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31Humanity space International almanac VOL. 3, No 1, 2014: 52-61
Shadow theater in art pedagogics I.A. Lykova1, O.I. Perry2, V.A. Shipunova3
1 Federal State Research Institution of the Russian Academy of Education «Institute of Art Education»
Pogodinskaya str. 8, building 1, Moscow 119121 Russia Федеральное государственное бюджетное научное учреждение «Институт художественного образования» Российской Академии Образования 119121, Москва, ул. Погодинская, д. 8, корп.1; e-mail: [email protected]
2 Art-studio «Olga Perry»
60 Companion , Pacific Grove, California 93950 USA
арт-студия «Ольга Перри», Калифорния, США; e-mail: [email protected]
3 The publishing house «Colored world»
Akademika Anokhina str. 30, building 1, room 124 Moscow 119602 Russia ООО Издательский дом «Цветной мир» 119602, Москва, ул. Академика Анохина, д 30, корп. 1, оф. 124 e-mail: [email protected]
Key words: shadow theater, shade art, art pedagogics, family education, cultural leisure, private theatricals, cultural history, a silhouette, theatrical dolls, art education, esthetic education.
Ключевые слова: теневой театр, искусство тени, педагогика искусства, семейное воспитание, культурный досуг, домашний театр, история культуры, силуэт, театральные куклы, художественное образование, эстетическое воспитание.
Abstract: The question on revival of traditions of shadow theater in esthetic education and art education of children of preschool and younger school age is taken up In the article. The philosophical basis of shadow theater - contrast of light and a shade, revealing and incrustation of senses, maintenance generalization, free interpretation on the basis of imagination and personal experience is opened. The short historical sketch of development of shadow theater in different cultures of the world (China, Central Asia, Cambodia, India, Japan, England, Russia, etc.) is given. Unique experience of Shadow theater (Moscow) and family theater «Shade» (Ilya Epelbaum and the Maya Krasnopolsky) is presented. The manufacturing techniques siluettes of dolls and statement of shadow performance are described. The is art-pedagogical aspect of a shadow play is opened.
Резюме: В статье освещен вопрос о возрождении традиций теневого театра в эстетическом воспитании и художественном образовании детей дошкольного и младшего школьного возраста. Раскрыта философская основа теневого театра - контраст света и тени, выявление и инкрустация смыслов, обобщение содержания, свободная интерпретация на основе воображения и личного опыта. Дан краткий исторический очерк развития теневого театра в разных культурах мира (Китай, Средняя Азия, Камбоджа, Индия, Япония, Англия,
I.A. Lykova, O.I. Perry, V.A. Shipunova И.А. Лыкова, О.И. Перри, В.А. Шипунова
Россия и др.). Представлен уникальный опыт Теневого театра (Москва) и
семейного театра «Тень» (Илья Эпельбаум и Майя Краснопольская). Описана
технология изготовления силуэтных кукол и постановки теневого спектакля.
Раскрыт художественно-педагогический аспект театра теней.
[Лыкова И.А., Перри О.И. Шипунова В.А. Теневой театр в педагогике
искусства]
Theater of shadow and light
Remember, how in the childhood you weaved intricate figures from fingers, and on a wall there were live beings: a dog, a horsy, a fantastic dragon, a snake, a bird?. And here you in wood, in the evening, look at shades of trees on snow is as if any other world, live and present, only there in any way it is impossible to get. The world of shades, mysterious, full of secret senses, lives near to us, inseparable from us. Perhaps, as desire to solve its riddle the shadow play was born? After all for the period of representation we receive the admission in this wonderful world. We as if meet with by itself, a silent voice of the heart. The shade can't transfer emotion, its expressive means are avaricious and reserved, but our imagination instantly adds all lacking a semitone. Also helps to learn better, the private world. A play of light and Shados - an eternal theme for philosophers, but in a shadow play these two contrasts become a working material and appear almost tamed. Here the shade is penetrated by light, as in life where we see many gradation black and white. And magic art of artists and actors decks a theatrical show all tones and modulations of an iridescent spectrum.
Shadow play - a kind of a theatrical show, the form of the visual art which have arisen over two thousand years ago. It is based on use of flat dolls which are between a light source and the screen or are imposed on it. Dolls usually become from a cardboard, a skin, a special colored film. The shadow play uses the big translucent screen in which the plot reveals by means of dynamic shots-pictures, projected on the screen. Dolls are shined behind, outlined - on the screen there is a black-and-white or color image. Actors of shadow theater can be anything you like: siluette of dolls, subjects, toys, hands of the person, actors-people.
