Folk art. Seravin A.I. Research of creativity. Possibility of defining creativity Creative activity art created by the people

It is almost impossible to imagine a person’s life without creativity. Even in the Stone Age, people were drawn to everything beautiful and created objects that became an integral part of culture. Humanity has come a long way - from rock paintings before the development of high technologies. Creative activity- this is not just new discoveries and the creation of unique values. This is something without which it is impossible to imagine planet Earth.

What is creative activity?

This term refers to the creation by man of a new, previously non-existent product. Such activities include not only music, painting or poetry, but also a huge variety of other areas. Every person is capable of engaging in creative activities, regardless of their professional skills. This may be passive participation in research or conduct scientific experiments. Anyone who empathizes or expresses other emotions can confidently say that they are engaged in creative activity. This fact does not only apply to humans - even animals are able to demonstrate their talents through unique opportunities.

Types of creative activity

Despite all the negative factors human life, geniuses were born and created their imperishable creations. Even in prison and poverty, people could not live without bringing something new into this world. Every person is born a creator and has the makings of genius. Further development of talents depends only on the individual himself.

This creative activity has always occupied a special place in the life of mankind. Artists' works are considered cultural heritage and are subject to careful analysis. They are stored in rooms with a certain temperature and often in special frames that prevent the destruction of the canvas. The greatest creators have left an indelible mark on art. The smile of the “Mona Lisa” has haunted all connoisseurs of Leonardo da Vinci’s work for 5 centuries. Perhaps the most famous painting in the world causes a lot of talk and gossip. Someone compares the mysterious woman to a predator before the jump. To some, she seems to be the ideal of beauty. And there are those who do not see anything unusual in her and do not understand the hype around this portrait.

Thanks to the artists modern people can imagine how people lived and looked several centuries and even millennia ago. The most significant paintings are not put up for sale, but even less outstanding works famous authors sometimes cost a fortune. Connoisseurs are willing to pay a lot of money for the right to own a work of art. The same “Mona Lisa” is estimated at a billion dollars, but you will never be able to see it at auction. Da Vinci wasn't the only one who created masterpieces. Paintings by Monet, Rembrandt, Titian, Goya, Salvador Dali. Renoir, Van Gogh are part of the world cultural heritage and are never offered for sale.

Music

This is the biggest source of inspiration and an integral part of any person's life. Marriages are celebrated to the music and people are escorted to last path, it is impossible to imagine a holiday or a romantic evening without it. The sight of this creative activity can evoke a variety of emotions - from hatred to love. It is not for nothing that composers wrote music for the marches to which soldiers went to war. It evoked not only patriotic feelings, but also gave confidence in victory. IN modern world More and more often, music is heard in operating rooms and helps surgeons during complex operations. In feature films, compositions can set the viewer in the right mood and even warn about what will happen in the next scene.

Just like artists, composers and musicians convey mood through their creativity. The listener can easily imagine the situation that became the source of inspiration for the author. Lyrics can have the greatest impact on human emotions. Melodies of dramatic and epic kind have their own properties, but the strings in the soul are touched by sensual leitmotifs. It is worth noting that music can influence not only humans. Some animals perceive melodies and even react to them on a physical level.

Literature

Humanity treats this creative activity with special trepidation. Reading has always been one of the most the best ways spend your free time usefully. It develops imagination and makes you experience a variety of emotions. Writers and poets are able to draw people with their talent into an unprecedented world of adventure, love or detective puzzles. Creators human souls, teachers and pedagogues, instill a love of reading from childhood, because literature can change any person. The love of poetry is instilled in order to make little man a sensual and spiritually developed member of society. Many novels, detective stories and other literary works can give the reader the necessary life experience.

Cinema

Cinematography has recently become an integral part of life. The desire to show people what they read in books led to the development of creative activities in the field of visual art. IN at the moment feature films and animation rank first among popular entertainment in the world. For over a hundred years, people have been going to cinemas to experience another world and experience unforgettable moments. Thanks to this type of creative activity, humanity can easily travel back in time or look into the future, as well as learn about the details of important historical events. Cinema can develop human feelings such as intuition, compassion, love, hatred and many others.

