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Sketches on fantastic circumstances skill of the actor. Physical action memory exercises

Sketches on fantastic circumstances skill of the actor. Physical action memory exercises

11.03.2019

DEVELOPING A SENSE OF TRUTH AND FAITH

These exercises consist in not having any objects in your hands, feeling them only with the help of your imagination, to perform physical actions in the same way as if these objects were in your hands.

For example, without having a faucet, soap to towels, wash your hands and dry them with a towel; to sew without having a needle or fabric in hand; smoking without cigarettes and matches; clean shoes without having shoes, brushes, waxes, etc. in hand.

When you look at well-executed non-objective actions, you completely believe that this is how the people who perform them sew,

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light up, etc., you see how exactly they feel objects that do not exist in their hands. K. S. Stanislavsky considers physical actions with a “dummy” to be the same daily exercises necessary for a dramatic actor as vocalises for a singer, scales for a violinist, etc.

“You can get the right state of health in the simplest, pointless action (K.S. sets the exercise to write a letter without paper, ink and pen) ...

Let's take this study: you have to write something on paper. Here you are looking for a pen, paper. All this must be done logically, without haste. Found paper. It’s not so easy to take paper, you have to feel how they take paper (points with fingers). You have to think about how you put it on your hand. She can slip on you. The first time you do it slowly. You must know what it means to dip a pen. Got the logic? So you shook off the pen, on which there was a drop of ink. You start writing. The simplest action. Finished. They put down the pen, blotted the paper, or shook it in the air. Here the imagination should tell you what to do in such cases, but only to the last degree of truth. You need to be able to own these small truths, because you will never find the big truth without them. For this little moment right-

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do you feel real truth. Your truth is in the logic of your most insignificant actions... It is necessary that you yourself feel that this is logical. This simple little action brings you closer to the truth.

In life, we do not remember the details of various small actions, because we do them habitually, mechanically. If we begin to act pointlessly from memory, and then perform the same action with a real object, then we will see what a large number of they missed the details, as they did not feel the object in their hands, its weight, shape, details. Therefore, at first, students are invited to take some very simple non-objective action. For example: light a match by taking it out of the box; tie a tie; thread a needle; pour water from the decanter into a glass, etc.

You need to work on these exercises at home: first do the exercise with real objects, then without objects, then repeat again with objects. This must be repeated several times, checking the sensations in order to remember with your muscles what it means to take an object, put it down, hang it up, take it off, etc.

1 K. S. Stanislavsky, Articles, speeches, conversations, letters, M., Art, 1953, p. 657.

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Students show results in class homework. We make comments and corrections. For example, while sewing, a student feels the needle and thread well, but she sews in one place and the fabric does not move. In another case, the trainee tried to do a non-objective action as quickly as in life, skipping the details: puts on a glove - good, takes off - bad, his hand is dead; removes the galosh - does not pull his leg out of it; pours water - does not close the tap; smokes - does not feel the taste of cigarettes; eats - does not feel the taste of food, etc. We point out to him the need to do everything more slowly than in life, we instill a taste for the smallest details of physical action. The hardest thing is lifting weights. These exercises need to be especially carefully worked out.

The emergence of a sense of truth is greatly helped by chance, which often occurs in the preparation of an exercise. For example, while sewing, a spool of thread has fallen and unwound. The participant of the exercise picked it up, wound the thread again. If this randomness is fixed, it will decorate the exercise.

Exercises with different justifications can be done in different rhythms. For example: I sew when I have a lot of time; I sew when I'm in a hurry.

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(List of exercises for the memory of physical actions performed in different time, attached, pp. 96, 97.)

In addition to single actions, paired actions are also interesting: sawing firewood; rowing a boat; unwind the fire hose; pump the pump; forge, etc.

Knowing that we encourage creative initiative in every possible way, students in theater school in one course, on their own initiative, they themselves prepared the entire test for the memory of physical actions. Non-objective actions were combined into one general study "Preparing for the New Year's Eve in a student dormitory." It began with sawing firewood. Two students sawed non-existent firewood with a non-existent saw, but the real sounds of a saw and falling logs accompanied the action. The sounding corresponded exactly to all the smallest details of the saw, from the first scratching of the log surface to the crack of a log breaking off. Next, the splitting of a torch, tearing paper, lighting matches, etc. was sounded. Preparing for the New Year, students changed into non-existent dresses, decorated a non-existent Christmas tree, set the table, opened non-existent canned food, wine, put fruits, sweets, etc. Exercises for the memory of physical actions were combined with exercises for the speed of permutations. For a minute

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the curtain closed, then opened - and a stove was heated on the stage, a real decorated Christmas tree shone with lights, there was a set table with those very real objects that were absent in pointless actions. The whole course sat at the table and met the twelfth strike of the clock with raised glasses.

In well-practiced non-objective actions, we check how much the person performing the exercise has mastered his attention and keeps it on the object, felt what freedom of muscles is (that is, he makes exactly as much effort as necessary for this action), how his imagination works, how he justifies the proposed circumstances, as far as he believes in the truth of his action and feels its logic.

On stage, actors have to drink from glasses that do not contain wine, read unwritten texts of letters, smell paper flowers, carry weights that are not heavy, operate with hot irons that are not hot - in a word, deal with a number of fake objects. It happens that on stage letters are written too quickly, glasses are waved so that wine should pour out of them, money is paid without an account, wine is poured into a glass in one fell swoop, etc. fake items.

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MEMORY EXERCISES FOR PHYSICAL ACTIONS PERFORMED AT DIFFERENT TIMES

Preparation of minced meat for dumplings

Combing

Repair of electrical plugs (burnt out)

Wallpapering a room

Sealing windows for the winter

Wall newspaper design

Ironing

Laundry

Inflating a bicycle wheel

Drawing drawing

Refilling a kerosene lamp

Dough preparation

Undressing and bathing in the river

painting a picture oil paints

Translation of an embroidery pattern

Watch repair

Kindling the stove

Preparing for breakfast

Joinery

Radiotelegraph operator

hanging curtains

Refueling the sewing machine

Double barrel cleaning

Fishing

cabbage shredder

Hanging laundry

Samovar (pours water, puts)

Bandaging the hand

Bed making

Typewriter typing

Machine sewing

harnessing horses

shower wash

Parcel preparation

Shoe lacing

Violin tuning

Herring cleaning

Unwinding wool

Transplanting flowers

Opening canned food

Chicken feeding

stringing beads

washing dishes

Curling a wig

Removing a car wheel

Photo printing

Room cleaning

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Bicycle dismantling, Fees for the evening, Dress cutting, Fountain pen disassembly,

