Making a poster is a very important part of the preparation of the performance, in it in a concise form you can tell what awaits the audience, interest, and, at the same time, the poster should not reveal all the secrets of the future action, conceal some kind of intrigue.

Surely you have seen a lot of posters in the life around you, some you liked, some you passed by. The poster needs to be made so interesting that it would be desirable to read, therefore the main thing in creating a poster is carefully thought out content. Indicate the name of the performance, the names of the actors involved in it and its brief announcement. Of course, the poster must be large enough, with large print, so that the information reflected on it is easily perceived. Well, if a fragment of a future performance is drawn on the poster, this will interest the audience.

Also on the poster must be written the time and place of the future performance.

An invitation card can be bought in a store or downloaded from the Internet and printed, but your viewers will be much more pleased to receive a card made by themselves.

The invitation should be issued in such a way that the invited person immediately gets the feeling of an upcoming creative miracle, even if the performance itself takes place only in two weeks.

The invitation must indicate the name and surname of the guest and the name of the performance. Next, the exact date and day of the week on which the holiday is scheduled, the start time of the performance are indicated. If the person has never visited you, then the exact address should be indicated in the invitation. An invitation card may not be for one person, but for a whole team - for example, a school class or a kindergarten group.
The invitation card should be colorful, bright, original.

What will the viewer be left with after visiting, except for impressions? Of course, the ticket and. A visit to the theater begins with a ticket, and ends with a study of the program.

Of course, the first thing you should pay attention to is the design. We recommend using various variations on the theme of a standard A4 sheet, folded in two or three times along or across, made in a printing house, but sometimes you can come up with something more interesting.

There are several approaches to designing a program - both a standard "cover" with an insert corresponding to a specific performance, and "personal" programs.
First of all - about "characters and performers". In fact, everything is clear, in form - several options are possible. How is it usually done? On the left - the "actor", on the right - the "performer" (sometimes vice versa), one or more, if several, it is noted which one is playing.
There are some other points that can be indicated in the program - the duration of the performance, the age of the participants, information about when the premiere took place. Some information about the authors of the play and performance, about the play itself can expand the impression of the performance and even partially shape it.

You can also include in the program a general text about the school where your theater group works, with information about new performances (although often there is one for the entire academic year). Sometimes reviews about the performance are included in the program, which can serve as a good reason for discussion.

Explanatory note

The future is closer to us than we think. It is very close - it cries, laughs, raises questions, makes you suffer, rejoice and live fruitfully. This is the future - our children ...

They grow up quickly, but they will be able to live independently and fruitfully if we help develop their abilities and talents today. Talented people are the main wealth of society. Every child is talented in their own way. Art is designed to help develop this quality in him. Work on the artistic word in a theater studio, stage play, meetings with interesting people, actors, visiting the theater - all this will contribute to the formation of a creative personality, self-expression, the acquisition of public behavior skills, the resolution of characterological conflicts, and the removal of psychological stress.

The relevance of the program is due to the need of society in the development of moral, aesthetic qualities of a person's personality. It is by means of theatrical activity that it is possible to form a socially active creative person who is able to understand universal values, be proud of the achievements of national culture and art, capable of creative work and writing.

The pedagogical expediency of this course for students is due to their age characteristics: diverse interests, curiosity, enthusiasm, initiative. This program is designed to expand the creative potential of the child,

enrich vocabulary, form moral and aesthetic feelings

Regulatory documents that ensure the implementation of the program:

Federal State Educational Standard for Basic General Education, approved by Order of the Ministry of Education and Science of the Russian Federation dated December 17, 2010 No. 1897;

The main educational program of LLC MBOU "Field Lyceum";

Programs for the formation of universal educational activities;

Order of the Ministry of Education and Science of Russia No. 576 dated June 8, 2015"On amendments to the federal list of textbooks recommended for use in the implementation of state-accredited educational programs for primary general, basic general, secondary general education, approved by order of the Ministry of Education and Science of the Russian Federation dated March 31, 2014 No. 253"

Order of the Ministry of Education and Science of the Russian Federation (Ministry of Education and Science of Russia)dated March 31, 2014 No. 253 Moscow

Recommendations on equipping educational institutions with educational and educational and laboratory equipment necessary for the implementation of the Federal State Educational Standard of Basic General Education, the organization of project activities, modeling and technical creativity of students (Recommendations of the Ministry of Education and Science of the Russian Federation dated November 24, 2011. No. MD-1552/03)

Sanitary and epidemiological rules and regulations SanPiN 2.4.2.2821-10 "Sanitary and epidemiological requirements for the conditions and organization of education in educational institutions", registered with the Ministry of Justice of Russia on 03.03.2011, reg. No. 19993.

