The word "decoration" is most often used to refer to the accessories of the theater, whose purpose is to create the illusion of a place in which the action played out on the stage takes place. Therefore, theatrical scenery is for the most part either landscapes or perspective views of streets, squares and the interior of buildings. They are painted on canvas.

The main components of each theatrical scenery are the curtain and backstage. The first is hung in the depths of the stage, stretching across its entire width, and depicts everything that is in the background in the reproduced landscape or perspective; the wings are pieces of linen, narrower in comparison with the curtain, stretched over a wooden binding and cut out at one end in a proper way; they are placed on the sides of the stage in two, three or several rows, one after the other, and represent closer objects, for example. trees, rocks, houses, pilasters and other parts of the scene. The scenery is supplemented by subarcs - pieces of canvas stretched at the top across the entire stage and depicting pieces of the sky, upper branches of trees, ceiling vaults, etc. e.g. stones, bridges, cliffs, hanging galleries, stairs, etc.

An artist who is engaged in the execution of theatrical scenery and is called a decorator must possess, in addition to the training necessary for a painter in general, some special knowledge: he needs to perfectly know the rules of linear and aerial perspective, to master a very wide method of writing, to be able to adapt his coloring to fiery lighting, in which stage performances usually take place, and in general to count on the fact that as a result of his work a picturesque setting for the play being played is obtained, not only not harming it with its excessive simplicity or pretentiousness, but contributing to the strength and efficiency of the impression it makes on the viewer.

Having composed a sketch drawing of the scenery, the decorator makes a model for it, that is, a miniature likeness of the stage with a cardboard curtain, backstage and other accessories, so that this model can be used to judge in advance the effect of the future work. After that, proceeding to the execution of the scenery itself, he stretches the canvas of the curtain in a horizontal position on the floor of his workshop, transfers the drawing of the sketch to it in an enlarged form by breaking it into squares, and, finally, starts writing with paints. He does exactly the same when performing backstage and other parts of the scenery. The palette is replaced by a box with cans of various paints diluted with glue; for writing, more or less large brushes made of bristles with long handles are used. During work, he interrupts it every now and then in order to climb the gallery, arranged in the workshop at a certain height from the floor, and look from there at what was written. He usually does not work alone, but together with his students and assistants, to whom he entrusts preparation and secondary parts of the work.

scenery performance sketch dramaturgy

Stage performances were furnished with decorations by the ancient Greeks. As one of the oldest decorators known in history, one can point to Agafarch, who lived approximately in 460-420 years. BC In recent times, decorative painting has developed primarily in Italy, which brought the best masters in this area to other countries.

Of the Italian decorators in the 18th century, Giovanni Servandoni, who worked for the Royal Opera in Paris, became especially famous. Then the championship in the area under consideration passed to the French. Among them, the theatrical painter Boke showed a remarkable talent; the famous Watteau and Boucher did not hesitate to break away from the performance of their paintings in order to write for the stage. Then, among the French decorators, Degotti, Ciceri, the students of the last Sechan, Desplechin, Fescher and Cambon, Chaperon, Thierry, Rube and Cheret enjoyed loud fame. Outstanding decorators in Germany were Schinkel, Karl Gropius, the Italians Quaglio and I. Hoffmann. In Russia, the needs of the imperial theaters were satisfied at the beginning by visiting Italian decorators - Perezinotti, Quarenghi, Canopy, Gonzaga, and then, in the reign of Nicholas I, German artists Andreas Roller, K. Wagner and others; Only in the second half of the 19th century did decorative painting take the path of independence in Russia thanks to such gifted masters as M. I. Bocharov and M. A. Shishkov, and the establishment of a special class at the Academy of Arts for the study of this branch of art.

