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The technique of creating a vision was one of Stanislavsky's most important practical techniques in working on the word. Ending the internal monologue

The technique of creating a vision was one of Stanislavsky's most important practical techniques in working on the word. Ending the internal monologue

18.04.2019

INTERNAL MONOLOGUE

We know that thoughts spoken aloud are only a part of those thoughts that arise in the mind of a person. Many of them are not pronounced, and the more concise the phrase caused by big thoughts, the richer it is, the stronger it is.
Let us give a literary example to confirm. Let's take it from Gorky's well-known work "Mother".
After the court sentenced Pavel to a settlement, Nilovna tried to concentrate all her thoughts on how to fulfill the big, important task she had taken on - to spread her son's speech.
Gorky talks about the joyful tension with which the mother prepared for this event. How she, cheerful and contented, holding in her hand the suitcase entrusted to her, was sitting at the station. The train was not yet ready. She had to wait. She examined the audience, then got up and went to another bench, closer to the exit to the platform, and suddenly she felt the gaze of a person who seemed to be familiar to her.
“That attentive eye pricked her, the hand in which she held the suitcase trembled, and the burden suddenly became heavy.
“I saw him somewhere!” she thought, putting aside the unpleasant and vague feeling in her chest with this thought, not allowing other words to define the feeling, quietly but powerfully squeezing her heart with cold. And it grew and rose to her throat, filling her mouth with dry bitterness, she had an unbearable desire to turn around, to look again. She did this - the man, carefully shifting from foot to foot, stood in the same place, it seemed that he wanted something and did not dare ... She, without haste, went up to the bench and sat down, carefully, slowly, as if afraid that - something to break in yourself. Memory, awakened by a sharp premonition of trouble, twice placed this man in front of her - once in the field, outside the city, after Rybin's escape, the other - in court ...
They knew her, they followed her - that was clear. "Got you?" she asked herself. And the next moment she answered, shuddering:
"Maybe not yet..."
And then, making an effort on herself, she said sternly:
"Gotcha!"
She looked around and saw nothing, and thoughts, one after another, flared up and went out in her brain. "Leave the suitcase - leave?" But another spark flashed more brightly: “Abandon the filial word? In such hands ... ”She pressed the suitcase to her. "And - to leave with him? .. Run ..."
These thoughts seemed alien to her, as if someone from outside had forced them into her. They burned her, their burns pricked her brain painfully, whipped her heart like fiery threads ...
Then, with one great and sharp effort of her heart, which seemed to shake her all over, she extinguished all those cunning, small, weak lights, saying imperiously to herself:
"Shame on you!"
She immediately felt better, and she became quite stronger, adding:
"Don't dishonor your son! No one is afraid..."
A few seconds of hesitation accurately condensed everything in her. The heart beat more calmly.
"What will happen now?" she thought as she watched.
The spy called the watchman and whispered something to him, pointing at her with his eyes...
She moved to the back of the bench.
"Just don't beat me..."
He [the watchman] stopped next to her, paused, and asked in a low, stern voice:
What are you looking at?
Nothing.
That's it, thief! The old one, but - there too!
It seemed to her that his words hit her in the face, once and twice; angry, hoarse, they hurt, as if they were tearing the cheeks, gouging out the eyes ...
I? I'm not a thief, you're lying! she shouted with all her breasts, and everything in front of her swirled in a whirlwind of her indignation, intoxicating her heart with the bitterness of resentment.
The false accusation of theft raised in her, an old, gray-haired mother, devoted to her son and his cause, a stormy protest. She wanted to tell all the people, all those who have not yet found the right path, to tell about her son and his struggle. Proud, feeling the strength of the struggle for the truth, she no longer thought about what would happen to her later. She was eager to have time to tell the people the truth about her son's speech.
"... She wanted, she was in a hurry to tell people everything she knew, all the thoughts, the power of which she felt."
The pages on which Gorky describes his mother's passionate faith in the power of truth, convey the power of the impact of the word, are for us a great example of "discovering the life of the human spirit." Gorky describes Nilovna's thoughts that were not spoken aloud, her struggle with herself with amazing force. This is why her words, violently torn from the depths of the heart, have such an impressive effect on us.
Is it possible on stage to confine ourselves to only those words that are proposed by the author?
After all, the hero of the work, if it were in life, listening to his partner, would mentally argue with him or agree, he would certainly have certain thoughts.
Is it possible to assume that by creating the "life of the human spirit" on the stage, striving for the organic existence of the image in the proposed circumstances, we will achieve our goal by abandoning the internal monologue? Of course not.
But in order for such unspoken thoughts to arise, the actor needs a deep penetration into the inner world of his hero. It is necessary that the actor on the stage be able to think the way the image he creates thinks.
To do this, you need to fantasize yourself with internal monologues. You should not be embarrassed that you have to compose these monologues. It is necessary to penetrate deeper and deeper into the thought process of the created image, it is necessary that these thoughts become close and dear to the performer, and over time they will spontaneously appear during the performance.
Vl.I. Nemirovich-Danchenko says that what to say depends on the text, and how to say it depends on the internal monologue.
It is wrong to think that the process of mastering the internal monologue is a quick and easy process. All this is acquired gradually and as a result of the great work of the performer.
The spiritual "burden" that the actor must bring with him to the stage, as we have already said, requires a deep penetration into the inner world of the created image. It is necessary that the actor learn to treat the image he creates not as "literature", but as a living person, endowing him with all the psychophysical processes characteristic of a person.
Only in the case when the actor on the stage, like any person in life, in addition to the words that he utters, will have words and thoughts that are not expressed aloud (and they cannot but arise if a person perceives the environment), - only in this case the actor will achieve a truly organic existence in the proposed circumstances of the play.
Let us take, as an example, the third act of Ostrovsky's "Dowry".
The performer of the role of Larisa must wait until it is time for her to say the words: “Do you forbid? So I will sing, gentlemen!”
But can she be passive in taking part in this scene? Of course not.
She silently compares Karandyshev with Paratov with his clownery and cowardly vanity.
Larisa is silent, but inwardly she is not silent; she thinks about how insignificant her fiancé is, how shallow all his spiritual movements, thinks about why, for what sins this dinner was sent to her, where she is forced to experience such burning shame, thinks about Paratov, compares, contrasts, secretly admits to himself that even now everything could have turned out differently ...
A person's actions can be sudden, but if the soil is not ripe for them in a person's soul, they will not arise, whether it be the murder of Desdemona or the insane impulse of Larisa, who drove off across the Volga with Paratov. In order to say this fateful, unique “Let's go!”, you need to change your mind a thousand thoughts, imagine this or a similar possibility a thousand times, say these or similar words to yourself a thousand times. Otherwise, they will remain alien, dead, not warmed by a living human feeling. In the works of our classics and modern writers, the internal monologue occupies a significant place.
In Tolstoy's novels, for example, internal monologues are unusually common. Anna, and Levin, and Kitty, and Pierre Bezukhov, and Nikolai Rostov, and Nekhlyudov, and the dying Ivan Ilyich have them. For all of them, these unspoken monologues are part of their inner life. Take, for example, the chapter from War and Peace, where Dolokhov was refused by Sonya, whom he proposed to. He writes a note to Rostov, whom Sonya loves. Dolokhov invites Rostov to a farewell party at an English hotel. And Rostov is drawn into the game, and he gradually loses big money.
Tolstoy describes the inner monologue of Nikolai Rostov with extraordinary force.
“And why is he doing this to me? .. After all, he knows what this loss means to me. He can't want me to die, can he? After all, he was my friend. After all, I loved him ... But he is not to blame either; what should he do when he is lucky? It's not my fault, he told himself. I didn't do anything wrong. Have I killed someone, insulted, wished harm? Why such misfortune? And when did it start?..” etc.
It should be noted that Rostov utters all these thoughts to himself. He doesn't speak any of them.
An actor, having received a role, must himself dream up dozens of internal monologues, then all the places of his role in which he is silent will be filled with deep content.
The great Russian actor Shchepkin said: “Remember that there is no perfect silence on the stage, except in exceptional cases when the play itself requires it. When someone speaks to you, you listen, but you do not remain silent. No, you must respond to every word you hear with your gaze, every feature of your face, with your whole being: you must have a silent game here, which can be more eloquent than the words themselves, and God forbid you look at this time for no reason to the side or look at which any foreign object - then everything is gone! This look in one minute will kill a living person in you, cross you out of the characters in the play, and you will have to be thrown out the window right now, like unnecessary rubbish ... ".
A few words should also be said about vision, this very important element of Stanislavsky's system. Konstantin Sergeevich believed that the presence of visions keeps the role forever alive.

