CONCEPTUAL SPACE OF ACTOR’S VISUAL MEANS OF EXPRESSIVENESS
UDC index:
792.2
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Article ID in the RSCI:
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Information about authors: Zykov Aleksey Ivanovich, PhD in Art History, Department Chair of Special Disciplines, Associate Professor, Theatrical Institute of the Saratov State Conservatoire (Saratov, Russian Federation). E-mail: aleksezykov@ yandex.ru
Annotation: The modern drama theater in Russia is rapidly fi lling with staginess of forms of representation of performances. Special attention is paid to an actor and those tools which allow to make his existence on the stage convincing and bright. The range of visual means is signifi cant: from natural human movements to art with pantomime and dance. This phenomenon needs to be scientifi cally researched. But in the beginning, it is necessary to fi nd out what represents the studying subject as it is designated in scientifi c literature and by practicians of theater. The address to thinkers and theatrical fi gures of different eras has shown that the uniform term doesn’t exist. Speaking about the movement of an actor, the terms, borrowed from dancing and plasticity arts are used. However, meanings of each of them are various. There is a conceptual confusion which at scientifi c judgment of a problem that is necessary to avoid. For this purpose, the author suggests to allocate a uniform concept from what already exists as “invention” of the new term that would be hardly accepted by practicians. The researching of linguistics data shows that only two terms most precisely capture the essence of actor’s visual means of expression: “plasticity” and “dance” but they are opposed each other by theatrical practicians. However, if to connect both them in one, it turns out that we receive required: working designation of all visual means of expressiveness of an actor. That’s why the author of the article offers for further studying the uniform term – “plasticity and dance”.
Keywords: modern drama theater, visual means of expressiveness of an actor, plasticity, dance.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Zykov Aleksey Ivanovich, PhD in Art History, Department Chair of Special Disciplines, Associate Professor, Theatrical Institute of the Saratov State Conservatoire (Saratov, Russian Federation). E-mail: aleksezykov@ yandex.ru
Annotation: The modern drama theater in Russia is rapidly fi lling with staginess of forms of representation of performances. Special attention is paid to an actor and those tools which allow to make his existence on the stage convincing and bright. The range of visual means is signifi cant: from natural human movements to art with pantomime and dance. This phenomenon needs to be scientifi cally researched. But in the beginning, it is necessary to fi nd out what represents the studying subject as it is designated in scientifi c literature and by practicians of theater. The address to thinkers and theatrical fi gures of different eras has shown that the uniform term doesn’t exist. Speaking about the movement of an actor, the terms, borrowed from dancing and plasticity arts are used. However, meanings of each of them are various. There is a conceptual confusion which at scientifi c judgment of a problem that is necessary to avoid. For this purpose, the author suggests to allocate a uniform concept from what already exists as “invention” of the new term that would be hardly accepted by practicians. The researching of linguistics data shows that only two terms most precisely capture the essence of actor’s visual means of expression: “plasticity” and “dance” but they are opposed each other by theatrical practicians. However, if to connect both them in one, it turns out that we receive required: working designation of all visual means of expressiveness of an actor. That’s why the author of the article offers for further studying the uniform term – “plasticity and dance”.
Keywords: modern drama theater, visual means of expressiveness of an actor, plasticity, dance.
