The role of stage action in acting. Element of stage action - imagination and fantasy

Terms of acting and directing

Theater is an art that is in constant interaction. Interaction with other types of art, interaction with the viewer. Inside the theater, the actors interact with the director and among themselves. Theater is a constant interaction, communication, an amazing connection, a kind of conversation, or rather a lively artistic dialogue. Indeed, isn't the word of the playwright sounding from the stage, filled with life by the actor, perceived as living? From this it follows specific feature theater -- its synthetic nature. Theater is a synthetic art. Among all the arts, there is one that belongs exclusively to the theater. Only acting is theatrical in nature. In the theatre, the playwright, the director, the decorator, and the musician speak to the audience through the actor or in connection with the actor. It is impossible to perceive theater without an actor, as well as an actor without a theater - these are inextricably existing concepts. The actor reflects the specifics of the theater, clearly demonstrating it. The actor communicates theatrical being to everything that is on the stage. The actor is the main engine of interaction in the theatre.

The interactions in the theater do not end there. Consider, for example, the basis of the theater, its leading component - dramaturgy. Dramaturgy influences the theater, theater influences dramaturgy. Thus, an interaction is formed again, in which the leading role nevertheless belongs to dramaturgy. However, you can not put the theater in a service position. The theater is no less responsible than the playwright for the truthfulness, accuracy, and depth of the reflection of life in the performance and for its ideological orientation. Genuine art is that perception of life that is created by the theater on its own, and not only through the playwright. It is necessary that the images of the play and its idea live in the minds of the actors, saturated with the richness of their own life observations, supported by a multitude of impressions drawn from reality itself. On this basis, we can conclude that acting is nothing but an independent art.

Along with it, there is another, also inseparable from the concept of theater - the art of directing, which consists in the creative organization of all elements of the performance in order to create a single, harmoniously integral work of art. With the growth of ideological and aesthetic requirements for the performance, the very concept of directing art and its role in the complex complex of various components of the theater expands and deepens. K. S. Stanislavsky wrote about the performance as follows: "This is a large, close-knit and well-armed army, simultaneously acting as a common friendly onslaught on a whole crowd of theater spectators, forcing thousands of human hearts to beat at once, in unison." Who is to train, rally and equip this army? Of course, the director! It is designed to unite the efforts of all, directing them towards a common goal - the most important task of the performance.

The overriding task is ideological orientation or the main, main, all-encompassing goal, attracting to itself all tasks without exception, causing the creative desire of the engines of mental life and elements of the artist’s well-being, for the sake of which the creator wants to introduce his idea into the minds of people, what the director ultimately strives for, what the director puts on the play for.

The spectacle, in turn, is a living independent being. As Mikhail Chekhov wrote: "Just as a person has a spirit, soul and body, so does a live, active performance." The performance is the main form of existence of the theatre. The performance is created not by one artist, as in most other arts, but by many participants creative process. An important role is played by the scenery of the performance - its artistic design, the scenery is one of the means of theatrical expression, it is designed to play an auxiliary, but not the least role, to fulfill its theatrical function, for it should be reflected in the acting game, in the behavior of the characters, so and with another means of theatrical expression - music. Any sound that sounded at the will of the director or musician, but not perceived by the actor in any way and not reflected in his stage behavior, should be silenced. Everything that is created in the theater in order to reveal the fullness of one's life through the actor is theatrical.

The means of theatrical expressiveness are an auxiliary phenomenon and cannot exist without an actor. In what scenery, under what lighting, in what costumes - these questions are not resolved until the answer to the fundamental question is found - how to play the performance? Nevertheless, the collective as a whole, and not an individual person, is the author of a finished work of theatrical art - a performance. Stanislavsky agreed that "the magnificent staging, the rich mise en scene, painting, dancing, folk scenes delight the eye and ear", moreover, he admitted that "they also excite the soul."

One of the most important moments in staging a performance is the definition of its mise-en-scenes - one of the most important means of artistic expression and figurative identification of the inner content of the play, which is an essential component of the director's intention of the performance. The mise-en-scene depends on the genre, the action and the tasks assigned to the actors. This is a plastic drawing of the body or a group of actors, in relation to each other and to the viewer, in other words, mise-en-scene - the plastic language of directing art. A good figurative mise-en-scène never arises by itself and cannot be an end in itself for the director; it is always a means of a complex solution to a whole series of creative tasks. The mise-en-scène is the most material means of the director's creativity. Mis-en-scene - if it is accurate, then there is already an image. A well-crafted mise-en-scène can smooth out the shortcomings of the actor's skill and express it better than he did before the birth of this mise-en-scene. When building a performance, it is necessary to remember that any change in mise-en-scene means a turn of thought. Frequent transitions and movements of the performer crush the thought, erasing the line of through action.

For the artist himself - a through action - is a direct continuation of the line of aspiration of the engines of mental life, originating from the mind, will and feelings of the creative artist, if there were no through action, all the pieces and tasks of the play, all the high-quality, imaginative mise-en-scenes would vegetate separately from each other. friend, without any hope to come to life. As a result of a cross-cutting action, a super-task is also affirmed, the significance of which we spoke about above. Through action is the path along which the director and the actor go to their goal in the play, the role. The desire for the most important task should be continuous, continuous, passing through the entire play. All characters, mise-en-scenes should lie on the line of through action. Through action - aspiration. Doing it is an action. The through action of a role is the main action for which the actor performs all the other actions. In general, action is a volitional act of human behavior directed towards a specific goal.

Action in the theater is the main stimulus for the stage experiences of the actor. Thus, stage action is the main material of theatrical art. The actions carried out by the actor serve as material for creating an image, it follows that the theater is an art in which human life reflected in a visual, living, concrete human action. Stage action - what is it? Living, visual, extracted by the actor from himself, that is, produced by him, in such a way that his whole organism takes part in this realization as a single psychophysical whole. On the stage you need to act - internally and externally. Action is what the dramatic art, the art of the actor, is based on. The stage action contains the specifics of the theater, because it is in action that thought, feeling, and imagination are united into one inseparable whole. In order for an action to be the main stimulus for an actor's experiences, it must be true, appropriate, and born in the context of the proposed circumstances.

The proposed circumstances are the plot, era, place and time of action, events, facts, situation, relationships, phenomena, as well as living conditions, our acting and director's understanding of the play, adding mise-en-scene to it, staging, scenery and costumes of the artist, props , lighting, noises and sounds - all that is offered to the actor and director to take into account in their work. The more proposed circumstances, the more pronounced the theme, problem, conflict of the performance. The actor must first of all present in his own way all the "proposed circumstances" taken from the play itself, from the director's production, from his own artistic dreams. All this material will create a general idea of ​​the life of the depicted image in its surrounding conditions. The actor must also very sincerely believe in the real possibility of such a life in reality itself, one must get used to it so much as to be related to this alien life, to make it one's own. Allocate the circumstances of small, medium and large circle. The circumstances of the small circle relate to the situation that is happening with the character at the current moment. The circumstances of the middle circle concern his general life situation. The great circle circumstance refers to the general situation of the character's environment. Conscientious immersion in the proposed circumstances, gives the actor the right physical well-being.

Physical well-being is the true creative well-being of an actor, it is difficult to imagine a person in life without any kind of well-being - and in a narrow, domestic plan, and in terms of general self-perception. Therefore Vl. I. Nemirovich-Danchenko considered that the main thing in the process of finding an image is the acquisition by an actor of psychophysical well-being, conditionally called physical well-being. The artist must learn to evoke such a physical state in himself on the stage, putting in order, launching and kneading into action all the constituent parts of his bodily apparatus of incarnation. Physical well-being is a direct reaction of the psychophysical apparatus in response to immersion in the proposed circumstances. Equally defined actions different people can be performed differently in various proposed circumstances, and both physical well-being and the second plan of the role are fed by them.

The concepts of physical well-being and the second plan are inextricably linked. The second plan is the psychophysical burden with which the actor lives in the role, the latent course of life, the continuous (which is very important) course of thought and feeling of the image. This is the result of the actor's activity, which affects, as it were, "splashes out" in the performance of the role, in some places it is obvious, in others it is more hidden, but in the ideal case, the actor always has it. Physical well-being is something more tangible, concretely expressed in the behavior of the artist in the role. You can look for it at rehearsals, achieve it, even train it in order to educate yourself for a given role, scene, learn to directly feel it, and not portray sensations. It can be conditionally said that physical well-being is a concrete expression of the second plan. The main thing that determines in terms of physical well-being and the second plan is not their differences, but their commonality, their connection. First of all, this relationship lies in the fact that the source that feeds the process of their acquisition by the actor is the proposed circumstances of the role.

Physical well-being gives the actor a desire to act, gives the performance vitality, authenticity, helps to find the right rhythm of the role, the right inner tempo, which is just as important as the tempo of the stage, performance. Tempo - in the theatrical sense, the degree of speed of execution, the speed (or slowness) with which any action proceeds. The tempo shortens or lengthens the action, speeds up or slows down the speech. While working on a role, it is important for an actor to feel the inner tempo - one of the important elements of the process of creating physical well-being, which we talked about above. Actions take place in time, but not the action itself, namely the tempo-rhythm, can produce a direct and immediate effect. K.S. Stanislavsky combined the terms tempo and rhythm together, so we use it as a single term tempo-rhythm. The tempo of the performance, according to K.S. Stanislavsky - the synthesis of the tempo and rhythm of the performance, the rise or fall, acceleration or deceleration, the smooth flow or rapid development of the stage action. Correctly found and felt the tempo of the performance, the scene can intuitively, directly, directly suggest not only the corresponding feeling and excite experiences, but also help create images.

Immersion in the proposed circumstances, a sense of physical well-being and the tempo of existence are undoubtedly very important factors in the work of an actor, but they are not the only ones. An actor needs to have many special, artistic, creativity, properties, talents. For example, stage attention. The problem of stage attention at first glance seems very simple. It is definitely clear that the actor needs to master his attention to perfection. Psychologists define attention as an arbitrary or involuntary orientation and concentration of mental activity. With regard to the stage, one can only speak of arbitrary direction and concentration according to the volitional command that the actor gives himself. The attention of the actor on the stage is creative in nature, because he chooses the object of attention in accordance with his goal or task, his proposed circumstances.

Thus, stage attention is the basis of the actor's internal technique, it is the first and dominant condition for correct internal stage well-being, it is the most important element of the actor's creative state. Distinguish between external and internal attention. External attention - such attention, which is associated with objects outside the actor himself.

The objects of internal attention are those sensations that are generated by stimuli located inside the body (hunger, thirst, etc.), as well as thoughts and feelings of a person, images. The object of stage attention can also be a partner, both present and absent on the stage, the processes taking place with him, inanimate objects that are important for the character, something happening outside the stage. The secret of stage attention lies not in its objects, but in the artist himself: he makes objects interesting for himself, which are of no interest. That's why the artist must set a demand for himself: to learn how to capture his attention.

In the closest interaction with stage attention is the second necessary condition for the correct physical well-being of an actor - stage freedom. It has two sides - physical and mental. The physical or muscular freedom of the actor, like that of any living being, depends on the correct distribution of muscular energy. Muscular freedom is such a state of the body, in which for each movement and for each position of the body in space, as much muscular energy is expended as this movement or position of the body requires. Muscular freedom gives rise to the plastic expressiveness of the actor.

Any purposeful movement, if it is subject to the internal law of plasticity, is beautiful, because it is free. "Nature knows no non-plasticity," E. B. Vakhtangov pointed out. In the art of spectacle, plasticity is the fundamental principle of action and its expressiveness, the enormous significance of which we have already spoken about more than once. It is worth noting that external (physical) freedom is the result of internal freedom. Plastic expressiveness can only be achieved through inner, mental freedom. Inner freedom is confidence, it is the absence of hesitation, complete conviction of the need to do this and not otherwise. Knowing one's business gives rise to confidence, confidence gives rise to inner freedom, and inner freedom, in turn, finds its expression in the physical behavior of a person, in the plasticity of his body, thereby creating his plastic expressiveness.

Thus, to build a scheme of one's physical actions justified by the given circumstances, to gain external and internal freedom, to properly organize one's stage attention - is of great importance for an actor's work on a role, but this is not all.

An actor must correctly relate to a particular object. After all, on the stage there are almost no people, objects, facts, events to which the actor would have the right to relate in the way these people, facts and events themselves require. Almost every object with which the actor has to deal - he must turn into something else and, in accordance with this, change his attitude towards it. One of essential qualities for the artist lies in the ability to establish and change their stage relations in accordance with the task. The stage attitude is the way to the image. Attitude is the basis of action. Therefore, returning to the conversation about working on a role, it should be said: working on a role means looking for a relationship. If the actor has made the relationship of the image his relationship, it can be argued that he has mastered the inner side of the role. Stage relationships, for the sake of clarity, should be divided into the following two groups:

• Relationships that developed during the life of the hero before the start of the play
• Relations that arise in the process of the stage life of the hero, in other words, the assessment of facts.

Evaluation of the facts - psychological condition the actor during the period of experience and action of the partner, after which there should be a reaction corresponding to this action. This is a reaction (to see and hear) to the psychological state of the partner, new proposed circumstances, events and facts. As a rule, evaluation occurs during a pause in the actions of one of the actors. A pause is an indicator not only of the assessment of what is happening, but also of the skill of the actor. Hence the requirement for the artist: to be able to truthfully and organically evaluate the facts that arise on the stage.

