Supertask and through action of the role. On the effective analysis of the play and the role of the most important task, the term was coined

In the work of an actor on a role, both of these concepts occupy a particularly important place. Stanislavsky considered them as the basis of everything we do on stage. “I work hard,” he wrote, “and I think that there is nothing more; the most important task and through action - that's the main thing in art.

What is the most important task and the through action of the role? And why is their importance in the work of an actor so great?

Imagine that you have deeply and comprehensively studied the character of your hero, you know well who, what he is, etc. But on the stage you will not just show all this. The character of a person, his features must be revealed and transmitted through some kind of action. The super-task and the through action of the role are the concepts that determine the main focus of all the actions of the performer on the chain, what should become their stimulus.

Let's talk about each of these concepts separately, since they are different, although they are related to each other.

Let's start with the most important task of the role . This is the main vital interest of our hero, that most important desire that drives all his actions in life, and, in particular, in the play. Even Gogol once wrote in his “Forewarning” for those who would like to play the “Inspector General” properly: “A smart actor must consider the main and primary work of each person, on which his life is spent, which is a constant subject of thought, an eternal nail sitting in the head. Having caught this main concern of the drawn person, the actor must be filled with it himself in such a force that the thoughts and aspirations of the person he has taken would remain in his head inseparably throughout the performance of the play.

It is this primary concern of the actor, the "shhold ^^ head", which is the subject of all human actions, that we call the super-task of the role.

Each person has his own purpose in life, his own direction. Man cannot live without it. His goal may be great and insignificant, beautiful and disgusting, but one way or another he strives for it. One has personal comforts in the first place: money, an apartment, a car, a summer house - this is the ideal and the limit of his aspirations. The second dreams of devoting himself to science. The third wants the fame of an artist or an artist. One wants to bring people happiness, joy, and the other wants to rule over them, etc.

The super-task of the role is designed to guide and at the same time captivate and inspire the performer. Speaking about the significance of the super-task, Stanislavsky, as a figurative comparison, cited an example of the futility of preparing a good, rich broth that cannot be eaten unless you warm it up with fire. So it is on stage. An actor can act correctly, in good faith. But if he does not have a super-task, then all his behavior will be cold, indifferent. Only the most important task - "fire" - can give his action on stage real activity and passion.

From this it becomes clear how important it is for the performer to find the most important task of his role and, moreover, such a most important task that would captivate him and warm him. The most important task must accurately express the essence of the hero's life aspirations - and at the same time find an emotional response in the soul of the performer himself and his hero. It is very, very difficult to find such a super-task, and it is not for nothing that Stanislavsky writes: “For a long time and inquisitively, you need to try to look for a big, exciting and deep super-task. How many all kinds of supertasks need to be rejected and re-grow. How many sights and unsuccessful searches have to be made before reaching the goal. But this does not always happen. In addition, the hero can deceive others or deceive himself. In order not to be mistaken, we must compare all the actions, thoughts, feelings of our hero and look into his insides, see what lies there, which determines his attitude to everything that happens in the play.

Let's turn to the characters in our play. The sailor himself speaks of his most important task: “Here we will smash the whites, and then ... Oh, and then we will build a life, soldier. Unforgettable life." Obviously, this dream of an "unprecedented life", a life for all the oppressed and destitute, should become the most important task of the role of the Sailor. If the Sailor had not uttered these words, we would still have come to her, tracing all the actions of the hero and asking ourselves the question: in the name of what does he do them. He confesses his “priority concern” “And the Soldier: he wants his economy, to fix it, “to live in peace.” The woman does not say anything about her life goals, but, tracing her actions in the play, it is not difficult to guess - they consist in returning the good taken away by the “louts”, returning the old life.

In the difficult process of searching for a super-task, the choice of its name plays an important role. When formulating the super-tasks of the roles, students are often content with such general phrases as “I want happiness” (and who doesn’t want it?), “I want to serve the Motherland”, etc. Being essentially correct, these phrases leave the performer indifferent and, therefore, of no benefit to work is not brought. For the most important task, you need to look for (and you won’t find them right away) accurate, bright words that would excite the performer, tease him. To determine such a super-task, the actor must still pass it through himself, make it his own, close and understandable. Then the most important task of the role will actively participate in everything that you will do on stage, will fill your actions with active and passionate power.

