1. Address - direct - turn - direct - instruct - point - turn - turn

2. To hunger - to want - to desire - to crave - to lust

3. Amputate - take away - cut off - subtract - deprive - cut off - cut off - cut off - chop off - cut off - chop off - exclude - annul - cancel - abolish

4. Arrest - take - detain - grab - grab - grab - grab - sweep

5. Attack - storm

6. gasp - bang hit - shibanut - gasp

7. Bang - bang - hit - thump - bang - slam - fuck - rattle - bang - sigh - gasp

8. Disturb - excite - confuse

9. Cheer up - revive

10. Dump - knock down - overturn - plunge - knock down - cut down

11. Press - dent - press - shove - accommodate - push - stick

12. Inspire - inspire - cheer up - excite - excite - excite - inspire - ignite - ignite

13. To piss off - to anger - to enrage - to rebel - to stir up - to ruffle - to intoxicate

14. Stir up - confuse - twist - twist

15. Shake - get in

16. Penetrate - enter

17. Inspire - instill - pour in - bring in - sow - direct - catch up

18. Involve - draw in - tighten - lure - induce - entangle - confuse - tie

19. Set up

20. Forbid - forbid

21. Return - return - return

22. Erect - build

23. Raise - raise

24. Assign - put - entrust

25. Rise

26. Reward - Reward

27. Object - to contradict - to argue - to contradict

28. Resurrect - restore - revive - revive

29. To harm - to spoil - to spoil - to soil

30. push - push - shove - shove

31. Involve - involve

32. Draw in - inhale - involve

33. Knock out - knock out - land - kick out

34. Expel - expel - expel - expel - expel - expel - put out - throw out - kick out

35. Pull out - pull out - grab

36. Squeeze - squeeze - unscrew

37. Force - pull out - fish out - pull out - force - pull out

38. Whip - shave off

39. Muffle - extinguish - put out

40. Threaten - threaten

41. Defeat - smash - smash - crush

42. Be rude

43. Give - submit - transfer - hand over - give - provide - bring - lower - release - throw away - throw away

44. Move - move - move - move - move hit

45. Make - make - build - fix - work - produce - accomplish - teach

46. ​​Entrust - entrust - entrust - entrust - bring

47. Catch up - catch up - overtake - overtake - reach

48. Allow - allow

49. Prove - substantiate - argue

50. Donate - finish baking

51. Allow - let

52. Annoy - annoy

53. Get - take out - grab - reach - conquer

54. Train - teach - teach - train - train - drill

55. Strangle - Strangle - strangle - crush - suppress

56. To regret - to sympathize - to condole - to sympathize

57. To score - to hammer - to drive - to destroy

58. Climb - climb

59. Score - intimidate - drive - crush - zaturkat - zatyukat

60. Throw - throw - throw - launch - deliver - throw back - fill up - load - fail

61. Wrap - screw - bend - turn - (hit) - wrap - wrap

62. Finish - finish

63. Seize - occupy - seize - seize

64. lure - involve - lure - captivate

65. Conquer - achieve - deserve - conquer

66. Bewitch - enchant - enchant

67. Put out – put out – put out

68. Make amends - redeem

69. Drive - drive - set fire - slaughter - drive - sell - drive in - pull - zaturkat - load - torment - tire - seize - lift

70. Block - block - block - block - block - block - obscure

71. Rake - row

72. To appease - to cajole - to butter up

73. To touch - to hook - to touch - to touch

74. Delay - suspend - slow down - stall - slow down

75. To lift up - to bite - to detect - to bite - to bite

76. Heal - pinch - swindle

77. To win over - to captivate

78. Borrow - draw - take - adopt

79. To fawn - to please

80. To enslave - to enslave

81. Roll up - slap

82. Throw - throw - throw

83. Glue - close up

84. Conjure - ask

85. bewitch - bewitch - enchant - enchant - bewitch

86. Close - shut - slam - cover - pretend - slam

87. Break - request

88. Pour - flood - pour over

89. To cover up - to soil - to soil - to disgrace - to discredit

90. Lure - torture - lure - call

91. Oil up

92. Slow down - delay - hold back - slow down

93. Occupy - take - seize - seize - seize

96. To force - to force - to force - to compel

97. To catch - to catch - to catch - to expose - to discover - to expose - to convict

98. Hook - hurt

99. To hurt - to hurt

100. Catch - catch - convict

101. Mutilate - cripple - spoil

102. Surprise - surprise

103. Distort - pervert - distort - distort - warp

104. Eradicate - obliterate - chop up (destroy)

105. Redeem - make amends

106. Fix - fix - fix - fix - fix

107. Frighten - frighten - frighten - frighten

108. To test - to taste - to know - to know - to see - to see - to try - to taste - to taste - to drink - to take a sip - enough