An actor must be able to accept the unexpected, that is, to perceive what is known in advance as unexpected - this is the main difficulty in acting, but it is precisely in this that the talent of the artist is first of all manifested. Evaluation of facts is directly alive, real. a genuine reaction to an event - a psychological incident, which radically changes the attitude of all actors towards what is happening, gives rise to a new balance of forces. An event is a system of relationships between characters in a certain period of time. The event determines the movement and development of the performance's conflict and its resolution.

A correct assessment of the facts helps the actor to find the right way of being. The way of being is the means by which the actor brings to the stage all the reflections of the character, his passions and emotions, his aims and desires. The actor justifies his existence on the stage only when he acts, wrote the great tragedian Art Theater L.M. Leonidov. After all, the word "actor" itself comes from the English "act", which means to act. But the meaning of the existence of an actor-character on the stage is not in the action itself, but in its motives, born of the proposed circumstances, purpose, passions and emotions, also born of the proposed circumstances of the play and role. An actor's way of being is determined by the play, the playwright, and the audience.

In order for an actor to find a way of being, he also needs to adapt to his partners. Adaptation in the work of an actor is a way of carrying out an action, a psychological move applied to each other in the process of influencing one person on another, however, in theatrical practice, various mechanical actions are often understood and called so, for example, some kind of mechanical movements. Nevertheless, the adaptation is often directed at the partner. The richer the set of devices, as they say, the moves to the partner, the brighter the performance, the more it will capture the viewer. It turns out that adaptation is both internal and external techniques, ways of acting. Internal and external tricks in achieving the goal, psychological moves, acting inventiveness.

All of the above refers to the work of an actor on a role, and therefore it is worth mentioning that in this very work a number of obstacles are born that interfere with the activity of creative talent, the passion and aspiration of the creative will and the correct, conscientious work on the role. There are a number of internal acting obstacles that interfere with the creative state of the actors. The obstacles are as follows:

• Lack of attention to the partner and to the stage environment surrounding the actor.
• Muscular tension.
• Lack of necessary stage excuses.
• The desire of the actor to play a feeling.

All these obstacles prevent the actor from immersing himself in the role, and the role is the main form of acting creativity, an artistic, literary image created by the playwright in the play, script and embodied in the stage play by the actor. K.S. Stanislavsky believed that ninety percent of an actor's total time and labor in creating a stage persona should be spent on homework on a role.

This homework includes, for example, revealing the deep meaning, subtext. What does it mean to reveal the subtext? It means to define, understand, feel everything that is hidden in the very depths of words, behind words, between words. Subtext is an element of verbal action. The actor, first of all, must act with the word. On the stage, only the active word is important. The concept of subtext depends on the physical state this person at the moment and from his relationship to his partner. From the totality of the proposed circumstances in which the text is pronounced. The subtext covers not only the semantic sound of the phrase, but also its emotional richness. The subtext is the feeling of thought.

Also an important section homework actor over the role is to develop elements of external character. External specificity explains, illustrates and, thus, conducts the invisible, internal drawing of the role into the auditorium. Many features of external character do not require special work, they appear as the actor gets used to the inner essence of the role, into the relations and actions of the hero. The actor himself will not notice how he will begin to look different outwardly, for example, walk, sit down, talk, smoke. External characteristic is born in reflection inner essence image. However, there are features that do not depend on the inner life of a person, and even themselves are able to leave an imprint on the inner life. Such elements include, for example, the anatomical and physiological features of a given person: thin, strong, blind, lame, etc. "Characteristicity in reincarnation is a great thing," wrote K.S. Stanislavsky, any role, - he wrote, that does not include characteristicness, "is a bad role."

Characteristics, in other words, is personality traits character. Characteristics - the same mask, the very actor-man. In such a disguised form, he can expose himself to the most intimate and piquant spiritual details, reincarnate, or, in other words, create a stage character. The stage character is the stage type (image, personality) that the actor creates when playing in the play. In it, all elements of internal and external characteristics are subject to artistic design, act in strict unity. The external should not only express internal image, internal movement, but also be its pillar. The exact expression of the inner life of the hero, his character is the main task of the entire work of the external incarnation, the search for expressive means. Thus, external specificity is one of the necessary means of communication for the artist in his professional activity with life. This is also her great role. Especially important is the ability to select the most accurate, capacious and expressive solution to the external manifestation of the internal pattern of the role.

Thus, the developed role will have a perspective. The perspective of the role goes in parallel with the perspective of the artist and his life on the stage, his psycho-techniques during the creative process. The perspective of the role is the calculated harmonic ratio and distribution of parts while covering the entire whole of the play and the role. From the first appearance on the stage to the final scene, from the beginning to the denouement. The movement of the role through the events of the play, not knowing what will happen to him in the future. Acting on the stage, the actor lives for the moments that make up the thread of the role, its curve, the perspective of the role, its character, feelings and thoughts. All this is subordinated to the found through action of the play and performance about which we spoke above.

The future of the role is her most important task. We need the perspective of the artist himself - a person, a performer of a role, so that at every given moment of being on stage we think about the future, in order to measure our creative, internal forces and external expressive possibilities, in order to correctly distribute them and reasonably use the material accumulated for the role in order to correctly find the grain of the role. And the "grain" of the role, precisely found and nurtured by the imagination of the actor, gives rise to the integrity and persuasiveness of the created character. When acquiring the grain, the inner life of the role, its thoughts, goals, desires, as a rule, are organically combined with the external characteristic, the image comes to life, acquiring life-reliable features and features: its own look, rhythm, manners, etc., i.e. artistic integrity. The grain of the role is a key element in understanding the stage persona.

On the most difficult path to the image, the emotional memory of the actor's own past plays a huge role, this is an important requirement that determines the professional suitability of the artist. Emotional memory is the ability to memorize, preserve and reproduce emotionally colored phenomena. Memory for feelings. The more extensive the emotional memory, the more material it contains for inner creativity, the richer and fuller creativity actor. Experienced feelings and emotional impressions become the activators of new processes, excite the imagination, which adds to the forgotten details. Emotional memory, in order to lead the performer along the path of reincarnation, is able to stir up the feelings of the actor, set in motion a chain of associations, a fantasy.

Therefore, it is worth noting that for successful work on the role, active fantasy is necessary. For an actor who has worked conscientiously on a role, nothing is scary on stage. No accidents and surprises will embarrass him, he will come out of any situation with honor, nothing will disturb the process of his life as an image and will not confuse him, on the contrary, it will mobilize all his creative forces. Thus, in order to acquire absolute conviction in the correctness of all his stage actions and to play with that confidence and with that creative calm that is so characteristic of most masters, the artist must acquire the habit of conscientiously, carefully and in detail justifying everything that concerns his life. on stage as an image, for the successful work of an actor on a role, the work of fantasy is necessary, without a specific acting imagination, the master cannot do without it. What is acting imagination?

For an actor to fantasize means to lose internally. In fantasizing, the actor sees outside himself only what, under the given circumstances (created by his imagination), his hero should also see. In order to merge with his image on stage, the actor must first merge with him many times in his imagination. Now we understand how important it is for an actor to have a strong and vivid imagination: he needs it at every moment of his artistic work and life on stage, both in studying and working on the role that we have been analyzing for so long, and when playing it on stage. Imagination (fantasy) is a creative method of reproducing into images the events and facts that took place in reality, by combining in a new order what was experienced in different time, grouping them into a new whole. One of the basic elements of acting. Not a single sketch, not a single step on the stage, should be done mechanically, without internal justification, that is, without the participation of the work of the imagination.

Stanislavsky demanded that a continuous film of inner visions be created for each role, illustrating the subtext of the role, the importance of which we mentioned earlier. This is the most important creative technique, exactly corresponding to the data of modern psychophysiology on the mechanism of the creative process. Stanislavsky said? "To listen in our language means to see what is being said, and to speak means to draw visual images." The word for the artist is not just a sound, but the stimulus of images. The main task of the actor is, in essence, to constantly draw in his imagination visions similar to those of our hero during his stay on the stage, i.e. create a film of visions. These inner visions help keep and fix the artist on the inner life of the role.

Thus, we understand that it is necessary for the actor to independently work on the role correctly, but in most cases, the actor is not alone on stage, his work on the stage image, whether at home or rehearsal, will not be considered complete until he enters in interaction with other actors of the performance, so we can conclude that the ability of the actor to communicate is important. Performing a chain of stage tasks and thus exercising influence on a partner, the actor is inevitably exposed to influence from his side. The result is interaction and communication. An actor needs to be able not only to act himself, but also to perceive the actions of another, to make himself dependent on a partner, to be sensitive, malleable and responsive to everything that comes from a partner, to expose himself under his influence. The process of communication is also related to the ability of the actor to genuine attention on stage. It's not enough to look at your partner - you need to see him, it's not enough to listen to your partner - you need to hear him. It is not enough to see and hear - you need to understand, but that's not all, understanding alone is also not enough, you need to feel your partner.

Thus, communication for an actor is not at all an easy thing, because communicating with a partner means feeling him. What is important is what happens between the actors - this is the most valuable thing in their game and the most interesting for the audience. Communication is manifested in the interdependence of adaptations. Any change in intonation and even facial expressions of one actor entails a change in the face of another. True value - immediacy, brightness, originality, surprise and charm - has only such a scenic paint (intonation, movement, gesture, facial expressions), which is found in the process of live communication with a partner.

Much is devoted to the conversation about working on the role, directing, actors, their tasks and goals, but do not forget that they all work for the benefit of the future performance. The director needs to choose the direction in which he and the entire creative team will work, organizing the ideological and artistic unity of the performance. This channel for him will be the genre of the play. It is also important that it is the genre of the play that should be reflected in the genre of the performance and, above all, in the manner of acting, the genre of the play or performance is rooted not only in the plot and the circumstances offered, but mainly in the assessment of these circumstances by the author and the theater, in their attitude to those phenomena of life that are reflected in a given play or in a given performance. It turns out that the genre is a combination of such features of the work, which are determined by the emotional attitude of the artist to the object of the image. The way of reflection, the angle of view of the author and the team on reality, refracted in artistic image. A type of work that is distinguished by special plot and stylistic features that are unique to it. Each genre requires a special, special attunement of the physical and spiritual apparatus of the actor, which subsequently gives rise to a favorable, correct atmosphere of the performance.

Popov in his book "The Artistic Integrity of the Performance" wrote: "..the atmosphere is the air of time and place in which people live, surrounded by a whole world of sounds and all kinds of things." The atmosphere is a deeply human phenomenon. The concept of the atmosphere is complex and multilayered, but several important aspects can be distinguished in it: spatial, temporal and psychological. The main carrier of the atmosphere, of course, is the actor. Since the stage atmosphere is inextricably linked with the events of the performance, with its conflicts, it is the actor who creates and maintains the atmosphere of these events and conflicts through his attitude towards them, physical well-being, rhythm, relationships with the surrounding life, etc. Highly important point that the atmosphere cannot be created without the presence of an ensemble. The atmosphere is a collective phenomenon, the result of the hard work of each participant in the creative process, without exception, even such elements as music, noise, lighting, everyday details, direct participants in creating the atmosphere.

In conclusion, I would like to talk about one more, the most important moment in the organization of the creative process, about the observance of ethics and discipline. K.S. Stanislavsky wrote: "artistic ethics is the narrowly professional ethics of stage figures." The performance is created by a playwright, director, artists, artists, musicians, make-up artists, costume designers and people of many other professions. Ethics is needed to regulate the work of many independent creators in the process of preparing and releasing a performance, which is why Stanislavsky considers theater ethics to be the foundation and basis of the entire process of building a theater.

Each participant in this process must be aware of his responsibility for the final result, act in an organized, clear and united manner. This requires moral rules that create respect for other people's creativity and an atmosphere common work. The requirements that the ethics of the theater impose on stage figures are partly of a purely artistic nature, partly of a professional or artisanal nature. Speaking about artistic ethics, it is especially necessary to note the need for a certain relationship between the actor and the director. Just as strict submission to the administration on all matters of theatrical production is necessary, it is also necessary to consciously, for one's own success, submit to the will of the director and others. artistic directors performance.

The concept of discipline is almost identical to the concept of ethics, discipline is mandatory for all members creative team obedience to a fixed order. Consistency, the habit of strict order. It is necessary for any collective creativity. It is important that this does not put pressure on the artist, but only helps him. After all, not only external production is fabricated in the theater - roles, living people, their souls and the lives of the human spirit are created there. This is much more important and more difficult than creating the external structure of the performance and life behind the scenes. Inner work requires even more inner discipline and ethics. The first condition for creating internal discipline is the motto: "Love the art in yourself, not yourself in the art."

I would like to finish with the words of K.S. Stanislavsky: "The greatest wisdom is to recognize one's ignorance. That is why I devoted my work and work almost exclusively studied to the creative nature, not in order to create for it, but only in order to find indirect detours to it. But if I hadn't recognized my impotence and the unattainability of the greatness of acting nature, I would wander like a blind man through dead ends, taking them for the immense horizons that open to me.

In the process of creativity, during the first course, I created a mass initiation based on the proverb "appetite comes with eating."

I, as a director, determined for myself that the meaning of this proverb will be revealed by me not literally, but reflecting its deep, figurative meaning, which consists in the fact that any business can captivate, and the process of something itself gives rise to interest in the further process . To make my work more artistic imagery, ideological and semantic load, I set the most important task - to clearly demonstrate to the viewer the human vice - ignorance of the measure, the desire to get everything at once, the loss of control over oneself. To accomplish the most important task, I determined the topic of the beginning - passion, because in my opinion it is precisely at the time of such a feeling as excitement that a person loses a sense of proportion, this is an all-consuming feeling that leads to the loss of all control over oneself while consciousness is clouded desire to win.

