Acting role - what is it? What is a role

A necessary property of an actor is the ability to reflex excitability. A person deprived of this ability cannot be an actor.

EXCITABILITY

Excitability is the ability to reproduce in feelings, in movement and in words a task received from the outside.

MANIFESTATION OF EXCITABILITY

Coordinated manifestations of excitability constitute the actor's GAME.

Individual manifestations of excitability are ELEMENTS OF AN ACTOR'S PLAY.

Each element of the game is invariably formed by three mandatory points:

1. Intent

2. Implementation

3. Reaction

Intention is the intellectual perception of a task received from the outside (author, playwright, director, actor’s initiative).

Realization is a cycle of volitional, mimetic and vocal reflexes.

In order to better capture the attention of the audience in order to achieve the effect they have set for themselves, playwrights sometimes resort to shifting or completely reversing the composition; Thus, traditionally a comic situation is presented in a tragic plane and vice versa, or the generally accepted ideas about the criterion of dramatic perspective are shifted. A very common natural phenomenon called sunset gives a fairly complete understanding of the nature of such an effect. An observer who is mechanically accustomed to seeing warm tones in the foreground and taking into account their degradation into cold ones as they move away towards the horizon, and therefore generally inclined to identify the concept of the matter with such a color distribution, is inevitably amazed when he sees the red-orange tone of the horizon and Blue colour first plan.

The most primitive application of paradoxical composition is a simple parody, hence the widespread use of the method in comic constructions.

The deliberate exaggeration and restructuring (distortion) of nature and the connection of objects that are not connected by it or the habit of our everyday experience, while persistently emphasizing the materially ordinary sensuality of the form created in this way. The absence of such persistence, transferring the technique of restructuring and combination into the realm of extramaterial fantasy play, turns the grotesque into a chimera. In the field of grotesque, replacing the resolution of a finished composition with a resolution directly opposite or the application of well-known and revered techniques to the depiction of objects that are opposite to the subject that established these techniques is called parody.

The theater, being an extranatural combination of natural temporal, spatial and numerical phenomena that invariably contradicts the everyday reality of our experience, by its very essence is an example of the grotesque. Having arisen from the grotesque of a ritual masquerade, it is inevitably destroyed by any attempt to remove the grotesque from it as the basis of its existence. Being the main property of the theater, the grotesque for its implementation requires the inevitable restructuring of all elements introduced into the sphere of the theater from the outside, including the person it needs, transforming him from an ordinary person into a performer. This alteration is aimed at preparing sensually material element extranatural combination of the grotesque, throws off the actor’s stage abilities whole line their manifestations in favor of one particular group of them, intended for the actor to occupy a certain theatrical place and perform a strictly qualified position. ROLE - the position of an actor, occupied by him in the presence of the data required for the most complete and accurate performance of a certain class of roles that have established stage functions.

Intrigue is the intertwining of a sequence of external obstacles and external methods their overcoming, consciously introduced into the action of the drama by the characters concerned.

15 DEVELOPMENT OF NATURAL DATA OF AN ACTOR

The above-mentioned natural data, while necessary for an actor, are not yet sufficient for him, so they must be developed and developed.

This development, according to the previous one, should go in two directions: a) development of the ability of reflex excitability and b) development of physical characteristics of the role using playing techniques characteristic of them.

THE MAIN SUBJECTS OF WORK IN GROUP “A” WILL BE :

1) Development of a sense of your body in space (movement with a conscious center, balance, transition from large movements to small ones; awareness of a gesture as the result of movement even in static moments).

2) Acquiring the ability to transform musical instinct into conscious guidance of oneself as a musician.

3) Acquiring the ability to navigate the game system.

FOR GROUP "B":

By understanding with geometric clarity all the provisions of biomechanics, the starting point of which is the establishment of a single law of mechanics in all phenomena of force and the similarity of the members of all animals, the application of movements characteristic of animals to certain groups roles, characterized by the principle of similarity by these movements.

All this work is inevitably done by every person who devotes himself to acting, regardless of his desires or theoretical beliefs. Usually it is carried out by touch and three-quarters unconsciously, which wastes an immense amount of effort, nervous excitability and time. The task of theater education is to systematize such work.

