Working with an actor is one of the key problems of directing. There are three types of relationship between actor and director. The first is the ideal one, which is quite rare: a complete creative coincidence, joint creativity and the search for truth. The second - the director and the actor make their way to each other, like miners digging a tunnel from two sides. And the third, the most disappointing, is the complete mismatch of views and desires, when the director simply imposes the drawing of the role on the resisting actor.

Human perception of spatial images is always carried out in time, it is always discrete (discontinuous). The director facilitates this perception by designating time limits in his production, according to which our perception is divided into separate rhythmic measures. In the director's work, time is not only an object of representation, but also a means of expression.

Here is what the structure of time looks like in the space-time arts:

empirical time - time in the reality that serves as material for the work;

plot time - the organization of the plot in time;

viewer time - takes into account the duration of perception.

Another essential component in the director's work is the solution of spatial problems. The structure of space in the performing arts is divided into three components:

1) The space in which the objects are located;

2) The space where the audience is;

3) The plane of the stage (screen) reflecting the first and suggesting the second.

The principle of the structure of space is the same as the principle implemented in the structure of time, since both categories - space and time - are closely related. However, there are also significant structural and functional differences between them. Moreover, there are significant differences in the artistic expressiveness of space in three-dimensional directing (dramatic theater, ballet, opera, stage, circus) and planar (cinema, television, puppet theater). The artistic expressiveness of the space of volumetric arts lies in the fusion of the space of the scene, the stage space and the auditorium, with the indispensable freedom in choosing the angle of view from the viewer.

The structure of space (as well as time) is to a certain extent predetermined by the type, genre or stylistic direction of the work.

2.2 Directing in tourism

Tourism as a way of organizing the free time of citizens has recently become very popular. This is facilitated by the intensification of labor, which requires the effective reproduction of the mental and physical forces of a person spent on production, an increase in the amount of free time and the attitude to it as a value. At the same time, there is an increase in cultural and cognitive demands.

Directing in tourism is one of the leading and most dynamic industries, and for its rapid pace of development, it is recognized as the phenomenon of the century.

Directing in tourism is the activity of developing and presenting cultural and leisure programs.

Directing in tourism consists in the creative organization of all elements of cultural and leisure programs in order to create a single, harmoniously holistic leisure. The director achieves this goal on the basis of his creative concept and by directing the creative activity of all the people involved in it.

Thanks to directing, cultural and leisure programs as a whole acquire stylistic unity and a common ideological purposefulness. Therefore, along with the growth of ideological and aesthetic requirements, the very concept of directing art expanded and deepened.

Speaking of directing in tourism, one cannot but recall the deep and fruitful teachings of V.I. Nemirovich-Danchenko about the "three truths": the truth of life, the truth of social and the truth of the theater. These three truths are closely connected with each other and in their unity, interaction and interpenetration are called, according to the teaching.

Whatever the genre is simple or complex, the director must implement all its genre features in the performance. And for this, he himself must deeply and sincerely experience all the relationships, all the feelings of the author to the subject of the image: his love and hatred, his pain and contempt, his delight and tenderness, his anger and indignation, his mockery and sadness.

Only the attitude deeply and passionately experienced by the director can provide sharpness, brightness and expressiveness of the form. An indifferent attitude to life gives rise either to a pale, pitiful naturalistic form of outward imitation of life.

The inclusion of methods and forms of directing in the field of tourism can be carried out on the basis of modeling leisure programs. Modeling (according to V.S. Sadovskaya) is a process of systematization of methods, techniques and means in order to create new original conditions for the inclusion of a person in creative activity. Thus, the modeling of leisure programs makes it possible to enrich the content of tourist leisure and enhance its developmental functions. There is a transformation of tourism as "an active purposeful consumer activity" into a creative activity.

At present, entertainment programs and various shows occupy an increasing place in the structure of modern culture, which play a significant role in the ideological, moral and artistic education of people, the organization of their life and leisure.

CONCLUSIONS ON THE SECOND CHAPTER

Directing in the modern sense - as a personal creativity, began to form intensively in the European theater only in the 15-16 centuries. An important role in this regard was played by the emergence of the stage box, the transfer of theatrical performances from street, square, fair stages to the closed premises of the palace, and then to specially constructed buildings. The visible background of performances began to be carefully developed, which brought to life the significant figure for the European theater of the 17th-19th centuries, the figure of an artist-decorator, who in one way or another performed the function of a stage director.

The improvement of cultural and leisure programs largely depends on the ability and abilities of scriptwriters to develop and implement scenarios for various cultural and leisure programs. Creation of a script is a complex, multi-stage, creative process, including periods of accumulation of information and content material, the formation of an idea, and the writing of a dramatic work.

CONCLUSION

A cultural and leisure program is a form of recreational and developmental activity, the content of which includes a complex of specially selected and synthesized types of cultural activity of an individual in the space of leisure.

The development of cultural and leisure programs has always been inextricably linked with the development of society. Each historical epoch brought its own new requirements, forms, constructions in cultural and leisure programs. Modern theory and practice generalizes in itself all the experience accumulated earlier and the analysis of the current state. Cultural and leisure programs have a thousand-year history of their development. Mass festivities of Ancient Hellas, medieval mysteries, carnivals, theatrical processions, festivities of the French Revolution, Russian folk festivals - all this is a great experience, which is now used in modern mass forms of cultural and leisure programs.

The richness of the directions of cultural and leisure programs, the variety of content, the use of expressive means give unlimited opportunities to specialists in the sociocultural sphere. AT modern conditions of great importance for their activities is the synthesis of knowledge, professional excellence, copyright concepts and social orders of society.

The work of the director is very difficult, any failure can affect a large number of people, so a foundation is needed for everyday creative work. It is necessary to talk about the professionalism of the director, about the training of qualified personnel.

The skillful selection of expressive means, the organic inclusion in the action of various types of art, individual numbers that can embody the plot and develop the theme, thereby influencing cultural continuity, are the essence of the director's work, which basically has pedagogical functions: developing, educational and educational.

Directing art consists in the creative organization of all elements of cultural and leisure programs in order to create a single, harmoniously holistic leisure. The director achieves this goal on the basis of his creative concept and by directing the creative activity of all those participating in the collective. Thanks to directing, cultural and leisure programs as a whole acquire stylistic unity and a common ideological purposefulness. Therefore, along with the growth of ideological and aesthetic requirements, the very concept of directing art expanded and deepened.

Today, the creation of a sustainable development of directing in tourism is possible only if the quality of the services provided is constantly improving, capable of meeting the needs modern man in the organization of his leisure. High level quality tourism product is a prerequisite for business development.

REFERENCES

Averintsev, S.S. Problems modern development cultural and leisure activities and folk art / S.S. Averintsev corrected. - M.: Higher school, 2010. - 243 p.
Bystrova, A.N. Possibilities of Russian leisure / A.N. Bystrova - M.: Higher School, 2009. - 324 p.
Whipper, B.R. Cultural and leisure activities in modern conditions / B.R. Vipper - M .: Higher School, 2010. - 157 p.
Gribunina, N.G., Fundamentals of social and cultural activities / N.G. Gribunina - M .: Higher School, 2008. - 87 p.
Guliyev, H.A. Introduction to the specialty / E.V. Kulagin. Omsk: OGIS, 2002. - 199 p.
Dmitrieva, A.A. Leisure / Essays - M .: 1999. - 89 p.
Dmitrieva, N.A. Free time and culture of leisure / N.A. Dmitrieva - M.: 2009. - 78 p.
Kvartalnov, V.A. Tourism / V.A. Kvartalnov - M .: Finance and statistics, 2007 - 335 p.
Kireeva, E.V. On the typology of leisure programs. Europe: textbook for students. avg. textbook institutions / E.V. Kireeva - 2nd ed., corrected. – M.: Enlightenment, 2010. – 174 p.
Kuzishchin, V.I. Approaches to the classification of intellectual games: a textbook for students. higher textbook institutions / Kuzishchin V.I., - 2nd ed., Rev. - M.: Publishing Center Academy, 2009. - 480 p.
Neklyudova, T.P. Cultural and leisure activities: a textbook for students. higher textbook establishments / T.P. Neklyudov - 2nd ed., corrected. - M.: Publishing Center Academy, 2009. - 336 p.
Novosad, N.G. Role-playing game as a program of collective activity: a textbook for students. higher textbook institutions / N.G. Novosad - Middle - Ural book edition: corrected. - St. Petersburg: Academy Publishing Center, 2009. - 330 p.
Plaksina, E.B. Approaches to the development of leisure programs. Styles and directions: textbook. allowance for students. inst. avg. prof. education / E.B. Plaksina, L.A. Mikhailovskaya, V.P. Popov - 3rd ed. - M .: Academy Publishing Center, 2008. - 224 p.
Polikarpov, V.S. Entertainment industry / V.S. Polikarpov - M.: Academy Publishing Center., 2010. - 150 p.
Sidorenko, V.I. Russian Leisure Opportunities: Medium Series professional education/ IN AND. Sidorenko - M .: Academy Publishing Center, 2008. - 228 p.
http://100dorog.ru
http://www.travel.ru/
http://reports.travel.ru/

1. The concept of "drama" and its specific features. Drama in the broadest sense literary gender (along with the epic and lyrics), representing the action that unfolds in space and time through the direct word of the character - monologues and dialogues. If an epic work freely relies on an arsenal of techniques and methods of verbal and artistic development of life, then the drama “passes” these means through the filter of stage requirements. The scenic purpose of the drama determined its specific features: 1. The absence of the narrator's speech, with the exception of the author's remarks. Monologues and dialogues appear in the drama as expressively significant statements. They inform the reader and the viewer about the external environment of the action and events that are not directly shown, as well as about the motives for the behavior of the characters. 2. The birth of a dramatic work twice: “at the table” as a literary work of the playwright and on stage as its directorial, stage embodiment. A dramatic work contains an unlimited range of stage interpretations. The translation of a drama as a verbal-written work into a spectacular-stage one entails unraveling its meanings and subtexts. The playwright, as it were, invites the director and actors to create their own version of his play. V. G. Belinsky rightly noted that “dramatic poetry is not complete without stage art: in order to fully understand a face, it is not enough to know how it acts, speaks, feels - you need to see and hear how it acts, speaks, feels.” 3. Action is the basis of drama. The English novelist E. Forster noted: “In the drama, every human happiness and misfortune must take - and indeed takes - the form of action. If it is not expressed through action, it will go unnoticed, and therein lies the great difference between drama and romance. It is the continuous line of verbal actions of the characters that distinguishes the drama from the epic with its inherent (epos) free exploration of space and time. Drama is a mandatory active continuous action that is implemented in the plot. 4. The presence of conflict as an obligatory component of a dramatic action. The subject of artistic knowledge in drama is situations associated with external and internal conflicts, requiring from a person any actions, emotional, intellectual and, above all, volitional activity. The conflict is not just present in the drama. It permeates the entire work, underlies all episodes. However, the main feature of the drama as a literary genre is that it reveals the huge possibilities of emotional and aesthetic impact on the viewer inherent in it only in synthesis with musical, visual, choreographic and other types of art. For the first time, Aristotle in "Poetics" drew attention to the synthetic nature of theatrical performance, which is provided by the word, movement, line, color, rhythm and melody.

Drama in the narrow sense of the word is one of the leading genres of theatrical dramaturgy, which is based on the depiction of a person's private life and the psychological depth of his conflict with the outside world or with himself. As a literary genre, drama is characterized by genre diversity. From ritual games and songs in honor of Dionysus, three generic theatrical genres grew: tragedy, comedy and satyr drama, so named after the choir, which consisted of satyrs - companions of Dionysus. Tragedy reflected the serious side of the Dionysian cult, comedy the carnival side, and satyr drama represented the middle genre.

