The modern theater to which we are accustomed is subject to uniform rules and laws. Intending to visit any temple of Melpomene (with the exception of the experimental or avant-garde), we know in advance what we will see. Acting, scenery, directing - all of them will differ in nuances, but will remain similar in the main, key issues. We no longer notice this, but all modern theaters operate according to unified system presented to the world by the great actor, director and reformer - Konstantin Stanislavsky. The legendary author of the phrase "I do not believe!" made greatest contribution in the development of theatrical art in Russia and around the world - he created a scientific basis for a better understanding of the acting and the work of directors. The foundations of the Stanislavsky system are used today not only in theaters around the world, but also in cinema.

Konstantin Sergeevich Alekseev was born in 1863 in the family of a Moscow industrialist. On the maternal side, the theater was in full swing in his blood - after all, the famous actress Marie Varley was his grandmother. Even as a child, he was the initiator of home performances, organized the Alekseevsky circle, where rehearsals and performances of plays were held in the evenings. When Konstantin grew up, he had to delve into his father's business - the young man began working at the family factory of gold and silver thread, and eventually became one of the directors. So he was torn between the theater and family duty - during the day he sat in the office and wandered between the machines, Konstantin Alekseev, and in the evening, Konstantin Stanislavsky, who took a pseudonym in honor of an amateur actor, hurriedly ran to the rehearsal. This split did not prevent him from becoming an outstanding director who turned the world of theater upside down (yes, that's right).

In addition to creating his own system, Stanislavsky is also known for the fact that, together with the director and playwright Nemirovich-Danchenko, he founded the Moscow Art Theater, which is now called the Moscow Art Theater (or rather, there are now two of them, formed after the division of the Moscow Art Theater of the USSR in 1987).

By the end of the 19th century, the theater was in a deplorable state - performances were more like amateur pampering. It's hard to believe, but at that time it was the norm that the actors went on stage drunk, forgot the words, skipped and were late for rehearsals. The performances did not start on time, the audience wandered around the hall, an old rag served as a curtain on the stage, there were no stage costumes, scenery as such - too. In such a situation were amateur poor theaters. The imperial ones, although they received funding, were suffocated in the strict grip of the whims of the leadership, did not have the opportunity to develop, to look for new approaches to work. Despite all the attempts of the theater to develop, the lack of a unified theoretical basis affected the fact that each director taught his actors to play on a whim, each time reinventing the wheel. An end to this confusion and vacillation was put by the actor and director, to whom even today we owe the fact that the theater thoroughly reflects real essence human soul.

Stanislavsky system

Konstantin Sergeevich wrote a huge number of works on theatrical art. The bible of many artists, including film actors, is still his "The Work of an Actor on Himself". In the autobiographical book “My Life in Art”, Stanislavsky on the first pages cites his childhood memories, when he was put to play the first role in a home performance at the age of three or four. They set it up - he was aimlessly stomping around on the stage in a fur coat and hat, depicting a static image of winter. The beard and mustache were sliding up, and Kostya felt awkward and desperate from his senseless inaction. Since then, he was most afraid of repeating this feeling, trying to fill his roles with actions, movements - and then passing this experience on to future generations of actors.

The Stanislavsky system is a series of serious theoretical works supported by practice. In one article, it is unlikely that it will be possible to reveal its entire essence, so today we will only recall the basics of the Stanislavsky system.

Principles of the Stanislavsky system:

1. Life truth

The key idea of ​​Stanislavsky's system can be considered the principle of life's truth, which must obey any creative act, including the acting of an actor. What does it mean? The director and actors are obliged to constantly compare what is happening on the stage with the realities, trying to bring their actions, facial expressions, intonations, expression of emotions closer to those that we meet in life. We must fight against excessive theatricality, overacting, artificiality. The viewer must believe that everything is happening before his eyes for real, forget that this is a performance. And in order for the production to come to life, it is necessary to breathe soul into it. And here we turn to the question of the supertask.

2. Super task

If you do not delve into the full depth of the concept of a super-task, what could be called its idea. In fact, both have similar properties: they structure the content of the work around themselves, they are a kind of beacon to which the entire content of the production aspires - directing, acting, and costumes. But an idea is not a super task. An idea is the ultimate goal of a supertask. The passionate desire of the troupe to convey to the viewer the totality of thoughts, feelings, aesthetic concept, their own vision of the idea of ​​the author of the play - this is the most important task. To make every effort to be understood by the viewer, so that he feels, thinks and sees what the director has in mind - this is the most important task. Imagine that when you start work, you see in your mind the end result - not only the idea, but all the ways to implement it, and its appearance, and the reaction that the result will cause. Bringing these visions to life is the challenge.

3. Action

Systematizing the experience of acting, Stanislavsky noticed that emotions and reactions are expressed not only through facial expressions or text, as previously thought, but also through body language, through movements. To study a living, real body language and transfer it to the stage is the mission of an actor. Indeed, in certain situations, we perform certain actions, and they are far from the ideas of the directors of that time. Thinking, we will not sit, like a Rodin thinker, resting his chin on his hand - this is too generalized and hackneyed type, depriving the image of a person immersed in thought. No, we will shift objects on the table, draw “squiggles” in a notebook, walk in circles over the patterns on the carpet ... There can be a lot of manifestations. When are audiences most excited? When they see actions close to them in the play of actors; actions that they perform themselves in the same situations. At such moments, they begin to believe in the production.

4. Reincarnation

According to this principle, the actor must be able to fully engage in his role, become the person he plays. This is achieved with the help of such simple means as gait, characteristic movements (scratching the nose, grimacing, blinking), facial expressions, the manner of sitting down and getting up, taking objects, smiling at people. Each such detail can change the image beyond recognition. But these are only external manifestations of reincarnation - the actor himself must believe that he has become a different person.

By the way, many Hollywood actors still use the principle of reincarnation. For example, Robert de Niro, in preparation for a role in his early film Taxi Driver, obtained a taxi driver's license and drove passengers around New York to understand what his character breathes. And Peter Weller, during the filming of RoboCop, demanded that the entire film crew call him exclusively RoboCop, even in person. Do you remember the creepy clown from the movie It? Tim Curry, who played him, rehearsed the crazy look so diligently that people on the street began to shy away from him.

But not all directors and actors use this principle - now the so-called typical approach is popular in theater and cinema. When a person who already has the characteristic properties of his hero is taken on the role, and he does not have to reincarnate. This leads to the fact that the same actors play the same roles, their work turns into a routine, and they themselves perceive their profession as a craft, and not as an art. Hence the low quality of modern cinema. (Not all, of course).

