Organization: TSPU im. L.N. Tolstoy

Locality: Tula region, Tula

Annotation: The article is devoted to the description of the method of expressing creative abilities - theatricalization, which acts as a way of adaptation of younger schoolchildren after kindergarten. The role of theatricalization in the classroom is described, the connection of this method with pedagogy and psychology is shown, and the principles of a lesson built on theatrical activity are identified. Particular attention is paid to the types and forms of theatricalization.

Keywords: theatricalization, creativity, pedagogical methods of teaching in primary school, principles of implementing the method in the classroom, primary school age.

School is a new stage in the development of a child’s personality. Transition from senior preschool age to junior school age. Changing the familiar to the new. Leaving the comfort zone causes a feeling of anxiety in most adults, what can we say about a child. Therefore, it is not surprising that he experiences emotional discomfort associated with inaccurate ideas about the teacher’s requirements, the learning conditions, and the norms of behavior in the classroom.

You can often find inertia towards learning from a student. He completes all the tasks, maybe even solves everything quickly and correctly, but you “can’t get initiative” from him and such a child will forget the material received after a couple of lessons. The teacher cannot force the child to be attentive, active and independent in the lesson. He can only make serious learning interesting: ignite, attract, invite the child to new system relationships: educational cooperation, mutual understanding, self-affirmation. The teacher will be helped with this by: lessons - games, lessons - excursions, lessons - theatrical performances, lessons - improvisation, including theatrical games. All this contributes to the acclimatization of children in new school forms of activity.

The most effective ways, which visually and emotionally conveys knowledge and experience, are various shapes theatrical activities. The role tried on by the child helps to live the fictional situation for real, as in life. Theater helps a child to openly express himself in all areas of life. It’s not uncommon for theater to help reveal new facets in children that were hidden from the rest of society.

It is theatrical activity that is the bridge between the preschool world and school reality. She is that unquenchable source of development of the child’s feelings, experiences and emotional discoveries. Theatrical activities help the child to relax, convey his personal creative ideas, and gain satisfaction from the activity. Everything reveals the child’s personality, his individuality, and creative potential. The child has a chance to express his feelings, experiences, emotions, and resolve his internal conflicts. Theatrical activities solve many problems of pedagogy and psychology related to:

Art education and raising children;

Formation of aesthetic taste;

Moral education;

Development of memory, imagination, initiative, speech;

Development of communication skills;

Creating a positive emotional mood, relieving tension, resolving conflict situations through theatrical play.

Lessons based on theatrical activities expand children's learning opportunities and allow them to hold the child's attention for a long time. This activity is based on the principles:

Constant feedback;

Dialogue of the educational process;

Optimization of development (active stimulation);

Emotional uplift;

Voluntary participation (freedom of choice);

Immersion in the problem;

Free space, harmonization of development.

Theatrical activity is one of the most effective methods of expressing creative abilities. Everyone can discover something of their own in it. However, in the theater one of the main aspects is delicacy in communication. If there is no harmony in dialogical speech in the classroom, it will be impossible to build a coherent and competent lesson. Therefore, the main thing for a teacher is to establish a connection between children, because sensitivity and delicacy in communication between students and in their behavior are those personality traits that require special pedagogical efforts to develop.

Today there is a largenumber of tools, techniques, methods for developing imagination in the classroom. Theatrical activities occupy an important place among them. After all, the quintessence of this method lies in the interweaving of sounds, colors, and melody, which help to reveal the image from different sides.

Theatricalization is a complex creative method that can manifest itself in various forms:

Games that imitate images of animals, people, literary characters;

Role-playing dialogues based on text;

Staging works;

Staging performances based on one or more works;

Improvisation games with playing out the plot without prior preparation.

Theatrical forms are also diverse:

Tabletop theater;

Picture Theater;

Puppet show;

Finger Theater;

Mimic Theatre;

Theater of plasticity and gesture, etc.

One of the most accessible, widespread and useful forms in schools for first-graders is finger theater.

