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5"Oriental Art and Culture" Scientific Methodical Journal / https://oac.dsmi-qf.uz Volume 5 Issue 1 / February 2024
THE INFLUENCE OF SCENERY AND SCENOGRAPHY ON THE PERFORMANCE ENVIRONMENT
Ahror Adilov
Uzbekistoan State Academy of Choreography
Abstract: This article explores a crucial aspect of contemporary theatrical art -the theme and purpose set by the director in the creation of stage design and scenography. It delves into the essence of theatrical decorative art, analyzing its evolution in the processes of staging and organizing performances. The study emphasizes the use of various genres and styles of visual arts, drawing on modern trends and innovations to craft new, conceptual visual elements that contribute to the creation of a significant atmosphere for the audience's perception. The director's intentions in conveying the subject and concept of the artistic work in the realm of set design and scenography are discussed as a vital component of the theatrical experience.
Keywords: theatre, art of words, dance, music, acting, painting, directing, scenography.
Theatre holds a significant place in shaping the spiritual world of humanity and has great importance. Therefore, this art form is given special attention in the development of culture and society.
Theatre is a synthetic art, integrating dramaturgy, music, visual art, dance, and directing. It represents the unbreakable unity of all these elements. Congregation of these arts used to create the atmosphere of the performance. In the old periods when the theatre appeared, this art would not exist without these components. Clearly indicating that in the theatre, different art forms (the art of words, dance, music, acting, drawing, directing) participate in expressing a dramatic work on stage in a brilliant manner. Although all the components act as independent art forms, the play develops and structures the particular components in the course of the performance. If this system is implemented, the aesthetic value of the play will be lost, and the plot and essence will not be adequately revealed.
Theatre arts have always received special attention for the harmony of all its components, from the ancient periods of the history of theater. In accordance with the type and genre of the performance, each component fulfills a certain purpose. For example, music increases the dramatic impact in dramatic performances, and the libretto has equal rights in operettas and musical dramas. Whereas in opera and ballet, music plays a significant role.
In the creation of stage performances, the involvement of the stage designers in the theater arts is significant. The scenic work consists of creating its own decorations that correspond to the content, plot, and the director's goals.
Although each art has its specifics, theater art, like other arts, evolves and becomes obsolete with the passage of time due to the scientific and technical processes. However, some details can regain an independent or reappear in the form of an influence in some artistic work after a long period of decline. Scenographic art has a long history of thousands of years, but it is considered as the least studied component of the theater field. In this regard, the art of Uzbek national ballet is also not taught in scenography.
In today's world, theater art can be seen as an important component in revealing the subject and essence of scenic works, and as a means of conveying the director's purpose to the audience. In this regard, the study of the theater decoration, analysis, the development of the genres and types of visual art in the process of preparing performances, the widest use of contemporary achievements and new conceptual visual expressive means for the spectators, is becoming an important issue in the theater. The study of this issue also contributes to ensuring the relevance and artistic integrity of scenography and choreography in the ballet art of Uzbekistan, as well as to addressing the existing gaps and problems in the theory and practice between history, contemporary events, and new theoretical and practical experiences. As a result, it will provide an opportunity to further improve the audience's ability to appreciate and understand the artistic work and the culture of the scene arts.
In addition, the findings and conclusions provide great potential for the mutual collaboration of theater art directors, ballet masters, composers, and stage designers in the development of artistic works. For art connoisseurs, researchers working on the subject of theatrical performance and the design of scenic works in these periods, a dissertation material presented in the form of an additional source could be beneficial.
As one enters into the theatre environment and enjoys the performance with the characters for two to three hours, the stage can evoke happiness, sorrow, and draw one in completely. Often, the appreciation of the characters on stage is attributed to actors, directors, and playwrights. However, there is another individual who amalgamates these and other specific decorative pictorial means and creates a rich environment of the stage - the theater artist. It is necessary to have knowledge and understanding of decorative materials, especially to create a deep understanding that contributes to the muse of the overall impression and environment's creation using decorative material aids, beyond the general perceptions.
A theater artist measures the personal creation toward the content of the play as a result of studying the composition and hereditary value of the dramatic work. He scrutinizes the era and environment that is being depicted with allegorical and
conditional expressions in deep acquaintances with historical, literary, and ethnographic materials, and in consultation with the director.
For example, at the Uzbek National Academic Theater, staging the play "Alisher Navoi" (Izzat Sultan) involves the theater artist B. Torayev's serious studies of details. He began his work with sketching, creating models, and analyzing historical costumes while making new inputs. The play consists of four scenes: palace, battlefield, garden, and library. Torayev showed the details in the scenes - throne, chair, equipment, decorations, scripts, and young bookholders. The artist carefully created a monumental decoration depicting the historical period and military-style in the palace scenes. In particular, the central part has the throne, visualized by candles and special lighting, and two open doors representing the entrance and exit for the actors. Spectators would notice that minor architectural structures, inscriptions, and decorative paintings have symbolic meanings in the palace. The pillars are three-sided and engaged in the performance events, showing an elevated view of all four scenes. The theater artist created images of various symbols such as reflective lights, various birds, and miniatures for shaping the battlefield scene. A canvas painting using the bond between Alisher Navoi and Gulinin's love appeared over them, with the audience witnessing a powerful background. Each pillar has a symbolic content. There are bookshelves with existing books on the library stage. Simply put, B. Torayev has created a monumental composition. Theater artists never repeat their work, and each has its unique characteristics. A single spectacle can approach in two different ways.
