Роль Панаса Саксаганського у формуванні української сценічної мови та словесної дії

Abstract

У статті висвітлено роль одного з корифеїв українського театру, актора, режисера, педагога Панаса Карповича Саксаганського у розвитку і становленні українського сценічного слова. Охарактеризовано методику роботи Саксаганського-актора над сценічним мовленням. Проаналізовано його значення у розвитку словесної дії на сценах українських театрів.

В статье освещена роль одного из корифеев украинского театра, актера, режиссера, педагога Панаса Карповича Саксаганского в развитии и становлении украинского сценического слова. Охарактеризовано методику работы Саксаганского-актера над сценической речью. Проанализировано его значение в развитии словесного действия на сценах украинских театров.

Improving the linguistic culture of the people occupies a significant place in preserving national identity. At all times, a significant educational role in this area belonged to the theatre. The article highlights the role of one of the leaders of the Ukrainian theatre, an actor, a director, a teacher Panas Saksagansky in the development and formation of the Ukrainian stage speech. Practical activity of P. Saksagansky and his theoretical works were especially significant in the development of the realistic scenic Ukrainian speech. Based on his work on numerous roles, Panas Saksagansky has developed a rule – do not rely solely on talent, although he did not imagine that creative success can exist without talent. Likewise, he did not rely solely on his inspiration, although he demonstrated masterpieces with high inspirational performance. Panas Saksagansky tried to be the first in the history of the Ukrainian theatre, who theoretically summarise the laws of verbal action. Unfortunately, the conditions in which the Ukrainian theatre was in the XIX century did not contribute to his intentions (the term “a verbal action” was introduced into the theatrical practice by K. Stanislavsky). P. Saksagansky did not study at the theatre school, that is why he faced with many difficulties in the Ukrainian theatre. It prompted him to work hard on himself. Over the years and practice, his technique of speech achieved virtuosity: this was one of the reasons of his high performing skills. Panas Saksagansky attached special importance to vocal expression. Though the actor had serious natural voice data, it did not reassure him: he was working to improve the sound of words throughout his life. Panas Saksagansky comprehensively developed the expressiveness and flexibility of the voice, the force of sound, he constantly expanded the range of sound. He paid particular attention to the study of the author’s text. Panas Saksagansky was interested not only in social and domestic specificity of the image, but also the author’s outlook, the era, the environment. Saksagansky knowing censorship obstacles persistently protects the author’s text from arbitrary interference and alterations. He demanded from the actors not only absolutely clear and accurate study of the text, but its meaning, because actors often do not care about understanding the lexical meaning of the words. In his acting work Saksagansky created a whole gallery of peculiar “linguistic portraits”and used for this a rich palette of his voice. Simultaneously with acting, P. Saksagansky for the first time in the history of the Ukrainian theatre tried to theoretically summarise the laws of verbal action. In his writings about work on the role, he paid special attention to the scenic word. Panas Saksagansky used diction and timbre modulations, pauses, accents, rhythmic for creating scenes script speech for creating scores of the stage speech. But this technical perfection of the stage speech was used to reveal the different spiritual world of characters, their class and ideological positions. Practical activity of Saksagansky and his theoretical works were focused on improving the cultural level of the stage speech.