The technique of creating a vision was one of Stanislavsky's most important practical techniques in working on the word.

An equally important technique of Stanislavsky and Nemirovich-Danchenko is the so-called "internal monologue".

This technique is one of the cardinal ways to an organic sounding word on stage.

Man is constantly thinking. He thinks, perceiving the surrounding reality, he thinks, perceiving any thought addressed to him. He thinks, argues, refutes, agrees not only with others, but also with himself, his thought is always active and concrete.

On the stage, the actors to some extent master the thought during their text, but not all of them still know how to think during the text of their partner. And it is precisely this side of the actor's psychotechnics that is decisive in the continuous organic process of revealing the "life of the human spirit" of the role.

Turning to samples of Russian literature, we see that writers, revealing the inner world of people, describe in detail the course of their thoughts. We see that thoughts spoken aloud are only a small part of the stream of thoughts that sometimes boils in the mind of a person. Sometimes such thoughts remain an unspoken monologue, sometimes they form into a short, restrained phrase, sometimes they pour into a passionate monologue, depending on the proposed circumstances of the literary work.

To clarify my point, I would like to turn to a number of examples of such an "inner monologue" in literature.

L. Tolstoy, the great psychologist, who was able to reveal all the innermost things in people, provides us with a wealth of material for such examples.

Let's take a chapter from the novel "War and Peace" by L. Tolstoy.

Dolokhov was refused by Sonya, whom he proposed to. He understands that Sonya loves Nikolai Rostov. Two days after this event, Rostov received a note from Dolokhov.

“Since I no longer intend to visit your house for reasons known to you and I’m going to the army, this evening I give my friends a farewell feast - come to the English hotel.”

Arriving, Rostov found the game in full swing. Dolokhov metal bank. The whole game focused on one Rostov. The record has long exceeded twenty thousand rubles. “Dolokhov no longer listened and did not tell stories; he followed every movement of Rostov's hands and occasionally glanced briefly at his note behind him ... Rostov, leaning his head on both hands, sat in front of a table covered with writing, drenched in wine, littered with cards. One painful impression did not leave him: those broad-boned, reddish hands with hair visible from under his shirt, these hands, which he loved and hated, held him in their power.

“Six hundred rubles, an ace, a corner, a nine ... it’s impossible to win back! .. And how fun it would be at home ... Jack on n ... it can’t be ... And why is he doing this to me? .. "- thought and recalled Rostov ...

“Because he knows what this loss means to me. He can't want me to die, can he? After all, he was my friend. After all, I loved him ... But he is not to blame either; what should he do when he is lucky? It's not my fault, he told himself. I didn't do anything wrong. Have I killed someone, insulted, wished harm? Why such a terrible misfortune? And when did it start? Not so long ago, I approached this table with the idea of winning a hundred rubles, buying my mother this box for the name day and going home. I was so happy, so free, cheerful! And I did not understand then how happy I was! When did this end and when did this new, terrible state begin? What marked this change? I was still sitting in this place, at this table, and in the same way I chose and put forward cards and looked at these broad-boned, dexterous hands. When did this happen, and what happened? I am healthy, strong and all the same, and all in the same place. No, it can't be! It's true, it's not going to end."

