Intercultural Polylogist of Modern Acting Training

The article examines the features of intercultural polylogue of modern acting training; identified and analyzed ways to unleash the potential of cultural diversity of theatrical, physical and spiritual practices, as well as identified strategies for the most effective exchange of methods and techniques of training actors between different cultural groups. It is revealed that modern world theatrical culture is characterized by increasing interest in methods of acting training, which, despite their diversity, combines not only the idea of the importance of the actor's training method and the need to develop his psychophysical apparatus, but also specific principles of training as a unique research method. helps to achieve a harmonious interaction of soul and body. Modern acting training in many countries is becoming increasingly intercultural: crossing borders, intercultural exchange in modern theatrical practice and the growing interculturality of the actor mean that at the present stage acting training is determined by many ways of learning and different worldviews. It is stated that the intercultural polylogue in the globalization period is becoming more intense, due to the rapid development of information technology, and this, in particular, applies to modern acting training. The phenomenon of acting training is that, differing in its unique intercultural principles, it becomes a kind of point of intersection, which marks a qualitatively new era in theatrical culture. It was found that the result of intercultural polylogue of different methods and techniques of acting skills was the formation of a unique approach to training as the most important condition of the creative process in the context of understanding the value system of another culture, the development of universal values

Specifics of interpretation of traditional eastern practices in European acting training

The purpose of the article is to identify the features of adaptation of oriental theatrical, physical, and spiritual practices by representatives of the European theater in the process of developing methods of actor training based on the analysis of acting training of leading directors of the twentieth century. - K. Stanislavsky, E. Grotovsky, E. Barba. Methodology. A typological method was used (to determine the specifics of acting training methods by K. Stanislavsky, E. Grotovsky, and E. Barba; interpretive method and method of comparative analysis (to identify common and different aspects of interpretation of Eastern practices by European directors); phenomenological method (to identify features of Eastern and spiritual practices and their adaptation to acting training), etc. Scientific novelty The specifics of borrowing and interpretation of traditional in East, Southeast, and Central Asia elements of actor training by Russian and European theater directors of the twentieth century are considered. K. Stanislavsky, E. Grotovsky, and E. Barba and revealed the peculiarities of adaptation by theater directors and teachers of elements of hatha yoga and Raja Yoga in accordance with their own understanding of the purpose of training in the art of acting. Conclusions. Various elements of traditional Western and Eastern cultural practices have been the focus of twentieth-century theater directors. in the process of developing innovative methods and techniques of educating the actor. Their research of local theatrical cultures contributed to the search for universal laws of stage conventionality, new acting methods of self-knowledge, and the disclosure of their own creative potential. In their own search for methods of educating the actor theater directors of the twentieth century. turn to the Eastern worldview, because the extraordinary method and a special view of the nature of consciousness and its functioning in the world contributes to the creation of training to solve a number of applied problems in the context of the specifics of acting. Translating material (Eastern practices) into a Western conceptual structure or any kind of synthesis of Eastern and Western concepts, simplifying, does not reveal the full depth of Eastern practices and religious orientations, but contributes to the actor's mastery of innovative methodological approaches, including intuitive insights, contemplation, contemplation. etc.

Actor's training in the context of distance education

The purpose of the article is to identify the features of teaching traditional acting techniques within the framework of new technologies and digital communication using the example of acting training in the context of distance education. Methodology. The topic of the article determined the use of an integrated approach using general scientific and theatrical research methods - this made it possible to determine a set of factors that determine the quality of teaching acting training in conditions of distance education. The method of theoretical study of foreign literature on the research problem has been applied; the method of studying and analyzing pedagogical experience; the method of systems analysis, which contributed to the consideration of online learning in the context of theatrical pedagogy as a kind of integrity in the variety of its internal and external connections; typological method, in order to identify the specifics of teaching acting training in the conditions of distance learning, etc. Scientific novelty. Investigated innovative approaches to teaching actors in the context of the use of new technologies in acting training; analyzed the specificity of cognitive, social and educational presence as key elements in the development and implementation of online education in the context of the peculiarities of teaching the skill of an actor; the features of transformation of acting training exercises, associated with tactile sensations, were revealed; it was stated that in the conditions of distance education in acting training, direct contact (touch of the body) can be mediated by means of vibrotactile quality of the voice. Conclusions. Teaching acting training can take on new forms, provided it is conducted in an online format. The study showed that the structure of theater pedagogy in general and teaching of acting training in particular requires a revision of co-presence as an ontological condition for the transfer of tacit knowledge, which has traditionally been in the epistemological structure of theater pedagogy. The shift in emphasis in teaching an actor from traditional to innovative ways is associated with a broad approach to the decentralization of the preliminary epistemological interpretation of the body as its unique and, accordingly, central direction. The biggest challenge for the teacher of acting in the transition to the online format is that this subject is predominantly group-oriented, based on working in physical spaces. Teaching acting training in the context of distance learning requires a holistic understanding of how the digital space works, and acting training, using these limitations, should be initially planned and created taking into account the dynamics of the networked world. When conducting acting training in a digital environment, the lack of contact must be replaced with other sensory sensations. An important aspect in the context of the designated problems is the social aspect, which forms the group dynamics among students. For this aspect, it is advisable to use a number of auxiliary applications, including the social network Facebook (for scheduling and quickly sharing visual materials) and software for web conferencing "Adobe Acrobat Connect".

Actress training by Michael Saint-Denis: improvisation in a mask

The purpose of the article is to analyze the features of the theatrical and pedagogical activity of M. Saint-Denis and to reveal the specifics of the acting training "Improvisation in a mask" in the context of students' work with a neutral and characteristic mask. Methodology. The biographical method was applied (to cover the director's and pedagogical activity of M. Saint-Denis); the typological method (for identifying and determining the main features of the theatrical pedagogy of M. Saint-Denis in general and the methods of teaching the actor developed by him in particular); the method of comparative analysis (for the study of the training "Improvisation in a mask" with neutral and characteristic masks), etc. Scientific novelty. Studied the actor's training "Improvisation in the mask" of the leading theater director and teacher of the twentieth century. M. Saint-Denis and revealed the features of the work of student actors with a neutral and characteristic mask; analyzed the theatrical and pedagogical activities of M. Saint-Denis as a standardizer of theatrical practice in the context of the developed and implemented curricula for acting in drama schools founded with his assistance (London Theater Studio, Old Vic School, Strasbourg Higher School of Dramatic Art, Canadian National Theater School and the Juilliard Drama Department). Conclusions. M. Saint-Denis's holistic model of acting training is formed on the basis of an organic combination of a physical approach, in which the body learns to turn into an absolute expressive instrument, an internal approach, the so-called realistic characterization, and a comprehensive understanding of the style in the context of mastering physical, vocal, intellectual, creative and emotional skills, allows student actors to master all kinds of drama. The study revealed that the mask was considered by M. Saint-Denis as a temporary working tool that helps to reduce feelings of insecurity and awkwardness, enhance the ability of internal self-awareness, enhance expression and experimental activity, develop concentration of attention, self-control of a student-actor and a harmonious path from the inception of physical qualities. character to their external dramatic expression. The student's task is to fill the mask, to give it life and feelings. If the actor who animates the mask is convincing and sincere, it feels like he has his own facial expression. The aim of the training is: to eradicate cliché-manners; teach students to develop and release creative impulses; to teach students to work on classical roles or roles of the "big style" (according to M. Saint-Denis).

Imagination as one of the key elements in the formation of a future actor psychotechnics

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.