Wall Clock Repair, Fabric Dyeing, Hair Cutting, Stick Cutting

Whip weaving

soup cooking

Cooking barbecue on a fire

Stucco Wall Harvest Knitting Crossing the Brook

Putting on the dress

floor washing

table setting

Clay crafting

Untying the box

with sweets

jam cooking

drinking tea

Getting water from a well

book binding

Vacuuming

potato peeling

Unpacking the parcel

There is another exercise that is close to non-objective actions - stage wrestling. The real struggle on the stage is uninteresting, goes beyond art because of its naturalism. The stage struggle consists in the fact that the actor guesses the strength and direction of the physical action of his partner, who only gives a hint of the action, and real strength does not apply, and wins back this force and direction of physical action. For example, I am squatting and my partner grabs me by the collar and lifts me up. Without applying any real force, he gives me the direction of movement, and I rise myself, truthfully continuing the line of his movement and guessing

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the force to be applied. Suppose I push him in response. It flies off, continuing the line of my movement and, as it were, guessing the expected strength of my push.

What is important here is harmony, attention to the partner and the application of force, which is used to lift weights in exercises for non-objective actions, when the weights weigh nothing.

But the main thing in this exercise is to truthfully perform an action: to fly as I would fly if I were strongly pushed in a certain direction, or as I would rise if I were lifted by the collar.

The same applies to other stage wrestling or fighting techniques that do not allow the use of real force.

PHYSICAL WELLNESS

“We are now in the classroom at the lesson. This is true reality. Let the room, its furnishings, the lesson, all the students and their teacher remain in the form and condition in which we are now. With the help of “if” I transfer myself to the plane of a non-existent, imaginary life, and for this, for the time being, I only change time and say to myself:; “Now it’s not three in the afternoon, but three in the morning.”

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Justify with your imagination such a protracted lesson. It is not hard. Let's assume that tomorrow you have an exam, and much has not been done yet, so we lingered in the theater. Hence new circumstances and worries: your family members are worried, because due to the lack of a telephone it was impossible to notify them of the delay in work. One of the students missed the party he was invited to, the other one lives very far from the theater and does not know how to get home without a tram, and so on. Many more thoughts, feelings and moods give rise to the introduced fiction. All this affects general state, which will give the tone to everything that will happen next. This is one of the preparatory steps for experiencing...

Let's try to make one more experiment: let's introduce into reality, that is, into this room, into the lesson taking place now, a new "if". Let the time of day remain the same - three o'clock in the afternoon, but let the season change, and it will not be winter, not frost at fifteen degrees, but spring with wonderful air and warmth. You see, your mood has already changed, you are already smiling at the mere thought that you will have a walk out of town after the lesson.

1. K. S. Stanislavsky, SOBR. Works, v.2, pp. 75-76

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Thus, with the help of creative imagination, the actor’s physical well-being arises in response to the question: how would you feel and what would you do if now, for example, it was very hot? Cold? Are you tired? Sick? Just bought out? Did you have lunch? Do you want to sleep? Went out to Fresh air from a smoky room? Has the first snow gone? etc.

In addition, physical well-being is greatly influenced by the mood that prevails in the place where you came.

If you enter a hospital where your dangerously ill friend is lying, you involuntarily submit to the atmosphere that surrounds the patient, and try to behave in such a way as not to disturb this atmosphere.

Entering reading room libraries, you will try not to interfere with those who study there. This will determine how you feel.

If you are late and come to the youth ball in the midst of fun, your well-being will be determined by the desire or unwillingness to join in the atmosphere of fun reigning at this ball.

You will walk down the street in different ways in spring or autumn, summer or winter, in clear weather or in rain and storm; to and from work, to and from the institute.

The simplest physical well-being, -

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determined by muscular effort, often found in plays.

Take, for example, "Our people - we will settle!" Ostrovsky.

Agrafena Kondratievna runs after her daughter Lipochka, who is spinning in a waltz.

Agrafena Kondratievna. How long should I run after you in my old age! Wow, tortured, barbarian!

As you can see, Agrafena Kondratievna is tired and exhausted so much that she can hardly speak. In the same act, the matchmaker enters the room. The fact that the matchmaker was out of breath is given directly in the text.

Ustinya Naumovna (entering). Phew, fa! What is it with you, silver ones, what a steep staircase: you climb, you climb, you crawl by force.

Somewhat more complex physical well-being in Balzaminov in the play by A. N. Ostrovsky "Festive dream before dinner."

Balzaminov (runs in, holding his head). Ear, ear! Father, ear!

Matryona (at the door, with tongs). I'm not a polik-machter, what to take from me!

Balzaminov. Why, I asked you to curl your hair, not your ears.

Matryona. And why did he grow big! Ying would go to the policeman, but what to take from me! (Exits.)

Balzaminov. Father, what should I do (goes to the mirror). Ah, ah, ah! Everything turned black! .. It hurts,

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there would be no need, if only to cover it with hair so that it was not visible.

Balzaminov a. For business!

Balzaminov. What hurt! So with hot tongs she grabbed the whole ear ... Oh, oh, oh! Mommy! Even to the fever... Oh, fathers!

We have taken several examples depicting simple physical well-being, but we must keep in mind that any actor any play, like every person at every moment of his life, is certainly in some kind of physical well-being.

We begin this section with simple exercises in which students look for physical well-being that corresponds to given proposed circumstances.

For example, I'm walking along the road:

a) hot. (One of the students played this exercise like this. A hot day in the south in May; he had just arrived, went out to the seashore, and the feeling of spaciousness, sea wind, the bright sun captured him; he wanted to take a bath. Using exercises for the memory of physical actions, he began to "undress", took off his T-shirt, trousers, slippers; sat “naked” for some time, basking in the rays of the hot sun, and then began to enter the water; she was very cold; a feeling of cold first covered the steps

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no, then, as he sank into the water, it became cold on his calves, knees, he began to pour himself cold water, thought whether he should swim, resolutely went deeper and, when the water covered his shoulders, "swam". In this exercise, he managed to convey both the seashore and the feeling of spaciousness, both heat and cold.)

b) in the rain c) through the mud; d) in a snowstorm; e) when slippery; e) in the fog; g) at dawn; h) along the hot sand of the beach, etc.

Students should know where, from where and why they are going, and these reasons become the source of physical well-being.

For example. If I walk along the road in the rain to the pharmacy for medicine for a seriously ill person, this is one thing; if I walk along the road in the rain on a date, this is different, although the road and the rain are the same. If the rain is small - this is one thing, if the downpour is another. An asphalt highway is one thing, a country road is another, a path in the forest is a third.

