Director's explication of the play "The Snow Queen" by Evgeny Schwartz. Director's Legend You Must Really Love It

Recently, the question arose: what is explication. Here, in support of those who strive to comprehend the art of directing, I begin this recording. At the very least, sometimes I raise these issues in conversation with students, and those who are deprived of such an opportunity and do not even suspect the existence of these problems, I hope, will receive enough information.

Don't be intimidated by this work. It really requires a lot of serious preparation, but the main thing is determination. If there is a goal and love for the work, then difficulties will be overcome. A little later I'll post books on the atmosphere, cross-cutting action and counter-action, or at least explanations.

It is also desirable for actors to know the concepts used by directors.

Points of the director's explication.

For explication, you choose any piece from the world repertoire, it is desirable that it be familiar to the examiners so that they understand what it is about and do not fall out of the discussion. But most importantly, she should delight you. You must really love her.

1. Relevance of the play. (to argue why I chose it, why it needs to be installed now, and so on).
2. Style and genre characteristics of the play.
3. Characteristics of the scene of the play. (historical period of writing the play; social and political situation in the world / country / city when writing the play; characteristics of the place and time within the play itself, i.e. in which city, under what circumstances it happens; characteristics of a specific place of action, where all this happens).
4. The atmosphere of the performance and the atmosphere in which the characters live and act.
5. Characteristics of the main characters. What motivates each of them, what leads. What are they like. Their personal conflicts. Personal super tasks. Proposed Circumstances.
6. Ideal distribution of roles - on the example of famous actors. Determination from roles (major minor). The role of the character in this situation, that is, in every scene, in every action.
7. The grouping of forces (for example, by ideology).
8. Brief re-reading / synopsis, if necessary.
9. Major events of each act.
10. Analysis of the play into actions. those. where you count, the action begins and ends (this may not coincide with the acts and scenes of the play itself, there can be five actions in one scene. Or maybe five scenes be one action).
11. Interpretation of the plot.
12. Idea - about what.
13. The overriding task is what I am setting for.
14. Dir. the idea - as I put it.
15. Audience - for whom I am staging.
16. Whole piece: initiating event; key event; main event; final event; leading circumstance.
17. Introduction, outset, twists and turns, climax, denouement.
18. Action and counter action.
19. You can find one phrase (or come up with one) that will characterize the entire play. Ie, not so much a play as your vision.
_______________
Scenography - or the idea of stage design.
20. Decorations must be artistically and ideologically justified. From the category of "black curtain, because it conveys the dark mood of the soul of the protagonist." Or “a circle in the center of the stage that is spinning. In order for the hero to run along it in the opposite direction of his movement. And thus the appearance of dynamics and so on was created.
21. The decoration in githis must be supported by the LAYOUT of the scene. Seriously. The scale is at your discretion, the material is the same.
22. Whoever of the artists, scenographers worked on this play. In what thin. direction.
23. Costumes - preferably sketches (if you do not draw yourself - explain to the artist what you would like to see, let him create)
24. Musical arrangement (composer, mood or genre).
25. Light, color.

It is no coincidence that when preparing for performances I post material on the play, historical time, genre, etc. Check out the notes on "Three Oranges" or a small work in several articles on the Nativity scene.

(There are requirements for the layout - this is either the proportions of a cube - the Moscow Art Theater or a standard stretched in proportions 1/2, that is, depth, height, for example -25 cm, width then 50 cm. This basis for the layout is called a sub-layout. Students to save time in the layout, they change the scenery, thus creating a new layout. But it is preferable not to destroy the created, but to make your own layout for the next layout. All inputs and outputs are thought out, i.e. there should be wings where you need or standard. solid doors or holes - this is all your imagination. My classmate glued the whole model out of boxes from audio cassettes, ie all of them were opening and closing doors of 2-3 floors. Brilliant. But if the idea requires something else, you can do it both the bunker and the cage, and if the heroes of your performance have to leave the stage, think over how they will do it, you can lift it on the ropes or go down under the stage - again your choice, but everything is subordinate about the idea of the performance, which is revealed primarily in image of space ... More on this below.)

The scale must be maintained in everything: the figure of the hero, which you cut, sew, fashion, etc. determines the size of the scene, furniture, etc. (Set designers despise plasticine, it can be replaced with clay or plastic, which turns into plastic or other materials) If the figure is large enough in proportion, the scene turns out to be small, chamber. If it is small, the scene takes on a monumental scale. Again I turn to the play "The Black Monk". What did S. Barhin do? - built a small, intimate, chamber stage of a cozy, fantasy world of heroes on a large dark stage. The Black Monk comes from the darkness and depths of the big stage, and goes there too. She then begins to tread on a small, destroyed world. In the end, the Black Monk, i.e. The hero's self, his Ego (only alone with him is he happy) - is the lord of this darkness and destruction, he outgrew his progenitor himself, destroying him.

Moreover, a more or less professional artist can be involved in making the layout and even working on the entire set design. After all, a director works with an artist in pairs, if he himself does not own fine art. Although the director is an artist, and ideally he should own both a brush and a pencil and materials. This is a more universal type of theater, in which the creator is in one person and the set designer and director. Otherwise, the director must find a like-minded artist and so convey his idea to him so that the artist becomes its further continuation. Having retained the style, emotions, melody, rhythm, i.e. image. For example, Borovsky-Lyubimov, where the stage designer is a self-sufficient figure and half of the director's theater and his work gives a creative impetus to the director. Tandem of the modern MTYUZ Kama Ginkas - S. Barkhin)

Review the layouts on this site at. Here you can find from student works to layouts, for example, David Borovsky.

The first thing that the viewer sees is the image. Of course, while acting, we can forget about it, but it's like a smell or like light, or like a sound that is always present and to which you get used to, therefore you forget. But when you bring a layout to a professional, the first question may be “And what, baby, do you have image of space ? »You don't have to ask and you can see everything, but maybe you can see something completely different from what you wanted to show? This is where you will set out your view of the play, in general, this is the key to your vision of the problem. When you are watching a play - for children, adults, puppet shows, musical, dramatic, comedy, tragedy or buff, whatever - define the image of the space for yourself. Why did the Taganka Theater take place, because there was a wonderful set designer who possessed directorial thinking and great talent. In my layout of King Lear, the image of space is a castle-crown. Now I would make another image - the image of a well, so that at the end of the play from its bottom we could see the eternal starry sky above the mortal and sinful head of humanity and say: "All is vanity."

The layout should express idea your production. There can be no accidents in it. Remember Chekhov about the gun?

The atmosphere must be conveyed, if it changes, the decoration changes too. I do not advise you to get carried away with historical attributes - in the theater, an object is a symbol, a sign that works for an image, even if you need to convey the era - some details are enough (as in clothes)

The texture is very important, i.e. the nature of the material you are making the layout from. For example, for me I needed the texture of a rough, cold stone for a palace-crown. Of course, it's stupid to drag cobblestones into the layout, and even more so on the stage, but you can texture other materials close to the stone, I have this papier-mâché (favorite) from egg boxes. In clothes and draperies, gray tones of coarse linen prevail, while, of course, accents should be made, for example, on a black metal massive chest decoration of the king or his crown, or a bright cap (cap) of the Jester, dark green and burgundy-brown dresses of the two elders sisters and Cordelia's light, simple dress. In general, I love laconicism on the stage, especially since this is a tragedy of a universal scale, there is no fuss and excesses, and if it is written so by the author, then in Shakpeer's pettiness and stupidity are set off by the contrast of the Eternal Heaven. He has it everywhere. And not a single extra word. And in the case of the image of space - a well, one could look for the texture of dark water (black cellophane) and the texture of moss and mucus, and of course stone and metal.

