To see the other types of publications on this topic, follow the link: Acting Actors Theater Method acting.
Journal articles on the topic 'Acting Actors Theater Method acting'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Acting Actors Theater Method acting.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Alfirdaus, Moh mujib. "PENGEMBANGAN MODEL PEMBELAJARAN PEMERANAN BERORIENTASI TEKNIK CS PADA TEATER TRADISI." Buana Pendidikan: Jurnal Fakultas Keguruan dan Ilmu Pendidikan 14, no. 25 (March 7, 2018): 49–58. http://dx.doi.org/10.36456/bp.vol14.no25.a778.
Full textAbstract:
This learning model is the author's attempt to develop acting method in traditional theater through the Stanislavski's
technique, although the need for theater tradition performances and theater conventional realism performance is different. During this time the method of play in the theater tradition is still spontaneous, but the method of acting on the theater tradition must be measurable and can be studied in the academic field, hence, the author develops acting methods based on Stanislavski's technique as a reference in learning. An actor is a student for nature and pupil for anyone as long as the knowledge he earned is useful to develops his acting creativity. Therefore this Stanislavski's method becomes very influential to train the actor's intelligence, despite his need for traditional theater. Why is Stanislavski's method becoming important to be learned by actor candidate ?. Because the analysis used by Stanislavski's method is still very logical and reasonable, it did not rule out the effects of int elligence for anyone who applied it. This circumstance emphasizing the importance of Developing Stanilavski's technique-oriented Learning Model on Traditional Theater. In order for candidates who will perform for traditional and modern show, are expected to be ready with all the acting devices to employ. Therefore, this learning method need to be applied, especially in STKW Surabaya. The purpose of this research is developing a learning model for acting in the theater tradition. This research carried out by producing several outcome. First, a handbook of Stanislavski's method learning model for student. Second, a lecturer's handbook for an effective and efficient learning process
2
Ishak, Ismaliza. "TRANSFORMATION APPRECIATION OF MONODRAMA "LADY SWETTENHAM" AND "GREEN LIGHT"." International Journal of Creative Industries 1, no. 1 (September 15, 2019): 15–26. http://dx.doi.org/10.35631/ijcrei.11002.
Full textAbstract:
This article is aimed at analyzing the transformation method applied by two selected monodrama actors, Sabera Shaik in monodrama theater "Lady Swettenham" and Shahrul Mizad Asyaari in the monodrama theater "Waiting for the Green Light". This study takes into account some of the transformation methods used for conveying appreciation and visually inspiring the audience. Through the survey method of secondary and premature data and directly involved in the spectacle, the illustration is clearly detailed through scientific analysis in the performance of monodrama acting. These two presentations can illustrate the success of the transformation method and are indirectly made between the basic recommendations to the solo acting method. Using the Imitation theory approach by Albert Bandura and method acting (Stanislavski) this approach can be used as a benchmark for non-realistic acting representation.
3
McConachie, Bruce. "Method Acting and the Cold War." Theatre Survey 41, no. 1 (May 2000): 47–68. http://dx.doi.org/10.1017/s0040557400004385.
Full textAbstract:
Triumphalist accounts of the spread of “the Method” in post-World War II America generally explain its success as the victory of natural truths over benighted illusions about acting. In Method Actors: Three Generations of An American Acting Style, for instance, Steve Vineberg follows his summary of the primary attributes of “method” acting with the comment: “These concerns weren't invented by Stanislavski or his American successors; they emerged naturally out of the two thousand-year history of Western acting.” Hence, the final triumph of “the Method” was natural, even inevitable. Vineberg's statement, however, raises more questions than it answers. Why did it take two thousand years for actors and theorists of acting to get it right? Or, to localize the explanation to the United States, why did more American actors, directors, and playwrights not jump on the Stanislavski bandwagon and reform the American theatre after the appearance of the Moscow Art Theatre in New York in 1923 and the subsequent lectures and classes from Boleslavski and others? The Group Theatre demonstrated the power of Stanislavski-derived acting techniques in the 1930s, but their substantial successes barely dented the conventional wisdom about acting theory and technique in the professional theatre. Yet, in the late 1940s and early fifties, “method” acting, substantially unchanged from its years in the American Laboratory and Group theatres, took Broadway and Hollywood by storm.
4
Howard, Skiles. "A Re-Examination of Baldwin's Theory of Acting Lines." Theatre Survey 26, no. 1 (May 1985): 1–20. http://dx.doi.org/10.1017/s0040557400000296.
Full textAbstract:
Theatre history sometimes amuses us with the persistence of certain notions which, no matter how roundly discredited, simply refuse to die. One of these speculations concerns the method of pairing role and actor in the Elizabethan theatre. Actors were assigned to their roles, and roles were written for actors, in accordance with the actor's “lines of business” — weren't they? T. W. Baldwin's long and influential book, The Organization and Personnel of the Shakespearean Company, attempts to prove this method of role designation. However, his is one of those theories of remarkable stamina which, in spite of serious critical challenge, never stay down for the count, but stagger gamely back into lectures and appear unexpectedly in respectful citations. Given its shortcomings and inaccuracies under close scrutiny, Baldwin's hypothesis seems to demand a final and permanent interment. To that end, I will examine the question of acting lines — the theory, its champions and its challengers, and the evidence for and against it, taking Baldwin's work as a starting point.
5
Budanov, Vladimir Grigoryevich, and Tamara Andreevna Sinitcyna. "Quantum-synergetic ontology of generalized corporeality (Part III): psychosemantic language of theater, anthropological jazz." Культура и искусство, no. 12 (December 2020): 138–59. http://dx.doi.org/10.7256/2454-0625.2020.12.34793.
Full textAbstract:
This article is a continuation of the topic on methodology of generalized corporeality, which stems from the concept of quantum-synergetic anthropology, developed in the previous parts of the triptych. Ontologies of the states (functional bodies and subbodies of generalized corporeality), as well as temporal ontologies are viewed on the example of theatrical acting. The author structures an isomorphism of the well-known musical notation, and representation of the changing anthropological profile in form of a chord of the simultaneously activated “resonating” states of the actor. The article discusses the appropriateness of such musical metaphor, analogy between the freedom of actors’ improvisation, as the anthropological jazz characteristic to any performer, although to different extent. The classical style is even less versatile than jazz improvisation. The author draws parallels of such performances with works of the classics of theater directing, philosophy of acting, and communication of musicologists: K. S. Stanislavsky, A. A. Vasiliev, B. Latour, J. Huizinga, J. E. Berendt. A certain language of interpretation of acting is offered using the dynamic patterns of description of events in the course of the play. If these patterns are adequate to stage reality, which the author was trying to prove, they can be implemented in training the actors, staging performances, etc. This virtually led to creation of a new psychological technique that allows amplifying the acting skills. Moreover, such type of notational representation of actor roles allows archiving and decoding the director's intention using a fairly universal method.
6
Marchenko, Herman. "Vsevolod Meyerhold’s Biomechanics and Boris Zakhava's Educational Work." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (December 10, 2020): 58–74. http://dx.doi.org/10.36340/2071-6818-2020-16-4-58-74.
Full textAbstract:
The article deals with two different approaches to training actors. One of them is Stanislavski’s system, and the other is Meyerhold’s biomechanics. Konstantin Stanislavski and Vladimir Nemirovich-Danchenko are reformers of the Russian theater. As the Art Theater founders, they understood that the emergence of a new drama would require a completely different approach to working with actors and a different design of the stage space. With regard to new performances, it became possible to pose critical social questions related to everyday life before the viewer. Therefore, it was logical that the director's profession became very important. Working on his system, Stanislavski paid great attention to the need for an actor’s comprehensive development. Many wonderful actors who attended his acting school were among the students of this great theater director. Vsevolod Meyerhold was one of them. However, the latter chose his direction and began to engage in staging performances actively and search for new means of expression, having come to an absolute convention on the stage. Meyerhold created his method of working with an actor, known as biomechanics, in the theatrical environment. The principle of this approach is the opposite of Stanislavski's system. With all the difference in views on the theater, in the early stages of Meyerhold's independent practice, Konstantin Stanislavski offered him the opportunity to cooperate, which led Vsevolod Meyerhold to the Studio on Povarskaya Street in Moscow. Evgeny Vakhtangov was another student of Stanislavski and Nemirovich-Danchenko. At the request of Stanislavski, Vakhtangov was engaged in educational work in the studio of Moscow Art Theatre. Unlike Meyerhold, he thoroughly mastered the system and then created his theatrical direction called fantastic realism. Vakhtangov's legacy was preserved thanks to the activities of his students, among whom was Boris Zakhava. He turned to Meyerhold for help and spent several seasons with the master, gaining invaluable experience, including revealing the features of biomechanics in practice. Boris Zakhava remained faithful to Vakhtangov’s principles and continued his teacher’s work at the Shchukin Theater Institute.
7
Kryvosheieva, O. V. "Imagination as one of the key elements in the formation of a future actor psychotechnics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 299–311. http://dx.doi.org/10.34064/khnum1-56.19.
Full textAbstract:
Background. One of the most important questions in the acting profession is how to educate the psychophysical apparatus of the actor, what it consists of, what exercises will be useful and will be able to develop the necessary psychophysical qualities. Therefore, the theatrical teachers often turn to the sciences, which study the human, to be able to rely not only on the personal experience and on theoretical works of famous theatrical figures. Therefore, K. Stanislavsky creating theory of art turned to experimental psychology, the theory of conditioned reflexes by I. Pavlov. K. Stanislavsky sought to substantiate scientifically his system, to analyze creativity based on “brain physiology”, to study objectively higher nervous (mental) activity. One of the basic elements of the actor’s psychophysics is imagination, which remains by far one of the least studied. Moreover, the first studies of the “imagination” in such science as neuroscience began only in the second half of the XX century. Today, it is important to pay attention to the discoveries that take place in the related sciences in order to be able to understand deeper how a particular exercise affects the psychophysics of a future actor. There is a small amount of contemporary work devoted to the theoretical substantiation of the development of the psychophysical qualities of the actor. Among them the writings by famous theater educators Uta Hagen (“Play as Life”) and Ivana Chubbuk (“Chubbuk’s Actor Technique”) are, which consider the concept “imagination” in relation to other elements of actor psychotechnics, as one of the tools and ways of creating the role. The American actor and a teacher Gavin Levy has created an interesting book “275 Acting Games: Connected” presenting various exercises connected with developing of imagination. Professor of Acting at the University of California Bella Merlin in her work “Acting: Theory and Practice” proposes to develop imagination through a variety of games and improvisation also. Attempts to comprehensive study of actor training, the impact of exercise on the imagination and psychophysics of the actor as a whole are described in the works of M. Alexandrovskaya, S. Gippius, N. Rozhdestvenskaya, V. Petrov, and L. Gracheva, whose experimental results was used in this study, The objective of this paper is to consider the concept of “imagination” in the complex and interaction with other elements of actor psychophysics, using the latest scientific discoveries about human. A complex methodology was used in the work: analysis and synthesis methods that allow to explore a category such as “imagination”, separately and in conjunction with the elements of actor psychophysics; methods of systematization and generalization – to determine the key theoretical provisions of the study in the context of understanding the pedagogical experience of modern domestic and foreign theater schools; method of historical and cultural analysis – in the course of consideration of works on the theory of theater. Results. The concept of “imagination” in acting training is used quite often, but there is no specific answer to the question – whether imagination trains or not. Professor of Russian State Institute of Performing Arts Larissa Gracheva conducted an experiment to help answer this question. Students were asked to recall and relive in their imagination the acute emotional situation that was in the life of each participant in the experiment. A total of 30 student actors and 20 economics and theater students were involved. This experiment affirms the influence of special acting exercises on developing the imagination, because 95 % of participant-actors demonstrated body physical reactions. This concept is considered the paper in conjunction with other elements of actor psychotechnics, such as “visions” (after K. Stanislavskiy), affective and emotional memory, reaching truthful expressiveness on stage and muscular freedom. The chain of interaction between these elements is proposed and their interdependence is justified. The experiment answered the question of how imagination is dependent on “visions” and affective memory, what kind of exercises the future actors can train their imagination. Links has been established between imagination and muscular freedom. Recent discoveries of neuroscience have been used to answer the question of what is going on with the brain, when human being imagines something. Overall, the paper summarizes the current state of knowledge of the selected topic by discussing the findings presented in recent research papers that create an understanding of the theme for the reader. Conclusions. Training of “awakening the imagination” is a complex psychophysical process that can be developed only in combination with other elements of actor psychotechnics. Such complex approach will allow the actor to shape a completely harmonious personality. Imagination is based on visions that form and emerge from each person’s long-term memory. For each actor, these internal images will be unique. This proves that the use of imagination (substitution effect and affective memory) is quite personal and unique process. This approach causes an impression of truth of drama action and induces a strong emotional response. In turn, emotional reaction is first a muscular reaction of the body. Therefore, in acting training it is important to make exercises so as to harmoniously develop the psyche and physics of the actor using in plastic exercises imagination and vice versa, the physics reactions for the developing of imagery thinking.
8
Kozodaev, Pavel I., and Ekaterina K. Titova. "Pedagogical factors of formation of improvisational acting skills in amateur theatre." Psychological-Pedagogical Journal GAUDEAMUS, no. 47 (2021): 21–30. http://dx.doi.org/10.20310/1810-231x-2021-20-1(47)-21-30.
