TRAINING TO PERFORMANCE: FROM ACTOR’S VOICE-SPEECH SETTINGS TO VOICE-SPEECH EXPRESSIVENESS ON STAGE
UDC index:
792.071; 792.09
DOI:
Article ID in the RSCI:
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Information about authors: Chepurina Vera Vladimirovna, PhD in Culturology, Associate Professor, Associate Professor of Department of Theatre Arts, Kemerovo State Universuty of Culture (Kemerovo, Russian Federation). E-mail: chepurina1@mail.ru
Annotation: The article actualizes the search for means of expressiveness, conditioned by the requirements of theatrical art. The author claims that the technique of a modern actor must be universal for the variety of forms of modern theater. Examples of the expressiveness of an actor’s speech include: change of speech manners, connection of different modes of communication, transfer of a content at the rhythmic-melodic level, high tempo-rhythmic, pitch-sound, emotional mobility of speech, etc. Particular attention in the process of education of voice technology is proposed to focus on the possibilities of directed voice-speech training as an effective way of transition from a voice-talking adjustment of an actor to a voice-expressive expression of a stage image. The accent is also made on training for the play, the basis for which is the content, sound composition, intonation-melodic structure of the text. Exercises should give the right emotional mood, grope for the necessary characteristics of sound, search for a figurative expression of content. Searches and tests suggest both “home” writing, and improvisational statements on topics related to the problems and stylistics of the play. The advantages of directional training and training for the performance are associated with the consideration of specific circumstances, the emergence of real training necessity, the correspondence of exercises with the structure of oral speech, focusing on specific features of the speech of stage characters. The development of the training, which is organized in the classroom and the rehearsal hall of the professional theater, makes it possible to bring the development of the psychotechnics of the actor closer to real practice. An important condition for such training is the desire to the fullest possible opportunity to explore the author’s world, preserve the elements of improvisation and conduct a search for voice-expressiveness in different directions.
Keywords: art of speech, voice-speech technique, directed training, training to performance, expressiveness on stage.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Chepurina Vera Vladimirovna, PhD in Culturology, Associate Professor, Associate Professor of Department of Theatre Arts, Kemerovo State Universuty of Culture (Kemerovo, Russian Federation). E-mail: chepurina1@mail.ru
Annotation: The article actualizes the search for means of expressiveness, conditioned by the requirements of theatrical art. The author claims that the technique of a modern actor must be universal for the variety of forms of modern theater. Examples of the expressiveness of an actor’s speech include: change of speech manners, connection of different modes of communication, transfer of a content at the rhythmic-melodic level, high tempo-rhythmic, pitch-sound, emotional mobility of speech, etc. Particular attention in the process of education of voice technology is proposed to focus on the possibilities of directed voice-speech training as an effective way of transition from a voice-talking adjustment of an actor to a voice-expressive expression of a stage image. The accent is also made on training for the play, the basis for which is the content, sound composition, intonation-melodic structure of the text. Exercises should give the right emotional mood, grope for the necessary characteristics of sound, search for a figurative expression of content. Searches and tests suggest both “home” writing, and improvisational statements on topics related to the problems and stylistics of the play. The advantages of directional training and training for the performance are associated with the consideration of specific circumstances, the emergence of real training necessity, the correspondence of exercises with the structure of oral speech, focusing on specific features of the speech of stage characters. The development of the training, which is organized in the classroom and the rehearsal hall of the professional theater, makes it possible to bring the development of the psychotechnics of the actor closer to real practice. An important condition for such training is the desire to the fullest possible opportunity to explore the author’s world, preserve the elements of improvisation and conduct a search for voice-expressiveness in different directions.
Keywords: art of speech, voice-speech technique, directed training, training to performance, expressiveness on stage.
