Theatre Actors Research Articles

Public Space as Urban Cultural and Tourism Education Facility with Historical Atmosphere

The Old City area, which is a part of Jakarta City has become the symbol of Batavia's historical greatness. Batavia is also known as the Queen of The East due to its beauty (Brill, 1993). From its long historical record and the abundant number of historical heritages, Old City area revitalization efforts have become a priority in DKI Jakarta Governor’s work programs. Based on Law Number 26 Year 2007 regarding Landscapes, Jakarta should own 30% of green open spaces in its administrative area. However, Jakarta only provides 10% of green open (Hariyawan et al., n.d.). The small amount can also be seen in the Old City area with a small portion of green open space or public area. The Old City area of Jakarta is now filled with illegal dwellings and abandoned buildings which are often used by migrant communities as their residences. This situation creates irregularity and discomfort for the people. Old City area is a cultural heritage area, which is often utilized as a gathering area for artists with routine activities such as photographers, mural artists, and theatrical actors. However, these communities often face difficulties due to limited facilities in the area. Based on the policy analysis of historical cultural heritage preservation of the Old City area in Jakarta, we can conclude that revitalization efforts aim to provide public open spaces by optimizing their functions, and comforts, while also bringing back the historical heritage atmosphere. The goal of this design is to shape interaction space patterns that are in accordance with the local art communities so that they can have their own working spaces. The method utilized in this research was a qualitative descriptive and case study methods, which were implemented in the Old City area. The revitalization of the Old City area in Jakarta has the potential to improve it as urban tourism and art education, which is also integrated with green open space that functions as social space. The involvement of communities in the area is also important in assisting the organizing, driving, and supervising efforts of public areas.

Embodying the difference – Performing the experience (revised manuscript)

This article stems from the author’s experience as a performer, curator, and applied drama and social theatre actor, playwright and operator. It is based on his research “Inclusive Production Methodologies in the Performing Arts for Diversely-Abled Performing Arts Practitioners”, supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media (DE). According to the author, disability is not a sign of a lack, but rather a way to encourage people to reduce distances between one another, live in solidarity, and break commonplaces. Considering authenticity as a fundamental quality for performing, he discusses that disabled performers have a genuine immediacy to immerse themselves in the nowness of the action because their vulnerability on stage is unfiltered. In that, he sees stigma as a source of creativity and a qualifying sign capable of eradicating preconceptions and biases. Performance practices are not just a question of ability and skills collection but rather, in Grotowski’s words, an eradication of blocks to adhere to one’s true self. The performer’s body is the prima materia to produce meanings that turn into living images and come into reality. This is regardless of the performer’s physical condition. The article offers examples of performers affected by different forms of disability, such as Felipe Monteiro, Nicola Fornoni and Enok Ripley who report on their specific clinical condition. A particular reference has been made to the collective performance opera Underscars conceived and organised by the author, his partner German artist Verena Stenke and their collaborators in Venice in December 2022.

Жанрове розмаїття «п’єси у п’єсі» в сучасній українській літературі

The problem of studying the evolution of ironical element in literature is crucially important and relevant. This article deals with the ironical style in dramaturgy, owing to the fact that it is founded on the element of game intrinsic to irony. The rhetoric figure of pretension (eironeia), from which the mentioned kind of comical had initiated, conditions the main object for this research — «a theatre within a theatre», or «a stage within a stage». Two-dimensional setting of the action (both in formal and substantial aspects) serves as an impetus for development of an ironic style not only in a play, but also in any possible generic modifications of this structure. In other words, an array of literary works shares the same artistic code, upon being included into the single play. Therefore, the main formal factor in this case is «a rehearsal», on which either an entire play or its part gets based. Actually, the studies of «a stage within a stage» in Ukrainian literature remain relevant nowadays. Regarding the history of national dramatic art, it can be said that there were few «rehearsal plays» and «show plays» in Ukraine for the time being; works like «Spokusy nesviatogo Antona (Temptations of Unholy Anthon)» by Ihor Kostetsky, «Kain (Cain)» by Olha Kyrylova and «Tsyrk zhyttia nashogo (The Circus of Our Life)» by Svitlana Leliukh are the updated epitomes of this genre. On the other hand, it is quite interesting to search for plays with traces of «a stage within a stage», since the functions of this means go far beyond the typical derision of internal theatrical drawbacks and intrigues. Having emerged as a reflection of the theatrical scene, «a stage within a stage» can evolve in any closed and open space. Significantly, this symbolizes the movement towards the event elements of theatrical action itself; however (when it comes to a high-quality artistic work), in case of showing some extraordinary events that set up acute conflicts either to be solved or remain open during the action.

