15.09.2023, 06:39 - Baxış sayı: 306
SCENE: THE REFLECTION OF SPACE AND TIME IN THEATRICAL AREA
Yasmina Melikova Ekram qızı
PhD degree student, researcher
Institute of Philosophy and Sosiology of ANAS
What is the meaning of reflection of space and time in theatrical area? Can space and time have the reflection action in general, not only in theatre, somewhere else - but in universe whole, in molecular world? It’s difficult to find an answer, may be. But we pay attention to such fact, that the reflection of space and time exists in our consciousness, in our understanding of life.
Try to find out and understand what exactly the philosophical concepts such as space and time are, reveal the importance of these categories and identify their main problems to consider in parallel the impact on the performing arts and the aesthetics of theatre in general. Understand the impact of space and time in the theatrical aesthetics, identify the faces of this effect is possible only through knowledge and learning the true and mysterious symbols enclosed in performing arts. On the space and time of spoken and written a lot, even from ancient eras, for example, in ancient China and India, in ancient Greece or Rome, where were born the first rudiments of philosophical thinking and philosophy itself as such. So what is it that represent the concept of "space and time" if we try to know the nature of these phenomena and to lift the curtain (not only the theatre, but also sacred) over the life of these units?
What is necessary for understanding the individual stage work? Probably it’s thinking + feeling. These two components are necessary not only for the perception of stage spectator, but also in the process of working on the show. From this it follows that the time is a means "secure" and save any event, or tangible object, in this case, on the stage, and yet at the same object can have a property or escaping extinction, while remaining out of reach of the auditorium. An example is the reincarnation of the actors during the performance of their sudden disappearance or behind the scenes, the opposite is the emergence of what might be causing at a given time interval in a given spatial decision sense of surprise or interest in the action. This state is definitely a plus any production.
If to speak about expression of the existential beginning on a scene, undoubtedly creative person can show the personal experiences, original" I, me", make them property of society and adjoin to other people only by means of art language. In this case it is spoken about scene language. At the heart of this language special ability to use intonation, to represent various looks, to use symbolical gestures, characteristic poses for a scene and movement, ability skilfully to reincarnate with use of tragic or comic masks lies, the feeling of a rhythm connected with music – all these compound are an important element of theatrical language or theater language. The correct and exact application of scenic language helps action development, at the same time, does creative work of the actor and the intellectual work of the director enclosed in it necessary and demanded. Therefore it is possible to assume that the existential beginning on a scene is defined in lived space and in certain time. However, as time is most often abstract and symbolically reflected in a scene, so the spatial decision isn't always limited to action development on a scene.
Concerning theatrics, area of theatrical creativity, it is possible to define this concept so – theatrics – set necessary for performance creation (whether it be drama representation, the ballet or the opera) professional knowledge and skill. The theatre nature is important making in concept of theatrics. Means of theatrical expressiveness – ideas and the creative line of the director, an embodiment of images actors, work of the set dresser, the costumier, the lighter, work of the theatrical composer, etc. are capable most fully and to open deeply the contents and sense of any work, and all this, by means of scenic action. Visually – the spatial solution of a scene helps performance development (in more detail; to development of a scenic event) in time, opening all its depth and a phasing. Through this phasing we in forces to learn true creativity of the actor and the director's plan embodied in its game, characters and the relations of characters, their sincere evolution. Performance - (some kind of, interpretation), possesses special opportunities of comprehensive impact on the viewer, his emotions and consciousness, and sometimes, art impact of performance has also subconscious influence. "The theatrics are similar to art of the portraitist: it has to depict characters", - Charles Gounod noted.
Let's consider, for example, "Bolero" Maurice Ravel's ballet. From a traditional Spanish bolero in more live rhythm the composer kept only an archetype. At this romantic who has declared war to romantic style, we feel refusal of metaphysics and of art which lives in existential thickness. We see on a scene absolutely other art which is throwing down a challenge, affected and masterly in time and space which proceeds from tragedies of own internal life of scenic images. In this work written in 1928, more history of the person, than music which "breathes" seems and comes to light from a scene in spatial display. Continuous fight of intelligence and sensuality, reason and passion hide this internal energy of performers. In this performance the spirit of France during an era between two world wars with its carelessness, the easy relation to life and bents of decadence is expressed. As during a baroque era, actors on a scene create the spatial and temporary beginning, being inspired and borrowing other cultures symbols and the values of the leaving period devastating soul of the person and showing helplessness of people before threats of wars …
We tried to use and to open plots of those scenic statements which past events "are built in", and the viewer is given opportunity "to travel" in time and space, to move from the present to the past and back. Thus, transition of events on a scene in another temporary and spatial dimension is similar to the memoirs arising in consciousness of the person and transferring it to certain pieces of life. The performance "Arlezianka" plot, staged the State opera and ballet theatre where change of events and life of the main characters periodically take place through a prism of temporary space, and in each interval of time can be an example, having changed, appear in a new scenic appearance at the viewer, thereby claiming us in thought that any innovative decision, getting an existential form, bears in itself special originality.
From the standpoint of "theatre of life" in order to understand the laws of the universe, their meaning and essence, it is necessary to strengthen the theoretical value of theatrical space. Separation of the notions of "theatre space" and "space of theatre" we need to more clearly separate the inner layer of deep-specific theatre work from the outside world in which theatricality and exits to the outside layer of the cultural society.
