Organization and conduct of rehearsal work. Coursework forms and methods of rehearsals Rehearsal process in the work of a choir

Rehearsal is a process of gradual, increasingly perfect expression of the artistic idea of ​​a work, accompanied by an enrichment of creative experience and an increase in the performing level of singers.

In rehearsal work, the choirmaster’s activities are multifunctional. He:

A performing musician who realizes his performing intentions in live sound (performing function);

A teacher who instills in singers the vocal and choral skills necessary for successfully solving performing tasks (pedagogical function);

Organizer and leader of the rehearsal process (managerial function);

These functions are interrelated and closely intertwined. The leading one is performing. It correlates with the other two according to the “goal-means” type (performance is the goal of rehearsal work, training singers and a clear organization of the rehearsal process are the necessary means to achieve the goal).

Various components of the choirmaster’s profession are taught in classes in individual disciplines (conducting, voice staging, piano, choral studies, music theoretical subjects, etc.). However, the ability to work with a choir is something other than the simple sum of the listed knowledge and skills. You can be able to conduct well, sing, play, know the methodology, but at the same time work poorly (with little results) with the choir.

The ability to rehearse effectively to one degree or another is based on the synthesis of performing talent with pedagogical and organizational abilities and is formed mainly in the process of practical communication with a group of performers.

1. Planning rehearsal work

In order to avoid drift, confusion, and scatteredness, it is recommended that each rehearsal be carefully thought out and planned. The role of planning increases even more when it comes to a whole series of rehearsals to prepare a concert program. The presence of a clearly developed program of action helps in this case not to lose perspective in work, to pay due attention to the main and secondary, and to more rationally manage the available rehearsal time. There are long-term and rehearsal planning.

Long-term planning solves strategic problems. Along the way, the choirmaster must:

Determine the amount of rehearsal time required to prepare the choral program (total number of hours, concert date);

Outline the types of rehearsals depending on the stage of work (introductory, set-up, summary, run-throughs, dress rehearsal, testing the hall, etc.);

Decide how many hours will be allocated for the preparation of each of the works in the program (adequate to the level of complexity of the score);

Determine which compositions will be rehearsed at each lesson;

Outline a strategy for the technical and figurative-emotional development of singers, i.e. a plan for working on the performance skills required in preparing this program;

Rehearsal planning is carried out by the choirmaster before each rehearsal based on a long-term plan. Its main points:

Outline the episodes of the score to be worked out, the sequence of work on them and the amount of rehearsal time for each of them;

Determine the purpose of working on each episode at this rehearsal (aiming to achieve clean intonation, expressive pronunciation, ensemble in a part, etc.)

Select appropriate work methods to achieve the goal;

Try to predict the technical, figurative-emotional difficulties that the singers will encounter in the planned episodes, and find ways to overcome them;

Think through the issues of organizing rehearsal work and instrumentation of pedagogical influence on the team (showing the quality of performance in voice and on the piano, figurative and emotional characteristics of music, forms of presenting artistic, technical, disciplinary requirements for singers, assessing the quality of performance, etc.).

To effectively carry out planning, the conductor must:

By the time of planning, have clearly established performance intentions, know in detail what artistic result will be achieved in working on this work;

Imagine what means should be used to achieve the goal;

It is good to know the performing capabilities of this choir;

It is advisable to have experience in rehearsal planning.

The rehearsal plan can be detailed to varying degrees. It is enough for an experienced choirmaster to think through only the main milestones, but he will be able to improvise the details. An inexperienced leader should know that successful improvisation is not groundless; it is born, as a rule, on the foundation of long-term practice and painstaking work done in advance. The path to it lies through detailed planning of rehearsals.

The planned plan in the process of work may turn out to be more or less impracticable. However, this should not be a reason for not planning rehearsals. The value of planning is that the choirmaster carefully thinks through the upcoming work, and this directly or indirectly affects the effectiveness of the rehearsal process.

It is useful to analyze each rehearsal in order to improve rehearsal skills and planning experience. Based on the analysis of the rehearsal, the choirmaster, if necessary, can make adjustments both to the long-term plan and to the planning of the next rehearsal.

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Concert and performing activities,

Organization of creative meetings with various amateur and professional groups,

Organization and implementation of choir tours,

Business contacts.