Theatrical and decorative art (often also called scenography) is a type of fine art associated with the artistic design of a theatrical performance, that is, the creation of a living environment on the theatrical stage in which the characters of a dramatic or musical-dramatic work act, as well as the appearance of themselves these heroes. The main elements of theatrical and decorative art - scenery, lighting, props and props, costumes and make-up of actors - constitute a single artistic whole, expressing the meaning and nature of the stage action, subordinate to the idea of ​​the performance. Theatrical and decorative art is closely connected with the development of the theatre. Stage performances without elements of artistic and visual design are an exception.

The basis of the artistic design of the performance is the scenery depicting the place and time of the action. The specific form of scenery (composition, color scheme, etc.) is determined not only by the content of the action, but also by its external conditions (more or less rapid changes in the scene, the peculiarities of the perception of the scenery from the auditorium, its combination with certain lighting, etc.) "The image embodied on the stage is initially created by the artist in a sketch or layout. The path from a sketch to a layout and stage design is associated with the search for the greatest expressiveness of the scenery and its artistic completeness. In the work of the best theater artists, the sketch is important not only for the working plan of stage design, but and relatively independent work of art.

Theatrical scenery includes the framing of the stage, a special curtain (or curtains), a pictorial solution of the stage space of the stage, backstage, background, etc. The ways of depicting the living environment on the stage are diverse. In the traditions of Russian realistic art, pictorial solutions prevail. At the same time, written planar elements are usually combined with built ones (volumetric or semi-volumetric) into an integral image that creates the illusion of a single spatial environment of action. But the basis of the scenery can also be figurative and expressive constructions, projections, draperies, screens, etc., as well as a combination of various image methods. The development of stage technique and the expansion of representational methods do not, however, cancel the significance of painting as the basis of theatrical and decorative art in general. The choice of image method in each individual case is determined by the specific content, genre and style of the work embodied on the stage.

The costumes of the actors, created by the artist in unity with the scenery, characterize the social, national, and individual characteristics of the heroes of the performance. They correlate in color with the scenery (“fit” into the overall picture), and in a ballet performance they also have a special “dance” specificity (they must be comfortable and light and emphasize dance movements). With the help of lighting, not only a clear visibility is achieved (visibility, “ readability”) of scenery, but also depicts various seasons and days, illusions of natural phenomena (snow, rain, etc.). Color lighting effects are able to create a feeling of a certain emotional atmosphere of a stage action.

Theatrical and decorative art changes with the development of artistic culture as a whole. It depends on the dominant artistic style, on the type of dramaturgy, on the state of the fine arts, as well as on the arrangement of theater premises and stage, on lighting techniques, and many other concrete historical conditions.

Theatrical and decorative art in Russia reached a high level of development at the turn of the 19th-20th centuries, when outstanding artists came to the theater. They brought a great pictorial culture to the design of performances, achieved the artistic integrity of the stage action, the organic participation of fine art in it, the unity of scenery, lighting and costumes with dramaturgy and music. These were artists who first worked at the Mammoth Opera (V. M. Vasnetsov, V. D. Polenov, M. A. Vrubel and others), then at the Moscow Art Theater (V. A. Simov and others), in the imperial musical theaters (K. A. Korovin, A. Ya. Golovin), Diaghilev's "Russian Seasons" (A. N. Benois, L. S. Bakst, N. K. Roerich, etc.).

A powerful stimulus for the development of theatrical and decorative art was given by the creative search for advanced stage direction (K. S. Stanislavsky, V. I. Nemirovich-Danchenko, V. E. Meyerhold, choreographers M. M. Fokin and A. A. Gorsky).

Literature

E. Zmoiro. Scenery model for the performance of the Central Children's Theater "Skates" based on the play by S. V. Mikhalkov. 1976.