109. Prick - hurt

110. Embarrass - confuse

111. Caress - caress - please

112. To lie - to deceive - to lie - to compose - to lie - to lie

113. Cling - stick

114. Deprive - take away

115. Catch - catch - convict

116. Break - crush

117. smear - slap - hit

118. To disgrace - to soil - to discredit

119. Confuse - stir up

120. Reward - reward honor - endow

121. Heat - deceive

122. Load - load - fill up - pile up

123. Add - add

124. Endow - endow - reward

125. Inflate - deceive - prick

126. Press - lie down

127. Punish - punish

128. Bend - bend - bend down

129. Fix fix

130. Run into - attack - run into

131. Hire - take on a contract

132. Direct - direct - guide - instruct - turn - focus - concentrate

134. Violate - transgress

135. Plant - implement

136. Laugh - make laugh

137. Annoy - annoy

138. Incite

139. Drop - drop - overthrow

140. scald - scald - stun

141. To marry - to marry - to wrap - to wrap

142. Circle - deceive - encircle - envelop

143

144. Enchant - charm

145. Overtake ahead

146. Deprive - bypass - offend

147. Disarm - disarm

148. Offend - offend - offend

149. To embrace - to embrace - to embrace

150. Convict - discover - expose - convict

151. To deceive

152. Expose - expose

153. Reveal

154. Rob - rob - rob - rob - rob - peel off - peel off

155. Overtake - overtake - get ahead - get around - go around

156. Deify - deify

157. Angry - anger

158. Break off - stop - interrupt

159. Turn - turn - turn

160. To please - to please - to console - to console

161. Unite

162

163. Stun - hit - hit - hit

164. To upset - to upset - to grieve - to upset - to depress - to crush - to kill

165. Protect - protect

166. Give - endow

167. Pull up - stop - besiege

168. Overcome - master - conquer - overcome - appropriate - master

169. Call out - call out

170. To get ahead - to overtake - to overtake - to bypass - to overtake - to furnish to warn - to forestall

171. To disgrace - to dishonor - to disgrace

172. Overturn - fill up - debunk - turn over

173. Release - let go - release - release - release

174. Saddle up - saddle up

175. Overpower - overcome - win - overcome

176. Desecrate - desecrate - defile

177. Weaken - weaken - tear - upset - unfreeze

178. ridicule

179. Reject - discard - sweep away - reject

180. Stop - stop

181. Warn - warn

182. Cut off - cut off

183. To condemn - to accuse

184. Repulse reflect

185. Take away

186. Avert - prevent

187. Separate - isolate - fence off - separate

188. Squeeze - squeeze out - push back

189. Repay - revenge

190. Reflect - beat off - parry

191

192. Push back - wipe off - impress

193. To fool - to deceive

194. Scratch - hurt

195. Charm - bewitch - bewitch - captivate - enchant

196

197. Parry - reflect

198

199. Interrupt - interrupt

200. Turn over - turn over

201. Drag - drag - lure - lure - drag - whip

202. Push - push

203. Turn - turn - turn - turn - turn - turn - turn - turn - turn - turn

204. Suppress - pacify - strangle - restrain

205. Pry - hurt

206. Set fire - set fire

207

208. to lure - to appease

209. Conquer - conquer - captivate - captivate

210. Distort - shock

211. Hinder - hinder

212. To compel - to force

213. To enslave - to enslave - to conquer

214

215. Surpass - outshine - score - outdo - surpass

216. Block - block

217. Betray - change

218. Precede - get ahead

219. Warn - warn

220. Prevent - warn - divert - avert

221. Interrupt - interrupt - cut off - interrupt - stop - stop

222. Attract, seduce - seduce - bewitch

223. Press - press down - squeeze - grind

224

225. Frighten - intimidate - intimidate

226

227. Destroy - destroy

228. Debunk - overthrow - overthrow - overturn

229. Dispel - disperse - inflate - disperse

230. Entertain - entertain - amuse - amuse - amuse

231. Corrupt - corrupt - decompose

232. Crush - flatten - flatten - flatten - flatten

233. Annoy - provoke

234. Crush - crush

235. Kindle - inflame - tease - exasperate

236. Crush - crush - cut

237. Expose - expose - expose

238. Disarm - disarm

239. Allow - allow - allow

240. Disconnect - divide - disunite

241. Enrage - anger

242

243. Touch - touch - touch

244. Knock down - knock down - dump

245

246. Tie - twist - constrain

247. Restrain - restrain - appease - suppress - humble

248

249. Soften - moderate - weaken - amortize

250. Annoy - annoy

251. Discard - remove

252. Smite - hit

253. Whip - whip

254. Captivate - lure - capture

255. Remove - send - send - send - send away

256. surprise - amaze - amaze - stun - surprise

257. Depress - upset

258. Prick - hurt

259

260. Convict - expose - expose - catch

261. Catch - grab - grab - catch

262. Moderate - soften

263. Pacify - pacify - pacify - suppress - calm down

264. To shame - to shame - to conscience

265

266. To cheat

267. Claw - scratch - hurt

This chapter will help writers understand how the director and actors work with their text. It stimulates the imagination in the common interest.
There should not be a single moment in the scene when the actor would not have a specific task, action. In these tasks, characters grow. The director can always find a verb that will succinctly bring out the action. Long explanations are of little help, specific verbs of active action lead to the goal. They are called the "golden key". They are good at helping actors emotionally develop their role in a scene.
Here are some examples and options for their use. Just remember the main covenant: look for the conflict of action and text. It enriches the character.
The actions of the character should not be closely related to the text. Words lie, but actions express true desires and motivations.
To make actions active, use active action verbs when working with actors:

Pull over to your side.
- Enchant.
- Prove superiority.
- Be important, present yourself as something important.
- Don't let your partner change your path.
- Evaluate by examining the situation.
- Confess.
- Threaten
- Instruct.
- Tease.

Persuade. Let's put emotions aside. We will analyze everything step by step. Smart, logical.

Win. Make them applaud. Get admiration. Pauses... When all eyes are on you.

Watch (outwardly constrained, inside active). Interesting... Let's wait and see what happens next. It's not that simple.

Show what you appreciate. I understood. And I'm not afraid! Oh oh oh! What are you!.. I'm not a fool.

Assess the threat. I died!! What have I done?! This is the end! What to think? It looks scary, but it really isn't.

Examine with your eyes. Is there something wrong here?! Something you don't like? What? What's unusual here?

Get inside yourself. We need to get everything sorted out quickly. Remember something very, very important. Where is the danger here? Where is the secret?

