Features of Application of Plastic and Linguistic Means in the Process of Creating a Stage Image: Art Criticism Analysis of the Actors' Impersonation Methods

The purpose of the article.To investigate and analyze the features of the use of plastic and speech tools in the process of creating a stage image based on the art history analysis of the methods of acting; to reveal common and distinctive approaches to the process of reincarnation by means of the foreign technique of the actor and the expediency of their application in the context of contemporary art education of students of higher educational institutions.The methods of researchconstitute the organic totality of the basic principles of research: objectivity, historicism, multifactority, systemic, complex, development and pluralism, and to achieve the research objective, methods of scientific knowledge are used: problem-chronological, concrete-historical, statistical, descriptive, logical-analytical.Scientific novelty.A detailed and comprehensive art history analysis of the systems and methods for creating a stage image in the context of the process of acting as an actor with means of foreign technology was conducted; The main aspects of work on plastic and speech elements on the example of leading actor’s trainings are covered.Conclusions.The conducted art criticism analysis of the most famous systems, schools, methods of theatrical pedagogy and actor’s trainings made it possible to identify common and distinctive approaches to the process of creating a stage image using the means of the actor’s external technique. Plastic and linguistic means when creating a stage image are undoubtedly prevailing in the process of acting as an actor and occupy a leading place in the systems and techniques of K. Stanislavsky, V. Meyerhold, E. Vakhtangov, O. Tairov, M. Chekhov and other outstanding directors. However, the peculiarities and differences in the methods and means for their implementation, as well as the interconnection and interdependence of the means of the actor’s external technique with internal technology, are largely due to the overall concept of each system. It is the unconscious organic symbiosis of the plastics, language and emotions of the actor that determines the level of his skill. Given that the means and approaches to reincarnation for each actor are their own and depend on the initial orientation - on the appearance of the character or on its internal image, we consider it expedient to involve in the educational process not only theoretical but also practical familiarization of students with known systems of creating an artistic image and training, which contribute to the formation and development of external means of acting.