Full textAbstract:
We consider some issues of modern society related to the growing trend of social and emotional isolation of the individual, changes in their worldview, leading to the degradation of thinking and intellectual abilities. There is need to search for psychological and pedagogical ways, means and methods to activate the intellectual, emotional and creative development of the individual. A possible way to solve the identified social issues is the possibility of forming a person's skills for improvisation. We consider the implementation of this process in educational and creative activities of an amateur theater group as a sphere that provides ample opportunities for creative self-realization of the individual. We define the term “improvisation” as a universal ability of the individual, which is manifested in various creative processes, as well as in many other aspects of human life. An actor forms improvisational skills in an amateur theater group due to the organization and implementation of a number of pedagogical conditions, such as: creating a climate of psychological comfort that promotes the self-disclosure of individual and creative abilities of participants in an amateur theater group; using the etude method in the process of mastering the elements of acting improvisation by an amateur actor; mastering the basics of “effective thinking” through specific training exercises. The content component of the implementation of these pedagogical conditions, according to the authors, activates the course of the described process.
9
Sovhyra, Tetiana. "ROBOTIC THEATRE: COMPARATIVE ANALYSIS OF HUMAN AND MECHANIZED ACTIVITIES IN THE CREATIVE PROCESS." Creativity Studies 14, no. 2 (August 9, 2021): 295–306. http://dx.doi.org/10.3846/cs.2021.13545.
Full textAbstract:
The article systematizes and analyzes the existing experience of organizing the creative process in a robotic theater. The author explores the robotic theater phenomenon, the artificial intelligence technology possibilities to function in the stage space. The article provides a comparative analysis of human and mechanized interaction in the stage space. The methodological basis of the research is a combination of several methods: analytical – for accounting for historical and fictional literature; theoretical and conceptual method – for analyzing the conceptual and terminological system of research and identifying the specifics of introducing the artificial intelligence technology in creative process; comparative-typological – to compare the peculiarities of the functioning of mechanized “actors” with the acting skills of human performers. The article explores the threat perception and uncanny valley concepts to study the perception of a robot–actor by an audience. The author examines the process of human interaction with a robotic body: from the moment of interest, interaction to the moment of rejection of the robot by a person (audience).
10
Demeshchenko, Violeta. "From Theater to Cinematography: Creative Search of Les Kurbas." Culturology Ideas, no. 18 (2'2020) (2020): 109–19. http://dx.doi.org/10.37627/2311-9489-18-2020-2.109-119.
Full textAbstract:
The article examines the artistic path and creative pursuits of Les Kurbas, the Ukrainian and soviet director, who undoubtedly remains an outstanding figure in the history of Ukrainian cultural life in the 1920s and 1930s. He was the founder of Ukrainian political theater, and later philosophical theater; also fruitfully worked in early cinematography. The article emphasizes the relevance of studying the creative work of the director, his original creative method of educating actors nowadays. In his own way, Kurbas became a standalone theatrical institute for young people, raised more than four dozen professional directors who later became theater managers and directors of Ukrainian theaters, teachers. The director created Ukrainian theater and cinema school of acting; his innovative artistic ideas still remain relevant today. He developed his own aesthetic-theatrical concept of conditional-metaphorical theater based on life itself. Being the man of art, Kurbas influenced the formation of stage constructivism in Ukrainian theatrical art. In addition to the positive memories of his contemporaries, we also encounter some legends, various testimonies and assessments of events of that time, which create a certain mythological space around the artist. Hence, today we need to carefully analyze numerous documentary evidence, facts, memoirs, literary and theatrical sources, as well as try to be objective in reconstructing events and reflecting on the fate and work of the director.
11
Voronina, N. E. "The Context of Maria Knebel’s Artistic Fate: Teachers and Students." Observatory of Culture 15, no. 3 (August 19, 2018): 340–49. http://dx.doi.org/10.25281/2072-3156-2018-15-3-340-349.
Full textAbstract:
The article reveals the main features of M.O. Knebel’ artistic periods. She was an outstanding director and theatre teacher of the 20th century. In May 2018, it was 120 years since her birth. This study applies historical-cultural, sociocultural, and art-historical methods. On the basis of systematization and generalization of her biographical information, as well as analysis of her creative way, the article traces the transformation of M.O. Knebel from a supporting actress to the director and theater teacher. The study is relevant, because M.O. Knebel is underestimated as a person who harmoniously combined acting, directing and pedagogical intentions. There is much attention paid to the main paradox of M.O. Knebel’s creative career, which consists in understanding that if she had not had the episodic actress’ experience she would not have come to the directing and pedagogical way. All M.O. Knebel’s creative achievements arose from her not quite successful acting career. Therefore, the study proves the connection between the experience of M.O. Knebel as an actress of the second roles in the Moscow Academic Art Theater and the successful implementation of her directing and pedagogical aspirations. To identify the hidden springs of M.O. Knebel’s activity, much attention is paid to the context of her work: her circle is analyzed — the teachers, colleagues, students. The author emphasizes that M.O. Knebel was a kind of link between theatrical generations. Being a propagandist of the great Stanislavsky and Nemirovich-Danchenko’s teachings and continuing the traditions of her teachers, she raised a bunch of outstanding directors. Thus, the personality of M.O. Knebel, presented in a wide context, is included, in turn, into the contextual circle for generalization of new directors and actors’ creative work. The article shows the result of the study, which refutes the idea of secondary cultural signifi cance of the actors who did not become famous and did not receive outstanding recognition, but crystallized into great teachers and directors who even established a creative school.
12
Sobkin, V. S., T. A. Lykova, and A. V. Sobkina. "Diagnostics of Structural Features of Personality Changes in Theatre College Students at Different Stages of Training." Консультативная психология и психотерапия 26, no. 4 (2018): 83–100. http://dx.doi.org/10.17759/cpp.2018260406.
Full textAbstract:
The paper presents the results of a study of the structural features of personal changes of student-actors in the process of studying in the theater college. We hypothesize that at the stage of primary occupation selection and in the training process students aquire and develop specific stable personality structures (association of personal qualities), which are essential for the formation of the subject of acting. The sample consisted of 832 respondent: 686 enrollees of theater college; 188 students at the beginning and 174 — at the end of the 1st year, 106 2nd year, 91 3rd year, and 68 4th year students. Methods: R. Cattell Personality Factors test (16 PF). Results: four invariant factors describing the structural features of the personality of student-actors are identified — personal anxiety, the desire for public communication, emotional impact on the other, individualism. Conclusions: the hypothesis of the presence of stable personality structures was confirmed, a number of essential personal features that contribute to the implementation of stage communication between self, role, and viewer were found.
13
Katereva, Irina Evgenevna. "Modern Moldovan Theatre: A Return to the Origins." Ethnic Culture, no. 4 (5) (December 25, 2020): 11–16. http://dx.doi.org/10.31483/r-96534.
Full textAbstract:
The article examines one of the trends in the development of modern Moldavian theatre. Being complex and multifaceted phenomenon, it is generally influenced by the direction of society's development. At the present stage its development is based on the influence of two simultaneously existing and opposing directions. One is directed outwards, expanding the range of his contacts with theaters of other countries and reflecting the principle of transculturalism. Since the 90s of the previous century, the art of actors in the Moldovan theater, the specificity of their expressiveness appeals to the experience of world's theatrical art in all its integrity, where archaic and modernity, East and West, complementing each other, serve mutual development. Another vector of development, fundamental, is directed inward. It is connected with the deep processes that affected the dramatic art of Moldova. The theatre rushed to its inner support, to the origins, from the depths of which the national theatrical tradition grows and where myth, ritual, archetype reign inseparably. At the junction of archaic and modernity, the theatre is looking for an opportunity to reveal the spiritual space of the people, the world of ancestral archetypes, the authentic unconscious. Through the art of acting to express the enduring features of the soul, the «ethnic cosmos». Research methods: theoretical analysis, generalization of scientific researches, Internet materials, systematic analysis of theatrical practice. Author concludes that modern Moldovan theatre develops under the influence of two interrelated vectors of development, existing simultaneously and oppositely directed.
14
Sgibnіeva, S. S. "The role of the person-centered approach in the vocal art of a dramatic actor." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 241–57. http://dx.doi.org/10.34064/khnum1-51.14.
Full textAbstract:
Background. In recent years, there has been an increasing interest in studying the processes of the development of the creative personality of the drama actor, amongst other things, the modern methods of vocal training, focused on his future activity in nowadays-scenic conditions. Therefore, there is a need to renew the traditional system of the vocal training of drama actors in accordance with the trends of contemporary theatrical art, namely, the introduction of the principles of person-centered pedagogy. Objectives, methodology. The research is an attempt to provide an overview of the principles of person-centered pedagogy in the making of the creative personality of the singing actor. The purpose of the article is to characterize the system of vocal training of the dramatic theater actor and new “technologies” of education aimed at developing the personality of a singing actor, which are based on the principle of person-centered pedagogy. On based of interdisciplinary approach the following methods are used in this paper: empirical (observation, discussion, retrospective analysis of vocal-performing and pedagogical experience of the author) and theoretical (analysis, synthesis, comparison, generalization of theoretical and research data). The results of the study. The history of the development of vocal performing, acting and pedagogy shows that for many years the attempts carried out to determine the principles of vocal education of the actor of the drama theater, implement their testing, introduce into the system of training of acting skills for improvement the process of onstage singing. The contemporary study of this problem requires a comprehensive multidisciplinary approach, extensive contacts of art historians, musicologists, theater critics, vocalists, actors, and teachers. The constant development of theatrical art dictates new methods of educating the actor’s creative personality, including approaches to his vocal training, focused on his future activities on the modern stage. In the making of scenic image, an actor-singer needs to be constantly improved in a personal and professional way. The basis of continuous work on a vocal creative product is a worked out system of reflection regarding a person himself with all psycho-physiological features, and the image, which an actor creates onstage. The basis of the author’s developed program of the complex and personal development of the singing actor is the factor of individual diagnostics. The author of the article offers a method of individual diagnosis of the creative state of the singing actor in the educational process, by which this state can be divided into three psychological and pedagogical zones: the area of the mainstream development; the area of the highest potential development; the area of the nearest self-development. For these parameters and criteria, the author has developed a scheme of a diagnostic characteristic map for each actor’s student, which contains: ● analysis of the peculiarities of the actor’s psyche; ● descriptions of his voice and external data; ● information about language and vocal defects of sound; ● information on the shortcomings of the voice of the actor and ways to overcome them; ● repertoire list of works; ● analysis of the technical part of the actor’s vocal training at the beginning of training and at the end of it; ● analysis of performances on the drama scene. Thus, the introduction of a person-centered approach makes it possible to outline the optimal trajectory of the formation of the creative personality of a singing student-actor. On an optimal path to forming a creative personality of a singing actor student, the main task of the vocal teacher is to ensure his development, taking into account his psychological and physiological abilities, as well as updating of incentives for self-development and self-realization. To solve this problem, first, it is necessary to organize a psychologically rich “counter activity” of a student, taking care of updating and forming his internal personal motivation to developing. This kind of education focuses not so much on the amount of knowledge that is acquired, but on the feelings and experiences that are associated with them, the personal interests and features of the subject of the educational process. In contemporary theatrical and vocal pedagogy, there is a vicious regularity: on the one hand, all (both teachers and students-actors) know about the existence of the above-mentioned issue, discuss it, declare it, and on the other – because of imperfection elaboration of these issues, lack of research and others difficulties, it is simply not taken into account. The author has analyzed the apparatus necessary for the study of the category of the worldview and psychological aspects of education: the structure of the personality of the actor, his socio-biological patterns, needs, motivation, etc. Conclusions. The most important mean of the vocal up-bringing of an drama theater actor as a component of his professional development is a person-centered approach to a student. This approach involves two complementary moments: the true understanding by a teacher of the individuality of a singing actor, his personality traits and features; the presence of a student’s desire for self-development within his abilities to vocal stage activity. In the process of development of the creative person of a singing drama actor, the new technologies of education arise aimed at the vocal-scenic activity in a today theatre, which are based on the principle of person-centered pedagogy. In part, the study of the processes of reflection allowed us to develop the program for complex individual development of a student-actor. Within its framework, the author proposed a diagnostic characteristic map, revealing the features of the singing student-actor’s abilities.
15
Shchukina, Yuliia. "Oleksandr Ivashutych, a student of Les Kurbas, as a universal figure in the theater of musical comedy." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 345–57. http://dx.doi.org/10.34064/khnum2-19.20.