2. The main functions of editing in the script of the cultural and leisure program. Editing (assembly, connection) is one of the most effective methods, the basis for the compositional construction of the scenario of cultural and leisure programs, which came into club practice from cinema. Editing in the scenario of a cultural and leisure program, as in cinema, is characterized by three main creative functions.1. Giving integrity to the program. Without belittling the significance of individual numbers and episodes of the script as units of stage information, it should be noted that their integrity is due to the fact that, only having taken shape as a complex system of interactions and relationships, it creates the ground for the audience's perception and gives rise to the final meaning of the entire program. Moreover, only such a connection, which gives a new leap of information, can be considered a montage. Art historian V.A. Latyshev wrote: “A montage plan, a phrase and even an episode are part of the whole, which is completed in the mind of the viewer. But for this, the part must carry enough information necessary to complete the construction of the whole. 2. Organization of the audience's perception. As noted above, in the intervals of semantic montage knots, a subjective spectator's judgment should be born, however, it is "programmed" by the script author, since the author's ideological and thematic intention is revealed through the montage links. It should be noted here that any method of editing (more on this below) is based on associative thinking. S. M. Eisenstein noted that each viewer, in accordance with his individuality, from the depths of fantasy, from the fabric of his associations, from the prerequisites of his character, creates an image according to precisely guiding images suggested to him by the author, inexorably leading him to the knowledge and experience of the topic. 3. Creation of the tempo of the cultural and leisure program. Pace (time) is the degree of speed of movement, implementation, intensity of development of something. The pace characterizes the course of the cultural and leisure program in time, namely, the external manifestation of the course of a through action. Rhythm is a more complex concept. Rhythm (teku) is the alternation of any elements (sound, speech, etc.), occurring with a certain sequence, frequency; the speed at which something is done. As you can see, it primarily comes from interpretations related to music and poetry, although rhythm is present even in apparently static arts, such as art and sculpture. In musical creativity, rhythm is very often defined as proportionality, consistency in time and space, dimensional movement, alternation of sounds. Such an approach to the definition of rhythm in a stage action was proposed by K.S. Stanislavsky in the book “The work of an actor on himself”, interpreting it as a movement coordinated in time and space, alternation and proportionality of all elements and expressive means of a stage action. In other words, it is the internal dynamics, tension, the pulse of dramatic action. With the help of montage, the only possible correlation of the rhythms of the episodes with the rhythm of the cultural and leisure program as a whole is organized to reveal the concept of the program. However, the action on the stage, as K.S. Stanislavsky pointed out, cannot take place only in tempo or only in rhythm. In the performing arts, these concepts are interrelated. The tempo-rhythm combines both the true inner tension of the scene and the speed of the development of the dramatic action.

3. Plot and plot in a dramatic work. The plot is the main, according to Aristotle, structural element of a dramatic work. Under the plot, Aristotle understood “composition of events”, “combination of events”, “reproduction of action”, focusing on the fact that “... if someone harmoniously combines characteristic sayings and beautiful words and thoughts, he will not fulfill the tasks of tragedy, but much tragedy will reach her more, although using all this to a lesser extent, but having a plot and a proper composition of events. In art history, along with the concept of "plot", the concept of "plot" is used. Moreover, it is the plot, the plot move, that is the essence of a single dramatic action. Having carefully studied Aristotle's "Poetics", we come to the conclusion that the ancient Greek thinker, inextricably linking the plot with the characters, revealed not so much its communicative principle as a means of organizing the attention of the audience, but a broader and deeper one, namely the cognitive principle, not just the composition of events, but its analysis and comprehension. Thus, applying the concepts of "plot" and "plot" in screenwriting, we define them as follows. The plot is the simplest form of material organization, the composition of events in a dramaturgical work, which is characterized by saturation with actions and is the communicative beginning of the artistic structure of this work. The fact that the plot realizes the communicative goal is clearly revealed by the theater itself. The most stage plays are always superfluous in terms of plot, in the art of escalating events and slowing down the denouement until the very end. The well-known expression "well-made play" refers to the art of spurring action, keeping the intrigue. The plot is the skeleton of the plot, the core on which the development of events is strung. The plot conveys only the main frame of events, but not their essence. Only the plot can do that. The plot is the form and method of analyzing events in a dramatic work, a qualitatively more complex component of this work, the cognitive beginning of its artistic structure. The essence of the interaction between the plot and the plot lies in the fact that their semantic nuances express themselves in the language of action.

4. Features of the director's organization of the tempo-rhythm of the cultural and leisure program. Creation of the tempo of the cultural and leisure program. Pace (time) is the degree of speed of movement, implementation, intensity of development of something. The pace characterizes the course of the cultural and leisure program in time, namely, the external manifestation of the course of a through action.

Rhythm is a more complex concept. Rhythm (teku) is the alternation of any elements (sound, speech, etc.), occurring with a certain sequence, frequency; the speed at which something is done. As you can see, it primarily comes from interpretations associated with music and poetry, although rhythm is present even in apparently static arts, such as fine art and sculpture. In musical creativity, rhythm is very often defined as proportionality, consistency in time and space, dimensional movement, alternation of sounds. Such an approach to the definition of rhythm in a stage action was proposed by K.S. Stanislavsky in the book “The work of an actor on himself”, interpreting it as a movement coordinated in time and space, alternation and proportionality of all elements and expressive means of a stage action. In other words, it is the internal dynamics, tension, the pulse of dramatic action. With the help of montage, the only possible correlation of the rhythms of the episodes with the rhythm of the cultural and leisure program as a whole is organized to reveal the concept of the program. However, the action on the stage, as K.S. Stanislavsky pointed out, cannot take place only in tempo or only in rhythm. In the performing arts, these concepts are interrelated. The tempo-rhythm combines both the true inner tension of the scene and the speed of the development of the dramatic action. Moreover, tension is not necessarily accompanied by a fast pace of developing action, and vice versa. The correct tempo of the performance does not mean a mechanical alternation of more or less tense scenes. Tempo is a genuine tension in connection with the events and circumstances of each scene individually and the performance as a whole. With regard to the cultural and leisure program, we are talking about the tempo of the number, episode and cultural and leisure program as a whole. The tempo-rhythm has the ability to harmonize the compositional structure of the cultural and leisure program. Tempo-rhythmic lack of concentration, as well as monotony, cause the audience to quickly fatigue. Precisely organized tempo-rhythm is a powerful means of controlling the sensual-emotional sphere of the auditorium.

5. Characteristics of the concept "scenario of a cultural and leisure program". The cultural and leisure program is a universal form of artistic modeling of reality, and its dramatic basis is the script. If we turn to the etymology of the word, then the script is a summary of the events that occur in the course of action in the play. The word "scenario" originally meant a detailed plan of the play. The script determined the basic order of action, the key moments in the development of intrigue, the sequence of appearances on the stage by the characters of the improvisational theater. The direct text was created by the actors themselves during the performance or rehearsals; at the same time, it was not rigidly fixed, but varied depending on the reactions and response of the audience. According to the scenario principle, almost all types of folk theater were built, especially comedy (Old Russian - the theater of buffoons, European and Slavic - puppet theater, French - fair, Italian - the famous commedia dell'arte, etc.). At the beginning of the 17th century, separate collections of scripts for performances of the commedia dell'arte began to be published, the authors of which were most often the leading actors of the troupes. The first collection, published by F. Skala in 1611, contained 50 scenarios, according to which the stage action could develop. In the broad sense of the word, the script is a special verbal text, a kind of translation carried out from the language of the verbal art form into the language of audiovisual, spectacular art. Being the dramatic basis of the cultural and leisure program, the script “fixes” the future unified dramatic action in the entire volume of expressive means. The scenario of a cultural and leisure program is a detailed literary development of a dramatic action intended for staging on a stage, on the basis of which various forms of cultural and leisure programs are created.

6. Director's intent and its components. The director's intention in the implementation of the dramaturgical material of the cultural and leisure program is secondary in relation to the scenario design and represents a figurative vision of the leisure program, an artistic and emotional sense of its theme, idea, form, which is born in the process of searching for their effective stage solution. The artistic image in art is a form of reflection of reality and expression of the thoughts and feelings of the artist. It is born in the imagination of the artist, embodied in the work he creates in one or another material form (plastic, sound, gesture-mimic, verbal) and recreated in the imagination of the viewer. The artistic image carries a holistic spiritual content, in which the emotional and intellectual attitude of the artist to the world is organically merged. An artistic image is always a harmonious unity of form and content, emotional and rational. The image must be original and unique. The director's idea as a kind of production project, equivalent to the dramatic material, contains: - creative interpretation of the scenario material, transformation of the ideological and thematic idea into a super task; - a project of an artistic production decision or a director's move; - characterization of the main characters and definition of genre and stylistic features of the actor's performance (leader as an extra-plot character); - solution of the production in tempo; - plastic (mise-en-scene) spatial solution of the program; – lighting solution; – determination of the principles and nature of scenography; – musical and noise solution for the leisure program. The most important means of embodying the director's intention is the mise-en-scene. Scenario-director's move is a figurative movement of the author's concept, aimed at achieving the goal of artistic, emotional and pedagogical impact. The screenplay and director's move is a figurative and semantic core that permeates the dramatic and staged work, cements the action in its logical development.

7. Dramaturgy in the broad and narrow sense of the word. a brief description of dramatic arts. Dramaturgy is the theory and art of constructing a dramatic work, its plot-like concept. In other words, in the broad sense of the word, dramaturgy is a thoughtful, specially organized and built structure, composition of some material. In the narrow sense of the word, dramaturgy is any literary and dramatic work that requires its embodiment by means of one or another type of art. Today, the dramatic art forms are: - theater, the dramatic basis of which is a play; - cinema, which is based on such a literary and dramatic work as a screenplay; - television with a television script as a dramatic work; - radio, in the dramaturgic basis of which is radio dramaturgy. And, finally, the cultural and leisure program as the most universal form of artistic modeling of reality, the dramatic basis of which is the script. Scenario dramaturgy has a complex synthetic character and is created, as a rule, through artistic montage.

8. Editing sheet as a director's score. Characteristics of the assembly sheet graph. The editing sheet is a director's score of a cultural and leisure program, in which all the components of each episode and the numbers within the episode are accurately described, as well as the expressive means of their provision. It is the final, integrated expression of all previous stages of screenwriting. Without a lot of preliminary work, there can be no clear, and most importantly, really feasible editing list. In a graphical representation, an assembly sheet is a table consisting of the following columns: 1. Number in order. Numbering is necessary during editing rehearsals, when all production departments use digital designations in communication with each other.2. Episode. Its title must exactly match the title in the literary script. 3. Curtain. 4. Number and performer(s). 5. The content of the texts sounding from the stage or behind the stage (the texts of the presenters). 6. Microphones. 7. Musical and sound accompaniment. 8. Light. 9. Video sequence (film, video materials, multimedia presentations, etc.). 10. Scenography of the room. 11. Props and props. 12. Timing of the number. 13. Notes. The editing sheet as a director's score, which contains tasks for all services during the cultural and leisure program, is necessary for those who provide its technical support, namely the sound engineer, lighting director (lighters), video director, director's assistants, stage workers.

9. Compositional elements of the scenario of the cultural and leisure program. Improving cultural and leisure activities largely depends on the ability and abilities of scriptwriters to develop and implement scenarios for various cultural and leisure programs and the compositional construction of the program scenario. Creation of a script is a complex, multi-stage, creative process, including periods of accumulation of information and content material, the formation of an idea, and the writing of a dramatic work. The author of the script needs to combine all its components in such a way that the result is a coherent dramatic work. The cultural and leisure program, organized and carried out according to the scenario, gives the impression of a clear and complete whole. Each cultural and leisure program contains an element of construction, construction, thereby determining the compositional construction of the scenario, the organization of the scenario material.

Composition - (connection, arrangement, composition) - construction artwork. It is the main organizing and constructing force of any work of art, it is a law, a way of connecting sound and text parts, say, in literary and musical works, a means of expressing the links between the elements of a given work. The compositional construction of the script is the most essential part of the creative process.

The exposition is the first structural element of the compositional construction of the script. As a rule, the exposition is located at the beginning and serves as the basis for the development of the subsequent dramatic action. The peculiarity of the exposition is that there is practically no event in it. It is concise, short-term, it reflects only the general nature of the theme of the future cultural and leisure program. This may be an introduction to the participants of the theatrical performance or a message from the host of the initial data about the topic of the upcoming program.

The plot is the most important supporting structural element of the compositional construction of the scenario of the cultural and leisure program. The functional value of this element lies in the fact that it is based, first of all, on the so-called “initial” event, which determines the beginning of the dramatic conflict and finds its development in the subsequent structural elements of the compositional construction of the scenario. It is the initial event that attracts the attention of the audience and encourages them to follow the further plot development of the action.

The climax is the pinnacle of the development of the dramatic conflict in the script, the highest point of the emotional perception of the audience. At the center of the climax lies the main event, the task of which is to resolve the entire dramatic conflict in the script. If the initial event in the plot and the series of events in the main development of the action are logically linked, then the climax follows naturally and becomes the semantic and emotional center of the entire cultural and leisure program.

The denouement, as a structural element of compositional construction, performs the function of completing the storyline of the scenario. The denouement puts the last stop in the development of the through line. It is important to remember that in the denouement in without fail the final event follows, in which the result of the resolution of the dramaturgical conflict is reported. Consequently, the series of events, which took its original beginning, and the plot, having passed the main development of the action and reaching a climax, completes its dramatic development in the denouement.

The finale follows the denouement and means the complete completion of the stage action. The finale serves as a means of summing up the entire dramatic action that took place on the stage.