Having determined the theme of the beginning, I was able to formulate the proposed circumstances in order to most clearly express the theme and problem. I chose the casino as the venue, in the midst of beach holiday, heroes - people who are eager to relax, unwind, find themselves in the atmosphere of a holiday - four carefree young people, one of them - main character, as a means of expression, the image of the protagonist had a contrast with the rest of the characters, in order to distinguish him from the general mass of actors. Every night at the casino is a holiday.

Around the main characters are the employees of the institution, with their own line of relationships, which strengthens the ideological nature of this work, expensive strong drinks, beautiful dancers. The necessary atmosphere is also created with the help of theatrical expressiveness: energetic, exciting music, light flickering with multi-colored lights, a fairly fast tempo of the beginning (slowing down towards the end to create tension) - all this acts as an ensemble, without which, as you know, it is impossible to create the right stage atmosphere.

It is worth mentioning the role, mise-en-scène in this opening, they are built in close connection with the idea, design and action of the opening. The first mise-en-scene is an empty stage, a casino that has not yet opened its doors to new visitors. Then only one metaphorical character appears - the embodiment of passion. The scene is empty in order to focus the viewer's attention on this character and the moment of inception, because this has a key meaning. The site fills up as the institution opens in which the subsequent action takes place, it fills up (ie develops) gradually, just as the excitement develops in the main character. The mise-en-scène is filled, as the hero's soul is filled with a thirst for winning, the more excitement, the more people around the protagonist. By the end of this mise-en-scene, it is not yet obvious, but there is already the emergence of a personal, psychological tragedy against the backdrop of general merriment.

Then follows the third mise-en-scène, which differs sharply from the previous ones, on the stage again only the image that appears in the first mise-en-scene and the main character. Such a mise-en-scene was chosen by me in order to indicate the depth of a person’s withdrawal into himself at the moment when the measure ceases to be felt and only the desire and thirst for winning remains, the protagonist remains alone with the vice that originated in his soul, alone with passion, and everything around stops for him to exist

The third mise-en-scène was, in my opinion, the most difficult in terms of the acting work of the main character, it was important to find the right physical well-being so that it would become a reflection of the second plan of the role, putting in order and putting into action all parts of the bodily apparatus of the actor's incarnation.

For me, as a director, it was necessary for the actor to perform the right stage action on stage, because action is the main material of theatrical art. Directly correctly found in the course of the work, the stage action of the main character helped to create the character of this hero. External specificity was born during the actor's inner feeling of the role.

Some moments of the beginning were solved plastically, firstly to create imagery, and secondly, because by creating a logical and consistent external line of physical actions and plasticity, another line is born inside the actors - a line of logic and a sequence of feelings.

In the beginning, ninety percent of the actors' time was devoted to physical and emotional action, but as a director, I found it necessary to use verbal action as well. Capacious, but deep. At the end of the third mise en scene, when the protagonist makes the last, decisive bet, when he has "all or nothing" in front of him, when the character's emotional intensity reaches its peak, he performs a verbal action. The protagonist in a frenzy shouts: "To zero. Everything to zero." The phrase contains the subtext of the following character - the main character with this phrase says that he is emotionally devastated. He puts on zero - "everything", but by this "everything" one should understand not the material, but its spiritual, inner. The subtext covers not only the semantic sound of the phrase, but also its emotional richness.

Thus, the path to achieving the super-task was built, all the forces of the team were directed towards one goal, creative aspiration was activated, the whole process was regulated, a working atmosphere was found. ethics and discipline were respected by the whole team.

actor theater mise-en-scene

Bibliography

• 1. Zakhava B.E. The skill of the actor and director [Text] / B.E. Zahava. M .: Publishing house 4th, corrected. and additional M., Enlightenment, 1978. - 334 p.
• 2. Stanislavsky K.S. The work of an actor on himself: Diary of a student [Text] / K.S. Stanislavsky - St. Petersburg. : Azbuka, 2015. - 736 p.
• 3. Zvereva N.A., Livnev D.G. Dictionary of theatrical terms (creating an actor's image). - M.: Russian Academy of Theater Arts - GITIS, 2007. - 136 p.
• 4. Alyansky Yu. Alphabet of the theater / Alyansky Yu. - M .: Sovremennik, 1998. - 237p.
• 5. Chekhov M. On the art of the actor / Chekhov M. - M .: Art, 1999. - 270 p.
• 6. Sharoev I. Stage director and mass performances: Proc. allowance / Sharoev I. - M .: GITIS, 1975. - 155 p.

Stage action (part 1)

Chapter Nine
STAGE ACTION

We have established that action, being the material of acting art, is the carrier of everything that makes up acting, because in action thought, feeling, imagination and physical (bodily, external) behavior of the actor-image are combined into one inseparable whole. We also understood the great significance of the teachings of K.S. Stanislavsky about action as a stimulus of feelings: action is a trap for feelings. - we recognized this position as the fundamental principle of the internal technique of acting art. Action has two features:

1. Volitional origin.
2. Having a goal.

The purpose of the action is to try to change the object to which it is directed, to remake it in one way or another. These two features fundamentally distinguish action from feeling. Meanwhile, both actions and feelings are equally denoted by words that have a verb form. Therefore, it is very important to learn from the very beginning to distinguish between verbs denoting actions and verbs denoting feelings. This is all the more necessary because many actors very often confuse one with the other. To the question: "What are you doing in this scene?" - they often answer: I regret, I suffer, I rejoice, I am indignant, etc. Meanwhile, to regret, to suffer, to rejoice, to be indignant, etc. - these are not actions at all, but feelings. Having received this wrong answer, you have to explain to the actor: you are not being asked about how you feel, but about what you are doing. And yet the actor sometimes for a very long time cannot understand what they want from him. That is why it is so important to establish from the very beginning that the verbs denoting such acts of human behavior, in which there is, firstly, a volitional beginning and, secondly, a certain goal, are verbs denoting actions (for example, ask, reproach, console , drive away, invite, refuse, explain, etc.). With the help of these verbs, the actor not only has the right, but is also obliged to express the tasks that he sets for himself when going on stage. Verbs denoting acts in which the indicated signs (that is, will and purpose) are absent are verbs denoting feelings (for example, regret, be angry, love, despise, despair, etc.), and cannot serve to designate creative actor's intentions. These rules follow entirely from the laws of human nature. In accordance with these laws, it can be argued that in order to start acting, it is enough to want to (I want to convince and convince, I want to console and console, I want to reproach and reproach, etc.). True, by performing this or that action, we do not always achieve the goal; therefore, to convince does not mean to convince, to console does not mean to console, etc., but to convince, console, etc. we can whenever we want it. That is why we say that every action has a volitional origin. The diametrically opposite must be said about human feelings, which, as you know, arise involuntarily, and sometimes even against our will (for example, I do not want to be angry, but I am angry; I do not want to regret, but I regret; I do not want to despair, but I despair, etc.). P.). At will, a person can only pretend to experience this or that feeling, and not actually experience it. But we, perceiving the behavior of such a person from the outside, usually without making much effort, expose his hypocrisy and say: he wants to seem touched, and not really touched; he wants to appear angry, not actually angry. But the same thing happens to an actor on stage, when he tries to experience, demands feelings from himself, forces himself to it or, as the actors say, “pumps” himself with this or that feeling: the spectator easily exposes the pretense of such an actor and refuses to believe him. And this is quite natural, since the actor in this case comes into conflict with the laws of nature itself, does something directly opposite to what nature and the school of K.S. require of him. Stanislavsky. Indeed, does a person weeping with grief want to weep? On the contrary, he wants to stop crying. What does an artisan actor do? He tries to sob, squeezes tears out of himself. Is it any wonder the audience doesn't believe him? Or does a laughing person try to laugh? On the contrary, for the most part he strives to restrain laughter, to stop laughter. The actor, on the other hand, does just the opposite: he squeezes laughter out of himself, forcing nature, he forces himself to laugh. Is it any wonder that the fake actor's laughter sounds unnatural and false? After all, we know very well from our own life experience that one never wants to laugh so painfully as in those cases when for some reason it is impossible to laugh, and that sobs stifle us the more we try to suppress them. Therefore, if an actor wants to follow the laws of nature, and not enter into a fruitless struggle with these laws, let him not demand feelings from himself, do not force them out of himself, do not "pump" himself with these feelings and do not try to "play" these feelings, imitate their external form; but let him precisely determine his relations, justify these relations with the help of his imagination, and, having thus aroused in himself a desire to act (urges to act), he acts without expecting feelings, in full confidence that these feelings will come to him in the process of action. and will find for themselves the necessary form of revelation. It should be noted here that the relationship between the strength of a feeling and its external manifestation is subject to the following law in real life: the more a person restrains himself from external manifestation of a feeling, the stronger and brighter this feeling flares up in him at first. As a result of a person's desire to suppress a feeling, to prevent it from manifesting itself outside, it gradually accumulates to such an extent that it often then breaks out with such tremendous force that it overturns all obstacles. The artisan actor, who seeks to reveal his feelings from the very first rehearsal, does something diametrically opposed to what this law requires of him. Every actor, of course, wants to feel strong on stage and express himself brightly. However, it is precisely for this that he must learn to restrain himself from revealing himself prematurely, to show not more, but less of what he feels; then the feeling will accumulate, and when the actor finally decides to open the floodgates and give free rein to his feeling, it will come out in the form of a vivid and powerful reaction. So, not to play with feelings, but to act, not to "pump" oneself with feelings, but to accumulate them, not to try to reveal them, but to keep oneself from revealing - these are the requirements of the method based on the true laws of human nature.

Physical and mental actions, suggested circumstances and
stage image

Although any action, as has been repeatedly emphasized, is a psychophysical act, that is, it has two sides - physical and mental - and although the physical and mental sides in any action are inextricably linked with each other and form an integral unity, nevertheless it seems to us expedient conditionally, for purely practical purposes, to distinguish between two main types of human actions: a) physical and b) mental. At the same time, in order to avoid misunderstandings, it is necessary to emphasize once again that every physical action has a mental side and every mental action has a physical side. But in this case, where do we see the difference between physical and mental actions? We call physical actions such actions that are aimed at introducing one or another change in the material environment surrounding a person, in one or another object, and for the implementation of which the expenditure of mainly physical (muscular) energy is required. Based on this definition, this type of action should include all types of physical work (sawing, planing, chopping, digging, mowing, etc.); actions that are of a sports and training nature (row, swim, hit the ball, do gymnastic exercises etc.); a number of household activities (dressing, washing, combing, putting on a samovar, setting the table, cleaning the room, etc.); and, finally, a lot of actions performed by a person in relation to another person, on stage - in relation to his partner (push, hug, attract, seat, lay, see off, caress, catch up, fight, hide, hunt down, etc. ). We call mental actions those that have the goal of influencing the psyche (feelings, consciousness, will) of a person. The object of influence in this case can be not only the consciousness of another person, but also the own consciousness of the acting person. Mental actions are the most important category of stage actions for an actor. It is with the help of mainly mental actions that the struggle is carried out, which is the essential content of any role and any play. There will hardly be at least one such day in the life of any person when he would not have to ask someone for something (well, at least for some trifle: give a match or move on a bench to sit down) that - explain to someone, try to convince someone of something, reproach someone for something, joke with someone, console someone with something, refuse someone, demand something , think about something (weigh, evaluate), admit something, play a trick on someone, warn someone about something, keep oneself from something (suppress something in oneself), praise one , scold another (reprimand or even scold), follow someone, etc. etc. But to ask, explain, convince, reproach, joke, hide, console, refuse, demand, ponder (decide, weigh, evaluate), warn, restrain oneself from something (suppress any desire in oneself), praise, scold ( reprimand, scold), follow, etc. etc. - all this is just nothing but the most ordinary mental actions. It is from this kind of action that what we call acting or the art of acting is made up, just as what we call music is made up of sounds. After all, the whole point is that any of these actions is perfectly familiar to every person, but not every person will perform this action in given circumstances. Where one will tease, the other will console; where one praises, another will scold; where one will demand and threaten, the other will ask, where one will restrain himself from an overly hasty act and hide his feelings, the other, on the contrary, will give free rein to his desire and confess everything. This combination of a simple mental action with the circumstances under which it is carried out solves, in essence, the problem of the stage image. Consistently performing correctly found physical or simple mental actions in the circumstances proposed by the play, the actor creates the basis for the image given to him. Let us consider various options for possible relationships between those processes that we have called physical and mental actions. Physical actions can serve as a means (or, as K.S. Stanislavsky usually puts it, “adaptation”) for performing some kind of mental action. For example, in order to console a person experiencing grief, that is, to perform a mental action, you may need to enter a room, close the door behind you, take a chair, sit down, put your hand on the partner’s shoulder (to caress), catch his eye and look into his eyes (to understand what state of mind he is in), etc. - in a word, to perform a number of physical actions. These actions in such cases are of a subordinate nature: in order to perform them faithfully and truthfully, the actor must subordinate their performance to his mental task. Let's take some very simple physical action, for example: enter a room and close the door behind you. But you can enter a room in order to console; in order to call for an answer (to reprimand); in order to ask for forgiveness; in order to declare one's love, etc. Obviously, in all these cases, a person will enter the room in different ways - the mental action will leave its mark on the process of performing the physical action, giving it this or that character, this or that coloring. However, it should be noted that if the mental action in such cases determines the nature of the performance of the physical task, then the physical task also affects the process of performing the mental action. For example, let's imagine that the door that needs to be closed behind you does not close in any way: you close it, and it opens. The conversation is to be secret, and the door must be closed at all costs. Naturally, in the process of performing this physical action, a person will experience internal irritation, a feeling of annoyance, which, of course, cannot but affect the performance of his main mental task. Consider the second variant of the relationship between physical and mental actions. It often happens that both of them run in parallel and influence each other. For example, when cleaning a room, that is, performing a number of physical actions, a person can simultaneously prove something to his partner, ask him, reproach him, etc. - in a word, to perform this or that mental action. Let's say that a person is cleaning a room and arguing about something with his partner. Will not the temperament of the dispute and the various feelings arising in the process of this dispute (irritation, indignation, anger) affect the nature of the performance of actions related to cleaning the room? Of course they will. The physical action (cleaning the room) may even stop completely at some point, and the person in irritation will so much suffice on the floor with a rag with which he has just wiped the dust that the partner will be frightened and hasten to end the argument. But the opposite effect is also possible. Let's say that the person cleaning the room needed to remove a heavy suitcase from the closet. It is very possible that, taking off the suitcase, he will temporarily stop his argument with his partner, and when he gets the opportunity to return to him again, it will turn out that his ardor has largely cooled down. Or suppose that a person, arguing, performs some very delicate, jewelry work. In this case, it is hardly possible to argue with the degree of vehemence that would take place if the person were not connected with this painstaking work. So, physical actions can be carried out, firstly, as a means of fulfilling a mental task and, secondly, in parallel with a mental task. In both cases, there is an interaction between physical and mental actions; however, in the first case, the leading role in this interaction is always retained by the mental action as the main and main one, and in the second case, it can pass from one action to another (from the mental to the physical and vice versa), depending on what is the goal in a given the moment is more important for a person (for example, to clean a room or convince a partner).

