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There were actors who played characteristic and semi-character ( demi-caractere) roles in comedies, philistine dramas and melodramas (Tragedy required a sublimely abstract, non-domestic manner of play). The development of realistic tendencies in the European theater of the 19th century led to the need to put any character in connection with the environment, era, social life. Actors, striving for artistic truth, looked for features of social, historical, everyday character in all the types they portrayed. Among the largest Russian character actors of the late 18th - early 19th centuries, one should single out A. M. Krutitsky, S. N. Sandunov, A. E. Ponomarev, A. A. Pomerantseva and others. M. S. Shchepkin is characteristic in the tragic role of the Baron (“The Miserly Knight” by A. S. Pushkin), V. V. Samoilov - in the role of King Lear. L. P. Nikulina-Kositskaya - in the role of Katerina ("Thunderstorm"). In all these cases, the characteristic was not only external, but also internal: it colored the psychology of the character, his aspirations and feelings. A. E. Martynov in the “characteristic” role of Tikhon (“Thunderstorm”) and P. M. Sadovsky in the role of Lyubim Tortsov (“ Poverty is not a vice”) and others went beyond this role, deepening their game to a tragic sound. Realism, in fact, eliminated this role, and in this sense, K. S. Stanislavsky said that the characteristic should be present in every image, including the hero and lover. In modern theater, the concept character actor is often used only to emphasize the dominant feature of the actor's creative individuality.
In cinema
American film critics often point out that character actors Always are secondary characters. Professor Ira Königsberg defines the character actor in the Complete Dictionary of Cinematography as follows: "A character actor is an artist who specializes in supporting roles of a pronounced and often humorous content." As noted by the famous American film critic David Thomson, a character actor can play any role in a film, with the exception of the main one. The range of such roles for a character actor, according to Thomson, begins with the roles of the main characters (but not being decisive, key characters) and ends with roles a la "appeared in the frame and immediately fell dead" (in American film criticism, such characters are usually called " red shirts).
Character actor career
Theater and film critic Michael Anderegg points out that there is a difference between a character actor and a movie or television star, which is that the actor embodies a particular role, while the star embodies myself in one role or another.
There are several reasons why many actors choose character roles. It's much easier to audition for a supporting role than it is to get a lead role in a movie or series. Most films have only one to three main characters, and there are usually more supporting characters. Also, important type The actor he gets the role from: Actors Dennis Hopper and Steve Buscemi rose to fame playing a lot of villain roles in movies, while Jane Lynch, Melissa McCarthy, Lisa Kudrow and Cloris Leachman became known for playing eccentric women.
The path to leading roles
Some actors who started out as character roles ended up starring in leading roles. These include Kathy Bates, who played her first major role in 1990 in the movie Misery and after that received a couple more major roles, and also returned to the status of an episode actress. Whoopi Goldberg, Fran Drescher, Angela Lansbury, Heath Ledger, Felicity Huffman, David Carradine, Sean Connery, Leslie-Anne Down, Christopher Lloyd, William H. Macy, Meryl Streep, Donald Sutherland, Jodie Foster, Dana Delaney, Maggie Smith, Tim Roth, Laurence Olivier also achieved success in different years after character roles, playing leading roles.
see also
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Notes
- Character Actor // Theatrical Encyclopedia / Ch. ed. P. A. Markov. - M .: State. scientific publishing house "Sov. encyclopedia ", 1967. - T. 5. - S. 579.
- Litosova M. K. Professional speech of an actor and director: terminological and non-terminological phrases: a textbook for students of theater universities. - M .: , 1989. - S. 99. - 208 p.
- Romanovsky I.I. Character Actor // Mass Media: Dictionary of Terms and Concepts. - M .: The Union of Journalists of Russia, 2004. - S. 400. - 477 p. - ISBN 5-8982-3050-5.
- Dubrovskaya O. N. Character actor // . - M .: OLMA-PRESS Education, 2002. - S. 290. - 320 p. - 5 thousand, copies. - ISBN 5-94849-106-4.