Measure with your eyes. Who are you? Did the mouse show teeth? This one is dangerous. This one is bluffing...

Treat with regret from top to bottom. Such a guy in such a place. I'm surprised.

Command. Calm emotions. Give clear directions. See to it that they are internalized: go...do...

Show off. Came back last night. Mom screamed so hard! And I don't care!

Attack. Open that door! Destroy her! Give actors action tasks, but don't control emotions - let them be born from actions: rage, anger, anger, despair.

Provoke, go to the goal through another action. Intrigue. Call the act indirectly: "He doesn't consider you a person. Are you nobody?"

Shock with rejection. With you? Never. (Find a shocking action.)

Neglect. Do something important like a small thing. Pass by without noticing.

Be ironic. Control your rage: I'm blown away by your wit.

Get him into action. Let him try himself. Touch. How do you think? What do you think?

Incite. Show that he is not respected, tell me what to do. Laugh at him.

Finish with a word. Accuse - threaten - attack - laugh - humiliate.

tease. Make your partner react, get an assessment out of him. Do you like it?

Angry. Look for activities that force partners to be active.

Destroy everything. It can be an action, or it can be a monologue. Or rage with slurred words.

Please, beg. Two or three words of request can be repeated: with amplification. It helps to give birth to a gesture, a movement.

Withdraw into yourself, but continue the dialogue."Yes, of course. Save yourself. That's the most important thing." You say one thing, you think the opposite. You leave the argument. You make a decision contrary to words.

Touch with love. Stroke the cup. Caress the book. Break the napkin. Convey your emotion through the detail.

Be humble. Get out of the spotlight. But so that everyone notices and appreciates it.

Justify yourself uncertainly.- I came to visit. She left and came back naked. Probably didn't have time to get dressed... Or maybe it's her hobby...

Justify and prove. Yes! She was naked! This is her ideology. She is a nudist! Has the right to!

Give, illumine, reveal the truth. Present something as a gift. See the movie tomorrow! Masterpiece! This is something! You haven't seen this!

Get out, come forward. Imagine something as a performance, act as an entertainer: "We are visiting! .."

Don't accept reality, stick to your fantasy. Defiantly do not accept the arguments of the enemy in the scene. I don't believe it. I just can't believe. Facts lie.

Give up. Give up. Okay. Let's go to the cinema. I love you.

Managing objects of attention is a skill that will help you more than once in life. It was invented by Konstantin Stanislavsky, the author of the world-famous system, and is actively used in acting and directing. However, training this skill significantly expands the capabilities of any person.

What are objects of attention

Attention is the selective focus of perception on a particular object. Objects that have this moment of paramount importance to humans.

Each of us at one time or another has an object of attention. It does not always coincide with where our gaze is directed. For example, we communicate with someone and notice that a person who is interesting to us has entered the office. And it seems that we are looking in the other direction, but the object of attention is him. We listen and peer into his reactions, although we are in dialogue with another person.

Sometimes the object of attention coincides with what we are doing, but usually not. Unfortunately, most of the actions we perform on the machine.

IN Lately Smartphones are becoming more and more popular.

If you learn to recognize the objects of attention and manage them, then you can understand when and why a person, what he will do in the next moment, why he does it that way.

How to learn to control attention

This skill is trained by observation. For artists and directors, training never ends. You can watch at any time, no matter what you do. Look carefully at any person and answer the question: “Where is his object of attention now?” After that, you will be able to understand the motives of his actions.

For example, a young man was engaged in a lively dialogue and suddenly went out to make a phone call. It's illogical. But if you understand that the object of attention is a girl who has just left the room, then everything falls into place. Behavior young man turns out to be logical and consistent.

There are people who are naturally observant. They, in spite of their will, notice and firmly imprint in their memory everything that happens around them. At the same time, they are able to choose from the observed the most important, interesting, typical and colorful. Listening to such people, you see and understand what escapes the attention of unobservant people who do not know how to look, see and speak figuratively about what they perceive in life.

Konstantin Stanislavsky, theater director, actor and teacher

You can train this skill in any situation. This is very interesting, because there is nothing more curious than people and their inner world. It takes 21 days to get it. After that, you can perform it automatically.

How it will be useful in life

Helps you communicate more effectively

Observing the object of attention allows you to be more effective in communication and. If you notice that the interlocutor is not listening and thinking about his own, then you can change your behavior: stop talking or invite him to leave. If you see that something has happened to an employee and he cannot concentrate on work, it is worth either changing the degree of impact or approach. In this case, it is better to postpone the task than to redo it later.

Many do not understand the face, look, tone of voice, what state the interlocutor is in, they do not know how to listen and really hear. Because of this, it is not possible to build effective communication.

When you begin to notice where the object of a person’s attention is, you will be able to manage negotiations and more effectively build a strategy depending on the state and mood of the interlocutor.

Helps get rid of anxiety

This method helps to get rid of the excitement during. When we are on stage, the object of attention at the moment is ourselves. In this case, the excitement covers the head, there is a tremor, dryness in the throat, red spots. The worst thing is that the head becomes empty, the text of the report is forgotten.

But it is enough just to set yourself a goal in relation to the viewer, a super task, as Stanislavsky said, and the excitement goes away. Directors help artists do this with action verbs.

The director can always find a verb that will briefly bring out this action. Long explanations are of little help, specific verbs of active action lead to the goal. They are called the "golden key". They are good at helping actors emotionally develop their role in a scene.

I will give a few examples. The actions of the character should not be closely related to the text. Words lie, but actions express true desires and motivations. To make actions become active, use active action verbs when working with actors:

• pull over to your side;
• enchant;
• prove superiority;
• be important, present yourself as something important;
• do not let your partner change your path;
• evaluate by examining the situation;
• confess;
• threaten;
• instruct;
• tease.

