Chronotope of Actor’s Improvision in the Context of J. Moreno’s Theatre Background

Abstract

The aim of this paper is to define the methodological approaches to the formation of actor’s ability to improvise based on J. Moreno’s theatre theory. Research methodology is based on the principles of objectivity, historicism, multifactority, systemacity, complexity, development and pluralism. The methods of scientific knowledge are used: problem and chronological, specific historical, statistical, descriptive, logical and analytical. Results. It is proved that the improvisational style of performance, as a model of co-creation, which enhances the existing “here and now” dynamics, recognizes the hidden creative potential in each individual, contributes to the organic interaction of stage partners and returns the ancient instruments of the theatre. Improvisation, as the dominant category of J. Moreno’s theatre background, calling for structural flexibility in order to enhance the inclusiveness and openness of unhindered theatre discourse, promotes the transgression of acting skills. Novelty. A study of stage improvisation was carried out and the multifunctionality of its nature was revealed; the concept of “improvisation” was clarified and supplemented. The author reveals its specific role and place in the performing arts and studies the nature of improvisational creativity of the actor. The paper determines the place and functions of improvisation in the creative process of acting reincarnation; psychological characteristics of acting improvisation are considered, including multi-level consciousness in the process of performance, improvisational thinking and self-perception in the image. The practical significance. The research may be used in developing lectures by specialists in directing and acting studies.

Keywords

• імпровізація
• сценічне мистецтво
• театральна практика
• я. морено
• акторська майстерність