- Chisholm, Hugh. Character actor // The Encyclopaedia Britannica: a dictionary of arts, sciences, literature and general information (English) . - 11th edition. - N. Y. : Encyclopaedia Britannica, 1910. - Vol. V.-P. 856.
- Konigsberg, Ira. Character actor // The Complete Film Dictionary (English) . - 2nd Ed. - N. Y. : Penguin Reference, 1997. - 469 p. - ISBN 0-670-10009-9.
- Arnheim, Rudolph. In Praise of Character Actors // / Edited by Pamela Robertson Wojcik. - N. Y. : Routledge, 2004. - P. 205. - 240 p. - (In focus). - ISBN 0-415-31024-5.
- Stein, Ben (April 8, 1996). "". new york magazine(New York Media, LLC) 29 (14): 44. ISSN.
- Anderegg, Michael. Cameos, Guest Stars and Real People // / Edited by Laurence Goldstein, Ira Konigsberg. - Ann Arbor: University of Michigan Press, 1996. - P. 155. - 338 p. - ISBN 0-472-06640-4.
An excerpt characterizing the Character Actor
“Vasily Denisov, your son’s friend,” he said, introducing himself to the count, who looked at him inquiringly.- Welcome. I know, I know,” said the count, kissing and hugging Denisov. - Nikolushka wrote ... Natasha, Vera, here he is Denisov.
The same happy, enthusiastic faces turned to the shaggy figure of Denisov and surrounded him.
- My dear, Denisov! - Natasha squealed, beside herself with delight, jumped up to him, hugged and kissed him. Everyone was embarrassed by Natasha's act. Denisov also blushed, but smiled and took Natasha's hand and kissed it.
Denisov was taken to the room prepared for him, and the Rostovs all gathered in the sofa near Nikolushka.
The old countess, without letting go of his hand, which she kissed every minute, sat next to him; the rest, crowding around them, caught his every movement, word, glance, and did not take their eyes off him with enthusiastic love. The brother and sisters argued and intercepted places from each other closer to him, and fought over who would bring him tea, a handkerchief, a pipe.
Rostov was very happy with the love he was shown; but the first minute of his meeting was so blissful that it seemed to him that his present happiness was not enough, and he kept waiting for something more, and more, and more.
The next morning the visitors slept off the road until 10 o'clock.
In the previous room, sabers, bags, carts, open suitcases, dirty boots were lying around. The cleaned two pairs with spurs had just been placed against the wall. Servants brought washstands, hot water for shaving, and washed dresses. It smelled of tobacco and men.
- Hey, G "bitch, t" ubku! shouted the hoarse voice of Vaska Denisov. - Rostov, get up!
Rostov, rubbing his eyes that were stuck together, lifted his tangled head from the hot pillow.
- What's late? “It’s late, 10 o’clock,” Natasha’s voice answered, and in the next room there was a rustling of starched dresses, a whisper and laughter of girlish voices, and something blue, ribbons, black hair and cheerful faces flashed through the slightly open door. It was Natasha with Sonya and Petya, who came to see if he got up.
- Nicholas, get up! Natasha's voice was heard again at the door.
- Now!
At this time, Petya, in the first room, seeing and grabbing sabers, and experiencing the delight that boys experience at the sight of a warlike older brother, and forgetting that it is indecent for sisters to see undressed men, opened the door.
- Is that your sword? he shouted. The girls jumped back. Denisov, with frightened eyes, hid his shaggy legs in a blanket, looking around for help at his comrade. The door let Petya through and closed again. There was laughter outside the door.
- Nikolenka, come out in a dressing gown, - Natasha's voice said.
- Is that your sword? Petya asked, “or is it yours?” - with obsequious respect he turned to the mustachioed, black Denisov.