If, say, playing the role of a Sailor, you really captivate yourself with his dream of an "unprecedented life" for all workers, then you will not be able to remain indifferent when you meet a Soldier who is heading home. Your hands will begin to "itch" when you recognize the "counter" in the Woman, you will understand that you have nothing to fear - even death, you will want to "beat the bastards", fight with them "until the last breath." The same will happen with other roles of the play. Justify the most important task of the role of the Woman, make it understandable for yourself, exciting (I had a house, "rare" paintings, jewelry, my own stable, and now these dirty and rude men, this "mob" robbed, took away everything and shout more about justice. ..) and your eyes will “turn white” from hatred for the Sailor, you will want to bite, fight, you will feel the ability to hit him, even kill him, just to get out of the hands of these “louts”. In other words, all the actions that your character performs in the play, you will perform naturally, without any effort, because you will be guided by a super-task that is close to you and exciting.

Now about the through action of the role . This is the path that your hero will follow in the play, driven by his most important task. In other words: what he will strive for in the performance itself, what he will achieve in it.

A through action must subdue and direct all the actions performed by the actor in the performance towards a single and specific goal. Without a cross-cutting action, the role is broken into pieces that are not interconnected. The actor acts without imagining what his actions are aimed at. Therefore, they can become random, chaotic, sometimes even contradictory.

The cross-cutting action is formulated (as well as the supertask) by one phase. This formulation should express the ultimate goal of the character's actions with the utmost concreteness and accuracy.

To determine the through action of the role, it is necessary to consider all the actions of the hero and establish their general direction, while not forgetting about the through action of the entire performance of the struggle that will underlie it. Just as a river absorbs the waters of its tributaries, so the through action of the performance should encompass the through actions of all roles.

We already know that the struggle for Soviet power, for the victory of the revolution, should become the cross-cutting, that is, the main, action of the play "At the Station". Let's try to establish cross-cutting actions of roles.

Let us recall the main actions of the Sailor that he performs. It is known that Matros recruits volunteers for the Red Army. Having met with the Soldier, he tries to win him over to his side, then exposes and delays the enemy. Even when seriously injured, he continues to think about the fight. If we generalize these actions, establish their general direction, we will see that they are all strung together on one desire, one desire - to do everything possible to defeat the enemy. This will be the through action of the role. All actions of the Soldier - his "revelations" in a conversation with the Sailor, an argument with him, waiting for a train, etc. - are aimed at getting home as soon as possible. This is his through action. Despite the fact that he ultimately stays with the Sailor. Sometimes it happens in life - a person strives for one thing, but comes to another. Here is the Soldier - he strives to get to the ground, to the house as soon as possible, but as a result of the events taking place with him in the play, he realizes that the way home lies only through the defeat of the enemy, and joins the fight With him. The through action of the role in this case, of course, is determined by the initial intentions of the sleeper - after all, it is they who direct all his actions until the finale of the play, until the very moment when the Soldier “begins to see clearly”. As for the Woman, her through action - all her actions testify to this - is to get to her, to help them.

Knowing the through action of the future performance, having established the super-task and through action of the role, we already imagine the main line of action through which the character of our hero will be revealed. In future work, we will concretize and refine this line of action.

Supertask - a term introduced by K.S. Stanislavsky and was originally used in theatrical practice.

We often use the words "super task" and "through action" in our terminology.

Despite the fact that we do not in any way pretend to reveal in full the entire system of Stanislavsky, we always emphasize that in order to clearly understand the method of effective analysis of the play and the role, it is necessary to study all the elements of stage creativity that Stanislavsky reveals to us. Therefore, we consider it necessary to say what Stanislavsky meant when he spoke of a super-task and a through action.

Let us quote, first of all, Stanislavsky himself. “The super-task and through action,” writes Stanislavsky, “the main essence of life, the artery, nerve, pulse of the play… The super-task (desire), through action (aspiration) and its fulfillment (action) create the creative process of experiencing.”

How to decipher this?

Stanislavsky constantly said that just as a plant grows from a grain, so exactly from a separate thought and feeling of a writer his work grows.

Thoughts, feelings, dreams of the writer, filling his life, exciting his heart, push him to the path of creativity. They become the basis of the play, for the sake of them the writer writes his literary work. All of it life experience, joys and sorrows, endured by him and observed in life, become the basis of a dramatic work, for the sake of them he takes up the pen.

The main task of actors and directors, from the point of view of Stanislavsky, is the ability to convey on stage those thoughts and feelings of the writer, in whose name he wrote the play.

“Let us agree for the future,” writes Konstantin Sergeevich, “to call this main, main, all-encompassing goal, attracting to itself all tasks without exception, evoking the creative desire of the engines of mental life and elements of the artist’s well-being, the super-task of the writer’s work.”