5. Natural

Before Stanislavsky began to change the method of working on the stage, actors' overacting, ridiculous pathos, and declamation flourished in theaters. There were typical roles - the hero-lover, the main villain, the young beauty, the comic matron, and so on. And all of them were always built according to the same schemes - as a result, inanimate, puppet characters were obtained. But all the principles described above lead us to the conclusion: there are no identical types, all people are different, each person has unique features personalities, and they not only can, but must be embodied on the stage. Enriching his character with a bright palette of natural gestures, movements, intonations, the actor makes him alive. And this is his primary goal.

As you can see, these ideas are so simple and ingenious that it is difficult for any other theoretical calculations related to theatrical art to compete with Stanislavsky's system to this day. Konstantin Sergeevich was a man of the future, born much earlier than his time, which is probably why he managed to create such a lively and harmonious system, which still has no equal in the whole world.

If you find an error, please highlight a piece of text and click Ctrl+Enter.

Legendary theatrical figure, actor and director, manufacturer. January 17 marks the 155th anniversary of the birth of Konstantin Sergeevich Stanislavsky - the creator of the system by which actors are still practicing to this day, the author of many aphorisms. Not only theaters in Russia are named after him (in Moscow, for example, there are two of them - drama and music), but also about fifty streets, alleys and squares.

Some call Stanislavsky's system "notation for the actor", others note that it describes the laws of the artist's presence on the stage. But what is this system, which, as stated, strictly followed by actors around the world?

System

The first and most important thing to remember about the Stanislavsky system is that it does not exist in nature.

Theater critics usually begin all interviews about this system with an important caveat: Stanislavsky himself called it "the so-called system." That is, something like a system, but not quite, some complex of more often disordered than systematized statements and rules that he developed over decades of work and self-reflection.

“Stanislavsky did not write any system, did not systematize, but all his life he studied the theater and its laws, arguing and contradicting himself,” director Viktor Ryzhakov notes. “And this is the uniqueness and greatness of the work he left.”

Shake off dirt and dust at the entrance, leave galoshes in the hallway along with all the petty worries, squabbles and troubles that spoil life and divert attention from art. Expectorate before entering the theatre. And when you enter, do not allow yourself to spit in all corners

Obviously, acting is not exactly a skill that can be mastered by reading some book like "Stanislavsky's system" for "dummies". And the system itself does not exist as such: the author endlessly refined and clarified what he wrote earlier, argued with himself - in general, he developed. Reading Stanislavsky, one can only think together with the author, embody what they read, make mistakes, suffer and rejoice. Nevertheless, even a reader who is not learning to act will be interested in thinking about how you can play another person.

The main thing

First of all, Stanislavsky, in his long and very intricate (if not to say confused) two-volume work The Actor's Work on Himself, notes that in no case should you immediately rush and try to feel the hero as a whole, earnestly transform into him - it will turn out to be insincere, wrong .

Stanislavsky professed a worldly and understandable method. The actor on the stage performs some physical actions (that is, he speaks, walks, waves his arms). So, if you behave correctly, then a sensual, emotional awareness of the role will come along with it. ​

"Inspiration appears only on holidays. Therefore, some more accessible, trodden path is needed, which the actor would own, and not one that would own the actor, as the path of feeling does. In a way that the actor can most easily master and which he can fix, is the line of physical actions.When these physical actions are clearly defined, the actor will only have to physically perform them.

Notice, I say - to physically perform, and not to experience, because with the right physical action, experience will be born by itself. If you go the other way and start thinking about the feeling and squeezing it out of yourself, then immediately there will be a dislocation from violence, the experience will turn into acting, and the action will degenerate into a tune, "he writes in the book" Director's plan "Othello".

This is where all these self-torturing experiments of famous actors come from, who, trying to get used to a new role, suffered, lost weight terribly, and so on. For example, allegedly Dustin Hoffman, while preparing for the filming of the film "Marathon Man", where he was supposed to play a man on the run, stopped washing, shaving and eating normally for a while, did not sleep for several days.

Jack Nicholson on the set of "The Shining" came into a state of anger, remembering quarrels with his ex-wife. Tom Cruise, playing a hitman in "Accomplice", took up the delivery of parcels. This list can be continued - there are many examples of how actors get used to the images. All this is just movement along the "line of physical actions."

Training

First of all, the actors study the "day" of the hero, that is, the whole routine of life in every detail. For example, when Stanislavsky staged the play "Tsar Fedor Ioannovich" at the Moscow Art Theater, he asked all the actors, without exception, no matter what their secondary roles were, to fill out the following questionnaire:

1. Who am I (what is my name, nickname, how old am I, my profession, where do I serve, the composition of my family, what is my character)?
2. Where do I live in Moscow (do I need to be able to draw a plan of my house and separately the decoration of my room)?
3. How did I spend yesterday and today until the evening?
4. Whom do I know among those present, in what relations am I with them?

It is very important that the actor's activity on the stage is not feigned. Director Nikolai Gorchakov writes about this in the book "Director's Lessons of K.S. Stanislavsky":

“The actor, especially ours, the Mkhatov one, now already knows and believes that one must act on the stage, look and listen. But there is still a big gap between his conviction that this is necessary and his concrete physical action on stage in the role. this does not happen in life; if a person needs to do something, he takes it and does it: undresses, dresses, rearranges things, opens and closes doors, windows, reads a book, writes a letter, looks at what is happening on the street, listens to what is happening upstairs neighbors.

Our deep spiritual secrets are only widely revealed when the inner and outer experiences of the artist flow according to all the laws established for them, when there is absolutely no violence. In a word, when everything is true, to the limits of dissemination, ultra-naturalness

On stage, he performs the same actions approximately, approximately the same as in life. And it is necessary that they be performed by him not only in exactly the same way as in life, but even stronger, brighter, more expressive.

In addition, as a result of understanding the role, a certain super-goal, the main emotional super-task, should be revealed. All ideas and decisions should lead to explaining the main idea revealed in the process of comprehending the play and the character: "We need both an emotional super-task that excites our entire nature, and a strong-willed super-task that attracts our entire mental and physical being."

It is pointless to give specific examples in this case: since the theater is an art that exists only at one specific moment in one specific place, then the most important task must be searched anew each time. Of course, this task cannot be just the prospect of making money on tickets, it should always be a moral and highly artistic idea, although the theater cannot become moralizing either. About this Stanislavsky writes:

"We will not say that the theater is a school. No, the theater is entertainment. It is not profitable for us to lose this important element for us from our hands. Let people always go to the theater to have fun. But then they came, we closed the doors behind them, let in darkness and we can pour whatever we want into their souls."