Rostov hurriedly put on his shoes, put on a dressing gown and went out. Natasha put on one boot with a spur and climbed into the other. Sonya was spinning and just wanted to inflate her dress and sit down when he came out. Both were in the same, brand new, blue dresses - fresh, ruddy, cheerful. Sonya ran away, and Natasha, taking her brother by the arm, led him into the sofa room, and they started talking. They did not have time to ask each other and answer questions about thousands of little things that could interest only them alone. Natasha laughed at every word that he said and that she said, not because what they said was funny, but because she had fun and was unable to restrain her joy, expressed in laughter.
- Oh, how good, excellent! she said to everything. Rostov felt how, under the influence of the hot rays of love, for the first time in a year and a half, that childish smile blossomed in his soul and face, which he had never smiled since he left home.
“No, listen,” she said, “are you quite a man now? I'm awfully glad you're my brother. She touched his mustache. - I want to know what kind of men you are? Are they like us? No?
Why did Sonya run away? Rostov asked.
- Yes. That's another whole story! How will you talk to Sonya? You or you?
“How will it happen,” said Rostov.
Tell her, please, I'll tell you later.
- Yes, what?
- Well, I'll tell you now. You know that Sonya is my friend, such a friend that I would burn my hand for her. Here look. - She rolled up her muslin sleeve and showed on her long, thin and delicate handle under her shoulder, much higher than the elbow (in the place that is sometimes covered by ball gowns) a red mark.
“I burned this to prove my love to her. I just kindled the ruler on fire, and pressed it.
Sitting in his former classroom, on the sofa with cushions on the handles, and looking into those desperately animated eyes of Natasha, Rostov again entered that family, children's world, which had no meaning for anyone except for him, but which gave him one of the best pleasures in life; and burning his hand with a ruler, to show love, seemed to him not useless: he understood and was not surprised at this.
– So what? only? - he asked.
- Well, so friendly, so friendly! Is this nonsense - a ruler; but we are forever friends. She will love someone, so forever; but I don't understand it, I'll forget it now.
- Well, so what?
Yes, she loves me and you so much. - Natasha suddenly blushed, - well, you remember, before leaving ... So she says that you forget it all ... She said: I will always love him, but let him be free. After all, the truth is that this is excellent, noble! - Yes Yes? very noble? Yes? Natasha asked so seriously and excitedly that it was clear that what she was saying now, she had previously said with tears.
Rostov thought.
“I don’t take back my word in anything,” he said. - And besides, Sonya is so charming that what kind of fool would refuse his happiness?
“No, no,” Natasha screamed. We already talked about it with her. We knew you would say that. But this is impossible, because, you understand, if you say so - you consider yourself bound by a word, then it turns out that she seemed to have said it on purpose. It turns out that you are still forcibly marrying her, and it turns out not at all.
Rostov saw that all this was well thought out by them. Sonya struck him yesterday with her beauty. To-day, seeing her for a glimpse, she seemed even better to him. She was a lovely 16-year-old girl, obviously passionately loving him (he did not doubt this for a minute). Why should he not love her now, and not even marry her, thought Rostov, but now there are so many other joys and occupations! "Yes, they thought it up perfectly," he thought, "one must remain free."
“Very well,” he said, “we’ll talk later.” Oh, how glad I am for you! he added.
- Well, why didn’t you cheat on Boris? the brother asked.
- That's nonsense! Natasha screamed laughing. “I don’t think about him or anyone, and I don’t want to know.
– That's how! So what are you?
- I? Natasha asked, and a happy smile lit up her face. - Have you seen Duport "a?
- No.
- Did you see the famous Duport, the dancer? Well, you won't understand. I'm what it is. - Natasha, rounding her arms, took her skirt, as if dancing, ran a few steps, turned over, made an antrash, beat her leg against her leg and, standing on the very tips of her socks, walked a few steps.
- Am I standing? behold, she said; but she couldn't stand on tiptoe. "So that's what I am!" I will never marry anyone, but I will become a dancer. But do not tell anyone.