Full textAbstract:
Background. Analyzing the origins of the school of Kharkiv Academic Theater of Musical Comedy, we cannot ignore its founders. People’s Artist of the UzSSR O. Ivashutych was a director, head of the theatre (during the 1940s), drama actor from the year of its founding (1929) to 1971. Methods and novelty of the research. The research is based on historicalchronological, biographical, typological, and comparative methods with an element of performances and roles reconstruction. Not much is known about O. G. Ivashutych. The only encyclopedic reference about him (from the “Encyclopedia of Modern Ukraine”) does not shed light on the director’s method, indirectly giving an idea only of the acting range. The work of Yu. Stanishevsky (1970) on the first forty years of musical comedy theaters of Ukraine (“Colors of Ukrainian operetta”) has several useful elements of reconstructions of the roles in the early period of O. Ivashutych’s work. N. Yermakova’s (2012) monograph “The Berezil Culture…” contains facts and important assessments of O. Ivashutych’s activity as a member of the Berezil Art Association. The author of this paper has collected more than 30 articles in the funds of scientific libraries and Specialized music and theater library of Kharkiv, as well as in the archives of KhATMK, and for the first time the information about the work of O. Ivashutych is analyzed. In addition, the actresses who worked with O. Ivashutych were interviewed. Therefore, this study is the first to reveal and systematize peculiarities of the creative path of O. Ivashutych, an actor, director, head of Kharkiv Theater of Musical Comedy. The director made about 40 productions on the stage of Kharkiv Theater of Musical Comedy and in Central Asia, where he was later evacuated. As an actor, O. Ivashutych played more than 100 versatile roles. The article aims to identify and characterize the main stages of the creative path of O. Ivashutych as well as differences between his acting and directing in different aesthetic eras. Results. O. Ivashutych’s creative individuality leaned towards the tragicomedy of Charlie Chaplin and Maryan Krushelnytsky. As a student of Les Kurbas in the Berezil Art Association and a member of the director’s laboratory of this theater, Les Ivashutych mastered the method of the famous avant-garde company, Les Ivashutich mastered the stage method of the famous avant-garde company, skillfully building rhythm of a performance and a role, turning to circusize, grotesque sharpening of images. In his directing work on the stage of the Musical Comedy Theater, O. Ivashutych, as a pupil of “The Berezil”, sought to consistently develop two repertoire trends: the embodiment of the best European classics (often exclusive in the country salon repertoire) and Ukrainian works (musical comedies and operettas by M. Verykivsky, M. Lysenko, O. Riabov). In our opinion, during these years L. Ivashutych drew a dash line of the European repertoire in his theater: he presented unique in the history of Kharkiv Theater of Musical Comedy operettas “The Borgia’s Garter” by K. Kraus, “Jeanne Who Cries and Jean Who Laughs” by J. Offenbach, “Ball at the Savoy” by P. Abraham (1940), “The Marriage Market” by V. Jacobi (1947), “The Eagle Feathers” by F. Farkas (1957), “Fraskita” by F. Lehár (1959), “The Waltz King” by J. Strauss (1961) and the first productions of famous operettas “Rose Marie” by G. Stotgardt and L. Friml (1942), “The Circus Princess” (1947), “Zorika (Gypsy Love)” by F. Lehár (directed by O. Ivashutych in the year of the composer’s death). In addition, O. Ivashutych staged four performances based on the musical comedies of the classic of Ukrainian operetta O. Riabov. The only performance, which could directly reveal the methodology of “The Berezil” was a fantastic comedy “Viy” (1951). The director also impressed with frank theatricality in circus scenes from the Milyutin’s operetta “Circus lights the fires” – together with choreographer A. Gulesco he managed to set up the style related to “girls” from “The Berezil” revues. Conclusions. Olexandr Ivashutych’s acting naturally evolved from the avantgarde of the 1920s – early 1930s, when he created, in particular, an eccentric image of Orpheus in the production of J. Offenbach, to the realistically psychological roles of 1950–1960, performed in a soft comedic manner (Amadeus in “The Bat”, Rooster in “Akulini”, Underwud in “The Kiss of Cianita”). L. Ivashutych worked as a director only during the period of the theater of “socialist realism”, which resulted in the corresponding realistic principles of his productions. However, even in such circumstances the director appreciated and skillfully used bright elements of theatrical imagery (fantasticality in “Viy” by M. Gogol, choreography in the spirit of the revue in “Circus lights the fires”). O. Ivashutych’s activity in Kharkiv Theater of Musical Comedy was based on the significant personal culture of the artist and his worldview of an intelligent leader.
16
Haryanto, Ikhsan, Yusril Yusril, and Martarosa Martarosa. "PERANCANGAN PERTUNJUKAN TEATER RAMBUN PAMENAN DALAM POLA TEATER TRADISIONAL RANDAI DENGAN PENDEKATAN TEATER MODERN (WELL MADE PLAY)." Gorga : Jurnal Seni Rupa 9, no. 2 (September 13, 2020): 256. http://dx.doi.org/10.24114/gr.v9i2.19848.
Full textAbstract:
AbstrakPerancangan pertunjukan teater Rambun Pamenan ini bertujuan untuk menggarap randai dengan mengadaptasi konsep teater modern. Pola yang digunakan dalam garapan ini adalah pola randai, tetapi untuk aktingnya menggunakan pemeranan presentatif (realistik). Metode penciptaan yang digunakan pada perancangan ini adalah metode pelatihan aktor oleh Richard Boleslavsky. Karya yang dihasilkan dari proses kreatif ini adalah sebuah pertunjukan teater modern dengan pola randai. Perancangan pertunjukan teater modern berbasis tradisi ini merupakan penciptaan formula baru dari berbagai idiom idiom tradisi yang dipergunakan sebagai titik tolak dalam berkarya.Kata Kunci: rambun pamenan, randai, teater modern. AbstractTheater Design Rambun Pamenan is designed to work on randai by adapting the concept of modern theater. The pattern used in this claim is the randai pattern, but for acting it uses a presentative (realistic) cast. The Selection Method used in this design is the actor training method by Richard Boleslavsky. The work produced from this creative process is a modern theater work with randai patterns. The design of traditional theater shows based on tradition is a new formula from traditional idioms which are used as a starting point in the making.Keywords: rambun, pamenan, randai, modern theater.
17
Arkadin-Shkolnik, Oleksandr. "Improvisational self-feeling in the upbringing of actor’s and stage directing mastery." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 121–35. http://dx.doi.org/10.34064/khnum1-50.09.
Full textAbstract:
Formulation of the problem. Relevance of the theme, the aim and material of research. The article deals with the related concepts of improvisation and improvisational self-feeling, state of health that is a special internal state that allows the actor to fully demonstrate his talent, to get rid of stamps, physical and psychological clamps and mechanistic “playing on cothurni”. The theme of improvisation in artistic creativity in general and in stage art in particular, undoubtedly, can be attributed to the circle of “eternal” ones, which over the time not lose their relevance and can acquire new sounding and coloring. Since improvisation is the basis and an integral part of a theater and scenic playing. This clearly demonstrates, for example, the existence from the very origins of the stage art of its separate branch – the theater of improvisation – which has experienced a number of transformations from the Antiquity to our time, ups (such as the Renaissance comedy dell arte) and downs, and reviving today in the new experimental forms. Or the modern flourishing of the “directorial” theater, where improvisation often becomes a full-fledged component of stage action. Anyway, in the works of almost all theatrical geniuses of the world, the greatest experimenters and reformers of the scene we can see the idea of finding the perfect actor, free, independent-minded, an ideal “actor-creator”. In the field of our attention – the theoretical works of theatrical luminaries of the twentieth century, the time of the formation of a free theater – K. Stanislavsky, B. Brecht, E. Vakhtangov and others. Based on this heritage, modern masters of the scene find their own motives and develop them in their work and pedagogy. The study aims to summarize the main methods of developing improvisational skills and conditions for achieving the state of improvisational well-being in the practice of an actor and stage director. Results of the study. In the domestic theater of the new generation, the improvisational method was actively developed and promoted by K. S. Stanislavsky and his follower E. B. Vakhtangov. They relied on the principles and mechanisms operating in the Italian comedy dell’arte; however, the transfer to the new ground and reality has fundamentally changed the principles of improvisation, which resulted in the unique phenomenon – the synthesis of the psychological theater with improvisational one. Rejecting the outdated kind of improvisation, Stanislavsky brought up this method to technical perfection in tandem with the inner spiritual fullness of the actor. Stanislavsky’s new interpretation of this idea was based on the fact that a person (and, therefore, the actor on the stage) cannot repeat any actions twice exactly the same. Thus, if an actor performs his actions on the stage absolutely truthfully, then each rehearsal and performance will be held in free improvisation or, as they say, in “improvisational well-being”. E. Vakhtangov, the successor of the great master, considered the same. The best proof of his ideas judgments is the play “Princess Turandot”, which from the beginning to the end was created in the form of an improvisational theatrical performance. For successful improvisation work it is necessary the actor need to not expect what is happening. For example, actor’s etudes educate the unexpected reaction of the actor in the perception of the current event, which inevitably leads to the transparency and truthfulness of the role picture. The methodological application of B. Brecht’s formula, entitled “not A”, is directed at this: the actor, showing what he does, in all-important places should make the viewer understand, what he does not. He plays so that we could see the alternative as clearly as possible, hinting on the other plot possibilities when the piece gives only one of the possible options. For the successful upbringing of the “ideal” type of actor mentioned above, it is first and foremost important to apply game, training methods of development not only to the physical form, but also to the imagination, the flexibility of the mind and the wit of an actor. Therefore, only an integrated approach in teaching methods and the rehearsal process is able to develop the creative potential of an actor and direct it to the necessary course. It was this approach that was used during this study in practice, which resulted in the birth of such a methodological technique as “blind rehearsals”. Before the rehearsals of the performance were started, a long preparatory period was held on the Stanislavsky system, and after a deep “intelligence research” and mastering the text, the actors began to work, being “blind» absolutely. For almost a month, the actors worked at the rehearsals with a blindfold, which sharpened their perception of the text, the scene and the partner. Left alone in the dark with the material, the actors showed a brilliant result in studying of it. Conclusions. The ability to improvise or “improvisational abilities” should be attributed to the general abilities of the person, which complement the special creative abilities, are subject to improvement and are mandatory for the development of future actor and director. Making use of the innovation in the psychology of creativity, actors-masters permanently update a system of exercises, always bringing in these game images and associations. This helps to avoid of mechanistic and artificial methods. In addition, it is necessary to introduce a set of plastic musical exercises that are the beginning of a lesson for students and develop in such important forms of theater education as a musical-plastic sketches, fragments, and so on. Thus, an integrated approach to work on improvisation-being of students prepares them for the next step in the mastery of acting and future work in the theater. The developed sense of improvisation, in our opinion, is the basis upon which all other features of actor’s personality will put on. That is why we consider the most difficult task of theater pedagogy to see, discover and apply the student’s creative abilities. Modern theatrical practice implies that the actor is free within the overall outline of the role that the director offers him. Modern stage direction encourages actors to mobility, a variety of creative solutions, independent thinking – that is, to improvise. It is that opens wide research prospects within the chosen theme.
18
Antoniou, Michaela. "Performing Ancient Greek Tragedy in Twentieth-Century Greece: Dimitris Rontiris and Karolos Koun." New Theatre Quarterly 33, no. 1 (January 10, 2017): 31–46. http://dx.doi.org/10.1017/s0266464x16000610.
Full textAbstract:
In this article Michaela Antoniou gives an account of the two prevailing acting schools in ancient Greek tragedy in the twentieth century, as formed and developed by Dimitris Rontiris at the National Theatre and Karolos Koun at the Theatro Technis (Art Theatre). She discusses how these two great theatre masters directed, guided, and taught their actors to perform tragedy, arguing that Rontiris's approach stemmed from a text-based perspective that focused on reciting and pronunciation, while Koun's developed from a physical and emotional approach that prioritzed actors and their abilities. Her article summarizes each director's philosophy regarding the Greek tragedies, and discusses the position of the genre within modern Greek theatre, mapping the process employed by the actors, and analyzing their method in order to illustrate the different perspectives that the two great directors had with regards to approaching and performing a role. Michaela Antoniou completed her PhD at Goldsmiths, University of London, and is currently working as an external collaborator of the Department of Theatre Studies, National and Kapodistrian University of Athens. She has also worked on the stage as an actress and playwright, and is a published author.
19
Sobkin, V. S., and T. A. Lykova. "To the Issue of Psychological Features of the Actor's Personality Development: the Experience of Typological Analysis." Консультативная психология и психотерапия 27, no. 2 (2019): 129–46. http://dx.doi.org/10.17759/cpp.2019270209.
Full textAbstract:
We present the results of the study of the actors’ personality development psychological characteristics. It was hypothesized that the analysis of the similarities between individual profiles of student-actors can reveal personal typological features at the stage of selection and training in theatrical college. Sample: students of the theatre college, 129 students at the beginning and 117 — at the end of the 1st year, 64 — second year, 54 — third year, and 41 — fourth year students. Methods: R. Cattell’s 16 Personality Factors Test. Results: we identified personal characteristics that manifested themselves at the stage of admission to college and inhibited successful professional development: rejection of authorities, desire to dominate, refusal to cooperate and work together. Cluster analysis revealed four personal types of student-actors related to theatrical roles. The following strategies of pedagogical influence manifested in the process of work with college students: individualization of training, transfer of professional knowledge through senior students. Conclusions: the study proved the efficiency and feasibility of using the method of cluster analysis and typological approach in the study of acting talent.
20
Fesenko, S. Ya. "Features of the education of the actor-puppeteer." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 192–208. http://dx.doi.org/10.34064/khnum1-51.11.