On the stage

The behavior of the actor in front of the public, in addition to understandable skills like stage speech, is also regulated by Stanislavsky in a philosophical key.

The first and main condition is not just the naturalness of the actor's behavior on the stage, but "dispro-ultra-naturalness":

"Our deep spiritual secrets are only widely revealed when the inner and outer experiences of the artist flow according to all the laws established for them, when there are absolutely no violence, no deviations from the norm, when there are no clichés, conventions, etc. In a word, when everything is true, up to limits of spread-ultra-naturalness".

Also, stamps should be avoided. Stanislavsky describes the main ones: a stamp from an overwhelming task, that is, a visible artistic overpowering (“The worst of all existing stamps is the stamp of a Russian hero, knight, boyar son or country boy with a wide scope”), a stamp of emphasizing a winning phrase, a stamp of sublime experiences etc.

No less important is the banal actor's working consciousness. In order for the performance to be outstanding, Stanislavsky in his article "Ethics" requires the actor to be highly professional in everything:

"You cannot enter the theater with dirty feet. Shake off dirt and dust at the entrance, leave galoshes in the hallway along with all the petty worries, squabbles and troubles that spoil life and distract attention from art. Expectorate before entering the theater. And when you enter, do not allow yourself to spit in all corners. Meanwhile, in the vast majority of cases, actors from all sides bring into the theater all sorts of worldly abominations, gossip, intrigues, gossip, slander, envy, petty pride. The result is not a temple of art, but a spittoon , rubbish bin, garbage can.

Memory

Prestigious theater awards are named after Stanislavsky, among the most famous of them is the special prize of the Moscow International Film Festival (MIFF) for conquering the heights of acting and loyalty to the principles of the school of K.S. Stanislavsky "I believe. Konstantin Stanislavsky". It was established in 2001 on the initiative of MIFF presidents Nikita Mikhalkov and Mark Zakharov.

At various times, both Russian and foreign artists were awarded this prize. Among them are Jack Nicholson (2001), Meryl Streep (2004), Gerard Depardieu (2006), Oleg Yankovsky (posthumously in 2009), Catherine Deneuve (2012), Inna Churikova (2014), Jacqueline Bisset (2015), Marina Neyolova ( 2016). Last year, a special award was presented to the Italian actor and director Michele Placido.

During the ceremony, he called Stanislavsky his teacher. "Stanislavsky was the teacher of all the actors in the world - Russian, French, Italian. There is not a single actor in the world who has not studied the Stanislavsky system, so for me getting the Stanislavsky award is more important than getting the Oscar," Placido said.

Egor Belikov, Elena Vasilieva, Evgenia Markova

Almost all of our actors are graduates of the country's film and theater universities, which means they are students of the classical acting school of K.S. Stanislavsky.

The name of Konstantin Sergeevich Stanislavsky, a reformer of the Russian theater, an outstanding director and artist, rightfully ranks among the great names of world culture.

Stanislavsky was born in 1863 in Moscow, and by birth and upbringing belonged to the highest circle of Russian industrialists, he was related to all eminent and merchant Moscow. In 1897, K.S. Stanislavsky with V.I. Nemirovich-Danchenko in the "Slavianski Bazaar" led to the creation of the Moscow Art Theater. The creation of a new theater defined new tasks in the acting profession. Stanislavsky is trying to create a system that could give the artist the possibility of public creativity according to the laws of the “art of experiencing” at every moment of being on stage, an opportunity that opens up to geniuses in moments of inspiration.

The Stanislavsky system is a scientifically grounded theory of stage art, a method of acting technique. In contrast to the previously existing theatrical systems, it is based not on the study of the final results of creativity, but on finding out the reasons that give rise to a particular result. An actor should not represent an image, but “become an image”, make his experiences, feelings, thoughts his own.

Having revealed the main motive of the work on his own or with the help of the director, the performer sets himself an ideological and creative goal, called Stanislavsky's super task. He defines the desire to achieve the most important task as a through action of the actor and the role. The doctrine of the most important task and through action is the basis of Stanislavsky's system.

The system consists of two sections:

• The first section is devoted to the problem of the actor's work on himself. This is a daily workout. The purposeful, organic action of the actor in the circumstances proposed by the author is the basis of acting art. It is a psychophysical process in which the mind, will, feeling of the actor, his external and internal artistic data, called Stanislavsky elements of creativity. These include imagination, attention, the ability to communicate, a sense of truth, emotional memory, a sense of rhythm, speech technique, plasticity, etc.
• The second section of the Stanislavsky system is devoted to the actor's work on the role, which ends with the organic merging of the actor with the role, reincarnation into the image.

Stanislavsky defines the ways and means to create a truthful, complete, living character. The image is born when the actor completely merges with the role, having precisely understood the general idea of ​​the work. The director should help him with this. Stanislavsky's teaching about directing as the art of creating a production is based on the creativity of the actors themselves, united by a common ideological concept. The purpose of the director's work is to help the actor to transform into the person being portrayed.

Stanislavsky's works have been translated into many languages ​​of the world. His main ideas have become the property of actors and directors in many countries and have big influence on the modern life and the development of world art.

Principles of the Stanislavsky system the following:

• The principle of life's truth- the first principle of the system, which is the basic principle of any realistic art. It is the foundation of the whole system. But art requires artistic selection. What is the selection criterion? This is where the second principle comes from.
• Supertask principle- something for which the artist wants to introduce his idea into the minds of people, what he strives for in the end. Dream, goal, desire. Ideological creativity, ideological activity. The supertask is the goal of the work. Correctly using the most important task, the artist will not make a mistake in choosing techniques and expressive means.
• Action activity principle- not to depict images and passions, but to act in images and passions. Stanislavsky believed that whoever did not understand this principle did not understand the system and the method as a whole. All methodological and technological instructions of Stanislavsky have one goal - to awaken the natural human nature actor for organic creativity in accordance with the most important task.
• The principle of organicity (naturalness) follows from the previous principle. There can be nothing artificial and mechanical in creativity, everything must obey the requirements of organicity.
• The principle of reincarnation- the final stage of the creative process - the creation of a stage image through organic creative reincarnation.

The system includes a number of techniques for scenic creativity. One of them is that the actor puts himself in the proposed circumstances of the role and works on the role from himself. There is also the principle "typical approach". It has become widespread in modern theatre. This principle came from cinema and is applied today both in cinema and in advertising. It lies in the fact that the role is assigned not to the actor who, using the material of the role, can create an image, but to an actor who matches the character in his external and internal qualities. The director in this case counts not so much on the skill of the actor, but on natural data.