The actor M. F. Astangov, who suffered for a long time with the role of Grigory Gai in Pogodin's "My Friend", was helped by falling in love with that special, high, truly Soviet breed of new people, whom Pogodin's hero adequately represented. As is often the case, the role was difficult. Director A. D. Popov left the rehearsals gloomy and dissatisfied. There was no Guy - the owner, a man freely, spaciously walking through life.
The birth of the role was helped by chance. “... At my good friends' place, they introduce me to an engineer who has just arrived from a large construction site,” Astangov said. He is dressed in a khaki paramilitary suit and white cloaks. As soon as I saw him in this uniform, I almost gasped: here is my Guy's suit. And what do you think? On the next run, I was already dressed under my new acquaintance, compacting myself with a thickness. The former stiffness began to evaporate, the step became firmer, the gesture wider, I feel that the necessary strength and confidence have been gained. "Master", "master" began to appear, which Alexei Dmitrievich had been trying to get from me for so long.
Astangov took with him to the performance both a paramilitary suit, and white cloaks, and a reprimand with a soft southern accent. But the main thing is Sergey Ivanovich M. - a major builder, whose biography literally echoed the biography of Guy - a former locksmith, a participant in the civil war, who graduated from the Industrial Academy, traveled to the United States of America, and held command posts at the main Soviet construction sites - Sergey Ivanovich M. helped Astangov discover the grain of Guy's role.
At rehearsals, Astangov searched for, worked out a special gait of a hero who is cramped in room isolation, who is accustomed to the uninhabited land of new buildings pitted in trenches and mounds, in piles of forest, in piles of bricks. Astangov mastered the masterful, swift step and the characteristic gesture of the hero - arms thrown over his head, wide open, embracing the air, the earth, and his comrades. Those who saw and heard Gai-Astangov remembered his exultant exclamation: “I am alive, my friends, I am alive!”
They say that a bad actor has a mouth, a better actor has a mouth and eyes. “Nikolai Batalov - in the image of Figaro,” said the wonderful actor of the Moscow Art Theater M. M. Tarkhanov, “the role is in the heels!” A half-joking, but very deep and important remark. An actor must be able to do everything. Expressive he should be not only the face, eyes, hands, but also the back, shoulder blades, calves, even the ankle. He must penetrate into the hidden and intimate world of the soul of his hero. But he must give a spectacular and expressive flesh to the image. Both of these processes - internal comprehension and external realization of the image - are inseparable, interconnected, mutually necessary to each other. It doesn't matter in what order they happen. Often at the same time. But only in their agreement and balance is the desired harmony of the image achievable. Both the actor and the director are struggling with this task at rehearsals. There is a binding concept of "character actor", that is, a master who creates an inimitable and unique character on stage, having an equal ability for external and internal reincarnation. Stanislavsky was a great character actor. To be convinced of this, we, who have never seen him on stage, should look at photographs of Stanislavsky from different years.
Here are the lordly and weak hands of old Gaev, who in their entire life have learned only to hold a billiard cue and send the ball into the pocket. Here is the energetically closed, dry brush of Dr. Shtokman - a hard worker, a rebel, a defender of truth, tense fingers directed towards the interlocutor, in the characteristic gesture - a frozen moment of controversy, disagreement, perseverance, the strength of one's own conviction. Here is the inspired, beautiful profile of Chekhov's Astrov, the proud stance of the dark-haired head, the freedom and artistry of the pose.
Here is the puffy, sideburned, with a capricious, satiated grimace face of the Moscow gentleman Famusov. Ruin-like, mossy, dilapidated General Krutitsky; oversaturated with stupidity, swollen with idleness, with sagging cheeks, in a funny woman's bandage, in tufts of sparse hair, the physiognomy of Moliere's "imaginary patient". Here is a rooming house freely spread out on the bunk bed, picturesque and in tatters, the former "handsome man" Gorky Satin ...