At University public speaking we analyzed how effective verbs influence. The man takes the stage. It has a purpose, such as to inspire, despise, beg. The task is to show emotion silently, with a look and a body. Everyone was up to the task.

We then asked them to focus on how the person looked and to shift the object of attention to themselves. No one could stand for more than 30 seconds. The subjects fiddled with their clothes, straightened their hair, became covered in spots, some even cried. It's just unbearable to stand on stage like that when the object of attention is yourself. But when you have a goal, when you are focused on completing a task, the audience is not embarrassed.

The next time you feel anxious, try focusing on another object of attention. You will notice how you immediately become calmer.

Helps to relax and get rid of obsessive thoughts

Stanislavsky believed that a person is a psychophysical being: the psyche constantly affects physics, and physics - on the psyche.

Imagine: you came home from work and went to bed. After that, they got up, but felt even more defeated. All because thoughts were spinning in my head, the brain worked, physics worked together with the psyche.

But watching people and finding their objects of attention will help get rid of tension. You will focus on guessing their thoughts, at which point a reset will occur. The brain will begin to process information, and the body will come to its aid. As a result, there will be an internal redistribution of energy, the voltage will move to other zones. And after relaxation, they will be much more actively involved in the work.

As soon as the thoughts of another person become more interesting to you than your own, then the problem that occupied you will be resolved much faster.

Help prevent crime

The habit of automatically marking the objects of attention of others can protect against pickpockets. So, she saved me in a crowded subway.

I noticed that I was the object of attention of a gray-haired man with glasses. Suddenly, unexpectedly, a thug from behind pushed me into the arms of this old man. Then I realized that even though he was looking behind me, the object of attention was my bag. I lowered my eyes and saw my wallet passing from one hand to another, grabbed it and hid it in my bag.

Helps you understand people better

The skill of marking objects of attention allows you to get more information about the interlocutor in a matter of seconds. When you bring it to automatism, you will be able to understand the motives of people's actions and find the objects of attention of each participant in the conversation.

Over time, it will be very easy for you to understand what the interlocutor's thoughts are focused on. This is how people foresee danger and predict actions. When you master this skill perfectly, it will seem to you that you can read other people's minds.

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Verbal action is the highest kind of psychophysical action

Action, being the material of acting art, is the carrier of everything that makes up acting, because in action thought, feeling, imagination and physical (bodily, external) behavior of the actor-image are combined into one inseparable whole. Action is characterized by two features: 1) volitional origin; 2) the presence of a goal.

The purpose of the action is the desire to change the phenomenon, the object to which it is directed, in one way or another to remake it. These two principles fundamentally distinguish action from feeling.

Meanwhile, both actions and feelings are equally denoted by words that have a verb form. Therefore, it is very important to learn from the very beginning to distinguish between verbs denoting action and verbs denoting feeling. This is all the more important because many actors often confuse one with the other. To the question "What are you doing in this scene?" they often answer: I regret, I suffer, I rejoice, I am indignant, etc. Meanwhile, to regret, to suffer, to rejoice, to be indignant - these are not actions at all, but feelings. You have to explain to the actor: "You are not being asked about how you feel, but about what you are doing." And yet the actor sometimes for a very long time cannot understand what they want from him.

That is why it is necessary to establish from the very beginning that the verbs that establish such acts of human behavior, in which there is, firstly, a volitional principle and, secondly, a definite goal, are verbs denoting actions. Verbs denoting acts in which the indicated signs (ie, will and purpose) are absent are verbs denoting feelings and cannot serve to denote the actor's creative intentions.

This rule follows from the laws of human nature. In accordance with these laws, it can be argued that in order to start acting, it is enough to want. True, by performing this or that action, we do not always achieve the goal; therefore, to convince does not mean to convince, to console does not mean to console, etc., but we can convince and console whenever we want to. That is why we say that every action has a volitional origin.

The diametrically opposite must be said about human feelings, which, as you know, arise involuntarily, and sometimes even against our will. At will, a person can only pretend to experience this or that feeling, and not actually experience it. But, perceiving from the side of the behavior of such a person, we usually, without making great efforts, expose his hypocrisy.

The same thing happens with an actor on the stage, when he tries to experience, demands feelings from himself, forces himself to feel it, or, as the actors say, pumps himself up with this or that feeling. The audience easily exposes the pretense of such an actor and refuses to believe him. And this is quite natural, since the actor in this case comes into conflict with the laws of nature itself, does something directly opposite to what nature and the realistic school of K.S. Stanislavsky.

If the actor wants to follow the laws of nature, and not enter into a fruitless struggle with these laws, let him not demand feelings from himself, do not squeeze them out of himself, do not forcibly pump himself with these feelings and do not try to play these feelings, imitate their external form; but let him accurately define his relations, justify these relations with the help of fantasy and, having thus aroused in himself the desire to act (the call to action), he acts, does not expect feelings, in full confidence that these feelings will come to him in the process of action and themselves find the right form of discovery for themselves.

Any actor, of course, wants to feel strongly on stage and reveals himself brightly. But precisely for this he must learn to restrain himself from revealing himself prematurely, to show no more but less of what he feels; then the feeling will accumulate, and when the actor finally decides to give vent to his feeling, it will come out in the form of a vivid and powerful reaction.

So, not to play with feelings, but to act, not to pump yourself up with feelings, but to accumulate them, not to try to reveal them, but to keep yourself from revealing them prematurely - these are the requirements of the method based on the true laws of human nature.

mental and physical actions.