Arts and crafts

An equally important part of creative activity includes a huge variety of components: sewing, embroidery, knitting, weaving, burning, carving, mosaic, stained glass, decoupage, modeling, sculpture, weaving, painting. A person encounters this type of art every moment. Whole life is filled with patterns on finishing materials, dishes, clothes, and household items. Particular attention should be paid to this type of sculpture. Monuments that symbolize important events for the country and the world, as well as significant people in history, have always occupied an important place in the life of society. Just a few centuries ago, sculpture was the most popular form of art, admired by everyone - from the common people to kings. There are different priorities now, but it still has its weight in the culture.

Why is it important to engage in creative activities?

In all centuries, art has played a big role in human life. The craving for everything beautiful has led to the fact that the development of creative activity in children has become widespread. There are a large number of interest groups and various sections in any country. The child has the opportunity to choose what he wants to do in his free time. The choice is truly enormous, and this has significantly influenced the development of many industries over the past few decades. Already from childhood, a child must learn and develop in several directions, in addition to the school curriculum. This will help them achieve success in the future, because such people will be able to express their individuality.

Children and art

Children's creative activities help to reveal all aspects of a child's personality. You shouldn’t have high hopes for your baby and expect masterpieces from him - for an adult, these creations may not have any value. But it is by the works of children that one can easily identify them state of mind and help with choosing a profession in later life. You should not set any tasks for your child in the process of creative activity. Only fantasy and imagination should accompany them on the path to art. For children, the end result is not important - they are interested in the process itself. As in any other aspect of life, you need to praise your child for any achievements and results. This inspires and gives strength for new achievements.

More than a hobby

Organizing creative activities is important for every parent. Even at home, you can always find an interesting activity for your baby. Any game can develop imagination and easily reveal a child’s talents. Drawing can already determine in the first years after birth whether your child has a talent for this type of art. Educational games can answer the question of in which area a child will be most successful.

Educational institutions

Great responsibility falls on the shoulders of educators and teachers. It depends on them how much the child will be developed and able to understand the world around him. Majority educational institutions have interest groups, and school curriculum There are music classes. In addition, there are holiday events, where children can fully reveal their talent in plays, skits and musical performances. Chemistry and physics lessons include practical exercises and experiences, and this is also an integral part of creative activity. Russian language and literature develop imagination through presentations and writings in given topics. It has long been proven that absolutely any child has the ability for creative activity, and the task of teachers is to see them and help develop them. Do not forget that activities chosen and imposed by parents can harm and alienate children from art.

The importance of creative activity in the modern world

The beginning of the new century changed the idea of ​​culture. Looking at modern creative people, the common man has ambivalent assessments of their activities. The idea has become firmly established in our minds that these are slackers who simply do not want to physically work and therefore become writers, actors, musicians and fashion designers. But at the same time, these people happily consume the product of their creativity: films, songs, clothes and much more. The 20th century was oversaturated with wars, and the worldview of mankind changed. However, even in the most difficult times, it was art that allowed people to cope with sorrows and troubles.

In the new millennium, human creative activity has become a necessity. Everyone now has the opportunity to do what they love and get a calling in their chosen profession. Without creativity, people would still be living in the Stone Age. Only interest and curiosity made man a rational being. All inventions and discoveries were part of the creative process. In order not to stop there and continue to improve the quality of life, you need to constantly move forward and give free rein to your imagination and fantasy. After all, what was described in science fiction novels fifty years ago and was considered incredible fiction is now accessible to anyone!

Introduction Folk art

NHT are those created by the people and existing in the masses poetry, music, theater, dance, architecture, fine and decorative arts applied arts. Collective artistic creativity reflects work activity, everyday life, knowledge of life and nature, cults and beliefs, and also embodies folk views, ideals and aspirations, poetic fantasy, thoughts, feelings, experiences, dreams of justice and happiness. Folk art is distinguished by the depth of its artistic exploration of reality, the truthfulness of its images, and the power of creative generalization.