Purpose: Formation of the creative individuality of students

To create a favorable emotional atmosphere for communication of students, their self-expression, self-realization, which allows them to “find themselves”, believe in themselves, overcome shyness and shyness

To form the skills of a stage culture of behavior

To instill love for the theater as a multidimensional and multifaceted genre of art

Develop interest in theatrics, visual and auditory attention, memory, observation, resourcefulness and fantasy, imagination, imaginative thinking, a sense of rhythm and coordination of movement, speech breathing and diction

To cultivate goodwill and contact in relations with peers, the skills of collective creative activity, a responsible attitude to the results of one's own work and the work of the entire team

Organizational conditions for the implementation of the program

The program is designed for 70 hours (2 hours per week), is designed for 1 year of study and is intended for students in grade 5. The studio accepts children of interest, without presenting special requirements, at the request of the parents.

The implementation of the program is carried out in accordance with the main pedagogical principles:

the principle of consistency (assumes the continuity of knowledge, complexity in their assimilation)

the principle of differentiation (involves the identification and development of students' inclinations and abilities in various areas)

the principle of fascination (takes into account the age and individual characteristics of students)

the principle of collectivism (contributes to the development of versatile abilities and the need to give them to the common joy and benefit)

the principle of interdisciplinary integration (lessons of literature and music, literature and painting, fine arts and technology, vocals and rhythm)

the principle of creativity (assumes a maximum focus on the creativity of the child, on the development of his psychophysical sensations, the emancipation of the personality)

The technological basis of the program is the following technologies:

group

• individual and problem-based learning

  collaborative pedagogy

The following forms help the implementation of these technologies:

Theoretical and practical classes

Individual, group, collective

Theatrical games

• Trainings

  Excursions to the theater

  Performances

  Holidays

reproductive

Illustrative

Problem

Heuristic

Observation

An exercise

promotion

Explanation

Personal example

Theoretical classes provide basic knowledge, reveal the theoretical substantiations of the most important topics, use data from the historical heritage and best practices in the field of theatrical art and life in general.

In practical classes, the presentation of theoretical provisions is accompanied by a practical demonstration by the teacher himself, the basics of acting, culture of speech and movements are given, game, psychological and educational trainings are held. During classes, there is a benevolent correction. The teacher ensures that all participants try to complete the task as vividly and accurately as possible.

In individual lessons, work is carried out with children in the amount of 1 to 3 people.

Logistics

A computer

Projector

MD and CD discs

Costumes, scenery necessary for work on the creation of theatrical productions

Elements of costumes for creating images

stage make-up

Expected results

By the end of the year, students:

They have a concept:

About the theater and its types

On the elementary technical means of the stage

About stage design

On the norms of behavior on stage and in the auditorium

Express your attitude to phenomena in life and on stage

to think figuratively

Concentrate attention

Feel yourself in the stage space

Acquire skills:

Communication with a partner

Elementary Acting

Figurative perception of the world around

Adequate and imaginative response to external stimuli

Collective creativity

Educational and thematic plan

Date planned

actual

Topic of the lesson

Number of hours

Notes

Introductory lesson. Acquaintance with the team, the studio program, rules of conduct, fire safety instructions

Fundamentals of theatrical culture (6 hours)

The concept of theater. Theater types. The difference between theater and other forms of art. The birth of the theatre.

The structure of the theater, the main professions: actor, director, screenwriter, artist, make-up artist. Stage sketch "Those professions of the theater ..."

Decoration and technical means of the stage. Russian theater.

Culture of behavior on stage and in the auditorium

Excursion to the puppet theater.

Culture and technique of speech (14 hours)

Work on exercises that develop the chest resonator. Breathing Exercises , "Steam locomotive"

Work on the organs of articulation and familiarity with the norms of orthoepy. Speech gymnastics "Patters", "Monument to the proverb"

Playful verbal riddles for the development of attention, expansion of vocabulary. The game "Compose anonymity!

Work on diction. Games "Choose a rhyme", "Compose a fairy tale"

Work on diction. Games “Compose a story “Life of wonderful things”, “Compose a story about one letter”

Work on diction and the development of mindfulness. Games with the words "logorif", “Guess the word!”, “Flying, not flying!”