PAGE NOTES

The use of the term “feeling” is made in its scientific and technical meaning without introducing into it a philistine and sentimental understanding.

The same must be said about the term “strong-willed”. This nature of the presentation was adopted in order to dissociate, on the one hand, from the system of playing “within the gut” (without systemic narcotics), and, on the other hand, from the method of “experiences” (hypnotic training of the imagination).

Both of these methods - the first, forcing the will by artificial stimulation of a previously relaxed feeling, the second, forcing the feeling by hypnotic extension of a previously relaxed will - should accordingly be rejected as unsuitable and dangerous for the physical people's health exposed to them.

More detailed analysis the mentioned phenomena will be given in a special study “The Actor's Play”. (No. 3 of the production plan of the GVYRM publication)

“Reflexes... mimetic” - this term denotes all movements that occur in the periphery of the actor’s body, as well as the movements of the actor himself in space.

Role - type acting roles. The role takes into account the external and psychophysical features of the character and the actor’s corresponding data.

In the second half of the 15th century, the specialization of actors according to a certain type of character appeared in European theater. It is called role (translated from French - application).

The most ancient roles are tragedian and comedian. They arose from the basic masks of ancient theater.

The emergence of the European role system as a certain set of rules concerning acting, developed in the era of classical theater. According to the classicist role system, an actor applying for a certain role must have, first of all, external data appropriate for this role (height, build, face type, voice timbre, etc.). So, if the actor had high growth, a stately figure, regular facial features, low voice, he could count on playing the role of a hero in a tragedy. Actor vertically challenged, of irregular physique, with a higher voice, was suitable only for comic roles.

Transitions from one role to another were not allowed, with the exception of age-related roles: an aged tragic hero-prime minister, for example, became a “noble father.” Each role had its own line of behavior, its own declamatory and plastic features.

The first fixed Russian system of roles can apparently be considered the Painting (1766), compiled by Empress Catherine II. According to this Painting, the imperial theater troupe (St. Petersburg) was supposed to have actors and actresses in the following roles: first, second, third tragic lovers; first, second, third comic lovers; per-noble (noble father); per-comedian (comic elder); first and second servants; reasoner; hyoid; two confidants (confidants); the first, second and third tragic lovers; first, second comic mistresses; old woman, first and second maid; two confidantes (confidantes). Troupe composition imperial theater half a century later (in the early 1810s) it already included other roles: the role of a king in tragedies, a petimeter (dandy), a simpleton, a young coquette, an innocent (ingénue); at the same time, some roles (for example, scythe) disappeared from the theater staff.

In the 19th century Many new roles appear, including travesty, grand coquette, neurasthenic, etc. At the end of the 19th century. in Russian theater practice there are roles differentiated by nationality, social and everyday, age and other characteristics. Thus, in the Index of plays for amateur performances with the designation of roles by role and the necessary scenery (M., 1893) the national roles of “Armenian”, “Tatar”, “Jew”, “German”, the social and everyday role of “merchant”, age children's roles of “girl” and “boy”. The movement towards increasing the list of roles and its specification is associated with the growing interest in the theater of the 19th century. to human individuality.

Awareness of the role aesthetic category theater occurred at the beginning of the 20th century. Opponents theatrical roles K.S. Stanislavsky, M.A. Chekhov spoke, who saw in the game of role - theatrical cliches and routinism, an obstacle to the development of an actor's individuality

The section is very easy to use. In the field provided, just enter the right word, and we will give you a list of its values. I would like to note that our site provides data from various sources - encyclopedic, explanatory, word-formation dictionaries. Here you can also see examples of the use of the word you entered.

The meaning of the word role

role in the crossword dictionary

role

Explanatory Dictionary of the Living Great Russian Language, Dal Vladimir

role

Wed inclined French the place occupied by an actor, according to the nature of his acting; place, position, rank. He is accepted into the theater for the role (title) of heroes, old people.