One of the forms of folk art. Includes, among other things, the creation and performance of artistic works by amateur performers individually (singers, readers, musicians, dancers, acrobats) or collectively (circles, studios, folk theaters). In pre-revolutionary Russia, amateur performers united in circles and societies at clubs and meetings. There were also workers' circles and folk theaters, which were under the strict control of the authorities.

Amateur performances-non-professional artistic creativity of the masses in the field of fine and decorative arts, music, theatrical, choreographic and circus arts, cinema, photography, etc. Amateur artistic activity includes the creation and performance of artistic works by amateurs, performing collectively or alone.

Amateur artistic group- a creative association of lovers of one of the art forms, working on a voluntary, public basis at clubs or other cultural institutions. Collective amateur performances have a number of features. This is the presence of a single goal, leaders, self-government bodies, as well as a combination of public and personal aspirations and interests of members of an amateur group.

The essential features of amateur creativity: voluntariness of participation in an amateur group, initiative and activity of participants in amateur performances, spiritual motivation of participants in amateur groups, functioning of amateur performances in the sphere of free time. Specific features of amateur creativity: organization, lack of special preparation for the activity among amateur participants, a lower level of activity than that of professional groups, gratuitousness, etc.

Amateur creativity- a unique socio-cultural phenomenon, with a multi-type and multi-functional structure, which has the properties of leisure and artistic culture. As you know, leisure is a part of free time aimed at personal development, used for communication, consumption of values ​​of spiritual culture, entertainment, various types of unregulated activities that provide relaxation and further personal development.

Amateur artistic activity plays a big role in aesthetic education. By becoming familiar with art, a person develops his ability to perceive and appreciate beauty, increases his cultural level, and develops spiritually. “Choreographic amateur groups, fulfilling the tasks of aesthetic personality formation, serve the cause of mass upbringing and education. These tasks are solved through the art of dance,” “The formation of an active, spiritually rich personality is the goal of amateur theater.” The above can be said to apply to any other type of amateur creativity. Whether it is singing, composing or performing music, participating in circus performances, creating objects of fine and decorative art, all this contributes to the development of the intellectual and general cultural level of the individual.

“Amateur artistic activity ... is not only a school of artistic mastery itself, but - what may be even more important - a school of life, a school of citizenship. In other words, by awakening to active artistic activity and developing one’s abilities, a person not only asserts himself in art, and above all, asserts himself as a member of society, whose activities and whose talent are socially necessary and useful."

Amateur artistic activity can be considered as a socio-pedagogical value that carries out a system of functions: informational and cognitive; communicative; social, containing in the artistic product ethical values, norms, ideals characteristic of different historical periods of cultural development, thereby ensuring continuity and the ability to transmit it from generation to generation; aesthetic, since it carries ideas about beauty in the life of society, in everyday life, in language, plasticity, forms; educational, promoting the development and change of spiritual values ​​and needs of the individual.

Through forms of amateur performances, there is largely an interaction between folklorism and professional art, their performers, aesthetic norms, technical techniques, etc.

Folklore- folk art, most often oral; artistic collective creative activity of the people, reflecting their life, views, ideals; poetry created by the people and existing among the masses (legends, songs, ditties, anecdotes, fairy tales, epics), folk music (songs, instrumental tunes and plays), theater (dramas, satirical plays, puppet theater), dance, architecture, fine and arts and crafts.

Definition

Folk art, which originated in ancient times, is the historical basis of the entire world artistic culture, the source of national artistic traditions, and an exponent of national self-awareness. Some researchers also classify all types of non-professional art (amateur art, including folk theaters) as folk art.

