Our whole life is accompanied by many events of a personal, collective and social nature that cause a festive mood, a desire to meet friends, relatives, colleagues, or simply be in a festive crowd of people we know and don’t know. On a holiday, we want to enjoy a festive fiesta or fireworks, listen to speeches by famous politicians, writers, artists, take part in comic competitions, contests, dance, listen to music, look at visiting or local artists, chat with interesting people, sing along with a guitar, wander through the festive streets. Good or not, but these festive events are artistically organized today. The scale of the festive action, venue, form, genre and, accordingly, the means of expression used depend, first of all, on the significance of the event being celebrated. An important role here is played by the needs of the audience for which the festive event is organized, the amount of available financial resources, the number and level of performing skills of creative teams that can be involved in the theatrical performance, as well as the talent, moral and civic positions of the organizers of this holiday.
An analysis of the practice of artistic organization of festive events revealed that each program has its own set of scenario material and a different degree of participation in the program of the audience . As a result, we single out the following variety | modern holiday programs:
– entertaining and gaming;
– entertainment-playing and entertainment-entertaining;
– artistic and literary-artistic;
– documentary and artistic;
– documentary and journalistic;
– ceremonial rituals;
– complex programs.
This type of program is proposed based on the scenario material that prevails in a particular program, as well as the degree of participation in the festive action of the audience present. Let’s look at each program separately.
Game programs are created on the basis of various game forms: games, attraction games, quizzes, riddles, lotteries, contests, auctions, relay races, etc. Along with game forms, artistic material is also used here: poetry, prose, music, choreography, plastic arts and other types of literature and arts, which are organically “woven” into the developing action.
A prerequisite for the organization of such programs is the activation of the audience. There are no spectators here – everyone is a participant in the program.
Entertainment and game programs are created on the basis of various entertainment and game forms. Usually these are dances, contests, charades, puzzles, quizzes, competitions and much more, which allows the audience to express themselves, test and show themselves, identify and demonstrate their abilities and capabilities. And, of course, one cannot do here without using the existing variety of artistic material, which will help create the necessary atmosphere for the developing action, easy communication, amateur creativity and active recreation of the gathered people. Scenarios of gaming and entertainment programs are an artistically organized program of actions for the audience.
Spectacular and game and entertainment programs, in addition to games, are based on concert numbers of various genres. That is, the scenarios of these programs are a synthesis of game and artistic material – in the first case, and a synthesis of various kinds of entertainment, game forms and artistic material – in the second case, to the same extent, in equal proportions. Here, the audience is not only a direct participant in the forms of action proposed by the program, but also an active spectator, empathizing with what is happening, which contributes to the satisfaction and formation of a wider range of its needs.
Infotainment programs are built on the basis of documentary material, entertainment and game forms. Artistic material can be used both equal to the above-mentioned main scenario material, and performing an auxiliary function for emotional impact on the audience or creating conditions for active recreation. The information material of such programs should not be difficult to perceive and prevail over entertaining and game forms. The ideal option is when the game and entertainment forms in the program help to convey information to the audience and contribute to its comprehension.
Competitive programs – their structure is made up of a wide variety of competitions, which are selected based on the expediency of the competitive program. Along with competitions, scenario material, there can be various game forms, as well as artistic material. The degree of use of artistic material and the variety of game forms is determined by the principles of organizing the scenario material and the type of competition program. The degree of activity of the audience is not the same here. Some are direct participants in the action, others are spectators who actively empathize with them.
Spectacular programs – scenarios can only be based on artistic material in all its diversity. Scenarios of entertainment programs can also be built on the basis of a synthesis of artistic and documentary material. Both material can be used equally, or one of the named types of scenario material may predominate. Spectacular programs require a division into spectators and performers, although each scenario of this variety programs the activation of the audience to a certain extent. Spectacular programs are distinguished by a variety of means of script and director’s expressiveness, multi-genre, original presentation and ease of perception of the script material.
Artistic and literary-artistic programs are built on the basis of artistic material and involve the division into spectators and performers. At the same time, based on the principles of organizing scenarios for such programs, the degree of audience activation may be different. At the same time, in one program, the scenario material for artistic programs can be all kinds of art, and all of them can act here on an equal footing, or one kind of art can prevail over another. One type of art can act as the scenario material for an artistic program, and its value will not decrease from this. The literary and artistic program requires an equal ratio of literary and artistic material, and perhaps the predominance of literary material. If we observe the opposite, then the program will be artistic. These programs can reveal various topics, raise problems that concern modern man, the perception of such programs requires a trained viewer who is able to perceive works of art, able to think and analyze.
Documentary-fiction programs basically contain documentary material. Artistic material is secondary in the process of working on the creation of this program, although it can be an advantage in the scenario of such a program, since documentary, local material requires a figurative solution. Local material in some programs of this type may be the main one, while in other programs it may not be used at all. Also in documentary-fiction programs, the situation is with the activation of the audience. In some programs it is maximum, in others it is only at the level of empathy.
Documentary and journalistic programs require maximum activation of the audience. The script material here is documentary and local material. The focus of the screenwriter in the process of working on the script should be a real hero, some specific person, team, group, or some kind of life fact, a socially significant event that worries a specific audience. The artistic material here has an auxiliary function, despite the fact that sometimes it prevails over documentary and local material in the structure of the script based on the principles of organizing the script material.
Scenarios of ceremonial ritual programs in one case basically contain local documentary material. As in documentary and journalistic programs, here the script is built around specific people, real heroes are at the center of the developing action. In another case, the scenarios are based on traditional ceremonial and ritual actions of a particular locality, team, family. However, both programs provide for the maximum activity of the audience and the holding of various ceremonial rituals.
action Here, it is necessary to use artistic material, in one case as an auxiliary material, in another case, artistic material can form the basis of a scenario design when it comes to folk holidays and rituals.
Complex programs can incorporate all of the above scenario material: documentary, journalistic, local, artistic, folklore. In complex forms, ceremonial and ritual actions, various game forms, competitions, and entertainment are widely used. Integrated programs are a complex system consisting of a variety of the programs listed above, which are their components. So, one complex program can include a documentary-artistic program, a spectacular, competitive, ceremonial-ritual, game, entertainment, etc. Building scenarios for complex programs is based on the broad organization of the activities of the participants in the festive action and the use of the whole variety of means of ideological-emotional and allegorical expressiveness.
In connection with the dramatic principles of the organization of the scenario material, each type of program has its own internal varieties. So, programs can be: