Paradoxes of “Reincarnation” in the Actor’s Art. Theory and Practice
Patsunov, V. P.
- Publisher: Kharkiv State Academy of Culture
(issn: 2522-1140, eissn: 2410-5325)
Art Criticism | Мистецтвознавство
Problem statement. In the educational and professional theater field there are some doubtful concepts and terms which do not correspond to the nature of acting, and therefore hinder the process of education of an actor. One of such concepts of Stanislavski “system” is “reincarnation”.The aim of the study is to refine the traditional school of education of an actor from the outdated dogmatic norms, reinterpret the concept of “reincarnation” in acting. It is a contradiction between the etymological (objective) meaning of the term “reincarnation” and the subjective meaning provided by Stanislavski.Research methodology. The conceptual methodological core of the study is a comparative, semiotic, etymological and analytical analysis of the concept of “reincarnation” regarding the nature of the actor’s creative work.Results. The contradictions of Stanislavski’s teaching on the art of “reincarnation” are analyzed. Stanislavski’s contemporary V. Dal did not include the term “reincarnation” in his famous dictionary. However, he left the interpretation of “incarnation” to the descendants. According to Dal, the actor “instills”, “incarnates” the stage image in his own body, rather than “climb into another’s skin”, as proposed by Shchepkin and Stanislavski.The novelty of the study. An attempt is made to reinterpret the concept of “reincarnation” in the art of acting. The author attempts to analyze the contradictions of Stanislavski’s teaching on the art of “reincarnation”.Conclusion. The conclusion is drawn that the term “reincarnation”, widespread in theatre theory and practice, contradicts the organic nature of the actor, which harms both the process of educating the actor and the development of theatre art.