A precise definition of the term “folklore” is difficult, since this form of folk art is not immutable and ossified. Folklore is constantly in the process of development and evolution: Chastushki can be performed to the accompaniment of modern musical instruments on modern themes, new fairy tales can be dedicated to modern phenomena, folk music can be influenced by rock music, and modern music may include elements of folklore, folk fine and applied arts may be influenced computer graphics etc.

Typology of folklore

Folklore is divided into two groups- ritual and non-ritual. Ritual folklore includes: calendar folklore (carols, Maslenitsa songs, freckles), family folklore (family stories, lullabies, wedding songs, lamentations), occasional folklore (spells, chants, counting rhymes). Non-ritual folklore is divided into four groups: folklore drama, poetry, prose and folklore of speech situations. Folklore drama includes: the Parsley Theater, nativity scene drama, and religious drama.

Folklore poetry includes: epic, historical song, spiritual verse, lyrical song, ballad, cruel romance, ditty, children's poetic songs (poetic parodies), sadistic rhymes. Folklore prose is again divided into two groups: fairy-tale and non-fairytale. Fairytale prose includes: fairy tale (which, in turn, comes in four types: fairy tale, a tale about animals, everyday tale, cumulative tale) and anecdote. Non-fairy tale prose includes: tradition, legend, tale, mythological story, story about a dream. The folklore of speech situations includes: proverbs, sayings, well wishes, curses, nicknames, teasers, dialogue graffiti, riddles, tongue twisters and some others. There are also written forms of folklore, such as chain letters, graffiti, albums (for example, songbooks).

Folk art is the collective creativity of the masses. In Russian science it is sometimes designated by other terms: folk- poetic creativity, folk poetry, oral poetry; folk literature, oral literature. All these designations indicate that this is art created by the mass of the people.

Similar terms exist among other peoples: in German science the term Volksdichtung (folk poetry, folk art) is adopted, among the French and Italians - tra dition populaire, le tradizioni popolari ( folk tradition, custom).

Along with this, there is an international term folklore. Translated it means: wisdom of the people, folk knowledge. This international term has come into widespread use since the mid-19th century.

Abroad, it is understood in the broad sense of the word and the concept of “folklore” includes the entire complex of spiritual and material culture people. In Russian science, the understanding of folklore as a term denoting folk poetic creativity has been established. Sometimes it is classified as folk music and then they say: musical folklore. The art of dance is usually called folk choreography; Folk art products are more often spoken of as folk fine art.

The application of the term “folklore” to folk poetry is quite fair. The poetic creativity of the working masses is indeed not only a form of art, but also contains elements of folk beliefs and customs. Majestic epic, soulful lyrics, folk drama were created by the power of collective creativity of the people. This does not mean that these works had to be composed and performed by several people at once. Often they were sung or said by one person. But each such work, regardless of whether it was created by one person or several people, expressed and generalized the collective poetic creativity of the masses that had accumulated over centuries, relying on the traditions of collective folk creativity, and existed and developed within its framework. Folklore vividly reflected the powerful creative forces of the working people and the conviction of ultimate victory over forces hostile to them. Folk art gives us valuable material for understanding the role of the people in public life, in the history of culture and art.

In Russian science, the term “folklore” became widespread after the Great October Socialist Revolution. At the same time, the science of folk art received the name folkloristics.

Most schools and trends in literary criticism and folklore of the 19th century. studied the oral collective creativity of the people, but their essence was understood differently by them. Researchers who took an idealistic position spoke of it as a manifestation of some mystical folk spirit, existing from eternity and only taking on different national clothes. This was opposed by the materialist interpretation of collective creativity as the art of the masses, created under certain conditions social life. This problem was brought forward with particular force during periods of intensification of the class struggle; This was the case, in particular, in the second half of the 19th and early 20th centuries. At that time, the ideologists of the reactionary bourgeoisie launched a fierce attack on the democratic principles of the study of art and declared the people an inert mass, incapable of creative activity. Fr. Nietzsche, for example, called the recognition that a people is capable of creating cultural and artistic values ​​superstition.