The exercise can be short if I walk quickly along the road, and long if I stand under a tree while waiting out the rain. I can justify it in such a way that the tree does not let raindrops through, but I can justify it in such a way that at first it protects me from rain, and then the rain still breaks through the foliage, and I have to move from place to place in search of dry

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islets. If I am in a raincoat or under an umbrella - this is one thing, if the rain took me by surprise - this is another.

Or, let's say I'm waiting on the platform for the arrival of the train. The circumstances here may be different. For example: a) ran, afraid to be late, and now I'm waiting, trying to catch my breath; b) the timetable has changed, the morning train has been canceled, but I did not know this and now I have been waiting all day for the evening train; c) I have lost my ticket and I am going to board the train without a ticket; d) the business on which I came was successful, and I am leaving successfully; d) going on vacation e) meet the authorities; g) meeting the bride; h) I am on duty at the station, etc.

All these reasons determine the different physical well-being and the corresponding line of behavior.

When doing exercises, it is important to believe in the plausibility of fictitious conditions and remember how you felt and what you did in similar circumstances.

In search of the physical well-being of the heat, students sometimes immediately start fanning themselves with handkerchiefs and wiping sweat. It is not true if these actions are only external, without a feeling of heat, when the rhythm of breathing changes, it dries in the mouth, you want to wash yourself, change your underwear, etc.

Seeking physical well-being in the cold

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students often immediately start twitching their shoulders, shivering, rubbing their hands and ears, kicking one foot against the other. They forget that first of all, you need to remember the true feeling of frost, which at first can be pleasant, invigorates, and then gradually freezes the legs, arms, ears, nose.

In addition, the feeling of frost is individual. One feels cold and suffers, the other enjoys the cold.

Here are some more initial exercises.

I enter the room: a) with wet hands after washing or washing; b) with dirty hands after firing the stove; c) with a soapy face, because in the midst of washing, the water in the washbasin ran out; d) after smearing a cut on the finger with iodine, etc.

Look for physical well-being under such circumstances: a) a nail in a shoe; b) shaking shoes; c) I'm tired, I want to sleep, but I can't sleep (on duty); d) came to someone else's house in wet clothes, inherited; d) waiting delicious lunch when you really want to eat; after a delicious dinner he fell asleep in an armchair; woke up by a phone call; I can’t get out of a sleepy state in any way; e) I want to smoke, but there is no cigarette; g) going to the train, late.

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Look for the patient's well-being if: a) the head hurts; b) a toothache c) pulled out a tooth; d) caught a cold, coughs, sneezes; e) high temperature; f) sprained a tendon on his leg, limps; g) a speck has got into the eye; h) was bitten by a wasp.

In these exercises, students usually begin to play the state of health. We, removing the tune, explain that one should not try to immediately show the result, that is, the final form of a given well-being, but one should look for the way in which this well-being accumulates.

For example. Tight boots. At first, when you put them on, it may seem that they fit. Then it turns out that they are tight, but you can endure, and in the end they cause such pain that you can’t walk in them.

However, in each case a justification must be found, and each student must do this exercise in his own way.

Exercises are performed in such a way that the action is the main one, and physical well-being accompanies it.

For example. I'm going to a very important evening for me. I put on new shoes, and it turns out that they are too tight. Events (suggested circumstances) that occurred before the student entered the stage will affect the physical state with which he enters the stage.

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In the emergence of true well-being, the main role is played by creative imagination. The biggest mistake will be if everyone starts to behave in the same way in conditions of heat, cold, rain, illness, etc. This will happen if they try to feel heat, cold or rain "in general." Different proposed circumstances will give everyone the opportunity to do the exercise in their own way, and it will become individual, multifaceted and unique.

For example, the exercise "In a new dress." A new dress can: a) like and dislike; b) reap; c) be worn for the one who gave it; d) break; e) be too free; f) to be too smart among the dresses of others, etc.

The exercise "Tired, sleepy" can be performed under a variety of proposed circumstances and does not at all resemble the same exercise performed by another student. Fatigue can be both pleasant and severe. You can’t sleep because it’s dangerous or very unpleasant if someone sees how I fell asleep on duty. Finally, it happens that a person sleeps with one eye and is awake with the other. It happens that a person takes measures not to fall asleep: he drinks strong tea, smokes, reads a newspaper, etc.

In life, fatigue certainly has

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individual expression. If we imagine a group of tourists tired after a long journey, we will see that one sleeps, sitting in the place where he sat down; another picked up an armful of straw and sat down on the straw; the third collects brushwood for the fire; the fourth eats something without waiting for the general supper; the fifth writes down the impressions of the day in a little book; the sixth is trying to wash himself, etc. - and all these various actions will be permeated with an atmosphere of fatigue.

Thus, physical well-being is made up of many circumstances and resembles a musical chord, the character of which is determined by the main note (say, fatigue), and the rest, shading the main one, give the chord an individual color.

In addition, physical well-being is constantly changing, sometimes even for a short period of time. For example, a chilled person comes into a warm room. At first he is still cold, he rubs his ears and hands, tries to get closer to the hot stove, then, after drinking hot tea, he begins to suffer from heat and seek coolness.

In Chekhov's sketch "The Guest", an annoying guest stayed up late at night at the owner's house. The owner wants to sleep, but he can’t make the guest understand that it’s time for him to leave. Finally

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after a long search, he found a way: he asked the guest for a loan. The guest immediately left.

In this scene, Chekhov miraculously showed the changes in the physical well-being of the owner. He wants to sleep, and in his irritation he goes berserk. But what a triumph he experiences when he nevertheless forces the guest to leave. This is how difficult the state of health can be for a person who wants to sleep.

With even greater brilliance and humor, the physical well-being of a person is described in Chekhov's story "Carelessness".

After some hesitation, overcoming his fear, Strizhin went to the closet. Opening the door carefully, he felt in the right corner for a bottle and a glass, poured it out, put the bottle back in its place, then crossed himself and drank. And immediately something like a miracle happened. WITH terrible force Like a bomb, Strizhin was suddenly thrown away from the closet To the chest. His eyes sparkled, his breath stopped, a feeling ran through his whole body, as if he had fallen into a swamp full of leeches. It seemed to him that instead of vodka, he swallowed a piece of dynamite, which blew up his body, the house, the whole lane ... His head, arms, legs - everything came off and flew somewhere to hell, into space ...

For about three minutes he lay motionless on the chest, not breathing, then he got up and asked himself:

The first thing he clearly felt when he came to his senses was the sharp smell of kerosene.

