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Stanislavsky and Nemirovich-Danchenko had taught. Influenced by the German Meiningen Company, Stanislavsky began to develop a system of training for actors that would enable them to perform realistically in any sort of role and situation.

After some 70 rehearsals, the Moscow Art Theatre opened with Aleksey Tolstoy‘s Tsar Fyodor Ioannovich in October 1898. For its fifth production it staged Anton Chekhov‘s The Seagull, a play that had failed in its first production. With its revival of The Seagull, the Art Theatre not only achieved its first major success but also began a long artistic association with one of Russia‘s most celebrated playwrights: in Chekhov‘s artistic realism, the Art Theatre discovered a writer suited to its aesthetic sensibilities. In The Seagull, as in all of Chekhov‘s plays, the Art Theatre emphasized the subtext, the underlying meaning of the playwright‘s thought. Artistically, the Art Theatre tried all that was new. Its repertoire included works of Maksim Gorky, L.N. Andreyev, Leo Tolstoy, Maurice Maeterlinck, and Gerhart Hauptmann, among others, and it staged works of political and social significance as well as satires, fantasies, and comedies.

After the Russian Revolution it received crucial support from V.I. Lenin and A.V. Lunacharsky, first commissar of education in the Soviet Union, and in 1922 the Art Theatre toured Europe and the United States, garnering critical acclaim wherever it performed. Returning to Moscow in 1924, the theatre continued to produce new Soviet plays and Russian classics. Two successful tours of London in the late 1950s and early ‘60s reestablished its preeminence in world theatre. The Art Theatre has exercised a tremendous influence on theatres all over the world: it fostered a number of experimental studios (e.g., Vakhtangov Theatre, Realistic Theatre, Habima Theatre, Musical Studio of Nemirovich-Danchenko), and, today, virtually all professional training in acting uses some aspects of Konstantin Stanislavsky‘s method.

In 1987 the theatre split into two companies-the Moscow Art Academic Theatre of Gorky and the Moscow Art Theatre of Chekhov-because of professional differences.

M.S. Shchepkin Belgorod State Academic Drama Theatre

M.S. Shchepkin Belgorod State Academic Drama Theatre... The first archive records of it are dating back to 1936. At that time Belgorod Kolkhoz and Sovkhoz Theatre, serving to introduce the true examples of socialist art to the kolkhoz peasantry, began its work. But the roots of Belgorod dramatic art are going much deeper - to the cultural layers, the pure springs of the 19th century. The very name of Mikhail Semyonovich Shchepkin is always perceived not as an addition to the title but as a blessing of Destiny.

The Belgorod Drama is continually following the artistic commandments and traditions of Russian psychological theatre. At the times of the World War II the theatre went through the battlefront areas, through Samarkand, Tashkent, Kyzyl-Orda but, according to the Arts Department of the Council of People‘s Comissars of the RSFSR, it «preserved itself as an artistic group, saved its evacuated values, was working continuously without state subsidies». In April

1944 the theatre opened a new season in a building destroyed by the War.

The turning point in the history of the region and the theatre was 1954. That year the Belgorod Region was formed and the theatre got the regional status. In a two years time it also got a name of a famous Russian actor, a Belgorodian, Mikhail Shchepkin. In 1962 the theatre moved to a new building specially built in the centre of the city. In 1998 the theatre got the Academic status in its title.

A great contribution to the establishment and development of Belgorod Drama Theatre was made by its first producers N.G. Belokon and S.M. Kozlova, directors A.S. Garsky, A.P.

Troitsky, S.I. Muzili and A.I. Muzili (of Maly Theatre‘s famous artistic dynasty), A.E. Rebnik. Some highlights of the Theatre‘s life are also connected with the creative activity of the directors

A.A. Pikovsky, R.G. Bayer, V.I. Ilyin, G.A. Kosyukov, V.V. Kaznacheev... Many years were devoted to the theatrical work by the Honoured Artists of Russia A.P. Mamontov, G.I. Gritchin, M.E. Parakhnenko, artist N.N. Melnikova... The names of certain actors, favourites of different generations of the public, are written down in the history of the Theatre: People‘s Artiste of the

RSFSR V. Bondaruk, Honoured Artiste of the RSFSR V. Logvinova, Honoured Artiste of the RSFSR Y. Yartseva, Honoured Artiste of the RF V. Yarmak, Honoured Artiste of the RF V. Podmogilny, actors I. Lebedev, V. Ignatov, Y. Zorina, S. Ovsyannikova, A. Baratov, P. Samsonov, V. Protasova, A. Negina, G. Yezhova, and veterans of the Shchepkin stage - People‘s Artiste of the RF N. Chernysh, actresses I. Banina, M. Baskova...