Decoration

Since ancient times, it has been important decorative painting, constituting a special branch of art, in the history of which its development followed the movement of easel painting, painting paintings. It sometimes includes the same works that this latter delivers, if only they are executed on the walls and plafonds of a building mainly for an ornamental purpose (wall and plafond painting, frescoes); but its main element is ornaments in the strict sense of the word, that is, beautiful combinations of geometric lines and figures, as well as forms of the plant and animal kingdom, fantasized or unchanged (for example, wall painting in the houses of Pompeii, Moorish arabesques of the Alhambra, grotesques of the Raphael lodges in the Vatican etc.). The motives of decorative painting changed depending on the historical course of culture and art among different peoples, on the taste and architectural style that prevailed at that time. The French came into use in the 19th century with the name decorative arts(fr. l'art decoratif) for various branches of handicraft industries that need the help of art, such as the manufacture of elegant furniture, carpets, lace, glass and pottery, jewelry, bronze, wallpaper and other luxury and comfort items - in a word, for everything that is customary among the Germans call Kleinkünste or Kunstgewerbe and in Russia applied art or art industry.

theatrical scenery

The word "decoration" is most often used to refer to the accessories of the theater, which have as their purpose to produce the illusion of a place in which the action takes place, played out on the stage. Therefore, theatrical scenery is for the most part either landscapes or perspective views of streets, squares and the interior of buildings. They are painted on canvas. The main components of each theatrical scenery - veil and backstage. The first is hung in the depths of the stage, stretching across its entire width, and depicts everything that is in the background in the reproduced landscape or perspective; the wings are pieces of linen, narrower in comparison with the curtain, stretched over a wooden binding and cut out at one end in a proper way; they are placed on the sides of the stage in two, three or several rows, one after the other, and represent closer objects, for example. trees, rocks, houses, pilasters and other parts of the scene. Decorations are complementary subarcs- pieces of canvas stretched at the top across the entire stage and depicting pieces of the sky, the upper branches of trees, ceiling vaults, etc., as well as praticable- various wooden scaffolds and scaffolds disguised with a painted canvas, placed on the stage and representing, for example, stones, bridges, spurs of rocks, hanging galleries, stairs, etc.

Wikimedia Foundation. 2010 .

See what "Decoration" is in other dictionaries:

decoration- and, well. decoration f. 1. archit. Architectural, sculptural, pictorial, etc. decoration of a building. Sl. 18. The master will also be observed the drawing, or profile, given by the architect, so as not to lose even a small proportion, because in that there is the best building ... Historical Dictionary of Gallicisms of the Russian Language Big Encyclopedic Dictionary

DECORATION, scenery, wives. (French decoration, lit. decoration). 1. A picturesque or architectural depiction of the place and setting of a theatrical action, set on the stage (theatre). 2. trans., only units. Something ostentatious, outwardly ... ... Explanatory Dictionary of Ushakov

DECORATION, and, wives. A picturesque, three-dimensional or architectural image of the place and atmosphere of the stage action, installed on the stage, film set. | adj. decorative, oh, oh. Explanatory dictionary of Ozhegov. S.I. Ozhegov, N.Yu. Shvedova. 1949… … Explanatory dictionary of Ozhegov

female, lat. decorations, embellishments, furnishings; at the theatre: view, area of ​​performance Decorative, relating to the scenery. Decorator male. an artist who paints scenery, views from afar, decorations, decorations, furnishings. Dahl's Explanatory Dictionary. IN AND. Dal… Dahl's Explanatory Dictionary

In the broad sense of the word, any artistic decoration of an object or room. Hence the verb: decorate to produce artistic decoration, and the adjective decorative, applied in the language of architecture, as opposed to the term ... ... Encyclopedia of Brockhaus and Efron

Showcase. Jarg. business Deliberate increase in the amount of profits in the balance sheet to hide the poor financial condition of the enterprise. BS, 44 ... Big dictionary of Russian sayings

THEATER AND DECORATION ART

Theatrical and decorative art (often also called scenography) is a type of fine art associated with the artistic design of a theatrical performance, that is, the creation of a living environment on the theatrical stage in which the characters of a dramatic or musical-dramatic work act, as well as the appearance of these characters themselves. The main elements of theatrical and decorative art - scenery, lighting, props and props, costumes and make-up of actors - constitute a single artistic whole, expressing the meaning and nature of the stage action, subordinate to the concept of the performance. Theatrical and decorative art is closely connected with the development of the theatre. Stage performances without elements of artistic and visual design are an exception.