Games with words that develop coherent figurative speech: “Compose an acrostic”, “Compose a metagram”, “Compose an anagram”, “Solve the anagram”

Working with the word and the ability to think outside the box. The game "A new character in an old fairy tale"

Stage sketches for the imagination: "Unusual recitation", "Unusual anthem"

Mastering the proposed stage tasks. Game "Advertising video"

Mastering the proposed stage tasks. One Song Festival game

Assimilation of the proposed circumstances. Game "Movie genres"

Mastering the stage space. Games "Imitates"

Work on the image. The game "Get in character".

Rhythmoplasty (10 hours)

Rhythm training. Games "Gait", "Transformation"

Improving posture and gait. Rhythmic game "I'm moving right"

The development of imagination and the ability to work in a sharp drawing (“in a mask”). Games "Masks", "Animation of objects", "Imitation", "Shadows"

Plastic exercises "Industrial gymnastics", "Bodybuilding"

Work on the image. Analysis of facial expressions. Hairstyles and wigs. Games "Acquaintance", "Mirror"

The development of observation. Stage studies "Two things at the same time", "The torment of creativity."

Theatrical training. Games "Sound Engineer", "Theatre Director"

Playing with costumes. Game "Get in character"

Imitation of animal behavior. Game "Great Tamers"

Work on the coordination of movements. Queue game. Flexibility Exercises

Theatrical play (39 hours)

Acquaintance with the script of the fairy tales "Kolobok", "Teremok", "Golden Key". Exchange of impressions.

Children's retelling of the plot of the plays in order to identify the main theme, main events and the semantic essence of the clashes of the characters.

The distribution of roles, taking into account the wishes of young artists and the correspondence of each of them to the chosen role (external data, diction). Expressive reading of fairy tales by roles. Division into logical passages.

Discussion of scenery, costumes, stage effects, musical accompaniment.

Discussion of the proposed circumstances, the behavior of each character on the stage.Work on the image discussion of the characters, their characters, appearance.

Reproduction in action of separate events and episodes.

Role development. Work on facial expressions during dialogue, logical stress.

Role development. Work on facial expressions during dialogue, logical stress.

Individual training of the main performers

Music selection. Learning songs and dances

Collective production of scenery, costumes.

Rehearsal of the play "Kolobok"

Performance premiere

Celebration of the first performance. Performance analysis.

Rehearsal of the play "Teremok"

Dress rehearsal. Stage decoration.

Preparation of posters, programs, tickets, preparation and verification of registration

Performance premiere

Performance analysis.

Performance rehearsal "Golden Key"

Dress rehearsal. Stage decoration.

Preparation of posters, programs, tickets, preparation and verification of registration

Performance premiere

Performance analysis.

References

Agapova I.A. School theater. Creation, organization, plays for productions: 5-11 grades. - M.: VAKO, 2006. - 272 p.

Belinskaya E.V. Fabulous trainings for preschoolers and younger students. - St. Petersburg: Speech, 2006. - 125 p.

Buyalsky B.A. The art of expressive reading. M.: Enlightenment, 1986. –176 s.

Gurkov A.N. School theatre. - Rostov n / D: Phoenix, 2005. - 320 p.

Karishnev-Lubotsky M.A. Theatrical performances for school children. - M.: Humanitarian ed. center VLADOS, 2005. - 280 p.

Tkacheva E.M. Plays. - M .: VTsKhT (“Repertoire for children's and youth theaters”), 2008. - 176 p.

Churilova E.G. Methodology and organization of theatrical activity: Program and repertoire. - M.: Humanit. Ed. Center VLADOS, 2004. - 160 p.

Very important today is the ability of a person to give a critical assessment of something. In many areas, this can be done by writing a review, which, in turn, has certain rules for creating. How to write it is described in our article.

Review as a genre

Review is a genre of journalism, including scientific and artistic criticism. It is based on a critical assessment of a work of art, science, journalism (film review, review of a play, literary work, cartoon, scientific work ...).

What is a review for?

The purpose of the review is to inform about the new work, to give it a critical assessment, to point out its strengths and weaknesses. The review should draw public attention to the issue under study and suggest what is worth its attention and what is not.

Genre features

As a rule, a review is written in a journalistic style, is polemical in nature, and can also gravitate towards the genre of an essay, a literary article. It must be objective, therefore it does not allow the use of personal emotionality, rough comparisons, presentation of subjective thoughts. All opinions expressed must have clear arguments (examples from the text, staging, style, author's position, etc.). Writing a review involves the use of terms in the field of art, to which the analyzed work belongs.