A special form of the finale is an epilogue (afterword). In the compositional construction of the script, it plays the most important apotheotic role, thanks to which each theatrical cultural and leisure program ends with a massive emotional and spectacular action.

10. Characteristics of the creative team of the director of cultural and leisure programs. However, the embodiment of a dramatic action into a stage spectacle is the result of the creative efforts of the creative team of the director, the so-called production group, which, depending on the form of the cultural and leisure program, includes: the director's assistant - the first assistant director, the head-coordinator of the production group, through which the organizational and creative questions arising from groups or individual performers are brought to the attention of the chief director. If necessary or on the instructions of the director, his assistant independently conducts rehearsals with groups or individual performers, as well as presenters. The organizational work of the assistant director includes informing the participants of the program and the technical services of its support about the schedule of rehearsals, as well as their direct organization. The production designer is a co-author of the artistic and imaginative solution of the cultural and leisure program, the organizer of the stage space, a kind of translator of the director's intention of the cultural and leisure program into the language of the spectacle. Scenography and scenery should reflect the author's idea in the fullness of emotional and intellectual content in a figurative-symbolic, metaphorical form, as well as create an atmosphere of a cultural and leisure program. Lighting designer - co-author of the program's light dramaturgy, author of a detailed light score. Each change of light, its “transfer”, each lighting effect should not demonstrate the full range of possibilities of the light “stuffing” of a particular stage, but create an artistic image of the performance, reveal the director's intention. In the hands of an experienced lighting designer, this expressive means becomes an additional element of the mise-en-scene. “Painting of light” (according to the definition of film director S. Yutkevich) is a continuous movement of the author's thought, the dynamics of the program, a single whole with it. The directors rightly speak about the color-and-light dramaturgy of the stage action, since not only light, but also color have their own emotional and expressive power. sound engineer in his professional activity creates not just the sound design of the program, but its artistic image. The nature of the musical-sound range of the leisure program, precisely found together with the director, is an important component in finding the right tempo. There is great emotional power in music, and skillful mastery of it helps to build a coherent dramatic composition of the program. Sound engineering is an independent field of creative activity, which has its own laws and facets, and the sound engineer, using the editing of music, sound, sound effects, highlights the main semantic pieces, accentuates them, and takes the secondary ones into the background, as if obscuring. Assistant director - ensures the order of the performers on the stage, as well as discipline behind the scenes; monitors the coordinated work of stage workers. The composition of the creative staging group of mass theatrical forms of cultural and leisure programs (theatrical concert, theatrical performance, holiday, festival, etc.) is supplemented by music director, chief choreographer, make-up artist.

11. Scenario concept and its constituent elements. The origin of an idea is a complex process associated with the individual characteristics of a creative person, his worldview and attitude. The emergence of an idea gives purposefulness to initially chaotic work, without limiting imagination, intuition, and fantasy. Explanatory dictionary of the Russian language, ed. D.N. Ushakova interprets the idea as "something conceived, conceived, as the goal of work, activity." The Explanatory Dictionary of the Russian Language by S.I. Ozhegov defines a plan in two meanings: 1. A planned plan of action, activity, intention. 2. The meaning inherent in the work, the idea. Dictionary literary terms characterizes a creative concept as an idea of the main features and properties of a work of art, its content and form, as a creative sketch that outlines the basis of the work. Theme (what is the basis). The concept of the cultural and leisure program includes not only the personality of the screenwriter, his vision of the world, but also the final link in the creative process - the viewer, the audience. It is no coincidence that Y. Borev noted that creativity is the process of alienating the idea from the artist and transferring it through the work to the reader, viewer, listener.

Thus, at the heart of the scenario plan of the cultural and leisure program, first of all, lies its (program) theme and idea.

V.I.Dal defines a topic as “a situation, a task that is discussed or explained”. In other words, the theme of the cultural and leisure program is a range of life phenomena, issues, problems that excite the author and the audience, and the most relevant and artistically meaningful. The choice of the theme of the leisure program is determined by the attitude of the author of the script, his life value orientations, those phenomena and connections that he considers the most important. The theme is inextricably linked with the idea of a dramatic work, which is characterized as its content-semantic integrity and the product of emotional experience and mastery of life by the author. However, the idea cannot be reduced only to the main author's thought. It is an angle, the author's point of view on the "facts of life".

12. Leading as an extra-plot character in a cultural and leisure program. The main types of leaders. Presenter-commentator - does not read convincingly, oral commentary is not too long, it is not necessary to explain the obvious, conversational style of the text, will explain to the viewer the purpose of what is happening, which he does not see, but he would like to understand. Image addition. The facilitator - the interviewer - receives information with the help of questions - answers. Sense of tact, alertness. Don't be distracted by thought. Be able to ask direct and unobtrusive questions. The leader is an informer.

14. Principles of directing cultural and leisure programs. The principles of directing cultural and leisure programs are the artistic patterns of the director's organization of dramaturgical scenario material. They are determined both by aesthetic laws and by the goals of pedagogical influence on the audience. The principles of directing leisure programs, like the principles of any artistic system, reflect the nature of the interaction structural elements of this system, in our case these are the facts of life and the facts of art. Today they talk about a group of general artistic and activating principles. The general artistic, aesthetic law of all the spectacular arts says: the work of the senses will be the more intense, the more diversely organized information will come to the viewer simultaneously or over a compressed period of time. This law forces the director to use all available means of artistic expression, namely: - a figurative word; - music; – noise and background materials; – photo, film and video materials; – theatrical, choreographic and plastic action; – lighting solution. In other words, we are talking about the principle of integrity through diversity. The unity of words, music, light and color, mise-en-scenes should create an audiovisual harmony that reveals the artistic image of the program. However, let's not forget one of the basic laws of the compositional construction of the script, which is also updated in the context of this principle of directing, namely, the subordination of all means of artistic expression to the author's scenario and director's intention. The second principle is determined by stage laws aimed at activating the audience, and dictates the need to reinforce those numbers and episodes of the performance that emotionally "shake up" the viewer, do not allow weakening or even losing his attention. And it doesn't have to be the climax. The key meaning may already be embedded in the exposition or intro.

15. General and specific features of the scenario of the cultural and leisure program and other types of dramatic arts. The scenario of a cultural and leisure program is a detailed literary development of a dramatic action intended for staging on a stage, on the basis of which various forms of cultural and leisure programs are created. The dramaturgy of the cultural and leisure program (scenario) has common features with other types of dramatic arts (theater, cinema, radio, television), namely, the obligatory presence in it of: - a single dramatic action; - storyline and event series; - conflict as a "dialogue of action"; – rigid compositional structure; - genre diversity (in cultural and leisure programs - a variety of forms). Thus, the scenario of a cultural and leisure program is, in a broad sense, a dramatic work, and work on it is a dramatic creation. However, club dramaturgy is characterized by its unique specific features, since it has not only artistic value, but is also a program of pedagogical influence on the audience. The specific features of the scenario of the cultural and leisure program most clearly reveal themselves in comparison with the play as the dramatic basis of theatrical art. Thus, the work of a playwright is of an individual nature, while the script work can be both individual and collective. Moreover, the creation of a play is always an original author's work. The scenario of the cultural and leisure program is a montage combination of literary, artistic, documentary, cinematographic works of other authors. In other words, if the screenwriter includes the music of P.I. Tchaikovsky in the dramatic material, then this brilliant composer is certainly a co-author of this script. A theatrical play is always an artistic fiction, a second reality with its own artistic image, the dramaturgy of cultural and leisure programs is always a combination of "facts of life" and "facts of art", informational and entertainment components by the montage method. A single dramatic action in the script is provided not so much by the actions and actions of the characters, but by the whole variety of means of artistic expression (poetic word, sound, music, light, plastic compositions, video sequence, etc.). The following follows from this feature. The task of a screenwriter of a cultural and leisure program is to create the most effective intellectual, emotional and pedagogical impact on the audience, and not just a work of dramatic art as an artistic value. The script is written for a specific viewer and the organization of communication is also “laid” into the structure of the script, using the methods of activating the audience of the cultural and leisure program. As a specific feature, it is also necessary to highlight the variety of places and venues for staging a cultural and leisure program - from the home room to stadiums and city streets. The place in this case is not only space, but also a specific audience that needs to be influenced. And finally, the main thing. The script of the cultural and leisure program is written not for the reader, but for the director.

16. Features of mise-en-scene in the production of a cultural and leisure program. The most important means of embodying the director's intention is the mise-en-scene. "Mise-en-scene" (location on stage) - the location of the actors on the stage in relation to each other and to the audience at one time or another stage action. The development of the mise-en-scene reflects the complex interaction of the external form and the internal structure of the program, its artistic image in plastic expression. The essence of the mise-en-scene was very accurately defined by S. M. Eisenstein, describing it as “a combination of spatial and temporal elements in the interaction of people on the stage ... The interweaving of independent lines of action with their own separate patterns of tones of rhythmic patterns and spatial solutions into a single harmonic whole.” In other words, the mise-en-scène is not just a frozen moment, but the figurative language of human movements, in which, according to V.E. Meyerhold, “subtext is revealed, everything that lies between the lines is revealed.” The mise-en-scene is the result of the director's and performers' search not for momentary action, but for the most important task and through action of the leisure program, its tempo-rhythm. The mise-en-scène in the leisure program is part of the stage information, the director's organization of plastic means for the purpose of effective ideological and emotional impact on the audience. In the context of the tasks of directing, mise-en-scene acts as a plastic image of a performance (or leisure program), in the center of which is a living, acting person. Any well-thought-out mise-en-scene must meet the following requirements: 1) be a means of the most vivid, complete plastic expression of the content of a number or episode; 2) correctly identify the relationship of actors, as well as inner life each character in this moment his stage life; 3) be truthful, natural and stage expressive.

17. Characteristics of the main forms of cultural and leisure programs. The form of the cultural and leisure program is the screenwriter's point of view on the problem under study, the structure formed on the basis of the organization of the scenario material and the audience using a variety of expressive means. The chosen form of the cultural and leisure program actively influences the selection of its content, the way the dramaturgical material is organized, since it is this form that should reveal the scenario idea in the best possible way, emotionally prepare the viewer for the perception of what is happening. Currently, there are many approaches to the typology of forms of leisure programs. So, the author's classification of L.I. Kozlovskaya is based on such features as the content and dramatic structure of the cultural and leisure program, as well as the means of expression used. Based on these features, a well-known Belarusian researcher identifies the following forms of cultural and leisure programs: - plot-game programs as a complex of various games (moving, intellectual, dramatization games, attractions, etc.) united by a plot; - competitive and entertainment programs as a complex of various competitions that make it possible to single out leading participants or entire groups in any field of knowledge or socially useful activity; - folklore programs, including folk games, songs, dances, rituals, other genres of oral folk art; - show programs as a complex of spectacle, plasticity, dancing, clowning; - sports and entertainment programs - a complex of outdoor games, comic fights, combined relay races and sports competitions; - informational and discussion programs, including new and significant information for the audience, encouraging dispute, discussion, reflection; - preventive and corrective programs, the content of which has a pedagogical and medical focus and contributes to the regulation of people's mental states.

18. Organizational and creative aspects of the professional activity of the director of cultural and leisure programs. The director's work in staging various forms of cultural and leisure programs, as noted above, begins with the development of the director's idea and continues with its embodiment in the director's script, which contains the director's decision, specific artistic techniques for staging the process of action itself and the use of expressive means, in the implementation of the script and director's vision.

19. The main stages of work on the scenario of cultural and leisure programs. Creating a script for a cultural and leisure program is a complex, multi-stage creative process, which includes both the period of accumulation of information and content material, the formation of the author's intention, and the direct writing of this form of a dramatic work.

The first stage of “discovery”, implementation of the plan is the creation of a scenario plan. A scenario plan is a structural and dramatic basis, a sketch of the compositional construction of a scenario with an ideological and thematic concept determined by the author and characteristics of the audience. This is a general vision of the future leisure program, its main episodes, numbers within the episode and the nature of their alternation. Graphically, the scenario plan represents the following structure: 1. The name of the leisure program.2. Program form.3. Characteristics of the audience.4. Place and time of the event.5. Compositional construction of the scenario: I. Exposition (brief description).II. Tie. Episode 1 (the title of the episode, reflecting its theme). 1.1. Number name.1.2. Number name.1.3. Number name. III. The main action (usually consists of 3-4 episodes). Episode 2 (the title of the episode, reflecting its theme). 2.1. Number. 2.2. Number. 2.3. Number. Episode 3 (episode title). 3.1. Number. 3.2. Number. 3.3. Number. And so on for the number of episodes. IV. Climax. Number. V. Final. Number. The next step is writing literary script. A literary script is a detailed literary development of an ideological and thematic concept with a full text, a description of the place and time of action, scenography, musical and lighting design, the plot of choreographic and plastic compositions, and other means of artistic expression. At this stage, the general structure and the dynamism of the dramatic action, the tempo of the program. The final stage of scenario work is the compilation of an editing list or a working scenario. The editing sheet is a director's score of a cultural and leisure program, in which all the components of each episode and the numbers within the episode are accurately described, as well as the expressive means of their provision.