Full textAbstract:
Background, objectives of the research. The article reveals the method of improving the professional skills of the actor of the puppet theater, aimed at the organic connection of the puppet technique with the actor’s internal psycho-techniques. The peculiarity of creating a stage image in the puppet theater is that the functions of the puppeteer actor in the creating of a role “on the inside line” coincide with the functions of the drama theatre actor. However, the process of making the stage character in the puppet show is built according to other laws: “vitalizing” through the puppet – the main instrument of the puppeteer. Based on the methods of teaching professional subjects in high schools of puppeteers of Kiev and St.-Petersburg, the author develops and complements the teaching methods of the puppet theater actor’s skills, concentrating on the puppet-master’s technique and the process of gradually “reviving” a puppet by virtue of an actor training. Results of the study. Mastering professional skills and abilities takes place based on of working with puppets of various systems in training exercises and sketches, which gradually fills with elements of acting; continues and improves on the stage of the educational theater and ends with the creation of a stage image with a puppet in a diploma performance. The training provides such an external technique, with which the actor-puppeteer correctly performs all kinds of puppet’s moves. For this purpose, it is necessary to learn the possibilities of the puppet in the process of physical incarnation of a role, it is necessary to understand the laws of its convincing plastic living. This can be achieved through training, resulting in skills that will become semi-automatic. The wonder of the puppetry lies in the fact that the viewer, even in the “open manner”, does not notice the puppeteer and directs all his attention to the puppet, watching her “process of living”. However, the skills and abilities themselves will not become expressive means until they are will be connected with the internal psychology of the actor. The purpose of educating the puppet theater actor is to teach him the organic, natural playing with a puppet. The training involves visual control over the puppet, coordination of the self-own body with the puppet’s body and gradual introduction to the training process the elements of actor psychophysics. Because an actor creates an inner image, and the puppet becomes an external plastic expression, a manifestation of this image. The puppet mastering consists in the fact, that the puppet in the hands of the puppeteer reproduces meaningfully and consistently a series of sculptural finished poses, characteristic for a particular role. The construction of sculptural mise-en-scenes and plastic dialogues requires the possession of skills of “microscopic” hand plastics. “Micro-plastics” convinces viewers in presence of an internal monologue and permanent “life” a puppet on a stage. Alternation of movement and expressive postures is the component of the stage action of a puppet. Gradually, through regular training, students in practice study the technical possibilities of the “body” of the puppet – its torso, head, hands, “legs”, beginning to use them freely in stage action. It is advisable to start the development of puppeteer’ technique from the cane puppet, because its construction is closer to the “human”. The observation of the plasticity of the human body takes place in rhythmic lessons. Imaginative thinking of a student and his fantasy help to acquire the ability to analyze, control, choose moves of a puppet, and mutually co-ordinate them in space. Teaching the profession of puppet actor begins with the lessons aimed at the development of plastics of hands and fingers, their professional position. Work of hands is the first and necessary link in the creativity of the actors of the puppet theater. The degree of their training depends on accuracy of working with a puppet. Therefore, it is so important, before giving the student a puppet, to draw his attention to the constant training of dexterity, ductility and expressiveness of hands. In exactly owning gymnastics of the puppet actor’s hands, performing different imaginative and musical-plastic exercises and etudes, a student acquires the vocational specificities and develops his own internal abilities. Such a technique is necessary for the gradual transition from the technique of movement to the ability to use independently this technique for the embodiment of creative ideas in etudes. Creation of etudes is a continuation of training exercises and based on the inventing of the proposed circumstances requiring certain effective actions in these conditions. Motivation for action arises from familiar, understandable, vital for the student of the proposed circumstances. The student gradually, from the rehearsal to the rehearsal, clarifies the plot of the sketch, enriches and clears the proposed circumstances, based on which the storyline unfolds, that forces him to select and fixe the behavior of the actors. Etudes develop a student’s fantasy; they promote the assimilation of the laws of stage action. In etudes, students make their first steps in scenic communication with a partner – a puppet. In etudes, the student first encounters the need to create a scenic character and his behavior logic in the proposed circumstances. All stages of creating a stage etude a student takes on individual classes with a teacher. Conclusions. The process of forming the future actor-puppeteer has a complex character including as well as the mastering the techniques of driving puppets of different systems, from traditional to modern, and the actor’s mastership – the art of stage – reincarnation. This process continues on the stage of the training theater, where the student receives his first scenic practice – in the main and occasional roles, in mass scenes, in partner interaction. The image created in the diploma performance must carry all the signs of the actor-puppeteer profession: temperament, humor, actor mastership and the perfect possession of puppet technique, in any system of theatrical dolls. The Higher Theater Schools of Ukraine basing on the traditions and the latest achievements of stage art, forms the actors-puppeteers who professionally own all of major puppet systems and have the necessary skills to create a scenic image with a puppet. Such an actor will be able to enter in a creative team of a professional theater and continue searching for new expressive possibilities of a puppet at the theatrical stage.
21
Barnych, Mykhailo, and Nataliіa Horbachuk. "Acting: From Imagination to Transformation." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 18–27. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235062.
Full textAbstract:
The purpose of the research is to analyze the actor’s work on himself before going on stage or set and reveal the main ways to prepare the actor for a stage role or movie role in the imagination. Working on a role in the imagination is one of the most important points in preparing for playing on stage or the set. The research methodology is based on the theoretical and analytical method of defining the main creative methods of preparing an actor for the playing and their application while playing to get used to the role. The scientific novelty consists in a holistic study of the work of a theatre and film actor in the imagination and at the preparatory rehearsal stage of creating a role. Conclusions. Based on the work analysis of the actor of theatre and cinema, the features of working on the role in the imagination, at rehearsals and the use of this creative method during the performance or on the set of the film have been determined. It has been revealed that one of the important ways to prepare an actor for the playing is role improvisation. It has been found that the creative atmosphere on the set has a beneficial effect on the result of the acting. A necessary point in the work of an actor on himself is the study and development of natural instruments, in particular, the mastery of voice, facial expressions, gestures, breathing. An important part is to study the mechanism of arousal of the actor's experience in the role.
22
Hordieiev, S. I. "Theatrical and pedagogical foundations laid down by V. M. Chystiakova in the development of the imaginative world of the Ukrainian actor." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 115–29. http://dx.doi.org/10.34064/khnum2-17.08.
Full textAbstract:
Topicality of the research theme. An extremely fruitful period in the activities of one of the leading higher drama schools in Ukraine – Kharkiv Institute for Theatre Arts, now ‘I. P. Kotliarevskyi’ National University of Arts, Kharkiv – connected to the name of Valentyna Chystiakova, a People’s Artist of Ukraine. Chystiakova acted as a teacher in the early 20s of the XX century, and later was among those, who consistently embodied the creative ideas of her great teacher Les Kurbas – both in the stage practice of the theatre and in teaching. The basis of Chystiakova’s pedagogical school was, first of all, laid in the actress’s own creative experience. Today V. M. Chystiakova’s creative and pedagogical programme is perceived as a pattern. She was among those who have guarded the traditions by Les Kurbas, who gave their talent to the troop of ‘Shevchenko’ Theatre, who contributed to its artistic growth, who insisted on the education of the actor of high plastic culture, having excellent skills in the basics of rhythm, rhythmic plastics, the actor with a broad outlook and deep erudition. Synthesizing in her work the experience and dramatic traditions of the Berezilites, Valetyna Chystiakova became one of the brightest leaders in the thought and aesthetic programme and performing principles of the theatre; she meaningfully defined a qualitatively new stage in the development of dramatics. The main research results. In 1950, without ceasing performances at ‘T. G. Shevchenko’ Theatre, Valentyna Chystiakova begun to work part-time at Kharkiv State Institute of Theatre Arts, generously giving back to her students the knowledge acquired for many in long year in the field of actor’s art. An unappreciated school of such art for young actors of Kharkiv theatres and students of the Institute for Theatre Arts was her unforgettable roles of that period, Greta Norman in play “Life begins again” based on the play by V. Sobko and Fru Alving in “Ghosts” by Henrik Ibsen. In 1959, after 40 years on stage, V. M. Chystiakova ceased performing in the theatre and completely devoted herself to pedagogical work. Diaries, manuscripts of lectures and notes give a lot for understanding the pedagogical experience of the actress. Her converse with students has become a school of actor’s art. She was anxious for the development of the creative manner of the actor, about his/her thought, aesthetic and ethical culture, acted as an art director and consultant for the students’ graduation performances on the Drama Faculty. As a theoretician of acting, V. M. Chystiakova is almost unknown to theatre theorists. She paid great attention to teaching the technology of acting, the method of histrionism, and the issues of education of the actor. Referring to Les Kurbas, she believed that in the theatre system the actor’s gesture technique is one of the main disciplines, but the bias in one-sided biomechanics gives non-talented actors who unable to carry the performance on their shoulders. Hence, her main goal was to educate an actor to be attractive as a personality. It is quite natural that V. M. Chystiakova paid the main attention to mise-en-scenes, i. e. the location and movement of all material, live and article ones, of the performance. She perceived the miseenscene as an element that evokes the corresponding associations in the theatregoer. The actress examined the mise-en-scenes in detail and considered that they are able to replace words and enrich the image. The problems of stage speech in the sphere of V. M. Chystiakova’s interests as a teacher occupied a permanent and important place. Relying on the Kurbas law of “fixation”, she took care that the actor could accurately repeat the speech picture of the role, possess expressiveness of intonation, know where to use pause, where to raise the tone and confidently operate with them. At the same time, the principles of psychological theatre identified one of the main directions of her work with students. In V. M. Chystiakova’s personal archive it was preserved a compendium of book by Grigorii Kristie “Education of the actor belonged to Stanislavski’s school”, which she used as a material for lectures on the mastery of the actor. The actress developed her own system of “arriving of the actor at the dramatic character” that he crafts. In her lecture “The Mastery of the Actor”, she emphasized the need to develop musicality and rhythmicity, without which the actor is not able to aesthetically control his movements on stage. Rejecting dilettantism, Valentyna Chystiakova proved that the untrue, approximate tempo-rhythms of physical actions, do not prepare the actor for the appearance of a true stage experience, the main factor in the theatrical art.V. M. Chystiakova offered students a series of exercises to improve the expressiveness of hand movements (for hands and fingers), and emphasized that this is a very important and painstaking process. She explained to students that at certain points in the performance, the sculptural expressiveness of the actor’s pose is also needed, who should continue to play in statics, emphasizing the characteristic features of the stage image. The actor is both a demiurge and a material. His natural body, voice and emotions must obey the will of the creator, and to become a perfectly tractable instrument. In the lectures of the 1970s, V. M. Chystiakova expressed a lot of practical thoughts in relation to the specifics of the profession of actor who should immerse himself in a variety of dramatic material, to perfectly master the natural apparatus: the body, the controlling centre – the brain, the psychic setup. All acting is built on suggestion. Therefore, Valentyna Chystiakova compared the actor with a hypnotist. The stage image should cause the effect of hypnosis: to convince, inspire, treat morally. As a teacher, she demanded from the actor a synthetic skill: perfect mastery of gesture, facial expressions, rhythm, physical conditioning, and endurance. In her understanding, the actor is a dreamer, an improviser who instantly picks up stage-directorial offers, and knows how to fix the form. Stage metaphor is the alpha and omega of Chystiakova’s school. She explained to students that the metaphor should be clear and understandable, because its form is not designed for gourmets. The metaphor cannot be overly encrypted. If it does not reach the consciousness of each viewer, its function is useless. V. Chystiakova considered persuasiveness of the metaphor as its main quality. Conclusions. Summing up the foregoing, we can draw the following conclusions. Chystiakova’s school is built on a creative community of the teacher and student. Passing on her experience to young actors, she closely connected the drama training technology with the modern practice of the theatre, she did not rest on her oars, and she constantly was in search for the new. An outstanding achievement of the actress was the introduction of stage metaphor in the Ukrainian theatrics. A new generation of actors recognized her as a master of metaphorical speech. The creative and pedagogical heritage of Valentyna Chystiakova has already entered the treasury of the Ukrainian theatre of the XX century, has become a spiritual support of the theatre of the future. For young generations of actors Valentyna Chystiakova is an ideal of a harmonious personality who knew the happiness of inspired work and life in art. The long and fruitful path of Valentyna Chystiakova, who created about a hundred scenic images, and her personal method of training the actor give every reason to argue that various facets of the artistic heritage of Les Kurbas brightly appeared in the work of his disciple, that traditions and aesthetic principles of the stage-director burst into sparks in her artistic achievements and in her outstanding works, which significantly expanded the style framework of the actor’s art and is an integral part of Ukrainian stage culture.
23
Ciobotaru, Anca Doina, and Alice Florentin. "Looking for the Secret." Theatrical Colloquia 9, no. 1 (June 1, 2019): 269–76. http://dx.doi.org/10.2478/tco-2019-0011.
Full textAbstract:
Abstract The academic polemics I’ve been having with Alice Florentin, my Doctoral student, regarding the ideal method for training acting/choreography students, necessary for them to approach dance theatre, brought us (once more) to the shadows of the demons that surrounded Teibele (and us too, perhaps), the contrasts of Salome’s world, the fascination of The Tropical Tree, the turmoil of the Love Stories, the unrest and fears haunting The Cherry Orchard and… the inventory of emotions could go on (beyond them, any approach would be useless). We wondered: “What is the secret? How does Alexander Hausvater succeed in determining the actors he works with to search/discover the giant within, to renounce their crippling fears and the numbness of the everyday? What are the steps the actors take to find themselves?” We knew some things about the (probably defining) periods of physical and vocal training, but we wanted to find out… the truth. Caught in the cage of the rigours of academic research, we dared and tried.
24
Gerdova, T. S. "Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 228–45. http://dx.doi.org/10.34064/khnum1-57.14.
