Topic 8.2. Scenario concept in the cultural and leisure program
1. Scenario concept in a cultural and leisure program
2. Structure of the scenario concept
3. Forms of script recording
4. Stages of work on the concept of a cultural and leisure program
The dramatic form of a cultural and leisure program is a script - a detailed literary description of an action intended to be staged on a stage, on the basis of which a holiday, mass spectacle, game or any other program is created.
The script concept is the structure of the program conceived by the author (screenwriter, director), which includes the development of the main thought (theme, idea) and elements of the creative process of its implementation.
Scenario structure:
A) the basis of the screenplay is the definition of the topic - the range of questions, what does the author want to tell about? What does he want to tell the viewer?
B) defining an idea, posing a problem that requires an answer to the question “what do I want to tell the audience?” What attitude will the viewer form from what he saw and heard?
The topic and idea make up the ideological and thematic plan of the KDP concept. This is the core that firmly holds the main meaning of the KDP script in one direction.
C) The next important constructive detail of the plan is the content and form.
There is a wide variety of forms: theatrical performances, holidays, concerts, literary and musical compositions, game and competition programs, etc. The chosen form of the upcoming CD actively influences the selection of content.
For example, a literary and musical composition involves the inclusion in the outline of the script of works of fiction - poetry, prose, journalism, documentary materials, instrumental music, choral and solo singing. The competitive gaming program consists of competitions and games selected in accordance with the theme. Concert of pop numbers.
D) Composition is the next stage of the author’s work on the concept of the program script. Dramatic conflict in cinematic films, built on the choice and clash of heroes, drives the development of the plot. The nature of the conflict in CD programs is diverse, and the struggle of the heroes unfolds through the clash of ideas, worldviews, opinions, and characters. Searching and finding the plot and plot device, compositional course, compositional structure concretizes the solution to the plan.
Until the content of the artistic and creative process is fixed in the appropriate material form - the script - the idea will exist only in the imagination of the author.
Forms of script recording:
Scenario plan - a sketch of the compositional structure of the script with a developed theme, idea, and characteristics of the audience;
Libretto is a short summary of a theatrical, musical and vocal work that is more detailed than the script plan;
Literary script – a detailed literary development of an ideological and thematic concept with full text, description of characters, musical arrangement, use of technical services;
A director's script is a detailed plan of a literary script with a precise indication of the stage location, the specific use of technical services, a painted light and sound score, indicating time, mise-en-scène, performers, literary texts and organizational aspects.
Conclusion: Any mass spectacle or chamber program, variety performance begins with a creative concept, in which individual facts or entire phenomena of the social and private life of a person and society, deeply understood by the author, are reflected in a figurative artistic form.
Recommended reading
1. Andrechuk A.M. School of Screenwriting: Textbook. allowance. – Barnaul, 2003.
2. Cultural and leisure activities: Textbook for universities / Under scientific. ed. HELL. Zharkova, V.M. Chizhikova. – M.: MGUK, 1998.
3. Chechetin A.I. The art of theatrical performances. – M.: Sov. Russia, 1988.
4. Sharoev I.G. Directing variety and mass performances: A textbook for students of higher theater educational institutions. – M.: Education, 1986.
Questions for self-control
1. Define screenplay
2. Reveal the structural elements of the scenario plan for cultural and leisure programs
3. Name the forms of script recording
4. List the stages of work on the concept of a cultural and leisure program
Source
Drama of a mass holiday
The article gives the features of the dramaturgy of a mass holiday using the example of Maslenitsa, defines the basic requirements for the script, and compares Maslenitsa events designed for different groups of spectators. The article will be of interest to students of cultural universities and directors of mass performances and celebrations.
Today, holidays based on traditions are increasingly in demand. Theatricalization of a mass event implies the study of rituals, comprehension of the socio-psychological roots of the holiday. In the national holiday, elements of chance in staging are excluded. A mass holiday cannot be planned and carried out at the request of the organizers; it, as a rule, is subject to the calendar rhythm of life or is held when the broad mass of people there is a need for this particular holiday event, and not for another festive event, in other words, when a certain holiday is ripe situation.