How theatre actors in Flanders make sense of and enact their employability in a context in motion: a matter of fit

ABSTRACT This study aims to understand how individuals give meaning to and enact their employability in a changing context. Our study draws on insights from the Social Chronology Framework. In doing so, it involves the interplay of three perspectives: individual, context and time. We used a narrative approach based on life story data from 24 theatre actors in Flanders (Belgium). We identified five narratives based on three building blocks: employability scripts, career imagination and action. Employability scripts encrypt what is contextually required to be employable. The narratives differ in how individuals interpret those scripts, make meaning of their position in the field (career imagination) and act. The narratives express variations in fit with the field. Three narratives express fit: Individuals blend in with the context and endorse the current employability script. A fourth narrative expresses being out-of-fit: Individuals identify with older scripts. A fifth narrative expresses misfit: Individuals fail to act according to the current script and disengage. Our main contributions are theoretical. First, we conceptualize employability “in the fit” and not in the individual. Second, we advance the notion of employability script. Both these contributions serve to understand employability at the interplay of agency and structure.

TRADITIONAL KOREAN MASKS IN THE MODERN MEDIA SPACE

The growing popularity of masks in the media space indicates the evolution of their traditional meanings and also the actualisation of their aesthetic potential from the positions close to modern viewer’s perception. As this research shows, the aesthetic function of masks dominates in those forms of media content that are most closely related to the forms of theatrical action. In more distant forms, such as the Netfl ix platform TV-series (“Money Heist”, “Squid Game”), masks are closely intertwined with dramatic and plotforming functions. The aesthetic potential of a mask in modern media culture is based on the power of visual impact, complemented by the power of emotional impact, based on the contrast of the comic and tragic, funny and terrible, on the opposition of the immobility of the mask to the dynamics of acting and the dynamics of the plot.

Effectiveness Silence Select in Iraqis Theatre Actor

The philosophies don’t forgets the subject silence because it effecting in life human , the kinds artist don’t lost the silence , exactly the theatrical arts because if the actor don’t the select silence he is don’t effect in the audience , this study giving the important for active the select silence in Iraqis theatre , so this search composed of : the preface that composed of : the search problem , and important the search and need it , aimed the search , lines search it composed of the lines time , lines place , and lines subject , and the terms limited . the theatrical line that composed The second topic the first topic the silence in the philosophers, part , active the select silence in the theatre text. The Third topic active the select silence in acting the actor in the world . the measures that composed of analyse Romelos Theater and comedy seven days. the results composed of :-1- The selective silence of the emperor, his wife, and the vizier in the play Romilos had an effect on setting the rhythm of the theater . 2-the selective silence in play Romilos Help achieve The correct timing in the entry of the antique seller on the emperor . 3- the selective silence Responsible for achieving emotional memory, especially in the last scene of the emperor 4- The complete selective silence of the grandfather, his granddaughter and the stranger in the seven days Contribute to the development of the actor's presence and influence on the recipient . 5- The complete selective silence of the grandfather, his granddaughter and the stranger in the seven days help the actor Help the actor relax . 6- the selective silence After the funeral music in which he participated which he participated in the grandfather, his granddaughter and the stranger in the seven days that important for the actor on movement and diction. the conclusions ended this search with important dictionaries and the sources and the abstract

Performative Practices: Theoretical Foundations of Interpretation in the Social Sciences and Humanities