The task of the choir director is not only to teach its participants proper singing and choral skills and to develop musicality, but also to instill in them good artistic taste, high spirituality, and a love for choral art. This task is complicated by the fact that the manager has to work with people of different ages, different educational and cultural levels.

Such a wide and varied range of activities of the director of an amateur choir requires from him not only knowledge, skills and abilities in the field of choral folk art, but also broad general erudition and pedagogical education. He must be a versatile, creatively active teacher. This requires extensive knowledge in the field of literature, theater, fine arts, social sciences, and the basics of psychology. The choir director must have developed intellect and willpower. Working with an amateur choir requires the leader to have great efficiency, endurance and good health, as well as optimism and, naturally, a sense of humor. All this knowledge, abilities, skills, abilities and character traits are, in essence, the professional qualities of the leader of an amateur choir.

Features of organizing an amateur choir

Amateur choirs are created at various institutions: universities, houses and palaces of culture, cultural centers and associations, etc.

As mentioned above, organizational work is closely connected with pedagogical work and is carried out throughout the entire activity of the team.

To create an amateur choir, certain conditions are needed: material and technical base, rehearsal space, musical instruments, furniture necessary for the work of the choir, as well as funds to pay the labor of the choir director and his assistants, the purchase of concert costumes, a music library, a music library, etc. .

It is important that the rehearsal room is suitable for the choir to work in. For choir rehearsal classes, it is advisable to have several isolated rooms equipped with musical instruments. This will allow the choir to rehearse in parts (groups). Practice shows that such conditions for working with a choir arise very rarely. At least two spacious rooms must be allocated for choir practice. It is necessary that each room has good acoustics, ventilation and lighting. The acoustic conditions of rehearsal rooms require special attention. Rooms with poor acoustics (complete absorption of sound or reflection with an “echo” effect) are completely unsuitable for classes. Typically, corners of a room are draped to improve acoustics.

The creation and organization of a choral group is a complex process that requires great interest and assistance from the leadership of the organization in which the group is being created. In the process of organizing a choir, various means of advertising, agitation and propaganda should be used: announcements about the creation of a choir on local radio and in the press, etc.

PEDAGOGICAL FEATURES OF FORMING A SINGING CAST

The most important stage in the formation of the choir composition is the audition of its participants. The results of the audition must be strictly and systematically recorded in a specially created journal. In it, in addition to the vocal and musical data of the auditionees, general and special education, place of work or study, home address (telephone, year of birth, marital status) should be recorded.

When listening, you should determine the quality of the voice (type, range), ear for music, sense of rhythm, musical memory, and also find out your musical training: knowledge of musical notation, mastery of any musical instrument, experience of singing in a choir. There are various methods for auditioning choir applicants. As a rule, the applicant is asked to perform a song. After this, the range of the voice and the type of voice are determined. The quality of musical hearing is determined through simple exercises. For example, it is proposed to repeat with the instrument or voice various chants within the middle segment of the range of the applicant’s voice, to repeat with the voice a simple structure of three to five sounds played on the instrument. If the applicant has a musical education or experience singing in a choir, the exercises may be somewhat more complicated. For example, the applicant is asked to identify simple intervals by ear in melodic and then harmonic form, and to construct different intervals using his voice from a given sound. It is advisable to include simple chromatic constructions in your listening.

The sense of rhythm is tested by repeating a simple rhythmic pattern.

If those who come to audition for the choir have no singing experience and no musical training, then it is advisable to conduct the audition in several stages. At the first stage, you can limit yourself to only a general acquaintance with the applicant, inviting him to start attending choir classes, and after three to four weeks, conduct a more thorough acquaintance with his vocal and musical abilities, and only after that finally express an opinion on his suitability to participate in the choir. Often the shyness and timidity of those who come to the audition interfere with finding out their vocal and musical abilities. In this case, as an exception, you can try to carry out this work during the choir rehearsal.

It is inappropriate to form a choir without any verification of the vocal and musical abilities of those entering the choir.

Care should be taken to ensure that new members of the choir do not reduce the level of performance of the choir. For this purpose, it is advisable to have a preparatory choir group.

Features of rehearsal work in an amateur group

Rehearsal process- the process of completely creating a performance, including all theatrical components:

From acting

Before the work of production shops.