20. Characteristics of the main types of metaphors in directing cultural and leisure programs. Metaphor (figurative meaning) is a figure of speech that uses the name of an object of one class to describe an object of another class. Metaphorization can be based on the similarity of the most diverse features of objects: color, shape, volume, purpose, position in space and time, etc. For the director of cultural and leisure programs, the metaphor is valuable because it is used as a means of constructing stage images. Today, the practice of staging various forms of cultural and leisure programs is represented by the following uses of metaphor in the language of theatricalization. 1. The metaphor of design in the book by I.E. Goryunova "Direction of mass theatrical spectacles and musical performances". So, as a stage design for a musical theatrical performance dedicated to the 60th anniversary of the Victory in the Great Patriotic war, in the State Central Concert Hall "Russia" four wide-open overcoats-backstage were used as a metaphorical image of the author's idea that it was a victory for a simple soldier who plowed thousands of kilometers of front-line roads in a plastun way and protected everyone with his soldier's overcoat. 2. Plastic metaphor, or metaphor of pantomime. Here is the classic plot of the brilliant French mime Marcel Marceau "The Cage". A person, waking up, goes forward, stumbles upon an obstacle and realizes that he is in a cage. Feverishly moving his hands along all four walls, the hero is looking for a way out. 3. The mise-en-scène metaphor is presented in great detail in the mentioned book by I.E. Goryunova. Let us only emphasize that the metaphorical mise-en-scène requires a particularly careful development of plastic movements and verbal action in order to create a generalized artistic image of the director's thought. 4. Metaphor in acting. The remarkable writer Y. Olesha once remarked: “Animals, like nothing else, give rise to metaphors.” An example from the directorial work of V.E. Meyerhold. Dialogue at a rehearsal in his Red Army acting studio.

21. Characteristics of the laws of the compositional construction of the scenario. The listed dramatic elements of the scenario of the cultural and leisure program are combined into a holistic structure through the following laws: 1) the law of integrity, interconnection and subordination of parts to the whole. The completed effective structure of the dramaturgy of cultural and leisure programs is divided into a number of cycles, where the main montage unit is the episode. An episode in the script, being part of the whole, namely the entire program. The compositional integrity of the cultural and leisure program is also achieved by a system of connections that arises in the plot construction of the scenario, which consists of: - a skillfully found plot and a plot move that makes the scenario unique and original in compositional construction, - the interaction of documentary and artistic material, the montage of "facts of life "and" facts of art", - the justification and consistency of the internal means of expressing the content, - techniques and methods for the stage implementation of the literary scenario; 2) the law of contrast. This law dictates to the screenwriter the need for the presence of a conflict in the script, which allows not only to show the complexity and inconsistency of the surrounding reality, but also to activate the thinking of the audience, to fill the program with a high emotional degree. Contrast is one of the most comprehensive properties of objects and phenomena in the reality around us. The use of contrasts plays big role in the emotional. 3) the law of subordination of all expressive means to the ideological design of the cultural and leisure program. Following this law helps the screenwriter not only to develop the content of the program that is adequate to the ideological and thematic design, but also to use in the dramatic structure only those means of artistic expression that best reveal it. 4) the law of proportionality. This law of the compositional construction of the scenario assumes the quantitative ratio of the selected scenario material, its distribution by episodes, which will allow the screenwriter to achieve the proportionality of the location of the main and secondary parts of the scenario material, the exact and proportional ratio of the structural elements of the composition.

22. V.I. Nemirovich-Danchenko about directing art. Director, according to the typology of V.I. Nemirovich-Danchenko, it is also a mirror reflecting individual qualities actor and the facets of his creative talent. As a rule, all the elements of acting technique are present in the acting performance in the play. But in relation to each performance separately, the director faces the question: which of these elements should be brought to the fore in this performance, so that, grasping them as links of one inextricable chain, pull out the entire chain. So, for example, in one performance, the inner concentration of the actor and the stinginess of expressive means may be most important, in another - naivety and quick reactions, in the third - simplicity and spontaneity combined with a bright everyday characteristic, in the fourth - emotional passion and external expression, in the fifth, on the contrary, is restraint of feelings. The variety here has no limits, it is only important that each time exactly what is needed for a given play is precisely established. The ability to find the right solution to the performance through a precisely found manner of acting and the ability to practically implement this solution in working with actors determines the professional qualifications of the director. Directing and pedagogy are so closely related that it is sometimes difficult to draw a line between them, to find the point where one profession ends and another begins. The director, as a sensitive educator, must be able to discern the true acting talent, to reveal it. The team with its idea, the most important task, faith in the success of the future stage action. And, finally, the third "hypostasis" of the director is his organizational work, namely the alignment of the rehearsal process, which includes his entire creative team - from the actor to the stage worker. The tasks of the director in this context are to convince, to practically organize, to carry along, infecting.

24. The specifics of dramaturgy and directing a theatrical concert. A theatrical concert is a concert that has a single artistic stage image, for the creation of which the expressive means inherent in the theater are used: plot move, role-playing personification of the hosts, scenography, theatrical costume, make-up, stage atmosphere. This is the use of different genres, different types arts, ranging from academic choir to folk dance. The theatrical concert is always thematic. It happens in the 1st or 2nd parts with an intermission (the law of time is used - the effect of the concert on the attention and fatigue of the viewer). The maximum time of the concert in one part is 1 hour 10 minutes. - 1 hour 30 minutes, the concert in 2 parts is divided into 1 hour - 1 hour 10 minutes, 2nd 55 minutes - an hour. The concert script is a list of artistic performances, accompanied by the presenter's text, as well as a description of expressive means (light, music, cinema, slides, mass mise-en-scenes) that create a single image of the performance, and the numbers, as a rule, are combined into artistic and semantic blocks (placed in certain interrelationships concert performances that form a detailed artistic thought.The compositional design of individual parts of the concert is often poetic) the number of numbers should not violate the unity of the theme, design, target task. A clear ideological expressiveness and artistic imagery, according to Tumanov, can be achieved by theatrical performances. As a rule, a theatrical concert should begin with a large, powerful, bright number (mass). Requirements for numbers: conciseness, topicality, brightness of form. A number is a completed individual work, built according to the laws of drama, includes performances by one or more performers. Variety number - accessible to the audience, it is short and concise. A moment of entertaining relaxation, originality, ease of switching attention from one to another. A theatrical concert implies a close relationship between the artist and the audience. The main partner for the artist is the viewer (public). It implies a dialogue between the stage and the audience. The main thing in a theatrical concert is to make the hall your ally. Principles for compiling CP numbers: 1. Increasing entertainment. 2. Contrast (mass and solo, moving numbers, static - by ear and by sight).3. Attitude to each number as a self-sufficient unit.4. Genre compatibility (previous numbers should not reject the adjacent number)5. Technical compatibility. 6. The principle of the continuity of the concert action. Ways to ensure the continuity of the concert action: Curtain and super curtain system.2. Use of stage circle, treadmill, any moving structure.3. Additional places of action (balcony, terrace) 4. Preliminary charging of tools, machines, chairs. 5. Combination of several, and sometimes many teams on stage. There are 2 types of performers: A) An artist is an intermediary between the stage and the audience. B) An artist speaking on his own behalf, demonstrating his skills.

25. Number and episode as a unit of stage information in the cultural and leisure program. In other words, architectonics considers the constructive foundations of the scenario. The main constructive, semantic unit in the effective structure of the scenario of the cultural and leisure program is the number, which, together with other numbers, forms an episode. If we translate the essence of the number and episode into the language of the structure of the play as a dramatic work, then the number is a scene - a kind of knot, and three or four such “nodes” (numbers) are combined into an act (episode) as a cycle of a single dramatic action of the entire play (scenario) .

In other words, the movement of the author's dramatic logic goes from one number to another, from one episode to another. Thus, the episode is a specific, montage-organized set of numbers, united thematically, plotly and effectively into a single, relatively complete structure. An episode achieves its final completion only in connection with previous or subsequent episodes, as well as in the context of the composition of the entire program, which consistently reveals the author's ideological and thematic intention. The dynamics of the alternation of episodes is one of the most important elements of the artistic integrity of the cultural and leisure program, its structure-forming means, ensuring the continuity of its dramatic action. The concept of "continuity of action" came to us from the cinema and, in relation to the scenario of a leisure program, means a special sequence of episodes and numbers, which requires the screenwriter to solve: - the problem of selecting material; - problems of transitions (mounting joints); - problems of maintaining spectator attention; - problems of dramatic tension as a connection between the actor and the audience.

26. Basic techniques in directing cultural and leisure programs. Consider some of the techniques used in directing cultural and leisure programs. 1. Paradox in the interpretation of the episode or image. The use of this technique enables the audience of the cultural and leisure program to see the familiar, at first glance, material in an unexpected, sometimes paradoxical perspective and comprehend the fact or phenomenon at a qualitatively new level. 2. Stage implementation of the metaphor. We only note that the artistic image that the director creates is an allegorical, metaphorical thought that reveals one phenomenon through another, and the figurative mise-en-scene, allegorical construction, plastic metaphor is the language of theatrical forms of leisure programs. The range of use of metaphor is extremely wide - from scenography to the figurative sound of the entire program.

3. Intentional disclosure of the plot. This technique was first used by V.E. Meyerhold when staging a performance based on the play by N.V. Gogol "The Government Inspector", which began with the final scene of the immortal comedy. In the practice of staging cultural and leisure programs, such methods of declassifying the plot are common, such as: a) in a special prologue; b) in projecting the textual content of future events onto the screen; c) in the facilitator's opening speech. 4. Reception of repetition. Using this technique allows the director not only to focus the attention of the audience on the most important thing, but also to comprehend the same situation from different points of view. Repeat objects can be a date, words, phrase, photo, or slide. The appearance of the same picture on the screen is also called a visual leitmotif. 4. Reception of "exposure of the scene." It was widely used in V.S. Meyerhold's directing practice of a completely naked scene with bare, dirty brick scenes, without any scenery. This technique, according to the master, destroys the stage illusion of life. 5. Transferring the stage action to the auditorium. 6. Use of a "living curtain". This technique has proven itself well when staging theatrical concerts, since it allows you not to slow down the tempo of the program, to perceive a single, continuously developing action in one breath.

“Living Curtain” is a bow of the performers of the finished number specially staged by the director, during which the next number is being prepared and charged.

27. Characteristics of editing techniques in the scenario of the cultural and leisure program. The following basic techniques: 1) sequential installation. This is the most commonly used editing technique, where all the numbers in the episode are arranged in a certain logical order, continuing one another. Most often it is based on a temporal or chronological sequence. As a rule, this method of editing is inherent in those programs in which it is necessary to trace the chronology of any historical events and convey them to the viewer; 2) parallel mounting. It is based on the simultaneity or parallelism of stage actions (most often in opposite parts of the stage), which complement and enrich each other. For example, in the right part of the proscenium, a partisan camp is reconstructed, in which a soldier writes a letter to his beloved, and in the left corner, a girl reads a letter from the front. At the same time, a film of his memories can be played on the screen. Parallelism ensures the creation of an artistic image of the performance, activates the associative thinking of the viewer. This montage technique began to be actively used with the advent of a screen or several screens, which became one of the means of expression, as well as the "protagonist" of the cultural and leisure program. This made it possible to achieve the simultaneity of the action on the stage and on two, three or more screens; 3) contrast editing - one of the leading and most effective editing techniques based on the convergence of opposite, contrasting in meaning (text, sound solution, plastic solution, video sequence, etc.) numbers or episodes of the script. Contrast is one of the all-encompassing saints, objects and phenomena of the reality around us. Editing by contrast allows you to more clearly identify the conflict as an integral part of any dramatic work. It is the contrast that provides, according to the apt statement of M.I. Romm, the “sharpness of the joint”, causes a lot of spectator associations, which helps in creating an artistic image of the leisure program. Contrasting editing contributes to the activation of the audience, makes it follow the author's thought.

4) keynote. In the art of music, the leitmotif is melodies repeated repeatedly, after a certain period of time; no less widely used montage technique, which is based on the repetition of a musical, poetic, sound or other fragment between episodes of a leisure program. These "bundles" serve as a reminder of the theme of the leisure program. The leitmotif achieves a polyphonic development of the theme.