Finger theater helps to develop fine motor skills hands, which activates the activity of the child’s brain and psyche.

Koltsov M.M. writes: “The movements of the fingers, historically, during the development of mankind, turned out to be closely related to speech function. The development of hand and speech in people proceeded in parallel, that is, simultaneously. The development of a child’s speech is approximately the same. First, subtle movements of the fingers develop, then articulation of syllables appears. There is every reason to consider the hand as an organ of speech.”

Bekhterev V.M. and Koltsov M.M. in their studies they proved: the level of speech development is directly dependent on the degree of formation of fine movements of the fingers.

Therefore, regular exercises for the fingers promote the mobility and flexibility of children’s hands; the child’s stiffness of movements and nerve clamps disappear, which greatly facilitates the acquisition of writing skills by a first-grader. With the help of theatrical performances, finger exercises acquire a cheerful, joyful, easy character, children perform all the exercises without difficulty.

Currently there are a great manymeans, techniques, methods for developing imagination in the classroom. However, from all the variety given to us, we need to choose those that will be most effective when applied to primary schoolchildren.

Bibliography:

1. Adamovich, E.A. Reading in primary grades / E.A. Adamovich, V.I. Yakovleva. - M. - 1967. - P. 222.
2. Adaptation of students: Methodical piggy bank // School psychologist. –2007. –No. 18. – P.27-38.
3. Buchkovskaya, I.V. Educational possibilities of theatrical play in the formation of communicative abilities of children of primary school age / I.V. Buchkovskaya // Perm Pedagogical Journal. – 2013. - No. 4. – P.2-7.

Zaplatnikova Valeria Sergeevna – student, Tula State Pedagogical University named after. L.N. Tolstoy, Russia.

Scientific supervisor: Vladimir Alekseevich Romanov –doctor pedagogical sciences, professor, professor of the department of pedagogy, disciplines and methods of primary education, Russia.

Theatricalization Theatricalization as creative method cultural and educational work. Sat. scientific tr. - L.: LGIK, 1982. - P. 78:

1) Work on creating an artistic image in the outline of the dramaturgy of the theater with the direct participation of the majority of the audience.

2) The essence of theatricalization as a creative method is the artistic understanding of real events in the life of a country, a certain group or even an individual, in which these actions are embodied in a catchy figurative form containing their artistic interpretation. Let us note that performances built on the basis of the method of theatricalization are called theatrical.

In a theatrical performance, the main characters are real individuals who are directly related to the event around which the figurative solution of the theatrical action is built. It is known from director's practice that by theatrical action we understand a theatrical performance, a holiday or a ritual. Undoubtedly, it is worth mentioning that the theatrical performance In the same place P.78 is a special method of satisfying the spiritual needs of society, a special type of art.

A theatrical performance is always a child of everyday life, the realities of life, the need to spiritualize them and exist in another emotional and figurative form. The practice of organizing theatrical performances shows that, in this way, a theatrical performance is an organic combination of reality associated with everyday life, social relations, religious views, ideological and political inclinations of people.

And artistry contained in emotional-imaginative (artistic) material made by the method of transforming a given reality.

Let us now note the corresponding individuality of the theatrical performance, which distinguishes it from other types of artistic creativity.

1. The most important thing is that the foundation of a theatrical action script always contains some material, which we call the documentary object of the screenwriter’s attention.

2. Theatrical performance does not involve the creation of the psychology of fictional heroes (characters), but the creation of psychological situations in which real (documentary) forces operate and develop.

3. Theatrical performance is multifunctional and, in general, solves the following problems: didactic (edifying), informational (cognitive), aesthetic, ethical, hedonistic (pleasure) and communicative.

4. The theatrical performance is one-time and exclusive.

5. Theatrical performance has many forms: spatial and stylistic forms.

Forms of theatrical performance Goryunova I. Directing mass theatrical performances and musical performances. Lectures and scripts: - St. Petersburg, Composer - St. Petersburg, 2009. - P. 87:

1. Thematic evening - multi-genre in form, giving scope to creativity, initiative, and imagination. Well-known genres of a themed evening include: evening-story, evening-report, evening-portrait, evening-meeting, evening-ritual.