He was red-faced and covered in sweat, despite the fact that the room was not hot. And his face was terrible and pitiful, especially due to the impotent desire to appear calm ... "

Here is a whirlwind of thoughts that rush through the mind of Nikolai during the game. A whirlwind of thoughts expressed in specific words, but not spoken aloud.

Nikolai Rostov, from the moment he picked up the cards, and until the moment when Dolokhov said: “Forty-three thousand behind you, count,” did not say a word. The thoughts that crowded in his head took shape in words, in phrases, but did not leave his lips.

Let's take another, familiar example from Gorky's work "Mother". After the court sentenced Pavel to settlement, Nilovna tried to focus all her thoughts on how to fulfill the big, important task she had undertaken - to spread Pasha's speech.

Gorky talks about the joyful tension with which the mother prepared for this event. How she, cheerful and contented, holding a suitcase entrusted to her, came to the station. The train was not ready yet. She had to wait. She was examining the audience and suddenly felt the gaze of a person who seemed to be familiar to her.

This attentive eye pricked her, the hand in which she held the suitcase trembled, and the burden suddenly became heavy.

“I saw him somewhere!” she thought, putting aside the unpleasant and vague feeling in her chest with this thought, not allowing other words to define the feeling, quietly but powerfully squeezing her heart with cold. And it grew and rose to her throat, filling her mouth with dry bitterness, she had an unbearable desire to turn around, to look again. She did it - the man, carefully shifting from foot to foot, stood in the same place, it seemed that he wanted something and did not dare ...

She walked unhurriedly to the bench and sat down, cautiously, slowly, as if afraid of tearing something in herself. Memory, awakened by a sharp foreboding of trouble, twice placed this man in front of her - once in the field, outside the city, after Rybin's escape, the other - in court ... She was known, she was being watched - that was clear.

"Got you?" she asked herself. And the next moment she answered, shuddering:

"Maybe not yet..."

And then, making an effort on herself, she said sternly:

"Gotcha!"

She looked around and saw nothing, and thoughts, one after another, flared up and went out in her brain with sparks. "Leave the suitcase - leave?"

But another spark flashed more brightly:

“Abandon the filial word? In these hands...

She clutched her suitcase. "And - to leave with him? .. Run ..."

These thoughts seemed alien to her, as if someone from outside had forced them into her. They burned her, their burns pricked her brain painfully, whipped her heart like fiery threads ...

Then, with one big and sharp effort of the heart, which, as it were, shook her all. she extinguished all those cunning, small, weak lights, saying imperiously to herself:

"Shame on you!"

She immediately felt better, and she became quite stronger, adding:

"Don't dishonor your son! No one is afraid..."

A few seconds of hesitation accurately condensed everything in her. The heart beat more calmly.

"What will happen now?" she thought as she watched.

The spy called the watchman and whispered something to him, pointing at her with his eyes...

She moved to the back of the bench.

"Just don't beat me..."

He (the watchman) stopped next to her, paused, and in a low, stern voice asked:

What are you looking at?

That's it, thief! The old one, but - there too!

It seemed to her that his words hit her in the face, once and twice; angry, hoarse, they hurt, as if they were tearing the cheeks, gouging out the eyes ...

I? I'm not a thief, you're lying! she shouted with all her breasts, and everything in front of her swirled in a whirlwind of her indignation, intoxicating her heart with the bitterness of resentment.

Feeling the lie of accusing her of theft, a stormy protest arose in her, an old, gray-haired mother, devoted to her son and his cause. She wanted to tell all the people, all those who have not yet found the right path, to tell about her son and his struggle. Proud, feeling the strength of the struggle for the truth, she no longer thought about what would happen to her later. She was burning with one desire - to have time to inform the people about her son's speech.

“... She wanted, was in a hurry to tell people everything she knew, all the thoughts, the power of which she felt”

The pages on which Gorky describes his mother's passionate faith in the power of truth, convey the power of the impact of the word, are for us a great example of "discovering the life of the human spirit." Gorky describes Nilovna's unspoken thoughts, her struggle with herself with amazing force. This is why her words, violently torn from the depths of the heart, have such an impressive effect on us.

Let's take another example - from the novel by Alexei Tolstoy "Walking through the torments".

Roshchin is on the side of the whites.

“The task that tormented him like a mental illness from Moscow itself - to take revenge on the Bolsheviks for the shame - was completed. He took revenge."

Everything seems to be happening exactly the way he wanted it to. But the thought of whether he is right begins to painfully haunt him. And then one Sunday, Roshchin finds himself at the old churchyard cemetery. A chorus of children's voices and "thick exclamations of the deacon" are heard. Thoughts burn, sting him.

“My homeland,” thought Vadim Petrovich ... “This is Russia ... What was Russia ... There is nothing like this anymore and will not happen again ... The boy in a satin shirt became a murderer.”

Roshchin wants to get rid of these painful thoughts. Tolstoy describes how he "got up and walked across the grass with his hands behind his back and cracking his fingers."

But his thoughts took him to where he seemed to have slammed the door with his backhand.

He thought he was going to his death, but it turned out not so at all. “Well, then,” he thought, “it’s easy to die, it’s hard to live ... This is the merit of each of us - to give to the perishing homeland not just a living bag of meat and bones, but all our thirty-five lived years, affections, hopes. .. and all its purity ... "

These thoughts were so painful that he groaned loudly. Only a groan escaped. The thoughts rushing through my head could not be heard by anyone. But the emotional tension caused by this train of thought was reflected in his behavior. Not only was he unable to support Teplov’s conversation that “the Bolsheviks are already scrambling from Moscow with suitcases through Arkhangelsk”, that ... “all of Moscow is mined”, etc., but he could hardly resist a slap in the face.

And in one of the most surprising, most powerful places in the novel, Alexei Tolstoy confronts Roshchin with Telegin, the closest person to Roshchin, whom he always thought of as a brother, as a dear friend. And now, after the revolution, they ended up in different camps: Roshchin with the Whites, Telegin with the Reds.