To do all this, you need to cultivate a taste and a sense of Harmony, constantly examining the works of outstanding artists, scenographers of all times and peoples, as well as pondering the scenographic solution of the performances being watched. THOSE. constantly develop and cultivate a taste in oneself through world culture. (I recommend good books on the history of scenography from the 16th century to the present day: V.I.Berezkin. The art of scenography of the world theater. - a multivolume edition. I ordered through OZON. The books are expensive. You don't have to buy everything. Take, for example, the modern theater of the 20th century ... A good second-hand book, you can also search through the Internet, - A. Mikhailova. The image of the performance. Who has the opportunity - to go to the studio of D. Borovsky in Moscow. In addition, sometimes models can be seen in theaters. So we got to this exhibition in the theater N. Sats)

That's not all. As changes take place with the main persons of the performance, this is how it happens transformation of space , i.e. his change, transformation. Look again at the layout of "King Lear" - the castle, like the crown, like the life of the king, like everything around, is destroyed, destroyed, it is not, like the King himself, Cordelia and many others, along with the former kingdom. I can refer you to one more example, as it is very visual and close at hand, this is a recently laid out performance by A.P. Chekhov directed by K. Ginkas. Look how space collapses together with the aspirations, hopes for the well-being of all its heroes, how expressive the space is, how fabulous feather plants are destroyed, how the gazebo at the end turns into some kind of coffin-box made of shields, i.e. the portrait of the protagonist's consciousness and through these shields the Monk makes his way - his madness, sick vanity, where he is absolutely happy, but everything is destroyed. This space, as well as the wonderful acting of the actors, is just so eloquent that if you watch it without sound, everything will be clear. But I do not mean to belittle Chekhov and the actors, with their perfect pitch and subtle feeling of a partner, even tenderness for a partner, but, on the contrary, to show how important it is to work with space.

And you also need to listen to a lot of classical and folk music. To be able to arrange the performance with the same wonderful musical design. The same piece of music sounds (a quartet of 3 acts, op. "Rigolleto" by G. Verdi), but it changes in the same way as the state of mind of the characters. Again - why Rigolleto? You need to know this tragic story. It is desirable to know both opera and music and that Verdi, so prolific in his art, considered it his best work.

Here are some more mockups from the internet:

Model for the opera "Cherevichki" after N. Gogol

The next document that will be discussed is the director's explication.

Explication (from the Greek - my vision) - a detailed interpretation, interpretation of the plan.

Let's start with the definition: "What is a director's explication?"

The director's explication is the development of the concept of a future film: the definition (interpretation, justification) of the idea and the overarching task, a single end-to-end action, the interpretation of images in the relationship of the main and episodic characters, a description of the era, the setting and scenes of action (including nature and scenery), concretization the character of the characters and the surrounding subject environment, costumes, the choice of plastic and sound (including musical and noise) embodiment on the screen, the verbal image of the script, the nature of the pictorial structure (color, light, principles of composition, construction of mise-en-scènes), the scheme of editing the construction of the future film and etc. Allows you to direct the individual creativity of the operator, artist, sound engineer, actors along the same channel of the director's interpretation of the film.

Sometimes the director's explication is a vivid and emotional story about how the director plans to achieve what he intended. And there are directors who can express the same thing, but on paper. They write a detailed explication for each episode - the actor, the movement of the camera, how the detail plays: the props are lying, moving, water is pouring from the tap or dripping ...

Many directors compose the director's explication only for the actors, so as not to waste time on lengthy explanations, but to give the actor direction and, therefore, freedom within the framework of the concept. In parallel, the operator, artist, sound engineer, composer and specialist in combined filming and special effects also write their explications. Considering the creative works of each of them, they are, of course, created on the basis of the director's explication and agreed with the director.

The operator, in his explication, outlines a pictorial and pictorial solution for each episode and the film as a whole. It indicates the tonality, color scale, composition, camera techniques.

The artist shows the layout of the scenery or the topographic plan of a full-scale object, taking into account general and average shooting plans.

The sound engineer for each scene determines the method and means of sound design.

The director's assistant lists the cast and number of actors (leading roles, episodes, as well as group and extras) - this is the second step to scheduling acting employment.

The director's explication is the only document provided by the director to the producer. This is the director's vision of a conceived idea, its presentation in free form. These are reflections on the future of the film, its effective analysis, sketches of mise-en-scenes; character characteristics; defining the style and genre, features of the acting performance, etc.

The director's explication for the film consists of approximately the following sections:

1. Ideological and thematic orientation of the film

2. Interpretation of character images

3. Characteristics of the era

4. The choice of shooting locations and the nature of the scenery in the pavilion

5. Household characteristics of the film (costumes, props, make-up, etc.)

6. Choice of actors

7. General composition of the picture (tempo, rhythm, mise-en-scene, frame, angle)

8. Installation principle

9. Production and creative tasks for the members of the group for the successful implementation of the scenario.

To draw up a director's explication, it is also necessary to find answers to the following questions:

1. What am I shooting?

b Why does this topic bother me?

ь Who am I shooting this for?

b What are the actors of the film, what are they trying to achieve?

b What is the conflict?

2. How do I shoot?

b What decorations will be?

ь What kind of music?

b What light?

Explication gives a clear understanding of the ideas and ways of their implementation to the entire creative group, which subsequently, even when searching for objects, relies on it.

In some respects, the production concept and the director's explication are somewhat similar. As we describe each item, we will see these similarities.

In the conditions of modern Russian production, not a single producer will conclude a contract until you put the director's explication on his table. The producer needs to match his vision of the future film with the director's vision.

Thanks to this document, it is much easier to understand in which direction to move and what production and artistic goals to set.

Below is the director's explication of The Night Guest:

Theme The film is about love, which penetrates the heart in all imaginable and inconceivable ways, as a rule, unexpectedly.

An idea is an idea of choice. Will the main character go to any lengths for her happiness, for the sake of her beloved, so that at the end of the film she will be with him no matter what?

Objective of the project

Create a product that will fully meet the needs of the audience, which means it will enjoy a high rating.

Film crew

Stage Director - Mikhail Kabanov ("HOT ICE", "ALIBI FOR TWO", "PAYMENT")

Director of photography - Sergey Pavlenko ("DREAMER", "WALK", "IF YOU HAVE NO AUNT", "LAYOUT", "PRIVATE ORDER", "RIVER WIDE", "NORTHERN WIND", "ALIBI FOR TWO", "PAYMENT ")

Set Designer - Andrey Chagin ("LOVE AS LOVE", "ALIBI FOR TWO")

Composer - Arthur Baido ("HOUSE ON THE BOLOT", "SERVICE 21, OR THINKING IS POSITIVE", "MEETING STRIP")

Tanya - Elena Velikanova; Andrey - Andrey Sokolov; Kirill - Egor Anisimov; Lera - Maria Poroshina; Nina - Evgeniya Dobrovolskaya; Raya - Irina Bezrukova.

Tanya is a young pretty woman (about 30 years old). Nice, not flashy, but with personality. She gives the impression of a gullible provincial who has resigned herself to her life and enjoys the little she has.

Andrey - "the night guest"; at first glance gives the impression of an intelligent, well-read, interesting person.

Cyril - Tanya's son (7 years old); likes to fantasize; immediately befriends a guest who appears at the house unexpectedly at night, and begins to fantasize that it is his dad.

Lera - Andrey's wife; young and beautiful, in one word “business woman”.

Nina is Tanya's close friend; smart, interesting, open-minded person who wishes Tanya only happiness.

Raya - Tanya's girlfriend; a friendly woman who is actively looking for a husband for Tanya.

Vadim is a bald man in his forties, with a beer belly. He is unhurried and there is something childish, childish in his face.

Audience

As for the audience, this story will be interesting to men and women from 30 years old and more.

Compositional solution

The first scene is the acquaintance of Andrei and Tanya: and now Saturday evening comes, on which Tanya is really destined to meet her fiancé, but this is not an accountant from Kamensk who never came on a date, but a Muscovite Andrei, who is hiding from his pursuers and knocking on the first one he finds a door.