Theater performance review

The theater review is one of the most popular genres of theater criticism. Its purpose is to evaluate the performance (and not the play). To work on this critical article, it is necessary to analyze the production, understand the director's creative intent, the director's concept, which is embodied on stage through various means of theatricalization: stage design, light, music, acting, mise-en-scene.

The performance review provides an objective assessment of the performance. The viewer at the same time explores the artistic text of the work, the means of expressing the author's position (problematics, conflict, plot, composition, system of characters, etc.). The performance review is based on a deep and reasoned analysis, the quality of which depends on the theoretical and professional background of the reviewer. In the process of writing a review, you need to use theatrical terminology correctly.

Stages of creating a review

The process of creating a review takes place in several stages:

1. Preparatory work (reading the play based on which the performance was staged, studying previous productions based on it, researching the director's creative path, the place of this performance in the theater repertoire).
2. Watching a performance.
3. Analysis of the production (including content, form, images, director's findings, novelty of interpretation).
4. Direct writing of a critical article.

Review Structure

In order to give a full assessment of the production, you need to know how to write a review of the performance. This critical judgment has its own structure:

I. Introduction: justification for the need to review this performance (a new production by the director, a field around the author's work, the relevance of the problematics of the work, etc.).

II. Main part: interpretation and evaluation of the ideological and artistic originality of the production.

III. Conclusions about the artistic merits of the production under study and its significance for theatrical and social life.

Review plan (approximate)

In order to give a full critical assessment of the production, it is necessary to take the performance as a basis. The presence of points and their sequence in the presentation is determined by the author.

1. Name of the performance, director, theater (basic information), date of production.
2. Data about the author of the play, director- director.
3. The storyline of the work, the main episodes (the choice should be argued).
4. The creative idea of ​​the author and its implementation (author's: theme, idea, problems; features and difference between the director's idea and the text of the play).
5. Genre features of the production, composition of the performance.
6. Acting score.
7. The main problems raised by the author, their relevance.
8. Director's features (unexpected use of theatrical means, scenography, musical accompaniment, special effects...).
9. The general impression of the reviewer about the performance (how novelty of the director's interpretation is inherent in the production, whether your expectations regarding what you saw were justified).

If you're having trouble at work, don't despair. Use the materials on how to write a review of a performance (an example of how to write it is given in this article), and you will significantly improve your skills as a reviewer.

1. Before writing a review of a play, study the material (the play) that serves as the basis for the production so that while watching you do not follow the plot, but evaluate the interpretation of the production director.
2. Watch the performance for yourself.
3. During the performance, take notes in a notebook so that when writing a review you have enough material for criticism.
4. Write a review at least a day after watching the performance. This will allow you to objectively approach the assessment of the production.
5. If you personally did not like the performance, be able to find good moments in the watched and interesting directorial finds.
6. If you are reviewing a production based on a play by a classic playwright, point out the novelty of the director's vision of the work, unlike others.
7. Do not forget that the performance is the work of an entire production team (director, lighting designer, composer, ..), so pay attention to all the components of the performance.
8. Be sure to include arguments.
9. Remember that any performance review is an example of a competent and logical presentation of the material, so follow the style, structure of the article and the absence of grammatical errors.

The main mistakes in writing a theater review

1. The use of phrases of subjective assessment: “like” - “dislike”, “impressed me”, “pleased the actor” ...
2. Retelling the plot instead of analyzing the performance.
3. Emphasis on details that do not carry a special semantic load.
4. Illiterate use of terms.

performance review template

In 1878, A. N. Ostrovsky wrote one of his most famous plays, The Dowry. After some time, she was recognized as the best work of the playwright.

The first stage performance of the play took place on the stage of the Maly Theatre, but it did not make the proper impression. Over the years, the production has become more and more popular, and to this day it is dearly loved by the audience. The secret of unquenchable interest lies, most likely, in the relevance of the problems raised in the dramatic material.

Recently I visited the production of "Dowry" in I plunged into the world of magnificent unity of the director's idea, the skill of the actors and the exciting atmosphere of the performance. Being in the hall, I felt like a protagonist.