The definition of the super task is a deep insight into spiritual world the writer, in his plan, in those motives that moved the author's pen.

The super-task should be “conscious”, coming from the mind, from the creative thought of the actor, emotional, exciting all of his human nature, and, finally, strong-willed, coming from his “mental and physical being”. The most important task is to awaken the creative imagination of the artist, to excite faith, to excite his entire mental life.

One and the same truly defined super-task, obligatory for all performers, will awaken in each performer his own attitude, his own individual responses in the soul.

When searching for a super-task, it is very important to accurately define it, to be accurate in its name, to express it in effective words, since often an incorrect designation of a super-task can lead performers down the wrong path.

One of the examples given by K.S. Stanislavsky on this occasion, concerns his personal artistic practice. He tells how he played Argan in The Imaginary Sick, Molière. Initially, the most important task was defined as follows: "I want to be sick." Despite all the efforts of Stanislavsky, he moved further and further away from the essence of the play. The cheerful satire of Molière turned into a tragedy. All this came from an incorrect definition of the super-task. Finally, he realized the mistake and searched for another definition of the most important task: “I want to be considered sick,” everything fell into place. The right relationship with charlatan doctors was immediately established, the comedic, satirical talent of Molière immediately sounded.

Stanislavsky in this story emphasizes that it is necessary that the definition of the supertask gives meaning and direction to the work, that the supertask is taken from the very thick of the play, from its deepest recesses. The most important task pushed the author to create his work - it should also direct the creativity of the performers.

Theme and Supertask

Each character's overarching goal determines what that character actually wants to achieve with all actions.

The supertask is made up of simple tasks. Their general meaning is clarified only in the end. The super task is a working tool with which we plan to introduce the theme into the film. Each task is revealed in action and only in action, not in words.

Action is the pieces that make up the drama. They combine into a cross-cutting action. From the beginning to the end of the drama, through action meets through opposition.

But every action has a purpose. All the small tasks that make the characters act are united by a super task. And the drama itself should also have a super-task - it reveals to the audience what we want to find out with our story. What are we striving for? What final effect in the audience do we want to achieve?

The super task forces us to choose an action and a place for action. It determines the choice of actors, operator, artist, composer.

Topic, Supertask, Cross-cutting action - are mutually supportive concepts. They work together. Their working meaning is the same - to develop the action in continuous dramatic tension. These are controlled working terms - they are part of your structure.

Characteristics of Supertasks

The supertask is a very important phenomenon for artistic creativity.

We cannot ignore one of the important provisions in the aesthetic principles of Stanislavsky.

We often use the words "super task" and "through action" in our terminology.

Despite the fact that we do not in any way pretend to reveal in full the entire system of Stanislavsky, we always emphasize that in order to clearly understand the method of effective analysis of the play and the role, it is necessary to study all the elements of stage creativity that Stanislavsky reveals to us. Therefore, we consider it necessary remind what Stanislavsky meant when he spoke of a super-task and a through action.

How to decipher this?

Stanislavsky constantly said that just as a plant grows from a grain, so exactly from a separate thought and feeling of a writer his work grows.

Thoughts, feelings, dreams of the writer, filling his life, exciting his heart, push him to the path of creativity. They become the basis of the play, for the sake of them the writer writes his literary work. All his life experience, joys and sorrows, endured by himself and observed in life, become the basis of a dramatic work, for the sake of them he takes up the pen.

The main task of actors and directors, from the point of view of Stanislavsky, is the ability to convey on stage those thoughts and feelings of the writer, in whose name he wrote the play.

“Let us agree for the future,” writes Konstantin Sergeevich, “to call this main, main, all-encompassing goal, attracting to itself all tasks without exception, evoking the creative desire of the engines of mental life and elements of the well-being of the actor-role, the supertask of the writer's work" 20* .

33 The definition of the most important task is a deep penetration into the spiritual world of the writer, into his intention, into those motives that moved the author's pen.

One and the same truly defined super-task, obligatory for all performers, will awaken in each performer his own attitude, his own individual responses in the soul.

“Without the subjective experiences of the creator, it is dry, dead. It is necessary to look for responses in the soul of the artist, so that both the most important task and the role become alive, trembling, shining with all the colors of a genuine human life» 21* .