2. Literary and musical. A literary and musical composition has its own “score,” which includes separate scores: poetic, musical, light and even color, and the more united and focused they are, the more successfully we will lead the viewer.

4. Ceremony - an established solemn order for doing something.

5. Express theater (propaganda team or theater of pop journalism).

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Theatricalism as a creative method

theatrical mass celebration

First, let’s define the concept of “theatricalization.” In the dictionary of theatrical terms we find: “Theatricalization is the introduction of elements of dramatic action into any work.” According to A.A. Konovich, “theatricalization is the organization within the framework of a holiday of material (documentary and artistic) and audience (verbal, physical and artistic activation) according to the laws of dramaturgy on the basis of specific events, giving rise to the psychological need of the collective community to realize the festive situation.”

The term “theatrical” is applicable to a concert, holiday, performance, ritual, competitive game program. If a theatrical performance or concert is, first of all, a spectacle that takes place on one or another stage, which does not require the direct participation of spectators in it, then a holiday and ritual are theatrical events in which those present themselves become active participants in what is happening. The exception is the theatrical competition and game program, which combines theatrical performance and elements of direct activation of the audience with their involvement in the stage action.

The theatricalization of a real holiday action acts as its organization according to the laws of the theater. This is not an illustration of certain facts, documents, thoughts and ideas with excerpts from plays, songs, dances, poems, film fragments, but rather a synthesis of artistic fiction and reality, giving birth to a new, unique documentary-artistic action. Theatricalization of life material helps to activate and involve the viewer in action and promotes targeted perception.

To theatricalize material means to express its content through the means of theater, i.e. use two laws of theater:

1. Organization of stage action (visible disclosure of dramatic conflict). The action develops along a through line.

2. Creation of an artistic image of a performance or performance.

Director's theatricalization is a creative way of bringing the script to the artistic figurative form of presentation, through a system of visual, expressive and allegorical means (Vershkovsky).

Features of theatrical performance

1. The script for a theatrical performance is always based on documentary material.

2. Theatrical performance does not imply the creation of the psychology of fictional heroes (characters), but the creation of the psychology of situations in which real (documentary) forces operate and develop.

3. Theatrical performance is multifunctional and solves the following tasks: didactic (edifying), informational (cognitive), aesthetic, ethical, hedonistic (pleasure) and communicative.

4. A theatrical performance, as a rule, is one-time and exists as if in a single copy.

5. Theatrical performance is distinguished by a variety of forms, spatial and stylistic.

Mass action always gravitates towards theatricality. In it, ideas that have a beneficial effect on society are truly contained in an artistic form, i.e. First of all, they act not by reasoning, but by a living demonstration of life in images. The figurative solution to the theme is the essence of theatricalization. By enriching a mass holiday with imagery, theatricalization helps each participant to develop associations that are close to his own life impressions, his experience, his perception of the world, and thereby activates and evokes the need for action. The director of a mass festival is always a psychologist and teacher who solves, first of all, the problem of activating its participants, organizing not a performance, but a mass action in which artistic imagery acts as an effective incentive.

In theatricalization as a special form of art, the most important component of mass performance comes to the fore - the spectator, the collective hero. He longs for such a mass action that would force him, by associatively restoring in his memory the facts and events of his own life, to be a participant in the performance, to be included in it.

The essence of the theatricalization method in modern leisure programs is to combine sounds, colors, melody in space and time, revealing the image in different variations, carrying them through a single “end-to-end action”, which unites and subordinates all the components used according to the laws of the script.

Types of theatricalization

1. Theatricalization of a compiled or combined form - thematic selection and use of ready-made artistic images and various types art and connecting them with each other using a screenwriting and director’s technique or move.