The second scene is the disappearance of Andrei and his reappearance in Tanya's house: he confesses to Tanya that the police are looking for him on false charges of murder and asks her to find some kind of shelter. Tanya believes him and offers to hide in her attic.

The third scene is the acquaintance of Tanya's son, Kirill, with the guest: Kirill makes friends with the guest and begins to fantasize that this is his father.

The fourth scene - the appearance of the district police officer in Tanya's house: he wants to search the house - there are rumors that Tanya has someone hiding.

The fifth scene is the appearance of Lera (Andrey's wife) in Tanya's house: Lera notices that Andrey is sympathetic to Tanya, is jealous of him, makes a scandal and decides to betray. She tells the bandits where he is hiding.

The final scene - Tanya becomes the laughing stock of the entire village. She was hiding a fugitive criminal.

Andrey is on trial. Tanya, having been at the trial, is relieved to find out that he was acquitted, but does not dare to approach.

Andrei, leaving his friends at the banquet organized in honor of his release, rushes along the night highway to the one that supported him in the most difficult period of his life ...

Medium, general, close-ups will be used.

The rhythm of the picture will be dynamic, and keep the viewer in constant tension and attention.

Color solution

The solution to a coloristic problem always begins with selection: with the selection of the color of costumes for the characters, the color of the walls of interiors or other elements of the scenery, the color of props, furniture and so on. These issues are mainly dealt with by the director - stage director, cameraman - stage director and production designer.

For our picture, colors will be chosen that match the mood that is present in the film.

The color scheme cannot be too complicated, but it should be no less expressive, catchy, designed for instant reading.

It is the change in tonalities that creates a magical world that attracts the viewer's attention to the screen, and the change and development of the color system from frame to frame, from episode to episode clearly, through the subconscious, affects the emotionality of perception of all content as a whole.

Sound solution

You need to choose a song that will convey the mood of the film.

The theme of the song is about how they love and how love hurts people.

Instrumental, thoughtful, unhurried.

Subjects of filming

Some of the film will be filmed in natural interiors, and some on location. Additional pavilions will not be built for budgetary reasons.

* Yard near Tanya's house

* Streets of the village

*Country road

* Yard near the village school

* Library yard

* Yard near the kindergarten

*Riverbank

*Bus stop

* Yard of the cottage

* Settlement Listvyanka

* Streets of Moscow

* Bus landing area

Interior:

* Rural library

* Room in Tanya's house

* Vadim's office

* Tanya's house (entrance hall, living room, bedroom, Kirill's room, kitchen, attic)

*Night club

* Village school corridor

* Post office of the village

* Shed near Tanya's house

* Police station

* Small factory accountant's office

* Max's room

* Lera's car interior

* Lera's apartment

* Cottage room

*Courtroom

* Court corridor

*Staircase

* Bus salon

* Restaurant hall

The film will be shot in a light and relaxed way, but at the same time, it will be extremely realistic from the point of view of the actor's existence. I want to make all the characters colorful and textured.

The main focus is on the artistic solution of the project - from the location in which the events unfold, ending with the appearance of the heroes. Much attention will be paid to music.

In addition to the above-mentioned components, such as artistic solution and musical accompaniment, casting will be of great importance.

We will not disregard the camera work. We will use a digital camera, also based on the budget. The feeling in the picture will directly depend on the plan, angle, light and movement of the camera.

All of this will be carefully designed in conjunction with the director of photography and production designer.

For today, the story is very relevant. She carries a kind, positive message and has every chance of becoming a successful project.

Thus, thanks to this document, it is much easier to understand in which direction to move and what production and artistic goals to set.

Brief instructions for compiling a director's explication with tips and illustrative examples

What is explication?

Most often, explication is understood as the presentation by the director of his vision of the script, synopsis or application, his concept of the content of the future picture and the presentation of the ways in which he intends to achieve the desired creative result. Based on this document, producers, pitching organizers, investors, studio managers decide how adequately the director imagines the implementation of the future film and whether their general vision of the picture coincides. On the other hand, explication helps the director establish a dialogue with the film crew and convey his idea to it. Actually, explication is the decoding of the director's intention. Moreover, its creation is not only the lot of the director. There are also camera, pictorial (from the production designer) and sound (from the sound engineer and composer) explications. This document is created at the very beginning of the preparatory period, when the director comes up with a movie in his head (as Rene Claire said: “My film is already ready - it only remains to shoot it”).

Explication format

As a rule, all explications are written in free form, however there is a certain list of points that it is desirable to reflect in the final text.

1. What is the story of your film?

This is the most important question, which can be broken down into several components: the main idea of how the action will develop, what is the driving story, what is the drama of the picture, what is its super task, what is the main conflict. In fact, this is the key description of your idea (Andrei Tarkovsky speaks well about assessing the idea of his film in his "Directing Lessons").

2. In what genre is the film shot?

Fantastic tragicomedy, sentimental detective story, docudrama or familiar rom-com - very often the genre plays a decisive role in the producer's decision to take on your job.

3. Where does the film take place?

It is necessary to describe the intended shooting objects as fully as possible. For example, you have a declared football field - what is it? Is it a large field with a green lawn, brand new gates and freshly painted barriers, or an overgrown stadium with broken stands? Or maybe this is generally a dusty wasteland with markings drawn on the ground and two sticks instead of a gate? If this is a street, what is it: busy or empty, lit, or is it a dark dead end? The same goes for interiors, you need to be clear about what will work for your story and what is best avoided. Up to understanding what color the wallpaper will be in the main character's room, how many windows, what kind of light and what kind of furniture is in his house. It would not be superfluous to indicate the time of the film's action - day or night, winter or summer, as well as some specific weather conditions (pouring rain, clear sun, sunset, and so on)

4. What is the style of your film?

What are some reference films that are similar in spirit to your painting and provide a few frames for example. What will your future creation look like: ideal in composition and naive in spirit paintings by Wes Anderson, acidic in the picture and frank in content films of Gaspar Noe, or pseudo-documentary and ironic works of Ulrich Seidl? Maybe you are generally guided by the paintings of famous artists? With what mood will the viewer come out after watching your film (for example, with a feeling of happiness or with light sadness)?

5. The pictorial solution of your film (overlaps with the previous point)

Describe the atmosphere of the painting:

color scheme (cold or warm gamut, b / w or color, natural or acidic color, and so on;
type of camera (DSLR, Red, Alexa or even GoPro, what kind of optics will be);
camera movement (manual, tripod, steadicam, rails or crane);
working with light (absolutely natural lighting, as in "The Survivor" by Alejandro Gonzalez Iñarritu, or shooting in a laboratory in the light of fluorescent lamps);
features of framing and composition (perfectly aligned picture or intentional violation with displacement of objects);
editing features (intraframe, ragged or parallel, the nature of the transitions).

It will not be superfluous to describe what your heroes will be wearing. Especially if their clothes affect the overall color perception of the painting. Here you can also specify the cameramen and production designers whom you would like to invite to your location.

6. Sound design and musical solution

How do you plan to work with sound on-site and in post-production? Will there be any special sound effects? What kind of music would you like to use: provide the names of the artists and the title of the songs.

7. Cast

Describe the types, characters of your heroes, show their relationship and conflicts. Bring the dream-cast of your actors - which of the famous or familiar actors do you see as the performers of these roles. Attach multiple images of different actors to the same role.

Explication volume

The explications do not have any fixed amount of pages, it all depends on the conditions. At some contests or pitches, I may demand to fit everything on one or two pages, but for someone even 5-10 pages will not be enough. At one of his master classes, Nikita Mikhalkov said that his explications are usually three times larger in volume than the script, since he describes in detail everything that he would like to receive during the filming. The main task of explication, in his opinion, is to constantly refer to it, check with the plan if something goes wrong. Check if the scene will work in new conditions (for example, it is raining instead of the sun) and if this does not contradict the general concept of the film.

