clubs can be substituted by different objects (music texts, umbrellas, buckets, etc.). In such performances trick is naturally intertwined with the actions of an actor. Summarizing all the abovementioned we take up the position that in the process of creating modern variety turns of different genres, question of creating the imaginative director’s plan becomes dominant, it is that primary source of information, without which work of all direction and staging group cannot be planned. With this background, directing is influenced by post-modern intentions of European theatrical culture.