The compiled method is used in theatrical concerts, performances, etc. The main task of the screenwriter in working with this method is to determine the script-semantic core of the entire program as a whole, episode or block, the compositional structure of the entire script as a whole, editing of the episode and block, and the entire script as a whole. When using this type of theatricalization, it is important for the director to remember the main law of artistic expediency, which requires the justification of the appearance of the act, its genre correspondence to the theme.

2. Theatricalization of an original form - the director’s creation of new artistic images, according to the script and director’s plan. It is used to create scripts of the documentary genre, which are based on the dramatization of the document. The documentary series gives a modern journalistic sound if the fact has social value. Basic requirements: topicality and relevance. Here a synthesis of documentary and artistic materials is created not only in the thematic selection of material, but also in an organic fusion according to the main principle emotional development thoughts and creation of the script-semantic core of each episode and the script as a whole. The synthesis of documentary and fiction should consist not only in the thematic selection of material, but also in their organic merging according to the most important principle - the emotional development of thought.

This is a more complex form of creating a script, requiring organizational experience, the ability to select and edit ready-made material and find a move for ready-made numbers, but also professional skill, the director’s ability to stage a new number, according to the script, and organically combine fiction and documentary material into episodes. This is the most complex look theatricalization.

A dramatized document, a dramatized verse, a dramatized song - these are the main components of creating an artistic image of an episode.

3. Theatricalization of a mixed type - the use of the first and second types. Includes compiling existing ones and creating new ones. It is built on the principle of thematic selection and combining them into a composition using a cross-cutting scriptwriting and director's move and introducing into this basis the author's original vision and solution. Mixed-type theatricalization opens up great opportunities for the development of imaginative thinking of the director and organizer.

Theatrical language

The leading means of expression that create special language theatricalization, symbol, allegory and metaphor appear, with the help of which the director creates a full-blooded and multifaceted world of aesthetic values ​​in mass performances.

When creating a mass performance, the director should strive to stimulate the imagination of actors and spectators with enlarged stage symbols that most fully reflect the essence of theatrical performance.

Allegory is an allegory, a depiction of an abstract idea through a specific, clearly represented image. The connection between image and meaning is established in allegory by analogy (for example, a lion as the personification of strength, etc.). In contrast to the polysemy of a symbol, the meaning of an allegory is characterized by an unambiguous, constant certainty and is revealed not directly in the artistic image, but only through the interpretation of explicit or hidden hints and indications contained in the image, that is, by subsuming the image under some concept.

Metaphor is a very important means of emotional impact in directing. The construction of a metaphor is based on the principle of comparing an object with some other object on the basis of a common feature.

In spoken language, we almost do not notice the use of metaphors; they have become familiar in communication (“life has passed by”, “time flies”). In artistic creativity, metaphor is active. It promotes creative imagination and guides it through imaginative thinking. For a director, metaphor is valuable because it is used precisely as a means of constructing stage images.

The range of use of metaphor in performances is enormous: from external design to the figurative sound of the entire performance. The metaphor is even more important for directing mass theater as a theater of great social generalizations, dealing with the artistic understanding and design of everyday life. real life. It is a metaphor that can give a real fact the aspect of artistic comprehension, interpretation, and can help recognize the real hero.

Use of symbol, metaphor, allegory, etc. in theatricalization, this is an urgent need that arises in the process of solving new problems by the director, but at the same time, it is just a technique, and any technique is good when it is not noticed. The viewer should not perceive the technique, not the form, but through the technique and form - understand the content and, perceiving it, should not at all notice the means that convey this content to his consciousness. It must be remembered that all means of allegory in directing must be inextricably linked with the life experience of its real audience, and determined by this experience. Only the artist who lives one life with his people, without breaking away from them, is capable of moving art forward. This is the basic principle of selecting allegorical means of expression for the director.

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Theatrical action - creative activity people expressing their life aspirations through artistic and theatrical means, aimed at achieving their spiritual goals in life; this is an organic combination of reality associated with everyday life, social relations, religious views, ideological and political inclinations of people, and artistry contained in emotional-imaginative (artistic) material created by transforming this reality.