In the section on the question What does a character actor mean? given by the author Alira the best answer is A characteristic actor, an actor who plays roles marked by a pronounced class, everyday external and internal originality. Rejected as a role by the realistic school of stage art, the concept of the Character Actor in the modern theater is used only to emphasize the dominant feature of the actor's creative individuality.
In the 18th century distinguished between actors who played characteristic and semi-character (demi-caractere) roles in comedies, petty-bourgeois dramas and melodramas (tragedy required a sublimely abstract, non-domestic manner of acting). Among the largest Russian X. a. late 18th - early. 19th centuries - A. M. Krutitsky, S. N. Sandunov, A. E. Ponomarev, A. A. Pomerantseva and others. Realistic development. trends in Europe t-re 19th century led to the need to put any character in connection with the environment, era, societies, way of life. Actors aspiring to arts. True, they were looking for in all the types they portrayed features of the social, historical. , household characteristics. M. S. Shchepkin is characteristic in the tragic role of the Baron ("The Miserly Knight" of Pushkin), V. V. Samoilov - in the role of King Lear, L. P. Nikulina-K Ositskaya - in the role of Katerina ("Thunderstorm"). In all these cases, the characteristic was not only external, but also internal: it colored the psychology of the character, his aspirations and feelings. A. E. Martynov in the "characteristic" role of Tikhon ("Thunderstorm") and P. M. Sadovsky in the role of Lyubim Tortsov ("Poverty is not a vice") and others went beyond this role, deepened their game to the tragic. sound. Realism, in fact, eliminated the role, and in this sense, K. S. Stanislavsky said that the characteristic should be present in every image, including the hero, the lover. The concept of X. a. commonly used in modern t-re only to emphasize the dominant feature of creativity. actor's personality. G. R.
A full-blooded stage image, created by the talent of an actor, must fully possess both character and character. What is the essence of these concepts? What is their commonality and difference? Translated from Greek, “character” is “chasing”, “sign”. Indeed, character is the special signs that a person acquires while living in society. Just as the individuality of a person manifests itself in the characteristics of mental processes (good memory, rich imagination, quick wits, etc.) and in temperament, it also reveals itself in character traits.
“Character is the inner essence of a person, the individual warehouse of his thoughts and feelings. . Character - a set of stable individual personality traits that develops and manifests itself in activity and communication . Character traits are mostly formed in childhood, and remain in a person, changing little, throughout his life. The character of a person is manifested not only in actions, in work, but also in human relations. The concept of "character" for a long time also included the "temperament" of a person, but recently these concepts have been divorced as the closest to each other in their content, but different in their expression. How does a person's character differ from his temperament?
The temperament of a person is innate, and the character is acquired.
Temperament is determined by the biological characteristics of the human body, and its character is determined by the social environment in which it lives and develops.
The temperament of a person determines his peculiarity of the psyche and behavior, while the character determines the content of his actions (ethical, moral, etc.)
It is impossible, for example, to say about a person’s temperament that he is good or bad, while definitions are quite suitable for assessing the character.
In relation to the description of a person's temperament, the term "properties" is used, and in relation to character, the term "features" is used (13.S.-432).
Character is expressed in specificity (stage). specificity - there is a way of revealing the character, its external form. In contemporary stage art, these two concepts - character and specificity - are inseparable and are considered as a whole. These are not only the external features of the depicted person, but, above all, his inner, spiritual warehouse, which manifests itself in the special quality of the action carried out by the actor on stage.
1.1. Unity of character and characteristic
The special nature of behavior characteristic of a given person or group of persons is what we call characteristic, bearing in mind the unity of these two concepts. Once K.S.Stanislavsky divided characteristic into external and internal. Gradually, he brought them together more and more. Indeed, it is difficult to understand the external behavior of a person without penetrating into his psychology. Any characteristic (stage) is both external and internal.
