Tests for acting skills in the Word. Acting Theory Test

Any professional will answer this question for you: “Come here, dear (s), let's first check if you have it, and if you have it, then what is missing in it and what should you pay special attention to?”

What should everyone who wants to become an actor know?

Actor's craft is a practical phenomenon that requires constant and continuous exploitation. Like athletes and circus performers, masters of drama, opera and ballet keep their skills up to the mark. And woe to anyone who, even for a short time, stops and stops training. The world is changing rapidly, and whether a talent that has ceased to flare will be able to jump onto the platform of a fast-moving train of a new performance, film or project is a big question.

Andrey Aranyshev. Boy with a pipe. 2002

How to kill the hope of becoming an artist?

As in all other cases! Go to the mirror and be able to set yourself up with repeated training: “I'm not an actor! I am a mediocrity and a trembling creature! I can not!" Let me tell you right now that not everyone will succeed. But - the main thing is to make efforts to destroy your self-esteem, allowing you to defeat the enemies of your "I". Looking at a huge army of actors for several decades, I noticed that almost everyone can become a playwright if he finds his director-teacher who believes, sees something special in you, unlike anyone else, and will let you work on yourself. Those who had no talent were always helped by work and perseverance. And, on the contrary, very great talents perished due to lack of employment and application. So gain strength and beat your foreheads into the walls and closed gates. As one very funny monkey said: "If there were brains, they jumped out."

How do you know if you have acting talent?

To identify them, I recommend contacting authorities or a professional you respect. In acting, there is one very small, but important nuance: you must "by Hamburg account» evaluate yourself from the outside, that is, check whether your inner self matches who you really are. Example. I feel like I'm doing a great job little boy, who is sick a lot, eats little, wears glasses and loves to read books aloud, manneredly sticking his little finger to the side, like a hereditary intellectual in the seventh generation. And at the same time, my height is 195, clothes are 56 sizes, there is not a single hair on my head and my voice is hoarse as if I had been drinking and smoking since childhood. I can imagine anything about myself, but what will we see? The strange mannered behavior of the "fear of the lost" gopnik-roller, who obviously runs up to his own people to live happily ever after and beat them long and painfully. It is obvious that a certain judge is required for an adequate assessment. Perfect option when your chosen referee is experienced in the field acting skills. And it’s better to look first at what he himself is much, and only then completely trust him.

Vittorio Regianni. Recitation of verses. 1902

How to develop?

If you are angelically beautiful, you can stop reading further, as knowledge and skills will come into your life on their own, through stuffed bumps, as well as the experience of victories and disappointments. Don't rush things! Everyone else will have to work hard. Let's say your talent was noticed not only by your grandmother and mother, but by someone else. Perfect! Then you should pay attention to this.

1. Physical form is necessary for the development of endurance and protection of the body from heavy loads. Here I would advise not even the future owner of the highest theatrical awards to go in for sports. At least for the sake of being a healthy person, whose energy would be enough for many interesting things in the only one allotted to us. short life.

2. Speech and respiratory apparatus. Right now you can take three not large walnuts, put it in your mouth and try to pronounce the tongue twister "dust from the clatter of hooves flies across the field." On the Internet you will find many more breathing exercises.
and liberation from the defects of your speech. The actor's weak point is speech dialects, weak diaphragm muscles and slurred articulation. All this can and must be fought.

3. Your enslavement and the presence of so-called physical "clamps". Undeservedly popular one folk remedy emancipation - alcohol. At the same time, everyone knows that, having revealed the secret, it makes a person uncontrollable, and its regular use still causes addiction and some new problems. So here are a number of acting exercises without the use of intoxicants that allow you to get rid of the muscle spasms that bind you at the most crucial moments. How? Very simple. Take an acting class where you will be taught hundreds of other ways to develop your potential. It is especially pleasant to do this in groups, among others like you, reaching for the bright, high and spiritual, in theater studios, folk theaters, on courses in rhetoric, fitness and other forms of active leisure.

Jean Peso. Portrait of mime Charles Deburau. 1850

Is it possible to rehearse in front of a mirror light?