The paper analyzes the works related to the understanding of performative practices as a phenomenon of modern culture and art; it highlights the principal trends of the studies of this phenomenon. The reasons for the growing interest in the study of performative practices were clarified, the complexity and ambiguity of this phenomenon as a special socio-cultural communicative action, having the appearance of an “artistic event,” a theatrical action, a dynamic symbolic action affecting all channels of human perception, was emphasized. The work is aimed at the analytical study of the essence of specificity of performative practices within the framework of various study optics from the standpoint of social and cultural anthropology and art history, in direct connection with social and cultural life, human emotions, cultural patterns, etc. The aim of the paper is to identify the theoretical definition of the “performative practices” concept in the contemporary humanities, which will allow solving the scientific problem of determining the essential specificity of performative practices as a modern cultural phenomenon. General scientific approaches, principles, and methods employed made it possible to consider the phenomenon of performative practices from different angles: theoretical interpretations of the basic forms of performative practices were compared using the comparative method; the use of the structural-functional method helped to determine the components creating an idea of the meaning of certain performance elements as the forms of manifestation of performative practices in modern culture.

HUMOROUS THEATRICAL ACTIVITY AS A MEANS OF SOFT SKILLS FORMATION IN PRESCHOOL AND PRIMARY EDUCATION

The relevance of the paper dealing with the researching humorous theatrical activities in preschool and primary education is determined by the need to form soft skills in older preschoolers and younger schoolchildren for their successful self-adaptation and self-realization in the future. The purpose of the article lies in substantiating the humorous theatrical activity as a means of forming soft skills in the conditions of preschool and primary education; highlighting aspects of the humorous works selection and methodical recommendations for the effective organization of humorous theatrical action in preschool and primary education establishments. The main methods of scientific research include analysis, pedagogical experience study, observation, generalization and specification. The article proves the effectiveness of humorous theatrical activities for mastering soft skills by students of preschool and primary education, taking into account the pedagogical potential of theatrical play. As a result of the research, aspects of the selection of humorous works are outlined: works with cynicism elements, mockery of macabre themes cannot be studied and acted out; to teach children a wide range of humorous works and their features; to select the works that the children liked the most for the theatrical play; etc. Methodological recommendations have been developed for the effective organization of a humorous theatrical action with the aim of forming soft skills in children of pre-school and primary school: it is necessary to go through all the stages of analyzing a comic work in detail; act out the roles of heroes with the help of theatrical props; you can act out small, humane, humorous skits from your own or school life; the teacher should «try on» the roles of the heroes of the work in order to show the correct facial expressions and gestures; all students of the class or pupils of the group must be involved in the organization and conduct of the event; one student cannot act the same comic, positive or negative role over and over again; observe ethics when using jokes; do not use vulgar humor; do not overload the humorous theatrical action with a large number of dynamic scenes, adhere to the time frame depending on the age characteristics of the children; the action should evoke positive emotions in the audience and participants; it is expedient to combine prose humorous works with musical art, pantomime, choreographic productions, ICT tools use.

Crossroads of Culture: The African Storyteller and The Western Theatre (Drama) Actor, Director, Producer

The paper argues that in Africa, the storyteller discursively functions as an actor, director, a producer, and all. It investigates the point of emergence and the point of departure between the storyteller in Ghana and that of the Western theatre stage performer, director and producer. The study regards the storytelling art as a literary theory which is an intellectual knowledge paradigm grounded in values derived from indigenous cultural experiences of the storyteller. By analysing and drawing particular attention to roles of the storyteller, this article expresses perspectives, based upon the values of using all the necessary communication skills as a viable medium to spur people into action for self-actualisation. The paper attempts to show the strong intertextual and interconnection between both Ghanaian (African) theatre and the Western theatre experiences. The selected areas in the paper suggest direct and indirect identical traits and weighing strength of thoughts and practices of the storyteller’s various roles, and also to fix those roles into various functions in the Western theatre. Implications are drawn on the basis of the critically examined experiences and through analysis of the utilisation of the oral Ghanaian (African) storytelling traditions as a methodological framework. This study, therefore, highlights the basic functions and roles in the Western theatres which the storyteller performs through the development of the dramatic storytelling theatre.