Stanislavsky protested against this approach. “I am in the proposed circumstances” is the formula of stage life according to Stanislavsky. To become different, while remaining oneself — this formula expresses the dialectic of creative reincarnation according to Stanislavsky. If an actor becomes different, this is a performance, a performance. If it remains itself, it is self-showing. Both requirements must be combined. Everything is like in life: a person grows up, develops, but nevertheless remains himself.

creative state is made up of interrelated elements:

• active concentration (stage attention);
• body free from tension (stage freedom);
• correct assessment of the proposed circumstances (stage faith);
• the desire to act arising on this basis (stage action).

1. stage attention is the basis of the internal technique of the actor. Stanislavsky believed that attention is a conductor of feeling. Depending on the nature of the object, it differs external attention(outside the person himself) and internal (thoughts, sensations). The actor's task is to actively focus on an arbitrary object within the stage environment. “I see what is given, I treat it as it is given” - the formula of stage attention according to Stanislavsky. The difference between stage attention and life attention is fantasy - not an objective examination of the subject, but its transformation.
2. stage freedom. Freedom has two sides: external (physical) and internal (mental). External freedom (muscular) is a state of the body in which every movement of the body in space expends as much Muscular energy as this movement requires. Knowledge gives confidence, confidence gives rise to freedom, and it, in turn, finds expression in the physical behavior of a person. External freedom is the result of internal freedom.
3. stage faith. The viewer must believe what the actor believes in. Stage faith is born through a convincing explanation and motivation of what is happening - that is, through justification (according to Stanislavsky). To justify means to explain, to motivate. Justification comes with the help of fantasy.
4. stage action. The sign that distinguishes one art from another and thus determines the specifics of each art is the material used by the artist (in the broad sense of the word) to create artistic images. In literature, this is a word, in painting, color and line, in music, sound . In acting, action is the material. Action is an act of will human behavior, directed towards a specific goal - the classic definition of action. acting action- a single psychophysical process of achieving a goal in the fight against the proposed circumstances of a small circle, expressed in some way in time and space. In action, the whole person appears most clearly, that is, the unity of the physical and mental. An actor creates an image through his behavior and actions. Reproducing this (behavior and action) is the essence of the game.

The nature of an actor's stage experiences is as follows: one cannot live on the stage with the same feelings as in life. Life and stage feeling differ in origin. Stage action does not arise, as in life, as a result of a real stimulus. You can evoke a feeling in yourself only because it is familiar to us in life. It is called emotional memory. Life experiences are primary, and stage experiences are secondary. The evoked emotional experience is a reproduction of the feeling, so it is secondary. But the surest means of mastering feelings, according to Stanislavsky, is action.

Both in life and on stage, feelings are poorly controlled, they arise involuntarily. Often the right feelings arise when you forget about them. This is subjective in a person, but it is connected with the action of the environment, that is, with the objective.

So, action is the stimulus of feeling, because every action has a purpose that lies outside of the action itself.

Let's take a simple example. Let's say you need to sharpen a pencil. This must be done, for example, to draw a picture, write a note, count money, etc. And if the action has a goal, then there is a thought, and if there is a thought, then there is a feeling. That is, action is the unity of thought, feeling and a complex of physical movements.

The purpose of an action is to change the object it is directed at. A physical action can serve as a means (device) for performing a mental action. Thus, an action is a coil on which everything else is wound: internal actions, thoughts, feelings, fictions.

The richness of the life of the human spirit, the whole complex of the most complex psychological experiences, the enormous tension of thought, ultimately turns out to be possible to reproduce on stage through the simplest score. physical actions, realize in the process of elementary physical manifestations.

From the very beginning, Stanislavsky rejected emotion, feeling as a stimulus for acting existence in the process of creating an image. If an actor tries to appeal to emotion, he inevitably comes to the cliché, because the appeal to the unconscious in the process of work causes a banal, trivial depiction of any feeling.

Stanislavsky came to the conclusion that only physical reaction an actor, a chain of his physical actions, a physical action on the stage can evoke both a thought and a volitional message, and ultimately the necessary emotion, feeling. The system leads the actor from the conscious to the subconscious. It is built according to the laws of life itself, where there is an indissoluble unity of the physical and mental, where the most complex spiritual phenomenon is expressed through a consistent chain of specific physical actions.

Art is a reflection and knowledge of life. If you want to approach such geniuses as Shakespeare, Leonardo da Vinci, Raphael, Tolstoy, Chekhov in your work, study the natural laws of life and nature to which they involuntarily, accidentally subordinated their lives and creativity, learn to apply these laws in your own practice. On this, in essence, the system of Stanislavsky is built.

The Stanislavsky system is what many refer to successful people. However, not everyone knows what it is, and what is the essence of this phenomenon. If you like , then you should at least theoretically know the Stanislavsky system.

Konstantin Sergeevich Stanislavsky

The Stanislavsky system is a theory of stage art, a method of acting technique. It was developed by the Russian director, actor, teacher and theatrical figure Konstantin Sergeevich Stanislavsky in the period from 1900 to 1910.

For the first time in the system, the problem of conscious comprehension of the creative process of creating a role is solved, the ways of transforming an actor into an image are determined.

Naturally, Stanislavsky used in his work important points in general and in particular. This is despite the fact that at that time these areas did not exist as independent disciplines.

The goal of the Stanislavsky system is to achieve complete psychological authenticity of acting.

The system is based on the division of acting into three technologies: craft, performance and experience.

1. Craft according to Stanislavsky is based on the use of ready-made stamps, by which the viewer can clearly understand what emotions the actor has in mind.
2. The art of performance is based on the fact that in the process of long rehearsals the actor experiences genuine experiences that automatically create a form of manifestation of these experiences, but at the performance itself the actor does not experience these feelings, but only reproduces the form, the finished external drawing of the role.
3. The art of experiencing - the actor in the process of playing experiences genuine experiences, and this gives rise to the life of the image on stage.

The system is fully described in the book by K. S. Stanislavsky "The work of an actor on himself", which was published in 1938.

Stanislavsky died in 1938, but his scientific achievements and creative reflection are relevant to this day. In this article, we will consider 7 basic principles that make up the Stanislavsky system.

1. Action is the basis of performing arts

The Stanislavsky system is a rather arbitrary concept. The author himself admitted that the student can learn the skill and gain experience only through close communication with the teacher.