Definitely yes. Especially if it does not lie to you and, due to strange and mysterious circumstances, does not comment on your every step. Many acting educators are categorically against this form of performing drill. And their position has its own reason. Each individual case of “search for oneself” or “rehearsal for a role in front of a mirror” requires a sensitive and experienced guru. First, find someone you can trust, and only then let him become your reflection, turning your nugget talent into a cut diamond glass.

What gives acting skills to an amateur?

Today, acting training is done by people who are not going to work in professional theaters and use the acquired skills in their ordinary life. After all, the practice of an actor also has great social benefits, allowing you to feel more confident. Self-confidence is often not enough for people who do not understand themselves, avoid publicity and reduce the distance when communicating. Such a “man in a case”, beautifully described by one brilliant Russian writer, can easily grow old alone, not solving problems, but running away from them. Don't let your ego get covered in cobwebs! Hurry up to realize yourself. You may not succeed all at once, but you will gain wide circle communication, interesting new friends. It's worth a try just for that!

Emil Nolde. Dance around the Golden Calf. 1910

How is creativity unleashed?

Everything is simple here. Have you never played on stage? And then - bam - and start playing. Did you only sing in the shower before? Now you will sing on stage! Have you never danced? Excellent! Start dancing! And a lot more that acting training will reveal in you: fencing, juggling, acrobatics, balancing, the skills of wearing historical clothes and the use of hats, fans, lorgnettes, binoculars and other attributes of the chic of their time. Some actors also have other talents. Only practice will help them to free themselves from imprisonment.

Will you become bright?

How to know? One thing is for sure: you will learn to be different for yourself and others. This is the creative energy of real talent. He, like a spring, does not cease to beat and quench the thirst of the afflicted.

Paul Gauguin. "Rejected". Self-portrait with a portrait of Bernard. 1888

Appears thanks to idols - stars of performances and popular films. Surely you have your own idol. You admire how easily your favorite actor transforms into a role, beats intonation, demonstrates rich facial expressions and other skills that make him truly special. You firmly decided to follow in his footsteps, just like thousands of other enchanted schoolchildren and schoolgirls. But, unfortunately, luck does not smile at everyone. There are only a few owners of real talent, so you need to ask yourself the question of finding acting abilities in yourself as early as possible - in order to objectively assess your strengths before entering a theater university.

Image Source: https://www.nytimes.com

Finding acting talent in yourself is quite simple - you need to observe the reaction of others. We have selected 7 main signs by which you can understand whether you are destined to become an actor.

1. Your friends love listening to your stories.

There is nothing special about what you tell your friends. It can be a simple story about how you spent your weekend or a retelling of a plot from a series. However, your friends listen to you very attentively, and sometimes your way of telling makes them laugh and smile. They are interested in listening to you, and all because your stories are lively and interesting. Let's reveal a secret: people have been studying this skill for years at special trainings. Well, those who are gifted with this ability from birth are extremely few. You are lucky - you are among these lucky ones and you can easily win the love of the public.

2. You easily gain confidence in people.

For school teachers, you are the favorite of the class, and this despite the fact that you have never had to be an excellent student. It's all about your charm and charisma - with one phrase you can win over any interlocutor, even an adult. This skill will be useful to you more than once in life, but it is in acting that you can develop and improve it.

3. In a company, you can easily portray one of your mutual acquaintances.

You always subtly notice the habits and behavior of those around you, but in addition to observation, you also have the ability to reproduce them as accurately as possible. Perhaps your friends have already appreciated your abilities when you played Crocodile - this game gives you the best chance to demonstrate the makings of acting talent.

Shot from the film "La La Land"

4. Best of all in literature lessons you are given reading monologues.

“With feeling, with sense, with arrangement”, - this is how you take up reading monologues literary characters. Your teacher has long noted the depth and penetration with which you read excerpts from works - and this is your first real acting success. Now, with the ability to transform, you can impress a school teacher and the guys in the class, but years later it can be full theater halls.

5. You are good at lying.

Although we were taught that lying is not good, you have already managed to lie, and in most cases - quite successfully. What is the secret to a successful lie? In well-coordinated facial expressions, confident intonation and integrity of what was said. True, a lie can sometimes testify to the high trust of the one you deceived. In general, scientists say that lying is a sign of great ingenuity, so if you are inclined to lie, then you can automatically be considered the owner of great creative potential.