One of the highlights in the history of the Theatre is the All-Russian festival Actors of Russia to Mikhail Shchepkin - the first festival of actors in Russia. Belgorod Theatre became its organizer and moving force. Born in 1988, in the year of the 200th anniversary of the great actor, it has since gathered more than sixty theatres from Russia, Belarus, Ukraine, Serbia and taken a deserved place in the theatre life of the country.

The Theatre gets a great attention and active support from the Government of Belgorod Region and its Governor E.S. Savchenko.

THE MARIINSKY THEATRE TODAY

Under Yuri Temirkhanov, Principal Conductor from 1976 to 1988, the Opera Company continued to stage innovative productions of bth modern and classic Russian operas. Although functioning separately from the Theatre‘s Ballet Company, since 1988 both companies have been under the artistic leadership of Valery Gergiev as Artistic director of the entire Theatre.

The Opera Company has entered a new era of artistic excellence and creativity.

Since 1993, Gergiev‘s impact on opera there has been enormous. Firstly, he reorganized the company‘s operations and established links with many of the world‘s great opera houses, including royal opera house, Covent Garden, the Metropolitan Opera, the Opera Bastile, La Scala, La Fenice, the Washington National Opera. Today, the Opera Company regularly tours to most of these cities.

Gergieve has also been innovative as far as Russian opera is concerned in 1989, there was an all – Mussorgsky festival featuring the composer‘s entire operatic output. Similarly, many of Prokofiev‘s operas were presented from the late 1990s.

Operas by non – Russian composers began to be performed in their original languages, which helped the Opera Company to incorporate world trands. The annual ―Stars of the White Night festival‖ in Saint Petersburg,started by Gergievin 1993, has also put the Mariinski on the world‘s culture map.

Presently, the Company lists on its roster 22 sopranos, 13 mezzo – sopranos. 23 tenors, 8 baritones and 14 basses. With Gergiev in charge overall, there is a head of Stage Administration , a Stage Director, Stage Manager and Assistants, along with 14 accompanies

REFORMERS OF THE STAGE

The XX century gave the world such innovators and stage reformers as Stanislavsky and Vakgtangov on the one hand and Breht and Meyerhold on the other.

Stanislavsky and Breht were both practitioners and theorists. They created the most complete drama theories. Each of them has his own working methods and their achievements brought them general acclaim. Their influence on the world theatre and their appeal don‘t lessen with time.

Stanislavski is an outstanding Soviet actor, stage director and theorist who looked for the new ways of scenic expressiveness; he strove to sum up the experience of the world stage masters.Stanislavsky‘s conceptions were greatly influenced by Shepkin who has been called the father of Russian realism, and the plays by Anton Chechov.

The Stanislavsky‘s system fought against overacting,clichés and mannerism. Before

Stanislavsky drama schools everywhere in the world had been teaching only physical elements of an actor‘s playing: ballet, fencing, speech, diction. There had been no inner acting technique. Stanislavsky developed the technique which helped actors to build the inner world of the person portrayed on the stage. His demand for truth and simplicitydid‘t mean only external presentation

of naturalness. Stanislavsky‘s ―art of adaptation‖ concerned everything from the actor‘s make – up to the inner identification with the character.He believed that theatre became art only through professionalism.

The Stanislavsky‘s System played an outstanding role in the development of the theatreAll over the world actors, directors, and teachersof acting follow his method. However we should remember that the method is not dogmatic.The great innovator did not look upon his method as an end in itself. ―Create your own method‖, he used to say to his actors. ―Don‘t depend on mine, but keep breaking traditions‖.

Vakhtangov was Stanislavsky‘s greatest pupil. He was an inspired artist who left his mark on all his creations.

It is interesting to note that during the short years of Stsnislavsky‘s creative effort he was much interested in the work of V. Meyerhold, the famous innovator whose productions arosed heated and contradictory discussions. Meyerhold‘s ambition was to find the sensational new stage laws. He never repeated himself never stopped experimenting. In contrast with Stanislavsky who wanted the spectators to lose themselves in the atmosphere of the play, Meyerhold wanted the spectator remember thzt he was in the theatre, to make him think.Meyerhold often acted purely frov a desire to reject the old and used the form which had little connection with the essence of the play.Meyerhold strove for the same purpose as Stanislavsky – fighting against everything trivial.

As far as Brecht is conserned, his art has very much in common with the art of Meyerhold. Like Meyerhold,Brect used open directorial devices., demonstrated emphasis of his own point of view, and an epic form of drama. But Brecht‘s main contribution is innovatory drama heritage.

Brecht‘s attitude to Stanislavsky‘s System was contradictory. On the one hand, it appealed to him as an integral aesthetic theory, but on the other hand, he rejected the ―day – dreaming theatre‖ as he called it. The difference between their approaches can be explained by the difference in their historical tasks and national traditions. The Stanislavsky‘s System and Brecht‘s epic drama grew out of the deep and continuous desire to better the level of acting.