28. Features of the organization of the rehearsal process. Rehearsal (repetition) is the main form of preparation (under the direction of the director) of theatrical, variety, circus performances, cultural and leisure programs, as well as a separate number and episode through multiple repetitions (in whole or in parts). As famous theater director Peter Brook put it, “Rehearsing is thinking out loud.” During the first, drinking period of rehearsals, the director gathers his artistic and production group in order to get acquainted with the concept of the program, its most important task, as well as draw up a production plan. In the course of table rehearsals, readings of the literary script, determination of the through action of the entire program and individual performers can take place. The next rehearsal stage is viewing the numbers included in the scenario of the cultural and leisure program. The task of viewing rehearsals is the selection of numbers from the already existing repertoire of a group or performer or an assessment of the artistic level. Next, individual rehearsals of numbers or individual episodes take place, in which, along with the creative team, technical services, involved according to the director's score (editing sheet). Mounting (mounting) rehearsals are the assembly and testing of the interaction of stage design, artistic and technical means of the cultural and leisure program. All design elements are installed on the stage in accordance with the scenery sketches approved by the director. These rehearsals are also carried out with the aim of building a general mise-en-scene composition, working out the editing joints between numbers and episodes. Editing rehearsals are also designed to regulate all issues related to technical support numbers and episodes before the (summary) run-through rehearsals. Run-through (summary) rehearsal is a further stage of work on the production of a cultural and leisure program, which consists in combining individual episodes of the program into a single stage action, adjusting the overall mise-en-scene pattern. The dress rehearsal is the final stage of work on the implementation of the cultural and leisure program. It goes on non-stop, just as the program will go on. After the general rehearsals, the director gives comments to each of the performers or technical staff.

The result of the organizational and creative work of the director of cultural and leisure programs is its direct display, stage production.

29. The main elements of the system K.S. Stanislavsky. System K.S. Stanislavsky arose as a generalization of his creative and pedagogical experience and the experience of his theatrical predecessors and contemporaries, outstanding figures of the world stage art. She, being a practical guide for the director and actor, has become a theoretical expression of that realistic trend in stage art, which Stanislavsky called the art of experience, which requires not imitation, but genuine experience at the moment of creativity on stage, creating anew at each performance a living process according to pre-thought-out logic. image life. Thanks to the discoveries of K.S. Stanislavsky, the creative and creative principles of stage art were revealed much more fully in the active completion of the play - the transformation of its text into a director's score. “We are recreating the works of playwrights,” wrote K.S. Stanislavsky, “we reveal in them what is hidden under the words, we put our subtext into someone else’s text ... we create a truly productive action in the end result of our work, closely connected with the secret intention of the play.” K.S. Stanislavsky in his works "The work of the actor on himself" and "The work of the actor on the role" reveals the essence of the various elements of stage creativity, the study of which is necessary for the most clear understanding of the method of effective analysis of the play and role. But the concepts of “through action” and “super task” are the most frequently used. K.S. himself Stanislavsky wrote the following about the super-task and through action: “The super-task and through action are the main essence of life, the artery, the nerve, the pulse of the play. The super-task (desire), through action (aspiration) and its fulfillment (action) create a creative process of experiencing ... Let us agree for the future to call this main, main, all-encompassing goal, attracting to itself all tasks without exception, causing the creative desire of the engines of mental life and elements of well-being of the actor-role, "the super-task of the writer's work"; without the subjective experiences of the creator, it is dry, dead. It is necessary to look for responses in the soul of the artist, so that both the most important task and the role become alive, trembling, shining with all the colors of a genuine human life". “We are loved in those plays,” Stanislavsky argued, “where we have a clear, interesting super-task and a through action that is well connected to it. Super-task and through action - that's the main thing in art. The supertask has a remarkable feature. One and the same truly defined super-task, obligatory for all, will awaken in each performer his own individual responses in the soul. The task of the director is to clearly, clearly and understandably formulate it, since the definition of the most important task gives meaning and direction to the work of the entire creative team. The Russian film director Alexander Mitta spoke very figuratively about the need for a clear formulation of the super-task by the director (regardless of the type of art): “Forget capricious sighs: oh, I feel it, but I can’t express it in words! Employees should be inspired by the idea, but how will they understand their part of the overall task if the director crawls through the script like a bug on the wallpaper, not seeing his perspective, not knowing the course he is leading his ship. The way to implement the super-task is through action – this is that real, concrete struggle taking place before the eyes of the audience, as a result of which the super-task is affirmed. For an artist, a through action, according to K.S. Stanislavsky, is a direct continuation of the lines of aspiration of the engines of mental life, originating from the mind, will and feelings of the creative artist. If there were no through action, all the pieces and tasks of the play, all the proposed circumstances, communication, adaptations, moments of truth and faith, and so on, would vegetate apart from each other, without any hope of coming to life.

30. Features of dramaturgy and directing of theatrical forms of cultural and leisure programs. However, directing in cultural and leisure activities is an independent area of directing art with its own goals, objectives, principles and techniques. These features are due to the general content, content and content of cultural and leisure activities. It is no coincidence that we find the following in I.M. Tumanov: “Such components as song, dance, live-picture (plastic) composition replace the psychological justification for the behavior of heroes in the mass representation. The emotionality inherent in this genre implies an instant switching of viewers from one object to another without detailing and psychological motivations. In other words, the dramaturgy and direction of a mass action should be built in such a way that in the external form of presenting the material, one can find an internal image that corresponds to its idea, rhythm, and breath.

31. Characteristics of the means of artistic expression. The general artistic, aesthetic law of all the spectacular arts says: the work of the senses will be the more intense, the more diversely organized information will come to the viewer at the same time. This law forces the director to use all available means of artistic expression, namely: - a figurative word; - music; – noise and background materials; – photo, film and video materials; – theatrical, choreographic and plastic action; – lighting solution. In other words, we are talking about the principle of integrity through diversity. The unity of words, music, light and color, mise-en-scenes should create an audiovisual harmony that reveals the artistic image of the program. Anaphora - repetition of initial words, phrases. Epiphora - repetition at the end, after words or phrases. Reception of gradation - words related to one subject are arranged sequentially. Inversion is reverse word order. Comparison - contributes to a better understanding. Metaphor is a figurative convergence of words based on their figurative meaning. An epithet is a word that emphasizes character traits. Phraseologisms - an expression with a figurative meaning. Oxymoron - a combination of incompatible concepts, hot ice. Metonymy is the designation of an object according to one of its attributes. Antonymy is the opposite. Tautology - repetition. Synonyms are words that are similar in meaning. Rhetorical question

The director's intention in the implementation of the dramatic material of the cultural and leisure program is secondary in relation to the dramatic intention. The dramatic idea is the basis on which the entire cultural and leisure program is built, h o it is transformed into the director's in the course of implementation. The specificity of staging cultural and leisure programs lies in the fact that the greatest efficiency of the cultural and leisure program is achieved when both the screenwriter and the director are combined in one person. However, in any case, only after the director’s decision has been found and thought out, work will begin in a certain direction on the formation of the script: the search for an artistic and imaginative solution and visual design of the production, the organization of musical and lighting scores, the selection of the necessary performers and teams, and everything else that makes up the director’s work on staging.

Here, as in any creative process, there can be no recipes and work "from dictation". We can only talk about the method of transforming a dramatic idea into a director's one, which is developed in each individual case in accordance with the director's creative style, his views, fantasy, erudition, culture - in a word, depending on the director's personality.

The key to solving the production is not in the dramaturgy of the play and not in the score of the opera, operetta, ballet, but in life itself, in accordance with the theme, local characteristics, premises, cast of performers and other conditions.

Artistic creativity (namely, this is the only way to treat the creation of a cultural and leisure program) always has as its starting point a certain idea for the future work. In the cultural and leisure program, there are two ideas: dramaturgy and directing (production plan). Both ideas should be brought to artistic unity.

The composition of the director's intention includes: a) ideological interpretation or creative interpretation of a dramatic work (script, staging); b) characteristics of individual characters; c) determination of the stylistic and genre features of the actor's performance in this program; d) solving the production in time (in rhythms and tempos); e) the solution of the staging in space, in the nature of the mise-en-scenes and layouts, f) the definition of the nature and principles of scenography and musical and noise design. The idea is significantly influenced by creative methods: games, illustrations, theatricalization.

It is very important that already in the process of creating an idea, the director should have a sense of the whole, so that all elements of the idea grow from a single common root, or, as V.I. Nemirovich-Danchenko, from the "grain" of the future production. It is not so easy to define in words what a "grain" is, although for each production it is important to find an exact formula expressing this grain. "Grain" sets in motion the fantasy of the director. And then on the screen of his imagination the moments of the future action (staging) born by this seed begin to appear by themselves. Some are vague and indefinite, others are bright and distinct: some kind of mise-en-scene, the sound and rhythm of this or that piece of dialogue, a detail of the scenery, and sometimes the general atmosphere of the entire production or a separate episode is suddenly felt sharply. And the farther, the more intensively the director's fantasy works, gradually filling in the blank spots on the map of the director's intention with his inventions.

The quality of the director's intention is determined by the figurative solution found. This decision is closely connected with the director's super-task, with the answer to the question: why does he stage this dramatic work, what does he want to evoke in the mind of the viewer, in what direction does he want to influence him?

When creating an idea, the director needs to study the material, that is, to find out the time, era, customs, rituals, mores, style, music, fine arts, interior, architecture, costumes. All this is necessary in order to have in front of you a complete picture of the life that will be discussed on stage. The director, like a sponge, absorbs the entire literary basis, all the components of the dramatic concept, so that later he can convey all this to the actors, set them clear, specific tasks that correspond to the general super-task of the production.

The emotional attitude to life (the angle from which the director perceives it) is the super-task of the director's stage incarnation. At the same time, this work will be, as it were, a "prism" through which this emotional perspective will be viewed.

That is why it is so important to understand the dramatic idea of the cultural and leisure program, that is, what the screenwriter wanted to say with his work. This is important because the intentions of the screenwriter and the director do not always coincide. It depends on many reasons, especially on those life and time events in which his director's generation is included, on social development trends, ideas of time, cultural level, etc. The director's intention is directly related to how relevant this work is today. Therefore, as we see, the director's intention is closely connected with the idea and super-task of the future cultural and leisure program.

The noblest idea, the deepest foresight, the most topical thought will not become art as long as they are not expressed, not enclosed in a figurative form. What makes a poet a poet is not one poetic feeling of reality, but the ability to encapsulate this “feeling in the rhythm of a sharp peak”, to find rhythm, meter, and strophic organization to express a topic that excites him.

A song will not become a song until the music resounding in the composer's heart acquires its own mode, harmony, and melodic completeness. A picture is born not when the artist is struck by this or that landscape, but when he manages to fix the landscape with the most material colors on the most material canvas.

The director needs to learn how to realize a dramatic work embodied, and certainly in the only form that best conveys the author's content. This is the main task of the director, his function as the ideological and creative leader of the production.

Creating a cultural and leisure program, the director immediately "draws" in his imagination a visible image of the future production. This initial idea is called visions. As a rule, these first intuitive sensations are correct. In them, the director imagines the general atmosphere of the future production: the nature of the music / color scheme, mise-en-scene solutions, perhaps scenographic moments, etc.

These visions are usually associated. But the first visions must be carefully checked by exactly what worries the director today in life. If there is a need to talk about what excites today, then this work needs to be implemented. The director must then develop a concept for translating his visions into action.

Here the detailed development of all constituent parts staging down to the smallest detail. Solutions: mise-en-scene, scenography, light and sound and, of course, the acting itself. That is, these visions are tested in the material. Through these checks, it turns out what can be left, what has the right to exist, what is not. And how, by what means will the director achieve that an integral artistic image of the production is born. Here it is very important not to break away from the main idea, not to go into detail, because sometimes a strong passion for details distracts attention from the whole, destroys the perception of the image. A real artist always knows how to find such a figurative detail in which, as in a focus, the essence of a given phenomenon is concentrated. Due to its expressiveness, such a detail often pops up in memory earlier than the image itself created by the director.

In the intention of the director of the cultural and leisure program, stage, philosophical, life and aesthetic concepts merge together. The cultural and leisure program will only be close to the viewer when he feels with his soul, with his heart in it the truth of life that excites him today, and makes him think. Created program should excite the viewer, make him think, give him aesthetic pleasure and instill in him a sense of beauty.

All these components are closely related to each other and in their unity, interaction and interpenetration are called upon to create a single, large and deep concept of the production. It is impossible to reveal the philosophical aspect of the depicted reality, ignoring its vital aspect, philosophical thought in this case will sound like a bare abstraction, like a scheme, and will turn out to be unconvincing. The vital concept, taken outside the philosophical one, will give birth to petty, superficial, primitive naturalistic art. But both of them - both vital and philosophical - will not be able to reveal themselves if, in their unity, they do not find a vivid stage form for themselves and thus turn into an aesthetic concept.