In the old theater, character roles were considered one of the varieties of numerous acting roles. The concern for creating characterization was typical only for character actors, who were assigned the roles of age, genre, negative or comedy. Actors of other roles, for example, lovers, heroes, noble fathers and mothers, reasoners, etc., often dispensed with any specificity, showing on stage only their acting skills or, rather, familiar clichés. As K.S. Stanislavsky: “they do not need either characterization or reincarnation, because these persons adjust any role to suit themselves ...” (16.-p. 214). Fighting against the craft for the affirmation of the art of a living person on the stage, K.S. Stanislavsky clearly expressed his attitude to the issue of specificity: “All without exception, artists - creators of images - must reincarnate and be characteristic. There are no uncharacteristic roles"(16.-p.224).
Unfortunately, many students during their studies, even professional actors in the theater, are often afraid to be funny, sharp-minded, so as not to cause ridicule from classmates, colleagues in the theater. The silly habit of treating the character actor as a second-rate performer persists to this day and is surprising to say the least. My deep conviction is to play a characteristic role, and even in an episode, it is much more difficult than a big one. The actor playing the main role believes that everything is written in his role, and you don’t have to suffer for a long time to play it. I must say that an actor who only hopes for a role and a director is doomed to failure.
“Here is a plane flying,” said the Russian director and actor M.N. Kedrov - flies quickly, beautifully! But in order for it to fly, how many cogs, wires, levers, tubes and all sorts of details are needed. So the image will turn out when all the screws, nuts are screwed, the tubes are fitted, etc. And if this is not the case, then there will be props, pick - there is nothing there. . A truly creative stage character is formed in the process of complex and deep interaction between the personality of the actor and the personality of the hero.
Reliance on specificity when creating a stage image is necessary for all types of actors. But for the most shy actors who think their human personality is unscenic, it is especially needed. Here is how K.S.Stanislavsky wrote about it: “The image you are hiding behind can be created without makeup. No, you show me on your own behalf your features, no matter what, good or bad, but the most intimate, intimate, without hiding behind someone else's image. Do you dare to do it? - Tortsov pestered me ( K.S.Stanislavsky).
It's embarrassing, I admitted, thinking (Named).
And if you hide behind the image, then you won't be ashamed?
Then I can, I decided.
Here you see! Tortsov rejoiced. “The same thing happens here as in a real masquerade ...
Specificity is the same mask that hides the human actor himself. In such a disguised form, he can expose himself to the most intimate and piquant spiritual details. 17.- p.223)
But we must not forget that characterization in itself, outside the concept of the performance, the creation of the necessary stage image, the super-task and the through action of the role, is only harmful. This characteristic does not reincarnate, but only gives you away and gives you a reason to “break”, “self-show”.
On stage, the actor should not portray feelings, but live them. M.A. Chekhov argued that “taking on” the characteristic features of another person gives the artist great creative joy. And since you can live only with your own, and not with other people's sensations and feelings, it means that without spending your human feelings and thoughts it is impossible to create a true image. The essence of acting creativity is not only that the action performed by the actor is organic, but if it is devoid of individual characteristics inherent in the depicted person, then this is not art, but only approaches to it.
When creating a characteristic, actors often use additional elements. Makeup, wig, mustache, beard stickers, costume, thicknesses, props, etc., should only emphasize and complement the image embodied by the actor in action, and therefore are auxiliary means of expression. You can create a stage image without resorting to their help. And vice versa, let's imagine an actor who, thanks to a well-founded make-up, costume, is given a characteristic appearance, but if action is not found in the role, then this will be the achievement of the artist rather than the actor.
The internal characteristic of the image, i.e. character, is created from the elements of the soul of the artist himself, who selects and combines them each time in a different way, extracting from himself everything that is needed for the role being played, and muffling what contradicts it. And the feeling of inner character will tell the actor and external characteristic. In theoretical reasoning, we often, for greater clarity, separate character from characteristic. But this division, of course, is conditional - there is an example of a dialectical With whom unity.