I was especially impressed by the performance of the actress M. Magdalina (the role of Larisa). She masterfully managed to create the image of a soft and sincere, sensual and romantic heroine. Her movements combined lightness and confidence, and circling around the stage very successfully conveyed the character of Larisa. The integrity of the creation of the image was facilitated by the beautiful melodic voice of the actress. I think she played her part just brilliantly.

Valery Potanin (the role of Karandyshev) pleased Russia with his skill. His hero appeared before the audience dissatisfied and grouchy. It seemed that he could "explode" at any moment. There was constant intolerance, and sometimes even hatred towards Paratov. But at moments of humiliation by other heroes, Karandyshev involuntarily felt sorry. The image conveyed by Valery Potanin in the performance differs from my representation of Karandyshev. In my imagination, he was a calm, respectable man who reacted sharply only in cases of injustice and resentment.

The role of Knurov was played, in my opinion, very successfully, by the Honored Artist of Russia A. Gladnev. His character gives the impression of a reasonable person. His movements are thoughtful, impeccable, clear. Only sometimes is thoughtfulness seen in the image, which creates the impression of a wise man who has seen a lot on his life path.

S. Karpov played Paratov in the play. He managed to convey rationality, calmness and passion in communicating with Larisa. The only thing I would like to note is that the type of the actor did not quite match the appearance of my idea of ​​a hero.

Throughout the performance, the audience was amused by a wonderful actor who played Robinson. The image created by the actor was surprisingly cheerful and cheerful. Thanks to the performance of this actor, the director managed to draw a motive of kindness and optimism through the entire performance.

It should be noted that the selection of actors would have been carried out very successfully, their types, as well as vocal abilities, contributed to the creation of amazing and attractive images of the performance.

The work of the costume designer and make-up artist of the performance deserves attention: all the props, costumes, makeup, wigs were created and selected with skill.

The scenery fully corresponded to the ideological content of the performance. The fact that they did not change during the production process also had an ideological and semantic load.

But, in my opinion, the lighting score of the performance was not well thought out. In this case, the emphasis was placed on the rear lights, and this, in turn, distorted the audience's vision of the scene and negatively affected the performance of the actors.

In general, the impression of the performance is good. The synthesis of the professionalism of the stage director and the skill of the actors contributed to the fact that the long-known play began to play in my mind with new colors. This, in my opinion, is one of the tasks of the theater: to draw public attention to problems that are always relevant, and to help the viewer become purer and wiser through experience. I hope that the subsequent productions of this director will also make an indelible impression on me.

Features of reviewing productions for a children's audience

The review of the children's performance corresponds to all the genre features of this critical article. When writing it, it is important to take into account the only point: the performance, as a rule, is designed for a certain age of children. Both the text of the play itself and all artistic decisions on the stage must correspond to the indicated age of the children. Therefore, it is necessary to analyze the production for children, taking into account the age characteristics of the audience.

The performance review is a product of creativity. The reviewer should try to convey the spirit of the production in such a way that the viewer wants or does not want to see it.

The document accompanies a person from the very first minutes of life. This is a unique invention of man, which makes it possible to fix all the knowledge accumulated by mankind (thoughts) on a material carrier. The document covers all spheres of being, is obligatory for them and performs the most important functions - social, legal, financial, cultural, etc. The general theory of the document, which considers key issues - signs, properties, components, functions of any document, represents documentology.

The theater program is considered as a type of document in accordance with the theoretical provisions set out in detail in the work of Yuri Nikolayevich Stolyarov "Documentology: a textbook".

Components of the theater program

Any science operates with a huge number of studied objects, therefore, it needs to streamline these objects, i.e. in the classification. Documentology is no exception, especially since, based on the definition of the concept of "document", it deals with an endless array of data that requires classification according to specific features - components.

Each document in documentation is considered in the aggregate of the following components:

nominative;

semantic;

Significant;

syntactive;

Perceptual;

Temporal;

Material;

Pragmatic.

One of the most important parts of the document is nominative- from the Latin nomina - name, title. The term "program" consists of Greek words: pro - before and grapho - I write. First, I write about what should be performed in a concert, performance, ballet, in other words, an announcement. The theater program contains a recording of an action that will take place in the theatre. This is a kind of guide for the viewer who came to the theater.

The nominative component is closely related to semantic, which expresses the informational entity of the document. Semantics (from other Greek σημαντικός - denoting) is a branch of linguistics that studies the semantic meaning of language units. Why the theater program was created and what information it contains - the answer to these questions is connected precisely with the semantic component. Since its inception, the theater program has contained information about the performance: when and where the event indicated in the program will take place. The program was an intermediary between the actors and the audience, its content was information about the author, director, stage designer, artist, actors creating the performance.

