Пластична підготовка рук як один із головних компонентів акторської майстерності

Abstract

У статті розглянуто один з головних компонентів акторської майстерності лялькаря – пластична підготовка рук. У результаті аналізу доведено, що правильне визначення провідної і допоміжної руки допоможе студентові добитися ефективності під час роботи над тренажними вправами і досягти певного рівня у професійній підготовці лялькаря.

В статье рассмотрен один из главных компонентов актерского мастерства кукольника – пластическая подготовка рук. В результате анализа доведено, что правильное определение ведущей и вспомогательной руки поможет студенту добиться эффективности во время работы над тренажными упражнениями и достичь определенного уровня в профессиональной подготовке кукольника.

Plastic hands preparation of an actor-puppeteer, their development and expressiveness is one of the most important assignments of educational training. The plastic hands can transmit by gesture the most delicate tinge of existence of a human spirit, they are necessary for an actor of a puppet theater as a one of the strongest expressive resource. Not accidental the training of an actorpuppeteer begins with the training and descriptive exercises. Training exercises and gymnastics develop flexibility of arms and exercise their muscles. Descriptive exercises develop a student’s imagination, at the time when an arm transforms into a scenic character. The methodological component of a chapter «Hands plastic» may be divided into several parts. Fist part is a training technology, in which the hands flexibility and plasticity are being developed. The second one is «Hands as an artistic material», in which students learn to use a hands plastic as an expressive art means. The third one is «Hands-partners» in which the student must contrive a sketch plot where the student (one character) interacts with his arms or everything they create (second character). Naturally the right and left hands of a human being are developed differently. The activity of one of the hands makes it principal. It quite easily learns the plastic exercises, while the auxiliary hand, that is a way behind the development, resists to it and needs much more attention during training. In order to make both hands of a student to develop more or less evenly, it is necessary to help him or her to determine the activity of either one or the other hand in the beginning of the practice. Starting the training by an auxiliary hand (left), a student will determine later on that a principal hand (right) has already learned a new material. Actually, if the right hand is relatively relaxed and the left hand precisely fulfills a task then one can fill that during the unusual functioning of our hands muscles, the right hand executes micro movements that repeat those that are executed by left hand. Such signal is enough for it. After such training by an auxiliary hand a student can easily repeat this exercise by a principal one. During the training the absolute liberty of hands muscles is extremely important – from shoulder gilder to finger tips. This is the most important condition during mastering the new material, since at general suppression the results are unlikely and at the boundary liberty of muscles – success is assured. Practice without concentration on the working organ makes the practice unproductive, superficial. The exercise is effective only when it is performed with the absolute attention. Plastic preparation of hands is one of the main components of acting techniques of an actorpuppeteer. The training and vivid exercises, that student gets during the study, facilitate him to reach a level that will help him in the future profession. Furthermore it will teach him or her to use evenly the right and left hands in work. The right definition of a principal and auxiliary hand at the beginning helps a student to master the training exercises given by the teacher and reach a certain level in the professional preparation of hands.