Folk holidays and rituals are a significant and integral part of the centuries-old spiritual culture of any nation. Long before the advent of Christianity, holidays were directly related to the cycles of nature: the summer and winter solstices, the spring and autumn equinoxes, the meeting and farewell of the seasons, sowing, harvesting, etc. It is in the folk tradition that human artistic activity and his aesthetic tastes are realized . During the celebration, artistic creativity and cultural life are concentrated. Its implementation covers the architectural and decorative design of theatrical performances, poetry and prose, drama, musical events, shows, processions, folk festivals, competitions, competitions, etc. In other words, the component of the holiday is very diverse.
Some details of folk holidays have been forgotten and erased from memory, not surviving to this day. Many customs are not even worth reconstructing, because they carried a completely different meaning that is unnecessary for modern people. In our time, it is important to preserve the spirit of folk festivals and stylize customs and rituals.
The culture of the national holiday contributes to the education of both each individual and the entire team of participants, not only broadens their horizons, but also creates conditions for self-expression and self-realization of people. The holiday improves mood, promotes creative expression, and a positive emotional outburst. The national holiday allows you to reveal the true creative aspirations of people, because here every person is a performer, a creator, a participant, and a judge of everything seen and heard. A folk holiday is a certain period of life that has its own forms of human behavior in a group, which are determined by both traditions, customs, and rituals, ceremonies and ceremonies.
In the old days there was no division between artists and audience, each participant was involved. A state of passivity was frowned upon. The holiday was a social mechanism for strengthening national cohesion.
A modern mass holiday is an additional day of rest marked on the calendar. It is divided into organizers, presenters, artists and spectators, who, in fact, are outside observers of the festive action. In modern holidays, the ritual component has been preserved, but if earlier the ritual had a special sacred meaning, today it is part of folk culture, inscribed in the holiday script.
A script is a detailed literary and directorial development of the content of a theatrical holiday action. The script, in strict sequence and interconnection, sets out everything that will happen at the mass festival, reveals the theme, idea, shows the author’s transitions from one part of the action to another, includes the artistic material used in the action, provides means for increasing the activity of participants, design and special equipment for all sites actions. Thus, the script for a mass theatrical festival is a complex concept that synthesizes the work of a playwright, director, artist, composer, and organizer.
An essential component of the scenic and dramatic basis of mass spectacles is the playful nature of the composition
Along with theatrical dramaturgy, the scenario dramaturgy of the holiday is developing, which involves constructing the actions of the characters according to a certain logic, a plot characterized by a certain conflict. The cultural meaning of scripted dramaturgy arises through images and actions, the purpose of which is to have a spiritual and moral influence on the viewer.
When analyzing any holiday, we must find key points in it. In the rite, the culmination is the ritual part, for which the rite itself is performed, and in the holiday - a theatrical spectacle that will reveal its essence.
The main features of a mass theatrical festival:
- entertainment,
- synthetic,
- expressiveness,
- ideological and artistic integrity.
The method of constructing a script is editing. The nature of the conflict is the interaction and dialogism of side themes, motives leading to the main author’s idea.
The way of existence of performers on stage is acting, but not by the type of living in the image, but by the type of presentation: the actor represents the image.
In a mass theatrical performance, the main means of expression is a kaleidoscope of colors, colors, sounds, that is, all types of arts, the use of a variety of stage and technical means.
The very combination of various phenomena into a single assembly structure is inherently conflicting and has a certain possibility of the emergence of opposing forces. As a result of this struggle, a single montage structure is fused, ultimately giving a new quality of dramaturgy, the basis of which is not traditional action and counteraction leading to conflict, but a certain dialogical nature of various themes and genre varieties.
The scenario of a mass theatrical festival is not a literary montage, not a set of scenes or couplets, not an alternation of poems, songs and prose, but a text constructed according to certain rules.
- All documentary, fact-based information presented must be presented in an artistic form, not emphasized in the form of teachings, lessons, or notations. Simply listing facts and events should also be avoided.
- In the script, it is necessary to logically combine different types of art, to “merge” documentary and artistic material for the most emotional impact on the audience.