With regard to the theatrical program, we can say that its semantic meaning consists in the announcement and designation by name of the components of the theatrical action. From this point of view, the semantic component of the theatrical program echoes the nominative component, which also means an announcement.

The traditional program of a dramatic performance is a leaflet or a small booklet and contains the title of the play and the name of its author; the name of the artistic director of the theatre; surnames of the staging group of the performance - director, artist, composer, choreographer of dances, stage movement, lighting designer, assistant director or artist, etc. If the performance uses special visual means (masks, puppets, special make-up, vocal numbers, tricks, etc.), then the program includes information about their authors. The following lists all the actors of the play and the performers of the roles. All the names of the authors of the performance and the actors are accompanied by their ranks and titles (for example, "People's Artist of the RSFSR", "Laureate of the State Prize", etc.). The program concludes with the surname of the assistant director - the person responsible for the technical conduct of the performance.

The program may include additional information: the date of the premiere; the names of the theater workers holding key positions (chief artist, assistant chief director for repertoire, head of the troupe, head of the musical part, head of the production part; head of the technical workshops: editing, costume, props, dressing room, etc.); information about the number of actions and the duration of the performance, brief information about the history of the theater, the history of the production of this play, etc. Illustrated programs may be accompanied by photographs or drawings (sketches of costumes, scenery, etc.).

The programs of ballet and opera performances include a libretto - a summary of the performance. The programs of circus performances and concerts contain the names of the staging group of the entire stage action, a list of numbers and the names of the performers (indicating their ranks and titles).

Considering the theatrical program in the main aspects of the semantic component, it should be noted that in terms of content, the theatrical program is the area of ​​theatrical art, and more narrowly, the theme of the performance (for example: history, war, love); from the point of view of the intended purpose - aesthetic empathy; from the point of view of the spectator purpose, it is intended for the audience who came to the theater.

The theater program is a written text, therefore, according to signal(sign) component, it refers to a symbolic iconographic document, as it contains symbols - letters. The text of the program can be written in different languages, i.e. different sign systems are used in parallel. So, in modern theater programs, the text can be in Russian and English. In the 18th century, the programs of performances with the participation of touring troupes contained text in Russian and Italian or German, depending on the troupe.

In the middle of the 19th century, new symbolic signs appeared in the program - professional theaters placed their emblems on the programs, which are symbols of the theater. Today, theatrical programs of all theaters and concert halls contain their emblems and are decorated in their own colors. So, the programs of the Bolshoi Theater are ivory, the Mariinsky Theater prints programs of lime color, the Musical Theater. Stanislavsky and Nemirovich-Danchenko - white and blue, etc. The programs of some theaters have the same cover design for all their performances (the Bolshoi Theatre, the Musical Theater named after Stanislavsky and Nemirovich-Danchenko, the Moscow Art Theater named after Chekhov). Others print their own cover for each performance, thematically related to the content of the performance. In the first case, the program can be regarded as a symbol of the theater, in the second - as a symbol of the performance.

Any document is created with the aim of transmitting the information presented in it, in space and time. The theater program is addressed to the viewer and, from the point of view of the viewer's perception - perceptual component, - refers to the anthropodocument. The sign system, with the help of which information is recorded in the program, was created by a person and is recognized by a person. To recognize signs, a person uses vision, which makes it possible to classify a theater program as a video document. However, with the development of computer technology, an electronic theater program appears - an electronic document or technical document, in contrast to a non-electronic program. Such theater programs are posted on theater websites, they are a greatly simplified electronic version of a non-electronic program. The electronic program is absolutely devoid of aesthetic, artistic function, it contains only information about the actors and performers.

syntactive(from the Greek word "syntax" - compilation, construction, order) the component of the document determines its construction, the relative position of the components.

By the beginning of the 20th century, the theater program had acquired an established form of text construction, which is used in all theaters and concert halls. This form is closely related to the semantic component and directly expresses the content of the document. The name of the program, as a rule, is highlighted in an unusual font and is located on the first page. It can be called the title page of the theatrical program. By analogy with the title of a book, the place of presentation and the year are indicated at the bottom of the program - output information. In the overhead data, the name of the theater or concert organization is indicated, the emblem is placed. On the spread of the program (second and third pages), the characters and performers are indicated in two columns. This part of the program is the same for all types of spectacular performances - drama theatre, ballet, opera, circus performance, classical or pop music concert, etc. If the program is supplemented with information about the director, actors, the history of the performance, then this information is located after the list of actors. The last page of the program contains graduation data - circulation, printing house, in the last decade of the 20th century, indications of theater or production sponsors appeared.

