THEATRE PEDAGOGY: IN SEARCHING FOR THE ACTOR'S SELF-IDENTIFICATION
The article was prepared based on the results of the talk about the fundamental issues of preserving and developing methods of teaching acting skills at GITIS. On the example of the graduates from the Actor’s Skills Department of different years, there are analyzed different psychological types of young students, the level of their upbringing, general and literary culture, and at the same time the potential of acting stage skills. There are discussed both advantages and disadvantages of modern methods of stage pedagogical practice - the acute social nature of the approach to working with material and the limited possibilities of verbatim performances in revealing the psychological content of the role. Young artists’ immersion in the lives of other people opens for them the experience of existence in various professions, first of all, in journalism. The certain correlation is revealed between the methods of urgent directing and the preceding practices of Russian luminaries of theatre pedagogy of the 20th century. The foundations’ dominant of the Russian psychological theatre school is determined - long existence in the core of the role and various tempo-rhythms of the stage score. It all aims at finding the unique and self-sufficient nature of each actor. Analyzing the works of student-actors of different courses we are convinced that the high personal culture and responsibility of young actors allows them to start playing full-fledged roles earlier and master more complex forms of theatre on the educational stage. The Stanislavsky’s system detailed understanding opens the way to experiments that renew its great principles.