Explanatory dictionary of the Russian language. D.N. Ushakov

role

uncl., cf. (French emploi). The nature of the roles performed by the actor (theater). The role of a comic old woman. Role of the first lover. Actor in the role of a reasoner,

trans. role, position (in society), range of activities. Role of a secretary. The role of a housewife. The role of a wit. To be in someone's role. (play the role of someone).

Explanatory dictionary of the Russian language. S.I.Ozhegov, N.Yu.Shvedova.

role

uncl., cf. Type of acting roles. L. reasoner. This is not his (also translated: he does not do this, this is not part of his rules, his circle of interests).

New explanatory dictionary of the Russian language, T. F. Efremova.

role

Wed several

An actor's specialization in playing roles that best suit his external stage characteristics and the nature of his talent.

trans. Position, role in society, range of activities, interests.

Encyclopedic Dictionary, 1998

role

AMPLOI (French emploi, lit. - application) relatively stable types theatrical roles, corresponding to the age, appearance and style of acting of the actor: tragedian, comedian, hero-lover, soubrette, ingénue, travesty, simpleton, reasoner, etc. In the 20th century. this concept is falling out of use.

Role

(French emploi ≈ use, use; position), the actor’s specialization in performing roles that are similar in type and united by a conventional name. The name A. usually comes from the main function performed by the character in the play [for example, lover (roles of youths, young men with beauty, intelligence, nobility, loving or being the object of love), travesty (roles of youths, boys, teenagers performed by women ) etc.], or from the main trait of his character [for example, hero, tyrant, noble father, ingenue (i.e. naive girl), grand coquette (coquette), etc.]. The emergence of acting was facilitated in the history of theater by two counter processes: the transition from play to play of homogeneous characters and the establishment of a performing tradition that limited the possibility of individual interpretation of the role. As a result, the techniques of the game were canonized in relation to the types depicted. Realism, with its complex understanding of human character, is alien to the specialization of performers according to A. The Moscow Art Theater rebelled especially sharply against specialization academic theater. Soviet theater strives to educate an actor with a wide creative range, and therefore the division into A. is not accepted in it. Many leading theater figures in foreign countries adhere to the same principles.

T. M. Rodina.

Wikipedia

Role

Role- a certain type of roles corresponding to the external and internal data of the actor.

Examples of the use of the word role in literature.

There are two people in the room - Bezrukov and Lieutenant Colonel Kalinin, who once worked in Moscow role Lydia's husband, and now urgently arrived in London to clear up the mess that had brewed here.

Those who observed him much later in a completely different way role such different people like A.

The American press was also alarmed to discover that the Soviets had a leader capable of challenging Ronald Reagan in an area where he considered himself a consummate professional: role public politician.

Demiurge of the new world or leader of the second world superpower in role the secretary of the regional committee, responsible for everything that happens in the territory under his jurisdiction - from the procurement of feed to the provision of schoolchildren with textbooks.

Choice role a professional evolutionist in a country accustomed to rebel anarchists and despots could mean either blatant naivety, for which Russian critics never tire of accusing Gorbachev, or supreme political wisdom, for which mainly Western admirers never tire of praising him.

O world, where instead of holly arches of rainbows Above us, Where the moon shines instead of lamps, Where we are, we play weakly, Oh, how could we at least not confuse role, role, role, role, role, Oop-la-la.

Lope de Vega, who created this stage role - role a clever or, conversely, clumsy servant, often a smart and crafty peasant.

“What do you think about it,” he asked, smiling dispassionately, “to test yourself in role TV presenter on a crime news program?

For role TR-physics, you seem to me, excuse me, too young and too red-haired.

I’ve been working here for four days now and, as you just put it, it’s in role TR-physics.

Yesterday I started new life in an unusual way role, in an unfamiliar house, and in order for the debut not to fail, it was simply necessary to balance my achievements and defeats that marked this life.

Same as in Chinese classical theater, This role the Kabuki theater has its own long story and refers to high stage performance.

Female role- onnagata, perhaps more than any other role, requires the performer to have a special gift of transformation.

Therefore, when in reality the dreams of working bread were resolved by the fact that she was offered to take over the operetta role on the stage of one of the provincial theaters, then, despite the contrast, she did not hesitate for long.