Right/Wrong vs. Possiblity/Choice

"Categorized as good or bad since birth (a good baby doesn't cry too much), we are gradually so caught up in the entanglements of approval/disapproval that our creativity is paralyzed and we become unaware of our own human nature. Therefore, I believe that it is very important when we refer to the pedagogy of teaching acting to replace the notions of right/wrong with notions of possibility and choice. I have found that an effective tool to overcome the constraints instituted by such notions of right/wrong is to familiarize the student with the Viewpoints method, as it is based on the spontaneous and intuitive collaboration of a group of actors, who together create new and daring theatrical actions and situations. Viewpoints trains stage artists (dancers, actors, performers) to listen with their whole body, to perceive and use everything that is happening around them, thus training them to keep their stage creation only in the Present, only Here and Now, the only place where the Theatrical Art is born."

Risk of Dysphonia in Theater Actors: Proposal for a Screening Protocol

To propose a Dysphonia Risk Screening Protocol for Actors (DRSP-A), test its usability in conjunction with the General Dysphonia Risk Screening Protocol (G-DRSP), determine the cut-off point for a high risk of dysphonia in actors, and compare the risk of dysphonia between actors with and without voice disorders. Observational cross-sectional study with 77 professional actors or students. The questionnaires were applied individually and the total scores were summed to calculate the final score of the Dysphonia Risk Screening (DRS-Final). The validityof the questionnaire was verified from the area under the Receiver Operating Characteristic (ROC) curve, and cut-offs were obtained based on diagnostic criteria for screening procedures. Voice recordings were collected for auditory-perceptual analysis and subsequent division into groups with and without vocal alteration. The sample showed a high risk of dysphonia. Higher scores in the G-DRSP and in the DRS-Final were found in the group that presented vocal alteration. The cut-off points established for the DRSP-A and DRS-Final were 0.623 and 0.789, respectively, with higher degrees of sensitivity than specificity. Thus, above these values, the risk of dysphonia is greater. A cut-off value was calculated for the DRSP-A. This instrument was proven to be viable and applicable. The group with vocal alteration had a higher score in the G-DRSP and DRS-Final, but there was no difference in the DRSP-A.

Dance, Gender, and Activism in Pakistan: Interview with Performer-Activist Sheema Kermani

Sheema Kermani (1951-) is a performer and activist based in Karachi, Pakistan. Through her organisation, <i>Tehrik-e-Niswan</i> she has worked towards raising awareness of violence against women and women’s empowerment. <i>Tehrik-e-Niswan</i> is a cultural organisation invested in social justice through the arts. As a dancer and theatre actor, Sheema Kermani uses her training, choreography, and pedagogy to foreground the activist potential of performing arts. Scholarship on dance and political activism within the larger global context (for example in South Africa and New Zealand) have focussed on dance’s potential ‘to further social justice and compassionate communities’ (Shapiro, 2013: 15) and its power ‘to envision, move and create change.’ (Shapiro, 2016: 3) Within the contexts of the UK and USA, scholarship on dance and protest have encompassed historical enquiries (Mills, 2021), politics of representation, place, and identity (Prickett, 2013) and embodied choreographies of protest (Foster, 2003). In the South Asian context, dance as counter-hegemonic to communal politics have informed the works of artist-activist, Mallika Sarabhai in India (Grau, 2007). This interview with Sheema Kermani follows the existing strands of research on global dance and activism by focussing specifically on Pakistan. Sheema Kermani talks about her own dance pedagogy in dance and art history, her formative years in the UK and the influences of feminist and Marxist movements, and her continuing work for social justice in Pakistan in the wake of rising religious fundamentalism, gender atrocities, forced migrations and climate crisis.