6. You are good at hiding your emotions.

Difficult days are given to everyone - usually we are told about this by an extinct look and a downcast look. But this rule does not apply to you: you can easily smile, even when your heart is completely sad. In most cases, this skill is a real find, helping out from unpleasant questions about the personal, but do not forget that it can be harmful to keep emotions in yourself all the time.

Frame from the film "Mask" (1994)

7. You can dance and move.

You really have good control over your body: moving to the beat is not difficult for you, and your friends note your plasticity. The ability to convey images by body movement is an important and integral part of acting talent. If you have ever managed to try yourself in pantomime, then you should have a good idea of ​​what is at stake. Well, if not, then it's time to try yourself in this art - in the pantomime classes you will definitely discover yourself and your abilities from a new perspective.

“Talent is like a thoroughbred horse, you need to learn how to manage it, and if you pull the reins in all directions, the horse will turn into a nag.” Maxim Gorky (Alexey Maksimovich Peshkov) is one of the most significant and famous Russian writers.

There are no people without talent, each person is individual and unique, which means that he is endowed with certain abilities that are unique to him. And acting skills- a vivid example of this, as a rule, they are found in people who can easily change their emotional state overnight. Usually good actors become - choleric(very active people, capable of withstanding great mental stress, but they also have one significant disadvantage - an explosive character).

The talent of an actor is, first of all, the ability to evoke emotions, and what is important, not only among others, but within oneself.

So, today we will develop acting talent.

And first, let's look at some general observations that will allow you to recognize it:

• Each person is active in a certain area, ask yourself: “What fascinates and excites you the most?” - write poems, stories, read encyclopedias, draw pictures ... ask yourself - look for the answer.
• And then constantly feed your talent with practical knowledge.

Now get ready. Today we will “grow” an actor!

So, you must develop in yourself:

1. Expressive movement skills (that is, to be able to move from one state to another, for example, to release tension, which means to be able to relax in time and quickly)
2. The ability to see oneself from the outside (to have a kind of "inner mirror")
3. Be able to interact with the group and stage space (to develop sociability, that is, the ability to communicate)
4. The mobilization of the entire psychophysical apparatus is very important (that is, complete readiness for any activity)
5. To be able to fantasize (as we all know, such creative searches turn into not only the recognition of the viewer, but are also financially rewarded)
6. And be sure to study the biographies of prominent personalities.
7. And also, film yourself on a video camera - create acting sketches on your own.

So the direction is set. Let's move on to the laws. And in particular, to the laws set forth in the methodology of Vsevolod Meyerhold (Russian theater director and actor). And here are some of them:

The law of dependence of emotion on the body. This law is also known as the law of the plastic composition of the performance. And its essence is that the emotional state of a person directly depends on the position of the body and the direction of its movement. So, by taking a certain pose and making the appropriate movements, you can easily evoke the desired feeling in yourself.

The law of the body as a single system(saying plain language: in every movement of one part of the human body, the whole body participates). At the same time, the viewer perceives only the result of this “work”.

Having taken all these developments into service, you thereby go the surest way to the development and multiplication of acting talent, which means that in the future recognition by the viewer is not ruled out.

Correction of speech defects

Most people who have never trained in acting before tend to suffer from “shortcomings” in speech. Moreover, we ourselves do not even notice this (during personal communication), but all the "shortcomings" are instantly revealed as soon as we have to speak in public.

And the reason lies in the fact that speaking in public, we are often forced to pronounce other people's words, but even if we try to speak from ourselves, nevertheless, difficulties do not leave us.

In this connection, we have selected for you simple exercises to identify the shortcomings of speech.

1. "Inner Speech"

The bottom line: get as close as possible to your idea of own voice- to the real. Choose any poem, for example A.S. Pushkin "Tears". As you read the selected poem to yourself, imagine how it should sound. Task: listen to your inner speech. Then, take a tape recorder, start reading aloud. Listen to the recording. See if that's how you imagined it.

2. "Three Japanese"

Lived - there were three Japanese:

Yak, Yak - Tsidrak, Yak - Tsidrak - Tsidrak - Tsidroni.

Lived - there were three Japanese women:

Chick, Chick - Drypi, Chick - Drypi - Limpomponi.