My fathers, I drank kerosene instead of vodka! - he was horrified. - Hierarchs, saints!

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From the thought that he was poisoned, he was thrown both into the cold and into the heat. That the poison had indeed been taken was evidenced, in addition to the smell in the room, by the burning sensation in the mouth, the sparks in the eyes, the ringing of bells in the head, and the prickling in the stomach.

“The physical well-being of joy can have many shades and feelings, and temperament, and even psychological springs ... There are no limits to the fantasy that works in human psychophysics to choose physical well-being”1.

These words of V. I. Nemirovich-Danchenko emphasize that the sphere of physical well-being is unlimited and sometimes manifests itself in an unexpected form.

Let us recall the finale of Leo Tolstoy's The Living Corpse.

FEDIA (after he shot himself in the heart). How good... how good... (ends).

It would seem that in his state of health, the pain from the wound should be the main one, but he does not feel it - on the contrary, liberation from moral suffering obscures physical torment.

Thus, physical well-being, from the simplest exercises to the most complex creative tasks, accompanies the actor during the action and sets the tone for everything that happens on the stage.

1 V. I. Nemirovich Ch-Danchenko, Articles, speeches, conversations, letters, M., Art, 1952, pp. 167-168.

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“The stage art arises when an actor accepts as truth what he himself created with his imagination,” writes E. B. Vakhtangov.

When in siena arises the life created creative imagination, then the actor must

CHANGE OF ATTITUDE

the attitude to the subject, place of action, events, partners will change.

By change of attitude, we mean that inner "rearrangement" which allows the actor to treat conventional objects, conventional scenes, and fictitious events as real, and partners as actors. For example, to treat a fake pistol as if it were real, to decorations and fake furniture as to the walls and furniture of your room, to an imaginary insult as if it were real, to a course comrade as to your father or enemy.

The main way for the emergence of a change of attitude is the magical "if", the creation of the proposed circumstances and the correct physical well-being.

“But in order for the imaginary world that the actor builds on the basis created by the work of the playwright to capture him

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emotionally and attracted to stage action it is necessary for the actor to believe in this world as in something as real as the reality around him. This does not mean that the actor should give himself up on stage to some kind of hallucination, that, while acting, he should lose consciousness of the reality surrounding him, take the scenery canvases for genuine trees, etc. On the contrary, some part of his consciousness should remain free from being captured by the play, to controlling everything he experiences and does as a performer of his role. He does not forget that the scenery surrounding him on the stage, props, is nothing but scenery, props, etc., but this does not matter to him. He seems to say to himself: “I know that everything around me on the stage is a rough fake for reality, there is a lie. But if all this were true, this is how I would react to such and such a phenomenon, this is how I would act ... And from the moment this creative “if” arises in his soul, surrounding him real life ceases to interest him, and he is transferred to the plane of another imaginary life created by him.

1. K. S. Stanislavsky, Articles, speeches, conversations, letters, M., Art, 1953, pp. 451-452.

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By virtue of a change in attitude to the subject, scene of action, event, partner, the well-being of the student, the logic of his actions and deeds, the flow of thoughts and feelings in accordance with the conditions that are set, also change.

This process takes place at every performance. On the stage are a number of real things and a number of sham things. ^However, very often real things are defective. The costumes are not made of wool, but of paper, instead of silk - satin, dishes made of papier-mâché and you can’t really drink from it, etc. The stoves are made of plywood and painted, but the actor, with his attitude and actions, makes the viewer believe that that in front of him is a real, warmly heated oven, and although both he and the viewer know that the oven is not real, in this moment it doesn't matter to them.

The actor, by his attitude, makes the viewer believe that the character receives not painted pieces of paper, but real money, and that a fake pistol can shoot and kill a person.

For example, Katerina in The Thunderstorm holds in her hand, however, a real key, but it’s not from the gate in the Kabanovs’ garden, and the gate itself doesn’t really exist, and the viewer knows this very well, but the actress draws him into her own, created her imagination the world and he together

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with her, she begins to believe that this key will give her the opportunity to see Boris.

How many do not put your teeth on the shelf, but creative people need to express themselves. And in order to reveal acting talent, improve stage skills, you need perseverance and patience. Acting exercises will help to acquire and hone all the skills necessary for a professional actor. After all, an actor on stage is not just a mechanical puppet that mindlessly follows the director's instructions, but a puppet that can think logically, calculate actions a few steps ahead. A professional actor is plastic, has good coordination, expressive facial expressions and intelligible speech.

Before you start to study and work out etudes and sketches to the fullest, you need to understand yourself a little. A real actor needs certain character traits that must be actively developed in himself. Other qualities should be hidden in the far corner and remembered very rarely.

Consider such a quality as self-love. It would seem - normal condition for every person. But this quality has 2 sides:

Self-love - makes every day to develop and learn, not to give up. Without this quality, even a very famous actor cannot become a famous actor. talented person.
Selfishness and narcissism is a dead end for acting career. Such a person will never be able to work for the viewer, all attention will be riveted to his own person.

A good actor cannot be distracted. He should not be distracted by extraneous noise while playing on stage. For acting, by its very nature, implies constant control of oneself and a partner. Otherwise, the role will simply become a mechanical representation. And attention allows you not to miss important details during training, watching theatrical performances, master classes and trainings. To learn how to concentrate, use the attention exercises from stagecraft.

Attention is the basis of a good start to a theatrical career

The development of attention does not begin with special exercises but with everyday life. A novice actor should spend a lot of time in crowded places, watching people, their behavior, facial expressions, and characteristic features. All this can later be used to create images.

Start a creative diary - this is a regular diary creative person. In it, express your thoughts, feelings, write down all the changes that have occurred with the surrounding objects.

After filling out the creative diary, you can proceed to working out scenes and sketches. A novice actor is obliged to convey as accurately as possible the image and facial expressions of the person he was watching. It is necessary to place prototypes in non-standard situations - it is such productions that show how much the actor was able to understand and get used to the character unknown person.

"Listen to silence"

The next exercise is the ability to listen to silence, you need to learn how to direct attention to a certain part of the external space, gradually expanding the boundaries:

listen to yourself;
listen to what is happening in the room;
listen for sounds throughout the building;
recognize sounds in the street.

Exercise "Shadow"

It not only develops attention, but also teaches you to move consciously. One person slowly makes any pointless actions. The task of the second is to repeat all movements as accurately as possible, try to predict them, and determine the purpose of the actions.

Pantomimes and dramatizations

A good actor is able to convey emotions expressively with words and body. These skills will help to involve the viewer in the game, to convey to him the full depth of the theatrical performance.