Audio Visual Based Scenario of Kondobuleng Performances as A Learning Formula for Actors and Potential of Performing Art Tourism

This research is a form ofstrategy to preserve Kondobulengtheater through the process of transforming print-based scenarios into audio-visual-based digital scenario. The urgency of this research is due to the lack of regeneration of actors in the Kondobuleng theater which has become oneof the causes of the dimness of the Kondobuleng theater group which then has an impact on the Nusantara art tourism sector. In addition, the actors are known to be in a phase that is quite difficult to transfer knowledge of Kondobuleng performances, especially on scenario. Therefore, this research provides a solution by creating a supporting media to facilitate the process of transmitting knowledge related to Kondobuleng theater performances. The method used is the documentation through cinematography technique. These efforts produce new media so as to produce academic novelty in the form of product in the form of audio-visual-based digital scenariosin Kondobuleng theater, especially in the world ofperforming arts. This new media can be used as a medium for learning and actor training in understanding plot, dialog, texture, mimicry, and artistic sets in a performance. To measure the effectiveness of the output product, a survey was conducted from the product trial using the action research (AR) method and structured interviews to several theater actors to avoid subjectivity in the assessment of theproduct findings. On the other hand, this research is usefulas a solution to the threat of regeneration crisis in the Kondobuleng theatre as well as creating artistic spaces thathave the potential to impact on the tourism industry sector of the performing arts world.

LITURGICAL DRAMA AND THEATRICAL ARTS

At the first stage of Christianity spreading the Church has banned theatre show. That’s about writes Aurelius Augustine in his work “Confessions”, where on the background of continued dialogue with God, before us is opened solilokvium (lat.: soliloquium – solo – himself, alone, loqui – to speak), which uses Augustine. It should be noted that such form was assumed in the Literature or theatre performances of that time. This represents the analogy of ancient theatre form, which was used by playwrights to make familiarize with audience, certain development event. Blissful Augustine believes that what is developed on the stage and the experiences of audience – the despair on the stage, the grief appeared in the spectator and tears on the composed, this is some kind of sin and God’s banishment from you. The main postulate of early medieval thinkers, mainly ecclesiastics was ignorance of theatre shows and announcement of theatre actors and creators as sinners. Later, the church itself, for attracting crowds of people, with aim of domination on the parish, used and created not only theatre shows, but its “sketch” – liturgical (liturgy – Greek. liturgy – the main Christian religious rite: liturgy times) drama, which is based on the Biblical stories. As Maximus the Confessor writes: “The liturgy is Christian drama. It is the transition of spirit from potential state to action and is directed towards eidos, as the ultimate goal, to full implementation of telos – the whole, visible and invisible world to Christ’s coming out of the body. And the mythos, we can say, the scenario of Christ, is the St. Letter”. The liturgical drama for Maximus is: a) ritual, the reality “trimmed” with divine character, which is connecting really existing – God in the Christ’s divine personality the man – the church – the world; b) Drama, which plot is the St. letter, as Christ’s body and that it exactly in this drama the St. letter as a potential – body, is becoming Christ’s eschatological body; c) also theurgy activity, aimed at human transferring to God.

THEATRE AND CREATIVE COMMUNICATION DURING COVID-19 PANDEMIC: THE CASE OF NATIONAL KAUNAS DRAMA THEATRE, LITHUANIA

The article deals with the questions of digital communication and theatre during the lockdown in 2020–2021. With the example of the National Kaunas Drama Theatre, Lithuania, it is revealed that COVID-19 pandemic forced the cultural sector to experiment and use digital products in new conceptual ways. National Kaunas Drama Theatre proposed their audience an online platform Theatre Onl1ne TV (originally in Lithuanian: Teatras Onl1ne TV), and developed performances which were adapted to the digital environment of the lockdown period: some of the performances were transmitted on Zoom Video Communications platform, especially those for children and adolescents, some of them, such as The Flickering, tested new ways of integrating audiences digitally into theatrical action. The latter performance was created for Facebook users, lasted for four evenings and invited them to become co-creators of the story. The analysis reveals that digital theatre communication attracted audiences of younger generations and can be a useful creative tool in developing a relationship with the new generation of theatre-goers.