Types of mental actions
Conditional nature of the classification

Depending on the means by which mental actions are carried out, they can be: a) mimic and b) verbal. Sometimes, in order to reproach a person for something, it is enough to look at him with reproach and shake his head - this is a mimic action. The facial expressions of actions, however, must be decisively distinguished from the facial expressions of feelings. The difference between them lies in the volitional origin of the first and the involuntary nature of the second. It is necessary that every actor understands this well and learns it for the rest of his life. You can make a decision to reproach a person without using words, speech - to express reproach only with the help of the eyes (that is, mimicry) - and, having made this decision, fulfill it. At the same time, facial expressions can turn out to be very lively, sincere and convincing. This also applies to any other action: you may want to mimic something to order, to ask for something, to hint at something, etc. And to carry out this task, it will be completely legal. But one cannot want to mimic despair, mimic angry, mimic despise, etc. - it will always look fake. - The actor has every right to look for a mimic form to express his actions, but in no case should he look for a mimic form to express feelings, otherwise he risks being at the mercy of the most cruel enemies true art in the power of the acting craft and stamp. A mimic form for expressing feelings must be born by itself in the process of action. The facial actions we have considered play a very significant role as one of the very important means of human communication. However, the highest form of this communication is not mimic actions, but verbal ones. The word is the expression of thought. The word as a means of influencing a person, as a stimulus of human feelings and actions has the greatest power and exclusive power. Compared to all other types of human (and, consequently, stage) actions, verbal actions are of primary importance. Depending on the object of influence, mental actions can be divided into: a) external and b) internal. External actions can be called actions aimed at an external object, that is, at the consciousness of a partner (in order to change it). We will call internal actions those that have as their goal a change in the self-consciousness of the actor. We have given enough examples of external mental actions. Examples of internal mental actions are actions such as thinking, deciding, weighing, studying, trying to understand, analyzing, evaluating, observing, suppressing one's own feelings (desires, impulses), etc. In a word, any action, as a result of which a person achieves a certain change in his own consciousness (in his psyche), can be called an internal action. Internal actions in human life, and consequently in the art of acting, are of the greatest importance. In reality, almost no external action begins without being preceded by an internal action. In fact, before starting to carry out any external action (mental or physical), a person must orient himself in the environment and make a decision to carry out this action. Moreover, almost every replica of a partner is material for evaluation, for reflection, for thinking about the answer. Only artisan actors do not understand this and “act” on stage without thinking. We put the word “act” in quotation marks, because, in fact, the stage behavior of an actor-craftsman cannot be called an action: he speaks, moves, gesticulates, but does not act, because a person cannot act without thinking. The ability to think on the stage distinguishes a real artist from a miserable craftsman, an artist from an amateur. Establishing the classification of human actions, it is necessary to point out its very conditional nature. In fact, it is very rare certain types actions in their purest form. In practice, complex actions of a mixed nature predominate: physical actions are combined in them with mental ones, verbal with facial ones, internal with external, conscious with impulsive. In addition, the uninterrupted line of the actor's stage actions calls to life and includes a number of other processes: the line of attention, the line of "wants", the line of imagination (a continuous film of visions passing before the inner vision of a person) and, finally, the line of thought that develops from internal monologues and dialogues. All these separate lines are the threads from which the actor, who has the mastery of internal technique, continuously weaves the tight and strong cord of his stage life.

The value of the simplest, physical actions in the work of an actor

In the methodological research of K.S. Stanislavsky in the last years of his life, something fundamentally new appeared. This new one was called the "method of simple physical actions." What is this method? Carefully reading the published works of Stanislavsky and pondering what the witnesses of his work in last period, it is impossible not to notice that over time he attaches more and more importance to the truthful and accurate performance of the simplest, most elementary actions. These simple physical actions, perfectly familiar to every person, have become in the last period the subject of special concern on the part of Stanislavsky. With unusual captiousness, he sought the vitally truthful and absolutely accurate execution of these actions. Stanislavsky demanded from the actors that before they seek the "big truth" of the important and deep mental tasks of the role, they would achieve the "little truth" when performing the simplest physical actions. Getting on stage as an actor, a person initially unlearns how to do the most simple steps , even those that in life he performs reflexively, without thinking, automatically. “We forget everything,” writes Stanislavsky, “both how we walk in life, and how we sit, eat, drink, sleep, talk, watch, listen - in a word, how we act internally and externally in life. We need to learn all this again on the stage, just like a child learns to walk, talk, look, listen. “Here, for example: one of my nieces,” says Stanislavsky, “loves to eat, and play pranks, and run, and chat. Until now, she dined at her place - in the nursery. Now they put her at a common table, and she forgot how to eat, and chat, and play pranks. "Why don't you eat, why don't you talk?" they ask her. - "Why are you looking?" - answers the child. How not to teach her to eat again, chat and play pranks - in public? The same is with you, - continues Stanislavsky, referring to the actors. - In life, you know how to walk, and sit, and talk, and look, but in the theater you lose these abilities and say to yourself, feeling the proximity of the crowd: “Why are they looking ?!” You also have to teach you everything first - on the stage and in public. Indeed, it is difficult to overestimate this task facing the actor: to learn again, while on stage, to walk, sit down, get up, open and close the door, dress, undress, drink tea, light a cigarette, read, write, bow, etc. After all, all this must be done the way it is done in life. But in life all this is done only when a person really needs it, and on stage the actor must believe that he needs it. “In life ... if a person needs to do something,” says Stanislavsky, “he takes it and does it: he undresses, dresses, rearranges things, opens and closes doors, windows, reads a book, writes a letter, looks at what is being done on street, listening to what is going on with the neighbors of the upper floor. On stage, he performs the same actions approximately, approximately the same as in life. And it is necessary that they be performed by him not only in the same way as in life, but even stronger, brighter, more expressive. Experience shows that the slightest untruth, a barely perceptible falsehood, when performing a physical action, completely destroys the truth of mental life. The truthful performance of the smallest physical action, arousing the stage faith of the actor, has an extremely beneficial effect on the fulfillment of his great mental tasks. “The secret of my technique is clear,” says Stanislavsky. “The point is not in the physical actions themselves, as such, but in the truth and belief in them that these actions help us to evoke and feel in ourselves.” If the actor achieves the truth in the performance of the simplest physical task and thus arouses creative faith in himself, then this faith will then help him to truthfully fulfill his main mental task. After all, there is no such physical action that would not have a psychological side. “In every physical action,” says Stanislavsky, “an inner action, an experience, is hidden.” Take, for example, such a simple, such an ordinary physical action as putting on a coat. Performing it on stage is not so easy. First you need to find the simplest physical truth of this action, that is, to ensure that all movements are free, logical, expedient and productive. However, even this modest task cannot be completed to the end without answering many questions: why am I putting on a coat, where am I going, why, what is my further plan of action, what do I expect from the conversation that I will have where I am going, how I am related to the person with whom I am to talk, etc. You also need to know well what the coat itself is like: maybe it is new, beautiful, and I am very proud of it; maybe, on the contrary, it is very old, worn, and I am ashamed to wear it. In either case, I will wear it differently. If it is new and I am not used to handling it, I will have to overcome various obstacles: the hook does not fasten well, the buttons hardly fit into tight new loops. If, on the contrary, it is old, familiar, I, putting it on, can think about something completely different, my movements will be automatic and I myself will not notice how I put it on. In short, there are many possible various options depending on various proposed circumstances and justifications. So, in order to achieve the truthful fulfillment of the simplest physical task, the actor finds himself forced to do a huge inner work: to think through, feel, understand, decide, fantasize and live a lot of circumstances, facts, relationships. Starting with the simplest, external, physical, material (what is easier: put on a coat!), the actor involuntarily comes to the inner, psychological, spiritual. Physical actions thus become a coil on which everything else is wound: internal actions, thoughts, feelings, fictions of the imagination. It is impossible, says Stanislavsky, “to enter the stage in a human way, and not in an actor’s way, without first justifying one’s simple, physical action with a whole series of inventions of the imagination, proposed circumstances, “if”, etc. Consequently, the significance of physical action lies ultimately in the fact that it makes us fantasize, justify, fill this physical action with psychological content. Physical action is nothing but the creative cunning of Stanislavsky, a snare for feeling and imagination, a certain technique of "psychotechnics". "From life human body to the life of the human spirit" - such is the essence of this technique. Here is what Stanislavsky himself says about this technique: “... new secret and the new feature of my method of creating the "life of the human body" of the role is that the simplest physical action, when actually performed on the stage, forces the artist to create, according to his own motives, all kinds of fictions of the imagination, proposed circumstances, "if". If one of the simplest physical actions requires such big job imagination, then to create a whole line of "life of the human body" of the role, a long continuous series of fictions and proposed circumstances of the role and the whole play is needed. They can only be understood and obtained with the help of detailed analysis produced by all the spiritual forces of a creative nature. My method naturally evokes such an analysis." The physical action excites all the spiritual forces of the actor's creative nature, includes them in itself, and in this sense, as it were, absorbs the actor's spiritual life: his attention, faith, assessment of the proposed circumstances, his attitudes, thoughts, feelings ... Therefore, seeing how the actor puts on on the stage of the coat, we guess what is happening in his soul at that time. But from the fact that physical action includes the mental life of the actor-image, it does not at all follow that the "method of physical action" absorbs everything else in Stanislavsky's system. Just the opposite! In order to perform a physical action well, that is, in such a way that it includes the mental life of the actor-image, it is necessary to approach its performance fully armed with all the elements of the system that were found by Stanislavsky in earlier periods than the method of physical actions. Sometimes, just in order to correctly choose the right physical action, the actor has to do a huge amount of work beforehand: he must understand the ideological content of the play, determine the most important task and the through action of the role, justify all the relations of the character with the environment - in a word, create at least in the most in general terms ideological and artistic conception of the role. So, the first thing that is part of the method of physical actions is the doctrine of the simplest physical action as the stimulus for the feeling of truth and stage faith, inner action and feeling, fantasy and imagination. From this teaching follows the demand addressed to the actor: when performing a simple physical action, to be extremely exacting to oneself, to the maximum conscientiousness, not to forgive oneself in this area even the smallest inaccuracy or negligence, falsity or conventionality. The true "life of the human body" of the role will give rise to the "life of the human spirit" of the role.

