Abstract
Today, art studies on the theory, history, and stage setting are quite compound. National science lacks specialized subject and systematic studies aimed at examining the experience of using animal motifs – as the use of non-performing animals on stage as a specific element – in the production design of performing arts. The purpose of the article is an art analysis of the animal motifs in the scenic design of theatre production from antiquity to the present. The research methodology is the traditional art methods: historical-cultural, historical-attributive, reconstructive-model, chronological descriptions, which provide the explaining of the figurative transformation of animal motifs in the scenic design of theatrical production. Animal motifs in the system of scenic design are first considered in scientific terms, which shape the scientific novelty. The author draws the following conclusions: scenic design has a dual nature belonging to both the design and performing arts; the perception of animate motifs in the scenic design carries aesthetic and/or emotional pleasure to the public as animals improvise unpredictably, and again they begin to dominate at scenic design of the theatrical production; ways of involving animals in scenic design can be organized by functional purpose: animals as a component of scenic design, animals as game design requisites, animals as living sets, animals as participants in the stage action; animal motifs have functional features in the scenic design of dramatic performances.
Highlights
The concept of design is relatively young and today is freely used in all arts, including the performing arts
The author draws the following conclusions: scenic design has a dual nature belonging to both the design and performing arts; the perception of animate motifs in the scenic design carries aesthetic and/or emotional pleasure to the public as animals improvise unpredictably, and again they begin to dominate at scenic design of the theatrical production; ways of involving animals in scenic design can be organized by functional purpose: animals as a component of scenic design, animals as game design requisites, animals as living sets, animals as participants in the stage action; animal motifs have functional features in the scenic design of dramatic performances
With regard to the theoretical interpretation of the concepts of “design” and, in particular, the “scenic design” in relation to the terms “theatre decorative art” and “scenography”, it should be noted that theatrical science interprets the term “theatre decorative art” as synonymous for “scenography”, defining it as a “form of fine art that builds the spatial and visual environment, visual image, place and time of theatrical production” (Drak, 1984)
Summary
National science lacks specialized subject and systematic studies aimed at examining the experience of using animal motifs – as the use of non-performing animals on stage as a specific element – in the production design of performing arts. The purpose of the article is an art analysis of the animal motifs in the scenic design of theatre production from antiquity to the present. The author draws the following conclusions: scenic design has a dual nature belonging to both the design and performing arts; the perception of animate motifs in the scenic design carries aesthetic and/or emotional pleasure to the public as animals improvise unpredictably, and again they begin to dominate at scenic design of the theatrical production; ways of involving animals in scenic design can be organized by functional purpose: animals as a component of scenic design, animals as game design requisites, animals as living sets, animals as participants in the stage action; animal motifs have functional features in the scenic design of dramatic performances
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