Examples of director's explications:

Director's explication of 17 scenes from the film "Burnt by the Sun 2" by Nikita Mikhalkov.

Director's explication of the short story "Cupid of the first category" (directed by Sergei Burov), included in the Disney almanac "Happiness is ...".

As a separate bonus - the director's explication of the never-staged opera Valkyrie by Lars von Trier.

Other types of explications

As mentioned at the very beginning of the article, there are other types of explications, which are being developed by the rest of the crew. As a rule, they overlap with the director's explication. So, for example, a director of photography, based on a storyboard, makes his operator's explication, in which he describes in a literary and schematic form the pictorial solution of the film (tonality, coloristic solution, type of shooting, angle, change of plans, lighting, composition). This is especially important if visual effects are planned in the film, equipment and optics are tested even at the pre-visualization stage, distance, backgrounds and sizes of objects are measured. You can read more about creating an operator's explication, working with light dramaturgy and color solutions in the book "Profession - operator" (MM Volynets, 2008).

Production designer creates his own pictorial explication, accompanying it with sketches of costumes, scenery and so on. He must convey in his explication the composition of the entire work, the relationship between objects and episodes, show the logic of their development. The artist's task is to emphasize the drama of the scenes, to reveal their artistic meaning and to achieve stylistic correspondence. You can read more about this in the book by L.B. Klyueva "Problems of Style in Screen Arts".

Andrey Ponkratov's sketch for the film "Leviathan" by Andrey Zvyagintsev - Living room in the House Nicholas

The sound engineer and composer can provide their own sound explications, which, like the operator's rooms, are created on the basis of storyboards and individual scenes. The sound engineer specifies for the sound engineer the nature of the noise objects that need to be recorded, in which frames they should sound and where they should be recorded (or taken from the library). The composer, in his explication, indicates the place and time of the sounding of the audio composition, its character and the composition of the orchestra.

Sound explication for the film "Time Forward!" Mikhail Schweitzer.

EXPLICATION- comes from the Latin "explicatio" - "deployment" or "clarification".

Explication of the film- a statement of the director's concept of the work, an explanation of the methods of its implementation.

The main questions answered by the explication are: what? for what? how?

Director's explication- a written document in which the DIRECTOR freely describes his artistic and organizational vision of the film. Required by the producer prior to the conclusion of the contract. The producer needs to match his vision of the future film with the director's vision. You can stick to something like the following plan for the director's explication:

1. Ideological and thematic orientation of the film. 2. The main and additional conflicts. Their development. (All minor conflicts are subordinate to the Chief and constantly increase the intrigue.) 3. Characters and interpretation of character images. 4. Characteristics of the era. 5. The choice of shooting locations and the nature of the scenery in the pavilion. 6. Household characteristics of the film (things, clothing, furnishings, props). 7. The choice of actors, the nature of future samples. 8. Explanation of creative tools and techniques to the creative staff of the film crew: operator, artist, composer, sound engineer, editor) 9. General composition of the picture (dramatic construction, tempo, rhythm, mise-en-scène, plan, frame, angle). 10. Principle of installation. 11. Artistic and production tasks for group members for the successful implementation of the scenario

What's the idea? What are we playing? (Dramatic Action)

Character 1

Character 2

Character 3

For each scene

The main thing in the scene:

Three acts: exposure, complication, disaster,

Therefore, we will shoot it in the following non-trivial way ... Therefore, we will select such and such shooting objects and make such things in them ... Therefore, the only editing solution is such and such ... And I organize the shooting process like this ... And I will overcome the difficulties of the process that way

Director's explication of the film project for the production of a national film. Form n 2 (order of the ministry of culture of the russian federation of 04/30/2010 n 253 (as amended on 07/28/2010))

Appendix to the Procedure and Criteria for the Selection of Cinematography Organizations - Recipients of Subsidies for the Production and Distribution of National Films Form N 2 DIRECTOR EXPLICATION of a film project for the production of a national film _____________________________________________ (film name) the concept of the content of the future picture and considerations about the ways in which he intends to achieve the desired creative result) ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ________________________ ___________________________________________________ Film director __________________

examples of director's explications

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

Director's explication of the play by Evgeny Schwartz

"THE SNOW QUEEN"

1 . The factor of modernity

The play by Evgeny Schwartz "The Snow Queen" has always been, is and will be a modern play. There is a category of dramatic works. Which simply cannot be out of date and not modern. In this case, we are talking about the "Snow Queen". Such concepts as:

· Friendship;

· Warm heart;

· Conscience;

· Humanity, etc.

The play "The Snow Queen" over the years only acquires a more modern meaning, especially in our century - a century when, to our great regret, generally accepted and universal values are losing their significance, and sometimes simply being trampled into the mud. Moreover, at the current stage of development of human society, for some reason, relations between the male and female sexes become more coarse, soulless. And Kai and Gerda are an example of a pure, childish relationship. The relationship between a girl and a boy, between a girl and a boy, between a woman and a man has always stood and will remain "at the forefront, regardless of time."

Also, in this play, one can draw another analogy corresponding to our time and our society - this is the line of "rejection of cold, but very rich goods" and the choice of "less rich, but warm human relations." Kai did not stay with the Snow Queen, friendship, kindness, warmth win.

Based on the foregoing, we can conclude that E. Schwartz's play will always be modern as long as the world stands and people exist. After all, no one can cancel or forbid simple human truths. It's not real!

2 ... Theme

The triumph of sincere, direct feeling over a cold and dispassionate mind.

3 ... Idea

The triumph of friendship and love.

4 ... Super task

There are no barriers to true friendship.

“What will our enemies do to us while our hearts are hot? Never mind!"

5 ... Characteristics of the characters (evidentiary)

The storyteller is kind, pure in thoughts and soul, humanist and altruist. Sometimes it can become helpless, as, for example, in the scene of the battle with the Snow Queen's Advisor. Persistent, purposeful, believes in the triumph of good.

Kai is smart, funny and kind. He becomes indifferent and cold-blooded, only with the help of the Snow Queen's witchcraft. Gullible, so he gets to the Snow Queen. Loves Granny and Gerda.

Gerda is smart, kind, brave, gentle, purposeful. Gerda is a true devoted friend, she goes through a lot of trials to help her friend out of trouble. She is not afraid of the Snow Queen. Causes everyone's sympathy, except for the Counselor and the Snow Queen herself.

Grandmother loves her grandchildren very much. Worries about them. She is very kind and caring, which can be seen in her attitude towards children - Gerda and Kai.

The advisor is smart, cruel, cold-blooded. For the sake of a career, I am ready for anything. He clearly follows all the orders of the Snow Queen. The Snow Queen's right hand.

The Snow Queen is a beautiful, intelligent, cold-blooded and lonely socialite “ice lady”. Loneliness gnaws at her, she needs someone from the human world to make her likeness out of him, and her choice falls on Kai. She likes Kai's boldness and some insolence. The Snow Queen does not tolerate being argued or contradicted, she is accustomed to boundless and cold power. She does not regret anyone and does not regret anything. No wonder the Reindeer warns Gerda that the Snow Queen is very cruel and evil.

Raven is wise, kind and loyal to his Clara. He helps Gerda with great desire.

Raven - in principle, this is the same type as her beloved Raven Karl, plus some raven feminine charm. She also helps Gerda with great pleasure.

Prince Claus is a smart but simple boy. The Princess liked him and Elsa left him to live in the palace. He appreciates this. He is cultured, intelligent, and also kind. He's just talking to the Princess, it doesn't matter if she's of royal blood or not. For him, she's just a girl, sweet, gentle and kind. He is happy to help Gerda.

Princess Elsa - she is of royal blood, but at the same time, young Elsa is a little different from her comrades-in-arms on the throne. She is smart and does not like at all that she is not perceived as an ordinary girl, so she announces a competition for grooms. The simple and kind nature of Princess Elsa is evidenced by the fact that her chosen one is an ordinary boy, and she gladly helps Gerda.