Turning mental tasks into physical ones

Suppose an actor has to perform some elementary mental action, such as comforting someone. From the very beginning, the actor's attention involuntarily rushes to the question of how he will internally experience this action. Stanislavsky tried to remove his attention from this question and transfer it to the physical side of the action. How? Any mental action, having as its immediate, immediate task a certain change in the consciousness (psyche) of the partner, ultimately tends, like any physical action, to cause certain consequences in the external, physical behavior of the partner. Accordingly, we will try to bring each mental task in the mind of the actor to the degree of maximum physical concreteness. To do this, each time we will put the question before the actor: how physically he wants to change the behavior of the partner, influencing his consciousness with the help of a certain mental task. If an actor was given the mental task of comforting a crying person, then he can answer this question, for example, as follows: I will try to make my partner smile. Excellent. But then let this partner's smile as a desired result, as a certain goal or dream, arise in the actor's imagination and live there until the actor succeeds in fulfilling his intention, that is, until the desired smile actually appears on the partner's face. This dream that lives in the imagination, this vivid and persistent figurative vision of the practical result, the physical goal towards which one is striving, always arouses the desire to act, teases our activity, stimulates the will. But that's how it is, in essence, what happens in life. When we go to a conversation, meeting, date, don't we picture in our imagination the desired outcome of this conversation or date? And aren't the feelings that arise in us during this conversation due to the extent to which we manage to achieve this result that lives in our imagination? If we are faced with the task of convincing a partner of something, then doesn’t our imagination draw the image of a partner for us as it should look at the moment of its agreement with our arguments? If a young man goes on a date with his girlfriend with the intention of declaring his love, then how can he not dream, not feel, not see with his inner vision everything that, in his opinion, should happen after he says: “I love you !? Another thing is that life often deceives us and in reality very often everything happens quite differently than we imagined in advance. But nevertheless, each time we take on the solution of a tone or another life task, we inevitably create in our imagination a certain image of the goal towards which we are striving. That's what an actor should do. If he is given a rather abstract mental task to "comfort", let him turn it into a very concrete, almost physical task - to "bring a smile." If he is given the task of “proving”, let him make his partner who understands the truth jump for joy (if, of course, such a reaction corresponds to his character); if the actor has to “ask” the partner for something, let him encourage him to get up, go, take the necessary object; if he has to “declarate his love,” let him look for an opportunity to kiss his beloved. A smile, a person jumping for joy, certain physical movements, a kiss - all this is concrete, all this has a figurative, sensual expression. This is what you need to achieve on stage. Experience shows that if an actor achieves a certain physical result from his influences on a partner, in other words, if his goal is concrete and lives in his imagination as a sensual image, as a living vision, then the process of completing the task becomes unusually active, the actor's attention becomes very intense. , and stage communication becomes unusually sharp. If an actor simply says: “Comfort!” - there is little chance that he will really get ignited by this task. But if you tell him: “Make your partner smile!” - it will immediately become active. The very nature of the task will compel him to this activity. And his attention will sharpen unusually. He will be forced to follow the slightest changes in the expression of his partner's face in anticipation of the moment when the first signs of the long-awaited smile appear on this face. In addition, such a statement of the problem unusually stimulates the creative ingenuity of the actor. If you say to him: "Comfort!" - he will begin to vary two or three more or less banal adaptations, slightly warming them up with acting emotion. But if you tell him: “Get your partner to smile!” - the actor will look for a variety of ways to carry out this task. So, the essence of the described technique is reduced to the transformation of the goal of the action from mental to physical. But this is not enough. It is necessary that the actor, in achieving his goal, seeks the truth, first of all, not in his inner experiences, but in his external, physical behavior. After all, an actor cannot influence a partner otherwise than physically. And the partner will also not be able to perceive these impacts otherwise than physically. Therefore, let the actor first of all achieve that his eyes, his voice, his body do not lie. In achieving this, he will involuntarily involve thought, feeling, and imagination in the process of action. It should be noted that of all the means of physical influence, human eyes are of particular importance. The fact that the eyes are able to reflect the inner world of a person has been noted by many. But, arguing that "the eyes of a person are the mirror of his soul," they mean mainly the feelings of a person. Stanislavsky drew attention to another ability of human eyes: he noticed that a person's eyes are not only capable of expressing his feelings, but with the help of his eyes a person can also act. No wonder Stanislavsky often uses such expressions as “probing with the eyes”, “checking with the eyes”, “shooting and shooting with the eyes”. Of course, in all these actions not only the eyes of a person participate, but his whole face, and sometimes not only the face, but the whole body. However, there is a full calculation to start with the eyes, because if the eyes live correctly, then everything else will heal correctly. Experience shows that a proposal addressed to an actor to carry out this or that action through the eyes usually immediately gives a positive result: it mobilizes the actor's inner activity, his attention, his temperament, his stage faith. Thus, this technique also obeys the principle: from the truth of the "life of the human body" to the truth of the "life of the human spirit." It seems to me that in this approach to action, not from the internal (psychological), but from the external (physical) side of it, there is something fundamentally new, which includes the “method of simple physical actions”.

STAGE ACTION.

Setting to action

For the collective creative work it is necessary to know about internal composure, organization, a sense of the partner's elbow, readiness to actively engage in the process of stage action.

(Group exercises: stand up silently, sit down, move from place to place, rearrange furniture, sit in a semicircle, change chairs, etc.

1. "Typewriter"; 2. "Numbers"; 3. Sing a song in chorus at a different pace, teacher. conducts up and down; 4. "Blind Man's Buff", "Third Extra", "Sports Indoor Games", etc.

Transfer the largest number objects, cities, actors, directors.

These exercises help to achieve organization in work, discipline the will, prepare you mentally and physically for active expedient actions.).

ACTION IS THE BASIS OF STAGE ART.

The art of the actor is the art of stage action. Action is the main means of scenic expressiveness. Through an active, purposeful, organic action, the inner life of the image is embodied and the ideological concept of the work is revealed.

First stage - in mastering the process of organic action - overcoming the publicity of creativity.

(“consider something”, “learn”, “find”, “read”, “pass”, “question” - these are simple actions to teach you to be distracted from the audience, carried away on the stage by a specific action).

Second step - activities carried out in public fiction.(Here it is important in simple exercises to act organically and expediently in terms of stage improvisation. It means to act today, here, now).

Third step - mastery of organic action is associated with its repetition, where the improvisational exercise develops into a practiced etude in which the logic and sequence of the action are fixed. You must learn to repeat without repeating

Exercises.

1. Pour a glass of water and serve it to me;

2. Open or close the window, etc. (repeat these exercises a second time).

3. Take a watch or a ring, ask the owner to go out, hide, invite and offer to find.

The first time you perform it as a life action, and when you repeat it, it will move into the plane of a stage action. This means that the living organic process is disturbed and an element of mechanicalness, a melody appears.

The role of fiction in the work of an actor will become especially tangible if one and the same action is performed in different proposed circumstances. For example: walk through the hall and go up to the stage. Justification - go through the yard, go up to the porch of the house. Questions in progress: Where to? Why am I going?, i.e. the immediate goal and the circumstances necessary for the action to be performed are determined. These circumstances can be supplemented by other fictions: it is raining, hail, cold, an angry dog ​​is on the road, a seriously ill person is lying in the house, waiting for help.

Here, and in general, it is necessary to know a certain goal and inner justification, without which it is impossible to do nothing.

Active stage action always involves overcoming obstacles on the way to achieving the goal, and, consequently, a struggle. Struggle - mandatory condition action development. Without contradictions, conflict, clashes, struggle, there can be no stage creativity.

Collision example. One crosses the street in the wrong place, and the other is a policeman. The task of a passer-by is not to be late for a meeting, and a policeman is to fine the violator. The outcome of this struggle will depend on how active everyone will be in achieving the goal.

So, the action is characterized by two signs:

1. Volitional origin;

2. The presence of a goal;

The purpose of the action is the desire to change the phenomenon, the object to which it is directed.

These two characteristics fundamentally distinguish actions from feelings. Meanwhile, both actions and feelings are equally denoted by words that have a verb form.

Verbs denoting acts of human behavior, in which there is, firstly, a volitional principle, and secondly, a definite goal, are verbs denoting actions.. For example, ask, reproach, console, drive away, refuse, etc. Verbs denoting acts in which there are no signs (will, purpose) are verbs denoting the senses(regret, be angry, love, despise, despair, etc.). This rule follows from the laws of human nature. In accordance with these laws, it can be argued that in order to start acting, it is enough to want to (I want to convince and I convince; I want to console and I console, etc.).

So, not to play with feelings, but to act, not to pump yourself up with feelings, but to accumulate them, not to try to reveal them, but to keep yourself from revealing them prematurely - these are the requirements of the method based on the true laws of human nature.

So: desire - task - action.

To realize your desire, there must be an object and a desire for action - only under these conditions can you fulfill your “want”. The content of this desire is the task. A task is a desire in action. To express your desire, you need to outline tasks that are simple, feasible and feasible. A task becomes interesting when it comes from an inner feeling. When the feeling is silent and does not find a task, the mind prompts, dragging the feeling along with it. Our will forces desire to pass through the task into action, thus, the task set is realized by action. The scheme of this process: firstly, to clearly express a thought (vision, with the help of imagination, draws visions for us, i.e. representations, and representation causes judgments in us); secondly, thought evokes and captivates feeling without forcing it; thirdly, feeling excites desire:; fourthly, desire turns into aspiration, i.e. task, and fifthly, the desire turns into action.

Exercises.

1. “Go on a date” / desire - I want to please him /; (a task implemented by an action - I choose a dress, shoes, do my hair, etc.).

2. Lost in the forest.

3. The jam is locked in the cupboard (I want to try).

4. The Nazis are searching every house, looking for an underground printing house. You also have underground literature. (I want to get ready for the search).

5. A group of Komsomol members in captivity. They lie tied up in the barn. (I want to run).

6. Repair in the apartment. They forgot and stained the new suit with paint. (I want to eliminate the stain)

7. Waiting for friends to visit you. (I want to create coziness and prepare the table).

8. I came to my friend's house, she is not there, we have to wait more than an hour. (I want to keep myself busy).

9. We just took the child to the hospital, he has the flu, I will do the disinfection. (I want to prepare a room for disinfection).

Tasks, like desires, are physical, elementary and complex psychological. You cannot separate them. Any physical problem can be given a psychological justification.

1. a ) "To clean the room"(physical problem).

b) "Clean up the way your mother likes." (elementary psychological task).

c) “Clean up the room after the day of the funeral of a person close to you” (a complex psychological task).

2. Make dinner.

a) the cook prepares lunch in the dining room;

b) the mother cooks to please the children with their favorite dish.

c) the father cooks to feed his seriously ill daughter.

3. Take care of the sick.

a) A nurse takes care of the sick.

b) cares for a familiar person.

c) takes care of his son brought from the front to the infirmary.

4. Burn paper.

a) burn waste paper in the oven.

b) burn books, notebooks to heat the room.

c) burn underground literature before a search.

Physical activity exercises. Here the actions remain, but the goal changes.

1. Hide

a) to escape the chase.

b) to jokingly scare a friend.

2. G send a parcel.

a) in order to send a birthday present to my brother.

b) to send the things of her husband, with whom she broke up.

3. Light a match.

a) to find the thing that you dropped.

b) to light the fuse to blow up the German warehouse.

4. Walk around the room.

a) to determine its size.

b) to break tight shoes.

5. Humming.

a) to remember the motive.

b) to prepare for the performance without disturbing the neighbor.

6. Expand the newspaper.

a) to read a feuilleton about a friend.

b) to make a sun hat out of it..

7. Sit at the table.

a) to write a serious letter.

b) write a playful letter to prank a friend.

8. Pour the water.

a) to take medicine.

b) to take to a person who is ill.

9. smoke

a) to keep mosquitoes away.

b) to try whether I should start smoking.

10. Dial a phone number.

a) to invite the girl to the ball.

b) to find out the results of entrance examinations, etc.

STAGE ATTENTION.

Attention is the gate to creativity,

to any creativity

/K.S.Stanislavsky/

Attention is a mental process in which one of several simultaneous impressions is perceived especially vividly. Attention in a person in life is involuntary and continuous. Every person has a different focus. It depends on the general and purely subjective properties of a person and, to some extent, on professions and the system of education.

In every area creative activity a person needs attention, concentration of thoughts, feelings and the whole organism. All this largely depends on the volitional qualities of a person.

Stage attention should be voluntary, i.e. depends on our will, and just as in ordinary life, continuous. An actor needs attention at all times while on stage. You have to be careful during pauses and during your remarks. Attention is an element of inner stage well-being. The ability to focus one's attention on the stage is connected with the activity of our sense organs (sight, hearing, touch, smell, taste), the ability to think and act.

Stage I of the study of attention.

The development of stage attention in the real plane.

Every person, object on which we stop our attention is called the object of attention

In the exercises, you need to look really, meaningfully, and not mechanically, formally, and it is important that you are really attentive, and not fake attention.

Close object exercises- dot.

1. I give any item (a box of matches, a watch, a cigarette case, a pen, etc.). look at the color, shape, its features and details. Tell us what caught your attention.

2. Carefully consider the person sitting next to you. How she is dressed, what colors, what pose, hair, etc.

3. Give postcards with pictures of people for 1-2 minutes. Tell me what you saw.

Exercises on the middle object - point.

1. Consider an object located at an average distance and talk about it.

2. Consider an object that is at a far distance and talk about it. This will be the far point object.

It is necessary to learn to really look and see, listen and hear in public. It all starts with a practical test of attention to all the senses.

Visual attention exercises.

1. Consider art postcards and perform the poses of people depicted on them (single, pair, group, have postcards with you).

2. Make some figure out of matches and let it look for a while, and then repeat what you saw.

3. "Mirror" for 2 reflections.

4. "Shadow". One goes making different movements, the other also simultaneously repeats the same movements after him.

Listening exercises.

1. Listen and remember the sounds: in the room, in the corridor, on the street and tell what you heard.

2. ½ of the group sit on chairs facing the wall, and put the other half behind and offer to talk among themselves, shuffle their feet, clap their hands, drop pens, notebooks, a coin, etc.

The group that is sitting tells in detail what they have heard (sounds, phrases, words, etc.)

Mindfulness exercises.

These exercises are done without looking at the object.

1. Find surface damage without looking at the table.

2. Determine the sign and value of the cash coin.

3. Determine the letters pricked with a pin on paper.

4. Separate with the fingers of one hand one hair from a strand of hair.

5. Feel for a needle under the newspaper.

6. Feel and determine what items are on the table under the tablecloth, etc.

Smell exercises.

Here you need to sniff without undue stress.

1. Smell the bundle (apples, pears).

2. Smell for the smell of burning rubber.

3. Smell and smell the powder in the bag.

4. Smell the flowers and identify the smell.

5. Smell the briefcase, bag.

6. Smell the neighbor with what perfume she is perfumed today.

Taste exercises.

Lemon, apple, fried meat, barbecue, herring, sausage, cottage cheese, fresh milk, fresh meat, etc.

CIRCLES OF ATTENTION.

The circle of attention is a space, an area containing many separate, independent objects, limited by the lines of the objects themselves. Circles of attention are: small, medium, large.

Exercises.

