The rooms are original. Types and genres of numbers in the script Original number with pink doves

We present to your attention a section of the portal Artist.ru, dedicated to information about artists of the original genre in Moscow. Do you know what the original genre is? In general, this concept can mean almost anything. For example, an artist of an original genre may throw knives or play a burning guitar. Any talent that does not fall under the generally accepted definition and framework is an artist of the original genre. This category of artists may include yogis and ventriloquists, psychics and sword swallowers, and many others.

If you are looking for artists from the original Moscow genre, then you have come to the right place. Add unusual and amazing numbers to the show program of your holiday!

Artists of the original genre

If you have performed even in original theater, want to work and take part in festive events and show programs, register on the website Artist.ru, and your data will be available in the catalog in the “Original Artists” section. Your potential employer can easily contact you.

Types and genres of numbers in the script

theatrical performance.

The structure of the number is identical to the structure of any dramatic action. There should be a kind of expositional moment, a necessary plot to the action. A performance cannot exist without development, the intensity of which depends on the specific tasks of the director. The climax in the act is most often expressed as a contrasting turning point, without which the necessary completeness of development of the entire scenario cannot take place. The number concludes, as a rule, with a moment of resolution that brings the action to relative completeness.

The number should be relatively short in intensity, but not short. Its duration is directly dependent on its function, purpose, task in general decision themes of the theatrical performance: no less and no more than what is assigned to it by artistic logic.

The next requirement for the act is a high concentration of content: in an extremely short time it is necessary to provide maximum information, and not just convey the information to the viewer, but artistically organize it for the purpose of emotional and aesthetic impact.

Unlike a pop concert number, a number in a theatrical performance script must certainly, in one way or another, participate in solving the overall theme. Therefore, a number is required to have a clear general direction and connection with other numbers.

Any classification in art is incomplete, and therefore it is possible to distinguish here species and genre groups, focusing only on the numbers that are often found in the scenarios of theatrical performances.

The first species group should include conversational (or speech) numbers. Then they go musical, plastic-choreographic, mixed, “original” numbers. There may be more groups, their names may be more precise, but the essence of the division will not change. And without species characteristics it is impossible to establish genre features.

So, what genres of numbers are found in theatrical performances?

A fairly common and dramatically developed number in a theatrical performance script is scene. In French This concept corresponds to the terms etude, croquis, and in English – sketch.

According to the genre division adopted in the theory of drama, scenes can be dramatic, melodramatic, comic, tragic, farcical, etc.

Sideshow– a genre from the group of conversational numbers.

There were sideshows both in the medieval “school” theater and in Italian comedy masks, and in Spanish folk theater XV-XVll centuries, and later among professional playwrights. Interludes are small comic scenes performed between the actions of a dramatic work.

In Rus', folk sideshows have been played out since time immemorial.

Nowadays, sideshow is a popular type of so-called “small drama” on stage, television, and radio. On the stage and in theatrical performances, an interlude usually occurs between two episodes.

The nature of the interlude is the opposition of two different points of view, an argument. Such a collision best contributes to the artistic disclosure of the main theme of the theatrical performance script.

Interlude as a form of entertainment is most widespread in propaganda and artistic programs. And it is here that a misunderstanding of the genre and nature of the act most often leads to miscalculations.

Often the program of a theatrical performance is “cemented” by the presenters - as a rule, two entertainers at the same time. This is a pair entertainer, following from the considered genres of conversational numbers.

The distant predecessors of our entertainers are the managers of the folk show - “barkers”, “balcony”, “pumping comedians” - wits and bold satirists.

Unlike a variety show, a pair entertainer in a theatrical performance most often has more complex functions, and its weight in the journalistic identification of ideas is very significant.

Another genre of conversational number - monologue.

You can also connect to the same genre lyric poem.

Monologues and lyrical poems in the script of a theatrical performance can be either individual completed numbers or unique connections between them. But, of course, a monologue as a number differs from a linking monologue - the number has greater dramatic completeness, it requires a climactic moment, as well as a resolving part.

A monologue can be in prose or poetry, or combine poetry and prose.

In a short lyric poem it is difficult to find the structural elements of a number. But often lyrical poems, united in cycles, have their own internal dramaturgy and are perceived as a single whole. In such cases they really take on the completeness of the act.

The next conversational number genre under consideration is Burim. This is a poetic game in which the performer composes poems based on rhymes given by the audience. As a number in the script of a theatrical performance, burime is relatively rare. But this view pop art It is not contraindicated for either propaganda-artistic or other performances and can be one of the successful means of involving the public in action and activating its attention. In addition, it contains considerable journalistic opportunities.

To the group of musical numbers we include, first of all, concert musical number. Its completeness is determined by the musical form itself. If the number is taken as an excerpt from great work, then it should be relatively complete, producing a holistic impression.