The theory according to which folklore was considered exclusively as the creation of the ruling, exploiting classes erased the activities of the people from the history of culture. Thus, in the works of many bourgeois researchers, the statement about the borrowing of folklore began to sound like a statement about the migration of culture in the ruling classes, from where allegedly works of art, customs, and cultural skills descend to the people. According to this concept, the “inert mass”, incapable of creative activity, adopts “fashion” from “higher” circles when it is already falling out of use there. One of the most striking expressions of the theory of “reduced culture” was found in the works of the German scientist Hans Naumann, written after the First World War.

Similar reactionary theories are still in circulation among a certain part of bourgeois scientists who claim that working people are not capable of creativity, that attempts to consider folk culture, folk art as something independent, and not as a flawed reflection of the culture of the ruling classes, are “unscientific.”

These views are widely circulated in the reactionary circles of folklorists in capitalist countries, but at the same time they aroused and are arousing protest there from leading figures of culture and science who oppose this concept of the creative sterility of the people. Thus, a number of articles devoted to the great role of the people in the creation and development of culture were published in the communist press of capitalist countries. The fight against reactionary concepts on this issue, the correct illumination of the relationship between collective and individual creativity, amateur and professional art has great value to understand the patterns of development artistic creativity in the past and present.

Direct connection, continuity of creative acts, commonality of figurative and stylistic forms are not an external sign of folklore, but its essential quality, capturing the mass impersonal artistic content folklore He is directly popular. Only a work that has acquired content and form in the process of life among the people can be called folklore - either as a result of repeated acts of retelling, singing, or as a result of a single creative act, but one that is based on the artistic experience belonging to the people. There is always a stamp on the style and images of works spiritual world the masses of the people, and for this reason they say that folklore has no author, that its author is the people.

Consideration of the specifics of folklore allows us to understand the relationship of its features, which have been repeatedly named by different researchers. Some signs are main, others are derivative, secondary, some are essential, others are insignificant. IN scientific literature in particular, they often point to the multiplicity of options, variability, anonymity, traditionality, orality and unprofessionalism.

Variability, considered separately from other properties of folklore, cannot be recognized as an essential feature that distinguishes folklore from literature. After all, there is variability in literature: there are different author’s editions of a work. However, in folklore variability is the result of joint creativity emanating from different individuals, and in literature it only indicates creative history of any work, about the intense activity of the author, seeking better fulfillment artistic design. True, in medieval literatures There was also such variability of the work, which was similar to folklore, there were lists - editions and versions of handwritten works, but this only indicates that folklore historically preceded literature and influenced its early forms. However, in essence, the variability of medieval written works is different from folklore. He wrote about this back in the 19th century. O. F. Miller in the preface to the monograph “Ilya Muromets and the Kiev heroism.” This is how he described the difference. Noting that “the lack of personal creativity, which characterizes the oral literature of the people, continues to manifest itself to a certain extent in the writing itself for a long time,” the scientist further wrote: the lists may end up with arbitrary “abbreviations and extensions,” “accumulations.” O. F. Miller saw an important difference between lists and folklore variants (“retellings”) in the fact that oral works were preserved “for many centuries simply by memory,” but not by the memory of an individual or even several individuals: they were preserved “by common labor, participation of common memory." “On the contrary, in the corner, the copyists were doing their work silently, there was no one to stop, to advise: look, you missed something here, you didn’t understand there and copied it incorrectly, and there, in a hurry, you peed yourself (...) The charter tolerates everything!” - exclaimed O. F. Miller. “In the matter of retelling works of folk literature,” he continued, “quite the contrary, publicity prevailed... If a folk singer tried to give too much scope to his own additions, they would immediately sound like blatant dissonance to the people’s ears. Only gradually, little by little, could the changing principle that makes them variants penetrate into the retellings of songs constantly checked by the general people’s court.” If the handwritten version is the fruit of creativity and changes made to the work by the copyist, then the folklore version is the result of creativity and changes accepted and approved by the masses. This is where the difference comes from. In its own way, it reveals the difference between popular and author’s creativity. It is impossible to equate folklore and written-book variations. Variation then becomes a feature that significantly distinguishes folklore from literature when what it accompanies is taken into account. In folklore, variability is revealed by the process of mass collective creativity, this is its originality and difference from the variation of a book work according to lists and author's editions.