Full textAbstract:
Introduction. Theoretical background. The territorial formation and economic development of Оlexandrivsk and the district is associated with the activation of social, including artistic, life all aspects in the Russian Empire. The creative potential of small towns, including Olexandrivsk, has become a fertile ground for the development of the principles and means of theatrical and stage creativity. Theater, as the most democratic form of art, is directly connected with changes in public life. The theater significant social role and insufficient knowledge on it in the Olexandrivsk conditions and its district determined the relevance of the research topic. The researches by S. Voitkovsky (2014), G. Dadamyan (1987), M. Yevreinov (2019) constitute the scientific and theoretical basis of the work. The study of theatrical art in the Oleksandrivsk (Zaporizhzhya) region is based on the works of O. Antonenko (2017), S. Grushkina (2011), T. Martynyuk (2003). The aim of the research is to study the theater art in Olexandrivsk and the district of the same name as an integral phenomenon of a certain time. The tasks of the work are determine the origins of the theater art in the region, coverage of the features of this phenomenon, identification of theater companies’ organizational forms, study of the theater groups’ repertoire and genre priorities, consideration of theater art professionalization issues in the region. The methodology involves the application of the basic dialectic principles (to reveal the internal contradictions of the research subject and the sources of its development); historical principle (to study the theater’ development as a process of changes in existence’ some forms); comparative method (to identify the theater art characteristics in the region); source study method (to create an archival and historical base for studying the problem); axiological approach (to identify of the theater artistic troupes’ value orientations in the region). Results of the research. Historical materials contain a few facts about the theatrical entertainment of the local population long before the foundation of Olexandrivsk. Similar to the more inhabited neighboring regions, in these territories the existence of a folk theater is likely, the roots of which M. Yevreinov sees in magical actions, rituals and buffoonery. The researcher considers the theater of Russia, the roots of which are in the theatrical art of Europe, to be a counterbalance to folk theater. At the state level, these traditions have been inculcated since the 17th century. This process in the region began from the time of Olexandrivsk foundation. There are two most stable groups of theater collectives in the theater environment of the region. Domestic and foreign drama and opera troupes, which were guided by the Western European theater traditions, are made up the first group. Ukrainian artists’ association and local amateur drama circles that further developed the traditions of folk theater consisted the second group. They united by the idea of national dramatic art. The factors of theater collective’ differentiation in this region are the form of organization of theater business, repertoire and genre priorities, issues of professionalization. The sole proprietorship form is characteristic for the Western European tradition collectives. In Olexandrivsk and the district, the private enterprise was the dominant form, as the most active organization type of theater business. This type of enterprise does not have the conventions of imperial, state, municipal and other theaters in terms of repertoire and personnel relations. This provided it with freedom, mobility and ingenuity. The organizational form of the partnership is characteristic for the troupes oriented towards the traditions of folk theater. Democracy of this form manifested itself in collective decisionmaking. The next factor in differentiating theater groups is repertoire and genre priorities. The Western European tradition troupes gave preference to the works of Western European and Russian authors. Ukrainian authors’ works, Ukrainian song and dance folklore dominated in the repertoire of Ukrainian associations, which continued the traditions of folk theater. These groups preferred works of a pronounced national orientation. The repertoire differences between the two groups reflected to the methods and skills of acting. It is necessary to master Italian vocal technique, classic instrumental technique, conducting symphonic skills in the Western European tradition troupes. In Ukrainian troupes’ music and dramatic performances, universal training actor is needed, equally skillful in stage speech, the folk dance, the style of folk singing. The theater groups’ genre preferences repertoire related to an orientation towards the original artistic traditions. The Western European tradition’ collectives repertoire abounded in dramas, operas, operettas and the romances, arias, opera scenes in the concert departments. The Ukrainian folk-theater tradition repertoire dominated by music and drama plays, simple Ukrainian opera and Ukrainian folk songs, romances by domestic composers in concert departments. In Olexandrivsk and the district, questions of theater art’ professionalization were not publicly raised widely. Some striving for the performances artistic level increase we can saw in the practice of inviting famous artists for touring performances. Thanks to this, acting skills, methods of working on the role and the performance as a whole enriched. Invitations to participation in the performance of famous performers of the folk-theatrical tradition to Ukrainian troupes were episodic. An indicative fact of development was the director’s position emergence in the Western European tradition troupes. Conclusions. The peculiarity of theater art in the Olexandrivsk region is the absence of a local professional theater, represented, on the one hand, by the work of guest domestic and foreign troupes, on the other – by Ukrainian artistic societies and local amateur associations. The dominant groups of groups embodied two types of theater: Western European tradition and folk tradition. These types of theater functioned in various organizational forms. Dramatic and operatic corpses of the European tradition were characterized by a form of individual private enterprise; Ukrainian groups that developed the traditions of folk theater – a form of acting society. Theater troupes of these two traditions distinguished by their repertoire priorities. The core of the repertoire of the Western European tradition groups was the Russian and Western European authors’ works. The groups, which developed the folk theater, staged mainly plays by Ukrainian and local authors. The vector of theatrical art development in the Olexandrivsk and region is not clear enough at the historical period under consideration. An organized and purposeful movement towards the theater art professionalization in the region of this historical period is not visible. Certain facts of attracting famous artists and interaction with other groups as well as the emergence of the directed theater can be considered as elements of а professionalization.
25
Tulyantsev, Andrey. "Dnipropetrovsk Ukrainian academic youth theater in the contemporary sociocultural context." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 5–15. http://dx.doi.org/10.33287/222013.
Full textAbstract:
The purpose of this article is concentrated by researcher into revealing of the particularity for modern theater on the example Dnipropetrovsk Ukrainian academic youth theater. The author studies performances for young people that the theater has in its repertoire. The dialogue between the theater and the audience has its own scientific interest for the author. The author uses the most effective methods of scientific research. The author has a need to understand the peculiarities of the style of acting and directing. It is also necessary to understand the general style of the theater. This position is significant, because there is a specificity in the interpretation of theatrical performance. Scientific novelty. This article has its own peculiarity. The author aims to determine for the first time the main provisions of the activities of the Ukrainian academic theater for youth from the Dnieper. To achieve this goal, the author of the article makes an analysis in which there is a specific meaning of the theater's activities, the subject of this research. Theater is analyzed as an artistic value. The author assesses the state of the collective as a theater historian. The activity of the theater is analyzed in the context of the functioning of modern theater culture. This is what makes it possible to understand the features of the historical phenomenon. It combines the present with the past. It aims to understand the perspective of contemporary theater time in the future. Methods. The performances of this theater have the characteristics of a synthetic genre. These performances have the ability to explain the nature of the interaction between theater and music. Therefore, research methods are based on the synthesis of various areas of scientific activity. In which there are various scientific disciplines. Specifically: the structural system of the history of the theater, the use of analytical methods in the analysis of drama, direction, skill of actors, singing, orchestra work, scenography. The author explores their analogies and connections, what unites them and what is opposition. Conclusions. The performances of the Ukrainian academic theater for young people from Dnipro are of different genres. The principles of the dialogue between the theater system and the audience, which exists in mutual exchange, are revealed in these performances. The author notes the real mutual cooperation between the theater and the audience. At the same time, there is an addition of one dramatic tradition to another. You can also observe how professional directors worked with the texts of the plays. The fact of how the structure and style of the performance is changing is significant. The academic professional artistic transformation of vocational performances in modern society is essential relevant.
26
Virchenko, O. M. "Etude in teaching of the first-year students the acting prowess." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 222–41. http://dx.doi.org/10.34064/khnum1-51.13.
Full textAbstract:
Background. Each new generation of students brings with them its own themes and subjects, and the continuous flow of life opens up new artistic horizons. In addition, each team of teachers and students is unique, and the necessity to look repeatedly for ways to uncover the individualities of future actors arises. Therefore, the work on the etudes, being aimed at the development of the creative abilities of the young actors, occupies almost the main place in the learning process. For a student, an etude is a means to build up self-own effective scenic behavior in the conditions of zones of silence. Etude has its own principles of construction and embodiment. The concept of the etude, its themes and components are the subjects of research in this article. The etude method of the actor’s work on the role was rather thoroughly and deeply examined by such authors as M. O. Knebel [4], S. V. Gippius [2], N. M. Gorchakov [3]. K. S. Stanislavsky [6, 7] reveals the versatile properties of the elements of scenic well-being, the laws of creativity and psycho-techniques with exhaustive completeness. E. B. Vakhtangov considered theatrical training not only from the point of view of mastering acting prowess, but mainly as formation the artist’s worldview: the up-brining of desire to serve high ideals and devote his art to them, an acute sense of modernity, the ability to see life creatively, guess its requirements [1]. The purpose of this study is to describe the practical exercises used in the work on etudes with first-year students. We offer our-own methodical developments, give the examples of exercises and etudes for the development of memory of physical actions, fantasy and imagination, the ability to build a truthful line of stage behavior in specific proposed circumstances, according to the system of K. S. Stanislavsky [6, 7]. The main material of the research. Scenic etude is the initial and basic component in the organization of stage action, an exercise with a certain psychological load. This is acting training in a variety of scenic situations and proposed external circumstances. Each of the students, called on the scene for the first time, experiences excitement, which appears in one or another form. Therefore, we warn the students that they do not need “to play” anything, but to behave as in life, in a word, we try in every way to do everything so that the transition to the stage does not disrupt normal human well-being. For a group of students, we suggest listening to and remembering the sounds that were heard in the room from the moment the exercise began to its end. In fact, those students who are on the stage and those who look to them in the auditorium, participate in this exercise. Then all the students take turns talking about the sounds, which they heard, complementing their comrades. This exercise helps to instill in students an understanding that the mental work and the activity of the sense organs on the stage are the same as in real life. The attention of the student is focused on some subject, sound, thought or action of the partner. Such an object, action, thought, sound is perceived particularly clearly and is called the “object of attention”. These exercises make it possible: 1) to focus your attention on a given object; 2) to keep this attention for some time, that is, to make the proposed action exciting, important for yourself. After these exercises, we introduce students to the “circles of attention”. “Small circle of attention” – it is when attention is directed to the inner world, to my sensations and experiences; the “medium circle” – to all that surrounds me within this room, where I am at the moment (things, sounds, smells, etc.); the “big circle of attention” – to all that surrounds me outside the room (hall), where I am at the moment. The focused attention distracts the student from the auditorium, hence the action that he performs in his etude on stage become the most important for him. It is very important for us, the teachers who works with the first-year students, to attain that the student concentrates on the stage action. It is also important that the students at the initial period of their training during the performance of etudes would not experience muscle strain, which, for the most part, arises from their efforts to appear in public better and smarter, more nimble and graceful than they usually are. K. S. Stanislavsky found a way to get rid of the tightness and education of muscle freedom by the way of creating a “muscular controller” – the ability to quickly find out in which muscle group the tension and remove it, leading oneself to a state of muscle freedom. Exercises for relax of muscles we begin with the fourth or fifth lessons and apply in parallel with the exercises on attention, combining them in the future. Then we give students to touch some subjects and tell about the chain of associations they cause. These exercises, freeing the thought, lead students to the beginning of work on the development of imagination. The next cycle of exercises we devote to the development of the imagination to create “proposed circumstances” (“magic if”, following K. Stanislavsky). “Proposed circumstances” arise when we ask the students questions: “Who?”, “When?”, “Where?”, “Why?”, “How?”, which excite their imagination, enticing them to substantiate their actions in a logical and consistent manner. We offer the students also etudes developing the memory about physical actions: having no objects in their hands, feeling them only with the help of their imagination, the students do certain physical actions. It is very important to instill in the first year students a feeling of proper physical well-being in the exercises; it is that need in future work on a role. The next stage of the work is the etudes, in which there is already a plot. Etudes are structured in such a way that an event or a surprise takes place in them that changes the course of life in the etude and makes it necessary to evaluate a new state of affairs. The next stage in the work with first-year students is the plot etudes. They are built in such a way that an event takes place in them or a surprise happens, which changes the course of a character’s life and makes it necessary to evaluate a new state of affairs. The construction of an etude contains a small introduction, exposure, the event itself and the outcome. We try to choice the plot based on events that could happen in reality with students and that correlate with the area of their life experience. We remind of the need for action from myself: what would I do in real life if it happened to me? The next section is the relationship to the partners in the etude. When two or more students act on the stage, interaction and mutual interest between them occurs. We act on our partner with the power of our “I”, not only with words and appearance, but with our whole being. This influence of my “I” on the “I” of my partner and contrary is the essence of the process of “communication”. We cultivate in a student the ability to concern seriously his course mate, same as his brother, sister, bride and so on, depending on their relationship in the etude. Conclusions. In a result of the beginning exercises and etudes, the students of the first year of study should come to an understanding of what the “inner well-being” status constitutes in practice. That is, to find a natural state in the context of scenic playing on public; to master the stage attention that is, being on the stage learn to concentrate on any one impression. This state should be connected with the activity of the senses (hearing, sight, smell, touch, taste), but, at the same time, the student should not lose the ability to think and act. In the process of working on etudes, students should answer the questions: wherefore are we going to play this etude, what shall we say to those who will watch us in this etude? Answers to these questions help us, the teachers, to lead students to a clear comprehension of the tasks of their stage work and understanding the role of the collective as a creative unit, nurturing in them a feeling of partnership, “a feeling of elbow”, camaraderie, the ability to perceive criticism and self-criticism correctly, since the theater is the collective art; to develop the artistic taste of students; ultimately – to cultivate in them the love of their future profession.
27
Hornby, Richard. "Feeding the System: the Paradox of the Charismatic Acting Teacher." New Theatre Quarterly 23, no. 1 (January 16, 2007): 67–72. http://dx.doi.org/10.1017/s0266464x06000649.
Full textAbstract:
British actor training has always been linked closely with the names of particular schools or conservatories. American actor training, however, has at least until recently been associated with the names of charismatic individuals – star teachers who conceived it as their function to prepare their pupils to be star actors, whether in film or on stage. Now that generation of teachers has died, and in the following article Richard Hornby explores the legacy of their teaching, in terms both of the training methods now practised and the expectations about a future career they are framed to meet. Richard Hornby is Professor of Theatre at the University of California, Riverside, and for over twenty years has been regular theatre critic for The Hudson Review. He is the author of five books and over a hundred articles on theatre. Notable books include Script into Performance, Mad about Theatre, and The End of Acting.
28
Earnest, Steve. "The East/West Dialectic in German Actor Training." New Theatre Quarterly 26, no. 1 (February 2010): 81–89. http://dx.doi.org/10.1017/s0266464x10000096.
Full textAbstract:
In this article Steve Earnest discusses contemporary approaches to performance training in Germany, comparing the content and methods of selected programmes from the former Federal Republic of Germany to those of the former German Democratic Republic. The Hochschule für Musik und Theater Rostock and the University of the Arts in Berlin are here utilized as primary sources, while reference is also made to the Bayerische Theater-akademie ‘August Everding’ Prinzregententheater in Munich, the Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy’ in Leipzig, and Justus Leibig Universität in Giessen. The aim is to provide insight into theatre-training processes in Germany and to explore how these relate to the national characteristics that have emerged since reunification. Steve Earnest is Associate Professor of Theatre at Coastal Carolina University in Myrtle Beach, South Carolina. His publications include The State Acting Academy of East Berlin (Mellen Press, 1999) and articles in Performer Training (Harwood Publishers, 2001), New Theatre Quarterly, Theatre Journal, and Western European Stages.
29
Dorofieieva, O. Yu. "Activity of the T. Shevchenko Kharkov Theater in the coverage of theatrical criticism (the second half of the 1930s – 1940s)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 84–101. http://dx.doi.org/10.34064/khnum1-51.04.