King - rather, the concept of "Kinglet" is applicable to him. Although he is a sovereign, he often behaves not like an adult, but like a big child. A bit childish and fearful. At the same time, he is cunning and does not quite honest deeds. By deceit, he pulls Gerda into his own half. The King is cowardly, he retreats in front of the Counselor, following his instructions.

Atamansha is a domineering, rude lady with a certain charm. She leads the robbers, and her status obliges. She adores only her daughter, indulges her in everything and goes to meet all her desires. She gives Gerd the Little Robber.

The first robber is devoted to Atamansha, fulfills all her orders. He is not just a performer, he is also the chief assistant of the Atamanshi, it is not for nothing that he is the first robber.

Little robber - this girl resembles a boy. Daring, courageous, not afraid of anything in the world, neither reckons with anyone's opinion, she is used to everyone reckoning with her. Knows that she is her mother's beloved daughter. She got used to the fact that all the best goes only to her, she simply takes from Gerda all the things that Princess Elsa gave her. At the same time, the Little Robber is very lonely, because only robbers surround her, and they have their own conversations and their own entertainment. Does a little girl need this. That is why she is insanely happy with Gerda and does not even want to let her go.

Reindeer is smart, kind and freedom-loving. It is difficult for him to be held captive by the Little Robber. He is proud and honest. The deer escorts Gerda to the very possessions of the Snow Queen and warns Gerda about that. What awaits her next.

The guards are loyal servants of His Majesty the King.

The King's lackeys are loyal servants of His Majesty the King.

The robbers are loyal to the robbery business, they live by the order of the Atamanshi by robberies, they like to have fun after the "case".

6 ... Choice of actors

As for the choice of actors in this production, here it is worth starting from the characteristics of the characters themselves, plus it is necessary to take into account the individuality of the performers.

It is desirable that children, and there are a lot of them in this play (Gerda, Kai, Princess Elsa, Prince Claus, Little Robber), should be performed by children aged 12 to 14 years. This adolescent age is still filled with childish naivety, faith in miracles and good fairy tales, filled with great vitality.

For the role of the Snow Queen and the Counselor, it is desirable that the choice fell on the calm and aristocratic actors in everyday life. With a high culture, increased intelligence and some coldness in human relationships.

For the role of the Storyteller, you need a young man of 16 - 20 years old, energetic, with an open, prepossessing appearance, sweet and kind.

The choice of the rest of the heroes of the production is best done on the basis of some kind of casting, as it is fashionable now. And based on individual character traits.

7 ... Determination of the super task of the characters

The storyteller is to help Gerda save Kai.

Kai - to become the old kind boy Kai.

Gerda - save Kai.

Grandma - to create warmth and comfort.

Advisor - obey the Snow Queen, make a brilliant career at her court.

Snow Queen - keep Kai with her forever.

Raven - help Gerda.

Prince Klaus - help Gerda.

Princess Elsa - help Gerda.

King - show your authority, obey the Counselor.

Atamansha - to control the robbers, to indulge the daughter.

The first robber is to show his loyalty to the Atamansha in every possible way.

Little robber - keep Gerda at home, then help Gerda.

Reindeer - break free. Help Gerda.

The guards are to carry out the orders of the King.

The King's lackeys are to carry out the King's orders.

Robbers - obey the Atamansha.

8 ... End-to-End Action (Main Characters)

The storyteller is to change his appearance in order to help Gerda.

Kai - "freeze" with the goal of then "melt".

Gerda - to evaluate the heroes she meets on her way.

Grandmother - to take care and create comfort.

The advisor is to pursue your goals.

The Snow Queen - kidnapping Kai to try to change the world for himself.

Raven - Keeping up with Clara.

Raven - keep in a pair with Karl.

Prince Claus - to assist Elsa in everything.

Princess Elsa - confronting her father, the King.

King - to achieve their goals by deception and cunning.

Atamansha - to keep his robbers "in a fist".

The first robber is to be afraid of the Little Robber.

Little robber - sympathize with Gerda, but fight with herself.

Reindeer - endure the hardships of bondage in order to find yourself again at the desired freedom.

9 ... Reshthe performance of the performance in time, rhythms and tempos

Tempo rhythm helps to express feelings on stage; it is a direct, immediate, sometimes almost mechanical stimulus of emotional memory, and, consequently, of the inner experience itself; he also helps to create an image.

Stanislavsky said: “Every human passion, state, experience has its own tempo-rhythm. Each fact, events certainly take place in the corresponding tempo-rhythm ”. “We think, dream, grieve to ourselves, too, in a certain tempo rhythm; because in all these moments our life is manifested. And where there is life, there is action, where there is action, there is movement, and where there is movement, there is tempo, and where there is tempo, there is rhythm. "

The tempo - the rhythm of this production must be upbeat and exciting. All mise-en-scenes are bright, laconic, emphasizing the "pulse" of the action.

All the action takes place cyclically in a circle, that is, he comes out from behind the curtains, from the hall, etc., and also disappears behind the curtains. And life goes on behind the scenes. The audience should get the impression of absolute unity.

All actions are not drawn out in time, laconic and finished. The total duration of the performance is no more than 1 hour 30 minutes. That is, each action, and there are 4 of them in the play, lasts 30 minutes. The prologue and finale are 5 minutes each.

10 ... Staging genre, acting style

Musical fantasy on the theme of the good old fairy tale by G. H. Andersen and the plays of the remarkable playwright E. Schwartz.

The actors in this production must embody two manners of acting, these are: classical, traditional and naturally, taking into account the spirit and dynamics of the XXI century, use the trends, the so-called "know - how".

The viewer should feel a certain distance, and at the same time, everything happens as in the famous 3D technology, that is, not only scenography and other aspects of theatrical creativity, but the actors themselves are as close as possible and at the same time not attainable to the viewer Elevated dynamics of the characters' actions, bright expressive emotions, a clear, clear-sounding text, I want to note, as if coming from the very depths of the human soul.

Everything is heartfelt, the task is to reach out to human hearts, but by no means pretended and not with pathos, this is superfluous. Brighter than life, but without the kitsch. It is necessary to subtly feel the edges of the roles.

The advantage of this setting is. That it covers not only the stage, but the audience. Heroes appear from the doors of the hall, on stage, in front of the stage and so on.

11 ... The solution of the performance in space, the nature of the mise-en-scène and layouts

The mise-en-scene is one of the director's most important means for figuratively revealing the content and at the same time an essential component of the ideological and artistic imaginative solution of his director's intention. Literally translated, "mise-en-scene" is "location on the stage", the placement of actors on the stage in certain combinations with each other and the surrounding material environment at one time or another of the performance (concert).

With regard to this production, both the traditional construction of mise-en-scenes and new theatrical technologies should be used here. And thus, in this production, it is best to use the following mise-en-scenes for the most advantageous visual perception:

1. Circular - clockwise movement dynamics. Counterclockwise - movement antidynamics.

2. Semicircle - the ability to see each other, visually exists as a barrier behind the space of the semicircle. Unification, unity.

3. Diagonal - from left to right intensifies the movement, the beginning of something. From right to left - slows down the movement, the end of something, in general, doubles the volume.

4. Frontal - necessary for enlarging the plan - overwhelming in the foreground, balanced in the background, shadow in the third plane.

5. Vertical - the height of the platform works to increase the space.

6. Point - to create an atmosphere of chaos, confusion, to highlight the soloist.

7. Spiral - from the proscenium into the depths of the stage, vertical - infinity. Horizontal - emotional saturation.

8. Symmetrical - peace, balance, confidence in righteousness.

9. Asymmetric - (flux) - overweight.

10. Chess - a visual increase in the number of actors.

11. Mise-en-scene screw - (corkscrew) - "pressing into the hall".

12. Dotted line - movement - stop - movement - stop. This is related to finding a solution.

13. Bas-relief - monumental - fixed immobility of the characters to reveal internal tension. Most often parallel to the ramp or stage line - in front view. Refers to mass mise-en-scenes in the back of the stage or right in the front stage. Freeze frame - the moment of fixation.

