Анотация |
The problem of the actor's plasticity is examined as a
specific manifestation of the human plasticity. In order to ground
and delimit the parameters of the actor's plasticity the author
studies the etymology of the concept of "plastic expression" and
focuses on the feature opposite to plasticity - the
rigidness.
Comparing the processes characterizing the human plasticity
in general with the processes of the actor's plasticity, the author
underlines that, in the first case, the processes of perception,
sensations, ideas, speaking-and-thinking flow, emotions - and the
related to them body reactions - have natural irritating
factors (external and
internal), while, in the second case,
, the actor's body on the stage,
perceiving real irritants, reacts also to imaginative ones
conditioned by the circumstances of role and performance.
Therefore, one can make the conclusion that in
the basis of the actor's plasticity
underlies such organization of the human psychomotor potential by
which imagination images easily transfer into motive
reactions.
In the article is intended to be verified the thesis that:
the plastic culture of a sportsman - and of a human in general -
and the plastic culture of an actor, in the basis of which lays
improved actor's plasticity, have different roots
and different nature. The author maintains the stand that the
actor's plasticity, the plastic culture and expressivity of
graceful movements are elements of the actors' external
expressiveness, not isolated one from another. Dialectically they
are grades of development, mutually conditioned and connected, and
manifestation of actors' psycho-technique improvement. They are
based on a specific range of psycho-physiological natural
features (abilities,
gifts, talents). They are
subject to development and improvement as any instrument
of creativeness.
Key words: actor, imagination, plasticity,
plastic signs, universal language
Orientation: Theatrical art - "The universal language of the
modern stage"
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