At the station, while waiting for a train to Yekaterinoslav, Roshchin sat down on a hard wooden sofa, "covered his eyes with his palm - and so he remained motionless for long hours ..."

Tolstoy describes how people sat down and left, and suddenly, “apparently for a long time”, someone sat down next to him and “began to tremble with his leg, thigh, - the whole sofa was shaking. He didn’t leave and didn’t stop shaking.” Roshchin, without changing his posture, asked the uninvited neighbor to send: shake his leg.

- "Sorry, bad habit."

“Roshchin, without taking his hand away, glanced at his neighbor through parted fingers with one eye. It was Telegin.

Roshchin immediately realized that Telegin could only be here as a Bolshevik counterintelligence agent. He was obliged to immediately report this to the commandant. But in the soul of Roshchin there is a fierce struggle. Tolstoy writes that Roshchin's "throat was constricted with horror", he was all drawn up and rooted to the sofa.

“... Give out that in an hour Dasha's husband, my brother, Katya, was lying without boots under the fence on a garbage heap ... What should I do? Get up, leave? But Telegin can recognize him - get confused, call out. How to save?

These thoughts boil in the brain. But both are silent. Not a sound. Outwardly, nothing seems to be happening. “Motionlessly, as if sleeping, sat Roshchin and Ivan Ilyich close by on an oak sofa. The station was empty at this hour. The watchman closed the platform doors. Then Telegin spoke without opening his eyes: “Thank you, Vadim.”

One thought owned him: "Hug him, just hug him."

And here is another example - from "Virgin Soil Upturned" by M. Sholokhov.

Grandfather Shchukar, on the way to Dubtsov's brigade, exhausted by the midday heat, spread his zipunishko in the shade.

Again, outwardly, nothing seems to be happening. The old man was exhausted, he settled down in the shade under a bush and took a nap.

But Sholokhov penetrates into a sphere that is closed to our eyes. He reveals to us Shchukar's thoughts when he is alone, thinking with himself. The living truth of the image cannot but delight us, because Sholokhov, creating his Shchukar, knows everything about him. And what he does, and how he speaks and moves, and what he thinks about at different moments of his life.

“You can’t pick me out of such luxury until the evening with an awl. I'll sleep to my heart's content, warm my ancient bones in the sun, and then - to visit Dubtsov, slurp porridge. I’ll say that I didn’t have time to have breakfast at home, and they will certainly feed me, it’s like I’m looking into the water!

Shchukar's dreams from porridge come to meat that has not been tasted for a long time ...

“And it wouldn’t be bad for dinner a piece of lamb, that way, grind for four pounds! Especially - fried, with fat, or, at worst, eggs with bacon, just plenty ... "

And then to your favorite dumplings.

“... Dumplings with sour cream are also holy food, better than any communion, especially when they, my dears, are put on a larger plate for you, but once more, like a slide, and then gently shake this plate so that the sour cream goes to the bottom, so that each dumpling in it falls from head to toe. And it’s nicer when you don’t put these dumplings on a plate, but in some deep bowl, so that there is room for a spoon to roam.”

Hungry, constantly hungry Pike, can you understand him without this dream of food, without his dreams, in which he, “hurrying and burning himself, tirelessly slurps ... rich noodles with goose offal ...” And waking up, he says to himself: “I’ll dream of such a fast either to the village or to the city! One mockery, not life: in a dream, if you please, you make such noodles that you can’t eat, but in reality - the old woman sticks a prison under your nose, be it three times, anathema, cursed, this prison!

Let us recall Levin's reflections on the unhealthy, idle, meaningless life that he and his relatives live many times in the novel Anna Karenina. Or the road to Obiralovka, full of amazing drama, when Anna’s cruel mental anguish pours out in a whole verbal stream that arises in her inflamed brain: “My love is becoming more passionate and selfish, and his everything goes out and goes out, and that’s why we part. And this cannot be helped... If I could be anything other than a mistress who passionately loves him alone, but I cannot and do not want to be anything else... Are we not all thrown into the world then only to hate each other friend and therefore torturing yourself and others?

I can’t think of a situation in which life would not be torment ... "

Studying the largest works of Russian classics and Soviet writers - be it L. Tolstoy, Gogol, Chekhov, Gorky, A. Tolstoy, Fadeev, Sholokhov, Panov and a number of others, we everywhere find extensive material to characterize the concept of "internal monologue".

The "inner monologue" is a deeply organic phenomenon in Russian literature.

The demand for "inner monologue" in theater arts raises the question of the highly intelligent actor. Unfortunately, it often happens with us that an actor only pretends to think. Most actors do not have "inner monologues" fantasized, and few actors have the will to silently think through their unspoken thoughts that push them into action. We often falsify thoughts on the stage, often the actor does not have a genuine thought, he is inactive during the partner’s text and revives only to his last line, because he knows that now he must answer. This is the main brake on the organic mastery of the author's text.

Konstantin Sergeevich persistently suggested that we carefully study the process of "inner monologue" in life.

When a person listens to his interlocutor, an “internal monologue” always arises in him in response to everything he hears, therefore in life we always conduct a dialogue within ourselves with those we listen to.

It is important for us to clarify that the "internal monologue" is entirely connected with the process of communication.

In order for a response train of thoughts to arise, you need to really perceive the words of your partner, you need to really learn to perceive all the impressions from the events that arise on the stage. The reaction to the complex of perceived material gives rise to a certain train of thought.

"Internal monologue" is organically connected with the process of evaluating what is happening, with heightened attention towards others, with a comparison of one's point of view in comparison with the expressed thoughts of partners.

An "inner monologue" is impossible without genuine composure. Once again I would like to turn to an example from literature that reveals to us the process of communication that we need to learn in the theater. This example is interesting in that L. Tolstoy, in contrast to the examples I have given above, does not describe the “inner monologue” in direct speech, but rather uses a dramatic technique - he reveals the “inner monologue” through action.