Creating a ballet involves a special touch beyond that of a regular artist because a ballet performance is considered as leading with music and libretto. However, there is a general principle for creating the spectacle. Ballet demands freedom on stage -meaning any embellished decorative elements may not be suitable. The stage's extended openness and the need for clarity to represent each movement of the ballet artist is fundamental. Here, the essential responsibility of the artist is creating an imaginative space that correlates with the subject and essence of the work of art; where the emphasis revolves.
Attention must also be given to the ballet costumes because they need to be simple and not obstruct the expressive movement of the ballet artists. Frequently, during staging, an artist can perform alone on stage to describe the general spectacle's development as part of the decorative design. Therefore, the artist's prowess, ambition, and superior ideas should be considered.
In ballet productions, the role of the stage artist is to convey the essence of the work through the visual aspect. Creating an environment that illustrates the choreographic images in a vivid manner is essential to ensure the effectiveness of the performance. Thus, the visual representation becomes the means of expression when the ballet's artistic integrity, the harmonious music, and choreography are seamlessly
integrated. When analyzing ballet productions, it is possible to observe a significant difference in the issues of scenography between drama and opera theaters. Ballet performances are distinct from opera and drama theaters since they involve a set of decorative elements that are suitable for dance and are not characterized by grandeur and extensive props. In this way, the art form that demands an uncompromisingly visual approach is considered to have specific requirements in the field of theater art. Ballet performances make skillful use of scenography and decorative art that meet their requirements.
As for the issues related to decoration in drama and ballet performances, it is noteworthy that ballet art primarily focuses on the development of the performance through choreographic imagery rather than using visual backdrops directly. Ballet artists need a wide stage for their expertise as the body language and movements are based on the principles of choreography and expressiveness relying on the rules of ballet. In contrast, in drama theaters, an actor can develop a specific character merely by moving within a small space.
Modern ballet performances do not require ornate and extravagant visual elements; instead, they demand the creation of an environment that complements the development of the performance. To stage opera and ballet performances, visual decorations such as landscapes, interiors, conditional ornaments, and abstract panoramas are commonly used. This is because these performances do not require additional elements that dominate and occupy the stage, underscoring classical and public performances. Therefore, keeping historical context in mind while developing decorations is crucial for ballet to achieve aesthetic pleasure and effectively convey the spirit of the era.
The work of a stage artist and a director is a continuous, closely linked process. When the director understands the artist's vision and the two engage in a shared creative process in staging designs, the content of the performance takes shape. Here, it is essential for each detail during the staging to serve the overall essence of the performance. The relationship between the director and the stage artist is highly significant.
The process of achieving the visual representation by the artist can navigate through two paths: the first being solely through the decoration itself, in a single back framework. This would mainly focus on a single decoration to create the general composition of the stage. The second approach broadens the aesthetic possibilities by using various decorative means, i.e., by widening and distributing the expression of artistic elements across the stage floor, through decorating scenic plates. Furthermore, one of the essential elements of decoration is lighting. Formerly only used as a means of illumination on stage, in today's era, lighting simulations have acquired significant artistic importance. Given the lighting's capacity to depict the time and place, set the
mood and portray the characters' emotional state, it cannot be overlooked. The mishandling of details underlining the essence of the content and the lack of effective utilization of the technical capabilities of the theater may lead to undermining the performance.
Today, the theater's essential requirement is that in the sphere of scenography, to not only challenge traditional approaches but also to analyze new trends and developments in the world stage, bringing modern trends to life. Consequently, the effective collaboration of directors and stage artists turns out to be vital.
The execution of the performance critically relies on the stage artist's competency as lighting is a key component responsible for enhancing the impact of the artist's visual creation. Proper lighting installation contributes to a rich visual presentation with expensive and valuable costuming, wooden boards framed with precious metals such as gold or silver, and ordinary glass imitating China. The luminary's scope covers the task of representing the place and environment. Through the use of lighting techniques, it is possible to convey a cold winter, a midnight summer, or a bright sunny season in a performance.
The study of the art of decoration and scenography reveals influences from the historical periods when human thought was forming, showcasing the intersections of art, beauty, and divine power. With the passage of time, the evolution of art, the emergence of new aspirations, and the appearance of new talents in art have all contributed to the general purpose of art advancing, growing, and culminating in our most beautiful contemporary states. This directly relates to the fundamental basis of research into theater and ballet arts, words spoken about ballet art within a short period, as all forms of art find their unique place within them. Furthermore, it is essential to emphasize that the role of the stage designer in the theater is of paramount importance. Firstly, the designer must assist the actors, meaning creating the environment where the action unfolds, shaping the atmosphere. The overall significance and philosophy of a performance are of great importance, where the assistance of decoration and props to each movement of the actors is crucial. This makes the role of the stage designer in the theater very significant. It is imperative for the director's stage production, his vision, that the designer contributes decisively. The responsibilities of the stage designer are quite varied. Analyzing each work, playing roles like an actor, and assisting in achieving the complete vision are vital tasks for the stage designer.
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