People's favorite genre of musical number - ditty. Its features are topicality, extreme brevity, expressiveness of form and capacity of content. A ditty created on specific material is an indispensable genre in terms of efficiency. Speech in a ditty always sounds individualized, artistically justified, like the speech of a certain person or like a dialect characteristic of a specific area, region, edge.

The laconically expressed content in the ditty corresponds to a clear composition determined by the form and structure of the quatrain. One of the characteristic features of this form is the organic combination of conversational intonation with musical structure. But in general, the ditty number is constructed as an effective element of the program completed within itself.

When sung, the four-line ditty stanza is divided into two half-stanzas with a deep pause in the middle. The pause prepares for a new, usually unexpected turn, resolution of the topic “declared” at the beginning. As a rule, the first couplet plays the role of the beginning; it gives, as it were, the beginning of a lyrical narrative; the second couplet is the ending: development of the theme and final conclusion. It is precisely this dramatic structure of the ditty that makes it an extremely expressive, effective genre, easily perceived by listeners.

Ditties with “reservations” have great emotional impact. For example:

Nowadays women are held in high esteem:

At home everything lies on them,

And even at work

They work hard for two.

- This is the weaker sex!..

Common genres of musical numbers also include musical feuilleton And verse number. These are songs of humorous, most often satirical content, having a more or less complete, effective structure. In the verses, a constant chorus (refrain) plays an important role, which, in combination with the entire text, emphasizes the main idea of the number.

Sometimes proverbs, sayings, or lines from popular songs are used as refrains. Verses are always sung to music in a recitative or conversational manner.

The group of plastic-choreographic numbers includes primarily pantomime and plastic sketch (or number).

Pantomime and it itself can be a component, an element of a plastic performance, but most often it is a traditionally established form of performance with separate plot scenes. In Russia, pantomime was part of many folk games and rituals. She occupied a prominent place in farce theaters and circuses. The Soviet school of pantomime is characterized by the desire to express human feelings and show various psychological states through precise plastic characteristics of the image.

Plastic sketch- a concept broader than pantomime. This act may include dance, elements of acrobatics and other spectacular sports exercises, dialogue, a song, and, as mentioned above, pantomime, a pantomime scene. The general layout of this type of room must be developed by the scriptwriter.

Compositionally, the number is built taking into account the effective structure (it has an exposition, development of action, a climax and a finale). The synthesis of plastic arts, pantomime, and songs in a number is a very characteristic phenomenon for modern theatrical performances. This is evidence that a mixed act is most acceptable for the dramaturgy of theatrical performances.

“Becoming more complex in their plot and content, individual club games leaving the foyer and hall on the stage and taking on a new form of gaming performance. Such performances include theatrical gaming competitions. They have a developed script and literary basis and require a lot of work by the director and organizer. Some tasks in in this case cannot be performed improvisationally by the participants - they require preliminary preparation and rehearsals.” (Ikonnikova S.N. and Corresponding Member of the Academy of Pedagogical Sciences of the USSR Prof. V.I. Chepeleva Club Studies. Textbook - M. “ENLIGHTENMENT” 1980.)

Gaming competitions are almost always complex in nature. They require erudition, intelligence, artistic and visual abilities, physical dexterity, and ingenuity from participants. The high entertainment prestige of these events is explained by their originality. There is practically no pattern in the use of tasks, and, consequently, in the content of the developing action. Only the very idea of gaming competitions and some of their structural elements are traditional.

One of the most simple types gaming competition - an evening of fun questions. This evening is an extensive and somewhat theatrical quiz. As a rule, question evenings are thematic and cover one or another area of human activity (sports, literature, art, etc.). The content of the evening is significantly enriched if its future participants receive a general thematic orientation in advance.

Auction competitions are no less widespread in club practice. Such a competition is a series of thematic questions and tasks with which the presenters address the participants in the gaming competition. The tasks of such competitions are designed with the expectation of spectacularly effective responses and the use of visible attributes of the competition.

Another form of theatrical gaming competition is a competition for cheerful and resourceful people. A characteristic feature of such competitions is their content and organizational complexity. They include elements of a quiz, concert revue, sports competition, funny relay race, etc. Humor, resourcefulness, erudition - these are the basic principles on which KVN is built. They are distinguished by their vivid theatricality and therefore are especially advantageous in terms of entertainment.

A unique place in the system of gaming competitions is occupied by competitions that have come into practice under the names “Come on, girls!”, “Come on, guys!”. In accordance with the physical, professional and other capabilities and characteristics of the participants, they are differently oriented in terms of content, although they have much in common in orientation and methodological terms. In the competition for girls, the main emphasis is on tasks that reveal knowledge in various fields of art, pedagogical preparedness, the ability to dress beautifully, everyday resourcefulness, etc. In the competition for men, the main place is occupied by competitions in technical training, knowledge of car mechanics, strength, dexterity, possession of sports weapons, etc.