Which of the numerous elements of the director's intention does the director take as a basis in his search for an aesthetic concept of a cultural and leisure program? The director, of course, has the right to start work with any component: from the decorative design, from the mise-en-scenes, from the rhythm or the general atmosphere. But it is very important that at the same time he does not forget the basic law of stage art, according to which its main element, the bearer of its specificity or, in Stanislavsky's words, "the only king and master of the stage" is the actor.

All other components of K.S. Stanislavsky considered auxiliary. That is why it is impossible to recognize the solution of the production as found until the main question is resolved - who will play in this program? Other questions - in what scenery, under what lighting, in what costumes, etc., are decided depending on the answer to this fundamental question. In an expanded form, it can be formulated as follows: what special requirements in the field of internal and external technology should be presented to the actors - participants in this program?

Of course, in the acting performance of any production and any role, all elements of acting technique must be present, the absence of at least one of them crosses out all the others. But in relation to each production separately, the director faces the question, which of these elements should be brought to the fore in this production, so that, grabbing onto them, as if they were links of one inextricable chain, in the end, pulling out the entire chain?

The idea is the result of revealing the inner content of the dramatic material. In other words, if the viewer is informed of the internal content of the script, then the idea is realized, the goal set by the author of the script of the cultural and leisure program has been achieved. And the revelation of the inner content is served by all the techniques and expressive means that the director has at his disposal. The director composes the program, compositionally building all its numerous links. The process of creating a scenario is the main stage in the creation of a cultural and leisure program. It is long, difficult, but necessary.

What organizational skills are important for a director of a cultural and leisure program to have if he does not yet have: 1) a script; 2) troupes; 3) premises for rehearsals; 4) props; 5) fake; 6) workshops for making scenery and much more?

The director of the cultural and leisure program, firstly, begins work with the process of identifying the problem. Then, having written the script of the program, during the revision and in the process of staging itself, it eliminates inaccuracies in the text, verbal imagery, protracted and inexpressive text, inconsistency of the text with the real possibilities of the director's decision, the period of processing, reduction and addition of new text begins, for a complete relationship between the parts and the whole .

Second. The director meets with future performers, distributes roles, creates like-minded people from them in achieving a creative goal. It is necessary not only to gather them together, not just to force them to blindly follow certain instructions, but to captivate with their own plan, so that each participant knows and understands his task and is ready to realize it.

Third. The rehearsal period, as a rule, takes a little time, due to the intensity of the work of cultural institutions. In this regard, rehearsals are held most often in episodes.

An episode is a stage form that has thematic and compositional completeness of the content.

important document that the production director has to work on is the rehearsal plan. Without a well-thought-out rehearsal plan, it is impossible to imagine the work of a creative team. The rehearsal plan is drawn up after all the terms of preparation for the rehearsal period have been determined: performers, terms for the production of musical material, design, etc. The rehearsal plan provides for two periods: first in the rehearsal rooms, and then in the very room where the performance will take place. And at general and general rehearsals, you can combine ready-made episodes into a single coherent program. Disruptions or indistinctly organized rehearsals always cast doubt on the success of the cultural and leisure program. The director schedules the rehearsals, skillfully alternating the busyness of large groups, determining exactly where all the participants are needed and where they are not. And here administrative skills are required from the director. He must clearly organize all the preparatory work, because the final result depends on how the preparatory period went.

The director, in addition, writes a sound score, including music and noise, which is necessary for the systematic work of the sound engineer. He also creates a light score, where all the light points and transitions are described in detail by episodes.

If the director does not feel his abilities, it is better not to take on the production of a cultural and leisure program at all. To be an organizer means to be able to manage people, to be able to combine their efforts to complete a specific task.

The director-organizer needs to constantly learn the ability to work with a wide variety of people: creative and technical workers, for whom work on the creation of a cultural and leisure program is by no means a matter of art, but purely production, and very troublesome, requiring from them not only skills and experience, but also great personal energy. Therefore, in order to achieve his creative goals, the director must be able to influence the people working with him.

To be able to convince people is the first step in the work of an organizer-leader. The next is to mobilize them to complete the task. You need to know the business that is being organized thoroughly. Then all the work of the Director will be based on high professional level, his authority in the team will grow, his positions will grow stronger. One more thing required quality- the ability to ignite people, infect them with your plan, your faith in the success of the business, no matter how hard it costs.

Not every person with culture and imagination can be a director. The ability to work with people, to captivate them and lead them is an essential quality of a director of a cultural and leisure program. An equally important skill is working with documents. The director's documentation includes: director's production plan; director's editing plan; musical score; light score; plan for the use of film material and slide projections; working scheme; rehearsal plan. Director's documentation is developed directly by the director. Only he keeps in his attention all the components of the production, all the details, all the little things (props, props, etc.). It is necessary to start compiling it after the approval of the scenario of the cultural and leisure program.

The director's plan briefly outlines the main components of the future production, determines the sequence of numbers in the episodes and the sequence of the episodes themselves in the program, the characteristics of the prologue, thinks through the "bridges" between the episodes and specifies the number-episode 62. Here the character of mise-en-scenes should also be well developed. Take note of the need for props, props, musical instruments, costumes, phonograms, determine the timing of the main stages of work on a complete stage work. In the director's plan, the main performers should be outlined. Then created editing sheet - a graphic presentation of the director's intention. It clearly describes all the components of each issue, all the means of its provision, tasks for all services of the cultural institution.

D.V. Tikhomirov 63 offers a mounting list of twelve columns. The first is the number in order. Numbering is necessary during editing rehearsals, when all production departments use digital designations in communication with each other. The second is an episode, its title exactly matches the script and the director's plan. The third is the name of the room and its character. The author and title of the work are indicated here. Fourth - performers are discharged: soloists, collectives. Fifth - who is entrusted with the accompaniment of this number. Here it is desirable to indicate the need

An episode number is an independent, major artistic form of a scenic, compositionally complete work.

Orchestrations, and if the number goes under the phonogram, then you need to give the serial number of the phonograms. Sixth - all texts performed on stage, sounding on the radio, are entered. This is also where the texts are written. Seventh - the need for film material is recorded, indicating the nature of the tape and format. Eighth - it is indicated in which stage design the number takes place. Ninth - light. The lighting solution for each room is being filled. Staging effects are recorded in the same column. Tenth - costumes for performers. All costume accessories (holster, fan, etc.) are entered in the same column. Eleventh - props and props. Twelfth - notes. Some directors refer to the cut sheet as the director's score.

The editing score includes five columns of the editing sheet: episode, number, performers, accompaniment, movie clips. The musical score contributes to the overall development of the theme of the program, enriches it, enhances the emotional impact on the audience. Therefore, it is very important to select such works and such performers that would ensure the dynamics of the program and the temperament of the action. When selecting musical material, the director must be able to refuse everything that will hinder the development of the program.

It is important for directors of cultural and leisure programs to be able to master the art of lighting design. The director needs to set the light together with the artist. Light is not a routine addition to the production, but one of the most powerful means of expression. The lighting solution, passing through the whole dramaturgy of the program, corresponding to the music, text, scenery, creates an artistic image. Each room in the cultural and leisure program requires its own lighting solution, often complex. Sometimes it is necessary to compose a light score for a particular number. At the same time, technical editing rehearsals are held on stage. The most expedient would be to combine editing rehearsals of light and sound. After everyone has sorted out the technical, light and sound score, it's time for the first stage rehearsals.

Thus, an interesting director's idea of cultural and leisure programs is an important condition for ensuring the success of both a separate cultural and leisure program and the success of the work of the entire cultural institution.

Questions for self-examination

1. What components does the director’s idea of a cultural and leisure program consist of?

2. What organizational skills should a director of a cultural and leisure program have?

3. How should the director of a cultural and leisure program work with representatives of creative "workshops"?

4. What documentation should the director of a cultural and leisure program have?

1. Genkin D.M., Konovich A.A. Screenwriting skills of a cultural enlightener. - M.: Soviet Russia, 1984.

2. Klitin S. Director on the concert stage. * M.: Art, 1977.

3. Kuleshov L.V. Fundamentals of film directing, -M., 1974.

4. Konovich A.A. Theatrical technique. - M.: Soviet Russia, 1976.

5. Markin O. I. Scenario and director's bases of artistic and pedagogical activity of the club.- M.: Enlightenment, 1988.

6. Rozovsky M. The director of the spectacle. - M.: Soviet Russia, 1973.

7. Tumanov I.M. Directing a mass holiday, a theatrical concert, - M .: Education, 1976.

8. Chechetin A.I. The art of theatrical performances. - M .: Soviet Russia, 1986.

9. Sharoev I. Stage director and mass performances.-M., 1975.

Chapter six. Musical arrangement of cultural and leisure programs

Musical accompaniment, as you know, is an integral part of technological process creation of a cultural and leisure program. The director-producer needs to perfectly master the basics of musical knowledge, general provisions and principles of musical design of cultural and leisure programs, know the theory, history, practice and methodology of the process of their creation. This chapter gives the classification of music in the cultural and leisure program, the characteristics, specifics and functions of the musical prologue, musical episode, musical number, musical intermission, musical finale and music in the course of action in the cultural and leisure program. The characteristics of musical genres are given in detail: vocal, instrumental, vocal-instrumental and musical-dramatic, a special paragraph is devoted to popular pop and pop music in the cultural and leisure program. Definitions are given, the essence of many special concepts is revealed, the distinctive features and stages of the formation of domestic jazz and rock music are characterized, forms of synthesis of music with other types of art (painting, theater, cinema, television) are shown on numerous examples of foreign, domestic, Russian classical music. The principles of working with music by such well-known stage masters as Stanislavsky, Meyerhold, Tairov and others are highlighted.

§ one. General provisions musical arrangement of cultural and leisure programs

In the complex process of preparing and conducting cultural and leisure programs, specialists from cultural institutions deal with many components, use many expressive means, bringing them into interaction. The extent to which they are organically connected, to what extent they serve as a figurative embodiment of the theme of a particular program, ultimately determine the artistic level and degree of impact on the audience.

One of the important elements of the cultural and leisure program is music. Its role in the artistic and figurative solution of this or that event is truly great. Music, like no other art form, is capable of conveying feelings and thoughts, various emotional states person. The range of these states and experiences expressed by music is unlimited. From intimate and tender images to those full of universal significance and strength, from sad and mournful sounds to jubilant and solemn ones. That is why knowledge of the features of music as an expressive means, its functions in the cultural and leisure program, the organic combination of phonograms and live sound is necessary for directors of cultural and leisure programs to organize a more effective artistic and emotional impact on the audience by means of musical art.

It should be noted that the musical accompaniment of the cultural and leisure program presents a certain difficulty. This is primarily due to the fact that the issues of theory and practice of musical design of leisure programs are almost not developed in cultural studies literature, except for some that are found in methodological works. Until now, not a single textbook or practical guide has been created that would contain elementary information about the patterns of using music in various forms of cultural and leisure activities.

First of all, music should be classified in the cultural and leisure program. Musical arrangement is the inclusion of music of all genres and forms in the leisure program: vocal, instrumental, choral, fragments of symphonic works, folk, wind, pop - in live sound and in the form of musical phonograms.

Each cultural and leisure program has its own specific features that require a certain musical solution in accordance with where it is held: in the palace of culture, on the street, at the stadium, in the park, etc. However, despite their genre diversity and conditions, music in the cultural and leisure program can be classified as follows: musical prologue, musical episode, musical number, musical interlude, musical finale, music in the course of action.

Musical prologue - this is an initial musical section, a fragment of a song or play, a work, a musical fantasy, aimed at preparing the development of the main episodes of a leisure event, written in the nature of the entire performance or contrasting it.

According to its functional meaning, the musical prologue can serve as an introduction or exposition. The main task of the prologue-entry is to gather the attention of the audience and introduce into the general atmosphere of the event, in a certain era, environment, to prepare for the emotional perception of the content of the main section.

A feature of the musical prologue-exposition is that it is a concise and capacious story about the events that will be revealed in the main part of the event with the help of a work of musical art or a combination of music with other means of artistic and expressive influence (word, choreography, cinema, pantomime and etc.). The prologue has a clear structural and plot structure: an introduction, a presentation of the main topics or topics, a final part, which often serves as a transition to the first episode of the event.

The musical prologue can be represented by: an overture, a musical plastic poster, a musical stage composition, a music video, a film prologue. The most common form of musical prologue is the overture. It uses musical works, songs, dance and pop melodies, as well as individual musical phrases, chords, call signs. For example, at the thematic program "Roads of War, Roads of Victory", A. Novikov's song "Roads" served as an overture, at the evening "Word about Bread" - an instrumental composition on the theme of B. Mokrousov's song "The Steppe Blooms with Gardens".