That is, it is simply impossible to achieve a good result at a distance. Interestingly, many understand the Stanislavsky system in different ways. Even its main conditions may differ for certain actors or directors.

Action, in turn, is the basis of performing arts, since any performance consists of many actions, each of which should lead to the achievement of a specific goal.

When building his role, the artist should not just imitate his character, because then his performance will turn out to be fake.

On the contrary, the actor is obliged to try to build a chain consisting of simple physical actions. Thanks to this, his performance on stage will be true and natural.

1. Don't play but live

Truthfulness, in the Stanislavsky system is one of the most important elements. No actor or director can portray something better than what exists in nature, in the real world.

Nature is both the main artist and a tool, which means that it should be used. During a performance in front of the public, one must not only play the role, but fully live it.

In the notes of Stanislavsky himself, the following phrase is found: “During my show of Khlestakov, I also felt for minutes myself in the soul of Khlestakov.” Any role should become an important component of the artist himself.

But in order to achieve such a result, the speaker should use his life experience and fantasy, thanks to which he will be able to believe that he performs exactly the actions that his hero does.

In this case, all the components of the role and your acting tasks will not be far-fetched, but literally parts of yourself.

1. Analysis

A person is so arranged that he is often unable to analyze his own emotions. He fails to notice how he feels when he eats, walks or talks. Also, we do not tend to analyze the actions of other people.

An actor, on the contrary, must be a very good researcher. For example, he should explore in detail how his typical day goes. Or watch the behavior of a person trying to please the people he came to visit.

These and other observations should become habitual. Thanks to this, the actor or director will be able to collect certain information and gain experience. Among other things, he will be able to competently build a chain of physical actions, and hence the experiences of his character.

1. Simplicity, logic and consistency

According to Stanislavsky, the score (chain) of physical actions should be as simple and clear as possible. Due to the fact that the artist has to perform hundreds of times in front of the audience, he must again and again relive his role, and when complex scheme actions, he will certainly get confused.

It will be much more difficult for him to express any emotions on stage, and the viewer, in turn, will find it more difficult to analyze his game. Stanislavsky believed that almost all the actions of people are very logical and consistent. Therefore, they should be the same during a theatrical production.

Logic and consistency must be present in everything: in desires, thoughts, emotions, actions and other areas. Otherwise, the same confusion will occur.

1. Supertask and through action

One of the most important conditions of the Stanislavsky system is such a concept as super task. Neither artists nor directors should in any way neglect the ideas of the author of the play for the sake of their own opinions.

The director must fully reveal the idea of ​​the author and try to express it on stage. And the actor, in addition to this, should also be deeply imbued with the ideas of his characters. The most important task is to express the main idea of ​​the work, since this is the main task of the performance.

All members of the acting team should try to achieve this goal. This can be achieved by clarifying the main line of action, passing through all parts of the work and called through action.

1. Collectivity

The most important task will become available only if all the artists join their efforts in working on the performance. Stanislavsky argued that mutual compliance and understanding of a common goal are extremely important.

When an artist tries to imbue the ideas of an artist, writer or director, and an artist or writer tries to imbue the desires of an actor, then everything will be great. Artists must love and understand what they are working on, as well as be able to give in to each other.

In the absence of mutual support in the acting team, art will be doomed to failure. Many of you have probably heard the famous phrase of Stanislavsky: "Love the art in yourself, not yourself in the art".

1. Theater education

Art must certainly be a good educator, both for the acting troupe and for the public who came to the theater. Konstantin Sergeevich himself admitted that the main task of theatrical art is entertainment.

But at the same time, he supplemented his thought as follows: “The audience goes to the theater for entertainment and imperceptibly leaves it enriched with new thoughts, sensations and requests thanks to the spiritual communication of authors and artists with it”.

It is very important to remember that the audience will attend performances, both as entertainment and in order to escape from household chores, family and work. But of course, this should in no way encourage the actors to go on about the public.

After all, when the audience takes their seats and the lights go out in the hall, “we can pour whatever we want into their souls” Stanislavsky said.

Now you know what the Stanislavsky system is and its main postulates. If you liked this article, please share it on social networks.

If you like it in general and in particular, subscribe to the site IinterestingFakty.org. It's always interesting with us!

Liked the post? Press any button:

With the name of K.S. Stanislavsky is associated with a whole era in the life of Russian stage art. The system of acting creativity he created belongs to the present and future of the Soviet theater. It developed the foundations of the materialistic theory of stage realism, which ensures the further progress of theatrical art.

Stanislavsky's "system" is designed to help the actor create living, typical images, in which the deep ideological content would be embodied by means of stage art. "The result of searching for my whole life is the so-called my" system, "writes Stanislavsky," the method of acting work that I found, allowing the actor to create an image of the role, reveal the life of the human spirit in it and naturally embody it on stage in a beautiful art form. This is how Stanislavsky defines the goal of the system of acting creativity he developed. In order for the stage image to be artistically convincing, the actor must, according to Stanislavsky, not seem to exist, but really exist on the stage, not be presented, but live. He must always remain a living person on the stage, i.e. sincerely feel, think and act in the proposed circumstances of the role, observing the logic of life and the laws of organic nature. To do this, he must perfectly master the normal, natural creative state of health, which has nothing to do with the conditional "actor's" state of health, suitable only for the mechanical representation of the role. The first step in mastering the art of an actor lies, according to Stanislavsky, in the ability to bring oneself on stage into a natural, normal creative state of health, contrary to all the conventions of a theatrical performance. The problem of creating a live stage image based on the actor's natural creative well-being was for Stanislavsky the main subject of study throughout his artistic life. The main content of Stanislavsky's "system" lies in the solution of this most important question of the actor's art.

Thus, under the conditional name "Stanislavsky's system" a wide range of issues of theatrical practice and theory developed in the creative heritage of Stanislavsky was concentrated. These include questions of the art of the actor and director, artistic technique, theatrical aesthetics, ethics, creative technique, theatrical pedagogy, the organization of collective stage creativity, etc. However, all these areas of stage activity, heterogeneous in nature, are only different branches coming from a single root: they are permeated with a common ideological and creative concept of the creator of the "system" and therefore mutually determine each other.

Part 1. Elements of acting in the context of the "system" K.S. Stanislavsky

1.1 The structure of Stanislavsky's "system"

System K.S. Stanislavsky is a single, inextricably linked whole. Each section of it, each part, each position and each principle is organically connected with all other principles, parts and sections. Therefore, any division of it (into sections, topics, etc.) is theoretical, conditional. However, to study the system of K.S. Stanislavsky, like any science, is possible only in parts. Stanislavsky himself pointed to this.