The basis of the artistic design of the performance is the scenery depicting the place and time of the action. The specific form of scenery (composition, color scheme, etc.) is determined not only by the content of the action, but also by its external conditions (more or less rapid changes in the scene, the peculiarities of the perception of the scenery from the auditorium, its combination with certain lighting, etc.). .).

The image embodied on the stage is initially created by the artist in a sketch or layout. The path from the sketch to the layout and design of the scene is connected with the search for the greatest expressiveness of the scenery and its artistic completeness. In the work of the best theatrical artists, the sketch is important not only as a working plan for stage design, but also as a relatively independent work of art.

A. N. Benois. scenery sketch

1953. Paper, gouache, watercolor, pencil.

A. N. Benois. scenery sketch
to the ballet by P. I. Tchaikovsky "The Sleeping Beauty".
1953. Paper, gouache, watercolor, pencil.

Theatrical scenery includes the framing of the stage, a special curtain (or curtains), a pictorial solution of the stage space of the stage, backstage, background, etc. The ways of depicting the living environment on the stage are diverse. In the traditions of Russian realistic art, pictorial solutions prevail. At the same time, written planar elements are usually combined with built ones (volumetric or semi-volumetric) into an integral image that creates the illusion of a single spatial environment of action. But the basis of the scenery can also be figurative and expressive constructions, projections, draperies, screens, etc., as well as a combination of various image methods. The development of stage technique and the expansion of representational methods do not, however, cancel the significance of painting as the basis of theatrical and decorative art in general. The choice of image method in each individual case is determined by the specific content, genre and style of the work embodied on the stage.

The costumes of the actors, created by the artist in unity with the scenery, characterize the social, national, and individual characteristics of the heroes of the performance. They correspond in color with the scenery (“fit” into the overall picture), and in a ballet performance they also have a special “dance” specificity (they must be comfortable and light and emphasize dance movements).

With the help of lighting, not only a clear visibility (visibility, “readability”) of the scenery is achieved, but also various seasons and days, illusions of natural phenomena (snow, rain, etc.) are depicted. Color lighting effects are able to create a feeling of a certain emotional atmosphere of a stage action.

Theatrical and decorative art changes with the development of artistic culture as a whole. It depends on the dominant artistic style, on the type of dramaturgy, on the state of the fine arts, as well as on the arrangement of theater premises and stage, on lighting techniques, and many other concrete historical conditions.

A. M. Vasnetsov. Set design for the opera by N. A. Rimsky-Korsakov

1906.

A. M. Vasnetsov. Set design for the opera by N. A. Rimsky-Korsakov
The Tale of the Invisible City of Kitezh and the Maiden Fevronia.
1906.

Theatrical and decorative art in Russia reached a high level of development at the turn of the 19th-20th centuries, when outstanding artists came to the theater. They brought a great pictorial culture to the design of performances, achieved the artistic integrity of the stage action, the organic participation of fine art in it, the unity of scenery, lighting and costumes with dramaturgy and music. These were artists who first worked at the Mammoth Opera (V. M. Vasnetsov, V. D. Polenov, M. A. Vrubel and others), then at the Moscow Art Theater (V. A. Simov and others), in the imperial musical theaters (K. A. Korovin, A. Ya. Golovin), Diaghilev's "Russian Seasons" (A. N. Benois, L. S. Bakst, N. K. Roerich, etc.). A powerful stimulus for the development of theatrical and decorative art was given by the creative search for advanced stage direction (K. S. Stanislavsky, V. I. Nemirovich-Danchenko, V. E. Meyerhold, choreographers M. M. Fokin and A. A. Gorsky).

Artists also participate in the creation of films, television plays, variety and circus performances. Spectacular arts are perceived by millions of viewers, and therefore the role of the artist is very responsible here.

