Исследовательская работа по английскому языку.

Республиканская конференция-фестиваль творчества обучающихся

«EXSELSIOR-2018»

Направление: Общественно-гуманитарные науки

Секция:Мировая художественная культура

«Social problems of development and activity of the theatre at this juncture. »

Сведения об авторе: Петров Павел, ученик 8 класса МБОУ «Полевобикшикской СОШ».

Научный руководитель: Садыкова Л.Н., учитель английского языка.

Цель исследовательской работы: изучить социальные проблемы развития и деятельности театра на современном этапе.

Задачи исследовательской работы: выявить причины возникновения социальных проблем в развитии и деятельности театра на современном этапе.

Объектом исследования является театр.

Предметом исследования выступают социальные проблемы развития и деятельности театра.

Актуальность темы определяется тем, что в России 2019 год объявлен «Годом Театра».

The relevance of the theatre is unlikely to be affected by something as long as there are intellectual, deep, thinking people. Even the mass degradation of modern society isn’t terrible for the theatre. The answer to this can only be satire, showing the shortcomings and exposing the acute problem of society and each individual individually.

The theatre has lived, lives and will live as long as the fire burns in people's hearts and eyes. Only theatre and life can teach us to think and love.

The main problem of the theatre, both in social and in many other aspects, is the problem of financial and economic activity. There is no secret that the control over the allocated funds from the budgets of different levels is very low. And this problem defines all other considerable problems.

For example, there is often a situation when a theatre official is a wealthy person, while the servants of the theatre led a dog life. They can be fired at the height of the season, focusing on the provisions of their contracts. Repertory and employment policy is often determined by people who don’t even have necessary level of sufficient education. It is common situation in many provincial theatres. At the same time, official statistics indicate that the theatre is continuously and steadily developing, getting extensive, releasing premieres, etc.

"The formation of ideological and moral foundations of a legal, democratic society with resources of professional art quite applies to professional theatrical art, which affects the formation of cultural space, providing access to cultural values and designed to meet the artistic, cognitive, value-oriented, communicative, social needs, to promote the socialization of the audience."[1] We can observe a complete discrepancy between the official point of view and what is happening in real theatrical life.[9]

There is a significant scarcity of professional staff up to the ordinary stage workers. Frequently theatres don’t even executed bargaining collective agreements, which means that trade unions don’t have a real opportunity and benefits to defend their rights. There is a small number of lawyers who possess the specifics of the theatrical business, therefore there is no one who can resolve labor disputes and conflicts, and the theatre's management aggressively uses the situation in its own interests and takes benefits from it. In some theatres there is unnecessary management of the institution structure as the art Council. From the theatres of the distant areas there is a large outflow of actors, new graduates of theatre schools don’t aspire into such theatres.

For theatre life are also meaningful problems of a social nature. Thus, the buildings of many theatres in need of overhaul, stage equipment also requires repair, fixing and even renovation. There are not enough funds for new productions. Salaries in theatres of small towns sometimes don’t allow actors to live in their regular way. We can assume that the further reform of the socio-cultural sphere invariably leads to reducing the number of performances, and in the future we can observe the liquidation of some theatres. That is why the development of theatrical culture isn’t worth thinking about without state support. In this context, there are positive and progressive trends, for example, the widespread organization of theatre festivals of various scales.

At this stage of development, we can talk about the process of self-organization of theatrical life with the participation of the state. However, this process is hampered by the lack of certain conditions: social protection issues haven’t been resolved, the infrastructure of theatrical business hasn’t been formed, etc.

In the fact, today many leaders of cultural institutions, in particular theatres, don’t consider that due to the spread of the mass media, the demands of the modern consumer of art products haven’t just increased. Gradually, the perception of art itself is actively changing. Against this background, it’s too early to reflect about the modern increase of the role of theatre in society as a significant social institution. Theatre should communicate with the audience, but in most cases, it shouldn’t, for the reasons I have mentioned before.

We conducted a survey among the students of our school and we found that students are not interested in visiting the theatre, which is also a social problem in the development of theatre, because the younger generation is our future, if it isn’t interested in theatrical art, then art will not develop (Рис. 1). But there are ways to solve this problem in stimulating and attracting young people - all kinds of theatre clubs, tickets for performances on preferential terms, performances in accordance with fashion trends in the world of art, popular interactive performances, because the modern viewer does not accept the classics.