In contrast to the previously existing theatrical systems, it is based not on the study of the final results of creativity, but on the clarification of the causes that give rise to a particular result. The actor should not represent an image, but "become an image", his experiences, feelings, thoughts to make his own.

The system consists of two sections:

· First section devoted to the problem of the actor's work on himself. This is a daily workout. The purposeful, organic action of the actor in the circumstances proposed by the author is the basis of acting art. It is a psychophysical process in which the mind, will, feeling of the actor, his external and internal artistic data, called by Stanislavsky elements of creativity, participate. These include , , , , , sense of rhythm, , plastic, etc.

· Second section Stanislavsky's system is devoted to the actor's work on the role, culminating in the organic fusion of the actor with the role, reincarnation into the image.

The system includes a number of techniques for scenic creativity. One of them is that the actor puts himself in the proposed circumstances of the role and works on the role from himself. There is also the principle of "typical approach". It has become widespread in modern theatre. This principle came from cinema and is applied today both in cinema and in advertising. It lies in the fact that the role is assigned not to the actor who, using the material of the role, can create an image, but to an actor who matches the character in his external and internal qualities. The director in this case counts not so much on the skill of the actor, but on natural data.

1.2 Elements of acting, their sequence and relationship

The actor's tool is his internal (mental) and external (physical) data, called by Stanislavsky "elements of creativity". The actor's body, voice, nerves, temperament are his tools, uniting the creator and the material into a single whole. Professional stage action is possible only under the condition of virtuoso mastery of the entire spectrum of one's psychophysical abilities. To the elements of acting skills of K.S. Stanislavsky relates the elements of experience and the elements of incarnation:

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

2. Imagination and fantasy. For an actor to fantasize means to lose internally. While fantasizing, the actor does NOT draw the object of his imagination outside of himself, but feels himself acting as an image. Imagining something from the life of the hero, the actor does not separate himself from him.

3. Feeling of Truth and Faith. With the help of stage justifications, that is, true and fascinating motivations, the actor turns fiction into artistic truth for himself, and, consequently, for the viewer. An actor's faith is a consequence of his conviction that what he is doing on stage is right. The viewer believes what the actor believes.

4. Communication. An actor must be able to communicate. To do this, one must not only act oneself, but also perceive the actions of another, make oneself dependent on a partner, be sensitive, malleable and responsive to everything that happens on stage. It is not so important what happens in the soul of the actors as what happens BETWEEN them.

5. Interaction. Interaction with a partner is the main type of stage action. It follows from the very nature of dramatic art. In the process of stage interaction, the idea of ​​the play and the characters of the characters are revealed, that is, the main goal is achieved.

6. emotional memory. The actor can evoke this or that feeling in himself based on his own emotional experience. Initially arising as a revival of what has been experienced many times in life, the stage feeling is subsequently brought into connection with fictional stage occasions.

7. muscle freedom- the ability of the actor to naturally perform a wide variety of movements. This is a state of the body, in which for each movement of the body in space, as much muscular energy is expended as this movement requires. Knowledge gives confidence, confidence gives rise to freedom, and this, in turn, finds expression in the physical behavior of a person.

8. Action. A volitional act of human behavior directed towards a specific goal is the classical definition of action. An actor's action is a single psychophysical process of achieving a goal in the fight against the proposed circumstances of a small circle, expressed in some way in time and space. In action, the whole person appears most clearly, that is, the unity of the physical and mental. An actor creates an image through his behavior and actions. Reproducing this (behavior and action) is the essence of the game.

9. Logic and sequence thoughts, feelings, actions (internal and external), desires, tasks, aspirations, fiction, imagination. With the exception of individual cases, everything in life, and therefore on the stage, must be logical and consistent.

10. We achieve this through physical actions.

11. Method of physical actions. It consists in what makes the actor fantasize, justify, fill the physical action with psychological content. Physical actions become a coil on which everything else is wound: internal actions, thoughts, feelings, fictions, imagination.

12. Internal stage well-being. The correctness of the actor's internal well-being is manifested in the fact that the actor reacts freely and directly to everything that happens on the stage as a given character, just as it usually happens in real life. No violence, no coercion, complete freedom - this is the main sign of inner stage well-being.

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

14. Aspiration line. To experience, you need a continuous (relatively) life line of the role and the play. Instead of creating many logical lines for each of the elements, all the attention of the actor should ultimately be directed to the creation of one main line, that is, the logic of the actor's action on the stage.

15. Tempo rhythm - execution of certain physical and mental movements that carry out a given action in confined space at a set speed and at a certain time. The tempo is a leading sign, since it is the tempo of action that most often characterizes the state of the psyche. [

16. "Munky" - triggers of emotional memory. "Decoy" to action is some fact, event, case, judgment, phenomenon, news, etc. A "mankay" task naturally evokes urges of desire, aspirations, ending in action.

17. Supertask and "cross-cutting action". The most important task is what the actor strives for in the end. The super-task must be sought not only in the role, but also in the soul of the artist himself. Only such a super-task, which has become personal, gives rise to the actor's emotional urges to the actions necessary for its implementation. Stanislavsky called this effective way to the implementation of the super-task "through action." The cross-cutting action runs through the whole play, defining the task of each individual scene and filling the actions necessary for its implementation with emotional content. Without a super-task and a cross-cutting action, both the role and the performance fall apart into separate scenes, devoid of a single plan that unites them.

18. Atmosphere considered in the "System" as the emotional coloring of each action, scene, episode, the whole performance. Depends on the proposed circumstances, on the event, on the most important task, conflict, tempo-rhythm, "grain", is interconnected with the through action, depends on the character, on his character, contributes to the creation of the integrity of the performance.

19. External characteristic is created with the help of make-up, plastics, costume, speech, etc. External character can be created intuitively, as well as purely technically, mechanically from a simple external trick. An actor can obtain external characterization from himself, from others, from real and imaginary life, from intuition or from observations of himself or others, from everyday experience, from acquaintances, from paintings, engravings, drawings, books, stories, novels, or from simple case, it doesn't matter. The main thing is not to lose yourself internally.

20. Pieces and tasks. Stanislavsky proposes a standard problem-solving technique for working on a role: break a complex task into simpler subtasks, then break them into even simpler ones, and so on up to the "trivial" ones - with which it is clear what needs to be done. Namely, he proposes to break the play into "pieces".

21. Engines of mental life. Stanislavsky refers to them the mind, will and feelings. Depending on which of these elements is more developed in a person, there are actors of an intellectual, volitional and emotional type.

