Please use this identifier to cite or link to this item: http://dspace.tnpu.edu.ua/handle/123456789/8231
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dc.contributor.authorБиченко, Нінель-
dc.date.accessioned2017-10-11T06:48:19Z-
dc.date.available2017-10-11T06:48:19Z-
dc.date.issued2017-
dc.identifier.citationБиченко, Н. Технологія навчання майбутніх акторів театру / Нінель Биченко // Наукові записки Тернопільського національного педагогічного університету імені Володимира Гнатюка. Сер. Мистецтвознавство. – 2017. – № 1 (Вип. 36). – С. 173–179. – Бібліогр. наприкінці ст.uk_UA
dc.identifier.urihttp://dspace.tnpu.edu.ua/handle/123456789/8231-
dc.description.abstractУ статті досліджено технологію навчання та виховання майбутніх акторів драматичного театру. Виокремлено методи, засоби та форми, що сприяють становленню професійного діяча сцени драматичного театру, з’ясовано значення поняття “технологія навчання”. Здійснено моніторинг систем провідних діячів у галузі театрального мистецтва щодо підготовки майбутніх акторів та охарактеризовано ступінь їх впливу на психофізичний розвиток майбутнього актора.uk_UA
dc.description.abstractВ статье исследована технология обучения и воспитания будущих актеров драматического театра. Выделены методы, средства и формы, которые способствуют становлению профессионального деятеля сцены драматического театра, выяснено значение понятия “технология обучения”. Осуществлен мониторинг систем ведущих деятелей в области театрального искусства по подготовке будущих актеров и охарактеризованы степень их влияния на психофизическое развитие будущего актера.uk_UA
dc.description.abstractThe article deals with future theatre actors’ technic investigation, the main methods, means and forms, promoting the professional theatre actor formation, have been highlighted; the meaning of the notion “training technic” has been identified. The systems of the leading theatrical masters towards future theatre actors training have been monitored as well as its influence on future actors’ psychophysical development. Such researchers and theorist of theatrical art as N. Korniienko, L. Oleinik, B. Topolevskyi, L. Lymarenko, E. Ganelin have reffered to the issue of theatre students preparation and training in educational process. Most of them has formed the basic principles of education of Ukrainian national theater actor, developed the technique and technology schooling of acting. Thanks to the works of outstanding Ukrainian theater artists nowadays we have the opportunity to view and experience the background of theatre directing and actors’ training. In particular, the book “To the young directors” is considered as one of the fundamental works of a famous Ukrainian actor, director P. Saksaganskyi. Voluminous pedagogical and educational guidelines for future professionals Ukrainian theater can be found in the heritage of L. Kurbas, M. Krushelnytskyi, H. Yurа, I Karpenko-Karyі. Despite the great variety of methods and means that are used to create a professional theatre actor, we should not forget about the main pattern – teacher and his personality and image. The teacher’s image influences an actor’s formation greatly, because they are always in the state of never ending interaction. It is not enough just to possess theoretical basis, moreover, a good teacher must not only know, but want and be able, have also practical experience to share with while he is training theatre students. There is a firm belief: everyone who joins a theatrical pedagogy does it individually. Reasoning and intuition, image and idea, content and form, national and international laws of life and imagination, tradition and innovation are combined in the work of each artist's in peculiar. Practical experience of predecessors – has always been the school that encourages the further reflection, but above all to create conditions for further work on the search for new forms of education. Speaking about training technic we cannot help mentioning Les Kurbas and his effective training method that is conducted in two ways: The first way – when you work on your abilities like speaking, pronunciation, singing, moving, dancing; the second one deals with analysis, deep psychological analysis which later on can be applied to be able to switch form one character to another. Some traits of analyzing oneselves are met nowadays in a modern theater studio in Kharkiv entitled as EKMATEDOS. Its main activity is improvisation, relying just on feelings, emotions that exist inside. In conclusion we tend to highlight training sessions as the most progressive method in actors’ preparation sphere. The main aim of training sessions are to promote the process of personal development, to realize creative potential, to achieve the optimal lifelike level. Only these sessions are the most helpful and make psychophysical apparatus of students be capable to perform on a stage.uk_UA
dc.language.isoukuk_UA
dc.publisherТернопільський національний педагогічний університет імені Володимира Гнатюкаuk_UA
dc.relation.ispartofseriesМистецтвознавство;-
dc.subjectакторuk_UA
dc.subjectдраматичний театрuk_UA
dc.subjectтехнологіяuk_UA
dc.subjectнавчанняuk_UA
dc.subjectвихованняuk_UA
dc.subjectтренінгuk_UA
dc.titleТехнологія навчання майбутніх акторів театруuk_UA
dc.title.alternativeТехнология обучения будущих актеров театраuk_UA
dc.title.alternativeTraining technology of future theater actorsuk_UA
dc.typeArticleuk_UA
Appears in Collections:Наукові записки Тернопільського національного педагогічного університету ім. В. Гнатюка. Сер. Мистецтвознавство. 2017. № 1

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