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Performance film

A film-performance is an adaptation of a theatrical performance carried out by means of cinema and cinema [1] or television [2] .

According to the publication “ Cinema: Encyclopedic Dictionary ”, a film performance is an adaptation of its theatrical prototype, in which the means of cinema are actively used: first of all, montage , studio and full-scale shooting [1] . I.G. Katsev, who occupied the post of deputy editor-in-chief of the editorial office of the Central Television and Radio of the USSR Television and Radio in 1970-1980, calls the theater performance shot on video or film in a multicameral way, regardless of whether there is an installation in it and field shooting [3] . In the catalog of the State Radio and Television Fund “films-performances” any video recordings of theatrical productions are referred to, including recordings from the broadcast from the theater [2] [4] . At the same time, some sources call the “movie-performance” the recording of the performance by means of cinema [5] [6] (that is, a “cinema performance ” [6] [7] [8] ).

Content

History

Performing films appear in the first decade of cinema, and early-stage feature films are characterized by a deep relationship with the theater. But the lack of sound and new expressive means soon confirmed the emergence of a new genre, and actual screen versions of the performances began to stand out from the rest of the films [9] .

In Russia

In the cinema

R.N. Yurenev , the author of a detailed work on film performances published in the 1950s [10] calls the film performances “filmed drama theaters recorded by cinematic methods” and compares them with the performances that the French transferred to the screen the company “ Film d'Art ” at the beginning of the XX century [11] . A. Lipkov notes that the practice of film adaptation of performances has existed almost since the birth of the cinema and cites as an example shooting fragments of the St. Petersburg People’s House “Prince Serebryany” pioneer of Russian cinema Alexander Drankov [12] . According to S. Ginzburg, pre-revolutionary films “The Inspector” (1916, a screen version of the Moscow Maly Theater with E. Turchaninova ) and “ Tsar Ivan Vasilyevich Grozny ” (1915, one of the best parts Chaliapin from the opera Pskovityanka ).

The first films-performances were practically copies of theatrical productions. In the future, they began to be gradually improved: part of the filming was not done in fake scenery of nature, but in kind, long theater scenes were divided into shorter episodes, like in cinema, some actors were replaced with more suitable ones according to external data [12] . A special kind of film-performance became a cameraman and film ballet [13] .

In the postwar years, interest in this form of art spurred the shortage of feature films that arose in the late 40s and early 50s of the 20th century [14] . In 1951, the director S. Alekseev directed the production of the Maly Theater “ True is Good, but Happiness is Better ”. This experience opened up the possibility of cinema, without the great expense of both creative and organizational-time (to approve the script, coordination), quickly and easily obtain tapes suitable for demonstration in movie theaters [12] . Films-performances have become established in Russian cinema. The decision to mass release films on the screens was caused by the need to fill the screens of cinemas in the conditions of the post-war crisis of little picture [15] [16] . Already in the following year, 1952, of the twenty-four films released on the screens, ten were performance films. Among the highest grossing films were the films “ The Dance Teacher ” of the Central Theater of the Soviet Army , “The Living Corpse ” of the Leningrad Drama Theater named after A. Pushkin and “The Break” of the Bolshoi Drama Theater named after M. Gorky , and in 1953 the film “The Love ” Spring "of the Bolshoi Drama Theater named after M. Gorky became the leader of film distribution [17] . Many films-performances were shot at cinematographic studios, but appeared due to the development of television, for which a large-scale shooting of theatrical productions of the country's leading theaters was organized in the early 1950s [2] .

On TV

Films-performances commissioned by television and which have gone from simple recording of action on stage to film (the first such film-show of the Maly Theater “ True is good, but happiness is better ” was filmed in a cinematic way, with one camera in an empty room, with further editing [ 18] < [ specify ] ) before creating full-fledged creative works using all spectra of television art, they created the conditions for improving the form of a film-performance and making it a special genre of television art [2] .

According to N. Zorkoy , a television film performance is a new work of art, “a work of another independent art, an equivalent, a parallel to the stage original in a different, television screen space and dimension. It is a television film-play that exists in parallel and simultaneously with live theater action that clearly demonstrates the independence of a new aesthetic appearance, its certain advantages, and, together, the blood connection with the original, sometimes the opposite effect on the original ” [19] .

Such films were staged by such well-known directors as Georgy Tovstonogov , Anatoly Efros , Evgeny Radomyslensky , and many others [20] [21] [22] .