This is the declaration of love between Levin and Kitty Shcherbatskaya from the novel Anna Karenina:

"I've been wanting to ask you one thing for a long time...

Please ask.

Here, - he said and wrote the initial letters: k, c, m, o: e, n, m, b, s, l, e, n, i, t? These letters meant: “when you answered me: this cannot be, did it mean that never, or then?”. There was no chance that she could understand this complex phrase; but he looked at her with such an air that his life depended on whether she would understand these words.

From time to time she glanced at him, asking him with her eyes: "Is this what I think?"

I understand,” she said, blushing.

What is this word? he said, pointing to the n, which meant the word never.

That word means never, she said, but it's not true!

He quickly erased what he had written, handed her the chalk, and stood up. She wrote: t, i, n, m, i, o...

He looked at her questioningly, timidly.

Only then?

Yes, she replied with a smile.

And t... And now? - he asked.

Well, read on. I will say what I would like. I would very much like to! - She wrote the initial letters: h, c, m, s, i, p, h, b. It meant: "so that you can forget and forgive what happened."

He grabbed the chalk with tense, trembling fingers and, breaking it, wrote the initial letters of the following: "I have nothing to forget and forgive, I did not stop loving you."

She looked at him with a fixed smile.

I understand,” she whispered.

He sat down and wrote a long sentence. She understood everything and, without asking him: right? - took the chalk and immediately answered.

For a long time he could not understand what she had written, and often looked into her eyes. An eclipse of happiness came over him. There was no way he could substitute the words that she understood; but in her lovely eyes shining with happiness, he understood everything he needed to know. And he wrote three letters. But he had not finished writing yet, and she was already reading by his hand and finished it herself and wrote the answer: Yes. ... In their conversation everything was said; it was said that she loved him and that she would tell her father and mother that he would come tomorrow morning.

This example has a completely exceptional psychological significance for understanding the process of communication. Such an exact guessing of each other's thoughts is possible only with that extraordinary inspired composure which possessed Kitty and Levin at that moment. This example is especially interesting because it is taken by L. Tolstoy from life. In this exact way, Tolstoy himself declared his love to S.A. Bers - his future wife. It is important not only to understand the meaning of "inner monologue" for the actor. It is necessary to introduce this section of psychotechnics into the practice of rehearsals.

Explaining this situation at one of the lessons in the Studio, Stanislavsky turned to a student who rehearsed Varya in The Cherry Orchard.

You complain, - said Konstantin Sergeevich, - that the scene of explanation with Lopakhin is difficult for you, because Chekhov puts into the mouth of Varia a text that not only does not reveal Varia's true experiences, but clearly contradicts them. Varya waits with all her being that now Lopakhin will propose to her, and he talks about some insignificant things, looking for some thing she has lost, etc.

To appreciate Chekhov's work, you first need to understand what a huge place is occupied by internal, unspoken monologues in the life of his characters.

You will never be able to achieve real truth in your scene with Lopakhin if you do not reveal to yourself the true train of thought of Varya in every single second of her existence in this scene.

I think, Konstantin Sergeevich, I think, - the student said with despair. "But how can my thought reach you if I have no words to express it?"

This is where all our sins begin, - answered Stanislavsky. - Actors do not trust that, without saying their thoughts aloud, they can be intelligible and contagious for the audience. Believe that if an actor has these thoughts, if he really thinks, it cannot but be reflected in his eyes. The viewer will not know what words you say to yourself, but he will guess the inner well-being of the character, his state of mind, he will be captured by an organic process that creates an uninterrupted line of subtext. Let's try an internal monologue exercise. Recall the proposed circumstances preceding the scene of Varya and Lopakhin. Varya loves Lopakhin. Everyone in the house considers the issue of their marriage resolved, but for some reason he hesitates, day after day, month after month, and he is silent.

The cherry orchard has been sold. Lopakhin bought it. Ranevskaya and Gaev are leaving. Things are stacked. There are only a few minutes left before departure, and Ranevskaya, who is infinitely sorry for Varya, decides to talk to Lopakhin. It turned out that everything was very simple. Lopakhin is glad that Ranevskaya herself spoke about this, he wants to make an offer right away.

Lively, happy, Ranevskaya leaves for Varya. Now something will happen that you have been waiting for so long, - says Konstantin Sergeevich to the performer of the role of Varya. - Appreciate this, get ready to listen to his proposal and agree. I will ask you, Lopakhin, to speak your text according to the role, and you, Varya, in addition to the author's text, say aloud everything that you think about during the partner's text. Sometimes it may turn out that you will speak at the same time with Lopakhin, this should not interfere with both of you, speak your own words more quietly, but so that I hear them, otherwise I will not be able to check whether your thought is flowing correctly, but speak the words in the text normally voice.

The students prepared everything they needed for work, and the rehearsal began.

“Now, now, what I want so much will happen,” the student said quietly, entering the room where she was waiting for

Lopakhin. “I want to look at him... No, I can’t... I’m scared...” And we saw how she, hiding her eyes, began to inspect things. Hiding an awkward, bewildered smile, she finally said: “Strange, I can’t find it ...”

"What are you looking for?" Lopakhin asked.

“Why did I start looking for something? - the quiet voice of the student was heard again. - I'm doing the wrong thing at all, he probably thinks that I don't care what should happen now, that I'm busy with all sorts of little things. I'll look at him now, and he'll understand everything. No, I can’t,” the student said quietly, continuing to look for something in things. “I put it myself and I don’t remember,” she said loudly.

"Where are you going now, Varvara Mikhailovna?" Lopakhin asked.

"I? the student asked loudly. And again her quiet voice sounded. - Why does he ask me where I'm going. Does he doubt that I will stay with him? Or maybe Lyubov Andreevna was mistaken, and he did not decide to marry? No, no, it can't be. He asks where I would go if the most important thing in life, what will happen now, had not happened.