The concept of anonymity does not apply to folklore. Anonymity means that a poetic work had a creator-author, but his name remained unknown for some reason. Folklore works, although they owe their initial origin to one person, but, being transmitted from person to person, as a result of numerous changes and additions, acquired a form corresponding to the environment of existence. In this case, we cannot say that there was an author who created it. The work incorporates the creativity of many people, and none of them, taken separately, can be recognized as the author. We must also take into account the fact that the creative act of the first person in folklore is never free from existing poetic traditions. Emerging works always depend on previous creativity: historical songs have taken on the properties of epics; lyrical songs owe much to lamentations and wedding songs; ballads of the XIV-XVI centuries. influenced military-historical and social-everyday songs of the 17th-19th centuries; ditties have acquired the properties of lyrical drawn-out and dance songs; the anecdote absorbed the features of everyday satirical tales, etc.

Traditionality, as follows from the above, is indeed an essential feature that distinguishes folklore from literature, but, as when considering variability, it is necessary to find out and take into account the manifestation of what traditionality is. Literature is also traditional in its own way: outside the poetic tradition, the development of literature is unthinkable. V. G. Belinsky wrote: “Pushkin’s muse was nourished and educated by the works of previous poets. Let's say more: she accepted them into herself as her rightful property, and returned them to the world in a new, transformed form. It can be said and proven that without Derzhavin, Zhukovsky and Batyushkov there would not have been Pushkin, that he was their student; but it cannot be said, much less proven, that he borrowed anything from his teachers and models.”

Submission to general traditions, found in the work of the most gifted singers, storytellers, storytellers, means that each of them shared a common mass view of reality, merged their artistic views and concepts with generally accepted ones. In literature, the artist also represents his people, environment, class, but in an individual, unique manifestation. This, in particular, can explain the feature literary tradition that it prevents the direct use of the labor of predecessors. Thus, the traditional nature of creativity in folklore can be considered as an expression of the folk, mass-collective foundations of oral creativity. Traditionality correlates with the collectivity of folklore as a phenomenon and essence.

Many researchers consider orality to be the most significant feature that distinguishes the art of words in folklore from written creativity. The difference is indeed very important, but orality can hardly be considered a sign that always allows us to unmistakably distinguish folklore from literature, if we do not take into account what accompanies the oral form in artistic creativity. With literary creativity in mind,

It remains to note that the unprofessionalism of the art of folk singers and storytellers is not a feature of folklore to such an extent that, relying solely on it, it can be distinguished from professional art.

So what is folklore as the art of words? This is a collection of oral works of art created by the people, the mass of workers, as a result of their joint collective labor. The generic feature that folklore has in common with literature must be recognized as belonging to artistic creativity, and the specific feature that distinguishes folklore from literature is the process of oral mass, non-professional creativity based on traditions. The traditional collective oral artistic creativity of the people—that is what folklore is in the briefest definition.

If we talk about the functional content of folk art, then it is necessary to highlight its most basic functions such as: aesthetic, communicative, cumulative with pronounced elements of transformation into modern forms of art, educational, cognitive, etc.

Creative activity– creative human activity in the field of science, literature, art, as a result of which a new work is created.

Folklore(from the English Folklore - “folk wisdom”) – folk (usually oral) creativity, the creative collective activity of people embodied in a work of art, which is a specific reflection of their life, ideals, and events.