History and traditions
The first mentions of China shadow the ater founded in the beginning of II millennium. Knew this art in the ancient time and the
I.A. Lykova, O.I. Perry, V.A. Shipunova И.А. Лыкова, О.И. Перри, В.А. Шипунова
nomadic people of the Central Asia. Shadow play representations passed in Cambodia during religious holidays. Its traditions are strong in Ceylon, Indonesia (a shadow play wayang), India and Japan . Perhaps, Italy was the first country of Europe where there was a shadow theater, whence data on it began to extend all further on the north. In 1740 the first shadow theater in Germany has been based, and in due course began to arise well-known «Shatenbune» («shadow scenes»). The French missionary Zhjul Alod in 1767 has been obedient beauty and singularity of this theater. It has brought home skill secrets. In 1776 the Chinese shadow play has appeared and in England. Second half of XVIII-th century is time of blossoming of shadow theater in Europe. The glory about some of them has reached and up to now: The well-known theater Ambruaza which was based in 1775 in London and going on tour across all Europe, and shadow theater Domenika Serafena which was a favourite show of Parisians of the end XVIII - the XIX-th century beginnings is known. Many of the European shadow theaters came on tour to Russia (theater Ambruaza was in 1776).
It is considered to be that pre-revolutionary Russia did not have the shadow theater. Occasionally mobile shadow theaters from abroad ran into tours. But in a XIX-th century widespread enough became the hobby for statements of amateur shadow performances in houses of nobility and some grammar schools. It was promoted by various publishing houses which let out desktop shadow theaters with detailed instructions for independent statement of house performances.
It is possible to tell with confidence that nobody has made in Russia more for development of shadow theater, than spouse Yefimovs. Ivan Semenovich Efims (1878-1959) and his wife - Nina Jakovlevna Simonovich-Efimova (1877-1948) have begun the activity in the field of shadow theater in pre-revolutionary years. Artist Nina Simonovich since young years has fallen in love with silhouette art. Often be in a family of outstanding artist Valentine Aleksandrovicha Serova - the first instructor in painting to which had the cousin, she liked to show to children of Serova «galanty show». Together with children it put small playlets which itself invented: «Katane from an ice slope», «Circus», or on literary
I.A. Lykova, O.I. Perry, V.A. Shipunova И.А. Лыкова, О.И. Перри, В.А. Шипунова
themes - «Muzhichok about a nail» N.Nekrasov, a fairy tale «Little Red Riding Hood". Later it began to show shadow performances for adults.
Easy heritage of former times
In 1934-1937 in Moscow at the Museum of the children's book the professional shadow theater which the next years worked at All-Union gastrolno-concert association has been based. Artist E.M. Zonnenshtral and the actress (and subsequently and the director) S.A. Svobodina were its organizers of J.P. Meksin. Participants of a circle of young schedules at the Moscow museum of the children's book made experiments with black cardboard silhouettes of heroes of favorite books. «Young Drawers» have thought up the most complicated system of illumination where used some the converging and dispersing light sources located not only on the center of the screen, but also on different distance from it. And also various optical filters and figured covers on lamps, have developed design of dolls and ways of their driving which fastened to a long core with artful system of the blocks operated hands and a head. Shadow figures - dolls - didn't nestle on the screen, and were projected from apart, by means of special lighting equipment. It has allowed to expand a screen surface, without increasing thus shadow figures so, to show performances in the big halls.
From the end of 50th years of the XX-th century «young drawers» have complicated the technical arsenal: began to use the transparent and brightly painted dolls executed on the Chinese sample. They coped by means of bamboo sticks. The doll became much more mobile, but also managerial process by it has become complicated - now with it worked some persons simultaneously. Since 1945 for 1987 the theater was mobile. In 1988 the theater had a constant residence. In 1989 it has ceased to be division of the Moscow concert and has received the status of official body of culture - theater.
The Moscow shadow play successfully works today. In its repertoire not only shadow performances, but also usual, doll. Artist Alexander Gennadevich Krupenin supervises over theater from the end of 1990th years. Mysterious, terrible, ridiculous, sad and by all means kind - here an essence and the form of performances of
I.A. Lykova, O.I. Perry, V.A. Shipunova И.А. Лыкова, О.И. Перри, В.А. Шипунова
«realm of shadows» where light and twilight create the magical plots. In a basis of its performances the best products of such writers, as Pushkin, Lermontov, Gogol, Ershov, Andersen, Gotstsi, Longfello, Sent-Ekzjuperi, Lingrend, Trezers, Chukovsky, Marshak and many other things have laid down.
«All is made that kids, having come to theater, have met already familiar favourite heroes of the first fairy tales, - Alexander Krupenin speaks. - Yes, the child can know by heart a plot, pictures in the book are pleasant to it, but when he sees how characters of the book known to it suddenly revive, start to operate, speak, reaction can be very sharp ... If the first meeting brings to children pleasure, they with pleasure join theatrical art in general and, growing up, become already mature public for whom the theater becomes already requirement» (Krupenin, 1998: 12).