“To the Ragulins,” she answered loudly, looking at him with happy, shining eyes. “I agreed with them to look after the household, to be housekeepers, or something.”

“Is this in Yashnevo? It will be seventy versts, ”said Lopakhin and fell silent.

“Now, now he will say that I don’t have to go anywhere, that it’s pointless to go to strangers as housekeepers, that he knows that I love him, he will tell me that he loves me too. Why is he silent for so long?

“So life in this house has ended,” Lopakhin said at last after a long pause.

“He didn't say anything. Lord, what is this, is it the end, is it the end? - the student whispered barely audibly, and her eyes filled with tears. “You can’t, you can’t cry, he will see my tears,” she continued. - Yes, I was looking for something, some thing, when I entered the room. Silly! How happy I was then ... We must look again, then he will not see that I am crying. And, making an effort on herself, trying to hold back her tears, she began to carefully examine the packed things. “Where is it…” she said loudly. - Or maybe I put it in a chest? .. No, I can’t introduce myself, I can’t, - she said again quietly, - why? How did he say? Yes, he said: "That's the end of life in this house." Yes, it's over." And leaving the search, she said quite simply:

“Yes, life in this house is over... There will be no more...”

Well done, - Konstantin Sergeevich whispered to us, - you feel how in this phrase everything that she accumulated during the scene spilled out.

“And I'm leaving for Kharkov now ... with this train. There is a lot to do. And then I leave Epikhodov in the yard ... I hired him, ”said Lopakhin, and Varya, during his words, barely audibly said again:“ Life in this house is over ... It will be no more ..."

“Last year it was already snowing about this time, if you remember,” Lopakhin continued, “and now it’s quiet, sunny. It’s just that it’s cold here ... Three degrees of frost. ”

“Why is he saying all this? the student said quietly. Why doesn't he leave?

“I didn’t look,” she answered him and, after a pause, added: “Yes, and our thermometer is broken ...”

“Yermolai Alekseevich,” someone called Lopakhin from behind the scenes.

“This minute,” Lopakhin replied instantly and quickly left.

“That's all... The end...” - the girl whispered and sobbed bitterly.

Well done! - said satisfied Konstantin Sergeevich. - You have achieved a lot today. You have understood for yourself the organic connection between the internal monologue and the author's remark. Never forget that the violation of this connection inevitably pushes the actor to the tune and to the formal pronunciation of the text.

Now I will ask your teacher to do this experiment not only with the performer Varya, but also with the performer Lopakhin. When you have achieved the desired results, I will ask the participants in the scene not to say their own text aloud, but to say it to themselves so that the lips are completely calm. This will make your inner speech even richer. Your thoughts, in addition to your desire, will be reflected in the eyes, they will sweep across your face. See how this process takes place in reality, and you will understand that we are striving to transfer into art a deeply organic process inherent in the human psyche.

K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko constantly talked about the great expressiveness and contagiousness of the "inner monologue", believing that the "inner monologue" arises from the greatest concentration, from truly creative well-being, from sensitive attention to how external circumstances respond in the soul of an actor. The "inner monologue" is always emotional.

“In the theater, a person in his constant struggle with his “I” occupies a huge place,” said Stanislavsky.

In the "inner monologue" this struggle is especially palpable. It forces the actor to clothe in his own words the innermost thoughts and feelings of the embodied image.

“Internal monologue” cannot be pronounced without knowing the nature of the depicted person, his worldview, attitude, his relationship with other people.

"Inner monologue" requires the deepest penetration into the inner world of the depicted person. He demands the main thing in art - that the actor on the stage be able to think the way the image he creates thinks.

The connection between the "inner monologue" and the through action of the image is obvious. Take for example the actor playing Chichikov in Gogol's Dead Souls.

Chichikov came up with a "brilliant idea" to buy up dead peasants from the landlords, who are listed in the revision tale as living.

Knowing clearly his goal, he travels around one landowner after another, carrying out his fraudulent plan.

The more clearly the actor playing Chichikov will master his task - to buy dead souls as cheaply as possible - the more subtle he will behave when confronted with the most diverse local owners whom Gogol describes with such satirical power.

This example is interesting because the action of the actor in each of the scenes of visiting the landowners is the same: to buy dead souls. But how different every time it seems to be the same action.

Let us recall with what diverse characters Chichikov meets.

Manilov, Sobakevich, Plyushkin, Korobochka, Nozdrev - these are the ones from whom you need to get something that will bring money, wealth, position in the future. To each of them it is necessary to find a psychologically accurate approach that will lead to the desired goal.

This is where the most interesting thing begins in the role of Chichikov. It is necessary to guess the character, the peculiarities of the train of thought of each of the landowners, to penetrate into his psychology in order to find the surest adaptations for the realization of his goal.

All this is impossible without an "internal monologue", since each remark, connected without strict consideration of all circumstances, can lead to the collapse of the whole idea.

If we trace how Chichikov succeeded in captivating all the landlords, we will see that Gogol endowed him with a fantastic ability to adapt, and that is why Chichikov is so varied in the realization of his goal with each of the landowners.

Revealing these character traits of Chichikov, the actor will understand that in his “internal monologues” he will look both at rehearsals and at performances (depending on what he receives from his partner) for an increasingly accurate train of thought leading to the spoken text.

The "inner monologue" requires from the actor genuine organic freedom, which gives rise to that magnificent improvisational well-being, when the actor has the power at each performance to saturate the finished verbal form with new shades.

All the deep and complex work proposed by Stanislavsky leads, as he himself said, to the creation of the "subtext of the role."

“What is subtext? ..,” he writes. - This is a clear, internally felt "life of the human spirit" of the role, which continuously flows under the words of the text, all the time justifying and enlivening them. The subtext contains numerous, varied inner lines of the role and the play... Subtext is what makes us say the words of the role...