Full textAbstract:
Background. In the Ukrainian art history, the problems of theatre criticism and the interrelations between criticism and stage art until remain insufficiently studied. The article considers the activities of the T. Shevchenko Kharkov Theatre (until 1935 – the Theatre «Berezil») in the second half of the 1930s–1940s in the coverage of theatre criticism. Since 1933, the aesthetic course of this theatre had changed dramatically from avant-garde searches to socialist realism in connection with the defeat of the position of Les Kurbas and his dismissal from the theatre. This reversal of the creative course of the theatre becomes a subject of reflection in theatre criticism, which during this period also experienced fundamental transformations both in genre-style and in ideological aspects. Thus, the article analyzes the development of theatre criticism in the context of artistic phenomena of the second half of the 1930s–1940s. Objectives and methodology of the research. The objective of this study is to analyze the difficult period of stylistic changes in the T. Shevchenko Kharkov Theatre in the second half of the 1930s–1940s, that was at the stage of formation of socialist realism in the Ukrainian art, from the viewpoint of theatre criticism of that time. System-historical and comparative-historical methods were used in the study. The results of the study. On the basis of the press reports on the activities of the T. Shevchenko Kharkov Theatre the most important features and tendencies inherent in theatrical criticism of this period have been derived. The article deals with editions, in which during the period under study the materials about the T. Shevchenko Theatre appeared most often. These are, in particular, Kharkov newspapers «Krasnoye Znamia», «Sotsialisticheskaya Kharkovshchina», Kiev editions «Sovetskoye Iskusstvo», «Sovetskaya Ukraina», «Kievskaya Pravda», «Pravda Ukrainy», «Literatura i Iskusstvo», «Komsomolskaya Ukraina», «Proletarskaya Pravda», «Literaturnaya Gazeta». The articles about the tour performances of the T. Shevchenko Kharkov Theatre were published in the editions of other cities, including the newspapers «Bugskaya Zarya» (Nikolaev), «Dnepropetrovskaya Pravda», «Zarya» (Dnepropetrovsk), «Bolshevistskaya Pravda» (Vinnitsa), «Lvovskaya Pravda», «Svobodnaya Ukraina» (Lviv), «Voroshilovgradskaya Pravda» (Luhansk), «Moskovskiy Bolshevik», «Komsomolskaya Pravda», «Trud» (Moscow). Since 1933 the theatre had its own edition – «Berezilets», which in 1935 got a new, ideologically correct name – «Za Sotsialisticheskiy Realizm» («For Socialist Realism»). The article outlines the circle of authors who practiced the theatre criticism professionally. It should be noted that the activities of the T. Shevchenko Kharkov Theatre at that time was often described by journalists who published the notices occasionally. Among those who analyzed the theatrical process systematically, the most attention deserve the following critics: V. Morskoy, L. Livshits, B. Milyavsky, V. Chagovets, Y. Shovkoplyas, G. Gelfandbein, A. Gozenpud, V. Gavrilenko, A. Kostrov, A. Lein, D. Zaslavsky, Ya. Gan, Y. Pavlovsky. The critical notices by writers V. Sukhodolsky, Yu. Martych and L. Dmiterko have been considered separately as examples of a rather original glance at the performances and presence in the text of an expressive author’s style. During this period, under the pressure of strict ideological control over the art, quite stable canons of compiling notices were formed and took root, almost not allowing a critic to display his individuality. Among the features peculiar for the theatre criticism there were the uniformity of the titles of articles simply stating the play name, an extremely rare manifestation of specific position of the author regarding the stage work and transition to the level of figurative or conceptual understanding. The main matter of the analysis was rather the performance content, its subject, but not the means by which it is embodied; more attention was paid to the literary source, and not to the performance. In the first part of the notice, the play subject was usually explained from the standpoint of party ideology, often using the quotes from Soviet leaders’ speeches. Usually in a notice, the close attention was paid to acting and the actors performing the main roles. This peculiarity reflects disclosure of the new facets of talent of a number of actors of the T. Shevchenko Kharkov Theatre of that period. It should be noted that actor’s individuality of I. Maryanenko, V. Chistyakova, M. Krushelnitsky, L. Serdyuk and others was displayed more powerful than in «Berezil». Giving priority to an actor in theatre criticism to a certain extent levelled the producer’s role. At that time, the palette of stage producer’s means should not was to be going beyond strict aesthetic requirements. It was necessary to remain in the stylistic framework of a life-like presentation, when a producer was fully focused on the actors, and M. Krushelnitsky, L. Dubovik, R. Cherkashin and others did it skilfully. The best examples of theatre criticism contained careful analysis of originality of their production. A notice briefly described the scenography and sometimes the composer’s work. The final part contained a laconic conclusion. On the one hand, such a scheme of compiling notices impoverished the critic’s possibilities, his freedom in expressing thoughts, and on the other hand, it set a clear structure for presenting the material. In this period, as it has been at all times, the performance notices remained the most popular genre of theatre criticism. Portraits of actors were printed occasionally. Interviews were rather rare (usually with a producer). Conclusions. Theatre criticism of the second half of the 1930s–1940s existed in strict limits dictated by ideological reasons, because of which it only partially elucidated the stylistic changes that took place in the T. Shevchenko Kharkov Theatre in this period. For an objective analysis of the activities of the theatre, it is necessary to address to a wide range of sources, in particular the recollections of the direct participants of the then theatrical process that were published later, in period of ideological “thaw”.
30
Papakosta, Alexia, Konstantinos Mastrothanasis, Aphrodite Andreou, and Ioanna Blouti. "Psychometric evaluation of recall and recognition tasks for the measurement of young spectators’ theatrical memory." Journal of Literary Education, no. 3 (December 11, 2020): 176. http://dx.doi.org/10.7203/jle.3.14835.
Full textAbstract:
The purpose of this research is the construction and psychometric evaluation of seven categories of recall and recognition tasks for the measurement of young spectators’ theatrical memory, based on the respective theatre codes of a specific performance for young spectators. The aim of those tasks is the evaluation of the young spectators’ mnemonic recordings on a level a) the actors’ representation of the characters on stage (acting), b) the visual frame of the performance, c) the audio code d) the lights, e) the dramatic text, f) the plot/action and g) the Shadow Theatre technique.
The recall and recognition tasks were constructed according to the Classical Test Theory of Question Analysis on a sample of 5th Grade Primary School pupils (i.e. ten-year-old pupils), who had seen this specific performance addressed to young spectators and were evaluated with the Factor Analysis method. For the evaluation of the quality of the questions, we took into consideration the difficulty coefficient of each question, the discriminant coefficient and the evaluation of the correlation level of expert judges. For the psychometric control of the tests we examined the validity of their conceptual construct via inquiry factor analysis and the internal validity coefficient.
The result of the above tasks was the creation of seven reliable and valid measurement tools, in which no gender effect is inferred.
31
Baron, Cynthia. "Stage Actors and Modern Acting Methods Move to Hollywood in the 1930s." Cinémas 25, no. 1 (May 5, 2015): 109–29. http://dx.doi.org/10.7202/1030232ar.
Full textAbstract:
In this article, the author considers factors in commercial 1930s American theatre and film which led to the unusual circumstance of many stage-trained actors employing ostensibly theatrical acting methods to respond effectively to the challenges and opportunities of industrial sound film production. The author proposes that with American sound cinema fundamentally changing employment prospects on Broadway and Hollywood production practices, the 1930s represent a unique moment in the history of American performing arts, wherein stage-trained actors in New York and Hollywood developed performances according to principles of modern acting articulated by Stanislavsky, the American Academy of Dramatic Arts in New York and the acting manuals written by theatre-trained professionals and used by both stage and screen actors. To illustrate certain aspects of the era’s conception of modern acting, the author analyzes a scene from Captains Courageous (Victor Flemining, 1937) with Spencer Tracy and a scene from The Guardsman (Sidney Franklin, 1931) with Alfred Lunt and Lynn Fontanne.
32
Shchukina, Yu P. "Features of Volodymyr Morskoy’s theatrе criticism (1920–1940 years)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 70–83. http://dx.doi.org/10.34064/khnum1-51.03.
Full textAbstract:
Background. Today, analyzing the Ukrainian theatrical movement of the first half of XX century, we can’t bypass V. Morskoy’s critical legacy. Volodimir Saveliyovich Morskoy (the real name – Vulf Mordkovich) is one of the providing Ukrainian theatrical and film critics of the first half of the XX century. He left us his always argumentative, but sometimes contradictious evaluations of dramatic art masters: the directors of Kharkiv Ukrainian drama theatre “Berezil” (from 1935 it named after T. Shevchenko) L. Kurbas, B. Tyagno, L. Dubovik, Yu. Bortnik, V. Inkizhinov, M. Krushelnitsky, M. Osherovsky; the producers of Kharkiv Russian drama theatre named after A. Pushkin – O. Kramov, V. Aristov, V. Nelli-Vlad and many others. Due to the critic’s persecution by the repressive machine of USSR, his evaluations of theatrical process were not quoted in soviet time researches. They still were not entered to the professional usage, were not published and commented in the whole capacity. Methods and novelty of the research. The research methodology joints the historical, typological, comparative, textual, biographical methods. The first researcher, who made up incomplete description of the bibliography of dramatic criticism by V. Morskoy, became Kharkiv’s bibliographer Tetyana Bakhmet. She gave maximally full list of critic articles (more than eighty positions) for the 1924, 1926–1929, 1937, 1948–1949 years. Kharkiv’s theater scientist Ya. Partola [16] in the first encyclopedic edition, that contains the article about V. Morskiy, gave the description of the only publication by critic known for today, in Moscow newspaper “Izvestiya”. Forty six critical articles, half of which didn’t note in bibliographies of both scientists, were collected and analyzed in periodical funds of Kharkiv V. Korolenko Central Scientific Library by the author of this article. Objectives. V. Morskoy was writing the reviews about the new films; the programs of popular and philharmonic performers; was researching the musical theater. This article has the purpose to characterize the features of V. Morskoy’ critical reviews on the dramatic theater performances. Results. It was managed to find out the articles by V. Morskoy hidden for the cryptonym “Vl. M.”, which dedicated to the performances of the “Berezil” theater of the second half of 1920th: “Jacquery”, “Yoot”, “Sedi“. The critic wrote about the setting “Jacquery ” by director V. Tyahno : “Berezil in setting of ‘Jacquery’ emphases it’s ideology, approaching ‘Jacquery’ to nowadays viewer” [2]. Perceiving critically some objective features of avant-garde stylistic, such as cinema techniques, V. Morskoy remarks: “The pictures are discrete, too short, some of them are lasting for 2–3 minutes, they made cinematographically” [2]. In the same time, the young critic already demonstrates the feeling and flair to the understanding of acting art. So, he accurately pointed out the first magnitude actors from the “Berezil” ensemble: A. Buchma, Yo. Ghirnyak, M. Krushelnitsky, B. Balaban [2]. V. Morskoy connected his view to “Jacquery” with the tendency of the second half of the 1920th: “For recently the left theaters became notably more right, and the right one – more left”[2], that reveals his theatrical experience. His contemporaries due to the author’s sense of humor easily recognized the style of V. Morsky’s reviews. Critical irony passes through the his essay about the setting by director V. Sukhodolskiy “Ustim Karmelyuk” in the Working Youth Theatre: “Focusing attention to Karmelyuk, V. Sukhodolskiy left the peoples in shade. Often they keep silence – and not in the Pushkin sense “[14]. Despite on the “alive” style, one of the features of V. Morskoy journalism was adherence to principles. His human courage deserves a high evaluation. In 1940, after the three years after the exile of Les Kurbas, the leader director of “Berezil” Theater, to Solovki, the critic published in the professional magazine the creative portrait of this disgraced director’s wife – the actress Valentina Chistyakova [15]. V. Morskoy arguments on the relationship between the modern works and the tradition of prominent predecessors has always been ably dissolved in an analysis of a performance. Each time V. Morskoy was paying attention to the distinctions of principals of playwriting, stage direction and even creative schools, in the second half of 1930th – 1940th, when the words “stage direction”, “currents”, in condition of predomination the so-called “social realism” method, in the soviet newspapers practically were not mentioning. For example, the critic saw of realistically-psychological directions in the O. Kramov’s performance “Year 1919”[9]. In 1940, V. Morskoy made a review of the performance of the then Zaporizhhya theater named after M. Zankovetska “In the steppes of Ukraine”, insisting on the continuity of the comedies of O. Korniychuk in relation to the works of Gogol and others of playwrights-coryphaeuses: “The play of O. Korniychuk is characterized by profound national form...” [7]. However, in the fact that in the Soviet Union at that time reigned as the doctrine the methodology of the “socialist realism”, the tragedy of honest criticism comprised. In controversy with the critic O. Harkivianin, V. Morskoy expressed the credo about the ethics and fighting qualities of the reviewer: “Apparently, Ol. Kharkivianin belongs to the category of peoples, who see the task of critic in order to give only the positive assessments. The vulgar sociological approach to the phenomena of art could be remaining the personal mistake of Ol. Kharkivianin. But when he presents him as the most important argument, everyone becomes uncomfortable”[8]. In 1949, the political regime fabricated the case of a “bourgeois cosmopolitan” against the honest theatrical critic and accused him in betraying of public interests adjudged V. Morskoy to untimed death at a concentration camp (Ivdellag, 1952). However, the time arbitrated this long discussion in favor of V. Morskoy. Conclusions. For the objective analysis of theater life of the city and the country as a whole, it is imperative to draw from the historical facts contained in the reviews of V. Morskoy, and the methodology of the review while investigating studies of theatrical art and theatrical thought of 1920–1940th. Thus, the gathering of the full kit of the critical observations of the famous Kharkov theater expert of the first half of the XX century is the important task for further researchers.
33
Goldstein, Thalia R., and Aline Filipe. "The Interpreted Mind: Understanding Acting." Review of General Psychology 22, no. 2 (June 2018): 220–29. http://dx.doi.org/10.1037/gpr0000116.