Theatricalization- organization of material (documentary and artistic) and audience (verbal, physical and artistic activation) within the framework of the holiday according to the laws of dramaturgy based on specific events that give rise to the psychological need of the collective community to realize the festive situation (A. A. Konovich).

Due to its socio-pedagogical and artistic bifunctionality, theatricalization simultaneously acts as artistic treatment, and as a special organization of behavior and actions of a mass of people.

To theatricalize material means to express its content through the means of theater, i.e. use two laws of theater:

1. Organization of stage action (visible disclosure of dramatic conflict). The action develops along a through line.

2. Creation of an artistic image of a performance or performance.

Director's theatricalization is a creative way of bringing the script to an artistic figurative form of presentation, through a system of visual, expressive and allegorical means

Features of the theatrical performance:

1. The script for a theatrical performance is always based on documentary
mental material (documentary object of attention of the screenwriter).
2. Theatrical performance does not imply the creation of psychology
fictional heroes (characters), but the creation of the psychology of situations in which real (documentary) forces operate and develop
3. Theatrical performance is multifunctional and solves the following problems: didactic (edifying), informational (vocal), aesthetic, ethical, hedonistic (pleasure) and communicative
4. Theatrical performance, as a rule, is one-time and exists
as if in a single copy.
5. Theatrical performance is distinguished by a variety of forms, spatial and stylistic.
Theatrical performance, holiday and ritual do not exhaust the possibilities of using theatrical performance in various options and for various purposes.
If a theatrical performance is, first of all, a spectacle that takes place on one or another stage, which does not require
direct participation of spectators in it, then the holiday and ritual are theatrical performances in which those present themselves become active participants in what is happening. The exception is the theatrical competition and game program, which combines theatrical performance and elements of direct activation of the audience with their involvement in the stage action.

Theatricalization can not always be used, not in any, but only in special conditions that correlate this or that event in which a given audience is involved, with the image of this event created by the audience, with its artistic interpretation. This duality of the functions of theatricalization is associated with any moments in people’s lives when they need to comprehend the extraordinary meaning of an event, express and consolidate their feelings in relation to it. Under these conditions, the craving for artistic comprehension, for symbolic generalizing imagery, for organizing the activities of the masses according to the laws of the theater is especially strong. Thus, theatricalization appears not as an ordinary method of cultural and educational work that can be used at all its levels, but as a complex creative method that has a deep social and psychological justification and is closest to art.

Of course, it is not enough just to see a special subject of theatricalization. You need to be able to organize it. The most important tool here is imagery, component of the main essence theatricalization, which allows you to show this or that fact, event, episode in action. Real imagery and closely related artistic imagery are the basis of theatricalization, allowing one to build an internal script logic and select means artistic expression. It is imagery that gives theatricality life, creates a divide between theatrical and non-theatrical forms of mass cultural and educational work.

The essence of the theatricalization method in modern leisure programs is to combine sounds, colors, melody in space and time, revealing the image in different variations, carrying them through a single “end-to-end action”, which unites and subordinates all the components used according to the laws of the script.

Types of theatricalization.

1.Theatricalization of a compiled or combined form– thematic selection and use of ready-made artistic images and various types of art and connecting them with each other using a screenwriting and director’s technique or course.
The compiled method is used in theatrical concerts, performances, etc. The main task of the screenwriter when working with this method is to determine the script-semantic core of the entire program as a whole, episode or block, the compositional structure of the entire script as a whole, editing of the episode and block, and the entire script as a whole. When using this type of theatricalization, it is important for the director to remember the main law of artistic expediency, which requires the justification of the appearance of the act, its genre correspondence to the theme.