Family by name of «Shade»
Theater «Shade» - the Moscow shadow play, dolls and a synthetic genre - the private family theater first in Russia which were born in Moscow in 1988. In 1991 the theater has received the status municipal, and now has glory of one of the brightest theatrical groups of Russia, a recognition of professionals and criticism, and also eight national awards «Gold Mask». Founders and art directors - Ilya Epelbaum and the Maya Krasnopolsky. The theater works in various genres - there are performances both doll, and musical, and drama, synthetic. The theater likes to experiment and think out own theatrical language. It is a lot of performances also it has been put in a shadow play genre (whence and the theater name has gone).
Ilya and the Maya have learned to do the theater not only of a paper, not only from Ilya's drawings, but from itself. At the beginning of the century artists dreamed to make life art, dreamed of grandiose unprecedented theaters, in the end of century it happens at theater «Shade», small and house. A family by name of «Shade» are parents of Maji, and they are children who too have become by actors and puppeteers. So it is valid true family theater. And also it is doll family theaters from all this world. «Shade» pays related visits to Germany, France, Japan, Spain and America. They are invited in eager rivalry by the most solid festivals.
In what a secret of their theatrical and family destiny which
I.A. Lykova, O.I. Perry, V.A. Shipunova И.А. Лыкова, О.И. Перри, В.А. Шипунова
have developed so happily?
«You understand, we not any defined dreamed of theater, and about style of life. And we to ourselves have created style of life. The main thing - not what now performance at us has turned out, and how we live. Simply I have a sensation of that if to do something that doesn't contradict meaning of the life all and develops somehow successfully. Here, appear, it is impossible to think up laws worse Soviet concerning the theater organization. It has appeared, it is possible ... But as Kharms has told, «life has again won death in the way unknown to a science». And theaters continue to exist».
Secrets of shadow play
Shade is easy to change material for creation of a work of art which doesn't need special manufacturing, it it is not necessary to search for, it can't smear hands as clay, but it is possible to hide behind it as the person behind a mask, and not only the face but individuality as well. A shade always near at hand where you were. Visual properties and shadow play possibilities are supplemented with the sound: text, noise or musical. There is no such subject which it would be impossible to show in a shadow play. Here in it its universality. The material of this theater is so simple that with its help it is possible to show practically everything, it is necessary to study a shade of this subject and to copy it in performance.
The equipment of shadow performance consists of three base elements is a screen, a light source and a shadow figure. For the screen the big cardboard sheet and a thin white paper or a tracing-paper is required. In a cardboard the aperture (in the form of a rectangle, a semicircle) that the original framework has turned out is cut out. The aperture is tightened by a tracing-paper or a paper - the screen - a scene for a shadow play turns out. Behind the screen the fixture is established. It is necessary to put a lamp on height of hands of the person showing performance (on a chair, a table, or a pile of books), and to block a screen that light didn't fall in eyes to spectators. The doorway of any room suits creation of shadow theater even. If the sizes of a premise and material possibilities allow, it is possible to complicate a problem. For theater creation the big screen from a white cloth (its size not less than 3-4 m at width and 2 m in height), going from the floor of a scene is «duly
I.A. Lykova, O.I. Perry, V.A. Shipunova И.А. Лыкова, О.И. Перри, В.А. Шипунова
necessary. Most likely, such screen should be sewed from several pieces of a fabric. On the screen parties - impenetrable side scenes for light where leave and whence appear characters of performance. Shadow figures cut out from a dense and thin cardboard. To each figure attach a thin wooden lath. The lath goes on all vertical of a figure, passes on one of feet and proceeds more low, becoming as well the handle . To a lath are attached all tools for management of a figure, along it (through wire brackets) pass threads with which help it is possible to lift or lower separate joints.
It is possible to do some figures, combining plywood with a cardboard. Separate parts of a figure incorporate among themselves by means of a thin wire, a thick kapron scaffold or strings. Figures from thick plywood mount by means of screws or rivets from an aluminum wire
Heroes can be cut out from the drawing color stains drawing or water color paper - then during figure performance will look on a gleam light and slightly toned. Persons can be cut out on a contour of hair, a scarf or a cap, and in the formed emptiness to paste a tracing-paper or very thin paper.
Ways of management
Two ways of management are most extended by figures: from below by means of threads; behind by means of canes (the Chinese way).
For management of dolls it is better to take not threads, and a fishing scaffold. Each movement can be made or by means of one thread (then return movement will be caused by counterbalance action), or two threads, each of which rotates a joint in an opposite direction. So it is possible to incline two threads a head of the character.