Although every action is a psychophysical act, that is, it has two sides - physical and mental - and although the physical and mental sides in any action are inextricably linked with each other and form a unity, nevertheless, it is advisable to distinguish between two main types of actions: physical action and mental action. Moreover, every physical action has a mental side, and every mental action has a physical side.

Physical actions are those actions that have the goal of making one or another change in surrounding a person material environment, into one or another object and which for their implementation require the expenditure of predominantly physical (muscular) energy.

Mental actions are those that have the goal of influencing the human psyche (on feelings, consciousness, will). The object of influence in this case can be not only the consciousness of another person, but also the consciousness of the actor. Mental actions are the most important category of stage actions. With the help of mental actions, that struggle is mainly carried out, which is the essential content of any role and any play.

Physical actions can serve as a means (or, as Stanislavsky usually puts it, "adaptation") for performing some mental action. A mental action will leave its mark on the process of performing a physical action, give it one or another character, one color or another. Mental actions determine the nature of the fulfillment of a physical task, and a physical task affects the process of performing a mental action.

So, physical actions can be carried out, firstly, as a means of fulfilling a mental task and, secondly, in parallel with a psychological task. In both cases, there is an interaction between physical and mental actions; however, in the first case, the leading role in this interaction is always retained by the mental action, and in the second case, it can move from one action to another (from the mental to the physical and vice versa), depending on what the goal is for the person at the moment. more important.

Types of mental actions

Depending on the means by which mental actions are carried out, they can be: a) mimic, b) verbal.

The actor has every right to look for a mimic form for expressing his actions, but he should never look for a mimic form for expressing feelings, otherwise he risks being at the mercy of the most cruel enemies of true feeling - at the mercy of acting and stamp. A mimic form for expressing feelings must be born by itself in the process of action.

The highest forms of this communication are not mimic, but verbal actions. The word is the expression of thought. The word as a means of influencing a person, as a stimulus of human feelings and actions has the greatest power exclusive power. Verbal actions take precedence over all other types of human (and therefore stage) actions.

Depending on the object of influence, all mental actions can be divided into external and internal.

External actions can be called actions aimed at an external object, that is, at the consciousness of a partner (in order to change it).

We will call internal actions those that have the goal of changing the self-consciousness of the actor.

Domestic actions in human life, and consequently, in the art of acting, is of great importance. In reality, almost no external action begins without an internal action preceded by it. Before starting any external action (mental or physical), a person must orient himself in the situation and decide to carry out this action. types of actions in their pure form. In practice, complex actions of a mixed nature predominate: physical actions are combined in them with mental ones, verbal ones with mimic ones, internal ones with external ones, conscious ones with impulsive ones. of life and includes a number of other processes: the line of attention, the line of "wants", the line of imagination (a continuous film of visions passing before the inner eye of a person) and, finally, the line of thought - a line that consists of internal monologues and dialogues.

All these separate lines are the threads from which the actor, who has the mastery of internal technique, continuously weaves the tight and strong cord of his stage life.

verbal action.

Now consider what laws verbal action obeys.

We know that the word is the expression of thought. However, in real life a person never expresses his thoughts just to express. There is no talking for the sake of talking. Even when people talk “so-so”, out of boredom, they have a task, a goal: to pass the time, have fun, have fun. The word in life is always a means by which a person acts, striving to produce this or that change in the mind of his interlocutor.

In the theatre, on the stage, actors often speak only for the sake of speaking. But if they want the words they utter to sound meaningful, deep, exciting (for themselves, for their partners and for the audience), they need to learn how to act with the help of words.

The stage word must be strong-willed, effective. For an actor, this is a means of struggle to achieve the goals that this character lives by.

An effective word is always meaningful and multifaceted. With its various facets, it affects various aspects of the human psyche: on the intellect, on the imagination, on the feelings. The artist, pronouncing the words of his role, must know which side of the partner's consciousness he mainly wants to act on: does he mainly appeal to the partner's mind, or to his imagination, or to his feeling?

If the actor (as an image) wants to influence primarily the mind of his partner, let him ensure that his speech is irresistible in its logic and persuasiveness. To do this, he must ideally parse the text of each piece of his role according to the logic of thought. For this, the actor must know very well what exactly he is seeking from his partner - only under this condition his thoughts will not hang in the air, but will turn into a purposeful verbal action, which in turn, it will awaken the temperament of the actor, inflame his feelings, ignite passion. Thus, starting from the logic of thought, the actor through action will come to a feeling that will turn his speech from rational to emotional, from cold to passionate.

A person can address not only the partner's mind, but his imagination.

When we pronounce some words in real life, we somehow imagine what we are talking about, more or less clearly see it in our imagination. With these figurative representations - or, as Stanislavsky liked to say, visions - we also try to infect our interlocutors. This is always done to achieve this goal, for the sake of which we carry out this verbal action.

Verbal action in the artistic word.

The word is the most important structural and semantic unit of the language,

serving to name objects, processes, properties. In other words: the word names, defines a thought or its element. Any sentence consists of main, significant and auxiliary, service words. And actors, more than anyone else, know that by pronouncing the text, we convey to the listener the thoughts that are contained in this text.

Work on the text of the performed work is a colossal work on the education and training of certain skills. Light, lively, free, natural, and it seemed that such a simple story of the artist captivated the audience; and what was absolutely surprising: the words composed, written by great authors, sounded in the mouth of the reader as his own, born by himself!

It is significant that I.L. Andronikov, recalling the founder of the genre of fiction A.Ya. Zakushniak, highlights the following quality in his art: “As soon as he uttered the first phrases, they forgot that the authors of the texts were Maupassant, Anatole France, Leo Tolstoy.

The ability to pronounce a phrase in such a way that the listener does not feel it as learned, "someone else's words, but believes that these are the thoughts of the artist himself expressed aloud, the ability to make the author's text his own is the first requirement of the art of acting and the art of the reader in particular."