Depending on the content of the theatrical performance, the theatrical program differs in the form of information presentation: color, illustrativeness of the program, use of different fonts. The program for the performance of Dmitri Shostakovich's Sixth Symphony in besieged Leningrad (Fig. 1) is distinguished by the strictness of its performance - a clear black and white font on a white sheet of the program is read as a symbol of the steadfastness and courage of Leningraders during the war. Illustrations are superfluous here, on the title page there is only D. Shostakovich's dedication to his native city - Leningrad. The syntactive component of the concert program conveys the content of the music being performed, thus expressing a close connection with the semantic component.

Fig.1. The program for the performance of the Sixth Symphony by Dmitry Shostakovich in besieged Leningrad

The program of the performance of the Russian Academic Youth Theater "Yin and Yang" has a completely different character. It is full-color, made in the tradition of oriental graphics (Fig. 2). The font style is reminiscent of hieroglyphs, introducing the viewer even before the action begins into the atmosphere of a performance in which the intrigue is built around a Chinese relic.

Rice. 2. The program of the performance RAMT "Yin and Yang"

Theatrical programs for each performance of the Russian Academic Youth Theater - RAMT (Fig. 3) are unique in design (synactive component) and reflect the content (semantic component) of the performance. So, in the play “A Draw Lasts a Moment”, a chess game in the Latvian ghetto between a prisoner and a guard puts the hero before a choice - to win and stay alive, but all the children will be destroyed, or lose and die, saving the children. The program is made in the form of a chessboard, along which a crack has passed, displacing the black squares - this is how people's lives are on the fault. On the program for the play “Portrait” based on the work of Nikolai Vasilyevich Gogol, we have luxurious picture frames and the whole performance is built using a frame in which the hero encloses himself throughout the entire action in various ways. The program for Nikolai Erdman's play "The Suicide" is made in a different color scheme, symbolizing the struggle of a little man with himself and an attempt to break out of the vicious circle into which he has driven himself - black pointing fingers on the program enclose the bent figure in a circle.

Fig.3. Programs for RAMT performances

The Theater of Music and Poetry directed by Elena Kamburova used Niko Pirosmani's painting “Donkey Bridge” to create the atmosphere of the performance based on the songs of Bulat Okudzhava (Fig. 4). The viewer feels the aroma of Georgia and hears Georgian songs even before the start of the performance, just by looking at the program. It can be said that the syntactive component of the program (design) through the perceptual component (vision, inner hearing, smell) conveys the content to the viewer - the semantic component.

Fig.4. The program of the performance "Drops of the Danish King" of the Theater of Music and Poetry directed by E. Kamburova

The temporal component characterizes the theatrical program in terms of time. It allows you to record information about a specific event that occurred at a specific time in a specific place. During a theatrical performance, the program provides the viewer with information that is necessary for the viewer and is of interest to him at the moment. In this case, the program is a relevant document for the viewer. However, after the end of the performance, the program loses its relevance, as the viewer no longer needs a guide, since the path has already been traveled. We can say that the theater program becomes obsolete on its birthday. On the other hand, the theatrical program acquires a historical, memorial function - it reflects the fact that a performance, a concert took place, which is invaluable information for theater historians.

There is no strict regularity in the performance of performances in the theater, therefore the theatrical program is a sporadic document that is published as needed and does not have a clear periodicity.

All the components listed above reflect the essence of the theater program in terms of information, determine its informational function. Based on the definition of the concept of "document", this information should be recorded on a tangible medium, so it is necessary to consider material part of the theater program.

As a material for the theater program, paper of various types is mainly used. It can be thin matte or glossy paper, thin cardboard - matte or glossy, varnish is applied. At the end of the 18th century, theatrical copyists painted programs in calligraphic handwriting on silk for persons of the imperial family, which illustrates the third law of documentology on the conjugation of information and media, the ability to place the same information on different media.

According to the constructive form, the programs can be implemented in various versions. As a rule, a sheet, a diploma, is used. But there may be complex non-standard constructive forms. So, RAMT for the play "Flowers for Algernon" performed a program of a non-standard asymmetric size with a cutout - Fig.5. The syntactive component of this program is also unusual - the text is torn into pieces and is located in different directions.