Put some items on the table.

1) Each of you consider one of them, and turning to the wall, talk about the subject. This subject is an object - a point.

2) Now consider all the items that are on the table and tell. This is a small circle of attention.

3) Consider a part of the room with a table in it and tell what they saw in it. This is the middle circle.

4) Look at the whole room and tell what you saw in it. This is a big circle of attention.

If attention is scattered on the stage, it is necessary to limit the area of ​​attention to the limit of the middle circle. If this does not help to narrow down to the small, then you should turn to the help of an object - a point and holding, focusing your attention on it, return to a small, medium, large circle of attention. Attention to the object in art must be extremely persistent. Art does not need fleeting, gliding, superficial, fragmentary attention. In order to keep attention on an object, one must justify this attention to the object, surround this object with an attractive figment of the imagination and begin to act.

Attention to an object causes a natural need to do something with it. Action, on the other hand, focuses attention even more on the object. Attention, merging with the action and mutually intertwining, creates a strong connection with the object.

An exercise.

1) Consider one of the items laid out on the table (gloves, keys, glasses, a ring, etc.) and endow it with an interesting fiction of the imagination.

Question: What is your facility?

Answer: I'm looking at the ring...

Question: Excuse me, why are you considering this subject so carefully?

Take action.

2) I distribute reproductions of paintings by artists. Consider the poses of nature. Give them a figment of the imagination and take action.

Stage II of the study of attention.

Development of arbitrary stage attention in an imaginary plane.

On the stage, in the play, in the role and in reality itself, there are two main planes of the life of our attention. Real and imaginary. Walking along the line of the role, the performer falls into one or the other of these planes. Therefore, it is necessary to use on the stage not only external, but also internal vision. To do this, it is necessary to develop inner attention, fixed on the objects of imagination, inner life. Whether we talk, think, remember, fantasize about any phenomenon, object, action, events and moments experienced in real or imaginary life, we see all this on the screen of our inner vision and stop at these images that appear to us and objects of our attention. The process of viewing the tape of internal visions should take place on the stage all the time while we live the life of the role there and transmit these visions to the partner.

Exercises.

1) Tell us about your apartment in detail. (how it is located, doors, windows, furniture, kitchen), and draw the rest according to the story.

2) Describe a well-known building in the city. (the rest listen and guess).

3) Describe the appearance of actors, writers, singers, singers, sculptors. (the rest to guess).

Circles of attention on an imaginary plane.

1. Object - point - teddy bear.

2. Small circle - shop window.

3. The middle circle is the entire toy store.

4. Large circle - a fair in which there is a toy store.

The work of the sense organs

Memory for feeling

Creating imaginative visions

activity of the imagination

Logic and sequence of action of thoughts and feelings

Physical and verbal interaction with the object.

Element of acting psychotechnics "if", proposed circumstances

"If" - is for the actor a lever that transfers him from reality to the world in which only creativity and action can take place. (A world invented by a playwright or director)

Proposed circumstances - just as if it were itself an assumption, a figment of the imagination.

If “suggested circumstances” always begin creativity, develop it, their functions are somewhat different, “if” give impetus to the dormant imagination, “suggested circumstances” make the “if” itself justified, i.e. contribute to the instantaneous internal restructuring of the actor - that “shift” due to which creativity becomes possible. The stage work begins with an introduction to the play and the role of the magical "if".

Through "if" it is created organically, naturally, by itself, internal and external action are created.

Plays, role- this is the author's fiction, this is a series of magical "if", "suggested circumstances" invented by him. The real “were” reality does not exist on the stage. Reality is not art, the task of the artist and his work of technology is to turn the fiction of the play into an artistic stage story; imagination plays a huge role in this process.

With the help of the magical “if”, placing himself in all the “proposed circumstances of the role”, the performer gradually penetrates the inner world, the logic of the character’s thinking, begins to feel that the line of the character’s actions becomes not only understandable for him, but also the only possible one.

Element of acting psychotechnics stage attention

In every sphere of human creative activity, attention, concentration of thoughts, feelings and the whole organism is needed. And what attention is directed to is called - the object of attention.

TYPES OF ATTENTION

1. Involuntary- in which objects, as it were, seize the attention of a person. Either with his consent or in spite of him is diffused attention, in which objects quickly succeed one another, randomly and in an unorganized way.

2. Arbitrary- in which you need a certain effort of will to master the object, the degree of volitional effort is determined by the degree of activity of the obstructing moments.

Obstacles can be external(sound and visual impressions) and internal(distracting thoughts, feelings and sensations).

stage attention it must be arbitrary, that is, dependent on our will and, just as in ordinary life, continuous.

An actor needs attention at all times while on stage. You need to be careful both during your remarks and during pauses. Partner's replicas require special attention. At this time, the actor, as it were, accumulates new material for his experiences of the role.

The law of the actor's organic nature: "Watch, see, listen - hear" everything is concrete.

There can be several objects in the circle of a person's attention at the same time, but whichever one always dominates the rest.

Objects are points of attention.

When our attention is scattered and we need to quickly collect it, then at these moments we use close object-point(Door). An object in the middle distance is middle object - point(doorhandle). An object at a distance is far point object(bolt on the door handle).

circles of attention.

When several objects or several points appear in the field of view, then, naturally, the circle of attention expands. Circles of attention are: small, medium, large. The circle of attention is not a single point, but its entire (circle) area and includes many independent objects.

In order for the actor not to react to the viewer, you need to force yourself to really take on an object lying outside yourself. One must be able to organically focus on the object taken in front of the viewer. The object of attention of the actor on the stage should be that which constitutes the object of attention of the image being played. The objects of attention are constantly changing, obeying the breaking of the inner life of the image.

If you fix your attention on the object, endowing it with an interesting fiction of the imagination, justification (goal), and start acting, then the actor will no longer be afraid of either the black hole of the portal or the gaze of the viewer. In stage language, this is called that you have lived in "public loneliness." You can’t not see the audience, but you can distract yourself with a task.

Before acting in any given circle of attention, everyone must find justification this action is the goal. And imagination and fantasy can help find an excuse.

On the stage, in the play, in the role and in reality itself, there are two main planes of manifestation of our attention: real and imaginary. Walking along the line of the role, the artist falls into one or the other of these planes. Therefore, we must be able to use on stage not only external, but also internal vision. To do this, we need to develop inner attention fixed on the objects of an imaginary, inner life.

Whether we talk, think, remember, fantasize about any phenomenon, object, action, events and moments experienced in real or imaginary life, we see all this on the screen of our inner vision and stop at these images that appear to us our attention.

The process of viewing the tape of inner visions must take place on the stage all the time while we live the life of the role there. It is necessary that all your inner visions relate exclusively to the life of the depicted person, and not to his performer, for they are different.

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FEDERAL STATE BUDGET EDUCATIONAL INSTITUTION OF HIGHER EDUCATION

"CHELYABINSK STATE INSTITUTE OF CULTURE"

INSTITUTE OF ADDITIONAL PROFESSIONAL EDUCATION

DEPARTMENT OF DIRECTION OF THEATER PERFORMANCES AND HOLIDAYS

Test

Basic elements of acting

in the subject "Fundamentals of directing and acting skills"

Completed by: student of group 104 IDPO

Finadeeva L.V.

Checked by: Dean of ISO FTCT,

Associate Professor Soldatkin V. E.

Chelyabinsk 2016

Introduction

One of the main tasks of the director as a teacher is the ability to help actors improve and deepen their acting skills. And for this, the director needs to know and understand this skill in the same way as an actor - only ten times more, deeper and more complete. He must study acting not only theoretically, but also practically, for the profession of an actor is mainly practical.

The art of the actor is the art of creating stage images. Performing a certain role in any of the types of theatrical art, the actor, as it were, likens himself to the person on whose behalf he acts in a performance, variety number, etc.

The material for creating this “face” (character) is the actor’s own natural data: along with speech, body, movements, plasticity, rhythm, etc. such as emotionality, imagination, memory, etc.

Creating the stage image of his hero, the actor, on the one hand, reveals it spiritual world, expressing this through deeds, actions, words, thoughts and experiences, and on the other hand, conveys with varying degrees of certainty (or theatrical conventions) the manner of behavior and appearance.

A person who has devoted himself to the acting profession must have certain natural data: contagiousness, temperament, fantasy, imagination, observation, memory, faith; expressive: voice and diction, appearance; stage charm and, of course, high performing technique.

aim This test is to reveal the basic essence of the concepts of the main elements of internal technology, as well as give examples of exercises for each of them.

The most important (main) expressive means of an actor is an action in the image, an action that in essence is (should be) an organic alloy of his psychophysical and verbal actions.

Any action is a psychophysical act. It is incorrect to divide it into components, physical and mental, and this is done only for the purpose of understanding in detail. So, physical action leads to changes in the material world around us. It consumes physical (muscular) energy. These types of actions include: physical labor, sports activities, household operations, actions in relation to another person. About the importance of physical action in the work of an actor, exercises for the development of this skill, you can read in articles on stage movement and a sense of truth.

Mental actions are characterized by a directed influence on the psyche (feelings, consciousness, will) of both another person and one's own. Already from this definition it is clear that mental actions in the profession of an actor are one of the main categories, because the role is realized through it. They are also varied - request, joke, reproach, warning, persuasion, confession, praise, quarrel - these are just a short list of examples.

Mental actions, depending on the means of implementation, are verbal (verbal) and mimic. They apply in the same way in different situations. For example, a person has disappointed you. You can reprimand him, or you can look reproachfully and shake your head without saying a word. The difference is that facial expressions are more poetic, but not always understandable from the outside, while the word is more expressive.

Types of actions: external and internal.

External - this is when the actions of the characters are expressed in deeds. In deeds, action is most fully expressed.

Internal action is a psychological, spiritual movement. They may remain at the level of thoughts, but still they reveal the hero in many ways. actor directing stage art

Action is a volitional act of human behavior directed towards a specific goal. In action, the unity of the physical and mental is most clearly manifested. It is in action that the thought, feeling, imagination and physical behavior of the actor-image unite into one inseparable whole. It involves a person. Therefore, action serves as the main material in acting art, which determines its specificity.

Live, visual human action is the material of acting art, because it is from actions that the actor creates his images (it is not for nothing that they are called actors): in the language of human actions, the actor tells the viewer about the people he portrays. Since he draws these actions from himself, i.e., he performs them himself, and at the same time in such a way that his whole organism takes part in the implementation of them as a single psychophysical whole, we have the right to say that the actor himself is an instrument.

Thus, the actor is at the same time the creator and instrument of his art, and the actions he performs serve him as material for creating an image.

Since the actor is the bearer of theatrical specificity, we have the right to say that action is the basic material of theatrical art. In other words, theater is an art in which human life is reflected in a visual, living, concrete human action.

(Zakhava B.E.)

Stage action is a natural way for a trained actor to exist on the stage. The ultimate goal of training is the mastery of stage action, that is, the ability of an actor to organically exist in the conditions of fiction, reincarnated as an image. The training of an actor should begin with the gradual mastering of stage action through the study and mastery of the mechanism of human behavior or through the study and mastery of life action.

How to study life action? How, in the words of Stanislavsky, "know your nature and discipline it"? Obviously, here it is impossible to do without a kind of "gymnastics of feelings", without training in creative psychotechnics, because only by training, consciously and persistently, one's creative psychotechnics can an actor "know his nature." And its nature in action and in interaction with the real world This is his life action. (Gippius S.V.)

One of the main elements of acting technique, the basis of creativity is "action". The words "actor", "act", "activity" come from the Latin word "actio" - "action"; The word "drama" in ancient Greek means "action in progress." (Novitskaya L.P.)

Action, according to Stanislavsky, is the basis of performing arts. The performance is woven from actions, each action must lead to the achievement of a specific goal.

The very word "drama" in ancient Greek means "action in progress." On the Latin the word actio corresponded to it, the same word, the root of which - act - passed into our words: "activity", "actor", "act". Thus, the drama on the stage is an action taking place before our eyes, and the actor who enters the stage becomes acting. He must build a chain of elementary physical actions. Physical action will give birth to an inner experience, which will turn out not through suffering, but natural, truthful. (Stanislavsky K.S.)

Stanislavsky began to explore the paths leading to the "unconscious", believing that it is there that the reserves of inexhaustible creative energy are located, the very one that shocks, deafens, goes against the usual logic, crosses out any psychologism and opens those sources in the human soul (both the artist and audience!) that make the performance and acting "an event of personal life".

When starting to work on an etude, a play, a role, one must always remember that it is impossible to cover the play (etude, role) at once. In order to study it, to analyze it, one must first divide the play into large events, that is, episodes (before K. S. Stanislavsky called them pieces). And in order to divide a play into episodes, one must ask oneself the question: without what can a play not exist? By answering this question, you thereby divide it into its constituent organic parts.

"If" begins creativity, and continues its "suggested circumstances".

“One without the other cannot exist and receive the necessary stimulating force ... “If” gives impetus to the dormant imagination, and “proposed circumstances” make the “if only” itself justified. Together and separately, they help create an inner shift.”

"Suggested circumstances" - this is the plot of the play, the era, place and time of action, events, environment, the relationship of characters, etc. The teacher conducts practical classes, setting himself the task of teaching students to specifically, in detail create "suggested circumstances" and, depending on from them - logic and sequence of actions. (Novitskaya)

What should we understand by the definition of "event"? What are the hallmarks of an "event" in drama?

In the dictionary of the Russian language by S. I. Ozhegov we find: “An event is what happened, this or that significant phenomenon, a fact of public, personal life.”

