You've probably seen Peter Brook's productions on the stages of the Soviet Union. He recently released a book titled "Empty Space." These words mean the scene before the director gets to work.
During the performance, the relationship develops as follows: the actor — the subject of the image — the audience. During rehearsals: The actor — the subject of the image — is the director. Even earlier it was: the director — the subject of the image — the artist. Sometimes sets and costumes can be created simultaneously with the entire performance, but more often practical considerations related to the manufacture of sets and sewing costumes force the artist to finish the work by the first rehearsal. I often made sketches for myself. This can be an enviable advantage, but for a very special reason.
When a director works in this way, the theoretical understanding of the play increases as it is transformed into color and form. Some scenes may elude the director for several weeks, some piece of scenery may look unfinished. Then, while working on this set, he may suddenly find a place for a scene that was not given to him in any way, while working on the construction of a difficult scene, he may suddenly understand its meaning in terms of scenic action or color scheme. The most important thing in working with an artist is consistency of rhythm.
I enjoyed working with many wonderful artists, but sometimes I fell into a strange trap when the artist found a convincing solution too quickly and I had to accept or reject one or another form before I had time to feel what form was embedded in the text itself. Taking the wrong forms due to the fact that I could not put any logically justified motivations against the artist's conviction, I found myself in a trap from which the performance could no longer escape, and as a result I staged very bad performances.
I often found that the scenery is the geometry of the play in its final form, so incorrect scenery makes it impossible to perform many scenes and in many ways undermines even the acting. The best of the artists is the one who goes step by step with the director, stepping back, redoing something, throwing something away as the concept of the play as a whole emerges. When a director makes sketches for himself, he naturally never believes that completing sketches can be an end in itself.
Because he has his own work in front of him, he knows that he is only at the beginning of a long development process. Artists are often inclined to think that with the submission of sketches of decorations and costumes, most of their creative work is really completed. This is especially the case when good painters work in the theater. The finished sketch is really finished for them. Art lovers can never understand why not all theatrical decorations are made by "great" artists and sculptors. However, we need an unfinished sketch.
The sketch is clear enough, but not rigid, such that, in contrast to the "closed" one, one could call it "open". This is the essence of theatrical thinking: to a true theatrical artist, his sketches are presented all the time in motion, in action, in constant connection with what the actor puts into the scene as it develops. 1xbet, you can unlock special promotions and rewards while enjoying your favorite sports betting and casino games. Whether you’re a new customer or an existing one, this is your chance to maximize your winnings and enhance your overall betting experience. Simply enter the 1xbet promo code during registration or deposit, and get ready to enjoy free bets, cashback, and enhanced odds.
During the performance, the relationship develops as follows: the actor — the subject of the image — the audience. During rehearsals: The actor — the subject of the image — is the director. Even earlier it was: the director — the subject of the image — the artist. Sometimes sets and costumes can be created simultaneously with the entire performance, but more often practical considerations related to the manufacture of sets and sewing costumes force the artist to finish the work by the first rehearsal. I often made sketches for myself. This can be an enviable advantage, but for a very special reason.
When a director works in this way, the theoretical understanding of the play increases as it is transformed into color and form. Some scenes may elude the director for several weeks, some piece of scenery may look unfinished. Then, while working on this set, he may suddenly find a place for a scene that was not given to him in any way, while working on the construction of a difficult scene, he may suddenly understand its meaning in terms of scenic action or color scheme. The most important thing in working with an artist is consistency of rhythm.
I enjoyed working with many wonderful artists, but sometimes I fell into a strange trap when the artist found a convincing solution too quickly and I had to accept or reject one or another form before I had time to feel what form was embedded in the text itself. Taking the wrong forms due to the fact that I could not put any logically justified motivations against the artist's conviction, I found myself in a trap from which the performance could no longer escape, and as a result I staged very bad performances.
I often found that the scenery is the geometry of the play in its final form, so incorrect scenery makes it impossible to perform many scenes and in many ways undermines even the acting. The best of the artists is the one who goes step by step with the director, stepping back, redoing something, throwing something away as the concept of the play as a whole emerges. When a director makes sketches for himself, he naturally never believes that completing sketches can be an end in itself.
Because he has his own work in front of him, he knows that he is only at the beginning of a long development process. Artists are often inclined to think that with the submission of sketches of decorations and costumes, most of their creative work is really completed. This is especially the case when good painters work in the theater. The finished sketch is really finished for them. Art lovers can never understand why not all theatrical decorations are made by "great" artists and sculptors. However, we need an unfinished sketch.
The sketch is clear enough, but not rigid, such that, in contrast to the "closed" one, one could call it "open". This is the essence of theatrical thinking: to a true theatrical artist, his sketches are presented all the time in motion, in action, in constant connection with what the actor puts into the scene as it develops. 1xbet, you can unlock special promotions and rewards while enjoying your favorite sports betting and casino games. Whether you’re a new customer or an existing one, this is your chance to maximize your winnings and enhance your overall betting experience. Simply enter the 1xbet promo code during registration or deposit, and get ready to enjoy free bets, cashback, and enhanced odds.
