Training in the process of stage movement classes

Abstract

Disciplines, which constitute a mandatory list of the actor’s professional training have long been formed within the structure of the pedagogical process in theatrical higher educational institutions. Naturally, the question concerning the effectiveness of the method used to work with students in developing their necessary skills and abilities becomes urgent.
 The purpose of the article is to analyse and compare the educational process concerning the disciplines included in the stage movement system, to reveal more effective method for students’ training in educating the basics of plastic culture for future actors, to identify and justify the necessary conditions to make the learning process more successful under normal life circumstances.
 The methodology. The research was carried out using the analysis of the conditions for giving classes and the effectiveness of using two different teaching methods — dressage and training.
 The results. The main difference between training and dressage is the process of awareness of one’s muscle sensations and understanding of the upcoming action. The article confirmed that the method of physical and psychophysical training is the most suitable for working with students during stage movement classes. In case of understanding one’s physical sensations, which to a greater extent depends on the desire of a person himself, the method of training allows to develop and train professional skills and abilities. The student learns to control the body consciously, and the body gradually begins to obey responding to the thoughts of a person that allows to reflect the character’s interior life through external manifestations (gestures, postures, body movements) more accurately, and create in each new image own special plastic expression, inherent only in the particular role. The actor’s technique is just a means of expressing the personage’s character in accordance with the author’s idea and keeping the meaning of the composition itself. As the author notes, more effective training of students in special movement disciplines requires certain conditions — namely, the availability of space, special equipment and physical presence of a partner.
 The scientific novelty of the article lies in the generalization of the experience of applying training in practice during the process of teaching them the basics of plastic culture. The article is an attempt to substantiate the use of physical and psychophysical training for the development of future actors’ necessary skills and abilities.
 The practical significance lies in the fact that certain conditions and the use of a more effective method of work — psychophysical training — are required to teach students the basics of stage movement. The materials of the article can be used for practical activities of stage movement teachers and for further research in this area.