2. Theatricalization of the original form– creation by the director of new artistic images, according to the script and director’s plan. It is used to create scripts of the documentary genre, which are based on the dramatization of the document. The documentary series gives a modern journalistic sound if the fact has social value. Basic requirements: topicality and relevance. Here a synthesis of documentary and artistic materials is created not only in the thematic selection of material, but also in an organic fusion according to the main principle of the emotional development of thought and the creation of a script-semantic core of each episode and the script as a whole. The synthesis of documentary and fiction should consist not only in the thematic selection of material, but also in their organic merging according to the most important principle - the emotional development of thought. This is a more complex form of creating a script, requiring organizational experience, the ability to select and edit ready-made material and find a move for ready-made numbers, but also professional skill, the director’s ability to stage a new number, according to the script, and organically combine fiction and documentary material into episodes. This is the most difficult type of theatricalization.
A dramatized document, a dramatized verse, a dramatized song - these are the main components of creating an artistic image of an episode.

3. Mixed theater performance– use of the first and second types. Includes compiling existing ones and creating new ones. It is built on the principle of thematic selection and combining them into a composition using a cross-cutting scriptwriting and director's move and introducing into this basis the author's original vision and solution. Includes a compilation of ready-made texts and numbers and original creation ready-made texts and numbers. Mixed-type theatricalization opens up great opportunities for the development of imaginative thinking of the director and organizer.
All three types of theatricalization are primarily used to organize theatrical theme evenings and mass performances, which act either as an independent form of cultural and educational work, or as an integral part of a mass holiday, propaganda campaign or other complex ideological system. educational work.
Theatricalization in the field of cultural and educational activities is developing in two main directions. The first is associated with its recreational function (these are balls, masquerades, carnivals;) The second is associated with the transformation of life into artistic value by creating an artistic image based on it. Decoration, colors, fireworks are not yet theatrical. You need to look for a capacious image - a generalization that emotionally reveals the director’s thought through expressive means.
In theatricalization as a special form of art, the most important component of mass performance comes to the fore - the spectator, the collective hero. He longs for such a mass action that would force him, by associatively recalling the facts and events of his own life, to be a participant in the performance, to be included in it.

2c. Hero in drama and theatrical performances.

The hero of a dramatic work is always a son of his time, and from this point of view, the choice of a hero for a dramatic work is also of a historical nature, determined by historical and social circumstances. At the dawn of Soviet drama, finding a positive and negative character was easy for authors. A negative hero was anyone who clung to yesterday - representatives of the tsarist apparatus, nobles, landowners, merchants, White Guard generals, officers, sometimes even soldiers, but, in any case, everyone who fought against the young Soviet government. Accordingly, it was easy to find a positive hero in the ranks of revolutionaries, party leaders, heroes civil war. Today, in a period of comparative peacetime, the task of finding a hero is much more difficult, because social conflicts are not expressed as clearly as they were expressed during the years of revolution and civil war, or later, during the Great Patriotic War.

A “positive” hero also lies in the fact that in drama, as in literature in general, in a number of cases the hero with whom we sympathize is not an example to follow, a model of behavior and life position. We sincerely sympathize with them as victims of a society living according to the laws of animal morality, but we naturally reject their way of struggling with their lack of rights and humiliation. The main thing is that in life there are no absolutely positive or absolutely negative people. Thus, in life, a “positive” person would have no reason or opportunity to turn out to be “negative” and vice versa—art would lose its meaning.

The hero of a dramatic work, in contrast to the hero of prose, whom the author usually describes in detail and comprehensively, characterizes himself, in the words of L. M. Gorky, “autonomously,” by his actions, without the help of the author’s description. This does not mean that remarks cannot be given brief characteristics heroes. But we must not forget that stage directions are written for the director and performer. The spectator in the theater will not hear them. Work with real characters should be structured in such a way that people gradually develop a sense of the necessity and organic nature of the actions, mise-en-scenes, texts that are offered to them, as if this is their proposed plan. In practice, a common mistake of screenwriters and directors is the transformation the hero of a theatrical performance into an actor, often such heroes are made participants in play scenes, forced to read poetry, sing, dance, etc., putting him in an awkward position. The essence of theatricalization is that the real hero does not act on stage, but acts naturally and carried specific information that the screenwriter is called upon to emphasize and strengthen with artistic means. The director’s task is to create an atmosphere of naturalness, simplicity, and the absence of falsehood. Preliminary work on the hero's performance is necessary, the absence of falsehood. A trusting atmosphere at rehearsals helps the hero fit into the theatrical action and build a logic of behavior.