- Performers of roles in performances must have universal creative abilities, i.e. be able to sing, dance, play musical instruments (if possible), and use various techniques to activate the audience.
The holiday script should answer two important questions: “about what?” - this is the topic, and “for what?” is an idea.
A theme is a circle of life phenomena, selected and consecrated in a script from a certain ideological position. An idea is not just the main idea, it is a call. The idea of a script has a strong-willed vector aimed at a certain change in social life and public mood [2, p. 20].
The theme and idea are inextricably linked with each other and together form the ideological and thematic basis of the script.
The action of a mass spectacle or performance is devoid of direct sequence and contains retreats, stops, delays, returns of events, switching of verbal material to plastic, from plastic to music, from music to words, etc. Therefore, the plot is presented in a free dramatic structure , where action stops become important.
The uniqueness of the plot development in the scenario of a mass holiday is that it must be figurative, visual, and simultaneously meet the intent of the screenwriter and director. The search for such a move is specific to the screenwriter and director of mass action [4, p. 106]. A given dramatic move, which moves the development of the plot, is the main connecting point when editing episodes of the script; it seems to show all the action. At the same time, pathos can alternate with comic moments, tragic with light, joyful. This is expressed in the special selection of artistic material. In the script, songs, a dance, an excerpt from a play, or a film fragment can follow one another; they alternate with journalistic speeches and mass actions of the participants.
The script needs exposition, that is, the introduction of a short story about the events that precede the conflict and cause it. The exposition in the script usually builds into the plot. The exposition and plot should be extremely clear and concise. They carry a great psychological burden.
The next part of the compositions is the main action, i.e., a depiction of the process of struggle and its intertwining, the chain of events of collisions in which the conflict is resolved. This part of the script must meet the following basic requirements:
1) Strict logic in constructing the topic.
2) Increasing action.
3) The completeness of each individual episode.
4) Specificity of construction.
The action must necessarily be brought to a culmination, that is, to the highest point in the development of the action.
After the climax there should be a denouement, the finale of the action.
I would also like to say something about the location of the mass celebration. If the holiday is planned to be held in any square or in any park or square, first of all you need to come to this place. You should plunge into the atmosphere of that area, feel its atmosphere, examine the landscape, the architecture of the buildings surrounding this place, feel this place from the inside. Come in the morning, afternoon and evening to see how the place is illuminated by the sun at different times of the day. Every building, every tree, flying birds, in a word, everything that is in this area must be involved in your production, and it all must play.
Everything that surrounds an open-air theater - land and water, air and trees, architectural structures and spectators - all of this is usually “involved” in the performance, everything plays and lives in the performance in the proposed circumstances of the performance [8].
From this point of view, a mass holiday based on rituals seems to be the most interesting.
Let us consider the script dramaturgy of the holiday, its plot-shaped concept and historical development from pagan times to the present day using the example of Maslenitsa. This holiday is a unique attribute of Russian culture; It is no coincidence that the Maslenitsa dance number was included in the opening ceremony of the Winter Olympic Games in Sochi in 2014.
Perhaps there is no person in Russia who does not know and does not love Maslenitsa. This holiday has never left the lives of the people. Maslenitsa turned out to be beyond the control of time, capricious fashion, ideological pressure, prohibitions, etc. [5, p. 638].
The ritual part of Maslenitsa is built on dramatic principles; deep conflict and effectiveness can be traced [7, p. 340]. And in this sense, in different eras the holiday looked different: in pagan Rus', an integral part of the holiday was dressing up - they put on masks and bear skins as protection from evil spirits. The ancient Slavs did not have theatricalization in the modern sense; theatricalization was understood as the performance of a ritual - an action in which the light and dark sides came into conflict. The culmination of the ritual was the burning of an effigy of Winter-Madder.
Again, all the folk Maslenitsa fun and festivities did not follow a special script, the holiday was subordinated to customs and signs: skiing from the mountains for a good harvest, shows of the newlyweds, fist fights as a demonstration of strength and a burst of energy, and, of course, the traditional abundance of food, again, which has a sacred basis - the movement of food: the more you eat today, the more you will produce tomorrow.