The way of management by means of canes has the big advantage. At it the shadow figure receives unlimited possibilities of movement. It can move feet, come off screen edge (from «floor», «earth») and even to fly by air. Thus the figure isn't attached to a lath, and all its elements move freely. But to operate such figure, the big training is necessary. Often for management of one figure two puppeteers are required. Working in narrowness, very much the close friend from the friend, sometimes intertwining hands, they should
I.A. Lykova, O.I. Perry, V.A. Shipunova И.А. Лыкова, О.И. Перри, В.А. Шипунова
operate extremely accurately. Shadow figures on the screen move smoothly, are softly and not so accurately outlined. Therefore it seems to spectators that action occurs as though in an underwater kingdom or any other world to more dense air. The huge role in this world is played by music, it can sound all performance, decorating and supplementing your representation.
Lightning advises
100W lamp is a good light source applied in projective lanterns. A 12-volt lamp from a film-viewing device and a 6-volt automobile bulb are simple and convenient It is possible to use a film-viewing device also. For this purpose it is necessary to put it sideways to the screen and to open a back casing with a reflector.
Important point for shadow theater is light installation. Light should fall behind and from above, being between puppeteers and the screen, in this case shades of hands won't get on the screen, and images will be optimum accurate. For reception of special effects it is possible to move light, that is to remove or approach a lamp to the screen, to move sideways. So it is possible to represent a dance whirlwind, a blizzard. A lamp establish at height of 1,4-2 meters from a floor and in 1,5 meters (if the scene - in 4-5 allows) from the screen from «actors». A head, hands, shoulders of the showing should be all time below «earth» level not to disturb to action. The background on which characters operate, can be slightly colored, and separate details of scenery and figures will light up color sparks if there where it is necessary, to paste slices of cellophane, color glass or the painted tissue paper.
Art-pedagogical aspect of formation of a shadow play
Spiritual education of the Spectator is objective, high appointment of theater. This genre seems to much become obsolete, uninteresting, not corresponding to our time. However, it is not about modernity of the theatre. This is about an education. If the person didn't feel the Spectator in the earliest childhood, the Listener whom love and wait at the theater, all further educational shifts will be useless.
The theater combines several form of art: rhetoric, music, a plasticity. It possesses surprising ability to influence children's mentality «effortlessly». The child joins action on a scene,
I.A. Lykova, O.I. Perry, V.A. Shipunova И.А. Лыкова, О.И. Перри, В.А. Шипунова
empathizes heroes, actively helps to manage good deeds. It imitates a mimicry, vocal intonations, movements of actors. Owing to the positive emotional spirit appearing during performance, the child easily acquires new behavioural models, worthy imitations, and actions of villains perceives adequately situations. Performance viewing develops speech, sating with its emotionally-expressive shades, the young theater-goer easily remembers new words and expressions, thus in its consciousness the grammatical structure of language is formed. For the child viewing of theatrical representation is necessarily combined with huge internal work. He learns to feel, catch another's emotions, to worry. Expression «school of feelings» which use with reference to theater, - at all abstraction.
When the child himself plays performance, it naturally uses all resources of the body. Working over an etude or a role, it will inevitably involve physical, emotional, moral, mental, intellectual levels of the of a being, realizing itself most full and receiving from it pleasure. This skill of «inclusion» in the fullness of time all strings of the tool, that is itself, also is pledge of the further successful development of the child and imparts to it taste to active, bright, full, creative life.
At director's work, the child masters elements of a director's composition, learns to subordinate trifles - a most important task, and is casual - to a director's plan. As a result he starts to feel himself as the creator and is convinced that itself can be the director of the destiny. The theater learns to be self-controlled: the body, thoughts, feelings, mood. Not to suppress them, and not to force out, but opposite, - to take out projectors, to present to their world, to discuss, make an art subject. And the main thing, joining a great miracle of theater, the small person starts to understand that it isn't lonely: henceforth it is accepted in the friendly company of adherents which live not only household values, but something much more important and surprising!
REFERENCES
Simonovich-Efimova N.JA. 1925. Note of the artist. Publishing house: «the Soviet artist», 1982 «Memoirs on V.A.Serove». «The artist of RSFSR», 1964. «Notes petrushichnika». Giza. Simonovich A.S. 1907. Kindergarten. Practical guidance. М: Publishing house
I.A. Lykova, O.I. Perry, V.A. Shipunova И.А. Лыкова, О.И. Перри, В.А. Шипунова
«Association I.D Edition. Sitina». Secrets of magic shades. - «My kid and I». 1999. № 10.
Krupenin А. 1998. We play with the two-dimensional world. - Culture. - on July, 30th.
Magic of a kingdom of a shade. - your leisure. - 2001. - № 8. Goder D. 2000. Dorogie gost. - Results. № 40.
The project manifesto. - The Petersburg Theatrical Magazine. 2001. № 23. Goder D. 2002. «Mask» has left in «Shade». - The Weekly. № 47.
Получена /Received: 20.08.2013 Принята/Accepted: 12.01.2014