To distinguish an event from an ordinary fact in the reality surrounding us is, in general, a simple matter. Stanislavsky advised to look back at some stage of one's own life in order to remember what event was the main one in this period of time, then one can understand how it affected relations with people. Indeed, it is not difficult for any person to assess the significance of this or that fact in his own life. But it is enough for us to try to assess the significance of a similar fact not for ourselves, but for another person, as we can immediately make a mistake, because estimating a fact from the standpoint of another, even a close person, is not at all an easy task.

To determine the significance of an event, Stanislavsky recommended doing the following: “The very technique of the process of evaluating facts is at first simple. To do this, it is necessary to eliminate the fact being assessed, and then try to understand how this will affect the life of the human spirit of the role ”(Stanislavsky)

"If ..." and the proposed circumstances. The technique of creative transformation into a stage image, which consists in the fact that the actor creates in his imagination certain circumstances of the external environment and poses the question: What would I do if these circumstances were not a figment of the imagination, but a true reality. The proposed circumstances induce the actor to perform certain actions that embody the image. The "If" technique protects the actor from the stamp and encourages him to create on his own.

“Proposed circumstances” are the plot of the play, its facts, events, era, time and place of action, living conditions, our acting and director’s understanding of the play, additions to it from ourselves, mise-en-scène, staging, scenery and costumes of the artist, props, lighting , noises and sounds, and so on and so forth that the actors are invited to take into account in their work.

The "suggested circumstances", like the "if" itself, is an assumption, a "fiction of the imagination". They are of the same origin: "proposed circumstances" is the same as "if", and "if" is the same as "proposed circumstances". One is an assumption (“if”), and the other is an addition to it (“proposed circumstances”).

"If 6y" always starts creativity, "suggested circumstances" develop it. One without the other cannot exist and receive the necessary stimulating force. But their functions are somewhat different: "if" gives impetus to the dormant imagination, and "suggested circumstances" justify the "if" itself. Together and separately, they help create an inner shift. (Stanislavsky)

Analyzing any play, the director inevitably encounters the presence of events large and small in it. Big events, as a rule, serve as a turning point in the development of the through action of the play. Each such event, especially if it arose unexpectedly for the characters, turns out to be the causative agent of a more or less strong emotional reaction, sometimes reaching the degree of affect or nervous shock. To master oneself, to realize what happened and to carry out a comprehensive assessment of an unexpected event, it usually takes some time. So there is a pause, speech and dynamic. It is characterized by silence and immobility. And the larger, the more significant the event, the longer the pause and the more complex in psychological content.

The new secret and new property of the method of creating the “life of the human body” of the role lies in the fact that the simplest physical action, in its real embodiment on the stage, forces the artist to create, according to his own motives, all kinds of fictions of the imagination, proposed circumstances, “if”.

If such a great work of imagination is needed for one very simple physical action, then to create a whole line of the "life of the human body" of the role, a long continuous series of fictions and proposed circumstances of the role and the whole play is needed. (Zakhava)

An event is a set of actions of one or more people who pursue a specific goal and overcome any obstacles, external or internal. Analysis of a life event as a set of consistent, expedient and productive actions is the beginning of comprehending the nature of stage action. (Gippius)

The most important condition for the creative state of the actor is muscular freedom. The physical or muscular freedom of the actor, like that of any living being, depends on the correct distribution of muscular energy. Muscular freedom is such a state of the body in which for each movement and for each position of the body in space as much muscular energy is expended as this movement or position of the body requires - no more and no less.

The ability to expediently distribute muscle energy is the main condition for the plasticity of the human body. The requirement for an exact measure of muscular energy for each movement and for each position of the body in space is the basic law of plasticity.

External (physical) freedom is a consequence of internal freedom. And inner freedom is confidence, it is the absence of hesitation, it is a complete conviction in the need to act in this way and not otherwise.

So, knowledge of one's business gives confidence, confidence gives rise to inner freedom, and inner freedom finds its expression in the physical behavior of a person, in the plasticity of his body. (Zahawa)

Stanislavsky considered the muscular freedom of the actor to be the most important condition for creating creative well-being. That is why he included “release of the muscles” in the section of the actor's internal technique, thereby emphasizing the special role of this element not only for the bodily, but also for the spiritual side of creativity. (Stanislavsky)

The nature of the actor's creative skill requires that his physical apparatus be prepared for action. It is necessary to train not only the internal apparatus that creates the process of experiencing, but also the external, bodily apparatus that reflects our inner life.

Body work requires a lot of exercise. As long as there is the slightest physical tension, there can be no question of any creativity, of correct action, subtle feeling, and the normal spiritual life of the character. Therefore, before you start creating, you need to put your muscles in order, learn to understand them, manage and own them. This is called muscle freedom. (Novitskaya)

Stage attention is the basis of the actor's internal technique, it is the first, main, most important condition for correct internal stage well-being, it is the most important element of the actor's creative state.

The stage attention of an actor has a very significant feature: the actor's goal is not an objective examination of the subject, as is the case with scientific or life-practical thinking, but its transformation, transformation into something else.

Attention can be voluntary (active) and involuntary (passive). With involuntary attention, it is not the subject that takes possession of the object, but, on the contrary, the object attracts the subject's attention to itself. Therefore, involuntary attention is at the same time passive attention. Arbitrary attention, on the contrary, is closely connected with the processes taking place in the human mind, and is of an active nature. With voluntary attention, an object becomes an object of concentration not because (or not only because) that it is interesting in itself, but certainly in connection with the processes taking place in the mind of the subject. The object is inevitably included in the process of human thinking.

In addition to voluntary (active) and involuntary (passive) attention in their pure form, there are also constant transitions from one form to another. An object that initially aroused involuntary attention to itself can easily become an object of active concentration in the future. And vice versa, an object with which a connection is established by volitional concentration on it can become so interesting that there will no longer be any need for efforts of the will to hold attention, which will thus turn from voluntary into involuntary.

Depending on the nature of the object, one should distinguish between external and internal attention.

External attention is usually called such attention, which is associated with objects that are outside the person himself. Thus, objects surrounding a person (both animate and inanimate) and sounds can be objects of external attention. Depending on the sense organs with which external attention is carried out, it can be visual, auditory, tactile, olfactory and gustatory. Among these five types of external attention, visual and auditory are the main ones, since a person tends to navigate in his environment mainly with the help of sight and hearing.

The objects of internal attention are those sensations that are generated by stimuli located inside the body (hunger, thirst, pain sensations), as well as thoughts and feelings of a person, images created by the power of imagination or fantasy.

However, external attention in its pure form is associated with one and the same object for a very short time: either it is quickly transferred to another object, or internal attention, due to the process of thinking, is added to external attention, and then concentration acquires an active character. Thus, in addition to pure forms of external and internal attention, a complex form of external-internal attention is very often encountered. This occurs when an object outside is both an irritant of external organs and a stimulus for thought processes. Attention constantly changes its character: now it is external, now internal, now active, now passive; sometimes it is in the process of transition from one form to another, sometimes both forms are combined. (Zahawa)

Attention is "an exceptional, abnormal fact that cannot last long," wrote Ribot. He divided the mental activity of the body into "ordinary state" and "state of attention." In the first case, as he noted, a person receives weak representations and makes few movements, and in the second, live representations are combined with strong, concentrated movements. Moreover, this state can be unconscious: consciousness does not work, but only “uses work”. (Gippius)

Attention in a person in life is involuntary and continuous. This is a kind of adaptation of his body to the best perception or response, concentration or action.

Stage attention should be arbitrary, that is, dependent on our will, and, just as in ordinary life, continuous. Indeed, in stage activity there are many different circumstances that kill concentration and cause absent-mindedness. Backstage tense atmosphere before the performance, the excitement of public creativity, the reaction auditorium, a sense of responsibility to the theater team, a thirst for success, a sense of pride, vanity, etc. - all this affects attention. And everything that diverts our attention and disperses it is very dangerous in our art. At such moments, creativity stops.

Fantasy and imagination are the main of the two abilities that a director must certainly possess. It is obvious that these two words denote essentially the same phenomenon, with the clarification that this phenomenon has two sides: one of them is more correctly denoted by the word “fantasy”, the other by the word “imagination”. Both these abilities are equally necessary for artists of all kinds of art. And it is simply impossible to imagine a good director without a rich imagination and a powerful imagination. (Novitskaya)

Attention is the basis of an actor's internal technique. Stanislavsky believed that attention is the conductor of feelings. Depending on the nature of the object, attention is distinguished external (outside the person himself) and internal (thoughts, sensations). The actor's task is to actively focus on an arbitrary object within the stage environment. "I see what is given, I treat it as it is given" - the formula of stage attention according to Stanislavsky. The difference between stage attention and life attention is fantasy - not an objective consideration of the subject, but its transformation.

Stage attention is the basis of an actor's internal technique. Stanislavsky believed that attention is the conductor of feelings. Depending on the nature of the object, attention is distinguished external (outside the person himself) and internal (thoughts, sensations). The actor's task is to actively concentrate on an arbitrary object within the stage environment. “I see what is given, I treat it as it is given” - the formula of stage attention according to Stanislavsky. The difference between stage attention and life attention is fantasy - not an objective examination of the subject, but its transformation. (Stanislavsky)

Imagination and fantasy. For an actor to fantasize means to lose internally. While fantasizing, the actor does NOT draw the object of his imagination outside of himself, but feels himself acting as an image. Imagining something from the life of the hero, the actor does not separate himself from him. Imagination creates what is, what happens, what we know, and fantasy creates what is not, what we do not really know, what never was and never will be. (Stanislavsky)

All the elements that create creative well-being are not separable, but taken separately, they "do not have the strength and significance that they receive in a friendly, joint action with the rest of the well-being."

All elements must serve the action. One cannot engage in attention or imagination as such. It is possible to examine something specific for a specific purpose, to listen to something specific, to master the mechanism of vital action, and in the course of this mastering the student will need and they themselves will come to the rescue - and attention, and imagination, and will.

What does it mean to develop a student's imagination? Do exercises "for fantasy"? No. Firstly, it is necessary to help the student to constantly enrich his knowledge, replenish his stocks of impressions, and develop in him the ability to reflect on what he has seen and heard. To do this, he needs to develop his sensory skills. Secondly, it is necessary to instill a taste for fantasy, to identify the benefits of fantasy on a specific example of his teaching. And in order for him to be able to use it in full force, it is necessary to develop certain qualities of sensory skills through many exercises - the strength of reaction, the speed of switching ideas and their associations, etc. In a word, you need to deal with phenomena not only of a mental, but also of a physiological order ( although such a division is extremely conditional).

This means that it is advisable to classify exercises in accordance with physical processes. If sensory skills are developed, the main “product of production” will be the expansion of sensory capabilities, and they indirectly affect the formation of the desired mental “products” - fantasy, attention, emotional memory, etc. (Gippius)

What is creative fantasy? It is the ability to combine the data of experience in accordance with the creative task.

Everything that is and happens on the stage (including all accidents) must be justified by the actor with the help of his imagination.

The actor's fantasy, which feeds his stage faith, must:

a) to create not bare facts, not personal data and general places, but vivid live performances (images), sensually concrete and fascinating for the actor himself;

b) to have a character peculiar specifically to acting fantasy, i.e. to force the actor to internally play out everything that he fantasizes (in other words, to force him to act in his imagination as a stage hero, bringing muscle memory into an active state).

The better the fantasy works, the deeper and more active the attention, and vice versa, the more active and deeper the concentration, the better the fantasy works.

The combinations created by fantasy, from the very real ones that the scientist creates, up to the most fantastic ones that the artist creates, are always made up of elements given in experience. There is absolutely no possibility of creating a combination that, even in its individual elements, would be beyond the limits of experience.

Thus, fantasy is called upon to combine the data of experience.

However, its activity is only productive when it is combined with the work of the imagination. And the work of the imagination is to make the combinations created by fantasy into objects of sensory experience. If fantasy is a game of the mind, then imagination is a game of the senses. (Zahawa)

How should we understand "fantasy" and "imagination" in the performing arts?

Fantasy is mental representations that take us to exceptional circumstances and conditions that we did not know, did not experience and did not see, which we did not have and do not really have. Imagination resurrects what has been experienced, or seen by us, familiar to us. Imagination can also create a new idea, but from an ordinary, real life phenomenon. (Novitskaya)

The task of the artist and his creative technique is also to turn the fiction of the play into an artistic stage reality. Our imagination plays a huge role in this process. Therefore, it is worth dwelling on it a little longer and take a closer look at its function in creativity.

Everything that has been said about the stage action has received an excellent development in the teachings of E. B. Vakhtangov on the stage task.

Every action is the answer to the question: what do I do? In addition, no action is carried out by a person for the sake of the action itself. Every action has a specific purpose that lies beyond the action itself. That is, about any action, you can ask: why do I do it?