22. Plastic - the ability to efficiently distribute muscle energy. The requirement of an exact measure of muscular energy for each movement is the basic law of plasticity. Whatever the character and pattern of the movement, it must be beautiful, i.e. subject to the internal law of plasticity.

23. Diction and singing. This does not mean singing in its purest form, but the use of the basic laws of sound formation inherent in vocal mastery, which are mandatory for both the singing and the speaking actor. The need to find that "continuous line" of voice - tone, that tonal core that permeates, connects our entire speech with its mobility, variability, stops, accents, tempo and rhythm.

24. Speech on stage. Stage speech technique is one construction material, with the help of which the content of the stage image develops its expressive form. The technique of stage speech, of course, does not exhaust all the material in which the actor creates, but it is his most important constituent element. Stanislavsky insistently says that the exact and vivid transmission of the inner life of the image depends entirely on the exact corresponding voice and pronunciation expression. Only by mastering the voice and pronunciation is free word-creation, the word-action of the actor of the school of experience possible. If the voice does not obey the actor, if it is poor in overtones or is deliberately loud from trying to be heard, if there is no ability to pronounce the phrase in unison, if the diction is not clear enough, and the stage pronunciation does not comply with the laws of orthoepy, if the words knock, "like peas on a board", the unity of content and form in the performance of the actor is violated, i.e. the content of the art of experiencing is distorted.

All the elements of Stanislavsky's "system", analyzed in the first and second parts of "The Actor's Work on Himself", are, in essence, the constituent elements of the stage action, which cannot be carried out without the participation of creative attention, emotional memory, imagination, logic and sequence of actions and feelings, muscle freedom, plasticity, voice control, etc. The constant improvement of these elements is the content of "The work of an actor on himself", which involves daily training and drill aimed at improving acting technique. Possession of his "instrument" - psychophysics - allows the actor to fully and professionally work on stage, regardless of inspiration, or rather, to enter the desired creative state exactly when it is necessary; volitional effort to achieve the right creative well-being.

1.3 The unity of mental and physical in acting

Human behavior has two sides: physical and mental. Moreover, one can never be separated from the other, and one cannot be reduced to the other. Every act of human behavior is a single integral psychophysical act. Therefore, it is impossible to understand a person's behavior, his actions, without understanding his thoughts and feelings. But it is also impossible to understand his feelings and thoughts without understanding his objective connections and relations with the environment.

Stanislavsky considers creativity as a psychophysical process. At the moment of creation, he writes, "an interaction of body and soul, action and feeling, is created, thanks to which the external helps the internal, and the internal causes the external."

Starting from this view of the creative process, he approached the creation of a practical method of the actor, who later became known as the method of physical action. . The fundamental foundations of this method are set forth in his book "The Actor's Work on Himself" (in the chapter "Sense of Truth and Faith") and in materials published in the fourth volume of the Collected Works. Rejecting a direct approach to arousing creative experience, which can cripple the nature of an actor, Stanislavsky insistently suggests studying an approach to arousing the psyche through organization physical life roles. "The truth of physical actions and belief in them excite the life of our psyche," he says. “Creating a logical and consistent external line of physical actions,” says Stanislavsky, “we will thereby learn if we carefully understand that in parallel with this line another is born inside us - the line of logic and the sequence of our feelings.”

The psychophysical nature of the stage action and its constituent elements thus becomes the main object of study. The artistic technique created by him is wholly aimed at ensuring that the predetermined stage action performed in the circumstances of the play would retain all the properties of a genuine, living, organic action performed in life.

Part 2. "Training and drill"

Konstantin Sergeevich Stanislavsky laid the main foundations for the actor's system of work on himself, which he called "Training and drill". Stanislavsky verified the area of ​​stage creativity with the scientific discoveries of I.I. Pavlov and I.M. Sechenov, exploring the organic nature of sounding thought as a result of productive living thinking.K.S. Stanislavsky was the first in Russia to talk about muscle relaxation and the necessary tension that maintains a person's posture, studied the laws of natural communication and truthful behavior, and sought to use the power of emotional memory, mind and will in acting practice. Speech - its tempo, rhythm, intonation, pauses - were studied by him and acquired psychotechnics for working on the role.

"The main method of work of the theater school, from the point of view of K.S. Stanislavsky, - writes G.V. Christie, - is independent work the students themselves. This means: independent finding of creative material and creation of sketches, independent work on oneself to eliminate physical and internal shortcomings (which is discussed in the section on posters), independent, under the supervision and control of a teacher, improvement of one's artistic abilities. All school exercises, according to K.S., should gradually enter the actor's individual toilet ... "

In addition to self-observation training, Stanislavsky can see two more types of training, united by the name "actor's toilet". G.V. Christie describes its content as follows: "Actor's toilet, according to the concept of K.S. Stanislavsky, is a daily training of internal, psychological and physical qualities that help the actor's creativity. "Actor's toilet", which is a squeeze out of all the exercises in the system, was designed to strengthen, to develop and constantly improve artistic technique.Before the start of studio shows, K.S. often held a 15-minute toilet-tuning, bringing the actors to the desired state of health.The "toilet-tuning" usually began with the actor focusing his attention on some simple , often pointless action, freed from unnecessary tension and interfering nervousness. Then the imagination and other elements of the actor's well-being stirred. Exercises to change rhythms and quickly adapt to the mise-en-scene aroused creative activity and readiness for action. "Toilet-tuning" usually ended with a collective etude, directly leading up to the upcoming show."

If you review the manuscripts and notebooks Stanislavsky period 1928 - 1938, you can often find notes entitled "training and drill" or "task book". Under such headings, he wrote down various exercises and etudes (often in outline, sometimes only in title). Here are exercises that train the actor's apparatus - his imagination, creative ear, skills of mental speech, development of perceptions of the senses, etc. Here are tasks on plasticity, rhythm, stage groupings, mise-en-scene, handling cloaks and swords. Here are speech exercises, and instructions on posture, gait, gestures.

Everything shows that he imagined the future "Problem Book" as a collection of exercises in all sections of acting psychotechnics. Let's see what requirements Stanislavsky makes for general training. If the main task of self-observation training is to organize and maintain ongoing control over the creation of new, necessary habits and the eradication of old, unnecessary ones; for the renewal of memory reserves and for the elimination of dead devices: if the "toilet-tuning" and the "actor's toilet" prepare creative well-being in the general plan required for a given actor, then what are the general goals of those training exercises that make up the content of the classes in the training class and drills?

