FUNCTIONAL SPECIFIC OF STAGE MAKE-UP IN THE STRUCTURE OF ART IMAGE
UDC index:
792
DOI: 10.31773/2078-1768-2019-47-150-156.
Article ID in the RSCI:
Article file: Download
Information about authors: Pechkurova Liliya Semenovna, Associate Proffesor of Department of Theatre Art, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: panteevat2008@rambler.ru Grigoryants Tatyana Aleksandrovna, PhD in Culturology, Professor, Professor of Department of Theatre Art, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: panteevat 2008@rambler.ru Berseneva Elena Vitalyevna, Associate Professor of Department of Theatre Art, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: Aneegma@mail.ru
Annotation: The synthetic theater nature involves many artistic components in the creating process of the image performance forming. The theatre make-up has a value not only as an external figure of the actor’s character but as a full-bodied part of art image of a role. The actuality of the article is in the fact that the skill of theatrical make-up’s valuable art image is created if make-up is considered a part of the director and artist of the play intention. Make-up is an element of the producer’s artistic handwriting. The object of investigation is a presentation of the functional special features of make-up and determination of its dual nature: make-up as an element of external figure of a stage character and make-up as influence of an actor that facilitates more a complete idea of stage image. The artistic idea of the performance subordinates the creation of the character make-up. The analysis of structural units of compositions, plays, possible versions of the synthesis of expressive means and their lexical special features shows the place of stage make-up in the structure of the process of creating the role and artistic means of the performance. Introducing the external component of the hero, a stage makeup implements some functions. The first function is a correcting function (correcting or washing some deficiencies, which have actors). The second function is identification, which is determining the hero’s personality. The third is communicative, establishing the relations between the characters and the spectator. Comparing the form of the participation of make-up as the component of the artistic means of a character in the different theatrical schools, its dual nature is determined. On the basis of concrete performances, we can consider not only determined functions realization, but also the relationship of the stage make-up with other components of the system “stage costume.” The semiotic analysis allows to present that the artistic image of the character is composed of three components: “Habitus” (body of the actor) with all physiological special features, “Suit” which includes many parts (among them theatre makeup) and – “Kinesika” – a plastic sheet of stage moving, binding the whole structure of the artistic image. All three components are interrelated and interdependent, that is due to the characteristics of the human body. This circumstance determines dual nature of a stage make-up in the system of expressing components. The role of stage grim in the system of expressing components is caused by its functional special features.
Keywords: theatre, art image, costume, stage make-up, expressing means, functions of stage make-up, stage text, external presentence.
DOI: 10.31773/2078-1768-2019-47-150-156.
Article ID in the RSCI:
Article file: Download
Information about authors: Pechkurova Liliya Semenovna, Associate Proffesor of Department of Theatre Art, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: panteevat2008@rambler.ru Grigoryants Tatyana Aleksandrovna, PhD in Culturology, Professor, Professor of Department of Theatre Art, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: panteevat 2008@rambler.ru Berseneva Elena Vitalyevna, Associate Professor of Department of Theatre Art, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: Aneegma@mail.ru
Annotation: The synthetic theater nature involves many artistic components in the creating process of the image performance forming. The theatre make-up has a value not only as an external figure of the actor’s character but as a full-bodied part of art image of a role. The actuality of the article is in the fact that the skill of theatrical make-up’s valuable art image is created if make-up is considered a part of the director and artist of the play intention. Make-up is an element of the producer’s artistic handwriting. The object of investigation is a presentation of the functional special features of make-up and determination of its dual nature: make-up as an element of external figure of a stage character and make-up as influence of an actor that facilitates more a complete idea of stage image. The artistic idea of the performance subordinates the creation of the character make-up. The analysis of structural units of compositions, plays, possible versions of the synthesis of expressive means and their lexical special features shows the place of stage make-up in the structure of the process of creating the role and artistic means of the performance. Introducing the external component of the hero, a stage makeup implements some functions. The first function is a correcting function (correcting or washing some deficiencies, which have actors). The second function is identification, which is determining the hero’s personality. The third is communicative, establishing the relations between the characters and the spectator. Comparing the form of the participation of make-up as the component of the artistic means of a character in the different theatrical schools, its dual nature is determined. On the basis of concrete performances, we can consider not only determined functions realization, but also the relationship of the stage make-up with other components of the system “stage costume.” The semiotic analysis allows to present that the artistic image of the character is composed of three components: “Habitus” (body of the actor) with all physiological special features, “Suit” which includes many parts (among them theatre makeup) and – “Kinesika” – a plastic sheet of stage moving, binding the whole structure of the artistic image. All three components are interrelated and interdependent, that is due to the characteristics of the human body. This circumstance determines dual nature of a stage make-up in the system of expressing components. The role of stage grim in the system of expressing components is caused by its functional special features.
Keywords: theatre, art image, costume, stage make-up, expressing means, functions of stage make-up, stage text, external presentence.