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Англо – русский словарь по теме «Театр»

Англо – русский словарь по теме «Режиссура»

Shot - кадр (момент между тем, как мы нажали на кнопку "запись" на камере и затем нажали на кнопку "стоп").

Frame - кадрик (один кадрик на кинопленке или одно статичное изображение в видеозаписи).

Close-up shot - крупный план (где-то от шеи включаю чуть воздуха над головой) Extreme close-up - сверхкрупный план (берем под подбородок, лоб обрезан, или даже крупнее, одни глаза)

Medium close-up - план погрудный (молочный)

Medium shot (Sometimes Mid Shot) - средний план

Long or Wide Shot - общий план, все фигуры в полный рост

Extreme Wide Shot - дальний план

Two-shot - в кадре два человека, взяты в рамку кадра на уровне среднего плана Over-the-shoulder shot - кадр через плечо собеседника

Point-of-view shot (POV) - "субъектив", кадр, снятый с точки зрения героя

Subjective camera or shot - синоним POV, "субъектив" Establishing shot - заявочный план

Master shot - мастер-план, съемка сцены от начала до конца, как правило (но не

обязательно) общим планом, очень любяи снимать на сериалах для безопасности (чтобы любой момент сцены был заснят)

Foreground - передний план

Background - задний план

Reaction shot - план, в котором мы показываем реакцию героя на событие или слова / действия собеседника

Композиция кадра:

Framing or Frame - граница кадра, которая определяет наличие или отсутствие пространства вокруг героев или объектов

Tight framing - когда граница кадра вплотную приближена к герою или героям, в кадре нет воздуха, нет пространства

Loose framing - граница кадра отодвинута от героев, вокруг них есть "воздух", атмосфера Open frame - открытый кадр, пространство, в котром находитсья герой, продолжается за рамкой кадра

Closed frame - закрытый кадр, границы пространства, в котором находиться герой, расположены внутри кадра

Distant frame - камера расположена на удалении от персонажа / объекта Сlose frame - камера находиться близко к персонажу / объекту Движения камеры:

Pan - горизонтальная панорама Tilt - вертикальная панорама

Arc shot - камера движется вокруг героя, героев или объекта (ов) по полусфере Tracking shot - кадр, снятый с использованием рельсов (движущаяся камера)

Dolly shot - синоним Tracking shot

Crane shot - кадр, снятый с использованием операторского крана Handheld - съемка ручной камерой

High-angle shot - верхний ракурс, кадр, снятый с верхней точки Low-angle shot - нижний ракурс, кадр, снятый с нижней точки Follow shot - следящая камера, камера следует за героем

Zoom - наезд

Объективы и другие операторские штуки

Lens - объектив

Wide lens - широкоугольный объектив Long-focus lens - длиннофокусный объектив Depth of field - глубина резкости

Gels - желатиновые светофильтры

Tripod - штатив

Stand - штативы для света (не знаю, как у нас они называются) Track - рельсы (для камеры)

Работа с актером

Blocking - расположение актеров в пространстве и репетиция их движения в кадре (мы часто говорим, что режиссер "разводит мизансцену"). Этот термин используется гораздо чаще, чем Mise-en-scene, а в чем разница между этими двумя терминами я не совсем уловила.

Свет

Three-point-lighting - классическая схема расстановки света для создания естественного реалистического освещения. Как видно из названия, используются три источника света: заполняющий, рисующий и контровой

Fill light - заполняющий свет Key-light - рисующий свет Back-light - контровой свет

Background - фоновой свет (подсветка фона за объектом)

High-key lighting - когда объекты и персонажи полностью и хорошо освещены, классическая схема для мелодрамы

Low-key lighting - контрастный свет, свето-теневое решение сцены, когда часть объектов или персонажей погружины в темноту. Характерно для фильмов нуар, триллеров, ужастиков и т.п.

Звук

Diegetic sound - звук, чьи источники находятся в кадре Nondiegetic sound - звук, чьи источники не находятся в кадре

Synchronous sound - звук, который рожден действием, происходящим в кадре Nonsynchronous sound - звук, который не соотносится с тем, что происходит в кадре (например, мы начали новую сцену, но все еще слышим плач героини из предыдущей сцены, или же в диалоге мы видим не персонажа, который говорит, а того, кто слушает) Sound bridge - это как раз и есть перенос звука из одной сцены в другую (на профессиональном слэнге "захлест по звуку")

Сценарное мастерство Script - сценарий

Draft - вариант сценария

Scene - сцена (не называйте сцену эпизодом, это путает всех и вся), в среднем полнометражном сценарии 40-60 сцен