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OGAPOU "Governor's College of Social and Cultural Technologies and Innovations"

abstract

On the topic: "Scenery in the theater"

Work completed: 1st year student

Vorontsova Elena

The word "decoration" is most often used to refer to the accessories of the theater, whose purpose is to create the illusion of a place in which the action played out on the stage takes place. Therefore, theatrical scenery is for the most part either landscapes or perspective views of streets, squares and the interior of buildings. They are painted on canvas.

The main components of each theatrical scenery are the curtain and backstage. The first is hung in the depths of the stage, stretching across its entire width, and depicts everything that is in the background in the reproduced landscape or perspective; the wings are pieces of linen, narrower in comparison with the curtain, stretched over a wooden binding and cut out at one end in a proper way; they are placed on the sides of the stage in two, three or several rows, one after the other, and represent closer objects, for example. trees, rocks, houses, pilasters and other parts of the scene. The scenery is supplemented by subarcs - pieces of canvas stretched at the top across the entire stage and depicting pieces of the sky, upper branches of trees, ceiling vaults, etc. e.g. stones, bridges, cliffs, hanging galleries, stairs, etc.

An artist who is engaged in the execution of theatrical scenery and is called a decorator must possess, in addition to the training necessary for a painter in general, some special knowledge: he needs to perfectly know the rules of linear and aerial perspective, to master a very wide method of writing, to be able to adapt his coloring to fiery lighting, in which stage performances usually take place, and in general to count on the fact that as a result of his work a picturesque setting for the play being played is obtained, not only not harming it with its excessive simplicity or pretentiousness, but contributing to the strength and efficiency of the impression it makes on the viewer.

Having composed a sketch drawing of the scenery, the decorator makes a model for it, that is, a miniature likeness of the stage with a cardboard curtain, backstage and other accessories, so that this model can be used to judge in advance the effect of the future work. After that, proceeding to the execution of the scenery itself, he stretches the canvas of the curtain in a horizontal position on the floor of his workshop, transfers the drawing of the sketch to it in an enlarged form by breaking it into squares, and, finally, starts writing with paints. He does exactly the same when performing backstage and other parts of the scenery. The palette is replaced by a box with cans of various paints diluted with glue; for writing, more or less large brushes made of bristles with long handles are used. During work, he interrupts it every now and then in order to climb the gallery, arranged in the workshop at a certain height from the floor, and look from there at what was written. He usually does not work alone, but together with his students and assistants, to whom he entrusts preparation and secondary parts of the work.

scenery performance sketch dramaturgy

Stage performances were furnished with decorations by the ancient Greeks. As one of the oldest decorators known in history, one can point to Agafarch, who lived approximately in 460-420 years. BC In recent times, decorative painting has developed primarily in Italy, which brought the best masters in this area to other countries.

Of the Italian decorators in the 18th century, Giovanni Servandoni, who worked for the Royal Opera in Paris, became especially famous. Then the championship in the area under consideration passed to the French. Among them, the theatrical painter Boke showed a remarkable talent; the famous Watteau and Boucher did not hesitate to break away from the performance of their paintings in order to write for the stage. Then, among the French decorators, Degotti, Ciceri, the students of the last Sechan, Desplechin, Fescher and Cambon, Chaperon, Thierry, Rube and Cheret enjoyed loud fame. Outstanding decorators in Germany were Schinkel, Karl Gropius, the Italians Quaglio and I. Hoffmann. In Russia, the needs of the imperial theaters were satisfied at the beginning by visiting Italian decorators - Perezinotti, Quarenghi, Canopy, Gonzaga, and then, in the reign of Nicholas I, German artists Andreas Roller, K. Wagner and others; Only in the second half of the 19th century did decorative painting take the path of independence in Russia thanks to such gifted masters as M. I. Bocharov and M. A. Shishkov, and the establishment of a special class at the Academy of Arts for the study of this branch of art.