Correlation Between Auditory-Perceptual Parameters and Acoustic Characteristics of Voice in Theater Actors

Background: Theater actors are a subgroup of professional voice users who may present their performances at a high-pressure vocal demand, like loud talking, shouting, or even stage singing. Disturbances in auditory-perceptual or acoustic parameters of voice are commonly experienced by theater actors and are known as a frequent occupational hazard for them. Objectives: This study aimed to examine the relationship between auditory-perceptual and acoustic parameters of the voice in Iranian theater actors. Methods: This descriptive-analytical study was conducted on 45 Iranian theater actors, including 22 females and 23 males, with a mean age of 30.76 ± 7 years. The auditory-perceptual evaluation was performed using the Persian version of the Consensus Auditory-Perceptual Evaluation of Voice (CAPE-V). Acoustic characteristics, including mean fundamental frequency (F0), local shimmer, local jitter, and harmonic-to-noise ratio (HNR), were extracted from the subjects’ “speech sample.” Correlation analyses were performed to examine the relationship between the measures of auditory-perceptual and acoustic voice characteristics. Results: The overall auditory-perceptual severity was negatively correlated with mean F0 (r = -0.592, P < 0.05) and HNR (r = - 0.324, P < 0.05). Roughness was also negatively correlated with voice mean F0 (r = -0.629, P < 0.05) and HNR (r = -0.322, P < 0.05) and positively correlated with voice local jitter (r = 0.310, P < 0.05). We also found that pitch was negatively correlated with voice mean F0 (r = -0.309, P < 0.05) and positively correlated with voice local jitter (r = 0.292, P = 0.050). Conclusions: Acoustic measures, including F0, HNR, and jitter, correlate with auditory perceptual parameters of the voice quality in Iranian theater actors. These findings highlight the significance of acoustic parameters in assessing voice quality in professional voice users such as theater actors.

The Quality of the Relational—Challenges in a Triangulated Analysis of ‘Theatre-Musicking’ in German Contemporary Theatre

ABSTRACT Musicians and sound designers appear with increasing frequency on the cast lists of contemporary theatre productions. They develop music during the rehearsal process, making it an almost indispensable part of theatrical productions—in the form of songs or instrumental music, produced live on stage in the performative process as a theatrical action, or digitally pre-produced. As part of the staging concept, these musical outputs have a direct impact on the scenic realisation of a play. Contrasting the abundance and relevance of contemporary theatre music (especially in the German-speaking world), is its paucity in academic discourse. This paucity begets a lack of analytical tools to sensitively engage with this creative artistic practice. This article summarises the appeal of, and the challenges inherent in, the analysis and interpretation of current theatre music and proposes a rethinking of theatre music from its status as incidental music to a specific quality as relational music (Roesner [2019]. Theatermusik. Analysen und Gespräche. Berlin: Theater der Zeit), since theatre music as a contemporary artistic practice demands to be analysed in terms of its theatrical and performative impact on a theatre production. As a result of this characteristic scenic component of current theatre music I present a triangulated system of analysis, comprising performance analysis, ethnographic rehearsal analysis and practice as research against the backdrop of scholarly discourse on ‘music as performance’ (Cook [2014]. Beyond the Score: Music as Performance. Oxford / New York: Oxford University Press; Auslander [2004]. “Performance Analysis and Popular Music: A Manifesto.” Contemporary Theatre Review 14: 1–13; Small [1998]. Musicking: The Meanings of Performing and Listening. Music, Culture. Hanover: Wesleyan University Press / University Press of New England).