One of the examples cited by K. S. Stanislavsky in this regard concerns his personal artistic practice. He tells how he played Argan in The Imaginary Sick, Molière. Initially, the most important task was defined as follows: "I want to be sick." Despite all the efforts of Stanislavsky, he moved further and further away from the essence of the play. The cheerful satire of Molière turned into a tragedy. All this came from an incorrect definition of the super-task. Finally, he realized the mistake and searched for another definition of the most important task: “I want to be considered sick,” everything fell into place. The right relationship with charlatan doctors was immediately established, the comedic, satirical talent of Molière immediately sounded.

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MINISTRY OF CULTURE OF THE RUSSIAN FEDERATION

Federal budgetary state educational

institution of higher education

"Moscow State Institute of Culture"

Ryazan branch

Faculty of Arts

Department of directing

Test

By discipline: "Direction"

Topic: “K.S. Stanislavsky. The Doctrine of the Supertask"

Completed by: 2nd year student gr. 1411

Kuznetsova Anna

Accepted: Candidate of Art History, Associate Professor

Sorokin Vyacheslav Nikolaevich

Ryazan 2016

1. Super-task and cross-cutting action

2. Theme and idea

3. The role of the director as artistic leader

Bibliography

1. Supertask and through action

The main task of the performance is to convey on the stage the feelings and thoughts of the writer, his dreams, torments and joys. This main, main, all-encompassing goal, which attracts to itself all tasks without exception, evokes the creative desire of the engines of mental life and the elements of the artist's well-being, is called the super-task of the writer's work.

Everything that happens in the play, all of its separate large or small tasks, all the creative thoughts and actions of the artist, similar to the role, strive to fulfill the super-task of the play. The desire for the most important task should be continuous, continuous, passing through the entire play and role. In addition to continuity, one must distinguish the very quality and origin of such striving. The more fascinating the wrong super-task, the more it leads the artist to itself, the further he moves away from the author, from the play and the role. We also do not need a dry, rational super-task. But we need a conscious super-task coming from the mind, from an interesting creative thought. We need both an emotional super-task that excites our entire nature, and a volitional super-task that attracts our entire mental and physical being.

We need every super-task that excites the engines of mental life, the elements of the artist himself, like bread, like nourishment. Thus, it turns out that we need a super-task, similar to the thoughts of the writer, but without fail stimulating a response in human soul most creative artist. This is what can evoke not a formal, not a rational, but a genuine, living, human, direct experience.

The artist himself must find and love the most important task. If it is indicated to him by others, it is necessary to carry out the super-task through oneself and be emotionally excited by it from one's own, human feeling and faces.

In the difficult process of searching for and approving a super-task, the choice of its name plays an important role. The very direction and very interpretation of the work often depends on the accuracy of the title, on the effectiveness hidden in this title.

The inextricable link between the super-task and the play is organic; the super-task is taken from the very thick of the play, from its deepest recesses. Let the super-task continually remind the performer of the inner life of the role and the purpose of creativity. The artist must be busy with it throughout the performance. To forget about the most important task means to break the line of life of the play being depicted. This is a disaster for the role, and for the artist himself, and for the whole performance. Having understood the real goal of creative striving, all engines and elements rush along the path outlined by the author, towards the common, final, main goal, i.e. to the overriding task. This active, inner striving through the whole play of the engines of the mental life of the actor-role is called the through action of the actor-role. The line of through action connects together, permeates, like a thread of disparate beads, all the elements and directs them to a common super-task. From that moment on, everything serves her.

If you play without any through action, then you are not acting on the stage in the proposed circumstances and with the magical "if"; this means that you do not involve nature itself and its subconscious in creativity, you do not create “life human spirit» roles, as required by the main goal and foundations of our art direction. Very often, when striving for the ultimate super-task, along the way you come across a secondary, unimportant actor's task. All the energy of a creative artist is given to her. Is it necessary to explain that such a replacement of a big goal by a small one is a dangerous phenomenon that distorts the entire work of an artist.

Every action meets with a reaction, and the second causes and strengthens the first. Therefore, in each piece, next to the through action, in the opposite direction, there is an opposite, counter-through action hostile to it.

The role, put on the right rails, moves forward, expands and deepens, and, in the end, leads to inspiration.

2. Theme and idea

Subject performance determines what the performance will be about. At the center of any story is a hero or a group of heroes. Only a creature with human psychology can be a hero. When defining, formulating the topic, it is necessary to indicate the hero (about whom the performance is), what the hero strives for and what he does to achieve the goal.

Idea performance is a universal truth, which, as a rule, does not provide enough food for imagination. The idea of the performance is somewhat similar to the morality that the viewer must endure after watching the performance.