At first, the archaic ritual actions of Maslenitsa, then the round dance games and buffoon fun, contained elements characteristic of dramaturgy as an art form: dialogicity, dramatization of the action, acting it out in person, depiction of this or that character (massing). But, since the concept of “drama” presupposes authorship and professionalism, the above-described folk ritual actions cannot be considered drama. Only later, already in the 20th century, when individual authors began to write scripts, including in them old elements of folk rites and rituals, and introducing something new, did the scenario dramaturgy of the holiday take place.
On the main stage, a theatrical performance was played out with the participation of such characters as Winter and Spring, mother-in-law and son-in-law, Petrushka and the policeman, and other famous characters from Russian folk tales. But the original, pagan essence of the holiday was lost. In the post-Soviet period, Maslenitsa again becomes a bright and joyful annual national holiday - in the image and likeness of traditional European Maslenitsa carnivals. On the city square there is a cheerful “Maslenitsa town”, in which there are continuously concerts, folk entertainment, games, competitions with prizes, pancakes and other Maslenitsa foods are sold [3, p. 18]. The development of the script for a theatrical program and its direction are generally approached with special attention - the main artistic image of the holiday, its rites, traditions, customs, and rituals are preserved. Its form and content are respected. Currently, Maslenitsa is a mass theatrical festival based on folklore traditions, combining the spirit of antiquity and the phenomenon of novelty. All this makes the holiday historical and modern at the same time.
Speaking about the dramaturgy of the holiday, we, of course, do not mean drama as a type of literature, as we have already discussed above. The holiday script contains elements of drama; in particular, it is based on action, the source of which is conflict. The holiday script also obeys the laws of drama. However, the script for a holiday and theatrical performance “is built on different principles than a play for the theater or even a script for a feature film. His journalistic task usually involves depicting significant social events not through the private conflict of specific heroes, but on the principle of an epic reflection of the social conflict in its large-scale meaning. This in no way contradicts the fact that the bearers of large-scale social conflicts in scenarios of mass performances are specific historical heroes, specific people, sometimes well known to the audience” [1, p. 137].
When it comes to folk holidays, scripted drama inevitably contains the traditional, ritual and ceremonial basis of Russian folk holiday culture.
Let's compare three different Maslenitsa scenarios: in a kindergarten, in a city square in a Russian city, and outside Russia among Russian-speaking people.
The goals of all three events are different. Thus, holding Children's Maslenitsa aims to introduce children to Russian folk customs. Dialogues, as a rule, are built in verse, traditions are told in an accessible form, the heroine of the holiday is always present - the rosy lady of Maslenitsa, the script includes games, riddles, at the end of the holiday (which usually takes place in kindergarten or elementary school) children are waiting festive treat with pancakes.
The pressing question is whether to burn or not to burn Maslenitsa. Every tradition usually initially has some symbolic meaning. The Maslenitsa effigy was seen as the focus of fertility and fecundity, and the rituals of its farewell were supposed to communicate this fertility to the earth: the ashes from the effigy, or the torn effigy itself, were scattered across the fields [6, p. 84]. Currently, this action has an entertainment value, and not all families explain to children the essence of the ritual, which not all adults know. The task of the children's party scriptwriter is, firstly, to talk about the symbolic meaning of this tradition, invite children to participate in it voluntarily, and ask if they have any concerns or questions. Focusing on the reaction of children, on whether they have interest or more fears, you can already decide whether to carry out this ritual or, perhaps, you should limit yourself to stories about how Maslenitsa was celebrated in ancient times. The main emphasis of the holiday should be on the inevitable onset of spring; the main characters are fairy-tale creatures: Spring, Winter, Leshy, Baba Yaga, Buffoons, who conduct an active dialogue with children and involve children in active games.