All these lines are intricately woven together, like separate threads of a bundle, and stretch through the entire play towards the ultimate super-task.

As soon as the whole line of subtext, like an undercurrent, is permeated by feeling, a “through action of the play and role” is created. It is revealed not only by physical movement, but also by speech: one can act not only with the body, but also with sound, words.

What in the realm of action is called through action, in the realm of speech we call subtext.

V. V. Stasov wrote that “in the “conversations” of actors there is nothing more difficult than “monologues”. Here the authors are false and invent more than in all their other writings ... Almost no one and nowhere has real truth, accident, incorrectness, fragmentation, incompleteness and all sorts of leaps here. Almost all authors (including Turgenev, and Dostoevsky, and Gogol, and Pushkin, and Griboedov) write monologues that are absolutely correct, consistent, drawn out to a thread and to the point, polished and archiological ... Do we really think that with ourselves? ? Not at all. I have found so far one single exception: that of Count Tolstoy. He alone gives in novels and dramas - real monologues, precisely with their irregularity, accident, reticence and jumps.

Examples of such monologues of Tolstoy can be found in the novel "War and Peace". Let us recall, for example, the scene of the attack by Denisov's squadron, when the wounded Nikolai Rostov meets with the French. Having fallen from the horse, Rostov at first did not understand what had happened, he only felt that "something superfluous was hanging on his left numb hand." Seeing the approaching French, he was completely at a loss, his thoughts were confused, "only an inseparable feeling of fear for his young, happy life owned his whole being." "Who are they? Why are they running? Really to me? Are they running towards me? And why? Kill me? Me, whom everyone loves so much?

Elsewhere, Rostov loses a large sum of money to Dolokhov. Dolokhov, who saw his happy rival in Rostov, wants to take revenge on Nikolai at all costs, and at the same time gain the opportunity to blackmail him. Not distinguished by special decency, Dolokhov draws Nikolai into a card game, during which the latter loses a huge amount of money. Remembering the plight of his family, Rostov himself does not seem to understand how all this could happen and does not fully believe in what is happening. He is angry with himself, upset, cannot understand Dolokhov. All this confusion of feelings and thoughts of the hero is masterfully conveyed by Tolstoy in an internal monologue.

““ Six hundred rubles, an ace, a corner, a nine ... it’s impossible to win back! .. And how fun it would be at home ... Jack, but no ... it can’t be! .. And why is he doing this to me? .." Rostov thought and recalled. "After all, he knows," he said to himself, "what this loss means to me. He cannot wish my death? After all, he was a friend to me. After all, I loved him ... But he is not to blame; what should he do when he is lucky? .. "

Tolstoy's inner speech often seems jerky, phrases - syntactically incomplete. Let us recall the scene when Princess Mary guesses the true reasons for Nikolai Rostov's coldness towards her. “So that's why! That's why! said an inner voice in Princess Marya's soul. “…Yes, he is poor now, and I am rich… Yes, only because of this… Yes, if it wasn’t…”

As Chernyshevsky noted, “Count Tolstoy's attention is most of all drawn to how some feelings and thoughts develop from others; it is interesting for him to observe how a feeling that has directly arisen from a given position or impression ... passes into other feelings, again returns to the same starting point, and wanders again and again.

We observe the change of these spiritual movements, their alternation in the internal monologue of Andrei Bolkonsky before the battle of Borodino. It seems to Prince Andrei that “tomorrow’s battle is the most terrible of all in which he participated, and the possibility of death for the first time in his life, without any relation to worldly things, without considerations of how it will affect others, but only in relation to to himself, to his soul, with liveliness, almost with certainty, simply and terribly” seems to him. His whole life seems to him a failure, his interests petty and base. “Yes, yes, here they are, those false images that agitated and delighted and tormented me,” he said to himself, going over in his imagination the main pictures of his magic lantern of life ... “Glory, public good, love for a woman, the fatherland itself - how these pictures seemed great to me, what deep meaning they seemed filled with! And it's all so simple, pale and crude in the cold light of that morning that I feel is rising for me."

As S.P. Bychkov, here Prince Andrei is trying to convince himself that "the life that he lived and lived by his relatives was not so good and tempting to regret it." The gloomy mood of Bolkonsky intensifies as he more and more recalls the past. He remembers Natasha, and he becomes sad. “I understood her,” thought Prince Andrei. “I not only understood, but this spiritual strength, this sincerity, this spiritual openness, this soul I loved in her ... so much, so happily loved ... ”Then Bolkonsky thinks about Anatole, his rival, and longing he passes into despair, the feeling of misfortune that has happened to him takes possession of his soul with renewed vigor. “He didn’t need any of that. He didn't see it or understand it. He saw in her a pretty and fresh girl, with whom he did not deign to associate his fate. And I? And is he still alive and cheerful?

Death appears to the hero as deliverance from all the misfortunes of his life. But, being close to death, on the Borodino field, when "a grenade, like a top, smoking, spun between him and the lying adjutant," Bolkonsky suddenly felt a passionate impulse of love for life. “Is this death? thought Prince Andrei, looking with a completely new, envious look at the grass, at the wormwood, and at the wisp of smoke curling from the spinning black ball. “I can’t, I don’t want to die, I love life, this grass, earth, air ...”.

As S. G. Bocharov notes, these natural images of the earth (grass, wormwood, a wisp of smoke), symbolizing life, are in many ways opposite to the image of the sky, which symbolizes eternity in the novel. However, Prince Andrei in the novel is associated precisely with the image of the sky, so there is a certain inconsistency in this impulse to life, we can assume the future death of the hero.

But the very next internal monologue of Bolkonsky restores the "harmony of the image." Completely different feelings take over the hero when, having regained consciousness after the operation, he notices the wounded Anatol Kuragin next to him. A feeling of mercy and forgiveness suddenly seizes Prince Andrei, filling his heart with enthusiastic pity and love. “Compassion, love for brothers, for those who love, love for those who hate us, love for enemies - yes, that love that God preached on earth, which Princess Mary taught me and which I did not understand; that's why I felt sorry for life, that's what was left for me, if I were alive. But now it's too late. I know it!"

