Альтернативний сценічний простір як ефективний чинник оновлення сценографічної лексики

Abstract

У статті досліджено альтернативний сценічний простір як суттєвий чинник оновлення лексичної палітри сценографічного мистецтва. Проаналізовано позитивні та негативні риси традиційної сцени-коробки, акцентовано увагу на обмеженості постановочних можливостей на ній. Висвітлено розмаїття альтернативних сценічних просторів поза сценою-коробкою, акцентовано на постановках видовищ в історичних й архітектурних пам’ятках як в Україні, так і за її межами. Звернено увагу на вплив альтернативного сценічного простору на режисерську та сценографічну лексику.

В статье исследовано альтернативное сценическое пространство как существенный фактор обновления лексической палитры сценографического искусства. Проанализированы положительные и отрицательные свойства традиционной сцены-коробки, акцентировано внимание на ограниченности постановочных возможностей в ее пределах. Освещено разнообразие альтернативных сценических пространств за пределами сцены-коробки, акцентировано на постановках зрелищ в исторических и архитектурных памятниках как в Украине, так и за ее пределами. Обращено внимание на влияние альтернативного сценического пространства на режиссерскую и сценографическую лексику.

An alternative scenic space as an essential factor for updating the lexical palette of scenographic art is investigated. The positive and negative features of the traditional stage-box are analyzed, attention is focused on the limited possibilities of staging within it. The variety of alternative scenic spaces outside the stage-box is highlighted, attention is focused on productions of spectacles in historical and architectural monuments both in Ukraine and abroad. Attention is drawn to the influence of alternative stage space on directorial vocabulary. An alternative scenic space is explored as a powerful catalyst for the development of stage art and fantasy of theatrical director and scenographer the expansion of the palette of theatrical means of expressiveness, the imagination of theatrical. The author is guided by his own directing and stage designer experience and by separate foreign experiments in the development of non-traditional stage spaces to create unique performances. The methodological basis of the research includes of analytical, cultural and comparative methods in the study of the phenomena of alternative stage space both in Ukraine and in the international cultural space. The scientific novelty of coverage of the unique experience of enriching the scenographic arsenal the article is the coverage of the unique experience of the birth of performances in alternative stage spaces on the examples of performances of the Kyiv Academic Theater “Golden Gate”, and on the experience of foreign performance experiments. A generalization of the experience of staging shows in an alternative scenic space as one of the generators of the development of scenographic art. In the XI century architectural monument, Golden Gate, the play “Golden Gates” was performed, in which the founder of the Golden Gate, Prince of Kyiv, Yaroslav the Wise, dying, calls the princes who are fighting against each other to reconcile and unite around the Ukrainian lands. Damaged by numerous battles, the wounded, mutilated walls of the millennium gates breathed, moaned and radiated enormous energy. Both the audience and the actors were captured by those rays. It was clarified that an indispensable whim of any alternative stage space is that space is not elected, and he chooses. Because he is alive – he has his own history, his genetic memory, his insurmountable power. And directors, along with stage designer desperately need to hear it to enter him or resonance, and associative or conflict. Alternative scenic space is a powerful detonator for the development of theatrical art, a catalyst for the imagination of the director and scenographer, provocateurs of new forms and means of theatrical expressiveness, the generator of theatrical vocabulary upgrade. It requires artists of subtle hearing and acuity to hear and “read” alternative space to invent a new common language with him.