Carrying out this action, a person encounters the external environment and overcomes the resistance of this environment or adapts to it, using for this a wide variety of means of influence and extensions (physical, verbal, mimic). K. S. Stanislavsky called such means of influence adaptations. Devices answer the question: what do I do? All this taken together: the action (what I do), the goal (what I do), the adaptation (how I do it) - and forms a scenic task. (Zahawa)

The main stage task of the actor is not only to portray the life of the role in its external manifestation, but mainly to create on the stage the inner life of the person being portrayed and of the whole play, adapting his own characters to this alien life. human feelings giving her all the organic elements of her own soul. (Stanislavsky)

The stage task must certainly be defined by a verb, and not by a noun, which speaks of an image, a state, an idea, a phenomenon, a feeling and does not try to hint at activity (it can be called an episode). And the task should be effective and be determined, of course, by the verb. (Novitskaya)

The secret of acting faith is in well-found answers to the questions: why? why? (for what?). A number of others can be added to these basic questions: when? where? how? under what circumstances? etc. K. S. Stanislavsky called answers to such questions “stage justification”. (Stanislavsky)

Each movement, position, posture must be justified, expedient, productive. (Novitskaya)

Each, the most "inconvenient" word must be justified. Just like in the future, artists will need to find justification and explanation for each author's word in the text of the play and each event in its plot. (Gippius)

What does it mean to justify? It means to explain, to motivate. However, not every explanation has the right to be called a "stage justification", but only one that fully implements the "I need" formula. A stage justification is a motivation that is true for the performance and fascinating for the actor himself for everything that is and happens on the stage. For there is nothing on the stage that does not require motivation that is true and fascinating for the actor, i.e., stage justification. Everything on the stage must be justified: the scene, the time of the action, the scenery, the situation, all the objects on the stage, all the proposed circumstances, the costume and makeup of the actor, his habits and manners, actions and deeds, words and movements, as well as actions, deeds. , words and movements of the partner.

Why is this particular term used - justification? What is the meaning of justification? Of course, in a special stage sense. To justify means to make it true for oneself. With the help of stage justifications, i.e., true and captivating motivations, the actor transforms for himself (and, consequently, for the viewer) fiction into artistic truth. (Zahawa)

One of the most important abilities that an actor must possess is the ability to establish and change his stage relations in accordance with the task. Stage relation is an element of the system, the law of life: every object, every circumstance requires the establishment of a relation to itself. Attitude is a certain emotional reaction, psychological attitude, disposition to behavior. Evaluation of a fact is a process of transition from one event to another. In evaluation, the previous event dies and a new one is born. The change of events occurs through evaluation. (Stanislavsky)

The actor's creative concentration is intimately connected with the process of creative transformation of the object in his fantasy, with the process of transforming the object into something completely different from what it really is. This is expressed in a change in attitude towards the object. One of the most important qualities for an artist is the ability to establish and change his stage relations in accordance with the task. In this ability, naivety, spontaneity and, therefore, the professional suitability of the actor are manifested.

What laws govern the mastery of this ability?

One of these laws says: an actor must perceive (i.e., see, hear, touch, etc.) any object as it is actually given to him, but he must relate to this object as it is given to him. This is creative transformation. environment and everything that happens on the stage, the actor realizes with the help of his creative faith in the truth of fiction, and creative faith is obtained with the help of fantasy, which supplies the necessary stage justifications. attention and faith, cemented into one inseparable whole with the help of a series of stage justifications, evoke a new attitude towards the object in the actor’s psyche and thus transform this object, turn it into a new stage reality born of the actor’s fantasy, into the artistic truth of fiction.

The relations of the second group are called "evaluation of facts". Every new fact that appears on the stage requires a certain assessment from the actor-image. Sometimes this assessment is conscious, to some extent rational, but sometimes it arises in a purely emotional form and is expressed in an impulsive, involuntary action.

Hence the requirement for the artist: to be able to truthfully and organically evaluate the facts that arise on the stage. This requirement is also expressed as follows: the actor must be able to accept the surprise.(Zahawa)

Changing the proposed circumstances changes our attitude to the subject, changes the action with this subject. (Novitskaya)

Stage relations are the basis of acting art. This art is born in relationships and realized in actions. In order to play a role, the actor must correctly define the relations of the character, make these relations his own (that is, educate them in himself, get used to them) and act logically, expediently and productively on the basis of these relations.

There are two types of stage relations.

* the relations that have developed in the process of the life of the image before the beginning of the play;

* relationships that arise in the process of the stage life of the image (assessment of the fact).

To perceive what is known in advance as unexpected is the main difficulty of acting, but it is precisely in this, first of all, that the talent of an actor is manifested. One of the most important conditions for the organic emergence of a living, natural, involuntary emotional evaluation of each event on the stage is the preliminary preparation of stable and strong relationship accumulated by this actor throughout his life. Without such a preparation, explosions of the actor's stage faith are impossible. (Stanislavsky)

Stage communication is manifested in the interdependence of devices. The process of live communication is closely related to the ability of the actor to genuine attention on stage. It's not enough to look at your partner - you need to see him. It is necessary that the living pupil of the living eye should mark the slightest shades in the partner's facial expressions. It is not enough to listen to your partner - you need to hear him. It is necessary that the ear catches the slightest nuances in the intonation of the partner. It is not enough to see and hear, one must understand the partner, noting involuntarily in his mind the slightest shades of his thoughts. It is not enough to understand a partner - you need to feel him, catching the subtlest changes in his feelings.

It is not so important what happens in the soul of each of the actors, as what happens between them. This is the most valuable thing in the play of the actors and the most interesting thing for the spectators. (Zahawa)

Communication is a two-way action. Here it is necessary to follow each external and internal action of the partner, on which the action of another or all other actors depends. And if one of the partners changes his behavior in the role, therefore, the other must immediately notice this and also make changes in his actions. And this is possible only when communication is continuous. (Novitskaya)

The birth of the process of communication gives a strong impetus to the entire creative nature of the artist. The latter seeks help from its internal elements and alternately or immediately draws them into work. Because without the participation of all elements there can be no communication. Indeed: is it possible to communicate with a living person without internal and external action, without fiction of the imagination and proposed circumstances, without visions, without correctly directed attention, without an object on the stage; without logic and consistency; without a sense of truth; without faith in it; without the state of "I am", without emotional memories, etc.?

Stage communication, coupling, grip require the participation of the entire internal and external creative apparatus of the artist.

What happens in life communication as if by itself, in stage communication, in the preparation of a role, must be done consciously. The subconscious through the conscious - such is the way of mastering any life action in the process of turning it into a stage action, if they strive to turn it into a live action. This is the basis of the system. (Stanislavsky)

Inseparable interconnection is the basic law of life communication. To strengthen stage communication, Stanislavsky needed all his figurative "current of internal communication", "radiation and radiation perception", "creation of tapes of visions illustrating the subtext." (Gippius)

The actor's memory must retain the muscle-motor images of the learned movements. Motor memory, which is crucial for labor processes associated with movement is also necessary when memorizing physical actions in a role. This type of memory creates in a person muscular-motor ideas about the form of movements, i.e. about their direction, size, speed, sequence, rhythm, character, and other features.

The exercises with the help of which such problems are solved are essentially no different from the well-known exercises of the first course. theater school to the "memory of physical actions" - they are sometimes also called "non-objective actions" or "actions with a dummy." In all these exercises, the principle is the same: to find the correct physical behavior in accordance with the imaginary physical circumstance. (Zahawa)

The memoirs of the Mkhatov “old men” more than once describe the feeling of surprise they experienced when Stanislavsky suggested that experienced professionals take up exercises for “non-objective actions”. To others, it seemed like a whim, a strangeness, a whim of a self-willed genius, carried away, like a child, by another fun. Outside the spiritual task, out of touch with artistic outlook Stanislavsky, such an exercise would probably be pointless. In the presence of such a task, it becomes an integral part of a huge plan: Stanislavsky wanted to sharpen to the limit the nervous, sensory nature of the artist, who must “hear” and feel the soul of people, objects and words. (Stanislavsky)

Acting training is now more and more reduced to only one type of exercise - non-objective action, that is, exercises with imaginary objects. The logic here is as follows: since the subject of mastering is a stage action, and it contains a “unity of elements” (attention, imagination, muscle freedom, etc.), it is advisable to engage only in such exercises in which this unity is embedded.

Yes, the action exercise with imaginary objects is very complex. Stanislavsky called such exercises "scales for actors" and recommended including them in the daily acting training. But why should we start with them and limit ourselves to them? As you know, in musical educational practice, scales are used to improve the technique of singing or playing the piano. musical instrument. This is precisely the meaning that Stanislavsky attached to exercises for non-objective action. Therefore, it is assumed that students know at least the basics of musical notation, without which it is impossible to read scales. (Gippius)

In creating the truth of a simple physical action, exercises for non-objective action (action with a “dummy”, as K. S. Stanislavsky called it), that is, exercises with imaginary objects, help, because when working with real objects, part of the actions usually skips instinctively due to vital mechanics. The actor does not have time to catch these missed moments, the logic is violated, and with it the truth. In a non-objective action, one has to rive attention to every smallest component of a large action. Without this, you will not remember and fulfill all the auxiliary parts of the whole, and without the auxiliary parts of the whole you will not feel the whole great action. (Novitskaya)

Attention Development Exercises

The teacher sets the pace of the exercise by clapping.

1. And now everyone beat off the set tempo with claps. Reminder: my first cotton - get ready! Second - start! Listen to the pops.

2. Calculate, getting up from a chair, from left to right in alphabetical order. When the score reaches the participant of the last in a row, continue the alphabet on the second and, if necessary, on the third, fourth circle. (Thus, each of the students will have several letters of the alphabet).

3. Type on the "typewriter" the expression: "Genius is continuous attention." The typing of the desired phrase is indicated by clapping the hands of the participant to whom this letter is assigned. Punctuation marks - quotation marks, dashes and dots - are distributed as you wish. Accentuate the distance between words by collectively getting up from chairs or by clapping your hands together. Do everything at a given pace.

4. The teacher invites everyone to consider a well-known object in the audience: a chair, a table, a door ... At the same time, he explains that each student should strive to keep his attention on this object until the end of the exercise, i.e. until the moment when the command will not sound: “Enough!”

5. The teacher names some missing object in the class, for example: pine, stone, lily - and invites students to mentally focus on this subject.

Muscle release exercises

1. The teacher invites all students to alternately tighten and release various muscles: neck, shoulders, abdomen, arms, etc. At the same time, he makes sure that both tension and release are maximum for everyone each time.

2. The teacher invites students to sit down as comfortably as possible and muscle by muscle, in a certain sequence (from bottom to top or from top to bottom, i.e. starting from the toes and ending with the muscles of the face or vice versa), release the entire body from tension to almost zero (body condition during sleep).

4. Pull the chair out of the partner's hands and at the same time mentally multiply the number 17 by 120; or remember the lines of poetry; or recall sequentially all the events of today.

5. Invite the student to find the dropped object (pencil, notebook, ring, etc.). When he does this logically and truthfully, ask him to repeat all these actions. And right away it must be said that the students will check whether he does it the way he did the first time.

Relationship building and fact assessment exercises

1. The student is given a fur hat and asked to study it carefully. When the performer's attention reaches a certain degree of intensity and he has an obvious interest in the object, the teacher can complicate the task by saying, for example: "It's not a hat, but a kitten."

2. The performer is invited in this case, while on stage, to feel, for example, in a doctor's office, in a carriage, on a ship, in the office of a famous writer, in a museum, etc.

3. A person sits in a garden in summer (hot) or winter (cold); stands at the window of a grocery store (hungry); waiting for the bus (does not go for a long time); enters the room where the seriously ill patient lies; stands at the ruins of his house, destroyed by the bombing.

4. Two performers are invited. The place of action is determined: a room, a boulevard, a bus, etc. The performers sit next to each other, and the teacher establishes their relationship. For example: husband and wife, friends, brother and sister, lovers, strangers, but for some reason interested in each other. Or, for example, like this: everyone takes his partner for some very famous person (artist, famous writer, famous pilot); it seems to everyone that he is familiar with his partner, but both cannot remember when and where they met; everyone wants to get to know their partner, but does not dare to speak first.

Justification Exercises

1. The teacher, inviting students to focus their attention on a particular object, asks them to pre-justify this object as necessary.

2. At the signal of the teacher, all students instantly take some unexpected pose even for themselves (poses can be the most eccentric). Then, remaining for some time in the accepted position, everyone must find a convincing excuse for it. In this case, justification should be sought in the field of physical actions, and not mental states.

3. The teacher comes up with a series of unrelated actions and invites students to justify them without changing their sequence.

4. The teacher comes up with a series of unrelated actions for a well-known literary hero (for example, for Hamlet, Chatsky) and invites students to justify this series of actions based on the nature of this person. That is, to explain under what circumstances a given character could perform this series of actions in the specified sequence.

Exercises for "memory of physical actions"

1. Write a letter, seal the envelope.

2. Hold a hammer in your hand, which should drive a nail.

3. I am carrying a bucket filled with water.

4. Cut the dress according to the pattern.

5. Comb your hair in front of a mirror.

Exercises for the development of fantasy and imagination

1. Read a short excerpt from a literary work, which describes some event in more or less detail (for example, the scene of Anna's meeting with her son from Leo Tolstoy's novel "Anna Karenina"). Putting the book aside, try to imagine step by step in your imagination, how it happened (the whole course of the described event in its sequential development), trying, if possible, not to miss anything and to see and hear everything as brightly and concretely as possible.

2. The teacher distributes excerpts from various literary works to students and invites them to work through these excerpts in the above way, so that after a set period, each one will tell in detail in the class the content of the "film" he created.

3. Students compose a story, taking turns adding two words to what was said by previous speakers.

4. Students are asked to remember all the events of yesterday.

5. Students are invited to recall the painting by the artist A. K. Savrasov “The Rooks Have Arrived”, I. E. Repin “Barge Haulers” AD Kivshenko “Military Council in Fili” and others.

Used Books

1. Zakhava B.E. The skill of the actor and director.-M.: Art, 1969.

2. Gippius S.V. Gymnastics of feelings.-M.: Art, 1967.

3. Stanislavsky K.S. "The work of an actor on himself." SPb.: ABC.

4. Novitskaya L.P. Training and drill. M.: Sov. Russia.

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