Any performing art requires a lot of work and training. Both the actor-reader and the participant in amateur performances can only begin to solve great artistic problems when they acquire the ability to “open”, master the text, correctly “phrase” - that is, to organize pauses, stresses, raising and lowering the voice in a sounding text, in order to convey this truly “opened” idea to the listeners without destroying or violating its content.

Sometimes, when people who do not possess this skill speak on the radio or television - athletes, correspondents, and even professional actors, we hear heavy, disorganized, torn, illiterate speech in terms of sound structure. However, a genuine intonation born of thought and action is the highest achievement of an actor. Suffice it to recall B.A. Babochkin, who in any role, starting with Chapaev, has a unique, bright and organically born "butterfly" intonation in his ears. Yes, and any actor high class remains in the memory of contemporaries precisely because of the unique intonation with which he uttered this or that phrase of his speech, revealing the deepest subtexts, the life of the human spirit. The intonations born by Ostuzhev, Khmelev, Kachalov, Tarasova, Pashennaya, Koonen, Babanova, Ktorov and other actors of the older generation, reveal their deep, original, spiritual world to the audience. The intonations of F. Ranevskaya in her various roles are remembered forever.

Intonation is the result to which, without thinking about it, artists come with painstaking, persistent work on “opening”, revealing the thought of the text and role; and the first thing an actor must master is the ability to professionally and competently penetrate the thought of the text.

The response of the audience occurs only when three conditions are met:

1. The text must be fully analyzed, studied, and assimilated by the reader.

2. The objective content of the text, each of its thoughts must be conveyed to the audience not distorted.

3. The performer must know what he is doing, what action he is performing, pronouncing this or that part of the text, this or that phrase, and be able to perform this action. After all, the content of the text is an objective given and the first task of the reader: in one speech or another.

An actor who has mastered this side of skill, a text correctly uttered by thought, can perform any verbal actions: praise, ask, warn, tease, seduce, etc.

The actor must by all means learn how to say any speech without leaving it to chance, or, as they say, to nature ...

It is necessary to study it in such a way that a thought must always say well. Shchepkin.

The long history of the art of the artistic word makes it possible to trace how Practical activities readers and actors reading on the stage, the theoretical works of directors and specialists studying the issues of sounding speech gradually determined and formulated the basic laws of this art. “And in the field of rhythm, plasticity, the laws of speech, and in the field of voice setting, breathing, there is much that is the same for everyone, and therefore mandatory for everyone ... - wrote K.S. Stanislavsky. - These universal laws of creativity, amenable to consciousness, are not very numerous, their role is not so honorable and is limited to official tasks, but, nevertheless, these laws of nature accessible to consciousness should be studied by every artist, since only through them can the superconscious creative apparatus, the essence of which, apparently, will forever remain miraculous. The more brilliant the artist, the greater and more mysterious this secret, and the more he needs the technical methods of creativity that are accessible to consciousness ... information about them; studies of them and practical exercises based on these studies - tasks, solfeggio, arpeggios, scales - are absent in application to our acting art and make our art an accidental impromptu, sometimes inspired, sometimes, on the contrary, humiliated to a simple craft with a stamp once and for all established and stencil. Do artists study their art, their nature?!” In this statement of an outstanding director and teacher recognized by the whole world, it is emphasized that it is directly related to that branch of theatrical art, which is called the “art of the artistic word”.

The subtleties of speech art, which the masters of the theater of the early and middle of the 20th century owned, unfortunately, have been largely lost. I would like to recall the words of K.S. Stanislavsky: “There is no art that does not require virtuosity, and there is no final measure for the fullness of this virtuosity.

Amateur art, sometimes successfully competes even with professional art. Folk theatres, art studios in clubs and palaces of culture give their participants and spectators a lot. Often, young actors, after graduating from theater school, stop training their speech skills, while in amateur reader theaters and word studios these classes never stop.

Systematic studies in the art of the artistic word creatively enrich both professional and amateur actors, raise the level of their acting technique. As in music, there is a moment precise analysis melody, musical thought and there are unshakable laws of performance, so in the art of sounding speech there are two components that can be defined, studied and analyzed with almost scientific accuracy: these are the logic of speech and verbal action.

Specific laws of the art of the artistic word and the art of the actor

There are significant differences between the art of the artistic word and the dramatic art. These differences have been noted for a long time. They were written, although not always correctly, in pre-revolutionary books on expressive reading. The difference between reading and playing on the stage is also discussed in detail by modern researchers.

The most significant among the features of the art of the artistic word in comparison with acting art are: communication with the audience, they are with partners; a story about the events of the past, and not actions in events directly occurring in front of the audience; storytelling "from oneself", "from I", with a certain attitude to events and heroes, and not reincarnation into an image; no physical activity.

K.S. Stanislavsky said that the reader, unlike the actor, should not play or copy the hero, "depict his intonation or diction." The task of the reader is to tell about their heroes. At the same time, the narrator has a clear relation to all the events that are mentioned in the text, and knows why he tells the listener about them now, here, in today's conditions.

In essence, the main differences in the work of a reader and an actor are connected with the process of performance, the embodiment of a work, with the form and methods of transferring it to the listener, and not with the preparatory work on the text. The masters of the artistic word, analyzing the process of mastering the text, essentially talk about the very techniques and methods that exist in the skill of the actor - about the most important task and subtext, about revealing the author's thought, studying the features of the language, about logic and sequence, about imagination and visions.