ШЛЯХИ РОЗВИТКУ ТЕАТРАЛЬНОЇ КУЛЬТУРИ МАРІУПОЛЯ НА ПІДКОНТРОЛЬНІЙ ТЕРИТОРІЇ УКРАЇНИ

The article highlights the main features of the development of theater art in Mariupol on the territory controlled by Ukraine. The activities of the Independent Theater of the author's play «Conception», its repertoire and the main challenges faced by the Mariupol collective after the full-scale invasion of Russia are outlined. It was found that this theater became the only group that managed to resume its work almost in full in Ukraine. It is emphasized that it was the theater of the author's play Conception that was able to unite the people of Mariupol and revive theater culture in the territory controlled by Ukraine. It is noted that when the collective started its work in Kyiv, it was joined by actors from other theaters of Mariupol and Ukraine in general. In the performances «The face of the color of war», «Staying together», «Immigrant life» with the help of artistic images, the actors of the Mariupol independent theater of the author’s play Conception, who were in the occupied city until April, told the audience both their stories and the stories of people , who managed to leave the territories captured by Russian troops to the territory controlled by Ukraine. It has been established that the actor of the Theater of author's play "Conception" is the director of the children's theater «Tezy», thanks to which small and young Mariupol residents create stage images, work with literary works, train body plasticity and pronunciation, experiment and generate creative ideas as part of classes. The scientific novelty of the research lies in the fact that for the first time in cultural studies, the peculiarities of the development of the theater art of the Northern Azov region in the conditions of martial law have been highlighted. Key words: theater, Mariupol, theater culture, war, Ukraine, occupation.

THE ISSUES OF ACTING IN THEATRE AND CINEMA

The article explores the fundamental aspects and differences of acting in theatre and cinema, as well as analyzes the main factors and tools of both theatre and film. Considering the distinction between these two arts and the fact that theatre and cinema operate under their own rules and laws, which directly affects both their visual aesthetics and the way actors perform and exist on stage and screen. Theatre is a much older art form, while cinema, as a result of technological progress, is its continuation, a certain transformation, a different form of perceiving reality and telling human existence. Despite their differences, these two arts enrich and complement each other, which will be further examined in detail. One of the main objects of both cinema and theatre has always been human beings, hence the participation of the actor has always been a key component of these arts. However, both theatre and cinema have their own specificities and characteristics, so acting skills require a different approach and certain skills to be more successful and convincing in these different contexts. Naturally, this led to the emergence of terms such as “film actor” and “theatre actor”, because the specificity of cinema, its tools, and the unique language of artistic expression on screen required a change in the actor’s way of existence. The article analyzes the main theoretical and practical aspects of acting in theatre and cinema, emphasizing the importance of changing approaches to training young actors. A brief investigation into the origins of theatre, the emergence of cinema, and its development is conducted, with particular attention to the specificity and differences of acting in film. The article serves as a kind of exploration of the main factors that influence the actor’s existence on screen, their organic nature, and expressiveness. The issues and materials discussed in the article can serve as a stimulus for further research and methodological analysis.

Stages of the Life and Work of Anna Zatyrkevich-Karpynska

The article examines the main stages of the life and work of the outstanding Ukrainian artist, teacher, and theater actor Hanna Petrivna Zatyrkevich-Karpynska. The sources of writing the article are materials from periodicals, memories of her contemporaries, and materials from the Romny Museum of Local History. Hanna Petrivna was born on February 20, 1855, in the noble family of the Kovtunenkos in the town of Srybny, Prylutsky District. At first, she participated in amateur performances. Since 1883, Hanna Petrivna Zatyrkevich began to perform with luminaries of the Ukrainian theater and their colleagues. She worked in professional Ukrainian theaters under the leadership of M. Kropyvnytskyi, M. Starytskyi, M. Sadovskyi, M. Starytskyi, P. Saksaganskyi, and I. Kavaleridze. It was found that the factors that influenced her development as an actress, in particular, were her environment – a serf nanny and peasants with whom she communicated all her life. Her parents and studies at the Kyiv Institute of Noble Girls contributed to her interest in the theater. During her almost forty years of work in the theater, H. Zatyrkevich-Karpynska played about 130 roles and created a whole gallery of the most diverse and unsurpassed stage images. She was famous as a comical, characteristic actress. Her work and talent contributed to the formation of the Ukrainian National Theater. The outstanding actress educated a whole constellation of students, most of whom became leading masters of the Ukrainian theater. She spent the last years of her life in the city of Romny, where she took an active part in the theater created there. H. Zatyrkevich-Karpynska is buried in Romny Central Cemetery.