Rice. 5. The program of the play "Flowers for Algernon" RAMT

The non-standard design was also used by the theater. Vakhtangov for the play "Coast of Women". In the performance, the fate of women during the war is told in plastic language. The story of each heroine is voiced by the songs of Marlene Dietrich, in the cutout of the program we see her photograph (Fig. 6).

Rice. 6. The program of the play "Coast of Women" theater. Vakhtangov

In the theater. Vakhtangov has a very interesting solution for the program for the play based on Pushkin's novel "Eugene Onegin" (Fig. 7), which uses the construction of the foot. The program is made in the form of a postal envelope, which contains a letter from Tatyana and business cards of all the actors, indicating the performers. Tatyana's letter is made using the harmonica design. The postal envelope serves as a title page - we see the emblem of the theater, the name of the theater and the name of the performance. The stylistics of the text used in the program (synactive component) refers us to the 19th century, to the time of A.S. Pushkin.

Fig.7. Programs for the performance based on the novel by A.S. Pushkin "Eugene Onegin"

Thus, four designs are used in one program - an envelope acts as a cover, the characters and performers are indicated on business cards, that is, a sheet, together they form a foot, and an accordion is used for an excerpt from the novel (Tatyana's letter).

One of the effective methods of paperwork is cutting. Theater program. Vakhtangov for the play "Crazy Day, or The Marriage of Figaro" uses this method, placing the profile of the theater's founder Yevgeny Vakhtangov on the first page of the cover (Fig. 8).

Fig.8. Theater program. Vakhtangov for the play "Crazy Day, or The Marriage of Figaro"

pragmatic component of the document is associated with its existence in the external environment, indicates the relationship of the document with external factors in relation to it. The theatrical program for the viewer who came to the theater is a valuable document that carries the information required at the moment. In this regard, the program is inherently relevant, as it contains information about a particular performance. On the other hand, if the performance is not a premiere, that is, it has already taken place earlier, then there is no novelty in the program. According to the scope of application, the theater program can be considered as an artistic, informational document with aesthetic significance. According to the form of ownership, a theatrical program can be private (if it is the subject of a private person's collection), collective (if the program is in the museum's collection). According to the access mode, the program has unlimited access, any spectator who comes to the theater can purchase it.

The evolution of the theater program

The theater program has gone through all the stages of evolution that are characteristic of any other document.

The prototype of the theatrical program - oral announcements - existed in the preliterate era. With the advent of writing in the ancient world, the theater program acquired the character of written and drawn advertisements. The further development of writing and the emergence of the printing press in the era of Gutenberg marked the next stage of development - the appearance of a printing type program. The improvement of printing technologies, the invention of xylography and chromolithography made it possible to create illustrated theatrical programs, which eventually led to the manifestation of an artistic function in this document to a large extent. At the same time, the information function of the theater program remained the main one both for the direct participant in the theatrical performance and for subsequent generations of spectators. For the former, it represented an actual document, while for the latter, a historical function came to the fore, allowing one to study and understand the history of the development of theatrical art.

The development of computer technology has led to the emergence of a theater program - an electronic document. This type of program completely loses its artistic function, the life of such a document is reduced to several days, since the next day after the performance, the document disappears from the electronic medium - the theater website. The information component, as well as the artistic component, remains only in the non-electronic version of the program.

Over time, the memorial function of the theater program is becoming increasingly important, and it becomes a museum document, a collector's item. A collection of such documents is kept in museums of theatrical art, in particular in the State Central Theater Museum. A. A. Bakhrushin in Moscow and in the St. Petersburg State Museum of Theater and Musical Art.

The theatrical program is represented in the collections of the Russian State Library, the Russian National Library, the Russian State Library of Arts, unfortunately, very little. These are theatrical programs of the late 19th - early 20th centuries. Later programs, which are of interest from the point of view of syntactive (artistic performance) and semantic (theater repertoire, actors) components, undeservedly do not attract the attention of library acquisition departments, thereby depriving the reader of the opportunity to study the history of the theater.

Bibliography

1. Stolyarov Yu.N. Documentology: textbook / Yu.N. Stolyarov; Moscow State University of Culture and Arts; Orel State Institute of Arts and Culture. - Eagle: Horizon, 2013.-370 p.

About the author

Elena Ottovna Zakharyants, student of VBC,