The main task of the reader is to tell, without playing, about people, about their characters, actions, about the events that happened to them. Everything the reader talks about is part of his own biography. He lived this life in his imagination, by the power of fantasy he made it his past. The events of which he speaks made him think deeply, to look at everything "through the eyes of an era and an idea." verbal actor action

The means of influence of the reader on the audience are limited in comparison with the means of the actor: they do not go beyond the scope of verbal action. But it is precisely this limitation that presupposes especially serious work in all components of the verbal action and requires a thorough analysis of the text. Deep comprehension of circumstances and relationships, situation, background, subtext, lines of thought and visions are necessary for the reader as well as for the actor.

The reader has a different form of communication with the audience compared to the actor. But the very process of communication, being the basis of the effectiveness and intelligibility of the word, is also necessary for him, as well as for the actor.

To master the word, the reader needs the same preparatory work that an actor does when creating a role: an analysis of the content, plot, ideas, an understanding of what made the author write the work, an analysis of the characters in their relationship with the outside world, mastering the inner life of the hero. for the reader and organic possession of acting techniques of psychotechnics. These techniques are necessary to create a genuine verbal action.

The actor and the reader need to see the living human appearance of the characters behind the mean words of the author, to recreate in its entirety the proposed circumstances, all that wide, capacious "second plan" that is hidden behind the text.

Speaking about the artistic word as applied to the tasks of educating an actor, director, we, in fact, mean the art of a literary story, which differs in some of its techniques from other trends in the art of the artistic word. The work is carried out precisely in terms of telling about events on the basis of direct, direct communication with the audience.

It is necessary to passionately desire to convince the listeners of the correctness of their thoughts, to create a visible bright real picture of their scientific ideas and for this most accurately determine the essence of the events taking place. Determining the essence of events is the starting point of the creative method of work for both the actor and the reader.

Bibliography

Zakhava B.E. The skill of the actor and director. Proc. A guide for special Proc. Institutions of culture and art. 4th ed., rev. And extra / B.E. Zakhava-M.: Enlightenment, 1978.-332 p.

Knebel M. On the effective analysis of the play and the role. 3rd edition./M. Knebel-M.: Art, 1982.-117p.

Kozlyaninova I.P., Promptova I.Yu. Scenic speech. Textbook 3rd ed. / I.P. Kozlyaninova, I.Yu. Promptova-M.: Gitis, 2002.-511 p.

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A training with this name was held in Voronezh in early September by actor and director Sergei Rubashkin. Acting and directing skills are in demand today not only in art.

Sergey, you brought an acting program for a business audience to Voronezh. What is its fundamental difference from ordinary acting courses? What specific tools are you talking about in this training?

The tool is one for any audience, it is universal. And it is called “action”, more specifically, “effective verbs”. The whole school of Stanislavsky rests on the concept of "action". Depending on the audience, only the ways of conveying information, methods of using the tool vary. The business audience is tuned to the result, and not to the process itself, as in a regular theater studio. And the second feature: successful people who are interested in their own development and have the means to do so participate in the trainings. These are positive people, looking for new knowledge and ready to work on themselves.

Why did you choose the business field, because today acting skills are popular in their own right?

I don't think it's necessary to pay such close attention to the word "business". The name of my training is “For Stanislavsky to believe…”, and anyone can attend it. It is open both in format and content. Half of the training is fixed: getting to know such an instrument from the acting arsenal as action. The second part is mastering it from a certain angle: in the business sphere, in everyday life situations. In other words, off the stage. The second part is transformable to the needs of a specific audience. So, for 4.5 years of the existence of this training there were no absolutely identical classes. In the Voronezh group, there was only one leader among the business coaches. And he, as he himself admitted, did not receive specific ways to apply this tool, while others are ready to apply knowledge already from tomorrow. And I was guided by the requests of the majority.

Tell us a little more about the active verb tool.

I'll try, but it's hard to describe. Roughly speaking, this is a means of controlling one's psyche, a means of focusing volitional efforts on a certain course of action in order to achieve a goal. When we choose a certain verb of action (demand, insist, beg, sympathize), our movements and actions obey this setting, which ultimately leads to the achievement of the goal, desired result. A simple example: being unsure of yourself during negotiations or some kind of meeting, you can act in accordance with the verb “insist on your own”, “demand acceptance of my conditions”, and your actions, tone, gestures will be completely different - like a calm person , sure.

The effectiveness of auto-training, installations, the power of self-hypnosis has long been known. What is the feature of your approach, its novelty?

And I never told anyone that this is something completely new. The “action” tool was discovered about 90 years ago, developed and brought to the state of the most detailed methodology - 50 years ago. It’s just that, as far as I know, no one has brought this tool into the world of business training.

During the training, what feedback did you receive most often? Is your approach in demand?

Few keep in touch after trainings. I can talk about those I see: people are restructuring their relationship with the world. They are changing. And they do it consciously - in the direction in which they need.

How do you feel about the trendy direction of NLP today?

I don't know this direction. As a student, I bought a book on NLP, read the abstract, closed it. And never opened again. The announced goal of controlling other people is deeply alien to me. I do not want it so.

Are you learning to manage...

By yourself. I propose to learn and am learning to manage communication through self-management. Two people are involved in communication. If you want contact with me, then you will attach yourself to me in a way that suits you. My task, to put it quite simply, is to make sure that I am not controlled, that I manage myself. I can predict, having some experience, how you will join me. But it's still up to you to join or not. And the choice is yours how to do it. After all, there are always several additional extensions to the partner's position. The original statement “let's manipulate our interlocutor” seems dishonest to me. Perhaps I'm wrong, and the book itself about NLP talked about a deep study of the phenomenon, but that annotation forever discouraged me from being interested in this issue.

The nature of communication is action. Decipher, please, what is behind these words. What then is the role of the word in communication?