The rehearsal process consists of various types of rehearsals that take place under the direction of the director of the play or his assistants, acting within the framework of the main plan determined by the director.

Rehearsal(From lat. Repetitio - repetition) - the main form of preparing a performance, which involves reading and discussing the play, its repeated performance in individual scenes, acts and the whole.

The rehearsal is conducted under the direction of the director.

During the rehearsal process, the stage director and performers:

They strive to reveal the ideological content of a dramatic work and vividly embody images;

They strive to find expressive means to create a performance that is holistic in its ideological and artistic approach.

There are:

Table rehearsals;

Rehearsals in the "enclosure";

Assembly, run-through and dress rehearsals on stage.

Table rehearsal- the first stage of the rehearsal process, including:

First reading of the play by roles;

Clarification of cues;

Conversations with the director about the concept of the future performance;

Effective and semantic analysis of the dramatic basis, etc.

Wiring- in the theater - the distribution of actors in the play to different places on the stage.

Rehearsal in the enclosure- rehearsal in a rehearsal hall, in which the scenes of action and future scenery are indicated by available auxiliary means: chairs, partition screens, portable sliding fences, etc.

During rehearsals in the enclosure:

The mise-en-scenes and plasticity of the characters are outlined and developed;

There is a search for the characters' characters and relationships;

Actors master and gradually memorize the texts of their roles.

Sketch method- a method of conducting rehearsals, which is based on improvisation (studies) on the themes of the play or its individual scenes. Such sketches, offered by the director of the play, allow the actors to more accurately understand the essence of the characters’ characters and relationships.

Vocal rehearsal- a rehearsal at which vocal coaches choreograph vocal numbers included in the performance.

Plastic rehearsal- a rehearsal at which stage movement specialists stage stage fights, pantomime numbers, etc.

Dance rehearsal- a rehearsal at which choreographers stage dance numbers included in the performance.

Editing rehearsal(from the French Monter - to raise) - a preliminary check of all elements of the performance's decoration. During the editing rehearsal:

The scenery of the play is assembled according to the acts in accordance with the author's sketch and technical layout;

Methods and means are being developed for quickly changing scenery;

The placement of performance design items is being clarified;

Mechanisms for obtaining stage effects and artistic lighting of scenery are tested.

The final editing rehearsals are carried out with the participation of actors in costumes and makeup.

Run-through, run-through rehearsal- test viewing of a performance or a separate scene or act. Usually the run-through precedes the dress rehearsal. During the run-through, the performance takes place in the scenery, with appropriate lighting, the actors play in costumes and makeup. During run-throughs, the production director rarely interrupts the flow of individual scenes in order to clarify or repeat them; All comments to the actors are made at the end of the run-through.

dress rehearsal- the last rehearsal before the final release of the performance. Typically the dress rehearsal is held:

In public;

In full makeup and costumes;

With full stage, light, music and noise design.