The first path is from internal to external . Character and specificity mutually influence and complement each other, that is, this relationship is two-sided. When, when speaking about form and content, we recognize the primacy of content, so here too we recognize the primacy of character. We are dealing with stage character when a more or less clearly defined personality has been created by the actor on the stage. It is a person with a whole set of different personal characteristics: how the character feels, how he thinks, what kind of biography he has, what actions distinguish him from others, what position he takes, what he fights for, etc.
The second way is from external to internal. . Sometimes a simple external trick helps to find the characteristic. As an example, we can cite the words of Peter from the play "Forest" by A.N. Ostrovsky, who explains to his fiancee Aksyusha what needs to be done so that they are not recognized during the escape: “I screwed up one eye, that’s crooked for you.” To the question of the students, where to get material for characterization, K.S. Stanislavsky answered: “Let everyone extract this external characteristic from himself, from others, from real and imaginary life, by intuition or from observations of himself or others, from everyday experience, from acquaintances, from paintings, engravings, drawings, books, stories, novels or from a simple case - all the same. Only with all these external searches do not lose yourself internally.(17.-S. 205).
Further, K.S. Stanislavsky writes: “It turned out to be unexpected for him (Arkady Nikolaevich) that for some reason, simultaneously with the trick with the lip, his body, legs, arms, neck, eyes and even his voice somehow changed their usual state and took on the corresponding physical characteristic with a shortened lip and long teeth ... This was done intuitively. And why? Yes, because, delving into himself and listening to what was going on inside him, Arkady Nikolayevich noticed that in his psychology, against his will, there was a noticeable shift, which it was difficult for him to immediately understand. And further... the inner side was reborn from the created external image, in accordance with it. (17.-S. 204)
There are actors who go from the outer drawing to the inner one and vice versa, each of them has their own approaches to working on the image. That is why now, when we are talking about the need for the closest attention to the problem of the stage image, we cannot brush aside a serious analysis of what characterization can give us on the way to reincarnation. “Characterization in reincarnation is a great thing. After all, if you don’t do anything with your body, voice, manner of speaking, walking, acting, if you don’t find a characteristic that matches the image, then, perhaps, you won’t convey the life of the human spirit ... ”. (16.-S.201)
Physiologist P. V. Simonov argues that the nerve cells of the brain and muscles of the human body are closely related to each other. Even negligibly small impulses in the human cerebral cortex respond in his muscles. An actor must know his body, his habits, mistakes, difficulties, like the alphabet. But there is also a reverse reaction: the muscular activity of a person affects his psyche. This, apparently, explains the influence of the external appearance, behavior, manners of a person on his internal state, characteristic - on character. But there is one danger here that I would like to warn students about. The development of external specificity through plasticity and fixing it as the basis of specificity, as well as rational selection or enumeration, impoverish the search for specificity. If I have adopted from outside a characteristic gesture, intonation, demeanor, etc., then the task is not to imitate, not to imitate this gesture, voice intonation, but to pass them through myself, to understand the nature of the borrowed characteristic and to make her own.
Let me use an example from my own practice. While working on the role of the burgomaster in the play “Obsessed with Love” by F. Krommelink, I did not get the first appearance on the stage, on which the character (characteristics) depended, this fussy character, frightened by the circumstances of the death of Mr. Dom, the richest man in this town. In search of specificity, I had to try different devices - gait, manner of speaking, etc. Nothing helped. A sense of helplessness came over me and turned into a fear of failing the role. And here the director of the play A. Vorobyov came to the rescue. Having lost patience, he rushed out of the wings, crouching and waving his arms in all directions, like a chicken. The laughter of the actors involved in this performance was heard. Of course, it's good when the actor himself finds and brings his own developments and devices that help to find external specificity, but if the director offers a more interesting color, it's better not to resist, but to enjoy the director's discovery and proposal and make it your own. Having repeated after the director, the gait invented by him, the character of this person instantly appeared in me, the plasticity of the body, the way of communication and manner of speaking, the “extension” to the partners changed. It became easy and comfortable in the role. And longer - a matter of technique of the actor.