Theatricalization- a specific method of organizing art,

documentary material and actions of participants in a mass art event according to the laws of theater and drama.

Theatricalization It happens:

1. script - a creative way of transforming life,

documentary material into a fiction script;

2. director's – a creative way to bring the script to life

artistic and figurative form through a system of visual, expressive and allegorical means.

Types of theatricalization: compiled (using other materials); original (we come up with it ourselves); mixed (when both compiled and original are used)

Theatrical events should maximally satisfy the requirements of changing forms of activity and psychological relaxation. The power of art is used, organic compound emotional and logical beginnings. This task is performed by artistic means of expression, ideologically and emotionally influencing a person, creating figurative language in the theatrical mass work of a club, park, cultural complex.

The means of art include the living word, music, feature and documentary films, choreography and sports.

A living word carries great emotional information, creates verbal images that can directly embody and convey a person’s actions, feelings, moods and experiences. The word creates an atmosphere of communication between the stage and the mass audience. The speaker's word carries specific factual material.

When developing a script and director's plan, it is necessary to carefully think through not only what will be said, but by whom and how it will be done.

In order for the speech to be specific and vivid, preliminary work with the speaker is necessary, a discussion of his speech so that it exactly fits into the fabric of the script and director's plan for the episode.

The presenter’s texts carry a thought, connect episodes as necessary, and present what cannot be shown or staged. The screenwriter strives to ensure that the presenters carry a certain semantic load and are full-fledged characters in the performance.

The poetic word most fully provides the optimal implementation of the emotional and expressive capabilities of verbal action, strongly influencing the audience when it is precisely selected and addressed to the audience in the first person.

Artistic means of expression in a theatrical event emotionally attune its participants, enhance the impact of the events taking place on the stage, and convey feelings characters, complement and move the action forward.

A film fragment, a scene from a play, a song, humor, etc. can be used as a continuation of thought or action, as a “background” in an oral presentation, as a visual image leading to real action. Art, as an expressive means of theatrical mass action, can act as an illustration, as a driving force of the plot, as an association. The associative method allows, with the help of existing, familiar images, to enhance the sound of certain components of the plot, to make the real image of a contemporary brighter, deeper, and more understandable.

Music enhances the emotional impact on a specific social community. Music must be selected so that it corresponds to the idea of ​​the plan and becomes inseparable integral part actions. Music and song in the prologue and at the finale of the mass action help to accurately set the theme and rhythm of the action (important for the exposition) and turn the mass at the finale of the holiday into a huge combined choir. Opera scenes performed in a real setting, close to the action taking place in them, enhance the entertainment and emotional impact of a mass festival.

Feature and documentary films are successfully used in the prologue, helping to transport participants to the era of certain historical events, preparing for a subsequent meeting with the heroes of these events. The editing of several film fragments makes it possible to better understand the event, to feel the depth of the changes taking place, the capacity of time, and to comprehend the greatness of the feat. Film material allows you to enhance the sound of a particular number in the direction desired by the screenwriter, enlarging it into mass action. The technique of constructing mass action in fragments from feature films is widely used, when the characters seem to come to life and leave the screen.

The slide allows you to smoothly transfer the action to a new plane, replacing one image with another, to show an ornament, landscape, painting, portrait. The slide is used as a freeze frame, allowing you to stop the action for a moment, emphasize the necessary moment, snatch this or that detail of the action, the face of the hero... The slide makes it possible to introduce documentary visual material, especially biographical material, into the fabric of the action. With the help of transparencies, you can build a theatrical story about a hero, using pages of his biography that emerge from memory.