An interesting and expressive musical prologue can be a musical plastic poster, which is a synthesis of music, pantomime and choreography. The peculiarity of such a prologue is that its content is embodied in dances and plastic movements, accompanied by music, and has a clear thematic focus and plot structure. Its idea, as a rule, is expressed in the name. For example, the main idea of the musical-plastic poster "Workers' Hands" in the amateur concert program, staged by director M. Zlotnikov and choreographer P. Gorodnitsky for performance at a workers' festival in Germany, was to show the labor feat of the people of Russia.

A kind of musical prologue is a musical and poetic composition, which is an organic unity of word and music, possessing conciseness, content capacity, and dramatic completeness. So, at the Rock for Peace festival, poetic works by B. Brecht, G. Lorca, P. Neruda and fragments of songs by G. Eisler and S. Ortega were used as a musical prologue.

The nature of the musical prologue is determined by the specifics and nature of the program. In KVN - this is a musical exit and greeting of the teams, in concert performances of rock groups - an introductory song - a performance of the team.

At holidays, carnivals, rituals, folk festivals, theatrical costumed processions of participants, march parades of brass bands, cavalcades of cars and other equipment, traditional rituals and parades of amateur groups and athletes at the opening of festivals, sports holidays serve as a musical prologue.

Musical themes that sounded for the first time in the prologue can be continued and developed in the course of the program. So, in the program "The Word about Bread" the theme of the song "The steppe blooms with gardens" in the prologue sounded solemnly, in the episode "Field-Fate" - anxiously, "Soldier's Field" - mournfully, "Gagarin's Field" - majestic, etc.

Each cultural and leisure program consists of several interconnected episodes. AT practical work cultural institutions, scriptwriters and directors often use musical episodes.

Music episode - a relatively independent fragment or section of the program, the content of which is revealed using the expressive means of the musical language. The specificity of the musical episode lies in the fact that it has an internal logic of construction and must be completed. This is its similarity with the musical prologue-exposition: the same basic elements, complete compositional construction. Only in contrast to the exposition, in which the presentation of the main themes or one theme takes place, in the episode one of them or a separate aspect of the main theme is carefully developed.

A musical episode is a synthesis of ready-made musical works belonging to one or different composers, in which the essence, the content of a life event that has dramatic completeness is concentrated, that is, there is an outset, a climax and a denouement. Creating a musical episode is a difficult task, the solution of which requires the ability to skillfully assemble musical fragments, a certain musical erudition. Poorly chosen music can drag out the tempo-rhythm of the event. And vice versa, a well-built piece, a song can be the inner core of an episode.

Plug-in musical numbers are widely used in cultural and leisure programs. Plug-in musical number - a piece of music intended for independent performance. It can be a song, a romance, an instrumental piece, a choreographic composition, a fragment from a musical film, an operetta, etc. As a rule, the insert number is not connected with the plot. In some forms of cultural and leisure programs, they are the basis: a concert, a club "light", etc.

In cultural and leisure programs, the inclusion of musical numbers in the script has its own specifics. They should not only be closely related to the theme, idea, but also organically built into the plot of the program. The director of the program is required to possess a kind of musical dramaturgy, which is inherent in the musical work itself. It has an introduction, development, climax and coda. And the director's task is to make a kind of musical story out of a song about a person's life, his fate, feelings and thoughts.

Musical intermission - is a miniature overture to the action that will unfold in the subsequent fragment of the program. However, the functional purpose of the musical intermission is somewhat different than that of the overture. Its scenic feature is not only that it is a kind of introduction, but also the conclusion of the previous episode, that is, it acts as a link between two episodes. And in this respect, music is a very flexible material. It, like no other art form, is easily transformable. The director of the same melody can give the character of solemnity, tenderness, sorrow and joy, anxiety and sublime elation. The intermission music is designed to keep the tempo-rhythm of the program, to organize the thought and imagination of the audience, to make it an accomplice of the action that develops in musical images during rearrangements, pauses, rearrangements, and change of scenery.

Musical endings - a significant part of the cultural and leisure program, structurally separated from the previous episodes, but organically connected with them, usually intended for the mass performance of a piece of music, the completion of the action. This is one of the most important parts of the presentation. The lack of an ending leaves a feeling of incompleteness of the entire program. It carries a special semantic load, summing up the thoughts and feelings that have arisen in the viewer, it contains the main idea of the holiday, summarizing the idea of the program.

A common form of musical finale is the performance of consolidated orchestras, choirs, choreographic groups, etc. with methods of activating the auditorium: collective singing, chanting, procession. Quite often, musical finals develop into a huge mass action, drawing tens of thousands of people into the festive action.

And now we must consider music features in the cultural and leisure program. Music depending on the conditions of its use in leisure program can carry a wide variety of functions. One of the most important functions of music is an emotional and semantic characteristic the whole program, separate fragments. It manifests itself in several directions: characterization of characters, place and time of action.

The musical characterization of the images is ambiguous. Music can convey the state of the characters, their mood, character traits, inclinations, temperament, national and social affiliation of the characters. Knowledge of the musical material, the possibilities of music will help the organizers to more fully realize this function of musical art, accurately create a social portrait of the character, since, as a rule, in the leisure program they are of a generalized nature: a soldier, sailor, peasant, worker, businessman or satirical images: an inhabitant, a drunkard , bureaucrat, etc. Works are selected according to their characteristics.

A song, an instrumental piece, a short musical phrase can quite fully create a musical image of a character or individual groups of people. This is especially important for performances in stadiums, streets, squares, parks, etc., in which the action is decided more plastically than verbally. It is difficult to convey the text without a microphone to people, since often the performers and the audience are separated by a fairly large distance. This is where music comes to the rescue.

Music plays a significant role in characterizing the place and time of the action. It allows you to create a certain flavor of a particular era, which is dedicated to the program. Music, especially song, possessing sense of time, absorbs the psychology and mood of those years when it was created. It is no coincidence that songs are considered the musical document of the era. Knowledge of these possibilities of music - to accurately convey the spirit of the times - "can help directors of cultural and leisure programs to use it more effectively to achieve authenticity, convey moods, thoughts and feelings of people participating in historical events.

Questions for self-examination

1. The origin of the profession of director. 306

Section II. Technology of cultural and leisure activities

2. Profession of the director in modern period.

3. What is the significance of the doctrine of ethics for the profession of a director - what does it mean for a director.

4. The main conceptual apparatus in the director's work.

1. Zakhava V.E. The skill of the actor and director. - 4th ed.-M.: Enlightenment, 1978.

2. Knebel M.O. Poetry of pedagogy. - M.: VTO, 1970.

3. Popov A.D. Performance and director. - M.: VTO, 1972.

4. Rozovsky M. Directing the spectacle. - M.: Soviet Russia, 1973.

5. Silin A. Squares are our palettes. - M.: Soviet Russia, 1982.

6. Tovstonogov G.A. Circle of thoughts (articles). -L .: Art, 1972.

7. Tumanov I.M. Directing a mass holiday and a theatrical concert. - M.: Enlightenment, 1976.

The director's intention in the implementation of the dramatic material of the cultural and leisure program is secondary in relation to the dramatic intention. The dramatic idea is the basis on which the entire cultural and leisure program is built, but in the course of implementation it is transformed into a director's one. The specificity of staging cultural and leisure programs lies in the fact that the greatest efficiency of the cultural and leisure program is achieved when both the screenwriter and the director are combined in one person. However, in any case, only after the director’s decision has been found and thought out, work will begin in a certain direction on the formation of the script: the search for an artistic and imaginative solution and visual design of the production, the organization of musical and lighting scores, the selection of the necessary performers and teams, and everything else that makes up the director’s work on staging.

The noblest idea, the deepest foresight, the most topical thought will not become art as long as they are not expressed, not enclosed in a figurative form. What makes a poet a poet is not one poetic feeling of reality, but the ability to encapsulate this feeling in the "rhythm of a sharp peak", to find rhythm, meter, strophic organization to express a topic that excites him.

Creating a cultural and leisure program, the director immediately "draws" in his imagination a visible image of the future production. This initial idea is called visions. As a rule, these first intuitive sensations are correct. In them, the director imagines the general atmosphere of the future production: the nature of the music, "the color scheme, mise-en-scene solutions, perhaps scene-graphic moments, etc. *;

Here the detailed development of all the components of the production to the smallest detail is very important. Solutions: mise-en-scene, scenography, light and sound and, of course, the acting itself. That is, these visions are tested in the material. Through these checks, it turns out what can be left, what has the right to exist, what is not. And how, by what means will the director achieve that an integral artistic image of the production is born. Here it is very important not to break away from the main idea, not to go into detail, because sometimes a strong passion for details distracts attention from the whole, destroys the perception of the image. A real artist always knows how to find such a figurative detail in which, as in a focus, the essence of a given phenomenon is concentrated. Due to its expressiveness, such a detail often pops up in memory earlier than the image itself created by the director.

In the intention of the director of the cultural and leisure program, stage, philosophical, life and aesthetic concepts merge together. The cultural and leisure program will only be close to the viewer when he feels with his soul, with his heart in it the truth of life that excites him today, and makes him think. The created program should excite the viewer, make him think, give him aesthetic pleasure and instill in him a sense of beauty.

Of course in In the performance of any production and any role, all elements of acting technique must be present, the absence of at least one of them crosses out all the others. But in relation to each production separately, the director faces the question, which of these elements should be brought to the fore in this production, so that, grabbing onto them, as if they were links of one inextricable chain, in the end, pulling out the entire chain?

Third. The rehearsal period, as a rule, takes a little time, due to the intensity of the work of cultural institutions. In this regard, rehearsals are held most often for episodes 6 .

An episode is a stage form that has thematic and compositional completeness of the content.

An important document that a production director has to work on is a rehearsal plan. Without a well-thought-out rehearsal plan, it is impossible to imagine the work of a creative team. The rehearsal plan is drawn up after all the terms of preparation for the rehearsal period have been determined: performers, terms for the production of musical material, design, etc. The rehearsal plan provides for two periods: first in the rehearsal rooms, and then in the very room where the performance will take place. And at general and general rehearsals, you can combine ready-made episodes into a single coherent program. Disruptions or indistinctly organized rehearsals always cast doubt on the success of the cultural and leisure program. The director schedules the rehearsals, skillfully alternating the busyness of large groups, determining exactly where all the participants are needed and where they are not. And here administrative skills are required from the director. He must clearly organize all the preparatory work, because the final result depends on how the preparatory period went.

To be able to convince people is the first step in the work of an organizer-leader. The next is to mobilize them to complete the task. You need to know the business that is being organized thoroughly. Then all Work director will be built on a high professional level, his authority in the team will grow, his position will grow stronger. And one more necessary quality is the ability to ignite people, infect them with your plan, your faith in the success of the business, no matter how hard it costs.

D.V. Tikhomirov offers a mounting list of twelve columns. The first is the number in order. Numbering is necessary during editing rehearsals, when all production departments use digital designations in communication with each other. The second is an episode, its title exactly matches the script and the director's plan. The third is the name of the room and its character. The author and title of the work are indicated here. Fourth - performers are discharged: soloists, collectives. Fifth - who is entrusted with the accompaniment of this number. Here it is desirable to indicate the need for orchestrations, and if the number goes under the phonogram, then you need to give the serial number of the phonograms. Sixth - all texts performed on stage, sounding on the radio, are entered. This is also where the texts are written. Seventh - the need for film material is recorded, indicating the nature of the tape and format. Eighth - it is indicated in which stage design the number takes place. Ninth - light. The lighting solution for each room is being filled. Staging effects are recorded in the same column. Tenth - costumes for performers. All costume accessories (holster, fan, etc.) are entered in the same column. Eleventh - props and props. Twelfth - notes. Some directors refer to the cut sheet as the director's score.

It is important for directors of cultural and leisure programs to be able to master the art of lighting design. The director needs to set the light together with the artist. Light is not a routine addition to the production, but one of the most powerful means of expression. The lighting solution, passing through the whole dramaturgy of the program, corresponding to the music, text, scenery, creates an artistic image. Each room in the cultural and leisure program requires its own lighting solution, often complex. Sometimes it is necessary to compose a light score for a particular number. At the same time, technical editing rehearsals are held on stage. The most expedient would be to combine editing rehearsals of light and sound. After everything is sorted out in technical, light and sound score, the time has come for the first stage rehearsals.