Konstantin Sergeevich Stanislavsky wrote three serious books about the effective nature of the theater - and the theater for him was a direct reflection of life - three serious books. You can read them and not understand anything. I would not even give these books to students before the end of the third year (they are studied in the second year). Would beat on the hands! Yes, the books are very interesting, very exciting, very bright. But only if you understand what is at stake. Until you try it yourself, you don’t do it, you won’t understand anything. And no matter how much I tried in discussions to explain what action is, it is impossible. You can put in a circle and show what it is in 15 minutes.

The annotation to your training lists such tools of the Stanislavsky system as Proposed Circumstances, Event. Can you tell about them?

Let's try. Action is a turtle on which two elephants stand: Proposed Circumstances and Event. The first "elephant" provides the opportunity to act in accordance with the preliminary plan, which is not always possible in the current reality. Again, using a simple example: you are crying, I want to calm you down; but we hardly know each other, plus to this - I am a man, you are a woman. I want to pat you on the head, show you care, but I can’t afford it in reality. But if I really need to reassure you, I can bring an element of fantasy into reality: imagine that you are my sister. In such circumstances, stroking your head, caressing you is quite natural for me. It was for me, because my idea, of course, did not change reality.

An event is that "elephant" that changes either my current goal or the way I achieve it. In our example, my goal is to make sure that you do not cry. Why is another question: whether I am a compassionate person, or whether you break the atmosphere at the training, it doesn’t matter. So, my effective verb is caress. I go, I try to do it, you start crying, you hit my hands, there is a scandal. I understand that there is another way to calm you down and I start to whip you on the cheeks. The active verb is to shock. This is necessary to knock out the previous shock. That is, the event is your inflamed hysteria. It invalidates my original way, my first effective verb. Forces me to either drop my verb and run away from here as fast as I can (laughs), or choose another effective verb to achieve my goal.

You invite the participants to practice skills such as “I look - I see, I listen - I hear”. It would seem that seeing and hearing are our basic skills. Why do you pay special attention to them?

In reality, we broadcast in the world a huge amount of information. You just need to learn how to work with it: see, fix, compare. After all, in order to clearly plan communication, you need to understand who you are communicating with. This is not a very tricky thing, and we intuitively do this. We hear each other, we see, we smell, we perceive. We are just not used to analyzing this information. But you need to learn how to address it, bring this skill to a conscious level.

There is a conditional division: when communicating with a stranger we intuitively trust 55% of the non-verbal information that we receive from him, 38% - verbal and 7% - paraverbal.

Another interesting point- development of natural abilities. Not only attention, memory, but also muscle freedom. What is this?

Mental and physiological processes are connected. All influences on our psyche - positive, negative, strong, weak - are reflected in our muscular corset. Here you are riding in a minibus, and a criminal-looking uncle is staring at you from the opposite lane. When you go out, you will realize that you are tense. And if he looked from the side, one shoulder would be a little higher. This is protection. Thus, the impact on our psyche creates tension, which is partially dissipated through the corresponding muscle tension. If this happens once, then the energy quickly leaves. But if the impact is repeated, then each next one will be more painful, the negative will accumulate and can turn into a mental trauma.

Unfortunately, each of us is a “walking bank” of mental trauma and stress. Both current and accumulated (as a rule, brought from childhood). These tensions interfere with free adequate emotional manifestation. Have you noticed how tall people who are ashamed of their height slouch? If from childhood such a person tried not to stick out, now it’s hard for him not to straighten up - it’s hard for him to get away from a certain stereotype of behavior. If you imagine each fear as a black box, then acting techniques help push the box away, working out the appropriate “clamp”. We temporarily get the opportunity to act as if this black box were not in our psyche. The time depends on how black, big, old, familiar this imaginary box is.

How about removing it entirely?

This is for a psychotherapist.

"I" is not always "I", you say. Sometimes it's just a "mask", "suit". But after all, this is a mask that is convenient for us and a “suit” that we have chosen. How can you teach yourself to be yourself?

I like the mask-and-suit analogy because it's telling. Here you are equal to your dress? Are you your dress?

No, I can change dresses.

That's it! It's the same with behavioral masks. By them, I mean a complex of habitual reactions to certain events, stimuli. But if the change of dress, costume is natural for us, then many people deny the very existence of a certain mask. Although it's the same. And only a small part can say: “This is just my suit. I came up with it, I chose it in order to like it certain people. And I wear it." See, there's nothing wrong with that. It becomes bad when we fall under the dictates of our own costume, when we cannot separate ourselves from it. You can make a list of reactions to a certain event and ask the person if it matches it. For example, "I always help when asked for help." Many will say: "Of course, it's me, I'm like that." And generally speaking, why is it necessary to help? Here a man comes up to you: “Bro, the pipes are on fire, help with a dozen for beer.” (Shows.) Shall we help this man by giving money? A difficult philosophical question. But, having no choice in this situation, we deprive ourselves of free will. We become rigid, inflexible. After all, we always help! After all, only bad people thrown into trouble. I'm not like that! So they fall under the dictates of their own "dress".

At the trainings, we learn not only to distinguish between ourselves and our costume, but we design other costumes and learn to try on those outfits that we don’t like on other people. It's very interesting and functional. To be able to be different, to be able to change masks and to know the true self - this knowledge significantly expands the range possible ways interaction with the world.

Sergei Rubashkin

Teacher, bard. Artistic Director of the Song Theater "Interlocutor"

Education: RGGMI, numerical forecasting methods, 1994

Workshop of bardic art under the direction of Y. Lores at the Higher School of Artistic Art at the RATI, 1995

St. Petersburg State Unitary Enterprise, actor of drama theater and cinema, 1999 GITIS, drama direction, 2008