There are also a number of other theatrical competitions in practice: the tournament of the savvy, “Who’s Who”, “Attention - at the start”, etc. Like everything related to amateur performances, gaming competitions are constantly changing and improving.

Let us dwell on the basic rules for organizing theatrical competitions.

The nature of the competition tasks requires versatile erudition from the performers: they need to be aware of the latest innovations in science, art, variety, etc. No other games and entertainment have such scope for improvisation, amateur performances, and creative self-expression. At the same time, improvisation here requires careful preliminary preparation: a few weeks before the competition, the composition of the team is selected, texts for future performances, questions and tasks for opponents are prepared, and rehearsals are held. The competition is a long-term event, requiring a long rehearsal period.

Teams participating in game competitions are fundamentally different from randomly created teams in other games: here the team always represents a real team (factory, workshop, brigade, educational institution).

In addition to the team, gaming competitions involve a large number of volunteer assistants from members of the team. They participate in determining the lineup of speakers, help with homework, suggest questions that will be asked to opponents, review and discuss everything that their team has prepared, and finally, cheer for their own during the competition.

In practice, there are two main ways of holding theatrical competitions.

In one case, several teams representing enterprises, production sites, and educational groups participate in the drawing. Depending on the number of teams and the adopted system (Olympic or round-robin), the competition season can take a different period of time, but usually quite long, several months. In this case, teams meet at predetermined hours and days (every week, decade, month). During a game evening, one or two fights are held.

And the second option: at a regular evening of relaxation or mass celebration Two teams are created in an improvisational manner, and a blitz tournament is held between them. Its duration is short, and the tasks are relatively simple, since this competition is only part of a larger event.

As a result of any competition, a winner must be identified. This task is entrusted to the jury, whose members are required to have strict objectivity, understanding of the essence of the tasks, erudition, aesthetic taste, and a sense of humor. Referees must take into account not only knowledge, but also wit, resourcefulness, ingenuity, and the general style of behavior of teams and fans. The direct managers of the competition are the presenters, usually there are two of them. The presenters also serve as a link between the jury, teams and the public.

With all the diversity of competitive programs, common structural elements are clearly distinguished. These include: ceremonial exit of teams – warm-up – check homework– fan competitions – answers to questions from the jury, presenters and competitors – improvisational competitions – summing up – ceremonial completion of the competition.

The ritual of greeting judges and opponents came to gaming competitions from sports competitions. However, if in sports greetings take place in strictly canonized forms, then in club games only the fact of the greeting is unchanged, and its specific content and form are the fruit of the participants’ imagination. Funny witticisms here coexist with reports on production successes; friendly cartoons can alternate with satirical denunciations. All sorts of ritual ceremonies are often parodied or ironically reinterpreted: challenges to knightly combat, presentation of ambassadors, presentation of letters, etc.

One of the central moments of many gaming competitions is checking homework. As the name itself indicates, these tasks are prepared in advance. All participating teams usually receive the same theme. The team's task is to develop it wittily. Homework that is prepared without haste provides the best opportunity to demonstrate a high ideological and artistic level in solving a topic.

The main part of the competition consists of a number of improvisational competitions. In this case, the participants learn about the task already during the competition and, therefore, cannot prepare for its implementation in advance. Some tasks must be completed immediately, while others are given time to prepare.

Very diverse art competitions. Some tasks here are aimed at testing artistic erudition, others are entirely designed for wit, others require artistic, creative or performing abilities, and a developed imagination.

Scientific and technical tasks, as well as ingenious solutions to everyday issues, are becoming increasingly common in competitions. Some tasks require physical dexterity, quick reaction, etc.

It is not possible to list, let alone characterize, all types of tasks for teams and fans, and it is hardly necessary. Originality, diversity, surprise - these are the main advantages and distinctive features of these popular entertainments.

Fun game competitions have great recreational and educational opportunities. It is only important to understand why people joke. There is a danger of slipping from real wit into empty ridicule. As one of the main organizers of gaming competitions, a cultural worker must always remember that this is not only entertainment, but also a powerful educational tool.

Numbers of the original genre, as they are usually called in the practice of performances, actually refer to the type, and it, in turn, is divided into genres: eccentricity, tricks, buffoonery, playing unusual musical instruments, onomatopoeia, popular print, Tantamoresque, etc. Let's look at just a few of them.

They were called Lubko folk pictures, printed from linden boards (lub) and depicting fairy-tale, everyday, military, and biblical subjects.