Full textAbstract:
Acting is everywhere: TV, movies, and theater. Yet psychologists know surprisingly little about how acting is processed and understood by viewers. This is despite popular, scholarly, and journalistic obsession both with how actors are able to create characters with fully realized personalities, emotional arcs, physical attributes, and skills, and with whether actors and their characters merge during or after performance. Theoretically, there are several possibilities for how audience members process actors and acting: as literary fiction; as if someone is telling a lie; like essentialist traits and states; or like the personalities and emotions of real people in our every day lives. The authors consider each of these possibilities in turn. They then present 3 studies investigating the amount audiences conflate actors’ and characters’ characteristics ( N = 231) by asking participants directly how much they perceive actors as experiencing the characteristics they portray (Study 1), by showing short video clips of actors and asking participants how much they thought actors were experiencing what they portrayed (Study 2) and by asking participants to judge the overlap in personality characteristics between actors and characters (Study 3). Overall, audience members are conflating actors and their characters. However, how much depends on the characteristic being portrayed and the knowledge of the audience. We propose a theoretical model of when and how audience members think of actors and their characters as blended, and we lay out a research agenda to determine how acting and actors are understood.
34
Horelova, V. S. "The Kharkiv actresses Polina Kumanchenko and Lidiya Krynytska in the image of a mother in the films “Human’s blood is not water”, “Dmytro Horytsvit”, “People don’t know the all” and “Lymerivna”." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 130–47. http://dx.doi.org/10.34064/khnum2-17.09.
Full textAbstract:
Background. Domestic cultural space is in urgent need of selfpreservation, and a renaissance of national self-identity of the Ukrainian cinema is connected with the state interest in this topic. There are the discussions around the attempts to revive the Ukrainian poetic cinema with its inherent mythological outlook erasing the boundaries between imaginary and real. It is logical, that the further development and studying of national cinema is impossible without revise of creative work of actors of the past; they were the bearers of poetic worldview, guided by folk traditions and customs. The tendency to the study of the forgotten names would help to bring back to their proper place the classics of Ukrainian cinematography. In the national scientific circles, there is an interest in the revival of forgotten names of cultural figures, and theater and filmmakers, in particular. Nevertheless, creativity of some Kharkiv actors, among them, Polina Kumanchenko and Lidia Krynytska, undeservedly deprived of attention in the scientific environment. The object of this research is the creativity of representatives of the Kharkiv acting school – Polina Kumanchenko and Lidiya Krynytska. The aim of the author is to study the performing manner of the actresses, to identify the peculiar facets of their playing, and, as a result, the certain traditions that are inherent the Kharkiv local artistic environment. The interpretation of the image of a mother in the performance of the mentioned actors is the subject of studying. Methods of analysis, synthesis, classification are the basis of this study and used for the scientific validity of the findings. We used the method of comparison in the considering of the mother images created by Kumanchenko and Krynytska. Research results. As the key in the cultural aspect, should be considered the fact that the image of the mother in Ukrainian mentality is iconic, associated with the image of the Earth, since the essence of both is the function of the “giver of life”, fertility. The worldview of Maria, the personage of P. Kumanchenko, is fixated on owning the land, because thanks to her, a person exists and continues his family. Like her ancestors, Maria is going to become a link in the further transfer of land to her descendants, passing to them the “genetic code” of love of Ukrainian peasants for the Earth. She is expecting a second child, and therefore, through her actions, she seeks to provide her children with stability, which is possible only with land. The actress focuses the attention of the viewer on expressive gestures, sudden movements to emphasize the active behavior of her heroine; at the same time, the extremely expressive regard of P. Kumanchenko, shown in close-up, convey the true thoughts and feelings of Maria, whose soul inhabits somewhere in her own, unreal world. In the first of the films of the trilogy by M. Makarenko (director) –“Human’s blood is not water”, – the actor’s decision of P. Kumanchenko presents a presentiment of happiness and stability that arises in her heroine’s soul against the background of her everyday suffering life – just like the Earth awaits spring blossoming after a long winter. Later we observe the changes that have occurred in the character of Maria along with her motherhood and confidence in the future. The actress gives her heroine a new external expressiveness: smooth movements, a gentle mysterious smile, elusive tenderness. The second part of the trilogy (“Dmytro Horytsvit”), presents P. Kumanchenko in a small episode. We see her in the light national costume, with tragic wringed hands, against the background of the burning home, where her child remained. The episode can be interpreted as an allegory: a mockery of fertile land devastated by fires, wars, destruction. However, just as a new cycle is needed for a ravaged Earth to bloom again, so for Maria the salvation of her daughter becomes the impetus for a new rebirth. The main idea of the film is embedded in this episode – the eternal pain of the Ukrainian land and its eternal revival. Based on the analysis of the role of Maria in the interpretation of P. Kumanchenko, we can talk about the embodiment in the mother image the idea of cyclicity of nature and life, coming from the ancient cults of the Earth. Thus, the influence of mythopoetics traced in the images created by the actresses, due to their symbolic similarity with the image of the mythological Mother Earth. In the film “Lymerivna” (directed by V. Lapoknysh) the image of a mother was created by actress L. Krynytska, which played Lymerykha – the mother of the main heroine. This is a passive woman, broken by life circumstances, who is going with the stream and is not able to deal with everyday problems. It would seem that both, Maria and Lymerykha, are united by a love for children and a desire to give them happiness. However, each of them has its own strategy of behavior. Unlike Maria, Lymerykha made tears the main tool on the way to her aim – to break the will of her daughter. It was her tears pushed Lymerykha’s daughter to a tragic death. The game of L. Krynitska outlines the “two-faced” path of the heroine’s behavior, reveals the “white” and “black” sides of her nature. That is, the actor’s task of L. Krynitska was to embody the image of a person with a “double bottom”. The manner of performing of this role may be partially explained by the etymology of the surname “Lymar”, which the heroine received when she got married. Lymar is a manufacturer, which make the harness for horses. Such a sign surname symbolizes her life – “horse harnessing”, a yoke that Lymerykha is afraid to throw off, because she does not know how to bear responsibility for her own destiny. There are also unifying links between the heroines of P. Kumanchenko and L. Krynytska: both manipulate by their motherhood. The cycles in the life events of both heroines are also clearly outlined. In Maria’s case, it is association with modifications in the state of the Earth due to natural changes in the seasons or terrible destructions, because of war or natural disasters. For Lymerykha, the cyclic existence is characterized, limited by the inability to overcome slavish psychology – to throw off the yoke, the “sword of Damocles,” which dominates her. In one of the scenes, the scenery symbolically emphasizes the essence of her being: a windmill, whose wings are constantly spinning. P. Kumanchenko and L. Krynytska are the Kharkiv actresses of the Drama Theater named after T. G. Shevchenko, and the influence of the actor’s system of his outstanding director Les Kurbas on the performing style of both cannot be overlooked. In the acting of the performers, the use of the “laws of Kurbas” is clearly traced: “the law of thrift”, “the law of fixation”, “the law of light-andshade”, etc. Conclusions. We analyzed both the differences and the unifying features in the interpretation of the image of the mother by Kharkov actresses. In the images created by P. Kumanchenko and L. Krynytska there is a relationship with the mythopoetic worldview. Тhanks to a number of artistic and meaningful associations, we can talk about the embodiment in the image of a woman-mother of the symbolic hypostases of Mother-Earth and the idea of the cyclical nature of life, which comes from ancient agricultural cults. The work with imaginary symbolism (a horse harness appears as a symbol of the enslavement of Women-Mother Earth) take place, as and a complete organics embodiment of the mythopoietic aspect inherent the Kharkiv acting school (Les Kurbas’s aesthetics) and, in general, the Ukrainian drama and cinema (A. Dovzhenko). A deeper analysis of various aspects of the performing work of Kharkiv actors, in particular, searching for the traditions in the actor’s game of Kharkovians, as well as more detailed studying of Les Kurbas’s methodological influence makes up the prospects of our study. The specifics of actor’s art of the Kharkiv school can serve as an example to follow in the training of actors and directors.
35
Park, Ho-Young. "1960's Acting Method of Experimental Theater." Journal of the Korea Contents Association 9, no. 11 (November 28, 2009): 184–91. http://dx.doi.org/10.5392/jkca.2009.9.11.184.
Full text
36
Yevsyukov, Yu S. "Characteristic features of the upbringing of modern actor." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 209–22. http://dx.doi.org/10.34064/khnum1-51.12.
Full textAbstract:
In the time of changing global norms and rapidly developing technologies, modern theatre constantly evolves, adopting new theatrical forms; many of these emerged at the turn of the twentieth and twenty first centuries. In this regard, it is appropriate to talk about the formation of the new creative individual, the modern actor in contemporary theatre. Higher educational institutions, for both theatrical and cinematic professionals, should be aimed to develop not only highly qualified and competitive experts, but also creative individuals. As society is constantly evolving both culturally and spiritually, a contemporary artist has to be prepared to mirror this and progress their own style in respect to these considerations. Therefore, in this article we draw attention to the key characteristics in educating the modern actor. The objective of the study is to answer some of the topical questions relating to students mastering of acting; an attempt was made, focusing on the most important components of the profession, such as the authenticity of playing, improvisation, inspiration, actor’s personality, to concretize the features of the creative image of the contemporary stage master and his theatrical teacher. The methodological basis of the study includes the works of M. Knebel, K. Stanislavsky, M. Chekhov, and a number of other outstanding practitioners and theorists in the performing arts space. It also references studies, articles and publications of modern theatre teachers: P. Bruck, A. Vasilyev, E. Grotovsky, N. Zvereva, D. Livneva, P. Pavi. The results of the research. The Ukrainian theatrical art has always been emotional, lyrical, and sincere. Such his features exist as if out of time. So it was in the era of Schepkin, Solenik, Rybakov, Kropivnitskyi and Staritskyi. These qualities also are characteristic of today’s performing style. Therefore, drama teachers primarily pass on knowledge of traditional psychological theater. However, not forgetting the values of traditional learning, they also master other teaching methods, introducing students in theory and practice to the modern theatrical process, thus adopting the global theatrical language. Compulsory and integral parts of modern theatrical education are various techniques of stage speech and vocal, psycho-technique, methods of control over mental processes. The article also examines the practical skills gained during drama and stage speech lesson and their importance emphasizes, as well as the role such fundamentals features of scenic art as trueness, persuasion of playing, improvisation and inspiration, also an actor’s individuality. It is necessary to conscious that authenticity, trueness of actor’s playing has a great power over the audience. Working on the authenticity of acting, a pedagogue should understand what a student thinks about, how he responds and what he feels while staying in a role of one or another character. The basis of live theatrical playing is also improvisation. The student must distinguish the improvisation onto a scripted line from the poorly rehearsed acting. For professional theatre, it is inappropriate to use the latter type of improvisation, because it can lead an actor away from the role and the stage director’s decisions and deteriorate the spectacle. Therefore, rehearsals should always precede improvisation. Another component typical for creative professions is inspiration. This is the emotional actor’s resource, which is characterized by a highly productive state and an intensity of emotions. Inspiration does not come on demand; it manifests through the love of one’s job, through some bright idea or sometimes it occurs spontaneously and cannot be studied and replicated at will. In addition, while studying, each of students should try to uncover his uniqueness, his individuality and learn to listen to self-own inner voice; he should look for his own interpretation of a particular role. Based on the above, we can draw some conclusions. A student studying acting today should aim to equally master the knowledge of classical acting techniques and understand all the intricacies of modern avan-garde and postmodernist theatre trends, the diversity of which places special demands on the education of a modern actor. A modern artist must skilfully apply in practice the knowledge gained in the learning process . He should freely navigate in various methods of acting, in drama as the primary basis of the performance. He should have an idea about inspiration, improvisation, acting individuality and authenticity of playing, about stage space and time. It would be an error for a contemporary artist to confine himself to the sphere of his profession exclusively, he should understand the connected nature of arts and the relationship between the theatre and other art disciplines. Various techniques of stage speech and vocal, emotive approaches and methods of controlling the inner world are compulsory and an integral part of modern theatrical education. The deeper a student learns the specificity and laws of these arts, the more interesting and professional his performance becomes. In turn, the modern theatre pedagogue while training students should upbringing such features as self-confidence of a student; a sense of responsibility and autonomy; aim for discovery of a student’s individual abilities; development of his taste and a sense of proportion; the ability to analyze and being equipped to distinguishing high art from vulgar and fake.
37
Lee, Ji-Eun. "Musical Acting Method Using Presentational Acting - Focused on Brecht’s Epic Theater Theory." Journal of the Korea Entertainment Industry Association 12, no. 8 (December 31, 2018): 105–14. http://dx.doi.org/10.21184/jkeia.2018.12.12.8.105.
Full text
38
Merlin, Bella. "Albert Filozov and the Method of Physical Actions." New Theatre Quarterly 15, no. 3 (August 1999): 228–35. http://dx.doi.org/10.1017/s0266464x00013026.
Full textAbstract:
As a complementary piece to her preceding article on the formative significance of The Seagull to Stanislavsky's early thinking, Bella Merlin here looks at the play in the context of Stanislavsky's later work, when he was developing the Method of Physical Actions – an approach to a text which placed improvisation and the physical exploration of a scene at the centre of the actor's rehearsal process. This was in some ways a contravention of what was becoming codified in the West (through limited material being available in translation) as the psychological basis of the system. In 1995, Bella Merlin undertook a ten-month course of actor-training at the State Institute of Cinematography in Moscow, where she worked with acting ‘master’, Albert Filozov, who had trained with Mikhail Kedrov, one of the first developers of Stanislavsky's work following his death in 1938. Here, she examines the roots of Filozov's training and the nature of the Method of Physical Actions in theory and in practice. Bella Merlin trained as an actress in Britain and Russia, and has worked extensively in theatre and television. She is currently a lecturer in Drama and Theatre Arts at Birmingham University, where her area of research is acting processes and the psycho-physical nature of performance. This article is based on a paper delivered at the ‘Flight of the Seagull’ conference at the Alexandrinsky Theatre, St Petersburg, in November 1996, to celebrate the one-hundredth anniversary of the premiere of The Seagull.