Married:

Yak on Chick,

Yak - Tsidrak on Tsypi - Drypi,

Yak - Tsidrak - Tsidrak - Tsidroni on Tsypi - Drypi - Limpomponi.

And their children were born:

Yak and Tsypi have Shah,

U Yak - Tsidrak and Tsypi-Dripi - Shah - Chess,

U Yak - Tsidrak - Tsidrak - Tsidroni and Tsypi - Drypi - Limpomponi - Shah - Chess - Chess - Shahmoni.

3. "Complex words"

Make a selection of words with complex stresses, and try to learn them all.

And as a trial lesson, use our selection:

• apostre about f
• G e nesis
• dispensary e R
• ringing and sh
• cathal about G
• Garbage disposal about d
• O trasley
• anticipation and tit
• Table I R
• Emphasis I dosing
• hair dryer about men
• Shchav e eh
• Exp e rt

By regularly practicing “complex” words, you yourself will not notice how they quickly move into the category of simple, but the most ordinary, easy words for you.

Make efforts, overcome, search, look inside yourself and your efforts will surely bring you good results. You will become more self-confident and at the same time learn to control not only your body, but also your inner energy, and this, as you understand yourself, is the most important skill not only for the people of the “stage”, but also for Everyday life, owning which - success is guaranteed to you!

Please leave your feedback and comments below. Share your experience with us. Your success is very important to us.

in the theory of acting for the III year of specialization "Actor of Drama Theater and Cinema".

“Easier, higher, lighter, more fun.” K. S. Stanislavsky.

1. Indicate the name of the direction in art, which is based on the contradiction of the plot of the work, the absence of the logic of the conflict. This trend was reflected in the works of J. Anouilh, J. P. Sartre, E. Ionesco, etc.:

a) Vanguard b) Outrageous; c) Absurd.

2.

a) proscenium; b) "Road of flowers"; c) Backstage;

1) front theater stage, (before the curtain);

2) a platform built from the front edge of the main stage and extending into auditorium;

3) the back of the stage, a continuation of the main stage.

3. Choose the correct answer: a) device; b) Stamp; c) Evaluation;

Definition : Techniques of stage play once and for all fixed by the actor in his work. Ready-made mechanical techniques of the actor, which become a habit and become his second nature, replacing human nature on the stage.

4. Indicate in the numerical sequence of definitions proposed below the corresponding names in letter designation:

a) Illusion; b) Imagination; c) Allusion;

1) reception artistic expressiveness enriching artistic image additional associative meanings by similarity or difference by hinting at an already known work of art;

2) the ability of consciousness to create images, representations, ideas and manipulate them, an element of the internal technique of the actor;

3) an erroneous idea caused by a deception of the senses, a distorted perception of reality.

5. Choose the correct answer: a) Experiment; b) Etude; c) Analysis;

The method of studying a work, which consists in dividing the whole phenomenon into constituent elements characterizing the place and time of the events, the proposed circumstances, the picture of the world, the atmosphere, the motivation for the physical and verbal actions of the characters, etc.

6. Indicate in the numerical sequence of definitions proposed below the corresponding names in the letter designation:

a) Aparte; b) mise-en-scene; c) Trocar;

1) location on the stage, the plastic drawing of the body or a group of actors, in relation to each other and to the viewer, the compositional unit of the plastic score of the performance;

2) movement along the diagonal of the stage, body angle, turn of the actor's head three-quarters in relation to the audience;

3) stage monologues or remarks uttered to the side, for the public, and allegedly not audible to partners on stage.

7. Choose the correct answer: a) Biography; b) Scenery; c) Atmosphere;

The environment in which events unfold; the surrounding conditions, the situation, the state of the actors, which, interacting with each other, create an ensemble. "... is the air of time and place in which people live, surrounded by a whole world of sounds and all kinds of things."

1) biomechanics - a theatrical term introduced to describe a system of exercises aimed at developing the physical readiness of the actor's body for the immediate fulfillment of the actor's task given to him. It is focused on technical, clear outlines of the playing space, gesture, appearance, expediency of movements. Based on the concepts of W. James on the primacy of the physical reaction in relation to the emotional reaction, V. M. Bekhterev on combination reflexes and F. W. Taylor on labor optimization;

2) the method of physical actions - the process of psychophysical knowledge of the role, understanding the logic of the character through his actions. physical action certainly has a psychic component, because in the process of its implementation, the will, and thought, and fantasy, and fictions of the imagination, and in the end, feeling are themselves drawn in, involved. The principle of the method is the organic integrity of the physical and mental in a person;

3) six ways of rehearsing: "Imagination and attention", "Atmosphere", "Action with a certain color", "Psychological gesture", "The embodiment of the image and characteristic", "Improvisation".

