Анотация |
The most important for the young people getting into the
theatrical ways is not to ease off and not to forget that the
process of creative imagination development is endless as the
creativeness itself. Actors must have sensitive creative fantasy
easily excitable but, at the same time, they must be able to
control and understand things created by their imagination. The
fantasy is be directed to determined goal which must be
constructive. Without imagination of their own, makers and, in
particular, actors, cannot exist. That's why there are so many
exercises enumerated in the work which could be extremely useful
for future and present actors. Of course, said exercises, to great
extent, are borrowed from the great theatrical theoreticians. In my
practice as producer and pedagogue they've proven to be
indisputably efficient; I've enriched them by my personal
experience though accumulated in my still short journey in the
theater. It is real happiness for a producer to work with actors
capable to assimilate and develop what he suggests to them.
Unfortunately, more often we meet actors who consider their
profession only as an "executive" one.
I've intended to trace a way by which the natural fantasy
transforms into creative imagination. Now I am convinced that
without educated, well-bred imagination there is no
professional creativeness. Thanks to our imagination our
works become possible. Precisely our imagination helps us to
differentiate in the surrounding reality the images necessary to
make art about new, artistic reality. As Brook says" "the more full
is the "sack of memories" the richer and more valuable art we could
make".
Key words:
actor, imagination, creativeness
.
Orientation: Theatrical art - "The universal
language of the modern stage"
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