ACTOR OF SYNTHETIC TYPE IN THE MUSICAL THEATRE OF THE XXIST CENTURY

UDC: 792.5
DOI: 10.36871/hon.202403112

Authors

Danila V. Makarychev,
Institute of Contemporary Art, Moscow, 121309, Russian Federation

Abstract

This article discusses the methods of staging musical performances in the XXIst century and the creation of an artistic image embodied by the actor during the stage action. It emphasises the importance of the psycho-physical state of the artist in connection with the authentic life of the stage character, the significance of the plastic expressiveness of the actor in theatrical practice, referring to the works of great figures of Russian theatrical art — K. S. Stanislavsky, V. E. Meyerhold, М. A. Chekhov, A. Ya. Tairov, A. B. Droznin. The general synthetic nature of musical, vocal, plastic, choreographic and dramatic art, in which the public is currently interested, is revealed and analysed. The reasons for the active growth in the popularity of musical theatre and its specific genres in the XXIst century are explained. Productions of two Moscow educational theatres — the Institute of Modern Art and the Russian Institute of Theatre Arts (GITIS) — based on the fairy tale An Ordinary Miracle by E. L. Schwartz are described and compared. In order to prove the reliability of the author’s judgements and the relevance of the topic, an interview was conducted with the Russian actor, director of musical performances and musicals, vocalist, teacher of “Musical Education” at the Department of Theatre Arts of the Institute of Modern Art U. A. Chebotar. The interview is presented in Appendix no. 1.

Keywords

musical theatre, synthesis of arts, K. S. Stanislavsky’s system, methods of staging the play