One of the important trends that can be seen quite clearly in the development of artistic creativity over many centuries is the ever-increasing power of the personal authorial principle. Despite the fact that the individual principle is inherent in any creativity, in folklore it is greatly muted. Folklore is an expression of folk art, the artistic and collective creative activity of the people, reflecting their life, views, ideals, created by the people themselves and existing among the masses. This could be poetry, music, dance, fine and applied arts. As a rule, folklore works were disseminated through language and oral presentation, which became traditional for this type of art. Most often, folklore is presented in the form of songs, epics, and tales that reflect the course of people’s lives: work and rest, grief and joy, individual and historical events, rituals, etc. Of course, folklore works had their own authors, however, identifying them today is difficult. The roots of folklore are in history, in pagan beliefs ( Ancient Rus'). After Christianity was adopted in Rus', the texts of the works underwent changes, but the ancient melodic form was preserved. Songs traditionally reflected events in the lives of people and society, glorifying exploits and outstanding personalities.

In addition to songs, various legends and fairy tales were also popular. They were divided into magical (where among the objects there are magical objects: flying carpets, self-assembled tablecloths, walking boots, testifying to pagan witchcraft and the dream of people to create things that ease the hardships of life) and satirical, which had a moralizing character, describing modern conflicts, revealing political contradictions (this type of creativity was subsequently widely used by professional writers).

The individual principle in ancient culture was reflected mainly in performance; the authors of folklore works, as a rule, remained unknown. This, according to researchers, was due to the lack of desire for people to express themselves through the means of art; the subjective author’s vision did not prevail in culture. And the social, collective acquired sacred meaning; the artist needed to express universal plans, giving them an ideal representation. The dominance of mythology and religious consciousness led the ancient author to the conviction that the true creator of the work was the social spiritual principle or God.

Being a synthetic phenomenon, art has been perceived since ancient times as a means of education, which can also provide a person with a specific spiritual pleasure that is beyond his capabilities and nature.

The author’s personal identity is formed gradually as a result of the development of collective work activity, the separation of his “I” from the collective “We,” the emergence and formation of philosophy, the formation of morality and social relations, the strengthening of statehood, etc.

Personality reached its maximum in modern development art, in which the light emission of the author’s personality gives a unique originality work of art. In this regard, the personality of the author, the strength of his talent, the scale of his thinking, the ability to deeply penetrate into the essence of the processes occurring in society, as well as knowledge inner world person. The most important quality of an author today is the ability to say something new, unknown to other people or not yet formulated by them, to reveal the new essence of a particular phenomenon.

The talent of true artistic creativity lies in understanding the dialectics of the development of human society, with the awareness of those high goals in the name of which a person is called to live. The author's knowledge of modernity is associated with understanding the prospects for the future, with the eternal desire to cognize the essence.

The tendency towards an increase in the author's principle manifested itself picturesquely already in the early stages of the development of cinema and television. One of prominent representatives At that time there was Charlie Spencer Chaplin, actor, film director, screenwriter, film producer, film composer, Oscar winner, founder of the United Artists film studio. Chaplin's works are a kind of mirror reflecting his multifaceted talent; he was one of the most creatively versatile and influential persons of the silent film period.

The development of auteur cinema in our time is becoming increasingly intense. Creativity and creation are increasingly subordinated to the author's intention, and screen works reflect the individuality of their authors.

In auteur cinema, the creativity of the author and director becomes a single process, where the birth of an idea, writing a script, and filming are carried out under a single opinion. Such individual authorship allows the creative view of the creator of the work, his view of the world, his vision of the phenomena of reality to be conveyed to the viewer as accurately and completely as possible.

The most important feature The author-director is the ability to create a future film in his imagination, to freely and easily operate with sound and visual images. The filmmaker must hold an imaginary picture throughout the entire creative process. The director must feel the whole rhythm of the picture, its general classical and rhythmic concept, emotional mood, atmosphere, etc.

Directors are one of the first and most widespread representatives of screen culture today.

Screen culture.

Screen culture- view popular culture, the works of which are reproduced on a special technical means - a screen and are not perceived outside it. Types of screen culture: cinema, television, video, computer images, Internet, etc.

