UDC 792.028
Olena Khlystun
Kyiv National University of Culture and Arts, Kyiv.
ORCID 0000-0002-1764-6559
DOI: https://doi.org/10.37627/2311-9489-14-2018-2.52-59
Keywords: imagination, emotional connection, creative activity, creative experience of an actor, transformation.
Abstract. The article states that the actor’s mastering of the role is structurally divided into several stages, at each of which there is a certain accumulation of knowledge about the character of the play. The main theories of the structure of the creative process are illuminated in the theories of the three-act by P. Engelmayer, the three-stage model of A. Poincaré, and the four-stage model of creative thinking by G. Wallace, E. Getchinson. The imagination and creative activity of a person depend on the diversity of his previous experience, represented by the material from which the constructions of the presentation are created. It is noted that the most important feature of the imagination is its striving for embodiment. The actor designs the future physical embodiment of the character’s stage image. It is concluded that the imagination is constructed from the thoughts and visions of a person, simultaneously or alternately covering his mind. The actor profession is dominated by the emotional connection between the activity of the imagination and the act of reincarnation. The peculiarity of the actor’s imagination is the creative experience of the actor, and not his personal one. Imagination works in the preparatory analytical stage of the role as the accumulation of former emotional traces. In the process of implementing the role, these traces come to life, which leads to the act of reincarnation in the role.
Author Biography.
Olena Khlystun, Ph.D. in Art Studies, Associate Professor, Kyiv National University of Culture and Arts, Kyiv.
with_joy@ukr.net
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Published: November 22, 2018.
Section: THEORY AND HISTORY OF CULTURE.