Pantomime - special kind performing arts, based on the creation artistic image through plasticity, without the use of words.

Best Exercise to learn pantomime - crocodile game. The goal of the game is to show an object, a phrase, a feeling, an event without words. A simple but fun game perfectly trains expressiveness, develops thinking, teaches you to make decisions quickly.
Dramatization of proverbs. The purpose of the exercise is to show with the help of a small scene famous proverb or an aphorism. The viewer must understand the meaning of what is happening on the stage.
Gesture game- with the help of non-verbal symbols, an actor can say a lot on stage. You need at least 7 people to play. Everyone invents a gesture for himself, shows it to others, then shows some other person's gesture. The one whose gesture was shown must quickly repeat it himself, and show the next someone else's gesture. Who lost - is out of the game. This game is complex, develops attention, teaches to work in a team, improves plasticity and coordination of hands.

Exercises for the development of plasticity

If things are not going well with plastic surgery, this deficiency can be easily corrected. With regular performance of the following movements at home, you can learn to better feel your own body, skillfully manage it.

"Painting the Fence"

The exercise “painting the fence” develops the plasticity of the hands and arms well. It is necessary to paint the fence using the hands instead of a brush.

What exercises make hands obedient:

smooth waves from one shoulder to another;
invisible wall - you need to touch the invisible surface with your hands, feel it;
rowing with invisible oars;
twisting clothes;
pulling an invisible rope.

"Pack it up"

More difficult task- "collect in parts." It is necessary to assemble in parts some kind of complex mechanism - a bicycle, a helicopter, an airplane, to create a boat from the boards. Take an invisible part, feel it with your hands, show the size, weight and shape. The viewer must imagine what kind of spare part is in the hands of the actor. Install the part - than better than plastic, the faster the viewer will understand what the actor is collecting.

"stroking the animal"

Exercise "petting the animal." The task of the actor is to stroke the animal, pick it up, feed it, open and close the cage. The viewer must understand - this is a fluffy hare or a slippery, wriggling snake, a small mouse or a big elephant.

Development of coordination

The actor must have good coordination. This skill allows you to perform complex exercises on stage, perform several movements at the same time.

Coordination exercises:

Swimming. Extend straight arms parallel to the floor. With one hand, make circular movements back, with the other - forward. Move your hands at the same time, periodically change the direction of movement of each hand.
Knock - stroke. Put one hand on your head and start stroking. Place the other hand on the stomach, lightly tap. Do movements at the same time, not forgetting to change hands.
Conductor. Stretch out your hands. One hand moves up and down for 2 beats. The other one performs arbitrary movements for 3 cycles. Or draws geometric figure. Use both hands at the same time, periodically change hands.
Confusion. Extend one arm, with a straight arm, make circular movements clockwise, while simultaneously rotating the brush in the other direction.

These exercises are not easy to do at first. But constant practice brings results. Each exercise should be repeated at least 10 times every day.

Scenes and sketches for beginner actors

A novice actor does not have to invent everything from scratch. The ability to qualitatively copy and imitate is an integral part of performing arts. You just need to find a movie with your favorite character, try to copy his facial expressions, movements, gestures and speech as accurately as possible, convey emotions and mood.

The task seems simple, but at first it can be difficult. Only regular classes will help hone the skill of imitation. In this exercise, you can not do without attention and the ability to concentrate on the little things. Jim Carrey has a good gift for imitation - he has a lot to learn.

Exercise "Think"

The acting profession suggests well developed fantasy and imagination. You can develop these skills with the help of the “Think Out” exercise. You need to go to crowded places, choose a person, observe, pay attention to appearance and demeanor. Then come up with a biography for him, a name, determine the occupation.

Scenic speech

Good stage speech involves more than just clear pronunciation and good articulation. A good actor should be able to shout softly and whisper loudly, convey emotions, age and state of mind hero.

To learn how to betray emotions in a word, you need to pronounce a simple phrase from the point of view of different characters - a little girl, a mature woman, an aged man, a famous actor or politician. You need to find special intonations for each character, use typical speech turns.

Development Exercises stage speech:

Blow out the candles. Take in more air, blow out 3 candles in turn. The number of candles must be constantly increased, the muscles of the diaphragm must be used when inhaling.
Practicing exhalation technique. The poem "The House That Jack Built" is suitable for this exercise. In one breath, it is necessary to pronounce each part of the work.
Improving diction. Slurred speech is unacceptable for good actor. You need to honestly identify the problematic sounds in your speech, daily pronounce tongue twisters that are aimed at eliminating the problem. You need to do at least half an hour 3-5 times a day. Tongue twisters teach to speak clearly at a fast pace, which is extremely important in acting.
Intonation plays a prominent role in creating the right image. For training, it is necessary to read aloud artistic dramatic texts daily.

Acting exercises can be studied independently, various trainings will come to the rescue. But it is better to study in the company of like-minded people - you can go to courses or arrange theater evenings at home. The main thing is to never give up, always believe in your own talent, move towards the intended goal.

The entrance exam for the acting department of any theater school includes a small sketch in which the applicant must demonstrate his acting skills. It is very important that it is he who leaves a positive impression with the selection committee, because this type of creativity is closest to those practical training waiting for you on the course. Usually, before preparing for exams, applicants do not encounter this concept and, on the whole, have a poor idea of how to make a sketch for admission to a theater university and what exactly it will be evaluated by the examiners.

An etude is an exercise in the form of a small scene for practicing a certain acting skill (memory of physical actions, evaluation, interaction with a partner, etc.), with an average duration of 3-5 minutes.

Most often, an acting sketch has a full-fledged plot with a plot, a climax and a denouement, but in some cases it can also be plotless, for a plausible existence in the circumstances. Etudes are:

For reincarnation. Such etudes are built on the basis of the actors’ personal observations of people, their reaction to events, the way they walk, speak, etc. The meaning of the exercise is to learn to notice, remember and reproduce as detailed as possible character traits person or animal.

I am in the circumstances. Here the student is invited to "play" himself in various life situations: invented, or actually taking place. As a rule, such studies are based on overcoming or adapting to non-standard circumstances. For example, a pipe burst in your house, five minutes before a date you tore your dress, etc.

To the memory of physical actions. In these sketches, the actor does ordinary things, but with imaginary objects. The meaning of the exercise is the development of physical memory of sensations and the ability to use it (a trained actor does not play sensations on stage, but pulls them out of memory and reproduces them). For example, students cut vegetables without a knife and the vegetables themselves, clean the apartment without a mop and a broom, take a shower without water, etc.