9. Choose the correct answer: a) Mystery; b) Grotesque; c) Pantomime;

Definition: The depiction of the phenomenon in a fantastic, ugly comic style based on stark contrasts and exaggeration. View artistic imagery, generalizing and sharpening life relationships through an intricate and contrasting combination of real and fantastic, plausibility and caricature.

10. Specify the correct answer: a) task; b) Improvisation; c) System;

Definition: The condition of a creative nature; something that requires execution, permission. It is the basis for performing any action on stage, with its help the actor knows what he is achieving and what he is striving for.

11. Indicate in the numerical sequence of definitions proposed below the corresponding names in the letter designation:

a) empathy; b) Catharsis; c) Spirituality;

1) the term of ancient aesthetics, denoting spiritual relief, purification that occurs in a person after strong emotional experiences caused by viewing a work of art;

2) preservation of historical and cultural traditions having universal human values. An indicator of the richness of the creative state of the author or performer, his systematic education, image and form of thinking;

3) understanding the emotional states of other people, including the perception of objects and phenomena of the surrounding world and works of art. Feeling and empathy, the ability to understand "not with the mind, but with the heart."

12. Arrange in digital sequence a chain of actions indicated by letter designations, from a quote by M. Chekhov: “In the process of attention, you internally perform four actions simultaneously ...”

a) you yourself rush to it; b) you penetrate it; c) you keep invisibly the object of your attention; d) you attract him to you.

13. Indicate in the numerical sequence of definitions proposed below the corresponding names in the letter designation:

a) Zone of silence; b) Internal monologue; c) Device;

1) inner speech, not spoken aloud, but to oneself, a train of thought, verbalized, which accompanies a person always, except for sleep time;

2) both internal and external methods, methods acting game. Internal and external tricks in achieving the goal; psychological moves, ingenuity in the impact of one person on another;

3) organic process of perception and accumulation of emotional energy. Short and long pauses where the actor does not speak, but observes, listens, perceives, evaluates, accumulates information, prepares for an objection, etc.

14. Choose the correct answer: and most importantly; b) Final; c) Initial;

An event that happened before the curtain went up or before the character entered the stage. A conflicting fact that occurred outside of the play, or a suggested circumstance that provokes subsequent actions. This event is part of an actionable analysis of the play and the role.

15. Indicate in the numerical sequence of definitions proposed below the corresponding names in the letter designation:

a) Emotional memory; b) Proposed circumstances; c) Observations;

1) this is 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; mise-en-scene, staging, scenery and costumes of the artist, props, lighting, noises, sounds, etc.;

2) one of the ways to form a stage image. This method based on copying and imitation of a real-life reality that arouses genuine interest, with the prospect of artistic comprehension of the image;

3) one of the methods of mastering the elements of acting, based on acute experiences, memories, strong impressions in life, i.e. on feelings. It is the material that feeds the actor's creativity combined with fantasy and imagination. Gives a powerful impetus to creativity.

16. a) counterpoint b) Counteraction; c) Conflict;

1) the director's means of increasing the capacity of the mise-en-scene. The physical action of the actor, unexpected or opposite to the text being spoken at that moment, etc.;

2) psychophysical reaction to the hostile or hostile action of the actor. The opposing side. The fight process. The force that opposes the through action of the performance.

3) a sharp clash of parties, opinions, interests. A dispute, a serious disagreement, the result of which is the unexpected actions of the warring parties.

17. Indicate in the numerical sequence of definitions proposed below the corresponding names in the letter designation:

a) Super task; b) The grain of the role; c) through action; d) Role perspective;

1) prudent harmonic ratio and distribution of parts while covering the whole role. Movement through the events of the play from the first appearance to final scene. AT practical work above the role exists both for the character and for the artist;

2) the main, main, all-encompassing goal, attracting to itself all events, tasks, actions without exception, causing the creative striving of the engines of mental life;

3) an effective path to the implementation of the super-task, passing through the entire play, the continuous striving of the artist-role, which determines the task of each individual scene and fills the action necessary for its implementation with emotional content;

4) Emotional Essence roles, symbolic decision, "cementing" the image.

