Theatrical and pedagogical foundations laid down by V. M. Chystiakova in the development of the imaginative world of the Ukrainian actor

S.I Hordieiev

doi:10.34064/khnum2-17.08

Abstract

Theatrical and pedagogical foundations laid down by V. M. Chystiakova in the development of the imaginative world of the Ukrainian actor

Highlights

ХVII ■ Аспекти історичного музикознавства of Valentyna Chystiakova, who created about a hundred scenic images, and her personal method of training the actor give every reason to argue that various facets of the artistic heritage of Les Kurbas brightly appeared in the work of his disciple, that traditions and aesthetic principles of the stage-director burst into sparks in her artistic achievements and in her outstanding works, which significantly expanded the style framework of the actor’s art and is an integral part of Ukrainian stage culture
ХVII ■ Аспекти історичного музикознавства of lectures and notes give a lot for understanding the pedagogical experience of the actress
Referring to Les Kurbas, she believed that in the theatre system the actor’s gesture technique is one of the main disciplines, but the bias in one-sided biomechanics gives non-talented actors who unable to carry the performance on their shoulders

Summary

Introduction

ХVII ■ Аспекти історичного музикознавства of Valentyna Chystiakova, who created about a hundred scenic images, and her personal method of training the actor give every reason to argue that various facets of the artistic heritage of Les Kurbas brightly appeared in the work of his disciple, that traditions and aesthetic principles of the stage-director burst into sparks in her artistic achievements and in her outstanding works, which significantly expanded the style framework of the actor’s art and is an integral part of Ukrainian stage culture. ■ Key words: theatrical pedagogics by Valentyna Chystiakova, Theatre by Kurbas, actor’s art, pedagogic methods, stage metaphor, mise-en-scene. За півгодини потрібно на самоті повторити сцени, увійти в образ, настроїти себе, щоб робота з режисером заставала актора вже в цілковитій творчій готовності» (Чистякова, В., 1952).

Results

Conclusion