Conclusions on the first chapter

The cultural and leisure program is aimed at the collective recreation of the population, in its name there is often an indication of the age of the audience (competitive family program, children's matinee, youth show program). This form of the event is distinguished by the variety and ease of forms of communication - cognitive, entertaining, amateur, providing participants with the opportunity to switch from one type of activity to another.

Such programs require creativity, imagination and invention from the organizers, as well as a clear construction of the scenario, taking into account the age of the audience.

The range of leisure programs is quite wide: talk shows, literary and musical compositions, competitive and game programs, holidays, theatrical performances.

The above classification of cultural and leisure programs is one of the options systematization of forms of leisure activities. The value of the proposed classification lies in the fact that the degree of participation in the program is the most important factor and condition for the success of organizing their leisure.

2. Features of directing cultural and leisure programs

In order to create a cultural and leisure program, it is not enough just to have a good understanding of the laws of its dramatic construction. It is necessary to understand, to know exactly the potential of each expressive means, to be able to use the possibilities of the methods of installation, illustration, theatricalization and play. With the help of these methods and various expressive means, a program is created in which an actual socio-psychological problem is solved. The methods of illustration, theatricalization and games are able to independently implement the artistic solution of the cultural and leisure program, with their help it turns from a project into a real construction.

Improving cultural and leisure activities largely depends on the ability and abilities of scriptwriters to develop and implement scenarios for various cultural and leisure programs. Creation of a script is a complex, multi-stage, creative process, including periods of accumulation of informational material, the formation of an idea, and the writing of a dramatic work. The author of the script needs to combine all its components in such a way that the result is a coherent dramatic work. The cultural and leisure program, organized and carried out according to the scenario, gives the impression of a clear and complete whole. Each cultural and leisure program contains an element of construction, construction, thereby determining the compositional organization of the scenario material.

As noted, the design of the cultural and leisure program begins to take shape from the dramatic concept. Therefore, the first method of the method of cultural and leisure activities is rightly called montage. In each type of cultural and leisure program, specialists use editing when developing a scenario.

Each scenario uses documentary material, excerpts from various literary works, which must be connected in a certain order. The alternation of facts, events, phenomena and their comparison inevitably require the montage organization of the material.

The anniversary of the founding of the company (or another date that has become the traditional birthday of the company) is one of the most important holidays. Calendar holidays are celebrated by the whole country or even the whole world. And the day of the company is a day filled with special meaning, uniting and highlighting precisely the employees of this organization. This is the best moment for cultivating a corporate spirit, the most suitable day for awarding the "leaders" and accepting young people into the team.

Important components of the anniversary celebration are:

selection of the most suitable venue for the celebration in accordance with the wishes and budget of the Customer;

· original invitations;

preparation of a festive menu (banquet, buffet table), if necessary, organization of catering services;

ordering transport for the delivery of guests;

· holiday decoration venues for the anniversary with compositions of fresh flowers, balloons, scenery.

The anniversary of the company is a corporate event that is held almost every five years, or even as much as ten. This is the history of the company, its achievements. And in order to work even better, raising the status of the company, you need to have a good rest and rest, with whom the foundation of the company's well-being and common cause is laid every day.

2.1 Directing basics

Back in the 90s of the 19th century, the dictionary of Efron and Brockhaus defined the profession of a director as follows: “In our time, although the author is present at rehearsals, he no longer has a need, he takes care of the details of the production; this is the concern of the director, who requires not only a thorough knowledge of the stage, literature and archeology, but also a lot of tact and the ability to get along with the artists.

All this prepared the theater for the gigantic leap that it made in the second half of the 19th century, marked by the activities of R. Wagner and L. Kroneg in the Meiningen Theater and culminating in a kind of revolution in the performing arts at the turn of the 19th and 20th centuries, when directors everywhere became the creative directors of theater teams. This phenomenon was marked by the appearance of a whole galaxy of "great" ones who determined the face of the director's profession for many years to come: in Russia - K. Stanislavsky, Vs. Meyerhold, A. Tairov, E. Vakhtangov; in France - A. Antoine, J. Capo; in Germany - M. Reinhardt; In England - G. Craig. Directing emerged as an independent form of creative activity.

There are many formulations that define the meaning of the profession Director. From "directing is a way of life" to "a director is a person who thinks in terms of space."

But at the same time, many different directorial professions arise:

Drama director

opera director;

choreographer;

director of the musical drama theater;

pantomime director;

Circus director

director of cinema (fiction, documentary, popular science, animation);

TV director

· stage director.

Thus, the director's work consists of two main stages: conception and implementation (staging).

The idea is the director's initial idea of his future work, its more or less conscious prototype, from which the creative process begins. Plan, application, sketch, explication - these are the most common forms of fixing the idea. Some directors paint their idea on paper in great detail, trying to concretize it as accurately as possible. The French director René Clair owns the phrase: “My film is already ready - it remains only to shoot.

Other directors, such as Michelangello Antonionni, try not to specify the idea before starting work on the set.

In the realization of the director's intention, visualization dominates, i.e. reproduction by means of directing an external sensually concrete image of reality.

However, despite all the importance of the preparatory work, the idea, the main moment of the director's work falls on the work on the set (the rehearsal period in the theater, the filming period in the cinema and on TV).

And no matter how the director prepares for work, at this stage his work always has an improvisational character.

Improvisation is a creative momentary act of creating a work of art, a fantasy on a given topic. It is in the process of improvisation that the features of the director's creative individuality are most clearly manifested.

The director is required to have a creative individuality, a unique originality of personality, which gives a unique character to the results of his work. The scope and dignity of what the director creates, or what he is able to create, is determined by what he is as an individual. Directing is, by its very nature, a creative, authorial, "dramatic" activity.

Only a creative individuality in art has the intuition, the ability to directly see the hidden holistic meaning in the phenomena of reality, this ""unconscious, instinctive-figurative principle and stimulus of creativity" (Bergson).

Only individuality in art is able to create its own artistic concept - a figurative interpretation of life and its problems. The concept encompasses both the entire work of the director, and each of his individual works, contains a certain semantic dominant of it. To realize his idea, the director uses a whole complex of visual and expressive means, that is, a system of historically established material means and methods for creating artistic images. In their specific totality and interconnection, visual and expressive means form the artistic form of a work of art, embodying its content. As elements of an artistic form, figurative and expressive means have a technical-constructive, compositional-structural significance and, at the same time, are carriers of figurative meaning.

The richness and figurativeness of visual and expressive means is an indicator of the artistry of a work of art. As a rule, the more complex the concept of a work, the more sophisticated visual and expressive means the director uses. They reach the pinnacle of complexity in the so-called intellectual, elitist art.

Intellectualism in the art of directing is a special type, manner, form, conceptual and philosophical warehouse of artistic thinking, in which the world appears as a drama of ideas, the characters of which personify and through their actions convey (play in faces) the thoughts of the author, express various aspects of his artistic concepts. Intellectualism in art is usually associated with the use of the so-called parabolic thought, the inclusion of a parable or other inserted elements in the work, which, it would seem, are far from the problems discussed in it. However, the departure from these problems does not occur in a straight line, but along a parabola, which, as it were, returns the thought that has departed to the side to the problem. Thus, philosophicity becomes not only the content, but also the structure of a work of art, changing its very type: performance-concept, ballet-concept, film-concept. The work becomes a carrier of artistic information.

Artistic information reveals the specifics of an artistic message, which consists in the fact that it has an emotional impact, is not transmitted by standard normalized languages, but is a system of individualized artistic images.

Often combining various artistic information into a single whole, the director uses the collage method, that is, the inclusion of dissimilar objects or themes into a work of art with the help of montage, to enhance the overall ideological and aesthetic impact. This method was used by Bertolt Brecht and Evgeny Vakhtangov, Yuri Lyubimov and Erwin Piscator, Federico Fellini and Andrei Tarkovsky.

Collage is the organization of figurative and expressive means according to the parabolic principle, and is the structural basis of intellectualism in directing, providing numerous semantic parallels and contrasts. He operates with all sorts of approximations, analogies, variations, repetitions, sometimes playing the role of leitmotifs. By editing episodes, frames, mise-en-scènes, replicas, the director creates a visible intellectual collage that carries artistic and figurative information. Editing, organizing the material, this is the work of the director, his way of being in art.

The director, as the creator of roles, exercises his creative will not in his own material and visual means created by him, but through the creativity of the actor, merging his artistic initiative with his will, embodying his intention in his verbal and physical actions. The director acts as a catalyst for the art of acting, usurping the rights of the actor in order to use them in the interests of the integrity of the production.

Thus, the main material of the director's creativity is the Actor, who expresses the director's intention through his psychophysical apparatus. The actor is in the very center of stage events. He is a living link between the text of the author, the stage decision of the director and the perception of the viewer. Using various material, including heterogeneous elements of the production, the director forms that "labyrinth of links" which, according to Leo Tolstoy, contains the essence of art. Three-dimensional stage structures, sound and, most importantly, the movements and postures of the actor, intertwined together by the will of the director, give rise to a fundamentally new artistic phenomenon.

By creating and operating with mise-en-scenes, directing acquires an aesthetic object specific to it, which is beyond the competence of other forms of art. These are visually imprinted fragments of space with their constant changes in time.

The whole complex of artistic and expressive means allows the director to realize his fantasies, his artistic fiction in the production. Artistic fiction is a type of action in which characters and events appear that initially exist only in the imagination of the authors of the production, and then in the imagination of the viewer. An action related to fiction is a "frivolous" action that does not impose any obligations on the authors of the production (director and playwright).

The staging is an artistic fiction realized in space and time, since it is entirely born of the authors' imagination. In it, fiction is carried out by at least two "pretenders": the director and the actors.

Here is what the structure of time looks like in the space-time arts:

empirical time - time in the reality that serves as material for the work;

plot time - the organization of the plot in time;

Spectator time - takes into account the duration of perception.

Another essential component in the director's work is the solution of spatial problems. The structure of space in the performing arts is divided into three components:

1) The space in which the objects are located;

2) The space where the audience is;

3) The plane of the stage (screen) reflecting the first and suggesting the second.

The structure of space (as well as time) is to a certain extent predetermined by the type, genre or stylistic direction of the work.

2.2 Directing in tourism

Directing in tourism is one of the leading and most dynamic industries, and for its rapid pace of development, it is recognized as the phenomenon of the century.

Directing in tourism is the activity of developing and presenting cultural and leisure programs.

The inclusion of methods and forms of directing in the field of tourism can be carried out on the basis of modeling leisure programs. Modeling (according to V.S. Sadovskaya) is the process of systematizing methods, techniques and means in order to create new original conditions inclusion of the individual in creative activity. Thus, the modeling of leisure programs makes it possible to enrich the content of tourist leisure and enhance its developmental functions. There is a transformation of tourism as "an active purposeful consumer activity" into a creative activity.

Conclusions on the second chapter

Directing in the modern sense - as a personal creativity, began to form intensively in the European theater only in the 15-16 centuries. An important role in this regard was played by the appearance of the stage box - the transfer of theatrical performances from street, square, fair stages to the closed premises of the palace, and then to specially constructed buildings. The visible background of performances began to be carefully developed, which brought to life the significant figure for the European theater of the 17th-19th centuries, the figure of an artist-decorator, who in one way or another performed the function of a stage director.

The improvement of cultural and leisure programs largely depends on the ability and abilities of scriptwriters to develop and implement scenarios for various cultural and leisure programs. Creation of a script is a complex, multi-stage, creative process, including periods of accumulation of informational material, the formation of an idea, and the writing of a dramatic work.

Conclusion

The richness of the directions of cultural and leisure programs, the variety of content, the use of expressive means gives unlimited possibilities sociocultural specialists. In modern conditions, the synthesis of knowledge, professional skills, author's concepts and social orders of society is of great importance for their activities.

Today, the creation of a sustainable development of directing in tourism is possible only if the quality of the services provided is constantly improving, capable of meeting the needs of a modern person in organizing his leisure. A high level of quality of the tourist product is a prerequisite for business development.

Technology of staging and directing cultural and leisure programs. Directing in the technology of cultural and leisure activities

Here is what the structure of time looks like in the space-time arts:

empirical time - time in the reality that serves as material for the work;

plot time - the organization of the plot in time;

viewer time - takes into account the duration of perception.

Another essential component in the director's work is the solution of spatial problems. The structure of space in the performing arts is divided into three components:

1) The space in which the objects are located;

2) The space where the audience is;

3) The plane of the stage (screen) reflecting the first and suggesting the second.

The structure of space (as well as time) is to a certain extent predetermined by the type, genre or stylistic direction of the work.

2.2 Directing in tourism

REFERENCES

Conclusions on the first chapter

Read also

Supertanker crimea ussr boiler accident

Marine giants of the oil and gas industry

Small light alloy rescue boat "Chibis

THE BELL