Conflict. A conflict is a clash of parties and their interests. The concept of conflict for dramaturgy is more general, it covers not only plot conflicts, but also all other aspects of the play - social, ideological, philosophical . There can be multiple conflicts in a play. The main conflict is understood as one that directly or indirectly concerns all the characters in the play. The basis for this conflict is the aspirations of the characters in the play, more precisely, the contradiction of aspirations.

From the director's point of view, the conflict is the basis of that very notorious action, which is the only true way of translating a play on stage, without which, according to Stanislavsky, there is no performance. The material, the means of expressing the director's art is wrestling. "... Conflict is the opposition of people in the struggle for their goals, interests, etc."

3. Role modesulfur as artistic leader

The nature of the theater requires that the entire performance be saturated with creative thought, every word of the play, every movement of the actor, every mise-en-scene created by the director must be saturated with a living feeling.

All this is a manifestation of the life of that single, integral, living organism, which receives the right to be called a work of theatrical art - a performance.

The team must have a common worldview, common ideological and artistic aspirations, a common creative method for all members.

It is also important to submit the entire team to the strictest discipline.

The actor's creativity is the main material of directing art

The main task that the modern theater sets before the director is the creative organization of the ideological and artistic unity of the performance. The director cannot and should not be a dictator whose creative arbitrariness determines the face of the performance. The director concentrates the creative will of the entire team. He must be able to guess the potential, hidden opportunities of the team, tune in to the right, working atmosphere. stage play stage actor

Working with an actor is the main, largest part of the director's work in creating a performance.

The director performs all these tasks in the process of fulfilling his main function: the creative organization of the stage action. Action is always based on some kind of conflict. The conflict causes a collision, struggle, interaction between the characters of the play (no wonder they are called actors). The director is called upon to organize and identify conflicts through the interaction of the actors on the stage. He is a creative organizer of the stage action.

But to carry out this function convincingly - so that the actors act truthfully, organically on the stage, and the viewer would believe in the authenticity of their actions - is impossible with the help of violence, by the method of order, command. The director must be able to captivate the actor with his tasks, inspire him to fulfill them, excite his imagination, awaken his artistic fantasy, imperceptibly lure him onto the right path of true creativity.

The main task of any true creativity in realistic art is the disclosure of the essence of the depicted phenomena of life, the discovery of the hidden springs of these phenomena, their internal laws. Therefore, a deep knowledge of life is the basis of any artistic creativity.

It is impossible to create without knowledge of life.

This applies equally to the director and the actor. In order for both of them to truly create, it is necessary that each of them deeply know and understand the reality, those phenomena of life that are to be displayed on the stage. If one of them knows this life and therefore has the opportunity to creatively recreate it on stage, while the other does not know this life at all, creative interaction between the director and the actor becomes impossible.

In fact, let's say the director has a certain stock of knowledge, life observations, thoughts and judgments about the life that needs to be portrayed on the stage. The actor has no baggage in this regard. What will happen? The director will be able to create, while the actor will be forced to mechanically obey the will of the director. There will be a one-sided influence of the director on the actor, but creative interaction will not take place.

Now imagine that, on the contrary, the actor knows life well, and the director knows it poorly - what will happen in this case? The actor will have the opportunity to create and with his creativity will influence the director, but he will not be able to get the opposite effect from the director. The director's instructions will inevitably turn out to be of little substance, unconvincing for the actor. The director will lose his leading role and will trail helplessly behind creative work acting team.

Thus, both options - both the one when the director arbitrarily suppresses the creative personality of the actor, and the one when, due to ignorance of life, he loses his leading role - have an equally negative effect on common work- at the show.

It is a completely different matter if the director and the actor both know and understand those phenomena of life that the author of the play has made the subject of creative reflection. Then the right creative relationships are created between them, interaction or co-creation occurs.

How does it happen?

Suppose the director gives the actor some indication / regarding this or that moment of the role - some gesture, phrase, intonation. The actor, having accepted the indication, comprehends it, internally digests it on the basis of his own knowledge of life. If the actor really knows life, the director's instructions will certainly evoke in him a whole series of associations connected with what he himself observed in real life, with what he learned from books, from the stories of other people, etc. As a result, the director's instructions and the actor's own knowledge, interacting and interpenetrating, form, as it were, a kind of alloy or synthesis. The fulfillment of the director's task will in this case be the product of this synthesis. The actor will not mechanically reproduce what the director demanded of him, but creatively. In fulfilling the director's task, he will simultaneously reveal himself, his own creative personality. The director, having given his idea to the actor, will receive it back (in the form of stage paint, that is, a certain movement, gesture, intonation) with some plus - so to speak, with percentages. His thought will be enriched by the knowledge of life that the actor himself possesses.