Not in everyone educational institution you will be allowed to show a sketch of a non-objective action, which you have specially prepared for this. It is possible that the commission will give the circumstances for the sketch right at the exam and you will have to improvise.

It is impossible to predict the type, theme and direction of an improvisational study, and besides, you will not have time to prepare. The examiner might suggest something like, "sit in a chair and pretend you're in a very stuffy room, but you can't get out." At the first request, you must join the study and exist in it until the commission stops you. It is better to prepare for this in advance, otherwise it will be difficult to enter a theater university.

How is acting sketch evaluated?

There are no strict criteria for evaluating a study at the entrance exam, but there is a list of factors that will surely affect the assessment of the examiners. Among them:

realism,
sincerity,
entertainment.

That is, the qualities that distinguish good show from the bad, regardless of genre and specificity. You should also understand that you are being hired for training, not for work. Nobody is going to put your sketch on big stage in front of the general public, and you have absolutely no obligation to perform it at the level of a Hollywood star. Actor's sketch is assessed by the examiners not in terms of skills that the applicant cannot and should not have, but in terms of the presence of inclinations and prerequisites for creative growth.

realism or believability

Remember the famous "I do not believe!" Stanislavsky? An etude on a given topic must be prepared in such a way that your personal imaginary Stanislavsky will never shout anything like that. To do this, you should be attentive to details: if you show an etude “in the desert”, you must sweat. It doesn't matter that you can't actually sweat, it matters that your body acts like it's actually been sweating for hours on end. Forget about it for a moment, and you are no longer in a hot desert, but in a cool studio where the exam is taking place, and the viewer will definitely notice this mistake.

Sincerity

This is the most difficult skill, it is not given immediately and not to everyone. Most students have to radically reconsider their views on acting and ideas about this profession before they manage to master the art of inner experience. The hardest thing to cope with this task is for girls. They go to the theatre, cinema or theater arts studio under the impression of vivid images famous actresses and see themselves on the stage/screen the same: beautiful, charming, sexy, etc. Out of ignorance of the methods by which all of the above is achieved, girls begin to play and portray beauty, trying with all their might to please the viewer. It turns out that this is always feigned and false, and if you offer such an exalted applicant to play a prostitute or a homeless woman, a culture shock will happen to her.

The hardest thing in acting- don't play anything.

In fact, beauty, and sexuality, and charm - all this can be (or not be) only inside. If this is not there, no matter how much you play, nothing will come of it, and if there is, everything will work out by itself, and you won’t have to play. In addition, the actor is a dependent and forced profession, it is unlikely that you will have the opportunity to choose your own roles. From here essential advice: Let go of yourself and don't try to impress the examiners, focus on completing the task as you would in life. You do not play for the audience when you clean the room or cook dinner.

entertainment

In acting slang, there is a more accurate word - "watchability". Despite all the other virtues of your study, such as deep immersion in the role, believable behavior in circumstances, etc., the study should be something interesting to watch. What exactly - this is your author's business, the main thing is not to show how the paint dries.

Remember that the theater first performs an entertaining function and only then all the rest. Everything that you do in the theater should be interesting for the audience.

What makes a study interesting? This is primarily the eventfulness and severity of circumstances. With eventfulness, everything is clear: a study in which nothing happens can not be of interest to anyone. Acute circumstances are those circumstances in which your character finds himself between a rock and a hard place. Everything he does is not just important to him, but vital. As an example, we can take the classic situation: an unfaithful wife and lover hear her husband open the door.

Choosing a topic for sketches

The possibilities of choosing a theme for studies are not limited by anything, this is part creative work, which indirectly characterizes your interests. You should choose a topic, taking into account, first of all, your own convenience: if you have never been to a construction site, the “builder” study is clearly not for you. If you have been only once, you can show the study "apprentice builder", about an unlucky student who loses everything on the first day. Start from your experience and do not invent anything.

If your study is the observation of a person or animal, take the character that best suits you, and do not neglect personal sympathies. Art is a game, the most valuable thing in it is the pleasure derived from the game. As long as you are an applicant, a student of a theater school for adults or acting classes in Moscow, you are given complete freedom to choose characters and characters, use it to your heart's content.

Schematic example of a study

Exposure. The action takes place in the store. Showcase, telephone, shelves with goods. The seller sits at the counter and reads a newspaper. The buyer enters the store and waits for the seller to notice him.
Tie. The customer gets tired of waiting and coughs loudly. The seller lazily looks up from the newspaper and glares at the buyer with a hating look.
Development of events. The shopper, delighted to have received attention, fumbles in his pockets for a shopping list. Finds a list, opens his mouth to read the word "oranges", but suddenly the phone rings.
Climax. The seller rushes to the phone and starts chatting with someone friendly and enthusiastically about all sorts of nonsense. The buyer understands that he has lost the attention of the seller for a long time, and begins to inspect the store. He approaches a box of oranges, looks askance at the salesman who is carried away by the conversation, guesses the moment and quietly takes out the box.
Interchange. The seller ends the conversation and finds that neither the buyer nor the oranges are in the store anymore.

Many professions are stressful, sometimes you need to maintain composure, and at important meetings you should follow the non-verbal signs given by the body and facial expressions of your interlocutor. Acting courses for adults will help you become a specialist in these skills, in which the teacher explains how to control emotions and “read” them from others.

DEVELOPING A SENSE OF TRUTH AND FAITH

When you look at well-executed non-objective actions, you completely believe that this is how the people who perform them sew,

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“You can get the right state of health in the simplest, pointless action (K.S. sets the exercise to write a letter without paper, ink and pen) ...

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you feel the real truth. Your truth is in the logic of your most insignificant actions... It is necessary that you yourself feel that this is logical. This simple little action brings you closer to the truth.

In life, we do not remember the details of various small actions, because we do them habitually, mechanically. If we start to act pointlessly from memory, and then perform the same action with a real object, we will see how many details we missed, how we did not feel the object, its weight, shape, details in our hands. Therefore, at first, students are invited to take some very simple non-objective action. For example: light a match by taking it out of the box; tie a tie; thread a needle; pour water from the decanter into a glass, etc.

1 K. S. Stanislavsky, Articles, speeches, conversations, letters, M., Art, 1953, p. 657.

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In the classroom, students show the results of homework. We make comments and corrections. For example, while sewing, a student feels the needle and thread well, but she sews in one place and the fabric does not move. In another case, the trainee tried to do a non-objective action as quickly as in life, skipping the details: puts on a glove - good, takes off - bad, his hand is dead; removes the galosh - does not pull his leg out of it; pours water - does not close the tap; smokes - does not feel the taste of cigarettes; eats - does not feel the taste of food, etc. We point out to him the need to do everything more slowly than in life, we instill a taste for the smallest details of physical action. The hardest thing is lifting weights. These exercises need to be especially carefully worked out.

