Spectator in the theater, Educating the viewer as a guarantee...

Theater Spectator

Educating the viewer as a guarantee of audience reproduction

The question of the viewer is the most important question of theatrical management: the economic situation of the theater and its financial result largely depend on it. It is clear that any theater dreams of a 100% occupancy of the auditorium. But does the sold-out always mean a favor for the theater? At what price is it achieved? Is not it worth losing tomorrow's spectators for today's success? How to set up reproduction your audience? What strategy is needed to strengthen the theater's position in the public mentality in order to survive in the sea of ​​multiplying forms of cultural leisure?

The role of the viewer in the theater, the philharmonic society in no way can be reduced to the role of the consumer, although the subject of consumption here occupies the highest scale of all sorts of benefits - these are the so-called cultural goods. The viewer in this case (in contrast, for example, from the viewer in the cinema or in the museum of painting and sculpture) is the creator of art. He "appears as a necessary condition for his" realization, "a hundred transformations into human reality, into the phenomenon of social consciousness and social being." Entering the auditorium, he enters the community, called the "public", becomes part of the collective perceiving body, by his reaction of the formative and imposing actors "spectator score of the play." Each time, from the performance to the performance, this score will be different, unique - that's why the performance will be different every time. This, in fact, is the whole essence of the theater, the secret of its vitality and, in the language of management, its competitive advantage over other arts.

The great director of the United States theater, Georgi Tovstonogov, once remarked that the theater is talented as much as its spectator is talented. It is worth pondering this phrase. If the viewer's role is so great, how much does the theater need its own? not casual - the viewer, how painstakingly he should grow it, educate, engage in the formation of its audience? What is the difference between an occasional spectator and a theatre?

Every art models reality, and at the same time uses only its inherent ways of modeling. To understand, to decipher these ways - means to master the language of this art form. The better the viewer (the listener, the reader) has this language, the more it is prepared - the more information, more impressions and more sense he can make out of the experience of communicating with this art. When the knowledge of the language of art is not enough, the individual in the process of perception finds for himself such elements of the language that are accessible to him, although the main content of the work may remain hidden for him. If he does not meet comprehensible signs and elements of language, he is bored, uninteresting, he estimates a work of art as bad, unsuccessful, or looks for something in the text of the work that reminds him of signs known to him, and from them he constructs a certain quasi-language, which he perceives, ascribing Sometimes the work of art has a meaning that is not contained in it. This happens not only in contact with the so-called complex art forms, for example classical music, it is often found in the perception of popular, popularized arts. "

Obviously, the prepared spectator is a theater-goer - he who has experience with the theatrical art, i.e. one who has visited the theater not once or twice, but visits him regularly and has a spiritual need in this. The theater is a person who is interested in any information about the theater, about performances. He reads critical articles, listens to radio broadcasts about the theater, comparing the critic's opinion, the publicist with his own experience and judgment.

To the note

Theater is a "live advertisement" theater. Being enthusiastic himself, he draws others and leads them to the theater.

The task of forming a theater audience is to educate theatergoers who can form a powerful backbone of theatrical audience. The fulfillment of this task can be considered from the point of view of different levels of solving the problem:

at the level of the country: familiarizat