It is characteristic that all these feelings do not manifest themselves externally in Prince Andrei. Only by revealing the world of thoughts and states of the hero, Tolstoy shows the changes taking place with him.

The writer's internal monologue often acts as one of the means of characterization. Selfishness, irritability, despotism of the old prince Bolkonsky and at the same time his mind, insight, ability to understand people Tolstoy reveals not only in his actions, but also in the inner monologues of the hero. So, Nikolai Andreevich quickly recognizes the true nature of Anatole Kuragin, who came with his father to marry Princess Mary.

The old Prince Bolkonsky is attached to his daughter in his own way and at the same time is selfish in an old man's way. He is sorry to part with Princess Marya, and, in addition, he clearly understands that young Kuragin is stupid, immoral and cynical. Nikolai Andreevich notices Anatole's interest in the Frenchwoman, notices the confusion and excitement of his daughter, who has the hope of starting her own family. All this irritates Bolkonsky to the extreme.

“What is Prince Vasily and his son to me? Prince Vasily is a chatterer, empty, well, a son should be good ... ”, he grumbled to himself. Life without PRINCESS Mary seems unthinkable to the old prince. “And why should she marry? he thought. “Probably be unhappy. Won Liza after Andrei (it seems hard to find a better husband now), but is she satisfied with her fate? And who will take her out of love? Foolish, embarrassing. Take for connections, for wealth. And don't they live in girls? Even happier!

Anatole's attention to m-lle Bourienne, which offends all the feelings of Nikolai Andreevich, the innocence of his daughter, who does not notice this attention, the turmoil arranged in the house due to the arrival of the Kuragins by Lisa and the Frenchwoman - all this drives him literally to rage. “The first person he met appeared - and the father and everything is forgotten, and runs, itches up, and twists his tail, and she doesn’t look like herself! Glad to leave my father! And she knew that I would notice ... Fr ... fr ... fr ... And don't I see that this fool is only looking at Buryenka (I must drive her away)! And how pride is not enough to understand this! Although not for myself, if there is no pride, so for me, at least. She must be shown that this blockhead does not even think about her, but only looks at Vogteppe. She has no pride, but I will show her this ... "

In the same scene of the courtship of the Kuragins, all the baseness of Anatole's thoughts, the cynicism and immorality of his depraved nature are revealed. “Why not marry if she is very rich? It never interferes,” thought Anatole. Seeing m-lle Bourienne, he decided that "here, in the Bald Mountains, it will not be boring." “Very stupid! he thought, looking at her. “This companion is very good. I hope she will take it with her when she marries me, he thought, very, very pretty.

Thus, the inner speech of the writer is “wrong”, mobile, dynamic. “By recreating the movement of thoughts and feelings of his heroes, Tolstoy reveals what is happening in the depths of their souls and which the heroes themselves either do not suspect or only vaguely guess. What is happening in the depths of the soul, from the point of view of Tolstoy, is often more true than conscious feelings ... ”, writes M. B. Khrapchenko. Using the technique of an internal monologue, the writer also reproduces the features of the characters' characters, their inner world. Penetrating into the very process of thinking and feeling, Tolstoy describes the subtlest spiritual movements of the characters, the changes that occur to them, the birth of new thoughts and moods.

An equally important technique of Stanislavsky and Nemirovich-Danchenko is the so-called "internal monologue".

This technique is one of the cardinal ways to an organic sounding word on stage.

To clarify my point, I would like to turn to a number of examples of such an "inner monologue" in literature.

L. Tolstoy, the great psychologist, who was able to reveal all the innermost things in people, provides us with a wealth of material for such examples.

Let's take a chapter from the novel "War and Peace" by L. Tolstoy.

Dolokhov was refused by Sonya, whom he proposed to. He understands that Sonya loves Nikolai Rostov. Two days after this event, Rostov received a note from Dolokhov.

“Since I no longer intend to visit your house for reasons known to you and I’m going to the army, this evening I give my friends a farewell feast - come to the English hotel.”

Arriving, Rostov found the game in full swing. Dolokhov metal bank. The whole game focused on one Rostov. The record has long exceeded twenty thousand rubles. “Dolokhov no longer listened and did not tell stories; he followed every movement of Rostov's hands and glanced briefly at his note behind him from time to time. Rostov, leaning his head on both hands, sat in front of a table covered with writing, drenched in wine, littered with cards. One painful impression did not leave him: those broad-boned, reddish hands with hair visible from under his shirt, these hands, which he loved and hated, held him in their power.

“Six hundred rubles, ace, corner, nine. it's impossible to win back! And what fun it would be at home. Jack on pyo. it can't be. And why is he doing this to me? - thought and recalled Rostov.

“Because he knows what this loss means to me. He can't want me to die, can he? After all, he was my friend. After all, I loved him. But he is not to blame; what should he do when he is lucky? It's not my fault, he told himself. I didn't do anything wrong. Have I killed someone, insulted, wished harm? Why such a terrible misfortune? And when did it start? Not so long ago, I approached this table with the idea of winning a hundred rubles, buying my mother this box for the name day and going home. I was so happy, so free, cheerful! And I did not understand then how happy I was! When did this end and when did this new, terrible state begin? What marked this change? I was still sitting in this place, at this table, and in the same way I chose and put forward cards and looked at these broad-boned, dexterous hands. When did this happen, and what happened? I am healthy, strong and all the same, and all in the same place. No, it can't be! It's true, it's not going to end."

He was red-faced and covered in sweat, despite the fact that the room was not hot. And his face was terrible and pitiful, especially due to the impotent desire to appear calm.

Here is a whirlwind of thoughts that rush through the mind of Nikolai during the game. A whirlwind of thoughts expressed in specific words, but not spoken aloud.