PhD degree student, researcher
Institute of Philosophy and Sosiology of ANAS
What is the meaning of reflection of space and time in theatrical area? Can space and time have the reflection action in general, not only in theatre, somewhere else - but in universe whole, in molecular world? It’s difficult to find an answer, may be. But we pay attention to such fact, that the reflection of space and time exists in our consciousness, in our understanding of life.
Try to find out and understand what exactly the philosophical concepts such as space and time are, reveal the importance of these categories and identify their main problems to consider in parallel the impact on the performing arts and the aesthetics of theatre in general. Understand the impact of space and time in the theatrical aesthetics, identify the faces of this effect is possible only through knowledge and learning the true and mysterious symbols enclosed in performing arts. On the space and time of spoken and written a lot, even from ancient eras, for example, in ancient China and India, in ancient Greece or Rome, where were born the first rudiments of philosophical thinking and philosophy itself as such. So what is it that represent the concept of "space and time" if we try to know the nature of these phenomena and to lift the curtain (not only the theatre, but also sacred) over the life of these units?
What is necessary for understanding the individual stage work? Probably it’s thinking + feeling. These two components are necessary not only for the perception of stage spectator, but also in the process of working on the show. From this it follows that the time is a means "secure" and save any event, or tangible object, in this case, on the stage, and yet at the same object can have a property or escaping extinction, while remaining out of reach of the auditorium. An example is the reincarnation of the actors during the performance of their sudden disappearance or behind the scenes, the opposite is the emergence of what might be causing at a given time interval in a given spatial decision sense of surprise or interest in the action. This state is definitely a plus any production.
If to speak about expression of the existential beginning on a scene, undoubtedly creative person can show the personal experiences, original" I, me", make them property of society and adjoin to other people only by means of art language. In this case it is spoken about scene language. At the heart of this language special ability to use intonation, to represent various looks, to use symbolical gestures, characteristic poses for a scene and movement, ability skilfully to reincarnate with use of tragic or comic masks lies, the feeling of a rhythm connected with music – all these compound are an important element of theatrical language or theater language. The correct and exact application of scenic language helps action development, at the same time, does creative work of the actor and the intellectual work of the director enclosed in it necessary and demanded. Therefore it is possible to assume that the existential beginning on a scene is defined in lived space and in certain time. However, as time is most often abstract and symbolically reflected in a scene, so the spatial decision isn't always limited to action development on a scene.
Concerning theatrics, area of theatrical creativity, it is possible to define this concept so – theatrics – set necessary for performance creation (whether it be drama representation, the ballet or the opera) professional knowledge and skill. The theatre nature is important making in concept of theatrics. Means of theatrical expressiveness – ideas and the creative line of the director, an embodiment of images actors, work of the set dresser, the costumier, the lighter, work of the theatrical composer, etc. are capable most fully and to open deeply the contents and sense of any work, and all this, by means of scenic action. Visually – the spatial solution of a scene helps performance development (in more detail; to development of a scenic event) in time, opening all its depth and a phasing. Through this phasing we in forces to learn true creativity of the actor and the director's plan embodied in its game, characters and the relations of characters, their sincere evolution. Performance - (some kind of, interpretation), possesses special opportunities of comprehensive impact on the viewer, his emotions and consciousness, and sometimes, art impact of performance has also subconscious influence. "The theatrics are similar to art of the portraitist: it has to depict characters", - Charles Gounod noted.
Let's consider, for example, "Bolero" Maurice Ravel's ballet. From a traditional Spanish bolero in more live rhythm the composer kept only an archetype. At this romantic who has declared war to romantic style, we feel refusal of metaphysics and of art which lives in existential thickness. We see on a scene absolutely other art which is throwing down a challenge, affected and masterly in time and space which proceeds from tragedies of own internal life of scenic images. In this work written in 1928, more history of the person, than music which "breathes" seems and comes to light from a scene in spatial display. Continuous fight of intelligence and sensuality, reason and passion hide this internal energy of performers. In this performance the spirit of France during an era between two world wars with its carelessness, the easy relation to life and bents of decadence is expressed. As during a baroque era, actors on a scene create the spatial and temporary beginning, being inspired and borrowing other cultures symbols and the values of the leaving period devastating soul of the person and showing helplessness of people before threats of wars …
We tried to use and to open plots of those scenic statements which past events "are built in", and the viewer is given opportunity "to travel" in time and space, to move from the present to the past and back. Thus, transition of events on a scene in another temporary and spatial dimension is similar to the memoirs arising in consciousness of the person and transferring it to certain pieces of life. The performance "Arlezianka" plot, staged the State opera and ballet theatre where change of events and life of the main characters periodically take place through a prism of temporary space, and in each interval of time can be an example, having changed, appear in a new scenic appearance at the viewer, thereby claiming us in thought that any innovative decision, getting an existential form, bears in itself special originality.
From the standpoint of "theatre of life" in order to understand the laws of the universe, their meaning and essence, it is necessary to strengthen the theoretical value of theatrical space. Separation of the notions of "theatre space" and "space of theatre" we need to more clearly separate the inner layer of deep-specific theatre work from the outside world in which theatricality and exits to the outside layer of the cultural society.