18. Choose the correct answer: a) intention; b) Clamp; c) Second plan;

The psychophysical burden with which the actor lives in the role, the undercurrent of life, the continuous 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 it is not played, it must be had by the time of public creativity, it must be "dragged". Expressed through the "physical well-being" of the actor. Ways and means of educating in oneself these most important components of the image, mainly through the development of the proposed circumstances and internal monologue.

19. Indicate in the numerical sequence of concepts proposed below the corresponding definitions:

a) Tool acting art; b) Acting art material; c) Stage attention;

1) perception;

2) action;

20. Indicate in the numerical sequence of definitions proposed below the corresponding names in the letter designation:

A) an outbuilding b) Public loneliness; c) Evaluation;

1) 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, it occurs during a pause in the actions of one of the actors;

2) begins immediately after the assessment at the very moment when a specific objective goal arose in the mind, as well as overcoming physical barriers, obstacles on the subject's path to his goal. There are “below”, “above”, “equal”;

3) voluntary attention. Passion for what is and the events taking place on the stage, without being distracted by the viewer. A creative circle in which the actor focuses all his attention on the action being performed or on the partner.

21.

a) Rhythm; b) Tempo; in) energy center; d) Tempo-rhythm;

the speed of the stage action;

2) the tension of the scene, act, performance, born of a deep penetration into the proposed circumstances and their appropriation by the actors, a sharp perception of events;

3) it is a direct, immediate, sometimes even almost mechanical exciter of emotional memory, and, consequently, of the inner experience itself. It cannot be remembered and felt without creating appropriate visions, without mentally imagining the proposed circumstances and without feeling the tasks and actions.

4) "placed in the chest, it makes your body harmonious, bringing it closer to ideal type. But as soon as you move it at least a little and listen to a new sensation, you will immediately notice that instead of an ideal body, you have a characteristic body.

22 . 1 - "life truth"; 2 - "the doctrine of the most important task"; 3 - "activity and action"; 4 - "organic"; 5 - "reincarnation" is:

a) 5 elements of the internal technique of the actor;

b) 5 principles of the Stanislavsky system;

c) 5 conditions for admission to the theater educational institution;

d) 5 theses of Nemirovich-Danchenko.

a) M.O. Knebel; b) M. Chekhov; c) K. Stanislavsky; d) V. Meyerhold;

Ethics is the doctrine of morality. Develops the right moral principles that help protect human soul from corruption and regulates the relationship of individuals among themselves. The first and main condition is collective creativity Creative discipline is important, based on respect for other people's creativity, support for comradely spirit in common work protecting their own and others' freedom of creativity. Stage individuality is a spiritual individuality first of all!!!

24. Choose the correct answer:

Theater director, teacher, theater theorist. Developed and implemented the concept of "poor theatre". The psycho-physiological preparation of the troupe of his theater was to sharpen the ability of the “total actor” to renounce himself to the limit, turn the performance into an act of a kind of sacred rite, ritual - a) Peter Brook b) Jerzy Grotowski; c) Samuel Beckett; d) Bertolt Brecht;

25. Indicate in the following numerical sequence of definitions the corresponding concepts: a) Aesthetics; b) Apperception; c) Sublimation;

1) a property of the human psyche, the activity of the intellect, through which, with the help of the forms of thinking existing in it, from the perceived material of impressions, he can realize, create the entire volume of his concepts and ideas. Due to activities based on comparison, comparison, connection and depends on the stock of knowledge and the specific state of the individual;

2) philosophy about the essence and forms of beauty in artistic creativity, in nature and in life; understanding of the subject is an expressive form, no matter what area of ​​reality it belongs to. The main categories include: the beautiful and its opposite - the ugly, the sublime and the base, the tragic and the comic;

3) defense mechanism psyche, which is the removal of internal stress by redirecting energy to achieve socially acceptable goals, creativity. One of the Freudian defense mechanisms. Intellectual, artistic, or aesthetic inclinations can receive energy that was previously directed to aggressive goals (libido, biological energy).