Vigo finds such a mechanism by returning to the grotesque: a mass riot begins; Buffon is subject to torture, but at the same time does not lose his role.

Meyerhold V. E., Bebutov V. M., Aksenov I. A. Role of an actor. M.: GVYRM, 1922. 15 p.

Development of natural data of an actor 15 Read

{3} What kind of person is suitable to be an actor?

A necessary property of an actor is the ability to reflex excitability. A person deprived of this ability cannot be an actor.

Excitability

Excitability is the ability to reproduce in feelings, in movement and in words a task received from the outside.

Manifestation of excitability

Coordinated manifestations of excitability constitute the actor's GAME.

Individual manifestations of excitability are ELEMENTS OF AN ACTOR'S PLAY.

Each element of the game is invariably formed by three mandatory points:

1. Intent

2. Implementation

3. Reaction

Intention is the intellectual perception of a task received from the outside (author, playwright, director, actor’s initiative).

Realization is a cycle of volitional 1, mimetic and vocal reflexes 2.

{4} The reaction is a decrease in the volitional reflex for the implementation of mimetic and vocal reflexes with its preparation for receiving a new intention (transition to a new element of the GAME).

The actor must have the ability of reflex excitability. Reflex excitability is a reduction to a minimum of the process of awareness of a task (“simple reaction time”).

A person who has discovered in himself the presence of the necessary abilities for reflex excitability can be or become an actor and, according to one or another natural physical data, occupy one of the roles in the theater: a position determined by the stage functions assigned to it (see page 14).

{5} Role tablesM.Men'sAND.Women's

{15} Development of the actor's natural data

The above-mentioned natural data, while necessary for an actor, are not yet sufficient for him, so they must be developed and developed.

This development, according to the previous one, should go in two directions: a) development of the ability of reflex excitability and b) development of physical characteristics of the role using playing techniques characteristic of them.

The main subjects of work in group “a” will be :

1) Development of a sense of your body in space (movement with a conscious center, balance, transition from large movements to small ones; awareness of a gesture as the result of movement even in static moments).

2) Acquiring the ability to transform musical instinct into conscious guidance of oneself as a musician.

3) Acquiring the ability to navigate the game system.

For group "b" :

By understanding with geometric clarity all the provisions of biomechanics, the starting point of which is the establishment of a single law of mechanics in all phenomena of force and the similarity of the members of all animals, the application of movements characteristic of animals to certain groups of roles, characterized by the principle of similarity by these movements.

All this work is inevitably done by every person who devotes himself to acting, regardless of his desires or theoretical beliefs. Usually it is carried out by touch and three-quarters unconsciously, which wastes an immense amount of effort, nervous excitability and time. The task of theater education is to systematize such work.

1 The use of the term “feeling” is made in its scientific and technical meaning without introducing into it a philistine and sentimental understanding.

The same must be said about the term “strong-willed”.

This nature of the presentation was adopted in order to dissociate, on the one hand, from the system of playing “within the gut” (without systemic narcotics), and, on the other hand, from the method of “experiences” (hypnotic training of the imagination).

Both of these methods - the first, forcing the will by artificial stimulation of a previously relaxed feeling, the second, forcing the feeling by hypnotic extension of a previously relaxed will - should be accordingly rejected as unsuitable and dangerous for the physical health of people exposed to their influence.

A more detailed analysis of the mentioned phenomena will be given in a special study “The Actor's Play”. (No. 3 of the production plan of the GVYRM publication)

1 {14} 2 “Reflexes... mimetic” - this term denotes all movements that occur in the periphery of the actor’s body, as well as the movements of the actor himself in space. Obstacles that arise on the way to the implementation of the heroes' plans, as a result of their tragic guilt. This guilt, not being essentially, much less in particular, a violation of any human ethical norms, is the assumption by one person or another of the drama of a task that exceeds the limits of capabilities human personality and its associated rights. Obstacles encountered tragic hero

2 In order to better capture the attention of the audience in order to achieve the effect they have set for themselves, playwrights sometimes resort to shifting or completely reversing the composition; Thus, traditionally a comic situation is presented on a tragic plane and vice versa, or the generally accepted ideas about the criterion of dramatic perspective are shifted.