In conclusion I would like to say, that the collapse of the Soviet Union and the change of economic formation led Russian theatres to the predicted result: the disappearance of control led to a acute reduction (and even disappearance) of funding. The desirable ideological and aesthetic freedom of theatre groups was in principle unattainable, because the organization of the production process and the rental of performances is extremely costly, requiring huge financial investments even in cases where the performance eventually pays off. If we add to this the costs of maintaining the theatre building, the necessary periodic modernization of equipment, the organization of tours, advertising, and simply the wages of numerous theatre employees, the costs are very significant. Theatre groups of various types were forced to look for ways to subsidize their work, which, in fact, inevitably means a certain degree of new control (for example, by a sponsor).

All these economic disorders have left a negative impress on the role of the theatre as a social institution. At the turn of the century, the socio-cultural situation pushed the theatre from its traditional positions, today the theatre has to compete with many modern shows, with various individual and widespread forms of leisure. Many values of theatrical culture have ceased to be such in the thoughts of many viewers. "The expansion of the volume of artistic production and cultural offer opens up opportunities for a wide choice, which in itself enriches the range of audience perception, forms its new aesthetics, spreads the range of ideas and assessments, changes the skills and characteristics of cultural behavior of the population. In a certain way, it affects the self-consciousness of a person, their understanding of their own individual value, their place and role in life, finally, their personal, professional, social virtues... through the perception of the public, its emotional, aesthetic, rational assessment, through the comprehension of its dialogue with the artist, the ideas of time, born of life, already at a new, higher level of understanding, fix social qualitative changes, form a public mood, consolidate new values, direct and develop people's self-consciousness".[2]

Theatre can reasonably be considered a special form of artistic and social mass communication, stand out from the general list of cultural institutions as a socio-cultural institution. The theatre satisfies many human demands, forms a person's attitude to reality, is a way of social orientation and contributes to the individual's knowledge of social life experience. At the same time, the importance of theatre as a social institution today isn’t as significant as it was in the Soviet period. And although at that time the theatre was mainly assigned an ideological function, but the modern development of the theatre allows us to speak with confidence about the progressive increase of its role in the development of the socio-cultural component of the state.

Список литературы

1. Богданова П. Новый зритель и новые ожидания. Беседа с Замдиректора ГИИ А. Рубинштейном//Современная драматургия. №2. 2002.

2. Васенина Е. Театр – по швам. Интервью с О. Лоевским//Новая газета. №53, от 17 июля 2006.

3. Глазычев В.Л. Городская среда. Технология развития//По материалам Internet-сайта http://www.glazychev.ru

4. Дадамян Г.Г. Социально-экономические проблемы театрального искусства. –М., 1982.

5. Дмитриевский В.Н. Основы социологии театра: История, теория, практика. –М., 2004.

6. Дмитриевский В.Н. Театр и зрители. Отечественный театр в системе отношений сцены и публики: от истоков до начала XX в. –СПб., 2007.

7. Жидков В.С. Театр и время. –М., 1975.

8. Кузнецов В., Кузнецова И., Миронов В., Момджян К. Философия. –М., 2004.

9. Корниенко Н.Н. Театр сегодня – театр завтра: Социоэстетические заметки о драме, сцене и зрителе 70-80-х годов. Киев, 1986.

10. Левшина Е.А. Формирование зрительской аудитории театров. –Л., 1989.

11. Программа Ханты-Мансийского АО «Культура Югры» на 2006-2008 гг. //По материалам Internet-сайта http://www.admhmao.ru

Приложение

Рисунок 1.

«Interviews among students about their preferences in entertainment outside the home»

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[1] Программа Ханты-Мансийского АО «Культура Югры» на 2006-2008 гг. //По материалам Internet-сайта http://www.admhmao.ru

[2] [10] Дмитриевский В.Н. Театр и зрители. Отечественный театр в системе отношений сцены и публики: от истоков до начала XX в. –СПб., 2007. С.15-16.