Theatrical and decorative art (often also called scenography) is a type of fine art associated with the artistic design of a theatrical performance, that is, the creation of a living environment on the theatrical stage in which the characters of a dramatic or musical-dramatic work act, as well as the appearance of themselves these heroes. The main elements of theatrical and decorative art - scenery, lighting, props and props, costumes and make-up of actors - constitute a single artistic whole, expressing the meaning and nature of the stage action, subordinate to the idea of ​​the performance. Theatrical and decorative art is closely connected with the development of the theatre. Stage performances without elements of artistic and visual design are an exception.

The basis of the artistic design of the performance is the scenery depicting the place and time of the action. The specific form of scenery (composition, color scheme, etc.) is determined not only by the content of the action, but also by its external conditions (more or less rapid changes in the scene, the peculiarities of the perception of the scenery from the auditorium, its combination with certain lighting, etc.) "The image embodied on the stage is initially created by the artist in a sketch or layout. The path from a sketch to a layout and stage design is associated with the search for the greatest expressiveness of the scenery and its artistic completeness. In the work of the best theater artists, the sketch is important not only for the working plan of stage design, but and relatively independent work of art.

Theatrical scenery includes the framing of the stage, a special curtain (or curtains), a pictorial solution of the stage space of the stage, backstage, background, etc. The ways of depicting the living environment on the stage are diverse. In the traditions of Russian realistic art, pictorial solutions prevail. At the same time, written planar elements are usually combined with built ones (volumetric or semi-volumetric) into an integral image that creates the illusion of a single spatial environment of action. But the basis of the scenery can also be figurative and expressive constructions, projections, draperies, screens, etc., as well as a combination of various image methods. The development of stage technique and the expansion of representational methods do not, however, cancel the significance of painting as the basis of theatrical and decorative art in general. The choice of image method in each individual case is determined by the specific content, genre and style of the work embodied on the stage.

The costumes of the actors, created by the artist in unity with the scenery, characterize the social, national, and individual characteristics of the heroes of the performance. They correlate in color with the scenery (“fit” into the overall picture), and in a ballet performance they also have a special “dance” specificity (they must be comfortable and light and emphasize dance movements). With the help of lighting, not only a clear visibility is achieved (visibility, “ readability”) of scenery, but also depicts various seasons and days, illusions of natural phenomena (snow, rain, etc.). Color lighting effects are able to create a feeling of a certain emotional atmosphere of a stage action.

Theatrical and decorative art changes with the development of artistic culture as a whole. It depends on the dominant artistic style, on the type of dramaturgy, on the state of the fine arts, as well as on the arrangement of theater premises and stage, on lighting techniques, and many other concrete historical conditions.

Theatrical and decorative art in Russia reached a high level of development at the turn of the 19th-20th centuries, when outstanding artists came to the theater. They brought a great pictorial culture to the design of performances, achieved the artistic integrity of the stage action, the organic participation of fine art in it, the unity of scenery, lighting and costumes with dramaturgy and music. These were artists who first worked at the Mammoth Opera (V. M. Vasnetsov, V. D. Polenov, M. A. Vrubel and others), then at the Moscow Art Theater (V. A. Simov and others), in the imperial musical theaters (K. A. Korovin, A. Ya. Golovin), Diaghilev's "Russian Seasons" (A. N. Benois, L. S. Bakst, N. K. Roerich, etc.).

A powerful stimulus for the development of theatrical and decorative art was given by the creative search for advanced stage direction (K. S. Stanislavsky, V. I. Nemirovich-Danchenko, V. E. Meyerhold, choreographers M. M. Fokin and A. A. Gorsky).

Literature

E. Zmoiro. Scenery model for the performance of the Central Children's Theater "Skates" based on the play by S. V. Mikhalkov. 1976.

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Stage painting in the ancient theater.

Scenery was an essential part of the theatrical performance and its spatial design. The surviving plays clearly show that scenery in the theater undoubtedly existed, they were characterized by the same artistic convention that distinguished theatrical art in general.