The principle of deep construction of mise-en-scenes:

The foreground (large) is the line of the proscenium to the curtain (proscenium). Here you can build mise-en-scenes for one 2 person. You can perceive in parts, a sketch of some kind of image.

2nd plan - from the curtain line to 1st 2nd curtain.

Good for group mise-en-scenes. All types of mise-en-scenes, except for the bas-relief, can be built in the background.

3rd plan - from the third line of wings to the backdrop. The general shot, rapid speeds, freeze-frames are good in the 3rd shot.

Foreshortening of the mise-en-scène:

1. Face - full face. Facing the audience reveals the entire figure of a person. His eyes, face. 4 cases:

Forcedness, the intended object of attention is in the hall.

When an artist wants his partners not to see his eyes, a physical action that turns the actor to the audience, to the light, etc. and here hide your eyes from the interlocutor.

Unprofitable. It is unambiguous. There is no colorful pose in it.

Straightness.

2. Half-face - for direct communication with partners, graphic diagonal movement.

3. A clean profile - the eyes and reactions of the actors are not visible, fossil, static (unprofitable mise-en-scène).

4. Half-spine foreshortening - completely focus the viewer's attention on the main object, for example, on the screen. The need to emphasize something significant (mysterious, ominous or enchanting). Understatement, intrigue, a certain modesty and simplicity.

5. Dorsal view - back - curtain, point, end, silence. The back and proudly raised head, or the back and lowered arms and shoulders - disappointment. The dorsal view best conveys overcoming fatigue, pain, fear. It is believed that this is an epic point of an episode or scene, a person seems to merge with space.

Main mand stage performancemusical performance

« The Snow Queen»

Action one.

The following mise-en-scenes are used in this action:

1. Diagonal - when the Snow Crawl appears.

WITHgentle queen

Storyteller,

Kai, Gerda, Grandma.

This mise-en-scene made it possible to mark the first meeting of the heroes with the Snow Queen, it strengthened the dynamics of the characters' movement. She emphasized the semantic accents of the characters of the characters.

2. Semicircle - at the words of the Snow Queen.

Granny

WITHTosource

KaiWITHgentle queenGerda

This mise-en-scene focuses on the Snow Queen as the central object of attention, adds volume, emphasizes the commonality of the characters and the loneliness of the Snow Queen.

The same mise-en-scène can be applied in the fourth act. The angry Snow Queen comes to Grandma's house for Kai.

Second action.

In action in the castle of the Princess, Prince and King, the following mise-en-scenes are built to give dynamics and the greatest expressiveness to what is happening in the proposed circumstances:

1. Spot;

2. Circle and semicircle;

3. Bas-relief - monumental.

In the episode with the Counselor, Princess, Prince, King, Ravens and Storyteller - point.

Advisor

Princess, Prince, Gerda

Ravens, Storyteller

King

In the episode - the fight between the Storyteller and the Counselor on swords.

Gerda

Princess and prince

KingStoryteller

Crows

Advisor

In the episode - the Storyteller's defeat: bas-relief - monumental (freeze frame), in order to emphasize the anxiety of the moment.

Heroes

AdvisorStoryteller

The choice of these mise-en-scenes is due to the need to emphasize the semantic accents of the events taking place in the conditions of the proposed circumstances. In these mise-en-scenes, the character of the characters is clearly reflected, the disturbing notes of the stage action sound expressively and unforgettably (the Storyteller is defeated, the Counselor raised his sword over him).

The mise-en-scènes are built in 2-nd and 3-rd plans, foreshortening - front - front, half-front, clean profile. For example, the heroes in the battle scene between the Storyteller and the Advisor. The use of a wider range of foreshortening gave the mise-en-scenes: the greatest expressiveness, anxiety and dynamics. character play acting production

Act three and four.

For the course of these actions, the following mise-en-scenes were chosen as the main mise-en-scenes:

1. Spiral and horizontal - the moment of the robbery of Gerda's carriage;

2. Symmetrical - Advisor, Atamansha;

3. Chess - the final episode.

4. Frontal - the confrontation of the heroes and the Snow Queen with the Advisor.

For the construction of the mise-en-scène, the 1st plan was applied, in the moments with the Reindeer, the Storyteller, Kai and Gerda, the Snow Queen. And also mise-en-scenes using the 2nd plan - the Atamansha and the robbers.

Foreshortening constructions: front - full face, half face, clean profile, half back and back views - atamansha and robbers, Kai and Gerda, Snezhnaya korleva, Counselor and heroes.

In this case, the choice of plans and foreshortenings is dictated by the need to arouse in the audience a sense of empathy for the heroes of the action taking place.

Correctly built, bright, expressive mise-en-scenes make it possible to make the musical performance "The Snow Queen" unforgettable, dynamic and provoking catharsis in people's hearts.

The climax of the action. Frontal mise-en-scene - when confronting the Snow Queen, the Counselor and the heroes.

Crow

Granny

The Snow QueenPrincess

Storyteller

AdvisorLittle robber

Prince

Crow

This mise-en-scene emphasizes the confrontation between the Snow Queen, the Counselor and the heroes, accentuates in this moment the helplessness of the Snow Queen and the Counselor and the unity of the heroes.

In this episode, the mise-en-scenes are built in a 2-nd plan, foreshortening - front-to-front. In this case, all mise-en-scenes are group, which allows viewers to see the facial expressions and expressions of the performers' eyes.

12 ... Sound, noiseand lighting design (own)