At the beginning of the 20th century, on the curtains and backdrops of the first Russian miniature theaters, satirical and simply comic subjects began to be reproduced in the manner of popular prints. But in the place where the faces should be depicted, slits were made on the curtain, and the actors inserted their heads into them. Thus, it became possible to play out original interludes and dialogues between “drawn” characters. Sometimes the actors put not only their heads, but also their arms and legs through the slots.

In modern different types performances also sometimes resort to popular prints. The curtain depicts a bus, train or plane, or some group of characters, and the performers stick their heads through the carriage windows, portholes, etc.

A type of popular print is Tantamoresque. The essence of the technique is as follows: in addition to the face, the performers thread their hands through the slits in the curtain, wearing trousers and boots. In other words, the actor's hands represent the character's legs. It turns out that the head is of normal size, and the legs are small. Usually a bench is placed on the stage in front of the curtain, on which the “legs” rest. Thus, the dwarf gets the opportunity to dance on the bench - this is the main trick. And if another performer (unnoticed by the viewer) puts his hands over the shoulders of the first artist into other slots, then the person visible to the public will also have hands with huge hands that are disproportionate to his body. (Chechetin A.I. Fundamentals of dramaturgy of theatrical performances: History and theory. Textbook for students of cultural institutes. - M.: Education, 1981. - 192 p.)

Of course, it would be impossible to characterize all the genre varieties of performances, and it is hardly necessary, since they, reflecting various aspects of reality, are the most “fluid”, changeable, especially in arts that synthesize heterogeneous means of expression. This has a direct bearing on numbers in theatrical performances. It is no coincidence that when creating this or that act, amateur artists or students often find it difficult to determine its genre variety. Purely practically, when determining the genre of a performance, it is best to focus on the “dominant”, on the main composition of its artistic means of expression.

Conclusion.

As a result, the following conclusions can be drawn:

The word theatricalization can only mean an organic combination of non-theatrical, vital material, directly related to production practice and the life of people, and artistic, figurative material; this combination, this fusion of documentary and fiction is created with the aim of having a certain impact on the public.

Genre refers to a specific variety of a particular type of art. Unlike genus and species, the genre category turns out to be the most specific and extremely variable.

Types of theatrical performances: propaganda and artistic performance, literary and musical composition, theme evening, mass theatrical celebration.

Agitation and artistic performance as a type of theatrical performance has its own specific specificity: it is, first of all, agitation and propaganda by theatrical and artistic means.

A literary-musical composition is one of the types of theatrical performances where mainly literary, artistic and musical elements are organically combined in order to purposefully and most productively influence the mind and feelings of the viewer.

A theme evening is a stage composition with an extremely specific, documentary plot, with real, not fictitious, characters.

A mass theatrical celebration reflects important events in the life of a large community of people, and sometimes on a state scale and in global dimensions.

In a theatrical performance script, a number can be defined as a separate segment of action that has its own internal structure.

Any classification in art is incomplete, and therefore we can distinguish here species and genre groups, focusing only on the numbers often found in the scripts of theatrical performances.

The first type group includes conversational (or speech) numbers. Then there are musical, plastic-choreographic, mixed, “original” numbers.

Genres of the type group of conversational numbers: skit, interlude, pair entertainer, burime.

Genres of musical numbers: concert musical number, ditty, musical feuilleton, verse number.

Genres of plastic choreographic performances: pantomime and plastic sketch.

Genres of the type group of “original acts”: eccentricity, magic tricks, buffoonery, playing unusual musical instruments, onomatopoeia, popular prints, Tantamoresques, etc.

Involving spectators in the direct action of a theatrical performance is one of the specific features of this type of art. Therefore, it is here that the game number in its various genre forms (related to either mixed or “original” numbers) is widespread.

Becoming more complex in their plot and content, individual club games move from the foyer and hall to the stage and take on a new form of game presentation. Such performances include theatrical gaming competitions.

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Numbers of the original genre

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A section of the portal site dedicated to information from artists working in an original genre. What is an original genre? The term original genre can mean anything. For example, if an artist throws knives or plays a burning guitar, this is an original genre. If an artist dances with a snake around her neck, this is also an original genre. Any talents that do not qualify general description, under traditional frameworks or expanding these frameworks - original genre. Artists of the original genre can be: yogis, ventriloquists, psychics, sword throwers and many others.

If you want to bring something exotic, something incredible and interesting to your holiday, then first of all you should pay attention to the original genre and the artists performing in it.

Original genre on holiday

Sometimes in order to do it for real interesting show The standard room program is not enough. Modern viewers They have already seen everything and are skeptical about even the most daring numbers. Artists of the original genre will help stir up the callous audience. Only the original genre will make the most skeptical person say “how do they do that?” Your guests will remember your event for a long time. In fact, just the announcements from original artists in this section are already generating interest.

Are you an artist of an original genre, or represent creative team? Do you want to work, take part in holidays, show programs? Your potential employer will be able to contact you easily.