CC BY
0
УДК 7
Annayeva L.
Teacher, Seydiyeva J.
Teacher.
International horse breeding Academy named after Aba Annaev PRINCIPLES OF USING THE METHOD THEATRICAL PERFORMANCES IN THE CIRCUS
Аннотация
The concept of "theatricalization" lies in the field of techniques used to create a director's composition theatricalization as "a method of artistic organization of the content of a performance (according to the laws of the theater)". The main form of performance organization in the theater is a performance. The word "performance" in the dictionary of the Russian language by T. Efremova is literally interpreted as a "theatrical performance". Circus researcher L. Bulgak identifies the elements without which this form cannot exist: "The performance must have an idea, content, and a main character, character development expressed through their interaction".This design does not correspond to the essence of circus art, which traditionally has a divertimental form.
Ключевые слова:
theatricalization , circus , circus performance , theater.
The very phrase "circus performance" carries an internal contradiction. The theater is an illusion of reality, and the circus is reality itself. The language of the theater is action, and the language of the circus is real actions to overcome obstacles (tricks). It is very difficult to combine theater and circus, since they have different semantics and artistic imagery. The artist always has different plasticity depending on momentary inner mood and state, in the trick, the pose and plastic are always the same.
The artist moves smoothly from one state to another, but the trick requires preparation. "When starting to create a circus performance, the director is faced with the "fortress" isolation of the drama of the circus act. Being in the fabric of the performance, the number tells about anything except the main idea of the work. A work woven from such scraps may interest and surprise, but it cannot be complete" [3]. Attempts to create a circus performance in the likeness of a theatrical one were made in the domestic circus after the revolution and are connected with the so-called first stage of theatricalization. The active rapprochement of the theater and the circus began in 1919 on the wave of the state company for the "renovation" of the circus. Theatrical figures, in fact, engaged in "remaking the circus", brought theatrical techniques into it, which were mainly focused on creating costume images, on picturesque design (using colored light), allegorical prologues and other theatrical elements of formal staging the plan. But this did not affect the reorganization of circus performance equipment, the construction of the program or the composition of the number, etc. A decade later, V. P. Melik-Haspabov assessed the consequences of this process: "There were successes along this path in the first difficult years of the revolution. However, a mistake was also made. These overly theatrical spectacles have replaced the main elements of the circus. There was a reaction. The ideologically conceived and colorfully executed pantomimes were completely discarded, and we returned to the old circus". However, after going through the first phase theatrical performances, the circus acquired allegorical prologues, which were the basis of "Danish" concerts on the stage, "costumes-images" characteristic of the "Blue Blouse" and "Live Newspaper", amateur forms of pre-stage, "playing with colored light", which became the main expressive means of the "light and sound performance", which originated in mass spectacles, and after migrated on the stage. Speaking of
theatricalization in a circus act, it is necessary to talk not about the theatricalization of the circus (that is, introducing something not peculiar to it into the art of the arena), but about every possible expression of the figurative essence of the circus inherent in it from the first days of its inception. The theater, the stage and the circus have deep common roots, rooted in ancient syncretic ritual dances. In addition, there are very harmonious forms their co-existence in the performances of buffoons and performances of the farcical theater. Despite the fact that the theater and the circus are "different vectors of the development of a syncretic farcical spectacle" they are related by the stage area (the arena is a circular view of the stage area) , the presence of an actor's image, partnership (relationships on the site). Then, "theatricality" is initially present in the circus. It can be divided into several levels. Theatricalization in a traditional stunt number manifests itself at the level of creating a unique circus image by the artist and interacting with a partner, the public, props, and apparatus. Theatricalization in the thematic issue is manifested at the level of setting and resolving the topic by means of costume, music, the nature of plastics, and the relationship of partners. According to M. Nemchinsky , theatricalization in a plot circus number is characterized by the presence of the simplest dramatic structure, the presence of characters with certain relationships among themselves and the justified use of household props. The most theatrical in the circus is the genre of "clowning". Clown antrees, in fact, are mini-performances in the genre of situation comedy or comedies of characters, in which, although generically, relationships and conflict are revealed, there is a clear dramaturgy. M. Nemchinsky, arguing about the clear identification of relations in the process of performing tricks of artists among themselves, artist and animal, artist and props, emphasized that the concept of "circus theatricalization" is used as a statement of something not peculiar the circus, which crosses out its originality, therefore it is more reasonable to use the concept of "dramatization". Список использованной литературы:
1. Bazanov, V. The boundaries of theatricalization - 1989- No. 2.
2. Bulgak, L. Premonition of the performance- 1983- No. 9.
3. Kalmykov, A. What should a circus performance be like? - 1983- No. 3.
4. Nemchinsky, M. I. Drama of the circus act: studies. Manual-1986. - 84 p.
© Annayeva L., Seydiyeva J., 2024