P / p No.	Text, action	Light	Video	Noises, music	Notes (edit)
	Prologue- at the forefront the Storyteller			Light magic Background music	Action in front of the curtain
		Play of light - scanners. Change of lighting backgrounds. Cannons are on Kai and Gerda.		The song "Kai and Gerda" from the musical "The Snow Queen" (authors of the group "Lyceum" E. Perova, N. Makarevich, I. Ishkhanishvili)	Children run out of the doors of the hall
	First action. The curtain opens. House of Granny, Gerda and Kai	Main stage light
	The door opens and a tall gray-haired man in a black frock coat enters the room. A large silver medal gleams on the lapel of his coat. He, importantly raising his head, looks around.	On the stage - twilight		Door creak, non-stop disturbing music theme	The advisor appears from the hall
	Gerda. Where does she live? Storyteller. In the summer - far, far, in the north. And in winter she flies on a black cloud high, high in the sky. Only late-late at night, when everyone is asleep, she rushes through the streets of the city and looks at the windows, and then the glass is covered with ice patterns and flowers	Mirror ball, shimmering cold fill Cannons on the Storyteller and Heroes	There is a blizzard on the backdrop
	The storyteller waves his hands and hits the glass with a slate board. The glass breaks. The lamp goes out. Music. Snow, whitening, flies into the broken window Storyteller. This is my fault! Now I will turn on the light! The light flashes. Everyone screams. A beautiful woman stands in the middle of the room. She is in white from head to toe. She has a large white muff in her hands. On the chest, on a silver chain, a huge diamond sparkles	Complete darkness. Mirror ball, stroboscope. Blue cold fill	There is a blizzard on the backdrop	Musical theme "The Snow Queen" A. Morsin
	Female. Be silent! Makes an imperative sign with his hand. The storyteller recoils	Change of backgrounds, light scanners, cannon for the Snow Queen and Storyteller		"Tango of the Snow Queen" Moose. M.Minkov. Sl. V. Korostylev.	In the background - work with a white transparent cloth
	Female. Well then kiss me goodbye. Gerda. Don't, Kai. Kath. But I do not want her to think that I am afraid of the Baronesses. She boldly approaches the Baroness, rises on tiptoe and stretches her lips to her. Good luck! Female. Well done! Kisses Kai. Behind the scene, the whistle and howl of the wind, the snow is knocking on the window. He laughs. Goodbye gentlemen. Goodbye boy! Leaves quickly.	Blackout. Flash strobe. Cold background blue - purple		Disturbing melody Cold ringing
	Storyteller. And if not? Ah, I didn't expect this at all. What to do? What to do next? No, Snow Queen, I will not give you the boy! We'll save him! Let's save! Let's save! The howl and whistle of a blizzard outside the window intensifies sharply. Let's not be scared! Howl, whistle, sing, pound on the windows - we will still fight with you, Snow Queen!			The sound of a strong blizzard	At the end of the first act - complete darkness
	Second action. Gerda appears			"Meeting" A. Rybnikov	Gerda comes to the fore in front of the curtain
	The curtain opens. The decoration of the palace. Gerda and Ravens are slowly moving around the throne room	Snow fill with light, projection of stars (night)
	Gerda. Please tell me, why is this line drawn? Crow. The king gave the prince half a kingdom. And the emperor also neatly divided all the apartments of the palace in half. The right side is the prince and the princess, the left is the royal. It is more prudent for us to keep to the right side ... Forward! Gerda. What kind of music is this? Crow. These are just the dreams of the ladies of the court. They dream that they are dancing at a ball. Dance of Ghostly Dreams "Ladies of the Court"	Change of backgrounds, scanners.	On the backdrop there is a video sequence "Magic Dreams"	Quiet music.
	Dance "Dreams of Cavaliers"	Dynamic change of lighting backgrounds, flash panels, scanners	Hunting video	The rumble - the stamping of horses, distant shouts: “Atu him, atu-tu-tu! Here you go! Cut it! Hit! " Dynamic melody.
	Gerda. Is Kayzhivet really here, in this terrible house? Crow. Come on ... Gerda. I'm coming.			The stomp and ringing of bells
	Gerda. I believe, but I will never go to prison. I need to find Kay. An advisor emerges from a secret door. The king shudders. *Advisor(looks into the lorgnette).*** With your permission, sir, I am amazed. She's not captured yet	Reddish background (color of approaching danger)		Disturbing music	The advisor appears from a door designed to resemble the wall of the royal castle, unexpectedly
	Storyteller (draws out a pistol). Get out of the way, king, or I'll shoot you. Be quiet ... And you do not move, counselor. So. When I was eight years old, I made myself a puppet theater and wrote a play for it.	Change of yellow and red backgrounds, flickering of flash panels		Disturbing music intensifies	Here it is important, with the help of all available means of expression, to show the dynamics of increasing action and increasing tension.
	*Advisor(grabs the sword).* Call the guards, sir. The gun won't fire! The storyteller forgot to put gunpowder on the shelf. Storyteller(Acting somewhat awkwardly, quickly takes a pistol under his arm, snatching a throws the sword and again aims at the king with his left hand).** Out of place, sir! What if the pistol still goes off ... The storyteller fights the advisor, aiming at the king. *Gerda(squeals).* Klaus, Elsa! Advisor. Call the guards, sir! The pistol is not loaded. King. And he says he's loaded. Advisor. He will still miss. King. Well, how not to miss? After all, then I, you know - I, will be killed. Advisor. OK! I can handle this awkward person myself. Storyteller. Try it! Once! Yeah, hurt. Advisor.** No, by. Fighting, they come to the very line. A king with unexpected easeOstew jumps up and, stretching his leg over the borderline, gives a skazochnik footboard. *Storyteller(falling).* King! You gave me a leg! King.** Aha!	Stroboscope, flash panels, guns		Dynamic melody on the stage of sword fighting	Scene of a sword fight.
	*King(to the guards).*** Sound the alarm. Leaves in long strides.	Flashes of light (alarm)		Sounds of trumpets and drums, whistles, shouts, clanging of weapons. The big bell is ringing
	Storyteller. You've lost, counselor. Advisor. The game is not over yet, writer!		A golden carriage rushes along the road, in it is Gerda	Dynamic instrumental melody	The storyteller is in the foreground
	Third action. Storyteller(appears in front of the curtain). Cribble-crab-booms - everything is going great. The king and the adviser were about to seize me. Another moment - and I would have to sit in the dungeon and write fairy tales about a prison rat and heavy chains.
	Storyteller. One minute! Listen!			Long, shrill, ominous whistle
	The storyteller leaves	Dynamic change of backgrounds, scanners, flash panels. Cannon to Atamansha.		Song "Gang" (gr. "Disco Crash")	The robbers appear from different directions: from behind the curtains, from the hall.
	*Advisor(very pleased, hums).*** Twice two - four, everything goes wisely. Twice two - four, everything goes as it should!			Receding hooves
	Atamansha. Enough, my dear! Be glad that I did not fulfill my daughter's request and did not shoot you. Leave before it's too late.			Deep, low, melodic ringing
	Storyteller. They have been with me for a long time. When I followed the adviser in the city, I always changed my clothes beyond recognition. The beard and nose remained in my pocket and served me a wonderful service. I have a thousand thalers ... Let's run! In the nearest village we will find horses ...			Hoof stomp
	*Storyteller(almost crying).*** Many years ago there was a snowball. He stood in the courtyard, just opposite the kitchen window. When a fire broke out in the stove, the snowball shuddered with excitement. And then one day he said ... Poor girl! Poor Gerda! There is ice all around, the wind roars and roars. The Snow Queen wanders between the icy mountains ... And Gerda, little Gerda is there alone ... The little robber wipes her tears with the handle of a pistol. But don't cry. No, don’t! Honestly, it might still end up wow ... Honestly!	The light fades. Blue background		"Meeting" A. Rybnikov Instrumental melody from the play "The Snow Queen", composer Gelsyat Shaidulina
	Act four Gerda. Is this where the land of the Snow Queen begins? The deer nods its head. Then good bye. Thank you very much, deer. Gerda... So Kai is so close! Goodbye! Deer. Goodbye girl! Gerda is hiding.	Mirror ball, blue background		Instrumental melody from the play "The Snow Queen" (composer - Alexander Flyarkovsky) Song "Kai and Gerda" (column "Lyceum")	Gerda runs through the auditorium
	The curtain opens. Hall in the Palace of the Snow Queen. The walls of the palace are made of snowflakes that twirl and twirl with terrible speed. Kai sits on a large icy throne. He is pale. He has a long ice stick in his hands. He is concentrating on the flat, pointed pieces of ice lying at the foot of the throne with a stick. Dance "In the Castle of the Snow Queen"	Mirror ball, blue background, flash panels, scanners	On the backdrop - snow, blizzard	Melody "In the Mirror Castle" A. Morsin
	Gerda. Kai, Kai, I'm here! Kai continues his work. Kai! Answer me, Kai! There are so many rooms here that I got lost.				Gerda appears from the hall
	*Gerda(crying and hugging Ka* I am). Don't say, please, don't say that. Let's go home, let's go! I can't leave you alone. And if I stay here too, I will freeze to death, and I really don't want that! I don't like it here. Just remember: it's spring at home, the wheels are knocking, the leaves are blooming. Swallows have arrived and are building their nests. The sky is clear there. Do you hear, Kai, - the sky is clean, as if it was washed. Do you hear, Kay? Well, laugh at me saying such nonsense. After all, the sky does not wash, Kai! Kai! Kai(uncertainly).** You ... you bother me.			"Meeting" A. Rybnikov
	Gerda. Let's go! Nothing, nothing, go! Let's go ... That's it. You will learn. Legs will part. We'll get there, we'll get there, we'll get there!			"Kai and Gerda" (column "Lyceum")	Leave through the auditorium
	Storyteller. Once upon a time there were steps. There were many of them - a whole family, and they were collectively called: stairs. There were steps in a large house, between the first floor and the attic. The steps of the first floor were proud in front of the steps of the second. But those had a consolation - they did not put a dime on the steps of the third. Only the steps leading to the attic had no one to despise. “But we are closer to the sky,” they said. "We are so sublime!" But in general, the steps lived amicably and creaked amicably when someone climbed up. However, they called their creak singing ... “And they listen to us very willingly,” they assured. “We ourselves have heard the doctor’s wife say to her husband:“ When you stayed with the patient, I waited all night to see if the steps would finally creak! ” Granny! Children! And let's hear if the steps finally creak. Do you hear? Someone walks, and the steps are singing underfoot. The steps of the fifth floor have already begun to sing. These are good people, because under the feet of bad people the steps grumble like dogs. Closer, closer! Come here! Here! Grandma gets up. After her - everything. You hear? The steps rejoice. They creak like violins. Come on! I'm sure this is ... The door swings open with a bang, and the Snow Queen and the Counselor enter the room.	Twilight Stroboscope, then a mirror ball, blue backdrop		Instrumental melody Instrumental melody A. Morsin
	Advisor. Nonsense! Make way for the queen! Storyteller. No. They move in a chain, holding hands, to the advisor and the queen. The Queen, standing by the window, waves her hand.	Blackout		The ringing of broken glass, the howl of the wind
	Storyteller. And - krible-crabble-booms - you came home. And your friends were waiting for you, and the roses bloomed for your arrival, and the counselor and the queen fled, breaking the window. Everything is going great - we are with you, - you are with us, and we are all together. What will our enemies do to us while our hearts are hot? Never mind! Just let them show themselves, and we will tell them: “Hey, you! Snip-snap-snurre ... " *Everything(in chorus)*** . Purré-baselurre! ..	Dynamic change of backgrounds, flash panels, scanners, mirror ball		Final song (A. Morsin)

