Відображення природи в театральній сценографії та архітектурі

Abstract

Визначено деякі універсальні закономірності сприйняття простору, які є основою творення природних ландшафтів, міського середовища та творів сценографічного мистецтва.Today, an ordinary person, regardless of the rhythm of his life, is in at least three different environments. Natural (unchanged by man) – occupies the largest space in dimensions. Theatrical or theatrical (a short-lived reincarnation environment) – concentrated in local, small, interior or exterior spaces. Architectural – urban (anthropogenic – completely changed by man), which, given its parameters and delineated borders, occupies an intermediate position between the natural and theatrical. These, at first glance, very different environments are the micro-world of human existence, no matter what rules they are created for. However, probably, since ancient times, people were interested in the laws of organization of the natural environment and tried to reproduce it in their own models. I want to pay attention to only some of them, which are the most characteristic: perspective, with visual accent and vertical, rhythmicity (repeatability), centricity, interpenetration (mixing) of natural and anthropogenic environment, futuristic (sculptural) dominant, dynamics. Reflections on the laws of creation and the essence of space began in antiquity. The classic understanding of the universe, as it has existed and will always remain unchanged, has subsequently changed to the concept in which it evolves over time. Space and time are extremely general concepts, more general it is difficult to imagine. The artists of the Renaissance period were interested in the laws of space construction in order to be able to realistically convey the environment on their canvases. Today, the question of the search for the laws of space construction is not only exhausted, but it is becoming more complex. The purpose of the publication is to attempt to identify some of the characteristic patterns of organization and perception of the environment that exist, whether the space is anthropogenic, natural, closed or open, whether there is a literal, or depicted on the canvas of the theater curtain, conveyed through the imaginative thinking of the artist. Understanding some of the above universal patterns of perception of the world and space allow a person, by reproducing them through various techniques, to simulate their own environment. When designing houses, streets, and entire cities, architects often copy and transmit into their works what they have seen in nature. In scenographic art, where the artist has to compress space and time according to the size of the stage and the length of the play, these techniques are used to depict the space on the flat surfaces of the curtains, or to construct a scene layout. In spite of its much larger parameters than the theater, the environment of the city, provided that these techniques are understood and competent, can itself become a space for dramatized action.