Screen– (from the French ecran – screen) – the surface on which an image is projected, as well as a device designed to reproduce the image.

Cinema- the sphere of human activity, which initially consists in creating moving images using technical devices, subsequently accompanied by sound.

Internet– a system of worldwide unification of computer systems and networks that form a specific information and technical space, which has the widest distribution and application.

Multimedia– interaction of audiovisual effects under the control of an interactive software with the direct use of technical, electronic and software tools that reproduce images in digital representation, it is extremely widespread and applicable.

The emergence of screen culture at the end of the 19th century was initially associated only with cinema, which could only arise at a certain level of cultural and technical development of civilization. The most important feature of cinema, in addition to its technical nature, is its focus on a wide audience and mass impact. Communication of social, technical, cultural conditions- the main quality of the emerging cinema. Cinematography has appeared new form reality, different from theatrical performances. At the same time, the realities of cinema contributed to the transformation of the realities of reality, imperceptibly introducing into it fictitious, artificial, virtual images.

Thus, the emergence of cinema, and subsequently screen culture, led to the emergence of a new type of communicative interaction, new opportunities to influence mass and individual consciousness.

After cinema, the next huge achievement of screen culture was television, which has greater communicative capabilities, among which we highlight: almost universal prevalence, temporary accessibility, comfortable viewing conditions, reporting and documentary, large-scale coverage of interests and preferences, differentiation. That is, you can observe the connection of many means mass media and culture in one phenomenon.

The continuation of the development of screen culture can be recognized as the origin and confident spread of computer culture, combining elements of all types of both screen and other culture. There is an indestructible mutual influence and interaction, with a fairly powerful influence that is practically unlimited by either the spatial or temporal framework of society. Participants in this type of communicative interaction can simultaneously take on various roles (viewer, listener, moderator, director, etc., that is, an active communicator), which definitely entails a fairly strong emotional impact per person. There are quite fair concerns about the benefits of such involvement in the virtual world, the emergence of addiction, emotional overload, which can lead to personality disorders. In fairness, it should be noted that the first films also made a strong impression on the audience and influenced their emotional sphere. This phenomenon persists in a slightly modified form until today. After all, it is precisely the appeal to the emotional sphere that is in many ways the goal and calling of any art.

It is safe to assume that the continued existence of screen culture will be accompanied by the inevitable interaction of its elements. Objects and works of screen culture, which are essentially simulacra (that is, copies without the original), artifacts, with the help of modern digital means, receive almost perfect resolution, in which the audience believes almost limitlessly. But, at the same time, this audience is capable of creating their own virtual worlds and act as one of the most important elements of universal communication. And in this mosaic interweaving of the links of screen culture lies the essence of the new communication paradigm, which is being introduced into traditional forms of interaction. However, one should constantly take into account the factor of distorted reality, the mythologization of objects of this culture, which completely penetrate into the real dimension and manipulate the creation of people. Altered reality transforms the subconscious, deforming the individual and society. These are real questions to which civilization must find adequate answers.

What is the role of the producer in this situation? What are its goals? As an entrepreneur, under whose leadership they carry out their creative and production activities significant labor resources, teams, he must take care of the commercial benefits of the projects being created. This is possible if the product is sold on the market with maximum efficiency. But the producer’s activity does not end with the completion of production, but continues in the post-production stage, the essence of which, among other things, is manipulating public and personal consciousness for the purpose of the most profitable implementation of the project. The producer must also take into account universal human values ​​in his activities, be responsible for the cultural impact on millions of viewers, for their moral, spiritual development. Thus, sometimes the producer is faced with intractable problems, truly world-wide problems. And how, by what means, and with what results the producer will overcome these difficulties largely depends on his future activities, the creativity of the team, the production sphere, the economy, politics, and culture as a whole. Therefore, in addition to thorough knowledge in the field of film production and film business, the producer must have a high level of universal human culture and be responsible for the results of his own work and the activities of the team. Society and the state, as a spokesman for public interests, should be primarily interested in this.