Exercises with different justifications can be done in different rhythms. For example: I sew when I have a lot of time; I sew when I'm in a hurry.

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(A list of exercises for the memory of physical actions performed at different times is attached, pp. 96, 97.)

In addition to single actions, paired actions are also interesting: sawing firewood; rowing a boat; unwind the fire hose; pump the pump; forge, etc.

Knowing that we encourage creative initiative in every possible way, students at the theater school in one course, on their own initiative, prepared the entire test for the memory of physical actions. Non-objective actions were combined into one general study "Preparing for the New Year's Eve in a student dormitory." It began with sawing firewood. Two students sawed non-existent firewood with a non-existent saw, but the real sounds of a saw and falling logs accompanied the action. The sounding corresponded exactly to all the smallest details of the saw, from the first scratching of the log surface to the crack of a log breaking off. Next, the splitting of a torch, tearing paper, lighting matches, etc. was sounded. Preparing for the New Year, students changed into non-existent dresses, decorated a non-existent Christmas tree, set the table, opened non-existent canned food, wine, put fruits, sweets, etc. Exercises for the memory of physical actions were combined with exercises for the speed of permutations. For a minute

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Bubnova Elena Vladimirovna, Professor FSBEI HPE "Krasnoyarsk state academy music and theater”, Krasnoyarsk [email protected]

Stanislavsky's method of physical actions and the first physical action memory exercises

Annotation. The article proves the direct and closest relationship between exercises for the memory of physical actions and the method of physical actions of the greatest discovery made by the brilliant reformer of the Russian and world theater K.S. Stanislavsky. Only by mastering the truth of the simplest physical actions through exercises without an object, one can come to an organic existence in the role, to the highest artistic technique. Key words: K.S. Stanislavsky, role, art of the actor, method, elements, physical action.

This article is, of course, primarily addressed to students and people interested in acting from the point of view of the “school” of this art. As you know, K.S. Stanislavsky considered action to be the only and indisputable basis of acting art. What is action in the work of an actor? It is not a mechanical movement. Action is act of will which aims to achieve a certain goal. For the art of acting, action is the material. Therefore, the task of training actors becomes a comprehensive study of this action.

The first thing students have to theater faculty pass the department, that is, the very first control lesson on the skill of an actor is exercises for the memory of physical actions, otherwise exercises with imaginary objects. The meaning of these exercises is that, without having any objects in your hands, only feeling them with the help of your imagination, you need to perform physical actions as if these objects were in your hands. Students pass these exercises after studying for only two months. And since any training goes from “simple to more complex”, these exercises probably seem to be the simplest of everything that students have to master in 4 years of study, since they are the first. But K.S. Stanislavsky, according to the system of which he is trained, attached exceptional importance to this particular type of exercise and it was them that he strongly recommended to make the basis of professional training. Moreover, he believed that both a beginner and an experienced actor should train on them. K.S. Stanislavsky argued that exercises with a "dummy" (as he called these exercises) for an actor drama theater have the same meaning as for a scale pianist. And he insisted that it was exercises for the memory of physical actions that should be done systematically and throughout the entire professional life actor. So what gave rise to K.S. Stanislavsky to assert that "he who performs small physical actions already knows half of the system." And one more thing: “Prepare me actors who can act pointlessly ... and with such a troupe I can do wonders”? So why did he say that, and what reason did he have for this? It turns out, very, very serious! After all, it is these seemingly simple exercises for the memory of physical actions that are directly related to the method of future work on the role.

The art of the actor is considered high art only when the actor puts into his art genuine passion and lively temperament, that is, genuine feelings. And here is K.S. Stanislavsky, thanks to his teaching, his system (the likes of which nothing has been created in the entire history of the world theater), showed the surest and only way to reveal the true human feelings, freed the actor from the painful concern for these true feelings, and eliminated the very possibility of an actor admiring his feelings. Namely: the transfer of the actor's attention from the search for feelings within oneself to the fulfillment stage task this is one of greatest discoveries K.S. Stanislavsky, which solves a big problem of our artistic technique. Having reached the heights of acting in his work, K.S. Stanislavsky was remarkable (genius) in that he thoroughly studied the elementary foundations of the art of the actor and created a method that provides unlimited opportunities for the development of acting technique, as well as the growth and advancement of the art of theater in general. And the formulated theoretical provisions of the system became for the contemporaries of K.S. Stanislavsky (E.B. Vakhtangov and Vs.E. Meyerhold) as a stimulus for their own creative pursuits, each of which went to theatrical art in his own way, honoring Stanislavsky as a teacher and patriarch of the theater. So, watching the play of great artists, K.S. Stanislavsky, first of all, tried to understand what special quality makes their playing really great art, and in what way they achieve this. What method is used in working on a role, and is it possible, having determined the elements of acting art, to create a technique that an ordinary actor could use, a technique that would be the most correct, most shortcut leading to creativity. After all, it is difficult to imagine the development of the technique of any art until the elements of which it is composed are unknown. In any art they (elements) are quite obvious in music it is sound, in painting it is color. In drawing a line, in pantomime a gesture, in literature a word. K.S. Stanislavsky argued that the main element of the actor's art is an organic, expedient, productive, authentic action. Stanislavsky used to say that craft has two, three, maximum ten tricks to solve this or that stage moment, while nature has an innumerable number. And we must act according to its laws. He believed that this was the only correct way and that only the highest artistic technique could bring the actor into harmony with nature. And you can master this technique only through hard work on yourself through enhanced daily training. Affirming organic nature as a decisive force in the actor's work, Stanislavsky created a system for approaching it. feelings for which the theater exists. But K.S. Stanislavsky did not immediately come to this simplest conclusion. At one time, the teachings of K.S. Stanislavsky made a revolution in theatrical art, since he made a revolution in the work on the performance, starting this work with "table" rehearsals, namely with a thorough analysis of the play and the images of the future performance. K.S. Stanislavsky thereby raised common culture theater and acting culture in great height. So, when his teaching was recognized and he had big number supporters and followers, the restless and endlessly searching K.S.Stanislavsky discovered the dangers in this teaching of his. And the main danger was contained in the one-sided and one-sided development of the actor, since in the so-called "table" period, that is, in the period analytical work, the actor's brain worked, but not the physical apparatus, which at that time remained indifferent. As a result, the actor learned to analyze and reason about the image, but not to act. And this one amazing person K.S. Stanislavsky, who never rested on the achieved result, surprised everyone. He began to reconsider his entire system and towards the end of his life came to create a completely new method, which later became known as the method of physical actions. This new method of the actor working on the role of K.S. Stanislavsky for the first time consistently used in his work on the play "Tartuffe" J.B. Molière.