B. Historical and documentary dramaturgy. The concepts of fact and document.

The birth of the genre - “under the document” - indicates that the interest and trust of the reader and viewer in the documentary narrative is so great that even the form of documentary presentation itself, even when its content does not go back to documentary materials, is capable of exerting a persuasive effect on them, creating the effect of authenticity of what is written or shown on stage and on screen. Modern documentary literature was not born out of nowhere. The human desire to see in art, that is, in the artistic understanding of reality, a reliable picture of the world is as old as art itself. “literature of fiction,” which has gone through various stages of development, has always had a tendency to reflect the objective world in a generalized and typical way. The entire history of literature is marked by the constant strengthening of this trend. The merit of realism - the highest stage of literary development - lies precisely in the fact that it brought artistic fiction extremely close to reality, objectified artistic fiction. In the 19th century, literature and, in particular, Russian literature came close to using it to enhance the effect of authenticity, documentary facts and historical documents. Thus, speaking about the development in our time of the documentary-historical direction in literature and art, we must be aware of the seriousness of the objective historical factors in the development of the literary process itself, which brought it to life. “literature of fiction” and “literature fact" - has the right to life, provided it is correctly understood. "Literature of fact", in contrast to "literature of fiction", should include works whose task actually includes the exclusion of fiction and an extremely adequate reproduction of facts. These are the works of historians, memoirs, diaries. Works of this kind will remain “literature of facts” even if they do not contain a single document. In the absence of fiction in them, memoirs and diaries themselves become documents, evidence of facts. As for works of prose and drama built on documentary material, they completely belong to fiction. First of all, because a documentary work is by no means devoid of fiction. As will be shown below, creating a documentary work requires no less, but significantly more author’s imagination and artistic skill than creating a completely fictional narrative. Along with the denial of documentaryism as a direction of fiction, There is also an opposite opinion - an incredibly broad interpretation of the concept of “documentary.” relating to it all works of art that describe genuine facts of history, genuine historical or contemporary figures. The concepts of “fact” and “document” are considered thus. as synonyms. This is where a lot of confusion arises. We must clearly imagine that a historical fact is unique and, as such, irreproducible. It, therefore, can be present in a work of art as an image of a historical event. A document is evidence of a fact. It really exists and can be used. Evidence can be one or another recording of a fact that reflects or “covers” some aspect of it. Such recording can be written evidence of the essence of what is happening - a protocol, a transcript, a deed of sale, a decree, resolutions, a birth certificate, etc. The recording of facts is a means of capturing the external, “visible” series of events - a sketch, a photograph, a film frame. Those and other methods of recording facts “cover” them only partially, and by no means comprehensively. Any recording of a fact carries traces of a corresponding tendency, point of view, interpretation. Evidence of a fact can also be its description made by a direct eyewitness - a contemporary, or after the passage of time. Evidence of this kind is even more imbued with bias, is a deliberate interpretation of the event, and reflects the point of view of the person describing it. It is most correct to classify as documentary works those in which the reproduction of original documents is the main artistic means of influencing the reader and viewer and constitutes the main texture, the fabric of the work. The use and even reproduction of individual documents in a work of art does not yet make the work documentary. None of the artistic tasks facing authors working in other genres of drama is removed from the author of a documentary work. He must create a work in which living people act, endowed with human characters, so that there is a dramatic conflict, so that the work has an integral artistic dramatic structure. The most important creative method of a documentary author, especially a playwright, is a combination - a montage of various documents. The combination of two documents , each of which has its own content (meaning), gives rise to a new content (meaning), which is not in any of the two terms - the so-called third meaning. Document - an act put into a specific form. This is the recording of a fact, the consolidation of reality in a word, drawing, photograph, object. Fact - an actual event, incident, incident, truth, result, what happened, happened yesterday, today, there. A fact is neutral, which can become an artistic means to prove an idea. When creating a concert script, the director can and should, as far as possible, use local material. The documents and facts he selected can understand the connection between the event in honor of which the concert was staged and the life of a given village, city, republic. The facts, in turn, are divided: 1. Facts of life – real facts and events that happened in life, and

also real events recorded in documents, photographs, tape recordings, letters, official documents, etc.

2. Art Facts – all the genre diversity of works of art,

as well as their fragments (musical, poetic, choreographic, plastic, dramatic, excerpts from feature films, numbers of various types and genres of professional and amateur art).

From a variety of facts and documents, the director must select those that will allow him to most accurately and vividly express his thoughts.

The artistic level of each scenario will be higher than in

To a greater extent, it will comply with some general dramatic requirements, such as the dramatic completeness of each episode, the integrity of the figurative picture, and the increase in the strength of the emotional impact on the audience (and participants) from beginning to end.

techniques, creating a bright, exciting, emotionally effective work.

The historical fact is unique, irreproducible. He cannot appear in any work.

Document - This is evidence of a fact. It really exists and can be used.

At the first stage, when writing a documentary script, it is necessary to find documents that not only in content relate to the theme of the work, but also have a charge of emotional impact. The document and the idea begin their joint artistic life, in principle, simultaneously. The combination of two documents, each of which has its own content (meaning), gives rise to a new content (meaning), which is not in either of the two terms - the so-called third meaning.

“Above” the documentary series and on its basis, in the perception of the viewer, a figurative and semantic series appears, entirely created by the author of the work, which is the result of his directed creative efforts, the result of the author’s imagination, “fiction”.

Fact must be an artistic medium. It should help reveal the topic and convey thoughts. The fact must be effective. On the stage we must look for the image of the fact - the national artistic core. Documentary and artistic material must be on stage.