Dramatic productions were agon, the conditions of which were supposed to assume some kind of initial equality. Since the plays were presented during the whole daylight hours without long breaks for a significant change of scenery, it was almost impossible to change the scene in the same drama; the difference in scenery even between the three tragedies should have been negligible. A generally accepted conditional background was created, which could be preserved not only for the tragedies presented, but, possibly, for comedies, which fit perfectly into the general artistic context. The scenery had to not only indicate the place of action and, in a sense, effectively set off the figures of the actors, but also be simple and well understood by the audience.

The origins of scenic painting (ancient Greek σκηνογραφία) date back to the time of Aeschylus. According to Vitruvius, the Samos artist Agatharchus painted the scenery for the Aeschylus plays and also left a special essay on this: “For the first time in Athens, while Aeschylus was staging a tragedy, Agatharchus staged a scene and left a description of it” (VII, praef. 11, trans. F. A. Petrovsky). However, Aristotle attributes the first use of decorative painting to Sophocles (Poet., IV, p. 1449 a 17). Some researchers are trying to connect these two messages, in connection with which they attribute the activities of Agatharchus to the end of Aeschylus's life, when Sophocles already enjoyed the fame of a dramatic writer.

Initially, the wall of the skene with doors facing the proskenium was used only for the exit of the actor. There were almost no painted scenery in the early tragedies of Aeschylus: in The Petitioners only the altar and images or symbols of the gods are mentioned, in Prometheus - only the rock to which the titan is chained. In other surviving plays, the main scenery is indicated more or less clearly. So, for example, in Aeschylus' Persians, Agamemnon and Choephors, the action takes place in front of the palace (most often it was the facade of the palace that was depicted in dramas), at the beginning of The Eumenides - in front of the temple. In Sophocles in Antigone, Oedipus Rex, Electra and The Trachinians, the scenery is a palace, in Philoctetes it is a cave, in Oedipus in Colon it is a wooded area with a sacred site. In the plays of Euripides, the action usually takes place in front of a palace, sometimes in front of a temple or a village house ("Electra"), and in the satyr drama "Cyclops" - in front of a cave. At the same time, the same scenery could be used to represent a different scene of action: if in the first of the tragedies of Aeschylus's trilogy "Oresteia", in "Agamemnon", the facade of the skene represented the palace of Agamemnon, then in "Eumenides" he depicted the temple with the same success Apollo at Delphi, and then the temple of Athena at Athens, and in this latter case, apparently, only the statue of the deity changed. In general, sculptural and architectural decorations (statues of the gods or one god in front of the palace, altars, tombs, etc.) were quite often used along with the painted ones. So, in "Hippolytus" by Euripides, two statues stood in front of the facade of the palace - Artemis and Aphrodite. Hippolyte, going on stage, crowned only the statue of Artemis, and his disrespect for Aphrodite was immediately visible to the public.

In the middle of the 5th century BC e. painted scenery, drawn on boards or dense matter, leaned or hung on the wall of the proskene, which was originally wooden. And later, when the proskenium took the form of a stone colonnade, the decorations were placed in the gaps between the columns. However, even then, the simplicity and conventionality of images remained a characteristic feature of the painting, as evidenced by the Roman architect Vitruvius, in whom we find the most detailed information about the scenery in the Greek theater: “Scenes are of three kinds: firstly, the so-called tragic, and secondly - comic, and thirdly - satirical. Their scenery is dissimilar and heterogeneous: tragic depict columns, pediments, statues and other royal objects; comic ones represent private buildings, balconies and images of a row of windows, in imitation of what happens in ordinary houses; while the satirical ones are decorated with trees, caves, mountains and other features of the rural landscape” (V, 6, 9). Noteworthy in this testimony of Vitruvius is an indication of the principle of depicting a part instead of the whole: instead of a building, only its elements are depicted (instead of a palace - columns, pediments; instead of a private building - a series of windows).