The practice of interpreting an artistic text. Punctuation as a mean of expressiveness and acquisition of phonation skills
Background. Actuality of the research theme. The awareness of the importance of mastering the treasures of the native language is dictated by the rapid development of modern Ukrainian statehood. The problems of artistic culture are very acute today, and the educational role of national literature, theater, cinema, broadcasting, television in modern society is increasing. One of the ways of forming a linguistic culture is the constant contact of the country’s population with the artistic word presented at the appropriate professional level. Therefore, the professional skill of the artist-actor as the bearer of the artistic word and the direct interpreter of cultural values embodied in the artistic work becomes of great importance as a means of fulfilling this vital aesthetic-educational mission. Thus, the study of the process of improving the actor’s professional skills of the stage language, the ways of optimizing of modern education in this field seems very relevant. Analysis of recent publications on the research topic. The problems of the culture of speech, the expressiveness of the oral word, the creative nature of the artistic language and its contemporary sound on the stage are highlighted in many scientific works of theatrical teachers, linguists and theatrical scholars, psychologists and sociologists. The special investigations in the field of stage language in recent years are the works of the practitioners of artistic word, the Ukrainian actors and teachers R. Cherkashin, Yu. Sheyko, L. Vazhniova, A. Gladysheva and others. So, Yu. Sheyko pays much attention to the norms of Ukrainian oral literary speech, and insists on the need for the development of the intelligence of a contemporary actor. As the techniques of speech are an integral part of the learning process, the tutorials of L. Vazhniova and A. Gladysheva are devoted to the development of skills of high-artistic embodiment of the work. However, the special studies devoted to the formation of actor voice skills as part of the process of understanding the important role of punctuation marks in the artistic interpretation of the work were not carried out. Methodology, goals, objectives, practical value of the research. The combination of training and creative aspects of the theory and practice of the stage language requires a great deal of methodological flexibility. The proposed article, devoted to the improvement of the actor’s educational activity on mastering the skills of the stage language, uses a complex methodological base, which combines a wide cultural and highly specialized, purely methodical, approaches to the analysis of the process of work on the acquisition of practical skills of the stage language. The first involves entering adjoining artistic spheres – literary and musical; the second refers to concrete – to the practice of stage action. Their combination allows us to construct an optimal algorithm for the work of the actor over the interpretation of artistic text within the framework of the study, which is his goal. Such an algorithm, aimed at perfect mastering the heights of professional skill, can be used successfully in the acting practice of the stage speech. The results of the study. The article emphasizes the importance of the stage of analytical work with literary text, both in a broad historical and stylistic context, and in details, in order to “appropriate” the position of author of the work and, further, create self-own actor’s interpretation. A versatile analysis of the text, preparing it for reading, can be done in this way. 1. Determine the type of work – is this the entire work or a fragment; if this is a fragment, then what is exactly? (Excerpt from the poem, a passage from the ballad, prose, etc.). 2. Having defined the species, it is necessary to give the work the cultural and historical characteristic (at what time it is written, to which national culture belongs, on which social ground it arose, what is the outlook and life positions of the author of the text and peculiarities of his work, the place of work in the author’s creativity, the distinctive features the era in which the author worked, and the one about which the work tells, is the text original or translated etc.). 3. To carry out the ideological-thematic and plot analysis of the work, to determine its main idea, to disclose in connection with it the logical content of the text, to determine what kind of plot vicissitudes prevail. 4. To analyze, how much the author turns to sensual, visual, auditory phenomena. 5. Identify and “view” the spectacular content of the text. 6. It is necessary to understand what the form of a work is, which stylistic and author’s techniques are used to create an artistic whole. 7. On the basis of such a detailed analysis, one should check the first impression of the whole and redefine the content-like structure of the work. 8. Determine the personal attitude to the work. 9. To work on the “vision” of the text. 10. Based on our findings and in depth study of the work, we should outline the line of the dynamic and tempo-rhythmic interpretation of the work. Assistants of the actor in the awareness of the author’s intention become punctuation marks, which also mark the way to artistic expression of speech. Like a musician, an actor should distinguish them by intonation: by changing pitch, volume, tempo, rhythm of speech. Therefore, in our opinion, the creative using of analogies with musical syntax (pauses, leagues, rubato, etc.) and with performing touches of a musician (legato, marcato, etc.) is appropriate in working on the stage speech. The next key point in creating a convincing stage interpretation is his own acting “visions” (K. Stanislavsky’s term), which the performer creates in his imagination based on his previous sensual, intellectual, life experience. Tied to a verbal text, they make it possible for an actor to experience an emotoin of such a force that is able to establish “feedback” with the audience at the time of the stage embodiment of the work. Conclusions and perspectives of the research. The presence of a “feedback” with audience is a prerequisite for the fact that the stage speech, as a special kind of literary language and, at the same time, a socially prestigious form of communication, forms a linguistic culture. It is inextricably linked with the development of society and is the bearer of language traditions of the people. Therefore, the prospects of studying the speech art are seen in the ways of its improvement: the creative decision of the main tasks of the course of the stage speech, the most important of which is a full and meaningful presentation to the audience of art intention through a set of skills aimed at voice expressiveness, precision of diction and clarity of pronunciation in the process of theatrical communication. Punctuation is the way to expressive speech. Punctuation marks discipline our language, and this must be remembered by everyone – students, actors, everyone who is working on a language, because excessive hastiness is the greatest enemy of beginners.