AN ARTIST’S DIARY IN THEATRE ARTS
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792
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Information about authors: Slesar Evgeniy Aleksandrovich, PhD in Art History, Associate Professor of Department of Production of Theatre Performances and Festivals, St. Petersburg State University of Culture (St. Petersburg, Russian Federation). E-mail: evgeniy.slesar@gmail.com Pozdeev Nikolay Yuryevich, Associate Professor of Department of Direction and Acting Technique, St. Petersburg State University of Culture, Honorary Artist of the Russian Federation (St. Petersburg, Russian Federation). E-mail: zart2001@mail.ru
Annotation: The article is concerned with artistic and aesthetic significance of an artist’s diary in professional becoming the actor and it focuses on the evolution of artistic status of an artist’s diary. The relevance of this article is determined by significant featuring the artist’s diary in theatre pedagogics. Evolution, structure and functions of an artist’s diary in professional becoming the actor and director are distinguished. The article is aimed at determination of artist’s diary fluid structure and study of its artistic purpose. The article is based on didactics and methodology concerned with educational strategies in the field of acting and directing education, and it is also based on art literature reflecting the present-day theatre situation. Evolution and structure of an artist’s diary and its significance in the professional becoming the actor and director are featured in this article. This article is based on study of the artist’s diary in director and actor’s activities of K.S. Stanislavski, E.B. Vakhtangov, Y.A. Zavadsky, B.E. Zakhava, B.V. Sohn, Z.Y. Korogodsky. The methodology of this research is based on cultural and historical, and comparative methods elaborated by the native theatre studies. As a result, structural changes in the artist’s diary, its functions and criteria in theatre pedagogics are distinguished. To sum up, it should be said that entering the theatre field, the very diary begins to take drama form conveyed in dialogism, collectivity, agonistic character, blurring the lines between personal and public, procedural character, introduction the game practices into keeping the diary and dualism of perception and objectiveness. Thereby, it becomes a playing field for theatre arts.
Keywords: artist’s diary, acting, theatre pedagogic, direction.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Slesar Evgeniy Aleksandrovich, PhD in Art History, Associate Professor of Department of Production of Theatre Performances and Festivals, St. Petersburg State University of Culture (St. Petersburg, Russian Federation). E-mail: evgeniy.slesar@gmail.com Pozdeev Nikolay Yuryevich, Associate Professor of Department of Direction and Acting Technique, St. Petersburg State University of Culture, Honorary Artist of the Russian Federation (St. Petersburg, Russian Federation). E-mail: zart2001@mail.ru
Annotation: The article is concerned with artistic and aesthetic significance of an artist’s diary in professional becoming the actor and it focuses on the evolution of artistic status of an artist’s diary. The relevance of this article is determined by significant featuring the artist’s diary in theatre pedagogics. Evolution, structure and functions of an artist’s diary in professional becoming the actor and director are distinguished. The article is aimed at determination of artist’s diary fluid structure and study of its artistic purpose. The article is based on didactics and methodology concerned with educational strategies in the field of acting and directing education, and it is also based on art literature reflecting the present-day theatre situation. Evolution and structure of an artist’s diary and its significance in the professional becoming the actor and director are featured in this article. This article is based on study of the artist’s diary in director and actor’s activities of K.S. Stanislavski, E.B. Vakhtangov, Y.A. Zavadsky, B.E. Zakhava, B.V. Sohn, Z.Y. Korogodsky. The methodology of this research is based on cultural and historical, and comparative methods elaborated by the native theatre studies. As a result, structural changes in the artist’s diary, its functions and criteria in theatre pedagogics are distinguished. To sum up, it should be said that entering the theatre field, the very diary begins to take drama form conveyed in dialogism, collectivity, agonistic character, blurring the lines between personal and public, procedural character, introduction the game practices into keeping the diary and dualism of perception and objectiveness. Thereby, it becomes a playing field for theatre arts.
Keywords: artist’s diary, acting, theatre pedagogic, direction.