“It is not enough to live with a sincere feeling,” writes Stanislavsky, “one must be able to reveal it, embody it. For this, the entire physical apparatus must be prepared and developed. It is necessary that it be sensitive to the last degree and respond to all sorts of subconscious experiences and convey all their subtleties, to make visible and audible what the artist is experiencing.By the physical apparatus we mean a well-trained voice, a well-developed intonation, a phrase, a flexible body, expressive movements, facial expressions. We are talking, as if, about external stage well-being, the development of which takes place in the training of stage movement, fencing, dance, speech technique, etc. But Stanislavsky develops this idea elsewhere. He writes about the need to "make the physical apparatus of embodiment, that is, the bodily nature of the artist, thin, flexible, precise, bright, plastic, like that capricious feeling and the elusive life of the spirit of the role that it is called upon to express. Such an apparatus of embodiment must not only be excellently worked out , but also slavishly subordinate to the internal orders of the role. inside and interaction must be brought to an instantaneous, unconscious, instinctive reflex."

And what is it - the interaction of external and internal, expressed in a reflex? One should not think that Stanislavsky in this case meant something figurative and allegorical by the word "reflex". In other words, any act of a person - an episode of his life action - is always his interaction of the impulse of external circumstances and internal reaction. Through the analysis of external influences and their subsequent synthesis, a reflex is formed as a stable reaction of the organism to these repeated influences of the external environment.

There is no doubt that Stanislavsky, speaking of a reflex, has in mind the reproduction of a selected episode of a life action by the trained physical apparatus of an actor, a creative apparatus cleansed of everything random and atypical that "happens in life", an apparatus of subtle, flexible, precise, bright, plastic, who knows how to live according to the laws of life contained in a role, in an etude, in an exercise.

Acting training, therefore, must bring the student's creative apparatus into line with the requirements of the creative process. Training improves flexibility nervous system and helps to polish, make flexible and bright the psychophysical instrument of the actor, reveal all his natural possibilities and subject them to systematic processing, expand the efficiency of all the necessary from the available possibilities, drown out and eliminate unnecessary ones, and, finally, create the missing ones as far as possible. These are his main tasks.

Some exemplary exercises to improve acting technique:

"Mannequins". Full body tension exercise.

For one student to take any position and strain the whole body, the other student transfers the person who has taken the pose /mannequin/ to another place. The position of the first should not change, the body should not relax.

"Rag dolls". Exercise is not a complete relaxation of the body.

The students are rag dolls hung on carnations. They are removed from the carnation and thrown to the floor.

Exercises for the development of collectivity, interconnection.

1. Paired, coordinated non-objective actions: sawing firewood; drag a large box, a sofa; move the cabinet row; play tennis; play ball, etc.

2. Transfer gravity in a circle, constantly changing objects: either a heavy box, or bricks, or buckets of water, or empty ones. When acting, change the object with which you act, also change the goal / why are you doing this? /

Exercises on the magical "if"

Without first talking about the "if" property, the teacher prepares a series of exercises, but for the students this is impromptu. Taking a set of 5-6 objects, the teacher gives them an object in turn in outstretched hands, quickly saying:

1. Handing a scarf - "here's a shawl for you!"

2. Giving a box - "here is a frog!

3. Serving the package - "there are worms in it."

4. Looking at the student's head - "Oh, oh, a huge spider is crawling over you."

5. Give to drink from a bottle - "try.", the student begins to try, and the leader says - "there is kerosene. acid." etc.

Exercises for the development of imagination and fantasy

1. Transfer yourself mentally to unfamiliar ones that do not exist for you, but can exist in real life conditions: flight into space, trip around the world, a trip to the Arctic, to Africa, etc. / draw material from books, movies, paintings, from people's stories. /.

2. Move to the area of ​​unrealizable, fabulous:

a / in search of a beautiful girl, you find yourself in the kingdom of Princess Carrot, in the kingdom of Princess Icicle, in the kingdom of Koshchei;

b/ go down to the bottom of the sea to the Sea King, etc.

Exercises for the development of logic and sequence.

1. Thread the needle and sew.

2. Repair a pencil with a penknife.

3. Write a letter, seal the envelope.

4. Put on and take off coats, jackets, jackets, socks, stockings, boots, etc.

6. Cut the dress according to the pattern.

7. Comb your hair in front of a mirror.

8. Wash clothes - in the basin, washing machine.

9. Knead the dough and make pies.

Follow the logic, sequence. Check on the real thing.

Conclusion

Defining the basic principle of acting in the Stanislavsky system, we can say that this is the principle of reincarnation, when the actor, as it were, personifies himself with his character, speaks and acts on his behalf.

The actor's working tools are his psychophysical data: plasticity; motility; voice data (diction, ligaments, breathing apparatus); ear for music; sense of rhythm; emotionality; observation; memory; imagination; erudition; reaction rate, etc. Accordingly, each of these qualities needs development and constant training - only this allows the actor to be in working shape. Just as a ballet actor has to start every day with a cycle of exercises at the barre, an opera actor - with vocalization and chants, so a dramatic actor urgently needs daily lessons in stage speech and movement.

Each role played is a complex conglomeration of the creativity of several individuals: the playwright, director, composer, choreographer, artist, make-up artist and other members of the production team become full-fledged co-authors of the actor in the process of preparing the performance. However, at the performance itself, the actor is left alone with the audience; he becomes the ultimate conductor, the translator of the collective creative idea to the viewer. The auditorium itself becomes the most important co-author of the actor's work, making daily adjustments to the rehearsed role. The process of acting creativity is always carried out together with the audience, at the time of the performance. And each performance remains unique, unrepeatable.

Literature

1. Burov A.G. The work of an actor and teacher - M., 2007

2. Zakhava B.E. The skill of the actor and director - M., 2008

3. Knebel M.O. The word in the work of the actor - M., 1970

4. Christy G.V. The education of an actor from the Stanislavsky school - M., 1968

5. Christy G.V. Fundamentals of acting - M., 1971

6. Novitskaya L.P. Lessons of inspiration - M., 1984

7. Sibiryakov N. n. World significance of Stanislavsky - M., 1973

8. Sosnova M.L. The art of the actor - M., 2008

9. Stanislavsky K.S. Collected works - M., 1954

10. Stroeva M.N. Directing legacy of Stanislavsky - M., 1973

11. Toporov V.O. On the actor's technique - M., 1958

12. Chekhov M.A. Literary heritage - M., 1995

Tutoring

Need help learning a topic?

Our experts will advise or provide tutoring services on topics of interest to you.
Submit an application indicating the topic right now to find out about the possibility of obtaining a consultation.