Notes

  1. ↑ 1 2 Cinema: Encyclopedic Dictionary / Ch. ed. S. I. Yutkevich; Editorial board: Yu. S. Afanasyev, V.E. Baskakov , I.V. Weissfeld et al. - M .: Soviet Encyclopedia , 1986. - 100,000 copies.
  2. ↑ 1 2 3 4 Kisunko V.G. Television art // Big Soviet Encyclopedia, 30 t. - M .: Soviet Encyclopedia, 1976. - V. 25 .
  3. ↑ Katsev I. G. On literary and dramatic broadcasts on TV (neopr.) . The story . Museum of Television and Radio. Date of treatment October 27, 2016.
  4. ↑ From the archive of the State Fund for Television and Radio Programs (Neopr.) . Archives . Museum of Television and Radio. Date of appeal October 25, 2016.
  5. ↑ Kolesnichenko O. Ya. Metamorphoses of the theater on television (Russian) // Culture and Time for Change.
  6. ↑ 1 2 Lipkov A. I. Problems of the television movie-performance: [ Russian ] : collection of articles / Ed. Bogomolov Yu.A .; Vartanov A. S .; Lipkov A. // Poetics of the television theater. - M .: Art, 1979. - S. 95-114. - 239 p.
  7. ↑ S.V. Komarov. The history of foreign cinema: T. 3: Cinema of the countries of socialism. Textbook allowance . - 2nd ed., Ext. and expansion .. - Moscow: Art, 1981. - T. 3. - S. 152.
  8. ↑ Philosophical sciences Issue 5-8 // Philosophical sciences: journal. - Moscow: Higher School, 1991. - Vol. 5-8 . - S. 54 . - ISSN 0235-1188 .
  9. ↑ Ben Brewster, Lea Jacobs. Theater to Cinema: Stage Pictorialism and the Early Feature Film . - Oxford University Press, 1997-01-01. - S. 5-6. - 256 s. - ISBN 9780198182672 .
  10. ↑ Yurovsky, 1983 , p. 160.
  11. ↑ Yurenev, 1955 , p. 412.
  12. ↑ 1 2 3 Lipkov, 1979 , p. 102.
  13. ↑ Cinema: Encyclopedic Dictionary / Ch. ed. S. I. Yutkevich; Editorial board: Yu. S. Afanasyev, V.E. Baskakov , I.V. Weissfeld et al. - M .: Soviet Encyclopedia , 1986. - 100,000 copies.
  14. ↑ A.A. Novikova. Television and theater: the intersection of patterns, 2010 , p. 37.
  15. ↑ Yurenev, 1997 , p. 109.
  16. ↑ R. N. Yurenev writes that in 1946-47 the production of motion picture films was kept at the level of the war years (about 25 a year), in 1948-49 it dropped to 17, in 1950 it was made 13, and in 1951 only 9 films ( Yurenev, 1997 , p. 98).
  17. ↑ Fedor Razzakov. The death of Soviet cinema. Intrigue and debate. 1918-1972 . - Litres, 2016-08-27. - S. 153-154. - 878 p. - ISBN 9785425088185 .
  18. ↑ Evgenia Kornilova, Evgeni Kornilov. Mass communications at the turn of the millennium . - Litres, 2015-03-03. - S. 206-207. - 374 p. - ISBN 9785457493827 .
  19. ↑ Zorkaya N.M., 1981 , p. 47-48.
  20. ↑ Lipkov, 1979 , p. 112.
  21. ↑ A.A. Novikova. Television and theater: the intersection of patterns, 2010 , p. 51-54.
  22. ↑ 40 Sholom Aleichem Street (Neopr.) Television and radio broadcasting (1987). Date of treatment February 25, 2017.

Literature

  • Ginzburg S. S. Film-play // Cinema Dictionary: in 2 volumes / Ed. Collegium: S.I. Yutkevich (chap. ed.). - M .: Soviet Encyclopedia, 1970 .-- T. 2 . - S. 760 .
  • Zorkaya N. M. Unique and replicated / L.P. Orlova. - Moscow: Art, 1981. - 167 p. - 7000 copies.
  • Lipkov A. Problems of the television movie performance // Poetics of the television theater: Collection of articles / All-Russian Research Institute of Art Studies; Repl. ed. Yu. Bogomolov, An. Vartanov, A. Lipkov. - M .: Art, 1979. - S. 239 .
  • Novikova A.A. Television and theater: intersections of patterns / foreword by A. A. Sherel. - 2nd ed. - M .: URSS editorial, 2010 .-- 176 p. - ISBN 978-5-354-01257-2 .
  • Yurenev R. N. A Brief History of Cinema. - M .: Publishing House Center "Academy", 1997. - 286 p. - ISBN 5-7695-0145-6 .
  • Yurenev R. N. Films-plays // Questions of cinema art: Collection of articles / Otv. ed. Yu. S. Kalashnikov; Acad. sciences of the USSR. Institute of Art History. - M .: Art, 1955. - S. 412-427 .
  • Yurovsky A. Ya. Television - searches and solutions: Essays on the history and theory of Soviet television journalism. - 2nd ed., Additional .. - M .: Art, 1983. - 215 p.
Source - https://ru.wikipedia.org/w/index.php?title=Film-performance&oldid=100345375


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