So the actor, creatively fulfilling the director's instructions, influences the director with his creativity. Giving his next assignment, the director will inevitably start from what he received from the actor when he carried out the previous instruction. Therefore, the new task will inevitably be different than if the actor had fulfilled the previous instruction mechanically, that is, in the best case, he would return to the director only what he received from him, without any creative implementation. The actor-creator will again carry out the next directorial instruction on the basis of his knowledge of life, and thus once again exert a creative influence on the director. Therefore, any task of the director will be determined by how the previous one is carried out. Thus, and only thus, is the creative interaction between the director and the actor carried out. And only with such interaction, the creative work of the actor becomes the material of directing art.

As you know, the role of the director in theatrical art has grown enormously in recent years. This is undoubtedly a positive development. However, it easily turns into its opposite if the actor cedes his inalienable creative rights to the director. In this case, not only the actor himself suffers, but also the director, the theater as a whole suffers. It is disastrous for the theater when an actor hangs like a heavy burden on the director's neck, and the director, instead of being, as Stanislavsky demanded, the actor's creative obstetrician or his midwife, turns into a nanny or a guide. How miserable and helpless the actor looks in this case! Here the director explained to the actor a certain place of the role; not content with this, he went on stage and showed the actor what to do and how, showed the mise-en-scene, intonations, movements. We see that the actor conscientiously follows the instructions of the director, diligently reproduces what is shown - he acts confidently and calmly. But then he came to that remark, which ended the director's explanations and the director's show. And what? The actor stops, helplessly lowers his hands and asks in bewilderment: what next? It becomes like a clockwork toy that has run out of windup. He resembles a man who cannot swim and whose cork belt was taken from him in the water. A funny and pitiful sight!

The director's job is not to allow such a state of affairs. To do this, he must seek from the actor not the mechanical performance of director's tasks, but real creativity; by all means available to him, he is obliged to awaken the creative will and initiative of the actor, to educate in the actor a constant thirst for knowledge, observation, striving for creative independence.

A real director is not only a teacher of the theater for an actor, but also a teacher of life. He is a thinker and social and political figure. He is a spokesman, inspirer and educator of the team with which he works.

Helping the actors find answers to their creative questions, captivating them with the ideological tasks of this performance and uniting the thoughts, feelings and creative aspirations of the entire team around these tasks, the director inevitably becomes its ideological educator and creator of a certain atmosphere.

Directing art consists in the creative organization of all elements of the performance in order to create a single, harmoniously holistic artwork. The director achieves this goal on the basis of his creative concept, exercising guidance creative activity all participants in the collective work on the stage embodiment of the play.

The staging of a play is a complex process, often painful, often joyful. It is a search process in which everything moves, changes. Actors, artist, composer make their own changes, additions and amendments to the intention of the author and director. Their comments, advice, suggestions help to find the most correct, most accurate solution.

The director, of course, has the right to start work with any component: from the decorative design, from the mise-en-scenes, the rhythm or the general atmosphere of the performance. But it is very important that he does not forget the basic law of the theater, according to which its main element, the bearer of its specifics - or, in the words of Stanislavsky, "the only king and master of the stage" - is the artist. All other components of K.S. Stanislavsky considered auxiliary. That is why it is impossible to recognize the solution of the performance as found until the main question is solved: how to play this performance? Other questions - in what scenery, under what lighting, in what costumes - are decided depending on the answer to this fundamental question. In an extended form, it can be formulated as follows: what special requirements in the field of both internal and external technology should be presented to the actors - participants in this performance?

The ability to find the right decision performance through a precisely found manner of acting performance and the ability to practically implement this decision in working with actors determine the professional qualifications of the director as an artistic leader.

Bibliography

1. Gorchakov N. Directing lessons of K. S. Stanislavsky. M., 1952.

2. Zakhava B.E. The skill of the actor and director. / Education, M. 1978.

3. Mochalov, Yu. The first lessons of the theater. / Education, M. 1986.

4. Stanislavsky, K.S. Collection of essays. 2 volumes / M. 1976.

5. Tovstonogov, G. On the profession of a director. / M., 1967.

6. Stanislavsky, K.S. My life in art. / Art, M. 1988

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