13 ... Definition of an event series (specific analysis)

Ш Exposition (prologue): appearance and words of the Storyteller, song "Kai and Gerda" (column "Lyceum"), choreographic number.

Ш Outset: in the house of Grandma, Kai and Gerda are playing, the appearance of the Counselor.

Ш Development of action:

First action. The Advisor asks to sell the rosebush, the conflict between Kai and the Advisor, the Advisor leaves and collides with the Storyteller at the door, the dialogue of the Storyteller and the Adviser, the Storyteller's story about the Snow Queen, the glass breaks, the lights go out, the Snow Queen appears, the Snow Queen meets Grandma, Gerda and Kai , The Snow Queen asks to give Kai to her, Gerda begs Grandma not to give Kai to her, Grandma refuses the Snow Queen. The Snow Queen tries to convince Kai, he refuses, the Storyteller supports him, the Snow Queen's imperative gesture, "Snow Queen Tango" (music M. Minkov, lyrics by V. Korostylev), The Snow Queen kisses Kai, then she leaves, Kai changes, he is rude to everyone, Gerda is crying, Kai goes to bed, the Storyteller's challenge to the Snow Queen, a strong blizzard is recorded, a curtain.

Second action. The instrumental melody "Meeting" by A. Rybnikov sounds, Gerda comes out, Gerda's meeting with Raven, a dialogue about Kai, Raven appears, a story about how the Princess chose her fiancé, Gerda and Ravens get into the palace, the Prince and Princess appear, they play, the meeting of the Princess, the Prince and Gerda, Gerda's story about Kai, the Princess and the Prince decide to help Gerda, then they leave, the meeting of Gerda and the King, the King deceives Gerda to his half, the King deceives Gerda pretending to be her friend, the guards grab Gerda, the Counselor appears , the appearance of the Storyteller, the Storyteller frees Gerda, the Storyteller scares the King with a pistol, the fight of the Counselor and the Storyteller on swords, the King tripped up, the Storyteller falls, the King orders the Storyteller and Gerda to be seized, Gerda shouts, the appearance of the Princess and the Prince, the appearance of the Ravens with the news of the carriage, Gerda leaves, accompanied by the Princess, the Prince, the dialogue between the Storyteller and the advisor, the King enters with the news that Gerda has been captured, the guards enters in turn two "Gerds", Gerds lower their clutches - these are the Prince and the Princess, the Storyteller rejoices, the Counselor in anger, a dynamic instrumental melody, blackout, on the backdrop of a video - a carriage rushes along the road. A curtain.

Third action. Before the curtain, the Storyteller, he introduces the audience to the course of further events, whistle, the song "Gang" (gr. "Disco Crash"), the choreographic group performs "Dance of the Robbers", the Atamansha is the soloist in it. Then the robbers seat them in their lair, the first robber introduces the Counselor, a dialogue between the Counselor and the Chieftain, the Counselor proposes the Chieftain to rob the golden carriage in which Gerda is. He declares that he only wants a girl. The Atamansha gives a signal for robbery, the robbers are going to work, a dynamic instrumental melody sounds, the Bearded Man enters, asks the Atamansha to take him with him, the Atamansha leaves him in the lair, the words of the Advisor. Dialogue between the Counselor and the Bearded Man, noise and shouts, the robbers enter, the first robber leads Gerda, Gerda begs the robbers to let her go, the robbers only laugh, the Little Robber runs in, she convinces her mother to give Gerda to her, the Counselor is indignant, The Little Robber and Gerda leave, the robbers leave to split a carriage, the Counselor offers the Bearded Man money so that he can stab Gerda, he supposedly agrees, the Little Robber enters, she drives the Counselor away, the Bearded Man asks the Little Robber to say a few words to Gerda, the Little Robber drives the Bearded Man away, The Little Robber takes the things the Princess gave her from Gerd, Gerda talks about her intention to find Kai, the Little Robber declares that she will not go anywhere and will stay with her, the Little Robber shows Gerda the Reindeer, the Atamansha enters, the dialogue between the Atamansha and her daughter, Gerda asks the Little Robber about a conversation with the Deer, she is against, the Bearded Man pulls Gerda by the dress, The little robber drives the Bearded Man away again, Gerda in Behold, she persuades the Little Robber to talk to the Deer, she agrees, the Deer tells Gerda that he saw Kai with the Snow Queen, Gerda and the deer beg the Little Robber to continue searching for Kai, she protests and makes everyone go to bed, a dialogue between Gerda and the deer. The Bearded Man appears - this is the Storyteller, he frees Gerda and offers to run, the robbers enter, discover the Storyteller, the Little Robber appears, she releases Gerda and the Deer, the Storyteller remains with the Little Robber, she cries, the song "Kai and Gerda", an instrumental melody from the play sounds "The Snow Queen" (composer - Gelsyat Shaydulova), curtain.

Fourth act. An instrumental melody from the play "The Snow Queen" (composer - Alexander Flyarkovsky) sounds, before the curtain Gerda and the Deer, the Deer says goodbye to Gerda, she leaves to save Kai, A. composition to the music of A. Morsin "In the Mirror Castle", on the throne - Kai puts the word "ETERNITY" out of pieces of ice, Gerda appears, she asks Kai to go home, he is indifferent to her, Gerda cries and hugs Kai, Kai remembers and leaves with Gerda, the song "Kai and Gerda" sounds. A curtain.

The curtain opens - the scenery for the first act, the Little Robber and the Storyteller appear, then the Raven, the Prince and Princess enter, Grandma confuses them with Kai and Gerda, the Storyteller tells a fairy tale about the stairs.

III Climax: The defeat and disappearance of the Snow Queen.

Ш Interchange: appearance of Kai and Gerda.

Ш Epilogue (finale): the final words of the storyteller and heroes. Final song.

Conclusion

And thus, from all of the above, we can safely say that the play by Evgeny Schwartz "The Snow Queen" is relevant and modern in the present time. The theme is not indifference, friendship, the theme of the confrontation between good and evil forces will always remain in the center of attention of stage performances.

The good old tale of the great Danish writer G. H. Andersen "The Snow Queen" has always been popular with viewers of all ages. In principle, the fairy tale is, as it were, designed for a children's audience, but believe me. It is also necessary for adults, who sometimes, unfortunately, forget and lose sight of simple and eternal human values.

Posted on Allbest.ru

...