Stanislavsky checked his great discovery at home, meeting with students, conducting classes with them and rehearsing. He continued to be listed as the head of the Moscow Art Theater, but did not go there. The period from 1928 to 1938 was tragic for K.S. Stanislavsky, he no longer came to the theater he created and lived the life of a recluse. Stanislavsky conjured: “We must make a new coup in performing arts, start from the basics, experiment, try, rely on people who believe in the correctness of these searches. But he was not heard. Only a small group of actors who believed him and decided to go with their teacher to the end attended his rehearsals. This was exactly the work on the play by J.B. Molière's "Tartuffe" and work on the staging of the poem "Dead Souls" by N.V. Gogol. Based on the inseparable unity of mental and physical life man, this method brought more concreteness to the work of the actor, as it was built on the correct organization of the physical life line of the stage image. To create this image the actor must evoke deep feelings and complex experiences in himself. This can be done only through the correct performance of physical actions, through the logic of these actions. This is the essence and meaning of this method.

K.S. Stanislavsky categorically forbade learning the text. This was an indispensable condition for work, and if someone suddenly, during the rehearsal of Tartuffe, began to speak in verse by J.B. Molière, then K.S. Stanislavsky immediately stopped the rehearsal. This was already considered, as it were, the helplessness of the actor, since he clung to the text, to the words, and even to the exact author's text. It was considered the highest achievement if an actor with a minimum number of the most necessary words could show a scheme of purely physical actions on which this or that scene is built. And until this scheme is found, this scheme is not traced, until the actor believes the truth of his physical behavior in this scheme, he should not think about anything else. K.S. Stanislavsky insisted that it is necessary to start preparing the role first of all with the establishment of a logical sequence of physical actions. He demanded, without text, without mise-en-scenes, knowing only the content of each scene, to play everything according to the scheme of physical actions, and asserted that a role prepared in this way would be thirty-five percent ready. Stanislavsky said that the role cannot be mastered immediately. There is always a lot of obscure, incomprehensible, insurmountable in it. Therefore, it is necessary to start with what is most obvious, most accessible, and what is easily fixed. He taught to seek the truth of the simplest physical actions that are obvious. And he argued that, the truth of physical actions will lead to faith, faith will turn into “I am”, and then all this will merge into creativity. K.S. Stanislavsky never ignored the elements of the actor's physical behavior in the process of creating the image, he always drew the attention of the actors to the essential importance of control over the purity and completeness of any, even the most insignificant physical action. However, at the very last period his activities, K.S. Stanislavsky put forward this element as an element of paramount importance. And the actors were required not to talk about feelings, since feelings cannot be recorded. He said that only a physical action can be remembered and recorded. And that is precisely why a significant link in mastering the method of future work on the role of K.S. Stanislavsky considered the technique of mastering pointless actions, since these exercises help to comprehend the nature of the simplest physical actions, restore their logic and sequence. It can be argued that exercises for the memory of physical actions are aimed at developing the highest artistic technique that K.S. dreamed about. Stanislavsky. Actions without an object is a real classic example of the simplest physical actions, because these actions are easily controlled by consciousness. The ability to control these actions brings them to the full truth, and then the belief in the authenticity of what is being done, and then organic nature itself with its subconscious enters into the creative process. These exercises are not only included in acting training, they are very deeply connected with creativity. As you know, intuition (that is, knowledge, conditions, the receipt of which is not realized) is the most important mechanism of creativity. During one of the rehearsals, K.S. Stanislavsky spoke to the actor V.O. Toporkov, who plays the role of Chichikov, that he (Toporkov) was picked up by a wave of intuition and therefore played the scene excellently. And this is the most valuable thing in art. Without it, there is no art. K.S. Stanislavsky assured the actor that he would never be able to play like this again. You can play worse, you can play better, but what was here now is unique and therefore valuable. Even if you try again to play what he just played, nothing will come of it. This is not fixed. You can fix only those paths that led to this result. K.S. Stanislavsky said that he tormented the actors with the search for a sense of the truth of the simplest physical actions, because this is the path to the awakening of intuition. He pushed the actors on the path of a simple logical sequence. Feeling the logic of their behavior, they believed their actions and began to live on stage with a genuine, organic life. K.S. Stanislavsky argued that this logic is in the hands of the actors, it is fixable, it is understandable, and yet this is the path to intuition. Stanislavsky called for studying this path, memorizing only it, and the results will come by themselves. It must be said that the method of physical actions is the method, following which the actor arrives in the shortest way to create a stage image. Therefore, non-objective actions, that is, exercises with a “dummy” (this is a brilliant invention of K.S. Stanislavsky), or as they are now called exercises for the memory of physical actions, occupy most important place in the program of the fundamentals of the actor's mastery already in the first year and are directly related to the method of future work on the role.

It should be added that physical actions not only direct the actor to Right way in the process of his work on the role, but are also the main means of acting expressiveness. After all, nothing so vividly conveys the state of mind of a person as his physical behavior. Therefore, the separation of the physical side of a person’s behavior from his mental side is, of course, a conditional thing and is a pedagogical technique invented by Stanislavsky, since physical actions, depending on certain proposed circumstances, necessarily turn into psychophysical actions. And yet, maybe off topic, one touch to the portrait. K.S. Stanislavsky said that many people know the system, but only a few can apply the system. “I, Stanislavsky, know the system, but I still don’t know how, or rather, I’m just beginning to be able to apply it. In order to master the system I have developed, I need to be born a second time and, having lived to the age of sixteen, start my acting again. ”And he also said that the system is needed only in order to discover full speed creativity of the organic nature of the artist. It is needed in cases where the role does not work out. That's how he was K.S. Stanislavsky is “an ordinary genius and an extraordinary person”, as our great contemporary G.A. Tovstonogov.

Links to sources 1. Kristi G. The education of an actor of the Stanislavsky school. Moscow: Art, 1978. P.86.2. Ibid. S.8788.3. Kiseleva N.V., Frolov V.A. Basics of the Stanislavsky System: Tutorial Rostov n./D: Phoenix, 2000. P.122.4. Toporkov V.O. Stanislavsky at the rehearsal. Memories. M.: ASTPRESS SKD, 2002. P. 147148.5. Tovstonogov G.A. Stage mirror. Book. 1: About the profession of a director L.: Art, 1980. P.42.