39
Zlotnikova, Tatiana S. "Civilizational and Mental Discourses of the Russian Theatre as an Identity Code." Observatory of Culture 16, no. 1 (March 26, 2019): 4–15. http://dx.doi.org/10.25281/2072-3156-2019-16-1-4-15.
Full textAbstract:
The Russian theatre of the last centuries is a distinctly formed identity code, possessing certain content (social and moral) and formal (artistic and aesthetic, including those genre and verbal) features. The purpose of this article is to justify the presence of the Russian theater as an identity code, of which we believe there are two discourses — civilizational and mental.Drama is defined as a borderline civilizational code of the Russian theatre. This is both a kind of literature that has developed dynamically, paradoxically, creating an outstanding repertoire for the theater, and the definition of a life situation that characterizes theatricality as a specific feature of Russian identity. The civilizational discourse of the Russian theatre manifests itself through the paradoxes of conflict in psychological drama. The unique (mentally deterministic) cultural dimension of the Russian drama forms a logical chain: time, space, and a person lost in time and space. The drama comes into the person’s life not only as a kind of literature, but also as a situation of their existence.Russian directing is defined as a mental/specific and, at the same time, civilizational/universal code. The civilizational discourse in the Russian, as well as the world theatre represents the paradox associated with the institutionalization of director’s profession as an embodiment of the demiurgic beginning and the sphere of self-realization of individual peculiarities of a creative personality (which can be seen in the experience of V. Meyerhold and E. Vakhtangov, G. Tovstonogov and Yu. Lyubimov, and many of the existing directors of today).An actor in Russia is more than an actor; paraphrasing the well-known formula, we pay attention to the characteristic of mental identity code inherent in acting. The triad of playwright—director—actor undoubtedly forms the basis of the Russian artistic tradition and affirms the importance of professional intentions and the cultural and philosophical meaning of creative activity of each of the three authors of a theatrical work. The actor in this chain is the final link.The civilizational discourse, based on the universals of cultural practices, is associated with transformation of styles, methods, eternal matters, reflecting primarily in drama. The mental discourse, fully specific, is associated with local themes (acting) and paradoxical receptions of world practices and influence on them (directing).
40
Boyer, Robert HW, and Lewis D. Hopkins. "Acting under the influence: Plans as improvisational gifts." Planning Theory 17, no. 1 (June 24, 2016): 31–52. http://dx.doi.org/10.1177/1473095216654729.
Full textAbstract:
Actors in complex urban environments cope with uncertainties and interdependencies by using each other’s plans, subscribing to pre-existing decision-making frameworks, and building relationships with other actors over long periods of time. Improvisational comedians employ similar strategies to create coherent and meaningful multi-actor stories without a script or director; in short, they use “gifts,” “games,” and “group mind” to cope with uncertainty on stage. We use the metaphor of improvisational theater to illustrate how many plans over many years work to shape the urban built environment. This is accomplished by reformatting over 30 years of plans created by public and private organizations in Charlotte, North Carolina, into an improvised dialog of plans. This improvised “set” reveals how plans are used as signals among diverse actors over long periods of time, offering a counter-narrative to a dominant “plans-as-consensus, then implement” narrative.
41
Esherick, Joseph W., and Jeffrey N. Wasserstrom. "Acting Out Democracy: Political Theater in Modern China." Journal of Asian Studies 49, no. 4 (November 1990): 835–65. http://dx.doi.org/10.2307/2058238.
Full textAbstract:
For two and a half months in the spring of 1989, China's student actors dominated the world stage of modern telecommunications. Their massive demonstrations, the hunger strike during Gorbachev's visit, and the dramatic appearance of the Goddess of Democracy captured the attention of an audience that spanned the globe. As we write in mid-1990, the movement and its bloody suppression have already produced an enormous body of literature—from eyewitness accounts by journalists (Morrison 1989; Zhaoqiang, Gejing and Siyuan 1989) and special issues of scholarly journals (Australian Journal of Chinese Affairs Nos. 23, 24; The Fletcher Forum of World Affairs 14.4), to pictorial histories (Turnley and Turnley 1989) and documentary collections (Han 1990; Wu 1989), and, most recently, textbook chapters (Spence 1990) and analytical works (Feigon 1990; Nathan 1990)—tracing the development of China's crisis. Despite a flood of material too massive to review in the present context, we still lack a convincing interpretive framework that places the events within the context of China's modern political evolution, and also provides a way to compare China's experience to that of Eastern Europe. Such an interpretation should help us to understand why massive public demonstrations spurred an evolution toward democratic governance in Eastern Europe, but in China led only to the massacre of June 3–4 and the present era of political repression.
42
Zimnica-Kuzioła, Emilia. "Acting Career and its Determinants in the Social World of Professional Theater in Poland." Konteksty Społeczne 8, no. 1 (November 20, 2020): 48–69. http://dx.doi.org/10.17951/ks.2020.8.1.48-69.
Full textAbstract:
The article is an attempt to answer the question about factors affecting the trajectory of an acting career. The author confronts the objective dimensions of a career with a subjective concept of success, clarified by the participants of the social world of theater themselves. The empirical basis of the work are free interviews conducted by the author with actors of Polish public drama theaters (in 2015–2017) and journalistic interviews with theater artists published in books and popular monthly magazines in the last two decades of the 21st century. All sources were subjected to qualitative content analysis. It shows that in addition to talent, which is the basis of an acting career, hard work is also important. The actors pay attention to personality aspects – charismatic people with a natural ability to attract attention have a greater chance of success. The cultural capital of the stage artist and social capital (the relevant role of linking artistic careers) are not without significance for the course of the acting career. Actors also say a lot about coincidence of events, but it is worth remembering that “you have to be good to be lucky”, you have to be more motivated and determined. The author also tries to answer questions whether awards actuate the course of acting career and whether migrations are an opportunity for creative progression.
43
Rogers, Amanda. "Emotional Geographies of Method Acting in Asian American Theater." Annals of the Association of American Geographers 102, no. 2 (March 2012): 423–42. http://dx.doi.org/10.1080/00045608.2011.596390.
Full text
44
Harrop, John. "Adding Style to Substance: the American Actor Finds a Voice." New Theatre Quarterly 1, no. 3 (August 1985): 231–44. http://dx.doi.org/10.1017/s0266464x00001627.
Full textAbstract:
Slowly, the focus of creative and critical interest in American theatre has shifted from Broadway ‘product’ to the work presented by the non-profit theatres of the regional centres – work which has not only continued and developed the native naturalistic tradition, but embraced the best of the world repertoire, past and present. Method acting, adapted from Stanislavski to produce a distinctive but limited school of interiorized performance, proved inadequate to meet the increased demands of this range of work; and in this essay John Harrop examines the process by which university and conservatory training has come to accept that ‘style’ is not a sort of applied veneer, but a matter of finding the appropriate response to the linguistic and physical requirements of any play. Presently Head of the Professional Training Programme for the BFA in Drama at the University of California, Santa Barbara, John Harrop is himself a professional actor on the regional theatre circuit. An advisory editor of NTQ, and a frequent contributor to the old Theatre Quarterly, he is also the author (with Robert Cohen) of Creative Play Direction and (with Sabin Epstein) of Acting with Style.
45
Azizova, Amina. "The interaction of theater and cinematography in Uzbekistan culture in the first half of the xx century." Central Asian Journal of Art Studies 5, no. 4 (December 25, 2020): 94–104. http://dx.doi.org/10.47940/cajas.v5i4.257.
Full textAbstract:
The form, typology, essence and causes of the interaction between theater and cinema in the world is one of the priorities in the field, and a number of scientific studies have been conducted on the subject. In world experience, during the development of cinematography, it has been used the help of theatrical figures in overcoming the problems of acting, directing and dramaturgy. The study of theater and cinema as the main types of artistic worldview, in which the relationship between the two independent arts, exchanges of actors, process of interaction, individual characteristics were assessed, and it was considered as a new phenomenon. The article studies issues, causes and factors of influence of the same process in 1920–1930. The interaction of Uzbek theater and cinema, the study of creative ties, see it as a scientific problem has attracted attention in recent years. The article examines the role of Uzbek stage leaders in the development of screen art as a separate process, as well as the phenomenon of interaction between theater and cinema. The author explores a new creative life, a biography of a stage actor in cinema, opened for theater actors on the eve of the twentieth century. The art of filmmaking, which has been fighting for the actor for half a century, studies on facts that have attracted theater performers. Theatrical art has proven to be a model for cinematography in terms of decorating, makeup, music, lighting, and acting. Keywords: theater, actor, cinema, director, genre, image, type, role, phenomenon, screen art, character.
46
M. Dinu Imansyah. "Theatre By Request’ As Theatre Education Alternative." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 2 (April 6, 2020): 61–68. http://dx.doi.org/10.33153/iicacs.v2i1.16.
Full textAbstract:
“Theatre by Request “(TbR) is the name of one of the show's methods performed by the Studio Teater Yogyakarta initiated and led by Eko Santosa aka Eko Ompong. The basic principle of TbR is the strong interaction between viewers and performances based on the theatre game—that usually being used as basic acting training. The audience becomes part of the show with the opportunity to select and determine the number of actors' performances, themes, to control the performance of the show through certain rules set by Eko Ompong as the TbR Host. The purpose of TbR is to introduce the nature of theatre to the public, especially to school children in a simple but interesting way. The purpose of this research is to understand TbR as Theatre Education Alternative.”
47
Walden, Keith. "Whose Method? Culture, Commerce, and American Performer Training." New Theatre Quarterly 19, no. 4 (October 8, 2003): 318–25. http://dx.doi.org/10.1017/s0266464x03000216.
Full textAbstract:
The rapid acceptance in America of Stanislavsky's approach to actor training is often presented as an unexpected and unaccountable imposition of foreign culture. But Keith Walden argues that, while the ‘method’ may have been an innovation in acting schools, its goals and techniques were already familiar in other spheres of American life – particularly in the voluminous advice literature directed at salespeople. The similarities are not surprising, since both attempts to shape performances were inspired by the erosion of older notions of coherent, stable selfhood. Though the cultural purposes of acting and selling remained sharply different, the transgressive potential of modern theatre was dependent on a widespread belief that the roles required in ordinary work should be competently enacted. Keith Walden is a member of the History Department at Trent University in Peterborough, Ontario. He is a former editor of the Canadian Historical Review and author of Becoming Modern in Toronto: the Industrial Exhibition and the Shaping of a Late-Victorian Culture.
48
Kunz, George. "Review of Theater as life: Practical wisdom drawn from great acting teachers, actors and actresses." Humanistic Psychologist 40, no. 4 (2012): 391–92. http://dx.doi.org/10.1080/08873267.2012.671105.
Full text
49
Sitorus, Eka Dimitri. "Unity In Diversity: Moving Indonesian Theater, Film, and Television Forward." Indonesian Journal Of Performing Arts Education 1, no. 1 (January 31, 2021): 1–10. http://dx.doi.org/10.24821/ijopaed.v1i1.4916.
Full textAbstract:
AbstractThe purpose of this article is to show how Indonesia has experienced a tremendous change in its approach to acting in the last 20 years, but it has not been for the better. The modern era of film and television has led to a misleading perception among the Indonesian people regarding the art of “acting,” thereby resulting in an unfavorable attitude toward the craft. This misleading perception stems from the effect of traditional Indonesian theater to its modern counterpart without any adjustments to cater to the millennial generation of Indonesians. The paper explores the roots of this misleading perception. It starts with the problem of applying Indonesian cultural policy, catering to such diverse artistic expressions in Indonesia, educating the artists, all the way to providing the specific educational infrastructure for the arts. The article provides examples of past theater and film productions to point out the problems of modern versus traditional acting styles, the challenges of translations of classic and contemporary western plays into the Indonesian language, the difficulties to apply such rigid interpretations by prominent Indonesian writer to contemporary Indonesian acting styles. The article shows that only by improving and implementing sound Indonesian cultural policy, developing and managing specific educational infrastructure for the arts, and creating a new acting method or re-considering the pre-existing ones, the Indonesian theatre, film, and television will be able to move forward.
50
Krutova, Marina S. "“An Actor Is a Priest in Buffoon’s Clothes”." Observatory of Culture 16, no. 3 (July 19, 2019): 278–89. http://dx.doi.org/10.25281/2072-3156-2019-16-3-278-289.
Full textAbstract:
The article raises the actual questions: if the theater can be Christian and who in that case the actor is — “a priest” or “a buffoon”. The purpose of this article is to consider the issue of “Christian theater” at different levels: historical, psychological, social. The article analyzes the issues of actors’ personalities formation and their religious searches. There are considered the conditions of Christian upbringing in families and faith preservation in the complex historical period of the Russian history of the late 19th — mid-20th century. The novelty of this study lies in the fact that it introduces into scientific circulation little-known manuscript materials stored in the Manuscripts Department of the Russian State Library: 44 autobiographies of recognized actors, which were published in 1928 in edited form by the writer V.G. Lidin; as well as some other unpublished documents. The sources show that actors brought up on Christian ideals followed them in their work, despite the difficult conditions of socio-political life in the country. Among them are well-known actors of the Moscow Art Theater, Moscow Art Academic Theater, State Academic Maly Theater, Vsevolod Meyerhold State Theater, Bolshoi Drama Theater, Vakhtangov State Academic Theater (and others): V. Kachalov, I. Ilyinsky, R. Apollonsky, L. Vivyen, G. Ge, A Koonen, A. Orochko, G. Martynova and other masters. The article also uses some little-known writings of the actors, their questionnaires on the psychology of acting, photographs, as well as manuscripts and published memoirs of their contemporaries (E.D. Golovinskaya, E.A. Korotneva, V.D. Markov, Yu. Panich), allowing to consider the issue of “Christian theater” from different sides.