A very common natural phenomenon called sunset gives a fairly complete understanding of the nature of such an effect. An observer, mechanically accustomed to seeing warm tones in the foreground and taking into account their degradation into cold ones as they move away towards the horizon, and therefore generally inclined to identify the concept of the matter with such a color distribution, is inevitably amazed when he sees the red-orange tone of the horizon and the blue color of the foreground.

The most primitive application of paradoxical composition is a simple parody, hence the widespread use of the method in comic constructions. parody.

Theater, being an extra-natural combination of natural temporal, spatial and numerical phenomena that invariably contradicts the everyday reality of our experience, by its very essence is an example of the grotesque. Having arisen from the grotesque of a ritual masquerade, it is inevitably destroyed by any attempt to remove the grotesque from it as the basis of its existence. Being the main property of the theater, the grotesque for its implementation requires the inevitable restructuring of all elements introduced into the sphere of the theater from the outside, including the person it needs, transforming him from an ordinary person into a performer.

This alteration, with the goal of preparing a sensually material element of an extra-natural combination of the grotesque, discards from the actor’s stage abilities a whole series of their manifestations in favor of one specific group of them, intended for the actor to occupy a certain theatrical place and perform a strictly qualified position. ROLE - the position of an actor, occupied by him in the presence of the data required for the most complete and accurate performance of a certain class of roles that have established stage functions.

4 Intrigue is the interweaving of a sequence of external obstacles and external methods of overcoming them, consciously introduced into the action of the drama by interested characters.

Many, thinking about acting talent, also thought about such a definition as the role of an artist. Today we will talk about this and try to understand: a role is a sentence, a cliche, which, according to K. S. Stanislavsky, does not allow the actor to develop his individuality, or, nevertheless, the opportunity to understand in which roles his talent will manifest itself especially clearly.So, the role is

What is this? The word "role" came to us from French , where it means “place, position, method of application.” This word defines the roles in which it is predominantly occupied depending on its psychological and physical features

, without forgetting his skill level and playing technique.

How did the concept of “role” appear in theatrical art? What did this word mean in the 15th century? In the European theater in the second half of the 15th century, a division of actors by type arose. The first and most ancient, as you understand, were the roles of the tragedian and comedian, which appeared in Ancient Greece

Later, already in the 17th century, kings, tyrants, beauties, heroes, and villains appeared among theatrical images. Interest in personality is growing, and with it the roles of the actors playing them are expanding.

At the Catherine Theater in Russia, by decree of the Empress, the troupe was recruited strictly according to character: hero, simpleton (comic role), noble father, veil, heroine, comic old woman, travesty, ingénue, soubrette. This selection of actors allowed the theater to perform both tragedies and comic performances.

How the acting role expanded

A clear role helped the actors to get deeply into the character, choosing techniques that accurately and vividly portrayed the hero. But as it develops theatrical arts and dramaturgy, they could no longer be within the framework of one mask image, and therefore there was a tendency among actors to break it, playing both comic and tragic roles. This led to a more subtle and ambiguous game, as well as to a deep and comprehensive perception by the viewer of the situation shown on stage.

Has the acting role disappeared? What does this concept mean now?

Development in the 20th century. avant-garde forms brought back to us the “masks” - the role of an actor. An example is the Raikin Theater, which actively uses this technique.

But other theater and film actors sometimes also cannot get rid of their role completely. After all, we all understand that often the type, features of appearance or manner of acting predetermine for the artist the roles to which he will be invited most often. And it's almost impossible to break.

And once again about the role

So, acting role - what is it? Is it good or bad to get stuck in a type, in a limited idea of ​​your capabilities? Unfortunately, there is no clear answer to this question. Diversity is the unique ability of an actor to shine equally brightly in any role. But when selecting a performer for the role, the director will still rely on his external characteristics, because it is difficult to imagine a freckled girl playing the role of Katerina in “The Thunderstorm.” So as long as it exists, the role of an actor will exist.