The Maslenitsa holiday in the city is completely different. Usually a stage area is built on the square for an entertainment program. On the sides of the stage there are “projectiles” for competitions: a pole for climbing for prizes; a log boom on which they will fight with bags of hay; stakes (piles) for driving them into the ground with a special bat, etc. Near the square where Maslenitsa is held, there may be trading “points”: pancake, kvass, pie, tea, souvenir, book, confectionery, coffee, etc. This entourage. The scenario of a city event involves interaction. The festive program on stage should alternate with active games: the hosts of the holiday should go “to the people”. The city festival is perhaps most reminiscent of the Maslenitsa festivities of old, when they did not understand the origins of the tradition, but celebrated because “that’s how it’s supposed to be.” The scenario must include the Maslenitsa train, round dances, slides, and the burning of the Maslenitsa effigy. City Maslenitsa lasts as expected - a whole week, or the peak of fun occurs on weekends, since modern people still go to work on weekdays.
The program can include ditty competitions, hockey and speed skating tournaments, ice skating and horseback riding, a strongman competition, a mummers' show, and folk craft exhibitions.
Finally, let's look at the celebration of Maslenitsa abroad, among the Russian diaspora. For compatriots, this holiday plays an important role, since it is not just a reason to have fun, but also another opportunity to pass on knowledge to the younger generation about the history of the Russian people, their traditions and customs. Of course, the script tells about Maslenitsa traditions in the form of skits, games, and songs. Perhaps, here the holiday has elements of a show, because compatriots are carriers of two cultures and sometimes know little about Russian culture. It is fair to note that sometimes Russian youth know even less about Russian culture. However, carnival processions with mummers and masquerades are held abroad in honor of the holiday. Maslenitsa towns are organized with a stage, places for selling food (pancakes, of course) and souvenirs, and attractions.
Today we are witnessing the process of reviving Maslenitsa traditions both in Russia and in communities of Russian compatriots in other countries. The need to celebrate Maslenitsa in modern society really exists, but there are only a few professionals in this field, people who could competently tell how traditional Maslenitsa was celebrated a hundred or two hundred years ago. It is important to develop the ability to write scripts for a mass holiday based on folk traditions and rituals.
Literature:
- Al D.N. Fundamentals of Drama: Textbook. — 4th ed. - SPb.: SPbGUKI, 2005. - 137 p.
- Andreychuk N. Fundamentals of professional skills as a scriptwriter for mass holidays: A textbook. - M.: All-Russian Central Artistic Theater ("I am entering the world of art"), 2014. - 160 p.
- Arutyunov S. A. Peoples and cultures: development and interaction. M., 1989. - 160 p.
- Genkin D. M. Mass holidays: textbook. allowance / D. M. Genkin. - Moscow: Education, 1975. - 256 p.
- Nekrylova A.F. Russian traditional calendar for every day and for every home. - St. Petersburg: Publishing Group "Azbuka-Classics", 2009. - 767 pp.: ill.
- Propp V. Ya. Russian agrarian holidays. - St. Petersburg: Terra - Azbuka, 1995. - 176 p.
- Svechnikova O. B. The evolution of script drama in Russian folk holiday culture [Text] / O. B. Svechnikova // Young scientist. - 2012. - No. 2. - p. 338–341.
- Silin A.D. Squares are our palettes. - M.: "Soviet Russia", 1982. - 184 p.
DIAGRAM OF THE THEATER PERFORMANCE PLAN
Tomik_Talentov
all posts by the author ATTENTION. In the attached file everything is the same, only with a very important table.
STAGE PLAN – a form of fixing the elements of the director’s plan, i.e. director's development or director's explication.
I. INTRODUCTION (MOTIVATION FOR CHOOSING THE TOPIC OF THE THEATER PERFORMANCE).
This section indicates the motivation for the selected theme of the scenario, its socio-pedagogical significance for the predicted audience. II. IDEAL AND THEMATIC CONTENT OF THE SCENARIO.
1). SCRIPT TOPIC – the problem posed by the author, or the subject of the author’s artistic phenomenon. The topic should be specific, brief and contain 3 main questions: WHAT? WHERE? WHEN?
2). SCENARIO IDEA – the main conclusion that follows from the scenario. The formulation of an idea reflects certain cause-and-effect relationships, so grammatical forms are most often used: due to the fact that..., despite the fact that..., only..., if... etc.