26. Indicate in the sequence of definitions proposed below the corresponding concepts : a) Sketch; b) Kitsch (Kitch); c) Happening;

1) Direction in avant-garde art. Peculiar micro performances that combine elements of the theater of the absurd, music, painting and involve the audience in an improvisational action. Anything can happen to the public, it is under the influence of constant aggression.

2) The definition of false art, calculated on the external effect and undeveloped taste of the mass consumer. Characteristic - loudness, false brilliance, simplistic content, vulgar imitation of real art, bringing commercial success.

3) A short scene in which, as a rule, a comic situation is played out with the participation of two or three actors without deep characterization of the characters and complex intrigue, built on unexpected funny situations.

27. Substitute the literal values ​​accordingly with the numeric ones: a) an eccentric; b) Travesty; c) Tragedian; d) Soubretka; e) Fat; f) Resonator; g) Ingenue; h) Comedian;

stage role of an actor performing tragic roles;

2) self-satisfied, vulgar dandy, dandy. The role of an actor playing the role of spectacular, narcissistic and limited (mostly young) people;

3) acting role: a person who loves to conduct lengthy discussions, mostly of a moralizing nature. Actor in an old comedy, through which the author expresses his views, moralizing, instructions;

4) acting role: performer of the roles of simple-minded, naive young girls.

5) acting role: she is a maid with a resourceful and crafty character and a lively disposition. As a rule, she helps her masters in their love affairs.

6) acting role: an actress playing the roles of teenagers, boys, girls, as well as roles that require dressing up in a men's suit in the course of the action;

7) artistic role: performer of comedic roles.

8) a pronounced comedic role, often a grotesque image of illogical, ridiculous characters.

28. Substitute the literal values ​​accordingly with the numeric ones:

a) soffits; b) Portal; c) Stage mirror; d) Shtanket; e) Grids; e) Ramp;

1) metal pipe on ropes. Backstage, padugs, lighting equipment and the necessary details of the scenery are suspended from it;

2) a structure made of monolithic or lightweight portable materials, limiting the width of the stage to the left and right of the proscenium;

3) a lattice under the roof of the stage, suspension system blocks are attached to it;

4) the stage space between the portals of the stage in length, and between the proscenium and the harlequin in height, i.e. the square of the stage itself, visible to us from the hall after the proscenium;

5) special lighting equipment, placed above the stage and hidden by arches;

6) a low barrier along the proscenium, covering the lighting fixtures directed to the stage from the viewer. The same word in the theater refers to the lighting equipment on the floor of the stage, which serves to consecrate the front of the stage from below.

29. Which of the following sayings belongs to K. S. Stanislavsky:

a) "Protect your theater from all filth";

b) “Love art in yourself, not yourself in art”;

c) “Now I know, I understand, Kostya, that in our business it doesn’t matter whether we play on stage or write - the main thing is not glory, not brilliance, but the ability to endure. Learn to bear your cross and believe. I believe, and it does not hurt me so much, and when I think about my calling, I am not afraid of life.

Student's last name ____________________________________________

1. __________

2. 1) _____

2) ____

3) ____

3. __________

4. 1) ____

2) ____

3) ____

5. __________

6. 1) ____

2) ____

3) ____

7. __________

8. 1) ____

2) ____

3) ____

9. __________

10. _________

11. 1) ____

2) ____

3) ____

12. 1) ____

2) ____

3) ____

4) ____

13. 1) ____

2) ____

3) ____

14. _________

15. 1) ____

2) ____

3) ____

16. 1) ____

2) ____

3) ____

17. 1) ____

2) ____

3) ____

4) ____

18. ___________

19. ____________

20. 1) ____

2) ____

3) ____

21.

1) ____

2) ____

3) ____

4) ____

22. __________

23. ________

24. _________

25. 1) ____

2) ____

3) ____

26. 1) ____

2) ____

3) ____

27. 1) ____

2) ____

3) ____

15. 1) b

16. 1) a

17. 1) g

19. 1) in

20. 1) in

21. 1) b

25. 1) b

26. 1) in

27. 1) in

28. 1) g

29. a, b

Number of points:

75 maximum points, up to 70 points - score 5; up to 60 points - score 4; up to 50 points - score 3, below 50 points - score 2.