Workshop of artistic expression: the subtext search in the author's text
Journal Title: Вісник Національної академії керівних кадрів культури і мистецтв - Year 2016, Vol 1, Issue 1
Abstract
The author, guided by her own experience, reveals the essence of phenomena "subtext" as a creative process of a stage speech teacher and novice actor cooperation. Using the literary works of Ukrainian authors as an example she proves that revealing the hidden meanings of composition by the artist depends on his educational and intellectual level, imagination, fantasy, intuition, and associative thinking. The author argues that the work on the implication develops logical thinking and tonal expressiveness of the actor. The attempt to consider the subtext as a phenomenon is based on the researches of linguists, philologists, psychologists, Ukrainian playwrights, directors, actors, critics and teachers. Obtained after detailed study of all these sources data was used to form the structure of our exploration. The article contains the process of hard and long work on composition. During the cognition of authorship work the main objectives are to identify themes, ideas, plot, story, composition, nature of the conflict, genre. Penetration into the language structure of the text, gives the opportunity to understand the author's intent. After a detailed analysis, the actor begins the work on its implementation, that provides a logical and effective analyses, definition of objectives, which stimulates creative thought, creative activity, and this the manifestation of his life position. At this stage the performer penetrates into the essence of the text, experiences described by the author events, fills them with his personal attitudes, concepts as the figurative views, that would help in revealing the subtext. The study fully describes the characteristics of an actor's work implication in the process of artistic expression of the author's text. The author of the article proves that the subtext is a good way for actor to strengthen the semantic colouring of the work. In addition, the subtexts, as internal agents, are forced to pronounce the text and cause by the need to act in a word, help him discover the essence of the work. It is vital to note here that the work with the subtexts develops logical thinking and intonational expressiveness of the actor. The subtext is expressed by the intonations, in the subtlest of rhythm-the melodic and the tonal nuances of speech, eloquence psychological pauses in the expression and the gleam in his eyes, MMI the game faces, gestures, tempo of speech. Subtext and evaluation in such circumstances is born by themselves. The study highlights and explains the difference in meaning of "subtext" for the author of the artwork and actor. For the author of an artistic work, the subtext is a good way to strengthen the semantic colouring works. With its help he manages to more deeply convey sadness or joy, the absurdity of a given situation, to express derision, irony. The author of the article focuses on the challenges facing the actor in the work: to find out the true meaning of the author in the text and convey that meaning using existing creative tools, to fill his personal attitude and evaluation. It means not to accept the views expressed in the text of thoughts and feelings in a ready form, but to rethink them, to endure, to survive. Extremely important is the actor's ability to reach deep ideological and psychological understanding of the author, all of the artistic features and characteristics of the work, in order to convey this to the audience. The text will remain dead until the actor brings to life its contents in my mind. However, the only imagination is not enough, the actor must make the language of the characters as his own language. The author of the study emphasizes the need for a beginning actor to learn to be observant in life: in appreciation of works of art, of reality; to remember exciting details in nature, in life, in relationships people, to try to see them with inner vision. Unsaid in the text of the author's thoughts should be supplemented by pictures and details that draws their own imagination. Such searches of the author's text subtext attain a lively sound: verbal, tonal, plastic. Examples of literary works of Ukrainian authors (the poem "Good people" Puchica S., excerpt from "Four fords". Stelmakh) argue that the revealing of subtext of the artwork by the actor depends on their educational and intellectual level, imagination, fantasy, intuition and associative thinking. Particular attention is focused on the main task of the actor in the text – to reveal the nature and psychological nature of every detail. In addition, the description of a novice actor work on creative imagination plays an important role in the article, as important express means of the illustrated subtext. It should be noted that in the disclosure of the subtext the significant place is given to the imagination, as it applies actor's emotional attitude to the events. On the basis of their own theoretical and practical knowledge, the author argues that the way to reveal the subtext is through the accumulation and reinterpretation of visions, and also through the line of relations and values, which are manifested in the intonational expressiveness of actor's voice. It is the intonation that affects the listener, the actor is seeking a positive reaction – understanding of the work by the listener. The implementation of the relevant existing tasks allows the actor to feel the same when the structure of the phrase will change logical melody, and with it the intonation of speech. During the research the author claims that only with the professional analysis of the author's text and deep penetration into the inner essence of the words – the subtext, the actor will fill the artwork with life, truth, illustrated by vivid visions, which he at the time of stage performances will generously share with the listener.
Authors and Affiliations
Nadiya Grytsan
Keywords
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